Nick Bottom is a character in Shakespeare's A Midsummer Night's Dream who provides comic relief throughout the play. A weaver by trade, he is famously known for getting his head transformed into that of a donkey by the elusive Puck. Bottom and Puck are the only two characters who converse with and progress the three central stories in the whole play. Puck is first introduced in the fairies' story and creates the drama of the lovers' story by messing up who loves whom, places the donkey head on Bottom's in his story. Bottom is performing in a play in his story intending it to be presented in the lovers' story, as well as interacting with Titania in the fairies' story. While they are in the woods rehearsing, the fairy Puck, a mischievous sprite and minion of Oberon, king of the fairies, happens upon their rehearsal, he decides to have some fun with them, carrying out part of Oberon's orders in the process, when Bottom exits the stage, he transforms his head into a donkey's. When Bottom returns, unaware of his own transformation, his fellow actors run away from him with Quince screaming, "We are haunted!"
Bottom believes they are playing a prank on him, proclaiming, "This is to make an ass of me, to fright me if they could." So he sings loudly to show them he isn't afraid. The Fairy Queen Titania is awakened by Bottom's song, she has been enchanted by a love potion, which will cause her to fall in love with the first living thing that she sees when she wakes, made from the juice of a rare flower, once hit by Cupid's arrow, that her husband, King of the Fairies, spread on her eyes in an act of jealous rage. During his enchantment over her, he utters "Wake when some vile thing is near." The first thing she sees when she wakes is the transformed Bottom, she falls in love with him. She commands her fairy minions to serve and wait upon him. Oberon releases Titania from her enchantment. After being confronted with the reality that her romantic interlude with the transformed Bottom was not just a dream, she is disgusted with the image of him and seems suspicious of how "these things came to pass." After Oberon instructs Puck to return Bottom's head to his human state, which Puck reluctantly does, the fairies leave him sleeping in the woods, nearby the four Athenian lovers, Helena and Lysander.
He wakes up. His first thought is that he has missed his cue, he realises he has had "a most rare vision". He is amazed by the events of this dream, soon begins to wonder if it was in fact a dream at all, he decides that he will "get Peter Quince to write a ballad of this dream", that "it shall be called'Bottom's Dream,' because it hath no Bottom". Upon being reunited with his friends, he is not able to utter what has happened and says "For if I tell you, I am no true Athenian". Theseus ends up choosing Pyramus and Thisbe as the performance for his amusement, now the wedding day of the young Athenian lovers; the play is poorly written and poorly acted, though performed with a great deal of passion. Bottom performs the famous Pyramus death scene in the play within the play, one of the most comedic moments in the play. In performance, like Horatio in Hamlet is the only major part that can't be doubled, i.e. that can't be played by an actor who plays another character, since he is present in scenes involving nearly every character.
Bottom's discussion of his dream is considered by Ann Thompson to have emulated two passages from Chaucer's The Book of the Duchess. Critics have commented on the profound religious implications of Bottom's speech on his awakening without the ass's head in act 4 of A Midsummer Night's Dream: " The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was. I will get Peter Quince to write a ballad of this dream: it shall be called'Bottom's Dream', because it hath no bottom. Peradventure, to make it the more gracious, I shall sing it at her death." This speech seems to be a comically jumbled evocation of a passage from the New Testament's 1 Corinthians 2.9–10: "The things which eye hathe not sene, nether eare hath heard, nether came into man's heart, which God hathe prepared for them that love him. But God hathe reveiled them unto us by his Spirit: for the Spirit searcheth all things, the deepe things of God."
Steven Doloff suggests that Bottom's humorous and foolish performance at the end of "A Midsummer Night's Dream" mimics a passage from the previous chapter of Corinthians: "For seing the worlde by wisdome knewe not God in the wisdome of God, it pleased God by the foolishnes of preaching to save them that believe: Seing that the Jewes require a signe, the Grecians seke after wisdome. But we preache Christ crucified: unto the Jewes a stombling blocke, & unto the Grecians, foolishnes: But unto them which are called, bothe of the Jewes & Grecias we preache Christ, the power of GOD, the wisdome of God. For the foolishnes of God is wiser the men." This passage's description of the sceptical reception Christ was given by his Greek audience appears to be alluded to in Bottom's performance. Just as Christ's preaching is regarded as "foolishnes," Bottom's audience perceives his acting as without value, except for the humor they can find in the actors' hopelessly flawed rendering of their subject matter.
