{"numero_id": "bm-bmtnaap-1922-12-01", "volume": "bmtnaap_1922-12_01", "ocr_sha256": "92bd34c3416c884005fdcf536f4c2c5a8914317f7999a2d6086180fbc9f1e72d", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaap/issues/1922/12_01/bmtnaap_1922-12_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaap/issues/1922/12_01/bmtnaap_1922-12_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01", "articles": [{"article_id": "bm-bmtnaap-1922-12-01-c002", "article_bluemountain": "bmtnaap_1922-12_01#c002", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.2", "titre_corps": "Table of Contents", "titre_sommaire": "Table of Contents", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.2", "debut_caractere": 1182, "fin_caractere_exclue": 2243, "texte": "Page\nCover Design — (Woodcut) — Halicka —\nSeventh Street — Jean Toomer 3\nStavrogin's Confession — Feodor Dostoyevski 4\nDostoyevski — Louis Grudin . 12\nWoodcuts — Ladislas Medgyes 13,30\nSome Commonplaces on the Dance — Andr£ Levinson 14\nJason and Medea — Engraving by J. Boydell facing 16\nMlle. Puvign£, la Statue dans Pygmalion —by Boquet facing 17\nThe Cosmic Theatre — Paul Scheerbart 22\nNotations from a Music Master's Roll Book — Henry Bellamann . . . 31\nMarie Taglioni dancing a Pas-de-Quatre — old Lithograph facing 32\nFanny Elsler — Lithograph by G. Leybold facing 33\nThe Lay of Maldoror — Comte de Lautr£amont •. . 35\nYoung Mr. Elkins — Malcolm Cowley 52\nCarlotta Grisi — Old Lithograph facing 56\nBallerinas — Pablo Picasso facing 57\nInstant Note on Waldo Frank — Matthew Josephson 57\nDancer from the Ballet Tricorne — Pablo Picasso 61\nNo. 19 — Louis Kassak- . 62\nCostume for Ravel's \"Rhapsodie Espagnole\" — Gontcharova 64\nOn the Stairs Leading to My Marble Halls — Alfred Mombert , 65\nSuffering — Albert Ehrenstein 65\nThe Moscow Art Theatre — H. A. L 66"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c003", "article_bluemountain": "bmtnaap_1922-12_01#c003", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "3", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.3", "titre_corps": "Seventh Street", "titre_sommaire": "Seventh Street", "signature_source": "Jean Toomer", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1433, "texte": "SEVENTH STREET\nJean Toomer\nMoney burns the pocket, pocket hurts,\nBootleggers in silken shirts,\nBallooned, zooming Cadillacs,\nWhizzing, whizzing down the street-car tracks.\nSeventh Street is a bastard of Prohibition and the War. A\ncrude-boned, soft-skinned wedge of Negro life breathing its loafer\nair jazz songs and love thrusting unconscious rhythms, black\nreddish blood, into the white and white-washed wood of Washing-\nton. Stale soggy wood of Washington. Wedges rust in soggy\nwood . . . Split it in two! Again! Again! Shred it! . . . the sun.\nWedges are brilliant in the sun; ribbons of wet wood dry and blow\naway. Black reddish blood. Pouring for crude-boned soft-skinned\nlife, who set you flowing? Blood suckers of the War would spin\nin a frenzy of dizziness if they drank your blood. Prohibition\nwould put a stop to it. Who set you flowing? White and white-\nwash disappear in blood. Who set you flowing? Flowing down\nthe smooth asphalt of Seventh Street, in shanties, brick office buil-\ndings, theatres, drug stores, restaurants, and cabarets? Eddying\non the corners? Swirling like a blood-red smoke up where the\nbuzzards fly in heaven? God would not dare to suck black red\nblood. A Nigger God! He would duck his head in shame and\ncall for the Judgment Day. Who set you flowing?\nMoney burns the pocket, pocket hurts,\nBootleggers in silken shirts,\nBallooned, zooming Cadillacs,\nWhizzing, whizzing down the street-car tracks.\ni*"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c004", "article_bluemountain": "bmtnaap_1922-12_01#c004", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "4", "page_fin": "11", "image_debut": 6, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.4", "titre_corps": "Stavrogin's Confession", "titre_sommaire": "Stavrogin's Confession", "signature_source": "Feodor Dostoyevski ; A. Yarmolinksy", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 1877, "texte": "STAVROGIN'S CONFESSION\n\nCHAPTER III\nThe reading lasted about an hour. Tikhon read slowly and perhaps\nre-read several passages many times. All the time Stavrogin sat silent and\nmotionless. The shade of impatience, absentmindedness and, one might say,\ndelirium which had hovered over his face all morning, vanished almost com-\npletely, and was replaced by a calm and by a kind of sincerity, which gave\nhim the appearance of something close to dignity. Tikhon took off his\nspectacles, paused, and finally looked up at him and began with a certain\ncautiousness:\n\"And wouldn't you make some corrections in this document?\"\n\"Why, I wrote sincerely,\" said Stavrogin.\n\"Possibly in the style. .\n\"I forgot to warn you,\" said Stavrogin swiftly and abruptly, with\na forward jerk of his whole body, \"that all your words will be in vain;\nI shall not delay carrying out my intention; do not take the trouble to argue\nwith me. I will send it broadcast.\"\n\"But you did remember to warn me before I began reading.\"\n\"It's all one,\" Stavrogin interrupted brusquely, \"I repeat: however\nstrong your arguments may be, I won't give up my intention. Note that\nby this awkward or perhaps shrewd remark, however you may take it,\nI'm not trying to lead you on to argue with me and persuade me that\nI should give up my idea.\"\n\"I could hardly attempt to argue with you, let alone ask you to give\nup your intention. This idea is a great idea, and a Christian thought could\nnot express itself more amply. Repentance can go no further than the\nadmirable act which you have in mind, if only. . .\"\n\"If only what?\"\n\"If only it is really repentance and really a Christian thought.\"\n\"I was writing sincerely.\"\n\"It is as though you purposely presented yourself as a coarser man\nthan your heart would dictate. . .\" Tikhon was getting bolder and bolder.\nObviously the \"document\" had made a very strong impression on him."}, {"page_pdf": 7, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 2226, "texte": "r Presented? I repeat, I didn't present myself, I did not pose.\"\nTikhon quickly dropped his eyes.\n\"This document comes straight from a heart wounded unto death.\nIsn't that true?\" he said with persistence and with extraordinary fire. \"Yes,\nthis is repentance and the natural need for it which has overcome you,\nand you are on a great road, an incredible road. But it is as though you\nwere already hating and despising in advance all those who will read what\nyou have written, and as though you were challenging them to an encounter.\nSince you are not ashamed to confess your crime, why are you ashamed\nof repentance?\"\n\"Ashamed?\"\n\"Yes, ashamed and afraid.\"\n\"Afraid?\"\n\"Terribly. 'Let them look at me,' you say; and you yourself, how\nwill you look at them? Some of the passages in your narrative are\nexaggerated by virtue of style; it is as if you were admiring your own\npsychologizing, and you cling to each detail so as to amaze the reader by\na callousness which isn't really in you. What is this, if not the guilty one's\nproud defiance of his judge?\"\n\"But where is the defiance? I eliminated all discussion on my part.\"\nTikhon passed this over in silence. A faint color came into his pale\ncheeks.\n\"Let's leave this subject,\" Stavrogin cut him off abruptly. \"Allow me,\non my side, to put a question to you: we have been talking for some five\nminutes after this,\"(he motioned with his head toward the pamphlet) \"and\nyou show no signs of disgust or shame... It seems you are not squeamish...\"\nHe did not finish.\n\"I shall hide nothing from you: I was horrified to see so much idle\nenergy spent upon abominations. As for the crime itself, many commit it,\nbut live at peace with their consciences, considering that it belongs to their\ninevitable wild oats. There are old men too who sin likewise, even wantonly\nand playfully. All these horrors fill the whole world. As for you, you have\nperceived all the depths of this vileness, a thing which rarely happens\nso completely.\"\n\"Am I to understand that you have begun to respect me after these\nsheets?\" Stavrogin grinned crookedly.\n\"To this I shall give you no direct answer. Of course there is not\nand there cannot be, a greater and more fearful crime than your act against\nthe child.\""}, {"page_pdf": 8, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 2202, "texte": "\"Let's give up this measuring by the yard stick. Perhaps I do not\nsuffer as much as I wrote here. And perhaps I lied a lot about myself,\"\nhe added unexpectedly.\nTikhon passed this over in silence also.\n\"And this young lady,\" began Tikhon again, \"with whom you broke\nin Switzerland, where is she at present, if I may take the liberty of\nasking you?\"\n\"Here.\"\nAnother pause.\n\"Perhaps I lied a good deal to you about myself,\" Stavrogin repeated\ninsistently. \"What if I have defied them by the coarseness of my confession,\nif you did notice the challenge? I will only force them to hate me more,\nthat's all. That will only make it easier for me.\"\n\"That is, their hatred will only rouse hatred in you, and hating, you\nwill feel more comfortable than if you had accepted pity from them.\"\n\"You're right. You know,\"he laughed suddenly, \"they'll probably\ncall me a Jesuit and a pious hypocrite after this document. Ha! Hal Ha!\nIsn't that so?\"\n\"Of course, such words will certainly be said. And how soon do you\nintend to carry out your intention?\"\n\"Today, tomorrow, the day after tomorrow, how do I know? Only\nvery soon. You're right: I believe I will do it suddenly, in a fit of revenge\nand hatred, at a moment when I hate them most.\"\n\"Just answer one question, but sincerely, only to me, to me alone,\" said\nTikhon in an entirely different tone of voice. \"If someone were to forgive\nyou for this,\" (Tikhon pointed to the pamphlet) \"and not anyone whom\nyou respect or fear, but a stranger, a man whom you will never know, who\nwould forgive you mutely, while reading your terrible confession, would\nthe thought of this make it easier for you, or would it be all the same\nto you?\"\n\"It would be easier,\" answered Stavrogin in a low voice. \"If you\nwere to forgive me, it would make it much easier for me,\" he added,\nlowering his eyes.\n\"I will forgive you, if you forgive me also,\" said Tikhon, in a voice\nbetraying deep emotion.\n\"Bad humility. You know, these monkish formulae are altogether\nungraceful. I will tell you the whole truth: I want to have you forgive me.\nAnd perhaps to have another man, and even a third, do so too, but let\neverybody else hate me. But I want this simply that I may bear with\nhumility. ."}, {"page_pdf": 9, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 2234, "texte": "\"And you couldn't bear universal pity with the same humility?\"\n\"Perhaps not. Why do you ask?\"\n\"I feel the depth of your sincerity, and of course, it's my fault that\nI do not know how to approach people. I always felt it to be my great\nfailing,\" said Tikhon with warm frankness, looking straight into Stavrogin's\neyes. ffl ask, because I fear for you,\" he added. \"You have an almost\nimpassable abyss before you.\"\n\"I shan't endure it, I shan't be able to stand their hatred?\" Stavrogin\nwas roused.\n\"Not hatred alone.\"\n\"What else?\"\n\"Their laughter,\" the words escaped from Tikhon as though with\ndifficulty, in a half-whisper.\nStavrogin was taken aback. His face showed his alarm.\n\"I foresaw it,\"he said. \"Do you too find me very ridiculous, after\nhaving read my document? Don't let it trouble you, don't be embarrassed.\nI expected it.\"\n\"There will be universal horror, and of course, more sham than real.\nPeople are only terrified by what directly threatens their personal interests.\nI do not speak of the pure souls, they will be horrified secretly, and will\nblame only themselves, but they will be unnoticeable because they will\nhold their peace. But the laughter will be universal.\"\n\"I am surprised to see what a bad, what a low opinion you have of\npeople,\" Stavrogin dropped, with a somewhat embittered air.\n\"And will you believe me, I judge more by myself than by what\nI know of others,\" exclaimed Tikhon.\n\"Really? Is it possible that there is something in your soul which\nrejoices in my misery?\"\n\"Who knows? Perhaps there is. Oh, yes, perhaps there is.\"\n\"Enough. Tell me then, what is there in particular in my manuscript\nthat is ridiculous? I know it myself, but I want to have it pointed out\nby your finger. And be as cynical as possible, and speak with all the\nfrankness of which you are capable. And let me tell you again that you\nare an awfully queer fellow.\"\n\"Even in the very form of this great confession there is something\nridiculous. Oh, don't doubt but that you'll conquer,\" he suddenly exclaimed,\nalmost rapturously. \"Even this form,\" he pointed to the pamphlet again,\n\"will avail, if only you will sincerely accept the blows and the spittle. It was\nalways thus, that the most disgraceful cross became a great glory and"}, {"page_pdf": 10, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 2205, "texte": "a great power, if only the humility of the act is sincere. It may be that\nyou will be solaced even while alive.\"\n\"And so it is in the form alone, perhaps, that you find something\nridiculous?\" insisted Stavrogin.\n\"In the substance too. The ugliness will kill,\" whispered Tikhon,\nlowering his eyes.\n\"The ugliness? What ugliness?\"\n\"Of the crime. There are truly unbeautiful crimes. Grimes, no matter\nwhat they are, are the more imposing, the more picturesque, so to speak,\nthe more blood, the more horror there is; but there are shameful, disgraceful\ncrimes which escape the dreadful, so to speak, which are all too un-\ngraceful. . .\"\nTikhon did not finish his sentence.\n' That is,\" Stavrogin fell in, agitatedly, \"you found I cut a very ridi-\nculous figure when I kissed the dirty little girl's hand. ... I understand\nyou perfectly. And you fear for me desperately, precisely because this is\nugly, disgusting, no, not that, not disgusting, but shameful, ridiculous, and\nyou believe that this is what I'm not likely to endure.\"\nTikhon was silent.\nI understand why you asked whether the young lady from Switzerland\nis here.\"\n\"You aren't prepared, you are not inured,\" whispered Tikhon timidly,\ndropping his eyes. \"You are torn out of your soil, you have no faith.\"\n\"Listen, Father Tikhon: I myself want to be able to forgive myself.\nThat's my chief aim, that's my whole aim!\" Stavrogin said suddenly,\nwith gloomy rapture in his eyes. \"I know that only then the vision will\nvanish. That is why I seek measureless suffering, I seek it myself. Do not\nfrighten me, or I will perish in my viciousness.\"\nThis fit of frankness was so unexpected that Tikhon rose to his feet.\n\"If you believe that you yourself can forgive yourself, and that you\ncan attain to that forgiveness in this world by suffering, if you set yourself\nsuch a goal with faith, then you have complete faith!\" exclaimed Tikhon\nrapturously. \"How then could you say that you don't believe in God?\"\nStavrogin did not answer.\n\"God will forgive your unfaith, for you honour the Holy Ghost without\nknowing it.\"\n\"And by the way, will Christ forgive?\" asked Stavrogin with a crooked\ngrin, rapidly changing his tone, and there was a slight shade of irony in"}, {"page_pdf": 11, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 2309, "texte": "his voice. \"It is said in Scripture 'Whoso shall offend one of these little\nones,' remember? According to the Gospels there is no greater crime.\"1\n\"Simply, you are anxious to avoid a scandal, and you set a trap for\nme, my good Father Tikhon,\" Stavrogin drawled casually and spitefully,\nhalf rising. \"In short, what you want is to have me become respectable,\nmarry perhaps, and end my life as a member of the local club, visiting\nthe monastery each holiday. A penance, of course, isn't that so? However,\nas a searcher of hearts perhaps you have the feeling that no doubt that's\nhow it will all end, and it's all a question of having you plead with me\ninsistently for the sake of appearances, because it's really the only thing\nthat I'm after, isn't that so?\"\nHe laughed brokenly.\n\"No, not that penance, I'm preparing another one,\" continued Tikhon\nwith fire, without paying the slightest attention to Stavrogin's remark and\nhis laughter.\n\"I know an old man, he's not here, but not far from here either, a monk\nand hermit, and of such Christian spirit that you and I could hardly understand\nhim. He will heed my entreaties. I will tell him everything about you.\nGo to him, and become a novice under him for some five or seven years,\nfor as long as you find it necessary. Take a vow and through this great\nsacrifice you will purchase all that you desire, and even more than you\nexpect, for you cannot appreciate now what you will receive.\"\nStavrogin listened earnestly. \"You bid me become a monk and enter\nthe monastery?\"\n\"You do not have to enter the monastery. You do not have to take\norders. Simply be a novice, secretly. You can do this living in the world.\"\n\"Quit it, Father Tikhon,\" Stavrogin interrupted disgustedly, and rose\nfrom his chair. Tikhon rose also.\n\"What is the matter with you?\" he exclaimed suddenly, staring almost\nfearfully at Tikhon.\nTikhon stood before him, his palms pressed together and thrust\nforward, and a morbid convulsion, apparently caused by an overwhelming\nfear, momentarily contorted his features.\n\"What is the matter with you? What is the matter with you?\"\nrepeated Stavrogin, running toward him to support him. It seemed to\nStavrogin that the man was going to faint.\n\n1 This is the end of the fourteenth galley. There is a gap between it and the\nbeginning of the next galley."}, {"page_pdf": 12, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 772, "texte": "\"I see. . . I see clearly,\" exclaimed Tikhon in a penetrating voice\nand with an expression of most intense grief, \"that never, poor lost youth,\nhave you stood nearer to a new and more terrible crime than at this moment.\"\n\"Compose yourself,\" Stavrogin begged him, positively alarmed for\nhim. \"Perhaps I will postpone. . . You're right. ..\"\n\"No, not after the publication, but even before it, a day, an hour\nperhaps, before the great step, you will plunge into a new crime as a way\nout for you, and you will commit it solely to avoid the publication of\nthese sheets.\"\nStavrogin veritably shook with anger, and with some fear.\n\"Cursed psychologist!\" he broke out in a rage, suddenly cutting the\nconversation short, and without looking back, left the cell.\n\nFeodor Dostoyevski"}, {"page_pdf": 12, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.12", "debut_caractere": 806, "fin_caractere_exclue": 2041, "texte": "POSTSCRIPT\n\nThe proof-sheets which contain the preceding text are crowded with\ncorrections and insertions. Yet hardly any of them are sufficiently significant\nto demand inclusion in this translation. Even with these changes the text\nlacks the polish of final copy. In this connection it is pertinent to note\nthat there exists another version of Stavrogin's Confession, which presents\ninternal evidence of being an earlier variant. This is a manuscript, written\nin Madame Dostoyevski's hand, and kept with other Dostoyevski material\nin the Pushkin House attached to the Russian Academy of Sciences. This\ntext was published in a Russian historical review practically simultaneously\nwith our own.\nThe two texts differ considerably in phrasing, especially in the third\nchapter. The text given here is on the whole more concise. The manuscript\nversion contains a curious detail of composition characteristic of Dostoyevski's\nliterary technique. Stavrogin hands Tikhon his confession sheet by sheet,\nand the first sheet carries the narrative to the point where the reader expects\na description of his crime. When Tikhon has read this sheet Stavrogin,\ninstead of handing him the second one, gives him the third. The following\ndialogue ensues:"}, {"page_pdf": 13, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 1951, "texte": "\" 'That second sheet is under censorship for the time being,' said\nStavrogin rapidly, with an awkward smile. He was sitting in the corner\nof the divan, and watching Tikhon with a steady, feverish stare. 'You'll\nget it later, when you deserve it,' he added, with an unsuccessful attempt\nat familiarity. He laughed, but it was pitiful to look at him.\n'Well, second sheet or third sheet, it's all the same now,' remarked\nTikhon.\n'What do you mean — all the same? Why?' cried Stavrogin, starting\nforward. 'It's by no means all the same. Ah, you, as a monk, must\nimmediately suspect the worst. A monk would make the best prosecutor.'\nTikhon regarded him silently.\n'Compose yourself. It isn't my fault if the little girl was foolish and\nmisunderstood my intentions. . . Nothing happened. . . Ab-so-lute-ly\nnothing.'\n'Well, then God be thanked,' Tikhon crossed himself.\nfIt would take too long to explain. It was merely a psychological\nmisunderstanding.'\nHe blushed suddenly. Disgust, longing, despair were written on his\nface. He stopped abruptly. For more than a minute neither of them spoke\nor looked at the other.\n'You know, you'd better read it,' he said, automatically wiping the\ncold perspiration off his forehead. 'And you'd better stop looking at me\naltogether. . . It seems to me that I'm dreaming. . . And remember, I'm\nat the end of my patience,' he added in a whisper.\nTikhon swiftly turned his eyes away, took up the third sheet and\nread the pamphlet to the end without interruption.\"\nIn the third chapter Dostoyevski indicates that both men disregard\nStavrogin's denial of his crime. In this chapter the novelist introduces\nan incident which he omits from our version. Stavrogin picks up a small\nivory crucifix from the table, and turning it nervously about in his fingers,\naccidentally snaps it two. It is curious to note that this is a favorite\ndevice of Dostoyevski's for symbolizing the tragic split in the spirit of\nthe unbeliever.\n\nA. Y."}]}, {"article_id": "bm-bmtnaap-1922-12-01-c005", "article_bluemountain": "bmtnaap_1922-12_01#c005", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "10", "page_fin": "11", "image_debut": 12, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.4.1", "titre_corps": "Postscript", "titre_sommaire": "Postscript", "signature_source": "A. Y.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.12", "debut_caractere": 806, "fin_caractere_exclue": 2041, "texte": "POSTSCRIPT\n\nThe proof-sheets which contain the preceding text are crowded with\ncorrections and insertions. Yet hardly any of them are sufficiently significant\nto demand inclusion in this translation. Even with these changes the text\nlacks the polish of final copy. In this connection it is pertinent to note\nthat there exists another version of Stavrogin's Confession, which presents\ninternal evidence of being an earlier variant. This is a manuscript, written\nin Madame Dostoyevski's hand, and kept with other Dostoyevski material\nin the Pushkin House attached to the Russian Academy of Sciences. This\ntext was published in a Russian historical review practically simultaneously\nwith our own.\nThe two texts differ considerably in phrasing, especially in the third\nchapter. The text given here is on the whole more concise. The manuscript\nversion contains a curious detail of composition characteristic of Dostoyevski's\nliterary technique. Stavrogin hands Tikhon his confession sheet by sheet,\nand the first sheet carries the narrative to the point where the reader expects\na description of his crime. When Tikhon has read this sheet Stavrogin,\ninstead of handing him the second one, gives him the third. The following\ndialogue ensues:"}, {"page_pdf": 13, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 1951, "texte": "\" 'That second sheet is under censorship for the time being,' said\nStavrogin rapidly, with an awkward smile. He was sitting in the corner\nof the divan, and watching Tikhon with a steady, feverish stare. 'You'll\nget it later, when you deserve it,' he added, with an unsuccessful attempt\nat familiarity. He laughed, but it was pitiful to look at him.\n'Well, second sheet or third sheet, it's all the same now,' remarked\nTikhon.\n'What do you mean — all the same? Why?' cried Stavrogin, starting\nforward. 'It's by no means all the same. Ah, you, as a monk, must\nimmediately suspect the worst. A monk would make the best prosecutor.'\nTikhon regarded him silently.\n'Compose yourself. It isn't my fault if the little girl was foolish and\nmisunderstood my intentions. . . Nothing happened. . . Ab-so-lute-ly\nnothing.'\n'Well, then God be thanked,' Tikhon crossed himself.\nfIt would take too long to explain. It was merely a psychological\nmisunderstanding.'\nHe blushed suddenly. Disgust, longing, despair were written on his\nface. He stopped abruptly. For more than a minute neither of them spoke\nor looked at the other.\n'You know, you'd better read it,' he said, automatically wiping the\ncold perspiration off his forehead. 'And you'd better stop looking at me\naltogether. . . It seems to me that I'm dreaming. . . And remember, I'm\nat the end of my patience,' he added in a whisper.\nTikhon swiftly turned his eyes away, took up the third sheet and\nread the pamphlet to the end without interruption.\"\nIn the third chapter Dostoyevski indicates that both men disregard\nStavrogin's denial of his crime. In this chapter the novelist introduces\nan incident which he omits from our version. Stavrogin picks up a small\nivory crucifix from the table, and turning it nervously about in his fingers,\naccidentally snaps it two. It is curious to note that this is a favorite\ndevice of Dostoyevski's for symbolizing the tragic split in the spirit of\nthe unbeliever.\n\nA. Y."}]}, {"article_id": "bm-bmtnaap-1922-12-01-c006", "article_bluemountain": "bmtnaap_1922-12_01#c006", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "12", "page_fin": "13", "image_debut": 14, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.5", "titre_corps": "Dostoyevski", "titre_sommaire": "Dostoyevski", "signature_source": "Louis Grudin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 923, "texte": "DOSTOYEVSKI\n\nA man with a face like a thin green wave\nthat rose in a drawn treble against the darkness,\nstood in a small bare room;\nit fled in four directions\nfrom the frantic gaslight.\nFaces vaguely resembling his own\nranged about him and hung in straight lines,\nlike an abandoned quest.\nHungers with tired hands\nand hatreds, breast to breast\ngroped toward him, crying\nthat their struggles were unavailing,\nand in their midst a ceaseless wailing\nsuddenly choked itself, explaining\nthat it did not know how to die;\na man and woman relinquished each other\nand pointed to their futile bruises;\na violent ghost leaped before him\nand fluttered with a pain without words;\namong them hovered\na woman with an invisible face\nand shoulders like a heavy scent\nwhich she had wearied of pursuing;\na giant stared at his own phosphorescence\nand begged with guiltless candor,\nfrom a heap of implements and rags,\nto be told what he wanted."}, {"page_pdf": 15, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 409, "texte": "The young man stumbled among them and they\nclung to his clothes,\ntheir voices struck him like hail,\nand he cried that he was only a child.\nHe fled till he knew they would not vanish,\nthen he lay, whispering their questions,\ntasting them warily, as though\nhe had learnt how to sip poison;\nit flamed gently in his veins,\nand he knew the gaiety of those\nthat need no sunlight and can no longer die.\n\nLouis Grudin"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c008", "article_bluemountain": "bmtnaap_1922-12_01#c008", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "14", "page_fin": "21", "image_debut": 16, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.6", "titre_corps": "Some Commonplaces on the Dance", "titre_sommaire": "Some Commonplaces on the Dance", "signature_source": "André Levinson ; K. C.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 2129, "texte": "SOME COMMONPLACES ON THE DANCE\n\nI\nTHE BALLET AND THE ANTIQUE DANCE\nThe position to which the classic ballet has been relegated by public\nopinion for the last fifteen years is such that any discussion of the subject\nis apt to resemble a trial by jury, with the partisan of the ballet in the\nrole of attorney for the defence. This being the case, I take the witness\nstand with alacrity and shall restrict myself simply to refuting some of\nthe arguments of my adversaries.\nThe supreme argument triumphantly hurled in the teeth of the devotee\nof the ballet is the example of the ancients. It is one of the confirmed\nhabits of our civilization when seeking a renewal either of inspiration or\nexecution to turn towards Ancient Greece.\"It was thus in Greek times\"\nhas become a phrase to conjure with — and this in spite of our freedom\nfrom all aesthetic dogma and our revolt against the categorical imperative\nof the laws governing creative effort.\nThe actual reformers of the dance invoke the Hellenic tradition with\nprofound conviction. For example Isadora Duncan dancing before the\ncamera in the fforchestra\" of the deserted theatre of Dyonisios, and studying\nantique monuments in the Museums! Or Fokine the famous Russian\nmaitre de ballet, composer of Narcisse, Daphriis arid Chlo 'e, and the dances\nfor Gluck's Orpheus; and did I not one hear a savant partisan of Jacques\nDalcroze honor his method with the name of Rhythmic orchestic?\nIn reality nothing could be more arbitrary or more paradoxical than\nthis constant opposing of the antique orchestic to our ballet.\nTrue, during three centuries numerous attempts to reconstitute the\nantique dance from literary sources have failed lamentably. Monsieur\nMaurice Emmanuel alone, in his remarkable book, succeeded in giving a\nplausible and precise idea of the mysterious orchestic of the Greeks, by\njuxtaposing reproductions of 600 friezes and monuments illustrating the\nGreek dance with photographs of the movements of the contemporary ballet.\nA few conclusive examples will suffice to prove the analogy between\nthe classic ballet and the orchestic dance and to eliminate certain pre-"}, {"page_pdf": 17, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 2666, "texte": "judices which tend to distort the facts. A great number of poses and steps\n(and the monuments analysed by Emmanuel prove this) constitute a common\nfoundation for the two styles — ballet and orchestic. I will mention\nonly the attitudes, the battemerits, the jetes, the glisses, even the rfentre\nchat\"and the famous fouette, considered by some detractors to be a lucu-\nbration of the late nineteenth century.\nThe antique dance practised leaps and cabrioles as well as the steps\nwhich do not leave the ground. Certain steps were executed on the flat\nfoot, others on the half toe and still others, contrary to the general opinion,\non the toe. This latter performance of the Greek orchestic was only\nattained by the ballet one century ago.\nThe naive idea that \"bare feet\" constituted an essential element of\nGreek dancing comes from the conventionalized method of representation\nemployed by Greek sculptors and decorators. The ordinary shoe of the\nGreek dancer, the crepide with flexible sole, appears to have been much\nlike our ballet slipper. The insistence upon nudity, as well as upon the\nuse of the short tunic has been \"made up out of whole cloth\" by the\npopularized Hellenism of today. As a matter of fact the antique dance\nmade much of the play of complicated draperies.\nAt the base of the mechanical and decorative structure of the ballet\nis the principle, (formulated for the first time by Jean Georges Noverre,\ndeveloped by Carlo Blasis and later by Del Sarte) of opposition of the different\nparts of the body (the right arm balancing the left leg etc.) which gives\nthe maximum of stability and harmony. The same principle is found in\nmany statues of the antique dance.\nThis brief summary leads us to infer that there was not merely\na fortuitous resemblance but a fundamental affinity between the technique\nof the ballet and the methods of the antique dance.\nThe Greek dance was not, as we are too apt to believe, a mere variant\nof habitual and ordinary movements; it was on the contrary the result of\na conscious and complicated technique and was, like every real art expression,\nartificial.\nThat which absolutely fixes the boundaries of the two domains is the\nrole played by the arms. It goes without saying that in the poses and\nsteps where the movements of the arms and legs balance according to the\nlaw of opposition the analogy remains. Otherwise the position of the\narms in ballet dancing is determined by fixed decorative rules, — always\nconserving a beautiful unity of line. Thus the position of the hand is\nsubordinated to that of the arm; even the fingers are restricted to a few\ncombinations. And though our ballet includes an expressive pantomime,"}, {"page_pdf": 18, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 2717, "texte": "this only alternates with the pure dance and never encroaches upon its\nessential unity.\nThe antique dance on the other hand, was dualistic. The legs danced,\nthe arms talked; the dancer was also a chirosopher. The decorative position\nof the arms was replaced by the significant gesture. The gesture had to\nbe able to say everything and\"to say everything in the clearest possible\nmanner.\" The expressive faculties of the arm were possibilities which were\nmeticulously studied: the hand, free, moved independently; each finger\nhad its role; one part of \"the language of the hands\" (chironomy) was the\n\"language of the fingers\" (dactylology).\nThus dance and pantomime formed in Greek times a complete ensemble,\nwhile the dance of the ballet is limited by fixed gymnastic formulae and\nalternates with the pantomime.\nHere are in short the similarities between the Greek dance and the\nballet. The technique of the ballet creates a system of artificial movement,\nwhose smallest details are foreordained, prescribing the amplitude of the\nvarious movements within definite limits, subject to its inherent logic and\nacting upon the \"plane\" of pure form, without paying attention to the\nspecific emotions of pantomime. Its mechanical and decorative canons\nare inalterable; it has evolved through two centuries of uninterrupted tradi-\ntion. The antique dance does not present such homogeneity, the intrinsic\nlaw of the dance is less evident. The Greek dance formed, above all, the\ngymnastic and rhythmic basis of the pantomime. The ballet on the con-\ntrary, is pure dance and its spiritual content is expressed through the inter-\nplay of balanced lines and masses.\nMy reason for insisting upon the parallel between the two styles is\nthat many elements which our reformers seek in the antique dance\nare already present and harmoniously developed in the ballet dance.\nEmmanuel's book, which is a source of authentic information, deals only\n»\nwith the gymnastic side, the pure dance of the orchestic. The expressive\nside, the pantomime of this art, is not even touched upon in his work.\nLet us see how this pantomime was produced. Was it a free impro-\nvisation springing from the legendary joie de vivre of the ancient Greek, the\nexpression of his sensibility, a sort of choreographic impressionism? We\nmight think so if we heeded certain propogandists of the \"Greek revival.\"\nOur literary documents alone suffice to prove the contrary. True\nI am but a mediocre humanist and can make no pretence at paleography.\nMoreover the existent texts, the collection of which was begun in the\n16th century, are fragmentary. The sole evidence belonging to the classic\nperiod, the treatise on the dance by Aristoxenes, the illustrious theorist of"}, {"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 2380, "texte": "rhythm, is lost; and the exact significance of the orchestic terminology\nis far from proven.\nBut the little we actually know permits us to affirm that nothing in\nthe Greek orchestics was left to chance or to the incoherent inspiration\nof the executant. Movement and gesture were restricted by severe rules,\nunchangeable as a liturgical ceremony. It was an extraordinary language\nof forms, hieratic like all the Greek dramas and very probably incom-\nprehensible to the uninitiated. And, it is not without reason that Atheneus,\nencyclopedist of the Roman epoch glorified in the person of Aeschylus, the\naustere warrior of Marathon, not only the great poet but also the inventor\nof several new choreographic formulae (schemata.)\nIt follows that if the sublime spirit of the antique orchestics still\nexists anywhere it is in the forms of our classic ballet. There we find if\nnot the direct continuation of the Greek dance, at least its aesthetic equi-\nvalent, a method born of the same preoccupations, subordinating the\ndancer to the law of mobile forms while freeing him from the anarchic\nfantasies of his personal sensibility.\nIt is high time that the prejudices which range the antique Hellede\nupon the side of the Duncans and the Dalcrozes in their combat against\nthe art of the ballet, be eliminated, for it is a presumption founded upon\na misconception.\nII\nTHE SIGNIFICANCE OF THE DANCE\nTaken in a general sense, the effort of the supposed reformers of the\ndance — be they named Fokine or Duncan — is above all an attempt\nto base the dance upon a rational or psychological foundation. One cannot\nmove without reason; in order to hold interest the dance must have a subject.\nThus philosophical rationalism being already \"dead and buried\" some artists\nadvance a sophomoric rationalism, a teleology which very nearly approaches\nan utilitarian conception of the dance — the freeing of the body from\nthe limitations of a style, from the immorality of unnatural conventions,\nand Heaven knows what other humanitarian and pedagogical nonsense!\nThey would have the dance express definite emotions, be determined\nby rational motives. But what precise emotion does the overture to the\n\"Magic Flute\" express? What plausible subject inspired the trills from\nthe \"Queen of Night?\" Why did El Greco exaggerate the length of limb\nin his saints and martyrs? Of what use are the fugues of Bach?\n2"}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 2704, "texte": "The apparent irrationality of the ballet, the absence of a passable\nbridge between the abstract spirit of its form and the superficial phenomena\nof our emotional life, aroused a profound distrust of the \"dance for its\nown sake\" in half cultured renovators, and orientated them toward pan-\ntomime, archeology, and folk dancing. They would sacrifice everything\nto a psychological realism, to an exact and intense evocation of the passions.\nThey envy the drama where everything is motivated. They seek the com-\nprehensible, the explicable, the truth that can be proven; and they ask\nperplexedly. \"What sense is there in spinning like a top?\" Naturalism\nhaving exhausted literature, seized upon the art of the comedian; now that\nthe comedy has thrown it off, it menaces the ballet. The old doctrine\n— \"Life is the law of art\" —is again being preached to us. Let us consider\nit. Life is the raw material out of which art is made, but does this material\n(whether it be marble or the human body) contain within itself the law\nof creation? \"The most important problem of architecture\" — says Salomon\nReinach in his splendid book, — \"is the victory over the suggestions of its\nmedium.\"\nWhat is then the aesthetic nature of the classic ballet? It is not easy\nto define, but the ancient sage frankly acknowledged that it was \"difficult\nto define beauty.\"\nIt is easy to describe the technique, the gymnastics of the ballet dance,\nbut who would think of establishing for each movement a corresponding\npsychological idea? The ballet dance, as we have already said, is not deter-\nmined by any exterior motive. It includes its own law, its own logic\nand any departure from that logic, pertaining to a body moving in space\nwith the aim of creating beauty by organized dynamism, is perfectly apparent\nto the spectator.\nOne of the fundamentals of the ballet dance is equilibrium, the search\nfor absolute balance. Hence the shape of the ballet slipper — flat sole and\nreinforced toe. \"It is then the simple and irritating necessity of furnishing\na balancing point for the ballerina which determines the shape of this shoe\nwhich you extol!\" — jeer my adversaries. I find this necessity neither\nsimple nor irritating. All architectural art is founded upon necessities just\nas simple. What is a buttress if not a force counterbalancing the pressure\nof the arch? What is a colonnade but a system of pillars supporting the\nweight of the cross beams?\nIn so far as it is possible to compare movement with immobility\nwe find many points of analogy between architecture and the ballet. Like\narchitecture the ballet is an emanation of geometrical and spatial con-\nceptions. It is a Raum Kunst — \"The art of space,\" as the Germans call"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2650, "texte": "the arrangement of architectural interiors. It reduces its splendid and vibrant\ninstrument — the human body — to its tectonic not plastic elements. For\nthe plastic volume is autonomous, limited by the form. The framework of\nthe dance is like the draft of a temple formed by lines — lines which\nare often ideally prolonged in space. This is why classic choreography\ncan disregard certain plastic peculiarities of the human body which would\nbreak its unity of line.\nThus the leg of the ballerina with instep thrown out and toes rigid\ncreates a vertical line of incomparable purity from which radiates a char-\nming and delicate play of curved lines. In this position the shape of the\nleg, subordinate to the single movement of the whole body, loses its individual\ncharacter and becomes conventionalized or generalized.\n\"You would like to synthesize the dance then, but that is the opposite\nof art; you would achieve a dull uniformity; you would suppress creative\ndevelopment by doing away with individuality\" and my adversaries would\ndemand individual rights for each toe and finger, and tear the rose\nsatin of Cinderella's slipper and the silken threads of her fleshings (for\ngenerally the first gesture of the modern dancer is to discard fleshings.)\nEvery artist, painter or sculptor begins with what is individual and\nworks toward the typical, eliminating accidental and emphasizing essential\nelements. Creation is a constant deformation of empiric reality, a progress\ntoward a superior reality, de realibus ad realiora. The path of the artist\nleads always from the concrete to the symbolic.