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Recollections and Reflections, a Professional Autobiography
... • . .... (fcl fa Presented to the LIBRARY of the UNIVERSITY OF TORONTO from the estate of MARION WALKER RECOLLECTIONS AND REFLECTIONS. RECOLLECTIONS AND REFLECTIONS OF J. E. PLANCHE, (somerset herald). ^ |]rofcssiona( gaifobbcjrapbtr. " I ran it through, even from my boyish days, To the very moment that he bade me tell it." Othello, Act i., Scene 3. IN TWO VOLUMES. VOL. II. LONDON: TINSLEY BROTHERS, 18, CATHERINE STREET, STRAND. 1872. ..4^ rights reserved. LONDON BRADBURV, EVANS, AND CO., PRINTERS, WHITBFRIAR,-!. ——— CONTENTS. CHAPTER I. VAGK Another Mission to Paris—Production of " Le Domino Noir"— Mr. and Mrs. Charles Gore—Dinner at Lord Lyndhurst's Mons. Allou, Vice-President of the Society of Antiquaries of France—The Duke D'Istrie and his Collection of Armour Her Majesty's Coronation—" Royal Records "—Extension of Licence to the Olympic and Adelphi Theatres—" The Drama's Levee"—Trip to Calais with Madame Yestris and Charles Mathews previous to their departure for America—Visit to Tournehem—Sketching Excursion with Charles Mathews Marriage of Madame Vestris and Charles Mathews—They sail for New York—The Olympic Theatre opened under my Direc- tion—Farren and Mrs. Nisbett engaged—Unexpected return of Mr. and Mrs. Mathews—Re-appearance of the latter in " Blue Beard "— " Faint Heart never won Fair Lady "—"The Garrick Fever"—Charles Mathews takes Covent Garden Theatre CHAPTER II. Death of Haynes Bayly—Benefit at Drury Lane for his Widow and Family—Letters respecting it from Theodore Hook and Mrs. Charles Gore—Fortunate Results of the Benefit—Tho Honourable Edmund Byng—Annual Dinner established by him in aid of Thomas Dibdin—Mr. -
A Moor Propre: Charles Albert Fechter's Othello
A MOOR PROPRE: CHARLES ALBERT FECHTER'S OTHELLO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Matthew Scott Phillips, B.A. * * * * * The Ohio State University •· 1992 Thesis Committee: Approved by Alan Woods Joy Reilly Adviser Department of Theatre swift, light-footed, and strange, with his own dark face in a rage,/ Scorning the time-honoured rules Of the actor's conventional schools,/ Tenderly, thoughtfully, earnestly, FECHTER comes on to the stage. (From "The Three Othellos," Fun 9 Nov. 1861: 76.} Copyright by Matthew Scott Phillips ©1992 J • To My Wife Margaret Freehling Phillips ii ACKNOWLEDGEMENTS I express heartfelt appreciation to the members of my thesis committee: to my adviser, Dr. Alan Woods, whose guidance and insight made possible the completion of this thesis, and Dr. Joy Reilly, for whose unflagging encouragement I will be eternally grateful. I would also like to acknowledge the invaluable services of the British Library, the Jerome Lawrence and Robert E. Lee Theatre Research Institute and its curator, Nena Couch. The support and encouragement given me by my family has been outstanding. I thank my father for raising my spirits when I needed it and my mother, whose selflessness has made the fulfillment of so many of my goals possible, for putting up with me. Finally, I would like to thank my wife, Maggie, for her courage, sacrifice and unwavering faith in me. Without her I would not have come this far, and without her I could go no further. -
The Journal of a London Playgoer from 1851 to 1866
BOOKS AND PAPERS HENRY MORLEY 1851 1866 II THE JOURNAL LONDON PLAYGOER FROM 1851 TO 1866 HENRY MORLEY, LL.D, EMERITUS PROFESSOR OF ENGLISH LITERATURE IN UNIVERSITY COLLEGE. LONDON LONDON GEORGE ROUTLEDGE AND SONS, LIMITED BROADWAY, LUDGATE HILL GLASGOW, MANCHESTER, AND NEW. .YORK < ' ' PN PROLOGUE. THE writer who first taught Englishmen to look for prin- ciples worth study in the common use of speech, expecting censure for choice of a topic without dignity, excused him- self with this tale out of Aristotle. When Heraclitus lived, a famous Greek, there were some persons, led by curiosity to see him, who found him warming himself in his kitchen, and paused at the threshold because of the meanness of the " place. But the philosopher said lo them, Enter boldly, " for here too there are Gods". The Gods" in