Doloff writes that this allusion is likely because, in both texts, the sc
Kitsch called cheesiness or tackiness, is art or other objects that speaking, appeal to popular rather than "high art" tastes. Such objects are sometimes appreciated in a knowingly humorous way; the word was first applied to artwork, a response to certain divisions of 19th-century art with aesthetics that favored what art critics would consider to be exaggerated sentimentality and melodrama. Hence,'kitsch art' is associated with'sentimental art'. Kitsch is related to the concept of camp, because of its humorous and ironic nature. Kitsch art may contain palatable and romantic themes and visuals that few would find disagreeable, shocking or otherwise objectionable, it may be quaint or "quirky" without being controversial. To brand visual art as "kitsch" is pejorative, as it implies that the work in question is gaudy, or that it serves a ornamental and decorative purpose rather than amounting to a work of what may be seen as true artistic merit. However, art deemed kitsch may be enjoyed in an positive and sincere manner.
The term is sometimes applied to music or literature, or indeed any work. As a descriptive term, "kitsch" originated in the art markets of Munich in the 1860s and the 1870s, describing cheap and marketable pictures and sketches. In Das Buch vom Kitsch, Hans Reimann defines it as a professional expression "born in a painter's studio"; the study of kitsch was done exclusively in German until the 1970s, with Walter Benjamin being an important scholar in the field. Kitsch is regarded as a modern phenomenon, coinciding with social changes in recent centuries such as the Industrial Revolution, mass production, modern materials and mediums such as plastics and television, the rise of the middle class and public education—all of which have factored into a perception of oversaturation of art produced for the popular taste. Modernist writer Hermann Broch argues that the essence of kitsch is imitation: kitsch mimics its immediate predecessor with no regard to ethics—it aims to copy the beautiful, not the good.
According to Walter Benjamin, kitsch is, unlike art, a utilitarian object lacking all critical distance between object and observer. Kitsch is less about the thing observed than about the observer. According to Roger Scruton, "Kitsch is fake art, expressing fake emotions, whose purpose is to deceive the consumer into thinking he feels something deep and serious."Tomáš Kulka, in Kitsch and Art, starts from two basic facts that kitsch "has an undeniable mass-appeal" and "considered bad", proposes three essential conditions: Kitsch depicts a beautiful or emotionally charged subject. The Kitsch movement is an international movement of classical painters, founded in 1998 upon a philosophy proposed by Odd Nerdrum and clarified in his book On Kitsch in cooperation with Jan-Ove Tuv and others, incorporating the techniques of the Old Masters with narrative and charged imagery. Camp Cliché Lowbrow Museum of Bad Art – Privately owned museum Poshlost – A Russian word for a particular negative human character trait or man-made thing or idea Prolefeed – Newspeak term in the novel Nineteen Eighty-Four by George OrwellNotable examplesDogs Playing Poker – Set of paintings by Cassius Marcellus Coolidge Velvet Elvis – A painting of Elvis Presley on velvet William-Adolphe Bouguereau – 19th-century French painter Christmas cards Adorno, Theodor.
The Culture Industry. Routledge. ISBN 0-415-25380-2 Botz-Bornstein, Thorsten. "Wabi and Kitsch: Two Japanese Paradigms" in Æ: Canadian Aesthetics Journal 15. Braungart, Wolfgang. "Kitsch. Faszination und Herausforderung des Banalen und Trivialen". Max Niemeyer Verlag. ISBN 3-484-32112-1/0083-4564. Cheetham, Mark A. "Kant and Art History: moments of discipline". Cambridge University Press. ISBN 0-521-80018-8. Dorfles, Gillo. Kitsch: The World of Bad Taste, Universe Books. LCCN 78-93950 Elias, Norbert. "The Kitsch Style and the Age of Kitsch," in J. Goudsblom and S. Mennell The Norbert Elias Reader. Oxford: Blackwell. Gelfert, Hans-Dieter. "Was ist Kitsch?". Vandenhoeck & Ruprecht in Göttingen. ISBN 3-525-34024-9. Giesz, Ludwig. Phänomenologie des Kitsches. 2. Vermehrte und verbesserte Auflage München: Wilhelm Fink Verlag.. Reprint: Ungekürzte Ausgabe. Frankfurt am Main: S. Fischer Verlag. ISBN 3-596-12034-9 / ISBN 978-3-596-12034-5. Gorelik, Boris. Incredible Tretchikoff: Life of an artist and adventurer. Art / Books, London.
