{"numero_id": "bm-bmtnaau-1908-12-01", "volume": "bmtnaau_1908-12_01", "ocr_sha256": "16474694e54846c9995868aabf9461fbe194a75dd736a4351c1e6c2433c2df71", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/12_01/bmtnaau_1908-12_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/12_01/bmtnaau_1908-12_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01", "articles": [{"article_id": "bm-bmtnaau-1908-12-01-c002", "article_bluemountain": "bmtnaau_1908-12_01#c002", "volume": "bmtnaau_1908-12_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": 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=bmtnaau190812-01.2.2", "titre_corps": "SOME OPINIONS ABOUT THE MASK, ITS APPEARANCE, ITS ARTICLES AND ITS AIMS", "titre_sommaire": "SOME OPINIONS ABOUT THE MASK, ITS APPEARANCE, ITS ARTICLES AND ITS AIMS", "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=bmtnaau190812-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 3325, "texte": "SOME OPINIONS\nABOUT THE MASK,\nITS APPEARANCE, ITS\nARTICLES AND ITS AIMS.\nSATURDAY REVIEW. 44 A new journal printed\nin a very original way, with woodcuts,.... and articles,...\non all topics connected with the theatre. Such a journal,\nif it could receive sufficient support, would have a\ndistinct value of its own.\nPALL MALL GAZETTE* 44 A new theatrical journal called The Mask,... seems\nworthy of a really hearty welcome. There is not a page in it which is not interesting\nand stimulating in a fine way, and many are both\nThe same journal, referring to The Mask's championship of the Censor says, \" a\nwriter who takes his side strongly deserves gratitude, whatever his view may be; for\nit is only by Sincerity and Courage that the cause of Art can be usefully served.\"\nWESTMINSTER GAZETTE. The Mask, by the way, is a quite remarkable,\nrevolutionary magazine, which, unlike any purely theatrical magazine that 1 can\nrecollect, is rich in intelligence, eager discussion of theatrical affairs, treating drama\nand the stage seriously as great matters of art, and striking fiercely against the idea\nthat a playhouse should be a mere place of entertainment.\" This \" interesting\nmagazine is likely to have a great effect upon the drama of the future. There is no\ntrace of somnolence in The Mask. & & & &\n<£? MORNING POST. 44 Among the least expected editorial sallies are a protest\nagainst the stage treatment of religious subjects,... 44 Salome \" is not forgotten....\nand the assertion 44 the censor is not only a blessing, he is a necessity.\" &\nTHE SPHERE. The Mask has now reached its fifth number. In the first place\nthe format is most engaging. It is a nice f01i0.... printed in a thick black type on\na rough paper. It contains many delightful woodcuts by Mr Craig of his own and\nother's composition.,., strange designs of beautiful simplicity which give new life to\nthe art of Bewick. As for the literary matter, it is a torrent of ideas. \"\nLIVERPOOL COURIER. \" The Mask is a new 44 monthly journal of the art of\nthe theatre \", and if anything were required to prove how deeply the possibilities\nof the drama are now impressing some of the most eager and imperative minds in\nEurope, the contents and appearance of its first number would provide evidence and\nto spare in a manner of the utmost dignity it attempts to 44 bring before an\nintelligent public many ancient and modern aspects of the Theatre's art, which have\nbeen too long disregarded or forgotten,\" We wish The Mask a longer life than\nambitious periodicals of the kind are generally permitted to enjoy.\"\n44 The second number of The Mask has now reached us from its Florentine printing\nplace, and by the delicacy of its format, the pleasantness and dignity of its types, the\ncareful excellence with which its illustrations have been reproduced, the character\nof the illustrations themselves, and the curious distinction and sincerity of its literary\ncontents, it seems to prove that the artistic centre of Europe has once again shifted\nto Italy.\" jp\nMr HALDANE MACFALL in THE DAILY GRAPHIC. &4« For one among us who\nis interested in the art of painting a dozen are beckoned to the Theatre; yet, oddly\nenough, while painting has its several sumptuous magazines, the theatre has not one\nworthy of it. From today we are to be rid of this unseemliness, for The Mask, from"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 3606, "texte": "its headquarters in Florence, makes its first appearance here and throughout Europe\nto do for the Art of the Theatre what The Studio has essayed to do for the arts of\npainting and of sculpture and of the crafts allied thereto. It is to be the mouthpiece\nof a group of young men of distinction upon the Continent, whose work is devoted\nto the theatre and to all that the theatre means.... men without fanaticisms as to\nvague \" reforms \" of the theatre so much as urged by the aim of ridding the theatre\nof certain ugly defects and weaknesses. Undoubtedly its staff is a strong 0ne..,. The\nresults ought, to say the least of it, to be vastly interesting, for the personality of\nthe man whose artistry influences its pages has already cast that influence over the\ntheatre of Germany and Italy and Russia—particularly of Germany.\"\nTill? LADY'S PICTORIAL. \"Not playgoers alone, but all who are interested\nin the art of the theatre will welcome No. I of a characteristically unconventional\nshilling magazine called The Mask, published in Florence.... In format, in type, in\ncontents, The Mask is unique. & &\nOXFORD CHRONICLE• \" The Mask \" a highly aesthetic production, with\nits blunt type on rough paper, its wide margins, its wood-cuts, initials, and tail\npieces, and its artistic cover in green and black. \" &\nTHE SUNDAY CALLy EASTON Pa. U. S. A. \" Here is tbe finest magazine of\nits kind in the w0r1d.... I commend The Mask to all those who think they see the\ndawn of a New Theatre in America.\" & &\n& MANCHESTER GUARDIAN. \" The Mask continues to provide interesting,\nprovocative, and debatable matter for those who care about the theatre. \"\n& PUBLISHERS CIRCULAR. \" The July number is the fifth of a new Art\nmagazine, entitled The Mask, which is printed in English in Italy and does great\ncredit to the Tipografia Bodoniana of E. Morandi of Florence. It is a bold folio\npage,.... the print has dignity, the get=up distinction, and the text, so far as we are\nable to judge, is worthy of its handsome setting. Somehow one gets the impression\ntha to some extent The Mask exists to make known the aims and ideals of Mr\nGordon Craig;... that they are sane and sensible ideas is shown, we think, by his\nanswers to the Editorial questions.\" (Realism and the Actor Symposium).^\n& PARIS AMERICAN. \" I have received a double number, that is to say, the\nnumbers for May and June bound in one, of a singularly clever magazine. It is\ncalled The Mask, is in its fifth month and is devoted to the Art of the Theatre. A\nmore artistic publication it is not possible to make. It is artistic in design, in paper,\nin letter-press, in color, in illustration, in its articles. Art peeps out of every pore.\nPile the adjective artistic mountain high, in its positive, comparative and superlative\ndegrees, upon e\\ ery conceivable aspect of this magazine, and you will not be excessive\nnor will you break the back of any noun. Its thought is strong and fearless. It has\na staff of strong writers and clever artists.\" *&&&?<&&\n& THE NEW AGE. \" The Mask is the most beautiful magazine published. \"\nWHAT'S ON. ** The Mask, devoted to the art of the theatre, makes a welcome\naddition, and sets a splendid example to the sordid mass of monthly literature already\nin circulation. &\n& MICHAEL MONOHAN, (The Papyrus. East Orange, New Jersey U. S. A.J\nwrites, \" The Mask is brave, brilliant and inspiring.\" &\nMr MARTIN HARVEY writes, \"Your most delightful and significant journal.\"\nMiss ELLEN TERRY writes. \" What a splendid number of The Mask this\nlast is! \" &\nMr EDWARD HUTTON writes. \" I think The Mask improves every time you\nsend it to me"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c004", "article_bluemountain": "bmtnaau_1908-12_01#c004", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[184]", "page_fin": "[184]", "image_debut": 6, "image_fin": 6, "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=bmtnaau190812-01.2.3", "titre_corps": "A reproduction of one of the designs in the Portfolio of Etchings by Gordon Craig", "titre_sommaire": "A reproduction of one of the designs in the Portfolio of Etchings by Gordon Craig", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "[184]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 82, "texte": "A reproduction of one of the designs in the Portfolio of Etchings by Gordon Craig."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c005", "article_bluemountain": "bmtnaau_1908-12_01#c005", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "185", "image_debut": 7, "image_fin": 7, "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=bmtnaau190812-01.2.4", "titre_corps": "CONTENTS", "titre_sommaire": "CONTENTS", "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": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.7", "debut_caractere": 160, "fin_caractere_exclue": 817, "texte": "CONTENTS\nAFTER THE PR A C T/SE THE THEORY&\n£> MOTION. BEING THE PREFACE TO THE PORTFOLIO OF ETCHINGS by\nEDWARD GORDON CRAIG. TWO THEATRES. INTRODUCTION TO AN ESSAY ON THE\nGROTESQUE THEATRE by LEON de SCHILDENFELDT SCHILLER. THE ARCHITECTURE\nAND COSTUME OF SHAKESPEARE'S GREEK PLAYS by E. W. GODWIN. .£> PLAYS AND\nPLAYWRIGHTS, PICTURES AND PAINTERS IN THE THEATRE by GORDON CRAIG.\nSOME QUOTATIONS FROM GOETHE AND W. S. LANDOR. 0 BOOK REVIEWS. FOREIGN\nNOTES. THE SPECTATORS. & EDITORIAL NOTES. & FRONTISPIECE, A REPRODUCTION\nOF ONE OF THE DESIGNS IN THE PORTFOLIO OF ETCHINGS by GORDON CRAIG.\nENGRAVINGS by GORDON CRAIG. & JULIUS OLIVER. GEORGE NORMAN, ETC. &"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c006", "article_bluemountain": "bmtnaau_1908-12_01#c006", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "186", "image_debut": 7, "image_fin": 8, "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=bmtnaau190812-01.2.5", "titre_corps": "MOTION : BEING THE PREFACE TO THE PORTFOLIO OF ETCHINGS", "titre_sommaire": "MOTION : BEING THE PREFACE TO THE PORTFOLIO OF ETCHINGS", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.7", "debut_caractere": 819, "fin_caractere_exclue": 2657, "texte": "MOTION. BEING THE PREFACE TO THE\nPORTFOLIO OF ETCHINGS\nby Gordon Craig.\n& The Beginning.... the Birth....\n& We are in Darkness........ all is still.\n& We hear no sound we feel no movement we see nothing.\nAnd from this Nothing shall emerge a spirit. Life....... a perfect and\nbalancing life.... to be called Beauty.... The Immortal Beauty of Change Eternal\nEven now as we wait watching, in the very centre of the void a single\natom seems to stir it spreads jg? jg?\nIt is the faint trembling of the first false dawn.\nAround us spreads a mist motionless and colourless.\nThe silence commands.\njg? Some Spirit seems to work there in the gloom as in a little buoyant\nwind a breeze which blows upon the veiled spaces and stirs them into life.\nAt last the Dawn, ineffably hushed beyond Silence, silent.\n& The light ascends, spreading ceaselessly.... Day arrives and passing turns to Night.... The\nfainting Light... the passing and the renewal of the promise.... Divisible and Indivisible.\nOnward ! The profound spirit throbs incessantly at its sweet task.\n& A form simple and austere ascends with prolonged patience like the\nawakening of a thought in dream. <£?\nA second and a third form seem to f0110w.... Always a double birth repeating.... a fourth,\na fifth, a seventh, and yet as we look we seem to see but four.... that first form which\ngave birth has passed; those two forms to which it gave birth have passed.\nFour shapes remain.\n& Ah, birth of my love, already you have multiplied fourfold I Cease\nnot until you will continue to increase!\n& But no eyes away from what is happening. & & &\n& Look there to the East! Something seems to unfold, something to fold.\nSlowly quickening without haste, fold after fold loosens itself and clasps another till that\nwhich was void has become shapely. And now from East to West, one chain of life moves"}, {"page_pdf": 8, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 1482, "texte": "like a sea before us, while slowly breaking from units into pairs, shapes\ncontinue to appear in endless procession while still the folds fold and unfold\n& Some rising, others falling passing and repassing one another.\n& Lingering responding to an approach..... shrinking at a repulse blindly\ntowering fainting..... parting meeting. & & &\n& And then a pause.... a perfect balanced thought is poised before us, and all\nis still AH is accomplished. Silence. All rests.... and only is it left now for\nthe tender liquid light to feel its way across this form.\n& Like freezing water it descends a little with delay, and like a dew it settles.\nNo more & & & &\n& Enough.... & &<&&&&?& <£?&&\nAnd may this love beginning have no en d .\nF\nor the fulfilment of this most superb dream must first come the union of\nthe three Arts ,The Arts of Architecture, Music and Motion.\n& These three Arts bring to the Religion of Truth three vital needs. &\nThe First brings the Place The Second the Voice The Third\nreveals the Event The Temple The Hymn The Balance.\nWithout Architecture we should have no Divine Place in which to praise.\nWithout Music no Divine Voice with which to praise. &\n& Without Motion no Divine Act to perform.\nArchitecture Music Motion\nThese are the great Impersonal Arts of the Earth and together form\nthe mysterious link between Now and the Hereafter. &\n& For the fulfilment of our most superb Life, these three must be again united\nfrom one end of the Earth unto the other.\nG. C."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c009", "article_bluemountain": "bmtnaau_1908-12_01#c009", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "191", "image_debut": 9, "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=bmtnaau190812-01.2.6", "titre_corps": "TWO THEATRES : INTRODUCTION TO \"AN ESSAY ON THE GROTESQUE THEATRE\"", "titre_sommaire": "TWO THEATRES : INTRODUCTION TO \"AN ESSAY ON THE GROTESQUE THEATRE\"", "signature_source": "Lêon de Schildenfeld Schiller", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3975, "texte": "TWO THEATRES, INTRODUCTION TO \"AN\nESSAY ON THE GROTESQUE THEATRE\",\nby Lêon de Schildenfeld Schiller.\nt was in Athens, on the feast of St John A. D.... under the\nreign of the just Duke Theseus, the subtle connoisseur and\nprotector of fine arts. After a night of magic dreams, the\ngolden grains of which Robin Goodfellow sowed so heedlessly\nabout, after a night ringing with the lullabies of wanton\nelves and the braying of the jovial donkey, out of the\ndepths of the sea into the heavenly vault loomed the\nradiant triumphal car of Phoebus drawn by nimble chargers.\nThis time the day was short, for the divine charioteer was\nhastening to the Duke's palace which shone with the\nwhiteness of marble on the western side of the town of Pallas.\n|\n\\ Having attached the foaming steeds to an olive tree, Argyrotox\nwas turning his steps towards the palace gates, to convey to the guardian of his nine\nsultanas, his congratulations on the occasion of his marriage with the beautiful Queen of\nthe Amazons, when suddenly a strange scene presented itself to his holy eyes. He perceived\nthe master of the revels, Mr. Philostrate, on the steps receiving petitions from the hands\nof well® fattened Athenians. & &\nAnd there were there among the tanners and brewers \" The best actors in the world,\neither for tragedy, comedy, history, pastoral, pastoral-comical, historical- pastoral, tragical-\nhistorical, tragical-comical»historicaS«pastoral \" for whom \" Seneca cannot be too heavy, nor\nPlautus too light,\" wishing to contribute to the illumination of the Duke's entertaiment\nwith the performance of two dramas, the true pearls of their repertory, under the humble\ntitles of \" The riot of the tipsy Bacchanals, tearing the Thracian singer In their rage,\"\nand \" The thrice three Muses mourning for the death of Learning late deceased in beggary.\"\nThere was also an authentic Athenian eunuch desirous of singing to the sounds of the harp\n\" The battle with the centaurs.\" & & &\n& But the mighty Duke having just risen from a luxurious banquet had no wish to taste\n\"caviar\" in which his subjects could never find delight, so they ashamedly went away, the\nactors tragical and comical, historical and pastoral, vowing never to return to this inhospitable\nthreshold, consoling themselves with the thought of a better reception at the castle of\nElsinore. The Athenian eunuch was also dismissed with a rebuff, and, it seems, has founded\na \" Classical \" Music Hall, (le nu esthetique) in Paris. &\nThere remained only a small group of artisans with the carpenter Peter Quince and\nthe weaver Nick Bottom at their head. These simple fellows falling on their knees before\nthe master of the revels, avowed in compunction of having dared with their coarse red\nhands, to bring a gift to the Gracious Reigning Duke, and that they were desirous of\npresenting it in person at the feet of his majesty. This gift was \" A tedious brief scene of\nyoung Pyramus and his love Thisbe: very tragical mirth! Merry and tragical!\" Philostrate\nshook his head,... but being mollified with a purse of coppers, notified the duke of the matter.\nThe good duke (whose name be famous in all ages) uttered these winged words; &\n\"....I will hear that play;\nFor never anything can be amiss,\nWhen simpleness and duty tender it,\"\nThe Sun God heard these words and, seized with a terrible anger, turned back, seating\nhimself as quickly as possible in his air chariot, and as he rose above the roof of the palace\nshot an arrow from a silver bow, which, sticking into Mr. Nick's nose, caused his noble\ncheeks to run with blood. & & &\n& Apollo's disappearance was so sudden and unexpected, that the court panegyrist had not\nsucceeded in writing the hymn in honour of the setting sun on the duke's wedding day. The\noffended God never returned, although the sun always shone over Acropolis, although little\nchildren heard in their dreams the mysterious sounds of his lyre. &\n\nlii Athc u >s .\nThe Actors*\nTheir dismissal.\nThe artisans*\nApollo ."}, {"page_pdf": 10, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.10", "debut_caractere": 15, "fin_caractere_exclue": 4399, "texte": "& In the meantime the highly respected carpenter Peter Quince and the enlightened weaver\nNick Bottom, putting on one side their ill-paid trades, fell into the embraces of the kind\nMuses. Having sold their tools they bought, at second-hand shops, styles, wax tablets,\nbuskins and masks. An agreeable accord reigned between the two ex-artisans: Quince wrote\nthat which Bottom wanted, Bottom played that which Quince desired; but always it was Quince\nwho obeyed Bottom, this latter, in fact, distinguishing himself for his presence of mind and\ncunning. At first these performances took place in the \" enchanted wood near Athens \"\nbefore a small group of spectators, composed for the greater part of old mates. As however\nmischievous Puck never ceased playing his pranks on the passionate \" part devourers,\" and\nas the fair beholders, rather with clownish laughs than in oboles, paid for the touching\nspectacle, it was decided to remove to Athens. & &\nAnd thus it happened that, in a short time after the duke's wedding feast, a new\ntheatre was erected in Athens under the patronage of Apollo. The architecture of the\nbuilding cleverly united the temple with a lupanar. On the frontal was to be seen from\nafar the luminous inscription: & & «£?\n\"APOLLO \"\nA MOST CLASSICAL THEATRE\n»\nUnder the Direction\nof\nMessrs. Peter Quince and Nick Bottom.\nj£? The solemn inaugural performance was given on the natal day of an heir to the throne,\nwith the co-operation of the most eminent actors, recruited from the oldest families of\nartisans. The advertisement for the night (which long remained engraven on the minds\nof the spectators) announced the beautifully written tragedy of Prof. L. Anneus Seneca,\nunder the title of \" Frantic Hercules \" composed according to the sacred law of Stagyrite's\npoetics. The performance was preceded by a \" conference \" by M. Georges de Scudery governor\nof Notre Dame de la Garde, likewise the ornament of the Hotel de Rambouillet's drawing\nrooms. The distinguished esthete highly praised the \" agreeable beauties \" of the classical\ndrama, referring his hearers to the XX chapter of Aristotle's Poetics, to the X chapter\nof Plato's Republic, to the VI chapter of Heinsius' treatise on the disposition of tragedy etc,\netc. At the end a fairy ballet was given under the title of \" Titania \".... in the apotheosis,\namidst the lights of Bengal fires, the Fairy Queen herself appeared, in flesh-coloured tights,\nrouged, and wearing a crown cut out of gold paper. \" Several thousand people were turned\naway from the ticket office \" note the chroniclers. & & & &\nThe theatre prospered. On the repeated demands of the public, whose hands were swollen\nfrom the continual applauding of the authors and actors, the management resolved upon\nfixed \" claps \", thus enabling the spectators to express their enthusiasm in a less painful\nmanner, and even, from time to time, permitting them to doze in the comfortable dusty seats.\n& The theatre prospered. Mr. Quince wrote, altered, shaped, localised, and in this occupation\nhis cast-off trade came in useful more than once. Mr. Bottom was always at his beck and\ncall with his enlightened advice and played.... played everything. He was a real virtuoso.\nWith his capability for transformation and his everlasting youth he surpassed in the opinion\nof some the Divine Sarah. Among his most beautiful creations he reckoned the parts of:\nCleopatra, Dido, Hecuba, Adrienne Lecouvreur, Monsieur Perrichon and the Due de Reichstadt.\n& The theatre prospered. After the death of Mr. Quince, the theatre was managed\nsuccessively by Messrs. Abbd Delille, Crebillon, Scribe,... until at last the sceptre of dramaturgy\nreposed in the hands of Maitre Victorien and of the Great Hermit of Cambo.\n& The theatre prospered. On the stage, which represented a vestibule leading nowhere,\nstrolled about \" personnages going nowhere, speaking of little, with undecided ideas and\nvague words, slightly agitated by mitigated feelings, by peaceful passions, thus coming to\na graceful death or to a false sigh.... Inania regna! (i) & & &\n& The theatre prospered.... before the eyes of the lookers-on passed the wax figures full\nof the grace of tragedy, of the Governor Scudery, Cardinal Richelieu, or of Casimir Delavigne.\n\nQuince c£* Bottom\nA new theatre.\nThe inaugural\np ei for mane e •\nThe theatre\nprospered.\nA vestibule\n\n(i) A. de Vlgny, Lettre a Lord...."}, {"page_pdf": 11, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4571, "texte": "Above all, the beautiful recitation of beautiful verses was beloved. From time to time the\nactors were allowed to shout louder, or to make grimaces, as for instance In \" Rhadamist\net Zenobie \", or in \"30 ans ou la vie d'un joueur \". From time to time the scenes were\nchanged and complicated. Instead of the famous vestibule, a garden was shown with a\nfountain, with marble cupids and a hopelessly green moon, or a square before a church whose\nwalls, even in ultra-catholic pieces, shook on the entry of the comedians in operatic costumes.\nThe theatre prospers. Mr. Bottom lives, and is accustomed to say with a smile\nto his ever-charming wife, Titanla, (she is divorced from Oberon) that he is immortal.\n\"Quo usque tandem Titania?...\"\nII.\nOnce some Languishing Mariners, sailing towards a new earth, were awakened by the\njoyful cry from the stork's nest, \"Land, Land!