DOCSLIB.ORG

Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction Notes Introduction 1. The new series was called the Acme Library Series and the first novel pub- lished in the series was Arthur Conan Doyle’s The Parasite in 1894. 2. See Hughes (2000). Glover’s (1996) and Hughes’s monographs were instru- mental in the development of Stokerian criticism at this period. Hughes and Smith’s collection of essays on Stoker, Bram Stoker: History, Psychoanalysis and the Gothic (1998), was also published in this period. 3. For sexual and gender readings, see, for instance, Roth (1997), Craft (1984) and Cranny-Francis (1988). On the colonial resonances of Dracula, see Arata (1990). For a study of the vampire figure, see Frayling (1991), Senf (1988) and Auerbach (1995). 4. See, for instance, Moses (1997). 5. Tóibín, however, describes Irving as ‘tyrannical’, but the relationship between Irving and Stoker was complex and should not be interpreted as one of tyranny and subjugation. 6. See Hopkins (2007), Wynne (2006, 2011, 2012) and Hoeveler (2012). Daly connected the Irish playwright Dion Boucicault to Stoker’s The Snake’s Pass (1995, 1999). 7. For instance, there are only fleeting references to Stoker in Foulkes’s excel- lent collection of essays on Henry Irving (2008). 8. Peter Haining and Peter Tremayne argue that between 1870 and 1876 the Wildes ‘acted in loco parentis to Bram and undoubtedly had an influence imparting information on Irish folklore to him’ (1997: 68). 9. In an unpublished letter to Stoker written from Paris and dated 24 July 1875, Ward asks Stoker to convey her love to the Wildes and describes how her mother has planted the ivy which they brought from the Wilde garden (Stoker Correspondence). 10. See Wynne (2012, vol. 1: xvii–xix). 11. This point is corroborated by Stoker’s unpublished correspondence. See, for example, letters to Stoker from Adeline Billington, Fanny Davenport and V. B. Dillon (Stoker Correspondence). With thanks to Chris Sheppard and staff in Special Collections for access to this material. 12. Certainly, Stoker’s unpublished theatrical correspondence in the Brotherton Library, Special Collections, University of Leeds reveals the difficulties in managing relationships at the Lyceum. For instance, Stoker had, at times, an awkward relationship with the Lyceum actor William Terriss. In a series of letters to Stoker in 1893, Terriss complains that he was underpaid for an American tour. In a letter dated 13 October, the actor is furious that Stoker brought the matter to Irving’s attention. Letters from Tennyson’s son, Hallam, reveal the problems Stoker also encountered in liaising between the Lyceum actors and Tennyson, whose two plays, The Cup and Becket, were performed by Irving at the Lyceum in 1888 and 1893 respectively. In a letter 171 172 Notes dated 18 August 1892, Hallam, acting on behalf of his father, informs Stoker that Terriss and the Lyceum actress Jessie Millward failed to show up for lunch with the poet. But Stoker is also the subject of some of the Tennysons’ dissatisfaction. In letters from the 1880s Hallam chastises Stoker for his dila- tory responses to his queries (Stoker Correspondence, 10 May 1882; June 1883) and reveals the poet’s impatience with Irving. This correspondence also shows how Stoker, as acting manager, functions as a buffer for Irving. 13. See Auerbach (1990: 78–80) and Belford (1997, passim). 14. For a more detailed reading of the story, see Wynne (2011: 19). 15. See Roth (1997: 420). 1 Stoker, Melodrama and the Gothic 1. In Heathcliff and the Great Hunger: Studies in Irish Culture, Terry Eagleton dis- cusses the lack of a realist tradition in nineteenth-century Irish fiction. The social conditions were too disruptive and disrupted to produce an adequately realist text as the ‘genre depends on settlement and stability, gathering indi- vidual lives into an integrated whole’ (1995: 147). 