Ever Been on a “Cook’s Tour”?

Most of you are likely to think a “cook’s tour” has something to do with a chef’s culinary excellence, but the phrase actually has its roots in the world’s oldest and largest travel organization. 

Thomas.Cook-pic-682x1024.jpg Thomas Cook was a 32-year old cabinet maker by trade and a strong proponent of the temperance movement. One day in June 1841, he walked from his home in Market Harborough to the nearby town of Leicester to attend a “dry” meeting. A former Baptist preacher, Thomas Cook was a religious man who believed that most Victorian social problems were related to alcohol and that the lives of working people would be greatly improved if they drank less and became better educated. On the way, he passed a billboard poster announcing that the Midlands County Railway had opened a rail extension between Loughborough and Leicester. Thomas concocted an idea that the steam engine could be profitably harnessed to the temperance cause; therefore, he persuaded the railroad company to reduce the fare in return to his guarantee of 500 passengers to travel the newly opened rail extension, which customarily served only one-tenth that number. 

At the meeting, Thomas suggested that a special train be engaged to carry the temperance supporters of Leicester to a meeting in Loughborough about four weeks later. The proposal was received with such enthusiasm that, on the following day, Thomas submitted his idea to the secretary of the Midland Railway Company. A train was subsequently arranged, and on 5 July 1841, 570 passengers were conveyed in open carriages the enormous distance of 12 miles and back for a shilling. [Some sources say the cost was 14 cents for a round-trip of 48 miles.] The day was a great success and, as Thomas later recorded, ‘thus was struck the keynote of my excursions, and the social idea grew upon me’. 

Other societies soon solicited the travel “guide” to arrange their excursions. During the next three summers Thomas arranged a succession of trips between Leicester, Nottingham, Derby and Birmingham on behalf of local temperance societies and Sunday schools. He even organized tours to the “wilds” of Scotland. Within these limits many thousands of people experienced rail travel for the first time, and Thomas was able to lay the foundations of his future business. He later described this period as one of ‘enthusiastic philanthropy’ since, beyond the printing of posters and handbills, he had no financial interest in any of these early excursions.

Thomas Cook’s first commercial venture took place in the summer of 1845, when he organised a trip to Liverpool. This was a far more ambitious project than anything he had previously attempted, and he made his preparations with great thoroughness. Not content with simply providing tickets at low prices – 15 shillings for first-class passengers and 10 shillings for second. Thomas also investigated the route and published a handbook of the journey. This 60-page booklet was a forerunner of the modern holiday brochure.

By the end of 1850, having already visited Wales, Scotland and Ireland, Thomas Cook began to contemplate foreign trips to Europe, the United States and the Holy Land. Such thoughts had to be postponed, however, when Sir Joseph Paxton, architect of the Crystal Palace, persuaded Thomas to devote himself to bringing workers from Yorkshire and the Midlands to London for the Great Exhibition of 1851. This he did with great enthusiasm, rarely spending a night at home between June and October, and he even produced a newspaper, Cook’s Exhibition Herald and Excursion Advertiser, in order to promote his tours. By the end of the season Thomas had taken 165,000 people to London, his final trains to the Exhibition carrying 3,000 children from Leicester, Nottingham and Derby.

Thomas continued to expand his business in Britain, but he was determined to develop it in Europe too. In 1855 an International Exhibition was held in Paris for the first time and Thomas seized this opportunity by trying to persuade the companies commanding the Channel traffic to allow him concessions. They refused to work with him, however, and the only route he was able to use was the one between Harwich and Antwerp. This opened up the way for a grand circular tour to include Brussels, Cologne, the Rhine, Heidelberg, Baden-Baden, Strasbourg and Paris, returning to London via Le Havre or Dieppe. By this route, during the summer of 1855, Thomas escorted his first tourists to Europe.

In those days, a visit to a foreign country was a major undertaking. Crowds of relatives would gather to see their relatives off. Cook’s “tour escorts” led the adventure-minded little groups through strange places and gave a running commentary on every town, statue, etc. The descriptions presented to the “tourists” even became famous. Cook’s fame rose quickly. Therefore, to take any type of pleasure journey was the same as saying you were going on a “Cook’s tour.” 

Resources: 

Derbyshire UK 

Thomas Cook History 

Thomas Cook, Wikipedia 

Travel History: The Tale of Thomas Cook 

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Posted in British history, commerce, Great Britain, Industrial Revolution, Living in the UK, real life tales, Victorian era | Tagged , , , , , , , , | 4 Comments

Albert Edward, Prince of Wales, a Disappointment to Queen Victoria

Given Queen Victoria and Prince Albert’s physical infatuation with each other, their first child, Princess Victoria, called Vicky, was born nine months after their wedding. The queen was busy with her duties as monarch and could spare little time for her baby, seeing her only twice a day. Within a year of Vicky’s birth Albert Edward, known as Bertie – the future King Edward VII – was born. The queen now had a healthy male heir. “Our little boy is a wonderfully strong and large child,” she wrote proudly. “I hope and pray he may be like his dearest Papa.”  With the succession reasonably assured, it might be thought a rest from the risk of childbearing would be appropriate. Not so. Over the next five years another three children were born: Alice, Alfred and Helena.

“While Queen Victoria gave birth to many children, she did not necessarily like babies. “An ugly baby is a very nasty object,” she protested, “the prettiest are frightful when undressed… as long as they have their big body and little limbs and that terrible froglike action”. Nor could she contemplate breastfeeding them, finding the whole process repulsive. A wet nurse was therefore employed for all her children, as Victoria devoted herself to Albert. The result was four more children: Louise, Arthur, Leopold and Beatrice. Victoria had nine babies over 17 years – a tremendous physical feat, and a dangerous one given the high rates of maternal mortality at the time.” (History Extra)

Victoria turned over the children to Albert while she continued on with her regal duties. Albert, a product of an intense German education, expected much of his children. Sometimes too much. There were lessons in languages, especially French and German, along with mathematics, science, Latin, geography, and music. These were mixed with corporal punishment for not performing to expectations. Fortunately for Vicky, she was quite bright. Some of the other prince and princesses were less so. Victoria idolized Albert and often told her children “none of you can ever be proud enough of being the child of such a father who has not his equal in this world.” She wished for her sons to be mini-Alberts, molded in their father’s image. 

Unfortunately, for their eldest son, Albert Edward, known as “Bertie,” such aspirations knew constant failure. From an early age Bertie obstinately refused to conform to his father’s plan for the royal children’s education. Here was no renaissance prince in the making: despite being stuffed with facts and theory, he found learning difficult and was unable to concentrate.  The intense pressure on the backward young prince produced a negative reaction. History Extra tells us, “Albert’s plan for the heir to the throne of the greatest empire the world had ever seen turned out a complete failure. Instead of the longed for polymath his son turned out to be a dunce.  Victoria complained about his ‘systematic idleness, laziness – disregard of everything.’ The worried parents consulted a phrenologist, a modish quack who claimed the shape of the head affected the brain. His diagnosis confirmed everything they feared: ‘The feeble quality of the brain will render the Prince highly excitable… intellectual organs are only moderately well developed. The result will be strong self-will, at times obstinacy.'”

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Edward VII’s Coronation portrait by Sir Luke Fildes via Wikipedia

Dynastic duty was a priority for Prince Albert. After arranging the marriage of Victoria, Princess Royal to the Prussian court, Albert turned his attention to Bertie and Alice. As Albert’s duties increased, his queen often complained of his deteriorating health and his excessive attention to their children. In 1860, Albert arranged a marriage between Bertie and Princess Alexandra of Denmark. Always aware of the royal family’s public image the betrothal was portrayed as a love match. The Victorian public, in an era of pious rectitude, demanded a pure marriage in which the heir to the throne appeared to be virtuous and chaste.

However, Bertie was far from chaste. He was a man who devoted his life to pleasure. He often had others arrange trysts for him. “In the summer of 1861 Bertie attended a training camp with Grenadier Guards in Dublin. His fellow officers arranged for a ‘lady of easy virtue’ to join him for the night. The story of the prince’s trysts got back to his parents and provoked in Albert a furious, almost hysterical, response. How could his son, he demanded, ‘thrust yourself into the hands of one of the most abject of the human species, to be by her initiated in the sacred mysteries of creation?’ Everything that Albert had been working for seemed threatened. He warned Bertie that ‘you must not, you dare not be lost; the consequences for this country and the world at large would be too dreadful.'”