\" The celestial watchmen had just gone off\nguard, extinguishing their tiny golden lamps, which pious sailors are wont to call \" Stars\nof the & &\nFrom the east, in a mist-woven tunic, advanced with dancing steps over the ocean, Rosy-\nfingered Dawn, scattering all around by handfuls, diamonds, sapphires, and rubies which\ndissolved themselves into a thousand sparks amidst the waves. As to the chalice of a lily\ndreaming on a brook, falls the silver tear which night sheds from her black eyes as a farewell,\nwaking the marvellous flower with a shy kiss, so the afore-mentioned Good Tidings descended\ninto the souls of the crew, fatigued with adventures and dreams of wonderful landscapes. &\n& After having rubbed their eyes and intoned their morning prayer, they descried, standing\non the bows of the vessel, the figure, well-known to their fantasies, of Ariel, who, unfurling\nhis butterfly wings like sails, cut through the air, accompanying their chant with the\nthrumming of his harp. About noon anchor was dropped on the shores of an island, which,\nso Ariel informed them, was governed by his master, the good Magus Prospero. &\nAnd a strange island it was, abounding in extravagant trees bearing fruit larger than\nthat which the emissaries of Moses brought from Canaan, as is painted in Bibles for children.\nAnd a strange island it was, abounding in variegated-winged birds, able to sing so softly,\nso beautifully and so movingly, like ancient musical clocks which are the suns in the grey\nrooms of old women. A strange island it was, abounding in people conversing in rhyme\nwith the sun, with the sea, and with the flowers in the likeness of those beautiful sick at\nheart, imprisoned in closed gardens. &\nThe astonished and childishly delighted wanderers were invited by King Prospero to a\nfeast, which he himself had prepared in his magic laboratory. The tables groaned under\nthe weight of rare dishes heard of only in the tales of \" Idler's Land \". Into crystal\ngoblets Ariel poured, from sapphire ewers encrusted with minute golden stones, which in\na mysterious way depicted the chart of the starry sphere unknown to the inhabitants of\nthe real world, the beverage extracted from poppies. From this chart, as it were from holy\nrunes, the very strange host deciphered wise and inebriating sentences. &\n& \"And now that I have shown your Excellencies all the wonders of this island\" said\nProspero, \" I make so bold as to invite you to my theatre. Poor it will certainly seem to\n\" you worldlings, who have swept the dust in more than one opera and who have danced the\n\" 'Cancan' with more than one ballet girl. Howsomever my labours and those of my spirits\n\" may appear to you, one thing I humbly beg, flattering myself with the hope that in your\n\" kindness you will not refuse to grant my request: believe, that everything you will see here is\n\" true. Behold! there is the setting sun, and silver garlands of stars appearing on the\n\" horizon persuading us to hasten to the theatre. \" &\n\" Behold! the joyful dance, in time with the murmur of the sea, of tSiese three beings who\n\" are the symbol of my Power. Dance, Caliban! dance, Ariel! And thou, rny beloved daughter\n\" Miranda, trip it in company with them in this circle described by my magic wand. Look,\n\" strangers, how foulness and beauty stretch forth their hands towards their earthly form,\n\" in which only they obtain life, when they become of her marrow, when they become of\n\" her blood. What would Ariel be in himself?... the hazy breath that hovers over the earth,\n\" never able to touch it with his feet. What would be Caliban?... a hideous reptile deprived\n\"of the delights of flight. What would be Miranda?... she would be unworthy of her"}, {"page_pdf": 11, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.11", "debut_caractere": 4588, "fin_caractere_exclue": 4665, "texte": "The Mariners.\nAriel. &\nA strange\nisland. &\nKing Prospero.\nThe joyful\ndance. &"}, {"page_pdf": 12, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.12", "debut_caractere": 15, "fin_caractere_exclue": 4579, "texte": "\" name.... nothing more than an inanimate clod of earth, condemned to everlasting sterility.\n\" Behold! Wonder of wonders! Miranda draws Ariel to the earth and adorns Caliban's\n14 shoulders with wings.... and this miracle accomplished by her, causes her pale cheeks\n44 to redden with a blush and a blissful smile to spread over her Sips. All this is the work of\n44 Occult Science, whose priest am I, gentlemen!\n44 Gracious King \" exclaimed the enchanted Captain, 44 In my life, such marvels I have\n44 never seen. I know Peter Quince and Nick Bottom's town theatre in Athens and have seen\n44 there in burgherish melodramas this monster, who now does not appear to me so terrible,\n44 1 have seen also this white spirit In classical tragedies and which now, God knows, is not\n44 at all so tiresome.... but never have I seen Miranda\". & &\n44 Miranda is my creation, Captain, and my theatre is on an enchanted island, which your\n44 excellencies must remember. But it is time already.... forget about the carpenter and the\n44 weaver, about their theatre and repertory. Better surprises are in store for you. I have\n44 shown you but a small portion of my Power, so as not to overwhelm you with the whole\n44 later on. Your Excellencies will kindly follow me. Sound the fanfare!\"\nOn this command the royal herald, a triton, put the curl of a shell to his mouth and\ninflating his cheeks began to blow, thus informing all the inhabitants of the island that the\nperformance was about to commence. Our travellers passing through the enfilade, the\narches of which were formed by the intricately twisted boughs of fabulous trees, found\nthemselves suddenly in an amphitheatre, built of monstrous stones overgrown with\nmoss, brought expressly, so it seems, for this end, from cyclopean isles. &\n<£> And a strange theatre it was. 44 Glow worms took the places of lamps; a cockchafer\nbeating time with his antennae stood before the desk; a cricket had seated himself in the\norchestra and a nightingale was first flute; wee sylphs, come out of peas blossom, held\nbass viols made of lemon peel, between their well formed little legs, whiter than\nivory. \" (i). Hold! The golden winged dragon flies sitting on the chalices of the bind weed\nwhich climbed over the stage, touched their little hearts, giving, with a peal, the signal to\nthe band master to commence. &\nHush! The tiny maestro in a snuff-coloured dress coat reaching to his ankles raises the\nbaton.... the Overture. The grasshoppers begin on their guitars, to strike the soft chords\nof Rossini's night seranade....\n44 Piano, pianissimo, senza parlar!\nTutti con me venite qua, venite qua\".\nOn this conjuration, mild Zephyrus flutters the hair of timid Dryads who begin to speak\nn a leafy whisper to themselves.... on hearing the sounds the awakened naiads began to\nsplash with their hands in the spring, striking on the glassy surface of the waters silvery\narpeggios.... some well-known melody.... intoxicating with the perfume of raspberries and\nyoung fir trees.... Aaa! To be sure, it is Mendelsohn's scherzo in 44 A Midsummer Night's\nDream \". The director gives a signal for change of time. From the depths of the wood\nthe wind brings the tooting of an owl sick with sleeplessness, and the obstinate rythmical\ntapping of a woodpecker.... Tempo di marcia.... Grieg's 44 Procession of dwarves\".... Long-\npause.... On the background of the gloomy croaking of frogs, who, attracted by the unusual\nconcert come out of the marsh.... somewhere, far off, a corncrake answers from a bed of\nbulrushes. It is Oberon's golden horn, at whose voice everybody breaks out in dance....\nan enchanted dance.... the dance of forgetfulness. A waltz now passionate, now melancholy,\n44 Aufforderung zum Tanze \" do you hear the rustle of silk dresses, the mocking laugh of\ncoquettes, do you hear the prayers of tortured lovers, the blood inflamed mad vivace and\nkisses on inebriated lips each time softer and each time more burning!\nAgain the owl responds.... but this time her voice is more dreadful as though she would\nforetell some evil.... the wind has seized the violin and plays a terrible song.... all the\nstrings are broken already.... but the indefatigable player strikes the case time after time\nwith the bow, attracting her night companions: bats, crows, death's heads and venomous snakes.\nThe fluttering of wings, the hissing of evil reptiles and the dismal croaking of voracious\nbirds, deafen the lament of Orpheus' lyre:\n\nOccult\nScience .\nThe Herald.\nA strange\ntheatre .\nTh e overture\nThe owl\ntesponds.\n\n(1) Gautier, \" L'art dramatlque"}, {"page_pdf": 13, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 1920, "texte": "\" Laissez«vous toucher par rnes pleurs\nSpectres, larves, ombres terribles,\nSoyez, soyez sensibles\nA l'exces de mes malheurs.\" (i)\nVulcan from his forge replies with a clap of thunder imitating the roll of kettle drums.\nSuddenly a thunder bolt tears asunder the curtain of spider's web. On the proscenium\nProsper© makes his appearance as Prologus, in a chasuble embroidered with mysterious\nsigns and with a magician's mitre on his head. The fantastic players pass now into the\nmajestic larghetto of the air from Mozart's \" Magic flute,\" \"In diesen heil' gen Hallen\"....\nThe magician' to the low accompaniment of the melody, concluded his speech with this\nincantation:\n\" Drum schonet mir an diesem Tag\nProspekte nicht und nicht Maschinen!\nGebrauch't das gross'und kleine Himmeslicht,\nDie Sterne diirfet ihr verschwenden;\nAn Wasser, Feuer, Felsenwanden,\nSo schreitet in dem engen Bretterhaus\nDen ganzen Kreis der Schdpfung aus,\nUnd wandelt mit bedacht' ger Schnelle\nVom HIMMEL durch die WELT zur HOELLE. (2)\nis the interpreter of the inexpressible; and it therefore seems a folly to try and convey\n\" its meaning afresh by means of words.\" & & & GOETHE\n\" ''jphe Artist is told to go and study Nature. But it is no small matter to evolve the lofty\nout of the commonplace, or beauty out of formlessness.\" £? GOETHE\n\" r would persuade us that, according to your system, we not only should\ndecline the succour of the wretched, but avoid the sympathies that poets and historians\nwould awaken in us. Probably for the sake of introducing some idle verses, written by a\nfriend of his, he says that, following the guidance of Epicurus, we should altogether shun\nthe theatre; and not only when Prometheus and CEdipus and Philoctotes are introduced,\nbut even when generous and kindly sentiments are predominant, if they partake of that\ntenderness which belongs to pity.\nLANDER, \" Imaginary Conversations(Epicurus, Eeontion & Ternissa.)"}, {"page_pdf": 13, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.13", "debut_caractere": 1937, "fin_caractere_exclue": 2027, "texte": "Vulc an .\nThe incantation,\n\n(1) Gluck, \" Orphee \"\n(2) Goethe, \" Faust,\" Prolog lm Theater."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c012", "article_bluemountain": "bmtnaau_1908-12_01#c012", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "192", "page_fin": "194", "image_debut": 14, "image_fin": 16, "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=bmtnaau190812-01.2.7", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK PLAYS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK PLAYS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 3663, "texte": "THE ARCHITECTURE\nAND COSTUME OF\nSHAKESPEARE'S GREEK\nPLAYS\nby E. W. Godwin.\nTimon of Athens is one of those plays which is so far a\ndoubtful or at least a patched work, that one need not be\nultra-conservative in the matter of stage directions. Thus I\nhave no hesitation in uniting the first, second and third\nScenes of the third Act into one external or street scene,\nthe first and third Scenes being enacted at the thresholds\nof the houses of Lucullus and Senipronius. The fifth Scene\nmight be omitted altogether; it has nothing to do with\nShakspere, and certainly nothing to do with the plot. The\nshort first Scene of the second Act may also very well be\nomitted in stage representation. If further we make the\n\" room of state \" of the second Scene of the first Act the\nsame as the \" magnificent room \" in the last Scene of the\nthird Act, we shall have the architectural scenery reduced\nto the following list:— & &\n1. A hall in Timon's house.\n2. A room of state in Timon's house.\n3. A public place.\n4. Without the walls of Athens.\nThe Siall in Timon's house (Act L, Sc. i; Act 11., Sc. 2;\nAct 111., Sc. 4; Act IV., Sc. 2) can be no other than the\nTtpoOupov approach, vestibule or court between the street and\nthe front door. There might have been merely a wall or a\nwall with colonnade towards the street and several entrances\nleading from it to the court or prothyron. This court was\nin effect as free as the street, for the porter and the dogs were always kept within the front\ndoor of the house itself. A once rich and ever generous openhanded man like Timon would,\ndoubtless, have his residence built in the best possible way, so we may fairly conclude that\nit was constructed of Pentelic marble, that its walls were covered with imagery, that its doors\nwere clothed with costly metals and ivory, in a word, that it was exceptionally magnificent,\nand nearly, if not quite, as sumptuous as the palace of king Leontes in Sicily. In the banquet\nscene the guests would recline on couches, for although the men of Homer's time and the\nDorians of Crete always sat, the Athenian had learnt to eat in a reclining posture long\nbefore the time of Timon. One couch held, as a rule, only two guests (1) and had a separate\ntable provided for it. Upon these couches were heaped goat skins, carpets, and cushions,\nso as to make them not merely comfortable but luxurious. The dinner, when of the most\nrecherche description, consisted of soup, boiled fish, poultry, and meat, piled up on the\ntables; these done with the tables were removed, then followed the finger glasses of the\nperiod, plaited chaplets of flowers for the heads of the guests, and perfumes handed round\nby firm limbed girls; last of all, the loving cup passed round to the sound of music, and\nthen were brought in clean or fresh tables piled with fruit baked cakes, and toasted sweetmeats.\njZ? Leaving Timon and his friends over their wine and water we pass into the street, and find\nthat a public way in Athens was not very unlike what it was in Sicily. Of the walls of\nThemistocles and of the gates nothing remains, and any attempted restoration of them must\nbe in great part conjectural. We are told that they were sixty feet high. There are\nremains of foundations at Pass turn and other places to show us how thick these Greek\nfortifications sometimes were and how they were constructed. That there were square\ntowers and battlements and loopholes may also be received as tolerably certain. We may\nalmost take it for granted that the gateway was square-headed, and that the masonry\n\nTimon of Athens\nPagill a d .\nThe hall.\nA p nblie way\nin At hen s .\n\n(1) The Roman couch was usually arranged for three."}, {"page_pdf": 15, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 5040, "texte": "was massive and regular, but if we wish to go further than this, restoration must be\nsupplemented by design. ds? & & jg? &\nAnd now turning to the costume of B. C. 430=407. I confess lam troubled; not for want\nof authorities but through excess of them. On marble, vase, coin, and gem are the illustrations\nwhich the old Greek has left us of the written word. This last tells us of women decked\nout in the feminine yellow or saffron-coloured chitons over loose Cimmerian transparent\nchemises, or chitonians of fine linen, with girdles round the waist, and sandles on the feet.\nAn outer garment and a cloak, or himation, was worn over the chiton, the latter usually\nat night and in cold weather. Besides these, mention is made of Persian slippers, veils\n(shawl or peplos), parasols, small mirrors suspended from the girdle, rings, necklaces, gold\nornaments, paints and unguents for the skin, the head-dress, the head-band, and the caul\nor net cap worn also at night. We are told of the hair of some women being cut bowl-fashion,\nof that of others being loose and flowing. As to the men, we learn that they wore a linen\nshirt, a chiton, girded, shoes, and in winter a cloak and boots, and that they wore the chaplet\nof flowers received at dinner throughout the evening, although they might be going to other\nhouses. The colours most usually employed were the Tyrian purple, the Sardian red, soft\nwhites, tender greens, and dark blue-greys.\nIt is somewhat strange that, considering the abundance of illustration in the British\nMuseum alone, a Greek dress has yet to be made; for neither in the numerous (attempted)\nClassical costumes of the stage, nor in the paintings of Classical subject publicly exhibited\nhas a Greek tunic or chiton been fairly represented. It is quite impossible without the help\nof drawings to fully explain the different shapes of and modes of wearing this the chief article\nin a Greek wardrobe; but it may be noted— (1.) that fineness and closeness of texture in the\nwool is essential; (2.) that fullness of material so as to secure a multitude of folds is equally\nnecessary; (3.) that the gigantic key and wave borders we have been accustomed to see on\nthe English stage have nothing to do with Greek work of the time of Alcibiades; (4.) that the\ndecoration of the dress was effected by double lines and dots arranged vertically in the\ncentre of the front of the chiton as well as by border lines; (5.) that there were sundry kinds\nof girdles ranging from the simple string tied in a large bow at the front or side to the\nbroad metal zone tied or clasped; and (6.) that there were two distinct kinds of chiton—one\nsingle bodied, and the other compound or double bodied (called 5171X0%), which consisted in\nthe chiton being much longer than the person, the extra length being doubled over, and\nfalling over the front and back as low as the waist or lower. Besides these common forms\nof the chief dress we meet with illustrations of over dresses reaching some distance below\nthe waist, and girded. Some of these have short shaped sleeves, and some have long, loose,\nor bag sleeves. Another form which has the appearance of a sleeve is nothing more than\nthe upper extensive hem of the chiton dropping over the upper arm, and looped up by one,\nthree, four, five, or six buttons. For the Greek chiton was formed of a square cut piece of\nwool, and was as broad or broader than it was long. When, therefore, the dress was not looped\nover the arm, it hung from the shoulder button in an open fold under each arm, through which\nmight, perhaps, occasionally be seen the delicate chemise or vest beneath. The borders were\nusually enriched with single lines, sometimes dots set close together were added on one or\nboth sides of the line, and in the richest examples double lines occur, the upper band thus\nformed enclosing embroidered figures—the marginal one decorated with conventional leafage.\n& Various, too, was the arrangement of the women's hair, as also the designs of their\nhead-dresses. Some of these were extremely beautiful, others, again, look awkward, not\nto say ugly, if such an objectionable word may be allowed in connection with anything\nGreek. The bracelets were chiefly of gold, made in the spiral form. Necklets were mostly\nof beads or pearls, which were also used for the head-dress, for neckchains, and even girdles.\nThe peplos or shawl, and the chlamys or scarf, were worn out of doors. The first of these\nwas a very capacious sort of wrap, and was often used as a cover to choice furniture.\nIt was usually worn round the body, the end being thrown over one shoulder\nand falling to the bottom of the back. The scarf was sometimes made in an oblong piece,\nthe length equal to twice its width, and sometimes with triangular goars or wings added.\nThe chiton and chlamys were worn by both sexes. I might go on exhausting the patience\nof my readers with descriptions of the different methods of wearing the scarf, and of\nmany other modes and details of dress, but if anyone is anxious to learn more they have but"}, {"page_pdf": 15, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.15", "debut_caractere": 5070, "fin_caractere_exclue": 5117, "texte": "The costnme.\nThe Greek tunic\nThe women*s\nhair ."}, {"page_pdf": 16, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.16", "debut_caractere": 28, "fin_caractere_exclue": 1659, "texte": "to devote a spare day or two to the British Museum, or, if this is not within their reach,\nHamilton's \" Vases\" may be consulted. & & & & & &\nAnd now, after one has been wandering in museums and noting ancient eastern authors,\nit is quite a refreshing change to come home once more and to turn to the notices of costumes\nin the text of Winter's Tale and Tim on. iiermione's words—\n—You may ride us\nWith one soft kiss, a thousand furlongs, ere\nWith spur, we heat an acre,\nintroduces us at once to a period wholly different from the time of Alcibiades. As we go\non we hear of the day when Leontes saw himself unbreech'd in his green velvet coat, his\n44 dagger muzzled lest it should bite its master, and so prove, as ornaments oft do, too\ndangerous.\" Hermione wears \" a medal,\" also called \" a jewel,\" hanging about her neck, a\nfashion we see illustrated in many of the sixteenth and seventeenth century paintings.\nPaulina is persuaded of the clown's truth by recognising her husband's handkerchief and\nrings. And lastly, in the fourth Act, mention is made of '• three pile \" (velvet), and of a host\nof Elizabethan millinery, \" ribands of all the colours in the rainbow,\" points or tags, inkles,\ncaddisses, cambrics, lawns, tawdry lace, tape, silk, thread, sham jewels, brooches, pomanders,\nshoe-ties, and\nGloves, as sweet as damask roses;\nMasks for faces, and for noses;\nBugle bracelet, necklace-amber,\nPerfume for a lady's chamber:\nGolden quoifs, and stomachers.\n& In Timon of Athens drums and gloves are almost the only words which refer to costume\nor properties of a later age than that to which this history belongs. &\n\nHermione."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c015", "article_bluemountain": "bmtnaau_1908-12_01#c015", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "195", "page_fin": "199", "image_debut": 17, "image_fin": 21, "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=bmtnaau190812-01.2.8", "titre_corps": "PLAYS & PLAYWRIGHTS, PICTURES & PAINTERS IN THE THEATRE", "titre_sommaire": "PLAYS & PLAYWRIGHTS, PICTURES & PAINTERS IN THE THEATRE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4356, "texte": "PLAYS & PLAYWRIGHTS, PICTURES\n& PAINTERS IN THE THEATRE,\nby Gordon Craig.\nI go and however intelligent or unintelligent the people may be, and however\ni carefully they have read what I have written upon the Theatre, the eternal question\ncomes back over and over again: sometimes aggressively put to one, sometimes nicely put:\n\"Do you want to sweep away all the plays out of the theatre? Do you find the idea of the\npoet in the theatre offensive ? Please say what is the meaning of this extraordinary idea of\nyours, that that which has been good for hundreds of years is suddenly to be held as bad.\"\nIt is exceedingly difficult to reply to all this, and as it is exceedingly difficult let us try\nto do SO. jg? <£&&&&/£/\n& Of course to me the whole question is so clear that it ceases to be a question any longer.\n5t has become the obvious with me that when man sets his hand to a work he should not\ntake by the wrist another man's hand and use it to do the work in question, and then call\nit his work. & &\nThe whole thing is so obvious to me that in order to be able to reply carefully and\nsensibly to those to whom it is not obvious, I must remove myself from the picture before\nme, and see every line in the pictures which the others see. And if I try to do that I shall\nhave to see some very dull things, and discuss some very dull points, which are obvious\nto most of us; but if the question has to be gone into at all perhaps this is inevitable. &\n& I have a horrible dread of proving people to be wrong, especially the man who takes\nthe Arts easily. I have more than a large appreciation of his good sense. Besides Ido not\nwant to prove that the man who goes to the pit to see 44 Richard III,\" is wrong for going\nthere, no matter what his reason is. &\nLet us take the whole front row of the London pit, consisting of twenty people.\nAsk them the reason why they have come to the theatre. Five reply, \" 1 come to\nsee Mr.... act.\" Three reply, 44 It is such a great play, I like to hear it so much.\" Two\ngiggle and reply, \" We don't know why we come, but we think it is such fun. \" Two\nare there from a sense of duty both to the actors or the play, and to the audience; and\nthe other eight will give us several elaborate and conflicting reasons for their presence.