ISBN 978-1-908970-08-4 Greenberg, Clement. Art and Culture. Beacon Press. ISBN 0-8070-6681-8 Holliday and Potts, Tracey Kitsch! Cultural Politics and Taste, Manchester University Press. ISBN 978-0-7190-6616-0 Karpfen, Fritz. "Kitsch. Eine Studie über die Entartung der Kunst". Weltbund-Verlag, Hamburg. Kristeller, Paul Oskar. "The Modern System of the Arts". Princeton University Press. ISBN 978-0-691-02010-5 Kulka, Tomas. Kitsch and Art. Pennsylvania State University Press. ISBN 0-271-01594-2 Moles, Abraham. Psychologie du Kitsch: L'art du Bonhe
The Mabinogion are the earliest prose stories of the literature of Britain. The stories were compiled in Middle Welsh in the 12th–13th centuries from earlier oral traditions; the two main source manuscripts were created c. 1350–1410, as well as a few earlier fragments. These stories offer drama, romance, tragedy and humour, were created by various narrators over time; the title covers a collection of eleven prose stories of different types. There is a classic hero quest, "Culhwch and Olwen"; the sophisticated complexity of the Four Branches of the Mabinogi defies categorisation. The stories are so diverse that it has been argued that they are not a true collection. Scholars from the 18th century to the 1970s predominantly viewed the tales as fragmentary pre-Christian Celtic mythology, or in terms of international folklore. There are traces of mythology, folklore components, but since the 1970s an understanding of the integrity of the tales has developed, with investigation of their plot structures and language styles.
They are now seen as a sophisticated narrative tradition, both oral and written, with ancestral construction from oral storytelling, overlay from Anglo-French influences. The first modern publications were English translations by William Owen Pughe of several tales in journals in 1795, 1821, 1829; however it was Lady Charlotte Guest in 1838–45 who first published the full collection, bilingually in Welsh and English. She is assumed to be responsible for the name "Mabinogion", but this was in standard use since the 18th century. Indeed, as early as 1632 the lexicographer John Davies quotes a sentence from Math fab Mathonwy with the notation "Mabin." in his Antiquae linguae Britannicae... dictionarium duplex, article "Hob". The Guest translation of 1877 in one volume has been influential and remains read today; the most recent translation is a compact version by Sioned Davies. John Bollard has published a series of volumes with his own translation, with copious photography of the sites in the stories.
The tales continue to inspire new fiction, dramatic retellings, visual artwork, research. The name first appears in 1795 in William Owen Pughe's translation of Pwyll in the journal Cambrian Register under the title "The Mabinogion, or Juvenile Amusements, being Ancient Welsh Romances." The name appears to have been current among Welsh scholars of the London-Welsh Societies and the regional eisteddfodau in Wales. It was inherited as the title by the first publisher of the complete collection, Lady Charlotte Guest; the form mabynnogyon occurs once at the end of the first of the Four Branches of the Mabinogi in one manuscript. It is now agreed that this one instance was a mediaeval scribal error which assumed'mabinogion' was the plural of'mabinogi,', a Welsh plural occurring at the end of the remaining three branches; the word mabinogi itself is something of a puzzle, although derived from the Welsh mab, which means "son, young person". Eric P. Hamp of the earlier school traditions in mythology, found a suggestive connection with Maponos "the Divine Son", a Gaulish deity.
Mabinogi properly applies only to the Four Branches, a organised quartet likely by one author, where the other seven are so diverse. Each of these four tales ends with the colophon "thus ends this branch of the Mabinogi", hence the name. Lady Charlotte Guest's work was helped by the earlier research and translation work of William Owen Pughe; the first part of Charlotte Guest's translation of the Mabinogion appeared in 1838, it was completed in seven parts in 1845. A three-volume edition followed in 1846, a revised edition in 1877, her version of the Mabinogion remained standard until the 1948 translation by Gwyn Jones and Thomas Jones, praised for its combination of literal accuracy and elegant literary style. Several more, listed below, have since appeared. Dates for the tales in the Mabinogion have been much debated, a range from 1050 to 1225 being proposed, with the consensus being that they are to be dated to the late 11th and 12th centuries; the stories of the Mabinogion appear in either or both of two medieval Welsh manuscripts, the White Book of Rhydderch or Llyfr Gwyn Rhydderch, written circa 1350, the Red Book of Hergest or Llyfr Goch Hergest, written about 1382–1410, though texts or fragments of some of the tales have been preserved in earlier 13th century and manuscripts.
