Entertainment in the Regency
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Vol. 17, No. 3 December 2011
Journal December 2011 Vol.17, No. 3 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] December 2011 Vol. 17, No. 3 President Editorial 3 Julian Lloyd Webber FRCM Gerald Lawrence, Elgar and the missing Beau Brummel Music 4 Vice-Presidents Robert Kay Ian Parrott Sir David Willcocks, CBE, MC Elgar and Rosa Newmarch 29 Diana McVeagh Martin Bird Michael Kennedy, CBE Michael Pope Book reviews Sir Colin Davis, CH, CBE Robert Anderson, Martin Bird, Richard Wiley 41 Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 46 Sir Andrew Davis, CBE Simon Thompson Donald Hunt, OBE Christopher Robinson, CVO, CBE CD reviews 49 Andrew Neill Barry Collett, Martin Bird, Richard Spenceley Sir Mark Elder, CBE 100 Years Ago 61 Chairman Steven Halls Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Gerald Lawrence in his Beau Brummel costume, from Messrs. William Elkin's published piano arrangement of the Minuet (Arthur Reynolds Collection). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, cued into the text, and have captions. -
Miss Lisa Brown's Guide to Dressing for a Regency Ball – Gentlemen's
MMiissss LLiissaa BBrroowwnn’’ss GGuuiiddee ttoo DDrreessssiinngg ffoorr aa RReeggeennccyy BBaallll –– GGeennttlleemmeenn’’ss EEddiittiioonn (and remove string!) Shave Jane Austen & the Regency face every Wednesday and The term “Regency” refers to years between 1811 Sunday as per regulations. and 1820 when George III of the United Kingdom was deemed unfit to rule and his son, later George Other types of facial hair IV, was installed as his proxy with the title of were not popular and were “Prince Regent”. However, “Regency Era” is often not allowed in the military. applied to the years between 1795 and 1830. This No beards, mustaches, period is often called the “Extended Regency” goatees, soul patches or because the time shared the same distinctive culture, Van Dykes. fashion, architecture, politics and the continuing Napoleonic War. If you have short hair, brush it forward into a Caesar cut style The author most closely associated with the with no discernable part. If your Regency is Jane Austen (1775-1817). Her witty and hair is long, put it into a pony tail engaging novels are a window into the manners, at the neck with a bow. lifestyle and society of the English gentry. She is the ideal connexion to English Country Dancing as Curly hair for both men and each of her six books: Pride and Prejudice , Sense women was favored over straight and Sensibility , Emma , Persuasion , Mansfield Par k hair. Individual curls were made and Northanger Abbey, feature balls and dances. with pomade (hair gel) and curling papers. Hair If you are unable to assemble much of a Regency wardrobe, you can still look the part by growing your sideburns The Minimum and getting a Caesar cut If you wish to dress the part of a country gentleman hairstyle. -
Victorian Representations of Mary, Queen of Scots and Elizabeth I
College of Saint Benedict and Saint John's University DigitalCommons@CSB/SJU Honors Theses, 1963-2015 Honors Program 2015 Victorian Representations of Mary, Queen of Scots and Elizabeth I Grace K. Butkowski College of Saint Benedict/Saint John's University Follow this and additional works at: https://digitalcommons.csbsju.edu/honors_theses Part of the European History Commons, Political History Commons, and the Women's History Commons Recommended Citation Butkowski, Grace K., "Victorian Representations of Mary, Queen of Scots and Elizabeth I" (2015). Honors Theses, 1963-2015. 69. https://digitalcommons.csbsju.edu/honors_theses/69 This Thesis is brought to you for free and open access by DigitalCommons@CSB/SJU. It has been accepted for inclusion in Honors Theses, 1963-2015 by an authorized administrator of DigitalCommons@CSB/SJU. For more information, please contact [email protected]. Grace Butkowski Victorian Representations of Mary, Queen of Scots and Elizabeth I The rivalry of Mary, Queen of Scots and her English cousin Elizabeth I is a storied one that has consumed both popular and historical imaginations since the two queens reigned in the sixteenth century. It is often portrayed as a tale of contrasts: on one end, Gloriana with her fabled red hair and virginity, the bastion of British culture and Protestant values, valiantly defending England against the schemes of the Spanish and their Armada. On the other side is Mary, Queen of Scots, the enchanting and seductive French-raised Catholic, whose series of tragic, murderous marriages gave birth to both the future James I of England and to schemes surrounding the English throne. -