2. See, for instance, Richelieu, The Dead Heart, Robespierre and Madame Sans Gêne. For a reading of these productions, see Richards (2005: 353–417). 3. For a full discussion of vampire melodramas, see Frayling (1991: 131–44). See Luke Gibbons for a political discussion of the ‘facility with which depictions of Ireland and the Scottish Highlands […] lent themselves to some of the earliest forays into the Gothic’ (2004: 20). 4. For further discussion of these associations, see Rarignac (2012: 50–4). 5. The opening of Planché’s play also recalls ‘Dracula’s Guest’, published as a short story in 1914, and functioning as a preface to Dracula. Here the narrator, an unnamed Jonathan Harker, visits an abandoned German village associated with vampires on Walpurgis Night. Taking refuge from the storm in the tomb of a suicide, the Countess of Styria – Stoker’s tribute to J. Sheridan Le Fanu’s vampire Carmilla (1872) – he sees a vision of the corpse arising from its tomb, until he feels himself clasped and pulled away by a strange force and then shielded by a wolf which lies on his body. Soldiers come to rescue him. Later when he queries how his rescue has come about he is presented with a letter from Dracula prom- ising to reward Harker’s hosts if his safety is ensured. Like Margaret at the tomb of Cromal, supernatural intervention ensures his safety, but unlike the vampire play, his safety is only temporary. In Dracula Harker is rescued again by Dracula, this time from the clutches of the vampire women. 6. For an examination of other Irish plays performed in Dublin during Stoker’s tenure as reviewer, see Wynne (2012, vol. 1: xxi–xxiii). 7. Deirdre McFeely’s Dion Boucicault: Irish Identity on Stage (2012) examines the contemporary reception of Boucicault’s Irish plays in Dublin, London and New York. 8. For a discussion of how the novel was thematically similar to other plays that Stoker saw at the Theatre Royal and the broader political context, see Wynne (2012, vol. 1: xix–xxiv). 9. For a fuller discussion of this, see Wynne (2012, vol. 1: xxii–xxiii and vol. 2: 85–7). Notes 173 10. See [Greville Cole] Theatre Programmes, 1849–1906, National Library of Ireland, Dublin. 11. Adaptations of sensation novels which appeared on the Dublin stage in the 1870s included: Collins’s The Woman in White (April 1872) and The New Magdalen (December 1874); and Mrs Henry Wood’s East Lynne (October 1874). One of J. L. Toole’s regular pieces was an adaptation of Oliver Twist (November 1873). Jennie Lee cross-dressed to perform in Jo, the crossing- sweeper of Bleak House. The role made her famous on the international stage. For reviews of the various adaptations performed in Dublin in the 1870s, see Wynne (2012, vol. 1: passim). 12. Stoker first saw Irving on stage in Dublin with Louisa Herbert’s company. Herbert was a beautiful actress who modelled for the Pre-Raphaelites. See Wynne (2012, vol. 2: 1, 5 n.). 13. For an account of the murder, see Rowell (1987). 14. It is clear that Stoker was thinking about the difficulties involved in adapting novels for the stage for some time. In a review of 30 April 1872 of Collins’s stage adaptation of The Woman in White he ponders: ‘In dramatising a novel there are many advantages, but many difficulties. The same knowledge which the audience is supposed to have of the characters and the plot of the novel tends to make them hypercritical, and to look for the reproduction of every minute incident. They seem to forget often that many things can be told and many descriptions perfected in words which could not possibly be represented upon the stage. Mystery is tolerable in a novel, but fatal on the stage; and whereas in the latter it is perfectly good art to show fully the development of a plot, it is wrong to conceal any of its working to an audi- ence. Mr. Wilkie Collins, in dramatising The Woman in White, saw all these difficulties and grappled with them in a masterly manner’ (Wynne, 2012, vol. 1: 29). 