{"numero_id": "bm-bmtnaat-1913-12-01", "volume": "bmtnaat_1913-12_01", "ocr_sha256": "8d5155c74dfba3425292026a4d6c293c18d6b93a204ebc791eda4779e87a28eb", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaat/issues/1913/12_01/bmtnaat_1913-12_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaat/issues/1913/12_01/bmtnaat_1913-12_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01", "articles": [{"article_id": "bm-bmtnaat-1913-12-01-c001", "article_bluemountain": "bmtnaat_1913-12_01#c001", "volume": "bmtnaat_1913-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "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=bmtnaat191312-01.2.1", "titre_corps": "The Azure Adder", "titre_sommaire": "The Azure Adder", "signature_source": "Charles Demuth", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.1", "debut_caractere": 0, "fin_caractere_exclue": 33, "texte": "The Azure Adder\nBy Charles Demuth"}]}, {"article_id": "bm-bmtnaat-1913-12-01-c002", "article_bluemountain": "bmtnaat_1913-12_01#c002", "volume": "bmtnaat_1913-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "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=bmtnaat191312-01.2.2", "titre_corps": "THE only editorial policy of THE GLEBE is", "titre_sommaire": "THE only editorial policy of THE GLEBE is", "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": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 1098, "texte": "THE only editorial policy of THE GLEBE is\nthat embodied in its declaration of absolute\nfreedom of expression, which makes for a range\nbroad enough to include every temperament from\nthe most radical to the most conservative, the only\nrequisite being that the work should have unmistakable\nmerit. Each issue will be devoted exclusively\nto one individual, thereby giving him an opportunity\nto present his work in sufficient bulk to\nmake it possible for the reader to obtain a much\nmore comprehensive grasp of his personality than is\nafforded him in the restricted space allotted by the\nother magazines. Published monthly, or more frequently\nif possible, THE GLEBE will issue twelve\nto twenty books per year, chosen on their merits\nalone, since the subscription list does away with the\nneed of catering* to the popular demand that confronts\nevery publisher. Thus, THE GLEBE can\npromise the best work of American and foreign\nauthors, known and unknown.\nThe price of each issue of THE GLEBE will vary\nwith the cost of publication, but the yearly subscription,\nincluding special numbers, is three dollars."}]}, {"article_id": "bm-bmtnaat-1913-12-01-c003", "article_bluemountain": "bmtnaat_1913-12_01#c003", "volume": "bmtnaat_1913-12_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": 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=bmtnaat191312-01.2.3", "titre_corps": "The Azure Adder", "titre_sommaire": "The Azure Adder", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 15, "texte": "The Azure Adder"}]}, {"article_id": "bm-bmtnaat-1913-12-01-c004", "article_bluemountain": "bmtnaat_1913-12_01#c004", "volume": "bmtnaat_1913-12_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": 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=bmtnaat191312-01.2.4", "titre_corps": "To R. E. L.", "titre_sommaire": "To R. E. L.", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 11, "texte": "To R. E. L."}]}, {"article_id": "bm-bmtnaat-1913-12-01-c005", "article_bluemountain": "bmtnaat_1913-12_01#c005", "volume": "bmtnaat_1913-12_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=bmtnaat191312-01.2.5", "titre_corps": "The Azure Adder", "titre_sommaire": "The Azure Adder", "signature_source": "Charles Demuth", "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=bmtnaat191312-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 33, "texte": "The Azure Adder\nBy\nCharles Demuth"}]}, {"article_id": "bm-bmtnaat-1913-12-01-c006", "article_bluemountain": "bmtnaat_1913-12_01#c006", "volume": "bmtnaat_1913-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "31", "image_debut": 7, "image_fin": 33, "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=bmtnaat191312-01.2.6", "titre_corps": "THE AZURE ADDER", "titre_sommaire": "THE AZURE ADDER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 947, "texte": "THE AZURE ADDER\nSCENE. Studio of Vivian. Simplicity run riot\nis the keynote: white against white; white walls\nand little furniture. The furniture is painted gray,\nVivian's gray—really white.\nTIME. The ultra-present.\n(The curtain rises. For a minute or two the\nstage is empty. Then enter Vivian, through the\ndoor at the back of the stage, the only door in the\nscene. He wears the dress of the ancient Greeks\nand is evidently just coming from the bath, as\nshown by his damp hair. In one hand he carries\na few narcissi, while with the other he tries to\narrange the folds of drapery, which seem to hinder\nhis movements. He arranges one or two flowers\nin a jar, before the \"Nike de Samothrace,\" whis-\npering: \"Yes, narcissi, truly like Grecian things.\"\nHe drops the rest of the flowers upon the floor,\nremoves the robe and starts to comb his hair before\na small mirror. This mirror is set in the back of\na large framed photograph of the \"Venus de Milo\""}, {"page_pdf": 8, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.8", "debut_caractere": 17, "fin_caractere_exclue": 1108, "texte": "that hangs near the door. Vivian turns the Venus\nphotograph to the wall and we see the small piece\nof looking-glass. He finally rouges his lips as a\nfinishing touch to his toilet. Putting on a coat but\nretaining the sandals, he moves towards the door;\non the way he picks up a which he puts on\ncarefully. As he nears the door a knock is heard\nand the door is opened. Vivian takes on the look\nof being in the higher heights of thought. Tzvo\ngirls are discovered in the door-zvay. One, Yvonne,\nsays: \"Bon jour.\" The second, Alice: \"Hello.\"\nBoth enter. Vivian passes them in the door-zvay\nwithout speaking and softly closes the door.)\nVIVIAN {outside). I'm going out. {And\nmore softly.) Wait, wait.\n{The girls remove their hats. Yvonne sinks on\nthe floor, in front of the couch.)\nYVONNE. Oh, I'm so tired. I painted for two\nhours yesterday.\nALICE {sitting on the couch). How you work\n—and you would have painted again to-day, if I\nhadn't stopped for you, no doubt.\nYVONNE. Well, I was thinking about it.\nALICE. Ridiculous! Do you think that Beauty\ncan be contemplated constantly? One either be-"}, {"page_pdf": 9, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.9", "debut_caractere": 17, "fin_caractere_exclue": 1006, "texte": "comes blind or mad—you painted for two hours\nyesterday—ridiculous!\nYVONNE. I've seen nothing of yours of late.\nDon't you work; don't you paint, I mean?\nALICE. I'm waiting, waiting. For days,\nmonths really, I have felt as though—how shall I\nput it—as though the scales were about to fall\nfrom my eyes; at moments like these, as you know,\nwhen I really see the thing, I paint. Between times,\nI wait, I wait.\nYVONNE. Couldn't you work and wait, too?\nALICE. NO, I must save all my energy for\nthese supreme moments, when I see Beauty in its\nessence.\nYVONNE. Then you really work less than I\nthought.\nALICE (in an awed voice). Yvonne, how can\nyou! I work constantly. The air is my canvas,\nmy nerves are the brushes. I work? God, how I\ndo work! To contemplate, to wait, to dream, is\nnot this work?\nYVONNE. I suppose so—but—\nALICE. Oh, I know—you all think, except\nGeorge, that I do nothing. Well, rather that, if it\nwere true, than what one generally sees on canvas,\nevery year, at the Academies."}, {"page_pdf": 10, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.10", "debut_caractere": 17, "fin_caractere_exclue": 933, "texte": "YVONNE. YOU think then that it is better not\nto paint at all and wait as you say—than to do an\ninferior thing?\nALICE. Undoubtedly.\nYVONNE. This waiting—what effect will it\nhave—what will it do for you or for Art?\nALICE. I wait. \"To feel is better than to\nknow.\"\nYVONNE. If one really feels, perhaps, but to\nwait and wait and wait, you know what the end\nwill be ?\nALICE. I hope to become like Beauty, myself\n—a living creation, a work of art—even though I\ndo nothing ever in paint.\nYVONNE. Yes, that is the end—not really,\nhowever, because to change Life directly to Art\nmeans— (The sentence is not finished, a knock\nbeing heard at the door.)