Frustrated by his son’s actions, Albert made the journey to Cambridge to ring the peal over Bertie’s head. It was a rainy day, but Albert and Bertie walked in the rain while discussing the expectations of being the Prince of Wales. Albert returned to Windsor after securing an apology from his son, but he was soaked through. Soon he ran a fever, and he took to his bed. Prince Albert never recovered. He passed at the age of 42. Queen Victoria’s grief was extreme. It marked the rest of her life. She blamed her “foolish” son for his father’s death. For years she barely could tolerate being in the same room with him. 

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Edward and Alexandra on their wedding day, 1863 via Wikipedia

So great was Victoria’s disappointment in her eldest son that after Albert’s death she excluded Bertie from all but the most ordinary and insignificant social duties. Although she insisted that Albert Edward would always be afforded the highest respect for his position as her heir, she never shared the ins and outs of the running of the kingdom with him. 

Resources:

Prince Albert: The death that rocked the monarchy

Queen Victoria adored Prince Albert so much it made her loathe her nine children

Queen Victoria: The real story of her ‘domestic bliss’

Queen Victoria’s Children 

 

Posted in British history, Church of England, family, Great Britain, marriage, royalty, Victorian era | Tagged , , , , , , | 9 Comments

Court of Star Chamber During Henry VII’s Reign

Court of Star Chamber is, in English law, the court made up of judges and privy councillors that grew from the medieval king’s council as a supplement to the regular justice of the common-law courts. The room was so named for stars were painted upon the ceiling. 

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Cardinal John Morton

 When Henry Tudor, Earl of Richmond, became Henry VII after his defeat of Richard III’s army at the battle of Bosworth Field, he did one of the smartest things of his reign. Henry was not educated for he spent much of youth in Wales and his adulthood in exile in Brittany. He was not afforded the type of education he would require as King of England. Realizing his deficiencies, Henry surrounded himself with competent advisors. His most learned consultant was Cardinal John Morton. He succeeded Bourchier as Archbishop of Canterbury in 1486 and Alcock as Lord Chancellor in 1487; and he was responsible for much of the diplomatic, if not also of the financial, work of the reign, though the ingenious method of extortion popularly known as “Morton’s fork” seems really to have been the invention of Richard Fox, who succeeded to a large part of Morton’s influence. Morton no doubt impressed Lancastrian traditions upon Henry VII, but he cannot be credited with any great originality as a statesman, and Henry’s policy was as much Yorkist as Lancastrian. The fact that parliament continued to meet fairly often so long as Morton lived, and was only summoned once by Henry VII after the Archbishop’s death, may have some significance; but more probably it was simply due to the circumstance that Morton’s death synchronized with Henry’s achievement of a security in which he thought he could almost dispense with parliamentary support and supplies.

henry7During Henry’s reign, the king was served by some 200 councillors from both the Lancastrian and Yorkist facets. His advisors included noblemen, men of law, men of religion, and those of the gentry. They gathered with the King in the Court of the Star Chamber at Westminster Palace. The men Henry VII had gathered dispatched cases of law involving those with specific grievances against one of the nobility. Sessions known as Requests were also conducted there. In these, the poor could pursue their grievances. Encyclopedia Britannica says, “Finding its support from the king’s prerogative (sovereign power and privileges) and not bound by the common law, Star Chamber’s procedures gave it considerable advantages over the ordinary courts. It was less bound by rigid form; it did not depend upon juries either for indictment or for verdict; it could act upon the petition of an individual complainant or upon information received; it could put an accused person on oath to answer the petitioner’s bill and reply to detailed questions. On the other hand, its methods lacked the safeguards that common-law procedures provided for the liberty of the subject. Parliaments in the 14th and 15th centuries, while recognizing the occasional need for and usefulness of those methods, attempted to limit their use to causes beyond the scope or power of the ordinary court.” 

Star Chamber weakened baronial power, a fact that Cardinal Thomas Wosley used to the Crown’s benefit. It was during Wosley’s chancellorship (1515–29) that the judicial activity of Star Chamber grew. In addition to prosecuting riot and such crimes, Wolsey used the court with increased vigour against perjury, slander, forgery, fraud, offenses against legislation and the king’s proclamations, and any action that could be considered a breach of the peace. Wolsey also encouraged those with grievances to appeal to it in the first instance, not after they had failed to find an efficient remedy in the ordinary courts.

The Star Chamber also became a source of revenue. One of the major issues that Henry VII had to deal with was retaining. Retaining was a problem that had haunted kings for some time and was sometimes referred to as livery or maintenance. Livery was the giving of a uniform or badge to a follower and maintenance was the protection of a retainer’s interests. By allowing retaining a king could all but guarantee social stability in his kingdom. Retaining also served another purpose – the king frequently needed a large army at short notice to fight foreign campaigns and retaining effectively allowed a king to gather around him a sizable number of trained men at short notice. However, retaining also had one obvious weakness. There was always the chance that one nobleman or several grouped together would become more powerful than the king. This was something that Henry VII was not willing to tolerate or risk. Edward IV had legislation passed in 1468 that outlawed retaining except in the cases of domestic servants, estate officials and legal advisers. However, the law was effectively ignored and it also had a major weakness contained within it – it allowed retaining for ‘lawful service’. Therefore lords continued to maintain their retinues claiming that the men in them were for ‘lawful service’. Therefore, these retainers continued to provide a possible threat to the king.

The number of retainers fell as his reign progressed. Evidence suggests that certain magnates such as Buckingham and Northumberland got around this by employing more men to work on their estates than was really necessary. However, both men covered their tracks well and no evidence was found by Henry or his supporters to support this. Those who did break the law and were caught were fined. In 1506, Lord Burgavenny was deemed to have too many retainers for his needs and was fined £5 for every retainer. His fine totalled £70,550 – a huge sum of money then. Henry suspended the sum and held Burgavenny to a promise that he would adhere to the rules. Henry won on two counts – the nobility would have been horrified at the total fine they could pay (using the Burgavenny example) if Henry used the law to its fullest extent and he tied closer to him a noble who had been implicated in the Cornish Rebellion.

Henry treated all the nobles the same with regards to retaining. Whereas Edward IV had allowed those nobles who were closest to him to do as they wished with regards to retaining, Henry did not – as the Earl of Oxford was to find out. Oxford was one of Henry’s closest advisors. When Oxford entertained Henry at his castle at Henningham, the Earl put on a grand finale with all his retainers flanking the royal carriage as it drove out of the estate. Henry asked Oxford who all the people were and Oxford casually informed the king that they were retainers. He was fined £15,000.

Henry VIII used the Star Chamber extensively for it provided the ability to enforce the law when other courts had no power. When, however, it was used by Charles I to enforce unpopular political and ecclesiastical policies, it became a symbol of oppression to the parliamentary and Puritan opponents of Charles and Archbishop William Laud. It was, therefore, abolished by the Long Parliament in 1641. 

Resources: 

History Learning Site 

Luminarium 

Ransom, Cyril. A Short History of England 

St-Hughs

 

Posted in Act of Parliament, British history, Church of England, history, kings and queens, religion, royalty, Tudor | Tagged , , , , , | 2 Comments

Reginald Christie, 10 Rilling Place Serial Killer

john.jpg John Reginald Halliday Christie, known to his family and friends as Reg Christie, was an English serial killer active during the 1940s and early 1950s and is the subject a new film based upon his life of crime. Personally, the 1971 film with Richard Attenborough was creepy enough for me. I do not wish to relive the experience. That being said, what do we know of Reginald Christie? 

Christie was raised in Halifax, then in the West Riding of Yorkshire. He was abused by his father and dominated by his mother and sisters. Christie won a scholarship to Halifax Secondary School when he was 11. He excelled particularly at mathematics and algebra, and was skilled at detailed work. It was later found he had an IQ of 128. He sang in the choir and became a scout, but he was unpopular with his fellow pupils. Upon leaving school in 1913, he worked at various jobs and eventually became an assistant movie projectionist.