\nWho dares criticize the spirit of uniform synthesis found in Egyptian\nsculpture, in the Byzantine mosaics of Ravenna or the primitive Siennese\nfrescoes? Decidedly all these rebellions against the conventional formulae\nof the ballet must be relegated to the garret along with old fashioned\nnaturalist methods.\nThere is nothing more unnatural than the fundamental position of\nthe ballet technique, the feet turned directly outwards, but the result of this\nhabit achieved by years of gymnastic training is not only a balance which\nsurmounts all difficulties but also an extraordinary amplitude of movement.\nThus the moving leg can be raised until it forms an obtuse angle with the\npivot leg without upsetting the centre of gravity. Natural movement acts\nupon a limited plane while the ballet dancer can move with equal freedom\nin all directions.\nUnder the old regime with its great formal culture, a close relation\nexisted between the theatrical dance and the dances of Court and Society.\nBut with the decline of mondaine choreographic education not only the\n2*"}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 2647, "texte": "theatrical dance but even its elementary position became impossible for the\nnon professional.\nAs it was more and more monopolized by professional artists the\nartificial character of the dance became increasingly pronounced and at the\nsame time more spiritualized.\nThe idealistic cult of the toe dance and the elevation, which determined\nthe forms of our contemporary ballet made its first appearance in the\nbeginning of the nineteenth century. Noverre, the \"Shakespeare of the\ndance,\" in the eighteenth century knew nothing of the whirling movements\non the toe nor of balance prolonged in the attitudes.\nThis is not the first time that a crisis has occured in the development\nof the ballet. They recur periodically and their usual symptom is the\npredominance of pantomime.\nIn the middle of the eighteenth century there was the rationalist\ncrisis; in the beginning of the nineteenth the romantic crisis. Both menaced\nthe ballet but it survived them enriched by new resources. The evolution\nof its technique has continued uninterruptedly. The different centuries\nthrough which the ballet has passed have left their impression upon its\nscenic arrangement. The libretto of 1830 is still its model and through this\nromantic veneer we catch glimpses of rococo affectations, the pompous alle-\ngories of the French Baroque. These echoes of the past may charm us —\nmemories light as the pollen of flowers upon a butterfly's wing. But the\nliving spirit of the ballet is not in these seductive futilities. She is not\na marquise in powder and patches!\nToday the ballet is passing through a third crisis. I do not know\nif it will prove as fecund as the other two, but I doubt not that the ballet\nwill rise like the Phoenix from its ashes. It will adopt more profound\nmodern theatrical conceptions. It will create for itself a new pictorial or\narchitectural milieu. All the fortuitous elements, ephemeral and extraneous,\nwhich hide its true essence will fall by their own weight.\nIn this \"twilight of the false gods\" of dilettantism, of eclecticism, which\nwould transform the dance into an ethnological or archeological exhibition,\nthe classic ballet shines forth in all its splendor. For it presents unlimited\nplastic and dynamic possibilities. We have seen how the establishment of\nan artificial equilibrium multiplies these possibilities. Doubtless the number\nof fundamental movements is limited, like the colors of the spectrum visible\nto the human eye, or the sounds perceptible to human hearing; but the\nmultitude of possible combinations, shades and variations, passes all imagi-\nnation. It is only to the uneducated eye inapt to observe subtilities that"}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 1152, "texte": "the ballet appears monotonous, as is the measured verse of the poet to the\nuncultured ear.\nThese assertions are supported by incontestable evidence. And now\nthe reformers admit the ballet scoffed at during a quarter of a century by\nthe elite as well as the common herd, but they admit it only to combat it\nthe better. Slily they try to crush it beneath their respect and relegate\nit to the museum. ffVery well,\" they say, ffbut can we attempt nothing\nnew? Do you insist upon the monopoly of the dance by the ballet?1'\nAnd what if I do? Frankly these questions seem to me suspicious.\nWhy should one so earnestly seek what one has already found.? Why should\none replace a thing which one publicly approves?\nTwo formidable armies are leagued against the ballet — those who\ndo not see and prefer to touch, to hear, to feel, and those who could not\nif they would. But the classic ballet strong in its tradition in accordance\nwith the spirit of order and discipline which animates the elite of today,\nwill triumph over this conspiracy of the blind and the paralytic, which\nI shall never cease to denounce.\nMay these few lines aid her triumph!\n\nAndre Levinson"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c009", "article_bluemountain": "bmtnaap_1922-12_01#c009", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 19, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.6.1", "titre_corps": "Jason and Medea (1781)", "titre_sommaire": "Jason and Medea (1781)", "signature_source": "J. Boydell", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 45, "texte": "Jason and Medea\nEngraving by J. Boydell, 1781"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c010", "article_bluemountain": "bmtnaap_1922-12_01#c010", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.6.2", "titre_corps": "Mlle. Puvigné, La Statue dans Pygmalion (18th Century)", "titre_sommaire": "Mlle. Puvigné, La Statue dans Pygmalion (18th Century)", "signature_source": "Boquet", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 63, "texte": "Mile. Puvigné, La Statue dans Pygmalion\nBoquet <18 th. Century>"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c012", "article_bluemountain": "bmtnaap_1922-12_01#c012", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "30", "image_debut": 26, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.7", "titre_corps": "The Cosmic Theatre", "titre_sommaire": "The Cosmic Theatre", "signature_source": "Paul Scheerbart ; Matthew Josephson", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 2124, "texte": "THE COSMIC THEATRE\n\n\"Bring the Edam cheese now,\" called Mr. vom Treckenbrock at the\ndisappearing back of the servant.\nAt this Justina, the spouse of Mr. vom Treckenbrock saw fit to\nremark: \"I find the Edam cheese quite revolting today; I can't stand it.\nMy dear Justus, can you not forego the cheese this time, and suffer it to\nremain in the kitchen?\"\n\"But my dear Justina,\" asserted Justus very roundly, ffl have never\nseen you show such antipathy to Edam cheese before; I can't understand\nyou. Frederick do bring the Edam cheese.\"\nAnd Frederick brought in, upon a big dark blue plate, the big round\ncarmine-red cheese.\nMr. Justus vom Treckenbrock took the long wide carving knife and\nwas just about to cut the Edam cheese squarely through the middle, when\nhis wife Justina cried out in fear: \"Justus, dear Justus. Don't do it! Don't\ncut it! I can't bear it today; I fear that some disaster will befall us, if you\ndo it today.\"\nStruck by this, Justus remained silent for a moment and regarded\nhis wife strangely.\nFinally he said in a measured voice: \"Then I must beg you to give\nme an explanation of all this. It passes beyond my understanding why\nI should not cut up my round little Edam cheese.\"\nJustina replied: \"The round red ball that lies before you on the dark\nblue plate, reminds me of so many things which move me strangely. To me\nthe round cheese seems just like a great drop of blood. You have always\nsaid that in our tiny world the smallest things lead to the greatest con-\nsequences, and vice versa. Like the astrologers, you have always believed\nthat the planets of our solar system exert a powerful influence upon the\nlives of men. The sun itself and our moon undoubtedly play a great role\nin our life. And so I feel that even the smallest things — such as this Edam\ncheese — can alter our destinies fatally. It is not merely the Edam cheese;\nbut I feel somehow that the Edam cheese will have some effect upon the\nplay which you are to present to us tonight.\"\n\"Fine!\" said Justus, \"if you believe that even the tiniest things and the\nmost casual actions can endanger a whole life, I should be the last one to"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 2379, "texte": "oppose you — for it is all undoubtedly true. Nay, Igo further. I believe\nthat the life of a man can become dangerous to a colossal star. I am ready,\nthen, to send the nice Edam cheese back to the kitchen and continue\nour play without any Edam.\"\nffßut, no!\" cried Justina, tfl must beg you also to give up the play\ntor tonight.\"\nMr. vom Treckenbrock, however, had invited six guests, who had\ncome purely to see the cosmic drama; he replied in a rather harsh voice,\nhis face becoming quite red: ffMy dear Justina, you cannot very well ask\nsuch a thing of me. If it is impossible for you to attend the performance,\nyou can easily leave the room while it is going on. I was not brought\ninto this world to treat your most unfounded misgivings with the tenderest\nregard.\"\nffYou have no regard for anybody,\" retorted Justina vehemently.\nIt is precisely your complete indifference to everyone and everything that\nmakes me so unhappy, that makes me feel that sometime they will be just\nas indifferent about us.\"\nThen the guests spoke soothing words.\nBut nothing helped.\nJustina only became the more aroused.\nShe spoke decisively and in a rather loud voice: ffYou-do not know\nmy husband. You do not know how violent and ill-tempered he is — how\nhe always expresses himself in the crudest speech of the common people\n— how he hates the common people — how he wishes them the most\nhorrible end — how he prizes the old Mithra legend in which the ignorant\nand witless are tortured to death. Do you think that these cruel and callous\nwords will have no rebound upon him? We can never know what will\nhappen. But we should fear for what may happen. Boastful domineering\nmen always come to some unhappy end. We must be more tolerant about\nthat which we cannot bear: we must realize that we are not the masters\nof our destinies.\"\nJustus wanted to interrupt his wife, but she kept on with her hand\nupraised and even more animatedly: \"Why does my husband always\nprate of the countless relationships between stars and men? Why does\nhe say that the each is bound up in the all, when he seeks merely to tear\noil the threads which bind him to the rest of mankind. There is something\nillogical about all this. How often we have spoken of the inner relationships\nof all things and all forms of life — especially, how one word could release\na whole procession of images and associations of thought — and how"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 2486, "texte": "accordingly one single thoughtless act — such as the cutting of an Edam\ncheese — could unloose a whole succession of dreadful catastrophes.\"\ntfMy dear wife,\" cried Justus laughing, \"of course anything may\ncome to pass. Certainly. By all means. That is, however, the big thing\nin life: that something unexpected is always liable to happen. If we\nknew everything beforehand, the future would have no charm for us.\nIf we knew what would become of us after death, death would no longer\nbe so impressive. And it is precisely its impressiveness that counts with us.\"\nHe was silent, but his wife was not; she resumed bitterly: \"You\noverlook what is essential. I feel that an art which addresses itself only\nto a few and not to many, is something barbarous. Understand me, bar-\nbarous. It is just those people who try to pass for superior or extremely\ncultured persons by avoiding all contact with simple people, who are to\nmy mind nothing but plain blockheads. Every fresh outburst of rage, my\ndear Justus, has its echo. And you rage against the ignorant, who, you\nare firmly convinced, can not understand your cosmic drama. You will\nbe punished for this hatred. That is why I fear something will happen\ntonight if you present your cosmic drama before only seven or eight people.\nWhy didn't you invite more guests?\"\nI do not throw my pearls to swine,\" retorted Mr. vom Treckenbrock\ncoldly.\nHis spouse rose from her chair and answered scornfully: \"I never\nbade you to invite such animals. But I see that all argument is fruitless.\nYou will maintain your obstinacy and indifference at all costs. I shall\nno longer try to oppose you. Come what will. If the knife cuts the Edam\ncheese — or if something similar takes place in the Andromeda Nebulus\n— remember what I said! Think of me! We shall see each other again\nperhaps — under other circumstances.\"\nShe bowed and, gathering up her rustling train, forsook the room\nswiftly, swiftly.\nMr. vom Treckenbrock looked at his guests, laughed, and then said\nsoftly: \"My wife seems to be very nervous. Please be so good as to\npardon her.\"\nThese words spoken, he cut with one broad motion of his carving\nknife the whole red Edam cheese in two halves, so that the two slices glowed\nwarmly upon the blue plate against the red crust of the cheese.\nThis was in December of the year 1885. In the month of August\na great star of the sixth magnitude had suddenly flared up in the Andromeda\nNebulus, which had grown verv much smaller bv the beginning of December."}, {"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 2649, "texte": "Astronomers had interpreted the sudden appearance of this great luminary\nas a token of the doom of a whole astral system.\nMr. vom Treckenbrock however, who had built an astronomical\ntheatre in his castle in the Tyrol, did not at all accept this theory, and so\nhe invited six friends to a performance entitled: ffAn End-of-the-World\nwith a Surprise.\"\nAfter the cutting of the Edam cheese the wide black silk curtains\nwhich covered one whole wall of the dining room rolled back and the seven\ngentlemen suddenly found themselves staring into universal space. The\nservants handed the guests opera-glasses and they all gaped at the count-\nless stars.\nffGentlemen, you are now beholding the Andromeda Nebulus. I have\nbrought this highly interesting nebulus a few billion miles nearer to you.\nThe nebulus is of course no nebulus at all; it consists of millions and millions\nof stars like our Milky Way, and is lentil-shaped. But you are now so near\nthis astral system that you can no longer perceive its shape. The stars that\nyou are able to see compose only a small part of the whole system — this\nvery system in which we discovered last August the new star of the sixth\nmagnitude. Scientists are of the opinion that the sudden appearance of this\nnew orb can be ascribed to the collision of two suns; according to their\nview we have witnessed the destruction of a whole solar system in the\nAndromeda Nebulus. According to science, the great stars of the universe\nare clumsy beasts who are afraid to come too near each other; as soon as\nthey get too near, they recoil violently, and crowding and bumping into\neach other are immediately transformed into smoke, steam and gas, out\nof which a great mass of light appears. To my mind, the stars are by no\nmeans such clumsy stupid beasts as our earthly scholars would have them;\nthey are of course creatures who think differently from human beings,\nand are not stupider, but somewhat cleverer — in fact so clever that we\ncan never quite grasp them with our cumbersome systems of reasoning.\nOne thing is certain to me, however: the stars can't be so foolish as to fall\napart and be turned into mere atoms. Our conception of magnetic power\nin order to be applied to cosmic phenomena must undergo a considerable\nrevision. The stars in our solar system, for instance, are so placed that\n(hey keep at a given distance from each other which does not permit of\ntoo great proximity. So with the cosmos. Look again, gentlemen, at your\nease, at those parts of the Andromeda Nebulus which lie within your ken.\"\nThis the six gentlemen did with alacrity.\nThey saw also, that very few of the stars were spherical; most of the"}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 2469, "texte": "stars had long quivering snouts that seemed to go sniffing about in all\ndirections.\nAnd then there were stars that looked just like long telescopes, and\ncould in turn lengthen and shorten themselves.\nOther stars were shaped like crystals, and others again looked like\nlop-sided punctured toy balloons.\nThe small creatures who lived on the outer crusts of the stars could\nnot be distinguished.\nThe remarkably varied colors of the stars called forth repeated ap-\nplause. There were stars that glittered with all the colors of the rainbow.\nThen there appeared many cones of light which would suddenly shoot\nout like reflectors and illuminate their surroundings as with the light of\nday, so that the innumerable littler stars which spread out like vast swarms\nof gnats became visible.\nSuch reflectors also made larger pear-shaped and spherical stars\nvisible. And these larger stars were almost completely dark.\n\"Behold, gentlemen,\" cried Mr. vom Treckenbrock excitedly, \"the dark\nball shaped star which becomes visible above and to the right of the three\ncylindrical stars. Do you observe how it has a dark red color which\ndistantly resembles that of the Edam cheese. It approaches slowly. You\nwill soon observe how it grows larger and larger with every vibration of\nlight.\"\nAnd then a comet became visible to the left, which in a few seconds\ndeveloped six beautifully formed comet-trains; the whole comet moved with\nextraordinary rapidity from left to right.\n\"Will you please tell us, Mr. vom Treckenbrock, whether the stars are\nnot moved by little strings,\" called out one of the guests. \"How did you\nconcoct the whole business? It is certainly very interesting technically.\"\n\"In this theatre,\" replied Mr. vom Treckenbrock laughing, \"every-\nthing is designed to maintain the illusion perfectly. If I should reveal to\nyou with what delicacy each star is directed by my mechanics, the illusion\nwould be lost for you, You should simply assume that all of the stars\nperform upon my stage exactly as they do in the heavens.\"\nNew comets began to appear thick and fast upon the left — and\nthese comets were all of different shapes, many of them having, instead\nof tails, great refulgent bladders. The comets passed off at the same pace\nwith which they had entered.\n\"You must keep in mind however,\" said the Inventor of the Cosmic\nTheatre, \"that each second of your life is as long as a thousand years —\nfor the life of a great astral system does not pass as rapidly as it seems"}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 2586, "texte": "to in my theatre. Perhaps my guests will do me the kindness to approach\nclose to the rail, so that they can gaze into the depths, for my theatre\nof course has no stage-floor like the theatre of other mortals.\"\nEverybody came forward; they pushed their chairs up to the parapet\nand looked down into the depths of universal space and were quite ravished\nwith the infinite colors and forms which the stars radiated all about.\nAnd now there rose slowly out of the deep an orbicular comet; the\norb turned round and was all snow-white, and from its surface brilliant rays\nshot out in a fine spray and vibrated like waves of radium light.\nIn the meantime, the great red star moved slowly up from the right\nand became larger and larger, so that its crimson outer crust could be\ndistinguished quite clearly, it had many strange lines, which traversed the\nwhole whirling body like mountain chains. The lines became clearer and\nclearer and were of a deep red color.\n\"And remember,\" said Mr. Justus vom Treckenbrock, \"that\naccording to the view of my wife, I should make this miraculous cosmic\ntheatre accessible to a larger public. It is true that I am often transported\nwith rage when I think upon all the human stupidity and ignorance which\nengulfs us. Of course, it is not difficult to follow such a play with perfect\nease and pleasure. But I urge you, my friends, not to forget that the\nastronomers of our time are as yet unwilling to accept such presentations.\nDo you think then that the simple peasant would receive them better? Or\ndo you think that the ordinary frequenter of our metropolitan theatres\nwould pay any attention to such a drama of world catastrophes. The average\ntheatre lover would probably ask me: But wh£re is the conflict? How\nabout the hero? And if I answered: But wait a moment; the great spherical\ncomet will soon grapple in conflict with the round red Edam cheese —\nthen they would . . . .\"\nAt these words the spherical comet moved close to the dark red star\nand with a frightful stroke cut it — just as the knife had cut the Edam\nCheese — into two even halves.\nThe guests sprang up dismayed, but out of the interior of the red ball-\nshaped star came the great surprise: innumerable little stars glittering like\ndiamonds burst into fiery pyrotechnics and then dispersed falling splendidly\nin all directions.\nThe spherical comet, whirling, climbed hastily upwards, while the\ntwo glowing crimson halves of the round red star sank into the deep, like\nempty shells.\nThen in the neighbouring room a fearful crash was heard, and im-\nmediately after a pealing scream of pain."}, {"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 2259, "texte": "A servant burst into the dining room and stuttered \"Madam is —\nMadam is —!\"\n\"What has happened?\" bellowed the lord of the house grabbing a\nchair, as if he meant to throw it at the head of the servant.\nBut the servant ran out still yelling as if possessed: \"A disaster!\na misfortune!\"\nAnd now the guests of Mr. vom Treckenbrock recalled how Mrs. vom\nTreckenbrock in leaving had said: \"Think of me, if the knife cuts the Edam\ncheese or if something of a like nature takes place in the Andromeda\nNebulus.\"\nAnd all thinking of this simultaneously the six leaped to their feet\nas one man and ran after the howling servant.\nMr. vom Treckenbrock kept on looking at the scintillating play of\ncolors that had spilled out of the round crimson star, and said in a loud\nmasterful voice: \"Look, gentlemen, it is the end of a world — but one\naccompanied by a surprise. There is nothing destroyed. Nothing at all.\nThis stroke brought but liberation for the round star, which held hidden\nand sheltered in its belly billions of new worlds, which having been sheltered\nlong enough can enter into the vast free spaces of the universe. We have\nwitnessed a moment of liberation in this world-catastrophe. And thus we\ncan interpret the appearance of the star in August 1885 as the birth of\nbillions of new worlds — nothing is destroyed, nothing perishes. In the\nlife of the cosmos the destruction of matter is unknown — that is . . .'\nHe turned proudly and saw . . . that he was alone.\nHe lifted his eyebrows and suddenly recalled the crash, the scream\nof pain, and the ill-behaved servant who had dared to interrupt the presenta-\ntion of a spendid world-end.\nMr. Justus vom Treckenbrock let his head sink to his chest and stood\nquite still.\nThen the servant came again and said with correct demeanour: \"I\nshould like to know, sir,cwhether you wish to come to madam.\"\nThey went into the boudoir of the lady. Justina lay upon the divan\nand whimpered; the heavy wash bowl had slipped out of her hand and\nfallen on her left foot.\nOne of the six guests who happened to be a physician was bandaging\nher foot.\nWhen Mr. Justus vom Treckenbrock seized all this, he began to laugh\nlike a madman and could hardly contain himself. The six guests did not\nknow what to make of the whole matter."}, {"page_pdf": 33, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 2173, "texte": "Justina continued to whimper and than said with a sigh: ffl have\nno worlds in me.\"\nJustus stopped laughing; he said angrily: \"My dear Justina, your\npoor foot will soon get better. And rest assured: you are not the only one\nwho has no worlds in himself. Your heavy wash bowel also had no worlds\nin it — merely water — dirty water. The whole room is full of water.\nBut I am full of anger. I can scarcely believe that anyone should ever\ndare to interrupt me so. Your forebodings were quite justified: I have\nsuffered a monstrous vexation.\"\nJust then voices cried out loudly: \"Fire! Fire!\"\nIn the machine room of the cosmic theatre fire had broken out.\nTwo hours later the whole cosmic theatre and the dining-room had burnt\nto mere ashes.\nMr. vom Treckenbrock promised his spouse a few months later to build\nthe Cosmic Theatre for a great public in Munich.\nThey traveled to Munich and the great theatre was to be built. But\nthen Mr. vom Treckenbrock repented of the whole business, and he declared\nto his wife one evening that his new theatre would be built to contain\nonly ten persons.\nJust as he had uttered these words the servant entered again with an\nEdam cheese; Justina looked at the servant with such dread that he\nlet the plate with the cheese fall to the floor. At the same instant Justina\nfell forward with her head upon the table.\nA doctor was called immediately, and he announced after a brief\nexamination that a stroke of the heart had brought the life of Mrs. vom\nTreckenbrock to its end.\nMr. Justus vom Treckenbrock soon left Munich and went abroad.\nBut he returned within the year and not far north of Munich by the banks\nof the Isar and near the Grunewald castle had a new laboratory built — for\nhis cosmic theatre of the Future.\nThis time however he arranged the heavenly bodies in such different\nsizes that all of his time was taken up and he could scarcely think of\nholding a public performance. Mr. vom Treckenbrock was so completely\noverwhelmed by the preliminary labors that he entirely lost sight of their\ngoal.\nThe old gentleman still lives near Grunewald castle, and is accessible\nto nobody; only when he travels away to buy some new chemical can one"}, {"page_pdf": 34, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 615, "texte": "enter his great laboratories by bribing the butler and behold the most\nremarkable of heavenly bodies. Indeed, they all lie about in such great\ndisorder, covered with so many layers of dust, that it is hard to conceive\nhow any presentation can be given in a cosmic theatre with these out-\nlandish orbs.\nThe butler, who does a rather good business in this way, assures each\nvisitor that Mr. vom Treckenbrock will soon build the cosmic theatre. But\nit is already ten years that the butler has been assuring people of this, with\nthe same earnest butler's mien. His earnestness earns the man much\nmoney.\n\nPaul Scheerbart"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c014", "article_bluemountain": "bmtnaap_1922-12_01#c014", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "31", "page_fin": "34", "image_debut": 35, "image_fin": 40, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.9", "titre_corps": "Notations from a Music Master's Roll-Book", "titre_sommaire": "Notations from a Music Master's Roll-Book", "signature_source": "Henry Bellamann", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 592, "texte": "NOTATIONS FROM A MUSIC MASTER'S ROLL-BOOK\n\nFLY-LEAF\nUplifted faces\nof slim, laughing girls —\nfleeting\nas wild roses on a hedge.\nESTHER CAIN\nProfessor Vale and Doctor Gray,\nDean Cartright and Tutor Waite:\nRunning river,\ndo you heed them, —\nthese old snags\nthat break your speeding\ninto foam?\nBetter snap them,\ntake them with you\nto the sea!\nSUE KITTREL\nRutledge, Ravenal and Rhett:\nFlowered names, often on your lips,\nwith Chaucerian tricks of speech,\nsomething Charleston lends —\n. . your playing peeps out from the silence\nhalf heard, as one half sees,\npainted silken ladies\nin a folded fan."}, {"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 686, "texte": "ALINE CARTER\nThe dark stream of the world's sorrow\nthreads its way downward,\nseeking —\nseeking a channel for its wide singing.\nA thousand faces, row on row,\nlike terraced silly blossoms,\nfluttering pink and white,\nwhile Beethoven's tortured questions\nshout at God.\nWhy do you shrink as from a shameful thing?\nWhy do you fumble programs?\nThe dark stream of the world's sorrow\nthreads downward,\nbreaking a channel for its wide singing.\nMARY LARKIN\n. . . bread and butter manners\nmanners like your father's\nsmoothly buttered sermons.\nIs this your writing, girl? —\nthe jig-step of your thought?\nNow I know your mind\nraces at night over the tiles,\nthe green-eyed cat\nI always thought it was."}, {"page_pdf": 39, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 707, "texte": "3\n\nLOUISE TRAYLOR\nThe supercilious dean\nmakes sad eyebrows\nat the mention of your name.\nLadies, in Sunday taffetas,\ncreak with sighs, as your car,\norange pennants on the back,\nand five co-eds 011 the running board,\nroars out the Camden road.\nBut I have heard adagios\nsinging under your hands,\nand mighty allegros\nrunning like chariot horses\nbefore the whip-lasli\nof your thin brown arms.\nO chilly-fingered, school-girl crew —\ncan you know the Valkyr cry,\nWalhalla bound?\nCARRIE DYER\nYou wait with such slow patience\nsome magic from my lips\nio make you play like other girls.\nGood biscuit-making fingers,\nhow shall they learn the subtlety\nand indirection\nof this little compliment\nChopin paid the Countess? —"}, {"page_pdf": 40, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 654, "texte": "or know the laughter,\nthe tears and kisses,\nthe gesture of youth\nin the stark face of Death\nas the Polish exquisite\ndanced toward Pere la Chaise?\nEDNA BENTLEY\nYou have the line of cheek and chin\nand dark fanatic eyes\none sees so often in the quaintly drawn\nmediaeval heads.\nThey lived in little cities\nwalled from the wilderness;\nknew God and the saints\nthrough the hard speech of Dante\nor Savanarola's threats.\nYou live, walled tight,\nin Orangeburg;\nknow God from the harsh echoes\nof outworn creeds —\nburnt cinders of Savanarola's fire,\nback wash from Dante's hell.\nOutside,\nGod walks with man, —\nYou still pile bricks along your walls.\n\nHenry Bellamann"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c015", "article_bluemountain": "bmtnaap_1922-12_01#c015", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.10", "titre_corps": "Old Lithograph 1845", "titre_sommaire": "Old Lithograph 1845", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 58, "texte": "Marie Taglioni dancing a Pas-de-quatre\nOld Lithograph 1845"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c016", "article_bluemountain": "bmtnaap_1922-12_01#c016", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 38, "image_fin": 38, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.11", "titre_corps": "Fanny Elsler (1840)", "titre_sommaire": "Fanny Elsler (1840)", "signature_source": "G. Leybold", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 44, "texte": "Fanny Elsler\nLithograph by G. Leybold <1840>"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c017", "article_bluemountain": "bmtnaap_1922-12_01#c017", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "51", "image_debut": 41, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.12", "titre_corps": "The Lay of Maldoror : SIXTH CANTO", "titre_sommaire": "The Lay of Maldoror : SIXTH CANTO", "signature_source": "Comte de Lautreamont ; John Rodker", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 1819, "texte": "THE LAY OF MALDOROR\n\nSIXTH CANTO\nThe shops of the rue Vivienne spread their riches to mar-\nvelling eyes. Lit by many gas jets the mahogany coffers and gold\nwatches shed streams of dazzling light through the windows. The\nclock of the Bourse has struck eight, it is not late. Hardly has\nthe gong struck for the last time, when the street, whose name\nhas been given, begins to tremble and shake its foundations from\nthe Place Royale to the boulevard Montmartre. Pedestrians\nquicken their steps and pensively withdraw into their houses.\nA woman faints and falls to the asphalt. No one picks her up;\neach hastens to remove himself from the vicinity. The shutters\nbang to hurriedly and the inhabitants bury themselves under the\nblankets. One would think the bubonic plague had revealed\nitself. Thus, while the greater part of the city prefers to swim\nin the delights of nocturnal rejoicings, the rue Vivienne suddenly\nfinds itself frozen into a sort of petrifaction. Like a heart that\nhas stopped loving, its life is extinct. But soon the news of the\nphenomenon spreads into other layers of the population, and a\ndead silence hovers above the sacred capital. Where have the\ngas jets gone? What has become of the chafferers of love?\nNothing . . . solitude and darkness. A screech owl flying in a direct\nline and with a broken leg passes above the Madeleine and takes\nits flight to the barrier of the Throne, crying out: \"Some evil will\nhappen.\" But in the region which my pen (this true friend who is a\nveritable accomplice of mine) has just made mysterious you will\nsee a person show his silhouette if you look in the direction where\nthe rue Colbert enters the rue Vivienne in the angle made by the\nmeeting of these two ways, and lightly walk towards the boule-\nvards. But should one approach more nearly, in such wise as\n3 s"}, {"page_pdf": 42, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 2171, "texte": "not to draw upon himself the attention of the wayfarer, it will\nbe seen with an agreeable astonishment that he is young. From\na distance one would have taken him for a man of ripe age. The\nsum of a man's days and years counts nothing when it is a\nquestion of measuring the intellectual capacity of a serious face.\nI can read from the physiognomical lines of the brow; he is sixteen\nyears and four months! He is as lovely as the retractility of a\nbird of prey's claws; or again, as the instability of muscular\nmovement in wounds of the flabby parts of the posterior cervical\nregion; or rather like the perpetual rat-trap which is always\nstretched again by the captured animal, and which alone can catch\nrodents indefinitely and can even work hidden under straw; and\nabove all, like the fortuitous encounter on a dissecting table of\na sewing machine and an umbrella! Mervyn that son of pale\nEngland has just had a fencing lesson from his tutor and he hopes\nto arrive home at nine; it is an enormous presumption in him to\nthink he knows the future with certitude. What unforeseen ob-\nstacle may not delay him on his way? Mervyn does not know why\nhis temporal arteries throb so strongly, and he hastens his step, ob-\nsessed by a terror of which he and you vainly seek the cause. One\nmust grant him his determination to discover the enigma. Why\ndoes he not turn around? He would understand everything. Does\none ever think of the simple method of putting an end to a condition\nof alarm? When an apache crosses a suburban road, a bottle\nof wine in his gullet and his blouse in shreds, if in some corner\nof a fence he sees a muscular old cat, contemporary of the revo-\nlutions in which our grandfathers took part, contemplating with\nmelancholy the moon's rays as they fall upon the sleeping plain;\nhe approaches tortuously in a curved line and gives a sign to a\nknock-kneed dog who rushes off. The noble animal of the feline\nrace awaits its adversary courageously, and defends its life dearly.\nTomorrow some ragpicker will buy an electrifiable pelt. Why\ndid he not fly then? It was so easy. But in the predicament\nwhich interests us now, Mervyn further complicates the clanger by"}, {"page_pdf": 43, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 2136, "texte": "his own ignorance. He had, to be sure, certain very rare fore-\nbodings, whose vagueness I shall not stop to explain here. He is\nno prophet, I daresay; nor does he recognize any such faculty in\nhimself. Having arrived at the great artery, he turns to the right\nand crosses the boulevard Poissoniere and the boulevard Bonnes\nNouvelles. At this point of his road, he advances into the rue du\nFaubourg Saint-Denis, leaves behind him the terminus of the\nStrasbourg railway, and stops before a lofty portal, immediately\nbefore reaching the almost perpendicular superposition of the rue\nLafayette. Since you advise me to end the first strophe here, this\n, time lam very willing to comply with your desire. Do you know\nthat when I think of the iron ring hidden beneath the stone by a\nmaniac's hand, an uncontrollable shudder passes through my hair.\nHe pulls the copper bell, and the gate of the modern mansion\nturns on its hinges. He strides through the courtyard and mounts\nthe eight steps of the flight. The two statues situated to the right\nand left as guardians of the aristocratic villa do not bar his passage.\nHe who has abjured everything, father, mother, Providence, love,\nthe ideal, in order to think only of himself, has taken care not\nto follow the preceding footsteps. He saw him enter a spacious\ndrawing-room with cornaline panelling on the ground floor. The\naristocratic boy throws himself upon a sofa and emotion prevents\nhim from speaking. His mother with long and trailing robe,\nanxiously tends him and clasps him in her arms. His brothers,\nyounger than himself, group themselves round the burdened piece\nof furniture; they do not know life sufficiently to clearly com-\nprehend what is happening. Finally the father lifts his cane and\nthrows an authoritative glance upon the onlookers. Pressing his\nwrist on the arm of his chair, he leaves his usual seat and advances\nwith alarm, though enfeebled by years, towards the motionless\nbody of his first born. He speaks in a strange language and all\nlisten with respectful silence: ffWho has put my son into this state?\nThe foggy Thames will sweep down a great quantity of mud before"}, {"page_pdf": 44, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 2078, "texte": "my strength is completely exhausted. Defensive laws do not\nappear to exist in this inhospitable country. If I knew who was\nguilty he would feel the weight of my arm. Although I have\nretired remote from naval battles, my commodore's sword,\nhanging upon the wall, is not yet rusted. For the rest, it is easy\nto sharpen it up: Mervyn be at ease; I will give instructions to\nthe servants, to look out for the track of him whom henceforth,\nI shall seek to destroy with my own hand. Wife, take yourself\nfrom there and go and squat in a corner; your tears unman me\nand you would do better to close the conduits of your lachrymal\nglands. My son I beg you, come to your senses and recognise your\nfamily; it is your father speaks to you . .\nThe mother held herself at a distance and to obey the order\nof her lord, she has taken a book in her hands and tries to remain\nquiet in face of the danger run by him whom her womb engen-\ndered. Children, go and play in the park, and take care, in\nadmiring the swimming of the swans, not to fall into the lake . .\nThe brothers, heads hanging, were mute; all, their bonnets topped\nwith a feather torn from the wing of the Caroline goat sucker,\nwith breeches of velvet, stopping at the knees, and red silk\nstockings, took each other by the hand, withdrew from the\ndrawing-room taking care to press the ebony floor only with their\ntoes. I am sure they did not enjoy themselves, and that they\nwalked gravely in the alleys of plane-trees. Their minds were\nprecocious. So much the better for them. Futile ministrations,\nI rock you in my arms and you are insensible to my prayers.\nWon't you lift your head? I will embrace your knees, if necessary.\nBut no .. . she falls back inert. My sweet lord, if you will permit\nyour slave, I will go to my room to look for a phial filled with\nspirits of turpentine which I always use when headache invades\nmy temples on returning from the theatre, or when reading some\nmoving story, recorded in the British annals of the chivalrous\nhistory of our ancestors, my pensive thoughts are cast, into the\nbogs of drowsiness.\""}, {"page_pdf": 45, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 2094, "texte": "'Wife, I have not given you leave to speak and you have no\nright to take it. Since our legitimate union no cloud has come\nto interpose itself between us. I am satisfied with you, I have\nnever had any reproach to make you, and reciprocally. Go seek\nin your apartment the phial filled with spirits of turpentine. I\nknow there is one in your chest of drawers and you tell me nothing\nnew. Hurry to mount the stairs of the spiral staircase and return\nto find me with a satisfied expression.\"\nBut the emotional London lady had hardly reached the first\nstairs (she did not run as quickly as a person of the lower orders)\nwhen one of her own maids descended from the first floor;\nher cheeks empurpled with sweat, and holding the phial which\nmight perhaps contain the life-giving liquid within its crystal walls.\nThe maid, offering her present bends gracefully, and the mother\nadvances with regal gait to the tassels which fringe the sofa,\nsole object which occupies her tenderness. The commodore with\na proud, though benevolent gesture, accepts the phial from the\nhands of his spouse. An Indian handkerchief is dipped therein\nand the head of Mervyn is wrapped round with the orbicular\nmeanderings of the silk. He smells the salts; he stirs an arm.\nThe circulation comes to life and the joyous cries of a Philippine\ncockatoo perched in the recess of the window are heard. \"Who\ngoes there? .. . Do not stop me .. . Where am I? Is it a tomb\nsupports my heavy limbs? The planks seem soft to me . . . The\nlocket which contains my mother's portrait, is it still fastened\nto my neck? . . . Away, ill-doer with tousled hair. He could not\ncatch me, and I left a slip of my doublet in his fingers. Untie\nthe bulldog's chains, for to-night a recognizable thief may with\neffraction introduce himself while we are plunged in sleep. Father\nand mother, I recognize you and I thank you for your cares. Call\nmy little brothers. It is for them I have bought these burnt\nalmonds and I want to kiss them.\" With these words he fell into\na deep state of lethargy.\nThe doctor, called with all possible haste, rubbed his hands"}, {"page_pdf": 46, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 1936, "texte": "and said: fThe crisis is passed. Everything is well. To morrow\nyour son will awake cured. Go all to your respective couches;\nI command it, so that I may rest alone by the sick bed, until\nthe apparition of dawn and the nightingale's song.\"\nMaldoror, hidden behind the door has not lost a word. Now\nhe knows the character of the mansion's inhabitants and will act\naccordingly. He knows where Mervyn lives, and does not wish\nto know more. He has inscribed in a note-book the name of\nthe street and number of the building. That is the chief thing.