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Download Thesis This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The reception of Aristophanes in Britain during the long-Nineteenth century Swallow, Peter Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 06. Oct. 2021 The Reception of Aristophanes in Britain during the Long-Nineteenth Century Peter Swallow King’s College London Thesis submitted for the degree of Doctor of Philosophy in Classics Contents List of Illustrations .................................................................................................... 3 Abstract ................................................................................................................... 7 1. Introduction .......................................................................................................... 9 2. Out of Exile: Thomas Mitchell and John Hookham Frere ................................... 35 3. Swine before Pearls: Aristophanes at Play in Shelley’s Swellfoot the Tyrant ..... 72 4. Aristophanes Burlesqued: Planché’s Birds and Victorian Popular Theatre ....... 110 5. W.S. Gilbert, The English Aristophanes ........................................................... 158 6. The Glory and the Shame: Debating the Aesthetics of Old Comedy ................ 209 7. Aristophanes in the Phrontisterion: Old Comedy at Schools and Universities .. 273 8. Women’s Aristophanes: Old Comedy and the Fight for Gender Equality.......... 330 9. Towards a Modern Aristophanes ..................................................................... 380 10. Conclusion ..................................................................................................... 432 11. Bibliography ................................................................................................... 436 Appendix A: Classical References in the Savoy Operas ...................................... 468 Appendix B: Telephoniazousai ............................................................................. 482 Appendix C: Titwillow ........................................................................................... 483 2 List of Illustrations Cover: Three chorus-members. Cambridge 1883 Birds. Cambridge Greek Play 2015a. 4.1: Graph showing the plays licensed by the Lord Chamberlain by genre. 4.2: Note attached to the MS of Planché’s The Birds of Aristophanes (1846) sent to the Lord Chamberlain. Lord Chamberlain’s Plays [Unpublished MS]. BL Add MS 42993: f.221. 4.3: A scene from Planché’s Birds. ‘Haymarket Theatre’ (18 April 1846) ILN: 253. 5.1: Graph showing the distribution of classical references in Gilbert and Sullivan operettas. 5.2: Rutland Barrington as Ludwig as Agamemnon (via Louis XIV) in The Grand Duke. Gilbert and Sullivan Archive (2013) ‘The Grand Duke: Illustrations of the Original Production’ [Online]. Available at: https://gsarchive.net/grand_duke/html/pictures.html (Accessed 27 April 2019). 5.3: A scene from The Happy Land by D.H. Friston. ILN (22 March 1873) 273. 5.4: Character design for two Utopian men by Percy Anderson. Victoria & Albert Museum, Theatre and Performance Collection, S.3197-2015. 5.5: Photograph of two unidentified ‘Utopian maidens’ by Alfred Ellis. Morgan Library, Gilbert and Sullivan Collection, Record ID 200684. 6.1: Bacchus (1867) by Simeon Solomon. Watercolour with bodycolour. Private collection. Reproduced from Sotheby’s (2019) [Online]. Available at: www.sothebys.com/en/auctions/ecatalogue/2018/victorian-pre-raphaelite-british- impressionist-art-l18132/lot.11.html (Accessed 5 September 2019). 6.2: The Death of Chatterton (1856) by Henry Wallis. Oil paint on canvas. Tate Britain. 6.3: Lysistrata Shielding her Coynte by Aubrey Beardsley. Pen and ink on paper. Beardsley and Smith 1896: Title Page. 6.4: Lysistrata Defending the Acropolis by Aubrey Beardsley. Pen and ink on paper. Beardsley and Smith 1896: 30. 3 6.5: Cinesias Entreating Myrrhina to Coition by Aubrey Beardsley. Pen and ink on paper. Beardsley and Smith 1896: 44. 6.6: The Toilet of Lampito by Aubrey Beardsley. Pen and ink on paper. Beardsley and Smith 1896: 4. 6.7: The Lacedemonian [sic] Ambassadors by Aubrey Beardsley. Pen and ink on paper. Beardsley and Smith 1896: 50. 