Le Comte Research Articles

Красавицы и чудовища: сюжеты опер А. Э. М. Гретри в русском балете

In Russia the music of André Ernest Modeste Grétry acquired its fame during the times of Empress Catherine the Great and Emperor Paul. His theatrical works were performed with great success by the artists of the French Court Troupe, the Free Russian Theater, the serfs’ theater of the Sheremetev’s, and the female wards of the Smolny Institute. Rare editions and manuscript copies of Grétry’s copies are preserved in numerous Russian libraries. Most of them contain the ballets (among them, Les marriages samnites [The Samnite Marriages], Le comte d’Albert [Count d’Albert], Panurge dans l’île des lanternes [Panurge on the Island of Lanterns], and Raoul Barbe-bleue [Raoul Bluebeard]). The opera Céphale et Procris ou l’amour conjugal [Cephale and Procris or Conjugal Love] is provided with the subtitle of ballet héroique (heroic ballet), while Zemire et Azor” is dubbed сomédie-ballet, which makes it possible to ascribe these compositions to the genre of opera-ballet. In addition, the storylines of Grétry’s operas served as a basis for the creation of two ballets produced in the imperial theaters in the court of Emperor Alexander I. It is Raoul Barbe-bleue ou le danger de curiosité [Raoul Bluebeard, or the Danger of Curiosity] (1807) staged to the music of Catterino Cavos with the choreography of Ivan Valberkh and Henzi et Tao, ou La belle et la bête [Henzi and Tao or Beauty and the Beast] (1819) produced by Charles Didelot to the music of Fernando Antonolini. The article provides information about the history of the creation and performance of ballets, demonstrates the similarities and the differences between the storylines of original operas and their new versions. The connection between the productions of the ballets in Grétry’s opera Henzi et Tao, ou La belle et la bête and the ballets Kenzi and Tao and Henzi and Tao produced by Didelot on the stages of Europe and Russia at times. For the first time Didelot’s libretto for the “grand Chinese ballet” set to the music of Cesare Bossi (premiered on May 14, 1801 at the “Haymarket” Royal Theater in London) has been translated from English into Russian by the author of the article. The problem of the ballet “doppelgangers” and the revisions of well-known theatrical works is examined in the article.

Anton Pann: la repentance d’un débauché – un poème occulté

We show in this study that a purported edition of a manuscript from 1648 by Paisie Lambru, a monk from the Romanian Skete of Prodromos (Mount Athos), published in Bucharest in 1905, is in fact the reproduction of a forgotten poem belonging to Anton Pann (1790-1854): Pocăinţa omului dezmerdat sau Vorbire între suflet şi trup / The Repentance of the Debauched Man, or Conversation between Soul and Body, which was published by the author in his typography in 1849 and republished just before his death in 1854 (the title in French – La repentance de l’homme débauché, ou Entretien entre l’âme et le corps, versifié et édité par A. Pann – was noted by the romanist Émile Picot, who acquired a copy in Romania in 1885, which has since entered the collections of the BNF). Excluded from all editions of Anton Pann’s works, and therefore unknown even to specialists, this poem is inspired by a body-soul dialogue in prose included in Pensées de M. le Comte Oxenstirn sur divers sujets, avec les Réflexions morales du même auteur (Count Oxenstierna’s Thoughts on Various Subjects, together with the Moral Reflections of the same author), by the Swedish moralist Johan Thuresson, count of Oxenstierna (1666- 1733). Written in French and frequently reprinted for more than a century since its first publication in 1721, this work, stylistically belonging to the late religious baroque, was partially translated into Romanian in the second half of the eighteenth century and had a large influence, including on the great poet Mihai Eminescu (1850-1889), who possessed the oldest manuscript of this translation.

