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1238 &!>£ 3Le alter* [Saturday , _^_ . ....
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BOOKS ON OUR TABLE. The Works of Sir Tho...
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THE HISTORY OF PANTOMIMES. I have an unc...
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Wi: :-hf)iihl dooiir ul.mo.st, l.o eile....
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Tin-: <;ai\in at stkcii i-a tion. r.riso...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.
<;N<"R . Notii'ii; I>R,'L'Nlex Of Minili...
modern ! The story , as a mere fairy tale , wil fascinate the young ( nay , we have absolute proof that it does so ) , and even the old will turn over its pages with pleasure . It is profusely illustrated by a pencil new to us , Mr . James Godwin : a pencil that betrays its fancy and power , even amidst its imitations of Maclise and Doyle-Last upon , our list , and strangely c ontrasting with the rest , is a modest sixpennyworth of usefulness , The Reformer ' s Almanack , which all our readers should present at least to themselves , if not to others . It contains a mass of information closely packed and well arranged , and will .. be very useful as an index to the history of last year .
1238 &!>£ 3le Alter* [Saturday , _^_ . ....
1238 &!> £ 3 Le alter * [ Saturday , _^_ . . ll . M I I I ! ¦ - ~ " ' ' " * I I I II " »"¦ ' III I I II II ¦ ¦!!¦« —I - II I I . 111— . 111 . II I t
Books On Our Table. The Works Of Sir Tho...
BOOKS ON OUR TABLE . The Works of Sir Thomas Browne . Edited by Simon Wilkin , F . L . S . ( Bohn s Antiquarian Library . ) U . G . Bohn . Wilkin ' s edition of Sir Thomas Browne ' s workswell known to lovers of our elder literature , and finely reviewed by Bulwer in the Edinburgh llevicic some years ago—has fallen into the energetic hands of Mr * . Bohn , who reissues it in his Antiquarian Library ; We shall venture upon something like a characteristic of Browne when the publication of
this edition is completed ; meanwhile let us mention that this volume contains four of the seven hooks of Vulgar Errors ( a strange medley of the " wisdom of our ancestors " ) , with Johnson ' s Life , and the editor ' s supplementary Memoir ; and let all lovers of the quaint , meditative , and often nobly expressed literature of our Old English writers make themselves at once possessors of the work . The Orations of Marcus Tullius Cicero . Literally translated by C . D . Yonge , 13 . A . { Bohn ' s Classical Library . ) Vol . 1 .
H . G . Bohn . We have had occasion both to praise and loudly to blame the Translations which Mr . Bohn has issued in his Classical Library . Some of them are carefully , creditably performed — some discreditably . The principle adopted of giving literal translation , though infinitely preferable to the old system of paraphrase , is in some cases the cause of a mere schoolboy's version , such as he would construe in class , not such as should be set forth for the instruction and delight of the public . Mr . Burgcs ' s Pla / o is a notable instance . This of Cicero , " by Mr . Yonge , though not so bad , is nevertheless a complete failure , if we are to regard the peculiar charm of Cicero ' s orations as in any way worth" rendering . ~\ Ye cannot say that he has missed the actual meaning in those passages we have examined ; but he has uniformly missed the
grace , rhythm , harmony , and curiosa feliciias . This is not Cicero . It reminds us of what Cervantes said of translation , that " it was like the reverse side of tapestry "—the design is visible , but the jagged ends ol the thread destroy all our pleasure in tlie sight . \\ e open at random , and light on this passage : — " Do you not see in the case of those whom the Poets liiive handed down 10 us , as having , for the sake of avenging their father , inflicted ; i punishment on their mother , especially when they were Raid to have done so at the command and in obedience to the oracles of the ii rtal "nils , limv the furies nevei thelcss haunt them , and never suffer them to rest , because they could not he pious without wickedness . "
We beg Mr . Yongc to read over that . passage , and ask himself whether lie believes Cicero would have gained his immense reputation for oratory had he turned . sentences in that , style . Yet that passage is nn average passage of this translation . Li' there are periods ol more harmonious rhythm , passages ol more vehement impulse ii' every now and then we meet , with something like the colour of the original , we also often meet , with passages that , me worse . To . sum up we say — This version of the ; Orations for Uuintius , Sevtus Roseius , ( . iuintus Roscius , and against Ca'cilius , and Verres , maybe acceptable to those who simply want the Meaning of the Latin , but cannot be accepted by those who want even a faint reflection of the oratoi v .
