Theaters Of Citizenship Aesthetics And Politics

Of Avantgarde Performance In Egypt Sonali Pahwa

download

https://ebookbell.com/product/theaters-of-citizenship-aesthetics-
and-politics-of-avantgarde-performance-in-egypt-sonali-
pahwa-34435106

Explore and download more ebooks at ebookbell.com

Here are some recommended products that we believe you will be
interested in. You can click the link to download.

Theatre And Citizenship The History Of A Practice David Wiles

https://ebookbell.com/product/theatre-and-citizenship-the-history-of-
a-practice-david-wiles-5047394

Theaters Of Madness Insane Asylums And Nineteenthcentury American

Culture Benjamin Reiss

https://ebookbell.com/product/theaters-of-madness-insane-asylums-and-
nineteenthcentury-american-culture-benjamin-reiss-48427290

Theaters Of Madness Insane Asylums And Nineteenthcentury American

Culture Benjamin Reiss

https://ebookbell.com/product/theaters-of-madness-insane-asylums-and-
nineteenthcentury-american-culture-benjamin-reiss-51440410

Theaters Of Pardoning Bernadette Meyler

https://ebookbell.com/product/theaters-of-pardoning-bernadette-
meyler-51663964
Theaters Of Pardoning Bernadette Meyler

https://ebookbell.com/product/theaters-of-pardoning-bernadette-
meyler-51875906

Theaters Of Justice Judging Staging And Working Through In Arendt

Brecht And Delbo Yasco Horsman

https://ebookbell.com/product/theaters-of-justice-judging-staging-and-
working-through-in-arendt-brecht-and-delbo-yasco-horsman-51933294

Theaters Of Time And Space American Planetaria 19301970 Jordan D

https://ebookbell.com/product/theaters-of-time-and-space-american-
planetaria-19301970-jordan-d-2203094

Theaters Of The Mind Illusion And Truth On The Psychoanalytic Stage

Reprint Joyce Mcdougall

https://ebookbell.com/product/theaters-of-the-mind-illusion-and-truth-
on-the-psychoanalytic-stage-reprint-joyce-mcdougall-32741088

Theaters Of Justice Judging Staging And Working Through In Arendt

Brecht And Delbo Yasco Horsman

https://ebookbell.com/product/theaters-of-justice-judging-staging-and-
working-through-in-arendt-brecht-and-delbo-yasco-horsman-5287208
Theaters of Citizenship
 SERIES EDITORS: This series publishes books in theater and performance studies,
Patrick Anderson and focused in particular on the material conditions in which
Nicholas Ridout performance acts are staged and to which performance itself
might contribute. We define “performance” in the broadest sense,
including traditional theatrical productions and performance art,
but also cultural ritual, political demonstration, social practice,
and other forms of interpersonal, social, and political interaction
that may fruitfully be understood in terms of performance.
 Theaters
of Citizenship
Aesthetics and Politics of Avant-­Garde
Performance in Egypt

Sonali Pahwa

Northwestern University Press

Evanston, Illinois
Northwestern University Press
www.nupress.northwestern.edu

Copyright © 2020 by Northwestern University Press.

Published 2020. All rights reserved.

Printed in the United States of America

10 9 8 7 6 5 4 3 2 1

Library of Congress Cataloging-­in-­Publication Data

Names: Pahwa, Sonali, 1976–­author.
Title: Theaters of citizenship : aesthetics and politics of avant-garde performance in
Egypt / Sonali Pahwa.
Other titles: Performance works.
Description: Evanston : Northwestern University Press, 2020. | Series: Performance
works | Includes index.
Identifiers: LCCN 2019022943 | ISBN 9780810141759 (paperback) | ISBN
9780810141766 (cloth) | ISBN 9780810141773 (ebook)
Subjects: LCSH: Experimental theater—­Egypt—­H istory—­21st century. | Street
theater—­Egypt—­H istory—­21st century. | Theater—­Political aspects—­Egypt—­
History—­21st century.
Classification: LCC PN2971.5 .P34 2020 | DDC 792.02209620905—­dc23
LC record available at https://lccn.loc.gov/2019022943
This book is dedicated to the memory of Dr. Nehad Selaiha,
an inspiring mentor to performers and scholars alike.
 Contents