\nALICE. Here's Maud; she said that she would\nmeet me here and bring George. ( goes and\nopens the door. Enter George zuith Maud, sister\nof Alice.)\nGEORGE. Hello. I've just received a wire from\nUncle Billy; he's coming to talk over the magazine\nwith us.\nALICE. Will he back it?"}, {"page_pdf": 11, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.11", "debut_caractere": 17, "fin_caractere_exclue": 1188, "texte": "GEORGE ( looking at Maud). He will if I can\nbe with him and talk to him for a day or two, I\nthink. (They exchange meaning glances.)\nYVONNE. A magazine—you're starting one?\nALICE. Yes, I forgot to tell you about it.\nSomething like the \"Yellow Book.\" It will be\ncovered in gray, though, printed on hand-made\npaper with especially designed type—four numbers\na year. Have you thought of a name, as yet, for\nour child, the magazine, George?\nGEORGE. Yes, it will be called the \"Azure\nAdder.\" Gray and blue will be the colors of the\ncover. Blue the color of the Soul and gray the\ncoloring of the Eternal Background!\nMAUD. Wonderful—wonderful!\nGEORGE. It will be, I hope. ( then ad-\ndresses the three girlst who are now sitting on the\ncouch.) Intense, too, I want it to be. The first\nlook at its covers must create a mood for what one\nis to find indoors. The same as a perfect house\naffects one; the stones and vines of which, on the\noutside, tell of the truffles which are to be served by\nthe mad butler at dinner, inside. (To himself: I\nmust remember that last; it's away above their\nheads, of course—it's one of my best.) Blue and\ngray—the two unfinished colors, when arranged"}, {"page_pdf": 12, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.12", "debut_caractere": 17, "fin_caractere_exclue": 1344, "texte": "as my design, will call up the proper mood: a mood\nintense but languid, caring nothing for results. I\nhope to make this, this caring nothing for results,\nthe aim of our child, the \"Azure Adder.\" To teach\nthe public, our public even, to be satisfied with the\nunfinished, the artistically unfinished; the thing\nwhich has no definite start or finish, but which is\nbeautiful, beautiful, beautiful even in the shadow\nof its bud; a bud which can never open because—\nbecause—a worm is its heart! ( changes\nher position on the couch.) The size, too, of the\nbook will help in creating the mood—seven by\nthirteen—and the paper on which it is printed, also,\nwill help. A paper made in Japan, under water,\nwhich lasts only three years. It then falls apart,\ninsuring our child only a future, no past, nor any\npermanency, except perhaps in the minds of its\nreaders, perhaps, perhaps. The \"Azure Adder\"\nwill have double pages like the books of the Japa-\nnese, printed on one side, so that the mere reading\nof it will be made difficult for the uninitiated—\npeople whom it is not meant for anyway. The\nfirst number must strike the note—the ultra-future\nnote—so I will give to our public my dance-poem,\n\"The Candle and the Black Water Lily.\" A poem\nhave I told you, which I hope to have danced some-\ntime. It must be danced by one person while a"}, {"page_pdf": 13, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.13", "debut_caractere": 17, "fin_caractere_exclue": 1193, "texte": "chorus of men and boys chant the words, in place\nof music for the dancer. How it will appeal, simply\nalone, in the book, I don't know, without its\nproper atmosphere. It almost required a new lan-\nguage, I felt, when I wrote it. Still, it must be the\nfirst of our first number—ultra-modern and a new\nart—think, a new art! And the illustrations, what\na chance you will be, \"Azure Adder,\" for the artist\nillustrator! A sweep of a brush, a tone, a dot is\nenough for our purpose; when Beauty is sitting by\nthe side of the reader. Yes, I see a revolution in\nbook illustration, a glorious one, an upheaval, one\nnever-to-be-forgotten revolution, which, looked back\nupon from the far distant future, will have at its\nbase, forgotten or remembered, who cares, the\n\"Azure Adder\"!\nMAUD and ALICE. Ah!\n(Yvonne rises, walks towards the large win-\ndow at the hack, a sky-light really, opens it and\nleans out during the following.)\nALICE. If we can only get it started—we know\nvery little about such work.\nMAUD. That makes no difference. We all\npaint and all great art is one in its complete state.\nWe can surely run a magazine. If only Uncle,\nGeorge's Uncle Billy, will start it financially!"}, {"page_pdf": 14, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.14", "debut_caractere": 17, "fin_caractere_exclue": 1085, "texte": "GEORGE. Oh, he will, I'm sure. (Smiles.)\nALICE. Whose stuff will we print in it besides\nour own? If we could only get something from\nsome of the great living ones! Bujt we can't hope\nfor more than one or two things from them, at\nmost, perhaps nothing, unless we prove a great\nsuccess.\nGEORGE. You doubt our success? You lack\negotism, my dear. I have already a poem, by one\nof our greatest living English poets. It's written\nin Italian.\nMAUD. Of course it's beautiful.\nGEORGE. Of course, everything of his is.\nALICE. Strange that he should send you a\npoem written in Italian. It's beautiful, you say—\nI didn't know that you read Italian?\nGEORGE. I don't—Palidino read it to me. I\nasked him what it meant, what it was about. He\nsaid that he did not understand its meaning—but\nthe sound of it, as he was reading it, was magnifi-\ncent. It is a masterpiece! Its meaning is clear to\nme—Palidino understands nothing which is really\nfine. The poem tells by its sound that the poet\nwrites of love, the love which is perfected by\ndeath.\nMAUD (toherself). \"The Triumph of Death.\""}, {"page_pdf": 15, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.15", "debut_caractere": 17, "fin_caractere_exclue": 1014, "texte": "ALICE (softly). George, you are wonderful; it\nis fine to feel as finely as you do—I mean it, really\nI do, George.\nGEORGE. YOU are beautiful. (Pause.)\nMAUD. Still, it seems that we ought to have\nmore people to write for us. I can think of only\na few, one or two, who do good stuff, really fine\nthings—impressions.\nGEORGE. Oh, that will be all right. We have\nenough material for our first number. The de-\nmand will create the material. We will get plenty\nof stuff sent in from unknowns, I think, for our\nfuture numbers.\nMAUDE. If not, we can all write things for it.\nI know that we all do write on the quiet while pos-\ning as painters! Don't you write, Yvonne?\nYVONNE (from window). No, I only paint.\nMAUD (with a sneer). But—oh, well—you do\nread Kipling and Whitman; that's the reason you\ndon't write, I suppose.\n(No answer from Yvonne.)\nALICE (angrily). Maud!\nMAUDE. Yes, that is what I mean. Art is not\nthe glorification of the beef-steak! \"Good red\nblood\" is what you hear their admirers talking"}, {"page_pdf": 16, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.16", "debut_caractere": 17, "fin_caractere_exclue": 1220, "texte": "about principally. \"Healthy\" is another one of their\npet words, also \"men and women.\" They are all\nmeat—they forget the swaying sea-weed, the waxen\nasphodel, the rose which is sick.\nGEORGE. Yes, you are right. If they had their\nway, nothing would remain but the normal. And\nas normal beings act usually in a commonplace and\nunchanging manner, birth, love, death, literature,\nwould finally lose all material for existence and\nboth schools would either cease or write literature\nabout literature. A fine end this would be for their\ngood, red blood. No fear, though; there are always\nplenty on the other side, like us, to make the scales\nbalance, perhaps even tip our way. Meat, the\nglorified beef-steak, as you call it, Maud, has had\nits day. It has made a good fight throughout the\ncenturies, but it is going, going—and to us—whom\nit called abnormal, sick, degenerate, will soon re-\nmain the field—yes, through what it called our\nweakness we shall conquer!\n(Maud leans forward. Alice looks hurt. Maud\nis about to speak when a knock is heard at the door.)\nMAUD. I'll go. (Goes and opens the door.)\nCamele! (She embraces and kisses Camele in the\ndoor-way.) Camele!\n( They come down to Alice and George. Ca-"}, {"page_pdf": 17, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.17", "debut_caractere": 17, "fin_caractere_exclue": 949, "texte": "mele is carrying canvases, painting materials, a ki-\nrn ona and a suit case.)