RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973 https://digitalrepository.lib.hku.hk/catalog/8910rj06r NOTES AND QUERIES 14. 1859 Feb. 21 LIGHTNING P. Taylor River Hooghly to Hong Kong: Pemabhoy Hunchund to Augustine Heard & Co. 25 chests old Benares opium "No 1 and 4 Chests are broken" 15. 1859 March 25 PENGUIN Wm. E. Wheeler 157 San Francisco to Hongkong: Morgan, Stone & Co. to R. Pollard absent A. Heard & Co. 2 boxes said to contain Mexican dollars, 2000 each 16. 186- JENNY W.C. Dunham New York to Hong Kong & Shanghae: Aaron D. Wild & Sons to Russell & Co. 50 barrels extra mess beef LE + · Freight payable before delivery if original contents unknown. Damage by leakage rust or breakage at Shipper's risk" 17. 1861 JOSHUA BATES Hobsons Bay to Hong Kong: Augustine Heard & Co. 807 pigs lead 18. 1861 May 20 PALMETTO Wm. F. Upton Joseph S. Clark Osborn Cushing & Co. to Boston to Hong Kong: Everett & Co. to Augustine Heard & Co. 2 cases merchandise 19. 1861 Aug. 12 JULIA G. TYLER New York to Hong Kong: T.B. Everett of Boston to Augustine Heard & Co, or order 50 eighth casks brandy 20. 1861 Oct. 16 HARRY HASTINGS Nathanial Coleman River Hooghly to Hong Kong: Mackillop, Stewart & Co. to Augustine Heard & Co. 12000 bags rice "To be taken from the ship's tackle at risk and expense of consignees." 21. 1864 Jan. 5 FUSI-YAMA Adam D. Dundas Hong Kong to Calcutta: Augustine Heard & Co. to Ashburner & Co. 80 cases turpentine ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1973 https://digitalrepository.lib.hku.hk/catalog/8910rj06r 160 38. 1873 June 30 NOTES AND QUERIES CYPHRENES Samuel Stephen San Francisco to Hong Kong: Williams, Blanchard & Co. to Augustine Heard & Co. 12 cases Downers Oil 6 cases whiskey one keg butter one keg pigs feet 4 pkgs herrings one case carriage one case butter 5 kegs pork 5 kegs tongues 5 kegs salmon 10 kits mackerel INDEX TO MCMULLEN COLLECTION Names of ships in CAPITALS; names of ship's masters in italics. The numbers refer to item numbers in the Calendar. Alexander & Co. 3 CASSADOR 4, 12 Allen, W. 2 Cavanagh, C. 24 ANN 2 Clark, J.S. 17 Anfião de Malva* 4, 5, 12 Coleman, N. 20 Arcachande, Caramachande 12 CONDE DE RIO PARDO 11 ARIEL 13 Cotton 1, 31 Ashburner & Co. 21 CUMBERLAND 7 AUBURN Beef, Extra mess Begodin, A. 34, 36 Cumsingmoon* 13 Cutch* 6 16 CYPHRENES 38 32 BENEFACTOR 23 Damão 4, 5, 11, 12 Berry, G. 23 Dibblee & Hyde 25 Bombay 37 Dollars, Mexican 15, 25 see also Hooghly, River DOM MANUEL DE PORTUGAL 5 Boston 18 Brandy 19 Downers oil 38 Bread 24 Dundas, A. D. 21 Budroodeen (Abadeen) & Co. 37 Dunham, W. C. 16, 27, 28, 35 Bull, Purdon & Co. Burt, J. 32 13 Encarnacão, L. d' 11 Butter 38 Everett (T.B.) & Co. 18, 19 Byramjee, Cowasjee 2 FALCON 9 Calcutta 21 Flour 24, 27 Canton 1, 3, 7 Foochow 24 Carriage (presumably horsedrawn) 38 Fungus FUSI-YAMA 33 21 *See notes at end of index ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1974 https://digitalrepository.lib.hku.hk/catalog/x633mp077 82 ROBIN MCLACHLAN then a junior officer in Orlando's regiment but later to become the British Minister at Peking and Sir Thomas, was to teach Orlando to play the flute.17 But as Wade was busy with his Chinese language studies the flute lessons had to be postponed indefinitely. About the same time the music lessons were being considered, Orlando met Elijah Coleman Bridgman.18 This Bridgman was the first American missionary in China, arriving in Canton in 1829, and is probably best remembered for his part in the founding and editing of the Chinese Repository. Although the American spelt his name without an "e", Orlando still considered it a rare event to meet someone of the same name who was not a relation. It is unlikely though that he would have been anxious to claim a relationship with a man