Beau Brummell and His Times H H E F
BEA! BR! M M ELL AN D HIS TIM ES INTROD! CTORY DRESS AND THE DANDIES IT is a prevalent belief that worship of dress mono ol of Woman is the p y , but when the Preacher denounced all as vanity he was t f and be both tru h ul wise, because included Man in his category . The w s of un Hebrew Sage a , course, of the acquainted with Narcissus, the first D or no andies, he would doubt have been more explicit ; obviously his mind was dwelling on “ ” the extravagance of the purple and fine linen worn by his contemporaries . However, it is a fact that since the far-off times of the f Preacher, and the beauti ul Greek youth, men a ff h ve displayed at di erent epochs as much, nay 7 Introductory e r h mor , pe sonal vanity than t e most luxurious e of b auties ancient or modern ages. To trace the progress of Dandyism in u e t Europe wo ld be an int resting ask, but it would make too long a curtain raiser for the tu of e accompanying s dy G orge Brummell. u r s The Bea epresent , with Sir Lumley Skeffin ton g , Lord Alvanley, King Allen, ’ D Orsa few the Count y, and a others, apogee of f fas e the cult o hion. Thes dandies con sidered s s dre s and demeanour fine art , and when they died the picturesque Man about wn a of To bec me a thing the past. -
WHAT IS REGENCY? by Blair Bancroft
WHAT IS REGENCY? By Blair Bancroft Special Note: After Signet and Zebra shut down their traditional Regency lines, I considered scrapping this article, but fortunately trads are showing signs of struggling back to life due to the devotion of authors, readers, small presses, and e-publishers. And, besides, I love the Regency era enough that I’m reluctant to turn my back on the wit and style of Jane Austen, who started it all, or Georgette Heyer, who began the modern revival of what we call “Regency.” Interestingly, what most of us love about these primarily squeaky clean peeks into Britain at the time of Napoleonic wars is exactly what killed them—an emphasis on style, language, and customs of the times, as opposed to the high drama and hot sex of many Regency-set Historicals. So below is my original essay on “What is Regency,” with only a minor update here and there. Hopefully, it will still be helpful to authors attempting to understand why writing in the honored tradition of Jane Austen and Georgette Heyer is not going to get you a New York publisher in this first decade of the twenty-first century. * * * Having been a Regency buff for more years than I care to remember, it was something of a shock to discover my much beloved genre had become the latest rage in Historical Romance. Will it last, or will it bleed to death from some of the massacres perpetrated by authors who may not even know what the “Regency” is, let alone its style, language, clothing, and customs. -
01 a COVER.Cdr
E D I T I O N 1 5 6 J U N E 2 0 2 1 Board of Governors, Staff, Salvete 2020, A Tribute to Tony Richter 4 Life Under Covid-19 A Different World, Reflections on a Historic Year, Online Assembly Addresses During Covid-19 18 Events Speech Day, Remembrance Day, Leavers' Service 30 Looking In A Plan for Every Boy, Spirituality, Psychology, Boardings, Academic, Arts and Culture, Sport 46 Administration & Support Finance and Administration, Gwens StreamEstates, Marketing and Enrolment, Conservation Centre, Farm and Estate, Museum and Archives, Library, Sanatorium, Information Technology 108 Looking Out The Vula Programme, Boys' Outreach Programmes, The President's Award, Outdoor Leadership Experience, Staff Leavers, Valete, Old Hiltonian Club, Advancement 120 01 Anderson, parent Kath Foreword 2020 will go down in history as the year of Covid-19. We, together with the rest of the world, had With this reality as the backdrop to your reading of this Hiltonian, I am sure you will prize this our usual routines and programmes upended and simply curtailed. As such, it was a year like no edition in years to come. other. Once again, many thanks for your ongoing support and continued partnering with this your This Hiltonian Magazine will attest to this in its brevity and its omissions in certain areas. great school. Despite this reality, boys still enjoyed a magnificent year at Hilton, perhaps more embracing of George Harris our estate than in recent years; perhaps more appreciative of what we have rather than of what Headmaster we don't have. 02 03 B OG, S -
The Hazlitt Review