\nALICE and GEORGE. Hello!\nGEORGE. Let me take some of your things.\n(Takes her suit case.) Lord, how heavy!\nCAMELE (sinking upon the couch.) Heavy—I\nhave everything in it that I own. I couldn't stand\nit any longer—last night it reached a climax—it's\nall over, my married life—all over, girls! I've left\nJack! Last night he struck me! (Sobs.)\nMAUD (to George). The glorified beef-steak\nvariety—how common!\nGEORGE. Common, perhaps. (To himself:\nOne can strike a woman for lots of reasons.)\n(Yvonne comes from the windozv.)\nALICE. Poor Camele—lie down. Let me take\noff your hat.\nYVONNE. What can we give her? Let us\nmake some tea.\nMAUD. Yes, do. You and Alice make tea.\nI'll sit with her a while.\n(George, Alice and Yvonne busy themselves\nmaking tea at the extreme right, leaving Camele\nand Maud at the extreme left, on the couch. No\none speaks for a moment.)"}, {"page_pdf": 18, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.18", "debut_caractere": 17, "fin_caractere_exclue": 763, "texte": "MAUDE (sitting at Camele's head strokes her\nhair). Poor girl.\nCAMELE. Maud ?\nMAUD, Yes, dear.\nCAMELE. YOU were right; Jack is a brute.\nMAUD. All men are.\nCAMELE. SO you have often said, but I thought\nthat he was different\nMAUD. Brutes, beasts.\nCAMELE. But we were so happy at first-—the\nfirst months—\nMAUD. Really happy ?\nCAMELE. Yes, I was happy. I painted and\nJack was with me between times—yes, I was happy\nand calm.\nMAUD. YOU only thought so; I knew that it\ncouldn't last. I know you too well.\nCAMELE. Yes, you were right, I suppose.\nMAUD. And what now?\nCAMELE. I don't know—I broke with the fam-\nily when I married him, as you know-—now, I don't\nknow.\nGEORGE (from the tea table, to Alice and\nYvonne). I'll go for some lemons. (He goes\nout.)"}, {"page_pdf": 19, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.19", "debut_caractere": 17, "fin_caractere_exclue": 895, "texte": "MAUD. What a mistake to have married, Ca-\nmele!\nCAMELE. NO, it was not a mistake. I'm not\nsorry even now. (Sits up.)\nMAUD. Camele, Camele!\nCAMELE. Well, it's the truth, I'm not.\nMAUD. But what will you do—where will you\nlive?\nCAMELE. I don't know yet.\nMAUD (after a pause, in a pleading voice).\nCome with us for a while.\nCAMELE. Maud, all right—to-night—just to-\nnight until I have time to think.\nMAUD. As long as you like—Alice is used to\nme protecting widows and children. (She puts her\narm around Camele.)\nCAMELE. Just for a day or two; I'll hunt for\na position to-morrow.\nMAUD. You had much better write to your\nfamily. They'll forgive you when they know that\nyou have left the brute. To think of him striking\nyou! Where did he strike you?\nCAMELE. Strike me? What do you mean—\nwhere did he strike me?\nMAUD. Why, you said when you came in that\nJack had struck you last night."}, {"page_pdf": 20, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.20", "debut_caractere": 17, "fin_caractere_exclue": 1119, "texte": "CAMELE. HOW common of you, Maud—I\nthought that you would understand. I didn't know\nthat any of you took things literally—you didn't\nused to, when I knew you before my marriage, and\nI knew you all very well.\nMAUD. Very well, indeed—so he didn't strike\nyou?\nCAMELE. Yes, he did.\nMAUD. Eh ?\nCAMELE. Yes and no. You see, Jack had\nbeen away for a week. I had been painting rather\nhard and was very interested in an arrangement of\nblacks I was trying to get. Subtle—blacks against\nblacks. It was coming along well; I liked it in\nparts very much. It was finished almost, yester-\nday, before he came home. Then, last night, he\nreturned. I was tired, but decided to show him the\ncanvas, as he asked what I had been doing. We\nwent up to the studio. \"Stand there,\" I said, and\nturned the canvas toward the light. It really looked\ngood: the tone was the best that I had ever had\nin any of my canvases. He looked at it, and lat\nhim. He seemed to understand, at last, my work,\nI thought. He had never done so before, which I\nrealized only after we were married, and which\ncame to worry me more and more. \"You do like"}, {"page_pdf": 21, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.21", "debut_caractere": 17, "fin_caractere_exclue": 903, "texte": "it?\" I asked. \"Yes,\" he said—\"it looks like a Sar-\ngent!\"\nGEORGE {returns). Here are the lemons.\nMAUD. YOU did right—come with us! To\nlive with him now would be impossible. Strike\nyou—he did more—he tried to kill you—your soul.\nHe wanted you to go—he knew what he was say-\ning and how it would affect you. How you must\nhave suffered before the final crash of last night\ncame!\nCAMELE. Yes, and no, again. I don't believe\nthat I hate him half as much now as I did last\nevening.\nMAUD. Camele, he has spoiled you completely.\nTo hear you say that, after what has happened\nbetween you, horrifies me.\nCAMELE. YOU were never married.\nMAUD. Meat! Meat!\nYVONNE. Come, have some tea. Come, Ca-\nmele.\n{Maude and Camele, arm in arm, move towards\nthe tea table, while George, followed by Alice, comes\nand sits on the couch. The others sit around the\ntable.)\nGEORGE. Why do you insist on following me?"}, {"page_pdf": 22, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.22", "debut_caractere": 17, "fin_caractere_exclue": 840, "texte": "Stay with the girls over there—hear the joys of\nmarried life.\nALICE. Joys—I am more interested in know-\ning why you did not come to see me, as you prom-\nised last night?\nI\nGEORGE. I didn't promise—l said \"probably.\"\nALICE. That's your word—but you usually\ncome. Why not last night? You knew that I\nwanted to see you very much.\nGEORGE. I had something to do. I couldn't get\naway.\nALICE. Then why not have telephoned to me.\nMaud had opera tickets given her—I missed \"Tris-\ntan,\" waiting for you.\nGEORGE. At last we have the real cause of\nyour bad humor, which is not on account of my\nnon-appearance but your missing \"Tristan und\nIsolde.\"\nALICE. YOU know, George, that that isn't\ntrue.\nGEORGE. YOU started this argument—why cry\nif you are hurt?\nALICE. Cry ?\nGEORGE. It's the same as crying—and tears,\nyou know how I hate them."}, {"page_pdf": 23, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.23", "debut_caractere": 17, "fin_caractere_exclue": 1065, "texte": "ALICE. Unless they be sprinkled on withered\nrose leaves, yes!\nGEORGE. It's always the same thing; you con-\nstantly insult my taste and brain.\nALICE. NO, not your real taste and brain—\nthey are fine and great. I only insult the veneer.\nI try to show you yourself,—this part I will save\nfor you and sometime return to its owner intact.\nGEORGE. Save?—how can you save something\nwhich you have never had?\nALICE. That is my affair.\nMAUD (from the tea table, her voice raised in an\nexciting discussion). Bernard Shaw—\nGEORGE {to himself). Bernard Shaw? (To\nAlice.) Well, save yourself the trouble, I will never\naccept that from anyone—my real self. {Nervous-\nly.) Alice, don't bother about me—I don't want\nyou to, do you understand? 4\nALICE {laughs). You dare to command me?\nWell, let us both play the same game. Tell me—\nwhy didn't you come to see me last night—what\ndid you do ?\nGEORGE. I did nothing. I wished to be alone.\nSolitude and silence produce great art, I believe.\nALICE. Not when one is our age!\nGEORGE. Alice, I don't understand you to-day."}, {"page_pdf": 24, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.24", "debut_caractere": 17, "fin_caractere_exclue": 1144, "texte": "For some time I've been thinking that you were\nchanging; losing the fine sense of appreciation\nwhich you have always had for so many things in\nlife and in art. Now, I am sure of it.\nALICE. Don't you understand? Well, as I\nsaid—solitude is for the aged.\nGEORGE. Solitude and silence, two wonderful\nwords. What they call up in my mind! Solitude\nfor the physical and silence for the mind. It is in\nthese states that Art flourishes in its greatest form.\nArt is turning back to the works of the primitive\nartists, early Italians principally. And it is here\nthat it should turn—it should turn back to Art and\nnot to Nature, which only holds it back. And we\nwho expect to figure in this new Renaissance must\nlive as our masters, cloistered, alone, removed from\nthe material, within ourselves—as Angelico or as\nFra Filippo Lippi. For from the cave of Silence\ncomes the flame of creation, and we who hope to\nreceive a spark of this flame must worship in soli-\ntude, as monks and as nuns.