. ' / /' realise tin Inrc . st inciiis . licin ;; : i I ' njiiil . ir K . \ position of tin A < I \; iiiI ; iims ; m < l I ) i , ; i , U iilll ; ii ; c : ; ol ' r ; tch hind ( if I n viv . l liirnt . , ami ot " ilu Liability to l )« j ) i r < hitiuli and Loss . P . y Kolicrl Arthur Wind , Solicitor . lilliu ^ liani ' Wilson This is not , a catchpenny book , meant to pull" certain . schemes , but a genuine treatise divested ,, f technical formalities . To persons having capital to invest , or property to Hell , it will be very . serviceable . The Domestic tlithils of the /' co /// c . l' » y " ('( million Sense . " \\ illi six Ilhcilr . it . ions l > v (» cor ^ e ( , ' ruilv :-li ; mk . (; ( iilnin A reprint , of Letters which have already appeared in provincial papers on the . subject of Temperance , enforced and rendered ntlrnetivc by mx of ( ieorgo (' ruikshank ' s characteristic f-ketche . s . The purpose is excellent ; but tin ; style is not equal to the subject ,
( 'londs mill Sunshine . A 1 ' . Ity jiilin Cimcron . This volume reminds us of a past , age , " when ( Jeoige 111 . Avas King , " and poems disdained a meaner form than quarto . It is prodigal of margin . The verses themselves are I . Ik ; production of a poetical thinker , not a poetical artist . We read them with pleasure ; but . <« oet , he " n remark forced it . ne . lf upon us , ? ' that , men will persist in singing when they have really only something to say , not ai"K . "
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The History Of Pantomimes. I Have An Unc...
THE HISTORY OF PANTOMIMES . I have an uncle who has one very funny story ( at least he says so ) ahout a duck . It is his only story , and he prizes it like a pet child . Every new acquaintance that he makes is invited to dinner * , and on the table there is—inexorable as fate—a duck , which is made to " remind" my uncle in the most casual way of " an excellent story "—to be then and there inflicted on the guest .
In respect of Pantomimes , I am like my uncle with his duck story . I made a great discovery" Alone I did it "—I elaborated after immense research the real genesis of our English Pantomime . It was a labour of erudite sagacity that Niebuhr himself might have been proud to own . I would say more , but modesty silencesme . Having accomplished this feat , you cannot suppose I shall rest contented
with simply publishing my history ? I shall do as the great Mr . Harrassing Ainsworth does—I shall republisli , and keep continually republishing it ! believing with that great literary authority , that the public cannot have too much of a good thing . Every Christmas I shall reprint the article I enriched this journal with last year . Every Christmas ! Honi soit aui mal y pense . This is my article , as it appeared last year : —•
Did you ever ask yourself the erudite question—How did Pantomime arise ? No ; never ; or , if you did , you fell silent , retreating into ignorance . The fact is that this chapter of Dramatic Literature is unwritten , and the materials for it are not easily to be found . Some years ago I investigated the subject with an ardour scarcely justified by the importance of the research , and afterwards published the results in Fraser ' s Magazine . I will now draw upon that paper for facts , and try if I can construct an intelligible programme of the Genesis of a Pantomime .
A Pantomime consists of a Fairy or Legendary Introduction , and a Medley of Tumbling , Tricks , Changes , and satirical hits at the Follies of the Hour . It is as composite an article as the Christmas Pudding itself . Moving amidst this magic and buffoonery there are the tradi'ional types of Clown , Pantaloon , Harlequin , and Columbine . The historian asks himself—How and where did these various elements arise ? Learned Men—but they are noodles—tell you that Pantomime originated in Greece , was transplanted to liome ( Aftcllan < c ) , from thence to the Italian stage , and from the Italian to the Vrnneh . Don ' t believe a
word of it ! The resemblance between the Greek or I torn an and the English Pantomime is a fiction . The resemblance between the Italian or French and the English is that simply of names and dresses . These are , indued , traditional . Hut , I will sketch their historv .