\nHe is certain of not forgetting them. He advances like a hyaena,\nunseen, and skirts the walls of the courtyard. He scales the\nrailing with agility, and is embarrassed a moment by the iron\nprongs; with a bound he is on the pavement. He moves away\nstealthily. tfHe takes me for a criminal,\" he cries out; \"as for\nhim, he's an idiot. I would like to find a man exempt from the\naccusation which the invalid has made against me. I did not\nsteal a flap of his doublet as he said. Simple hypnogogic hallu-\ncination caused by terror. My intention was not to seize him,\nfor I have other ulterior projects for this timid youth.\"\nWalk towards the lake with the swans, and I will tell you\nlater why one of the group was completely black, his body bearing\nan anvil surmounted by the putrefying carcass of a hermit crab;\ninspiring and with reason, his other aquatic comrades with\ndistrust.\ni >\nMervyn is in his room; he has received a letter; who then\nwrites to him . . .? His emotion had prevented him thanking\nthe postman. The envelope has black borders and the words are\ntraced in a hasty writing. Will he carry this letter to his father?\nAnd if the signatory expressly prohibits it? Full of anguish, he opens\nhis window to breathe the scents of the air; the sun's rays reflect\ntheir prismatic irradiations on the Venetian glasses and the\ndamask curtains. He throws the letter aside among the gilt edged"}, {"page_pdf": 47, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 2127, "texte": "books and albums bound in mother of pearl, strewn upon the\ntooled leather which covers the surface of his school-desk. He\nopens his piano and runs his tapering fingers over the ivory keys.\nThe brass wires make no sound. This indirect warning makes\nhim pick up again the vellum paper, but the latter recoils as\nthough affected by the hesitation of the receiver. Taken in the\ntrap Mervyn's curiosity increases and he opens the scrap of\nprepared rag. Until this moment he had seen no other than\nhis own handwriting. 'Young man, you interest me; I would\nmake you happy. I will take you as my companion and together\nwe will accomplish long pilgrimages in the Oceanic Isles. Mervyn,\nyou know I love you, and there is no need to prove it you. lam\ncertain you will accord me your friendship. When you know\nme better, you will not repent of the confidence you will have\nshown towards me. I shall keep you from the dangers your\ninexperience must run. I shall be a brother to you and there shall\nbe no lack of good advice. For a more detailed explanation, be\non the Pont du Carrousel the day after to-morrow at five o'clock\nin the morning. If I have not come, wait for me; but I hope to\nbe there at the exact time. You do likewise. An Englishman\nwill not easily forego an opportunity of seeing clearly in his\nbusiness. Young man I greet you, and good-bye for the present.\nShow this letter to nobody.\" 'Three stars instead of a signature,\"\ncried Mervyn; ffand a bloodstain at the foot of the page!\" Copious\ntears poured upon the strange phrases his eyes had devoured;\nand which opened an illimitable field of uncertain and new\nhorizons to his spirit. It seemed to him (but only since what he\nhad just read) that his father was a little severe and his mother\ntoo majestic. He had reasons which have not come to my know-\nledge and which in consequence I cannot transmit to you; which\ninsinuated that his brothers did not please him either. He hid\nthe letter in his breast. His tutors have noted that on this day\nhe did not seem himself; his eyes had grown unnaturally gloomy\nand the veil of excessive thought had fallen upon the peri-orbital"}, {"page_pdf": 48, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 2053, "texte": "region. Each tutor blushed, afraid of not finding himself of the\nintellectual standard of his pupil, and yet, the latter for the first\ntime had neglected his duties and had not worked. In the evening\nthe family gathered in the dining room, adorned with ancient\nportraits. Mervyn admires the dishes heaped with succulent meats\nand odoriferous fruits, but he does not eat; and the polychromatic\ngushing of Rhine wines and the sparkling ruby of champagne in\nnarrow tall Bohemian crystal goblets, leaves even his sight in-\ndifferent.\nHe rests his elbow on the table and like a sleep-walker\nremains deep in thought. The commodore, his face tanned by\nthe sea spray, leans towards his spouse's ear: fThe first-born's\ncharacter has changed since the day of the fit; even then he was\nfull of absurd ideas, but to-day he spends more time then ever\ndreaming. All the same, I was not like that when I was his age.\nPretend not to notice anything. Now would some efficacious\nmoral or mental remedy easily find employment. Mervyn, you\nwho love reading books of discovery and natural history, I will\nread you a tale you will not dislike. Let everyone listen attentively,\nand each will profit thereby, myself first. And you others, chil-\ndren, learn by the attention you know how to lend my words\nto perfect your style and to make sure of the subtlest meanings\nof the author.\"\nAs if this brood of adorable brats could have understood it\nas anything but rhetoric. He spoke, and upon a gesture of his\nhand one of the brothers moved to the paternal library and\nreturned with a volume under his arm. During their passage the\ntablecloth and silver had been cleared and the father took the\nbook. At the electrifying word discoveries, Mervyn has lifted\nhis head and has tried to put an end to his irrelevant meditations.\nThe book is opened about the middle, and the metallic voice of\nthe commodore proves that he is still, as in the time of his glorious\nyouth, capable, of commanding the fury of man and of tempests.\nLong before the end of the reading, Mervyn has sunk upon his"}, {"page_pdf": 49, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 2144, "texte": "elbow, finding it impossible to longer pursue the explanatory\ndevelopment of phrases passed through the filter and saponi-\nfication of obligatory metaphors. The father cried out: rflt isn't\nthat will interest him; let's read something else. Wife, read. You\nwill be luckier than I in chasing annoyance from our son's days.\"\nThe mother has no further hope* nevertheless she takes another\nbook and the sound of her soprano voice falls melodiously upon\nthe ears of the product of her conception. But after a few words,\ndiscouragement overwhelmed her and of herself she ceased the\ninterpretation of the work of literature. The first born cried:\nffl am going to bed.\" He withdrew, his eyes lowered with a cold\nobstinacy, and without adding a word. The dog begins to howl\nlugubriously, for he does not think this conduct natural and the\nwind outside, irregularly engulfed by the longitudinal crack of the\nwindow, makes vacillate the light of the bronze lamp, which is\nthrown downwards by the rosy crystal domes. The mother presses\nher hands to her brow and the father lifts his eyes to heaven.\nThe children cast terrified glances at the old mariner. Mervyn\ndouble locks his door and his hand runs rapidly over the paper:\nffl received your letter at midday, and you will forgive me if I\nhave made you await a reply. I have not the honour of per-\nsonally knowing you and I do not know if I ought to write to\nyou. But since impoliteness does not dwell in our halls, I have\nresolved to take up the pen and thank you warmly for the interest\nyou take in a stranger. May God keep me from not showing grati-\ntude for the sympathy with which you overwhelm me. I am aware\nof my imperfections and it does not make me prouder. But if\nit is proper to accept the friendship of a grown up it is proper\nalso to make him understand our natures are not similar.\nIndeed, you appear to be older than myself, for you call me\nyoung man and yet I still have doubts as to your real age. For\nhow are the coldness of your syllogisms to be reconciled with\nthe passion which they breathe? It is certain that I will never\nabandon the place that gave me birth in order to accompany"}, {"page_pdf": 50, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 2153, "texte": "you to far countries; which would be impossible save on condition\nof asking first from the authors of my days an importunately\ndesired permission. But since you have enjoined me to secrecy\n(in the critical sense of the word) as to this spiritually tenebrous\naffair I hasten to obey your undoubted wisdom. It would seem\nthat it would not willingly affront the light of day. Since you\nappear to desire me to have confidence in yourself (a desire, not\nout of place, I am pleased to confess) have the kindness I beg\nof you to show an analagous confidence, as regards myself, and\ndo not presume so much as to imagine that I will be so unsym-\npathetic to your advice, as not to be punctual at the appointment.\nThe day after to-morrow morning at the stated hour, I will scale\nthe wall of the park enclosure, and no one will witness my\ndeparture. To speak frankly, what would I not do for you, whose\ninexplicable attachment so promptly knew how to reveal itself\nto my dazzled eyes, most astonished by such a proof of kindness,\nand which was, lam quite sure, entirely unexpected. Before I\ndid not know you. Now I know you. Do not forget the promise\nyou have made me to walk over the Pont du Carrousel. In the\nevent of my passing, I am absolutely certain of meeting you and\ntouching your hand, provided that this innocent display of a youth\nwho, but yesterday, bowed before the altar of modesty, does not\noffend you by its respectful familiarity. But is not familiarity\nadmissible in the case of a strong and ardent friendship, when\nruin is serious and earnest? And what harm, I ask you\nyourself, could there be after all, for me to say good-bye in\npassing, when the day after to-morrow, whether it rain or no,\nfive o'clock will have struck .. . ? You will appreciate, sir,\nthe tact with which I have conceived my letter; for I do not allow\nmyself in an easily lost loose sheet, to say more to you. Your\naddress at the foot of the page is a conundrum. It has taken me\nnearly a quarter of an hour to decipher it. I think you have acted\nwell in making the words so microscopic. I dispense with signing\nand in that I imitate you; we live in a too eccentric age to be"}, {"page_pdf": 51, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 2082, "texte": "astonished for a moment by what may happen. lam curious lo\nobserve how you learnt the place where my glacial immobility\ndwells, surrounded by a long series of deserted rooms, foul charnel\nhouses of my bored hours. How express myself? When I think\nof you, my chest swells, sonorous as the collapse of some decaying\nempire; for the shadow of your love suggests a smile which perhaps\ndoes not exist; so vague is it and moves its scales so tortuously.\nI abandon my impetuous feelings between your hands, tablets\nof new marble and still virgin of mortal contact. Let us be patient\ntill the first rays of the morning twilight, and while awaiting the\nmoment which will cast me into the hideous embrace of your\ntwo pestiferous arms, I bow humbly before the knees I embrace.\"\nAfter writing this guilty letter, Mervyn carries it to the post\nand returns to go to bed. Do not count on finding his guardian\nangel there. The fishes tail will fly for three days only, it is true,\nbut alas! the beam will none the less be burnt; and a cylindro-\nconical bullet will pierce the rhinoceros skin despite the beggar\nand Snow-white! The crowned mad man will have spoken truly\nconcerning the fidelity of the fourteen daggers.\nThe golden haired pirate has received Mervyn's reply. In\nthis strange page he follows the trace of the intellectual difficul-\nties of him who, abandoned to the feeble forces of his own\nsuggestivity has written it. He would have done much better to have\nconsulted his parents before replying to the unknown friendship.\nNo benefit will result to him for having taken part as principal\nactor in this equivocal intrigue. But anyhow, it was his own\ndesire. At the appointed hour, Mervyn has gone from the door\nof his house, straight before him; following the boulevard\nSebastopol as far as the fountain of St. Michel. He takes the\nquay of the Grands Augustins and crosses the quai Conti; at the\nmoment he passes over the quai Malaquais, he sees upon the quai\nof the Louvre, walking parallel to his own direction an individual\nbearing a sack under his arm and who seems to be examining"}, {"page_pdf": 52, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 2097, "texte": "him attentively. The morning mists have vanished. The two\nwayfarers issue at the same time from each side of the pont du\nCarrousel. Though they had never seen each other, it was a\nmutual recognition! Truly, it was touching to see these two\nbeings, separated by age, unite their souls in nobility of feeling.\nAt least, such would have been the opinion of those who would\nhave stopped before this spectacle which more than one, even of\na mathematical turn of mind, would have found moving. Mervyn,\ntears streaming down his face, thought he was meeting, at the\nbeginning of his life so to speak, a precious support in future ad-\nversities. Be persuaded that the other said nothing. This is what\nhe did: he unfolded the sack he bore, opened the mouth, and\nseizing the youth by the head, pushed his whole body into the\ncanvas envelope. With his handkerchief he tied up the end which\nserved as an entrance. Mervyn uttered shrill cries, but he lifted\nthe sack like a bundle of clothes, and several times hit the parapet\nof the bridge with it. Then the patient, made aware of the\ncracking of his bones, was silent. Unique scene which no novelist\nwill ever invent again! A butcher passed sitting on the meat in\nhis cart. An individual runs to him, requests him to stop and\nsays: \"There is a dog shut up in this sack; it's mangy, kill it as\nquickly as possible.\" The interrogated person shows himself\nwilling. The interruptor, moving off, sees a young girl in rags\nholding her hand out to him. How far then will the height of\nhis audacity and impiety stretch? He gives her alms! Tell me\nwhether you would like me to introduce you some hours later\nto the door of a remote slaughter-house. The butcher has returned\nand throwing his burden to earth, said to his mates: f'Let's kill\nthis mangy dog quickly.\" There are four of them and each\nseizes his accustomed hammer. And yet they hesitate because\nthe sack moves violently. 'What emotion holds me,\" cries one\nof them, slowly lowering his arm.\nThis dog whimpers with anguish like some baby,\" said\nanother, 'one would think he understood what fate awaited him.\""}, {"page_pdf": 53, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 2089, "texte": "flt is their habit,\" said a third, \"even when they are not sick, as\nis the case here, it is enough for their master to remain absent\nfor some days from the house for them to begin to give tongue\nto howls which really are painful to endure.\" 'Stop .. . stop . .\ncried the fourth, before all the arms could be raised in unison to\nresolutely strike, this time, upon the sack. 'Stop I tell you; there\nis some fact here we are ignorant of. Who tells you the canvas\ncontains a dog? I want to make sure.\" Then, despite the gibes\nof his companions, he untied the bundle and drew out one after\nanother the limbs of Mervyn! He was almost suffocated by the\ndifficulty of his position. On seeing the light again, he fainted.\nSome moments after he gave indubitable signs of life. His\nsaviour said: \"Another time know to use caution even in your\nbusiness. You have all but remarked of yourselves, that it serves\nno good to practise the inobservance of this law.\" The slaugh-\nterers fled. Mervyn, his heart oppressed, returns home and shuts\nhimself up in his room. Is there any need to enlarge upon this\nstrophe? Ah, who would not deplore the events consummated!\nAwait the end to pass an even more severe judgment. The\ncatastrophe is about to precipitate itself; and in this kind of tale,\nwhen a passion of whatever kind it be is premised it fears no\nobstacle in continuing its progress; there is no room to water in\na cup the gum-lac of four hundred banal pages. What may be\nsaid in half a dozen strophes should be said and then silence.\nI continue! There was a fishes tail, which moved at the bottom\nof a hole, beside a down-at-heel boot. Was it not natural to ask\nonself where is the fish? \"I but see the tail in movement.\" For,\nsince one implicitly admitted not having seen the fish, it was\nbecause it was really not there. The rain had left some drops\nof water at the bottom of this funnel, hollowed in the sand. As\nfor the down-at-heel boot, some few have since thought that it\nwas deliberately abandoned there. The hermit crab, by the\ndivine might was to be reborn from his resolved atoms. He drew"}, {"page_pdf": 54, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 2194, "texte": "the fishes tail from the well and promised to rejoin it to its lost\nbody if it would announce to the Creator, the impotence of his\nmessenger in dominating the furious waves of the Maldororian\nseas. He lent it two albatrosses wings and the fish tail took to\nflight. But it flew towards the home of the renegade, to relate\nwhat had happened and to betray the hermit crab. But he divined\nthe spy's plan and before the third day reached its end, he pierced\nthe fish tail with a poisoned arrow. The spy's gullet emitted a\nfeeble exclamation which rendered up its last sigh before reaching\nearth. Then a venerable beam, situated on the summit of a castle,\nrising to its full height, and turning on itself, cried out loudly\nfor vengeance. But the Almighty, changed into a rhinoceros,\ninformed him that the death was deserved. The beam, reassured,\nwent and took its place again in the depths of the manor, resumed\nits horizontal position and recalled the terrified spiders that as\nin the past they might continue to weave their webs from its\ncorners. The man with sulphur lips learnt of his ally's weakness;\nhe commanded the crowned madman to burn the beam and reduce\nit to cinders, that is why Aghone carried out this severe order.\n\"Since, according to you, the moment has come,\" cried he, ffl have\ngone again to get the ring I buried under the stone, and I have\nattached it to one of the ends of the cable. Here is the packet.\"\nAnd he showed him a thick cord, sixty yards long, rolled upon\nitself. His master questioned him as to what the fourteen daggers\ndid. He replied that they remained faithful, and held themselves\nready for any necessary event. The forger bent his head as a\ntoken of satisfaction. He betrayed surprise and even disquiet\nwhen Aghone added that he had seen a cock cleave a candelabrum\nin two with his beak, plunge his vision into each part in turn and\ncry out, flapping his wings with frantic movements: It is not as\nfar as one imagines from the rue de la Paix to the place du Pan-\ntheon: the lamentable proof will shortly be seen!\" The hermit\ncrab, mounted on a fiery steed, flew at full speed towards the reef,\nwhich had witnessed the hurling of a stick by a tatooed arm, asy-"}, {"page_pdf": 55, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 2225, "texte": "lum of his first day's descent upon earth, A caravan of pilgrims was\nabout to visit the place, henceforth consecrated by a sacred\ndeath. He hoped to reach it to beg urgent help against the plot\nin preparation for him, and of which he had knowledge. Some\nlines further on, helped by my glacial silence, you will see that\nhe did not arrive in time to relate to them what a rag-picker,\nhidden behind a scaffolding near a half-built house, had reported\nto him, the day when still bearing the damp dews of night the\npont du Carrousel, perceived with horror the horizon of its\nthoughts enlarge confusedly in concentric circles at the matutinal\napparition of the rhythmical kneading of an icosahedron shaped\nsack against its calcareous parapet! Before he stimulates their\ncompassion by the souvenir of the episode, they had best destroy\nwithin thefnselves the semen of hope ... To destroy your laziness\nmake use of the resources of a good will, walk at my side and do\nnot lose sight of the madman, his head surmounted by a chamber-\npot, who pushes ahead of him his hand armed with a stick, and\nwhom you would have difficulty in recognizing did I not take\ncare to warn you, and to recall to your ear the word pronounced,\nMervyn. How changed he his! His hands tied behind his back,\nhe walks straight before him, as though he went to the scaffold,\nand yet he is guilty of no crime. They have reached the circular\narea of the place Vendome. On the entablature of the massive\ncolumn, and leaning against the plain balustrade more than fifty\nyards from the ground; a man has cast and unrolled a rope which\nfalls near Aghone. Habitual things are quickly done; but I may\nsay that the latter did not take long to tie Mervyn fast, to the ends\nof the cord. The rhinoceros had learnt of what was about to\nhappen. Covered with sweat he appeared breathless at the corner\nof the rue Castiglione. He did not even have the satisfaction of\na fight. The individual who scrutinized the neighbourhood from\nthe top of the column, cocked his revolver, carefully took aim\nand pressed the trigger. The commodore who begged in the\nstreet since that day upon which he believed what he imagined\nto be the madness of his son, had begun, and the mother who had\n4"}, {"page_pdf": 56, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 2233, "texte": "been called Snow-white on account of her extreme pallor, inter-\nposed their breasts to protect the rhinoceros. Futile precaution .. .\nIhe ball drilled his hide like a gimlet; one might have thought\nwith some semblance of logic that death must infallibly appear.\nBut we know that the substance of the lord had been introduced\ninto the pachyderm. He withdrew with annoyance. If it had\nnot been proven definitely that he was too good to one of his\ncreatures I would pity the man on the column! He with a sudden\njerk of the wrist, pulled to him the thus ballasted cord. Situated\nabnormally, his oscillations balanced Mervyn, whose head looked\ndownwards, and who clutched eagerly with his hands at a long\ngarland of immortelles which connected two consecutive angles\nof the base against which he struck his brow. He carries into\nthe air with himself, what is not a fixed point After having piled\na large part of the rope, at his feet in the shape of superimposed\nellipses, so that Mervyn was suspended half way up the bronze\nobelisk, the escaped forger with his right hand imparted to the\nadolescent, a movement accelerated by a uniform rotation in a\nplane parallel to the axis of the column; and gathered with his\nleft hand, the serpentine entwinements of cordage which lay at\nhis feet. The sling whistles in space; Mervyn's body follows it\neverywhere, always held from the centre by centrifugal force,\nalways keeping his mobile and equidistant position in an aerial\ncircumference, independent of matter. The civilised savage little\nby little lets it out to the very end, which he retains with a firm\nmetarcarpal, resembling to the life a bar of steel. He begins to\nrun round the balustrade holding to the rail with one hand. This\nmanoeuvre has the effect of changing the original plane of the\nrope's revolution and of augmenting its already too considerable\ntension. Henceforth it turns majestically in a horizontal plane,\nafter having in a crazy progress passed successively through\nvarious oblique planes. The right angle made by the column and\nvegetable thread has its sides equal and the renegade's arm and\nthe murderous instrument are confounded in a linear unity, like\nthe atomical elements of a ray of light entering a dark room."}, {"page_pdf": 57, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 2003, "texte": "The theorems of mechanics permit me to speak thus; alas! it is\nknown that a force added to another force engenders a resultant\nmade up of the two original forces! Who would dare assert that\nthe linear cordage would have broken already but for the athlete's\nvigour, but for the good quality of hemp? The golden haired\npirate, suddenly and at the same moment, arrests his acquired\nspeed, opens his hand and lets go the cable. The countershock\nof this operation, so contrary to those preceding, makes the joints\nof the balustrade crack. Mervyn followed by the cord, resembles\na comet trailing after itself its flaming tail. The iron ring of the\nrunning knot, flashing in the sun's rays pledges itself to complete\nthe illusion. In describing his parabola, the doomed one cleaves\nthe air as far as the left bank, passes it by virtue of the propulsive\nforce, which I suppose infinite, and his body hits the dome of the\nPantheon, while the cord with its turns, partly embraces the\nupper region of the immense cupola. It is on the spherical and\nconvex superficies that resembles an orange only by its form, that\nat any hour of the day a dried up skeleton, still hanging, is to be\nseen. When the wind swings it, it is said that the students of the\nLatin Quarter, in dread of a like fate, make a brief prayer; but\nthese are trifling rumours, and there is no need to believe them;\nthey serve merely to frighten little children. He holds in his\ncontracted hands what seems like a large wreath of stale yellow\nflowers. The distance must be taken into account and no one\ncan affirm, despite the evidence of his long sight, that they are\nreally those immortelles. I have mentioned, and which an unequal\nstruggle close to the new Opera, saw detached from a grandiose\npedestal.\nIt is none the less true that the drapings arranged like a\ncrescent moon, no longer receive the impression of their definitive\nsymmetry in a quaternary number; go and see for yourself if you\ndo not wish to believe me.\n4*\n\nComte de Lautreamont"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c018", "article_bluemountain": "bmtnaap_1922-12_01#c018", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "52", "page_fin": "56", "image_debut": 58, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.13", "titre_corps": "Young Mr. Elkins", "titre_sommaire": "Young Mr. Elkins", "signature_source": "Malcolm Cowley", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 1876, "texte": "YOUNG MR. ELKINS\nPAUL ROSENFELD\n\n\"Apparently the skyscrapers of lower New York\nhad vanquished. What could one individual, assisted\nby a few dreamers, do against a civilization 9\"\nTo make the factory wheels revolve, eternal hills squeezed minerals\nfrom their bowels and prairies consumed themselves in wheat. Factories\nturned in three shifts daily, competing with churches and poolrooms to\nproduce a new and arbitrary civilization, the only one of its kind, Biggest\nin the World Endorsed by Millions of Satisfied Users, and this civilization\nlaboured in its turn and brought forth young Mr. Elkins.\nIt suckled him with Shredded Wheat.\nIt draped Kuppenheimer Klothes about his shoulders.\nIt gave him an Underwood typewriter (Model 5) and convenient\nmagazines.\nIt sent him to Harvard as a classmate of Walter Lippman.\nPerhaps it was only to produce young Mr. Elkins that American\ncivilization existed. . . . Under the grey water a volcano stirred, vomiting\nboulders in a steam, depositing them in layers awkwardly, and so building\na mountain higher than all other mountains: Mount Marbor that slopes on\nall sides vastly into a grey sea. On top of Marbor precisely, by its one\ncaprice, was deposited a pea, and the pea was critical of the mountain.\nMr. Elkins while still in college wrote such articles on puritanism as would\nhave shocked his forebears.\nHis possible forebears would be shocked, but in spite of biology I\nsuspect that he does not possess any. I suspect that only American civiliza-\ntion brought him forth, acting as both his father and his mother. Mystically\nfunctioning both as male and female agent ... so young Mr. Elkins may\nhave written.\nHe never mentions more definite relatives. Certainly he is not con-\nnected, even remotely, with the family of the defunct senator from West\nVirginia or with the Elkins Wideners of Philadelphia. There is no old\nMr. Elkins."}, {"page_pdf": 59, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 2392, "texte": "There is a young Mr. Elkins nevertheless, and he retains the adjective\nwhich has definitely taken the place of his initials. ff Young Mr. Elkins\nasserts,\" writes the superior-but-friendly critic of the Literary Review or the\nIndependent. frYoung Mr. Elkins objects (or disclaims or rejoins).\" One\npictures him vaguely in knickerbockers dictating his precocious essays to\na governess. As a matter of fact young Mr. Elkins was born in 1838, and\nthere is a trick of puffy eyes under his spectacles which makes him look\nwell over forty.\nMr. Elkins, being an American intellectual, belongs to the professionally\nyoung. At sixty he will retain the discouraged deep scepticism of adolescence.\nAt sixteen, however, he joined the Y. M. G. A. and even meditated\na course in electrical design from the International Correspondence School\nof Scranton, Pa. Why and at what age did the milk-and-honey, even the\nrye whiskey of America turn bitter in his mouth. Was it in his sophomore\nyear and because he bought a complete and unexpurgated edition of the\nworks of Guy de Maupassant?\nWas it because he felt ffa naked instinct stirring in him, down, deep\ndown; an urge, a flood of sex which would some day burst the narrow\nman-made barriers of American convention?\"\nWas it because of a course he took on Sewage Disposal in the German\nCities?\nOr merely was it because he felt the London-tailored mockery of an\narticle in the London Nation? He wanted so to be Free and he wanted\nto be urbane; he wanted to be English and Continental; he hardly understood\nwhat he wanted or how his new idea was born, but already before he\ngraduated from college he was declaiming against American grossness and\nAmerican puritanism in one breath and as if they were the same thing.\nff77ie new feeling that is in America, it is only an infant. It is no\nmore than a puny child born in the nadir of the year, a helpless, naked mite.\nIn all the grey winter of the land, under the leaden immeasurable vault, it\nis a nigh invisible fleck. And still, somehow, it is there, born\"\nThe new feeling that is in America ... it inspired young Mr. Elkins\nto thunder against billboards, Billy Sunday and Methodism, proportional\nrepresentation, Comstock, elevated railroads. One year with a special\nfulgurance he thundered against the commercial ugliness of cities. American\ncivilization listened and moved uneasily like a sleeping volcano. Stung"}, {"page_pdf": 60, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 2456, "texte": "finally to action by his criticism it spewed forth city planning commissions,\ncommissions specially trained at the Beaux Arts and specially delegated\nto make Paris, Okla. the replica of Paris, France, in miniature. The volcano\nslept comfortably. Mr. Elkins was not appeased.\nHe gathered disciples about him; young Mr. Elkins multiplied himself.\nHe published magazines and wrote them; he wrote plays and acted in them;\nhe populated a quarter of New York with two suburbs. His face and opinions\nwere reduplicated as if by American machinery. At times you met him\neverywhere and at times this omnipresent personality was reduced to the\nproportions of a squat young man of thirty-four, with puffy eyes; a single\ntired wrestler at grips with American civilization and determined to talk\nit to death.\nSo as to confound it, he began to amass facts about this society he\nhated. He went about his work as if he were organizing espionage in an\nenemy country. He made the acquaintance of reporters, statesman, barbers;\nstudied official reports; even joined a lodge of Elks surreptitiously. In this\nmanner he collected volumes of fact; millions of shining, unpleasant facts.\nSome of them he published, but he reserves the choicest for his conversation.\nHe says: \"Whiskey running last year caused 26 deaths at the Canadian\nborder . . . The new representative from Oregon is only the third atheist\nin Congress .... Out of 1103 cases of insanity in the State Asylum, 458\nwere caused by sexual repression .... An injunction has been granted to\nrestrain Pittsburgh streetcars from operating on Sunday.\"\nHe says, confidentially: fI learned yesterday from a private source\nthat there were 433 murders last year in Memphis, Tennessee. In the year\nbefore prohibition there were only 219. The hypocrisy of a dry nation\ncannot endure much longer.\" A few days later he draws you aside and says:\nr'Remember. Remember that we are living in the United States and not\nin a free nation. I know authoritatively that the Society for the Suppression\nof Vice is taking action against 183 books and pamphlets, including several\neditions of Shakespeare. Already a bookseller has been jailed because he\nsold a copy of Measure for Measure. Trouble is brewing. Tell nobody,\nnobody.\"\nYoung Mr. Elkins places an evident value on his facts and yet he\ncollates them around a simple, almost a childish thesis; a single thesis\nconcerning America and puritanism: Puritanism is bad; America is puritan;"}, {"page_pdf": 61, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 2672, "texte": "therefore America is bad. (Or, to state his syllogism in its more usual form:\nAmerica is bad; America is puritan; therefore puritanism is bad.) (Or:\nbadness is puritan; badness is American; America is therefore badly puritan,)\nHe has never tried to define puritanism or America.\nBut he dreams about them often; before his typewriter he dreams of\nan America delivered utterly from the puritan yoke. An America whose\nstreet-corners blossom with cafes and whose sidewalks with little tables\npainted green. Beer stains and the smell of beer. A broad leisurely America\nwithout machines and Methodism. Sunday baseball in Pittsburgh (or better,\nSunday cricket;) open urinals and racetrack gambling; the works of Freud\nand Boccaccio and D. H. Lawrence sold at newsstands openly. Young\nMr. Elkins dreams and writes a few rapid sentences on his Underwood.\nHe dreams of the Paris where he should like to be at home. A walled\nriver with its bridges gilded and millions devoted to Art. For Mr. Elkins\na bench in the Luxembourg gardens; children play it front of it decoratively\nand none of them bursts out of the picture to disturb him. Dreaming he\nwrites:\n\"1 like nothing better than to watch the youngsters, the nurses and\nmothers, the students, and the promenaders all at play. There is so much\nunaffected fun and laughing gaiety over the simplest things: I can watch\nthe eager babies as they get their first ride on the stolid donkeys, the pride\nof the owners of the small yachts that sail over the tiny artificial lake, the\nquivers of delight and mirth that shake the children's audience at the\nfGrand Guignol,'1) their sheer joy at riding on the flying pigs .. . The\nstudents from the Sorbonne or the Ecole de Medecine nearby swing their\nbooks, and on some of the stone benches young people will be embracing\nor kissing with no one paying the slightest attention . . . Somehow I never\nenjoyed walking in Central Park of a Sunday.\"\nHe never walked in Central Park without dreaming of the Luxembourg\nand Hyde Park and the Tiergarten, or of a future America into which their\nvirtues had somehow been incorporated; he dreams of an America which\nhas imitated the best of Paris and Berlin and London, an Anglo-Franco-\nGerman America ruled by philosophers and economists and rising clean\nfrom the sackcloth-and-ashes of puritanism into the leisured humanism of\nEuropean culture, into a naked dawn. And what he dreams he writes, in\nhis deep room, sulkily, on a typewriter which is the most finished product\nof a mechanical civilization.\n\n1) Grand Guignol: — a theatre which Mr. Elkins would find, if be ever visited\nParis, at a distance of several kilometres from the Luxembourg Gardens."}, {"page_pdf": 62, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 1590, "texte": "Meanwhile this civilization which produced young Mr. Elkins and his\ntypewriter in one careless gesture; meanwhile American civilization howls\noutside his window. An elevated express rumbles up Ninth Avenue and\nan elevated local rumbles down Ninth Avenue. Precisely under Mr. Elkins'\nroom four subway trains crash past each other. One of them is bound\nfor the 273 d Street hugest Tabernacle, where Mr. Sunday preaches that after-\nnoon to an audience of over fifteen thousand. Shortly he will save 931 souls\nfor democracy, while at the same moment and as if by the same angelic\ninfluence, the quarrel which had been storming in the poolroom at the\ncorner will be composed to the tune of East Side, West Side. Black Jim\nKelly produces a pint of gin. James Robert Kelly finishes the layout of\nhis two-page spread for the Foundation Company of America and the\nSaturday Evening Post. He shows his drawing to a friend. \"That's damn\nfine,\" James Kelly sa}rs, translating freely from Benvenuto Cellini. Thirty\nstories below an automobile skids into a shop window, killing two and a wax\ndummy .... Child Crushed by Car at 92nd Street .... Bronx Express\nDerailed Many Deaths .... A cable snaps on Brooklyn Bridge; fire spreads\nto the oil tanks; on the docks a carload of dynamite explodes .... In\na vain effort to dislodge the pea Mount Marbor was erupting: Granite\nboulders as big as a locomotive shot into the air, collided, and crashed down;\nten thousand feet ten thousand fathoms bumping crashing down.\nYoung Mr. Elkins, annoyed by the racket, rose nervously and closed\nhis window.\n\nMalcolm Cowley"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c019", "article_bluemountain": "bmtnaap_1922-12_01#c019", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 63, "image_fin": 63, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.14", "titre_corps": "Carlotta Grisi (about 1845)", "titre_sommaire": "Carlotta Grisi (about 1845)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 42, "texte": "Carlotta Grisi\nOld Lithograph <about 1845>"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c020", "article_bluemountain": "bmtnaap_1922-12_01#c020", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 64, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.15", "titre_corps": "Ballerinas", "titre_sommaire": "Ballerinas", "signature_source": "Pablo Picasso", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 24, "texte": "Ballerinas\nPablo Picasso"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c021", "article_bluemountain": "bmtnaap_1922-12_01#c021", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "57", "page_fin": "60", "image_debut": 65, "image_fin": 68, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.16", "titre_corps": "Instant Note on Waldo Frank", "titre_sommaire": "Instant Note on Waldo Frank", "signature_source": "Matthew Josephson", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 2467, "texte": "INSTANT NOTE ON WALDO FRANK\nMRS. LUVE.\n\nf7 know what love is because 1 know what horror\ncomes when love is starved or denied ... I am\na woman who has always lived in dirt .... I know\nthat dirt is always just that denying of love\"\nThe green sea waves toss mountainously burying the swimmer. They\n.\nare liquid and then they are erect. They are green . . . They are real . . .\nWith mighty efforts the swimmer plunges and wallows through the creamy\nfoam. He is tired. He is little. He is one. . . His mouth is full of tears.\nSalt tears. Words come, rounded and easy words, through the sea of his\nmouth. His own life, his own gay and lovely life .... broken so wantonly,\nso swiftly .... here is strangeness enough .... Magnificent his Desire\nto attain the land, magnificent his muscles, magnificent his poised back.\nFrom the breasts he sees the land. He sees Hope. And in the troughs . . . .\nFaith .... So he rolls. So he swims. Nearer . . .\nThe shocking sex-repression of the nineteenth century has reaped the\nshocking sex-outletting of the twentieth in our unhappy land. Puritanism\nis sent rolling back to the farthest corners of New England upon a wave\nof moral indignation. The day of vengeance. The lost provinces are restored\nand phallic monuments are struck and erected in the public places.\nBut it is far easier to understand how a myth came about than to\nforgive it.\nLet us not be irritated by the sex alarm of the day into offering a futile\nresistance to the crusaders. Let us grant first that all true pictures of life\nhave represented man as a base animal, especially foul and dangerous when\nhis appetites are thwarted; to wit: The History of Amelia, Roderick Random,\nle Rouge et le Noir, Brothers Karamazov. Prepared by years of journalistic\nwarefare, one fails to be revolted by the single-mindedness of the psycho-\nanalytic novel proper, such as Waldo Frank has conceived it. Its interest\nlies chiefly in the application of the Freudian tactic: we shall hearken\nonly to the strata of the brain, observe only instinctive be-\nhaviour, and speak only in the shadowy diction of dreams. It is simply\nHenry James undone! The actions of each character appear in their most\nnaked state; the conversation always en deshabille, if not a poil; the style\nis reduced to brief gasps of bad breath, instead of the sustained sober pace\nof the elder novelist.\n*) Rahab, by Waldo Frank, Boni & Liveright, New York, 1922.\nCity Block, by Waldo Frank, privately printed, 1922.\n5"}, {"page_pdf": 66, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.66", "debut_caractere": 0, "fin_caractere_exclue": 2412, "texte": "Your unconscious type par excellence always removes all her clothing\nupon receiving a guest, revels dogmatically in nudity, longs for freedom,\nslips readily into the most compromising situations, in short abides by a most\ndefinite, restricted and habitual creed of her own, with its established cere-\nmony and mummery. Substitute for the crucifix the phallus, and for the\npater noster such facile shibboleths as, \"I am real ... I touch .... I am\none .... I am in you I\" Thus from Rahab, which is the romance of\na woman whose behaviour is unfailingly and remarkably sub-conscious:\n\"I shut my face in my hands and you are about me, my Baby. I am\na baby with you. Our flesh is one: our hands are one like the petals\nentwined in a flower. We are a flower together. We spring from the\nblack earth. We have had our blooming. The earth is there. We are gone.\nIn the black earth under the snows, there is a seed of us, Edith! ... of\nour softness, of the bright bloom of our twined petals the hard seed. I am\nlain away in the earth. The earth blooms only in us.