the play- house are, indeed, those who receive outside its walls least honour among men, and they have a present right to be its Gods, I fear, not only because they are throned aloft, but also because theirs is the mind that regulates the action of the mimic world below. They rule, and why ? Is not the educated man himself to blame when he turns with a shrug from the too often humiliating list of an evening's perform- ances at all the theatres, to say lightly that the stage is ruined, and thereupon make merit of withdrawing all atten- tion from the players ? The better the stage the better the town. If the stage were what it ought to be, and what good it actors heartily desire to make it, would teach the public to appreciate what is most worthy also in the sister arts, while its own influence would be very strong for good. -
This Work Has Been Submitted to Chesterrep – the University of Chester’S Online Research Repository
'Every Irishman is an Arab': James Clarence Mangan's Eastern 'Translations' Item Type Article Authors Fegan, Melissa Citation Translation and Literature, Summer 2013, 22(2), pp. 195-214 DOI 10.3366/tal.2013.0113 Publisher Edinburgh University Press Journal Translation and Literature Download date 28/09/2021 04:50:05 Link to Item http://hdl.handle.net/10034/336545 This work has been submitted to ChesterRep – the University of Chester’s online research repository http://chesterrep.openrepository.com Author(s): Melissa Fegan Title: 'Every Irishman is an Arab': James Clarence Mangan's Eastern 'Translations' Date: Summer 2013 Originally published in: Translation and Literature Example citation: Fegan, M. (2013). 'Every Irishman is an Arab': James Clarence Mangan's Eastern 'Translations', Translation and Literature, 22(2), 195-214. http://dx.doi.org/10.3366/tal.2013.0113 Version of item: Accepted manuscript Available at: http://hdl.handle.net/10034/336545 ‘Every Irishman is an Arab’: James Clarence Mangan’s Eastern ‘Translations’ If the vagrant Imagination is at home anywhere, it is the East, proclaimed James Clarence Mangan (1803-1849) – even if its conception of the East is somewhat illusory, and dominated by ‘images of Genii-land’ rather than a realistic Orient.1 Mangan – unkindly described by Valentine Cunningham as the ‘archetypical drunken- Irish poet’2 – is chiefly remembered for stirring nationalist anthems like ‘Dark Rosaleen’, or his depictions of the horrors of the Great Famine. The young James Joyce described him as ‘the national poet’,3 but Mangan’s leanings were international, and his delight in the East emerged in a series of six articles on Oriental poetry, titled ‘Literæ Orientales’, published in the Dublin University Magazine between September 1837 and January 1846. -
Jonathan Swift Address by Dr Don Thornhill, St Patrick's Cathedral
Jonathan Swift Address by Dr Don Thornhill, St Patrick’s Cathedral, Dublin, 17 October, 2010 I would like to thank my friend and neighbour from Co Waterford, the Very Reverend Dr Robert McCarthy for giving me the honour and pleasure of speaking here this afternoon. But some caveats and acknowledgements are in order. As regards the caveats I hope that in inviting me here, as the Dean himself wrote, to speak, and I quote, “on any aspect of Swift”, the Dean was not, like his predecessor, being ironic. I am not a historian or a literary scholar. My interests are some distance away in economic policy, taxation and competitiveness, public sector reform and education policy. In the arenas where these topics are discussed I and other have preached from time to time – but never before from a pulpit! But I was helped by the patience, support and critical contributions (critical in both senses of the word!) of my family, particularly Maura, and of my friends during the past few months. I would like to thank Dr Ronan Kelly, author of Bard of Erin, a much acclaimed biography of Thomas Moore, who gave me essential advice and guidance. In our current economic circumstances it would, of course be tempting in response to the Dean’s invitation by quoting liberally from Swift’s commentaries on human foolishness and injustices. His saeva indignatio/ savage indignation, some of which he directed at bankers, undoubtedly has a contemporary resonance 1. A “What would Swift say if he were alive today ” exercise could be entertaining and maybe cause some bitter amusement but others are better equipped to do it. -