Acknowledgments ix

Chapter 1. Theaters of Citizenship: Youth, Performance, and Identity

in the Late Mubarak Era 3

Chapter 2. After the Festival: The Intertwined Rise of Cultural

and Political Avant-­Gardes 19

Chapter 3. Live from Cairo: Youth in the Time of New Media 47

Chapter 4. Making Women Matter in Avant-­Garde Theater 73

Chapter 5. Instrumentalizing Performance in Self-­Help Citizenship 95

Chapter 6. Remembering Utopia: Social Theater and

Arts Festivals after 2011 117

Conclusion: Revolutionizing Cultural Citizenship 139

Notes 145

Bibliography 161

Index 171
 Acknowledgments

This book germinated in a chance encounter with Egyptian theater while

I was studying Arabic at the American University in Cairo in the summer
of 1999. I had read a review of director Mohamed Sobhi’s Carmen in the
English-­language weekly Cairo Times, and decided to test my fledgling Egyp-
tian colloquial Arabic by going to watch the play at a downtown theater. I
understood very few lines. The satire of Hosni Mubarak’s pseudodemocratic
regime felt powerful nonetheless, and it inspired me to think critically about
the aesthetic, affective, and political dimensions of theater. In the years that
followed, several mentors have helped me understand theater as a cultural
phenomenon under dictatorship.
At Amherst College, Deborah Gewertz and Jamal Elias nurtured my inter-
est in Egypt and anthropology with the kind of advising I only aspire to
emulate. Amherst’s dean of the faculty and Religion Department together
funded my first trip to Cairo, where I researched my senior honors thesis on
youth culture. Tayeb el-­Hibri was a patient Arabic teacher, particularly when
Egyptian youth slang deformed my classical Arabic. My gratitude also goes
to my Egyptian sisters Rula and Rania Zaki, who took in a naive college stu-
dent and did much to help her settle into Cairo. Their friendship over the
years has made them the nicest kind of extended family.
Later, at Columbia University, Brinkley Messick and Lila Abu-­Lughod
were staunchly supportive advisers to a project they understandably found
quixotic. Outside the Department of Anthropology, courses with Gayatri Spi-
vak and Peggy Phelan were key to refining my ideas. The late Pierre Cachia
also shared his wisdom about performance in the Cairo of his childhood. Elli-
ott Colla, Deborah Kapchan, and Rosalind Morris offered further feedback
and stimulating critique. The loyal friendship of Sofian Merabet and Ruchi
Chaturvedi amplified New York’s charms. Sofian has continued to read drafts
and encourage me through the project’s twists and turns, for which I am ever
grateful. I owe a further debt to Nadia Latif and Ben Sampson for their sup-
port during a spell of writing when I navigated four flights of stairs with a
broken foot.
An International Predissertation Fellowship from the Social Science Research
Council (2001–­2) was transformative in allowing me to spend a year in Cairo
under the tutelage of Dr. Nehad Selaiha, dean of the Arts Criticism Institute
at the Academy of Arts. When the Theater Institute’s administrators would
not let me enroll, Dr. Nehad took me under her wing and introduced me to

ix
x Acknowledgments

everyone in the independent theater movement. She was the most forma-
tive influence on this book, and I regret that she is no longer alive to see it.
Her friends and protégés have remained my guides through Cairo’s theater
world ever since: Nora Amin, Sameh Ezzat, Hassan el-­Geretly, Hany El-­
Metennawy, Rasha Abdel Moneim, Hamada Shousha, Reham Zein, and
others. Moreover, Abeer Ali, Ahmed el-­Attar, Hazem Azmy, Mirette Mikhail,
Khaled el-­Sawy, and Effat Yehia have been enormously helpful and insight-
ful colleagues. Their patient answers to my questions (sometimes by email
from New York) shed much light on my path to understanding their work.
Their theater world as I describe it is now past, but I hope my analysis does
justice to it.
I was lucky to learn at the start of my anthropological career that rela-
tionships made in “the field” keep a research program alive with the allure
of going back to meet old friends. Sameh and Reham were my compan-
ions at many plays and introduced me to many corners of downtown Cairo.
Elisabetta Ciuccarelli, Jakob Lindfors, Lucia Sorbera, and Matteo Vivian-
etti were youthful coconspirators in various urban adventures. Later, Yasser
Abdellatif, Iman Mersal, Sara Sedrak, and Randa Shaath enlivened evenings
at the Greek Club and Estoril with their company. Nadia Naqib’s welcom-
ing home and warm friendship still make it a pleasure to go back to Cairo.
It is my biased belief that Middle East studies scholars are second to none
in their collegiality. For their intellectual insight and encouragement, I am
indebted to Margaret Litvin, Kamran Rastegar, and Jessica Winegar in par-
ticular. The Middle East Studies Association meeting has been a welcome
refuge from the misconceptions about the region in the larger academic
world. It was always nice not to have to explain here that the Arab world
did have theater. The supportive feedback of Arabist colleagues was crucial
in helping me move from a defensive stance about studying Egyptian theater
to a more nuanced scholarly argument.
My shift from cultural anthropology to theater studies would not have
been possible without the interdisciplinary community of the University
of California, Los Angeles, program Cultures in Transnational Perspective,
where I was lucky to hold a Mellon Postdoctoral Fellowship. Program leaders
Françoise Lionnet and Shu-­mei Shih were role models of intellectual openness
and human generosity with sharp rigor. Theirs was the most diverse academic
group I have ever been part of. Sue-­Ellen Case welcomed me to the theater
department and taught me a great deal about performance studies. As an
affiliate of UCLA’s Department of Anthropology, I also learned much at its
linguistic anthropology colloquium. And my fellow Mellons were the most
amazing scholars and individuals. Alessandra Di Maio, Kris Manjapra, Sarah
Valentine, Sze Wei Ang, and especially Marcela Fuentes made Los Angeles a
formative place and epicenter of academic cool. I am grateful to Françoise and
Shu-­mei for organizing reunion conferences that allowed us to meet there later
in our careers.
Acknowledgments xi