Reading Ahmet Mithat’s Hasan Mellâh yahut Sır İçinde Esrar as an Adaptation of Le Comte de Monte-Cristo

(forthcoming article)
 The Ottoman Empire witnessed the occurrence of fundamental changes in different areas during the 19th century. Especially along the founding of the Translation Office in 1833, many Western, mostly French, works had been translated into Ottoman Turkish and thus, the ongoing interaction with the West had peaked. Those translated works became very popular among the readers in the society and consequently they affected Ottoman literary production. Many authors started translating the popular novels from the Western literature and many of them started writing novels under the influence of them. Alexandre Dumas (pére)’s well-known novel Le Comte de Monte-Cristo was one the popular novels translated into Ottoman language by Teodor Kasap in 1872. The novel had an extraordinary impact on the Ottoman literature on both the readers and the authors. Ahmet Mithat who was prominent figure of 19th century Ottoman literature wrote his novel Hasan Mellâh Yahut Sır İçinde Esrar as an emulation to Le Comte de Monte-Cristo. In this paper, I will try to analyze Ahmet Mithat’s novel Hasan Mellâh as an adaptation of Le Comte de Monte-Cristo. To do so, I aim at showing what Ahmet Mithat had changed during this adaptation process and how he made these alterations. At the end, going beyond that, I will try to show the ideological function of this adaptation.

Translating Le comte de Monte-Cristo in the Ottoman Empire

(article forthcoming) In this paper I will examine the stylistic and semantic strategies employed in the Ottoman translation of Alexander Dumas (père)’s novel Le comte de Monte-Cristo in order to adapt the original French version for a local Ottoman audience. In particular I will investigate the linguistic and cultural background of Theodor Kasap (Theodor Kasapis), the rum origin translator of Dumas’ novel, who was a very influential personality in the Istanbul cultural scene during the second half of the 19th century and founder of the Ottoman satirical journal Diyojen on which the Le comte de Monte-Cristo started appearing serialized.

Monte-Christo in Modern Greek and the Ottoman context

The version of Le Comte de Monte-Christo in Modern Greek (O Κόμης του Μοντεχρίστου), translated by the Constantinopolitan Greek teacher Ioannis Patroklos, and published between 1845 and 1846 in five volumes by the French printing-house Cayol in Beyoğlu, occupies a special place in the translation and adaptation history of Dumas’s novel in the “East”, as it was translated almost parallelly to the first publication of the original French work serialized in Le journal des débats (1844-46). It thus represents the very first “entry” of the novel to the multicultural Ottoman literary panorama, though it soon fell into oblivion being outpaced by another translation that appeared in the 1860s in Athens. The contribution tackles the reception of European prose literature among Greek readers in the Hellenic Kingdom and the Ottoman Empire during the nineteenth century, referring especially to the works of Alexandre Dumas père, it further presents the first Greek translation of Le Comte de Monte-Christo and its translator Ioannis Patroklos, and, eventually, it analyzes selected issues of language and cultural transfer related to the denotative concepts of “Greek”. Patroklos’s largely “faithful” translation can be put into a foreignizing and didactic framework corresponding to the educational background of the translator.
 Key words: literary translation, modern Greek novel, Ottoman Greek society, Alexandre Dumas père.

Adventures in Translation

(article forthcoming) Modern Romanian literature starts off at the end of 18th century in the Romanian Principalities with the assimilation of literary models offered by the contemporary phanariot (or “phanariotised”) élites, which acted also as an intermediary for Italian and French culture, and develops further from the mid-19th century under the auspices of the immediate contact with (mostly) French literature. The newfound enthusiasm for western European culture brought about in the Principalities a sharp increase in the publication of literary works, most of which were initially translations. For instance, the number of novels published in 1851-1860 was more than double of those published in 1831-1850, and of the 1.069 novels published in 1831-1918, 436 were by foreign authors. Of the latter, the most popular by far, with 49 titles and 17 editions to his name, was Alexandre Dumas pére. My intervention aims to outline the reception of Dumas’ work through translation in Romanian 19th century culture, with a special focus on the several translations of the Le Comte de Monte-Cristo.

Échos de Victor Cherbuliez dans L’étrange petit comte de Max du Veuzit

One of Victor Cherbuliez’s most renowned novels is Le comte Kostia, of 1863. Years later, in 1936, a sentimental woman writer, Max du Veuzit, publishes L’étrange petit comte ou L’étrange fils du comte d’Uskow, a title that prompts that of Cherbuliez. With the aim of verifying the exactitude of this supposition, our analysis will be supported by a comparative study, which will allow us to establish the analogies and differences between both novels, and will confirm our starting hypothesis: that Max du Veuzit’s novel is indeed inspired by Victor Cherbuliez’s storyline of Count Kostia.