\"\nFrom this specimen of the apostrophizings of Fanny Luve, it will\nbe remarked that the sub-conscious is extremely mystical, that it prefers\nto speak in monosyllables, to employ only the short sentence, of which the\nstress always comes in the opening phrase, thus giving the effect of the\nrhythmic spasms of the old gasoline motors found in back country districts.\nThis is a highly disturbing element, because at least forty per cent of the\npages of Rahab and City Block is devoted to the communings of people with\ntheir subconscious selves.\nThe subconscious mind employs words most weirdly:\n\". . . . With her child in her arms she could pinch bravely and find\nreal . . .\n\"Harry is coming back. O I know! I must be ready. I must be real.\"\n\"Nakedness binds this warmth and this stillness. Nakedness must\nend.\" (*)\nTo suggest the qualities of dreams, the Great Vague is invoked. Sub-\nstantives, such as \"softness,\" \"whiteness,\" are heavily counted upon by the\nmyopic libido.\nOne serious objection to the subconscious is its lack of humor. It has\nno sense of the absurd, no capacity to laugh at itself. For instance when\nthe question is put: \"Could you eat some more toast?\" it cries:\n\"How do I know what I eat?\nGod you insult us.\nIf we must feed on dirt.\nWhy give us the love of the Clean?\"1)\n*) The italies are for laboratory purposes only.\n*) RahaU — Page 175!"}, {"page_pdf": 67, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 2776, "texte": "Needless to say, a personage who proceeds through life in such a dazed,\nunprotected state suffers severely at life's hands; and Mrs. Luve from the\ntime she betrays her husband to the day she is put into the streets by the\nruffianly police of New York certainly does suffer many hardships. But in\nstripping her, in divesting her of her gowns, her camisoles, of all the — for\nthe Freudian — fripperies of a superficial civilization which are invested in\nthe conscious mind, Waldo Frank has rendered her unsympathetic and\ntedious. He has attempted, through the psychoanalytic formula to catapult\nhimself into the ultimate sappy core of reality, to steal a march upon the\nDing an sich. An interesting and daring experiment, this of launching human\nbeings into a vague plane of life like muffled machines, with all their organs\nfunctioning blindly and immodestly. An experiment quite unprofitable:\nthese creatures are slack balloons appended to bulbous genitals.\nCity Block is an arrangement of stories about people whose lives happen\nto pass in one square block. This is evidently the thread which binds these\npeople, making their existences unanimous, (unanimistic) and their drama,\na collective one. But the crowd element neither adds to nor detracts from\nthe interest. Their personalities are still libido-ridden. All varieties of\nFreudian paraphernalia, from the simple affair of the pretty young gover-\nness who throws herself at the first comer, a policeman, to the young boy\nwho loves his mother — well — pathologically. The machinery of these\nstories is conventional, aside from the erotic data; i.e., the plot moves\neither to the fulfillment or the vanquishment of a repressed desire. (Here\nyou have the technical basis for a \"psychoanalytic\" literature to supplant\nthe plot-setting-character formula.) And the women are extraordinarily\nalike. They are all hungry and want \"beyond. ..\" Beyond what?\nThe men all have big coarse features, hairy hands and kind\nhearts. Their lives are restless, their moods always high-pitched, their\nvoices hoarse and intense with emotion. How ugly are untutored\nemotions. Especially when they are not balanced against the schooled\nreasoning of modern man, when there is no vacation from them, when one\nfails to be diverted by them.\nAnd Waldo Frank has excellent musculature. He has gone far afield,\nconspired and perspired much to fabricate a psychoanalytic prose. Delib-\nerately, he rides a vague and flaccid vocabulary. His style is certainly\nthe most vexing issue. When he consciously misplaces verbs and adjectives\nas \"Friday night when always he broke away. . .\" instead of \"Friday night\nwhen he always broke away,\" and distorts and inverts the language as in\n\"Sophie no longer yearned to do caring things for Hilda,\" or \"She is pain,"}, {"page_pdf": 68, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.68", "debut_caractere": 0, "fin_caractere_exclue": 2769, "texte": "gasping and falling,\" one can only remark that with the same effort an\nimpressive and convincing diction might have been attained.\nThere are moments when the dramatic possibilities of a situation\ncause Frank to swerve from his bias. The second of the Under the Dome\nstories is a calm sunny picture of an idiot boy and his credulous parents.\nIt is an excellent human-interest story in the old grand style. But here\nat least one may measure Frank himself. In Hope the chug-chug of the\nFrank style is most adapted to his subject matter, and carries the most\nphysical persuasion. In its brief confines, this story really contains all that\nthe writer could have done artistically with his sexual machinery: a common\ncase of adultery becomes something terrifically absurd and — tragic. It is\ninteresting to conjure with what the writer of these two stories will turn\nto next. How articulate or how ffsub-conscious\" will his succeeding books be?\nThe dominant tendency of Waldo Frank's books place him with a\ngroup of American Impulsionists, with the exponents of mystical or un-\nconscious behaviour such as James Oppenheim and Sherwood Anderson.\nDespite an unfortunate emotional equipment similar to that of these\nmen, he does attempt experiments with his material, which the others are\neither incapable of or unwilling to hazard. This alone renders him a much\nmore hopeful subject than these inarticulate personalities: his process swings\nfrom thought associations to thought-dissociations, to a state of mind (upon\na few rare occasions) when the march of rhetoric seizes him to the complete\nobliteration of his message. Out of his unhappy gropings comes an in-\ngenuous and unforgettable sentence:\n\"She walked, clear slender neck and legs with her child so full before\nher her walk seemed to say: fMy child comes first.' \"\nDripping, as he is, with emotion for humanity, for the spread of\nknowledge, or clarte, or whatever it is that must be spread, will Frank\never turn upon himself with a nice brutality and adjust himself properly\nabout the language?\nThe emphasis of modern literature, and of modern poetry especially\nis upon great articulateness and precision of expression, whether or no the\nwhole form give an effect of articulateness. The effect of novelty developes\nthrough a fresh approach to the business of defining experiences by\na sharply demarcated personality, such as one discovers in William Carlos\nWilliams, in E. E. Cummings, in Marianne Moore. Their speculations with\nsyntax, their rebellions, are the consummation of a long straight line whose\ninception lies in our traditional literature, and in the purest language forms.\nA truly inventive spirit is a lordly fish; the language is his grateful element:\na sea in which he cannot drown.\n\nMatthew Josephson"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c022", "article_bluemountain": "bmtnaap_1922-12_01#c022", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "61", "page_fin": "61", "image_debut": 69, "image_fin": 69, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.17", "titre_corps": "Dancer from the Ballet Tricorne", "titre_sommaire": "Dancer from the Ballet Tricorne", "signature_source": "Pablo Picasso", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 45, "texte": "Dancer from the Ballet Tricorne\nPablo Picasso"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c023", "article_bluemountain": "bmtnaap_1922-12_01#c023", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "62", "page_fin": "63", "image_debut": 70, "image_fin": 71, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.18", "titre_corps": "No. 19.", "titre_sommaire": "No. 19.", "signature_source": "Louis Kassak", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.70", "debut_caractere": 0, "fin_caractere_exclue": 1076, "texte": "NO. 19.\n\nThe angels filed through the black net the geese gathered\nround the glass warehouses and the scullion milked\nthe pot clear to the brim\nlight be his burden who is gone\nyet we are a simple European family and our life here\nis like an old cylinder\nit is in fact full of lice waterways and pilots with nine\nfingers\nlift the children out of your eyes\nlo and behold the mothers of Lily Street of the ponderous\nbreasts the arms linen rods and under the knots of\ntheir hair the liveried coachmen stretch themselves\nout\nthe thinkers have just installed themselves under the\nbrass hump\nof the camel and the mountains labor in the throes of\nbirth\nhowever the midwife has lost her diploma\nI have neither shirts nor hose\nI have no shirts no shirts I have straw slippers\nI have no shirts I have straw slippers\nI have no shirts I have straw slippers I have no shirts\nof shirts I have not any\nAnd it you who are entirely to blame\nthe bells of the neighboring village sing in D flat\nand you do not remark the snowdrops in our hearts drip\nit is also possible that we have grown too fat"}, {"page_pdf": 71, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 476, "texte": "O O it were best to die\nlet us ring the little lambs in\nbeyond the forest the world can still be seen dissolving\nin a scarlet nebulus\nand the most domesticated of the dogs flying with pea-\ncock feathers in their buttocks toward the moon\nthere can be no more doubt that it is the twelfth hour\nour our our thour our ow\nMr Kempeler lights up the stars\nthe war veterans close up their shops\nand we three walk in a pair of straw slippers through\nthe cloven mountains.\n\nLouis Kassak"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c024", "article_bluemountain": "bmtnaap_1922-12_01#c024", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "64", "page_fin": "64", "image_debut": 72, "image_fin": 72, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.19", "titre_corps": "Costume for Ravel's Rhapsodie Espagnole", "titre_sommaire": "Costume for Ravel's Rhapsodie Espagnole", "signature_source": "Gontcharova", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.72", "debut_caractere": 0, "fin_caractere_exclue": 51, "texte": "Costume for Ravel's Rhapsodie Espagnole\nGontdharova"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c025", "article_bluemountain": "bmtnaap_1922-12_01#c025", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "65", "page_fin": "65", "image_debut": 73, "image_fin": 73, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.20", "titre_corps": "On the Stairs Leading to my Marble Halls", "titre_sommaire": "On the Stairs Leading to my Marble Halls", "signature_source": "Alfred Mombert ; Babette Deutsch ; A. Yarmolinksy", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 73, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.73", "debut_caractere": 0, "fin_caractere_exclue": 434, "texte": "ON THE STAIRS LEADING TO MY MARBLE HALLS\nAlfred Mombert\nOn the stairs leading to my marble halls,\nIn the moonlight\nI stand, erect.\nFar below, in the thin blue mountain-lake,\nDeath is bathing,\nThe miscarried child of an unripe world.\nThe wretched creature is two feet high.\nHe wants to cleanse himself secretly\nIn my beloved faithful waters.\nEvery worm in my kingdom\nIs more radiant and is more blessed\nThan that creature, below there."}]}, {"article_id": "bm-bmtnaap-1922-12-01-c026", "article_bluemountain": "bmtnaap_1922-12_01#c026", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "65", "page_fin": "65", "image_debut": 73, "image_fin": 73, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.21", "titre_corps": "Suffering", "titre_sommaire": "Suffering", "signature_source": "Albert Ehrenstein ; Babette Deutsch ; A. Yarmolinksy", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 73, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.73", "debut_caractere": 436, "fin_caractere_exclue": 764, "texte": "SUFFERING\nAlbert Ehrenstein\nHow am I hitched\nTo the coal-wagon of my mourning!\nLoathsome as a spider\nTime creeps over me.\nMy hair falls out,\nMy head greys, like a field\nWhere the last reaper\nSwings his sickle.\nSleep darkens about my limbs.\nAlready in dreams I have died,\nGrass sprang out of my skull,\nMy head was of black earth."}]}, {"article_id": "bm-bmtnaap-1922-12-01-c027", "article_bluemountain": "bmtnaap_1922-12_01#c027", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "66", "page_fin": "67", "image_debut": 74, "image_fin": 75, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.22", "titre_corps": "The Moscow Art Theatre", "titre_sommaire": "The Moscow Art Theatre", "signature_source": "H. A. L.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 74, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.74", "debut_caractere": 0, "fin_caractere_exclue": 2215, "texte": "THE MOSCOW ART THEATRE\n\nCzar Feodor loannovitch produced by the Moscow Art Theatre Com-\npany under the personal direction of Stanislavsky was given, last Sunday\nnight, in Berlin. The lifted curtain revealed a picture, three men in a room,\na primitive, such a one as the art galleries term ffln the Byzantine Manner.\"\nAnd as the participants spoke, gestured, moved, the illusion remained. Not\nthe crooking of a finger would have roused the spectator from dreaming\nthat he had awakened, like the Connecticut Yankee, in some long past\ncentury.\nThe critical faculty revived as the action proceeded. One examined\nthe constituents of the picture to discover just how the spell was invoked.\nThe setting was good. The costumes were genuine, such as one sees in\na few rare collections, and very beautiful. A group of old Altar paintings\nin a corner was the centre and binding motif of the decorative scheme.\nMore than to any of these elements the spell was perhaps due to the perfection\nof the acting. Each gesture could have been only that gesture and no\nother. Each inflection of the voice, each cut of beard, could have belonged\nonly to that particular actor and no other. Perhaps the production of\nStanislavsky can be compared to Salammbo of Flaubert except that in this\ncase for the mot juste is substituted the ensemble juste. Both seem inspired\nby the belief that there exists but one way of expressing a thing and that\nto find this is the task of the artist. Like Flaubert, Stanislavsky with\nsuperhumen efforts, approximates his ideal.\nIn the year 1898 the Moscow Art Theatre was established. Feodor\nloannovitch was given on the opening night and the same company, with a\nfew minor changes in the cast, performed in early October 1922. Twenty four\nyears ago the utilization of an original tableset from the time of Boris,\nthe faithful imitation of an ancient room, copied out of a museum, the exact\nrepresentation of the superseded social mannerisms of the epoch and above\nall the perfection of detail which the genius of Stanislavsky never fails to\ncommand, made a sensation in Moscow which culminated, many years later,\nin the general recognition of the supremacy in the theatrical world of the\nMoscow Art Theatre."}, {"page_pdf": 75, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.75", "debut_caractere": 0, "fin_caractere_exclue": 2036, "texte": "Stanislavsky still possesses in the Western World his great prestige.\nHe intends with the assistance of an American contract to exhibit the plays\nwhich \"made his theatre famous,\" before the great foreign audiences.\nAs he has without question pushed his method or theory of the theatre\nto the limit of its possibilities it is well worth attending the performances\neven though one believes, like the contemporary Russian art radicals, that\nhis productions are as anachronistic as the painted icons in the museums.\nIn fact Meyerhold, Tairov, Forreguer and many other of the active theatrical\nmen are wholly opposed to the subtle realism, to the scientific analysis of\npsychological states, which constitute the main preoccupation of the Three\nSisters, Uncle Vania, The Cherry Orchard and other plays of his repertoire.\nThey consider all this obsolete now that the revolution has overturned every\nold value and made fluid the social stratas, formerly static. The newer\ntendencies in the Russian theatre seek theatricalism rather than realism,\nturn to the circus, to melodrama, to burlesque, neglecting the drawing room\nand the hidden struggles of constrained wills. Simple passions expressed\nin action are felt to be more in tune with present conditions.\nEven though workmen have taken the place of the old bourgeoisie\nand a new bourgeoisie is now occupying the chairs of the work-\nmen, still the Russian theatre-going public throngs Stanislavsky's theatre\nand from one point of view their instinct is sound. For it must be\nadmitted that this Moscow stage has maintained during many terrible\nyears a standard of production which has never been excelled even though\nwe may differ with its underlying theories. An interesting commentary on\nthe problem is that Stanislavsky admits in conversation, to a change of\nemphasis not evidenced by the plays which will be given in America. He\nbelieves the importance given to settings and stage accessories overdone and\nwould prefer to have his actors play their parts before a black curtain.\n\nH. A. L."}]}, {"article_id": "bm-bmtnaap-1922-12-01-c029", "article_bluemountain": "bmtnaap_1922-12_01#c029", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[1]", "page_fin": "[1]", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "[1]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 4692, "texte": "BETWEEN OURSELVES\nJohn Cournos, the author of Babel, is generally\nregarded over here as an English author. As a matter\nof fact, Cournos is an American citizen whose parents\ncame from Russia many years ago and settled in Phila-\ndelphia where young Cournos began his literary adven-\ntures by peddling newspapers outside of the Pennsylvania\nstation. From peddling papers to the job of printer's\ndevil was a quick step, and from printer's devil to the\njob of reporter was only a matter of a few years.\nDuring these years when he was the principal support\nof a large family. Cournos saved enough money to make\nhis \"grand tour\" abroad and finally settled in London\nwhere he has lived the last three years, during which\ntime he wrote his trilogy, The Wall, The Mask, and\nBabel. Such worth while critics as F. Scott Fitzgerald,\nRebecca West, Rose Macaulay, Sheila Kaye-Smith,\nMay Sinclair, John Macy, Burton Rascoe, T. R. Smith,\netc., think that Babel is a big book, and when Cournos\nreturns to America this autumn, he hopes that the\npublic will already have shown its full agreement with\nthe high opinion of the critics.\nFew people will believe that an author would spend\nsomething like $ 12.00 rather than have a single comma\nin one of his books left out. Mr. Liveright, however,\nis willing to take an affidavit that on the morning of\nSeptember 4 th at the horribly early hour of 3:15 A. M.,\nBen Hecht telephoned to him from Chicago and\ntook no less than 15 minutes to insist that on page\n47 of his new book, Gargoyles, in the sentence rea-\nding, \"If all women were like you, there would be\nno bad men,\" the omission of a comma after the word\nyou entirely destroyed the rhythm of his prose. Mr.\nHecht knew that the book was to go to press the\nfollowing day and would not trust a telegram to\nmake his meaning clear. In relating this story to\nseveral people the only comment which seemed to be\nforthcoming has been: What is punctuation to Hecht,\nanyhow?\nIt is not generally known that Stacy Aumonier,\nthe author of Heartbeat, which in a short month has\nproven to be by far the most popular of his novels\nwhich have been published in America, was, before he\ndevoted himself to letters, an artist of no mean ability.\nAt The Savage Club in London, which corresponds\nmore or less to our Players Club in New York, there\nare a number of Mr. Aumonier's pictures, and two\nof his sketches are among the most prized possessions\nof Miss May Sinclair, who is a next door neighbor\nof the Aumoniers at St. John's Wood.\nHendrik Van Loon, as everyone knows, is a merry\nold soul and he is just as generous as he is merry.\nHis publishers have just received a cable from him\nfrom Stockholm saying: \"Congratulations to everyone in\nthe office on Mankind touching the 63,000 mark!\nThe critics have said it's a good book, but the love\nand energy lavished on it by all of you, from the boss\ndown to the shipping clerk, made it 60 instead of 6.\"\nWe have just printed 50,000 additional copies of The\nStory of Mankind and feel that maybe that won t\nbe enough for the holiday season.\nBeginning this autumn, instead of continuing the\nformer practice of publishing a number of new titles in\nThe Modern Library in one group each season, one\nnew title will be issued on the 10 th of each month.\nOne title each year will be chosen by the booksellers\nthemselves. Mr. Liveright says: \"There seems no\nreason why the reading public shouldn't look forward\nwith as keen anticipation to the new Modern Library\nvolume on the 10 th of each month as the music-loving\npublic does to the new Victor and Columbia records.\"\nThe September Modern Library title will be Ancient\nMan by Hendrik Van Loon with a number of new\nillustrations by Hank himself.\nLudwig Lewisohn, the author of Up Stream one\nof the finest autobiographies which have been published\nin America in many years, and which, by the way, is\nnow in its Bth edition and moving stronger up stream\nevery day, is now at work on his new novel, The\nHearthstone. If the next 300 pages are as good as\nthe fiist 50, Lewisohn will score another big success.\nThe Carra edition of the works of George Moore,\nthe first three volumes of which will be published in\nOctober, will be prefaced by a 10,000 word intro-\nduction which Mr. Moore calls Apologia Pro Scriptis\nMeis.\nGertrude Atherton writes us that she has almost\ncompleted the third revison of her new novel which\nwill appear with our imprint early in January. How\nmany writers in these mad dynamic days qualify for\nthat fine definition of genius which consists in taking\ninfinite pains?\nThe books mentioned on this page may be had at any first-\nclass book shop in the United States\nBONI & LIVERIGHT,\nPublishers\n103 West 40 th Street NEW YORK"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c030", "article_bluemountain": "bmtnaap_1922-12_01#c030", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[2]", "page_fin": "[2]", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.25", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[2]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 591, "texte": "The subcription price of BROOM is $ 5 per year, but for a limited time only\nwe are making the following special offer:\n(1) BROOM for a year ($ 5) and The Goose Man by Jacob\nWassermann, author of The World's Illusion ($ 2.50). Both for $ 5.50.\n(2) BROOM for a year ($ 5) and Batouala by Rene Maran,\nwinner of the PRIX GONCOURT ($1.75). Both for $5.00.\n(3) BROOM for a year ($ 5) and The Hairy Ape (including\nAnna Chrystie and The First Man) ($ 2.00). Both for $ 5.00.\nBROOM\n3 EAST 9th STREET, NEW YORK CITy\nFor the enclosed $ please send me Broom for a year and the\nfollowing book\nName\nAdress"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c031", "article_bluemountain": "bmtnaap_1922-12_01#c031", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[68]", "page_fin": "[68]", "image_debut": 76, "image_fin": 76, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 76, "page_imprimee": "[68]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.76", "debut_caractere": 0, "fin_caractere_exclue": 1581, "texte": "/C\\ne must learn the language in which an art speaks if one\n/ Jis to have a mastery of that art.\nLike all forms of art, interior decoration draws upon\nmany others for its perfect individuality. It has its own laws,\nits own technique, its own rewards, and it is one of the few\narts that works in three dimensions.\nIt demands wide academic knowledge, a thorough grasp of\nprinciples and practice to understand as well as to create.\nThe Arts & Decoration Practical Home Study Course in In-\nterior Decoration is a result of the remarkable demand made\nupon the magazine for authoritative comprehensive know-\nledge on this subject.\nThe course covers every phase of interior decoration beginning\nwith fundamentals and explaining each progressive step, illus-\ntrated with a wealth of pictures and clear, simple text.\nThis course is essential to a cultural education and a necessity\nto those who desire to make their surroundings more beautiful.\nThe directors of the course are Harold Donaldson Eberlein\nand Nancy V. McClelland consulting and practicing decorators\nof national reputation.\nThe Advisory Faculty includes such distinguished authorities\nas William Emerson, Director, Architectural School, Massa-\nchusetts Institute of Technology; Huger Elliott, Principal,\nPennsylvania Museum and School of Industrial Art; Richard\nF. Bach, of the Department of Industrial Art, Metropolitan\nMuseum of Art; Whitney Warren, Architect, and Phyllis\nAcherman, Ph. D.\nThe course is completed in twenty-four lessons covering a full\nyear. We shall be glad to send you a booklet giving a full\ndescription."}]}, {"article_id": "bm-bmtnaap-1922-12-01-c032", "article_bluemountain": "bmtnaap_1922-12_01#c032", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[68]", "page_fin": "[68]", "image_debut": 76, "image_fin": 76, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 76, "page_imprimee": "[68]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.76", "debut_caractere": 1583, "fin_caractere_exclue": 1633, "texte": "Hrts & Decoration\n50 Uldt 47 th Street * ]Vew City"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c033", "article_bluemountain": "bmtnaap_1922-12_01#c033", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[69]", "page_fin": "[69]", "image_debut": 77, "image_fin": 77, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "[69]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.77", "debut_caractere": 0, "fin_caractere_exclue": 611, "texte": "THE NATION\n20 Vesey Street\nNEW YORK\nOSWALD GARRISON VILLARD,\nEditor\nAssociate Editors\nLEWIS S. GANNETT\nARTHUR WARNER\nFREDA KIRCHWEY\nLUDWIG LEWISOHN\nNORMAN THOMAS\nERNEST H GRUENING\nManaging Editor\nJOHN MACY\nLiterary Editor\nContributing Editor\nJOHN A. HOBSON\nANATOLE FRANCE\nH. L. MENCKEN\nFRIEDRICH WILHELM FOERSTER\nROBERT HERRICK\nCARL VAN DOREN\nWith THE NATION\nfor a year:\n$ 5.00\nContemporary American\nNovelists,\nby Carl Van Doren\nThe Enormous Room,\nby E. E. Cummings\n$ 5.50\nBabbitt,\nby Sinclair Lewis\nOn Life and Letters, 111,\nby Anatole France\nThe Critical Game,\nby John Macy\n$ 6,00\nUp Stream,\nby Ludwig Lewison"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c034", "article_bluemountain": "bmtnaap_1922-12_01#c034", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[69]", "page_fin": "[69]", "image_debut": 77, "image_fin": 77, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "[69]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.77", "debut_caractere": 613, "fin_caractere_exclue": 1340, "texte": "Jf Balieff's small drama On the Sudden Death of a\nHorse illustrates as he insists the Greatness of the\nRussian Soul, it is easy to understand why Sherwood\nAnderson's animadversions on the Cincinnati river\nfront reveal certain important facts about the mental\nprocesses of Americans. Admitting this, one admits\nthat The Nation's series, \"These United States,\" is\nbuilding a composite picture of America all the more\nfaithful because it distinguishes instead of generali-\nzing. While Kansas is still buzzing with William\nAllen White's accusation that his mother state is\nunsafe for poets, Nevada and Delaware and New\nJersey leap into the public view and prove by the\nheat of their protests the unwelcome truth of their\nportraits."}]}, {"article_id": "bm-bmtnaap-1922-12-01-c035", "article_bluemountain": "bmtnaap_1922-12_01#c035", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[69]", "page_fin": "[69]", "image_debut": 77, "image_fin": 77, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.30", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "[69]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.77", "debut_caractere": 1342, "fin_caractere_exclue": 1761, "texte": "* * *\nAdding the ideas of his \"Spirit of American\nLiterature\" to the rich tradition of Carl Van Dorens\nliterary editorship of The Nation, John Macy is\nmaking the book department illustrate the theme of his\nlatest volume that talk about literature is of no value\nunless in itself it is enjoyable. It is possible to be\nentertaining even about statistical works, and this when\nnecessary The Nation's reviews achieve.\n* * *"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c036", "article_bluemountain": "bmtnaap_1922-12_01#c036", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[69]", "page_fin": "[69]", "image_debut": 77, "image_fin": 77, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.31", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "[69]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.77", "debut_caractere": 1763, "fin_caractere_exclue": 2082, "texte": "The above reasons for reading The Nation\nare of minor importance, compared to your certainty\nthat you will find information which is not accessible\nelsewhere; and that events in Europe are pretty apt\nto turn out as The Nation prophesies them. At\nthe left are mentioned a few attractive ways to see\nThe Nation regularly."}]}, {"article_id": "bm-bmtnaap-1922-12-01-c037", "article_bluemountain": "bmtnaap_1922-12_01#c037", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[69]", "page_fin": "[69]", "image_debut": 77, "image_fin": 77, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.32", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "[69]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.77", "debut_caractere": 2084, "fin_caractere_exclue": 2225, "texte": "THE NATION\n20 VESEY STREET NEW YORK\nI enclose $ —\nSend The Nation for a year and\nName\nAddress\n15 cent a copy. Annual subscription $5 00 B-1 2"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c038", "article_bluemountain": "bmtnaap_1922-12_01#c038", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 78, "image_fin": 78, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.33", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 78, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.78", "debut_caractere": 0, "fin_caractere_exclue": 3619, "texte": "\"LIGHT AND LEADING\" IN\nTHE WORLD OF LETTERS\nTHE NORTH AMERICAN REVIEW, which for more than a hundred years\nhas maintained unchallenged primacy among the literary periodicals of America, announces\nthe publication of a series of articles of singular timeliness and authoritative value in the\npresent period of disputation and transition in the world of letters. The writer is Professor\nJohn Erskine, who occupies the Chair of Literature at Columbia University and who is himself\nan author, editor and critic of distinction. Under the general heading of The Literary-\nDiscipline he is discussing the pertinent topics of\nDecency in Literature,\nOriginality in Literature,\nThe Cult of the Natural,\nThe Cult of the Contemporary,\nThe Characters Proper for Literature.\nIn these five comprehensive articles he states, in terms of the art of letters itself,\ncertain aesthetic principles of the highest importance, which for the moment seem to be forgotten,\nand to the overlooking of which is due the major part of the unsatisfactory conditions now\nprevailing in American literature. The first of these articles, on Decency in Literature,\nappears in the November number of THE NORTH AMERICAN REVIEW, and the\nothers will appear consecutively in the succeeding four numbers.\nThis series, which will be recognized as one of the most significant publications in\nliterary criticism for many years, will be not so much as a tithe of the valuable contents of\nthis magazine. Other articles in the current number or scheduled for its near successors\nare by Robert Bridges, Poet Laureate of England, on Free Verse; by John Cotton Dana,\nthe eminent librarian, on the effects of recent social and economic changes upon reading,\nand conversely the effect of reading upon such changes; by Montrose J. Moses, author\nand critic, on paternalism in children's literature; by Joel Blau, one of the foremost rabbis and\nHebrew scholars of the age, on the Second Coming of Israel; by William D. Riter,\nAssistant Attorney-General of the United States, on the contrast between earlier and later\nConstitutional conceptions of the relation between States and Nation; by B. Seebohm Rowntree,\nthe British industrialist and publicist, on the future of British industry; by Alice Lothian\non the literary art of Walter de la Mare.\nPoetry, always an important feature, will be represented by contributions from Anne\nGoodwin Winslow, Margaret Widdemer, Constance Lindsay Skinner, Leonora Speyer,\nJohn R. C. Peyton, William A. Drake, Joseph Auslander, and others.\nA frequent feature will be a critique of some outstanding Book of the Month, from\nthe brilliant and incisive pen of Lawrence Gilman; Professor Willis Fletcher Johnson,\nhistorian and international publicist, will write each month on the Affairs of the World;\nand there will be a multitude of reviews, extended or brief, of significant new books.\nAny reader of BROOM can secure this extraordinary series of articles by Professor\nErskine, each accompanied by more than a dozen others of comparable worth, and two ad-\nditional numbers of this REVIEW for good measure, by writing to THE NORTH AMERICAN\nREVIEW, mentioning BROOM, and enclosing $ 2.00 (or $ 2.48 from a foreign country).\nHe will in return receive seven succesive numbers of THE NORTH AMERICAN RE-\nVIEW, beginning with that for November containing the first article on Decency in Lite-\nrature. Seven numbers for the usual price of six.\nAddress — promptly, in order to take advantage of this special offer and to make\nsure of securing the November number before the edition is exhausted —\nTHE NORTH AMERICAN REVIEW,\n9 East 37 th Street NEW YORK"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c039", "article_bluemountain": "bmtnaap_1922-12_01#c039", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 79, "image_fin": 79, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.34", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 79, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.79", "debut_caractere": 0, "fin_caractere_exclue": 1978, "texte": "If Tou Uroom\nYou Will £i\\e\nTHE DIAL\n—a journal whose sole purpose is to bring the work of the artists\nwho count to the people who care.\nThe significance of The Dial in contemporary literature is due\nto its established policy of including the best procurable work of\nAmericans and Europeans, both famous and unknown, without\nregard to the novelty or conventionality of the form in which\ntheir work is presented.\nThe Dial is, therefore, able to offer its readers a review in\nwhich new and traditional modes of expression are published\nside by side, so that the reader may have the unusual pleasure of\nexercising his own judgment, with the assurance that he has in\nhand the best of both schools.\nIn addition, The Dial offers a critical compte rendu of art and\nletters throughout the world.\nThe Dial was the first old established magazine in America to\nadjust its policy and point of view to include the newer tendencies\nin art and letters. Since The Dial's change of policy, less than\nthree years ago, two other well-known, old established magazines,\nhave modified their traditional point of view in the direction first\ntaken by The Dial. A number of new magazines representative\nof modern tendencies in art and letters, of which Broom is one,\nhave sprung up in both Europe and America within recent months.\nIf you like Broom, you will like The Dial. Each supplements\nthe other, and yet each has its own distinctive flavor. It is im-\npossible for any one magazine to offer all of the best work of the\nworld's finest artists. Broom and The Dial together, however,\nyou like one, you will surely like\nYou may enter my name for a year's\nsubscription to Broom and The Dial\nat the special combination rate of $7.50\nName\nAddress\nI I I enclose $7.50. EH I will remit\n$7.50 on receipt of your bill.\nTHE DIAL\n152 West 13th Street, New York City\nB-11-22\nB-11-22\nvery nearly cover the field. If\n•? the other.\nr\nSpecial Offer\nBROOM\nand\nTHE DIAL\neach alone for one year $5.00\nBOTH TOGETHER\n$7.50"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c040", "article_bluemountain": "bmtnaap_1922-12_01#c040", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 80, "image_fin": 80, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.35", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 80, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.80", "debut_caractere": 0, "fin_caractere_exclue": 2306, "texte": "for the p?ayiorisAts of tomorrow\n& professional course in\nPLAY\nWRITING\nunder the personal supervision of Theo-\ndore Ballou Hinckley, of THE\nDRAMA (formerly of the University of\nChicago) assisted by famous playwrights,\ncritics, actors and producers.\nOFFERED now to a limited number of ambitious\npeople, this personal correspondence \"course in play-\nwriting affords an unusual opportunity hitherto una-\nvailable. It covers a year of closely supervised instruction\nin the technique of play-writing. It is individualized in a\nmanner that makes it unique, thorough and practical.\nThroughout, the aim is toward actual production — not\nmere amateurish effort. The course brings all that is best\nfrom many sources. In study courses, books, examinations,\npractice plays, analyzations, criticisms, etc., you are taken\nstep by step, from the simplest rudiments up to actual\ncompletion of plays, and then on to the consideration\nof producers.\nGood Plays Earn Big Royalties\nThe building of a successful play lies in the intelligent\ndirection of study —in the guidance of a master-critic.\nMr. Hinckley has devoted his life to the study of the drama.\nHe has guided many successful playwrights. He knows\nwhat to stress, what to avoid. He will train you to sense\nthe changing demands of the public. Manuscripts with\nthe endorsement of THE DRAMA receive the attention\nof producers.\nAs this is a highly personalized course, Mr. Hinckley,\nin order to individualize each course by correspondence,\nis forced to limit the enrollment to the most promising\npeople. Please do not confuse this with any correspon-\ndence course ever offered before —it is entirely different.\nLimited Enrollment\nThe coupon brings complete information. Fill it out\nand mail it. You'll be surprised and pleased at the details\nand at the low cost of enrollment. To insure your place\nin the class, you should familiarize yourself with this great\nopportunity before the class readies its limit of enrollment.\nMail the coupon now to the Department of Instruction,\nThe Drama Corporation, 500 Athenaeum Building, Chicago.\nComplete Information Sent to You\nIf You Mail the Coupon Now\nDepartment of Instruction,\nTHE DRAMA CORPORATION,\n548 Athenaeum Bldg., Chicago.\nPlease send information regarding your personalized course\nin play-writing.\nName\nStreet\nCity\nState"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c041", "article_bluemountain": "bmtnaap_1922-12_01#c041", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 80, "image_fin": 80, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.36", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 80, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.80", "debut_caractere": 2308, "fin_caractere_exclue": 3052, "texte": "I ARE YOU A 1\n| BOOKFELLOW? [\ng If not, you should belong to the order g\ng of Bookfellows, an International Association g\nH of Readers and Writers. Publishers of books g\ng and brochures written by, and sold to members g\ng only. First editions of James Branch Cabell, g\ng Hamlin Garland and oJthers, not on sale in g\ng bookstores. We also publish the Step Ladder,\ng a monthly journal of bookly ascent, free g\n| to members. Referring to Stuart P. Sherman's jj\nM note on Carl Sandburg (in September issue)\nj the Chicago News says,\"We easily recommend |f\nM The Step Ladder in place of The New\nJ Republic\". One dollar per annum, circulars g\nM on request. g\n| Flora Warren Seymour, |\n1 Clerk, 4917 Blackstone Avenue, 1\nM Chicago, Illinios, U. S. A. g"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c042", "article_bluemountain": "bmtnaap_1922-12_01#c042", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 80, "image_fin": 80, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.37", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 80, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.80", "debut_caractere": 3054, "fin_caractere_exclue": 3247, "texte": "0600600600600600600600600600600600600600^\nI DANIEL GALLERY\nPAINTINGS BY MODERN\nAmerican and French Artists\n8\n2 WEST 47th STREET\n8 NEW YORK CITY\n8\n000600600600600600)0060060060060060060010060060"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c043", "article_bluemountain": "bmtnaap_1922-12_01#c043", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 81, "image_fin": 81, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.38", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.81", "debut_caractere": 0, "fin_caractere_exclue": 4428, "texte": "I I\nMil II\nm\nC, Qa£cLeman~Jufius\nEditor LIFE AND LETTERS\n\"I Will 'Fordize' the Magazine\nField Too!\" — C, feaPcteman-Jutius\nThat Was the Assertion of the Editor of\nThe Pocket Series of 239 Classics—And He Did It\nBY GEORGE C. NAGEL.\n\"I want to edit a magazine that will be better than the so-called' Quality\nGroup,' but which zcjill NOT cost $5.00 per year. My idea is to print\nthe finest literary material and charge only twenty-five cents per year—\ntwo cents per issue. I know the idea is sound; so lam going right\nahead with the work, positive you will endorse the plan and subscribe.''''\nLIFE AND LETTERS tackles one\nsubject at a time. Below are lisled\nsome of the historical characters\nMr. Haldeman-Julius' editorial depart-\nment will handle, each in a separate\nissue. Look over the program below\nand see if there are not some charac-\nters with whom you would like to get\nbetter acquainted. There are also many\nothers who will get consideration.\nDon't you want to know\nmore about these Master Minds?\nMr. Halderran-Julius has succeeded, purpose the acquainting of its readers\nand LIFE AND LETTERS takes its with the great masters and their works.