Scholars agree that the tales are older than the existing manuscripts, but disagree over just how much older. It is clear, thus the tale of Culhwch ac Olwen, with its primitive warlord Arthur and his court based at Celliwig, is accepted to precede the Arthurian romances which show the influence of Geoffrey of Monmouth's Historia Regum Britanniae and the romances of Chrétien de Troyes.. Those following R. S. Loomis would date it before 1100, see it as providing important evidence for the development of Arthurian legend, with links to Nennius and early Welsh poetry.. By contrast, The Dream of Rhonabwy is set in the reign of the historical Madog ap Maredudd, must therefore either be contemporary with or postdate his reign, being early 13thC. Much debate has been focused on the dating of the Four Bran
Charles, Prince of Wales
Charles, Prince of Wales is the heir apparent to the British throne as the eldest child of Queen Elizabeth II. He has been Duke of Cornwall and Duke of Rothesay since 1952, is the oldest and longest-serving heir apparent in British history, he is the longest-serving Prince of Wales, having held that title since 1958. Charles was born at Buckingham Palace as the first grandchild of King George Queen Elizabeth, he was educated at Cheam and Gordonstoun schools, which his father, Prince Philip, Duke of Edinburgh, had attended as a child, as well as the Timbertop campus of Geelong Grammar School in Victoria, Australia. After earning a Bachelor of Arts degree from the University of Cambridge, Charles served in the Royal Air Force and Royal Navy from 1971 to 1976. In 1981, he married Lady Diana Spencer and they had two sons: Prince William —later to become Duke of Cambridge—and Prince Harry —later to become Duke of Sussex. In 1996, the couple divorced following well-publicised extramarital affairs by both parties.
Diana was killed in a car crash in Paris the following year. In 2005, Charles married long-time partner Camilla Parker Bowles; as Prince of Wales, Charles undertakes official duties on behalf of the Queen and the Commonwealth realms. Charles founded The Prince's Trust in 1976, sponsors The Prince's Charities, is a patron, president and a member of over 400 other charities and organisations; as an environmentalist, he raises awareness of organic farming and climate change which has earned him awards and recognition from environmental groups. His support for alternative medicine, including homeopathy, has been criticised by some in the medical community and his views on the role of architecture in society and the conservation of historic buildings have received considerable attention from British architects and design critics. Since 1993, Charles has worked on the creation of Poundbury, an experimental new town based on his preferences, he is an author and co-author of a number of books. Charles was born at Buckingham Palace in London during the reign of his maternal grandfather George VI on 14 November 1948, at 9:14 pm, the first child of Princess Elizabeth, Duchess of Edinburgh, Philip, Duke of Edinburgh, first grandchild of King George VI and Queen Elizabeth.
He was baptised in the palace's Music Room by the Archbishop of Canterbury, Geoffrey Fisher, on 15 December 1948. The death of his grandfather and the accession of his mother as Queen Elizabeth II in 1952 made Charles her heir apparent; as the monarch's eldest son, he automatically took the titles Duke of Cornwall, Duke of Rothesay, Earl of Carrick, Baron of Renfrew, Lord of the Isles and Prince and Great Steward of Scotland. Charles attended his mother's coronation at Westminster Abbey on 2 June 1953; as was customary for upper-class children at the time, a governess, Catherine Peebles, was appointed and undertook his education between the ages of five and eight. Buckingham Palace announced in 1955 that Charles would attend school rather than have a private tutor, making him the first heir apparent to be educated in that manner. On 7 November 1956, Charles commenced classes in west London, he did not receive preferential treatment from the school's founder and headmaster, Stuart Townend, who advised the Queen to have Charles train in football because the boys were never deferential to anyone on the football field.