\n& One will say, that it is the extraordinary sense of the impossible, the grim absurdity of\nthe whole thing, which fascinates him (excellent judge!). rz/\n& The second will tell you that after having spent the day among dull and matter of fact\npeople it is quite interesting to find a body of people who will sit still while actors and\nscenery are pretending on the stage. &\n& Then there is the third, the critical man; one who having read how Edmond Kean\nilluminated Shakespeare by sudden flashes of genius, and that the Kemble family were of\nthe 44 classical\" school and that Charles Fechter was a romantic actor, and having read a\nhistory of the stage which skips over the first couple of thousand years in two pages and only\nbegins to go into detail when it comes to the Shakespearean era, this man will be there,\nbecause somehow he feels that the thing would be incomplete without him; he is one of\nthe men who know.... has he not read all about it? & & & &\n& Then next to him is sitting a young lady, who, with the intelligence which is natural in\nher sex, is ready to see all that is there and more, (or less) if required; and yet indeed she\nleans towards the 44 more \" and is ever the champion of the 44 more \" when she finds it. &\n& Next to her sits the grumbler, one who goes to a theatre because he must, and who, 1\nbelieve, is always the one who is most deeply moved by what he sees. Yet when the curtain\nis once down he will tell you that was not the way to do it at all. 44 Why,\" he says, 44the\nactors are so many sticks; nothing real about them. \" He draws our attention to the flapping\nscenery and grumbles about the incidental music which he says spoils the effect; and he\ndetests all those flashing lights, which, he says, spoil the illusion. But what illusion is\ndestroyed he is totally unable to define. The rest of the row say that it is very nice\nindeed and they all applaud heartily, while he continues to grunt and mumble and keeps\n0n repeating that 44 that isn't the way to do it.\" &\n\nThe eternal\nquestion .\nA front row\nin the Pit.\nThe critical\nman. &\nThe grumbler."}, {"page_pdf": 18, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.18", "debut_caractere": 58, "fin_caractere_exclue": 4023, "texte": "& And so we see that very nearly each single man or woman is come there for a different\npurpose, sees the thing in a different light, and composes what we can term an \" audience\nthat is to say a single idea; that audience which the actor always looks on as one man, and\nwhich we must accept as the \" ideal spectator.\" & &\n& One thing is irrefutable. They cannot keep away from the theatre. And another thing\nwhich we must admit is this: that out of the twenty, fifteen have come to see something. 1\nwill even go so far as to say that the entire twenty have come to see something; because\nthe first on our list, the first five who came to hear Shakespeare more or less admit that\nthey came to see it performed, for had they wished they could have Joined the many\nthousands who sit at home and read it silently, and in this way hear it in their mind's\near with all its amazing and wonderful accompaniment; or joined those who read it\ntogether in Societies.\n& So we can say somewhat surely that all have come to see the play. & This\ndesire is as fierce as any in the nature of man. Only when seeing does a man\nthoroughly believe. There are innumerable proofs of this, and many will occur to you at\nthis moment without my mentioning them. So now; it Is reasonable to ask that that which\nthe people desire and go to the theatre to find, should be given to them.\n& They go to see something; they should be shown it. Only by showing them\nwill they be satisfied. Therefore I hold that properly to satisfy their eye, and through that\ntheir being, we should not confuse them or confuse their sense of sight which is most\ndelicate, by pounding at the same time at their ears with music or with words, nor by\nattacking their minds with problems and shaking their bodies with passions. &\n& Let us take something as an example of what I mean.... that part in the play of\n\" Macbeth \" where he prepares to nerve himself to rob King Duncan of his life. He is roaming\nabout in and out of the dark corridors of his castle. Behind him, like his shadow, a servant\nmoves, they pass and repass a window, and I think I see him gazing out a long time towards\nthe heath. He continues his prowling, and then rests upon a stone bench. The servant\nholding a trembling light, looks at him, and he looks back again.... Once more he begins to\npace the corridor, he is afraid to be left alone. He thinks of his wife, then becomes more\nafraid of being left quite alone ;..v \" Go, bid thy Mistress when my drink is ready she\nstrike upon the bell.\" The servant departs. He continues to roam up and down. In his\nagitation the figure of his wife takes the place of his servant. He feels particularly fine;\nhe has an audience; he seems to take courage and his desire warms in him. He will do\nit.... The servant returns, startling him for an instant.... \"Get thee to bed \" He watches\nthe flame of the torch as it dwindles and dwindles, down the steps leading to the basement;\na flame at first, it now became a streak.... a streak.... & & &\n\" Is this a dagger that I see before me?\nThe handle towards my hand? Come, let me clutch thee;\nI have thee not, and yet I see thee still.\nArt thou not, fatal vision, sensible\nTo feeling as to sight? or art thou but\nA dagger of the mind; a false creation\nProceeding from the heat»oppressed brain.\nI see thee yet, in form* as palpable\nAs that which now I draw.\nThou marshal's! me the way that I was going;\nAnd such an instrument I was to use.\nMine eyes are made the fools o' the other senses,\nOr else worth all the rest: I see thee still\nAnd on thy blade, and dudgeon, gouts of blood\nWhich was not so before. = There's no such thing.\nIt is the bloody business, which informs\nThus to mine eyes.... Now o'er the one half world\nNature seems dead, and wicked dreams abuse\nThe curtain'd sleep; now witchcraft celebrates\nPale Hecate's offering; and wither'd murder,\nAlarm'd by his sentinel, the wolf,\n\nDifferent\npurposes,\nThey come to\n* see' the play.\nMacbeth.\nHis visi on."}, {"page_pdf": 19, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3904, "texte": "Whose howl's his watch, thus with his stealthy pace,\nWith Tarquin's ravishing strides, towards his design\nMoves like a ghost.... Thou sure and firmset earth,\nHear not my steps, which way they walk, for fear\nThe very stones prate on my where«about,\nAnd take the present horror from the time,\nWhich now suits with it.... While I treat, he lives:\nWords to the heat of deeds too cold breath gives.\n(A bell rings)\nI go, and it is done; the bell invites me.\nHear it not, Duncan; for it is a knell\nThat summons thee to heaven or to hell.\nNow here is what I mean. This same idea, these same figures, these same visions, can\nbe better brought before the eye and so into the soul of the audience if the artist\nconcentrates on that which appeals to the eye, than if that which appeals to the brain, and\nthat which appeals to the ear is making simultaneous confusion, (i) &\n& It is difficult to read this one speech of Macbeth slowly, when other sounds and sights\nare exterminated and we are quiet in our rooms, and get the full value of what Shakespeare\nhas put there. We can read the speech three, four or five times, and then only is some of\nits worth caught by us. And having read this speech three, four, five times let anyone\ncontinue to read the entire play, and he will be as fatigued as though he had walked\ntwenty miles. But he will have felt some of that which Shakespeare intended him to\nfeel, though by no means all. & That which he feels we shall not feel when we go to see\nthe play performed in the theatres. &\nWhen we read those lines we are not cramped within three walls. We wander up to\nthe top of the Castle with Macbeth, we gaze across the rooky woods and across the hills;\nwe can descend with him into the cellars, we may pass out and among the bushes which\nbank themselves at the foot of the damp castle of Glamis. And if we only went so far with\nShakespeare 1 should not have reason to object to the cramping in between three walls\nwhich we are subjected to in the theatre; for we should not be great losers. But when we\nread, we ride with Shakespeare upon the sightless couriers of the air. Pity, like a naked\nnew born babe, hangs in the air before us; we see the wolf with Tarquin's ravishing\nstrides passing before us; he seems to prowl round the room, the entire time we are\nreading. We hear the bell which strikes and rings the knell at the death of Duncan. As we\nsit in our room reading, the bell time after time booms out in the distance. Later,\ntomorrow and tomorrow and tomorrow, creeps in this petty pace from day to day....\"\nRound our room, outside the window, above us in the room over our head, creeps continually\nthe tomorrow and tomorrow, and so losing all this in the Theatre we are great losers. &\nIt is not people and things, but ideas which so surround and possess us as we sit and\nread. And when art is so great and so perfect that it can bring us in the mere reading\nsuch priceless magical things, it is little short of sacrilege to destroy that which produces\nthose ideas by confusing us and our other senses, by appealing to those other senses at the\nsame time.\nHow obvious this all should be. And so, although it is absurd to talk hopefully of the\npossibility that in a short time these plays may not be put on the stage, I would have them\nthere but seldom for the reason I have suggested, that on the stage we lose them.\n<£? And there is another reason why I would not have them there, and it is this: the\nsame idea, the same impression the same beauty and philosophy if you wish can be put\nbefore the eyes of an audience without at the same time confusing their ideas through an\nappeal to their other senses.\nA man, (we may call him Macbeth, though it does not matter what his name is)—may\nbe seen passing through all these doubts and fears—a figure in action; and round him other\nfigures in action; and though we may not receive the superb impression which a master"}, {"page_pdf": 19, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.19", "debut_caractere": 3964, "fin_caractere_exclue": 4517, "texte": "One appeal\nrather than\nwan y .\n& Reading\nthe 1 i n e s .\nIdeas, not things\npossess ns.\n\n(1) This hint of how Mr. Craig conceives of this one scene in Macbeth will make all readers of \"The Mask\" the more\neager for his promised production of the play at \" His Majesty's.\" Every production of Mr. Craig's has been beautiful,\nand memorable .... each one more so than the preceding. We are therefore justified in looking on to this coming\nproduction not only as a rare pleasure, but as an event of the greatest importance in the annals of theatrical art. Ed:"}, {"page_pdf": 20, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.20", "debut_caractere": 56, "fin_caractere_exclue": 4874, "texte": "(which Shakespeare) gives us, we shall through our eyes receive a clearer impression than\nif the other senses were called upon at the same time to \" assist\", for, instead of assisting,\nthey would confuse, as they ever do. & & & &\nSuppose we look at a picture by Signorelli, the famous one of the Berlin Gallery. I\nfail utterly to believe that a string quartett playing hard at the same time would assist\nour eyes; or that some one reciting to us simultaneously the \"Birth of Pan \" would bring\nout the qualities in the picture. It would only confuse. &\n& Supposing we are listening to the Pastoral Symphony by Beethoven. I do not believe\nthat a panorama of hay-makers making hay, or a pleasant voice reading to us from Spenser's\n\\\n\" Shepherd's Calender \" would add In any way to the understanding or the enjoyment of\nthose qualities which are in the Symphony. It would only confuse. & &\nHas it ever been tried? No, indeed! The musicians have protected their garden well.\nThe painters have protected theirs well. & The theatre men have left their vineyard, and\nit has been annexed by.... anyone who wished to make use of it. The playwrights made\nuse of it once: Shakespeare, Moliere and the rest. Then Wagner took a fancy to the\nvineyard. Until today we find that the painter is actually making eyes at the little place....\nthe painter, the man who has been given innumerable myriads of acres, a little patch of\nwhich he had cultivated till now so exquisitely. But now both painter, and musician, as\nwell as the writer, have grown discontented, each with his vast possessions; and so the\nannexing goes on. & & & &\nAnd I am here to tell of this, and I claim the theatre for those born in the theatre, and\nwe will have it! Today, or tomorrow, or in a hundred years, but we will have it! So you\nsee I do not wish to remove the plays from the stage from any affectation, but first because\nI hold that the plays are spoiled in the theatre, and secondly I hold that the plays and the\nplaywrights are spoiling u5.... that is %to say are robbing us of our self-reliance and our vitality.\nIn Germany and in England, even in Holland where they are at times particularly\nintelligent, they follow up their statement that I wish unreasonably to drive out the plays\nand the playwrights from the theatre without reason, by adding that I wish to introduce\nthe paintet in the place of the author. &\n& What leads them to surmise this, is that I happen to have made very many stage\ndesigns on paper. In my time I have produced many pieces on the stage, and in most cases\nwhen doing so, I have not previously produced designs on paper; and if I possessed a theatre\nof my own, I should not convey on to paper the designs which are in my mind, but I should\nplace them directly on to the stage. & &\nBut as I have not yet this theatre of my own, and as my mind leaves me no rest until\nthese designs and ideas are put into one form or another, I have been forced to make\nstudies of these ideas with the limited means at my disposal. And so lam judged by what\nis seen on paper and am acclaimed as Maler, (painter); and instantly the thoughtless scream\nout, \"Ha, ha! we have unearthed this terrible conspiracy; this man is only arguing from\na little standpoint. He only wants to oust our plays from the stage so that his pictures\nmay come there instead\". & & & &\nBut, gentlemen, I assure you you have made another mistake. A mistake very easy to\nmake and very difficult to avoid making, because you naturally say to yourselves, \" If he is\nnot a painter what is he? He can't be a stage manager, because a stage-manager first\ndemands a playwright, and this man does not demand a playwright\". 3 see your difficulty\nperfectly well. HOW can you understand that which has not been; how can you believe\nin that which you have not seen? Oh, for a few such men.... who seeing with the mind's\neye things which are visionary, believe in the heart of their minds that which they see.\nLet me repeat again that it is not only the writer whose work is useless in the theatre.\nIt is the musician's work which is useless there, and it is the painter's work which is\nuseless there. All three are utterly useless. Let them keep to their preserves, let them\nkeep to their kingdoms, and let those of the theatre return to theirs. Only when these\nlast are once more reunited there shall spring so great an art, and one so universally beloved,\nthat I prophesy that a new religion will be found contained in it. That religion will preach\nno more, but it will reveal. It will not show us the definite images which the sculptor and\nthe painter show. It will unveil thought to our eyes, silently.... by movement.... in visions.\n& So you see n0w.... 1 hope you see.... that the Theatre has nothing to do with the painter,\n\nThe intruders.\nAw r on g\nst at e in e nt.\nA mistake."}, {"page_pdf": 21, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 877, "texte": "or painting, fust as it has nothing to do with the playwright and literature. You also see that\nmy proposition is a very harmless 0ne.... some of you will say a very foolish 0ne.... this of\nrestoring our ancient and honourable Art. Very harmless, because you see that I am\nentirely free from antagonism towards the poets or the dramatists; and what feeling I have\nabout the matter is so slight, that it will influence the modern theatre but little. The\nmodern theatre will retain its place and will go on being the modern theatre until the\npainter shows a little more fight, and then it, will become the more modern theatre, and\nthen some other artist, perhaps the architect, will have his turn; and then the two will\nfight it 0ut.... it will be a beautiful little tussle.... and we, the men of the theatre, that is\nto say the third dog, will run off with the bone.... Voila! &"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c016", "article_bluemountain": "bmtnaau_1908-12_01#c016", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "199", "page_fin": "199", "image_debut": 21, "image_fin": 21, "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=bmtnaau190812-01.2.9", "titre_corps": "DRAMATIC FORM", "titre_sommaire": "DRAMATIC FORM", "signature_source": "GOETHE ; W. B. Rlönnfeldt", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.21", "debut_caractere": 936, "fin_caractere_exclue": 3318, "texte": "DRAMATIC FORM.\nGOETHE.\nFrom the translation of W. B. Rlönnfeldt.\n1775\njt is well=nigh time that people ceased talking about the form of dramatic compositions,\nabout their length and shortness, their unities, their beginning, middle and end, and all\nthe rest of it; and that we now began to go straightway to their contents, which hitherto,\nit seems, have been left to take care of themselves. &\nThere is, however, one form which is as distinct from the other as the internal sense from\nthe external; a form which is not tangible but requires to be felt. Our head must be able to\noverlook that which the head of another can grasp; our heart must be able to feel that\nwhich the heart of another can feel. The intermingling of the rules will not give rise to\nlooseness; and, though the example should prove dangerous, yet it is at bottom better to\nmake a confused piece than a cold one.\nIndeed, if only more persons were alive to this inner form, which comprehends within\nitself all forms, we should not be disgusted by so many abortive productions of the intellect;\nwriters would not think of expanding every tragic event into a drama and of slicing up\nevery novel into a play. I wish that some clever individual would parody this twofold\nnuisance by arranging, say, the /Esopian fable of the Wolf and the Lamb in the form of a\ntragedy in five acts. <&&&&&&&&&\nEvery form, even that which admits of the greatest amount of feeling, has in it something\nthat is untrue. Yet the form is invariably the glass through which we collect the holy rays\nof extended nature and throw them upon the heart of humanity as their focus. But as for\nthe glass—he to whom it is not given, will not succeed in obtaining it, do what he will. Like\nthe mysterious stone of the alchemists, it is both husk and matter, both fire and cooling\ndraught; it is so simple, so common, it lies before every door, and yet so wonderful a thing\nthat just those people who possess it can as a rule make 110 use thereof.\nJZ? He who would work for the stage should, moreover, study the stage, the effects of\nscenography, of lights, of rouge and other colouring matter, of glazed linen and spangles.\nHe should leave nature in her pioper place, and take careful heed not to have recouise\nto anything hut what may he performed hy children with puppets upon hoards and\nlaths, together with sheets of cardboard and linen. & & & &"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c018", "article_bluemountain": "bmtnaau_1908-12_01#c018", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 22, "image_fin": 22, "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=bmtnaau190812-01.2.10", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 5251, "texte": "BOOK REVIEWS\n\nTHE TRAINING OR THE\nIMAGINATION. JAMRS RHOADRS.\nJohn Jane. I/- net. cloth.\nD. N. L.\n\" Wow' w*ia* * want is facts. Teach these\nboys and girls nothing but facts. Pacts\n44 alone are wanted in life. Plant nothing\n44 else and root out everything else, and be in\n44 all things regulated and governed by fact.\"\nThis theory of Mr Gradgrind's, in spite of the\nyears which have elapsed since Dickens wrote\nhis 44 Hard Times,\" still finds its advocates,...\ntoo many of them; and for that reason we\nought to be grateful to all who, in whatever\nsphere, try, like Mr James Rhoades, by word\n& example to combat so pernicious a doctrine,\nto advocate the training and development of\nthe imagination, and to help to set life free\nfrom the slavery of statistics and the bondage\nof mere facts. & & &\nWe have certainly travelled far since those\ndays in our educational theories: more\nenlightened teachers have begun to grasp the\nidea that facts are only symbols representing\ndeeper things, and that it is of greater\nimportance to help a pupil to open his eyes\nand perceive for himself those underlying\ntruths than it is to stuff him with names and\nstatistics like a Strassburg goose; and we\nshould hope great things from such methods\nas those set forth by Mr Rhoades in his little\nbook. JS/\nBut although the reproach lies less heavy\nupon our schools than it once did, we\nfear that this dictum of Mr Gradgrind's is\nstill held in far too much esteem in the\ntheatre, and we can very readily imagine\nthese words, in a slightly altered form, upon\nthe lips of certain stage managers of the\npresent day.\n44 What we want is facts: Realism. Give this\n44 audience nothing but facts. Facts alone\n44 are wanted on the stage. Let your model\n44 of Glamis Castle be a perfect detailed\n44 statement, on however small a scale. Let\n44 streams of real water, fresh from the\n44 Borough Reservoirs, flow beneath it.\n44 Surround your witches with real vapour\n44 produced by a real steam engine in the\n44 background, and what more can an\n44 intelligent public desire?\"\nWhat more? Rather, perhaps, what less?\nThey want less statement; more suggestion.\nThey do not want to be shut up in this world\nof realities, for reality is of necessity limited:\nthey want an opening made through which\ntheir imagination can escape into wider spaces,\ninto the infinite region of the poet's thought.\nThe scenery may be very ingenious, even, in\nin its way, beautiful: but, as Mr Rhoades\nwrites, there is a 44 higher thing than the\nbeauty either off words or of thought clothed in\nwords, the pure thought itself\"; and, so,\nbeyond the scenery, beyond the interpretive\nor symbolic gestures of the actors, must be\nthe pure thought itself; and any mode of\nrepresentation which has closed or obscured\nthe way to the perception of this thought has\nfailed in its aim. & &\nThe materials used \"may be of the simplest.\nThe Bible miracles of the turning of stones\ninto bread, the fairy legends of the changing\nof dead leaves into gold, are really no more\nwonderful than what the artist still does for\nus today. For, as Mr W. S. Lilley writes,\n44 the incommunicable attribute of genius is\n44 that active imagination which constrains\n44 exterior objects to express the artist's\n44 thought. \" &\nAs Mr Rhoades points out, a poet can take a\nhandful of common words, such as 44 blow \",\n<4winter,\" 44und\" 44unkind,\" \"ingratitude,\" &,\nwith a sprinkling of conjunctions, prepositions\nand pronouns, 44 transform them into a thing\nof perfect beauty and immortal breath.\" So,\non the stage, the artists of the stage should\nbegin to create like wonders from the barest\nmaterial.\nAnd the audience? Would they be discontented\nbefore such a representation? We do not\nthink so: for, to quote Mr. Rhoades again,\n(since what he says of his scholars would, we\nbelieve, apply also to their elders) 44 they have\nimagination and to spare: what it needs is\nwakening and directing. \" &\nWe do not deny that the imaginative faculty,\nso fresh and strong in the young, does become\nto a certain extent atrophied in older persons,\nwhen, through long years, it is never exercised:\nbut even so we believe that it is not so much\ndead as dormant, and is ready to awaken at\nthe right appeal. & & &\nThat this appeal is at present but rarely made\nin the theatre all will admit. That it will be\nmade in the near future, ever more strongly\nand poignantly, all who watch the work of\nthe younger men, the few artists, in the\ntheatre, in whom lies the hope of the future,\nfirmly believe. £?