Irish Playwrights and the Dunedin Stage in 1862: Theatre Patrons Performing Civility
Irish Playwrights and the Dunedin Stage in 1862: Theatre Patrons Performing Civility PETER KUCH Irish Plays on the Dunedin Stage in 1862 A first-rate actor of Irish characters is indispensible on a London Stage. Cumberland’s British Theatre, 1828. Between 1862 and 1869 there were some 300 performances of Irish plays in Dunedin‘s theatres. Kuch, Irish Society for Theatre Research, 2010. A mere 14 years after it was founded by Presbyterians as a distinctly Scottish city that was ―in the world but not of the world,‖ Dunedin possessed two splendid theatres that during their first decade of operation staged some 300 performances of Irish plays and plays by Irish playwrights. How did this happen? Why Irish plays? Why Irish playwrights? And why were two theatres, with capacities of 1500 and 1330 persons, opened in Dunedin a year before Otago Boys High School was founded, five years before the foundations of First Church were laid, and seven years before the Provincial Council turned its attentions to establishing a University?1 Initially, it was the theatres that were a source of civic pride. According to an 1862 issue of the Otago Witness, Dunedin possessed ―two of the handsomest theatres in the Australian colonies.‖ 2 While there are doubtless many explanations for this rush to build theatres, the short answer is that the city was overtaken by the very world it had sought to isolate itself from. But this is an answer that invites explanation. First, it has to do with what was on offer on stage. It has been well established by theatre historians that Irish playwrights (particularly Dion Boucicault) and Irish plays (particularly comedy and melodrama) dominated the nineteenth-century stage—whether in Dublin or London or New York.3 It is also well known that, by the time the Theatre Royal and The Princess Theatre were opened in Dunedin, the ―legitimate drama‖4 had become widely if not firmly established as the secular vehicle for social and cultural improvement. -
Afrin Zeenat. “Writing Irish Nationhood: Jonathan Swift's Coming to Terms
Nebula 6.2 , June 2009 Writing Irish Nationhood: Jonathan Swift’s Coming to Terms with his Birthplace. By Afrin Zeenat “Swift can…combine contraries of the most compelling kind.” 1 Seamus Deane. “… the Janus-faced ambivalence of language… in the construction of the Janus-faced discourse of the nation.” 2 Homi K. Bhabha Echoing Bhabha’s statement, Jonathan Swift’s “Janus-faced ambivalence” toward his birthplace Ireland has puzzled many readers making it difficult for them to identify him as an Irish patriot. 3 Despite Swift’s works on Ireland in which he rallies for Ireland and the native Irish, many critics continue to stress Swift’s anathema and contempt for people of his native land. 4 Such an essentialist reading of Swift would fail to understand the innate ambivalence that is a salient feature of his works. Swift’s Irish tracts point to a change in his attitude towards his native land, which asserts itself forcefully as his love for England and things English ebb, and can be attributed to personal, political and historical reasons. Swift’s life and works presage the ambivalence that is later pronounced in the works of post-colonial writers, who often vacillate between the country of their colonial overlords and their native countries. Based on Frantz Fanon’s ideas on the formation of a national consciousness,5 this chapter will trace a similar formation of Swift’s national consciousness for his native country, which finds a voice in his works on Ireland. 1 Seamus Deane, “Classic Swift,” The Cambridge Companion to Jonathan Swift, (Cambridge: Cambridge University Press, 2003), 245. -
[, F/ V C Edna Hammer Cooley 1986 APPROVAL SHEET