2 Irving’s Tempters and Stoker’s Vanishing Ladies 1. Henri Garenne describes how to recreate the trick: ‘Provide a wooden cabinet, about five feet in height, standing upon four short legs, and by about five feet in length by four feet in depth. Inside have a number of small hooks, upon which hang sundry musical instruments, a drum, tambourine, guitar, a bell, and anything the performer fancies. In the door of the cabinet towards the top, have a hole cut out, through which can be seen and heard the various manifestations. The performer takes care to have all the instruments smeared with some luminous liquid, so that the instruments can be seen by him when shut up in the cabinet. Having been tied up, and the doors of the cabinet being closed, the lights are turned down and the performer immediately releases his hands, takes off his coat and vest, and slipping his hands again into the loops calls for “light,” when the door of the cabinet is opened and he is seen without his coat or vest. The doors being again closed, he releases his hands again and commences making a noise, first with one and then with another of the various instruments. Replacing his hands in the loops, he calls again for “light,” and when the doors are opened he is still seen bound securely’ (1886: 290–1). 174 Notes 2. For a comprehensive study of the phenomenon of Trilby and its cultural context, see Pick (2000). 3. See also Terry (1908: 241). 4. The Strand Magazine of March 1901 features an article on Britain’s most popu- lar pictures and lists two of Doré’s paintings, Christ Leaving the Praetorium and The Vale of Tears.
Load more

Recommended publications
  • Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (After) Oil on Canvas BORGM 00609
    Russell-Cotes Paintings – Irving Room Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (after) Oil on canvas BORGM 00609 Landscape with a Cow by Water Joseph Jefferson (1829-1905) Oil on canvas BORGM 01151 Sir Henry Irving William Nicholson Print Irving is shown with a coat over his right arm and holding a hat in one hand. The print has been endorsed 'To My Old Friend Merton Russell Cotes from Henry Irving'. Sir Henry Irving, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhard (1846-1900) Oil in canvas BORGM 01330 Russell-Cotes Paintings – Irving Room Sir Henry Irving in Various Roles, 1891 Frederick Barnard (1846-1896) Ink on paper RC1142.1 Sara Bernhardt (1824-1923), 1897 William Nicholson (1872-1949) Woodblock print on paper The image shows her wearing a long black coat/dress with a walking stick (or possibly an umbrella) in her right hand. Underneath the image in blue ink is written 'To Sir Merton Russell Cotes with the kind wishes of Sara Bernhardt'. :T8.8.2005.26 Miss Ellen Terry, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhart (1846-1900) Oil on canvas BORGM 01329 Theatre Poster, 1895 A theatre poster from the Borough Theatre Stratford, dated September 6th, 1895. Sir Henry Irving played Mathias in The Bells and Corporal Brewster in A Story of Waterloo. :T23.11.2000.26 Russell-Cotes Paintings – Irving Room Henry Irving, All the World’s a Stage A print showing a profile portrait of Henry Irving entitled ‘Henry Irving with a central emblem of a globe on the frame with the wording ‘All The World’s A Stage’ :T8.8.2005.27 Casket This silver casket contains an illuminated scroll which was presented to Sir Henry Irving by his friends and admirers from Wolverhampton, in 1905.
