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An engaging 1906 two-volume tribute to the most famous actor-manager of the nineteenth century by his closest friend and business manager.
'I Hope I Don't Intrude' takes its title from the catch-phrase of the eponymous hero of the 1825 play Paul Pry, which was an immense success on the London stage and then rapidly in New York and around the English-speaking world. It tackles the complex, multi-faceted subject of privacy in nineteenth-century Britain by examining the way in which the tropes, language, and imagery of the play entered public discourse about privacy in the rest of the century. The volume is not just an account of a play, or of late Georgian and Victorian theatre. Rather it is a history of privacy, showing how the play resonated through Victorian society and revealed its concerns over personal and state secrecy, celebrity, gossip and scandal, postal espionage, virtual privacy, the idea of intimacy, and the evolution of public and private spheres. After 1825 the overly inquisitive figure of Paul Pry appeared everywhere - in songs, stories, and newspapers, and on everything from buttons and Staffordshire pottery to pubs, ships, and stagecoaches - and 'Paul-Prying' rapidly entered the language. 'I Hope I Don't Intrude' is an innovative kind of social history, using rich archival research to trace this cultural artefact through every aspect of its consumer context, and using its meanings to interrogate the largely hidden history of privacy in a period of major transformations in the role of the home, mass communication (particularly the new letter post, which delivered private messages through a public service), and the state. In vivid and entertaining detail, including many illustrations, David Vincent presents the most thorough account yet attempted of a recreational event in an era which saw a decisive shift in consumer markets. His study casts fresh light on the perennial tensions between curiosity and intrusion that were captured in Paul Pry and his catchphrase. Giving a new account of the communications revolution of the period, it re-evaluates the role of the state and the market in creating a new regime of privacy. And its critique of the concept and practice of surveillance looks forward to twenty-first-century concerns about the invasion of privacy through new technologies.
Fred Flintstone lived in a sunny Stone Age American suburb, but his ancestors were respectable, middle-class Victorians. They were very amused to think that prehistory was an archaic version of their own world because it suggested that British ideals were eternal. In the 1850s, our prehistoric ancestors were portrayed in satirical cartoons, songs, sketches and plays as ape-like, reflecting the threat posed by evolutionary ideas. By the end of the century, recognisably human cave men inhabited a Stone Age version of late-imperial Britain, sending-up its ideals and institutions. Cave men appeared constantly in parades, civic pageants and costume parties. In the early 1900s American cartoonists and early Hollywood stars like Charlie Chaplin and Buster Keaton adopted and reimagined this very British character, cementing it in global popular culture. Cave men are an appealing way to explore and understand Victorian and Edwardian Britain.
First published in 2003. Wildly popular in their own day, Victorian burlesques are now little read, scarcely studied, and never performed. Giving long overdue emphasis to an unjustly neglected theatrical tradition, this critical edition - the first to focus on Victorian burlesques of Victorian plays - represents a valuable scholarly tool for students and scholars of modern drama, theatre history, and nineteenth-century popular culture. Victorian Theatrical Burlesques includes a 'state-of-the-art' introduction which provides a general overview of theatrical burlesques in the Victorian era, emphasising performance history. Sustained reference is made to burlesques other than those presented in the anthology. Through its general introduction, prefaces and annotations to individual plays, checklist of burlesque plays, and bibliography, the unique volume allows both specialist and non-specialist readers to see Victorian burlesques as a rich historical record of shifting attitudes toward drama and the theatre.
Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: III. SUNSHINE AND SHADOW. A Reception at Orme Square?Mr. and Mrs. Toole's Silver Wedding?Pleasant hours after midnight?Mr. Irving's first experience as a public reader on his own account? Toole at Dunfermline? A 'Norrible Tale in chapel? Lo the poor Indian ?Complimentary groans? Toole's age?Michael Garner on the stage and off?Old Garente and the bandits?David James's Whitechapel romance?Hollingshead and the birthplace of Podgers? Low salaries and high art?Actors and their friends? Artistic society?The shadow. The pleasant spirit of the closing picture of the previous chapter follows me in my last sunny memory of Orme Square. It was on April 27th, 1879, that Mr. and Mrs. Toole celebrated their silver wedding. Over a hundred friends accepted the invitation of the host and hostess to an evening reception. The guests were representative ladies and gentlemen, some of them already celebrated in the world of Literature and Art, others who have since achieved fame and prosperity. Each of them came with either a bouquet of flowers or a gift of silver plate, or both, and each might have wondered where the hostess would find room for another bouquet, or another less perishable souvenir; for quite early in the evening every sideboard, shelf, mantelpiece, table, seemed to be gay with flowers, or white with silver. Some of the tributes of love and esteem were accompanied with pleasant conceits in verse; others were signalized by serious and touching lines, such, for example, as the silver token from Mr. Clement Scott. When the rooms were crowded with guests, it was suggested that the poet should read his verses, whereupon he recited the following stanzas with excellent effect: ? To John Lawrence Toole On His silver Wedding. A Silver Wedding Johnnie, is it true, ...