I enjoyed a further postdoctoral fellowship at the program Europe in the

Middle East—­the Middle East in Europe at Wissenschaftskolleg zu Berlin.
The Theaterwissenschaft Institute at the Free University graciously hosted me
at its office, where I benefited from the wisdom of Erika Fischer-­Lichte, Lina
Saneh, and Farah Yeganeh. Meanwhile, Georges Khalil assembled a wonderful
community of Middle East scholars. Haytham Bahoora, Yasmeen Hanoosh,
Nadya Sbaiti, and Kirsten Scheid were valuable interlocutors. Egyptian Berlin-
ers Ahmed Farouk, May Khairy, and Haytham al-­Wardany helped me keep a
virtual foothold in Cairo.
These acknowledgments should have ended here, and the book finished
that year, but the Egyptian revolution changed all my plans. I was lucky that
Ahmed Alaidy, Rana al-­Tonsi, and Tim Wilkerson brought some of the revo-
lutionary spirit to Doha. The best aspect of living there was the opportunity
to visit Cairo regularly, through generous research funding from Northwest-
ern University in Qatar. My sister Sumita and her husband, Steve Negus, were
welcoming hosts at their home in Cairo during this time. Poetically enough,
Steve had edited the Cairo Times issue that first made me aware of independ-
ent theater in Cairo.
My insightful colleagues at the Department of Theater Arts and Dance at
the University of Minnesota encouraged me to finish this book finally, with
the aid of a single-­semester leave from the university. My special thanks go
to Michal Kobialka for his critique of the introduction and to the students
in my Performing Politics and Avant-­Gardes seminars for sharing their ideas
with me. Juliette Cherbuliez, Cindy Garcia, Annie Hill, and Margaret Werry
formed a supportive writing group in the summer of 2016. Other UMN col-
leagues who have sustained me in less intellectual, but no less important,
ways are Sugi Ganeshananthan, Maggie Hennefeld, Stuart McLean, Jennie
Row, Sima Shakhsari, Siri Suh, and Talvin Wilks. I am grateful to them for
resolving many dilemmas over cocktails. I also owe thanks to Corner Coffee
and Caffetto in Uptown Minneapolis for providing inspiring writing space
and good coffee.
Finally, some acknowledgments are necessary for support throughout this
long journey. My parents, Manju and Vijay Pahwa, came around to under-
standing why I wanted to study theater in Egypt rather than going to law
school, bought me a computer, and helped me out when an injury struck
during dissertation writing. My sister Sumita, who visited me in Cairo in the
summer of 1999, ended up doing research in Egypt too. She has offered much
comparative wisdom from the field of comparative politics. My nephew
Rohan and niece Mira kept me going through the slog of writing, which they
enlivened with entertaining stories on FaceTime and in person. They have
shown me that being an aunt is the world’s best job.
A version of chapter 6 was published as “Making Revolution Everyday:
Quotidian Performance and Utopian Imagination in Egypt’s Streets and
Squares,” Text and Performance Quarterly 39, no. 1 (2019): 56–­73.
Theaters of Citizenship
 Chapter 1

Theaters of Citizenship
Youth, Performance, and Identity in the Late Mubarak Era

The arcades linking downtown Cairo’s boulevards were dotted with sidewalk
cafés serving tea, coffee, and shisha, as well as air-­conditioned bars where
muthaqqafin (the cultured class) met to gossip about art and politics. The
Grillon bar was a social institution among state television journalists and
employees of the public arts sector, its bow-­tie-­clad bartenders dressed by
the rules of an era when downtown was the center of Cairo’s nightlife. Over
rounds of local Stella beer and Merit cigarettes, these members of a wan-
ing intellectual elite dissected the nation’s drift away from their leftist ideals.
President Hosni Mubarak’s economic reforms had ushered global corpora-
tions into the Egyptian economy and streamlined the state sector since the
1990s. The public cultural institutions on which an older generation had
thrived no longer existed for young college graduates with artistic or liter-
ary ambitions. Now that satellite television dishes had sprouted on Cairo’s
buildings, reshaping the cultural landscape and throwing Egypt’s prominence
in the Arab world into question, these literati debated the future of national
culture with particular urgency.
On an August evening in 2005, a friend and I visited the Grillon to meet
playwright and director Lenin el-­Ramli. The rumpled, bespectacled intel-
lectual in his sixties shared enduring friendships and socialist ideals with
state-­sector peers, despite having launched a private theater company. He
was currently preparing a play for the upcoming edition of the Cairo Interna-
tional Festival for Experimental Theatre (CIFET), Masks Off!, a satire on the
sudden fashion for wearing masks. This allegory of the spread of face veil-
ing (niqab) in urban Egypt drove home El-­Ramli’s secularist cultural politics
with raucous comedy. While his collaborations with Mohamed Sobhi in the
1980s and 1990s satirized feckless presidents and the decline of Arab solidar-
ity, he now turned his critical eye to Egypt’s alliance with the United States
and the rise of Islamist movements.1 Theater was his intellectual generation’s
means of staging debates on national identity at a time of cultural polariza-
tion. And Cairo audiences of various ages flocked to his plays.