Our Harlequin is undoubtedly the Italian Arlcce / ii / io , which was the Roman Sawiio ( lie is also styled Zanni in Italian ) . The Roman Sa-nnio was a buffoon , as we learn by his name ( derived from sauna , a grimace ) . His dress was not unlike that of our Harlequin , witli this important difference — it , was mean and miserable , though variegated , instead of being spangled and splendid : a " thing of shreds and patches . " His head wan shaven ( rasis cajiitihus ) and
bis lace begrimed with soot . ( juligiitc f ' actrm ) - —i wo peculiarities which on our stage ; are represented by a skull cap and black ina ' sk . His feet were ; unshod ; but wo case ours in delicate ; punip . s . He bad no wand—for the magic element was unknown ; but L have no doubt the wagging ol" his foolish-head was the germ of those gyrations ol" the " human face divine" Avhieh threaten to separate it from our Harlequin's shoulders .
Pantaloon is of Venetian origin . Vanlaleone he is called from pianta . leone ( he planted the lion ) , and neans a standard bearer . 15 ut . why should the Standard Hearer be chosen as the type of an old fool ? Ignorance knows not what to . stammer forth in answer . Hut . 1 will tell you something about Pantaloon which may lead you on the right track . He wears tight , red hose and yellow slippers , does Ik ; not ? They are the cost nine of the ; . Standard Hearer ;
and moreover in time they Ik mine the costume ol Venetian mere bantu . JNow when these ; were superseded by ( lowing garments the change , ofcour . se , was at , first , only adopted by ( he young - tlie old men st uc . k to their old dre . su , and thus the red hose and yellow slipper < : ame to represent , an old man , just , as our pigtail and knee ; breeches did a lew years ago . Would not , * ' Pigtail" in a farce ; mean a " . heavy father ' ' ? TIiiim I suspect—did Pantaleone mean a " heavy father " among the Venetians . Pantaloon is the old man duped and laughed at . His dress is substantially the same in Italian , French , and Knglish Pantomime . ( Mown is the French Pierrot , the Italian Scarat / ineei't , or llng / iclht ; but hi * dress is somewhat , different , and in the opinion of one learned in those matters , the change is owing to the immortal Urimuldi , who , to
the white flowing robe of Pierrot added red ^ rwl j cut the trousers short . Spots ai ^ So much for dress . Harlequin , however W , « . only got spangles but vivacity ; the Italian protoW is a dull , heavy lout , who has to bear all thenpnS ? of the Clown's petty larcenies ; the kicks and cuff ! fall upon him as they now do upon Pantaloon w " rm has inherited that portion of the business . Cl continues much the same as he ever was cl U adroit , unscrupulous , and mischievous . ' ' eVer > Having thus disposed of the Characters , and shown what is traditional in them , I now come to the dip itself which , as before stated , bears no resemblan whatever to its ancient godfather . The Pantomim ! is English ; thoroughly English . Nor is it of an cient date . But , although the Pudding be a British product , its materials are gathered from far anj wide , —from the Spice Islands of the Eastern Seas to the farmyard of Kent or Sussex ; and in like manner is our Pantomime only a successful Eclecticism of Cookery . The Characters come from Italy the Tumbling from France , the Politics from England
Listen . In 1704 —as veridical play bills assure usa company of French Tumblers performed at Drurylane with immense success . This of course produced English imitations . To an eye less sagacious than that which is owned by your humble servant , such a fact has little or no significance . But to me . .. Let me place another fact beside it . In 17 l ' s ' Colley Cibber tells us , the affairs of Drury-lane were desperate . The Italian Opera carried away the town . ( Always those " confounded foreigners" who ruin " native talent , " you observe !) To draw back
the fugitive public , careless of native talent , a pantomime , called Mars and Venus , was produced . I believe this is the first English pantomime . But do not imagine that it was in the least what we call a pantomime—it was a ballet d ' action—a play in " dumb show . " Clown and Pantaloon were absent ; magic was not thought of . It was successful , and Rich produced several . In 1723 , the magic element begins to appear . Thurmond , a dancing-master , having brought out his pantomime of Harlequin Dr . Faustus at Drury-lane , Itich produced a rival Necromancer ; or , Dr . Faustiis , at Covcnt Garden . The success was
prodigious ; the rivalry kept London m a ferment . Pope alludes thus to it : — " When , lo ! to dark encounters in mid air New wizards rise , hen ; J 3 oo : h , and Cibber there ; JSooth in his cloudy tabernacle shrined , On j ; iinning dragons Cibber mounts the wind . " These lines let us pretty well into the secret of what the pieces were like . But as yet we have only necromantic spectacle , not pantomime . AVhere is Clown ? Where Pantaloon ? AVhere the tricks und tumbline ?
