Laurence'Larry' Foley was a nearly undefeated Australian middleweight championship boxer. An exceptional boxing instructor, his students included American champions Peter Jackson, Tommy Burns, the incomparable English-born triple weight class champion Bob Fitzsimmons and Australian champion Mike Dooley. Due to his success as a boxing champion and internationally acclaimed instructor, for introducing his country to the modern Queensberry Rules, he is referred to as the "Father of Australian Boxing". Foley was born to an Irish schoolmaster and his wife Mary in Bathurst, New South Wales on 12 December 1849, he was baptised a few years on 2 May 1852 in Penrith. At three his family moved to Sydney, at fourteen he moved to Wollongong as servant to a Roman Catholic priest with the expectation that he would join the priesthood; this never happened and instead, he returned to Sydney where at the age of 20, he worked as a building labourer and as a sub-forman and building contractor. In Sydney, he joined a street-fighting gang in his youth fighting members of a rival Protestant group.
His first fight, lasting seventy-one rounds, was believed to have been on 18 March 1871 against Sandy Ross, a leader of the rival'Orange' or Protestant gang, ended when police stopped the fight. He was known as ` Captain of the Push'. On 17 September 1873 he married Mary Anne Hayes. Sporting patron George Hill, a member of the “Fancy”, recognized Foley's exceptional ability and helped set up several exhibitions and Prizefights. Between 1872–76, Foley defeated at least six opponents by knockout in New South Wales, earning a reputation as a talented middleweight who in time might fight for a championship. On 2 December 1878, Foley fought a championship bout with Peter Newton, though the dates of the fight vary as do the number of rounds; the fight was declared a draw as the police intervened in the 40th round, no decision of a winner was made. Having abandoned street fighting, he moved into prizefights and exhibitions, winning or drawing all but one of them, including a gloved exhibition in 1877 with former English champion Jem Mace in Sydney, who would become a friend and mentor.
On 20 March 1879, he fought Abe Hicken bare-knuckle by London Prize Ring Rules, four miles from Warparilla, near Echuca, on the New South Wales side of the River Murray. He had been reluctant to fight Abe Hicken in an antiquated bare-knuckle bout, his friend Jem Mace discouraged him from accepting the challenge, but Hicken had claimed he was the true Australian champion, Foley accepted the challenge regardless of the extra risk inherent in bare knuckle boxing under London Prize Ring Rules. Over a thousand spectators assembled at the remote spot to watch the contest for the Australian middleweight championship and a purse of £500 a side. Though not significant, he had an advantage of one or two inches and around five pounds on his opponent, this factor may have influenced the early betting which gave Hicken a champion, odds of 2–1; the fight was considered by many to be the Middleweight championship of the world. A constable was sent to arrest both men for the illegal sport of prize fighting, warrants for their arrest had been completed, but the policeman who attended the bout was ignored, the fight commenced on time.
Foley won by knockout in 16 rounds, in one hour and twenty minutes as Hicken and badly beaten, fell. Back home in Sydney a concert and subscription fund were organized for Foley. Foley followed his victory over Hicken with a three round win by knockout over Harry Sellars on 1 July 1879 at Redfern in Sydney, though the dates of the bout vary somewhat. In the following years, though he continued to fight exhibitions and no decision bouts, Foley retired from his defence of the middleweight championship. By 1879, Foley had managed two Sydney hotels. One of his responsibilities was tending bar at his hotels, though unlike many of his fellow boxers, he was a tetotaler by most accounts. After his victory over Hicken, Foley opened a boxing academy at his White Horse Hotel on George Street, though he held matches there earlier. Former English champion Jem Mace, who trained Foley for his championship bout with Hicken, helped open the school and continued as an instructor. At his gym at the White Horse, Foley taught and guided the careers of the great boxers Young Griffo, Bob Fitzsimmons, Paddy Slavin, Peter Jackson as well as the lesser known Dan Creedon and George Dawson.
He was known worldwide for the quality of his boxing training, acted as a promoter as well at times, helping to mold the career of his most gifted student Bob Fitzsimmons, who would become a champion in three weight classes. Foley's greatest contribution to boxing was as an advocate for the modern Marquess of Queensberry Rules, which revolutionized Australian boxing by allowing finesse and defensive technique to replace much of the brutality more common with the former London Prize Ring Rules, he helped introduce Queensberry Rules at his boxing academy and in the fights held there at his Ironpot Stadium in the back of the White Horse hotel, he incorporated the scientific, straight-punching methods he learned during his own brilliant career into the techniques he taught his students. At the advanced age of 39, Foley came out of boxing retirement to fight a gloved battle using the modern Marquess of Queensberry Rules against "Professor" William Miller in Sydney, New South Wales on 28 May 1883 for the championship of Australia.