£?£?&\nThis is an enjoyable little book, excellently\nprinted by Mr Clownes & Sons for Mr John\nLane.\n\nBOOKS, A2VTD JOURNALS RECEIVED.\n« The Life of Henry Irving, by Austin Brereton.\nLongmans, Green & Co, London. The Study of\nthe Drama by Charles Caffyn, Baker & Taylor Co.\nNew York. Putnam's & The Reader. Indianapolis.\nOrd och Bild, Stockholm. & The Book News Monthly\nPhiladelphia, Pa. U.S.A What's On London. &Le\nTSmoin, Paris. The Fra East Aurora. New York. &\n\" The Bibelot Portland, Maine U. S. A. £> \" The\nPapyrus East Orange., New Jersey U. S. A. &\n\"Current Literature \" New York. \" The Studio ,\nLondon. & \" The New York Dramatic Mirror ,\nNew York. & \" Rivista di Roma \", Rome. \" Argus ,\nHelsingfors. & \" Die Schaubuhne Berlin. li\nTeatro Illustrate \" Milan. & &"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c020", "article_bluemountain": "bmtnaau_1908-12_01#c020", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 22, "image_fin": 22, "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=bmtnaau190812-01.2.10.2", "titre_corps": "THE TRAINING OF THE IMAGINATION. JAMRS RHOADRS", "titre_sommaire": "THE TRAINING OF THE IMAGINATION. JAMRS RHOADRS", "signature_source": "D. N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.22", "debut_caractere": 14, "fin_caractere_exclue": 4584, "texte": "THE TRAINING OR THE\nIMAGINATION. JAMRS RHOADRS.\nJohn Jane. I/- net. cloth.\nD. N. L.\n\" Wow' w*ia* * want is facts. Teach these\nboys and girls nothing but facts. Pacts\n44 alone are wanted in life. Plant nothing\n44 else and root out everything else, and be in\n44 all things regulated and governed by fact.\"\nThis theory of Mr Gradgrind's, in spite of the\nyears which have elapsed since Dickens wrote\nhis 44 Hard Times,\" still finds its advocates,...\ntoo many of them; and for that reason we\nought to be grateful to all who, in whatever\nsphere, try, like Mr James Rhoades, by word\n& example to combat so pernicious a doctrine,\nto advocate the training and development of\nthe imagination, and to help to set life free\nfrom the slavery of statistics and the bondage\nof mere facts. & & &\nWe have certainly travelled far since those\ndays in our educational theories: more\nenlightened teachers have begun to grasp the\nidea that facts are only symbols representing\ndeeper things, and that it is of greater\nimportance to help a pupil to open his eyes\nand perceive for himself those underlying\ntruths than it is to stuff him with names and\nstatistics like a Strassburg goose; and we\nshould hope great things from such methods\nas those set forth by Mr Rhoades in his little\nbook. JS/\nBut although the reproach lies less heavy\nupon our schools than it once did, we\nfear that this dictum of Mr Gradgrind's is\nstill held in far too much esteem in the\ntheatre, and we can very readily imagine\nthese words, in a slightly altered form, upon\nthe lips of certain stage managers of the\npresent day.\n44 What we want is facts: Realism. Give this\n44 audience nothing but facts. Facts alone\n44 are wanted on the stage. Let your model\n44 of Glamis Castle be a perfect detailed\n44 statement, on however small a scale. Let\n44 streams of real water, fresh from the\n44 Borough Reservoirs, flow beneath it.\n44 Surround your witches with real vapour\n44 produced by a real steam engine in the\n44 background, and what more can an\n44 intelligent public desire?\"\nWhat more? Rather, perhaps, what less?\nThey want less statement; more suggestion.\nThey do not want to be shut up in this world\nof realities, for reality is of necessity limited:\nthey want an opening made through which\ntheir imagination can escape into wider spaces,\ninto the infinite region of the poet's thought.\nThe scenery may be very ingenious, even, in\nin its way, beautiful: but, as Mr Rhoades\nwrites, there is a 44 higher thing than the\nbeauty either off words or of thought clothed in\nwords, the pure thought itself\"; and, so,\nbeyond the scenery, beyond the interpretive\nor symbolic gestures of the actors, must be\nthe pure thought itself; and any mode of\nrepresentation which has closed or obscured\nthe way to the perception of this thought has\nfailed in its aim. & &\nThe materials used \"may be of the simplest.\nThe Bible miracles of the turning of stones\ninto bread, the fairy legends of the changing\nof dead leaves into gold, are really no more\nwonderful than what the artist still does for\nus today. For, as Mr W. S. Lilley writes,\n44 the incommunicable attribute of genius is\n44 that active imagination which constrains\n44 exterior objects to express the artist's\n44 thought. \" &\nAs Mr Rhoades points out, a poet can take a\nhandful of common words, such as 44 blow \",\n<4winter,\" 44und\" 44unkind,\" \"ingratitude,\" &,\nwith a sprinkling of conjunctions, prepositions\nand pronouns, 44 transform them into a thing\nof perfect beauty and immortal breath.\" So,\non the stage, the artists of the stage should\nbegin to create like wonders from the barest\nmaterial.\nAnd the audience? Would they be discontented\nbefore such a representation? We do not\nthink so: for, to quote Mr. Rhoades again,\n(since what he says of his scholars would, we\nbelieve, apply also to their elders) 44 they have\nimagination and to spare: what it needs is\nwakening and directing. \" &\nWe do not deny that the imaginative faculty,\nso fresh and strong in the young, does become\nto a certain extent atrophied in older persons,\nwhen, through long years, it is never exercised:\nbut even so we believe that it is not so much\ndead as dormant, and is ready to awaken at\nthe right appeal. & & &\nThat this appeal is at present but rarely made\nin the theatre all will admit. That it will be\nmade in the near future, ever more strongly\nand poignantly, all who watch the work of\nthe younger men, the few artists, in the\ntheatre, in whom lies the hope of the future,\nfirmly believe. £?£?£?&\nThis is an enjoyable little book, excellently\nprinted by Mr Clownes & Sons for Mr John\nLane."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c021", "article_bluemountain": "bmtnaau_1908-12_01#c021", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 22, "image_fin": 22, "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=bmtnaau190812-01.2.10.3", "titre_corps": "BOOKS, AND JOURNALS RECEIVED", "titre_sommaire": "BOOKS, AND JOURNALS RECEIVED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.22", "debut_caractere": 4586, "fin_caractere_exclue": 5251, "texte": "BOOKS, A2VTD JOURNALS RECEIVED.\n« The Life of Henry Irving, by Austin Brereton.\nLongmans, Green & Co, London. The Study of\nthe Drama by Charles Caffyn, Baker & Taylor Co.\nNew York. Putnam's & The Reader. Indianapolis.\nOrd och Bild, Stockholm. & The Book News Monthly\nPhiladelphia, Pa. U.S.A What's On London. &Le\nTSmoin, Paris. The Fra East Aurora. New York. &\n\" The Bibelot Portland, Maine U. S. A. £> \" The\nPapyrus East Orange., New Jersey U. S. A. &\n\"Current Literature \" New York. \" The Studio ,\nLondon. & \" The New York Dramatic Mirror ,\nNew York. & \" Rivista di Roma \", Rome. \" Argus ,\nHelsingfors. & \" Die Schaubuhne Berlin. li\nTeatro Illustrate \" Milan. & &"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c022", "article_bluemountain": "bmtnaau_1908-12_01#c022", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "201", "page_fin": "202", "image_debut": 23, "image_fin": 24, "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=bmtnaau190812-01.2.11", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 5045, "texte": "FOREIGN NOTES\n\nMANCHESTER\nJ. D. B.\n| Tnless The Mash aspires to be as cosmo-\npolitan as to forget that \" London \" and\n44 England \" (to say nothing of 44 Britain \")\nare not quite synonomous terms, it may\ninterest your readers to know that we in our\nhumble way are now sharing in that revival\nof the Art of the Stage that we have hitherto\nwatched enviously from afar.\nI say this advisedly, because it is only during\nthe last twelve months that we have been\nable to consider our contributions under this\nhead as at all worthy of the dignity of the\nArt. While commercialism and travelling\ncompanies reigned supreme, our audiences\ncould hardly be expected to do more than\nabuse the fare provided; but with the esta-\nblishment of a repertoire theatre we, who\nlove the stage, are glad to notice the gradual\ngrowth of a new standard of taste,.... a\njudgment which estimates and appraises\nbefore affixing the seal of contemporary\napproval.\nWhat this criterion may be, it is of course\nimpossible for me to say; but it will have to\nbe flexible, and perfectly adjustable to the\nrequirements of the new atmosphere.\nWe do not aspire very high as yet; and it\nmay be that the dignity of the Art has been\nserved better by the bringing together of a\nsmall community of theatre lovers, than by\nany matter put before them. The latter is\ngood, but its tendencies are limiting; the\nformer is a nucleus for indefinite expansion.\nThe plays produced for us by the reper-\ntoire company under the direction of Mr B.\nIden Payne, have included several by Mr\nCharles Mc Evoy, one by Bernard Shaw;\ntranslations from Rostand and Sudermann\nand Maeterlinck; other work on the same\nlines and more to follow. Our limitations\nhave not yet begun to hamper u5.... when\nthey do it will be time to think of breaking\nthrough them. In the meantime we have a\ncharming theatre, and we are just beginning\nto find out what it is we really want to see\nthere.\n\nCAMBRIDGE\n\n'TMie Art of the Drama does not flourish,\ngenerally, at Cambridge; There are always\ntouring companies at the New Theatre,... of\nthe usual quality! Within the University are\nsome dramatic societies, which fulfill their\npurpose of amusing. But the stupid Univer-\nsity regulation that no society may produce\na play in which women act, whilst no doubt\nit preserves the morality of Cambridge, is a\nsad obstacle to serious dramatic effort (i).\nThis law, indeed, applies only to societies,\n(so subtle are the workings of morality I), so\nthat plays are sometimes performed, with\nwomen in the female parts, by temporary\nassociations of private individuals. But even\nwhen these are serious efforts their effect\ncannot last. There can be no continuity....\nThen there are the triennial and much-praised\nGreek Plays; of great interest to scholars and\noften, to musicians. They are staged with\nsome expense and great archaeological accu*\nracy, and stage-managed and directed by a\ngreat many dons. There is a lot of light and\ncolour, quite uncontrolled and garish, and\nthe whole effect is rather dreary; though it\ncannot always conceal the supreme qualities\nof the actual play. uS? &\nAbout a year ago a small society, called the\nMarlowe Dramatic Society, and composed\nalmost entirely of undergraduates, was formed\nfor studying and producing plays. They have\nalready given two performances of Marlowe's\n44 Dr. Faustus\" with some success.\nIt was to them that Christ's College turned,\nwhen it had decided to celebrate the tercen-\ntenary of Milton's Birth, and had come to\nthe vastly sensible conclusion that a dinner\nfollowed by a performance of 44 Comus \" was\na more reverent and agreeable way of honour-\ning Milton than the customary dinner and\ntwo hours of speeches.\nOwing to the rule about women acting, the\nMarlowe Society could not perform the play.\nBut it was undertaken by many of the same\npeople, acting privately, with a few more of\nkindred ideals; all, except one, connected\nwith the University or Newnham College.\nBoth the producers and the actors of 44Comus\"\nwere, by their own desire, anonymous on the\nprogrammes and bills. &\nThe business was carried through against the\ndisapproval or actual hindrance of some of\nthose of former generations who are now\nresponsible for the Drama at Cambridge;\nthough others of them nobly helped with\nencouragement and advice a project quite\nopposed to their own ideas of drama. &\nThe performances were given in the New\nTheatre on July 10th and nth, 1908, and were\nvery successful. Even the Press, though puz-\nzled, was enthusiastic. \" Comus though not\na true 44 mask \", is not wholly dramatic,*...\nmore a poem than a play. So great care was\ngiven to a right and beautiful speaking of\nthe poetry,... that art that's lost from the\nmodern stage! and the ever-changing but\ncontinuous music of Milton's verse is harder\nthan any to express. The action was, as a\nwhole, consciously restrained and slow;\nbroken by the dances,... the 44fantastic round\"\n\n(I) At Oxford the law is just the reverse. No member of\nOxford University may take a female part. So do the laws\nof morality change with locality I"}, {"page_pdf": 24, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 3585, "texte": "of Com us' rout in the first scene, and the\nmorris=dances, an aim airs and a corrente in\nthe third. jg?\nIn the whole movement of the play a solemn\nrhythm was aimed at,... the white Apollonian\nspirit (but not purely classical!) of the early\nMilton, shot through by the most Oriental\nfervour of the rout of Comus, son of Bacchus!\nTo the attainment of some such complete\neffect each part,... music, dancing, speech,\nscenery,... was subordinated. The music,\nplayed by a string orchestra, was that written\nby Henry Lawes for the original production of\n\" Comus \" in 1684, with some contemporary\ndance tunes.\nIn the setting of the play a compromise be*\ntween means and ideals was inevitable, but\nnot discordant. In the second scene, especially,\nComus' palace by means of lighting from the\nwings, simple drapery, straight simple linee\nand rich and harmonious colour in dress and\ndecoration, a setting of great beauty was\nattained, which yet aided, not competed with,\nthe action, in claiming and pleasing the at-\ntention of the spectator.\nThe performance found great favour both\nwith the company of literary celebraties who\nhad come to celebrate Milton's tercentenary,\nand with the public next day. The success of\n\" Comus \" is only the beginning in Cambridge\nof a dramatic movement with fresh ideals and\nhigh enthusiasm.\n\nR. B.\n\nLONDON\nJ. B.\nIt is only quite lately, in the last few hundred\nyears, that the beggar and poverty have\nbecome popular themes for the artist. Once\nupon a time it was held a vile thing to sing\nof pain and of hungry bodies and to paint it\nor hew it in marble or to groan it on musical\ninstruments no less vile.\nRembrandt?.... Kings had turned away from\nthe artist by that time, and hence the\nenthroning of poverty.\nIt is the wise duty of kings to do honour to\nthe artists of their land, for when the artist\nfinds nothing sympathetic in the idea of\nRoyalty, he perforce turns to the extreme\nand rags interest him, then absorb him, and\nin the terrible and the despairing he\nfinds something akin. & &\nToday I was at a meeting of the unemployed\nof London. It was ug1y,.... terrible enough to\nattract the thoughts of an artist when Royalty\npasses him without noting his existence.\nThe Country and its Rulers are sometimes apt\nto forget this actual existence of the artist,\nand I think they undervalue his power.\nEngland would be a different and a more\nJoyous country today if Royalty tried more\nto understand the Artist and all he represents.\nIf the House of Lords should ever have its\nexistence curtailed it will be partly owing to\nthis utter disregard of the Arts of Architecture,\nMusic and the Drama and those who lend\ntheir force to create these Arts. &\n\nMOSCOW\nE. B.\n\" TPhe Bine Bird \"by Maeterlinck was pro*\nduced here last month at the Moscow\nArt Theatre, whose directors, M. Stanislawski\nand M. Dantschenko have made their Theatre\nperhaps the first in Europe. jg?\nIt is too little to say that a fine vitality is\npossessed by the members of this remarkable\ncompany no less than by the directors. They\nseem to be able to do tlmags better than any\nother theatrical company I have seen. They\ncan sit on a chair better, they can rattle off\nwords better, they can flock out through a\ndoor better, they can sit or stand still saying\nnothing better than any other set of actors\nin Europe. Added to this they can capture\nthe atmosphere of the author in so loving\nand so fine a manner.\nThey can even be comic without being\nvulgar,... thus a comedy with them is some*\ntimes a tragic affair at beholding which we\nfeel impelled to seriousness instead of being\nconvulsed by mirth."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c024", "article_bluemountain": "bmtnaau_1908-12_01#c024", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "201", "page_fin": "201", "image_debut": 23, "image_fin": 23, "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=bmtnaau190812-01.2.11.2", "titre_corps": "MANCHESTER", "titre_sommaire": "MANCHESTER", "signature_source": "J. D. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.23", "debut_caractere": 15, "fin_caractere_exclue": 1910, "texte": "MANCHESTER\nJ. D. B.\n| Tnless The Mash aspires to be as cosmo-\npolitan as to forget that \" London \" and\n44 England \" (to say nothing of 44 Britain \")\nare not quite synonomous terms, it may\ninterest your readers to know that we in our\nhumble way are now sharing in that revival\nof the Art of the Stage that we have hitherto\nwatched enviously from afar.\nI say this advisedly, because it is only during\nthe last twelve months that we have been\nable to consider our contributions under this\nhead as at all worthy of the dignity of the\nArt. While commercialism and travelling\ncompanies reigned supreme, our audiences\ncould hardly be expected to do more than\nabuse the fare provided; but with the esta-\nblishment of a repertoire theatre we, who\nlove the stage, are glad to notice the gradual\ngrowth of a new standard of taste,.... a\njudgment which estimates and appraises\nbefore affixing the seal of contemporary\napproval.\nWhat this criterion may be, it is of course\nimpossible for me to say; but it will have to\nbe flexible, and perfectly adjustable to the\nrequirements of the new atmosphere.\nWe do not aspire very high as yet; and it\nmay be that the dignity of the Art has been\nserved better by the bringing together of a\nsmall community of theatre lovers, than by\nany matter put before them. The latter is\ngood, but its tendencies are limiting; the\nformer is a nucleus for indefinite expansion.\nThe plays produced for us by the reper-\ntoire company under the direction of Mr B.\nIden Payne, have included several by Mr\nCharles Mc Evoy, one by Bernard Shaw;\ntranslations from Rostand and Sudermann\nand Maeterlinck; other work on the same\nlines and more to follow. Our limitations\nhave not yet begun to hamper u5.... when\nthey do it will be time to think of breaking\nthrough them. In the meantime we have a\ncharming theatre, and we are just beginning\nto find out what it is we really want to see\nthere."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c025", "article_bluemountain": "bmtnaau_1908-12_01#c025", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "201", "page_fin": "202", "image_debut": 23, "image_fin": 24, "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=bmtnaau190812-01.2.11.3", "titre_corps": "CAMBRIDGE", "titre_sommaire": "CAMBRIDGE", "signature_source": "R. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.23", "debut_caractere": 1912, "fin_caractere_exclue": 5045, "texte": "CAMBRIDGE\n\n'TMie Art of the Drama does not flourish,\ngenerally, at Cambridge; There are always\ntouring companies at the New Theatre,... of\nthe usual quality! Within the University are\nsome dramatic societies, which fulfill their\npurpose of amusing. But the stupid Univer-\nsity regulation that no society may produce\na play in which women act, whilst no doubt\nit preserves the morality of Cambridge, is a\nsad obstacle to serious dramatic effort (i).\nThis law, indeed, applies only to societies,\n(so subtle are the workings of morality I), so\nthat plays are sometimes performed, with\nwomen in the female parts, by temporary\nassociations of private individuals. But even\nwhen these are serious efforts their effect\ncannot last. There can be no continuity....\nThen there are the triennial and much-praised\nGreek Plays; of great interest to scholars and\noften, to musicians. They are staged with\nsome expense and great archaeological accu*\nracy, and stage-managed and directed by a\ngreat many dons. There is a lot of light and\ncolour, quite uncontrolled and garish, and\nthe whole effect is rather dreary; though it\ncannot always conceal the supreme qualities\nof the actual play. uS? &\nAbout a year ago a small society, called the\nMarlowe Dramatic Society, and composed\nalmost entirely of undergraduates, was formed\nfor studying and producing plays. They have\nalready given two performances of Marlowe's\n44 Dr. Faustus\" with some success.\nIt was to them that Christ's College turned,\nwhen it had decided to celebrate the tercen-\ntenary of Milton's Birth, and had come to\nthe vastly sensible conclusion that a dinner\nfollowed by a performance of 44 Comus \" was\na more reverent and agreeable way of honour-\ning Milton than the customary dinner and\ntwo hours of speeches.\nOwing to the rule about women acting, the\nMarlowe Society could not perform the play.\nBut it was undertaken by many of the same\npeople, acting privately, with a few more of\nkindred ideals; all, except one, connected\nwith the University or Newnham College.\nBoth the producers and the actors of 44Comus\"\nwere, by their own desire, anonymous on the\nprogrammes and bills. &\nThe business was carried through against the\ndisapproval or actual hindrance of some of\nthose of former generations who are now\nresponsible for the Drama at Cambridge;\nthough others of them nobly helped with\nencouragement and advice a project quite\nopposed to their own ideas of drama. &\nThe performances were given in the New\nTheatre on July 10th and nth, 1908, and were\nvery successful. Even the Press, though puz-\nzled, was enthusiastic. \" Comus though not\na true 44 mask \", is not wholly dramatic,*...\nmore a poem than a play. So great care was\ngiven to a right and beautiful speaking of\nthe poetry,... that art that's lost from the\nmodern stage! and the ever-changing but\ncontinuous music of Milton's verse is harder\nthan any to express. The action was, as a\nwhole, consciously restrained and slow;\nbroken by the dances,... the 44fantastic round\"\n\n(I) At Oxford the law is just the reverse. No member of\nOxford University may take a female part. So do the laws\nof morality change with locality I"}, {"page_pdf": 24, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 1318, "texte": "of Com us' rout in the first scene, and the\nmorris=dances, an aim airs and a corrente in\nthe third. jg?\nIn the whole movement of the play a solemn\nrhythm was aimed at,... the white Apollonian\nspirit (but not purely classical!) of the early\nMilton, shot through by the most Oriental\nfervour of the rout of Comus, son of Bacchus!\nTo the attainment of some such complete\neffect each part,... music, dancing, speech,\nscenery,... was subordinated. The music,\nplayed by a string orchestra, was that written\nby Henry Lawes for the original production of\n\" Comus \" in 1684, with some contemporary\ndance tunes.\nIn the setting of the play a compromise be*\ntween means and ideals was inevitable, but\nnot discordant. In the second scene, especially,\nComus' palace by means of lighting from the\nwings, simple drapery, straight simple linee\nand rich and harmonious colour in dress and\ndecoration, a setting of great beauty was\nattained, which yet aided, not competed with,\nthe action, in claiming and pleasing the at-\ntention of the spectator.\nThe performance found great favour both\nwith the company of literary celebraties who\nhad come to celebrate Milton's tercentenary,\nand with the public next day. The success of\n\" Comus \" is only the beginning in Cambridge\nof a dramatic movement with fresh ideals and\nhigh enthusiasm.\n\nR. B."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c026", "article_bluemountain": "bmtnaau_1908-12_01#c026", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "202", "page_fin": "202", "image_debut": 24, "image_fin": 24, "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=bmtnaau190812-01.2.11.4", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.24", "debut_caractere": 1320, "fin_caractere_exclue": 2668, "texte": "LONDON\nJ. B.\nIt is only quite lately, in the last few hundred\nyears, that the beggar and poverty have\nbecome popular themes for the artist. Once\nupon a time it was held a vile thing to sing\nof pain and of hungry bodies and to paint it\nor hew it in marble or to groan it on musical\ninstruments no less vile.