\nplace among the magazines of today fjrst number was devoted to\ndevoted to giving the public the very Henry David Thoreau, the great New\nbest in English literature at the unthink- England individualist. Sir Richard Francis\nable subscription price of 25 cents a Burton, the British explorer, Orientalist,\nyear. It now has 100,000 subscribers. soldier, writer dominated the second issue,\nLIFE AND LETTERS is a monthly and Plato the third.\nmagazine devoted to the best in literature. jjpE AND LETTERS is not filled\nNothing but the best appears in it. It w;th mere printed pages. Neither is it\npreaches no isms. It has no pet theories. stuffed with dry-as-dust theories or half-\nIt has no hidden policies. Mr. Halde- baked ideas. The biographical sketches\nman-Julius maintains the American jn up£ AND LETTERS are correlated\npeople know what they want. He con- w£th the character's deeds and works.\ntends they want the best kind of reading Don't miss LIFE AND LETTERS.\nmatter. But they cannot and will not c , ~ 1 • .1\n. . 3 , . . 1 A/i Subscribe NOW and receive the cur-\npay several times what it is worth. Most t . .\nrent issue'\npurses will not permit that. LIFE AND LETTERS contains six-\nEducation will increase in direct pro- teen pages, each half the size of your\nportion to the decrease in the expense Sunday newspaper. It is printed on a fine\nof attaining it. Good reading is one of grade of book paper, and is profusely\nthe greatest elements in education and illustrated with portraits and pictures,\nculture. University education has the fsj0 pains are saved in making LIFE\nworks of the masters as its basis, and LETTERS a magazine any one\nthe individual who consistently reads the should be proud to have on the library\nworks of the masters gets the same table. Its being there is a sign of literary\nsatisfaction. taste and appreciation of the better\nLIFE AND LETTERS has as its things in literature.\nTwelve issues for 25 cents\nMr. Haldeman-Julius' ambition to \"Fordize\" the magazine field, coupled with\na 100 per cent automatic printing plant and presses that can print 25,000 maga-\nzines an hour, permits LIFE AND LETTERS to be sold at 25 cents a year.\nAnd still Mr Haldeman-Julius can maintain around him an able editorial staff to\nmake LIFE AND LETTERS distinctly a magazine of culture.\nSubscribe now. Don't miss an issue\nLIFE AND LETTERS is not sold on Newsstands. It comes every month\ndirect to your door.\nFor one dollar bill you can subscribe yourself and have three of your friends\nreceive LIFE AND LETTERS and enjoy the pleasures of good reading for twelve\nmonths.\nThis coupon in an envelope with 25 cents in coin or stamps will bring you\nLIFE AND LETTERS for a whole year.\nLife and Letters, Girard, Kansas\nmilium iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii\n| Subscribe for LIFE AND LETTERS—Use this coupon.\n| E. Haldeman-Julius, Dept. T—4s\n| Girard, Kansas.\nSend me your magazine LIFE AND LETTERS for one year for which\n| I enclose 25 cents.\nE Name\nI Street\n| City State\nIn Canada and other foreign countries the subscription price is 50c.\niiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii\nir="}]}, {"article_id": "bm-bmtnaap-1922-12-01-c044", "article_bluemountain": "bmtnaap_1922-12_01#c044", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 82, "image_fin": 82, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.39", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 82, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.82", "debut_caractere": 0, "fin_caractere_exclue": 2410, "texte": "why not read them now? why not read them now? why not read them now? why not read them now?\n£\no\na\naj\nu\n-M\no\na\n£\no\nG\nas\nw\no\nG\n£\nO\nG\n<y\n•M\no\nG\n£\nO\nG\n<y\n•M\no\nG\n£\no\nG\n<V\nu\no\nG\n£\no\nG\nC 3\nU\nO\nG\nOe Ofolest andTCeioest Clrt o/Ctmer/ca\nIn the January 7broom\nMaya Sculpture and\nArchitecture\nContemporary American\nProse and Poetry\nThe Art of the Mayas was the earliest American Art. Conceived some ten centuries ago, it remains\nthe magnificent expression of one of the noblest races which inhabited America. Since then, many races,\nmany cultures have come and gone. All but the topography of North America has been altered. But\nthe new races which populate the transformed continent are also creating a new art which mirrors as faiths\nfully the astonishing environment they have made for themselves. Why not read them now?\nBROOM from old Europe will present in the JANUARY number an array of AMERICAN\nwritings such as no magazine in America has yet ventured. Why not read them now?\nPRIZE CONTEST\n•Si\nWhich\nprominent\nAmerican\ndoes this\nportrait-statue\nrepresent.\nPRIZES\nfor\nbest answers!\nV\n\"SPs\n1st. PRIZE\nSubscription to\nBROOM\nfor Life.\n2nd. PRIZE\nOne year's\nsubscription to\nBRO 0 M\n3rd. PRIZE\nOne years\nsubscription to\nBROOM.\nBROOM has never lacked faith in the Artistic future of America. Here are new writers, some\nknown, most unknown, whose work is as varied, as fertile, as powerfully muscled as anything being written\nin England France or Germany. Here is Comparative Literature. Here are writers who will be studied\nin Courses in Comparative Literature twenty years hence. Why not read them now?\nKAy BOyLE MARIANNE MOORE\nROBERT SANBORN MALCOLM COWLEy\nMARGARET EVANS JEAN TOOMER\nWILLIAM CARLOS WILLIAMS\nKENNETH BURKE\nGERTRUDE STEIN\nCHARLES GALWEy\nand others who are not to be had in book form, not to be found on library shelves. In them is the\nclamor of a young culture. The JANUARy number of BROOM is a challenge to Americans to\nrecognize a national art as profoundly American as\nBASEBALL THE CINEMA\nTHE JAZZ BAND AND THE DIZZY SKYSCRAPER\nwhile fundamentally in harmony with the Art of the ancient Mayas. The best way to be sure of reading\nthem now is to\nSUBSCRIBE AT ONCE Five Dollars ($ 5) to BROOM\n3 East Ninth Street, New York.\n3\nO\n3\n3\nQ\no*\n3\nO\n3\n3\nO\nrt-\nn\nso\n3\no\n3\n3\nO\nrt\nn\nn\n3\nO\n*\n3\nO\no\nCO\n(X.\n3\nO\n3\n3\nO\nrt\nn\nn\nv\n3\nO\n3\navou uiaij; puaj jou Aijav uiaijj paej jou Aijav uuaijj peaj jou Aijas. uiaijj jou Aijav"}]}, {"article_id": "bm-bmtnaap-1922-12-01-c045", "article_bluemountain": "bmtnaap_1922-12_01#c045", "volume": "bmtnaap_1922-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 83, "image_fin": 83, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.2.40", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 83, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.83", "debut_caractere": 0, "fin_caractere_exclue": 2022, "texte": "Gifts for All\nin great variety and style—'to suit every\nage and taste and purse —for your friends,\nyour family, your children, or other children. Books make particularly\nacceptable and lasting gifts.\n0\nN\ni\nu\nTH\nFOR MOTHER\nBooks, Leather Goods, Portfc\nEngagement Pads, Brass ]\nSets, Imported and Dom\nStationery, Silver and Gold\ncils, Miniature Bibles.\nFOR CHILDREI\nBooks: Myths, Legends, F\nTales, History, Animal Stc\nNursery Rhymes, Picture B(\nGames, Blocks, Toys.\nEX LIBRIS\nPicturesque Spain, by\nProfuse illustrations of\nlittle known spots of natur\nwonder.\nArchitecture and Appl\nSpain, by Augusl\nA study of the beauti*\nture, showing by more than\ntions the fulness of an art wh\nboyant fancy of the Moor w\nness of the Goth.\nto\n0\nI\n3\n%\n%\nFATHER\n[ars, Diaries, Foun-\ndress Books, Brass\nBrass Paper Weights,\n> Books, Reference\n:sk Sets.\nFRIENDS\nCards, Book Ends,\nand Single Volumes\nSubscriptions to\nagazines.\nSHAKESPEARE AND COMPANY\nPARIS\nazine published in\nand fantastic beau-\ntranslation.\n$ 15.00 the year.\nof the Italian\na Schottmuller.\nstrations, the assem-\nr of Italian domestic\nAn essential book\n$ 10.00\nDegeneration in the Great French Masters, by Jean Carrere.\nA criticism of the tendencies in French literature from Rousseau, with much new light and personal\nanecdotes about Zola, Verlaine, Chateaubriand, and others. $ 4.00\nThe French Revolution: A Historical Sketch, by Walter Geer.\nThe first book in English for forty years on the great Revolution. Geer deals with men. His\nhistory has the swiftness of an outline with the intimacy of a biography, and is always soundly grounded,\nA comprehensive and authentic book. $ 5.00\nItalian Romance Writers, by Joseph Spencer Kennard.\nA discussion of the art and work of the great Italian romancers of the present and past generations.\nDr. Kennard is equally facile in Italian and English. His novels have sold second only to those of\nD'Annunzio in Italy. A necessary book for quid understanding of Italian literature. $ 2.50\nBRENTANO'S\nNEW YORK\nParis Washington London\nTHE\nm"}]}], "pages_ocr_originales": [{"page_pdf": 2, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.2", "texte": "BROOM\nAn International Magazine of the Arts Published by Harold A. Loeb.\nEditor, Harold a. Loeb. Associate Editor, Matthew Josephson. American Editor, Lola Ridge.\nDECEMBER, 1922\nAPPEARS MONTHLY\nVOL. 4, NO. 1\n' •\nThe Editor of Broom will be pleased to consider mss. submitted to him, but all mss. must\nbe accompanied by a self-addressed, stamped envelope. The Editor cannot hold himself respon-\nsible for loss of mss. in transit.\nMss. from Europe should be sent to the Berlin officemss. from America to the New\nYork office.\nThe price of Broom is:\nFor America, fifty cents the copy, and five dollars for a year's subscription. For Italy,\n10 lire the copy, and 100 lire for a year's subscription. For France, 6 francs the copy, and\n6o francs for a year's subscription. For Great Britain, 3 shillings the copy, and one pound and\nshillings for a year's subscription.\nThe contents of this issue are protected by copyright, January, 1922. Infringement of same\nwill be prosecuted.\nEntered as Second Class matter at the Post Office at New York, N. y. April 22, 1922\nunder the Act of March 3, 1879.\nHeadquarters, Schicklerstrasse 5, Berlin, Germany\nNew York Office, Three East Ninth Street.\n\nPage\nCover Design — (Woodcut) — Halicka —\nSeventh Street — Jean Toomer 3\nStavrogin's Confession — Feodor Dostoyevski 4\nDostoyevski — Louis Grudin . 12\nWoodcuts — Ladislas Medgyes 13,30\nSome Commonplaces on the Dance — Andr£ Levinson 14\nJason and Medea — Engraving by J. Boydell facing 16\nMlle. Puvign£, la Statue dans Pygmalion —by Boquet facing 17\nThe Cosmic Theatre — Paul Scheerbart 22\nNotations from a Music Master's Roll Book — Henry Bellamann . . . 31\nMarie Taglioni dancing a Pas-de-Quatre — old Lithograph facing 32\nFanny Elsler — Lithograph by G. Leybold facing 33\nThe Lay of Maldoror — Comte de Lautr£amont •. . 35\nYoung Mr. Elkins — Malcolm Cowley 52\nCarlotta Grisi — Old Lithograph facing 56\nBallerinas — Pablo Picasso facing 57\nInstant Note on Waldo Frank — Matthew Josephson 57\nDancer from the Ballet Tricorne — Pablo Picasso 61\nNo. 19 — Louis Kassak- . 62\nCostume for Ravel's \"Rhapsodie Espagnole\" — Gontcharova 64\nOn the Stairs Leading to My Marble Halls — Alfred Mombert , 65\nSuffering — Albert Ehrenstein 65\nThe Moscow Art Theatre — H. A. L 66"}, {"page_pdf": 3, "page_imprimee": "[1]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.3", "texte": "BETWEEN OURSELVES\nJohn Cournos, the author of Babel, is generally\nregarded over here as an English author. As a matter\nof fact, Cournos is an American citizen whose parents\ncame from Russia many years ago and settled in Phila-\ndelphia where young Cournos began his literary adven-\ntures by peddling newspapers outside of the Pennsylvania\nstation. From peddling papers to the job of printer's\ndevil was a quick step, and from printer's devil to the\njob of reporter was only a matter of a few years.\nDuring these years when he was the principal support\nof a large family. Cournos saved enough money to make\nhis \"grand tour\" abroad and finally settled in London\nwhere he has lived the last three years, during which\ntime he wrote his trilogy, The Wall, The Mask, and\nBabel. Such worth while critics as F. Scott Fitzgerald,\nRebecca West, Rose Macaulay, Sheila Kaye-Smith,\nMay Sinclair, John Macy, Burton Rascoe, T. R. Smith,\netc., think that Babel is a big book, and when Cournos\nreturns to America this autumn, he hopes that the\npublic will already have shown its full agreement with\nthe high opinion of the critics.\nFew people will believe that an author would spend\nsomething like $ 12.00 rather than have a single comma\nin one of his books left out. Mr. Liveright, however,\nis willing to take an affidavit that on the morning of\nSeptember 4 th at the horribly early hour of 3:15 A. M.,\nBen Hecht telephoned to him from Chicago and\ntook no less than 15 minutes to insist that on page\n47 of his new book, Gargoyles, in the sentence rea-\nding, \"If all women were like you, there would be\nno bad men,\" the omission of a comma after the word\nyou entirely destroyed the rhythm of his prose. Mr.\nHecht knew that the book was to go to press the\nfollowing day and would not trust a telegram to\nmake his meaning clear. In relating this story to\nseveral people the only comment which seemed to be\nforthcoming has been: What is punctuation to Hecht,\nanyhow?\nIt is not generally known that Stacy Aumonier,\nthe author of Heartbeat, which in a short month has\nproven to be by far the most popular of his novels\nwhich have been published in America, was, before he\ndevoted himself to letters, an artist of no mean ability.\nAt The Savage Club in London, which corresponds\nmore or less to our Players Club in New York, there\nare a number of Mr. Aumonier's pictures, and two\nof his sketches are among the most prized possessions\nof Miss May Sinclair, who is a next door neighbor\nof the Aumoniers at St. John's Wood.\nHendrik Van Loon, as everyone knows, is a merry\nold soul and he is just as generous as he is merry.\nHis publishers have just received a cable from him\nfrom Stockholm saying: \"Congratulations to everyone in\nthe office on Mankind touching the 63,000 mark!\nThe critics have said it's a good book, but the love\nand energy lavished on it by all of you, from the boss\ndown to the shipping clerk, made it 60 instead of 6.\"\nWe have just printed 50,000 additional copies of The\nStory of Mankind and feel that maybe that won t\nbe enough for the holiday season.\nBeginning this autumn, instead of continuing the\nformer practice of publishing a number of new titles in\nThe Modern Library in one group each season, one\nnew title will be issued on the 10 th of each month.\nOne title each year will be chosen by the booksellers\nthemselves. Mr. Liveright says: \"There seems no\nreason why the reading public shouldn't look forward\nwith as keen anticipation to the new Modern Library\nvolume on the 10 th of each month as the music-loving\npublic does to the new Victor and Columbia records.\"\nThe September Modern Library title will be Ancient\nMan by Hendrik Van Loon with a number of new\nillustrations by Hank himself.\nLudwig Lewisohn, the author of Up Stream one\nof the finest autobiographies which have been published\nin America in many years, and which, by the way, is\nnow in its Bth edition and moving stronger up stream\nevery day, is now at work on his new novel, The\nHearthstone. If the next 300 pages are as good as\nthe fiist 50, Lewisohn will score another big success.\nThe Carra edition of the works of George Moore,\nthe first three volumes of which will be published in\nOctober, will be prefaced by a 10,000 word intro-\nduction which Mr. Moore calls Apologia Pro Scriptis\nMeis.\nGertrude Atherton writes us that she has almost\ncompleted the third revison of her new novel which\nwill appear with our imprint early in January. How\nmany writers in these mad dynamic days qualify for\nthat fine definition of genius which consists in taking\ninfinite pains?\nThe books mentioned on this page may be had at any first-\nclass book shop in the United States\nBONI & LIVERIGHT,\nPublishers\n103 West 40 th Street NEW YORK"}, {"page_pdf": 4, "page_imprimee": "[2]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.4", "texte": "The subcription price of BROOM is $ 5 per year, but for a limited time only\nwe are making the following special offer:\n(1) BROOM for a year ($ 5) and The Goose Man by Jacob\nWassermann, author of The World's Illusion ($ 2.50). Both for $ 5.50.\n(2) BROOM for a year ($ 5) and Batouala by Rene Maran,\nwinner of the PRIX GONCOURT ($1.75). Both for $5.00.\n(3) BROOM for a year ($ 5) and The Hairy Ape (including\nAnna Chrystie and The First Man) ($ 2.00). Both for $ 5.00.\nBROOM\n3 EAST 9th STREET, NEW YORK CITy\nFor the enclosed $ please send me Broom for a year and the\nfollowing book\nName\nAdress"}, {"page_pdf": 5, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.5", "texte": "SEVENTH STREET\nJean Toomer\nMoney burns the pocket, pocket hurts,\nBootleggers in silken shirts,\nBallooned, zooming Cadillacs,\nWhizzing, whizzing down the street-car tracks.\nSeventh Street is a bastard of Prohibition and the War. A\ncrude-boned, soft-skinned wedge of Negro life breathing its loafer\nair jazz songs and love thrusting unconscious rhythms, black\nreddish blood, into the white and white-washed wood of Washing-\nton. Stale soggy wood of Washington. Wedges rust in soggy\nwood . . . Split it in two! Again! Again! Shred it! . . . the sun.\nWedges are brilliant in the sun; ribbons of wet wood dry and blow\naway. Black reddish blood. Pouring for crude-boned soft-skinned\nlife, who set you flowing? Blood suckers of the War would spin\nin a frenzy of dizziness if they drank your blood. Prohibition\nwould put a stop to it. Who set you flowing? White and white-\nwash disappear in blood. Who set you flowing? Flowing down\nthe smooth asphalt of Seventh Street, in shanties, brick office buil-\ndings, theatres, drug stores, restaurants, and cabarets? Eddying\non the corners? Swirling like a blood-red smoke up where the\nbuzzards fly in heaven? God would not dare to suck black red\nblood. A Nigger God! He would duck his head in shame and\ncall for the Judgment Day. Who set you flowing?\nMoney burns the pocket, pocket hurts,\nBootleggers in silken shirts,\nBallooned, zooming Cadillacs,\nWhizzing, whizzing down the street-car tracks.\ni*"}, {"page_pdf": 6, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.6", "texte": "STAVROGIN'S CONFESSION\n\nCHAPTER III\nThe reading lasted about an hour. Tikhon read slowly and perhaps\nre-read several passages many times. All the time Stavrogin sat silent and\nmotionless. The shade of impatience, absentmindedness and, one might say,\ndelirium which had hovered over his face all morning, vanished almost com-\npletely, and was replaced by a calm and by a kind of sincerity, which gave\nhim the appearance of something close to dignity. Tikhon took off his\nspectacles, paused, and finally looked up at him and began with a certain\ncautiousness:\n\"And wouldn't you make some corrections in this document?\"\n\"Why, I wrote sincerely,\" said Stavrogin.\n\"Possibly in the style. .\n\"I forgot to warn you,\" said Stavrogin swiftly and abruptly, with\na forward jerk of his whole body, \"that all your words will be in vain;\nI shall not delay carrying out my intention; do not take the trouble to argue\nwith me. I will send it broadcast.\"\n\"But you did remember to warn me before I began reading.\"\n\"It's all one,\" Stavrogin interrupted brusquely, \"I repeat: however\nstrong your arguments may be, I won't give up my intention. Note that\nby this awkward or perhaps shrewd remark, however you may take it,\nI'm not trying to lead you on to argue with me and persuade me that\nI should give up my idea.\"\n\"I could hardly attempt to argue with you, let alone ask you to give\nup your intention. This idea is a great idea, and a Christian thought could\nnot express itself more amply. Repentance can go no further than the\nadmirable act which you have in mind, if only. . .\"\n\"If only what?\"\n\"If only it is really repentance and really a Christian thought.\"\n\"I was writing sincerely.\"\n\"It is as though you purposely presented yourself as a coarser man\nthan your heart would dictate. . .\" Tikhon was getting bolder and bolder.\nObviously the \"document\" had made a very strong impression on him."}, {"page_pdf": 7, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.7", "texte": "r Presented? I repeat, I didn't present myself, I did not pose.\"\nTikhon quickly dropped his eyes.\n\"This document comes straight from a heart wounded unto death.\nIsn't that true?\" he said with persistence and with extraordinary fire. \"Yes,\nthis is repentance and the natural need for it which has overcome you,\nand you are on a great road, an incredible road. But it is as though you\nwere already hating and despising in advance all those who will read what\nyou have written, and as though you were challenging them to an encounter.\nSince you are not ashamed to confess your crime, why are you ashamed\nof repentance?\"\n\"Ashamed?\"\n\"Yes, ashamed and afraid.\"\n\"Afraid?\"\n\"Terribly. 'Let them look at me,' you say; and you yourself, how\nwill you look at them? Some of the passages in your narrative are\nexaggerated by virtue of style; it is as if you were admiring your own\npsychologizing, and you cling to each detail so as to amaze the reader by\na callousness which isn't really in you. What is this, if not the guilty one's\nproud defiance of his judge?\"\n\"But where is the defiance? I eliminated all discussion on my part.\"\nTikhon passed this over in silence. A faint color came into his pale\ncheeks.\n\"Let's leave this subject,\" Stavrogin cut him off abruptly. \"Allow me,\non my side, to put a question to you: we have been talking for some five\nminutes after this,\"(he motioned with his head toward the pamphlet) \"and\nyou show no signs of disgust or shame... It seems you are not squeamish...\"\nHe did not finish.\n\"I shall hide nothing from you: I was horrified to see so much idle\nenergy spent upon abominations. As for the crime itself, many commit it,\nbut live at peace with their consciences, considering that it belongs to their\ninevitable wild oats. There are old men too who sin likewise, even wantonly\nand playfully. All these horrors fill the whole world. As for you, you have\nperceived all the depths of this vileness, a thing which rarely happens\nso completely.\"\n\"Am I to understand that you have begun to respect me after these\nsheets?\" Stavrogin grinned crookedly.\n\"To this I shall give you no direct answer. Of course there is not\nand there cannot be, a greater and more fearful crime than your act against\nthe child.\""}, {"page_pdf": 8, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.8", "texte": "\"Let's give up this measuring by the yard stick. Perhaps I do not\nsuffer as much as I wrote here. And perhaps I lied a lot about myself,\"\nhe added unexpectedly.\nTikhon passed this over in silence also.\n\"And this young lady,\" began Tikhon again, \"with whom you broke\nin Switzerland, where is she at present, if I may take the liberty of\nasking you?\"\n\"Here.\"\nAnother pause.\n\"Perhaps I lied a good deal to you about myself,\" Stavrogin repeated\ninsistently. \"What if I have defied them by the coarseness of my confession,\nif you did notice the challenge? I will only force them to hate me more,\nthat's all. That will only make it easier for me.\"\n\"That is, their hatred will only rouse hatred in you, and hating, you\nwill feel more comfortable than if you had accepted pity from them.\"\n\"You're right. You know,\"he laughed suddenly, \"they'll probably\ncall me a Jesuit and a pious hypocrite after this document. Ha! Hal Ha!\nIsn't that so?\"\n\"Of course, such words will certainly be said. And how soon do you\nintend to carry out your intention?\"\n\"Today, tomorrow, the day after tomorrow, how do I know? Only\nvery soon. You're right: I believe I will do it suddenly, in a fit of revenge\nand hatred, at a moment when I hate them most.\"\n\"Just answer one question, but sincerely, only to me, to me alone,\" said\nTikhon in an entirely different tone of voice. \"If someone were to forgive\nyou for this,\" (Tikhon pointed to the pamphlet) \"and not anyone whom\nyou respect or fear, but a stranger, a man whom you will never know, who\nwould forgive you mutely, while reading your terrible confession, would\nthe thought of this make it easier for you, or would it be all the same\nto you?\"\n\"It would be easier,\" answered Stavrogin in a low voice. \"If you\nwere to forgive me, it would make it much easier for me,\" he added,\nlowering his eyes.\n\"I will forgive you, if you forgive me also,\" said Tikhon, in a voice\nbetraying deep emotion.\n\"Bad humility. You know, these monkish formulae are altogether\nungraceful. I will tell you the whole truth: I want to have you forgive me.\nAnd perhaps to have another man, and even a third, do so too, but let\neverybody else hate me. But I want this simply that I may bear with\nhumility. ."}, {"page_pdf": 9, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.9", "texte": "\"And you couldn't bear universal pity with the same humility?\"\n\"Perhaps not. Why do you ask?\"\n\"I feel the depth of your sincerity, and of course, it's my fault that\nI do not know how to approach people. I always felt it to be my great\nfailing,\" said Tikhon with warm frankness, looking straight into Stavrogin's\neyes. ffl ask, because I fear for you,\" he added. \"You have an almost\nimpassable abyss before you.\"\n\"I shan't endure it, I shan't be able to stand their hatred?\" Stavrogin\nwas roused.\n\"Not hatred alone.\"\n\"What else?\"\n\"Their laughter,\" the words escaped from Tikhon as though with\ndifficulty, in a half-whisper.\nStavrogin was taken aback. His face showed his alarm.\n\"I foresaw it,\"he said. \"Do you too find me very ridiculous, after\nhaving read my document? Don't let it trouble you, don't be embarrassed.\nI expected it.\"\n\"There will be universal horror, and of course, more sham than real.\nPeople are only terrified by what directly threatens their personal interests.\nI do not speak of the pure souls, they will be horrified secretly, and will\nblame only themselves, but they will be unnoticeable because they will\nhold their peace. But the laughter will be universal.\"\n\"I am surprised to see what a bad, what a low opinion you have of\npeople,\" Stavrogin dropped, with a somewhat embittered air.\n\"And will you believe me, I judge more by myself than by what\nI know of others,\" exclaimed Tikhon.\n\"Really? Is it possible that there is something in your soul which\nrejoices in my misery?\"\n\"Who knows? Perhaps there is. Oh, yes, perhaps there is.\"\n\"Enough. Tell me then, what is there in particular in my manuscript\nthat is ridiculous? I know it myself, but I want to have it pointed out\nby your finger. And be as cynical as possible, and speak with all the\nfrankness of which you are capable. And let me tell you again that you\nare an awfully queer fellow.\"\n\"Even in the very form of this great confession there is something\nridiculous. Oh, don't doubt but that you'll conquer,\" he suddenly exclaimed,\nalmost rapturously. \"Even this form,\" he pointed to the pamphlet again,\n\"will avail, if only you will sincerely accept the blows and the spittle. It was\nalways thus, that the most disgraceful cross became a great glory and"}, {"page_pdf": 10, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.10", "texte": "a great power, if only the humility of the act is sincere. It may be that\nyou will be solaced even while alive.\"\n\"And so it is in the form alone, perhaps, that you find something\nridiculous?\" insisted Stavrogin.\n\"In the substance too. The ugliness will kill,\" whispered Tikhon,\nlowering his eyes.\n\"The ugliness? What ugliness?\"\n\"Of the crime. There are truly unbeautiful crimes. Grimes, no matter\nwhat they are, are the more imposing, the more picturesque, so to speak,\nthe more blood, the more horror there is; but there are shameful, disgraceful\ncrimes which escape the dreadful, so to speak, which are all too un-\ngraceful. . .\"\nTikhon did not finish his sentence.\n' That is,\" Stavrogin fell in, agitatedly, \"you found I cut a very ridi-\nculous figure when I kissed the dirty little girl's hand. ... I understand\nyou perfectly. And you fear for me desperately, precisely because this is\nugly, disgusting, no, not that, not disgusting, but shameful, ridiculous, and\nyou believe that this is what I'm not likely to endure.\"\nTikhon was silent.\nI understand why you asked whether the young lady from Switzerland\nis here.\"\n\"You aren't prepared, you are not inured,\" whispered Tikhon timidly,\ndropping his eyes. \"You are torn out of your soil, you have no faith.\"\n\"Listen, Father Tikhon: I myself want to be able to forgive myself.\nThat's my chief aim, that's my whole aim!\" Stavrogin said suddenly,\nwith gloomy rapture in his eyes. \"I know that only then the vision will\nvanish. That is why I seek measureless suffering, I seek it myself. Do not\nfrighten me, or I will perish in my viciousness.\"\nThis fit of frankness was so unexpected that Tikhon rose to his feet.\n\"If you believe that you yourself can forgive yourself, and that you\ncan attain to that forgiveness in this world by suffering, if you set yourself\nsuch a goal with faith, then you have complete faith!\" exclaimed Tikhon\nrapturously. \"How then could you say that you don't believe in God?\"\nStavrogin did not answer.\n\"God will forgive your unfaith, for you honour the Holy Ghost without\nknowing it.\"\n\"And by the way, will Christ forgive?\" asked Stavrogin with a crooked\ngrin, rapidly changing his tone, and there was a slight shade of irony in"}, {"page_pdf": 11, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.11", "texte": "his voice. \"It is said in Scripture 'Whoso shall offend one of these little\nones,' remember? According to the Gospels there is no greater crime.\"1\n\"Simply, you are anxious to avoid a scandal, and you set a trap for\nme, my good Father Tikhon,\" Stavrogin drawled casually and spitefully,\nhalf rising. \"In short, what you want is to have me become respectable,\nmarry perhaps, and end my life as a member of the local club, visiting\nthe monastery each holiday. A penance, of course, isn't that so? However,\nas a searcher of hearts perhaps you have the feeling that no doubt that's\nhow it will all end, and it's all a question of having you plead with me\ninsistently for the sake of appearances, because it's really the only thing\nthat I'm after, isn't that so?\"\nHe laughed brokenly.\n\"No, not that penance, I'm preparing another one,\" continued Tikhon\nwith fire, without paying the slightest attention to Stavrogin's remark and\nhis laughter.\n\"I know an old man, he's not here, but not far from here either, a monk\nand hermit, and of such Christian spirit that you and I could hardly understand\nhim. He will heed my entreaties. I will tell him everything about you.\nGo to him, and become a novice under him for some five or seven years,\nfor as long as you find it necessary. Take a vow and through this great\nsacrifice you will purchase all that you desire, and even more than you\nexpect, for you cannot appreciate now what you will receive.\"\nStavrogin listened earnestly. \"You bid me become a monk and enter\nthe monastery?\"\n\"You do not have to enter the monastery. You do not have to take\norders. Simply be a novice, secretly. You can do this living in the world.\"\n\"Quit it, Father Tikhon,\" Stavrogin interrupted disgustedly, and rose\nfrom his chair. Tikhon rose also.\n\"What is the matter with you?\" he exclaimed suddenly, staring almost\nfearfully at Tikhon.\nTikhon stood before him, his palms pressed together and thrust\nforward, and a morbid convulsion, apparently caused by an overwhelming\nfear, momentarily contorted his features.\n\"What is the matter with you? What is the matter with you?\"\nrepeated Stavrogin, running toward him to support him. It seemed to\nStavrogin that the man was going to faint.\n\n1 This is the end of the fourteenth galley. There is a gap between it and the\nbeginning of the next galley."}, {"page_pdf": 12, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.12", "texte": "\"I see. . . I see clearly,\" exclaimed Tikhon in a penetrating voice\nand with an expression of most intense grief, \"that never, poor lost youth,\nhave you stood nearer to a new and more terrible crime than at this moment.\"\n\"Compose yourself,\" Stavrogin begged him, positively alarmed for\nhim. \"Perhaps I will postpone. . . You're right. ..\"\n\"No, not after the publication, but even before it, a day, an hour\nperhaps, before the great step, you will plunge into a new crime as a way\nout for you, and you will commit it solely to avoid the publication of\nthese sheets.\"\nStavrogin veritably shook with anger, and with some fear.\n\"Cursed psychologist!\" he broke out in a rage, suddenly cutting the\nconversation short, and without looking back, left the cell.\n\nFeodor Dostoyevski\n\n(Translated by A. Yarmolinsky)\n\nPOSTSCRIPT\n\nThe proof-sheets which contain the preceding text are crowded with\ncorrections and insertions. Yet hardly any of them are sufficiently significant\nto demand inclusion in this translation. Even with these changes the text\nlacks the polish of final copy. In this connection it is pertinent to note\nthat there exists another version of Stavrogin's Confession, which presents\ninternal evidence of being an earlier variant. This is a manuscript, written\nin Madame Dostoyevski's hand, and kept with other Dostoyevski material\nin the Pushkin House attached to the Russian Academy of Sciences. This\ntext was published in a Russian historical review practically simultaneously\nwith our own.\nThe two texts differ considerably in phrasing, especially in the third\nchapter. The text given here is on the whole more concise. The manuscript\nversion contains a curious detail of composition characteristic of Dostoyevski's\nliterary technique. Stavrogin hands Tikhon his confession sheet by sheet,\nand the first sheet carries the narrative to the point where the reader expects\na description of his crime. When Tikhon has read this sheet Stavrogin,\ninstead of handing him the second one, gives him the third. The following\ndialogue ensues:"}, {"page_pdf": 13, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.13", "texte": "\" 'That second sheet is under censorship for the time being,' said\nStavrogin rapidly, with an awkward smile. He was sitting in the corner\nof the divan, and watching Tikhon with a steady, feverish stare. 'You'll\nget it later, when you deserve it,' he added, with an unsuccessful attempt\nat familiarity. He laughed, but it was pitiful to look at him.\n'Well, second sheet or third sheet, it's all the same now,' remarked\nTikhon.\n'What do you mean — all the same? Why?' cried Stavrogin, starting\nforward. 'It's by no means all the same. Ah, you, as a monk, must\nimmediately suspect the worst. A monk would make the best prosecutor.'\nTikhon regarded him silently.\n'Compose yourself. It isn't my fault if the little girl was foolish and\nmisunderstood my intentions. . . Nothing happened. . . Ab-so-lute-ly\nnothing.'\n'Well, then God be thanked,' Tikhon crossed himself.\nfIt would take too long to explain. It was merely a psychological\nmisunderstanding.'\nHe blushed suddenly. Disgust, longing, despair were written on his\nface. He stopped abruptly. For more than a minute neither of them spoke\nor looked at the other.\n'You know, you'd better read it,' he said, automatically wiping the\ncold perspiration off his forehead. 'And you'd better stop looking at me\naltogether. . . It seems to me that I'm dreaming. . . And remember, I'm\nat the end of my patience,' he added in a whisper.\nTikhon swiftly turned his eyes away, took up the third sheet and\nread the pamphlet to the end without interruption.\"\nIn the third chapter Dostoyevski indicates that both men disregard\nStavrogin's denial of his crime. In this chapter the novelist introduces\nan incident which he omits from our version. Stavrogin picks up a small\nivory crucifix from the table, and turning it nervously about in his fingers,\naccidentally snaps it two. It is curious to note that this is a favorite\ndevice of Dostoyevski's for symbolizing the tragic split in the spirit of\nthe unbeliever.\n\nA. Y."}, {"page_pdf": 14, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.14", "texte": "DOSTOYEVSKI\n\nA man with a face like a thin green wave\nthat rose in a drawn treble against the darkness,\nstood in a small bare room;\nit fled in four directions\nfrom the frantic gaslight.\nFaces vaguely resembling his own\nranged about him and hung in straight lines,\nlike an abandoned quest.\nHungers with tired hands\nand hatreds, breast to breast\ngroped toward him, crying\nthat their struggles were unavailing,\nand in their midst a ceaseless wailing\nsuddenly choked itself, explaining\nthat it did not know how to die;\na man and woman relinquished each other\nand pointed to their futile bruises;\na violent ghost leaped before him\nand fluttered with a pain without words;\namong them hovered\na woman with an invisible face\nand shoulders like a heavy scent\nwhich she had wearied of pursuing;\na giant stared at his own phosphorescence\nand begged with guiltless candor,\nfrom a heap of implements and rags,\nto be told what he wanted."}, {"page_pdf": 15, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.15", "texte": "The young man stumbled among them and they\nclung to his clothes,\ntheir voices struck him like hail,\nand he cried that he was only a child.\nHe fled till he knew they would not vanish,\nthen he lay, whispering their questions,\ntasting them warily, as though\nhe had learnt how to sip poison;\nit flamed gently in his veins,\nand he knew the gaiety of those\nthat need no sunlight and can no longer die.\n\nLouis Grudin"}, {"page_pdf": 16, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.16", "texte": "SOME COMMONPLACES ON THE DANCE\n\nI\nTHE BALLET AND THE ANTIQUE DANCE\nThe position to which the classic ballet has been relegated by public\nopinion for the last fifteen years is such that any discussion of the subject\nis apt to resemble a trial by jury, with the partisan of the ballet in the\nrole of attorney for the defence. This being the case, I take the witness\nstand with alacrity and shall restrict myself simply to refuting some of\nthe arguments of my adversaries.\nThe supreme argument triumphantly hurled in the teeth of the devotee\nof the ballet is the example of the ancients. It is one of the confirmed\nhabits of our civilization when seeking a renewal either of inspiration or\nexecution to turn towards Ancient Greece.\"It was thus in Greek times\"\nhas become a phrase to conjure with — and this in spite of our freedom\nfrom all aesthetic dogma and our revolt against the categorical imperative\nof the laws governing creative effort.\nThe actual reformers of the dance invoke the Hellenic tradition with\nprofound conviction. For example Isadora Duncan dancing before the\ncamera in the fforchestra\" of the deserted theatre of Dyonisios, and studying\nantique monuments in the Museums! Or Fokine the famous Russian\nmaitre de ballet, composer of Narcisse, Daphriis arid Chlo 'e, and the dances\nfor Gluck's Orpheus; and did I not one hear a savant partisan of Jacques\nDalcroze honor his method with the name of Rhythmic orchestic?\nIn reality nothing could be more arbitrary or more paradoxical than\nthis constant opposing of the antique orchestic to our ballet.\nTrue, during three centuries numerous attempts to reconstitute the\nantique dance from literary sources have failed lamentably. Monsieur\nMaurice Emmanuel alone, in his remarkable book, succeeded in giving a\nplausible and precise idea of the mysterious orchestic of the Greeks, by\njuxtaposing reproductions of 600 friezes and monuments illustrating the\nGreek dance with photographs of the movements of the contemporary ballet.\nA few conclusive examples will suffice to prove the analogy between\nthe classic ballet and the orchestic dance and to eliminate certain pre-"}, {"page_pdf": 17, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.17", "texte": "judices which tend to distort the facts. A great number of poses and steps\n(and the monuments analysed by Emmanuel prove this) constitute a common\nfoundation for the two styles — ballet and orchestic. I will mention\nonly the attitudes, the battemerits, the jetes, the glisses, even the rfentre\nchat\"and the famous fouette, considered by some detractors to be a lucu-\nbration of the late nineteenth century.\nThe antique dance practised leaps and cabrioles as well as the steps\nwhich do not leave the ground. Certain steps were executed on the flat\nfoot, others on the half toe and still others, contrary to the general opinion,\non the toe. This latter performance of the Greek orchestic was only\nattained by the ballet one century ago.\nThe naive idea that \"bare feet\" constituted an essential element of\nGreek dancing comes from the conventionalized method of representation\nemployed by Greek sculptors and decorators. The ordinary shoe of the\nGreek dancer, the crepide with flexible sole, appears to have been much\nlike our ballet slipper. The insistence upon nudity, as well as upon the\nuse of the short tunic has been \"made up out of whole cloth\" by the\npopularized Hellenism of today. As a matter of fact the antique dance\nmade much of the play of complicated draperies.\nAt the base of the mechanical and decorative structure of the ballet\nis the principle, (formulated for the first time by Jean Georges Noverre,\ndeveloped by Carlo Blasis and later by Del Sarte) of opposition of the different\nparts of the body (the right arm balancing the left leg etc.) which gives\nthe maximum of stability and harmony. The same principle is found in\nmany statues of the antique dance.\nThis brief summary leads us to infer that there was not merely\na fortuitous resemblance but a fundamental affinity between the technique\nof the ballet and the methods of the antique dance.\nThe Greek dance was not, as we are too apt to believe, a mere variant\nof habitual and ordinary movements; it was on the contrary the result of\na conscious and complicated technique and was, like every real art expression,\nartificial.\nThat which absolutely fixes the boundaries of the two domains is the\nrole played by the arms. It goes without saying that in the poses and\nsteps where the movements of the arms and legs balance according to the\nlaw of opposition the analogy remains. Otherwise the position of the\narms in ballet dancing is determined by fixed decorative rules, — always\nconserving a beautiful unity of line. Thus the position of the hand is\nsubordinated to that of the arm; even the fingers are restricted to a few\ncombinations. And though our ballet includes an expressive pantomime,"}, {"page_pdf": 18, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.18", "texte": "this only alternates with the pure dance and never encroaches upon its\nessential unity.\nThe antique dance on the other hand, was dualistic. The legs danced,\nthe arms talked; the dancer was also a chirosopher. The decorative position\nof the arms was replaced by the significant gesture. The gesture had to\nbe able to say everything and\"to say everything in the clearest possible\nmanner.