\nALICE {smiling). But have I not heard some-\nthing about a rope ladder in connection with Fra\nFilippo Lippi?\nGEORGE. Legends—inventions of the common"}, {"page_pdf": 25, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.25", "debut_caractere": 17, "fin_caractere_exclue": 984, "texte": "mind which sometimes are chronicled by still com-\nmoner ones—and thus accepted finally as facts.\nALICE. Truths, I should say.\nGEORGE (jumping up). lam going out!\nCAMELE (in a boisterous voice). Schopen-\nhauer, I prefer De Mau— ( voice is lost as\nAlice's is heard speaking to George.)\nALICE. Don't run away, George, I want to\ntalk with you. I think that you are beginning to\nunderstand the change in me, the new Alice, let us\nsay—and I want to make sure of it.\nGEORGE (sitting down). No, I do not under-\nstand the new Alice.\nALICE. YOU will not, would not be nearer the\ntruth, I think.\nGEORGE. NO, Ido not is exactly what I mean.\nALICE. I will try again to show you then,\nGeorge. ( She moves closer to him. George starts\nto move away from her but changes his mind evi-\ndently and sits still.)\nGEORGE. I'm ready for the revelation, Alice.\nMake it as long as you like. It will probably be\nour last real talk together.\nALICE. Why ?\nGEORGE. Because—because we have nothing"}, {"page_pdf": 26, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.26", "debut_caractere": 17, "fin_caractere_exclue": 906, "texte": "in common—this new Alice pose—l can't think of\nit as anything else but as a pose has or will come\nbetween us and break up our friendship.\nALICE. And in breaking up our friendship it\nwill produce something much finer.\nGEORGE. Finer? that is the finest thing in life\n—friendship.\nALICE. It is the beginning only of the finest\nthing in life.\nGEORGE. Alice, you don't mean to say—Alice!\n-—Lord!—you're not making— (She blushes and\nturns away her eyes.)\nMAUD (from the tea table). They give \"Par-\nsifal\" next week. (George tries to become com-\nposed. )\nALICE (speaking across the stage to the group).\nI know one of the \"Flower Maidens.\" I get\ncomps.\n(Alice glances at George, who has failed to\nbecome composed.)\nALICE (after a pause). George?\nGEORGE (weakly). Well?\nALICE. DO you like my pose as you call it?\nGEORGE (looking at her). Is it a pose?\nALICE (after they look intently at each other,"}, {"page_pdf": 27, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.27", "debut_caractere": 17, "fin_caractere_exclue": 923, "texte": "drops her glance). Yes. (Meaning no!—and adds\nmore excitedly.) Yes, yes!—l was only acting to\nsee what you would do. (But she takes his hand.)\nGEORGE ( noticing it hut showing no objection).\nAlice, what is happening to us? Here we sit hand-\nin-hand! It's like bad vaudeville!\nALICE {smiles). I don't know—what do you\nthink ?\nGEORGE. Don't ask me. I don't understand. I\ncan't think. I don't know. Perhaps we are about\nto have a new George!\nALICE {in a suppressed tone). You under-\nstand !—a new George—you shall come to-night!\nGEORGE. Yes!\nALICE {looking away but tightening her hold\non George's hand). Mine.\nGEORGE. What did you say?\nALICE. Oh nothing, nothing.\nGEORGE. Alice—to-night. Now, let us go over\nto the tea table. Maud is watching us.\nALICE. DO you want to go?\nGEORGE {rising from the couch). No.\n{Alice rises also, and they both move towards\nthe table, George follozving. He carries their cups.)"}, {"page_pdf": 28, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.28", "debut_caractere": 17, "fin_caractere_exclue": 881, "texte": "MAUD. Well, have you been talking magazine\n—\"Azure Adder\"?\nGEORGE and ALICE. Yes.\nALICE. We were arranging details. We will\nhave all the titles of stories and poems printed in\nred. Don't you think that that will be good?\nMAUD. Not red, blue I should say.\nGEORGE. Well, in some color, red or blue.\nMAUD. Blue is the better.\nYVONNE {rising). I must be going—is any-\none coming my way?\nGEORGE. We all must be going, I suppose. I\nmust go to the station and meet Uncle Billy.\n{Yvonne crosses the stage; the door at the hack\nis opened suddenly and Jachusband of is\nseen.)\nCAMELE {starts up from the tea table and looks\nfrightened, saying in a whisper to George). Hide\nmy suit case.\nJACK {in the door-way). Oh, I beg your par-\ndon—is Vivian in?\nALICE. Hello, Jack—come in. Vivian is out.\nJACK. I wanted to see him. He wishes to rent\nthe studio for several months, I hear."}, {"page_pdf": 29, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.29", "debut_caractere": 17, "fin_caractere_exclue": 990, "texte": "ALICE. YOU can wait for him, we are just\nabout to leave.\nJACK (coming down stage, sees Camele at the\ntea table). Hello, Cam, what are you doing here?\nYVONNE ( from the window). What a sun-set!\n. Y-AY Y ' YY A Y /.Yffi ■. . V -Y.w : v\nCome and see. ( They all, except Camele and Jack,\ngo to the window.)\nCAMELE. Maud asked me to lend her my ki-\nmona. She wants to do some Japanese dances—I\nbrought it to her.\nJACK. I didn't know that you were friendly\nsince we were married, Cam. I was surprised when\nI saw you.\nCAMELE. Don't call me Cam, Jack. Try to\ncall me Camele, here. And make the \"a\" long.\nJACK. Does it shock them? They make me—\n{seeing her canvases and paint box). What are\nyou doing with your canvases and paint box?\nCAMELE. I was painting in the park. The can-\nvases—the canvases—oh, I was taking them to be\nframed.\nJACK. All those?\nCAMELE. Yes, it will be cheaper having them\nall framed at one time—don't you think?\nJACK. I hope so. We are so hard up at present."}, {"page_pdf": 30, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.30", "debut_caractere": 17, "fin_caractere_exclue": 681, "texte": "CAMELE. Are we? Well, they can wait—the\ncanvases, I mean.\nJACK. I must have some clothes.\nCAMELE. Again?\nJACK. Again? Look at these.\nCAMELE (coming close to him). You look all\nright, I think. (She puts her hands on his shoul-\nders. )\nJACK. Are you ready to go? I'll not wait for\nVivian.\nCAMELE. Kiss me, Jack.\nJACK. What for—what's the matter with you?\nYou look tired and pale.\nCAMELE. Nothing—kiss me. (They kiss.\nMaud, looking back into the room, sees them. She\nturns quickly, picks up her hat, puts it on and hur-\nries out.)\nCAMELE. Let us go.\nJACK. All right.\nCAMELE (putting on her hat). I'm going.\n(The others come from the window.)\nGEORGE. Yes?\nCAMELE. Yes!"}, {"page_pdf": 31, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.31", "debut_caractere": 17, "fin_caractere_exclue": 963, "texte": "JACK. Here's your kimona.\nCAMELE. That is for Maud.\nALICE. Where is she ?\nCAMELE. She went out—she'll be back, I guess.\nCAMELE and JACK (moving towards the door).\nGood-bye!\nALL. Good-bye!\nYVONNE {following them). Good-bye.\nALICE and GEORGE. Good-bye.\nGEORGE {after a nervous silence). I'll see you\nto-night, Alice; now I must go to meet Uncle Billy.\nALICE. Then you can't see me to-night if he is\nin town. You will have to arrange about the\n\"Azure Adder.\"\nGEORGE. The \"Azure Adder\"—my life's work\n—my magazine. How Ido wish to get it started!\nThink what it means! A perfect magazine given to\nthe world after years of darkness. A book perfect\nin printing, arrangement and in illustration—as\nbeautiful to look at as a masterpiece of painting or\nsculpture. What a standard it will create when it\nis published! It will stand alone—nothing but what\nwill suffer when compared to it. It will be above\nother publications; above them as a golden star over"}, {"page_pdf": 32, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.32", "debut_caractere": 17, "fin_caractere_exclue": 1143, "texte": "a world of night and ignorance—all will be beneath\nit! And I who have conceived it will be lost in its\nsplendor. Like a bumble-bee is lost in a lily of sil-\nver. Laboring, laboring on for it to the end,\nthrough old age, perhaps from beyond the grave.\nWhat a life—yes, \"Azure Adder,\" I give to you my\ntime, my energy and my talents. {He grows more\nand more excited and is now speaking to himself.)