Creole Drama: Theatre and Society in Antebellum New OrleansProvocative Eloquence: Theater, Violence, and Antislavery Speech in the Antebellum United States

Creole Drama: Theatre and Society in Antebellum New OrleansProvocative Eloquence: Theater, Violence, and Antislavery Speech in the Antebellum United States

Index to Titles and Authors/Editors of Books Reviewed

Index to Titles and Authors/Editors of Books Reviewed

Secular Lyric: The Modernization of the Poem in Poe, Whitman, and Dickinson

Secular Lyric: The Modernization of the Poem in Poe, Whitman, and Dickinson

Book Review The Epochs of Nature by Georges-Louis LeClerc, le comte de Buffon, translated and edited by Jan Zalasiewicz, Anne-Sophie Milon and Mateusz Zalasiewicz, 2018. The University of Chicago Press, Chicago and London, 190 pp, ISBN 978-0-226-39543-2, hardback, £34.00, https://doi.org/10.7208/Chicago/9780226395579.001.0001

The Epochs of Nature, Georges-Louis LeClerc, le Comte de Buffon, Translated and Edited by Jan Zalasiewicz, Anne-Sophie Milon and Mateusz Zalasiewicz, Published by: The University of Chicago Press, Chicago and London 2018, 190 pp., ISBN 978-0-226-39543-2. Doi: , Hard copy £34.00 Users of Google Scholar will be familiar with the phrase ‘Stand on the shoulders of giants.’ Georges-Louis LeClerc, le comte de Buffon, was one of these, but although copies of his works appear frequently in Antiquarian and second-hand book sales, because they were written in French his ideas have been less well known. Jan Zalasiewicz Anne-Sophie Milon and Mateusz Zalasiewicz set out to redress this imbalance and to draw attention to Buffon's wide ranging contributions to geological thought. The translation seems excellent, preserving both the original, albeit repetitive precision, and what we would now regard as the ‘mannered’ language of the day. Few items jarred: the use of ‘vitrescible’ and ‘monuments’ in particular. It was necessary to look up the former but it seems to mean any mineral matter that forms glass when sufficiently heated. At times this is justified but we now take it for granted that most sand will consist of just such material and in this it seems redundant; confusing what would otherwise be clear statements. The use of ‘Monuments’ seems just too literal a translation. There are very few typographical errors and the book is well produced.

Family, feud, and fertility in late Medieval Artois and Flanders

This case study considers the origins, contents, and ownership of the 15th century manuscript MS Kassel, Murhardsche Bibliothek der Stadt und Landesbibliothek 4o med. 1. It examines the ways in which a number of vernacular texts in this manuscript were influenced by social and cultural forces in the area in which it was produced, which is now well known for its female patronage of religious charitable foundations and the number of illegitimate births. Considering the contents of the compilation related to fertility, connections to other miscellanies, and its circulation, alongside an anonymous romance prose text Le Comte d’Artois et sa femme, this study argues that the Kassel compilation was put together with the express purpose of addressing healthcare and fertility needs of the families and the community in which the owner(s) lived. This miscellany is just one of many late medieval manuscripts that help us to understand why vernacular texts on women’s medicine and fertility were disseminated in the late medieval period and how their contents circulated outside scholarly circles. It demonstrates that fruitful new areas can be revealedby putting together two sets of evidence: textual analysis and genealogy.

‘Les suites des suites’: Alexandre Dumas’s Le Comte de Monte-Cristo and the News

ABSTRACTTaking as its subject Alexandre Dumas’s Le Comte de Monte-Cristo (1844-46), this article explores what the literary critic Alfred Nettement dubbed the newspaper’s ‘influence contagieuse’ under the July Monarchy, and considers the impact of journalism on this ever-popular roman-feuilleton. Reading Dumas’s text alongside the writings of nineteenth-century critics, the article traces the ways in which Monte-Cristo reflects on the pressures and rhythms of serial publication – not simply as a consequence of its structure but as a thematic concern crucial to particular strands of its meandering narrative. The problem of endings is central here, with Monte-Cristo emblematic of the ways in which the possibility of closure is repeatedly deferred in the roman-feuilleton – replaced, instead, by a series of suites.

