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SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr. -
Module-9 Background Prose Readings COMEDY and TRAGEDY
Module-9 Background Prose Readings COMEDY AND TRAGEDY What is comedy? The word ‘Comedy’ has been derived the French word comdie, which in turn is taken from the Greeco-Latin word Comedia. The word comedia is made of two words komos, which means revel and aeidein means to sing. According to Oxford Advanced Learner’s Dictionary, comedy means a branch of drama, which deals with everyday life and humourous events. It also means a play of light and amusing type of theatre. Comedy may be defined as a play with a happy ending. Function of Comedy Though, there are many functions of comedy, yet the most important and visible function of comedy is to provide entertainment to the readers. The reader is forced to laugh at the follies of various characters in the comedy. Thus, he feels jubilant and forgets the humdrum life. George Meredith, in his Idea of Comedy, is of the view that comedy appeals to the intelligence unadulterated and unassuming, and targets our heads. In other words, comedy is an artificial play and its main function is to focus attention on what ails the world. Comedy is critical, but in its scourge of folly and vice. There is no contempt or anger in a comedy. He is also of the view that the laughter of a comedy is impersonal, polite and very near to a smile. Comedy exposes and ridicules stupidity and immorality, but without the wrath of the reformer. Kinds of Comedy 1. Classical Comedy Classical comedy is a kind of comedy, wherein the author follows the classical rules of ancient Greek and Roman writers. -
Vol. 17, No. 4 April 2012
Journal April 2012 Vol.17, No. 4 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2012 Vol. 17, No. 4 President Editorial 3 Julian Lloyd Webber FRCM ‘... unconnected with the schools’ – Edward Elgar and Arthur Sullivan 4 Meinhard Saremba Vice-Presidents The Empire Bites Back: Reflections on Elgar’s Imperial Masque of 1912 24 Ian Parrott Andrew Neill Sir David Willcocks, CBE, MC Diana McVeagh ‘... you are on the Golden Stair’: Elgar and Elizabeth Lynn Linton 42 Michael Kennedy, CBE Martin Bird Michael Pope Book reviews 48 Sir Colin Davis, CH, CBE Lewis Foreman, Carl Newton, Richard Wiley Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 52 Sir Andrew Davis, CBE Julian Rushton Donald Hunt, OBE DVD reviews 54 Christopher Robinson, CVO, CBE Richard Wiley Andrew Neill Sir Mark Elder, CBE CD reviews 55 Barry Collett, Martin Bird, Richard Wiley Letters 62 Chairman Steven Halls 100 Years Ago 65 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: Arthur Sullivan: specially engraved for Frederick Spark’s and Joseph Bennett’s ‘History of the Leeds Musical Festivals’, (Leeds: Fred. R. Spark & Son, 1892). 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. -
Teknophagy and Tragicomedy: the Mythic Burlesques of Tereus and Thyestes
This is a repository copy of Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/126374/ Version: Accepted Version Article: Haley, M orcid.org/0000-0002-7697-3568 (2018) Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes. Ramus, 47 (2). pp. 152-173. ISSN 0048-671X https://doi.org/10.1017/rmu.2018.12 © Ramus 2019. This article has been published in a revised form in Ramus: https://doi.org/10.1017/rmu.2018.12. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Ramus Submission 2017 Teknophagy and Tragicomedy: The Mythic Burlesques of Tereus and Thyestes Teknophagy (τεκνοφαγία), or child-eating, is an apt subject for tragedy. -
Slaves, Sex, and Transgression in Greek Old Comedy
Slaves, Sex, and Transgression in Greek Old Comedy By Daniel Christopher Walin A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Griffith, Chair Professor Donald J. Mastronarde Professor Kathleen McCarthy Professor Emily Mackil Spring 2012 1 Abstract Slaves, Sex, and Transgression in Greek Old Comedy by Daniel Christopher Walin Doctor of Philosophy in Classics University of California, Berkeley Professor Mark Griffith, Chair This dissertation examines the often surprising role of the slave characters of Greek Old Comedy in sexual humor, building on work I began in my 2009 Classical Quarterly article ("An Aristophanic Slave: Peace 819–1126"). The slave characters of New and Roman comedy have long been the subject of productive scholarly interest; slave characters in Old Comedy, by contrast, have received relatively little attention (the sole extensive study being Stefanis 1980). Yet a closer look at the ancestors of the later, more familiar comic slaves offers new perspectives on Greek attitudes toward sex and social status, as well as what an Athenian audience expected from and enjoyed in Old Comedy. Moreover, my arguments about how to read several passages involving slave characters, if accepted, will have larger implications for our interpretation of individual plays. The first chapter sets the stage for the discussion of "sexually presumptive" slave characters by treating the idea of sexual relations between slaves and free women in Greek literature generally and Old Comedy in particular. I first examine the various (non-comic) treatments of this theme in Greek historiography, then its exploitation for comic effect in the fifth mimiamb of Herodas and in Machon's Chreiai. -