Due to Miller's weight of around 190, the bout was a heavyweight championship. Unofficially declared a draw, the forty round bout and
"Ariel's song" is a verse passage in Scene ii of Act I of William Shakespeare's The Tempest. It consists of two stanzas to be delivered in the hearing of Ferdinand. In performance it is sometimes sometimes spoken. There is an extant musical setting of the second stanza by Shakespeare's contemporary Robert Johnson, which may have been used in the original production. "Full fathom five" is the beginning of the second stanza of "Ariel's song", better known than the first stanza, presented alone. It implicitly addresses Ferdinand who, with his father, has just gone through a shipwreck in which the father drowned, it is the origin of "the identically worded catchphrase, which means "at a depth of five fathoms " and thus, in most evocations and lost as the father is. Prior to modern diving technology, an object lost in five fathoms of water would be considered irretrievable. Full fathom five thy father lies. Sea-nymphs hourly ring his knell:Ding-dong. Hark! now I hear them — Ding-dong, bell. This stanza is the source of the contemporary English usage of "sea change".
Modern usage of the phrase is specific to the sea or drowning, but refers to any change, holistic and seems "beyond recognition" in degree: a metamorphosis. The lines of Ariel's song do not indicate whether the "sea change" was caused by Prospero's magical powers, or by immersion in the sea. Robert Johnson, for melody and bass Henry Purcell, for soprano Z 631 Arthur Sullivan, for soprano, from The Tempest suite Charles Wood, for chorus John Ireland, for soprano and piano Charles Ives, for medium voice and piano, under the title A Sea Dirge Frank Martin, for a cappella choir, as one of Five Songs of Ariel Ralph Vaughan Williams, for a cappella SATB choir, as one of Three Shakespeare Songs Igor Stravinsky, second of the Three Songs from William Shakespeare Michael McDermott for unaccompanied SATB Choir as part of his Festival Of The Sea suite Jaakko Mäntyjärvi in the fourth of Four Shakespeare Songs for mixed choir Jackson Pollock's "Full Fathom Five" takes its title from the line. On the gravestone of Percy Bysshe Shelley in the Protestant Cemetery in Rome the lines “Nothing of him that doth fade, / But doth suffer a sea-change / Into something rich and strange.”
Are engraved. His schooner, on which he sailed the day he drowned, was called ‘Ariel’. T. S. Eliot's The Waste Land includes the lines "I remember / Those are pearls that were his eyes". Rich and Strange is a 1930 novel by Dale Collins which explores incidents and themes found in the play, it was the basis of a 1931 film of the same name, directed by Alfred Hitchcock. "Full Fathom Five" is the title of the first episode of Hawaii Five-O. In it the villains quote the stanza in full, but with minor variations to suit the plot. Stephen King's Duma Key includes the lines "Full fathom five thy father lies... Those are pearls that were his eyes" Laurie Anderson's 1984 album Mister Heartbreak includes the track Blue Lagoon which contains the second stanza starting "Full fathom five thy father lies..." but replaces the end line "Sea-nymphs hourly ring his knell: Ding-dong. Hark! now I hear them — Ding-dong, bell." With "And I alone am left to tell the tale. Call me Ishmael." The 1998-1999 Australian television show SeaChange is named after a phrase from the second stanza, as are two of the episodes,'Full Fathom Five' and'Something Rich and Strange'.
Other references include the name of the main character's daughter, Miranda, as well as the frequent freak weather events that occur in the fictional town the show is set in. In'A Brief History of Montmaray', the first book in the trilogy'The Montmaray Journals', by Michelle Cooper, on page 119, the protagonist, Sophia quotes the second stanza of Ariel's Song as a tribute to one of the characters during his funeral. Barbara Kingsolver's 1999 novel The Poisonwood Bible includes the lines "Full fathom five thy father lies... Into something rich and strange." Robert Hayden's poem "Middle Passage" alludes to this passage with the lines "Deep in the festering hole thy father lies, / of his bones New England pews are made / those are altar lights that were his eyes." References It is quoted in "Cibola Burn, Book 4 of the Expanse", by James S. A. Corey Fathom Five National Marine Park is a National Marine Conservation Area in the Georgian Bay part of Lake Huron, Canada. In her poem "Full Fathom Five" Sylvia Plath alludes to her difficult relationship with her father and his incomprehensible nature.
In Zadie Smith's novel On Beauty, Kiki Belsey believes that the lines are by Plath