High Energy Hybrid Capacitor with Quinone-Grafted Negative Electrode in Neutral Aqueous Electrolyte

It is known from literature that the capacitance performance of activated carbons (AC) can be enhanced by faradaic contributions owing to surface functionalities. Although many papers report on chemical oxidation of ACs to reach such objective, this method is not selective and leads to the formation of an important proportion of useless surface functional groups. Such disadvantage can be circumvented by using diazonium salts to graft molecules with the desired functionality on carbon, e.g., quinone-type. The redox activity of these molecules grafted on ACs has been demonstrated in sulfuric acid and potassium hydroxide aqueous media [1]. However, the materials display poor stability in KOH, and H2SO4 corrodes all non-noble metal current collectors used to build electrochemical capacitors (ECs). The objective of this presentation is to demonstrate the activity of anthraquinone-grafted carbons in non-corrosive aqueous media, such as neutral electrolytes [2], and to apply these materials as negative electrode in a hybrid capacitor where the positive electrode is from MnO2. Anthraquinone (AQ) moieties were chemically grafted on the surface of the activated carbon DLC Supra 30 from Norit (Supra), giving the Supra-AQ carbon. The surface oxygenated functionality of as-received and grafted carbons was characterized by temperature-programmed desorption (TPD), using a TG equipment coupled with a mass spectrometer (MS). The larger mass loss for Supra-AQ (13.6 wt.%), compared to the pristine Supra one (2.6 wt.%), mainly related to CO evolution, confirms surface functionalization by quinone. The electrochemical response of Supra-AQ has been studied in 0.4 mol L− 1 phosphate buffer (pH=7.2) in order to avoid the shift of the redox peaks related with pH change during the measurements. In addition to the capacitive current related with the EDL formation, the CVs of Supra-AQ display reversible redox peaks characteristic of the grafted AQ molecules. As a result of grafting AQ, the capacity increases from 47 mAh g− 1 for Supra to 72 mAh g− 1 for Supra-AQ. During floating at 1.8 V, the hybrid Supra-AQ/MnO2 cell demonstrated stable capacitance and resistance, with 70% higher energy density than a Supra/MnO2asymmetric capacitor. [1] G. Pognon, T. Brousse, L. Demarconnay, D. Bélanger, J. Power Sources196 (2011) 4117. [2] Q. Abbas, P. Ratajczak, P. Babuchowska, A. Le Comte, D. Bélanger, T. Brousse, F. Béguin, J. Electrochem. Soc. 162 (2015) A5148.

Protean Form in Washington Square: Linguistic Experimentation and the Anticipation of Life

Although Washington Square appears to be a thoroughly assured and compactly structured novel bearing testimony to Henry James’s predilection for dramatic representation, the text provides a site for fertile experimentation with the protean possibilities of fictional form. Washington Square is a realist novel that is not quite realist. While James pays close attention to such pertinent factors as time, place, characterisation and dialogue, a fleeting autobiographical interpolation begins to destabilise predictable generic assumptions. As the narrative unfolds, the reader is drawn into engaging with aspects of the plot that suggest both a moving drama of intense psychological struggle and a modern domestic tragedy. At the same time, the text calls into question frequently accepted referential links to the experiential world by subtly foregrounding its affiliations to the processes of aesthetic production. From this perspective, the protean potential of Washington Square may be regarded as more closely related to Jane Austen’s Northanger Abbey, Honoré de Balzac’s Eugénie Grandet or Victor Cherbuliez’s now obscure Le Comte Kostia (1863) than to conventionally acknowledged mimetic principles. Such an interpretation is reinforced by James’s consistent foregrounding of the flexible linguistic play of his narrative. Irony is the dominant modality of both the narrator and Dr Sloper, while melodrama in quite distinct guises becomes the expressive medium of the Doctor, as well as his foolishly interfering sister, Mrs Penniman. Morris Townsend, as disingenuous suitor, is an accomplished manipulator of language. This leaves Catherine, the disappointing daughter, vulnerable heiress and rejected bride, to complete the dynamic equilibrium of a rhetorical square (reflecting the title of the novel) with the pathos of her silent endurance. Yet Catherine’s quiet inwardness serves equally as the ethical focus of James’s story. Her frustrated anticipation of, and yearning for, a life of modest recognition and emotional reciprocity is poised against the glittering repartee of James’s scenes and the imaginative cleverness required by the aesthetic enterprise. It is ultimately Catherine’s consciousness that consumes the verbal gymnastics of the novel into the privacy of her chastened, yet resilient, existence. As James understands, the rest must be silence.