3
4 Chapter 1

In the alleyway off the Grillon, younger downtown muthaqqafin dug

into bowls of fava beans at the sidewalk restaurant of Saad al-­Harami. Sev-
eral worked part time as freelance journalists or acting teachers; others were
unemployed. Amateur theater was the topic of many of their conversations,
a cherished means of sustaining student-­day debates and gaining an audi-
ence for intellectual voices of a new generation. Instead of staging the plays
of canonical Egyptian playwrights, these dramatists used news articles and
translated texts to generate scripts for contemporary theater. One friend who
had dropped out of the prestigious Theater Institute (Ma’had al-­Masrah)
because he found its curriculum old-­fashioned spoke of devising a play based
on a Paulo Coelho book, with Indian music to accompany the spiritual
theme. Cairo dramatists in their twenties and thirties shared with El-­Ramli’s
generation an enthusiasm for theater as a stage for national identity poli-
tics and a means of self-­representation. But they played the role of public
intellectuals through adaptation, hybridization, and improvisation more than
authorship. Their version of avant-­garde culture traversed genre and national
boundaries.
This book analyzes the evolving use of urban theater as a stage for citi-
zenship during the decline and fall of the Mubarak regime. When the former
president’s minister of culture trimmed the budgets of state theaters, divert-
ing millions toward an annual international theater festival, young Egyptian
dramatists took to seeking space outside state institutions to make critical
theater. These university graduates from urban families found in the ven-
erable art a public forum in which to represent their generational concerns
intellectually and aesthetically, if not politically. Wherever theater was per-
formed, it created a platform for modern identity politics that echoed that
of the storied theaters of Egypt’s heritage. Middle-­class creatives who strug-
gled to find work in an increasingly globalized private cultural sector that
favored a tiny, bilingual elite found in amateur theater a place to pursue
many ambitions. Throughout the shifting economic tides produced by glo-
balization policies in the early 2000s, and waves of political repression, they
invested their time and resources in building a milieu for youth culture to call
their own. Independent theater became a lively stage of citizenship, gathering
waves of generational representation of Egyptian identity.
Among the policies of neoliberal globalization in what I call the late
Mubarak era (2001–­11), one that affected youth sharply was the reduction
of state subsidies for public universities and cultural centers. As with the
structural adjustment programs that had handed economic power to foreign
corporations in Egypt, the shrinking of state cultural institutions proved most
detrimental to the middle class.2 The state sector had traditionally employed
journalists, television producers, and artists, making culture a respectable
career for college graduates. However, my friends ensconced in downtown
Cairo’s cafés lacked such avenues for employment and social influence. Their
generation experienced a growing cultural and economic distance from the
Theaters of Citizenship 5

aging ranks of established, state-­ employed intellectuals. Most dramatists

under forty thus affiliated themselves with the independent arts movements
that some of their seniors dismissed as amateur. The new generation styled
its distance from state institutions as a mode of freedom, however, claim-
ing its underground as a space of independent thought, like the informal
spaces Stefano Harney and Fred Moten call “the undercommons of enlight-
enment.”3 They capitalized on a fashion for transnational theater in an era
of globalization to claim the mantle of Egyptian avant-­gardists of the future.
These “youth of the theater” (shabab al-­masrah) used the double sense of the
word “youth” (in Arabic as in English) to signal the rejuvenation of Egyp-
tian theater. Their relative optimism about the future of national culture in
the era of globalization reasserted the role of theater as a stage not just for
intellectual debate but also for the reconceptualization of the avant-­garde as
a popular, inclusive cultural space.
The idealistic cultural workers who launched independent theater in
Egypt, through activist campaigns in 1990 and 2005, were part of a wider
movement of underground organizing that generated the 2011 revolution. As
Egyptians who came of age in the Mubarak era demanded cultural and polit-
ical rights from state institutions, they demonstrated the force of alternative
representational practices when formal politics was stifled by dictatorship.
Thus, the performances and activism developed in independent theater of the
late Mubarak era built repertoires of citizenship. As independent dramatists
developed contemporary, critical narratives of middle-­class identity, they also
practiced collaborating, debating, and organizing cultural production. Their
collaborations evolved into repertoires that sustained concepts of citizenship
in the undercommons of a neoliberal oligarchy. Cultural production had a
relatively wide margin of freedom under Mubarak, as was the case with his
predecessors in Egypt who protected artists and dramatists from excesses
of state violence. The policy of cultural democracy, launched in the 1990s,
specifically designated the arts as a site of liberal secular expression.4 Tele-
vision dramas and literary novels were consequently critical sites of debate
on national culture and social class in Egypt’s era of globalization.5 Inde-
pendent arts movements in the decade before the revolution further opened
up the space of cultural debate, turning a closed intellectual landscape into
a proliferating web of venues for cultural democracy. They generated new
platforms for expression that allowed institutionalized modernist ideology to
branch out into diverse politics of citizenship. Analyzing the cultural politics
of independent performance repertoires offers insights into the ways in which
participatory citizenship was rehearsed on the eve of Egypt’s revolution, and
enacted in its aftermath.
6 Chapter 1