    [Show full text]
  • Henry Irving in England and America 1838-84
    THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES il -.;^ >--i ; . An?' Mi:-''' 4 ,. 'f V '1 \ \v\V HENRY IRVING. y^wn. «. /i/ur€e?ytayi/i Oy, J^f ..><? PPa/^»^. HENRY IRVIN.G IN ENGLAND and AMERICA 1838-84 BY FREDERIC DALY ' This ahozie all : To thine own self he true i Ami it mustfollow, as the niglit the day, Thou canst not then befalse to any )iian." Shakespeare " ' PeiseTerance keeps honour bright.' Do your duty. Be fatthfnl to the /inblic to "whom we all appeal, and that public loill be faitliful to you.'— Henky Irving ]] riH VIGNETTE PORTRAIT ETCHED DY AD. LALAUZE T. FISHER UNWIN 26 PATERNOSTER SQUARE 1884 " ^5 IN A MIRROR, WE SEE IN FLA YS IVHA T IS BECOMING IN A SERVANT, WHAT IN A LORD, WHAT BECOMES THE YOUNG, AND WHA7 THE OLD. CHRISTIANS SHOULD NOT ENTIRELY FLEE FROM COMEDIES, BECAUSE NOW AND THEN THERE ARE COARSE MATTERS IN THEM. I OR THE SAME REASON J IE MIGHT CEASE TO READ THE BIBLE.''— Mautix Lutiiku. XTA8 CONTENTS. CHAPTER I. EARL V A SSOCIA TIONS. I'AGK February 6, 1838—A Schoolmaster Alarmed— "It's a Bad " ' — . I Profession A Curious Coincidence . CHAPTER H. PROBATION. A Spiteful Faii-y—The First Disappointment—Hamlet : An Augury—London at Last ...... 10 CHAPTER HL FIRST SUCCESSES IN LONDON. A Monojjoly of Stage \'illains — Stirring Encouragement — A Momentous Experiment — At the Lyceum — "The " Bells"— Pleasant Prophecies— Charles L"—"Eugene Aram"—A too subtle Richelieu — "Philip"— Hamlet: a Fulfilment— Shakespeare spells Popularity . iS CHAPTER I\". SHAKESPEARE AND TENNYSON. Tradition at Bay — "Queen Mary"—Academic Honours— " " Exit Cibber— The Lyons Mail "— Louis XL"— End of the Bateman Management .....
    [Show full text]
  • INTRODUCTION Xl Othello a 'Black Devil' and Desdemona's 'Most Filthy
    INTRODUCTION xl Othello a 'black devil' and Desdemona's 'most filthy bargain' ^ we cannot doubt that she speaks the mind of many an Englishwoman in the seventeenth-century audience. If anyone imagines that England at that date was unconscious of the 'colour-bar' they cannot have read Othello with any care? And only those who have not read the play at all could suppose that Shake­ speare shared the prejudice, inasmuch as Othello is his noblest soldier and he obviously exerted himself to represent him as a spirit of the rarest quality. How significant too is the entry he gives him! After listening for 180 lines of the opening scene to the obscene suggestions of Roderigo and lago and the cries of the outraged Brabantio we find ourselves in the presence of one, not only rich in honours won in the service of Venice, and fetching his 'life and being from men of royal siege',3 but personally a prince among men. Before such dignity, self-possession and serene sense of power, racial prejudice dwindles to a petty stupidity; and when Othello has told the lovely story of his courtshipj and Desdemona has in the Duke's Council- chamber, simply and without a moment's hesitation, preferred her black husband to her white father, we have to admit that the union of these two grand persons, * 5. 2.134, 160. The Devil, now for some reason become red, was black in the medieval and post-medievcil world. Thus 'Moors' had 'the complexion of a devil' {Merchant of Venice, i. 2.
    [Show full text]
  • When the Invisible Man Came to Swansea the Year 2012 Seems
    When the Invisible Man Came to Swansea The year 2012 seems especially rich with the anniversaries of famous events that took place many years ago. There has, for example, been much publicity about the 100th anniversary of Captain Scott’s tragic dash for the South Pole; about the sinking of the Titanic; and about the bi-centenary of the birth of Charles Dickens. There is, however, another 100th anniversary that, it seems, will pass by largely unnoticed. For 2012 also marks the 100th anniversary of the death of an author who, while not as prolific or as successful as Charles Dickens, nevertheless gave us a character as equally famous as Oliver Twist, David Copperfield or Ebenezer Scrooge. This author, who died in 1912, and his casual links to Swansea only recently came to my attention. Swansea’s Grand Theatre has an enviable display of historic posters which advertise some of its long-forgotten shows by usually long-forgotten artistes. They adorn the walls of the Circle as well as the Stalls and provide an intriguing glimpse of the Grand’s long and varied history. At Grand Theatre events over many years, having finished my interval tub of Joe’s ice cream, I have browsed some of these posters, occasionally spotting the name of a famous, but long dead, artiste which still echoes to us down the ages. During a January 2012 visit my attention was drawn to a name I had not expected to see on a Grand Theatre poster. The title of this article may lead the reader to assume that I am referring to H.G.
