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N o t e s Introduction 1 . Mitchell, British Historical Statistics , 25, 77, 89, 102. See also Kershaw and Pearsall, Immigrants and Aliens: A Guide to Sources on UK Immigration and Citizenship . In 1793, when many refugees were arriving from France, the government introduced a Regulations of Aliens Act (RAA). All foreigners coming to Britain were required to register with officials. A Superintendent of Aliens was appointed as head of the Aliens Office responsible for the registration of migrants. In 1798, a more rigorous law established a system of registration at British ports, in which migrants had to sign declarations upon entry into Britain. Migrants already liv- ing in Britain and those arriving after January 1793 had to give their names, ranks, occupations, and addresses to a magistrate. In March 1797, the Home Secretary distributed forms for the provision of details on all migrants who had arrived after May 1792. Householders who had taken in migrants as lodgers had to give details to local officials. Passports, issued by the Secretary of State, were required for travel outside of London. The wartime regulations regarding aliens were repealed at the peace of 1814, but were renewed with modifications later in the same year and in 1815, when war broke out again. The RAA 1816 required masters of ships to declare, in writing to the Inspector of Aliens or Officer of the Customs, the number of foreigners on board, with their names and descriptions. The RAA 1826 required migrants to send to the Secretary of State, or to the Chief Secretary for Ireland, a declaration of their place of residence every six months. Most of the early records of the Aliens Office have been destroyed, but Foreign Office Records at The National Archives, reference FO 83/21, contain lists of migrants arriving at British ports for the period from August 1810 to May 1811. The vast majority of certificates issued under the Aliens Act 1826 were destroyed when the Aliens Office was absorbed in to the Home Office in 1836, but there is an index of certificates from 1826 to 1849 at The National Archives in series HO 5/25-32, and CUST 102/393-396 contains certificates of arrival for the Port of London from July to November 1826 and for the port of Gravesend from October 1826 to August 1837. HO 2 contains the original certificates of arrival of individuals, arranged under ports of arrival, for the period from 1836 to 1852. Each certificate gives the person’s name, nationality, profession, date of arrival, and last country visited, together with their signature, and sometimes other details. 214 Notes 2 . Lobban, “Population Movements: Emigration,” Scottish Population History , 452. 3 . Smith, “Irish Rebels and English Radicals 1798–1820,” Past & Present (1955) 7, no. 1:78–85. 4 . Jones, Welsh in London , 465–66, 476. 5 . Flinn, European Demographic System, 1500–1820 , 154–63. 6 . Klancher, The Making of English Reading Audiences 1790–1832 ; Schoenfield, British Periodicals and Romantic Identity . 7 . Worrall, Theatric Revolution , v. 8 . Baer, Theatre and Disorder in Late Georgian London ; Russell, “Playing at Revolution: The Politics of the O. P. Riots of 1809,” Theatre Notebook 44 (1990):16–26. 9 . Moody, Illegitimate Theatre , 62. 10 . Selected Writings of Leigh Hunt , 1:109–110 11 . The Rebellion; or, All in the Wrong: A serio-comic hurly- burly. “With the exception of a few articles extracted from the newspapers, with names and dates, the whole of this pamphlet is taken from the Memoranda dramatica of the Monthly Mirror .” (1809). 12 . Mander and Mitchenson, The Theatres of London and The Lost Theatres of London . 13 . Moody, Illegitimate Theatre ,164–177. 14 . Moody, Illegitimate Theatre ,166. 15 . Burwick, “The Jew on the Romantic Stage,” Romanticism/Judaica , 101–118. See the tribute to Astley in Memoirs of J. Decastro (1824), 9–11, 54–56. 16 . Theatrical Inquisitor (May 1820) 16:301. 17 . Moody, Illegitimate Theatre ,166, citing Webb, Glances at Life in City and Suburb (1836), 153. 18 . See note 1 above. 19 . Fox, London— World City, 1800–1840 ; White, London in the Nineteenth Century. 20 . Schwarz, “Occupations and Incomes in Late Eighteenth- Century London,” East London Papers 14 (December 1972), 87–100. 1 Children on Stage: Idealized, Eroticized, Demonized 1 . Although there are many accounts of the roles Betty played, with some contemporary description of his movement and delivery, few of his crit- ics and biographers attend to his actual performance. A useful source is Playfair, The Prodigy: A Study of the Strange Life of Master Betty ; for a dis- criminating summary of the roles in which Betty seemed most successful, see Altick, “The Marvelous Child of the English Stage.” College English , 7, No. 2 (November, 1945): 78–85. 