Egyptian Theater and Identity Politics in the Twentieth Century

Egypt was unchallenged as the leading Arab producer of film, television, and
music throughout the twentieth century. Its official national dialect spread
through the Arab world via broadcast, in radio concerts by Umm Kulthum,
the cinema of Youssef Chahine, and television versions of stage plays like the
1970s Madrasat al-­mushaghghabin (School for Troublemakers), still on reruns
in the 1990s.6 For many contemporary Cairenes, the golden age of Egyptian
theater was that in which movie stars Adel Imam and Ahmad Zaki had got-
ten their breaks. “Do you know that Adel Imam is in a play on Haram Street
right now?” many a helpful Cairo taxi driver asked when I mentioned I was
researching theater in 2004. As proud as many Cairenes were of their televi-
sion and cinema, theater elicited a special nostalgia. Whether my interlocutors
had acted in university festivals or watched stage comedies on television, they
spoke of theater as an art of uncensored satire and youthful irreverence. It was
a place where director Mohamed Sobhi could satirize President Mubarak’s fake
referendum with two different words for “yes” in his 1999 musical Carmen,
and youth could make fun of teachers in School for Troublemakers. The his-
torical shifts within Egyptian theater made it both a school for national
identity and a space in which to critique its authoritative conception.
After 1919, when Egypt rose in revolution against British occupation
and Ottoman rule, cosmopolitan intellectuals began promoting theater as a
means of fostering modern thought. Pioneering playwright Muhammad Tay-
mur advocated for national theater with the argument that this cultural form
was a mark of a modern, European-­style society.7 Until this time, theater in
Egypt had mainly been the province of traveling Syrian troupes who adapted
French and Italian stories, with exceptions such as Egyptian Jewish play-
wright Yaqub Sanu’, whose satires at Cairo’s Comédie Française theater
ran afoul of the Ottoman khedive.8 Egyptian playwrights before the Second
World War largely continued this tradition of comedy and farce, despite the
efforts of Taymur and French-­educated Tawfiq al-­Hakim to lift theater above
light entertainment. Songs were a key attraction in plays, and actors were
renowned primarily as singers and dancers.9 After the war, the liberal Waf-
dist government promoted theater for education more systematically. It was
taught in the national network of amateur cultural centers called the People’s
University (established in 1945), where classes in art, theater, and literary
writing supplemented school curricula with aesthetic repertoires of cosmo-
politan identity. The years after the 1952 revolution marked a high point
of state support for theater, as President Gamal Abdel Nasser’s regime fun-
neled public money into building new theaters in Cairo, including the Tali’a
(Avant-­Garde), near the National Theater (formerly the Comédie Française),
and Al-­Salam Theater for the new Comedy and Modern Theater troupes.
Leading playwrights of the Nasser era, such as Yusuf Idris and Al-­Hakim,
published widely read polemics that questioned the politics of staging
Discovering Diverse Content Through
Random Scribd Documents
Milward, 150, 268

Miller, the Derbyshire, 110

Minstrels, 79, 80

Minstrels' Court, 79, 80

—— King of the, 79, 80

Monsal Dale, 247

"Montaigne's Essays," 257

Montlac De, 257

Monyash, 286, et seq.

Moregreen, 271

Morley, 149, 268

Morgan, 173

"Moral Philosophy of the Stoics," 257

Moules dale, 13

Music of "As our King lay musing in his bed," 2

Music of "The Derbyshire Miller," 110

Music of "The Gipsies' Song," 280-281

Mugginton, 269, 273

Mullins, Tom, 132-134

Mundy family, 198, 203

Nares, 209

"Neaw, Dickie, be quiet wi' thee, lad," 228

Nether Green, 271

Netherton, 274

New Ballad of Robin Hood, shewing his Birth, Breeding, Valour, and
Marriage, at Tutbury Bull Running, 73

New Song in Praise of the Derbyshire Militia, 182

Newton, 267, 273

Newthorpe, 270

Norfolk, Duke of, 46, 52

Northampton, 74

Northern Lights, ballad on, 64

Nottingham, 58, 65, 73, 98, 264

—— Goose Fair, 58, et seq.

Nottinghamshire, 73-103

Nun's Green Rangers, 199

Nun's Green, ballads on, 187-203

Nuttall, 270

Oaker Hall, 272

Oakes, James, 237, et seq.

Oakamoor, 273

Obstinate lady, 7

Ockbrook, 268

"Of all your modern heroes," 249

"O give me the land where the wild thyme grows," 248

Ogston, 151

Oker Hill, 147, 153

Okerthorpe, 267

Okeover Hall, 272, 285

Oldacre, 271

Old Nun's Green, 187

"One Valentine's day in the morning," 137

On the Strange and Wonderful Sight that was seen in the Air on the 6th
of March, 1716, 64
On the Death of the Late Rev. Bache Thornhill, M.A., 255

"O say not so, Sir Francis," 210

Osgathorpe, 230, et seq.

Osmaston by Ashborne, 133

Over Haddon, 289

Overton, 152

Overton, 274

Overington, 270

Owen, Jack, 143

Owthorpe, 257

Oxford, Earl of, 41

Oxford, 249

Paget, 173

Paislow Moss, 68, 71

Pain, 149

Pantons in the Dale, 273

Paris, 6, 42

Park Nook, 272

Park Hall, 274

Parson's Torr, 286

Parwich, 272

Paving and Lighting. A New Song, 196

Paynslee, 170

Pearcey, General, 265

Peel, Sir Robert, 255

Peak Hills, 272

—— Ballad, Henry and Clara, 274

"Peak, Wonders of the," 257

—— Tradition of, 2

—— High, 61, 64, 67, 248, 274, 280

—— a Rhapsody on, 248

—— Journey into the, 257, 259

—— Forest, 67, 103, 204, 230, 275

Pedlar and Robin Hood, 3

Percy Society, 1, 12

—— Lord, 46, 52
Pentrich, 267

Perkin Wood, 267

Perwolt, 274

Perry Dale, 232

Peverel and the Driving of the Deer, 230

Peverel family, 230, 231, et seq.