Charles attended two of his father's former schools, Cheam Preparatory School in Berkshire, from 1958, followed by Gordonstoun in the north-east of Scotland, beginning classes there in April 1962. Though he described Gordonstoun, noted for its rigorous curriculum, as "Colditz in kilts", Charles subsequently praised Gordonstoun, stating it had taught him "a great deal about myself and my own abilities and disabilities, it taught me to accept challenges and take the initiative." In a 1975 interview, he said he was "glad" he had attended Gordonstoun and that the "toughness of the place" was "much exaggerated". He spent two terms in 1966 at the Timbertop campus of Geelong Grammar School in Victoria, during which time he visited Papua New Guinea on a school trip with his history tutor, Michael Collins Persse. In 1973, Charles described his time at Timbertop as the most enjoyable part of his whole education. Upon his return to Gordonstoun, Charles emulated his father in becoming Head Boy, he left in 1967, with six GCE O-levels and two A-levels in history and French, at grades B and C respectively.
On his early education, Charles remarked, "I didn't enjoy school as much as I might have, but, only because I'm happier at home than anywhere else."Charles broke royal tradition a second time when he proceeded straight to university after his A-levels, rather than joining the British Armed Forces. In October 1967, he was admitted to Trinity College, where he read anthropology and history. During his second year, Charles attended the University College of Wales in Aberystwyth, studying Welsh history and language for a term, he graduated from Cambridge with a 2:2 Bachelor of Arts on 23 June 1970, the first heir apparent to earn a university degree. On 2 August 1975, he was awarded a Master of Arts degree from Cambridge, in accordance with the university's practice. Charles was created Prince of Wales and Earl of Chester on 26 July 1958, though his investiture was not held until 1 July 1969, when he was crowned by his mother in a televised ceremony held at Caernarfon Castle, he took his seat in the House of Lords in 1970, he made his maiden speech at a debate in June 1974, becoming the first royal to speak in the Lords since his great-great-grandfather Edward VII speaking as Prince of Wales, in 1884.
Radio Times is a British weekly magazine which provides radio and television listings. It was the world's first broadcast listings magazine when it was founded in 1923 by John Reith general manager of the British Broadcasting Company became the British Broadcasting Corporation from 1927, it was published in-house by BBC Magazines from 1937 until 2011 when the BBC Magazines division was merged into Immediate Media Company. Radio Times was first issued on 28 September 1923 for the price of 2d, carrying details of BBC wireless programmes. Radio Times was a combined enterprise between the British Broadcasting Company and the publisher George Newnes, who type-set and distributed the magazine, but in 1925 the BBC assumed full editorial control, by 1937 the publication was in-house. The Radio Times established a reputation for using leading writers and illustrators, the covers from the special editions are now collectible design classics. In 1928, Radio Times announced a regular series of'experimental television transmissions by the Baird process' for half an hour every morning.
The launch of the first regular 405-line television service by the BBC was reflected with television listings in the Radio Times edition of 23 October 1936. Thus Radio Times became the first television listings magazine in the world. Only two pages in each edition were devoted to television. However, on 8 January 1937 the magazine published a lavish photogravure supplement and by September 1939, there were three pages of television listings. Britain declared war on Germany on 3 September 1939 and television broadcasting ceased. Radio listings continued throughout the war with a reduced service, but by 1944, paper rationing meant editions were only 20 pages of tiny print on thin paper; when television resumed, the Radio Times expanded with regional editions were introduced. In 1953 the television listings, in the back of the magazine, were placed alongside the daily radio schedules and on 17 February 1957, television listings were moved to a separate section at the front with radio listings relegated to the back.
By the 1950s Radio Times had grown to be the magazine with the largest circulation in Europe, with an average sales of 8.8 million in 1955. Radio Times is published on Tuesdays and carries listings for the following Saturday through to Friday. From 20 April 1964, BBC Two starts broadcasting, the existing "BBCtv" is renamed BBC One on 1 July 1967, BBC Two becomes Europe's first colour television service is launched with the live Wimbledon coverage, two years BBC One is introduced colour service on 15 November 1969. Since Christmas 1969, a double-sized issue has been published each December containing listings for two weeks of programmes; this covered Christmas and New Year listings, but in some years these appear in separate editions, with the two-week period ending just before New Year. The cover of the'Christmas Number' dating from the time when it contained just a single week's listings features a generic festive artwork, atypical for the magazine, which since the 1970s has exclusively used photographic covers for all other issues.