    [Show full text]
  • Little Masterpieces of Autobiography: Actors
    LITTLE MASTERPIECES OF AUTOBIOGRAPHY: ACTORS George Iles, editor This public-domain (U.S.) text was scanned and proofed by Ron Burkey. The Project Gutenberg edition (“aauto10”) was subse- quently converted to LATEX using GutenMark software, and modified (principally to correct formatting problems). The frontispiece, which was omitted from the Project Gutenberg edi- tion, has also been restored. Report problems to [email protected]. Revision B3 differs from B2 in that “—-” has everywhere been replaced by “—”. Revision: B3 Date: 01/30/2008 Contents PREFACE 1 JOSEPH JEFFERSON 5 HOW I CAME TO PLAY RIP VAN WINKLE . 6 THE ART OF ACTING . 14 PREPARATION AND INSPIRATION . 15 SHOULD AN ACTOR “FEEL” HIS PART 18 JOSEPH JEFFERSON IN MONTREAL: PLAYWRIGHTS AND ACTORS . 22 THE JEFFERSON FACE . 23 EDWIN BOOTH 25 TO HIS DAUGHTER . 26 TO HIS DAUGHTER . 27 TO HIS DAUGHTER . 29 TO HIS DAUGHTER . 30 TO HIS DAUGHTER . 31 TO HIS DAUGHTER . 32 TO HIS DAUGHTER . 34 TO MISS EMMA F. CARY . 36 TO MISS EMMA F. CARY . 37 TO MR. NAHUM CAPEN . 39 ADVICE TO A YOUNG ACTOR . 41 CHARLOTTE CUSHMAN 43 AS A CHILD A MIMIC AND SINGER . 44 i ii FIRST VISITS TO THE THEATRE . 45 PLAYS LADY MACBETH, HER FIRST PART . 47 TO A YOUNG ACTRESS [PART OF A LETTER] . 49 TO A YOUNG MOTHER . 51 EARLY GRIEFS. ART HER ONLY SPOUSE . 52 FAREWELL TO NEW YORK . 55 CLARA MORRIS 57 SOME RECOLLECTIONS OF JOHN WILKES BOOTH . 57 THE MURDER OF PRESIDENT LINCOLN . 64 SIR HENRY IRVING 83 THE STAGE AS AN INSTRUCTOR . 84 INSPIRATION IN ACTING . 86 ACTING AS AN ART.