\nRembrandt?.... Kings had turned away from\nthe artist by that time, and hence the\nenthroning of poverty.\nIt is the wise duty of kings to do honour to\nthe artists of their land, for when the artist\nfinds nothing sympathetic in the idea of\nRoyalty, he perforce turns to the extreme\nand rags interest him, then absorb him, and\nin the terrible and the despairing he\nfinds something akin. & &\nToday I was at a meeting of the unemployed\nof London. It was ug1y,.... terrible enough to\nattract the thoughts of an artist when Royalty\npasses him without noting his existence.\nThe Country and its Rulers are sometimes apt\nto forget this actual existence of the artist,\nand I think they undervalue his power.\nEngland would be a different and a more\nJoyous country today if Royalty tried more\nto understand the Artist and all he represents.\nIf the House of Lords should ever have its\nexistence curtailed it will be partly owing to\nthis utter disregard of the Arts of Architecture,\nMusic and the Drama and those who lend\ntheir force to create these Arts. &"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c027", "article_bluemountain": "bmtnaau_1908-12_01#c027", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "202", "page_fin": "202", "image_debut": 24, "image_fin": 24, "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=bmtnaau190812-01.2.11.5", "titre_corps": "MOSCOW", "titre_sommaire": "MOSCOW", "signature_source": "E. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.24", "debut_caractere": 2670, "fin_caractere_exclue": 3585, "texte": "MOSCOW\nE. B.\n\" TPhe Bine Bird \"by Maeterlinck was pro*\nduced here last month at the Moscow\nArt Theatre, whose directors, M. Stanislawski\nand M. Dantschenko have made their Theatre\nperhaps the first in Europe. jg?\nIt is too little to say that a fine vitality is\npossessed by the members of this remarkable\ncompany no less than by the directors. They\nseem to be able to do tlmags better than any\nother theatrical company I have seen. They\ncan sit on a chair better, they can rattle off\nwords better, they can flock out through a\ndoor better, they can sit or stand still saying\nnothing better than any other set of actors\nin Europe. Added to this they can capture\nthe atmosphere of the author in so loving\nand so fine a manner.\nThey can even be comic without being\nvulgar,... thus a comedy with them is some*\ntimes a tragic affair at beholding which we\nfeel impelled to seriousness instead of being\nconvulsed by mirth."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c028", "article_bluemountain": "bmtnaau_1908-12_01#c028", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "202", "page_fin": "202", "image_debut": 24, "image_fin": 24, "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=bmtnaau190812-01.2.12", "titre_corps": "THE SPECTATORS", "titre_sommaire": "THE SPECTATORS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.24", "debut_caractere": 3587, "fin_caractere_exclue": 4245, "texte": "THE SPECTATORS\n\nft is in a theatre at Munich. The audience\nof students is very unruly and is continually\ninterrupting the performance of \" Hamlet\"\nwith bursts of laughter and loud criticisms.\nThe King is suddenly seen striding towards\nthe footlights.\nHe is about to speak.... silence prevails. He\ndoes not move as, with tragic and intense eyes\nand firm voice his sentences roll out :\nI have to act a King. It is very difficult.\nYou have only to act at being gentlemen,...\nand you are unable to. \"\nThe silence in the theatre after this\nspeech proclaims the power of the actor.\nBut why should he wait to exert his power\nuntil the students have derided his art?"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c030", "article_bluemountain": "bmtnaau_1908-12_01#c030", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "202", "page_fin": "202", "image_debut": 24, "image_fin": 24, "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=bmtnaau190812-01.2.12.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.24", "debut_caractere": 3603, "fin_caractere_exclue": 4245, "texte": "ft is in a theatre at Munich. The audience\nof students is very unruly and is continually\ninterrupting the performance of \" Hamlet\"\nwith bursts of laughter and loud criticisms.\nThe King is suddenly seen striding towards\nthe footlights.\nHe is about to speak.... silence prevails. He\ndoes not move as, with tragic and intense eyes\nand firm voice his sentences roll out :\nI have to act a King. It is very difficult.\nYou have only to act at being gentlemen,...\nand you are unable to. \"\nThe silence in the theatre after this\nspeech proclaims the power of the actor.\nBut why should he wait to exert his power\nuntil the students have derided his art?"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c032", "article_bluemountain": "bmtnaau_1908-12_01#c032", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "203", "page_fin": "203", "image_debut": 25, "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=bmtnaau190812-01.2.13", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 4820, "texte": "EDITORIAL NOTES\n\nft is really quite extraordinary how certain\nwriters of today will attack anyone who states\nthat acting is not an art... it is more extra-\nordinary that these writers will dare to write\nutter tomfoolery about both acting and art\nand it is most extraordinary that responsible\npapers will print the rubbish. &\nAn American actress has lately expressed the\nopinion that acting \" is not one of the great\narts \". \"If a woman is clever, if she has\nthat great drawing power to attract attention\nand admiration, the chances are she will be\na good actress\". JZ? & &\nNow it is quite obvious to anyone what this\nlady means. By great drawing pover she\nmeans great personal magnetism, without\nwhich she most correctly asserts no woman\ncan be a good actress.\nOne would think that this point had been\nsettled and accepted long ago; one does not\ndream that anyone will call in question so\nwell-established a fact: yet the Pittsburgh\nGazette-Times says in its editorial columns:\n'• With ideas such as these current in the\n\" profession, is it any wonder that ' the\n\" actor's reputation as an artist has been\n\"steadily declining? The matinee idol has set\n\" up for himself exactly the same standard....\n\"to attract attention and admiration '. But\n\" that is not acting. It is precisely the same\n\" ambition that actuates the masher and the\n\" coquette. The actor who cannot rise above\n\" this base conception of his art should seek\n\" some other calling, but should not on that\n\" account belittle the art he does not measure\n\" up to. With such great names as Booth and\n\" Forrest in a past generation, and such as\n\" Irving and Mansfield within a few years, it\n\"would be futile to deny that there have\n\"been actors who are real artists. We have\n\" such actors among us 5ti11.... men and wo-\n\" men who realize that though the stage paints\n\" no enduring pictures it is as potent as the\n\" pulpit as an esthetic and moral force. But\n\" they do not put forward as their first am-\n* bition ' to attract attention and admiration Y'\ngn August the Stage took a step nearer\nperfection. It produced a play in a language...\nwhich few people can understand. &\nGoethe's \" Iphigenia in Tauris \" was performed\nin Dresden by that remarkable actor Emanuel\nReicher and his beautifal daughter, and the\nlanguage spoken was Esperanto.\nIt must have been an entrancing sight to see\nEraulein Reicher moving gracefully through\nthe dramatic piece and to have heard the fine\nvoice of Emanuel Reicher without having to\nfollow the sense of the things they were saying.\nThe scenery, to judge from the reproductions\nin the Illustrated Journals, must have been\nappallingly bad, and the costumes seem to\nhave been quite fairly incorrect.\nSoon we hope plays will be given in a language\nno one can understand. &\nThen the last tendency to preach will have\nbeen brushed away; then the Stage can turn\nto serious things again. & &\n\nTHE CRITIC CRITICISED.\nUnder this heading a letter lately appeared\nin the ''Westminster Gazette\", and Mr E. F.\nSpence was the critic who had the honour of\nreceiving it,... a doubtful honour, and it\nsurprises us that he took the trouble to print\nit. Yet it serves as a good illustration of the\nstupid section of the London public.\n\" You seem to think,\" writes some arrogantly\ndull creature, \" that we can and ought to\n\" have a drama like the novels of Meredith,\n\" which I believe nobody ever reads, or like\n\" the pictures of Whistler that are simply\n\" ridiculous\": and later on we come to a\nbrilliantly stupid passage which drawls as\nfollows: \"Art is all very well in its way and\n\"in its proper place. I like a good picture\n\" or a good song, or a rattling story as well as\n\" anybody; but art ought not to be shoved\n\" down our throats.\" & &\nInnocence cannot go further than this. The\nwriter signs the letter, \" a middle-aged\nPleasure Seeker.\" Such a one takes pleasure\nin middle age. The youth is gone anyhow,\nfor we must not forget that it is youth that\nsprings joyously to the works of Meredith\nand Whistler, knowing it will find Youth in\nthese works,... and even Youth may claim\nthat it knows something about pleasure, for\nit creates pleasure if it does not go in search\nof it. But the writer of the \" Westminster\nGazette \" letter is evidently masquerading,\npretending, laughing, having \"a bit of fun\",\nand so is typical of the weary middle-aged\nparty in England, who want \" fun \" at all\ncosts. Ashamed to be simple, alarmed lest\nthey may be serious, frightened to feel\nanything, they assume the penny satin mask\nsold and bought by the million, and feel they\nare \" awfully witty \" daring \".... \" what\nfun\". Fun without wit, watery fun, the\nconsequence of delaying until middle age....\ncautious fun.... flopping fun.... fun getting up\nat midday.... fagged-out fun. This is what\nsuch a writer asks for in the Theatre,\nand too often gets. & J?"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c034", "article_bluemountain": "bmtnaau_1908-12_01#c034", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "203", "page_fin": "203", "image_debut": 25, "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=bmtnaau190812-01.2.13.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.25", "debut_caractere": 17, "fin_caractere_exclue": 2877, "texte": "ft is really quite extraordinary how certain\nwriters of today will attack anyone who states\nthat acting is not an art... it is more extra-\nordinary that these writers will dare to write\nutter tomfoolery about both acting and art\nand it is most extraordinary that responsible\npapers will print the rubbish. &\nAn American actress has lately expressed the\nopinion that acting \" is not one of the great\narts \". \"If a woman is clever, if she has\nthat great drawing power to attract attention\nand admiration, the chances are she will be\na good actress\". JZ? & &\nNow it is quite obvious to anyone what this\nlady means. By great drawing pover she\nmeans great personal magnetism, without\nwhich she most correctly asserts no woman\ncan be a good actress.\nOne would think that this point had been\nsettled and accepted long ago; one does not\ndream that anyone will call in question so\nwell-established a fact: yet the Pittsburgh\nGazette-Times says in its editorial columns:\n'• With ideas such as these current in the\n\" profession, is it any wonder that ' the\n\" actor's reputation as an artist has been\n\"steadily declining? The matinee idol has set\n\" up for himself exactly the same standard....\n\"to attract attention and admiration '. But\n\" that is not acting. It is precisely the same\n\" ambition that actuates the masher and the\n\" coquette. The actor who cannot rise above\n\" this base conception of his art should seek\n\" some other calling, but should not on that\n\" account belittle the art he does not measure\n\" up to. With such great names as Booth and\n\" Forrest in a past generation, and such as\n\" Irving and Mansfield within a few years, it\n\"would be futile to deny that there have\n\"been actors who are real artists. We have\n\" such actors among us 5ti11.... men and wo-\n\" men who realize that though the stage paints\n\" no enduring pictures it is as potent as the\n\" pulpit as an esthetic and moral force. But\n\" they do not put forward as their first am-\n* bition ' to attract attention and admiration Y'\ngn August the Stage took a step nearer\nperfection. It produced a play in a language...\nwhich few people can understand. &\nGoethe's \" Iphigenia in Tauris \" was performed\nin Dresden by that remarkable actor Emanuel\nReicher and his beautifal daughter, and the\nlanguage spoken was Esperanto.\nIt must have been an entrancing sight to see\nEraulein Reicher moving gracefully through\nthe dramatic piece and to have heard the fine\nvoice of Emanuel Reicher without having to\nfollow the sense of the things they were saying.\nThe scenery, to judge from the reproductions\nin the Illustrated Journals, must have been\nappallingly bad, and the costumes seem to\nhave been quite fairly incorrect.\nSoon we hope plays will be given in a language\nno one can understand. &\nThen the last tendency to preach will have\nbeen brushed away; then the Stage can turn\nto serious things again. & &"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c035", "article_bluemountain": "bmtnaau_1908-12_01#c035", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "203", "page_fin": "203", "image_debut": 25, "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=bmtnaau190812-01.2.13.3", "titre_corps": "THE CRITIC CRITICISED", "titre_sommaire": "THE CRITIC CRITICISED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.25", "debut_caractere": 2879, "fin_caractere_exclue": 4820, "texte": "THE CRITIC CRITICISED.\nUnder this heading a letter lately appeared\nin the ''Westminster Gazette\", and Mr E. F.\nSpence was the critic who had the honour of\nreceiving it,... a doubtful honour, and it\nsurprises us that he took the trouble to print\nit. Yet it serves as a good illustration of the\nstupid section of the London public.\n\" You seem to think,\" writes some arrogantly\ndull creature, \" that we can and ought to\n\" have a drama like the novels of Meredith,\n\" which I believe nobody ever reads, or like\n\" the pictures of Whistler that are simply\n\" ridiculous\": and later on we come to a\nbrilliantly stupid passage which drawls as\nfollows: \"Art is all very well in its way and\n\"in its proper place. I like a good picture\n\" or a good song, or a rattling story as well as\n\" anybody; but art ought not to be shoved\n\" down our throats.\" & &\nInnocence cannot go further than this. The\nwriter signs the letter, \" a middle-aged\nPleasure Seeker.\" Such a one takes pleasure\nin middle age. The youth is gone anyhow,\nfor we must not forget that it is youth that\nsprings joyously to the works of Meredith\nand Whistler, knowing it will find Youth in\nthese works,... and even Youth may claim\nthat it knows something about pleasure, for\nit creates pleasure if it does not go in search\nof it. But the writer of the \" Westminster\nGazette \" letter is evidently masquerading,\npretending, laughing, having \"a bit of fun\",\nand so is typical of the weary middle-aged\nparty in England, who want \" fun \" at all\ncosts. Ashamed to be simple, alarmed lest\nthey may be serious, frightened to feel\nanything, they assume the penny satin mask\nsold and bought by the million, and feel they\nare \" awfully witty \" daring \".... \" what\nfun\". Fun without wit, watery fun, the\nconsequence of delaying until middle age....\ncautious fun.... flopping fun.... fun getting up\nat midday.... fagged-out fun. This is what\nsuch a writer asks for in the Theatre,\nand too often gets. & J?"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c036", "article_bluemountain": "bmtnaau_1908-12_01#c036", "volume": "bmtnaau_1908-12_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=bmtnaau190812-01.2.14", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.2", "debut_caractere": 1937, "fin_caractere_exclue": 3506, "texte": "TH E MOSffER BOOKS &\n& MDCCCXCI-MCMVIII j& J&\nFor a dozen years the most artistic volumes at their price that have been issued in America\nhave been published, not from New York or Boston, nor even in Philadelphia or Chicago\nbut it Portland, Maine. In that little city Thomas B. Mosher has been printing, without\nflourish of trumpets or wide advertising, volume after volume which in artistic excellence\nare not excelled by the issues of any publishing house in the world. Then, too, Mosher has\nreprinted only the gems of literature that have been declared of the first water; gems that\nare, beyond objection, jewels of the world's treasury of brilliant writing. We may also\nassert that the question of gain has been secondary in Mosher's calculations. He has put\nout very small editions, and he has made them so beautiful in all that concerns their make-\nup that it is doubtful if he has ever gauged the expenditure by the possible profit. Never-\ntheless, he must have done so, but in doing so he excites our admiration. £>\nQUY CARLETON LEE in Baltimore Sun for Dec. 18, &\nMy new Catalogue a remarkable piece of book-work in itself explains this unusual\ncompliment, and is sent free on request to book-lovers anywhere that can be reached\nby mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks. You are not wearied by \" a jollie good book \" jingle and that sort of thing, but\nyou are treated to some very genuine prose & verse not found in every cut and-\ndecidedly-dried anthology. & &&&&&&&\nTHOMAS B. MOSHER & PORTLAND. MAINE & U. S. A."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c037", "article_bluemountain": "bmtnaau_1908-12_01#c037", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "205", "page_fin": "205", "image_debut": 27, "image_fin": 27, "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=bmtnaau190812-01.2.15", "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": 27, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.27", "debut_caractere": 1642, "fin_caractere_exclue": 2502, "texte": "USEFUL AD\nLITERARY OFFICE. Palagio dell'Arte\ndeSla Lana. Copying, Typewriting & Tran=\nslations in all languages. Secretarial work\nundertaken. -Typewriters sent to hotels.\nShorthand, Typewriting & Translations\nThe Misses Meille, 6, Via Campidoglio.\nDrs. DUNN. Grad. Philadelphia. Dental\nCollege. 9 Via Tornabuoni, i st floor.\nJ. Benvenuti physician &\nEnglish, French & German. V. Arcivesovado 2\nMrs Cavazza, Masseuse & American Manicu=\nre, Electric Massage; 31 V.Borghini. Tel. 1785\nDRESSES.\nNORTH GERMAN\nThis Company's OWN Cabin Booking\nOffice is at No. 17, Via Tornabuoni.\nManager: J. C. EBHARDT. &\nARCANGELIGATTI e Cie. Forwarding\nAgents & Custom House Brokers. Via\nCampidoglio I=3. Telephone 2349. &\nR.P.BRUCE. 5 V.Vecchietti. Villas (o let &\nsell. Apartments furnished#unfurnished\nRepresentative of Messrs Nicholas Denyer\n& Co: House & Land Agents, London."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c038", "article_bluemountain": "bmtnaau_1908-12_01#c038", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "206", "page_fin": "206", "image_debut": 28, "image_fin": 28, "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=bmtnaau190812-01.2.16", "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": 28, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 1790, "texte": "THE WOO D* ENG RAVERS.of San LEONARDO\n*i'jt iirtnll I iniiiiiwi'iiwiiiiiniifPii m milll iiiiiißl'lllllll' 111 in 111 vcmxn*mnm?«nt.rarer,-wnawn7rw7vm'j™*eif!r*ss*zxzrvttaagfirz*m*r*rz*i*\nEX LIB RIS j& Are yo a a BOOK LOVER?\nIf you are you will desire that which can add to the beauty\n& completeness of your Books, & cannot do without A BOOK\nPLATE. In design your Book Plate must be grave yet charming, for its i\nduty is to act as watchman at the doors of all books, whether religious or profane.\nIf you would possess such a Book Plate, simple, charming and distinguished, write\nto the Wood Engravers of San Leonardo, directing your letter to them at the\nARENA GOLD ONI VIA DEI SERRAGLI FLORENCE (ITALY) and\nyou will receive all the information you desire. & & & &\nfMtrmrmuJii* r*imnr-our-.i,'X'firt?xrm'*r?ergea^jjfnSEmcaSKl/S^SfldMMi.^'-tiUCEitiiSßrayStiEK\nPUBLISHERS MARKS, LETTER PAPER HEADINGS, THEATRE PROGRAMMES AND\nSOUVENIRS; EXHIBITION CATALOGUES, CHRISTMAS AND NEW YEAR CARDS DESIGNED\nAND PRINTED BY US. &\n.1. ■■■—..■ ~.i.i^J^.CT t»a^ißa7gw^naiwmiw«!t^^^iriraffii3naM3J^«^pr'f»i^^iW«JiaaL^fr^,™if'irE'?«gtK«v!ij,gL,«i3CgiMaHaa3«r\nWe do not make any attempt to compete with the cheap, popular and hastily made\ndesigns which may be obtained by the crowd: our designs are engraved by hand\non picked box»wood, and printed on our hand=press on specially selected papers obtained\nfrom Holland and England. From the first design to the last print the work is\nexecuted and supervised by artists, and therefore art=lovers may be confident that,\nin sending their commissions to us, they are ensuring a work which shall\nbe as careful in its execution as beautiful and distinguished in its design.\n& & THE WOOD ENGRAVERS OF SAN LEONARDO. &\nARENA GOLD ONI - VIA DEI SERRAGLI - FLORENCE - ITALY."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c039", "article_bluemountain": "bmtnaau_1908-12_01#c039", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "206", "page_fin": "206", "image_debut": 28, "image_fin": 28, "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=bmtnaau190812-01.2.17", "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": 28, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.28", "debut_caractere": 1792, "fin_caractere_exclue": 3249, "texte": "A PORTFOLIO OF ETCHINOS.\nBy Gordon Craig with a preface.\n/'Xnly thirty portfolios will be issued, although ten or twenty additional copies of some of\nplates will be printed according to the condition of the plate. The plates will then\nbe destroyed. Each portfolio will be numbered. Each set consists of twelve designs loosely\nmounted on grey card and contained in a grey cloth box portfolio with fastenings. Each\nplate is signed by the artist. Size of portfolio 48x30 ctms. Average size of plate.\n14 2/3 x 15 2/3 ctms. The price for a portfolio will be L. 16 . o . o, (400 Francs or 320 Marks).\nHphese etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage. &&&?<&\n44 Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\n\" remain the very Essence of the Art. & & &\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\" once more an Impersonal Art which shall take its place by the side of its two sister\n\" Arts, Music and Architecture\". & &\nORDER FORM\nTo The Publishers,\nThe Publishing Office of \" The Mask \" 8, Borgo San Jacopo p. 2. Florence. Italy. &\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks) & & &\nSigned\nAddress."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c040", "article_bluemountain": "bmtnaau_1908-12_01#c040", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "207", "page_fin": "207", "image_debut": 29, "image_fin": 29, "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=bmtnaau190812-01.2.18", "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": 29, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 502, "texte": "LIBRAIRIE ANCIENNE\nT. DE MARIN IS & Co. & 5 Via Vecchietti - FIRENZE\na\n5\nT5\n&\niLtJ\nUBZ? $\nill\niiui\nruvr\n11\nh\nru\nIXZD2\n»«\ni\nA,\nIS)\nfi, i\n«»*\n<5:\n-.a\n»a• ( 9\n• «»«\n• ■\ntil\nll*\nMil\nLfl\n/X\n111\n>57\na\nULdJ\nI* !•\no\nuir\n00\nr»l\nIBtl\n30\n=!\nliii\n1\n0.1\nnan\nin\nril\na\nI c\n(MM\n•111\nJ.lll IPO u\n* 9\ni I\n1911\n44\n»!»•\nU«l\nr~\n00\nit\nhi\"\nI I\nHI\nMM\nit*\nft\nu\n»•••*\nnil*\nOfls\nnrtr\nGO\nOC\n1I\nft It\nVtr\nin\"\nvw\nCm\nFine Collection of MSS.y Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c041", "article_bluemountain": "bmtnaau_1908-12_01#c041", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "207", "page_fin": "207", "image_debut": 29, "image_fin": 29, "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=bmtnaau190812-01.2.19", "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": 29, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.29", "debut_caractere": 504, "fin_caractere_exclue": 873, "texte": "ADVERTISERS!\nSPECIAL OFFER\nThe Mask will be enlarged\nand contain French & Eng-\nlish articles commencing\nwith the February num-\nber. It will have a circu-\nlation of\n10,000 copies\na month.