Pie, Yorkshire, 157

Pills to purge melancholy, 61, 126

Pilsley, 267

Pinder of Wakefield, 74

Pinxstone, 267

Playford, 280

Poems on Nun's Green, 187-203

—— dedicated to Major Trowel, 192

"—— upon Several Occasions," 257

Polesworth, 7

Pooley, 6, 7

Poole's Hole, 10
Potter of Hill Top, 268

Pott, 149

Power of Love, 210

Pressed Man's Lamentation, 182

Prestwood, 273

Princely Diversion, or the Jovial Hunting Match, 137

Prince in the Town, and Devil in the Church, 111

Prince of Wales, George, 111

Printers, J. Bessel, 61

—— William Ayscough, 65

—— Wynkende Worde, 73, 126

—— W. Dicey, 74

—— R. Raikes, 74

—— W. O., 126, 137

—— A. M., 126

—— J. Deacon, 126

"Planter's Manual," 257

"Puss in Boots," 269, 272

Pursglove, Bishop, 67

Quadrupeds, The, 193

Quarndon, 269, 273

Queen Elizabeth, 164, 165, 225

—— of Scots, Mary, 166-181

Quicksall, 273

Quin, 157

Quintin, St., family, 157, 158

—— Sir William, 157, 158

Radborne, 137

Radford, 270

Radgley, 273

Raikes, R., 74

Raleigh, Sir Walter, 222

Ram, The Derby, 115

Ramble, Beggar's, 266

Ramble, The Beggar's, 271

Randolph, 7

Ratcliffe, 270

Rees Ap Thomas, Sir, 45, 49, 52

Red Hill, 270

Reel, Cocktail, 157

Recruiting Derby hills, 1, 5

Red Rose, 49-53

Rempstone, 273

Repton, 269

"Reliquary," 65, 73, 92, 97, 145, 164, 287

Rhapsody on the Peak of Derbyshire, 248

Riber Hall, 150

Richmond, Duke of, 161

Richard, King, 50, et seq.

Richmond, Margaret, 12, et seq.

—— Earl of, 12, et seq.

Riddings, 238, et seq.

Ripley, 268
Risley, 271

Robin Hood and the Pedlar, 32

—— A New Ballad of, 73

—— Lytell geste of, 73

—— and Little John, 85

—— 73-103, 238, et seq., 270

Robin Hood's marks, 102

Rodsley, 273

Rosemary Hill, 273

Rosley, 273

Roston, 273

Ross, Lord, 46

Rose of England, 6

Rose, red, 49, 53

Rose, Union of, 53

Rose of Lancaster, 69

Rose and Crown, 268

Rowlands, 126
Row (or Roo) Tor, 147

Rowsley, 269

Rowland of Warburton, 45

Roxburghe Collection, 1, 58, 74, 126

Ruddington, 270

Runcorn, 144

Rural dance about the May-pole, 61

Rushop Edge, 230

Russell, Sir William, 257

Sack, 11

Salisbury, 30, 54

Salford, 24

—— Bridge, 24

Sandall Castle, 19

Sandiacre, 271

Sandys, 7

Sandy Way Head, 68

Savage, 175

Savage, Sir John, 19, 49

Scarsdale, 210

—— Lord, 210

Scarlet, Will, 100

Scotch dialogue, 64

Scrope, Lord, 46

Selston, 267

Seymour, Lord, 222

Shallcross, 144

Shardlow, 269

Shaw, the Staffordshire hero, 252

Shaws Croft, 286

Sheepshead, 270

Sheffield, 31, 74, 239, et seq.

—— Castle, 31

Sheppards Folly, 269

Sherwood Forest, 73-103, 270

Sherry, Cary, 7

—— Mary, 7

Ship of fools, 126

Shipley Wood, 271

Shipley, 271

Shirley Park, 132, 285

—— family, 132

Shoolbottam, 271

Shottle, 268

Shootingslow, 245

"Should the French but presume on our coast to appear," 182

Shrewsbury, Earl of, 12, et seq., 222

—— 43, 45

Shrove Tuesday, 285

Sign of the Eagle's foot, 35

—— Bull, 75

—— George, 112

—— Angel, 126, 184

—— White Horse, 131

—— Rutland Arms, 289

—— White Hart, 286, 289

—— Wheat Sheaf, 286

—— Sun, 263

—— Rose and Crown, 268

—— Puss in Boots, 269

Sigsmore, 272

Sinfin Moor, 118

Sir Richard Whittington's Advancement, 104

Sir Francis Leke; or the Power of Love, 210

Skiers, 238, et seq.

