and authority. Mutiny at the Nore, or British Sailors in 1797 (1830) is described by the editor as ‘this collection’s most controversial tale’ (vol. 1, p. 367) in its depiction of the ‘floating republic’ of the mutineers. Mutinies were an influential subject for melodrama, but at this time of the Reform Bill and debate about voting rights, the authors recognize that their audiences needed reassurance of the patriotism of British sailors in manning the nation’s ‘wooden walls’. Other subjects acted out in these plays include poverty, racism, enforced separation of families, and interestingly the importance of education and literacy among poor or immigrant characters. The rights and wrongs of the law of primogeniture appear – because of course in the absence of inherited land second sons were customarily bound for the navy. There are other curiosities, such as a rare scene of the ‘Crossing the Line’ ceremony – its reversal of usual hierarchies providing a comic commentary on democracy. Two others which caught this reviewer’s eye were a reference to a Norwegian custom of using prisoners to man a lightship (The Floating Beacon, or the Norwegian Wreckers:1837) and in the Flying Dutchman, or, the Phantom Ship (1826) what must be a very early reference to steamships, ‘the Margate steamer’, which can, like the eponymous Dutchman, genuinely steer directly to windward. Certain actors were to be seen in a great many of these productions. One was the wellknown comic actor Joseph Grimaldi, and perhaps the most often seen was Thomas Potter Cooke (1784–1864), one of the most popular actors of the early part of the century and famous as a hornpipe dancer. He had appeared several times as the Creature in dramatizations of Mary Shelley’s Frankenstein. Of the authors, some had direct naval experience – one, Douglas Jerrold, had served under Jane Austen’s brother Charles. Isaac Pocock (Robinson Crusoe, or, the Bold Buccaniers: 1817) was the son of the celebrated marine painter Nicholas Pocock. The editorial apparatus is extensive and authoritative. The ample sprinkling of ‘tarpaulin’ terminology is used for predictable but effective comic effect: ‘how her upper rigging glides’ (of a heroine), and so on. This nautical language requires glossing, which the editor provides by reference to OED and occasionally to Smyth’s Sailor’s Word-book (1867). It is odd that at no point in this collection is there any reference to William Falconer’s surely more appropriate Universal Dictionary of the Marine, especially as William Burney’s extensive new edition had appeared in 1815. As a result the glossing of nautical terminology is often awkward and occasionally misleading. But this is an authoritative edition, impressive in compass and the editor (and his assistants) are to be congratulated on the thoroughness with which these fugitive plays are preserved, to reveal the range of significant commentary on both maritime, political and social issues that lies beneath the cutlasses and hurrahs. bill jones leicester http://dx.doi.org/10.1080/00253359.2020.1740446 © Bill Jones

中文翻译：

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拿破仑的海军上将：凯旋门的旗官，1798-1815 年

和权威。1797 年（1830 年）的英国水手兵变被编辑描述为“本系列最具争议的故事”（第 1 卷，第 367 页），描述了叛变者的“浮动共和国”。兵变是情节剧的一个有影响力的主题，但在改革法案和关于投票权的辩论的这个时候，作者们认识到他们的观众需要对英国水手在国家“木墙”上配备的爱国主义的保证。在这些剧中表演的其他主题包括贫困、种族主义、家庭被迫分离，以及有趣的是贫困或移民角色中教育和识字的重要性。长子继承法的对与错出现了——当然，在没有继承土地的情况下，次子通常会为海军服务。还有其他一些好奇心，例如罕见的“越界”仪式场景——它颠覆了通常的等级制度，对民主进行了喜剧评论。引起这位评论家注意的另外两个是参考挪威使用囚犯操纵灯船的习俗（浮动灯塔，或挪威沉船：1837）和飞翔的荷兰人，或幻影船（1826）必须是什么很早就提到了轮船“马盖特轮船”，它可以像同名的荷兰人一样真正直接转向迎风。在许多这些作品中都可以看到某些演员。一位是著名的喜剧演员约瑟夫·格里马尔迪，也许最常见的是托马斯·波特·库克（Thomas Potter Cooke，1784-1864 年），他是本世纪早期最受欢迎的演员之一，以喇叭舞者而闻名。他在玛丽雪莱的弗兰肯斯坦的戏剧化中多次作为生物出现。在作者中，有些人有直接的海军经验——其中一位，道格拉斯杰罗德，曾在简奥斯汀的兄弟查尔斯手下服役。艾萨克·波考克（鲁滨逊漂流记，或大胆的海盗：1817 年）是著名海洋画家尼古拉斯·波考克的儿子。编辑机构广泛而权威。大量的“防水油布”术语用于可预测但有效的喜剧效果：“她的上部索具如何滑动”（女主人公的）等等。这种航海语言需要加注，编辑通过参考 OED 和偶尔参考 Smyth 的 Sailor's Word-book (1867) 提供。奇怪的是，在这个集合中没有任何参考威廉法尔科纳的肯定更合适的通用海洋词典，尤其是威廉伯尼在 1815 年出版了大量的新版本。因此，航海术语的解释往往很尴尬，有时还会产生误导。但这是一个权威版本，令人印象深刻，编辑（和他的助手）对这些逃亡剧的保存的彻底性表示祝贺，以揭示对海洋、政治和社会问题的重要评论范围。在弯刀和欢呼声下。比尔琼斯莱斯特 http://dx.doi.org/10.1080/00253359.2020.1740446 © 比尔琼斯 令人印象深刻的指南针和编辑（和他的助手）对这些逃亡剧的保存的彻底性表示祝贺，以揭示隐藏在弯刀和欢呼之下的关于海事、政治和社会问题的重要评论范围。比尔琼斯莱斯特 http://dx.doi.org/10.1080/00253359.2020.1740446 © 比尔琼斯 令人印象深刻的指南针和编辑（和他的助手）对这些逃亡剧的保存的彻底性表示祝贺，以揭示隐藏在弯刀和欢呼之下的关于海事、政治和社会问题的重要评论范围。比尔琼斯莱斯特 http://dx.doi.org/10.1080/00253359.2020.1740446 © 比尔琼斯