\nI will make of you an aesthetic standard, an artistic\ngauge and a religion! A new religion whose one and\nonly Goddess will be Beauty—Beauty veiled, alone\nand sterile! And we who work for you will be its\nfirst priests—the priests of a new religion! You\nknow what that means? It always has meant, and\nwill mean in this case, I hope, martyrdom and per-\nhaps death! Death for our gracious goddess—to\nwhom I give my mind and my body! Yes, great and\nawful goddess, they are yours! {He stands, with\nhis arms outstretched, against the door at the hack.)\nDo as you will! {ln a loud ringing voice.) They\nare yours forever!!\nALICE (smiling, walks up to him). Thank you.\nGEORGE {in the same voice). To you, great\ngoddess, I give my mind and—"}, {"page_pdf": 33, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.33", "debut_caractere": 17, "fin_caractere_exclue": 262, "texte": "ALICE ( facing him,puts her arms around his\nneck). George!\nGEORGE ( relaxing. In a softer voice). Great\ngodd—\nALICE ( drawing him closer). Now, George!\nGEORGE (wilting. His arms slowly closing\naround Alice. In a whisper). Great goddess—\nCurtain."}]}, {"article_id": "bm-bmtnaat-1913-12-01-c007", "article_bluemountain": "bmtnaat_1913-12_01#c007", "volume": "bmtnaat_1913-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "33", "image_debut": 35, "image_fin": 35, "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=bmtnaat191312-01.2.7", "titre_corps": ".x K . V.'' - .& ' *.:■ .'-A •-••/• '-v . . .• N-_~ , ; ■- V. ' 1\"V\"", "titre_sommaire": ".x K . V.'' - .& ' *.:■ .'-A •-••/• '-v . . .• N-_~ , ; ■- V. ' 1\"V\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 150, "texte": ".x K . V.'' - .& ' *.:■ .'-A •-••/• '-v . . .• N-_~ , ; ■- V. ' 1\"V\"\nThe January issue will pre-\nsent M Love of One's Neigh-\nbor,\" by Leonid Andreyev."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.1", "texte": "The Azure Adder\nBy Charles Demuth\n\nn\ndfll BF\nVOLUME I\nNUMBER 3\nDECEMBER\nI 9 1 3\nSUBSCRIPTION\nThree Dollars Yearly\nTH I S IS SU E 3 5 CEN T S"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.2", "texte": "THE only editorial policy of THE GLEBE is\nthat embodied in its declaration of absolute\nfreedom of expression, which makes for a range\nbroad enough to include every temperament from\nthe most radical to the most conservative, the only\nrequisite being that the work should have unmistakable\nmerit. Each issue will be devoted exclusively\nto one individual, thereby giving him an opportunity\nto present his work in sufficient bulk to\nmake it possible for the reader to obtain a much\nmore comprehensive grasp of his personality than is\nafforded him in the restricted space allotted by the\nother magazines. Published monthly, or more frequently\nif possible, THE GLEBE will issue twelve\nto twenty books per year, chosen on their merits\nalone, since the subscription list does away with the\nneed of catering* to the popular demand that confronts\nevery publisher. Thus, THE GLEBE can\npromise the best work of American and foreign\nauthors, known and unknown.\nThe price of each issue of THE GLEBE will vary\nwith the cost of publication, but the yearly subscription,\nincluding special numbers, is three dollars.\n\nEditor Associates Business Manager\nAlfred Kreymborg Leonard D. Abbott Charles Boni, Jr.\nAlbert Boni\nAlanson Hartpence\nAdolf Wolff"}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.3", "texte": "The Azure Adder"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.4", "texte": "To R. E. L."}, {"page_pdf": 5, "page_imprimee": "[3]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.5", "texte": "The Azure Adder\nBy\nCharles Demuth\n\n7TH\n(mi\nNEW YORK\nALBERT AND CHARLES BONI\n96 Fifth Avenue\n1913"}, {"page_pdf": 6, "page_imprimee": "[4]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.6", "texte": "Copyright, 1913\nBy.\nThe Glebe"}, {"page_pdf": 7, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.7", "texte": "THE AZURE ADDER\nSCENE. Studio of Vivian. Simplicity run riot\nis the keynote: white against white; white walls\nand little furniture. The furniture is painted gray,\nVivian's gray—really white.\nTIME. The ultra-present.\n(The curtain rises. For a minute or two the\nstage is empty. Then enter Vivian, through the\ndoor at the back of the stage, the only door in the\nscene. He wears the dress of the ancient Greeks\nand is evidently just coming from the bath, as\nshown by his damp hair. In one hand he carries\na few narcissi, while with the other he tries to\narrange the folds of drapery, which seem to hinder\nhis movements. He arranges one or two flowers\nin a jar, before the \"Nike de Samothrace,\" whis-\npering: \"Yes, narcissi, truly like Grecian things.\"\nHe drops the rest of the flowers upon the floor,\nremoves the robe and starts to comb his hair before\na small mirror. This mirror is set in the back of\na large framed photograph of the \"Venus de Milo\""}, {"page_pdf": 8, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.8", "texte": "THE AZURE ADDER\n\nthat hangs near the door. Vivian turns the Venus\nphotograph to the wall and we see the small piece\nof looking-glass. He finally rouges his lips as a\nfinishing touch to his toilet. Putting on a coat but\nretaining the sandals, he moves towards the door;\non the way he picks up a which he puts on\ncarefully. As he nears the door a knock is heard\nand the door is opened. Vivian takes on the look\nof being in the higher heights of thought. Tzvo\ngirls are discovered in the door-zvay. One, Yvonne,\nsays: \"Bon jour.\" The second, Alice: \"Hello.\"\nBoth enter. Vivian passes them in the door-zvay\nwithout speaking and softly closes the door.)\nVIVIAN {outside). I'm going out. {And\nmore softly.) Wait, wait.\n{The girls remove their hats. Yvonne sinks on\nthe floor, in front of the couch.)\nYVONNE. Oh, I'm so tired. I painted for two\nhours yesterday.\nALICE {sitting on the couch). How you work\n—and you would have painted again to-day, if I\nhadn't stopped for you, no doubt.\nYVONNE. Well, I was thinking about it.\nALICE. Ridiculous! Do you think that Beauty\ncan be contemplated constantly? One either be-"}, {"page_pdf": 9, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.9", "texte": "THE AZURE ADDER\n\ncomes blind or mad—you painted for two hours\nyesterday—ridiculous!\nYVONNE. I've seen nothing of yours of late.\nDon't you work; don't you paint, I mean?\nALICE. I'm waiting, waiting. For days,\nmonths really, I have felt as though—how shall I\nput it—as though the scales were about to fall\nfrom my eyes; at moments like these, as you know,\nwhen I really see the thing, I paint. Between times,\nI wait, I wait.\nYVONNE. Couldn't you work and wait, too?\nALICE. NO, I must save all my energy for\nthese supreme moments, when I see Beauty in its\nessence.\nYVONNE. Then you really work less than I\nthought.\nALICE (in an awed voice). Yvonne, how can\nyou! I work constantly. The air is my canvas,\nmy nerves are the brushes. I work? God, how I\ndo work! To contemplate, to wait, to dream, is\nnot this work?\nYVONNE. I suppose so—but—\nALICE. Oh, I know—you all think, except\nGeorge, that I do nothing. Well, rather that, if it\nwere true, than what one generally sees on canvas,\nevery year, at the Academies."}, {"page_pdf": 10, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.10", "texte": "THE AZURE ADDER\n\nYVONNE. YOU think then that it is better not\nto paint at all and wait as you say—than to do an\ninferior thing?\nALICE. Undoubtedly.\nYVONNE. This waiting—what effect will it\nhave—what will it do for you or for Art?\nALICE. I wait. \"To feel is better than to\nknow.\"\nYVONNE. If one really feels, perhaps, but to\nwait and wait and wait, you know what the end\nwill be ?\nALICE. I hope to become like Beauty, myself\n—a living creation, a work of art—even though I\ndo nothing ever in paint.\nYVONNE. Yes, that is the end—not really,\nhowever, because to change Life directly to Art\nmeans— (The sentence is not finished, a knock\nbeing heard at the door.)\nALICE. Here's Maud; she said that she would\nmeet me here and bring George. ( goes and\nopens the door. Enter George zuith Maud, sister\nof Alice.)\nGEORGE. Hello. I've just received a wire from\nUncle Billy; he's coming to talk over the magazine\nwith us.\nALICE. Will he back it?"}, {"page_pdf": 11, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.11", "texte": "THE AZURE ADDER\n\nGEORGE ( looking at Maud). He will if I can\nbe with him and talk to him for a day or two, I\nthink. (They exchange meaning glances.)