THE HAZLITT REVIEW The Hazlitt Review is an annual peer-reviewed journal, the first internationally to be devoted to Hazlitt studies. The Review aims to promote and maintain Hazlitt’s standing, both in the academy and to a wider readership, by providing a forum for new writing on Hazlitt, by established scholars as well as more recent entrants in the field. Editor Uttara Natarajan Assistant Editors James Whitehead, Phillip Hunnekuhl Editorial Board Geoffrey Bindman James Mulvihill David Bromwich Tom Paulin Jon Cook Seamus Perry Gregory Dart Michael Simpson A.C. Grayling Fiona Stafford Paul Hamilton Graeme Stones Ian Mayes John Whale Tim Milnes Duncan Wu We invite essays of 4,000 to 9,000 words in length on any aspect of William Hazlitt’s work and life; articles relating Hazlitt to wider Romantic circles, topics, or discourses are also expressly welcome, as are reviews of books pertaining to such matters. Contributions should follow the MHRA style and should be sent by email to James Whitehead ([email protected]) or Philipp Hunnekuhl ([email protected]). Submissions will be considered year- round, but must be received by 1 March to be considered for publication in the same year’s Review. We regret that we cannot publish material already published or submitted elsewhere. Contributors who require their articles to be open access (under the RCUK policy effective from the 1 April 2013) should indicate this, and they will be made freely available on this website on publication. Subscriptions, including annual membership of the Hazlitt Society, are £10 (individual) or £15 (corporate or institution) per annum. -
What Do We Know About Beau Brummell?
Millennial Masculinities Melanie Davies University of the Arts London: London College of Fashion Keywords: Brummell, class, history, historical conjecture, hegemonic masculinity, transdisciplinarity What do we Know about Beau Brummell? Beau Brummell was an infamous figure in his day because of his close relationship with the Prince Regent - later to become George IV - and for what Virginia Woolf described as ' some curious combination of wit, of taste, of insolence, of independence'. (Woolf, 1925: np) Brummell has since been the subject of many narrative accounts of his life, one of the most recent being a BBC Television Drama, This Charming Man, adapted from a popular biography by Ian Kelly. Kelly's reading of Brummell, as a modern-day celebrity, is informed by the theoretical writing on contemporary celebrity culture. (Church-Gibson: 2011, Dyer: 2007, Turner: 2014) For fashion historians and fashion theorists, Beau Brummell is also a significant figure because he is accredited with the reinvention of menswear and thus a new version of hegemonic masculinity. While the implications of these readings of him are explored as part of a wider understanding of the cultural significance of fashion as popular culture, attitudes to fashion history, which have seen it described as 'hemline history' (Jarvis, 1998:3) ensure that Brummell is generally not considered in more 'serious' historical theorizing. Brummell is therefore largely absent from historical writings on the significant period within which he lived and died (7 July 1778 – 30 March 1840). This saw revolutionary activity throughout Europe and the collapse of the Ancien Regime in France. Hereditary monarchy in Britain, by contrast, emerged from the period in a stronger position and strengthened by an ever-expanding empire. -
Reminiscences of Captain Gronow
Reminiscences of Captain Gronow Captain Rees Howell Gronow Reminiscences of Captain Gronow Table of Contents Reminiscences of Captain Gronow..........................................................................................................................1 Captain Rees Howell Gronow........................................................................................................................1 A FEW WORDS TO THE READER............................................................................................................3 MY ENTRANCE INTO THE ARMY...........................................................................................................4 DEPARTURE FOR AND ARRIVAL IN SPAIN.........................................................................................4 THE UNIFORM AND BEARING OF THE FRENCH SOLDIER..............................................................5 MAJOR−GENERAL STEWART AND LORD WELLINGTON................................................................5 ST. JEAN DE LUZ........................................................................................................................................6 FOOLHARDINESS.......................................................................................................................................7 DISCIPLINE..................................................................................................................................................8 SIR JOHN WATERS.....................................................................................................................................8 -