6.8: The Examination of the Herald by Aubrey Beardsley. Pen and ink on paper. Beardsley and Smith 1896: 46. 7.1: The archaeologising staging and costume of the Mendelssohn Antigone. ‘Covent Garden’ (18 January 1845) ILN: 45. 7.2: Eton performs the Megarian scene from Acharnians, c.1850. Illustration by Sydney P. Hall; reproduced from Johnstone 1870: 292. 7.3: Harrow performs the Brekekekex chorus from Frogs, 1894. ‘Speech Day at Harrow’ (14 July 1894) The Graphic: 6. 7.4: 1876 Ordnance Survey map showing the location of King’s College (a.), the Adelphi (b.), the Gaiety (c.) and the Royal Strand Theatre (d.) on the Strand. Scale 1:2500. 7.5: The Frogs, Dulwich College, 1898. Dulwich College Archive. 7.6: The Clouds, Dulwich College, 1909. Dulwich College Archive. 7.7: The Acharnians, Dulwich College, 1912. Dulwich College Archive. 7.8: The Acharnians, Blackheath Proprietary School, 1883. Blackheath Society 2015. 7.9: Programme cover for Henry Fleeming Jenkin’s Frogs and My Son-in-Law, 3, 5 and 6 May 1873. National Library of Scotland No.AP.3.208.15. 7.10: The 1883 Cambridge Birds. The second messenger (F.R. Pryor), Iris (L.J. Maxse) and Peisetairos (M.R. James) in classical costume. Etching by Robert Farren, reproduced from Farren 1884. 7.11: The 1883 Cambridge Birds. The chorus. Etching by Robert Farren, reproduced from Farren 1884. 4 7.12: The 1883 Cambridge Birds. The orchestra and stage divided. Etching by Robert Farren, reproduced from Farren 1884. 7.13: The 1883 Cambridge Birds. The poet (J.D. Ouvry), the soothsayer (H.F.W. Tatham), the informer (L.N. Guillemard) and the parricide (A. Fleeming Jenkin). Etching by Robert Farren, reproduced from Farren 1884. 7.14: The set of the 1897 Cambridge Wasps. Cambridge Greek Play 2015b. 7.15-7.16: The 1897 Cambridge Wasps. Two actors in classical dress. Cambridge Greek Play 2015b. 7.17: The 1897 Cambridge Wasps. A chorus-member in costume. Cambridge Greek Play 2015b. 7.18: The 1897 Cambridge Wasps. Two dogs (H.R.L. Dyne and W.C. Mayne). Cambridge Greek Play 2015b. 7.19: The 1903 Cambridge Birds. J.T. Sheppard as Peithetairos. Cambridge Greek Play 2015c. 7.20: The chorus of the 1903 Cambridge Birds. ‘“The Birds" of Aristophanes at Cambridge’ (5 December 1903) ILN: 11. 7.21: The set of the 1909 Cambridge Wasps. Cambridge Greek Play 2015d. 8.1: Janet Case as Athena, 1885 Cambridge Eumenides. Cambridge Greek Play 2015e. 8.2: A. Raleigh as Athene in Iphigenia in Tauris, Bedford College (1887). RHUL archive PH6/2/1a. 8.3: Medea, Bedford College and University College (1907). RHUL archive PH/6/2/4/13. 8.4: Cover of the Bedford College Magazine (June 1897) depicting Athene-Minerva and an owl. 8.5: Gertrude Kingston as Lysistrata (1910), reproduced from Housman 1911: 2. 5 Appendix B: Scan of a type-written parody preserved by Gilbert Murray, entitled Telephoniazousai and signed ‘R.A.K’, probably Ronald Arbuthnott Knox. Bodleian Library MS. Gilbert Murray 435 f.191. Appendix C: Scan of a translation of ‘Tit-Willow’, from Gilbert and Sullivan’s Mikado, probably by Ronald Arbuthnott Knox. Preserved in Gilbert Murray’s files. Bodleian Library MS. Gilbert Murray 435 f.192. 6 Abstract This thesis explores the reception of Aristophanes in Britain over the course of the long-nineteenth century. It identifies two major strands of Aristophanic reception. From the start of the long-nineteenth century, the British reception of Aristophanes was tied up in contemporary political debate, as historians such as William Mitford (Chapter 1), translators and commentators like Thomas Mitchell and John Hookham Frere (Chapter 2), and even the burlesque writer J.R. Planché (Chapter 4) activated Aristophanes in support of their own political positions. Each asserted Aristophanes’ relevance to contemporary political debates; each argued for Aristophanes to be read within the specific sphere of nineteenth-century Tory politics. But each writer’s conceptualisation of Aristophanes was as different as their political outlooks (though they were all Tories). The reception of Aristophanes in the works of the playwright and librettist W.S. Gilbert (Chapter 5) was more subterranean and less directly
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