By the time he reached puberty, he already associated sex with death, dominance and violent aggression, rendering him impotent unless in complete control. His first attempts at sex were failures, branding him with “ugly” taunts throughout adolescence. He was also a hypochondriac and hysteric, and often exaggerated or feigned illness as a ploy to get attention.

Christie enlisted as a signalman in World War I and was sent to the front in 1918. He was hospitalised after a mustard gas attack, claiming to have been blinded. No record of his supposed blindness exists however; in 10 Rillington Place, author Ludovic Kennedy wrote that Christie exaggerated his blindness, as well as the three-year period afterward in which he was mute.

Christie married 22-year-old Ethel Waddington from Sheffield, on May 10, 1920. It was a dysfunctional union, as Christie was impotent with her and frequented prostitutes. Friends and neighbours gossiped that she stayed with him out of fear. They separated after four years, when Christie moved to London and Ethel lived with relatives.

Over the next decade, Christie was convicted for many petty criminal offences. These included: three months’ imprisonment for stealing postal orders while working as a postman on April 12, 1921; nine months in Uxbridge jail in September 1924 for theft; six months’ hard labour for assaulting a prostitute  with a cricket bat (with whom he was living in Battersea) in May 1929; and three months’ imprisonment in 1933 for stealing a car from a priest who had befriended him.

Christie and his wife reconciled after his release in November 1933. He did not reform, however; he continued to seek out prostitutes to relieve his increasingly violent sexual urges, which included necrophilia. 

In December 1938, Christie and his wife moved into the ground floor apartment of 10 Rillington Place in the Ladbroke Grove neighbourhood of Notting Hill. On the outbreak of World War II, he applied to join the police force and was accepted, and was assigned to Harrow Road police station. Christie began an affair with a woman working at the police station whose husband was a serving soldier. The relationship lasted until December 1943, when he resigned. The husband caught them in bed and beat Christie up.

Christie’s first victim was Ruth Fuerst (August 1943), an Austrian immigrant. He strangled her while he raped her, a marker for several of his crimes to come. His second victim was Muriel Eddy (October 1944), a woman known to him from work. He tricked her into inhaling carbon monoxide by promising to cure her bronchitis with a “special mixture” he had concocted. When she was unconscious, he strangled her and raped her post-mortem. These two victims were buried in the communal garden behind the Rillington Place house. 

The war’s end appears to brought a lull in Christie’s growing need for death and sex. Timothy Evans and his pregnant wife, Beryl, moved into the top-floor flat of 10 Rillington Place in April 1948. On October 10, Beryl gave birth to a daughter, whom they named Geraldine. In November 1949, Beryl Evans found out she was pregnant again, and feared they could not afford another child. Evans later told police that Christie promised the couple he could abort the baby. There are several conflicts versions of how Beryl died. The most likely is that Christie pretended to aid in an abortion. When the gas he gave her did not put her to sleep, Christie knocked her out and then strangled her before again having sex post-mortem. He then murdered their daughter and incriminated Timothy in his family’s deaths. When Evans returned from work that night, Christie told him that Beryl had died during the procedure, and that they had to hide the body (abortion was illegal in England at the time). Christie then convinced Evans to stay with a relative in Wales and leave Geraldine in his care. Evans later said he returned to the apartment several times to ask about Geraldine, but Christie had refused to let him see her.

url.jpg During a search of 10 Rillington Place on December 2, 1949, the police found the bodies of Beryl and Geraldine Evans hidden in the wash house in the back garden. Both had been strangled. When Evans was shown the clothing taken from the bodies of his wife and child, he was also asked whether he was responsible for their deaths. This was, according to Evans’ statement, the first occasion in which he was informed that his baby daughter had been killed. Evans, (according to Kennedy) said ‘yes, yes’. He then confessed to having strangled Beryl during an argument over debts and strangling Geraldine two days later, after which he left for Wales.

Evans later recanted this testimony, and the case went to trial, which began on January 11, 1950. Christie was a key witness for the prosecution, and was instrumental in Evans being found guilty two days later. The jury took only 40 minutes to come to this decision. After a failed appeal on February 20, Evans was hanged on March 9, 1950.

Due to the public exposure of his previous criminal record during the Evans trial, Christie lost his position at the Post Office Savings Bank. Reportedly depressed, he finally found a new position as a clerk at the British Roads Transport service in August 1950. He left that position on December 6, 1952. Christie told everyone he had secured another position in Sheffield, and he and his wife would move there after the first of the year. Three years had passed since his last murder. However, in December 1952, Christie told his neighbors that his wife had gone ahead to set up their household in Sheffield. In truth, he had killed her  on the night of December 14 and buried her beneath the house’s floorboards. He covered his wife’s absence by writing letters to her sister saying that Ethel had rheumatism in her hands and could not pen the letters on her own. During this time, he sold his wife’s wedding band, engagement ring, and watch. 

On January 8, 1953, Christie sold most of his furniture. He kept three chairs, a kitchen table and a mattress to sleep on. On February 2, he forged his wife’s signature on her bank account and emptied it. After early February, Christie no longer bothered to answer the letters from relatives inquiring after his wife. Between January 19 and March 6, 1953, Christie murdered three more women he invited back to 10 Rillington Place: Kathleen Maloney from Southampton, Rita Nelson, and Hectorina MacLennan. He gassed, raped and strangled each, boarding up their bodies in the cupboard. With no money left upon which to live, Christie simply walks away from the house and lives upon the streets and in public shelters. 

The new tenant at 10 Rilling Place discovered the bodies in the wardrobe. Police were summoned, and the other bodies were uncovered. Christie was soon arrested. In custody, he confessed his crimes (except for the death of the infant Geraldine). His defense pleaded insanity, but the jury still found Christie guilty. He was hanged on 15 July 1953. 

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The BBC mini-series, starring Tim Roth and Samantha Morton as the Christies, began November 29 and continued on December 6 and 13. Did you watch? 

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Resources:

Crime Histories 

Murderpedia (The main source used for this piece.)

Radiotimes

Why did the BBC make a new drama about serial killer John Christie? New Statesman

Wikipedia 

Posted in British history, film, Great Britain, history | Tagged , , , | 8 Comments

Pre-Elizabethan Drama: Folk Plays

Folk drama is a remote form of oral literature. The early forms included dancers wearing masks portraying animal and human characters. Eventually, speeches and songs were added. The action and the dramatic imitation became the prominent part of these early performances. Speaking or chanting of sacred texts were learned by both the performers and the audience. These early plays were passed on by word of mouth.
The section known as “Middle English Plays” from Luminarium: Anthology of English Literature tells us, “In England the folk-plays, throughout the Middle Ages and in remote spots down almost to the present time, sometimes took the form of energetic dances (Morris dances, they came to be called, through confusion with Moorish performances of the same general nature). 

Dancers. Bodleian MS Bodley 264

“Others of them, however, exhibited in the midst of much rough-and-tumble fighting and buffoonery, a slight thread of dramatic action. Their characters gradually came to be a conventional set, partly famous figures of popular tradition, such as St. George, Robin Hood, Maid Marian, and the Green Dragon.

court masquers“Other offshoots of the folk-play were the ‘mummings’ and ‘disguisings,’ collective names for many forms of processions, shows, and other entertainments, such as, among the upper classes, that precursor of the Elizabethan Mask in which a group of persons in disguise, invited or uninvited, attended a formal dancing party. In the later part of the Middle Ages, also, there were the secular pageants, spectacular displays (rather different from those of the twentieth century) given on such occasions as when a king or other person of high rank made formal entry into a town. They consisted of an elaborate scenic background set up near the city gate or on the street, with figures from allegorical or traditional history who engaged in some pantomime or declamation, but with very little dramatic dialog, or none.

“But all these forms, though they were not altogether without later influence, were very minor affairs, and the real drama of the Middle Ages grew up, without design and by the mere nature of things, from the regular services of the Church.”

Four varieties of plays that we should note from the Pre-Elizabethan period are the Hock-Tuesday Play, The Sword Dance, The St. George and Mummers’ Plays, a development of the Sword Dance, and The Robin Hood Play. 