Le comte Ory: opéra en deux actes by Gioachino Rossini (review)

ROSSINI'S LE COMTE ORY Gioachino Rossini. Le comte Ory: Opera en deux actes = Opera in two acts = Opera in due atti. Livret d' = Libretto by Eugene Scribe. Edite d' = Edited by = A cura di Damien Colas. Part 1: Introductory Materials and Act 1. (Works of Gioachino Rossini, 5a.) Kassel: Barenreiter, 2014. [Editorial policy in Fre., Eng., Ita., p. viii-xi; abbrevs. in Fre., Eng., Ita., p. xii; principal sources in Fre., Eng., Ita., p. xiii; pref. in Fre., Eng., Ita., p. xiv-cxiii; facsims., p. cxv-cxxi; orchestra & characters, p. cxxiii; libretto, p. cxxiv-cxlvi; score, p. 3-380. Cloth. ISMN: 979-0-006-55216-0, pub. no. BA 10508-01. i992 inclusive of vols. 5a and 5b.]Gioachino Rossini. Le comte Ory: Opera en deux actes = Opera in two acts = Opera in due atti. Livret d' = Libretto by Eugene Scribe. Edite d' = Edited by = A cura di Damien Colas. Part 2: Act 2 and appendices. (Works of Gioachino Rossini, 5b.) Kassel: Barenreiter, 2014. [Score, p. 381-697; appendices, p. 701-822. Cloth. ISMN: 979-0-006-55216-0, pub. no. BA 10508-01. i992 inclusive of vols. 5a and 5b.]Gioachino Rossini. Le comte Ory. Critical commentary by Damien Colas. (Works of Gioachino Rossini, 5.) Kassel: Barenreiter, 2014. [Abbrevs., p. 7; principal sources, p. 8-9; sources, p. 10-27; critical notes, p. 31-359. ISMN 979-0-006-55217-7, pub. no. BA 10508-40. i328.]Le comte Ory, Rossini's second most successful French opera, had an impressive performance record in the nineteenth century, with over 430 performances in Paris alone. Premiered on 20 August 1828 at the Academie royale de musique (the Paris Opera), Le comte Ory was Rossini's third opera in French and the last of a small series of revised and updated works produced for the Opera that were based at least in part on an earlier Italian opera. In the last few years of the Bourbon Restoration, the Opera took advantage of its joint administration with the Theâtre Italien, a lyric theater devoted exclusively to Italian opera, to commission several works from Rossini: he reworked Maometto II as Le siege de Corinthe (1826), and Mose in Egitto as Moise et Pharaon (1827). Although the joint administration was dissolved in 1827, Rossini remained under contract to produce two more French works for the Opera. The second of these would be Guillaume Tell, Rossini's only entirely original (and his most successful) French opera, eventually premiered in 1829. For Le comte Ory, however, Rossini turned once again to an earlier Italian composition: Il viaggio a Reims, a one-act dramma giocoso he had composed for the coronation of Charles X in 1825, and which, due to its occasional nature, had a very limited performance run at the Theâtre Italien. As early as 1826, Rossini had considered recycling the material from Il viaggio for an Italian semiseria opera on a libretto entitled La figlia dell'aria by Luigi Balocchi, but the project was abandoned. Sometime in the early months of 1828, Rossini returned to the project, only this time in collaboration with Eugene Scribe, who had already branched out from vaudeville with several librettos for the Opera Comique, and had just made his debut on the Opera's stage with La muette de Portici in February 1828. Scribe also drew on an older work for the libretto: he revised and expanded a one-act comedie-vaudeville cowritten with Charles-Gaspard DelestrePoirson, Le comte Ory: Anecdote du XIe siecle, first presented at the Theâtre du Vaudeville in 1816.The initial phase of the comte Ory project, particularly regarding the relationship between Scribe and Rossini, remains frustratingly opaque due to an absence of correspondence; but two preparatory sketches of the libretto in Scribe's hand provide a sense of the complex task involved in merging the two works, particularly with regard to the distribution of the musical numbers from Il viaggio in the expanded plot (see pp. lxi-lxiii [page references are to Patricia B. Brauner's English translation of Damien Colas's preface]). …