\nYVONNE. A magazine—you're starting one?\nALICE. Yes, I forgot to tell you about it.\nSomething like the \"Yellow Book.\" It will be\ncovered in gray, though, printed on hand-made\npaper with especially designed type—four numbers\na year. Have you thought of a name, as yet, for\nour child, the magazine, George?\nGEORGE. Yes, it will be called the \"Azure\nAdder.\" Gray and blue will be the colors of the\ncover. Blue the color of the Soul and gray the\ncoloring of the Eternal Background!\nMAUD. Wonderful—wonderful!\nGEORGE. It will be, I hope. ( then ad-\ndresses the three girlst who are now sitting on the\ncouch.) Intense, too, I want it to be. The first\nlook at its covers must create a mood for what one\nis to find indoors. The same as a perfect house\naffects one; the stones and vines of which, on the\noutside, tell of the truffles which are to be served by\nthe mad butler at dinner, inside. (To himself: I\nmust remember that last; it's away above their\nheads, of course—it's one of my best.) Blue and\ngray—the two unfinished colors, when arranged"}, {"page_pdf": 12, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.12", "texte": "THE AZURE ADDER\n\nas my design, will call up the proper mood: a mood\nintense but languid, caring nothing for results. I\nhope to make this, this caring nothing for results,\nthe aim of our child, the \"Azure Adder.\" To teach\nthe public, our public even, to be satisfied with the\nunfinished, the artistically unfinished; the thing\nwhich has no definite start or finish, but which is\nbeautiful, beautiful, beautiful even in the shadow\nof its bud; a bud which can never open because—\nbecause—a worm is its heart! ( changes\nher position on the couch.) The size, too, of the\nbook will help in creating the mood—seven by\nthirteen—and the paper on which it is printed, also,\nwill help. A paper made in Japan, under water,\nwhich lasts only three years. It then falls apart,\ninsuring our child only a future, no past, nor any\npermanency, except perhaps in the minds of its\nreaders, perhaps, perhaps. The \"Azure Adder\"\nwill have double pages like the books of the Japa-\nnese, printed on one side, so that the mere reading\nof it will be made difficult for the uninitiated—\npeople whom it is not meant for anyway. The\nfirst number must strike the note—the ultra-future\nnote—so I will give to our public my dance-poem,\n\"The Candle and the Black Water Lily.\" A poem\nhave I told you, which I hope to have danced some-\ntime. It must be danced by one person while a"}, {"page_pdf": 13, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.13", "texte": "THE AZURE ADDER\n\nchorus of men and boys chant the words, in place\nof music for the dancer. How it will appeal, simply\nalone, in the book, I don't know, without its\nproper atmosphere. It almost required a new lan-\nguage, I felt, when I wrote it. Still, it must be the\nfirst of our first number—ultra-modern and a new\nart—think, a new art! And the illustrations, what\na chance you will be, \"Azure Adder,\" for the artist\nillustrator! A sweep of a brush, a tone, a dot is\nenough for our purpose; when Beauty is sitting by\nthe side of the reader. Yes, I see a revolution in\nbook illustration, a glorious one, an upheaval, one\nnever-to-be-forgotten revolution, which, looked back\nupon from the far distant future, will have at its\nbase, forgotten or remembered, who cares, the\n\"Azure Adder\"!\nMAUD and ALICE. Ah!\n(Yvonne rises, walks towards the large win-\ndow at the hack, a sky-light really, opens it and\nleans out during the following.)\nALICE. If we can only get it started—we know\nvery little about such work.\nMAUD. That makes no difference. We all\npaint and all great art is one in its complete state.\nWe can surely run a magazine. If only Uncle,\nGeorge's Uncle Billy, will start it financially!"}, {"page_pdf": 14, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.14", "texte": "THE AZURE ADDER\n\nGEORGE. Oh, he will, I'm sure. (Smiles.)\nALICE. Whose stuff will we print in it besides\nour own? If we could only get something from\nsome of the great living ones! Bujt we can't hope\nfor more than one or two things from them, at\nmost, perhaps nothing, unless we prove a great\nsuccess.\nGEORGE. You doubt our success? You lack\negotism, my dear. I have already a poem, by one\nof our greatest living English poets. It's written\nin Italian.\nMAUD. Of course it's beautiful.\nGEORGE. Of course, everything of his is.\nALICE. Strange that he should send you a\npoem written in Italian. It's beautiful, you say—\nI didn't know that you read Italian?\nGEORGE. I don't—Palidino read it to me. I\nasked him what it meant, what it was about. He\nsaid that he did not understand its meaning—but\nthe sound of it, as he was reading it, was magnifi-\ncent. It is a masterpiece! Its meaning is clear to\nme—Palidino understands nothing which is really\nfine. The poem tells by its sound that the poet\nwrites of love, the love which is perfected by\ndeath.\nMAUD (toherself). \"The Triumph of Death.\""}, {"page_pdf": 15, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.15", "texte": "THE AZURE ADDER\n\nALICE (softly). George, you are wonderful; it\nis fine to feel as finely as you do—I mean it, really\nI do, George.\nGEORGE. YOU are beautiful. (Pause.)\nMAUD. Still, it seems that we ought to have\nmore people to write for us. I can think of only\na few, one or two, who do good stuff, really fine\nthings—impressions.\nGEORGE. Oh, that will be all right. We have\nenough material for our first number. The de-\nmand will create the material. We will get plenty\nof stuff sent in from unknowns, I think, for our\nfuture numbers.\nMAUDE. If not, we can all write things for it.\nI know that we all do write on the quiet while pos-\ning as painters! Don't you write, Yvonne?\nYVONNE (from window). No, I only paint.\nMAUD (with a sneer). But—oh, well—you do\nread Kipling and Whitman; that's the reason you\ndon't write, I suppose.\n(No answer from Yvonne.)\nALICE (angrily). Maud!\nMAUDE. Yes, that is what I mean. Art is not\nthe glorification of the beef-steak! \"Good red\nblood\" is what you hear their admirers talking"}, {"page_pdf": 16, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.16", "texte": "THE AZURE ADDER\n\nabout principally. \"Healthy\" is another one of their\npet words, also \"men and women.\" They are all\nmeat—they forget the swaying sea-weed, the waxen\nasphodel, the rose which is sick.\nGEORGE. Yes, you are right. If they had their\nway, nothing would remain but the normal. And\nas normal beings act usually in a commonplace and\nunchanging manner, birth, love, death, literature,\nwould finally lose all material for existence and\nboth schools would either cease or write literature\nabout literature. A fine end this would be for their\ngood, red blood. No fear, though; there are always\nplenty on the other side, like us, to make the scales\nbalance, perhaps even tip our way. Meat, the\nglorified beef-steak, as you call it, Maud, has had\nits day. It has made a good fight throughout the\ncenturies, but it is going, going—and to us—whom\nit called abnormal, sick, degenerate, will soon re-\nmain the field—yes, through what it called our\nweakness we shall conquer!\n(Maud leans forward. Alice looks hurt. Maud\nis about to speak when a knock is heard at the door.)\nMAUD. I'll go. (Goes and opens the door.)\nCamele! (She embraces and kisses Camele in the\ndoor-way.) Camele!\n( They come down to Alice and George. Ca-"}, {"page_pdf": 17, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.17", "texte": "THE AZURE ADDER\n\nmele is carrying canvases, painting materials, a ki-\nrn ona and a suit case.)\nALICE and GEORGE. Hello!\nGEORGE. Let me take some of your things.\n(Takes her suit case.) Lord, how heavy!\nCAMELE (sinking upon the couch.) Heavy—I\nhave everything in it that I own. I couldn't stand\nit any longer—last night it reached a climax—it's\nall over, my married life—all over, girls! I've left\nJack! Last night he struck me! (Sobs.)\nMAUD (to George). The glorified beef-steak\nvariety—how common!\nGEORGE. Common, perhaps. (To himself:\nOne can strike a woman for lots of reasons.)\n(Yvonne comes from the windozv.)\nALICE. Poor Camele—lie down. Let me take\noff your hat.\nYVONNE. What can we give her? Let us\nmake some tea.