Some historians say The Hock-Tuesday Play finds its basis in the defeat of the Danes by the English under Huna on 13 November 1002. Others believe it originates from a remote folk observance: taking a victim by force to serve as a sacrifice. “Hocktide – the Mondy and Tuesday after the second Sunday after Easter – has parallel customs in other parts of the country in which women ‘hocked’ the men (caught and bound them with ropes, or vice versa, or stranger or natives were whipped or ‘heaved.'” Together with Whitsuntide  and the twelve days of Yuletide the week following Easter marked the only vacations of the husbandman’s year, during slack times in the cycle of the year when the villein ceased work on his lord’s  demesne, and most likely on his own land as well. 

The Hock-Tuesday Play centered around the struggle between the Danish and the English knights, who enter the scenes on horseback and armed with alder poles. Afterward, foot soldiers for both sides executed drills and then staged a fight scene. The English, as history proves, win the battle. 

The Sword Dance celebrated the summer driving away winter and death. If chief personages are the fool, dressed in animal skins and “Bessy,” a man dressed in women’s clothing. Rhymed speeches introduce the characters. More elaborate forms of The Sword Dance developed in which the “Seven Champions of Christendom” are introduced. These were likely religious interpolations of earlier national heroes. In some versions, one of the sword dancers is surrounded and killed by the other dancers. In other versions, the dancers simply surround him. These early dances developed into the Saint George Plays, in which invariably the central incident is the death and restoration of one of the characters, a survival again, of the pagan celebration of the death and restoration of the year. 

Encyclopedia Britannica says “Sword dance, folk dance by men, with swords or swordlike objects, displaying themes such as human and animal sacrifice for fertility, battle mime, and defense against evil spirits. There are several types. In linked-sword, or hilt-and-point, dances, each performer holds the hilt of his own sword and the point of that of the dancer behind him, the group forming intricate, usually circular, patterns. Combat dances for one or more performers emphasize battle mime and originally served as military training. Crossed-sword dances are performed over two swords or a sword and scabbard crossed on the ground. Finally, guerrilla dances in circular formation are often performed with swords.

 

Hilt-and-point dances are widely distributed through Europe—e.g., in northern England, Basque territory, and Spain. They are often performed as part of a folk play. The plays are closely related to the English mummers plays and parallel the Greek folk play in Thrace. In the dance the swords are interlocked at one point, forming a ‘rose,’ or ‘lock,’ that is held aloft and placed around the neck of a performer in mock decapitation. Often the ‘beheaded’ falls ‘dead,’ to be revived by a ‘doctor, a’ fool, a man-woman, or other subsidiary character. The roots of these dances are in ancient vegetation rites of death and renewal, possibly in sacrifice of a leader to ensure fertility. Even today they are believed to bring luck or well-being.”

A simply variation of the above motif is The Mummers’ Play. It includes a lots of dancing, as well as the image of a character killed and restored. The major difference between The Mummers’ Play and The Sword Dance is the introduction of subsidiary characters in the latter part of The Mummers’ Play. This involved the taking of a collection and the appearance of a Turkish champion, or Blustering Giant, or a Dragon that slays the Christian hero, but who is eventually poisoned by a pill presented him by the doctor who has been engaged to attend the injured Christian hero.

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http://www.fromoldbooks.org 1143.—Mummers (Bodleian MS.)details

“Notwithstanding his important role in ballads and prose fiction, Robin Hood would have been best known in communities throughout fifteenth- and sixteenth-century Britain as the subject of a wide range of theatrical and quasi-theatrical entertainments. Most took the form of ceremonial games, dances, pageants, processions, and other mimetic events of popular culture of which we only get a fleeting glimpse in surviving civic and ecclesiastical records. Revels featuring the legendary outlaw appear to have surged in growth towards the close of the fifteenth century and remained popular from the royal court to the rural village green throughout the following century (Lancashire, p. xxvi). Indeed, it is not exaggerating to say that Robin Hood plays and games were the most popular form of secular dramatic entertainment in provincial England for most of the sixteenth century (for records of performance, see Lancashire, index under “Robin Hood”). This is generally unrecognized by both literary and theatrical historians, many of whom assume that the Tudor Reformation quickly put an end to such popular pastimes — it did not (White, p. 163). But there are other reasons for overlooking Robin Hood spectacles: few Robin Hood play scripts survive (folk plays were rarely written down and published) and only in the past few years have archivists and provincial historians (many working on the Records of Early English Drama project) begun to document in a systematic way records of theatrical entertainment in early modern England.

“Although the first record of a Robin Hood play is from Exeter in 1426-27 (Lancashire, p. 134), the earliest extant play text, a twenty-one line dramatic fragment from East Anglia known as Robyn Hod and the Shryff off Notyngham, is dated half-a-century later. The text is written on one side of a single sheet of paper, now housed in Trinity College Library, Cambridge; the other side of the page, in a hand thought to be from the same period, contains accounts of money received by one John Sterndalle in 1475-76 (Dobson and Taylor, p. 203). Scholars connect the manuscript to Sir John Paston, who, in a letter of April 1473, complains that his horse-keeper W. Wood has “goon into Bernysdale” (i.e., left his service). Paston further remarks that “I have kepyd hym thys iij. yer to pleye Seynt Jorge and Robyn Hod and the Shryff off Notyngham” (Gairdner, p. 185). It would appear, therefore, that this script is of a Robin Hood play sponsored by the household of this well-to-do Norwich gentleman and performed by his servants in the early 1470s.” [Knight, Stephen, and Thomas H. Ohlgren, Editors. Robyn Hod and the Shryff off Notyngham: Introduction. Robin Hood and Other Outlaw Tales, 1997. University of Rochester. Middle English Texts Series. http://d.lib.rochester.edu/teams/text/robyn-hod-and-the-shryff-off-notyngham-introduction]

During May Day celebrations, The Robin Hood Plays were performed. Robin Hood is the fictional character we recall as “robbing the rich and giving to the poor.” In France, however, he was a shepherd and Maid Marian was his mistress. Some experts believe Robin Hood is a more modern version of the God Wooden. In the play cycles, he is the “king” of May, who fights with Friar Tuck and other assorted characters. Dancers often accompany the “battle scenes.” The plays were performed upon the village green. These plays represent an increasing preference for a national hero during 16th Century England, a spirit of nationalism that grew during the Elizabethan period.

Other Resources: 

“Hocktide” 

“Folk Literature”

Folk Play Research Home Page 

Parks, Edd Winfield, and Richmond Croom Beatty. The English Drama. W. W. Norton, 1963, pp. 5-6.

Preston, Michael J. The Robin Hood Folk Plays of South Central England. Comparative Drama. Vol. 10, No. 2 (Summer 1976), pp. 91-100.

Posted in British history, drama, Great Britain, medieval, religion, theatre | Tagged , , , , , , , , , | 6 Comments

When in “Pride and Prejudice” Does Darcy Accept His Love for Elizabeth?

images-2.jpg When Fitzwilliam Darcy first encounters Elizabeth Bennet at the Meryton assembly, he tells Bingley, “At such an assembly as this, it [dancing] would be insupportable? Your sisters are engaged, and there is not another woman in the room whom it would not be a punishment to me to stand up with.” To which Bingley argues the merits of the women attending the assembly. When his friend points out Elizabeth “sitting down behind you,” Darcy replies, “She is tolerable, but not handsome enough to tempt me; and I am in no humor at person to give consequence to young ladies who are slighted by other men. You had better return to your partner and enjoy her smiles, for you are wasting your time with me.” 

images.jpg Near the end of the book, Elizabeth asks Darcy, “…when you had once made a beginning; but what could set you off in the first place?” To which, Darcy replies, “I cannot fix on  the hour, or the spot, or the look, or the words, which laid the foundation. It is too long ago. I was in the middle before I knew what I had begun.” 

Now, the romantic in most of us likes to believe in “love at first sight.” We cling to Austen’s phrases to prove Darcy experienced this great phenomenon. Austen tells us, “…and turning round he looked for a moment at Elizabeth, till, catching her eye, he withdrew his own, and coldly said…” To those of us who love the idea of Darcy’s falling in love with Elizabeth across a crowded room, we cling to the idea that he must force himself to look away from her. Does he wish Elizabeth Bennet’s attentions? Does he wonder of the impression she has of him? 