Skull at Tunstead, 226

Slack, 71

Sloman, Charles, 110

Smalley, 268

Smith, 197, 285

Smock frock, 64
Snelston, 267, 285

Snitterton, 150

Solomon's Temple, 243, 245

Song, 206

Song of the Lady Bessy, 12

Song, Ashborne Foot-ball, 284

Song, The Gipsies', 280

"Soon as old Ball was got better," 153

Song (a satirical attack on the Choir of All Saints' Church, Derby),

206

South Normanton, 267

Southwell, 270

Sparrowpit, 68

Spencer, Earl, 161

Spondon, The Flax-Dresser's Wife of, and the Pound of Tea, 281

Spondon, 268, 281-284

Squire Vernon's Fox Chace, 131

St. Albans, 261

St. Ann's Well, 10

St. Michael's ground, 93

St. Quintin Sir William, 157

Stafford, 45, 47, 250, et seq.

—— Hero, 250, et seq.

Staffordshire, 73, 230

Stainsby, 268

Stancliffe Hall, 148

Stanhope, Sir John, 6, 257

—— Earl, 257

Stanley, Earls of Derby, 12, et seq.

—— family, 12, et seq.

Stapleford, 271

Stanton, 255, 273

Staysmore, 272

Stenson, Hugh, and Molly Green, 263

Steare, 148

Stoics, Moral Philosophy of, 257

Stone, Staffordshire, 47, 48

Stone, Little, 47

Stoone, Little, 47

Stramshall, 274

Strange and Wonderful Sight at Hartington, 64

Strange, Lord George, 12, et seq.

Stratford, 261

Strensham, 257

Stretton on the Hill, 267

Strutt, 197

Stuart, Arabella, 222—

—— Charles, 222

Sturston, 285

Stutely, Will, 89, 90

Suckling, 7

Sudbury Hall, 131, 136

Surrey, Earl of, 46

Sutton-on-the-Hill, 140

Sutton-in-Scarsdale, 210, 211

Swarkstone, 270

Swanwick, 268

Swinsor, 273

Swinscoe Moor, 118

Swift, 210

Swithamly, 143, 144

Taddington, 247

Tag Hill, 271

Talbot, 19

Tamworth, Lord, 132

Taylor's Ramble, 129

Tea, pound of, 281

Tennis balls, 1, 5

Teneriffe, 10

Terrill, James, 14

Tewkesbury, 26

The Agricultural Meeting, 160-164

The Ashborne Foot-ball Song, 284

The Ashupton Garland, or a Day in the Woodlands, 237

The Beggar's Ramble, 271

The Derby Hero, 249

The Driving of the Deer, 230

"The eighteenth day of March," 252

"The fire burns brightly on the hearth," 204

The Flax-Dresser's Wife of Spondon, 281

The Florists' Song, 184

The Gipsies' Song, 280

The Humours of Hayfield Fair, 61

"The Miller he caught the maid by the toe," 110

The Most Pleasant Song of the Lady Bessy, 12

The Nun's Green Rangers, or the Triple Alliance, consisting of a

Sergeant, a Tinker, and a Bear, 199

"The Parson of Monyash late one eve," 287

The Power of Love; Sir Francis Leke, or, 210

The Quadrupeds, or Four-Footed Petitioners against the Sale of Nun's

Green, 193
The Sorrowful Lamentation, last Dying Speech and Confession of Old Nun's
Green, 187

"The sixth of March, kind neighbours this is true," 65

The Tailor's Ramble, or the Blues' Valour Displayed, 129

The True Lover's Knot Untied (Arabella Stuart), 222

The Unconscionable Batchelors of Darby, 58

"Then, oh Hugh Stenson is my name", 263

Thirsk, 157

Thomas Rees, Ap, 45, 49, 52

Thompson, 157

Thorpe, 285

Thorpe Cloud, 272

Thornywood, 270

Thornhill family, 148, 255

—— Thomas Bache, Elegy on, 252

Thringstone, 270

Tibshelf, 267

Tideswell in an Uproar, or the Prince in the Town, and the Devil in the
Church, 111
Tideswell, Drunken Butcher of, 66

Tideswell, 66, et seq., 111, 112, 113, 114, 155

Tinker's Inn, 133

Tipling school, 59

"'Tis merry in the High Peak forest," 97

Tissington, 272

Titbury (see Tutbury)

Tixhall Poetry, 62

Ton of tennis balls, 1

Toton, 267

Tower Hill, 17, 31, 47

Towcester, 261

Tragedy of Ovid, 7

Tragnel, 144

Trapalin supposed a Prince, 7

Trent, river, 8

Tribute, 1, 4

Triple Alliance, consisting of an old Sergeant, a Tinker, and a Bear,

199
Trowel, 267

Trowell, Major, 190

True Lovers' Knot Untied, 222

Trusley, 137-142

Trusley Hunting Song, 137

Tudor, Henry, 45

Tune, "To thee, to thee," 58

—— "As our King lay musing on his bed," 2, 3

—— Derbyshire Miller, 110

—— Cook Laurel, 125

—— King of the Cannibal Islands, 160

—— Chevy Chace, 196

—— Bow, wow, wow, 199

—— Barking Barber, 199

—— Date Obolum Belisario, 199

—— Vicar and Moses, 206

—— Gipsies' Song, 280-281

Tun, burning in a, 17
Tunbridge, 10

"Tunis, Fair one of," 257

Tunstead, Dickie of, 226

Tunstead, 226, 227

Tupton, 267

Turbutt, Gladwin, 151

Turnditch, 268

Tutbury, 13, et seq., 273

Tutbury bull-running, 73, 74, 79

"'Twas more than fifty years ago," 282

"Two jackasses, the father and the son," 193

Tydder Henry, 45

Ucklow, 269

Unconscionable Batchelors of Derby, 58

Union of the Roses, 53

Utceter, 273

Uttoxeter, 262, 273

Vernon, Squire, Fox Chace, 131

—— family, 131, et seq.