WOMEN IN AMERICAN THEATRE, 1850-1870: A STUDY IN PROFESSIONAL EQUITY by Edna Hammer Cooley I i i Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in parti.al fulfillment of the requirements for the degree of Doctor of Philosophy ~ /, ,, ·' I . 1986 I/ '/ ' ·, Cop~ I , JI ,)() I co uI (~; 1 ,[, f/ v c Edna Hammer Cooley 1986 APPROVAL SHEET Title of Dissertation: Women in American Theatre, 1850-1870: A Study in Professional Equity Name of Candidate: Edna Hammer Cooley Doctor of Philosophy, 1986 Dissertation and Approved: Dr. Roger Meersman Professor Dept. of Communication Arts & Theatre Date Approved: .;;Jo .i? p ,vt_,,/ /9Y ,6 u ABSTRACT Title of Dissertation: Women in American Theatre, 1850- 1870~ A Study_ in Professional Equi!:Y Edna Hammer Cooley, Doctor of Philosophy, 1986 Dissertation directed by: Dr. Roger Meersman Professor of Communication Arts and Theatre Department of Communication Arts and Theatre This study supports the contention that women in the American theatre from 1850 to 1870 experienced a unique degree of professional equity with men in the atre. The time-frame has been selected for two reasons: (1) actresses active after 1870 have been the subject of several dissertations and scholarly studies, while relatively little research has been completed on women active on the American stage prior to 1870, and (2) prior to 1850 there was limited theatre activity in this country and very few professional actresses. A general description of mid-nineteenth-century theatre and its social context is provided, including a summary of major developments in theatre in New York and other cities from 1850 to 1870, discussions of the star system, the combination company, and the mid-century audience. -
James Joyce and His Influences: William Faulkner and Anthony Burgess
James Joyce and His Influences: William Faulkner and Anthony Burgess An abstract of a Dissertation by Maxine i!3urke July, Ll.981 Drake University Advisor: Dr. Grace Eckley The problem. James Joyce's Ulysses provides a basis for examining and analyzing the influence of Joyce on selected works of William Faulkner and Anthony Bur gess especially in regard to the major ideas and style, and pattern and motif. The works to be used, in addi tion to Ulysses, include Faulkner's "The Bear" in Go Down, Moses and Mosquitoes and Burgess' Nothing Like the Sun. For the purpose, then, of determining to what de gree Joyce has influenced other writers, the ideas and techniques that explain his influence such as his lingu istic innovations, his use of mythology, and his stream of-consciousness technique are discussed. Procedure. Research includes a careful study of each of the works to be used and an examination of var ious critics and their works for contributions to this influence study. The plan of analysis and presentation includes, then, a prefatory section of the dissertation which provides a general statement stating the thesis of this dissertation, some background material on Joyce and his Ulysses, and a summary of the material discussed in each chapter. Next are three chapters which explain Joyce's influence: an introduction to Joyce and Ulysses; Joyce and Faulkner; and Joyce and Burgess. Thus Chapter One, for the purpose of showing how Joyce influences other writers, discusses the ideas and techniques that explain his influences--such things as his linguistic innovations, his use of mythology, and his stream-of consciousness method. -
Austin Clarke Papers
Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 83 Austin Clarke Papers (MSS 38,651-38,708) (Accession no. 5615) Correspondence, drafts of poetry, plays and prose, broadcast scripts, notebooks, press cuttings and miscellanea related to Austin Clarke and Joseph Campbell Compiled by Dr Mary Shine Thompson 2003 TABLE OF CONTENTS Introduction 7 Abbreviations 7 The Papers 7 Austin Clarke 8 I Correspendence 11 I.i Letters to Clarke 12 I.i.1 Names beginning with “A” 12 I.i.1.A General 12 I.i.1.B Abbey Theatre 13 I.i.1.C AE (George Russell) 13 I.i.1.D Andrew Melrose, Publishers 13 I.i.1.E American Irish Foundation 13 I.i.1.F Arena (Periodical) 13 I.i.1.G Ariel (Periodical) 13 I.i.1.H Arts Council of Ireland 14 I.i.2 Names beginning with “B” 14 I.i.2.A General 14 I.i.2.B John Betjeman 15 I.i.2.C