Now , perhaps , Avhat was visible to a certain eye of unusual sagacity becomes visible to you , good Header . You see the . significance of that fact about the Tumblers ? To make a modern Pantomime , what was necessary but to join the tumbling to the necromantic spectacle ? and so little art was used in the combination , that a fairy had only to change the characters by a motion of her wand , and Harlequin sprang splendid upon the stage , feet quivering , head gyrating , and wand waving ! or Clown threw u summersault and cried out , " . Here we arc ! " The ? Harlequin , as-ih « favourite of fairies , has a magic wand ; this wand suggested transformations ; and these transformations soon became political .
Thus arose Ihe English Pantomime . Two Clowns have recently been introduced at some- theatres where two " tumblers" were engaged ; or else an " attendant sprite" has followed the frolics of the fantastic four . Dioramas and Panoramas have been called to lend their aid ; and it i . s now diflicnlt , to say what a Pantomime i . s )!«(! . Vivian .
1^Artful Iff.
1 ^ artful iff .
Wi: :-Hf)Iihl Dooiir Ul.Mo.St, L.O Eile....
Wi : :-hf ) iihl dooiir ul . mo . st , l . o eile . ouiMf ' . " l . he i " . ea . ul . il"li l tin ; IJ :. ;<;! ul iijici >\ ira , "e ; i ll . ueJL —< ioK'nin .
Tin-: <;Ai\In At Stkcii I-A Tion. R.Riso...
Tin-: <; ai \ in at stkcii i-a tion . r . risoDK in oi ; it l'Aitis < : () iti ( . i :. si'oNi ) i : N ' 'i :. Kaii : ' , Dcxemliei" IN . A friend at , the ( Jymnase sent me a stall tin ; illicit before last to set ; Mercudef , from Do Ha . l / . uc , h play . admirably adapted for our stage by our witty ui |<| civ friend , Mhng .-by Lawrence , and no great a . hit < Charles Mulhews . I never enjoyed a play k <> ' » . as Mercitdct , and I am ashamed to say how liiconi . - intermiss
nent . ly I screamed , almost , without , . o , during its three nets . Fortunately Ibe who !* ' ! " > ' - ( which was crammed ) did the Mine Fvcry « > shot home , like a poisoned arrow . Yet evciyl '"' y seemed to enjoy whilst , smarting und » r the « ou There were thi ; very men whose way ol UU- - U >«; p ' / exposed , writhing with pain and laughter in "' seats . " Uuclle mo . alite panlieu" ! ( I l >« 'ard « . n < mutter . ) /!/«/ . * vest < l"e , rest , vraif Next to " «<¦ «• ¦ an old Swiss fentlcinan who fell into con verMi'K «"" me between the acts , on the nl . ate . il frai . ee , oil < corruption of French society , and on the P ' chun-CH he hud « ccn . Ho told me he remombcieu
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Citation
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Leader (1850-1860), Dec. 27, 1851, page 18, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/cld_27121851/page/18/
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