\nMAUD. Yes, do. You and Alice make tea.\nI'll sit with her a while.\n(George, Alice and Yvonne busy themselves\nmaking tea at the extreme right, leaving Camele\nand Maud at the extreme left, on the couch. No\none speaks for a moment.)"}, {"page_pdf": 18, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.18", "texte": "THE AZURE ADDER\n\nMAUDE (sitting at Camele's head strokes her\nhair). Poor girl.\nCAMELE. Maud ?\nMAUD, Yes, dear.\nCAMELE. YOU were right; Jack is a brute.\nMAUD. All men are.\nCAMELE. SO you have often said, but I thought\nthat he was different\nMAUD. Brutes, beasts.\nCAMELE. But we were so happy at first-—the\nfirst months—\nMAUD. Really happy ?\nCAMELE. Yes, I was happy. I painted and\nJack was with me between times—yes, I was happy\nand calm.\nMAUD. YOU only thought so; I knew that it\ncouldn't last. I know you too well.\nCAMELE. Yes, you were right, I suppose.\nMAUD. And what now?\nCAMELE. I don't know—I broke with the fam-\nily when I married him, as you know-—now, I don't\nknow.\nGEORGE (from the tea table, to Alice and\nYvonne). I'll go for some lemons. (He goes\nout.)"}, {"page_pdf": 19, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.19", "texte": "THE AZURE ADDER\n\nMAUD. What a mistake to have married, Ca-\nmele!\nCAMELE. NO, it was not a mistake. I'm not\nsorry even now. (Sits up.)\nMAUD. Camele, Camele!\nCAMELE. Well, it's the truth, I'm not.\nMAUD. But what will you do—where will you\nlive?\nCAMELE. I don't know yet.\nMAUD (after a pause, in a pleading voice).\nCome with us for a while.\nCAMELE. Maud, all right—to-night—just to-\nnight until I have time to think.\nMAUD. As long as you like—Alice is used to\nme protecting widows and children. (She puts her\narm around Camele.)\nCAMELE. Just for a day or two; I'll hunt for\na position to-morrow.\nMAUD. You had much better write to your\nfamily. They'll forgive you when they know that\nyou have left the brute. To think of him striking\nyou! Where did he strike you?\nCAMELE. Strike me? What do you mean—\nwhere did he strike me?\nMAUD. Why, you said when you came in that\nJack had struck you last night."}, {"page_pdf": 20, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.20", "texte": "THE AZURE ADDER\n\nCAMELE. HOW common of you, Maud—I\nthought that you would understand. I didn't know\nthat any of you took things literally—you didn't\nused to, when I knew you before my marriage, and\nI knew you all very well.\nMAUD. Very well, indeed—so he didn't strike\nyou?\nCAMELE. Yes, he did.\nMAUD. Eh ?\nCAMELE. Yes and no. You see, Jack had\nbeen away for a week. I had been painting rather\nhard and was very interested in an arrangement of\nblacks I was trying to get. Subtle—blacks against\nblacks. It was coming along well; I liked it in\nparts very much. It was finished almost, yester-\nday, before he came home. Then, last night, he\nreturned. I was tired, but decided to show him the\ncanvas, as he asked what I had been doing. We\nwent up to the studio. \"Stand there,\" I said, and\nturned the canvas toward the light. It really looked\ngood: the tone was the best that I had ever had\nin any of my canvases. He looked at it, and lat\nhim. He seemed to understand, at last, my work,\nI thought. He had never done so before, which I\nrealized only after we were married, and which\ncame to worry me more and more. \"You do like"}, {"page_pdf": 21, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.21", "texte": "THE AZURE ADDER\n\nit?\" I asked. \"Yes,\" he said—\"it looks like a Sar-\ngent!\"\nGEORGE {returns). Here are the lemons.\nMAUD. YOU did right—come with us! To\nlive with him now would be impossible. Strike\nyou—he did more—he tried to kill you—your soul.\nHe wanted you to go—he knew what he was say-\ning and how it would affect you. How you must\nhave suffered before the final crash of last night\ncame!\nCAMELE. Yes, and no, again. I don't believe\nthat I hate him half as much now as I did last\nevening.\nMAUD. Camele, he has spoiled you completely.\nTo hear you say that, after what has happened\nbetween you, horrifies me.\nCAMELE. YOU were never married.\nMAUD. Meat! Meat!\nYVONNE. Come, have some tea. Come, Ca-\nmele.\n{Maude and Camele, arm in arm, move towards\nthe tea table, while George, followed by Alice, comes\nand sits on the couch. The others sit around the\ntable.)\nGEORGE. Why do you insist on following me?"}, {"page_pdf": 22, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.22", "texte": "THE AZURE ADDER\n\nStay with the girls over there—hear the joys of\nmarried life.\nALICE. Joys—I am more interested in know-\ning why you did not come to see me, as you prom-\nised last night?\nI\nGEORGE. I didn't promise—l said \"probably.\"\nALICE. That's your word—but you usually\ncome. Why not last night? You knew that I\nwanted to see you very much.\nGEORGE. I had something to do. I couldn't get\naway.\nALICE. Then why not have telephoned to me.\nMaud had opera tickets given her—I missed \"Tris-\ntan,\" waiting for you.\nGEORGE. At last we have the real cause of\nyour bad humor, which is not on account of my\nnon-appearance but your missing \"Tristan und\nIsolde.\"\nALICE. YOU know, George, that that isn't\ntrue.\nGEORGE. YOU started this argument—why cry\nif you are hurt?\nALICE. Cry ?\nGEORGE. It's the same as crying—and tears,\nyou know how I hate them."}, {"page_pdf": 23, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.23", "texte": "THE AZURE ADDER\n\nALICE. Unless they be sprinkled on withered\nrose leaves, yes!\nGEORGE. It's always the same thing; you con-\nstantly insult my taste and brain.\nALICE. NO, not your real taste and brain—\nthey are fine and great. I only insult the veneer.\nI try to show you yourself,—this part I will save\nfor you and sometime return to its owner intact.\nGEORGE. Save?—how can you save something\nwhich you have never had?\nALICE. That is my affair.\nMAUD (from the tea table, her voice raised in an\nexciting discussion). Bernard Shaw—\nGEORGE {to himself). Bernard Shaw? (To\nAlice.) Well, save yourself the trouble, I will never\naccept that from anyone—my real self. {Nervous-\nly.) Alice, don't bother about me—I don't want\nyou to, do you understand? 4\nALICE {laughs). You dare to command me?\nWell, let us both play the same game. Tell me—\nwhy didn't you come to see me last night—what\ndid you do ?\nGEORGE. I did nothing. I wished to be alone.\nSolitude and silence produce great art, I believe.\nALICE. Not when one is our age!\nGEORGE. Alice, I don't understand you to-day."}, {"page_pdf": 24, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.24", "texte": "THE AZURE ADDER\n\nFor some time I've been thinking that you were\nchanging; losing the fine sense of appreciation\nwhich you have always had for so many things in\nlife and in art. Now, I am sure of it.\nALICE. Don't you understand? Well, as I\nsaid—solitude is for the aged.\nGEORGE. Solitude and silence, two wonderful\nwords. What they call up in my mind! Solitude\nfor the physical and silence for the mind. It is in\nthese states that Art flourishes in its greatest form.\nArt is turning back to the works of the primitive\nartists, early Italians principally. And it is here\nthat it should turn—it should turn back to Art and\nnot to Nature, which only holds it back. And we\nwho expect to figure in this new Renaissance must\nlive as our masters, cloistered, alone, removed from\nthe material, within ourselves—as Angelico or as\nFra Filippo Lippi. For from the cave of Silence\ncomes the flame of creation, and we who hope to\nreceive a spark of this flame must worship in soli-\ntude, as monks and as nuns.\nALICE {smiling). But have I not heard some-\nthing about a rope ladder in connection with Fra\nFilippo Lippi?\nGEORGE. Legends—inventions of the common"}, {"page_pdf": 25, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.25", "texte": "THE AZURE ADDER\n\nmind which sometimes are chronicled by still com-\nmoner ones—and thus accepted finally as facts.\nALICE. Truths, I should say.\nGEORGE (jumping up). lam going out!\nCAMELE (in a boisterous voice). Schopen-\nhauer, I prefer De Mau— ( voice is lost as\nAlice's is heard speaking to George.)\nALICE. Don't run away, George, I want to\ntalk with you. I think that you are beginning to\nunderstand the change in me, the new Alice, let us\nsay—and I want to make sure of it.\nGEORGE (sitting down). No, I do not under-\nstand the new Alice.