\nApply immediately for spe-\ncial terms to be made to\nthose advertising in the\nFebruary number.\nPrice of three advertise-\nments for the price of\none. Circulation 10,000\nguaranteed. ■£*"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c042", "article_bluemountain": "bmtnaau_1908-12_01#c042", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "207", "page_fin": "207", "image_debut": 29, "image_fin": 29, "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=bmtnaau190812-01.2.20", "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": 29, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.29", "debut_caractere": 875, "fin_caractere_exclue": 1134, "texte": "NEW YORK DRAMATIC\nMIRROR £7\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\nSample copies on request free of\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months."}]}, {"article_id": "bm-bmtnaau-1908-12-01-c043", "article_bluemountain": "bmtnaau_1908-12_01#c043", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "207", "page_fin": "207", "image_debut": 29, "image_fin": 29, "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=bmtnaau190812-01.2.21", "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": 29, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.29", "debut_caractere": 1136, "fin_caractere_exclue": 1676, "texte": "EDITION DE LUXE.\nSPECIAL NOTICE TOBOOKEOVERS\n15 copies of \" The Mask \" will be printed\nMonthly upon a yellow hand-made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition. &\nYearly subscription: England, L. 3.5.0 Post Free\n„ „ f, Germany, Marks 67,00 „ „\n„ ~ „ America Dollars 16.00 „ »»\n„, t, » Italy Lire 82.00 ~ »\n„ „ Russia Roubles 30.00 „ ,»"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c044", "article_bluemountain": "bmtnaau_1908-12_01#c044", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "208", "page_fin": "208", "image_debut": 30, "image_fin": 30, "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=bmtnaau190812-01.2.22", "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": 30, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.30", "debut_caractere": 160, "fin_caractere_exclue": 576, "texte": "ANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES &\nFLORENCE\nVia dei Fossi 4\nj0 (ESTABLISHED i860)\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\n,\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, & Pedestals, Garden Seats,\nVases Fountains Flower=stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c045", "article_bluemountain": "bmtnaau_1908-12_01#c045", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "208", "page_fin": "208", "image_debut": 30, "image_fin": 30, "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=bmtnaau190812-01.2.23", "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": 30, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.30", "debut_caractere": 578, "fin_caractere_exclue": 829, "texte": "DINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna\nVia dei Fossi N. i - FLORENCE\n4\nReproduction of sculptures of Old and\nJWodern masters « Statues M Busts M\nVases M Bas-reliefs M pountains M Doors\nChimneyiHpieees « Bases etc. etc. In\nevery style"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c046", "article_bluemountain": "bmtnaau_1908-12_01#c046", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "208", "page_fin": "208", "image_debut": 30, "image_fin": 30, "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=bmtnaau190812-01.2.24", "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": 30, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.30", "debut_caractere": 831, "fin_caractere_exclue": 1296, "texte": "la. P. VIEUSSEUX\nJ& FLORENCE -*? VIA VECCHIETTI, 5 &\nReading rooms, containing the best English\nnewspapers and reviews. - Latest telegrams\nOpen daily 8 a.m. to 10 p.m. Sundays 8\na.m. to 12 p.m. Subscription 35.00 a year.\nCiiculating containing thousand\nvolumes in English, French, Italian, German,\nsome Spanish and Russian. Open daily\n9 a.m. to 5 except Sundays. Beoks\nsent to all parts of Italy and abroad.\nmmmmmmmmmmarngmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmammmmammmmm"}]}, {"article_id": "bm-bmtnaau-1908-12-01-c047", "article_bluemountain": "bmtnaau_1908-12_01#c047", "volume": "bmtnaau_1908-12_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "208", "page_fin": "208", "image_debut": 30, "image_fin": 30, "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=bmtnaau190812-01.2.25", "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": 30, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.30", "debut_caractere": 1298, "fin_caractere_exclue": 1556, "texte": "SPECIAL NOTICE\nThree Back Numbers\nof \" The Mask \" for\nthe Price of One Number.\nThis offer holds good only\nfor This Month.\nSend one shilling or the\nequivalent in stamps of\nwhatever country you are\nin to\nTHE PUBLISHING OFFICE\n8 BORGO SAN JACOPO\nFLORENCE\nITALY."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.1", "texte": "AN nnnnAM c n A IA\nARTICLE by LKAIU. LKAIU.\nVol. I. N.° 10. DECEMBER 1908\nTHF MASK\n1 i 11—4\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE\nEUROPEAN & AMERICAN AGENTS.\nLONDON. D. J. RIDER 36 St Martin's Court. Charing Cross Road. W. C. f & £S\nBERLIN. EDMUND MEYER- Potsdametstrasse 37 0 & 0\nAMSTERDAM, KIRBERGER & KESPER. 134 Rokin. 0 & 0 & &\nBUDAPEST. NAGEE OTTO Musenm-Korut, a 0 & 00 0\nM O S C O U. \"LA BALANCE \" Office, Place du Thdatre & j& &\nPHILADELPHIA. U. S. A.\" THE BUTTERFLY \" Office. 1126 Walnut Street. uS>\nNEW YORK. BRENT A NO, N. 4. & & & 0 0 0 £>\n& PRICE ONE SHILLING NET, MONTHLY\n\"There is not a page in it which is not\ninteresting & stimulating in a fine way\"\n& JS> £> -er PALL MALL GAZETTE"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.2", "texte": "ANNOUNCEMENTS TO OUR READERS\nherewith beg to announce to our readers that the February edition of The\nMask wili be greatly enlarged and contain articles both in English and French\nby celebrated writers, Theatre historians, etc. Further details as to the contributions\nin this and following numbers will be announced in the January number of The Mask.\nFJ eaders are requested to send their subscriptions direct to the Publishing Office,\n8 Borgo San Jacopo, Florence, Italy. The sending of the money is facilitated by\nenclosing paper money in a registered letter. In Germany, M. 15,00. In America,\n4 Dollars. In Italy, 15 Lire. In Austria, 20 Kronen. In England, (postal orders) 151=\nIn Russia, 8 Roubles. In Holland, 10 Gulden.\nFor the convenience of our readers we herewith give the list of our agents in the\ndifferent parts of the world.\nLondon, D. J. Rider, 36 St Martin's Court, Charing Cross Road.\nBerlin, Edmund Meyer, Potsdamerstrasse 27 b.\nAmsterdam, Kirberger & Kesper, 134 Rokin.\nVienna, Hugo Heller, 3 Bauernmarkt.\nMoscow, Michael Lykiardoupolos, \" La Balance Place du Theatre.\nHelsingfors, Akademiska Bokhandeln.\nBudapest, Nagel Otto, Muzeumkorut 2.\nStockholm, C. E. Fritze, 18 Gustaf Adolfstorg.\nGoteborg, Ringner & Enewalds, Kungsgatan 31.\nNew York, Brentano's, Fifth Avenue.\nPhiladelphia, G. W. Plank, 1126 Walnut Street.\nThe Editor will be glad to consider any MSS. submitted to him. These should\nbear the names and addresses of the authors, be typewritten and accompanied\nby stamps. Any MSS. submitted in this manner will receive the earliest attention,\nand every care will be taken as to their safe return, but the Editor cannot take\nany responsibility should any loss occur. & & &\nEditorial Offices, ARENA GOI,DONIy Via dei Serragli, Florence, Italy.\n\"\"\"'1\" 1'\"\"\"'\" 11'\"IT7ZT1,., 11\nPUBLISHING OFFICE OF \"THE MASK,\" 8 BORGO S. JACOPO, FLORENCE, ITALY\nEDITORIAL OFFICE, ARENA GOLDONI, VIA DEI SERRAGLI, FLORENCE, ITALY\n\nTH E MOSffER BOOKS &\n& MDCCCXCI-MCMVIII j& J&\nFor a dozen years the most artistic volumes at their price that have been issued in America\nhave been published, not from New York or Boston, nor even in Philadelphia or Chicago\nbut it Portland, Maine. In that little city Thomas B. Mosher has been printing, without\nflourish of trumpets or wide advertising, volume after volume which in artistic excellence\nare not excelled by the issues of any publishing house in the world. Then, too, Mosher has\nreprinted only the gems of literature that have been declared of the first water; gems that\nare, beyond objection, jewels of the world's treasury of brilliant writing. We may also\nassert that the question of gain has been secondary in Mosher's calculations. He has put\nout very small editions, and he has made them so beautiful in all that concerns their make-\nup that it is doubtful if he has ever gauged the expenditure by the possible profit. Never-\ntheless, he must have done so, but in doing so he excites our admiration. £>\nQUY CARLETON LEE in Baltimore Sun for Dec. 18, &\nMy new Catalogue a remarkable piece of book-work in itself explains this unusual\ncompliment, and is sent free on request to book-lovers anywhere that can be reached\nby mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks. You are not wearied by \" a jollie good book \" jingle and that sort of thing, but\nyou are treated to some very genuine prose & verse not found in every cut and-\ndecidedly-dried anthology. & &&&&&&&\nTHOMAS B. MOSHER & PORTLAND. MAINE & U. S. A."}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.3", "texte": "SOME OPINIONS\nABOUT THE MASK,\nITS APPEARANCE, ITS\nARTICLES AND ITS AIMS.\nSATURDAY REVIEW. 44 A new journal printed\nin a very original way, with woodcuts,.... and articles,...\non all topics connected with the theatre. Such a journal,\nif it could receive sufficient support, would have a\ndistinct value of its own.\nPALL MALL GAZETTE* 44 A new theatrical journal called The Mask,... seems\nworthy of a really hearty welcome. There is not a page in it which is not interesting\nand stimulating in a fine way, and many are both\nThe same journal, referring to The Mask's championship of the Censor says, \" a\nwriter who takes his side strongly deserves gratitude, whatever his view may be; for\nit is only by Sincerity and Courage that the cause of Art can be usefully served.\"\nWESTMINSTER GAZETTE. The Mask, by the way, is a quite remarkable,\nrevolutionary magazine, which, unlike any purely theatrical magazine that 1 can\nrecollect, is rich in intelligence, eager discussion of theatrical affairs, treating drama\nand the stage seriously as great matters of art, and striking fiercely against the idea\nthat a playhouse should be a mere place of entertainment.\" This \" interesting\nmagazine is likely to have a great effect upon the drama of the future. There is no\ntrace of somnolence in The Mask. & & & &\n<£? MORNING POST. 44 Among the least expected editorial sallies are a protest\nagainst the stage treatment of religious subjects,... 44 Salome \" is not forgotten....\nand the assertion 44 the censor is not only a blessing, he is a necessity.\" &\nTHE SPHERE. The Mask has now reached its fifth number. In the first place\nthe format is most engaging. It is a nice f01i0.... printed in a thick black type on\na rough paper. It contains many delightful woodcuts by Mr Craig of his own and\nother's composition.,., strange designs of beautiful simplicity which give new life to\nthe art of Bewick. As for the literary matter, it is a torrent of ideas. \"\nLIVERPOOL COURIER. \" The Mask is a new 44 monthly journal of the art of\nthe theatre \", and if anything were required to prove how deeply the possibilities\nof the drama are now impressing some of the most eager and imperative minds in\nEurope, the contents and appearance of its first number would provide evidence and\nto spare in a manner of the utmost dignity it attempts to 44 bring before an\nintelligent public many ancient and modern aspects of the Theatre's art, which have\nbeen too long disregarded or forgotten,\" We wish The Mask a longer life than\nambitious periodicals of the kind are generally permitted to enjoy.\"\n44 The second number of The Mask has now reached us from its Florentine printing\nplace, and by the delicacy of its format, the pleasantness and dignity of its types, the\ncareful excellence with which its illustrations have been reproduced, the character\nof the illustrations themselves, and the curious distinction and sincerity of its literary\ncontents, it seems to prove that the artistic centre of Europe has once again shifted\nto Italy.\" jp\nMr HALDANE MACFALL in THE DAILY GRAPHIC. &4« For one among us who\nis interested in the art of painting a dozen are beckoned to the Theatre; yet, oddly\nenough, while painting has its several sumptuous magazines, the theatre has not one\nworthy of it. From today we are to be rid of this unseemliness, for The Mask, from"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.4", "texte": "its headquarters in Florence, makes its first appearance here and throughout Europe\nto do for the Art of the Theatre what The Studio has essayed to do for the arts of\npainting and of sculpture and of the crafts allied thereto. It is to be the mouthpiece\nof a group of young men of distinction upon the Continent, whose work is devoted\nto the theatre and to all that the theatre means.... men without fanaticisms as to\nvague \" reforms \" of the theatre so much as urged by the aim of ridding the theatre\nof certain ugly defects and weaknesses. Undoubtedly its staff is a strong 0ne..,. The\nresults ought, to say the least of it, to be vastly interesting, for the personality of\nthe man whose artistry influences its pages has already cast that influence over the\ntheatre of Germany and Italy and Russia—particularly of Germany.\"\nTill? LADY'S PICTORIAL. \"Not playgoers alone, but all who are interested\nin the art of the theatre will welcome No. I of a characteristically unconventional\nshilling magazine called The Mask, published in Florence.... In format, in type, in\ncontents, The Mask is unique. & &\nOXFORD CHRONICLE• \" The Mask \" a highly aesthetic production, with\nits blunt type on rough paper, its wide margins, its wood-cuts, initials, and tail\npieces, and its artistic cover in green and black. \" &\nTHE SUNDAY CALLy EASTON Pa. U. S. A. \" Here is tbe finest magazine of\nits kind in the w0r1d.... I commend The Mask to all those who think they see the\ndawn of a New Theatre in America.\" & &\n& MANCHESTER GUARDIAN. \" The Mask continues to provide interesting,\nprovocative, and debatable matter for those who care about the theatre. \"\n& PUBLISHERS CIRCULAR. \" The July number is the fifth of a new Art\nmagazine, entitled The Mask, which is printed in English in Italy and does great\ncredit to the Tipografia Bodoniana of E. Morandi of Florence. It is a bold folio\npage,.... the print has dignity, the get=up distinction, and the text, so far as we are\nable to judge, is worthy of its handsome setting. Somehow one gets the impression\ntha to some extent The Mask exists to make known the aims and ideals of Mr\nGordon Craig;... that they are sane and sensible ideas is shown, we think, by his\nanswers to the Editorial questions.\" (Realism and the Actor Symposium).^\n& PARIS AMERICAN. \" I have received a double number, that is to say, the\nnumbers for May and June bound in one, of a singularly clever magazine. It is\ncalled The Mask, is in its fifth month and is devoted to the Art of the Theatre. A\nmore artistic publication it is not possible to make. It is artistic in design, in paper,\nin letter-press, in color, in illustration, in its articles. Art peeps out of every pore.\nPile the adjective artistic mountain high, in its positive, comparative and superlative\ndegrees, upon e\\ ery conceivable aspect of this magazine, and you will not be excessive\nnor will you break the back of any noun. Its thought is strong and fearless. It has\na staff of strong writers and clever artists.\" *&&&?<&&\n& THE NEW AGE. \" The Mask is the most beautiful magazine published. \"\nWHAT'S ON. ** The Mask, devoted to the art of the theatre, makes a welcome\naddition, and sets a splendid example to the sordid mass of monthly literature already\nin circulation. &\n& MICHAEL MONOHAN, (The Papyrus. East Orange, New Jersey U. S. A.J\nwrites, \" The Mask is brave, brilliant and inspiring.\" &\nMr MARTIN HARVEY writes, \"Your most delightful and significant journal.\"\nMiss ELLEN TERRY writes. \" What a splendid number of The Mask this\nlast is! \" &\nMr EDWARD HUTTON writes. \" I think The Mask improves every time you\nsend it to me"}, {"page_pdf": 6, "page_imprimee": "[184]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.6", "texte": "A reproduction of one of the designs in the Portfolio of Etchings by Gordon Craig."}, {"page_pdf": 7, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.7", "texte": "TW w «5K mA jr V- THE JOURNAL OF THE ART\nf-~l 1 / 1%/ l fk «/ OF THE THEATRE.\nI g | n I%■ 1 L\\ IV VOLUME ONE, No. TEN\njt i i» .•*I T M.JL B. DECEMBER I 9 o 8.\n\nCONTENTS\nAFTER THE PR A C T/SE THE THEORY&\n£> MOTION. BEING THE PREFACE TO THE PORTFOLIO OF ETCHINGS by\nEDWARD GORDON CRAIG. TWO THEATRES. INTRODUCTION TO AN ESSAY ON THE\nGROTESQUE THEATRE by LEON de SCHILDENFELDT SCHILLER. THE ARCHITECTURE\nAND COSTUME OF SHAKESPEARE'S GREEK PLAYS by E. W. GODWIN. .£> PLAYS AND\nPLAYWRIGHTS, PICTURES AND PAINTERS IN THE THEATRE by GORDON CRAIG.\nSOME QUOTATIONS FROM GOETHE AND W. S. LANDOR. 0 BOOK REVIEWS. FOREIGN\nNOTES. THE SPECTATORS. & EDITORIAL NOTES. & FRONTISPIECE, A REPRODUCTION\nOF ONE OF THE DESIGNS IN THE PORTFOLIO OF ETCHINGS by GORDON CRAIG.\nENGRAVINGS by GORDON CRAIG. & JULIUS OLIVER. GEORGE NORMAN, ETC. &\n\nMOTION. BEING THE PREFACE TO THE\nPORTFOLIO OF ETCHINGS\nby Gordon Craig.\n& The Beginning.... the Birth....\n& We are in Darkness........ all is still.\n& We hear no sound we feel no movement we see nothing.\nAnd from this Nothing shall emerge a spirit. Life....... a perfect and\nbalancing life.... to be called Beauty.... The Immortal Beauty of Change Eternal\nEven now as we wait watching, in the very centre of the void a single\natom seems to stir it spreads jg? jg?\nIt is the faint trembling of the first false dawn.\nAround us spreads a mist motionless and colourless.\nThe silence commands.\njg? Some Spirit seems to work there in the gloom as in a little buoyant\nwind a breeze which blows upon the veiled spaces and stirs them into life.\nAt last the Dawn, ineffably hushed beyond Silence, silent.\n& The light ascends, spreading ceaselessly.... Day arrives and passing turns to Night.... The\nfainting Light... the passing and the renewal of the promise.... Divisible and Indivisible.\nOnward ! The profound spirit throbs incessantly at its sweet task.\n& A form simple and austere ascends with prolonged patience like the\nawakening of a thought in dream. <£?\nA second and a third form seem to f0110w.... Always a double birth repeating.... a fourth,\na fifth, a seventh, and yet as we look we seem to see but four.... that first form which\ngave birth has passed; those two forms to which it gave birth have passed.\nFour shapes remain.\n& Ah, birth of my love, already you have multiplied fourfold I Cease\nnot until you will continue to increase!\n& But no eyes away from what is happening. & & &\n& Look there to the East! Something seems to unfold, something to fold.\nSlowly quickening without haste, fold after fold loosens itself and clasps another till that\nwhich was void has become shapely. And now from East to West, one chain of life moves"}, {"page_pdf": 8, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.8", "texte": "like a sea before us, while slowly breaking from units into pairs, shapes\ncontinue to appear in endless procession while still the folds fold and unfold\n& Some rising, others falling passing and repassing one another.\n& Lingering responding to an approach..... shrinking at a repulse blindly\ntowering fainting..... parting meeting. & & &\n& And then a pause.... a perfect balanced thought is poised before us, and all\nis still AH is accomplished. Silence. All rests.... and only is it left now for\nthe tender liquid light to feel its way across this form.\n& Like freezing water it descends a little with delay, and like a dew it settles.\nNo more & & & &\n& Enough.... & &<&&&&?& <£?&&\nAnd may this love beginning have no en d .\nF\nor the fulfilment of this most superb dream must first come the union of\nthe three Arts ,The Arts of Architecture, Music and Motion.\n& These three Arts bring to the Religion of Truth three vital needs. &\nThe First brings the Place The Second the Voice The Third\nreveals the Event The Temple The Hymn The Balance.\nWithout Architecture we should have no Divine Place in which to praise.\nWithout Music no Divine Voice with which to praise. &\n& Without Motion no Divine Act to perform.\nArchitecture Music Motion\nThese are the great Impersonal Arts of the Earth and together form\nthe mysterious link between Now and the Hereafter. &\n& For the fulfilment of our most superb Life, these three must be again united\nfrom one end of the Earth unto the other.\nG. C."}, {"page_pdf": 9, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.9", "texte": "TWO THEATRES, INTRODUCTION TO \"AN\nESSAY ON THE GROTESQUE THEATRE\",\nby Lêon de Schildenfeld Schiller.\nt was in Athens, on the feast of St John A. D.... under the\nreign of the just Duke Theseus, the subtle connoisseur and\nprotector of fine arts. After a night of magic dreams, the\ngolden grains of which Robin Goodfellow sowed so heedlessly\nabout, after a night ringing with the lullabies of wanton\nelves and the braying of the jovial donkey, out of the\ndepths of the sea into the heavenly vault loomed the\nradiant triumphal car of Phoebus drawn by nimble chargers.\nThis time the day was short, for the divine charioteer was\nhastening to the Duke's palace which shone with the\nwhiteness of marble on the western side of the town of Pallas.\n|\n\\ Having attached the foaming steeds to an olive tree, Argyrotox\nwas turning his steps towards the palace gates, to convey to the guardian of his nine\nsultanas, his congratulations on the occasion of his marriage with the beautiful Queen of\nthe Amazons, when suddenly a strange scene presented itself to his holy eyes. He perceived\nthe master of the revels, Mr. Philostrate, on the steps receiving petitions from the hands\nof well® fattened Athenians. & &\nAnd there were there among the tanners and brewers \" The best actors in the world,\neither for tragedy, comedy, history, pastoral, pastoral-comical, historical- pastoral, tragical-\nhistorical, tragical-comical»historicaS«pastoral \" for whom \" Seneca cannot be too heavy, nor\nPlautus too light,\" wishing to contribute to the illumination of the Duke's entertaiment\nwith the performance of two dramas, the true pearls of their repertory, under the humble\ntitles of \" The riot of the tipsy Bacchanals, tearing the Thracian singer In their rage,\"\nand \" The thrice three Muses mourning for the death of Learning late deceased in beggary.\"\nThere was also an authentic Athenian eunuch desirous of singing to the sounds of the harp\n\" The battle with the centaurs.\" & & &\n& But the mighty Duke having just risen from a luxurious banquet had no wish to taste\n\"caviar\" in which his subjects could never find delight, so they ashamedly went away, the\nactors tragical and comical, historical and pastoral, vowing never to return to this inhospitable\nthreshold, consoling themselves with the thought of a better reception at the castle of\nElsinore. The Athenian eunuch was also dismissed with a rebuff, and, it seems, has founded\na \" Classical \" Music Hall, (le nu esthetique) in Paris. &\nThere remained only a small group of artisans with the carpenter Peter Quince and\nthe weaver Nick Bottom at their head. These simple fellows falling on their knees before\nthe master of the revels, avowed in compunction of having dared with their coarse red\nhands, to bring a gift to the Gracious Reigning Duke, and that they were desirous of\npresenting it in person at the feet of his majesty. This gift was \" A tedious brief scene of\nyoung Pyramus and his love Thisbe: very tragical mirth! Merry and tragical!\" Philostrate\nshook his head,... but being mollified with a purse of coppers, notified the duke of the matter.