Le réformateur Jean Le Comte (1500–1572): De l’oubli à une mémoire remodelée

In a publication of 1707, Abraham Ruchat (1680–1750) exhumes for the first time the reformer Jean Le Comte (1500–1572), hitherto completely unknown to Protestant historiography. According to Ruchat, Le Comte was, along with Guillaume Farel and Pierre Viret, one of the most important reformers of the Romandie. To back his assertion, he refers to a diary supposed to have been written by Le Comte himself and derives from it new details about the Reformation, pertaining especially to the dominion of Grandson. Since then, historians have used the extracts excerpted by Ruchat over and over again, while a few others claim to have used the diary itself, the last of which was Eduard Bähler at the end of the 19th century. It was assumed since then that this diary of Jean Le Comte had been lost. This article establishes that the diary was not written by Jean Le Comte, but by his son Jacques (1543–1613) on the basis of paternal archives, afterwards destroyed by the son in order to blur any evidence of the strong disagreements which existed between his father on the one hand and the reformers Farel, Calvin and Viret on the other. This original diary composed by Jacques, which still existed in 1767, has probably been destroyed since. However, extracts of it dating from 1629 have been rediscovered, similar and yet a little bit more exhaustive than the ones known so far. They were discovered for the first time at the end of 1916 in the castle of Champvent, were shown at that time to the well-known historian of the Canton Vaud, Henri Vuilleumier (1841–1925), before falling into oblivion once again.

Le réformateur Jean Le Comte (1500–1572): De l’oubli à une mémoire remodelée

In a publication of 1707, Abraham Ruchat (1680–1750) exhumes for the first time the reformer Jean Le Comte (1500–1572), hitherto completely unknown to Protestant historiography. According to Ruchat, Le Comte was, along with Guillaume Farel and Pierre Viret, one of the most important reformers of the Romandie. To back his assertion, he refers to a diary supposed to have been written by Le Comte himself and derives from it new details about the Reformation, pertaining especially to the dominion of Grandson. Since then, historians have used the extracts excerpted by Ruchat over and over again, while a few others claim to have used the diary itself, the last of which was Eduard Bahler at the end of the 19th century. It was assumed since then that this diary of Jean Le Comte had been lost. This article establishes that the diary was not written by Jean Le Comte, but by his son Jacques (1543–1613) on the basis of paternal archives, afterwards destroyed by the son in order to blur any evidence of the strong disagreements which existed between his father on the one hand and the reformers Farel, Calvin and Viret on the other. This original diary composed by Jacques, which still existed in 1767, has probably been destroyed since. However, extracts of it dating from 1629 have been rediscovered, similar and yet a little bit more exhaustive than the ones known so far. They were discovered for the first time at the end of 1916 in the castle of Champvent, were shown at that time to the well-known historian of the Canton Vaud, Henri Vuilleumier (1841–1925), before falling into oblivion once again.

The aristocratic avant-garde: Le Comte Étienne de Beaumont and “Les Soirées de Paris”

Aristocratic patronage of the historical avant-garde remains a relatively understudied phenomenon, if only because the aristocracy seemed the avant-garde’s natural enemy and what the avant-garde sought to supplant. This article examines the 1924 “Les Soirees de Paris,” a five-week-long series of commissioned ballets, plays, and performances financed by Le Comte Etienne de Beaumont. Paying close attention to the social divide in Tzara’s Mouchoir de Nuages, this article seeks to show the fraught relationship between the aristocracy and the Parisian avant-garde. Beaumont’s intervention into the Parisian cultural field was an attempt to derail the growing influence of the market but also had a more positive motivation in attempting to showcase the “best” of “new” French art. If Beaumont was bitingly satirized in Raymond Radiguet’s Le Bal du Comte d’Orgel, this “last Maecenas of the arts” was a more complex figure who deserves closer examination for the role that he played in bringing together a series of artists—Cocteau, Picasso, Satie, and Tzara—in a lavishly produced series of original works.

The Continuity of Melos

The “hurry” is one type of melo found in music for pantomime of the eighteenth century and throughout the nineteenth century in melodrama, after which it was adopted for silent film accompaniment, and then in scoring sound films. The use of “hurries” shows the persistence of this type of melo for action scenes, or to convey a hurried state of mind, in four different theatrical genres, and can still be found in contemporary film scores, if no longer identified by that name. An examination of Thomas Holcroft’s A Tale of Mystery (1802, music by Thomas Busby), an 1880s’ theatrical adaptation of Alexandre Dumas’s Le comte de Monte Cristo (The Count of Monte Cristo), and excerpts from J.S. Zamecnik’s Sam Fox Moving Picture Music (1913) illustrate the continuity of hurry use across two centuries of theatrical melos practice.