2 . An important exception, to which I will return below, is Carlson, “Forever Young: Master Betty and the Queer Stage of Youth in English Romanticism.” South Atlantic Quarterly , 95, no. 3 (July 1996): 575–602. Notes 215 3 . Plotz, Romanticism and the Vocation of Childhood ; McGavran, Romanticism and Children’s Literature in Nineteenth-Century England ; McGavran, Literature and the Child. See also Plotz, “The Perpetual Messiah: Romanticism, Childhood, and the Paradoxes of Human Development,” Regulated Children/Liberated Children: Education in Psychohistorical Perspective , 63–95. 4 . Mitchell, “‘But Cast Their Eyes on These Little Wretched Beings’: The Innocence and Experience of Children in the Late Eighteenth Century.” New Formations: A Journal of Culture/Theory/Politics , 42 (January 2000): 115–30; Smith, “Blake’s Songs of Innocence and Experience and Eighteenth- Century Religious and Moral Verse for Children.” Essays in Arts and Sciences , 20 (October 1991): 1–16. 5 . Scott, “Celebrity Parade,” Parade (January 20, 2008), 4. 6 . Gould, “Tragedy in Performance,” Cambridge History of Classical Literature: Part 2 Greek Drama , 22: “The parts of children were indeed played on stage by children, but as silent mimes: children are never given spoken lines in Greek tragedy.” 7 . Kathman, “How Old Were Shakespeare’s Boy Actors?” Shakespeare Survey: An Annual Survey of Shakespeare Studies and Production , 58 (2005): 220–46. 8 . Shapiro, Gender In Play On The Shakespearean Stage: Boy Heroines And Female Pages , 119, 142. 9 . Chambers, Elizabethan Stage , 2:18. 10 . Foakes, “John Marston’s Fantastical Plays: Antonio and Mellida and Antonio’s Revenge.” Philological Quarterly 41, No. 1 (January 1962): 229–39 (on 229: “strutting in a ranting role becomes grotesque in a child”); Foakes, Shakespeare: The Dark Comedies to the Last Plays: From Satire to Celebration , 64 (also 42: “boys aping adults self- consciously”); Foakes, “Tragedy at the Children’s Theatres after 1600,” Elizabethan Theatre II , 37–59 (on 45: “child- actors consciously ranting in oversize parts”). 11 . Newlyn, “The Little Actor and His Mock Apparel,” Coleridge, Wordsworth and the Language of Allusion , 141–64, argues that Wordsworth, in developing his allusion to Jacques’s speech on the Seven Ages of Man (“All the world’s stage,” etc. in As You Like It II.vi.), is also responding to Andrew Marvell’s On a Drop of Dew and to Coleridge’s To H. C., Six years old . 12 . Pape and Burwick, Boydell Shakespeare Gallery , 261, 264–6, 244–5. 13 . Engraving by James Caldwell, painting by William Hamilton, on Sarah Siddons’s return to Drury Lane, October 10, 1782. 14 . Broadbent, History of Pantomime , 187–88. 15 . Highfill et al. “Dibdin, Charles.” A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800 , 4:358–76. 16 . BL Playbills 311, Surrey, 1820–32. On April 22, 23, 24, 1812. Beauty and the Beast , with principle Fairies and Dancers performed by Gabriel Giroux with two Misses Giroux and Miss Green. This was followed by Children in the Woods , in which Elliston appeared as Walter and the 216 Notes children were played by the two Misses Carr. On November 24, 1812, for the production of Sleeping Beauty , the Fairy Melzerina was played by one Miss Carr, and the other Miss Carr performed the title role in The Adopted Child . Blewitt was later appointed director of the Juvenile Company. 17 . Malkin, A Father’s Memoirs of His Child , xii. 18 . Coleridge, Lectures 1808–1819: On Literature (December 2, 1811), I:277. 19 . Altick, “The Marvelous Child of the English Stage,” 78–85. 20 . Burwick, Romantic Drama: Acting and Reacting , 17, 402–4. 21 . The Edinburgh Annual Register, For 1808 . Edinburgh: Printed by James Ballantyne and Co., 1810. Vol. 1, Part 2, p. 281: on Mrs. Mudie’s poor performance as Mrs. Haller in The Stranger (Drury Lane, October 22, 1808). 22 . Cited in Ashton, The Dawn of the XIXth Century in England , 2:130. 23 . Garrick, Advertisement to The Country Girl , The Plays of David Garrick , 7:199. 24 . Genest, Some Account of the English Stage , 7:715 (Covent Garden, November 23, 1805). For a fuller account, Genest refers to The British Drama: a collection of the most esteemed tragedies, comedies, operas, and farces, in the English language (1828–29). See also Ryan, Dramatic Table Talk: or, Scenes, Situations, & Adventures, Serious and Comic, in Theatrical History and Biography , with “Reflections on the Theatrical Art” by François Joseph Talma [v.1, p. vii–li]. 2 vols. The account in Ryan, 2:2–7, as well as the one given by Ashton, 2:130–34, derives from the review in the Morning Post , November 25, 1805. See also the review in Morning Chronicle , November 25, 1805. 25 . John and Patsy Ramsey. The Death of Innocence: The Untold Story of JonBenét’s Murder . Thomas with Davis. JonBenét: Inside the Ramsey Murder Investigation . 26 . Ryan, 2:3. 27 . Morning Chronicle , November 25, 1805, 28 . Garrick, The Country Girl , The Plays of David Garrick , 7:228.
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