    [Show full text]
  • ACTORS (19Th Century)
    Library of Little Masterpieces In Forty-four Volumes LITTLE MASTERS OF AUTOBIOGRAPHY: ACTORS (19th Century) Edited by GEORGE ILES VOLUME XXXVI 1 Table of Contents PREFACE 5 JOSEPH JEFFERSON 6 HOW I CAME TO PLAY RIP VAN WINKLE 7 THE ART OF ACTING 10 PREPARATION AND INSPIRATION 10 SHOULD AN ACTOR "FEEL" HIS PART 11 JOSEPH JEFFERSON IN MONTREAL: PLAYWRIGHTS AND ACTORS 13 THE JEFFERSON FACE 13 EDWIN BOOTH 15 TO HIS DAUGHTER: BOOTH'S THEATER, NEW YORK, November 15, 1871. 16 TO HIS DAUGHTER: CHICAGO, March 2, 1873. 16 TO HIS DAUGHTER: April 23, 1876. 17 TO HIS DAUGHTER: CHICAGO, October 9, 1886 17 TO HIS DAUGHTER: NEW YORK, January 5, 1888, 17 TO HIS DAUGHTER: DETROIT, April 04, 1890. 18 TO HIS DAUGHTER: THE PLAYERS, NEW YORK, March 22, 1891. 18 TO MISS EMMA F. CARY SAINT VALENTINE'S DAY, 1864. 19 TO MISS EMMA F. CARY [Three weeks after the assassination by his brother, John Wilkes Booth, of President Lincoln.] Saturday, May 6, 1865 20 TO MR. NAHUM CAPEN: [In response to an inquiry regarding his brother, John Wilkes Booth.] WINDSOR HOTEL, NEW YORK, July 28, 1881. 21 ADVICE TO A YOUNG ACTOR: [TO WALTER THOMAS] NEW YORK, August 28, 1889.21 CHARLOTTE CUSHMAN 23 AS A CHILD A MIMIC AND SINGER 24 FIRST VISITS TO THE THEATRE 24 PLAYS LADY MACBETH, HER FIRST PART 25 TO A YOUNG ACTRESS [PART OF A LETTER] 25 TO A YOUNG MOTHER [FROM A LETTER] 26 EARLY GRIEFS. ART HER ONLY SPOUSE [FROM A LETTER TO A FRIEND] 27 FAREWELL TO NEW YORK 28 CLARA MORRIS 29 SOME RECOLLECTIONS OF JOHN WILKES BOOTH 30 THE MURDER OF PRESIDENT LINCOLN 32 WHEN IN MY HUNT FOR A LEADING MAN FOR MR.
    [Show full text]
  • Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
    Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................
    [Show full text]
  • The Richard L. Coe Early Scrapbook Finding
    Richard L. Coe early scrapbook. Contents: [312] items, [307] pieces on first 74 pages of 155 p. volume. lccn: 2010414967 Call no.: PN2093.C65 1866 (Items with bold no. indicate separately cataloged titles) p. [Ii. Newspaper clippings from the Alexandria Gazette and Virginia Advertiser “The Rambler’s Note-Book” from Aug. 13, 1892, August 27, 1892, October 1, 1892 and Octoeber 8, 1892. Also clipping “Our Frank in Atlanta” correspondence of the Richmond Dispatch, n.d. (5 items. 8 pieces; portion of three clippings formerly folded, broken away) p. [2]. “The Rambler’s Note-Book” clippings from June 16, 1892, July 23, 1892, Nov. 19, and Nov. 23, 1892 (4 items, 5 pieces) p. [3]. “The Rambler’s Note-Book” clippings from Sept. 24, 1892, Sept 3, 1892, Oct. 29, 1892 and January 14, 1893 (4 items, 5 pieces) p. [4] “The Rambler’s Note-Book” clippings from Dec. 16, 1892, Dec. 15, 1892, Nov. 19, 1892, Dec. 12, 1892. 2 additional clippings:”Communicated” and “Communicated. A suggestion” undated (6 items, 7 pieces) p. [5]. The Rambler’s Note-Book clipping from Oct. 17, 1892. Additional clippings from January 23, 1891, Nov. 24, 1892, and December 22. 1891 and additional undated clippings: 5 notices. I clipping of verse and I clipping “The Return of Joy” by George Newell Lovejoy. (11 pieces) p. [6]. Clippings of verse: “The Old Road” by Oliver Dufour, poem by Mrs. A.L. Ruter Dufour, “The Bride’s Farewell”, “Silenus” by James B. Kenyon, “Renouncement” by Alice Mevnell, “Old time songs: “Annie Lisle”, “Do they miss me at home”, “Ossian’s serenade”.