\nThe good duke (whose name be famous in all ages) uttered these winged words; &\n\"....I will hear that play;\nFor never anything can be amiss,\nWhen simpleness and duty tender it,\"\nThe Sun God heard these words and, seized with a terrible anger, turned back, seating\nhimself as quickly as possible in his air chariot, and as he rose above the roof of the palace\nshot an arrow from a silver bow, which, sticking into Mr. Nick's nose, caused his noble\ncheeks to run with blood. & & &\n& Apollo's disappearance was so sudden and unexpected, that the court panegyrist had not\nsucceeded in writing the hymn in honour of the setting sun on the duke's wedding day. The\noffended God never returned, although the sun always shone over Acropolis, although little\nchildren heard in their dreams the mysterious sounds of his lyre. &\n\nlii Athc u >s .\nThe Actors*\nTheir dismissal.\nThe artisans*\nApollo ."}, {"page_pdf": 10, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.10", "texte": "TWO THEATRES.\n\n& In the meantime the highly respected carpenter Peter Quince and the enlightened weaver\nNick Bottom, putting on one side their ill-paid trades, fell into the embraces of the kind\nMuses. Having sold their tools they bought, at second-hand shops, styles, wax tablets,\nbuskins and masks. An agreeable accord reigned between the two ex-artisans: Quince wrote\nthat which Bottom wanted, Bottom played that which Quince desired; but always it was Quince\nwho obeyed Bottom, this latter, in fact, distinguishing himself for his presence of mind and\ncunning. At first these performances took place in the \" enchanted wood near Athens \"\nbefore a small group of spectators, composed for the greater part of old mates. As however\nmischievous Puck never ceased playing his pranks on the passionate \" part devourers,\" and\nas the fair beholders, rather with clownish laughs than in oboles, paid for the touching\nspectacle, it was decided to remove to Athens. & &\nAnd thus it happened that, in a short time after the duke's wedding feast, a new\ntheatre was erected in Athens under the patronage of Apollo. The architecture of the\nbuilding cleverly united the temple with a lupanar. On the frontal was to be seen from\nafar the luminous inscription: & & «£?\n\"APOLLO \"\nA MOST CLASSICAL THEATRE\n»\nUnder the Direction\nof\nMessrs. Peter Quince and Nick Bottom.\nj£? The solemn inaugural performance was given on the natal day of an heir to the throne,\nwith the co-operation of the most eminent actors, recruited from the oldest families of\nartisans. The advertisement for the night (which long remained engraven on the minds\nof the spectators) announced the beautifully written tragedy of Prof. L. Anneus Seneca,\nunder the title of \" Frantic Hercules \" composed according to the sacred law of Stagyrite's\npoetics. The performance was preceded by a \" conference \" by M. Georges de Scudery governor\nof Notre Dame de la Garde, likewise the ornament of the Hotel de Rambouillet's drawing\nrooms. The distinguished esthete highly praised the \" agreeable beauties \" of the classical\ndrama, referring his hearers to the XX chapter of Aristotle's Poetics, to the X chapter\nof Plato's Republic, to the VI chapter of Heinsius' treatise on the disposition of tragedy etc,\netc. At the end a fairy ballet was given under the title of \" Titania \".... in the apotheosis,\namidst the lights of Bengal fires, the Fairy Queen herself appeared, in flesh-coloured tights,\nrouged, and wearing a crown cut out of gold paper. \" Several thousand people were turned\naway from the ticket office \" note the chroniclers. & & & &\nThe theatre prospered. On the repeated demands of the public, whose hands were swollen\nfrom the continual applauding of the authors and actors, the management resolved upon\nfixed \" claps \", thus enabling the spectators to express their enthusiasm in a less painful\nmanner, and even, from time to time, permitting them to doze in the comfortable dusty seats.\n& The theatre prospered. Mr. Quince wrote, altered, shaped, localised, and in this occupation\nhis cast-off trade came in useful more than once. Mr. Bottom was always at his beck and\ncall with his enlightened advice and played.... played everything. He was a real virtuoso.\nWith his capability for transformation and his everlasting youth he surpassed in the opinion\nof some the Divine Sarah. Among his most beautiful creations he reckoned the parts of:\nCleopatra, Dido, Hecuba, Adrienne Lecouvreur, Monsieur Perrichon and the Due de Reichstadt.\n& The theatre prospered. After the death of Mr. Quince, the theatre was managed\nsuccessively by Messrs. Abbd Delille, Crebillon, Scribe,... until at last the sceptre of dramaturgy\nreposed in the hands of Maitre Victorien and of the Great Hermit of Cambo.\n& The theatre prospered. On the stage, which represented a vestibule leading nowhere,\nstrolled about \" personnages going nowhere, speaking of little, with undecided ideas and\nvague words, slightly agitated by mitigated feelings, by peaceful passions, thus coming to\na graceful death or to a false sigh.... Inania regna! (i) & & &\n& The theatre prospered.... before the eyes of the lookers-on passed the wax figures full\nof the grace of tragedy, of the Governor Scudery, Cardinal Richelieu, or of Casimir Delavigne.\n\nQuince c£* Bottom\nA new theatre.\nThe inaugural\np ei for mane e •\nThe theatre\nprospered.\nA vestibule\n\n(i) A. de Vlgny, Lettre a Lord...."}, {"page_pdf": 11, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.11", "texte": "Above all, the beautiful recitation of beautiful verses was beloved. From time to time the\nactors were allowed to shout louder, or to make grimaces, as for instance In \" Rhadamist\net Zenobie \", or in \"30 ans ou la vie d'un joueur \". From time to time the scenes were\nchanged and complicated. Instead of the famous vestibule, a garden was shown with a\nfountain, with marble cupids and a hopelessly green moon, or a square before a church whose\nwalls, even in ultra-catholic pieces, shook on the entry of the comedians in operatic costumes.\nThe theatre prospers. Mr. Bottom lives, and is accustomed to say with a smile\nto his ever-charming wife, Titanla, (she is divorced from Oberon) that he is immortal.\n\"Quo usque tandem Titania?...\"\nII.\nOnce some Languishing Mariners, sailing towards a new earth, were awakened by the\njoyful cry from the stork's nest, \"Land, Land!\" The celestial watchmen had just gone off\nguard, extinguishing their tiny golden lamps, which pious sailors are wont to call \" Stars\nof the & &\nFrom the east, in a mist-woven tunic, advanced with dancing steps over the ocean, Rosy-\nfingered Dawn, scattering all around by handfuls, diamonds, sapphires, and rubies which\ndissolved themselves into a thousand sparks amidst the waves. As to the chalice of a lily\ndreaming on a brook, falls the silver tear which night sheds from her black eyes as a farewell,\nwaking the marvellous flower with a shy kiss, so the afore-mentioned Good Tidings descended\ninto the souls of the crew, fatigued with adventures and dreams of wonderful landscapes. &\n& After having rubbed their eyes and intoned their morning prayer, they descried, standing\non the bows of the vessel, the figure, well-known to their fantasies, of Ariel, who, unfurling\nhis butterfly wings like sails, cut through the air, accompanying their chant with the\nthrumming of his harp. About noon anchor was dropped on the shores of an island, which,\nso Ariel informed them, was governed by his master, the good Magus Prospero. &\nAnd a strange island it was, abounding in extravagant trees bearing fruit larger than\nthat which the emissaries of Moses brought from Canaan, as is painted in Bibles for children.\nAnd a strange island it was, abounding in variegated-winged birds, able to sing so softly,\nso beautifully and so movingly, like ancient musical clocks which are the suns in the grey\nrooms of old women. A strange island it was, abounding in people conversing in rhyme\nwith the sun, with the sea, and with the flowers in the likeness of those beautiful sick at\nheart, imprisoned in closed gardens. &\nThe astonished and childishly delighted wanderers were invited by King Prospero to a\nfeast, which he himself had prepared in his magic laboratory. The tables groaned under\nthe weight of rare dishes heard of only in the tales of \" Idler's Land \". Into crystal\ngoblets Ariel poured, from sapphire ewers encrusted with minute golden stones, which in\na mysterious way depicted the chart of the starry sphere unknown to the inhabitants of\nthe real world, the beverage extracted from poppies. From this chart, as it were from holy\nrunes, the very strange host deciphered wise and inebriating sentences. &\n& \"And now that I have shown your Excellencies all the wonders of this island\" said\nProspero, \" I make so bold as to invite you to my theatre. Poor it will certainly seem to\n\" you worldlings, who have swept the dust in more than one opera and who have danced the\n\" 'Cancan' with more than one ballet girl. Howsomever my labours and those of my spirits\n\" may appear to you, one thing I humbly beg, flattering myself with the hope that in your\n\" kindness you will not refuse to grant my request: believe, that everything you will see here is\n\" true. Behold! there is the setting sun, and silver garlands of stars appearing on the\n\" horizon persuading us to hasten to the theatre. \" &\n\" Behold! the joyful dance, in time with the murmur of the sea, of tSiese three beings who\n\" are the symbol of my Power. Dance, Caliban! dance, Ariel! And thou, rny beloved daughter\n\" Miranda, trip it in company with them in this circle described by my magic wand. Look,\n\" strangers, how foulness and beauty stretch forth their hands towards their earthly form,\n\" in which only they obtain life, when they become of her marrow, when they become of\n\" her blood. What would Ariel be in himself?... the hazy breath that hovers over the earth,\n\" never able to touch it with his feet. What would be Caliban?... a hideous reptile deprived\n\"of the delights of flight. What would be Miranda?... she would be unworthy of her\n\nTWO THEATRES.\n\nThe Mariners.\nAriel. &\nA strange\nisland. &\nKing Prospero.\nThe joyful\ndance. &"}, {"page_pdf": 12, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.12", "texte": "TWO THEATRES,\n\n\" name.... nothing more than an inanimate clod of earth, condemned to everlasting sterility.\n\" Behold! Wonder of wonders! Miranda draws Ariel to the earth and adorns Caliban's\n14 shoulders with wings.... and this miracle accomplished by her, causes her pale cheeks\n44 to redden with a blush and a blissful smile to spread over her Sips. All this is the work of\n44 Occult Science, whose priest am I, gentlemen!\n44 Gracious King \" exclaimed the enchanted Captain, 44 In my life, such marvels I have\n44 never seen. I know Peter Quince and Nick Bottom's town theatre in Athens and have seen\n44 there in burgherish melodramas this monster, who now does not appear to me so terrible,\n44 1 have seen also this white spirit In classical tragedies and which now, God knows, is not\n44 at all so tiresome.... but never have I seen Miranda\". & &\n44 Miranda is my creation, Captain, and my theatre is on an enchanted island, which your\n44 excellencies must remember. But it is time already.... forget about the carpenter and the\n44 weaver, about their theatre and repertory. Better surprises are in store for you. I have\n44 shown you but a small portion of my Power, so as not to overwhelm you with the whole\n44 later on. Your Excellencies will kindly follow me. Sound the fanfare!\"\nOn this command the royal herald, a triton, put the curl of a shell to his mouth and\ninflating his cheeks began to blow, thus informing all the inhabitants of the island that the\nperformance was about to commence. Our travellers passing through the enfilade, the\narches of which were formed by the intricately twisted boughs of fabulous trees, found\nthemselves suddenly in an amphitheatre, built of monstrous stones overgrown with\nmoss, brought expressly, so it seems, for this end, from cyclopean isles. &\n<£> And a strange theatre it was. 44 Glow worms took the places of lamps; a cockchafer\nbeating time with his antennae stood before the desk; a cricket had seated himself in the\norchestra and a nightingale was first flute; wee sylphs, come out of peas blossom, held\nbass viols made of lemon peel, between their well formed little legs, whiter than\nivory. \" (i). Hold! The golden winged dragon flies sitting on the chalices of the bind weed\nwhich climbed over the stage, touched their little hearts, giving, with a peal, the signal to\nthe band master to commence. &\nHush! The tiny maestro in a snuff-coloured dress coat reaching to his ankles raises the\nbaton.... the Overture. The grasshoppers begin on their guitars, to strike the soft chords\nof Rossini's night seranade....\n44 Piano, pianissimo, senza parlar!\nTutti con me venite qua, venite qua\".\nOn this conjuration, mild Zephyrus flutters the hair of timid Dryads who begin to speak\nn a leafy whisper to themselves.... on hearing the sounds the awakened naiads began to\nsplash with their hands in the spring, striking on the glassy surface of the waters silvery\narpeggios.... some well-known melody.... intoxicating with the perfume of raspberries and\nyoung fir trees.... Aaa! To be sure, it is Mendelsohn's scherzo in 44 A Midsummer Night's\nDream \". The director gives a signal for change of time. From the depths of the wood\nthe wind brings the tooting of an owl sick with sleeplessness, and the obstinate rythmical\ntapping of a woodpecker.... Tempo di marcia.... Grieg's 44 Procession of dwarves\".... Long-\npause.... On the background of the gloomy croaking of frogs, who, attracted by the unusual\nconcert come out of the marsh.... somewhere, far off, a corncrake answers from a bed of\nbulrushes. It is Oberon's golden horn, at whose voice everybody breaks out in dance....\nan enchanted dance.... the dance of forgetfulness. A waltz now passionate, now melancholy,\n44 Aufforderung zum Tanze \" do you hear the rustle of silk dresses, the mocking laugh of\ncoquettes, do you hear the prayers of tortured lovers, the blood inflamed mad vivace and\nkisses on inebriated lips each time softer and each time more burning!\nAgain the owl responds.... but this time her voice is more dreadful as though she would\nforetell some evil.... the wind has seized the violin and plays a terrible song.... all the\nstrings are broken already.... but the indefatigable player strikes the case time after time\nwith the bow, attracting her night companions: bats, crows, death's heads and venomous snakes.\nThe fluttering of wings, the hissing of evil reptiles and the dismal croaking of voracious\nbirds, deafen the lament of Orpheus' lyre:\n\nOccult\nScience .\nThe Herald.\nA strange\ntheatre .\nTh e overture\nThe owl\ntesponds.\n\n(1) Gautier, \" L'art dramatlque"}, {"page_pdf": 13, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.13", "texte": "\" Laissez«vous toucher par rnes pleurs\nSpectres, larves, ombres terribles,\nSoyez, soyez sensibles\nA l'exces de mes malheurs.\" (i)\nVulcan from his forge replies with a clap of thunder imitating the roll of kettle drums.\nSuddenly a thunder bolt tears asunder the curtain of spider's web. On the proscenium\nProsper© makes his appearance as Prologus, in a chasuble embroidered with mysterious\nsigns and with a magician's mitre on his head. The fantastic players pass now into the\nmajestic larghetto of the air from Mozart's \" Magic flute,\" \"In diesen heil' gen Hallen\"....\nThe magician' to the low accompaniment of the melody, concluded his speech with this\nincantation:\n\" Drum schonet mir an diesem Tag\nProspekte nicht und nicht Maschinen!\nGebrauch't das gross'und kleine Himmeslicht,\nDie Sterne diirfet ihr verschwenden;\nAn Wasser, Feuer, Felsenwanden,\nSo schreitet in dem engen Bretterhaus\nDen ganzen Kreis der Schdpfung aus,\nUnd wandelt mit bedacht' ger Schnelle\nVom HIMMEL durch die WELT zur HOELLE. (2)\nis the interpreter of the inexpressible; and it therefore seems a folly to try and convey\n\" its meaning afresh by means of words.\" & & & GOETHE\n\" ''jphe Artist is told to go and study Nature. But it is no small matter to evolve the lofty\nout of the commonplace, or beauty out of formlessness.\" £? GOETHE\n\" r would persuade us that, according to your system, we not only should\ndecline the succour of the wretched, but avoid the sympathies that poets and historians\nwould awaken in us. Probably for the sake of introducing some idle verses, written by a\nfriend of his, he says that, following the guidance of Epicurus, we should altogether shun\nthe theatre; and not only when Prometheus and CEdipus and Philoctotes are introduced,\nbut even when generous and kindly sentiments are predominant, if they partake of that\ntenderness which belongs to pity.\nLANDER, \" Imaginary Conversations(Epicurus, Eeontion & Ternissa.)\n\nTWO THEATRES,\n\nVulc an .\nThe incantation,\n\n(1) Gluck, \" Orphee \"\n(2) Goethe, \" Faust,\" Prolog lm Theater."}, {"page_pdf": 14, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.14", "texte": "THE ARCHITECTURE\nAND COSTUME OF\nSHAKESPEARE'S GREEK\nPLAYS\nby E. W. Godwin.\nTimon of Athens is one of those plays which is so far a\ndoubtful or at least a patched work, that one need not be\nultra-conservative in the matter of stage directions. Thus I\nhave no hesitation in uniting the first, second and third\nScenes of the third Act into one external or street scene,\nthe first and third Scenes being enacted at the thresholds\nof the houses of Lucullus and Senipronius. The fifth Scene\nmight be omitted altogether; it has nothing to do with\nShakspere, and certainly nothing to do with the plot. The\nshort first Scene of the second Act may also very well be\nomitted in stage representation. If further we make the\n\" room of state \" of the second Scene of the first Act the\nsame as the \" magnificent room \" in the last Scene of the\nthird Act, we shall have the architectural scenery reduced\nto the following list:— & &\n1. A hall in Timon's house.\n2. A room of state in Timon's house.\n3. A public place.\n4. Without the walls of Athens.\nThe Siall in Timon's house (Act L, Sc. i; Act 11., Sc. 2;\nAct 111., Sc. 4; Act IV., Sc. 2) can be no other than the\nTtpoOupov approach, vestibule or court between the street and\nthe front door. There might have been merely a wall or a\nwall with colonnade towards the street and several entrances\nleading from it to the court or prothyron. This court was\nin effect as free as the street, for the porter and the dogs were always kept within the front\ndoor of the house itself. A once rich and ever generous openhanded man like Timon would,\ndoubtless, have his residence built in the best possible way, so we may fairly conclude that\nit was constructed of Pentelic marble, that its walls were covered with imagery, that its doors\nwere clothed with costly metals and ivory, in a word, that it was exceptionally magnificent,\nand nearly, if not quite, as sumptuous as the palace of king Leontes in Sicily. In the banquet\nscene the guests would recline on couches, for although the men of Homer's time and the\nDorians of Crete always sat, the Athenian had learnt to eat in a reclining posture long\nbefore the time of Timon. One couch held, as a rule, only two guests (1) and had a separate\ntable provided for it. Upon these couches were heaped goat skins, carpets, and cushions,\nso as to make them not merely comfortable but luxurious. The dinner, when of the most\nrecherche description, consisted of soup, boiled fish, poultry, and meat, piled up on the\ntables; these done with the tables were removed, then followed the finger glasses of the\nperiod, plaited chaplets of flowers for the heads of the guests, and perfumes handed round\nby firm limbed girls; last of all, the loving cup passed round to the sound of music, and\nthen were brought in clean or fresh tables piled with fruit baked cakes, and toasted sweetmeats.\njZ? Leaving Timon and his friends over their wine and water we pass into the street, and find\nthat a public way in Athens was not very unlike what it was in Sicily. Of the walls of\nThemistocles and of the gates nothing remains, and any attempted restoration of them must\nbe in great part conjectural. We are told that they were sixty feet high. There are\nremains of foundations at Pass turn and other places to show us how thick these Greek\nfortifications sometimes were and how they were constructed. That there were square\ntowers and battlements and loopholes may also be received as tolerably certain. We may\nalmost take it for granted that the gateway was square-headed, and that the masonry\n\nTimon of Athens\nPagill a d .\nThe hall.\nA p nblie way\nin At hen s .\n\n(1) The Roman couch was usually arranged for three."}, {"page_pdf": 15, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.15", "texte": "was massive and regular, but if we wish to go further than this, restoration must be\nsupplemented by design. ds? & & jg? &\nAnd now turning to the costume of B. C. 430=407. I confess lam troubled; not for want\nof authorities but through excess of them. On marble, vase, coin, and gem are the illustrations\nwhich the old Greek has left us of the written word. This last tells us of women decked\nout in the feminine yellow or saffron-coloured chitons over loose Cimmerian transparent\nchemises, or chitonians of fine linen, with girdles round the waist, and sandles on the feet.\nAn outer garment and a cloak, or himation, was worn over the chiton, the latter usually\nat night and in cold weather. Besides these, mention is made of Persian slippers, veils\n(shawl or peplos), parasols, small mirrors suspended from the girdle, rings, necklaces, gold\nornaments, paints and unguents for the skin, the head-dress, the head-band, and the caul\nor net cap worn also at night. We are told of the hair of some women being cut bowl-fashion,\nof that of others being loose and flowing. As to the men, we learn that they wore a linen\nshirt, a chiton, girded, shoes, and in winter a cloak and boots, and that they wore the chaplet\nof flowers received at dinner throughout the evening, although they might be going to other\nhouses. The colours most usually employed were the Tyrian purple, the Sardian red, soft\nwhites, tender greens, and dark blue-greys.\nIt is somewhat strange that, considering the abundance of illustration in the British\nMuseum alone, a Greek dress has yet to be made; for neither in the numerous (attempted)\nClassical costumes of the stage, nor in the paintings of Classical subject publicly exhibited\nhas a Greek tunic or chiton been fairly represented. It is quite impossible without the help\nof drawings to fully explain the different shapes of and modes of wearing this the chief article\nin a Greek wardrobe; but it may be noted— (1.) that fineness and closeness of texture in the\nwool is essential; (2.) that fullness of material so as to secure a multitude of folds is equally\nnecessary; (3.) that the gigantic key and wave borders we have been accustomed to see on\nthe English stage have nothing to do with Greek work of the time of Alcibiades; (4.) that the\ndecoration of the dress was effected by double lines and dots arranged vertically in the\ncentre of the front of the chiton as well as by border lines; (5.) that there were sundry kinds\nof girdles ranging from the simple string tied in a large bow at the front or side to the\nbroad metal zone tied or clasped; and (6.) that there were two distinct kinds of chiton—one\nsingle bodied, and the other compound or double bodied (called 5171X0%), which consisted in\nthe chiton being much longer than the person, the extra length being doubled over, and\nfalling over the front and back as low as the waist or lower. Besides these common forms\nof the chief dress we meet with illustrations of over dresses reaching some distance below\nthe waist, and girded. Some of these have short shaped sleeves, and some have long, loose,\nor bag sleeves. Another form which has the appearance of a sleeve is nothing more than\nthe upper extensive hem of the chiton dropping over the upper arm, and looped up by one,\nthree, four, five, or six buttons. For the Greek chiton was formed of a square cut piece of\nwool, and was as broad or broader than it was long. When, therefore, the dress was not looped\nover the arm, it hung from the shoulder button in an open fold under each arm, through which\nmight, perhaps, occasionally be seen the delicate chemise or vest beneath. The borders were\nusually enriched with single lines, sometimes dots set close together were added on one or\nboth sides of the line, and in the richest examples double lines occur, the upper band thus\nformed enclosing embroidered figures—the marginal one decorated with conventional leafage.