After the assembly, Elizabeth tells Charlotte in speaking of Darcy, “I could easily forgive his pride if he had not mortified mine.” Was this a “defense mechanism” on Elizabeth’s part? At the evening at Lucas Lodge, we learn, Occupied in observing Mr. Bingley’s attentions to her sister, Elizabeth was far from suspecting that she was herself becoming an object of some interest in the eyes of his friend. Mr. Darcy had at first scarcely allowed her to be pretty; he had looked at her without admiration at the ball; and when they next met, he looked at her only to criticize. But no sooner had he made it clear to himself and his friends that she had hardly a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes…. 

images-1.jpg Even though Darcy attempts to keep his new obsession under control, he takes great pleasure in eavesdropping on Elizabeth’s various conversation. “He began to wish to know more of her; and as a step toward conversing with her himself, attended to her conversations with others. His doing so drew her notice.” Is he in love at this point? Likely not. But Darcy has met a woman who does not feign a regard for him and his wealth, and he finds that enticing – at the very least, Elizabeth’s actions were from the ordinary. When the others in attendance at Sir William’s entertainment decide to dance, “Mr. Darcy stood near them in silent indignation at such a mode to passing the evening, to the exclusion of all conversation….” 

Sir William attempts to force their hands and have them dance. “Mr. Darcy with grave propriety, requested to be allowed the honor of her hand, but in vain.” After her refusal, Elizabeth looked archly, and turned away. Even so, Darcy finds himself admitting, “I have been meditating on the very great pleasure which a pair of fine eyes in the face of a pretty woman can bestow.” 

Darcy defends Elizabeth against the Bingley sisters’ remarks, but he agrees with their evaluation of the Bennets’ connections. “But it must very materially lessen their chance of marrying men of any consideration in the world.” Has he begun to think of Elizabeth as his future wife? Has Darcy had the argument with himself regarding her connections? As the days at Netherfield pass, Darcy continues to assess Elizabeth’s finer qualities: “…and to all this she must yet add something more substantial in the improvement of her mind by extensive reading.” After Mrs. Bennet’s attendance upon Jane at Netherfield, ...leaving her own and her relations’ behavior to the remarks of the two ladies and Mr. Darcy; the latter of whom, however, could not be prevailed on to join in their censure of her…. 

When she defends Mr. Bingley over him, Mr. Darcy smiled, but Elizabeth thought she could perceive that he was rather offended, and therefore checked her laugh. Darcy takes umbrage when the Bingley sisters purposefully cuts Elizabeth from their walk in the gardens. Then, taking the disengaged arm of Mr. Darcy, she [Mrs. Hurst] left Elizabeth to walk by herself. The path just admitted three. Mr. Darcy felt their rudeness….

We know something of his developing affections after Elizabeth takes him to task for suggesting she might like to dance a reel. Elizabeth, having rather expected to affront him, was amazed at his gallantry; but there was a mixture of sweetness and archness in her manner which made it difficult for her to affront anybody; and Darcy had never been so bewitched by any woman as he was by her. He really believed that, were it not for the inferiority of her connections, he should be in some danger. 

Darcy begins to enjoy their verbal swordplay, but he also begins to feel the danger of paying Elizabeth too much attention. When Elizabeth and Jane prepare to leave Netherfield, we learn, In Mr. Darcy it was welcome intelligence Elizabeth had been at Netherfield long enough. She attracted him more than he liked, and Miss Bingley was uncivil to her and more teasing than usual to himself. He wisely resolved to be particularly careful that no sign of admiration should now escape him – nothing that could elevate her with the hope of influencing his felicity; sensible that, if such an idea had been suggested, his behavior during the last day must have material weight in confirming or crushing it. Steady to his purpose, he scarcely spoke ten words to her through the whole of Saturday; and though they were at one time left by themselves for half an hour, he adhered most conscientiously to his book, and would not even look at her. 

pride-and-prejudice-and-pianos1.jpg So when in Pride and Prejudice do you believe Darcy accepts that he loves Elizabeth? One of the examples above? In truth, for me, it is a scene at Rosings Park. I love how this  particular scene progresses in both the 1995 and the 2005 film adaptation of the novel. It is the scene when Elizabeth is playing the pianoforte. Darcy smiled and said, “You are perfectly right. You have employed your time much better. No one admitted to the privilege of hearing your can think anything wanting. We neither of us us perform to strangers.”  To me, he is saying “I have had the argument with myself and I find nothing wanting in you,” and he says “we,” not “I.” They are both from step with strangers, but they are not strangers to each other. They are one soul in two bodies. pride_and_prejudice_0626.jpg

 

Posted in dancing, Jane Austen, Living in the Regency, Pride and Prejudice, quotes, romance | Tagged , , , , , | 11 Comments

On Ilkla Moor Baht ‘at, Yorkshire Unofficial Anthem

header-cowcalf748.jpgThe traditional English folk song, ‘On Ilkla Moor Baht ‘at,’comes from the County of Yorkshire, and it is written in Yorkshire dialect. In The Yorkshire Dictionary (Arnold Kellett, 2002) says the dialect used in the song is representative of the area surrounding Halifax. In 1998, Dr. Arnold Kellett in On Ilkla Mooar baht ‘at: the story of the song [Smith Settle. p. 55.], says, “We can at least clear the ground by looking at the most widely accepted tradition that On Ilkla Mooar came into being as a result of an incident that took place during a ramble and picnic on the moor. It is further generally believed that the ramblers were all on a chapel choir outing, from one of the towns in the industrial West Riding.”

The moor is in Yorkshire near Leeds and Bradford (and not anywhere near Hull). Ilkley Moor is part of a larger region of moorlands known as Rombalds Moor. Rombalds Moor was the home of Giant Rombald, who used to throw large stones across the moor. Some of these landed at the edge of Ilkley Moor and later became a well known landmark and a popular picnic spot for residents of Bradford and Leeds, who could travel by train to Ilkley, and then hike up the hill to the moor.

The first published version of the words appeared in 1916, when it was described as “a dialect song which, for at least two generations past, has been sung in all parts of the West Riding of Yorkshire.” [Kellett, page 83] Arnold Kellett calculates that the song “could well have originated in the early years of the second half of the [19th] century, and not as late as 1877 …”[page 89]

The title roughly translates into standard English as ‘On Ilkley Moor Without a Hat.’  Anyone who ever read Bronte’s Wuthering Heights knows something of moors. I set The Disappearance of Georgiana Darcy on a Scottish moor because moors are often windy and cold expanse of land that is near to being a wilderness  As the song proves, a person needs a hat in the winter, and going to a moor without one is a bad idea. Ilkley is a town in Yorkshire, quite close to the cities of Leeds and Bradford, and Ilkley Moor is close by.  The song tells of a lover courting the object of his affections, Mary Jane. It serves as a dire warning about what happens to those foolish enough to venture to the the moor without appropriate headwear: they die, are buried, are eaten by worms which are then eaten by ducks, which are then eaten by the songs’ singers.  The song has more or less become the unofficial ‘national’ anthem of Yorkshire.

priests1.jpg According to tradition, the words were composed by members of a Halifax  church choir on an outing to Ilkley Moor near Ilkley, West Yorkshire. According to Ilkley.org, “In 1805 a hymn tune called ‘Cranbrook’ was composed by a cobbler of Canterbury. His name was Thomas Clark.  A hundred years later it was still being sung in Wesleyan Chapels to the words ‘O for a thousand tongues’ and at Christmas time to ‘While Shepherds watched their flocks by night.’ According to tradition, the members of a Halifax Wesleyan Church were picnicking beneath the Cow and Calf rocks, after their annual walk across the moors from Dick Hudson’s, when two of their party disappeared into the bracken.  On their return to the main group, a member of the choir bellowed out ‘Wheer wor ta bahn when ah saw thee?’ ‘Tha’s bin a-courtin’ Mary Jane,’ commented another.  Further lines in common metre were contributed until the choir burst naturally into the tune to ‘Cranbrook.'” On Ilkla Moor Baht ‘At was first published in 1916 and probably originated in West Yorkshire during the latter half of the 19th Century.