Gordon Bottomley 16 I.i.2.D British Broadcasting Corporation 17 I.i.2.E British Council 17 I.i.2.F Hubert and Peggy Butler 17 I.i.3 Names beginning with “C” 17 I.i.3.A General 17 I.i.3.B Cahill and Company 20 I.i.3.C Joseph Campbell 20 I.i.3.D David H. Charles, solicitor 20 I.i.3.E Richard Church 20 I.i.3.F Padraic Colum 21 I.i.3.G Maurice Craig 21 I.i.3.H Curtis Brown, publisher 21 I.i.4 Names beginning with “D” 21 I.i.4.A General 21 I.i.4.B Leslie Daiken 23 I.i.4.C Aodh De Blacam 24 I.i.4.D Decca Record Company 24 I.i.4.E Alan Denson 24 I.i.4.F Dolmen Press 24 I.i.5 Names beginning with “E” 25 I.i.6 Names beginning with “F” 26 I.i.6.A General 26 I.i.6.B Padraic Fallon 28 2 I.i.6.C Robert Farren 28 I.i.6.D Frank Hollings Rare Books 29 I.i.7 Names beginning with “G” 29 I.i.7.A General 29 I.i.7.B George Allen and Unwin 31 I.i.7.C Monk Gibbon 32 I.i.8 Names beginning with “H” 32 I.i.8.A General 32 I.i.8.B Seamus Heaney 35 I.i.8.C John Hewitt 35 I.i.8.D F.R. -
W. B. Yeat's Presence in James Joyce's a Portrait of The
udc 821.111-31.09 Joyce J. doi 10.18485/bells.2015.7.1 Michael McAteer Pázmány Péter Catholic University, Budapest, Hungary W. B. YEAT’S PRESENCE IN JAMES JOYCE’S A PORTRAIT OF THE ARTIST AS A YOUNG MAN Abstract In the context of scholarly re-evaluations of James Joyce’s relation to the literary revival in Ireland at the start of the twentieth century, this essay examines the significance of W.B. Yeats to A Portrait of the Artist as a Young Man. It traces some of the debates around Celtic and Irish identity within the literary revival as a context for understanding the pre-occupations evident in Joyce’s novel, noting the significance of Yeats’s mysticism to the protagonist of Stephen Hero, and its persistence in A Portrait of the Artist as a Young Man later. The essay considers the theme of flight in relation to the poetry volume that is addressed directly in the novel, Yeats’s 1899 collection, The Wind Among the Reeds. In the process, the influence of Yeats’s thought and style is observed both in Stephen Dedalus’s forms of expression and in the means through which Joyce conveys them. Particular attention is drawn to the notion of enchantment in the novel, and its relation to the literature of the Irish Revival. The later part of the essay turns to the 1899 performance of Yeats’s play, The Countess Cathleen, at the Antient Concert Rooms in Dublin, and Joyce’s memory of the performance as represented through Stephen towards the end of the novel. -
Amhrán:!The$Impact$Of$The$Post.Famine$Decline$In$Spoken$Irish$
! ! ! ! ! ! ! ! ! ! ! An!Bás!a!Muintire!sa!Amhrán:!the$Impact$of$the$Post.Famine$Decline$in$Spoken$Irish$ on$Sean$Nós$Song$ $ $ $ $ An!honors!thesis!for!the!Center!for!Interdisciplinary!Studies.! Anna!Lyons! ! ! ! ! ! ! ! ! Tufts!University!2015! Introduction* “If"Ireland"loses"her"music"she"loses"what"is,"after"her"Gaelic"language"and"literature," her"most"valuable"and"most"characteristic"possession.""And"she"is"rapidly"losing"it”"–" Douglas"Hyde"(1860F1949)" " It"was"this"desperate"aim"to"preserve"the"Irish"language"and"Irish"art"forms" that"motivated"the"Gaelic"Revival"of"the"late"nineteenth"century.""Hyde"himself"was"a" key"player"in"the"Revival"F"tirelessly"promoting"the"Irish"language,"transcribing"and" translating"Irish"music"and"folKlore"as"well"as"producing"original"material"to" jumpstart"Irish’s"resurgence"as"a"modern"language.""Hyde"tooK"a"particular"interest" in"preserving"sean%nós%singing"in"his"home"region"of"Connacht.""He"recognized"that" the"Great"Famine"threatened"to"extinguish"the"tradition"and"saw"his"revival"work"as" a"direct"response"to"that"threat.""Hyde’s"goal"was"to"publish"and"circulate"preF Famine"sean%nós"songs"among"revivalists"and"rebuild"the"musicFculture"of"the"native" style"through"the"production"of"his"own"sean%nós%songs." Sean%nós"is"a"native"form"Irish"singing."""It"is"generally"performed"by"one" unaccompanied"vocalist,"singing"in"the"Irish"language.""The"tradition"emphasizes"a" song’s"lyrics"and"the"story"it"tells"over"the"singer’s"voice"quality"or"musicality.""It"also" places"a"high"value"on"a"singer’s"vocal"ornamentation"which"accents"the"typical"