he described in his letter as a "beast". When writing of his commander in the war, General Hugh Gough, and the naval commander, Admiral William Parker, Bridgeman was equally caustic in his remarks. Writing in October from Chusan, where the British force had collected before proceeding on to Hong Kong, he commented: The whole force is collected here now, with the exception of the Genl. and Admiral who are delaying as long as they can because they are each putting £30 a day into their pocket and as soon as they get to Hong Kong they will cease to receive this.19 Unfortunately, there are very few comments, either favourable or unfavourable, on the Chinese people and their way of life. In his first letter home from China, he complained that he didn't get to see anything of Nanking and the Chinese people he had seen were only the "lowest of the low."20 Later he confessed that what "pity" he had for the Chinese, on account of their heavy losses in battle ("The slaughter was frightful ... .”), was lost "since they proved so dreadfully treacherous" with their kidnapping on Chusan.21 During his time at Hong Kong, Bridgeman continued this lack of interest in things Chinese and only occasionally commented on Chinese customs and ways. For example, his interest in Chinese tea led him to describe to his sister the Chinese tea stands that dotted the colony and how, according to his observations, no Chinese could pass one without having several tiny cupfuls of tea.22 But such sketches of Chinese life in the colony are rare in his letters; the Chinese inhabitants of Hong Kong seemed scarcely to exist for Bridgeman. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1987 https://digitalrepository.lib.hku.hk/catalog/rx919b522 106 BRYCE, Louise W 9.12.1912 BUCHANAN, Charles 11.9.1873 BURDETT, Frederick 24.1.1940 BUCHANAN, Archibald 21.7.1909 BULLEN, Arthur Pearce 23.3.1905 BURDETT, Jane Cerile 31.5.1909 Deane BURNETT, Edward 8.5.1936 BUTTNER, Albert 31.1.1907 CADDEM, Patrick 14.9.1906 CAGLI, Augusto 21.5.1888 Rattway CAMPION, Thomas 20.7.1864 CARTER, Bessie Ann 16.12.1942 CHALMERS, Frank 5.8.1958 CHAMBERS, Elizabeth 27.2.1917 Morton CHAPMAN, Henry 14.3.1883 CHEEL, James 18.3.1923 Grafton CLARKE, Edgar 18.10.1901 CLEAR, Charles Arnold 5.2.1945 Charles CLELAND, William 20.8.1937 COATES, John H 5.5.1902 Alexander COLEMAN, John 30.5.1904 COLLER, 1st infant son 6.11.1872 of Richard Lovett COLLER, 2nd infant 1.4.1874 son of Richard Lovett COLLETT, Henry 18.8.1903 George Outram CONGDON, Jane E 19.2.1898 COOK, CJ 12.9.1946 COOKE, Doris Ann 17.10.1942 COTEZ, Frank 5.8.1918 CRICHTON, Lloyd 18.7.1945 CROCKETT, LS Not known James CUNNEEN, Miss E F 12.5.1950 CURRY, Charles 7.9.1903 DAKIN, George J 2.7.1883 DALE, CE 30.5.1904 DAMASKOS, Nikolas 17.12.1962 DAVIS, Thomas 28.10.1883 DEBLOIS, John Emory 3.8.1874 DEBRUNNER, Alphons 11.2.1952 DECKER, Ernest DENNISON, William 5.10.1882 DE HASS, Theodorus 17.8.1909 Marie 25.7.1904 DEWHURST, Fred 25.12.1915 DICKINSON, John 3.5.1949 DONISCH, Arthur 24.2.1883 Herbert DORRINGTON, Nellie 16.9.1902 DOS REMEDIOS, Mary 10.8.1961 Paz DOS REMEDIOS, Jose 22.8.1962 Florencio DOS REMEDIOS, Pacita Godinez 3.1968 DREYFUS, Ernest 2.9.1906 DUDLEY, Infant 14.2.1880 Gustav DUFF, William Aitken 20.3.1902 DUKE, John 14.4.1939 DUMARES, John 22.7.1922 DUNCAN, William 27.7.1899 Saumarez Cunning DUNN, JC J 10.4.1949 DYKES, Oswald S 19.1.1930 EATON, Red Campbell 21.4.1877 EDWARDS, John E 26.10.1924 EHLERS, J G 1.11.1878 ELERTIS, Nicholas 21.6.1964 ELLAMS, John David 11.5.1946 ELZINGER, Auguste 26.4.1879 ENTICKNAP, G H 27.5.1915 EWART, Henry 9.7.1894 FABIAN, Adolf 29.4.1886 FAIRCLOUGH, Ferdinand J 5.7.1897 FALKNER, Samuel 27.4.1903 FALLOT, Lymae 11.7.1919 William FARREN, John W 23.8.1864 FARNES, Walter S 7.6.1942 FEELDING, Susie 