According to tradition, the members of a Halifax Wesleyan [Methodist] Church were picnicking beneath the Cow and Calf rocks, after their annual walk across the moors from Dick Hudson’s, when two of their party disappeared into the bracken.  On their return to the main group, a member of the choir bellowed out “Wheer wor ta bahn when ah saw thee?” “Tha’s bin a-courtin’ Mary Jane”, commented another.  Further lines in common metre were contributed until the choir burst naturally into the tune Cranbrook.

The lyrics include many features of the Yorkshire dialect such as Definite article reduction and H-dropping. Baht is Yorkshire dialect for “without.” [Yorkshire Dialect Society, September 2013] According to “While Shepherds Watched

Some singers add the responses “without thy trousers on” after the fourth line of each verse, and “where the ducks play football” after the seventh. Other variations include “where the nuns play rugby”, “where the sheep fly backwards”, “where the ducks fly backwards”, “where the ducks wear trousers”, “an’ they’ve all got spots”, and “where they’ve all got clogs on”.

Also in some recitals, after the first two lines of “On Ilkla Mooar baht ‘at” it is followed by a “Where’s that?”. Another variant adds “Howzat?” after the first line and “Not out!” after the second. In Leeds the line immediately before the chorus is often ended with “And we all got wet”. In the United States, “Then we will go and eat up the ducks” is often followed by a shouted “Up the Ducks!”

There are also alternative endings, where verse nine states: “There is a moral to this tale”, and is followed by a chorus of “Don’t go without your hat / Don’t go without your hat / On Ilkey moor baht ‘at” (which is sung commonly within West Yorkshire), or “Don’t go a courtin’ Mary Jane” (another variation known in the Scouting movement). Alternatively, verse nine is sung as “There is a moral to this tale”, and verse ten as “When courtin’ always wear a hat”.

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Ilkley Moor via Wikipedia

Yorkshire Day was created in 1975 by the Yorkshire Ridings Society after the abolition of the three traditional “ridings” in the local government reorganisation of 1974. Roger Sewell, chairman of the Yorkshire Ridings Society, said pride in being from Yorkshire was an “instinctive thing” to those born in the area. Each year members of the society read a declaration at four of the Bars, or gates, into York. Towns and cities across Yorkshire hold their own celebrations and a regional one is being held over four days in Skipton in North Yorkshire. The Yorkshire Flag, a white rose on a blue background, will be flown across the region.     

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Check out this You Tube version of the song with Jack Kennedy, Jongo Kerr, Lesley Garrett, Alistair Griffin, and Brian Blessed. It even includes a rap… 

Resources: 

Lyrics

Wheear ‘as ta bin sin ah saw thee,
On Ilkla Moor baht ‘at?!
Wheear ‘as ta bin sin ah saw thee?
Wheear ‘as ta bin sin ah saw thee?

On Ilkla Moor baht ‘at?!
On Ilkla Moor baht ‘at?!

Tha’s been a cooartin’ Mary Jane
On Ilkla Moor baht ‘at
Tha’s been a cooartin’ Mary Jane
Tha’s been a cooartin’ Mary Jane

On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at

Tha’s bahn t’catch thi deeath o’cowd
On Ilkla Moor baht ‘at
Tha’s bahn t’catch thi deeath o’cowd
Tha’s bahn t’catch thi deeath o’cowd

On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at

Then we shall ha’ to bury thee
On Ilkla Moor baht ‘at
Then we shall ha’ to bury thee
Then we shall ha’ to bury thee

On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at

Then t’worms ‘ll cum and eat thee oop
On Ilkla Moor baht ‘at
Then t’worms ‘ll cum and eat thee oop
Then t’worms ‘ll cum and eat thee oop

On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at

Then ducks ‘ll cum and eat oop t’worms
On Ilkla Moor baht ‘at
Then ducks ‘ll cum and eat oop t’worms
Then ducks ‘ll cum and eat oop t’worms

On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at

Then we shall go an’ ate oop ducks
On Ilkla Moor baht ‘at
Then we shall go an’ ate oop ducks
Then we shall go an’ ate oop ducks

On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at

Then we shall all ‘ave etten thee
On Ilkla Moor baht ‘at
Then we shall all ‘ave etten thee
Then we shall all ‘ave etten thee

On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at

That’s wheer we get us oahn back
On Ilkla Moor baht ‘at
That’s wheer we get us oahn back
That’s wheer we get us oahn back

On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at
On Ilkla Moor baht ‘at

 

In some versions, the line “without thy trousers on” after the fourth line of each verse and “where the ducks play football” after the seventh line. Some sing “where the nuns play rugby,” “where the sheep fly backwards,” and “they all got spots.” 

In some variations, a “Where’s that?” replaces the third like of the chorus. In Leeds, the line before the chorus is “And we all got wet.” 

Posted in ballads, British history, customs and tradiitons, Great Britain, history, legends, music | Tagged , , , , | 11 Comments

Do You Know These Words and Phrases?

Bromo_seltzer_newspaper.png Do you know “bromide”? A bromide is a phrase or platitude or cliché whose excessive use suggests insincerity or a lack of originality in the speaker. The term “bromide” derives from the antiquated use of bromide salts in medicine as mild tranquilizers and sedatives.  Administration of a “bromide” (such as the original Bromo-Seltzer before 1975 in the U.S.) would relieve anxiety and make the patient drowsy. Describing a phrase as a “bromide” is meant humorously to imply that it is a verbal sedative, a boring statement with similar soporific properties. In 1906, the author  Gelett Burgess published a book called Are You a Bromide? in which he referred to boring people – or those who permit others to do his thinking for him – as “bromides”. (Bromide)

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Jack Broughton via Wikipedia

 Why is a “boxing ring” really a square? It goes back to the times when boxing fights used to be bare-knuckle fights, a circle was drawn in the dirt and prize fighters were ringed by the fans. James Figg, the first recognized boxing champion of England adopted his own set of rules. The name ring continued with the Jack Broughton rules in 1743, which specified a small circle in the centre of the fight area where the boxers met at the start of each round. The first square ring was introduced by the Pugilistic Society in 1838. That ring was specified as 24 feet (7.3 m) square and bound by two ropes. (Quora) Within the square the rival fighters “squared off’ to begin the fight. Later, Jack Broughton’s rules said, “That a square of a yard be chalked in the middle of the stage; and every fresh set-to after a fall, or being parted from the rails, each second is to bring his man to the side of the square, and place him opposite the other, and until they are fairly set to the lines, it shall not be lawful for one to strike the other.” These rules continued to say, “There should be drawn in that square a circle five feet in diameter, known as the center, where contestants shall meet for the beginning of each round.” (The Rules of Boxing)

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kemp Nine Days’ Wonder is a  novelty that loses its appeal after a few days. According to Phrase Finder, in 1600, William Kemp, an Elizabethan clown actor, who is thought to have been the original Dogberry in Shakespeare’s Much Ado About Nothing, 1599, danced a morris dance between London and Norwich. He took up the challenge for a bet and covered the distance of a hundred miles or more in nine days (spread over a few weeks). Some doubted that he had achieved this and, to quell dissent, he wrote ‘Kemps nine daies vvonder’, published in 1600:

“Wherein euery dayes iourney is pleasantly set downe, to satisfie his friends the truth, against all lying Ballad-makers; what he did, how hee was welcome, and by whome entertained.”

There is little doubt that the event did take place. The ample evidence to support it includes the 17th century records of the Norwich Town Council, which lists the payment of his prize money. So, we have a well-authenticated historical event called ‘Kemp’s Nine Days’ Wonder’, dating back to 1600. That might be thought to be enough to establish Kemp as the source of the phrase.

Actually, he wasn’t. The phrase dates from well before the 17th century. As well as the date, there’s the meaning of the phrase, which isn’t ‘something wonderful that took nine days to achieve’, but ‘something which becomes boring after nine days’. The earliest citation, in Old English, is in the ‘Harley Lyrics‘, circa 1325. The earliest record in print that most people today would be able to decipher is in ‘Poems written in English during his captivity in England, after the battle of Agincourt‘ by Charles, Duke of Orleans, 1465:

“For this a wondir last but dayes nyne, An oold proverbe is seid.”

The first record in print of the phrase as we now use it is from George Herbert’s poem The Temple, 1633:

The brags of life are but a nine days wonder;
And after death the fumes that spring
From private bodies make as big a thunder,
As those which rise for a huge King.