    [Show full text]
  • Days of My Years Sir Melville Macnaghten
    DAYS OF MY YEARS SIR MELVILLE MACNAGHTEN Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/daysofmyyearsOOmacnrich DAYS OF MY YEARS 1 LONDON: EDWARD ARNOLD. DAYS OF MY YEARS BY Sir MELVILLE L. MACNAGHTEN, C.B, I.ATE CHIEF OF THE CRIMINAL INVESTIGATION DEPARTMENT SCOTLAND YARD WITH PORTRAIT LONDON EDWARD ARNOLD 1914 [A /I rights reserved'] ,«;"<* K^^'' TO MY DEAR FRIEND AND OLD COLLEAGUE Sir EDWARD RICHARD HENRY G.C.V.O.. K.C.B., C.S.I. THE BEST ALL ROUND POLICEMAN OF THE TWENTIETH CENTURY A MAN TO WHOM LONDON OWES MORE THAN IT KNOWS 324476 PREFACE " " O mihi prateritos referat si Jupiter annos ! The days of my years are not yet threescore and ten, but they are within an easy decade of the allotted span of man's life. Taken all round, those sixty years have been so happy that I would, an I could, live almost every day of every year over again. Sam Weller's knowledge of London life was said to have been extensive and peculiar. My experiences have also been of a varied nature, and certain days in many years have been not without incidents which may be found of some interest to a patient reader, and specially so if his, or her, tastes he in the direction of police work in general and Metropolitan murders in particular. Autobiographies are, for the most part, dull viii PREFACE stuff : I would attempt nothing of the kind, but only to set out certain episodes in a disjointed and fragmentary manner.
    [Show full text]
  • The Farces of John Maddison Morton
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The aF rces of John Maddison Morton. Billy Dean Parsons Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parsons, Billy Dean, "The aF rces of John Maddison Morton." (1971). LSU Historical Dissertations and Theses. 1940. https://digitalcommons.lsu.edu/gradschool_disstheses/1940 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. PARSONS, Billy Dean, 1930- THE FARCES OF JOHN MADDISON MORTON. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Speech-Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 BILLY DEAN PARSONS ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE FAECES OF JOHN MADDISON MORTON A DISSERTATION Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech / by Billy Dean Parsons B.A., Georgetown College, 1955 M.A., Louisiana State University, 1958 January, 1971 ACKNOWLEDGMENTS The writer wishes to express his deep appreciation to Dr•Claude L« Shaver for his guidance and encourage­ ment in the writing of this dissertation and through years of graduate study• He would also like to express his gratitude to Dr.
    [Show full text]
  • A Biographical Case Study of Social Mobility in Victorian Britain
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output The knight from nowhere : a biographical case study of social mobility in Victorian Britain https://eprints.bbk.ac.uk/id/eprint/40324/ Version: Full Version Citation: Powell, Victoria Elizabeth (2018) The knight from nowhere : a biographical case study of social mobility in Victorian Britain. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 ‘The Knight from Nowhere’: A Biographical Case Study of Social Mobility in Victorian Britain Victoria Elizabeth Powell Department of History, Classics & Archaeology Birkbeck, University of London Submitted for the degree of Doctor of Philosophy (PhD) June 2017 2 Abstract This study re-examines social mobility in Victorian Britain, focusing on the experiences of the actor Henry Irving (1838-1905). Irving rose from ‘humble’ beginnings to become one of the most respected men in Victorian society, and was the first actor to receive a knighthood. The Victorians celebrated the possibilities of social mobility, or ‘self-making’ as they termed it, through independence, diligence and thrift, pointing to exemplary figureheads such as Irving. But self-making was a cultural fantasy, and this study tracks Irving’s experiences to investigate the realities of his unusual achievement. I explore life in the rural and urban places where Irving lived, and position him within cultures of education, theatre, and artistic bohemia. In this way I signal the importance of such contexts in modulating experience, behaviour, and bodily comportment.
    [Show full text]
  • Theater Playbills and Programs Collection, 1875-1972
    Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items.
    [Show full text]