The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914
Pre-print of Hall, E. in Aristophanes in Performance (Legenda 2005) The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914 Edith Hall Introduction In previous chapters it has been seen that as early as the 1650s an Irishman could use Aristophanes to criticise English imperialism, while by the early 19th century the possibility was being explored in France of staging a topical adaptation of Aristophanes. In 1817, moreover, Eugene Scribe could base his vaudeville show Les Comices d’Athènes on Ecclesiazusae. Aristophanes became an important figure for German Romantics, including Hegel, after Friedrich von Schlegel had in 1794 published his fine essay on the aesthetic value of Greek comedy. There von Schlegel proposed that the Romantic ideals of Freedom and Joy (Freiheit, Freude) are integral to all art; since von Schlegel regarded comedy as containing them to the highest degree, for him it was the most democratic of all art forms. Aristophanic comedy made a fundamental contribution to his theory of a popular genre with emancipatory potential. One result of the philosophical interest in Aristophanes was that in the early decades of the 18th century, until the 1848 revolution, the German theatre itself felt the impact of the ancient comic writer: topical Lustspiele displayed interest in his plays, which provided a model for German poets longing for a political comedy, for example the remarkable satirical trilogy Napoleon by Friedrich Rückert (1815-18). This international context illuminates the experiences undergone by Aristophanic comedy in England, and what became known as Britain consequent upon the 1707 Act of Union. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
The Theatre of Dionysus
29 NOVEMBER 2018 The Theatre of Dionysus PROFESSOR EDITH HALL On the south slope of the Athenian Acropolis, you can visit the ancient Athenian theatre of Dionysus today. It is here that some of the first dramas as we know them were ever produced. The first excavators to explore the site were the Greek Archaeological Society in 1838. The site contains not only the theatre but the remains of two temples of the god Dionysus, one which was probably built in the 6th century BCE, when Athenian state theatre began to be performed, and the other rather later, after most of our surviving plays premiered. The introduction of theatre began under the tyrant of Athens, Peisistratus, who ruled for most of the mid-6th century BCE. He was responsible for a major expansion of Athenian festivals, including those for Dionysus, an ancient Greek god whose worship goes back to Mycenaean times and is intimately connected with wine cultivation, colonisation, poetry and theatre. But the theatre in which plays were performed in Dionysus’ honour was not originally built of stone. It probably had permanent wooden benches from around 498 BCE, that is, not long after the Athens expelled the tyrant family and inaugurated their first democracy in 507 BCE. The stone theatre we can see today was not to be built until the fourth century, well after the premieres of the great dramas which we can see performed on our 21st- century stages. The theatre consisted of a central dancing floor, circular in the case of Athens but rectangular in some other early theatres. -
Aristophanes in Performance 421 BC–AD 2007
an offprint from Aristophanes in Performance 421 BC–AD 2007 Peace, Birds and Frogs ❖ EDITED BY EDITH HALL AND AMANDA WRIGLEY Modern Humanities Research Association and Maney Publishing Legenda: Oxford, 2007 C H A P T E R 16 ❖ A Poet without ‘Gravity’: Aristophanes on the Italian Stage Francesca Schironi Since the beginning of the twentieth century, Aristophanes has enjoyed a certain public profile: I have counted at least seventy-four official productions that have taken place in Italy since 1911. The most popular play by far seems to be Birds, which has taken the stage in sixteen different productions. Clouds is also reasonably popular, having been staged in twelve different productions. There have also