\" The expressive faculties of the arm were possibilities which were\nmeticulously studied: the hand, free, moved independently; each finger\nhad its role; one part of \"the language of the hands\" (chironomy) was the\n\"language of the fingers\" (dactylology).\nThus dance and pantomime formed in Greek times a complete ensemble,\nwhile the dance of the ballet is limited by fixed gymnastic formulae and\nalternates with the pantomime.\nHere are in short the similarities between the Greek dance and the\nballet. The technique of the ballet creates a system of artificial movement,\nwhose smallest details are foreordained, prescribing the amplitude of the\nvarious movements within definite limits, subject to its inherent logic and\nacting upon the \"plane\" of pure form, without paying attention to the\nspecific emotions of pantomime. Its mechanical and decorative canons\nare inalterable; it has evolved through two centuries of uninterrupted tradi-\ntion. The antique dance does not present such homogeneity, the intrinsic\nlaw of the dance is less evident. The Greek dance formed, above all, the\ngymnastic and rhythmic basis of the pantomime. The ballet on the con-\ntrary, is pure dance and its spiritual content is expressed through the inter-\nplay of balanced lines and masses.\nMy reason for insisting upon the parallel between the two styles is\nthat many elements which our reformers seek in the antique dance\nare already present and harmoniously developed in the ballet dance.\nEmmanuel's book, which is a source of authentic information, deals only\n»\nwith the gymnastic side, the pure dance of the orchestic. The expressive\nside, the pantomime of this art, is not even touched upon in his work.\nLet us see how this pantomime was produced. Was it a free impro-\nvisation springing from the legendary joie de vivre of the ancient Greek, the\nexpression of his sensibility, a sort of choreographic impressionism? We\nmight think so if we heeded certain propogandists of the \"Greek revival.\"\nOur literary documents alone suffice to prove the contrary. True\nI am but a mediocre humanist and can make no pretence at paleography.\nMoreover the existent texts, the collection of which was begun in the\n16th century, are fragmentary. The sole evidence belonging to the classic\nperiod, the treatise on the dance by Aristoxenes, the illustrious theorist of"}, {"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.19", "texte": "Jason and Medea\nEngraving by J. Boydell, 1781"}, {"page_pdf": 20, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.20", "texte": "Mile. Puvigné, La Statue dans Pygmalion\nBoquet <18 th. Century>"}, {"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.21", "texte": "rhythm, is lost; and the exact significance of the orchestic terminology\nis far from proven.\nBut the little we actually know permits us to affirm that nothing in\nthe Greek orchestics was left to chance or to the incoherent inspiration\nof the executant. Movement and gesture were restricted by severe rules,\nunchangeable as a liturgical ceremony. It was an extraordinary language\nof forms, hieratic like all the Greek dramas and very probably incom-\nprehensible to the uninitiated. And, it is not without reason that Atheneus,\nencyclopedist of the Roman epoch glorified in the person of Aeschylus, the\naustere warrior of Marathon, not only the great poet but also the inventor\nof several new choreographic formulae (schemata.)\nIt follows that if the sublime spirit of the antique orchestics still\nexists anywhere it is in the forms of our classic ballet. There we find if\nnot the direct continuation of the Greek dance, at least its aesthetic equi-\nvalent, a method born of the same preoccupations, subordinating the\ndancer to the law of mobile forms while freeing him from the anarchic\nfantasies of his personal sensibility.\nIt is high time that the prejudices which range the antique Hellede\nupon the side of the Duncans and the Dalcrozes in their combat against\nthe art of the ballet, be eliminated, for it is a presumption founded upon\na misconception.\nII\nTHE SIGNIFICANCE OF THE DANCE\nTaken in a general sense, the effort of the supposed reformers of the\ndance — be they named Fokine or Duncan — is above all an attempt\nto base the dance upon a rational or psychological foundation. One cannot\nmove without reason; in order to hold interest the dance must have a subject.\nThus philosophical rationalism being already \"dead and buried\" some artists\nadvance a sophomoric rationalism, a teleology which very nearly approaches\nan utilitarian conception of the dance — the freeing of the body from\nthe limitations of a style, from the immorality of unnatural conventions,\nand Heaven knows what other humanitarian and pedagogical nonsense!\nThey would have the dance express definite emotions, be determined\nby rational motives. But what precise emotion does the overture to the\n\"Magic Flute\" express? What plausible subject inspired the trills from\nthe \"Queen of Night?\" Why did El Greco exaggerate the length of limb\nin his saints and martyrs? Of what use are the fugues of Bach?\n2"}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.22", "texte": "The apparent irrationality of the ballet, the absence of a passable\nbridge between the abstract spirit of its form and the superficial phenomena\nof our emotional life, aroused a profound distrust of the \"dance for its\nown sake\" in half cultured renovators, and orientated them toward pan-\ntomime, archeology, and folk dancing. They would sacrifice everything\nto a psychological realism, to an exact and intense evocation of the passions.\nThey envy the drama where everything is motivated. They seek the com-\nprehensible, the explicable, the truth that can be proven; and they ask\nperplexedly. \"What sense is there in spinning like a top?\" Naturalism\nhaving exhausted literature, seized upon the art of the comedian; now that\nthe comedy has thrown it off, it menaces the ballet. The old doctrine\n— \"Life is the law of art\" —is again being preached to us. Let us consider\nit. Life is the raw material out of which art is made, but does this material\n(whether it be marble or the human body) contain within itself the law\nof creation? \"The most important problem of architecture\" — says Salomon\nReinach in his splendid book, — \"is the victory over the suggestions of its\nmedium.\"\nWhat is then the aesthetic nature of the classic ballet? It is not easy\nto define, but the ancient sage frankly acknowledged that it was \"difficult\nto define beauty.\"\nIt is easy to describe the technique, the gymnastics of the ballet dance,\nbut who would think of establishing for each movement a corresponding\npsychological idea? The ballet dance, as we have already said, is not deter-\nmined by any exterior motive. It includes its own law, its own logic\nand any departure from that logic, pertaining to a body moving in space\nwith the aim of creating beauty by organized dynamism, is perfectly apparent\nto the spectator.\nOne of the fundamentals of the ballet dance is equilibrium, the search\nfor absolute balance. Hence the shape of the ballet slipper — flat sole and\nreinforced toe. \"It is then the simple and irritating necessity of furnishing\na balancing point for the ballerina which determines the shape of this shoe\nwhich you extol!\" — jeer my adversaries. I find this necessity neither\nsimple nor irritating. All architectural art is founded upon necessities just\nas simple. What is a buttress if not a force counterbalancing the pressure\nof the arch? What is a colonnade but a system of pillars supporting the\nweight of the cross beams?\nIn so far as it is possible to compare movement with immobility\nwe find many points of analogy between architecture and the ballet. Like\narchitecture the ballet is an emanation of geometrical and spatial con-\nceptions. It is a Raum Kunst — \"The art of space,\" as the Germans call"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.23", "texte": "the arrangement of architectural interiors. It reduces its splendid and vibrant\ninstrument — the human body — to its tectonic not plastic elements. For\nthe plastic volume is autonomous, limited by the form. The framework of\nthe dance is like the draft of a temple formed by lines — lines which\nare often ideally prolonged in space. This is why classic choreography\ncan disregard certain plastic peculiarities of the human body which would\nbreak its unity of line.\nThus the leg of the ballerina with instep thrown out and toes rigid\ncreates a vertical line of incomparable purity from which radiates a char-\nming and delicate play of curved lines. In this position the shape of the\nleg, subordinate to the single movement of the whole body, loses its individual\ncharacter and becomes conventionalized or generalized.\n\"You would like to synthesize the dance then, but that is the opposite\nof art; you would achieve a dull uniformity; you would suppress creative\ndevelopment by doing away with individuality\" and my adversaries would\ndemand individual rights for each toe and finger, and tear the rose\nsatin of Cinderella's slipper and the silken threads of her fleshings (for\ngenerally the first gesture of the modern dancer is to discard fleshings.)\nEvery artist, painter or sculptor begins with what is individual and\nworks toward the typical, eliminating accidental and emphasizing essential\nelements. Creation is a constant deformation of empiric reality, a progress\ntoward a superior reality, de realibus ad realiora. The path of the artist\nleads always from the concrete to the symbolic.\nWho dares criticize the spirit of uniform synthesis found in Egyptian\nsculpture, in the Byzantine mosaics of Ravenna or the primitive Siennese\nfrescoes? Decidedly all these rebellions against the conventional formulae\nof the ballet must be relegated to the garret along with old fashioned\nnaturalist methods.\nThere is nothing more unnatural than the fundamental position of\nthe ballet technique, the feet turned directly outwards, but the result of this\nhabit achieved by years of gymnastic training is not only a balance which\nsurmounts all difficulties but also an extraordinary amplitude of movement.\nThus the moving leg can be raised until it forms an obtuse angle with the\npivot leg without upsetting the centre of gravity. Natural movement acts\nupon a limited plane while the ballet dancer can move with equal freedom\nin all directions.\nUnder the old regime with its great formal culture, a close relation\nexisted between the theatrical dance and the dances of Court and Society.\nBut with the decline of mondaine choreographic education not only the\n2*"}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.24", "texte": "theatrical dance but even its elementary position became impossible for the\nnon professional.\nAs it was more and more monopolized by professional artists the\nartificial character of the dance became increasingly pronounced and at the\nsame time more spiritualized.\nThe idealistic cult of the toe dance and the elevation, which determined\nthe forms of our contemporary ballet made its first appearance in the\nbeginning of the nineteenth century. Noverre, the \"Shakespeare of the\ndance,\" in the eighteenth century knew nothing of the whirling movements\non the toe nor of balance prolonged in the attitudes.\nThis is not the first time that a crisis has occured in the development\nof the ballet. They recur periodically and their usual symptom is the\npredominance of pantomime.\nIn the middle of the eighteenth century there was the rationalist\ncrisis; in the beginning of the nineteenth the romantic crisis. Both menaced\nthe ballet but it survived them enriched by new resources. The evolution\nof its technique has continued uninterruptedly. The different centuries\nthrough which the ballet has passed have left their impression upon its\nscenic arrangement. The libretto of 1830 is still its model and through this\nromantic veneer we catch glimpses of rococo affectations, the pompous alle-\ngories of the French Baroque. These echoes of the past may charm us —\nmemories light as the pollen of flowers upon a butterfly's wing. But the\nliving spirit of the ballet is not in these seductive futilities. She is not\na marquise in powder and patches!\nToday the ballet is passing through a third crisis. I do not know\nif it will prove as fecund as the other two, but I doubt not that the ballet\nwill rise like the Phoenix from its ashes. It will adopt more profound\nmodern theatrical conceptions. It will create for itself a new pictorial or\narchitectural milieu. All the fortuitous elements, ephemeral and extraneous,\nwhich hide its true essence will fall by their own weight.\nIn this \"twilight of the false gods\" of dilettantism, of eclecticism, which\nwould transform the dance into an ethnological or archeological exhibition,\nthe classic ballet shines forth in all its splendor. For it presents unlimited\nplastic and dynamic possibilities. We have seen how the establishment of\nan artificial equilibrium multiplies these possibilities. Doubtless the number\nof fundamental movements is limited, like the colors of the spectrum visible\nto the human eye, or the sounds perceptible to human hearing; but the\nmultitude of possible combinations, shades and variations, passes all imagi-\nnation. It is only to the uneducated eye inapt to observe subtilities that"}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.25", "texte": "the ballet appears monotonous, as is the measured verse of the poet to the\nuncultured ear.\nThese assertions are supported by incontestable evidence. And now\nthe reformers admit the ballet scoffed at during a quarter of a century by\nthe elite as well as the common herd, but they admit it only to combat it\nthe better. Slily they try to crush it beneath their respect and relegate\nit to the museum. ffVery well,\" they say, ffbut can we attempt nothing\nnew? Do you insist upon the monopoly of the dance by the ballet?1'\nAnd what if I do? Frankly these questions seem to me suspicious.\nWhy should one so earnestly seek what one has already found.? Why should\none replace a thing which one publicly approves?\nTwo formidable armies are leagued against the ballet — those who\ndo not see and prefer to touch, to hear, to feel, and those who could not\nif they would. But the classic ballet strong in its tradition in accordance\nwith the spirit of order and discipline which animates the elite of today,\nwill triumph over this conspiracy of the blind and the paralytic, which\nI shall never cease to denounce.\nMay these few lines aid her triumph!\n\nAndre Levinson\n\n(translated from the French by K. C.)"}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.26", "texte": "THE COSMIC THEATRE\n\n\"Bring the Edam cheese now,\" called Mr. vom Treckenbrock at the\ndisappearing back of the servant.\nAt this Justina, the spouse of Mr. vom Treckenbrock saw fit to\nremark: \"I find the Edam cheese quite revolting today; I can't stand it.\nMy dear Justus, can you not forego the cheese this time, and suffer it to\nremain in the kitchen?\"\n\"But my dear Justina,\" asserted Justus very roundly, ffl have never\nseen you show such antipathy to Edam cheese before; I can't understand\nyou. Frederick do bring the Edam cheese.\"\nAnd Frederick brought in, upon a big dark blue plate, the big round\ncarmine-red cheese.\nMr. Justus vom Treckenbrock took the long wide carving knife and\nwas just about to cut the Edam cheese squarely through the middle, when\nhis wife Justina cried out in fear: \"Justus, dear Justus. Don't do it! Don't\ncut it! I can't bear it today; I fear that some disaster will befall us, if you\ndo it today.\"\nStruck by this, Justus remained silent for a moment and regarded\nhis wife strangely.\nFinally he said in a measured voice: \"Then I must beg you to give\nme an explanation of all this. It passes beyond my understanding why\nI should not cut up my round little Edam cheese.\"\nJustina replied: \"The round red ball that lies before you on the dark\nblue plate, reminds me of so many things which move me strangely. To me\nthe round cheese seems just like a great drop of blood. You have always\nsaid that in our tiny world the smallest things lead to the greatest con-\nsequences, and vice versa. Like the astrologers, you have always believed\nthat the planets of our solar system exert a powerful influence upon the\nlives of men. The sun itself and our moon undoubtedly play a great role\nin our life. And so I feel that even the smallest things — such as this Edam\ncheese — can alter our destinies fatally. It is not merely the Edam cheese;\nbut I feel somehow that the Edam cheese will have some effect upon the\nplay which you are to present to us tonight.\"\n\"Fine!\" said Justus, \"if you believe that even the tiniest things and the\nmost casual actions can endanger a whole life, I should be the last one to"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.27", "texte": "oppose you — for it is all undoubtedly true. Nay, Igo further. I believe\nthat the life of a man can become dangerous to a colossal star. I am ready,\nthen, to send the nice Edam cheese back to the kitchen and continue\nour play without any Edam.\"\nffßut, no!\" cried Justina, tfl must beg you also to give up the play\ntor tonight.\"\nMr. vom Treckenbrock, however, had invited six guests, who had\ncome purely to see the cosmic drama; he replied in a rather harsh voice,\nhis face becoming quite red: ffMy dear Justina, you cannot very well ask\nsuch a thing of me. If it is impossible for you to attend the performance,\nyou can easily leave the room while it is going on. I was not brought\ninto this world to treat your most unfounded misgivings with the tenderest\nregard.\"\nffYou have no regard for anybody,\" retorted Justina vehemently.\nIt is precisely your complete indifference to everyone and everything that\nmakes me so unhappy, that makes me feel that sometime they will be just\nas indifferent about us.\"\nThen the guests spoke soothing words.\nBut nothing helped.\nJustina only became the more aroused.\nShe spoke decisively and in a rather loud voice: ffYou-do not know\nmy husband. You do not know how violent and ill-tempered he is — how\nhe always expresses himself in the crudest speech of the common people\n— how he hates the common people — how he wishes them the most\nhorrible end — how he prizes the old Mithra legend in which the ignorant\nand witless are tortured to death. Do you think that these cruel and callous\nwords will have no rebound upon him? We can never know what will\nhappen. But we should fear for what may happen. Boastful domineering\nmen always come to some unhappy end. We must be more tolerant about\nthat which we cannot bear: we must realize that we are not the masters\nof our destinies.\"\nJustus wanted to interrupt his wife, but she kept on with her hand\nupraised and even more animatedly: \"Why does my husband always\nprate of the countless relationships between stars and men? Why does\nhe say that the each is bound up in the all, when he seeks merely to tear\noil the threads which bind him to the rest of mankind. There is something\nillogical about all this. How often we have spoken of the inner relationships\nof all things and all forms of life — especially, how one word could release\na whole procession of images and associations of thought — and how"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.28", "texte": "accordingly one single thoughtless act — such as the cutting of an Edam\ncheese — could unloose a whole succession of dreadful catastrophes.\"\ntfMy dear wife,\" cried Justus laughing, \"of course anything may\ncome to pass. Certainly. By all means. That is, however, the big thing\nin life: that something unexpected is always liable to happen. If we\nknew everything beforehand, the future would have no charm for us.\nIf we knew what would become of us after death, death would no longer\nbe so impressive. And it is precisely its impressiveness that counts with us.\"\nHe was silent, but his wife was not; she resumed bitterly: \"You\noverlook what is essential. I feel that an art which addresses itself only\nto a few and not to many, is something barbarous. Understand me, bar-\nbarous. It is just those people who try to pass for superior or extremely\ncultured persons by avoiding all contact with simple people, who are to\nmy mind nothing but plain blockheads. Every fresh outburst of rage, my\ndear Justus, has its echo. And you rage against the ignorant, who, you\nare firmly convinced, can not understand your cosmic drama. You will\nbe punished for this hatred. That is why I fear something will happen\ntonight if you present your cosmic drama before only seven or eight people.\nWhy didn't you invite more guests?\"\nI do not throw my pearls to swine,\" retorted Mr. vom Treckenbrock\ncoldly.\nHis spouse rose from her chair and answered scornfully: \"I never\nbade you to invite such animals. But I see that all argument is fruitless.\nYou will maintain your obstinacy and indifference at all costs. I shall\nno longer try to oppose you. Come what will. If the knife cuts the Edam\ncheese — or if something similar takes place in the Andromeda Nebulus\n— remember what I said! Think of me! We shall see each other again\nperhaps — under other circumstances.\"\nShe bowed and, gathering up her rustling train, forsook the room\nswiftly, swiftly.\nMr. vom Treckenbrock looked at his guests, laughed, and then said\nsoftly: \"My wife seems to be very nervous. Please be so good as to\npardon her.\"\nThese words spoken, he cut with one broad motion of his carving\nknife the whole red Edam cheese in two halves, so that the two slices glowed\nwarmly upon the blue plate against the red crust of the cheese.\nThis was in December of the year 1885. In the month of August\na great star of the sixth magnitude had suddenly flared up in the Andromeda\nNebulus, which had grown verv much smaller bv the beginning of December."}, {"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.29", "texte": "Astronomers had interpreted the sudden appearance of this great luminary\nas a token of the doom of a whole astral system.\nMr. vom Treckenbrock however, who had built an astronomical\ntheatre in his castle in the Tyrol, did not at all accept this theory, and so\nhe invited six friends to a performance entitled: ffAn End-of-the-World\nwith a Surprise.\"\nAfter the cutting of the Edam cheese the wide black silk curtains\nwhich covered one whole wall of the dining room rolled back and the seven\ngentlemen suddenly found themselves staring into universal space. The\nservants handed the guests opera-glasses and they all gaped at the count-\nless stars.\nffGentlemen, you are now beholding the Andromeda Nebulus. I have\nbrought this highly interesting nebulus a few billion miles nearer to you.\nThe nebulus is of course no nebulus at all; it consists of millions and millions\nof stars like our Milky Way, and is lentil-shaped. But you are now so near\nthis astral system that you can no longer perceive its shape. The stars that\nyou are able to see compose only a small part of the whole system — this\nvery system in which we discovered last August the new star of the sixth\nmagnitude. Scientists are of the opinion that the sudden appearance of this\nnew orb can be ascribed to the collision of two suns; according to their\nview we have witnessed the destruction of a whole solar system in the\nAndromeda Nebulus. According to science, the great stars of the universe\nare clumsy beasts who are afraid to come too near each other; as soon as\nthey get too near, they recoil violently, and crowding and bumping into\neach other are immediately transformed into smoke, steam and gas, out\nof which a great mass of light appears. To my mind, the stars are by no\nmeans such clumsy stupid beasts as our earthly scholars would have them;\nthey are of course creatures who think differently from human beings,\nand are not stupider, but somewhat cleverer — in fact so clever that we\ncan never quite grasp them with our cumbersome systems of reasoning.\nOne thing is certain to me, however: the stars can't be so foolish as to fall\napart and be turned into mere atoms. Our conception of magnetic power\nin order to be applied to cosmic phenomena must undergo a considerable\nrevision. The stars in our solar system, for instance, are so placed that\n(hey keep at a given distance from each other which does not permit of\ntoo great proximity. So with the cosmos. Look again, gentlemen, at your\nease, at those parts of the Andromeda Nebulus which lie within your ken.\"\nThis the six gentlemen did with alacrity.\nThey saw also, that very few of the stars were spherical; most of the"}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.30", "texte": "stars had long quivering snouts that seemed to go sniffing about in all\ndirections.\nAnd then there were stars that looked just like long telescopes, and\ncould in turn lengthen and shorten themselves.\nOther stars were shaped like crystals, and others again looked like\nlop-sided punctured toy balloons.\nThe small creatures who lived on the outer crusts of the stars could\nnot be distinguished.\nThe remarkably varied colors of the stars called forth repeated ap-\nplause. There were stars that glittered with all the colors of the rainbow.\nThen there appeared many cones of light which would suddenly shoot\nout like reflectors and illuminate their surroundings as with the light of\nday, so that the innumerable littler stars which spread out like vast swarms\nof gnats became visible.\nSuch reflectors also made larger pear-shaped and spherical stars\nvisible. And these larger stars were almost completely dark.\n\"Behold, gentlemen,\" cried Mr. vom Treckenbrock excitedly, \"the dark\nball shaped star which becomes visible above and to the right of the three\ncylindrical stars. Do you observe how it has a dark red color which\ndistantly resembles that of the Edam cheese. It approaches slowly. You\nwill soon observe how it grows larger and larger with every vibration of\nlight.\"\nAnd then a comet became visible to the left, which in a few seconds\ndeveloped six beautifully formed comet-trains; the whole comet moved with\nextraordinary rapidity from left to right.\n\"Will you please tell us, Mr. vom Treckenbrock, whether the stars are\nnot moved by little strings,\" called out one of the guests. \"How did you\nconcoct the whole business? It is certainly very interesting technically.\"\n\"In this theatre,\" replied Mr. vom Treckenbrock laughing, \"every-\nthing is designed to maintain the illusion perfectly. If I should reveal to\nyou with what delicacy each star is directed by my mechanics, the illusion\nwould be lost for you, You should simply assume that all of the stars\nperform upon my stage exactly as they do in the heavens.\"\nNew comets began to appear thick and fast upon the left — and\nthese comets were all of different shapes, many of them having, instead\nof tails, great refulgent bladders. The comets passed off at the same pace\nwith which they had entered.\n\"You must keep in mind however,\" said the Inventor of the Cosmic\nTheatre, \"that each second of your life is as long as a thousand years —\nfor the life of a great astral system does not pass as rapidly as it seems"}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.31", "texte": "to in my theatre. Perhaps my guests will do me the kindness to approach\nclose to the rail, so that they can gaze into the depths, for my theatre\nof course has no stage-floor like the theatre of other mortals.\"\nEverybody came forward; they pushed their chairs up to the parapet\nand looked down into the depths of universal space and were quite ravished\nwith the infinite colors and forms which the stars radiated all about.\nAnd now there rose slowly out of the deep an orbicular comet; the\norb turned round and was all snow-white, and from its surface brilliant rays\nshot out in a fine spray and vibrated like waves of radium light.\nIn the meantime, the great red star moved slowly up from the right\nand became larger and larger, so that its crimson outer crust could be\ndistinguished quite clearly, it had many strange lines, which traversed the\nwhole whirling body like mountain chains. The lines became clearer and\nclearer and were of a deep red color.\n\"And remember,\" said Mr. Justus vom Treckenbrock, \"that\naccording to the view of my wife, I should make this miraculous cosmic\ntheatre accessible to a larger public. It is true that I am often transported\nwith rage when I think upon all the human stupidity and ignorance which\nengulfs us. Of course, it is not difficult to follow such a play with perfect\nease and pleasure. But I urge you, my friends, not to forget that the\nastronomers of our time are as yet unwilling to accept such presentations.\nDo you think then that the simple peasant would receive them better? Or\ndo you think that the ordinary frequenter of our metropolitan theatres\nwould pay any attention to such a drama of world catastrophes. The average\ntheatre lover would probably ask me: But wh£re is the conflict? How\nabout the hero? And if I answered: But wait a moment; the great spherical\ncomet will soon grapple in conflict with the round red Edam cheese —\nthen they would . . . .\"\nAt these words the spherical comet moved close to the dark red star\nand with a frightful stroke cut it — just as the knife had cut the Edam\nCheese — into two even halves.\nThe guests sprang up dismayed, but out of the interior of the red ball-\nshaped star came the great surprise: innumerable little stars glittering like\ndiamonds burst into fiery pyrotechnics and then dispersed falling splendidly\nin all directions.\nThe spherical comet, whirling, climbed hastily upwards, while the\ntwo glowing crimson halves of the round red star sank into the deep, like\nempty shells.\nThen in the neighbouring room a fearful crash was heard, and im-\nmediately after a pealing scream of pain."}, {"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.32", "texte": "A servant burst into the dining room and stuttered \"Madam is —\nMadam is —!\"\n\"What has happened?\" bellowed the lord of the house grabbing a\nchair, as if he meant to throw it at the head of the servant.\nBut the servant ran out still yelling as if possessed: \"A disaster!\na misfortune!\"\nAnd now the guests of Mr. vom Treckenbrock recalled how Mrs. vom\nTreckenbrock in leaving had said: \"Think of me, if the knife cuts the Edam\ncheese or if something of a like nature takes place in the Andromeda\nNebulus.\"\nAnd all thinking of this simultaneously the six leaped to their feet\nas one man and ran after the howling servant.\nMr. vom Treckenbrock kept on looking at the scintillating play of\ncolors that had spilled out of the round crimson star, and said in a loud\nmasterful voice: \"Look, gentlemen, it is the end of a world — but one\naccompanied by a surprise. There is nothing destroyed. Nothing at all.\nThis stroke brought but liberation for the round star, which held hidden\nand sheltered in its belly billions of new worlds, which having been sheltered\nlong enough can enter into the vast free spaces of the universe. We have\nwitnessed a moment of liberation in this world-catastrophe. And thus we\ncan interpret the appearance of the star in August 1885 as the birth of\nbillions of new worlds — nothing is destroyed, nothing perishes. In the\nlife of the cosmos the destruction of matter is unknown — that is . . .'\nHe turned proudly and saw . . . that he was alone.\nHe lifted his eyebrows and suddenly recalled the crash, the scream\nof pain, and the ill-behaved servant who had dared to interrupt the presenta-\ntion of a spendid world-end.\nMr. Justus vom Treckenbrock let his head sink to his chest and stood\nquite still.\nThen the servant came again and said with correct demeanour: \"I\nshould like to know, sir,cwhether you wish to come to madam.\"\nThey went into the boudoir of the lady. Justina lay upon the divan\nand whimpered; the heavy wash bowl had slipped out of her hand and\nfallen on her left foot.\nOne of the six guests who happened to be a physician was bandaging\nher foot.\nWhen Mr. Justus vom Treckenbrock seized all this, he began to laugh\nlike a madman and could hardly contain himself. The six guests did not\nknow what to make of the whole matter."}, {"page_pdf": 33, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.33", "texte": "Justina continued to whimper and than said with a sigh: ffl have\nno worlds in me.\"\nJustus stopped laughing; he said angrily: \"My dear Justina, your\npoor foot will soon get better. And rest assured: you are not the only one\nwho has no worlds in himself. Your heavy wash bowel also had no worlds\nin it — merely water — dirty water. The whole room is full of water.\nBut I am full of anger. I can scarcely believe that anyone should ever\ndare to interrupt me so. Your forebodings were quite justified: I have\nsuffered a monstrous vexation.\"\nJust then voices cried out loudly: \"Fire! Fire!\"\nIn the machine room of the cosmic theatre fire had broken out.\nTwo hours later the whole cosmic theatre and the dining-room had burnt\nto mere ashes.\nMr. vom Treckenbrock promised his spouse a few months later to build\nthe Cosmic Theatre for a great public in Munich.\nThey traveled to Munich and the great theatre was to be built. But\nthen Mr. vom Treckenbrock repented of the whole business, and he declared\nto his wife one evening that his new theatre would be built to contain\nonly ten persons.\nJust as he had uttered these words the servant entered again with an\nEdam cheese; Justina looked at the servant with such dread that he\nlet the plate with the cheese fall to the floor. At the same instant Justina\nfell forward with her head upon the table.\nA doctor was called immediately, and he announced after a brief\nexamination that a stroke of the heart had brought the life of Mrs. vom\nTreckenbrock to its end.\nMr. Justus vom Treckenbrock soon left Munich and went abroad.\nBut he returned within the year and not far north of Munich by the banks\nof the Isar and near the Grunewald castle had a new laboratory built — for\nhis cosmic theatre of the Future.\nThis time however he arranged the heavenly bodies in such different\nsizes that all of his time was taken up and he could scarcely think of\nholding a public performance. Mr. vom Treckenbrock was so completely\noverwhelmed by the preliminary labors that he entirely lost sight of their\ngoal.\nThe old gentleman still lives near Grunewald castle, and is accessible\nto nobody; only when he travels away to buy some new chemical can one"}, {"page_pdf": 34, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.34", "texte": "enter his great laboratories by bribing the butler and behold the most\nremarkable of heavenly bodies. Indeed, they all lie about in such great\ndisorder, covered with so many layers of dust, that it is hard to conceive\nhow any presentation can be given in a cosmic theatre with these out-\nlandish orbs.\nThe butler, who does a rather good business in this way, assures each\nvisitor that Mr. vom Treckenbrock will soon build the cosmic theatre. But\nit is already ten years that the butler has been assuring people of this, with\nthe same earnest butler's mien. His earnestness earns the man much\nmoney.\n\nPaul Scheerbart\n\n(Translated from the German by Matthew Josephson)"}, {"page_pdf": 35, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.35", "texte": "NOTATIONS FROM A MUSIC MASTER'S ROLL-BOOK\n\nFLY-LEAF\nUplifted faces\nof slim, laughing girls —\nfleeting\nas wild roses on a hedge.\nESTHER CAIN\nProfessor Vale and Doctor Gray,\nDean Cartright and Tutor Waite:\nRunning river,\ndo you heed them, —\nthese old snags\nthat break your speeding\ninto foam?\nBetter snap them,\ntake them with you\nto the sea!\nSUE KITTREL\nRutledge, Ravenal and Rhett:\nFlowered names, often on your lips,\nwith Chaucerian tricks of speech,\nsomething Charleston lends —\n. . your playing peeps out from the silence\nhalf heard, as one half sees,\npainted silken ladies\nin a folded fan."}, {"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.36", "texte": "ALINE CARTER\nThe dark stream of the world's sorrow\nthreads its way downward,\nseeking —\nseeking a channel for its wide singing.\nA thousand faces, row on row,\nlike terraced silly blossoms,\nfluttering pink and white,\nwhile Beethoven's tortured questions\nshout at God.\nWhy do you shrink as from a shameful thing?\nWhy do you fumble programs?\nThe dark stream of the world's sorrow\nthreads downward,\nbreaking a channel for its wide singing.\nMARY LARKIN\n. . . bread and butter manners\nmanners like your father's\nsmoothly buttered sermons.\nIs this your writing, girl? —\nthe jig-step of your thought?\nNow I know your mind\nraces at night over the tiles,\nthe green-eyed cat\nI always thought it was."}, {"page_pdf": 37, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.37", "texte": "Marie Taglioni dancing a Pas-de-quatre\nOld Lithograph 1845"}, {"page_pdf": 38, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.38", "texte": "Fanny Elsler\nLithograph by G. Leybold <1840>"}, {"page_pdf": 39, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.39", "texte": "3\n\nLOUISE TRAYLOR\nThe supercilious dean\nmakes sad eyebrows\nat the mention of your name.\nLadies, in Sunday taffetas,\ncreak with sighs, as your car,\norange pennants on the back,\nand five co-eds 011 the running board,\nroars out the Camden road.\nBut I have heard adagios\nsinging under your hands,\nand mighty allegros\nrunning like chariot horses\nbefore the whip-lasli\nof your thin brown arms.\nO chilly-fingered, school-girl crew —\ncan you know the Valkyr cry,\nWalhalla bound?\nCARRIE DYER\nYou wait with such slow patience\nsome magic from my lips\nio make you play like other girls.\nGood biscuit-making fingers,\nhow shall they learn the subtlety\nand indirection\nof this little compliment\nChopin paid the Countess? —"}, {"page_pdf": 40, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.40", "texte": "or know the laughter,\nthe tears and kisses,\nthe gesture of youth\nin the stark face of Death\nas the Polish exquisite\ndanced toward Pere la Chaise?\nEDNA BENTLEY\nYou have the line of cheek and chin\nand dark fanatic eyes\none sees so often in the quaintly drawn\nmediaeval heads.\nThey lived in little cities\nwalled from the wilderness;\nknew God and the saints\nthrough the hard speech of Dante\nor Savanarola's threats.\nYou live, walled tight,\nin Orangeburg;\nknow God from the harsh echoes\nof outworn creeds —\nburnt cinders of Savanarola's fire,\nback wash from Dante's hell.\nOutside,\nGod walks with man, —\nYou still pile bricks along your walls.\n\nHenry Bellamann"}, {"page_pdf": 41, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.41", "texte": "THE LAY OF MALDOROR\n\nSIXTH CANTO\nThe shops of the rue Vivienne spread their riches to mar-\nvelling eyes. Lit by many gas jets the mahogany coffers and gold\nwatches shed streams of dazzling light through the windows. The\nclock of the Bourse has struck eight, it is not late. Hardly has\nthe gong struck for the last time, when the street, whose name\nhas been given, begins to tremble and shake its foundations from\nthe Place Royale to the boulevard Montmartre. Pedestrians\nquicken their steps and pensively withdraw into their houses.\nA woman faints and falls to the asphalt. No one picks her up;\neach hastens to remove himself from the vicinity. The shutters\nbang to hurriedly and the inhabitants bury themselves under the\nblankets. One would think the bubonic plague had revealed\nitself. Thus, while the greater part of the city prefers to swim\nin the delights of nocturnal rejoicings, the rue Vivienne suddenly\nfinds itself frozen into a sort of petrifaction. Like a heart that\nhas stopped loving, its life is extinct. But soon the news of the\nphenomenon spreads into other layers of the population, and a\ndead silence hovers above the sacred capital. Where have the\ngas jets gone? What has become of the chafferers of love?\nNothing . . . solitude and darkness. A screech owl flying in a direct\nline and with a broken leg passes above the Madeleine and takes\nits flight to the barrier of the Throne, crying out: \"Some evil will\nhappen.\" But in the region which my pen (this true friend who is a\nveritable accomplice of mine) has just made mysterious you will\nsee a person show his silhouette if you look in the direction where\nthe rue Colbert enters the rue Vivienne in the angle made by the\nmeeting of these two ways, and lightly walk towards the boule-\nvards. But should one approach more nearly, in such wise as\n3 s"}, {"page_pdf": 42, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.42", "texte": "not to draw upon himself the attention of the wayfarer, it will\nbe seen with an agreeable astonishment that he is young. From\na distance one would have taken him for a man of ripe age. The\nsum of a man's days and years counts nothing when it is a\nquestion of measuring the intellectual capacity of a serious face.\nI can read from the physiognomical lines of the brow; he is sixteen\nyears and four months! He is as lovely as the retractility of a\nbird of prey's claws; or again, as the instability of muscular\nmovement in wounds of the flabby parts of the posterior cervical\nregion; or rather like the perpetual rat-trap which is always\nstretched again by the captured animal, and which alone can catch\nrodents indefinitely and can even work hidden under straw; and\nabove all, like the fortuitous encounter on a dissecting table of\na sewing machine and an umbrella! Mervyn that son of pale\nEngland has just had a fencing lesson from his tutor and he hopes\nto arrive home at nine; it is an enormous presumption in him to\nthink he knows the future with certitude. What unforeseen ob-\nstacle may not delay him on his way? Mervyn does not know why\nhis temporal arteries throb so strongly, and he hastens his step, ob-\nsessed by a terror of which he and you vainly seek the cause. One\nmust grant him his determination to discover the enigma. Why\ndoes he not turn around? He would understand everything. Does\none ever think of the simple method of putting an end to a condition\nof alarm? When an apache crosses a suburban road, a bottle\nof wine in his gullet and his blouse in shreds, if in some corner\nof a fence he sees a muscular old cat, contemporary of the revo-\nlutions in which our grandfathers took part, contemplating with\nmelancholy the moon's rays as they fall upon the sleeping plain;\nhe approaches tortuously in a curved line and gives a sign to a\nknock-kneed dog who rushes off. The noble animal of the feline\nrace awaits its adversary courageously, and defends its life dearly.