By the 1970s, Radio Times took a stand with "no smoking" policies were beginning to appear for some reason and stopped cigarette advertising from September 1969 within the magazine. On 1 September 1984, the method of web-offset printing was used for the first time, the magazine became brighter and more colourful, gone were the sludgy greys of newsprint and sheets of gravure was replaced by clean blacks on white paper from leafing through although it wasn't until 2 June 1990 that the entire magazine was printed in full colour; until the deregulation of television listings on 1 March 1991, the Radio Times carried programme listings for BBC radio and television channels only, while the ITV-published magazine, TVTimes, carried television programme listings for ITV, from November 1982, Channel 4. Today both publications carry listings for all major terrestrial and satellite television channels in the United Kingdom and following deregulation, new listings magazines began to be published. After the deregulation of television listings, there was strong criticism from other listings magazines that Radio Times was advertised on the BBC, saying that it gave unfair advantage to the publication bearing "If it's on... it's in!" slogan.
The case went to court, but the outcome was that as the Radio Times had close connections with the BBC it would be allowed to be advertised by the BBC. By the early 2000s, advertisements for the publication had become sparse on the BBC; the Radio Times has not been promoted on BBC television and radio channels since 2005, following complaints by rival publications that the promotions were unfair competition. Radio Times gets with the new fresher look on 3 September 1994 as the television listings had the day's name going vertical with "today's choices" replacing "at a glance" on the left of a page, while the major revamp on 25 September 1999, which
Daniel Massey (actor)
Daniel Raymond Massey was an English actor and performer. He is best known for his starring role in the British TV drama The Roads to Freedom, as Daniel, alongside Michael Bryant, he is known for his role in the 1968 American film Star!, as Noël Coward, for which he won a Golden Globe Award and an Oscar nomination. Massey was born in London in 1933, he was educated at King's College, Cambridge. He was a member of the noted Massey family, which included his father, Raymond Massey, his sister, Anna Massey and his uncle Vincent Massey, the first Canadian-born Governor General of Canada, his mother was the actress Adrianne Allen. Living with his mother after his parents' divorce, Massey saw his father through most of his adult life. Massey made his film debut as a child in Noël Coward's flag-waver, In Which We Serve – Coward being his godfather, he would play Coward in the 1968 Julie Andrews vehicle Star!, a performance for which he won a Golden Globe Award and received his sole Academy Award nomination for Best Supporting Actor.
He made a major impression as an adult as Laurence Olivier's son-in-law in the stage and screen versions of John Osborne's The Entertainer. Massey appeared in numerous British films from the 1950s onwards, including Cromwell, The Cat and the Canary, The Jokers, The Vault of Horror, Queen of Scots, Victory! and In the Name of the Father. Other highlights of his career were his stage roles that of the German conductor Wilhelm Furtwängler in Ronald Harwood's Taking Sides, he recreated the role for Broadway in 1996, earning a 1997 Drama Desk Award nomination for Outstanding Actor In A Play. His other Broadway stage appearances included musicals such as She Loves Me as Georg in 1963 and Gigi in 1973, he appeared in Stephen Sondheim's Follies as Benjamin Stone in the West End in 1987. In the 1980s and 1990s, he appeared with the Royal Shakespeare Company in productions such as Love's Labour's Lost, Measure for Measure and The Time of Your Life, the latter alongside John Thaw. On television, highlights include The Crucible on the BBC as Reverend Hale, The Golden Bowl as the Prince, in the Inspector Morse episode "Deceived by Flight" as Anthony Donn, again with John Thaw, his performance as an AIDS patient in Intimate Contact.
With Jeremy Brett as Sherlock Holmes, he played a US Senator in "The Problem of Thor Bridge" season 5, Granada Television, 1990. Brett had once been married to Massey's sister and was father to Massey's nephew by Anna, actor David Huggins. Massey played the role of the gay character Daniel, alongside a cast headed by Michael Bryant as Mathieu in the acclaimed BBC adaptation of Jean Paul Sartre's The Roads to Freedom. Massey was married three times, two of his wives being well-known actresses: Adrienne Corri Penelope Wilton, his body was interred at Putney Vale Cemetery. Massey worked in theatre throughout his cancer treatments missing a performance. Granada Television: screen credits. Daniel Massey at Find a Grave Daniel Massey on IMDb Daniel Massey at the Internet Broadway Database Daniel Massey quotes