Others believe the expression comes to us from the Roman Catholic Church. It refers to the “novena.” The patron saint of each church is presented a novena, which lasts for 9 days, during which the image of the saint, relics and other sacred objects are paraded through town or the village for the “wonder” of the worshippers. 

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003_TTL_018.jpg What is a Frank Merriwell Finish? From a series of books popular at the turn of the century, Frank Merriwell, the hero of these books, was always getting into very difficult situations but, after overcoming many unbelievable obstacles, always came out on top. so today, a “Frank Merriwell Finish” is one achieved by overcoming great difficulties with a great deal of accompanying excitement. (Dictionary of Word Origins)

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220px-487_at_water.jpg From where do we get the term jerkwater town? A water stop or water station on a railroad is a place where trains stop to replenish water. The stopping of the train itself is also referred to as a “water stop”. The term originates from the times of steam engines when large amounts of water were essential. Also known as wood and water stops or coal and water stops, since it was reasonable to replenish engines with fuel as well when adding water to the boiler. During the very early days of steam locomotives, water stops were necessary every 7–10 miles (11-16 km) and consumed much travel time. With the introduction of tenders (a special car containing water and fuel), trains could run 100–150 miles (160–240 km) without a refill.

To accumulate the water, water stops employed water tanks, water towers and tank ponds. The water was initially pumped by windmills, watermills, or by hand pumps often by the train crew themselves. Later, small steam and gasoline engines were used. As the U.S. railroad system expanded, large numbers of tank ponds were built by damming various small creeks that intersected the tracks in order to provide water for water stops. Largemouth bass were often stocked in tank ponds. Many water stops along new railways evolved into new settlements. When a train stopped for water and was positioned by a water tower, the boilerman swung out the spigot arm over the water tender and “jerked” the chain to begin watering. This gave rise to a 19th-century slang term “Jerkwater town” for towns too insignificant to have a regular train station.Some water stops grew into established settlements: for example, the town of Coalinga, California, formerly, Coaling Station A, gets its name from the original coal stop at this location. On the other hand, with the replacement of steam engines by diesel locomotives many of the then obsolete water stops, especially in deserted areas, became ghost towns. (Water Stop

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200px-George_Douglas_Campbell,_8th_Duke_of_Argyll_by_George_Frederic_Watts-1.jpg What is the origin of the phrase “God bless the Duke of Argyle”? According to Bartleby, the phrase refers to an old Scottish expression of gratitude for how the Duke of Argyle erected a row of posts to mark his property, and these posts were used by the cattle to rub against. (Hotten: Slang Dictionary.) A second source says, “The etymology of the phrase “God bless the Duke of Argyle” is unknown. It’s not so much that no one can guess at the origin of the words themselves, as even the meaning is fairly straightforward. It’s not that no one knows who the Duke is, as Argyle is the commonly accepted spelling in New York of the Duke of Argyll, who visited the city during a period of self-imposed exile in the late 19th century. The question isn’t even when the phrase first appeared, as it has been cited in a number of documents used in trade and diplomacy since the beginning of the 20th century, not long after the Duke’s visit. The problem is that these documents, some dated as far back as the 17th century, have all been proved forgeries. Indeed, even the spelling is incorrect, and there was no Duke of Argyll, let alone a Duke of Argyle, in the 17th century. The uncertainty of the etymology stems not so much from when or how the phrase was used, as whether it was ever really used at all, or if it was only claimed to be used by persons writing under pretense. Despite his appeal in New York City, no New Yorker could rightly have been expected to say “God bless” anything, and outside of New York, the Duke’s low popularity could not have led anyone to wish good blessings upon him, much less God, whose very existence the Duke questioned publicly, thereby contributing to his low popularity, brief exile, and ever so subtle name change, God bless him.” (Wiktionary)

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Does getting off “Scot-free” have something to do with Scotland? Oxford Dictionaries tells us, “To ‘get off scot-tree’ means ‘to get away with something without being punished’. Since the familiar English word Scot refers to a native or inhabitant of Scotland, it is tempting to assume that this is a reference to that country. Indeed, that association seems to have existed since at least the 1500s, when the alternative spelling ‘scotchfree’ (based on the adjective scotch, meaning ‘Scottish’) was first attested. However, the scot in scot-free is an entirely different word.

“Scot with reference to a Scottish person derives from post-classical Latin Scottus, but the scot of scot-free is related to the noun shot (associated with the verb shoot), influenced by cognate words in Scandinavian languages. The modern Scandinavian equivalents are Swedish and Norwegian skatt, Danish skat, and Icelandic skattur, meaning ‘tax’. Scot is attested from Middle English with reference to various types of taxes, dues, and payments. In modern English, it is used primarily in historical contexts. Ralph Waldo Emerson is cited in the Oxford English Dictionary (OED) for his use of the word in describing the ‘personal independence’ of the Saxons: ‘No reliance for bread and games on the government, no clanship, no patriarchal style of living by the revenues of a chief, no marrying-on, no system of clientship suits them; but every man must pay his scot’ (1860 ‘Wealth’ in The Conduct of Life).

Scot-free arose in the 16th century as an alteration of the earlier term shot-free. It probably originated in the sense ‘not required to pay a scot (tax or fee)’ or ‘free of charge’, as in this example from 1792: ‘Scot-free the Poets drank and ate; They paid no taxes to the State!’ (John Wolcot, Odes of Condolence). This meaning is no longer common, but it seems to have been used as late as 1921, in hearings before the US Senate Committee on Finance: ‘The common laborer does not know that that act [on taxation] was passed. He is scot free at 40 cents an hour’.

However, the earliest attested evidence for scot-free in the OED is in the sense that is more common today, in a more generalized meaning of ‘without being punished’, dating from as early as 1528. Thus, in his epistolary novel Pamela (1740), Samuel Richardson wrote ‘She should not, for all the Trouble she has cost you, go away scot-free.’

Scot-free is the most common contemporary idiom involving the word scot, but it has historically been used in many other phrases as well. Scot and lot referred to local or municipal taxes; by extension, it came to be used as an adjective to designate a man who paid such taxes and hence was eligible to vote or (more generally) was respectable: ‘May we not regret that potwallopers, and scot and lot men, and freemen then lost their privilege?’ (1865 Liverpool Mercury 12 Oct.). In the context of British politics, scot and lotalso referred to a system of voting which restricted the franchise to men who paid ‘scot and lot.’

Scot came up in religious contexts as well. Rome-scot was an annual tax paid to the papal see at Rome in pre-Reformation England, and soul-scot was money paid on behalf of a deceased person to their former church.

The most intriguing scot compound is probably scot-ale. According to the OED, this referred to ‘a festivity or “ale” held by the lord of a manor or a forester or other bailiff, for which a contribution was exacted and at which attendance was probably compulsory’; in other words, a party that one was compelled to attend, and for which was also compelled to pay a cover charge. As one 16th-century writer described it, ‘a Scottall or Scot-ale is, where any officer of the Forest doth keepe an Alehouse…and by colour of his office doth cause men to come to his house, and there to spend their money, for feare of hauing his displeasure’ (1598 John Manwood, A brefe collection of the lawes of the forest). Such fund-raising hootenannies were variously described as burdensome duties or pleasant occasions of boozy merriment. Either way, it was true in the most literal sense that no one got off scot-free.

 

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Happy January Birthdays to Some of Our Favorite “Austen” Actors

Happy Birthday Wishes, Quotes, Messages, Greetings, Cards, SMS, Images www.happybirthdaywishes-quotes.com

Happy Birthday Wishes, Quotes, Messages, Greetings, Cards, SMS, Images
http://www.happybirthdaywishes-quotes.com

January brings us a “New Year” and another batch of Austen-inspired actors celebrating birthdays. 