15.1.1939 FERBER, Johann 8.1.1890 Bernard ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 161 spare time to the amusement of their fellow residents. Moreover, as has been said before, the community was small, and the critic had after all to live with his actor-neighbours who would no doubt know about his identity. Thus, "A Stranger" wrote, about George Colman's Heir at Law (April 21 1851): “Zekiel Homespun was inimitable; we had no idea there was a Gentleman in Shanghae who could take the difficult part so well.) The simplicity, humour and serious earnestness which it displays in some parts were brought out and sustained in a manner that we have scarcely seen equaled, except by some of the leading actors of our Metropolis". And again: “Constant playgoers as from childhood we have been we have rarely, indeed never, ‘assisted' at a more agreeable evening than that of Wednesday the 16th instant [i.e. February 16 1859]. The performances [of J.M. Morton's Whitebait at Greenwich and Thomas Morton's Sink or Swim] passed off with the utmost eclat due to the talent and exertions of the actors". Sometimes the author felt it even necessary to apologize for any criticism he uttered: "We do this, not in the invidious character of critics upon amateur performances or still less as tinctured with the slightest disposition to find fault, but in order that the excellent materials which have been combined in the troupe should be made as much of as possible. Indeed it is the very appreciation of the talents displayed on Thursday [sic; this should be Wednesday January 23 1856– JH] which prompts the expression of these remarks. We are sure that neither the performers nor the audience would thank us for the undiscriminating and therefore worthless praise which usually satirize amateur performances". But even in this case the critic only had made some comments on the costumes that were used in one of the pieces (cf. Calendar, 23.1.1856). Mild remarks were the severest criticism dished out; about one of the actors on June 2 1859, **we may perhaps be permitted to take an exception to his brogue, which, however good as an assumption, scarcely denoted one to the manner born"; and about another on the same evening; "his humour seems better fitted for low than for eccentric comedy". 10 Only when it came to the choice of pieces was the paper not always undividedly positive. Writing about John Maddison Morton's Done on Both Sides (February 10 1858) not much enthusiasm was shown: “We have witnessed, we confess, better farces on the same stage and we are inclined to believe that as actors may sometimes not come up to the play, it occasionally happens that plays are not altogether worthy of the ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 162 * 12 actors 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). 14 In 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. When 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". 18 In 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 ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 192 12.12.1850 (Thur) G.A.A. BECKETT: "Roofscrambler" (1835) T: Burlesque W.H. MURRAY: "Diamond cut Diamond" (1843) T: Farcical interlude (1 act) C: Amateurs Th: Theatre Royal (A) R: 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. 28.1.1851 (Tue) J. KENNEDY: "Love, Law and Physic" (1812) T: Farce W.B. RHODES: "Bombastes Furioso" (1810) T: Burlesque tragic opera (1 act) C: Amateurs Th: Theatre Royal (A) R: 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). 21.4.1851 (Mon) G. COLMAN Jr: "Heir at Law" (1797) T: Comedy (5 acts) J. TOWNLEY: "High Life below Stairs” (1759) T: Farce (2 acts) C: Amateurs Th: Theatre Royal (A) N: Final performance of the season. R: 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". High 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' Despite 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). 