Plimpton Collection of Dramas 1675-1920 (Bulk 1850-1900)
AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS Plimpton Collection of Dramas 1675-1920 (bulk 1850-1900) Summary: A collection of 1429 plays, largely from nineteenth century American and Brisish popular theater. Quantity: 14 linear feet Listed by: Neha Wadia, AC 2013, Student Assistant Note: These plays are cataloged in the Amherst College online catalog. To find the complete listing in the catalog, do a basic keyword search for “Plimpton collection of dramas”. Individual plays can be searched by title and author. The call number for the collection is PN6111.P5 © 2013 Amherst College Archives and Special Collections Page 1 Plimpton Collection of Dramas INTRODUCTION THE PLIMPTON COLLECTION OF PLAYS by Curtis Canfield Originally published in the Amherst Graduates’ Quarterly, May 1932 Mr. George A. Plimpton, ’76, recently presented to the college a large collection of material relating to the English and American theatre of the nineteenth century. More than 1200 plays are represented in the collection in addition to numerous playbills, programs, libretti, histories, and after-pieces, as well as an autographed photograph of Edwin Booth as Richelieu. The collection seems to have been a part of the extensive theatrical library of Mr. Edward Boltwood of Pittsfield, whose father was born in Amherst in 1839 and moved to Pittsfield in 1870. Mr. Boltwood, although an active member of the Berkshire bar, made the theatre his avocation and found time to write a number of small pieces for the stage, one of which is included in the present collection. He was also instrumental in establishing the William Parke Stock Company in Pittsfield, and continued his connection with this company by writing reviews of its plays. -
Daniel James Cole
PERSUASIONS ON-LINE V.33, NO.1 (Winter 2012) Hierarchy and Seduction in Regency Fashion DANIEL JAMES COLE Daniel James Cole (email: [email protected]), a fashion historian who has been quoted in major national publications, teaches at New York University and Fashion Institute of Technology and has worked extensively as a costume designer. He has been published in the IFFTI Journal and the French Search Mode and is co-author of Fashion Since 1850 (Laurence King, forthcoming). DURING THE MID-TWENTIETH CENTURY, BRITISH art historian James Laver was among the first generation of “Fashion Theorists”: scholars who not only studied fashion history (itself a rather young discipline at the time) but also looked at dress within social, cultural, and psychological contexts and frameworks. Laver postulated that the motivation of dress fell into three basic categories: Utility (garments, accessories and grooming worn for a specific practical purpose); Hierarchy (garments, accessories and grooming worn to express our position and role in society); and Seduction (garments, accessories and grooming worn to beautify ourselves and attract others). Given the theme of the 2012 conference, Sex, Money and Power in Jane Austen’s Fiction, the Utility principle need not concern us, and discussion of practical fashions such as pockets and pelerines may find their way into a different paper. Laver’s principles of Hierarchy and Seduction, however, certainly provide an excellent lens through which to view Regency fashion. Although Laver’s matrix may have its flaws, expressing socioeconomic status and displaying sexual attractiveness are both universal aspects of fashion throughout history. These themes are evident in examples dating back to the earliest organized societies, including Sumer and Egypt. -
Bend It Like Byron: the Sartorial Sublime in Byron, Bonaparte, and Brummell, with Glances at Their Modern Progeny"
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Érudit Article "Bend it Like Byron: The Sartorial Sublime in Byron, Bonaparte, and Brummell, with Glances at Their Modern Progeny" John Clubbe Revue de l'Université de Moncton, 2005, p. 75-91. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/014349ar DOI: 10.7202/014349ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 9 février 2017 04:19 Revue de l’Université de Moncton, Numéro hors série, 2005, p. 75-91. BEND IT LIKE BYRON: THE SARTORIAL SUBLIME IN BYRON, BONAPARTE, AND BRUMMELL, WITH GLANCES AT THEIR MODERN PROGENY John Clubbe University of Kentucky United States Style is the dress of thought. Lord Chesterfield Si l’héroisme exige des héros, il n’en sera qu’un: le dandy, dont l’attitude, éthique et esthétique, face au monde moderne, est la seule imaginable .