\nALICE. YOU will not, would not be nearer the\ntruth, I think.\nGEORGE. NO, Ido not is exactly what I mean.\nALICE. I will try again to show you then,\nGeorge. ( She moves closer to him. George starts\nto move away from her but changes his mind evi-\ndently and sits still.)\nGEORGE. I'm ready for the revelation, Alice.\nMake it as long as you like. It will probably be\nour last real talk together.\nALICE. Why ?\nGEORGE. Because—because we have nothing"}, {"page_pdf": 26, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.26", "texte": "THE AZURE ADDER\n\nin common—this new Alice pose—l can't think of\nit as anything else but as a pose has or will come\nbetween us and break up our friendship.\nALICE. And in breaking up our friendship it\nwill produce something much finer.\nGEORGE. Finer? that is the finest thing in life\n—friendship.\nALICE. It is the beginning only of the finest\nthing in life.\nGEORGE. Alice, you don't mean to say—Alice!\n-—Lord!—you're not making— (She blushes and\nturns away her eyes.)\nMAUD (from the tea table). They give \"Par-\nsifal\" next week. (George tries to become com-\nposed. )\nALICE (speaking across the stage to the group).\nI know one of the \"Flower Maidens.\" I get\ncomps.\n(Alice glances at George, who has failed to\nbecome composed.)\nALICE (after a pause). George?\nGEORGE (weakly). Well?\nALICE. DO you like my pose as you call it?\nGEORGE (looking at her). Is it a pose?\nALICE (after they look intently at each other,"}, {"page_pdf": 27, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.27", "texte": "THE AZURE ADDER\n\ndrops her glance). Yes. (Meaning no!—and adds\nmore excitedly.) Yes, yes!—l was only acting to\nsee what you would do. (But she takes his hand.)\nGEORGE ( noticing it hut showing no objection).\nAlice, what is happening to us? Here we sit hand-\nin-hand! It's like bad vaudeville!\nALICE {smiles). I don't know—what do you\nthink ?\nGEORGE. Don't ask me. I don't understand. I\ncan't think. I don't know. Perhaps we are about\nto have a new George!\nALICE {in a suppressed tone). You under-\nstand !—a new George—you shall come to-night!\nGEORGE. Yes!\nALICE {looking away but tightening her hold\non George's hand). Mine.\nGEORGE. What did you say?\nALICE. Oh nothing, nothing.\nGEORGE. Alice—to-night. Now, let us go over\nto the tea table. Maud is watching us.\nALICE. DO you want to go?\nGEORGE {rising from the couch). No.\n{Alice rises also, and they both move towards\nthe table, George follozving. He carries their cups.)"}, {"page_pdf": 28, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.28", "texte": "THE AZURE ADDER\n\nMAUD. Well, have you been talking magazine\n—\"Azure Adder\"?\nGEORGE and ALICE. Yes.\nALICE. We were arranging details. We will\nhave all the titles of stories and poems printed in\nred. Don't you think that that will be good?\nMAUD. Not red, blue I should say.\nGEORGE. Well, in some color, red or blue.\nMAUD. Blue is the better.\nYVONNE {rising). I must be going—is any-\none coming my way?\nGEORGE. We all must be going, I suppose. I\nmust go to the station and meet Uncle Billy.\n{Yvonne crosses the stage; the door at the hack\nis opened suddenly and Jachusband of is\nseen.)\nCAMELE {starts up from the tea table and looks\nfrightened, saying in a whisper to George). Hide\nmy suit case.\nJACK {in the door-way). Oh, I beg your par-\ndon—is Vivian in?\nALICE. Hello, Jack—come in. Vivian is out.\nJACK. I wanted to see him. He wishes to rent\nthe studio for several months, I hear."}, {"page_pdf": 29, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.29", "texte": "THE AZURE ADDER\n\nALICE. YOU can wait for him, we are just\nabout to leave.\nJACK (coming down stage, sees Camele at the\ntea table). Hello, Cam, what are you doing here?\nYVONNE ( from the window). What a sun-set!\n. Y-AY Y ' YY A Y /.Yffi ■. . V -Y.w : v\nCome and see. ( They all, except Camele and Jack,\ngo to the window.)\nCAMELE. Maud asked me to lend her my ki-\nmona. She wants to do some Japanese dances—I\nbrought it to her.\nJACK. I didn't know that you were friendly\nsince we were married, Cam. I was surprised when\nI saw you.\nCAMELE. Don't call me Cam, Jack. Try to\ncall me Camele, here. And make the \"a\" long.\nJACK. Does it shock them? They make me—\n{seeing her canvases and paint box). What are\nyou doing with your canvases and paint box?\nCAMELE. I was painting in the park. The can-\nvases—the canvases—oh, I was taking them to be\nframed.\nJACK. All those?\nCAMELE. Yes, it will be cheaper having them\nall framed at one time—don't you think?\nJACK. I hope so. We are so hard up at present."}, {"page_pdf": 30, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.30", "texte": "THE AZURE ADDER\n\nCAMELE. Are we? Well, they can wait—the\ncanvases, I mean.\nJACK. I must have some clothes.\nCAMELE. Again?\nJACK. Again? Look at these.\nCAMELE (coming close to him). You look all\nright, I think. (She puts her hands on his shoul-\nders. )\nJACK. Are you ready to go? I'll not wait for\nVivian.\nCAMELE. Kiss me, Jack.\nJACK. What for—what's the matter with you?\nYou look tired and pale.\nCAMELE. Nothing—kiss me. (They kiss.\nMaud, looking back into the room, sees them. She\nturns quickly, picks up her hat, puts it on and hur-\nries out.)\nCAMELE. Let us go.\nJACK. All right.\nCAMELE (putting on her hat). I'm going.\n(The others come from the window.)\nGEORGE. Yes?\nCAMELE. Yes!"}, {"page_pdf": 31, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.31", "texte": "THE AZURE ADDER\n\nJACK. Here's your kimona.\nCAMELE. That is for Maud.\nALICE. Where is she ?\nCAMELE. She went out—she'll be back, I guess.\nCAMELE and JACK (moving towards the door).\nGood-bye!\nALL. Good-bye!\nYVONNE {following them). Good-bye.\nALICE and GEORGE. Good-bye.\nGEORGE {after a nervous silence). I'll see you\nto-night, Alice; now I must go to meet Uncle Billy.\nALICE. Then you can't see me to-night if he is\nin town. You will have to arrange about the\n\"Azure Adder.\"\nGEORGE. The \"Azure Adder\"—my life's work\n—my magazine. How Ido wish to get it started!\nThink what it means! A perfect magazine given to\nthe world after years of darkness. A book perfect\nin printing, arrangement and in illustration—as\nbeautiful to look at as a masterpiece of painting or\nsculpture. What a standard it will create when it\nis published! It will stand alone—nothing but what\nwill suffer when compared to it. It will be above\nother publications; above them as a golden star over"}, {"page_pdf": 32, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.32", "texte": "THE AZURE ADDER\n\na world of night and ignorance—all will be beneath\nit! And I who have conceived it will be lost in its\nsplendor. Like a bumble-bee is lost in a lily of sil-\nver. Laboring, laboring on for it to the end,\nthrough old age, perhaps from beyond the grave.\nWhat a life—yes, \"Azure Adder,\" I give to you my\ntime, my energy and my talents. {He grows more\nand more excited and is now speaking to himself.)\nI will make of you an aesthetic standard, an artistic\ngauge and a religion! A new religion whose one and\nonly Goddess will be Beauty—Beauty veiled, alone\nand sterile! And we who work for you will be its\nfirst priests—the priests of a new religion! You\nknow what that means? It always has meant, and\nwill mean in this case, I hope, martyrdom and per-\nhaps death! Death for our gracious goddess—to\nwhom I give my mind and my body! Yes, great and\nawful goddess, they are yours! {He stands, with\nhis arms outstretched, against the door at the hack.)\nDo as you will! {ln a loud ringing voice.) They\nare yours forever!!\nALICE (smiling, walks up to him). Thank you.\nGEORGE {in the same voice). To you, great\ngoddess, I give my mind and—"}, {"page_pdf": 33, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.33", "texte": "THE AZURE ADDER\n\nALICE ( facing him,puts her arms around his\nneck). George!\nGEORGE ( relaxing. In a softer voice). Great\ngodd—\nALICE ( drawing him closer). Now, George!\nGEORGE (wilting. His arms slowly closing\naround Alice. In a whisper). Great goddess—\nCurtain."}, {"page_pdf": 35, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaat191312-01.1.35", "texte": ".x K . V.'' - .& ' *.:■ .'-A •-••/• '-v . . .• N-_~ , ; ■- V. ' 1\"V\"\nThe January issue will pre-\nsent M Love of One's Neigh-\nbor,\" by Leonid Andreyev."}]}