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Marius Kwint
4. See Marius Kwint, “Philip Astley (1742–1814),” New Dictionary of National
Biography (Oxford: Oxford University Press, forthcoming); for detailed coverage of the
early years also Kwint, “Astley’s Amphitheatre,” ch. 1.
5. See Marius Kwint, “The Legitimization of the Circus in Late Georgian England,”
Past and Present: A Journal of Historical Studies (February 2002); and for further
information Kwint, “Astley’s Amphitheatre,” chs. 2, 3.
6. See George Palliser Tuttle, “The History of the Royal Circus, Equestrian and
Philharmonic Academy, 1782–1816, St. George’s Fields, Surrey, England” (Ph.D. thesis,
Tufts University, 1972).
7. See Arthur H. Saxon, Enter Foot and Horse: A History of Hippodrama in England
and France (New Haven, CT: Yale University Press, 1968).
8. See, for example, Charles Dickens, “Astley’s,” Sketches by “Boz,” vol. 1 (London,
1836); Charles Dickens, The Old Curiosity Shop (London, 1841), ch. 34; William
Makepeace Thackeray, The Newcombes: Memoirs of a Most Respectable Family (London,
1854), ch. 16; for further literary and journalistic references see Raymond Toole Stott,
Circus and Allied Arts: A World Bibliography, 4 vols (Derby: Harpur and Sons, 1958–71);
Paul Schlicke, Dickens and Popular Entertainment (London: George Allen & Unwin,
1985); Stoddart, Rings of Desire, ch. 6; also Jacqueline Bratton and Jane Traies, Astley’s
Amphitheatre (London: Chadwyck-Healey, 1980), pp. 15, 60.
9. See, in particular, Edmund Leach, “Anthropological Aspects of Language: Animal
Categories and Verbal Abuse,” in E.H. Lennenberg (ed.), New Directions in the Study of
Language (Cambridge, MA: MIT Press, 1964); Edmund Leach, Humanity and Animality,
54th Conway Memorial Lecture (London: South Place Ethical Society, 1972); Claude Lévi-
Strauss, Structural Anthropology, 2 vols (London: Allen Lane/Penguin, 1968).
10. Mikhail Bakhtin, Rabelais and his World, trans. Helene Iswolsky (Cambridge, MA:
MIT Press, 1968); for applications of his theories to other phenomena see Terry Castle,
Masquerade and Civilisation: The Carnivalesque in Eighteenth-Century Culture and
Fiction (London: Methuen, 1986); Peter Stallybrass and Allon White, The Politics and
Poetics of Transgression (London: Methuen, 1986).
11. Transcript of advertisement, Gazetteer, June 11, 1768: BL, Th. Cts. 35, item 14.
12. Quoted in Edmund Leach, Lévi-Strauss (London: Fontana, 1985), p. 43.
13. Bratton and Traies, Astley’s Amphitheatre, p. 11.
14. Martin Meisel, Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-
Century England (Princeton, NJ: Princeton University Press, 1983).
15. Meisel, Realizations, p. 216; on Mazeppa, see Saxon, Enter Foot and Horse, ch. 7;
see also Whitney Chadwick, “The Fine Art of Gentling: Horses, Women and Rosa Bonheur
in Victorian England,” in Kathleen Adler and Marcia Pointon (eds), The Body Imaged: The
Human Form and Visual Culture since the Renaissance (Cambridge: Cambridge University
Press, 1993), pp. 89–107.
16. Astley’s playbill, July 27, 1829: Astley’s file, Theatre Museum, Covent Garden,
London (hereafter TM); for an erudite biography of Ducrow in his context see Arthur H.
Saxon, The Life and Art of Andrew Ducrow and the Romantic Age of the English Circus
(Hamden, CT: Archon, 1978).
17. For a culturally insightful discussion of Stubbs see Stephen Deuchar, Sporting Art
in Eighteenth-Century England: A Social and Political History (New Haven, CT: Yale
University Press, 1988).
18. For this context see, especially, Linda Colley, Britons: Forging the Nation, 1707–
1837 (London: Pimlico, 1994); also Gillian Russell, Theatres of War: Performance, Politics
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