\nTomorrow some ragpicker will buy an electrifiable pelt. Why\ndid he not fly then? It was so easy. But in the predicament\nwhich interests us now, Mervyn further complicates the clanger by"}, {"page_pdf": 43, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.43", "texte": "his own ignorance. He had, to be sure, certain very rare fore-\nbodings, whose vagueness I shall not stop to explain here. He is\nno prophet, I daresay; nor does he recognize any such faculty in\nhimself. Having arrived at the great artery, he turns to the right\nand crosses the boulevard Poissoniere and the boulevard Bonnes\nNouvelles. At this point of his road, he advances into the rue du\nFaubourg Saint-Denis, leaves behind him the terminus of the\nStrasbourg railway, and stops before a lofty portal, immediately\nbefore reaching the almost perpendicular superposition of the rue\nLafayette. Since you advise me to end the first strophe here, this\n, time lam very willing to comply with your desire. Do you know\nthat when I think of the iron ring hidden beneath the stone by a\nmaniac's hand, an uncontrollable shudder passes through my hair.\nHe pulls the copper bell, and the gate of the modern mansion\nturns on its hinges. He strides through the courtyard and mounts\nthe eight steps of the flight. The two statues situated to the right\nand left as guardians of the aristocratic villa do not bar his passage.\nHe who has abjured everything, father, mother, Providence, love,\nthe ideal, in order to think only of himself, has taken care not\nto follow the preceding footsteps. He saw him enter a spacious\ndrawing-room with cornaline panelling on the ground floor. The\naristocratic boy throws himself upon a sofa and emotion prevents\nhim from speaking. His mother with long and trailing robe,\nanxiously tends him and clasps him in her arms. His brothers,\nyounger than himself, group themselves round the burdened piece\nof furniture; they do not know life sufficiently to clearly com-\nprehend what is happening. Finally the father lifts his cane and\nthrows an authoritative glance upon the onlookers. Pressing his\nwrist on the arm of his chair, he leaves his usual seat and advances\nwith alarm, though enfeebled by years, towards the motionless\nbody of his first born. He speaks in a strange language and all\nlisten with respectful silence: ffWho has put my son into this state?\nThe foggy Thames will sweep down a great quantity of mud before"}, {"page_pdf": 44, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.44", "texte": "my strength is completely exhausted. Defensive laws do not\nappear to exist in this inhospitable country. If I knew who was\nguilty he would feel the weight of my arm. Although I have\nretired remote from naval battles, my commodore's sword,\nhanging upon the wall, is not yet rusted. For the rest, it is easy\nto sharpen it up: Mervyn be at ease; I will give instructions to\nthe servants, to look out for the track of him whom henceforth,\nI shall seek to destroy with my own hand. Wife, take yourself\nfrom there and go and squat in a corner; your tears unman me\nand you would do better to close the conduits of your lachrymal\nglands. My son I beg you, come to your senses and recognise your\nfamily; it is your father speaks to you . .\nThe mother held herself at a distance and to obey the order\nof her lord, she has taken a book in her hands and tries to remain\nquiet in face of the danger run by him whom her womb engen-\ndered. Children, go and play in the park, and take care, in\nadmiring the swimming of the swans, not to fall into the lake . .\nThe brothers, heads hanging, were mute; all, their bonnets topped\nwith a feather torn from the wing of the Caroline goat sucker,\nwith breeches of velvet, stopping at the knees, and red silk\nstockings, took each other by the hand, withdrew from the\ndrawing-room taking care to press the ebony floor only with their\ntoes. I am sure they did not enjoy themselves, and that they\nwalked gravely in the alleys of plane-trees. Their minds were\nprecocious. So much the better for them. Futile ministrations,\nI rock you in my arms and you are insensible to my prayers.\nWon't you lift your head? I will embrace your knees, if necessary.\nBut no .. . she falls back inert. My sweet lord, if you will permit\nyour slave, I will go to my room to look for a phial filled with\nspirits of turpentine which I always use when headache invades\nmy temples on returning from the theatre, or when reading some\nmoving story, recorded in the British annals of the chivalrous\nhistory of our ancestors, my pensive thoughts are cast, into the\nbogs of drowsiness.\""}, {"page_pdf": 45, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.45", "texte": "'Wife, I have not given you leave to speak and you have no\nright to take it. Since our legitimate union no cloud has come\nto interpose itself between us. I am satisfied with you, I have\nnever had any reproach to make you, and reciprocally. Go seek\nin your apartment the phial filled with spirits of turpentine. I\nknow there is one in your chest of drawers and you tell me nothing\nnew. Hurry to mount the stairs of the spiral staircase and return\nto find me with a satisfied expression.\"\nBut the emotional London lady had hardly reached the first\nstairs (she did not run as quickly as a person of the lower orders)\nwhen one of her own maids descended from the first floor;\nher cheeks empurpled with sweat, and holding the phial which\nmight perhaps contain the life-giving liquid within its crystal walls.\nThe maid, offering her present bends gracefully, and the mother\nadvances with regal gait to the tassels which fringe the sofa,\nsole object which occupies her tenderness. The commodore with\na proud, though benevolent gesture, accepts the phial from the\nhands of his spouse. An Indian handkerchief is dipped therein\nand the head of Mervyn is wrapped round with the orbicular\nmeanderings of the silk. He smells the salts; he stirs an arm.\nThe circulation comes to life and the joyous cries of a Philippine\ncockatoo perched in the recess of the window are heard. \"Who\ngoes there? .. . Do not stop me .. . Where am I? Is it a tomb\nsupports my heavy limbs? The planks seem soft to me . . . The\nlocket which contains my mother's portrait, is it still fastened\nto my neck? . . . Away, ill-doer with tousled hair. He could not\ncatch me, and I left a slip of my doublet in his fingers. Untie\nthe bulldog's chains, for to-night a recognizable thief may with\neffraction introduce himself while we are plunged in sleep. Father\nand mother, I recognize you and I thank you for your cares. Call\nmy little brothers. It is for them I have bought these burnt\nalmonds and I want to kiss them.\" With these words he fell into\na deep state of lethargy.\nThe doctor, called with all possible haste, rubbed his hands"}, {"page_pdf": 46, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.46", "texte": "and said: fThe crisis is passed. Everything is well. To morrow\nyour son will awake cured. Go all to your respective couches;\nI command it, so that I may rest alone by the sick bed, until\nthe apparition of dawn and the nightingale's song.\"\nMaldoror, hidden behind the door has not lost a word. Now\nhe knows the character of the mansion's inhabitants and will act\naccordingly. He knows where Mervyn lives, and does not wish\nto know more. He has inscribed in a note-book the name of\nthe street and number of the building. That is the chief thing.\nHe is certain of not forgetting them. He advances like a hyaena,\nunseen, and skirts the walls of the courtyard. He scales the\nrailing with agility, and is embarrassed a moment by the iron\nprongs; with a bound he is on the pavement. He moves away\nstealthily. tfHe takes me for a criminal,\" he cries out; \"as for\nhim, he's an idiot. I would like to find a man exempt from the\naccusation which the invalid has made against me. I did not\nsteal a flap of his doublet as he said. Simple hypnogogic hallu-\ncination caused by terror. My intention was not to seize him,\nfor I have other ulterior projects for this timid youth.\"\nWalk towards the lake with the swans, and I will tell you\nlater why one of the group was completely black, his body bearing\nan anvil surmounted by the putrefying carcass of a hermit crab;\ninspiring and with reason, his other aquatic comrades with\ndistrust.\ni >\nMervyn is in his room; he has received a letter; who then\nwrites to him . . .? His emotion had prevented him thanking\nthe postman. The envelope has black borders and the words are\ntraced in a hasty writing. Will he carry this letter to his father?\nAnd if the signatory expressly prohibits it? Full of anguish, he opens\nhis window to breathe the scents of the air; the sun's rays reflect\ntheir prismatic irradiations on the Venetian glasses and the\ndamask curtains. He throws the letter aside among the gilt edged"}, {"page_pdf": 47, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.47", "texte": "books and albums bound in mother of pearl, strewn upon the\ntooled leather which covers the surface of his school-desk. He\nopens his piano and runs his tapering fingers over the ivory keys.\nThe brass wires make no sound. This indirect warning makes\nhim pick up again the vellum paper, but the latter recoils as\nthough affected by the hesitation of the receiver. Taken in the\ntrap Mervyn's curiosity increases and he opens the scrap of\nprepared rag. Until this moment he had seen no other than\nhis own handwriting. 'Young man, you interest me; I would\nmake you happy. I will take you as my companion and together\nwe will accomplish long pilgrimages in the Oceanic Isles. Mervyn,\nyou know I love you, and there is no need to prove it you. lam\ncertain you will accord me your friendship. When you know\nme better, you will not repent of the confidence you will have\nshown towards me. I shall keep you from the dangers your\ninexperience must run. I shall be a brother to you and there shall\nbe no lack of good advice. For a more detailed explanation, be\non the Pont du Carrousel the day after to-morrow at five o'clock\nin the morning. If I have not come, wait for me; but I hope to\nbe there at the exact time. You do likewise. An Englishman\nwill not easily forego an opportunity of seeing clearly in his\nbusiness. Young man I greet you, and good-bye for the present.\nShow this letter to nobody.\" 'Three stars instead of a signature,\"\ncried Mervyn; ffand a bloodstain at the foot of the page!\" Copious\ntears poured upon the strange phrases his eyes had devoured;\nand which opened an illimitable field of uncertain and new\nhorizons to his spirit. It seemed to him (but only since what he\nhad just read) that his father was a little severe and his mother\ntoo majestic. He had reasons which have not come to my know-\nledge and which in consequence I cannot transmit to you; which\ninsinuated that his brothers did not please him either. He hid\nthe letter in his breast. His tutors have noted that on this day\nhe did not seem himself; his eyes had grown unnaturally gloomy\nand the veil of excessive thought had fallen upon the peri-orbital"}, {"page_pdf": 48, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.48", "texte": "region. Each tutor blushed, afraid of not finding himself of the\nintellectual standard of his pupil, and yet, the latter for the first\ntime had neglected his duties and had not worked. In the evening\nthe family gathered in the dining room, adorned with ancient\nportraits. Mervyn admires the dishes heaped with succulent meats\nand odoriferous fruits, but he does not eat; and the polychromatic\ngushing of Rhine wines and the sparkling ruby of champagne in\nnarrow tall Bohemian crystal goblets, leaves even his sight in-\ndifferent.\nHe rests his elbow on the table and like a sleep-walker\nremains deep in thought. The commodore, his face tanned by\nthe sea spray, leans towards his spouse's ear: fThe first-born's\ncharacter has changed since the day of the fit; even then he was\nfull of absurd ideas, but to-day he spends more time then ever\ndreaming. All the same, I was not like that when I was his age.\nPretend not to notice anything. Now would some efficacious\nmoral or mental remedy easily find employment. Mervyn, you\nwho love reading books of discovery and natural history, I will\nread you a tale you will not dislike. Let everyone listen attentively,\nand each will profit thereby, myself first. And you others, chil-\ndren, learn by the attention you know how to lend my words\nto perfect your style and to make sure of the subtlest meanings\nof the author.\"\nAs if this brood of adorable brats could have understood it\nas anything but rhetoric. He spoke, and upon a gesture of his\nhand one of the brothers moved to the paternal library and\nreturned with a volume under his arm. During their passage the\ntablecloth and silver had been cleared and the father took the\nbook. At the electrifying word discoveries, Mervyn has lifted\nhis head and has tried to put an end to his irrelevant meditations.\nThe book is opened about the middle, and the metallic voice of\nthe commodore proves that he is still, as in the time of his glorious\nyouth, capable, of commanding the fury of man and of tempests.\nLong before the end of the reading, Mervyn has sunk upon his"}, {"page_pdf": 49, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.49", "texte": "elbow, finding it impossible to longer pursue the explanatory\ndevelopment of phrases passed through the filter and saponi-\nfication of obligatory metaphors. The father cried out: rflt isn't\nthat will interest him; let's read something else. Wife, read. You\nwill be luckier than I in chasing annoyance from our son's days.\"\nThe mother has no further hope* nevertheless she takes another\nbook and the sound of her soprano voice falls melodiously upon\nthe ears of the product of her conception. But after a few words,\ndiscouragement overwhelmed her and of herself she ceased the\ninterpretation of the work of literature. The first born cried:\nffl am going to bed.\" He withdrew, his eyes lowered with a cold\nobstinacy, and without adding a word. The dog begins to howl\nlugubriously, for he does not think this conduct natural and the\nwind outside, irregularly engulfed by the longitudinal crack of the\nwindow, makes vacillate the light of the bronze lamp, which is\nthrown downwards by the rosy crystal domes. The mother presses\nher hands to her brow and the father lifts his eyes to heaven.\nThe children cast terrified glances at the old mariner. Mervyn\ndouble locks his door and his hand runs rapidly over the paper:\nffl received your letter at midday, and you will forgive me if I\nhave made you await a reply. I have not the honour of per-\nsonally knowing you and I do not know if I ought to write to\nyou. But since impoliteness does not dwell in our halls, I have\nresolved to take up the pen and thank you warmly for the interest\nyou take in a stranger. May God keep me from not showing grati-\ntude for the sympathy with which you overwhelm me. I am aware\nof my imperfections and it does not make me prouder. But if\nit is proper to accept the friendship of a grown up it is proper\nalso to make him understand our natures are not similar.\nIndeed, you appear to be older than myself, for you call me\nyoung man and yet I still have doubts as to your real age. For\nhow are the coldness of your syllogisms to be reconciled with\nthe passion which they breathe? It is certain that I will never\nabandon the place that gave me birth in order to accompany"}, {"page_pdf": 50, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.50", "texte": "you to far countries; which would be impossible save on condition\nof asking first from the authors of my days an importunately\ndesired permission. But since you have enjoined me to secrecy\n(in the critical sense of the word) as to this spiritually tenebrous\naffair I hasten to obey your undoubted wisdom. It would seem\nthat it would not willingly affront the light of day. Since you\nappear to desire me to have confidence in yourself (a desire, not\nout of place, I am pleased to confess) have the kindness I beg\nof you to show an analagous confidence, as regards myself, and\ndo not presume so much as to imagine that I will be so unsym-\npathetic to your advice, as not to be punctual at the appointment.\nThe day after to-morrow morning at the stated hour, I will scale\nthe wall of the park enclosure, and no one will witness my\ndeparture. To speak frankly, what would I not do for you, whose\ninexplicable attachment so promptly knew how to reveal itself\nto my dazzled eyes, most astonished by such a proof of kindness,\nand which was, lam quite sure, entirely unexpected. Before I\ndid not know you. Now I know you. Do not forget the promise\nyou have made me to walk over the Pont du Carrousel. In the\nevent of my passing, I am absolutely certain of meeting you and\ntouching your hand, provided that this innocent display of a youth\nwho, but yesterday, bowed before the altar of modesty, does not\noffend you by its respectful familiarity. But is not familiarity\nadmissible in the case of a strong and ardent friendship, when\nruin is serious and earnest? And what harm, I ask you\nyourself, could there be after all, for me to say good-bye in\npassing, when the day after to-morrow, whether it rain or no,\nfive o'clock will have struck .. . ? You will appreciate, sir,\nthe tact with which I have conceived my letter; for I do not allow\nmyself in an easily lost loose sheet, to say more to you. Your\naddress at the foot of the page is a conundrum. It has taken me\nnearly a quarter of an hour to decipher it. I think you have acted\nwell in making the words so microscopic. I dispense with signing\nand in that I imitate you; we live in a too eccentric age to be"}, {"page_pdf": 51, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.51", "texte": "astonished for a moment by what may happen. lam curious lo\nobserve how you learnt the place where my glacial immobility\ndwells, surrounded by a long series of deserted rooms, foul charnel\nhouses of my bored hours. How express myself? When I think\nof you, my chest swells, sonorous as the collapse of some decaying\nempire; for the shadow of your love suggests a smile which perhaps\ndoes not exist; so vague is it and moves its scales so tortuously.\nI abandon my impetuous feelings between your hands, tablets\nof new marble and still virgin of mortal contact. Let us be patient\ntill the first rays of the morning twilight, and while awaiting the\nmoment which will cast me into the hideous embrace of your\ntwo pestiferous arms, I bow humbly before the knees I embrace.\"\nAfter writing this guilty letter, Mervyn carries it to the post\nand returns to go to bed. Do not count on finding his guardian\nangel there. The fishes tail will fly for three days only, it is true,\nbut alas! the beam will none the less be burnt; and a cylindro-\nconical bullet will pierce the rhinoceros skin despite the beggar\nand Snow-white! The crowned mad man will have spoken truly\nconcerning the fidelity of the fourteen daggers.\nThe golden haired pirate has received Mervyn's reply. In\nthis strange page he follows the trace of the intellectual difficul-\nties of him who, abandoned to the feeble forces of his own\nsuggestivity has written it. He would have done much better to have\nconsulted his parents before replying to the unknown friendship.\nNo benefit will result to him for having taken part as principal\nactor in this equivocal intrigue. But anyhow, it was his own\ndesire. At the appointed hour, Mervyn has gone from the door\nof his house, straight before him; following the boulevard\nSebastopol as far as the fountain of St. Michel. He takes the\nquay of the Grands Augustins and crosses the quai Conti; at the\nmoment he passes over the quai Malaquais, he sees upon the quai\nof the Louvre, walking parallel to his own direction an individual\nbearing a sack under his arm and who seems to be examining"}, {"page_pdf": 52, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.52", "texte": "him attentively. The morning mists have vanished. The two\nwayfarers issue at the same time from each side of the pont du\nCarrousel. Though they had never seen each other, it was a\nmutual recognition! Truly, it was touching to see these two\nbeings, separated by age, unite their souls in nobility of feeling.\nAt least, such would have been the opinion of those who would\nhave stopped before this spectacle which more than one, even of\na mathematical turn of mind, would have found moving. Mervyn,\ntears streaming down his face, thought he was meeting, at the\nbeginning of his life so to speak, a precious support in future ad-\nversities. Be persuaded that the other said nothing. This is what\nhe did: he unfolded the sack he bore, opened the mouth, and\nseizing the youth by the head, pushed his whole body into the\ncanvas envelope. With his handkerchief he tied up the end which\nserved as an entrance. Mervyn uttered shrill cries, but he lifted\nthe sack like a bundle of clothes, and several times hit the parapet\nof the bridge with it. Then the patient, made aware of the\ncracking of his bones, was silent. Unique scene which no novelist\nwill ever invent again! A butcher passed sitting on the meat in\nhis cart. An individual runs to him, requests him to stop and\nsays: \"There is a dog shut up in this sack; it's mangy, kill it as\nquickly as possible.\" The interrogated person shows himself\nwilling. The interruptor, moving off, sees a young girl in rags\nholding her hand out to him. How far then will the height of\nhis audacity and impiety stretch? He gives her alms! Tell me\nwhether you would like me to introduce you some hours later\nto the door of a remote slaughter-house. The butcher has returned\nand throwing his burden to earth, said to his mates: f'Let's kill\nthis mangy dog quickly.\" There are four of them and each\nseizes his accustomed hammer. And yet they hesitate because\nthe sack moves violently. 'What emotion holds me,\" cries one\nof them, slowly lowering his arm.\nThis dog whimpers with anguish like some baby,\" said\nanother, 'one would think he understood what fate awaited him.\""}, {"page_pdf": 53, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.53", "texte": "flt is their habit,\" said a third, \"even when they are not sick, as\nis the case here, it is enough for their master to remain absent\nfor some days from the house for them to begin to give tongue\nto howls which really are painful to endure.\" 'Stop .. . stop . .\ncried the fourth, before all the arms could be raised in unison to\nresolutely strike, this time, upon the sack. 'Stop I tell you; there\nis some fact here we are ignorant of. Who tells you the canvas\ncontains a dog? I want to make sure.\" Then, despite the gibes\nof his companions, he untied the bundle and drew out one after\nanother the limbs of Mervyn! He was almost suffocated by the\ndifficulty of his position. On seeing the light again, he fainted.\nSome moments after he gave indubitable signs of life. His\nsaviour said: \"Another time know to use caution even in your\nbusiness. You have all but remarked of yourselves, that it serves\nno good to practise the inobservance of this law.\" The slaugh-\nterers fled. Mervyn, his heart oppressed, returns home and shuts\nhimself up in his room. Is there any need to enlarge upon this\nstrophe? Ah, who would not deplore the events consummated!\nAwait the end to pass an even more severe judgment. The\ncatastrophe is about to precipitate itself; and in this kind of tale,\nwhen a passion of whatever kind it be is premised it fears no\nobstacle in continuing its progress; there is no room to water in\na cup the gum-lac of four hundred banal pages. What may be\nsaid in half a dozen strophes should be said and then silence.\nI continue! There was a fishes tail, which moved at the bottom\nof a hole, beside a down-at-heel boot. Was it not natural to ask\nonself where is the fish? \"I but see the tail in movement.\" For,\nsince one implicitly admitted not having seen the fish, it was\nbecause it was really not there. The rain had left some drops\nof water at the bottom of this funnel, hollowed in the sand. As\nfor the down-at-heel boot, some few have since thought that it\nwas deliberately abandoned there. The hermit crab, by the\ndivine might was to be reborn from his resolved atoms. He drew"}, {"page_pdf": 54, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.54", "texte": "the fishes tail from the well and promised to rejoin it to its lost\nbody if it would announce to the Creator, the impotence of his\nmessenger in dominating the furious waves of the Maldororian\nseas. He lent it two albatrosses wings and the fish tail took to\nflight. But it flew towards the home of the renegade, to relate\nwhat had happened and to betray the hermit crab. But he divined\nthe spy's plan and before the third day reached its end, he pierced\nthe fish tail with a poisoned arrow. The spy's gullet emitted a\nfeeble exclamation which rendered up its last sigh before reaching\nearth. Then a venerable beam, situated on the summit of a castle,\nrising to its full height, and turning on itself, cried out loudly\nfor vengeance. But the Almighty, changed into a rhinoceros,\ninformed him that the death was deserved. The beam, reassured,\nwent and took its place again in the depths of the manor, resumed\nits horizontal position and recalled the terrified spiders that as\nin the past they might continue to weave their webs from its\ncorners. The man with sulphur lips learnt of his ally's weakness;\nhe commanded the crowned madman to burn the beam and reduce\nit to cinders, that is why Aghone carried out this severe order.\n\"Since, according to you, the moment has come,\" cried he, ffl have\ngone again to get the ring I buried under the stone, and I have\nattached it to one of the ends of the cable. Here is the packet.\"\nAnd he showed him a thick cord, sixty yards long, rolled upon\nitself. His master questioned him as to what the fourteen daggers\ndid. He replied that they remained faithful, and held themselves\nready for any necessary event. The forger bent his head as a\ntoken of satisfaction. He betrayed surprise and even disquiet\nwhen Aghone added that he had seen a cock cleave a candelabrum\nin two with his beak, plunge his vision into each part in turn and\ncry out, flapping his wings with frantic movements: It is not as\nfar as one imagines from the rue de la Paix to the place du Pan-\ntheon: the lamentable proof will shortly be seen!\" The hermit\ncrab, mounted on a fiery steed, flew at full speed towards the reef,\nwhich had witnessed the hurling of a stick by a tatooed arm, asy-"}, {"page_pdf": 55, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.55", "texte": "lum of his first day's descent upon earth, A caravan of pilgrims was\nabout to visit the place, henceforth consecrated by a sacred\ndeath. He hoped to reach it to beg urgent help against the plot\nin preparation for him, and of which he had knowledge. Some\nlines further on, helped by my glacial silence, you will see that\nhe did not arrive in time to relate to them what a rag-picker,\nhidden behind a scaffolding near a half-built house, had reported\nto him, the day when still bearing the damp dews of night the\npont du Carrousel, perceived with horror the horizon of its\nthoughts enlarge confusedly in concentric circles at the matutinal\napparition of the rhythmical kneading of an icosahedron shaped\nsack against its calcareous parapet! Before he stimulates their\ncompassion by the souvenir of the episode, they had best destroy\nwithin thefnselves the semen of hope ... To destroy your laziness\nmake use of the resources of a good will, walk at my side and do\nnot lose sight of the madman, his head surmounted by a chamber-\npot, who pushes ahead of him his hand armed with a stick, and\nwhom you would have difficulty in recognizing did I not take\ncare to warn you, and to recall to your ear the word pronounced,\nMervyn. How changed he his! His hands tied behind his back,\nhe walks straight before him, as though he went to the scaffold,\nand yet he is guilty of no crime. They have reached the circular\narea of the place Vendome. On the entablature of the massive\ncolumn, and leaning against the plain balustrade more than fifty\nyards from the ground; a man has cast and unrolled a rope which\nfalls near Aghone. Habitual things are quickly done; but I may\nsay that the latter did not take long to tie Mervyn fast, to the ends\nof the cord. The rhinoceros had learnt of what was about to\nhappen. Covered with sweat he appeared breathless at the corner\nof the rue Castiglione. He did not even have the satisfaction of\na fight. The individual who scrutinized the neighbourhood from\nthe top of the column, cocked his revolver, carefully took aim\nand pressed the trigger. The commodore who begged in the\nstreet since that day upon which he believed what he imagined\nto be the madness of his son, had begun, and the mother who had\n4"}, {"page_pdf": 56, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.56", "texte": "been called Snow-white on account of her extreme pallor, inter-\nposed their breasts to protect the rhinoceros. Futile precaution .. .\nIhe ball drilled his hide like a gimlet; one might have thought\nwith some semblance of logic that death must infallibly appear.\nBut we know that the substance of the lord had been introduced\ninto the pachyderm. He withdrew with annoyance. If it had\nnot been proven definitely that he was too good to one of his\ncreatures I would pity the man on the column! He with a sudden\njerk of the wrist, pulled to him the thus ballasted cord. Situated\nabnormally, his oscillations balanced Mervyn, whose head looked\ndownwards, and who clutched eagerly with his hands at a long\ngarland of immortelles which connected two consecutive angles\nof the base against which he struck his brow. He carries into\nthe air with himself, what is not a fixed point After having piled\na large part of the rope, at his feet in the shape of superimposed\nellipses, so that Mervyn was suspended half way up the bronze\nobelisk, the escaped forger with his right hand imparted to the\nadolescent, a movement accelerated by a uniform rotation in a\nplane parallel to the axis of the column; and gathered with his\nleft hand, the serpentine entwinements of cordage which lay at\nhis feet. The sling whistles in space; Mervyn's body follows it\neverywhere, always held from the centre by centrifugal force,\nalways keeping his mobile and equidistant position in an aerial\ncircumference, independent of matter. The civilised savage little\nby little lets it out to the very end, which he retains with a firm\nmetarcarpal, resembling to the life a bar of steel. He begins to\nrun round the balustrade holding to the rail with one hand. This\nmanoeuvre has the effect of changing the original plane of the\nrope's revolution and of augmenting its already too considerable\ntension. Henceforth it turns majestically in a horizontal plane,\nafter having in a crazy progress passed successively through\nvarious oblique planes. The right angle made by the column and\nvegetable thread has its sides equal and the renegade's arm and\nthe murderous instrument are confounded in a linear unity, like\nthe atomical elements of a ray of light entering a dark room."}, {"page_pdf": 57, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.57", "texte": "The theorems of mechanics permit me to speak thus; alas! it is\nknown that a force added to another force engenders a resultant\nmade up of the two original forces! Who would dare assert that\nthe linear cordage would have broken already but for the athlete's\nvigour, but for the good quality of hemp? The golden haired\npirate, suddenly and at the same moment, arrests his acquired\nspeed, opens his hand and lets go the cable. The countershock\nof this operation, so contrary to those preceding, makes the joints\nof the balustrade crack. Mervyn followed by the cord, resembles\na comet trailing after itself its flaming tail. The iron ring of the\nrunning knot, flashing in the sun's rays pledges itself to complete\nthe illusion. In describing his parabola, the doomed one cleaves\nthe air as far as the left bank, passes it by virtue of the propulsive\nforce, which I suppose infinite, and his body hits the dome of the\nPantheon, while the cord with its turns, partly embraces the\nupper region of the immense cupola. It is on the spherical and\nconvex superficies that resembles an orange only by its form, that\nat any hour of the day a dried up skeleton, still hanging, is to be\nseen. When the wind swings it, it is said that the students of the\nLatin Quarter, in dread of a like fate, make a brief prayer; but\nthese are trifling rumours, and there is no need to believe them;\nthey serve merely to frighten little children. He holds in his\ncontracted hands what seems like a large wreath of stale yellow\nflowers. The distance must be taken into account and no one\ncan affirm, despite the evidence of his long sight, that they are\nreally those immortelles. I have mentioned, and which an unequal\nstruggle close to the new Opera, saw detached from a grandiose\npedestal.\nIt is none the less true that the drapings arranged like a\ncrescent moon, no longer receive the impression of their definitive\nsymmetry in a quaternary number; go and see for yourself if you\ndo not wish to believe me.\n4*\n\nComte de Lautreamont\n\n(Translated by John Rodker)"}, {"page_pdf": 58, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.58", "texte": "YOUNG MR. ELKINS\nPAUL ROSENFELD\n\n\"Apparently the skyscrapers of lower New York\nhad vanquished. What could one individual, assisted\nby a few dreamers, do against a civilization 9\"\nTo make the factory wheels revolve, eternal hills squeezed minerals\nfrom their bowels and prairies consumed themselves in wheat. Factories\nturned in three shifts daily, competing with churches and poolrooms to\nproduce a new and arbitrary civilization, the only one of its kind, Biggest\nin the World Endorsed by Millions of Satisfied Users, and this civilization\nlaboured in its turn and brought forth young Mr. Elkins.\nIt suckled him with Shredded Wheat.\nIt draped Kuppenheimer Klothes about his shoulders.\nIt gave him an Underwood typewriter (Model 5) and convenient\nmagazines.\nIt sent him to Harvard as a classmate of Walter Lippman.\nPerhaps it was only to produce young Mr. Elkins that American\ncivilization existed. . . . Under the grey water a volcano stirred, vomiting\nboulders in a steam, depositing them in layers awkwardly, and so building\na mountain higher than all other mountains: Mount Marbor that slopes on\nall sides vastly into a grey sea. On top of Marbor precisely, by its one\ncaprice, was deposited a pea, and the pea was critical of the mountain.\nMr. Elkins while still in college wrote such articles on puritanism as would\nhave shocked his forebears.\nHis possible forebears would be shocked, but in spite of biology I\nsuspect that he does not possess any. I suspect that only American civiliza-\ntion brought him forth, acting as both his father and his mother. Mystically\nfunctioning both as male and female agent ... so young Mr. Elkins may\nhave written.\nHe never mentions more definite relatives. Certainly he is not con-\nnected, even remotely, with the family of the defunct senator from West\nVirginia or with the Elkins Wideners of Philadelphia. There is no old\nMr. Elkins."}, {"page_pdf": 59, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.59", "texte": "There is a young Mr. Elkins nevertheless, and he retains the adjective\nwhich has definitely taken the place of his initials. ff Young Mr. Elkins\nasserts,\" writes the superior-but-friendly critic of the Literary Review or the\nIndependent. frYoung Mr. Elkins objects (or disclaims or rejoins).\" One\npictures him vaguely in knickerbockers dictating his precocious essays to\na governess. As a matter of fact young Mr. Elkins was born in 1838, and\nthere is a trick of puffy eyes under his spectacles which makes him look\nwell over forty.\nMr. Elkins, being an American intellectual, belongs to the professionally\nyoung. At sixty he will retain the discouraged deep scepticism of adolescence.\nAt sixteen, however, he joined the Y. M. G. A. and even meditated\na course in electrical design from the International Correspondence School\nof Scranton, Pa. Why and at what age did the milk-and-honey, even the\nrye whiskey of America turn bitter in his mouth. Was it in his sophomore\nyear and because he bought a complete and unexpurgated edition of the\nworks of Guy de Maupassant?\nWas it because he felt ffa naked instinct stirring in him, down, deep\ndown; an urge, a flood of sex which would some day burst the narrow\nman-made barriers of American convention?\"\nWas it because of a course he took on Sewage Disposal in the German\nCities?\nOr merely was it because he felt the London-tailored mockery of an\narticle in the London Nation? He wanted so to be Free and he wanted\nto be urbane; he wanted to be English and Continental; he hardly understood\nwhat he wanted or how his new idea was born, but already before he\ngraduated from college he was declaiming against American grossness and\nAmerican puritanism in one breath and as if they were the same thing.\nff77ie new feeling that is in America, it is only an infant. It is no\nmore than a puny child born in the nadir of the year, a helpless, naked mite.\nIn all the grey winter of the land, under the leaden immeasurable vault, it\nis a nigh invisible fleck. And still, somehow, it is there, born\"\nThe new feeling that is in America ... it inspired young Mr. Elkins\nto thunder against billboards, Billy Sunday and Methodism, proportional\nrepresentation, Comstock, elevated railroads. One year with a special\nfulgurance he thundered against the commercial ugliness of cities. American\ncivilization listened and moved uneasily like a sleeping volcano. Stung"}, {"page_pdf": 60, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.60", "texte": "finally to action by his criticism it spewed forth city planning commissions,\ncommissions specially trained at the Beaux Arts and specially delegated\nto make Paris, Okla. the replica of Paris, France, in miniature. The volcano\nslept comfortably. Mr. Elkins was not appeased.\nHe gathered disciples about him; young Mr. Elkins multiplied himself.\nHe published magazines and wrote them; he wrote plays and acted in them;\nhe populated a quarter of New York with two suburbs. His face and opinions\nwere reduplicated as if by American machinery. At times you met him\neverywhere and at times this omnipresent personality was reduced to the\nproportions of a squat young man of thirty-four, with puffy eyes; a single\ntired wrestler at grips with American civilization and determined to talk\nit to death.\nSo as to confound it, he began to amass facts about this society he\nhated. He went about his work as if he were organizing espionage in an\nenemy country. He made the acquaintance of reporters, statesman, barbers;\nstudied official reports; even joined a lodge of Elks surreptitiously. In this\nmanner he collected volumes of fact; millions of shining, unpleasant facts.\nSome of them he published, but he reserves the choicest for his conversation.\nHe says: \"Whiskey running last year caused 26 deaths at the Canadian\nborder . . . The new representative from Oregon is only the third atheist\nin Congress .... Out of 1103 cases of insanity in the State Asylum, 458\nwere caused by sexual repression .... An injunction has been granted to\nrestrain Pittsburgh streetcars from operating on Sunday.\"\nHe says, confidentially: fI learned yesterday from a private source\nthat there were 433 murders last year in Memphis, Tennessee. In the year\nbefore prohibition there were only 219. The hypocrisy of a dry nation\ncannot endure much longer.\" A few days later he draws you aside and says:\nr'Remember. Remember that we are living in the United States and not\nin a free nation. I know authoritatively that the Society for the Suppression\nof Vice is taking action against 183 books and pamphlets, including several\neditions of Shakespeare. Already a bookseller has been jailed because he\nsold a copy of Measure for Measure. Trouble is brewing. Tell nobody,\nnobody.\"\nYoung Mr. Elkins places an evident value on his facts and yet he\ncollates them around a simple, almost a childish thesis; a single thesis\nconcerning America and puritanism: Puritanism is bad; America is puritan;"}, {"page_pdf": 61, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.61", "texte": "therefore America is bad. (Or, to state his syllogism in its more usual form:\nAmerica is bad; America is puritan; therefore puritanism is bad.) (Or:\nbadness is puritan; badness is American; America is therefore badly puritan,)\nHe has never tried to define puritanism or America.\nBut he dreams about them often; before his typewriter he dreams of\nan America delivered utterly from the puritan yoke. An America whose\nstreet-corners blossom with cafes and whose sidewalks with little tables\npainted green. Beer stains and the smell of beer. A broad leisurely America\nwithout machines and Methodism. Sunday baseball in Pittsburgh (or better,\nSunday cricket;) open urinals and racetrack gambling; the works of Freud\nand Boccaccio and D. H. Lawrence sold at newsstands openly. Young\nMr. Elkins dreams and writes a few rapid sentences on his Underwood.\nHe dreams of the Paris where he should like to be at home. A walled\nriver with its bridges gilded and millions devoted to Art. For Mr. Elkins\na bench in the Luxembourg gardens; children play it front of it decoratively\nand none of them bursts out of the picture to disturb him. Dreaming he\nwrites:\n\"1 like nothing better than to watch the youngsters, the nurses and\nmothers, the students, and the promenaders all at play. There is so much\nunaffected fun and laughing gaiety over the simplest things: I can watch\nthe eager babies as they get their first ride on the stolid donkeys, the pride\nof the owners of the small yachts that sail over the tiny artificial lake, the\nquivers of delight and mirth that shake the children's audience at the\nfGrand Guignol,'1) their sheer joy at riding on the flying pigs .. . The\nstudents from the Sorbonne or the Ecole de Medecine nearby swing their\nbooks, and on some of the stone benches young people will be embracing\nor kissing with no one paying the slightest attention . . . Somehow I never\nenjoyed walking in Central Park of a Sunday.\"\nHe never walked in Central Park without dreaming of the Luxembourg\nand Hyde Park and the Tiergarten, or of a future America into which their\nvirtues had somehow been incorporated; he dreams of an America which\nhas imitated the best of Paris and Berlin and London, an Anglo-Franco-\nGerman America ruled by philosophers and economists and rising clean\nfrom the sackcloth-and-ashes of puritanism into the leisured humanism of\nEuropean culture, into a naked dawn. And what he dreams he writes, in\nhis deep room, sulkily, on a typewriter which is the most finished product\nof a mechanical civilization.\n\n1) Grand Guignol: — a theatre which Mr. Elkins would find, if be ever visited\nParis, at a distance of several kilometres from the Luxembourg Gardens."