26.1.1852 (Mon) D. BOUCICAULT & C. MATHEWS: "Used Up" (1846) T: Comedietta (2 acts) H. CAREY (music: J.F. LAMPE): "The Dragon of Wantley" (1837) T: Burlesque opera (3 acts) ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 193 C: Amateurs F: Prologue, music Th: Theatre Royal (A) N: First performance of the season R: 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). 23.2.1852 (Mon) T. MORTON: “A Roland for an Oliver" (1819) T: Farce (2 acts) "No!" by W.H. MURRAY or F. REYNOLDS T: Farce (1 act) C: Amateurs F: Music Th: Theatre Royal (A) N: Second performance of the season R: 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". There 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). 24.3.1852 (Mon) G. COLMAN Jr: "The Review" (1800) T: Musical farce (2 acts) R. AYTON: "The Rendezvous" (1818) T: Operetta (1 act). C: Amateurs F: Music Th: New Theatre Royal (A) N: Third performance of the season R: 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". Of 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). ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 218 1.4.1864 (Fri) R.B. BROUGH: "Crinoline" (1856) T: Farce (1 act) J.M. MORTON: "A Most Unwarrantable Intrusion" (1849) T: Farce (1 act) N.N.: "The Debut" C: Messrs Shannon and Phillips with an amateur company Th: N.N. (H) R: 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). 4.4.1864 (Mon) Repeat of 30.3.1864, 18.4.1864 (Mon) First performance by a Portuguese Amateur Dramatic Corps. TH: N.N. R: 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) 25.4.1864 (Mon) J. OXENFORD: "Retained for the Defence" T: Farce (1 act) C.S. CHELTNAM: "A Lucky Escape" (1861) T: Comic drama (1 act) T.J. WILLIAMS: "On and Off" (1861) T: Farce (1 act) C: Amateurs of the Shanghai Volunteer Corps TH: N.N. (H) N: Second performance of the season R: 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) 9.5.1864 (Mon) N.N.: "Nature and Philosophy or Eighteen Years' Labour Lost" (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). G. COLMAN Jr: "Love Laughs at Locksmiths" (1803) C: C.R. Faylor's travelling company F: Comic songs, dance, music Th: Olympic Theatre (H) R: Casts: Nature and Philosophy: Brother Philip: Major Pegus Renaldo: C.R. Faylor Eliza: Mrs. E. Yeamans Gertrude: Mr. E. Yeamans ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 236 P: 12.11.-18.11.1864 "No | Round the Corner" (12.3.1854). P: 23.1.1856 **Perdita the Royal Milkmaid or The Winter's Tale** (15.9.1856). P: 8.4.1865 BUCKINGHAM, Leicester Silk (1825-1867) "Take That Girl Away (5.3.1855). P: 15.2.1860; 3.12.1864 BUCKSTONE, John Baldwin (1802-1879) **A Dead Shot** (22.1.1827). P: 11.4.1865 "The Flowers of the Forest. A gipsy story" (11.3.1847), P 28.3.-5.4.1865 "Isabella or Woman's Life" (27.1.1834). P: 28.3-5.4.1865 "A Kiss in the Dark" (13.6.1840). P: 26.3.1857 "A Lesson for the Ladies" (5.9.1838), P: 8.4.1865 "Married Life" (20.8.1834). P: 12.11-18.11.1864 "A Rough Diamond" (8.11.1847). P: 13.4.1865 BUTLER, Richard (1794-1858) **The Irish Tutor** (12.7.1822). P: 5.5.1853 BYRON, Henry James (1834-1884) **Aladdin or the Wonderful Scamp** (1.4.1861), P: 2-.9.1864; 19.11.1864; 26.11.1864; 29.4.1865 "The Babes in the Wood! and the Good Little Fairy Birds!" (18.7.1859), P: 17.4.1865 **The Bride of Abydos or the Prince, the Pirate and the Pearl** (31.5.1858). P: 22.10-28.10.1864; 13.4.1865 "Cinderella or the Lover, the Lacky and the Little Glass Slippers" (26.12.1860). P: 12.11.