been some interesting rewritings and pastiches of more than one play. But particularly striking is the relative infrequency with which Frogs — in my view one of Aristophanes’ most engaging comedies — has been produced: it has only seen public performance twice, in 1976 and in 2002.1 Indeed, it is one of those two productions of Frogs that attracted my attention: the most recent one, directed by Luca Ronconi at Syracuse in May 2002. As most people know by now, this performance excited many discussions, in Italy,2 as well as abroad,3 because of widespread suspicion that it had incurred censorship at the hands of Berlusconi’s government. I would like to reconsider this episode, not only because it is both striking and ambiguous, but above all because on closer inspection it seems to me a particularly good illustration of how theatre, and in particular ancient Greek and Roman theatre, ‘works’ in Italy. -
Newsletter 2016
NEWSLETTER 2016 From the Chair of the Hannah Willey was another new starter on the teaching staff in Michaelmas 2015, Faculty but to a permanent, not a temporary Dr James Clackson job. She is a historian, with a particular interest in Ancient Greek religion, and its intersections with law and society in the One of the most important, and also See Inside... archaic and classical periods. Her source one of the most interesting, aspects of materials encompass not just inscriptions Greek Plays Present and Past serving as Chair of the Faculty Board is 2 serving on the Faculty Appointments and ancient historians, but also a wide committee. Appointments of new lec- range of literary works, from philos- turers to permanent positions are made ophy to drama. Hannah is a Fellow and by a University Committee chaired by Director of Studies in Classics at Murray a representative of the Vice-Chancellor, Edwards College, and her appointment but I chair the Appointments Committee is proleptic in advance of the retirement for the increasing number of temporary of Paul Millett—which is fortunately still academic staff, filling in for University some way off. Teaching Officers when they win pres- In 2016 we will, however, see the retire- Digging up Surprises tigious prizes and grants which allow for ment of another long-serving member of 6 extended periods of research leave. For the Faculty, Geoff Horrocks, Professor of each of these appointments we can be guaranteed an exceptionally strong field, Comparative Philology and Fellow of St with applicants from around the world. Johns. Geoff was an undergraduate and Our success in securing the best can- graduate student at Downing, writing his didates is shown by the frequency with PhD on Mycenaean and Homeric Greek which these temporary lecturers go on under the supervision of John Chadwick. -
Interpolation at Euripides Electra 367-400
GOLDHILL, SIMON, Rhetoric and Relevance: Interpolation at Euripides "Electra" 367-400 , Greek, Roman and Byzantine Studies, 27:2 (1986:Summer) p.157 Rhetoric and Relevance: Interpolation at Euripides Electra 367-400 Simon Goldhill R JOHNSON said of Tristram Shandy, "Nothing odd will do D long." He was wrong about Sterne's masterpiece, which has not only continued to gain readers and influence, especially in the twentieth century, but has acquired a role of particular impor tance in modern literary criticism as "the most typical novel."l Euri pides' late plays have in a similar way often been misunderstood and disliked for their 'oddness', their pronounced tonal variety, their rapid shifts of narrative and characterisation. But in the last twenty five years, with the extraordinary growth of interest in literary theory and in the methodology of criticism, these final works have become the object of increasing and increasingly sophisticated attention. Com monplace notions that the irrelevance of Euripides' choral odes to the surrounding action anticipates the development of the embolima of New Comedy, or that his discontinuous plots and characterisation produce broken-backed dramas that represent 'the end of Tragedy', have come under considerable scrutiny and indeed have been shown to be notably inadequate as critical judgments. "This disarray of modern critical opinion," Knox observed in 1972, "is partly due to the literary sophistication and artistic self-consciousness which distin guishes Euripides' work."2 Recent advances in critical awareness-of the self-conscious, self-reflexive qualities of literature, as well as of Euripides' particular quality of sophistication-have provided impor tant insights into the nature of both the critical disarray and the dramas themselves.3 1 For Shlovky's famous and paradoxical judgment see L. -
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.