 

 

 

 

 

the iron lady nicholas farrell.jpg January 1 – Nicholas Farrell, who portrayed Edmund Bertram in Mansfield Park 1983

 

images-2January 1 – Doran Godwin, who portrayed full127Emma Woodhouse in Emma 1992

January 1 – Polly Maberly, who portrayed Kitty Bennet in 1995’s Pride and Prejudice

 

1401442408-sam-riley-at-maleficent-party__largeJanuary 8 – Sam Riley, who portrayed Mr. Darcy in Pride and Prejudice and Zombies 

 

Robin Ellis 'Poldark' (1975) 1.3January 8 – Robin Ellis, who portrayed Edw6a00d8341cac7d53ef017eeaa44b6b970d-320wiard Ferrars in 1971’s Sense and Sensibility 

January 9 – Ann Firbank, who portrayed Anne Elliot in 1971’s Persuasion

 

 

8680705_origJanuary 11 – Tom Ward, who portrayed ColoneGem_smilesl Fitzwilliam in Death Comes to Pemberley

January 12 – Gemma Arterton, who portrayed Elizabeth Bennet in Lost in Austen

 

5647-5314January 12 – Lewis Fiander, who portrayed Fitzwilliam Darcy in 1967’s Pride and Pre
judice 

 

 

MV5BMTM4NzExNTAxN15BMl5BanBnXkFtZTcwNzA4MTU5MQ@@._V1_UX214_CR0,0,214,317_AL_.jpg January 13 – Patrick Dempsey, who portrayed Jack in Bridget Jones’s Baby 

 

images.jpg January 14 – Jemma Redgrave, who portrayed Lady Bertram in 2007’s Mansfield Park, as well as Lady DeCourcy in Love and Friendship

 

naveen-andrews-3a0fabc2c37dd03f89ca55ff115da565-large-60092January 17 – Naveen Andrews, who portrayed Bimages-4alraj in Bride and Prejudice

January 17 – Joanna David, who portrayed Elinor Dashwood in 1971’s Sense and Sensibility, as well as Mrs. Gardiner in 1995’s Pride and Prejudice

 

 

images-2January 19 – Tom Lorcan, who portrayed Lieutenant Denny in Pride and Prejudice and Zombies

 

felicity-jones-blue-eyelinerUnknownJanuary 19 – Felicity Jones, who portrayed Catherine Moreland in 2007’s Northanger Abbey

January 19 – Lucy Scott, who portrayed Charlotte Lucas Collins in 1995’s Pride and Prejudice

 

 

347017.1January 19 – Oliver Maltman, who portrayed George Pratt in Death Comes to Pemberley

 

imgres.jpg January 20 – Sophie Thompson, who portrayed Mary Musgrove in Persuasion 1995 

 

MV5BMjE5MjIxMzA1OV5BMl5BanBnXkFtZTcwNDQwNzU0NA@@._V1_UY317_CR7,0,214,317_AL_January 21 – Rosamund Pike, who portrayed Jaimages-5ne Bennet in 2005’s Pride and Prejudice

January 22 – Jane Downs, who portrayed Elizabeth Bennet in 1958’s Pride and Prejudice

 

images-6images-7January 22 – Namrata Shirodkar, who portrayed Jaya Bakski in Bride and Prejudice

January 24 – Adrian Edmondson,who portrayed Henry Austen in Miss Austen Regrets

 

PeterWoodwardJanuary 24 – Peter Woodward, who portraMV5BMTYzODkyMDc0Ml5BMl5BanBnXkFtZTcwMzM2NjY0Ng@@._V1_UY317_CR131,0,214,317_AL_yed John Willoughby in 1981’s Sense and Sensibility

January 26 – Kelly Stables, who portrayed Lydia Meryton in Pride and Prejudice: A Latter Day Comedy

 

images-8January 27 – James Cromwell, who portrayed Reverend Austen in Becoming Jane

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Desiring Elizabeth Bennet – A Movie Discussion of 2005’s Pride and Prejudice

In a previous post, I discussed how Andrew Davies “created” the image of a very masculine and virile Darcy by adding scenes to the 1995 Pride and Prejudice adaptation. Some of you reading this post likely participated in “Darcy Loving Parties” at the time of this mini-series’ release.

tumblr_n7ak9pPTe21qfisvuo4_250.gifToday, I would like to examine the visual shift of “desire” to Elizabeth Bennet in the 2005 film. Casting the beautiful Keira Knightley in the lead role changed the focus. Choosing Ms. Knightley, who had established herself in Bend It Like Beckham, King Arthur, Love Actually, and The Pirates of the Caribbean, was designed to appeal to a younger and wider audience. Add Joe Wright’s emphasis on social realism to Knightley’s casting, and we have a film that grossed over $125 million worldwide.

Knightley’s casting could have backfired. Remember that Austen describes the character as, “She (Elizabeth) is tolerable, but not handsome enough to tempt me.” and “But no sooner had he made it clear to himself and his friends that she had hardly a good feature in her face ….” and “Though he had detected with a critical eye more than one failure of perfect symmetry in her form ….” Obviously, the casting of the equally lovely Rosamund Pike as Jane helped to “sell” the idea that Elizabeth’s fair face was less than her elder sister’s.

article-2544327-02CD763A0000044D-541_634x413.jpgIn the 2005 film, Elizabeth (Knightley) is found in EVERY scene, from the opening shot of her walking home while reading her book to the final kiss in the American version. The camera follows Elizabeth through the house. We see her world through Elizabeth’s eyes. When she walks away from Darcy at the Meryton assembly, everyone else pales, but our focus remains constant on Elizabeth. She is framed by the retreating camera lens.

When Elizabeth and Jane share secrets under the blankets, the audience is invited to join them. When she sensually traces Darcy’s belongings with her fingertips, we feel Elizabeth’s longing for a man she has allowed to slip through her fingers.

Through the camera, the viewer is always at Elizabeth’s side. We read over her shoulder in the opening scene. We enjoy the interplay between Elizabeth and Mr. Bennet regarding Mr. Collins’s pomposity. We hide behind a Netherfield column with her when her family’s actions bring humiliation. We observe Darcy’s approach through the morning mist as Elizabeth would, and we peek through the open door as she watches Darcy spin his sister around in circles.

2239782af7c7c9a67e48bf40eff1f8ea.jpgEven when we have the occasional film seconds when Knightley is not in the framing, the scene pans to Elizabeth’s presence. It’s as if the camera leads us back to her. The maid carries items through the Bennet household and ends up in Elizabeth and Jane’s shared room. The intimate scene of Mr. and Mrs. Bennet’s bedroom guides us to another meeting between Jane and Elizabeth. Darcy’s appreciation of Georgiana’s pianoforte skills lead the viewer to Elizabeth’s accepting his invitation to Pemberley.

Knightley’s star power is “lessened” by her appearance in dingy, drab dresses and having her surrounded by a “working” home: animals, a barnyard swing, the kitchen, clothes lines, disarray. These techniques “muffle” Knightley’s beauty and allow the viewer to accept her as Austen’s most famous character. In contrast to the 1995 film, Matthew Macfadyen’s Darcy is often shot from a distance and always fully clothed (minus the American ending again). Even his open-shirt appearance in the pre-dawn hours is viewed from Elizabeth’s point of view. He’s coming to her. She waits for him. Therefore, she remains the center of attention.

Wright’s “extra” scenes direct the desire to Elizabeth. Davies’s film showed Darcy in his bath and diving into a pond to increase Colin Firth’s role. Wright uses the near kiss from Darcy’s first proposal, the caress as Darcy assists Elizabeth to the carriage, and the seductive circling of Darcy and Elizabeth at the Netherfield Ball as part of the film’s sexual subtext. These and several other scenes amplify the desire for Elizabeth.

large One part of the film that has received much criticism is the way this adaptation minimizes the relationship between Elizabeth and Wickham and between Elizabeth and Colonel Fitzwilliam. Wright chose to omit Austen’s diversions because Elizabeth is the one to be desired, and Elizabeth desires Darcy. In this version, we do not consider her flirtation with either man as serious possibilities. In the 2005 film, Wickham spends more time with Lydia than he does with Elizabeth.

Okay, it is your turn. Where else in the film is Elizabeth the point of desire? How has her character been created? I have other ideas, but I am waiting for our Miss Austen’s loyal fans to add their own opinions.

Resources: 

Holden, Stephen. “Marrying off Those Bennet Sisters Again, but This Time Elizabeth is a Looker.” Review of Pride and Prejudice. The New York Times. 11 Nov. 2005. {http://movies2.nytimes.com/2005/11/11/movies/11prid.html?ex=1176782400&en=97912be821dd7738&ei=5070}

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