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    Love Among the Lions: "What's the use of trying to make ourselves what we are not?"
    Love Among the Lions: "What's the use of trying to make ourselves what we are not?"
    Love Among the Lions: "What's the use of trying to make ourselves what we are not?"
    Ebook60 pages1 hour

    Love Among the Lions: "What's the use of trying to make ourselves what we are not?"

    By F. Anstey

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    F. Anstey was the pseudonym of Thomas Anstey Guthrie who was born in Kensington, London on August 8th, 1856, to Augusta Amherst Austen, an organist and composer, and Thomas Anstey Guthrie., a prosperous military tailor. Anstey was educated at King's College School and then at Trinity Hall, Cambridge. Although his education was first rate Anstey could only manage a third-class degree; A Gentlemen’s degree as it was euphemistically known. In 1880 he was called to the bar. However this career path rapidly fell away in his desire to become an author. The successful publication of Vice Versa, in 1882, with the premise of a substitution of a father for his schoolboy son, made his name and reputation as a refreshing and original humorist. The following year he published a rather more serious work, The Giant's Robe. Interestingly the story is about a plagiarist and Anstey was, ironically, accused of plagiarism in writing the work. Despite good reviews both he and his public knew that his writing career was to be that of a humorist. In the following years he published prolifically beginning with; The Black Poodle (1884), The Tinted Venus (1885), A Fallen Idol (1886), and Baboo Jabberjee B.A. (1897). Anstey worked not only as a novelist and short story writer but was also a valued member of the staff at the humorous Punch magazine, in which his voces populi and his parodies of a reciter's stock-piece (Burglar Bill) represent perhaps his best work. In 1901, his successful farce, The Man from Blankleys, based on a story that originally appeared in Punch, was first produced on stage at the Prince of Wales Theatre, in London. Anstey had become a writer, and a successful one at that, of many talents. Many more of his stories were made into plays and films over the years. Others were simply taken for the premise alone, usually with no credit to the original author. By the end of the First World War Anstey’s original publications had slowed to a crawl and he seemed rather more interested in translating and publishing some works of Moliere. Thomas Anstey Guthrie died of pneumonia on March 10th, 1934 in London. His self-deprecating autobiography, A Long Retrospect, was published in 1936.

    LanguageEnglish
    PublisherHorse's Mouth
    Release dateMar 1, 2017
    ISBN9781787374409
    Love Among the Lions: "What's the use of trying to make ourselves what we are not?"

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      Book preview

      Love Among the Lions - F. Anstey

      Love Among the Lions by F. Anstey

      F. Anstey was the pseudonym of Thomas Anstey Guthrie who was born in Kensington, London on August 8th, 1856, to Augusta Amherst Austen, an organist and composer, and Thomas Anstey Guthrie., a prosperous military tailor

      Anstey was educated at King's College School and then at Trinity Hall, Cambridge. Although his education was first rate Anstey could only manage a third-class degree; A Gentlemen’s degree as it was euphemistically known.

      In 1880 he was called to the bar. However this career path rapidly fell away in his desire to become an author.  The successful publication of Vice Versa, in 1882, with the premise of a substitution of a father for his schoolboy son, made his name and reputation as a refreshing and original humorist.

      The following year he published a rather more serious work, The Giant's Robe.  Interestingly the story is about a plagiarist and Anstey was, ironically, accused of plagiarism in writing the work.  Despite good reviews both he and his public knew that his writing career was to be that of a humorist.

      In the following years he published prolifically beginning with; The Black Poodle (1884), The Tinted Venus (1885), A Fallen Idol (1886), and Baboo Jabberjee B.A. (1897).

      Anstey worked not only as a novelist and short story writer but was also a valued member of the staff at the humorous Punch magazine, in which his voces populi and his parodies of a reciter's stock-piece (Burglar Bill) represent perhaps his best work.

      In 1901, his successful farce, The Man from Blankleys, based on a story that originally appeared in Punch, was first produced on stage at the Prince of Wales Theatre, in London.

      Anstey had become a writer, and a successful one at that, of many talents.

      Many more of his stories were made into plays and films over the years. Others were simply taken for the premise alone, usually with no credit to the original author.

      By the end of the First World War Anstey’s original publications had slowed to a crawl and he seemed rather more interested in translating and publishing some works of Moliere.

      Thomas Anstey Guthrie died of pneumonia on March 10th, 1934 in London.

      His self-deprecating autobiography, A Long Retrospect, was published in 1936.

      Index of Contents

      Part I

      Part II

      F. Anstey – A Concise Bibliography

      PART I

      In the following pages will be found the only authentic account of an affair which provided London, and indeed all England, with material for speculation and excitement for a period of at least nine days.

      So many inaccurate versions have been circulated, so many ill-natured and unjust aspersions have been freely cast, that it seemed advisable for the sake of those principally concerned to make a plain unvarnished statement of the actual facts. And when I mention that I who write this am the Theodore Blenkinsop whose name was, not long since, as familiar in the public mouth as household words, I venture to think that I shall at once recall the matter to the shortest memory, and establish my right to speak with authority on the subject.

      At the time I refer to I was—and for the matter of that still am—employed at a lucrative salary as taster to a well-known firm of tea-merchants in the City. I occupied furnished apartments, a sitting-room and bedroom, over a dairy establishment in Tadmor Terrace, near Baalbec Road, in the pleasant and salubrious district of Highbury.

      Arrived at the age of twenty-eight, I was still a bachelor and had felt no serious inclination to change my condition until the memorable afternoon on which the universe became transformed for me in the course of a quiet stroll round Canonbury Square.

      For the information of those who may be unacquainted with it, I may state that Canonbury Square is in Islington; the houses, though undeniably dingy as to their exteriors, are highly respectable, and mostly tenanted by members of the medical, musical, or scholastic professions; some have balconies and verandahs which make it difficult to believe that one has not met them, like their occupiers, at some watering place in the summer.

      The square is divided into two by a road on which frequent tramcars run to the City, and the two central enclosures are neatly laid out with gravelled paths and garden seats; in the one there is a dovecot, in the other there are large terra-cotta oil-jars, bringing recollections of the Arabian Nights and the devoted Morgiana.

      All this, I know, is not strictly to the point, but I am anxious to make it clear that the locality, though not perhaps a chosen haunt of Rank and Fashion, possesses compensations of its own.

      Strolling round Canonbury Square, then, I happened to glance at a certain ground floor window in which an art-pot, in the form of a chipped egg hanging in gilded chains and enamelled shrimp-pink, gave a note of femininity that softened the dusty severity of a wire blind.

      Under the chipped egg, and above the top of the blind, gazing out with an air of listless disdain and utter weariness, was a lovely vivid face, which, with its hint of pent-up passion

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