—— Lord, 131, 135

—— George, 132-136

—— Dorothy, 132

Victoria, Queen, 2

"Virgil Travestie," 257

Volunteers, Derbyshire, 2, 131

Wakefield, Pinder of, 74

Walker, 133, 134

Walton, Isaac, 257

"Wanderings of Memory," 274

Wantling, 249-252

Warburton, 45

Wardgate, 268

Wardlowmier, 269

Warin, 286
Warwick, Guy, Earl of, 75

Warwickshire, 75, 259

Waterloo, 285

Wathall, 267

Wells, Lady, 22

"Were but my muse inspired by Fludyer's taste," 157

West Chester, 26

—— Smithfield, 61

Westminster, 15, et seq.

Weston-under-wood, 269

Westhorpe, 270

Wessington, 267

Wet Willm, 272

Weever Hills, 154

Whaley Bridge, 69, 227

"What will it availe on fortune to exclayme," 167

Wheatcroft, Leonard, 146, 152

"When Apollo thinks fit to handle his lyre," 206

"When Heaven from Earth had shut out day," 190

"When Robin Hood was about twenty years old," 58

Whittaker, 285

Whittington, Sir Richard's, Advancement, 104

Whittington and his Cat, 104

—— De, 104

—— in Derbyshire, 104, 231, 233

—— Sir William, 104

Whitrick, 270

Whitehall, 263

Whitworth guns, 148

Whitworth, Joseph, 148

Wilford, 270

Williams, Richard, 164-166

Willoughby, Lord, 57

Will Stutely, 89, 90

Willett, 142

Winnats, 274, 275

Winnats, murder at, 274, 275

Windsor, 11, 263

Winster, 255-257, 268, 272

Wilson, Jack, 139

Wire Mill, 273

Windley, 272

Wirksworth, 269, 272

Wood end, 271

Woodlands, 237, et seq.

Woodlands, a Day in the, 237

Woodborough, 270

Wool, 272

Woolaton, 264

Wooley, 133-136, 150, 151

Womfords, 271

"Wonders of the Peak," 257

Worde, Wynken de, 73, 126

Worcestershire, 26
Wootton, 135, 273

Wotton Lodge, 273

Wyaston, 133, 285

Wye river, 245, 248

Wynken de Worde, 73, 126

Yeaveley, 273

"Ye Tideswellites can this be true," 114

Yeldersley, 269

York, 157

York, Duke of, 14, et seq.

Yorkshire Pie, 157

"You lovers of mirth attend awhile," 59

Young lasses pawned by their sweethearts, 58

BEMROSE AND SONS, PRINTERS, DERBY.

 FOOTNOTES:
[1] It is worthy of note, that of late years the Derbyshire Volunteers have received
the marked compliment of being specially noted for their manly bearing and their
distinguished appearance by her present Majesty, and by the Commander-in-Chief,
H.R.H. the Duke of Cambridge, on each of the occasions of general review of the
Volunteer force in Hyde Park.
[2] Ancestor of the present Earl of Harrington, of Elvaston.
[3] Darwin, the river Derwent.
[4] Sparrow Pit is a small hamlet about two miles from Chapel-en-le-Frith, situated
at the "four lane ends," where the Buxton and Castleton and the Chapel-en-le-
Frith and Tideswell roads intersect each other.
[5] Paislow Moss, about half way between Sparrow Pit and Sandy Way Head.
[6] Chapel-en-le-Frith is a considerable and important market town, about six
miles from Buxton.
[7] Whaley Bridge, near Chapel-en-le-Frith.
[8] Chamber Knoll is about half a mile from Peak-Forest.
[9] For an account of this discovery see "The Reliquary," vol. I., page 129 et seq,
where, in a paper entitled "The Ballad Hero, Robin Hood," an excellent resumè of
his life is given by Mr. Gutch.
[10] "Locksley in Nottinghamshire." It seems pretty certain that the real birthplace
of Robin Hood, although often attributed to Nottinghamshire, was at Loxley Chase,
in Yorkshire, not far from Sheffield, and near the borders of Derbyshire.
[11] The Pinder of Wakefield, in Yorkshire, is often alluded to in Robin Hood
ballads—
"In Wakefield there lives a jolly pinder, In Wakefield all on a green."
The Pinder was, of course, an impounder of stray cattle.
[12] Adam Bell was a northern outlaw, so celebrated for archery and other matters
as to become proverbial, and
Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.

More than just a book-buying platform, we strive to be a bridge

connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.

Join us on a journey of knowledge exploration, passion nurturing, and

personal growth every day!

ebookbell.com