}, {"page_pdf": 62, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.62", "texte": "Meanwhile this civilization which produced young Mr. Elkins and his\ntypewriter in one careless gesture; meanwhile American civilization howls\noutside his window. An elevated express rumbles up Ninth Avenue and\nan elevated local rumbles down Ninth Avenue. Precisely under Mr. Elkins'\nroom four subway trains crash past each other. One of them is bound\nfor the 273 d Street hugest Tabernacle, where Mr. Sunday preaches that after-\nnoon to an audience of over fifteen thousand. Shortly he will save 931 souls\nfor democracy, while at the same moment and as if by the same angelic\ninfluence, the quarrel which had been storming in the poolroom at the\ncorner will be composed to the tune of East Side, West Side. Black Jim\nKelly produces a pint of gin. James Robert Kelly finishes the layout of\nhis two-page spread for the Foundation Company of America and the\nSaturday Evening Post. He shows his drawing to a friend. \"That's damn\nfine,\" James Kelly sa}rs, translating freely from Benvenuto Cellini. Thirty\nstories below an automobile skids into a shop window, killing two and a wax\ndummy .... Child Crushed by Car at 92nd Street .... Bronx Express\nDerailed Many Deaths .... A cable snaps on Brooklyn Bridge; fire spreads\nto the oil tanks; on the docks a carload of dynamite explodes .... In\na vain effort to dislodge the pea Mount Marbor was erupting: Granite\nboulders as big as a locomotive shot into the air, collided, and crashed down;\nten thousand feet ten thousand fathoms bumping crashing down.\nYoung Mr. Elkins, annoyed by the racket, rose nervously and closed\nhis window.\n\nMalcolm Cowley"}, {"page_pdf": 63, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.63", "texte": "Carlotta Grisi\nOld Lithograph <about 1845>"}, {"page_pdf": 64, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.64", "texte": "Ballerinas\nPablo Picasso"}, {"page_pdf": 65, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.65", "texte": "INSTANT NOTE ON WALDO FRANK\nMRS. LUVE.\n\nf7 know what love is because 1 know what horror\ncomes when love is starved or denied ... I am\na woman who has always lived in dirt .... I know\nthat dirt is always just that denying of love\"\nThe green sea waves toss mountainously burying the swimmer. They\n.\nare liquid and then they are erect. They are green . . . They are real . . .\nWith mighty efforts the swimmer plunges and wallows through the creamy\nfoam. He is tired. He is little. He is one. . . His mouth is full of tears.\nSalt tears. Words come, rounded and easy words, through the sea of his\nmouth. His own life, his own gay and lovely life .... broken so wantonly,\nso swiftly .... here is strangeness enough .... Magnificent his Desire\nto attain the land, magnificent his muscles, magnificent his poised back.\nFrom the breasts he sees the land. He sees Hope. And in the troughs . . . .\nFaith .... So he rolls. So he swims. Nearer . . .\nThe shocking sex-repression of the nineteenth century has reaped the\nshocking sex-outletting of the twentieth in our unhappy land. Puritanism\nis sent rolling back to the farthest corners of New England upon a wave\nof moral indignation. The day of vengeance. The lost provinces are restored\nand phallic monuments are struck and erected in the public places.\nBut it is far easier to understand how a myth came about than to\nforgive it.\nLet us not be irritated by the sex alarm of the day into offering a futile\nresistance to the crusaders. Let us grant first that all true pictures of life\nhave represented man as a base animal, especially foul and dangerous when\nhis appetites are thwarted; to wit: The History of Amelia, Roderick Random,\nle Rouge et le Noir, Brothers Karamazov. Prepared by years of journalistic\nwarefare, one fails to be revolted by the single-mindedness of the psycho-\nanalytic novel proper, such as Waldo Frank has conceived it. Its interest\nlies chiefly in the application of the Freudian tactic: we shall hearken\nonly to the strata of the brain, observe only instinctive be-\nhaviour, and speak only in the shadowy diction of dreams. It is simply\nHenry James undone! The actions of each character appear in their most\nnaked state; the conversation always en deshabille, if not a poil; the style\nis reduced to brief gasps of bad breath, instead of the sustained sober pace\nof the elder novelist.\n*) Rahab, by Waldo Frank, Boni & Liveright, New York, 1922.\nCity Block, by Waldo Frank, privately printed, 1922.\n5"}, {"page_pdf": 66, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.66", "texte": "Your unconscious type par excellence always removes all her clothing\nupon receiving a guest, revels dogmatically in nudity, longs for freedom,\nslips readily into the most compromising situations, in short abides by a most\ndefinite, restricted and habitual creed of her own, with its established cere-\nmony and mummery. Substitute for the crucifix the phallus, and for the\npater noster such facile shibboleths as, \"I am real ... I touch .... I am\none .... I am in you I\" Thus from Rahab, which is the romance of\na woman whose behaviour is unfailingly and remarkably sub-conscious:\n\"I shut my face in my hands and you are about me, my Baby. I am\na baby with you. Our flesh is one: our hands are one like the petals\nentwined in a flower. We are a flower together. We spring from the\nblack earth. We have had our blooming. The earth is there. We are gone.\nIn the black earth under the snows, there is a seed of us, Edith! ... of\nour softness, of the bright bloom of our twined petals the hard seed. I am\nlain away in the earth. The earth blooms only in us.\"\nFrom this specimen of the apostrophizings of Fanny Luve, it will\nbe remarked that the sub-conscious is extremely mystical, that it prefers\nto speak in monosyllables, to employ only the short sentence, of which the\nstress always comes in the opening phrase, thus giving the effect of the\nrhythmic spasms of the old gasoline motors found in back country districts.\nThis is a highly disturbing element, because at least forty per cent of the\npages of Rahab and City Block is devoted to the communings of people with\ntheir subconscious selves.\nThe subconscious mind employs words most weirdly:\n\". . . . With her child in her arms she could pinch bravely and find\nreal . . .\n\"Harry is coming back. O I know! I must be ready. I must be real.\"\n\"Nakedness binds this warmth and this stillness. Nakedness must\nend.\" (*)\nTo suggest the qualities of dreams, the Great Vague is invoked. Sub-\nstantives, such as \"softness,\" \"whiteness,\" are heavily counted upon by the\nmyopic libido.\nOne serious objection to the subconscious is its lack of humor. It has\nno sense of the absurd, no capacity to laugh at itself. For instance when\nthe question is put: \"Could you eat some more toast?\" it cries:\n\"How do I know what I eat?\nGod you insult us.\nIf we must feed on dirt.\nWhy give us the love of the Clean?\"1)\n*) The italies are for laboratory purposes only.\n*) RahaU — Page 175!"}, {"page_pdf": 67, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.67", "texte": "Needless to say, a personage who proceeds through life in such a dazed,\nunprotected state suffers severely at life's hands; and Mrs. Luve from the\ntime she betrays her husband to the day she is put into the streets by the\nruffianly police of New York certainly does suffer many hardships. But in\nstripping her, in divesting her of her gowns, her camisoles, of all the — for\nthe Freudian — fripperies of a superficial civilization which are invested in\nthe conscious mind, Waldo Frank has rendered her unsympathetic and\ntedious. He has attempted, through the psychoanalytic formula to catapult\nhimself into the ultimate sappy core of reality, to steal a march upon the\nDing an sich. An interesting and daring experiment, this of launching human\nbeings into a vague plane of life like muffled machines, with all their organs\nfunctioning blindly and immodestly. An experiment quite unprofitable:\nthese creatures are slack balloons appended to bulbous genitals.\nCity Block is an arrangement of stories about people whose lives happen\nto pass in one square block. This is evidently the thread which binds these\npeople, making their existences unanimous, (unanimistic) and their drama,\na collective one. But the crowd element neither adds to nor detracts from\nthe interest. Their personalities are still libido-ridden. All varieties of\nFreudian paraphernalia, from the simple affair of the pretty young gover-\nness who throws herself at the first comer, a policeman, to the young boy\nwho loves his mother — well — pathologically. The machinery of these\nstories is conventional, aside from the erotic data; i.e., the plot moves\neither to the fulfillment or the vanquishment of a repressed desire. (Here\nyou have the technical basis for a \"psychoanalytic\" literature to supplant\nthe plot-setting-character formula.) And the women are extraordinarily\nalike. They are all hungry and want \"beyond. ..\" Beyond what?\nThe men all have big coarse features, hairy hands and kind\nhearts. Their lives are restless, their moods always high-pitched, their\nvoices hoarse and intense with emotion. How ugly are untutored\nemotions. Especially when they are not balanced against the schooled\nreasoning of modern man, when there is no vacation from them, when one\nfails to be diverted by them.\nAnd Waldo Frank has excellent musculature. He has gone far afield,\nconspired and perspired much to fabricate a psychoanalytic prose. Delib-\nerately, he rides a vague and flaccid vocabulary. His style is certainly\nthe most vexing issue. When he consciously misplaces verbs and adjectives\nas \"Friday night when always he broke away. . .\" instead of \"Friday night\nwhen he always broke away,\" and distorts and inverts the language as in\n\"Sophie no longer yearned to do caring things for Hilda,\" or \"She is pain,"}, {"page_pdf": 68, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.68", "texte": "gasping and falling,\" one can only remark that with the same effort an\nimpressive and convincing diction might have been attained.\nThere are moments when the dramatic possibilities of a situation\ncause Frank to swerve from his bias. The second of the Under the Dome\nstories is a calm sunny picture of an idiot boy and his credulous parents.\nIt is an excellent human-interest story in the old grand style. But here\nat least one may measure Frank himself. In Hope the chug-chug of the\nFrank style is most adapted to his subject matter, and carries the most\nphysical persuasion. In its brief confines, this story really contains all that\nthe writer could have done artistically with his sexual machinery: a common\ncase of adultery becomes something terrifically absurd and — tragic. It is\ninteresting to conjure with what the writer of these two stories will turn\nto next. How articulate or how ffsub-conscious\" will his succeeding books be?\nThe dominant tendency of Waldo Frank's books place him with a\ngroup of American Impulsionists, with the exponents of mystical or un-\nconscious behaviour such as James Oppenheim and Sherwood Anderson.\nDespite an unfortunate emotional equipment similar to that of these\nmen, he does attempt experiments with his material, which the others are\neither incapable of or unwilling to hazard. This alone renders him a much\nmore hopeful subject than these inarticulate personalities: his process swings\nfrom thought associations to thought-dissociations, to a state of mind (upon\na few rare occasions) when the march of rhetoric seizes him to the complete\nobliteration of his message. Out of his unhappy gropings comes an in-\ngenuous and unforgettable sentence:\n\"She walked, clear slender neck and legs with her child so full before\nher her walk seemed to say: fMy child comes first.' \"\nDripping, as he is, with emotion for humanity, for the spread of\nknowledge, or clarte, or whatever it is that must be spread, will Frank\never turn upon himself with a nice brutality and adjust himself properly\nabout the language?\nThe emphasis of modern literature, and of modern poetry especially\nis upon great articulateness and precision of expression, whether or no the\nwhole form give an effect of articulateness. The effect of novelty developes\nthrough a fresh approach to the business of defining experiences by\na sharply demarcated personality, such as one discovers in William Carlos\nWilliams, in E. E. Cummings, in Marianne Moore. Their speculations with\nsyntax, their rebellions, are the consummation of a long straight line whose\ninception lies in our traditional literature, and in the purest language forms.\nA truly inventive spirit is a lordly fish; the language is his grateful element:\na sea in which he cannot drown.\n\nMatthew Josephson"}, {"page_pdf": 69, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.69", "texte": "Dancer from the Ballet Tricorne\nPablo Picasso"}, {"page_pdf": 70, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.70", "texte": "NO. 19.\n\nThe angels filed through the black net the geese gathered\nround the glass warehouses and the scullion milked\nthe pot clear to the brim\nlight be his burden who is gone\nyet we are a simple European family and our life here\nis like an old cylinder\nit is in fact full of lice waterways and pilots with nine\nfingers\nlift the children out of your eyes\nlo and behold the mothers of Lily Street of the ponderous\nbreasts the arms linen rods and under the knots of\ntheir hair the liveried coachmen stretch themselves\nout\nthe thinkers have just installed themselves under the\nbrass hump\nof the camel and the mountains labor in the throes of\nbirth\nhowever the midwife has lost her diploma\nI have neither shirts nor hose\nI have no shirts no shirts I have straw slippers\nI have no shirts I have straw slippers\nI have no shirts I have straw slippers I have no shirts\nof shirts I have not any\nAnd it you who are entirely to blame\nthe bells of the neighboring village sing in D flat\nand you do not remark the snowdrops in our hearts drip\nit is also possible that we have grown too fat"}, {"page_pdf": 71, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.71", "texte": "O O it were best to die\nlet us ring the little lambs in\nbeyond the forest the world can still be seen dissolving\nin a scarlet nebulus\nand the most domesticated of the dogs flying with pea-\ncock feathers in their buttocks toward the moon\nthere can be no more doubt that it is the twelfth hour\nour our our thour our ow\nMr Kempeler lights up the stars\nthe war veterans close up their shops\nand we three walk in a pair of straw slippers through\nthe cloven mountains.\n\nLouis Kassak\n\n(Translated from the Hungarian)"}, {"page_pdf": 72, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.72", "texte": "Costume for Ravel's Rhapsodie Espagnole\nGontdharova"}, {"page_pdf": 73, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.73", "texte": "ON THE STAIRS LEADING TO MY MARBLE HALLS\nAlfred Mombert\nOn the stairs leading to my marble halls,\nIn the moonlight\nI stand, erect.\nFar below, in the thin blue mountain-lake,\nDeath is bathing,\nThe miscarried child of an unripe world.\nThe wretched creature is two feet high.\nHe wants to cleanse himself secretly\nIn my beloved faithful waters.\nEvery worm in my kingdom\nIs more radiant and is more blessed\nThan that creature, below there.\n\nSUFFERING\nAlbert Ehrenstein\nHow am I hitched\nTo the coal-wagon of my mourning!\nLoathsome as a spider\nTime creeps over me.\nMy hair falls out,\nMy head greys, like a field\nWhere the last reaper\nSwings his sickle.\nSleep darkens about my limbs.\nAlready in dreams I have died,\nGrass sprang out of my skull,\nMy head was of black earth.\n\n(Translated by Babette Deutsch & A. Yarmolinsky)"}, {"page_pdf": 74, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.74", "texte": "THE MOSCOW ART THEATRE\n\nCzar Feodor loannovitch produced by the Moscow Art Theatre Com-\npany under the personal direction of Stanislavsky was given, last Sunday\nnight, in Berlin. The lifted curtain revealed a picture, three men in a room,\na primitive, such a one as the art galleries term ffln the Byzantine Manner.\"\nAnd as the participants spoke, gestured, moved, the illusion remained. Not\nthe crooking of a finger would have roused the spectator from dreaming\nthat he had awakened, like the Connecticut Yankee, in some long past\ncentury.\nThe critical faculty revived as the action proceeded. One examined\nthe constituents of the picture to discover just how the spell was invoked.\nThe setting was good. The costumes were genuine, such as one sees in\na few rare collections, and very beautiful. A group of old Altar paintings\nin a corner was the centre and binding motif of the decorative scheme.\nMore than to any of these elements the spell was perhaps due to the perfection\nof the acting. Each gesture could have been only that gesture and no\nother. Each inflection of the voice, each cut of beard, could have belonged\nonly to that particular actor and no other. Perhaps the production of\nStanislavsky can be compared to Salammbo of Flaubert except that in this\ncase for the mot juste is substituted the ensemble juste. Both seem inspired\nby the belief that there exists but one way of expressing a thing and that\nto find this is the task of the artist. Like Flaubert, Stanislavsky with\nsuperhumen efforts, approximates his ideal.\nIn the year 1898 the Moscow Art Theatre was established. Feodor\nloannovitch was given on the opening night and the same company, with a\nfew minor changes in the cast, performed in early October 1922. Twenty four\nyears ago the utilization of an original tableset from the time of Boris,\nthe faithful imitation of an ancient room, copied out of a museum, the exact\nrepresentation of the superseded social mannerisms of the epoch and above\nall the perfection of detail which the genius of Stanislavsky never fails to\ncommand, made a sensation in Moscow which culminated, many years later,\nin the general recognition of the supremacy in the theatrical world of the\nMoscow Art Theatre."}, {"page_pdf": 75, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.75", "texte": "Stanislavsky still possesses in the Western World his great prestige.\nHe intends with the assistance of an American contract to exhibit the plays\nwhich \"made his theatre famous,\" before the great foreign audiences.\nAs he has without question pushed his method or theory of the theatre\nto the limit of its possibilities it is well worth attending the performances\neven though one believes, like the contemporary Russian art radicals, that\nhis productions are as anachronistic as the painted icons in the museums.\nIn fact Meyerhold, Tairov, Forreguer and many other of the active theatrical\nmen are wholly opposed to the subtle realism, to the scientific analysis of\npsychological states, which constitute the main preoccupation of the Three\nSisters, Uncle Vania, The Cherry Orchard and other plays of his repertoire.\nThey consider all this obsolete now that the revolution has overturned every\nold value and made fluid the social stratas, formerly static. The newer\ntendencies in the Russian theatre seek theatricalism rather than realism,\nturn to the circus, to melodrama, to burlesque, neglecting the drawing room\nand the hidden struggles of constrained wills. Simple passions expressed\nin action are felt to be more in tune with present conditions.\nEven though workmen have taken the place of the old bourgeoisie\nand a new bourgeoisie is now occupying the chairs of the work-\nmen, still the Russian theatre-going public throngs Stanislavsky's theatre\nand from one point of view their instinct is sound. For it must be\nadmitted that this Moscow stage has maintained during many terrible\nyears a standard of production which has never been excelled even though\nwe may differ with its underlying theories. An interesting commentary on\nthe problem is that Stanislavsky admits in conversation, to a change of\nemphasis not evidenced by the plays which will be given in America. He\nbelieves the importance given to settings and stage accessories overdone and\nwould prefer to have his actors play their parts before a black curtain.\n\nH. A. L."}, {"page_pdf": 76, "page_imprimee": "[68]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.76", "texte": "/C\\ne must learn the language in which an art speaks if one\n/ Jis to have a mastery of that art.\nLike all forms of art, interior decoration draws upon\nmany others for its perfect individuality. It has its own laws,\nits own technique, its own rewards, and it is one of the few\narts that works in three dimensions.\nIt demands wide academic knowledge, a thorough grasp of\nprinciples and practice to understand as well as to create.\nThe Arts & Decoration Practical Home Study Course in In-\nterior Decoration is a result of the remarkable demand made\nupon the magazine for authoritative comprehensive know-\nledge on this subject.\nThe course covers every phase of interior decoration beginning\nwith fundamentals and explaining each progressive step, illus-\ntrated with a wealth of pictures and clear, simple text.\nThis course is essential to a cultural education and a necessity\nto those who desire to make their surroundings more beautiful.\nThe directors of the course are Harold Donaldson Eberlein\nand Nancy V. McClelland consulting and practicing decorators\nof national reputation.\nThe Advisory Faculty includes such distinguished authorities\nas William Emerson, Director, Architectural School, Massa-\nchusetts Institute of Technology; Huger Elliott, Principal,\nPennsylvania Museum and School of Industrial Art; Richard\nF. Bach, of the Department of Industrial Art, Metropolitan\nMuseum of Art; Whitney Warren, Architect, and Phyllis\nAcherman, Ph. D.\nThe course is completed in twenty-four lessons covering a full\nyear. We shall be glad to send you a booklet giving a full\ndescription.\n\nHrts & Decoration\n50 Uldt 47 th Street * ]Vew City"}, {"page_pdf": 77, "page_imprimee": "[69]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.77", "texte": "THE NATION\n20 Vesey Street\nNEW YORK\nOSWALD GARRISON VILLARD,\nEditor\nAssociate Editors\nLEWIS S. GANNETT\nARTHUR WARNER\nFREDA KIRCHWEY\nLUDWIG LEWISOHN\nNORMAN THOMAS\nERNEST H GRUENING\nManaging Editor\nJOHN MACY\nLiterary Editor\nContributing Editor\nJOHN A. HOBSON\nANATOLE FRANCE\nH. L. MENCKEN\nFRIEDRICH WILHELM FOERSTER\nROBERT HERRICK\nCARL VAN DOREN\nWith THE NATION\nfor a year:\n$ 5.00\nContemporary American\nNovelists,\nby Carl Van Doren\nThe Enormous Room,\nby E. E. Cummings\n$ 5.50\nBabbitt,\nby Sinclair Lewis\nOn Life and Letters, 111,\nby Anatole France\nThe Critical Game,\nby John Macy\n$ 6,00\nUp Stream,\nby Ludwig Lewison\n\nJf Balieff's small drama On the Sudden Death of a\nHorse illustrates as he insists the Greatness of the\nRussian Soul, it is easy to understand why Sherwood\nAnderson's animadversions on the Cincinnati river\nfront reveal certain important facts about the mental\nprocesses of Americans. Admitting this, one admits\nthat The Nation's series, \"These United States,\" is\nbuilding a composite picture of America all the more\nfaithful because it distinguishes instead of generali-\nzing. While Kansas is still buzzing with William\nAllen White's accusation that his mother state is\nunsafe for poets, Nevada and Delaware and New\nJersey leap into the public view and prove by the\nheat of their protests the unwelcome truth of their\nportraits.\n\n* * *\nAdding the ideas of his \"Spirit of American\nLiterature\" to the rich tradition of Carl Van Dorens\nliterary editorship of The Nation, John Macy is\nmaking the book department illustrate the theme of his\nlatest volume that talk about literature is of no value\nunless in itself it is enjoyable. It is possible to be\nentertaining even about statistical works, and this when\nnecessary The Nation's reviews achieve.\n* * *\n\nThe above reasons for reading The Nation\nare of minor importance, compared to your certainty\nthat you will find information which is not accessible\nelsewhere; and that events in Europe are pretty apt\nto turn out as The Nation prophesies them. At\nthe left are mentioned a few attractive ways to see\nThe Nation regularly.\n\nTHE NATION\n20 VESEY STREET NEW YORK\nI enclose $ —\nSend The Nation for a year and\nName\nAddress\n15 cent a copy. Annual subscription $5 00 B-1 2"}, {"page_pdf": 78, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.78", "texte": "\"LIGHT AND LEADING\" IN\nTHE WORLD OF LETTERS\nTHE NORTH AMERICAN REVIEW, which for more than a hundred years\nhas maintained unchallenged primacy among the literary periodicals of America, announces\nthe publication of a series of articles of singular timeliness and authoritative value in the\npresent period of disputation and transition in the world of letters. The writer is Professor\nJohn Erskine, who occupies the Chair of Literature at Columbia University and who is himself\nan author, editor and critic of distinction. Under the general heading of The Literary-\nDiscipline he is discussing the pertinent topics of\nDecency in Literature,\nOriginality in Literature,\nThe Cult of the Natural,\nThe Cult of the Contemporary,\nThe Characters Proper for Literature.\nIn these five comprehensive articles he states, in terms of the art of letters itself,\ncertain aesthetic principles of the highest importance, which for the moment seem to be forgotten,\nand to the overlooking of which is due the major part of the unsatisfactory conditions now\nprevailing in American literature. The first of these articles, on Decency in Literature,\nappears in the November number of THE NORTH AMERICAN REVIEW, and the\nothers will appear consecutively in the succeeding four numbers.\nThis series, which will be recognized as one of the most significant publications in\nliterary criticism for many years, will be not so much as a tithe of the valuable contents of\nthis magazine. Other articles in the current number or scheduled for its near successors\nare by Robert Bridges, Poet Laureate of England, on Free Verse; by John Cotton Dana,\nthe eminent librarian, on the effects of recent social and economic changes upon reading,\nand conversely the effect of reading upon such changes; by Montrose J. Moses, author\nand critic, on paternalism in children's literature; by Joel Blau, one of the foremost rabbis and\nHebrew scholars of the age, on the Second Coming of Israel; by William D. Riter,\nAssistant Attorney-General of the United States, on the contrast between earlier and later\nConstitutional conceptions of the relation between States and Nation; by B. Seebohm Rowntree,\nthe British industrialist and publicist, on the future of British industry; by Alice Lothian\non the literary art of Walter de la Mare.\nPoetry, always an important feature, will be represented by contributions from Anne\nGoodwin Winslow, Margaret Widdemer, Constance Lindsay Skinner, Leonora Speyer,\nJohn R. C. Peyton, William A. Drake, Joseph Auslander, and others.\nA frequent feature will be a critique of some outstanding Book of the Month, from\nthe brilliant and incisive pen of Lawrence Gilman; Professor Willis Fletcher Johnson,\nhistorian and international publicist, will write each month on the Affairs of the World;\nand there will be a multitude of reviews, extended or brief, of significant new books.\nAny reader of BROOM can secure this extraordinary series of articles by Professor\nErskine, each accompanied by more than a dozen others of comparable worth, and two ad-\nditional numbers of this REVIEW for good measure, by writing to THE NORTH AMERICAN\nREVIEW, mentioning BROOM, and enclosing $ 2.00 (or $ 2.48 from a foreign country).\nHe will in return receive seven succesive numbers of THE NORTH AMERICAN RE-\nVIEW, beginning with that for November containing the first article on Decency in Lite-\nrature. Seven numbers for the usual price of six.\nAddress — promptly, in order to take advantage of this special offer and to make\nsure of securing the November number before the edition is exhausted —\nTHE NORTH AMERICAN REVIEW,\n9 East 37 th Street NEW YORK"}, {"page_pdf": 79, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.79", "texte": "If Tou Uroom\nYou Will £i\\e\nTHE DIAL\n—a journal whose sole purpose is to bring the work of the artists\nwho count to the people who care.\nThe significance of The Dial in contemporary literature is due\nto its established policy of including the best procurable work of\nAmericans and Europeans, both famous and unknown, without\nregard to the novelty or conventionality of the form in which\ntheir work is presented.\nThe Dial is, therefore, able to offer its readers a review in\nwhich new and traditional modes of expression are published\nside by side, so that the reader may have the unusual pleasure of\nexercising his own judgment, with the assurance that he has in\nhand the best of both schools.\nIn addition, The Dial offers a critical compte rendu of art and\nletters throughout the world.\nThe Dial was the first old established magazine in America to\nadjust its policy and point of view to include the newer tendencies\nin art and letters. Since The Dial's change of policy, less than\nthree years ago, two other well-known, old established magazines,\nhave modified their traditional point of view in the direction first\ntaken by The Dial. A number of new magazines representative\nof modern tendencies in art and letters, of which Broom is one,\nhave sprung up in both Europe and America within recent months.\nIf you like Broom, you will like The Dial. Each supplements\nthe other, and yet each has its own distinctive flavor. It is im-\npossible for any one magazine to offer all of the best work of the\nworld's finest artists. Broom and The Dial together, however,\nyou like one, you will surely like\nYou may enter my name for a year's\nsubscription to Broom and The Dial\nat the special combination rate of $7.50\nName\nAddress\nI I I enclose $7.50. EH I will remit\n$7.50 on receipt of your bill.\nTHE DIAL\n152 West 13th Street, New York City\nB-11-22\nB-11-22\nvery nearly cover the field. If\n•? the other.\nr\nSpecial Offer\nBROOM\nand\nTHE DIAL\neach alone for one year $5.00\nBOTH TOGETHER\n$7.50"}, {"page_pdf": 80, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.80", "texte": "for the p?ayiorisAts of tomorrow\n& professional course in\nPLAY\nWRITING\nunder the personal supervision of Theo-\ndore Ballou Hinckley, of THE\nDRAMA (formerly of the University of\nChicago) assisted by famous playwrights,\ncritics, actors and producers.\nOFFERED now to a limited number of ambitious\npeople, this personal correspondence \"course in play-\nwriting affords an unusual opportunity hitherto una-\nvailable. It covers a year of closely supervised instruction\nin the technique of play-writing. It is individualized in a\nmanner that makes it unique, thorough and practical.\nThroughout, the aim is toward actual production — not\nmere amateurish effort. The course brings all that is best\nfrom many sources. In study courses, books, examinations,\npractice plays, analyzations, criticisms, etc., you are taken\nstep by step, from the simplest rudiments up to actual\ncompletion of plays, and then on to the consideration\nof producers.\nGood Plays Earn Big Royalties\nThe building of a successful play lies in the intelligent\ndirection of study —in the guidance of a master-critic.\nMr. Hinckley has devoted his life to the study of the drama.\nHe has guided many successful playwrights. He knows\nwhat to stress, what to avoid. He will train you to sense\nthe changing demands of the public. Manuscripts with\nthe endorsement of THE DRAMA receive the attention\nof producers.\nAs this is a highly personalized course, Mr. Hinckley,\nin order to individualize each course by correspondence,\nis forced to limit the enrollment to the most promising\npeople. Please do not confuse this with any correspon-\ndence course ever offered before —it is entirely different.\nLimited Enrollment\nThe coupon brings complete information. Fill it out\nand mail it. You'll be surprised and pleased at the details\nand at the low cost of enrollment. To insure your place\nin the class, you should familiarize yourself with this great\nopportunity before the class readies its limit of enrollment.\nMail the coupon now to the Department of Instruction,\nThe Drama Corporation, 500 Athenaeum Building, Chicago.\nComplete Information Sent to You\nIf You Mail the Coupon Now\nDepartment of Instruction,\nTHE DRAMA CORPORATION,\n548 Athenaeum Bldg., Chicago.\nPlease send information regarding your personalized course\nin play-writing.\nName\nStreet\nCity\nState\n\nI ARE YOU A 1\n| BOOKFELLOW? [\ng If not, you should belong to the order g\ng of Bookfellows, an International Association g\nH of Readers and Writers. Publishers of books g\ng and brochures written by, and sold to members g\ng only. First editions of James Branch Cabell, g\ng Hamlin Garland and oJthers, not on sale in g\ng bookstores. We also publish the Step Ladder,\ng a monthly journal of bookly ascent, free g\n| to members. Referring to Stuart P. Sherman's jj\nM note on Carl Sandburg (in September issue)\nj the Chicago News says,\"We easily recommend |f\nM The Step Ladder in place of The New\nJ Republic\". One dollar per annum, circulars g\nM on request. g\n| Flora Warren Seymour, |\n1 Clerk, 4917 Blackstone Avenue, 1\nM Chicago, Illinios, U. S. A. g\n\n0600600600600600600600600600600600600600^\nI DANIEL GALLERY\nPAINTINGS BY MODERN\nAmerican and French Artists\n8\n2 WEST 47th STREET\n8 NEW YORK CITY\n8\n000600600600600600)0060060060060060060010060060"}, {"page_pdf": 81, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.81", "texte": "I I\nMil II\nm\nC, Qa£cLeman~Jufius\nEditor LIFE AND LETTERS\n\"I Will 'Fordize' the Magazine\nField Too!\" — C, feaPcteman-Jutius\nThat Was the Assertion of the Editor of\nThe Pocket Series of 239 Classics—And He Did It\nBY GEORGE C. NAGEL.\n\"I want to edit a magazine that will be better than the so-called' Quality\nGroup,' but which zcjill NOT cost $5.00 per year. My idea is to print\nthe finest literary material and charge only twenty-five cents per year—\ntwo cents per issue. I know the idea is sound; so lam going right\nahead with the work, positive you will endorse the plan and subscribe.''''\nLIFE AND LETTERS tackles one\nsubject at a time. Below are lisled\nsome of the historical characters\nMr. Haldeman-Julius' editorial depart-\nment will handle, each in a separate\nissue. Look over the program below\nand see if there are not some charac-\nters with whom you would like to get\nbetter acquainted. There are also many\nothers who will get consideration.\nDon't you want to know\nmore about these Master Minds?\nMr. Halderran-Julius has succeeded, purpose the acquainting of its readers\nand LIFE AND LETTERS takes its with the great masters and their works.\nplace among the magazines of today fjrst number was devoted to\ndevoted to giving the public the very Henry David Thoreau, the great New\nbest in English literature at the unthink- England individualist. Sir Richard Francis\nable subscription price of 25 cents a Burton, the British explorer, Orientalist,\nyear. It now has 100,000 subscribers. soldier, writer dominated the second issue,\nLIFE AND LETTERS is a monthly and Plato the third.\nmagazine devoted to the best in literature. jjpE AND LETTERS is not filled\nNothing but the best appears in it. It w;th mere printed pages. Neither is it\npreaches no isms. It has no pet theories. stuffed with dry-as-dust theories or half-\nIt has no hidden policies. Mr. Halde- baked ideas. The biographical sketches\nman-Julius maintains the American jn up£ AND LETTERS are correlated\npeople know what they want. He con- w£th the character's deeds and works.\ntends they want the best kind of reading Don't miss LIFE AND LETTERS.\nmatter. But they cannot and will not c , ~ 1 • .1\n. . 3 , . . 1 A/i Subscribe NOW and receive the cur-\npay several times what it is worth. Most t . .\nrent issue'\npurses will not permit that. LIFE AND LETTERS contains six-\nEducation will increase in direct pro- teen pages, each half the size of your\nportion to the decrease in the expense Sunday newspaper. It is printed on a fine\nof attaining it. Good reading is one of grade of book paper, and is profusely\nthe greatest elements in education and illustrated with portraits and pictures,\nculture. University education has the fsj0 pains are saved in making LIFE\nworks of the masters as its basis, and LETTERS a magazine any one\nthe individual who consistently reads the should be proud to have on the library\nworks of the masters gets the same table. Its being there is a sign of literary\nsatisfaction. taste and appreciation of the better\nLIFE AND LETTERS has as its things in literature.\nTwelve issues for 25 cents\nMr. Haldeman-Julius' ambition to \"Fordize\" the magazine field, coupled with\na 100 per cent automatic printing plant and presses that can print 25,000 maga-\nzines an hour, permits LIFE AND LETTERS to be sold at 25 cents a year.\nAnd still Mr Haldeman-Julius can maintain around him an able editorial staff to\nmake LIFE AND LETTERS distinctly a magazine of culture.\nSubscribe now. Don't miss an issue\nLIFE AND LETTERS is not sold on Newsstands. It comes every month\ndirect to your door.\nFor one dollar bill you can subscribe yourself and have three of your friends\nreceive LIFE AND LETTERS and enjoy the pleasures of good reading for twelve\nmonths.\nThis coupon in an envelope with 25 cents in coin or stamps will bring you\nLIFE AND LETTERS for a whole year.\nLife and Letters, Girard, Kansas\nmilium iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii\n| Subscribe for LIFE AND LETTERS—Use this coupon.\n| E. Haldeman-Julius, Dept. T—4s\n| Girard, Kansas.\nSend me your magazine LIFE AND LETTERS for one year for which\n| I enclose 25 cents.\nE Name\nI Street\n| City State\nIn Canada and other foreign countries the subscription price is 50c.\niiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii\nir="}, {"page_pdf": 82, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.82", "texte": "why not read them now? why not read them now? why not read them now? why not read them now?\n£\no\na\naj\nu\n-M\no\na\n£\no\nG\nas\nw\no\nG\n£\nO\nG\n<y\n•M\no\nG\n£\nO\nG\n<y\n•M\no\nG\n£\no\nG\n<V\nu\no\nG\n£\no\nG\nC 3\nU\nO\nG\nOe Ofolest andTCeioest Clrt o/Ctmer/ca\nIn the January 7broom\nMaya Sculpture and\nArchitecture\nContemporary American\nProse and Poetry\nThe Art of the Mayas was the earliest American Art. Conceived some ten centuries ago, it remains\nthe magnificent expression of one of the noblest races which inhabited America. Since then, many races,\nmany cultures have come and gone. All but the topography of North America has been altered. But\nthe new races which populate the transformed continent are also creating a new art which mirrors as faiths\nfully the astonishing environment they have made for themselves. Why not read them now?\nBROOM from old Europe will present in the JANUARY number an array of AMERICAN\nwritings such as no magazine in America has yet ventured. Why not read them now?\nPRIZE CONTEST\n•Si\nWhich\nprominent\nAmerican\ndoes this\nportrait-statue\nrepresent.\nPRIZES\nfor\nbest answers!\nV\n\"SPs\n1st. PRIZE\nSubscription to\nBROOM\nfor Life.\n2nd. PRIZE\nOne year's\nsubscription to\nBRO 0 M\n3rd. PRIZE\nOne years\nsubscription to\nBROOM.\nBROOM has never lacked faith in the Artistic future of America. Here are new writers, some\nknown, most unknown, whose work is as varied, as fertile, as powerfully muscled as anything being written\nin England France or Germany. Here is Comparative Literature. Here are writers who will be studied\nin Courses in Comparative Literature twenty years hence. Why not read them now?\nKAy BOyLE MARIANNE MOORE\nROBERT SANBORN MALCOLM COWLEy\nMARGARET EVANS JEAN TOOMER\nWILLIAM CARLOS WILLIAMS\nKENNETH BURKE\nGERTRUDE STEIN\nCHARLES GALWEy\nand others who are not to be had in book form, not to be found on library shelves. In them is the\nclamor of a young culture. The JANUARy number of BROOM is a challenge to Americans to\nrecognize a national art as profoundly American as\nBASEBALL THE CINEMA\nTHE JAZZ BAND AND THE DIZZY SKYSCRAPER\nwhile fundamentally in harmony with the Art of the ancient Mayas. The best way to be sure of reading\nthem now is to\nSUBSCRIBE AT ONCE Five Dollars ($ 5) to BROOM\n3 East Ninth Street, New York.\n3\nO\n3\n3\nQ\no*\n3\nO\n3\n3\nO\nrt-\nn\nso\n3\no\n3\n3\nO\nrt\nn\nn\n3\nO\n*\n3\nO\no\nCO\n(X.\n3\nO\n3\n3\nO\nrt\nn\nn\nv\n3\nO\n3\navou uiaij; puaj jou Aijav uiaijj paej jou Aijav uuaijj peaj jou Aijas. uiaijj jou Aijav"}, {"page_pdf": 83, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.83", "texte": "Gifts for All\nin great variety and style—'to suit every\nage and taste and purse —for your friends,\nyour family, your children, or other children. Books make particularly\nacceptable and lasting gifts.\n0\nN\ni\nu\nTH\nFOR MOTHER\nBooks, Leather Goods, Portfc\nEngagement Pads, Brass ]\nSets, Imported and Dom\nStationery, Silver and Gold\ncils, Miniature Bibles.\nFOR CHILDREI\nBooks: Myths, Legends, F\nTales, History, Animal Stc\nNursery Rhymes, Picture B(\nGames, Blocks, Toys.\nEX LIBRIS\nPicturesque Spain, by\nProfuse illustrations of\nlittle known spots of natur\nwonder.\nArchitecture and Appl\nSpain, by Augusl\nA study of the beauti*\nture, showing by more than\ntions the fulness of an art wh\nboyant fancy of the Moor w\nness of the Goth.\nto\n0\nI\n3\n%\n%\nFATHER\n[ars, Diaries, Foun-\ndress Books, Brass\nBrass Paper Weights,\n> Books, Reference\n:sk Sets.\nFRIENDS\nCards, Book Ends,\nand Single Volumes\nSubscriptions to\nagazines.\nSHAKESPEARE AND COMPANY\nPARIS\nazine published in\nand fantastic beau-\ntranslation.\n$ 15.00 the year.\nof the Italian\na Schottmuller.\nstrations, the assem-\nr of Italian domestic\nAn essential book\n$ 10.00\nDegeneration in the Great French Masters, by Jean Carrere.\nA criticism of the tendencies in French literature from Rousseau, with much new light and personal\nanecdotes about Zola, Verlaine, Chateaubriand, and others. $ 4.00\nThe French Revolution: A Historical Sketch, by Walter Geer.\nThe first book in English for forty years on the great Revolution. Geer deals with men. His\nhistory has the swiftness of an outline with the intimacy of a biography, and is always soundly grounded,\nA comprehensive and authentic book. $ 5.00\nItalian Romance Writers, by Joseph Spencer Kennard.\nA discussion of the art and work of the great Italian romancers of the present and past generations.\nDr. Kennard is equally facile in Italian and English. His novels have sold second only to those of\nD'Annunzio in Italy. A necessary book for quid understanding of Italian literature. $ 2.50\nBRENTANO'S\nNEW YORK\nParis Washington London\nTHE\nm"}, {"page_pdf": 84, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaap192212-01.1.84", "texte": "Printed by Richard Labisch & Co., Graphische Kunsianstalt G.m. b. H., Berlin 027 (Germany)"}]}