-18.11.1864 "Fra Diavolo! or the Beauty and the Brigands" (5.4.1858). P: 15.10-21.10.1864 **The 'Green' Bushes or Missis Brown of the "Mississippi"** (26.12.1864), P: 30.9.1865 **Ill Treated Il Trovatore or the Mother, the Maiden and the Musician** (21.5.1863). P: 22.6.1864; 29.6.1864 **The Maid and the Magpie or the Fatal Spoon** (11.10.1858). P: 8.10-14.10.1864; 15.10-21.10.1864; 15.4.1865 "Princess Springtime or The Envoy who stole the King's Daughter" (26.12.1864). P: 10.11.1865; 20.11.1865 CAREY, Henry (1687?-1743) "The Dragon of Wantley" (1737; music by John Frederick Lampe). P: 26.1.1852 "A Wonder or an Honest Yorkshireman" (1735). P: 12.11.-18.11.1864 CENTLIVRE, Susannah (1667?-1723) "The Wonder. A Woman Keeps A Secret" (April 1714). P: 12.11.-18.11.1864 CHELTNAM, Charles Smith (1823-?) "Aurora Floyd or the Deed in the Wood" (11.3.1863), P: 26.11.1864; 17.4.1865 "A Lucky Escape" (9.9.1861). P: 25.4.1864 COLMAN, George, the younger (1762-1836) "The Heir at Law" (15.7.1797). P: 21.4.1851 **Love Laughs at Locksmiths** (25.7.1803). P: 9.5.1864 **The Review or The Wags of Windsor** (2.9.1800), P: 24.3.1852 COURTNEY, John (1813-1865) **Time Tries All** (4.9.1848). P: 5.5.1860; 21.3.1865 ================================================================================ 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. ================================================================================ RASHKB Journal 皇家亞洲學會香港分會學刊 | RAS-1989 https://digitalrepository.lib.hku.hk/catalog/8336pm92h 242 High Life below Stairs: J. Townley; 21.4.1851. The Honey Moon: W. Linley? J. Tobin? 19.4.1865. A Household Fairy: F. Talfourd; 216.11.1864. I couldn't help it: J. Oxenford; 13.4.1865. III Treated Il Trovatore: H.J. Byron; 22.6.1864, 29.6.1864. The Infanticidal Farce: J.S. Coyne; 21.2.1856. The Invisible Prince: J.R. Planché; 23.3.1865. The Irish Tutor: R. Butler; 5.5.1853. Isabella: J.B. Buckstone; 28.3.-5.4.1865. I've Eaten My Friend: J.V. Bridgeman; 22.3.1854. Kenilworth: N.N.; 28.3.-5.4.1865. King John: W. Shakespeare; 12.11.-18.11.1864. A Kiss in the Dark: J.B. Buckstone; 26.3.1857. The Knights of the Round Table: J.R. Planché; 24.5.1865. A Lady and a Gentleman in a Peculiarly Perplexing Predicement: C. Selby; 13.12.1864. Lady Audley's Secret: C.H. Hazlewood? G. Roberts? W.E. Suter?; 28.12.1864. The Lady of Lyons: E. Bulwer Lytton; 10.2.1864. The Lady of Lyons: H.J. Byron?; 22.10.-28.10.1864, 29.4.1865. Lend me Five Shillings: J.M. Morton; see p. 15. A Lesson for the Ladies: J.B. Buckstone; 8.4.1865. As Like as Two Peas: H. Lillo; 16.3.1858. Little Toddlekins: C.J. Mathews; 26.5.1864. Love Laughs at Locksmiths: G. Colman the Younger; 9.5.1864, Love, Law and Physics: J. Kenney; 28.1.1851. A Lucky Escape: C.S. Cheltnam; 25.4.1864. The Maid and the Magpie: H.J. Byron; 8.10.-14.10.1864, 15.10.-21.10.1864, 15.4.1865. Make your Wills: E. Mayhew; 23.1.1856. Married Life: J.B. Buckstone; 12.11.-18.11.1864. Medea: R.B. Brough; 28.12.1864. A Most Unwarrantable Intrusion: J.M. Morton; 22.3.1854, 1.4.1864, Nature and Philosophy: N.N.; 9.5.1864. The Nigger Doctor and his Patient Patient: N.N.; 14.8.1856. No!: W.H. Murray? F. Reynolds?; 23.2.1852. No 1 round the corner: W. Brough; 23.1.1856. Nursery Chickweed: T.J. Williams; 28.3.-5.4.1865. The Octoroon: D. Boucicault; 7.1.-13.1.1865, 14.1.1865, On and Off: T.J. Williams; 25.4.1864. Our Wife: J.M. Morton; 13.2.1863, 17.2.1863. Perdita: W. Brough; 8.4.1865. Poor Pillicoddy: J.M. Morton; 15.3.1860, 26.5.1864. A Practical Man: W.B. Bernard; 8.3.1854. Princess Springtime: H.J. Byron; 10.11.1865, 20.11.1865. A Race for Dinner: J.T.G. Rodwell; announced but not performed. Raising the wind: J. Kenney; 9.2.1858, 30.3.1864, 4.4.1864. The Rendez-vous: R. Ayton; 24.3.1852. Retained for the Defence: J. Oxenford; 25.4.1864. The Review; G. Colman the Younger; 24.3.1852. ================================================================================