\n& Various, too, was the arrangement of the women's hair, as also the designs of their\nhead-dresses. Some of these were extremely beautiful, others, again, look awkward, not\nto say ugly, if such an objectionable word may be allowed in connection with anything\nGreek. The bracelets were chiefly of gold, made in the spiral form. Necklets were mostly\nof beads or pearls, which were also used for the head-dress, for neckchains, and even girdles.\nThe peplos or shawl, and the chlamys or scarf, were worn out of doors. The first of these\nwas a very capacious sort of wrap, and was often used as a cover to choice furniture.\nIt was usually worn round the body, the end being thrown over one shoulder\nand falling to the bottom of the back. The scarf was sometimes made in an oblong piece,\nthe length equal to twice its width, and sometimes with triangular goars or wings added.\nThe chiton and chlamys were worn by both sexes. I might go on exhausting the patience\nof my readers with descriptions of the different methods of wearing the scarf, and of\nmany other modes and details of dress, but if anyone is anxious to learn more they have but\n\nSHAKESPEARE'S\nGREEK PLAYS.\n\nThe costnme.\nThe Greek tunic\nThe women*s\nhair ."}, {"page_pdf": 16, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.16", "texte": "SHAKESPEARE'S\nGREEK PLAYS.\n\nto devote a spare day or two to the British Museum, or, if this is not within their reach,\nHamilton's \" Vases\" may be consulted. & & & & & &\nAnd now, after one has been wandering in museums and noting ancient eastern authors,\nit is quite a refreshing change to come home once more and to turn to the notices of costumes\nin the text of Winter's Tale and Tim on. iiermione's words—\n—You may ride us\nWith one soft kiss, a thousand furlongs, ere\nWith spur, we heat an acre,\nintroduces us at once to a period wholly different from the time of Alcibiades. As we go\non we hear of the day when Leontes saw himself unbreech'd in his green velvet coat, his\n44 dagger muzzled lest it should bite its master, and so prove, as ornaments oft do, too\ndangerous.\" Hermione wears \" a medal,\" also called \" a jewel,\" hanging about her neck, a\nfashion we see illustrated in many of the sixteenth and seventeenth century paintings.\nPaulina is persuaded of the clown's truth by recognising her husband's handkerchief and\nrings. And lastly, in the fourth Act, mention is made of '• three pile \" (velvet), and of a host\nof Elizabethan millinery, \" ribands of all the colours in the rainbow,\" points or tags, inkles,\ncaddisses, cambrics, lawns, tawdry lace, tape, silk, thread, sham jewels, brooches, pomanders,\nshoe-ties, and\nGloves, as sweet as damask roses;\nMasks for faces, and for noses;\nBugle bracelet, necklace-amber,\nPerfume for a lady's chamber:\nGolden quoifs, and stomachers.\n& In Timon of Athens drums and gloves are almost the only words which refer to costume\nor properties of a later age than that to which this history belongs. &\n\nHermione."}, {"page_pdf": 17, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.17", "texte": "PLAYS & PLAYWRIGHTS, PICTURES\n& PAINTERS IN THE THEATRE,\nby Gordon Craig.\nI go and however intelligent or unintelligent the people may be, and however\ni carefully they have read what I have written upon the Theatre, the eternal question\ncomes back over and over again: sometimes aggressively put to one, sometimes nicely put:\n\"Do you want to sweep away all the plays out of the theatre? Do you find the idea of the\npoet in the theatre offensive ? Please say what is the meaning of this extraordinary idea of\nyours, that that which has been good for hundreds of years is suddenly to be held as bad.\"\nIt is exceedingly difficult to reply to all this, and as it is exceedingly difficult let us try\nto do SO. jg? <£&&&&/£/\n& Of course to me the whole question is so clear that it ceases to be a question any longer.\n5t has become the obvious with me that when man sets his hand to a work he should not\ntake by the wrist another man's hand and use it to do the work in question, and then call\nit his work. & &\nThe whole thing is so obvious to me that in order to be able to reply carefully and\nsensibly to those to whom it is not obvious, I must remove myself from the picture before\nme, and see every line in the pictures which the others see. And if I try to do that I shall\nhave to see some very dull things, and discuss some very dull points, which are obvious\nto most of us; but if the question has to be gone into at all perhaps this is inevitable. &\n& I have a horrible dread of proving people to be wrong, especially the man who takes\nthe Arts easily. I have more than a large appreciation of his good sense. Besides Ido not\nwant to prove that the man who goes to the pit to see 44 Richard III,\" is wrong for going\nthere, no matter what his reason is. &\nLet us take the whole front row of the London pit, consisting of twenty people.\nAsk them the reason why they have come to the theatre. Five reply, \" 1 come to\nsee Mr.... act.\" Three reply, 44 It is such a great play, I like to hear it so much.\" Two\ngiggle and reply, \" We don't know why we come, but we think it is such fun. \" Two\nare there from a sense of duty both to the actors or the play, and to the audience; and\nthe other eight will give us several elaborate and conflicting reasons for their presence.\n& One will say, that it is the extraordinary sense of the impossible, the grim absurdity of\nthe whole thing, which fascinates him (excellent judge!). rz/\n& The second will tell you that after having spent the day among dull and matter of fact\npeople it is quite interesting to find a body of people who will sit still while actors and\nscenery are pretending on the stage. &\n& Then there is the third, the critical man; one who having read how Edmond Kean\nilluminated Shakespeare by sudden flashes of genius, and that the Kemble family were of\nthe 44 classical\" school and that Charles Fechter was a romantic actor, and having read a\nhistory of the stage which skips over the first couple of thousand years in two pages and only\nbegins to go into detail when it comes to the Shakespearean era, this man will be there,\nbecause somehow he feels that the thing would be incomplete without him; he is one of\nthe men who know.... has he not read all about it? & & & &\n& Then next to him is sitting a young lady, who, with the intelligence which is natural in\nher sex, is ready to see all that is there and more, (or less) if required; and yet indeed she\nleans towards the 44 more \" and is ever the champion of the 44 more \" when she finds it. &\n& Next to her sits the grumbler, one who goes to a theatre because he must, and who, 1\nbelieve, is always the one who is most deeply moved by what he sees. Yet when the curtain\nis once down he will tell you that was not the way to do it at all. 44 Why,\" he says, 44the\nactors are so many sticks; nothing real about them. \" He draws our attention to the flapping\nscenery and grumbles about the incidental music which he says spoils the effect; and he\ndetests all those flashing lights, which, he says, spoil the illusion. But what illusion is\ndestroyed he is totally unable to define. The rest of the row say that it is very nice\nindeed and they all applaud heartily, while he continues to grunt and mumble and keeps\n0n repeating that 44 that isn't the way to do it.\" &\n\nThe eternal\nquestion .\nA front row\nin the Pit.\nThe critical\nman. &\nThe grumbler."}, {"page_pdf": 18, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.18", "texte": "PLAYS &\nPLAYWRIGHTS,\nPICTURES &\nPAINTERS IN\nTHE THEATRE,\n\n& And so we see that very nearly each single man or woman is come there for a different\npurpose, sees the thing in a different light, and composes what we can term an \" audience\nthat is to say a single idea; that audience which the actor always looks on as one man, and\nwhich we must accept as the \" ideal spectator.\" & &\n& One thing is irrefutable. They cannot keep away from the theatre. And another thing\nwhich we must admit is this: that out of the twenty, fifteen have come to see something. 1\nwill even go so far as to say that the entire twenty have come to see something; because\nthe first on our list, the first five who came to hear Shakespeare more or less admit that\nthey came to see it performed, for had they wished they could have Joined the many\nthousands who sit at home and read it silently, and in this way hear it in their mind's\near with all its amazing and wonderful accompaniment; or joined those who read it\ntogether in Societies.\n& So we can say somewhat surely that all have come to see the play. & This\ndesire is as fierce as any in the nature of man. Only when seeing does a man\nthoroughly believe. There are innumerable proofs of this, and many will occur to you at\nthis moment without my mentioning them. So now; it Is reasonable to ask that that which\nthe people desire and go to the theatre to find, should be given to them.\n& They go to see something; they should be shown it. Only by showing them\nwill they be satisfied. Therefore I hold that properly to satisfy their eye, and through that\ntheir being, we should not confuse them or confuse their sense of sight which is most\ndelicate, by pounding at the same time at their ears with music or with words, nor by\nattacking their minds with problems and shaking their bodies with passions. &\n& Let us take something as an example of what I mean.... that part in the play of\n\" Macbeth \" where he prepares to nerve himself to rob King Duncan of his life. He is roaming\nabout in and out of the dark corridors of his castle. Behind him, like his shadow, a servant\nmoves, they pass and repass a window, and I think I see him gazing out a long time towards\nthe heath. He continues his prowling, and then rests upon a stone bench. The servant\nholding a trembling light, looks at him, and he looks back again.... Once more he begins to\npace the corridor, he is afraid to be left alone. He thinks of his wife, then becomes more\nafraid of being left quite alone ;..v \" Go, bid thy Mistress when my drink is ready she\nstrike upon the bell.\" The servant departs. He continues to roam up and down. In his\nagitation the figure of his wife takes the place of his servant. He feels particularly fine;\nhe has an audience; he seems to take courage and his desire warms in him. He will do\nit.... The servant returns, startling him for an instant.... \"Get thee to bed \" He watches\nthe flame of the torch as it dwindles and dwindles, down the steps leading to the basement;\na flame at first, it now became a streak.... a streak.... & & &\n\" Is this a dagger that I see before me?\nThe handle towards my hand? Come, let me clutch thee;\nI have thee not, and yet I see thee still.\nArt thou not, fatal vision, sensible\nTo feeling as to sight? or art thou but\nA dagger of the mind; a false creation\nProceeding from the heat»oppressed brain.\nI see thee yet, in form* as palpable\nAs that which now I draw.\nThou marshal's! me the way that I was going;\nAnd such an instrument I was to use.\nMine eyes are made the fools o' the other senses,\nOr else worth all the rest: I see thee still\nAnd on thy blade, and dudgeon, gouts of blood\nWhich was not so before. = There's no such thing.\nIt is the bloody business, which informs\nThus to mine eyes.... Now o'er the one half world\nNature seems dead, and wicked dreams abuse\nThe curtain'd sleep; now witchcraft celebrates\nPale Hecate's offering; and wither'd murder,\nAlarm'd by his sentinel, the wolf,\n\nDifferent\npurposes,\nThey come to\n* see' the play.\nMacbeth.\nHis visi on."}, {"page_pdf": 19, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.19", "texte": "Whose howl's his watch, thus with his stealthy pace,\nWith Tarquin's ravishing strides, towards his design\nMoves like a ghost.... Thou sure and firmset earth,\nHear not my steps, which way they walk, for fear\nThe very stones prate on my where«about,\nAnd take the present horror from the time,\nWhich now suits with it.... While I treat, he lives:\nWords to the heat of deeds too cold breath gives.\n(A bell rings)\nI go, and it is done; the bell invites me.\nHear it not, Duncan; for it is a knell\nThat summons thee to heaven or to hell.\nNow here is what I mean. This same idea, these same figures, these same visions, can\nbe better brought before the eye and so into the soul of the audience if the artist\nconcentrates on that which appeals to the eye, than if that which appeals to the brain, and\nthat which appeals to the ear is making simultaneous confusion, (i) &\n& It is difficult to read this one speech of Macbeth slowly, when other sounds and sights\nare exterminated and we are quiet in our rooms, and get the full value of what Shakespeare\nhas put there. We can read the speech three, four or five times, and then only is some of\nits worth caught by us. And having read this speech three, four, five times let anyone\ncontinue to read the entire play, and he will be as fatigued as though he had walked\ntwenty miles. But he will have felt some of that which Shakespeare intended him to\nfeel, though by no means all. & That which he feels we shall not feel when we go to see\nthe play performed in the theatres. &\nWhen we read those lines we are not cramped within three walls. We wander up to\nthe top of the Castle with Macbeth, we gaze across the rooky woods and across the hills;\nwe can descend with him into the cellars, we may pass out and among the bushes which\nbank themselves at the foot of the damp castle of Glamis. And if we only went so far with\nShakespeare 1 should not have reason to object to the cramping in between three walls\nwhich we are subjected to in the theatre; for we should not be great losers. But when we\nread, we ride with Shakespeare upon the sightless couriers of the air. Pity, like a naked\nnew born babe, hangs in the air before us; we see the wolf with Tarquin's ravishing\nstrides passing before us; he seems to prowl round the room, the entire time we are\nreading. We hear the bell which strikes and rings the knell at the death of Duncan. As we\nsit in our room reading, the bell time after time booms out in the distance. Later,\ntomorrow and tomorrow and tomorrow, creeps in this petty pace from day to day....\"\nRound our room, outside the window, above us in the room over our head, creeps continually\nthe tomorrow and tomorrow, and so losing all this in the Theatre we are great losers. &\nIt is not people and things, but ideas which so surround and possess us as we sit and\nread. And when art is so great and so perfect that it can bring us in the mere reading\nsuch priceless magical things, it is little short of sacrilege to destroy that which produces\nthose ideas by confusing us and our other senses, by appealing to those other senses at the\nsame time.\nHow obvious this all should be. And so, although it is absurd to talk hopefully of the\npossibility that in a short time these plays may not be put on the stage, I would have them\nthere but seldom for the reason I have suggested, that on the stage we lose them.\n<£? And there is another reason why I would not have them there, and it is this: the\nsame idea, the same impression the same beauty and philosophy if you wish can be put\nbefore the eyes of an audience without at the same time confusing their ideas through an\nappeal to their other senses.\nA man, (we may call him Macbeth, though it does not matter what his name is)—may\nbe seen passing through all these doubts and fears—a figure in action; and round him other\nfigures in action; and though we may not receive the superb impression which a master\n\nPLAYS &\nPLAYWRIGHTS,\nPICTURES &\nPAINTERS IN\nTHE THEATRE*\n\nOne appeal\nrather than\nwan y .\n& Reading\nthe 1 i n e s .\nIdeas, not things\npossess ns.\n\n(1) This hint of how Mr. Craig conceives of this one scene in Macbeth will make all readers of \"The Mask\" the more\neager for his promised production of the play at \" His Majesty's.\" Every production of Mr. Craig's has been beautiful,\nand memorable .... each one more so than the preceding. We are therefore justified in looking on to this coming\nproduction not only as a rare pleasure, but as an event of the greatest importance in the annals of theatrical art. Ed:"}, {"page_pdf": 20, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.20", "texte": "PLAYS\nPLAYWRIGHTS,\nPICTURES &\nPAINTERS IN\nTHE THEATRE,\n\n(which Shakespeare) gives us, we shall through our eyes receive a clearer impression than\nif the other senses were called upon at the same time to \" assist\", for, instead of assisting,\nthey would confuse, as they ever do. & & & &\nSuppose we look at a picture by Signorelli, the famous one of the Berlin Gallery. I\nfail utterly to believe that a string quartett playing hard at the same time would assist\nour eyes; or that some one reciting to us simultaneously the \"Birth of Pan \" would bring\nout the qualities in the picture. It would only confuse. &\n& Supposing we are listening to the Pastoral Symphony by Beethoven. I do not believe\nthat a panorama of hay-makers making hay, or a pleasant voice reading to us from Spenser's\n\\\n\" Shepherd's Calender \" would add In any way to the understanding or the enjoyment of\nthose qualities which are in the Symphony. It would only confuse. & &\nHas it ever been tried? No, indeed! The musicians have protected their garden well.\nThe painters have protected theirs well. & The theatre men have left their vineyard, and\nit has been annexed by.... anyone who wished to make use of it. The playwrights made\nuse of it once: Shakespeare, Moliere and the rest. Then Wagner took a fancy to the\nvineyard. Until today we find that the painter is actually making eyes at the little place....\nthe painter, the man who has been given innumerable myriads of acres, a little patch of\nwhich he had cultivated till now so exquisitely. But now both painter, and musician, as\nwell as the writer, have grown discontented, each with his vast possessions; and so the\nannexing goes on. & & & &\nAnd I am here to tell of this, and I claim the theatre for those born in the theatre, and\nwe will have it! Today, or tomorrow, or in a hundred years, but we will have it! So you\nsee I do not wish to remove the plays from the stage from any affectation, but first because\nI hold that the plays are spoiled in the theatre, and secondly I hold that the plays and the\nplaywrights are spoiling u5.... that is %to say are robbing us of our self-reliance and our vitality.\nIn Germany and in England, even in Holland where they are at times particularly\nintelligent, they follow up their statement that I wish unreasonably to drive out the plays\nand the playwrights from the theatre without reason, by adding that I wish to introduce\nthe paintet in the place of the author. &\n& What leads them to surmise this, is that I happen to have made very many stage\ndesigns on paper. In my time I have produced many pieces on the stage, and in most cases\nwhen doing so, I have not previously produced designs on paper; and if I possessed a theatre\nof my own, I should not convey on to paper the designs which are in my mind, but I should\nplace them directly on to the stage. & &\nBut as I have not yet this theatre of my own, and as my mind leaves me no rest until\nthese designs and ideas are put into one form or another, I have been forced to make\nstudies of these ideas with the limited means at my disposal. And so lam judged by what\nis seen on paper and am acclaimed as Maler, (painter); and instantly the thoughtless scream\nout, \"Ha, ha! we have unearthed this terrible conspiracy; this man is only arguing from\na little standpoint. He only wants to oust our plays from the stage so that his pictures\nmay come there instead\". & & & &\nBut, gentlemen, I assure you you have made another mistake. A mistake very easy to\nmake and very difficult to avoid making, because you naturally say to yourselves, \" If he is\nnot a painter what is he? He can't be a stage manager, because a stage-manager first\ndemands a playwright, and this man does not demand a playwright\". 3 see your difficulty\nperfectly well. HOW can you understand that which has not been; how can you believe\nin that which you have not seen? Oh, for a few such men.... who seeing with the mind's\neye things which are visionary, believe in the heart of their minds that which they see.\nLet me repeat again that it is not only the writer whose work is useless in the theatre.\nIt is the musician's work which is useless there, and it is the painter's work which is\nuseless there. All three are utterly useless. Let them keep to their preserves, let them\nkeep to their kingdoms, and let those of the theatre return to theirs. Only when these\nlast are once more reunited there shall spring so great an art, and one so universally beloved,\nthat I prophesy that a new religion will be found contained in it. That religion will preach\nno more, but it will reveal. It will not show us the definite images which the sculptor and\nthe painter show. It will unveil thought to our eyes, silently.... by movement.... in visions.\n& So you see n0w.... 1 hope you see.... that the Theatre has nothing to do with the painter,\n\nThe intruders.\nAw r on g\nst at e in e nt.\nA mistake."}, {"page_pdf": 21, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.21", "texte": "or painting, fust as it has nothing to do with the playwright and literature. You also see that\nmy proposition is a very harmless 0ne.... some of you will say a very foolish 0ne.... this of\nrestoring our ancient and honourable Art. Very harmless, because you see that I am\nentirely free from antagonism towards the poets or the dramatists; and what feeling I have\nabout the matter is so slight, that it will influence the modern theatre but little. The\nmodern theatre will retain its place and will go on being the modern theatre until the\npainter shows a little more fight, and then it, will become the more modern theatre, and\nthen some other artist, perhaps the architect, will have his turn; and then the two will\nfight it 0ut.... it will be a beautiful little tussle.... and we, the men of the theatre, that is\nto say the third dog, will run off with the bone.... Voila! &\n\nPLAYS &\nPLAYWRIGHTS\nPICTURES &\nPAINTERS IN\nTHE THEATRE.\n\nDRAMATIC FORM.\nGOETHE.\nFrom the translation of W. B. Rlönnfeldt.\n1775\njt is well=nigh time that people ceased talking about the form of dramatic compositions,\nabout their length and shortness, their unities, their beginning, middle and end, and all\nthe rest of it; and that we now began to go straightway to their contents, which hitherto,\nit seems, have been left to take care of themselves. &\nThere is, however, one form which is as distinct from the other as the internal sense from\nthe external; a form which is not tangible but requires to be felt. Our head must be able to\noverlook that which the head of another can grasp; our heart must be able to feel that\nwhich the heart of another can feel. The intermingling of the rules will not give rise to\nlooseness; and, though the example should prove dangerous, yet it is at bottom better to\nmake a confused piece than a cold one.\nIndeed, if only more persons were alive to this inner form, which comprehends within\nitself all forms, we should not be disgusted by so many abortive productions of the intellect;\nwriters would not think of expanding every tragic event into a drama and of slicing up\nevery novel into a play. I wish that some clever individual would parody this twofold\nnuisance by arranging, say, the /Esopian fable of the Wolf and the Lamb in the form of a\ntragedy in five acts. <&&&&&&&&&\nEvery form, even that which admits of the greatest amount of feeling, has in it something\nthat is untrue. Yet the form is invariably the glass through which we collect the holy rays\nof extended nature and throw them upon the heart of humanity as their focus. But as for\nthe glass—he to whom it is not given, will not succeed in obtaining it, do what he will. Like\nthe mysterious stone of the alchemists, it is both husk and matter, both fire and cooling\ndraught; it is so simple, so common, it lies before every door, and yet so wonderful a thing\nthat just those people who possess it can as a rule make 110 use thereof.\nJZ? He who would work for the stage should, moreover, study the stage, the effects of\nscenography, of lights, of rouge and other colouring matter, of glazed linen and spangles.\nHe should leave nature in her pioper place, and take careful heed not to have recouise\nto anything hut what may he performed hy children with puppets upon hoards and\nlaths, together with sheets of cardboard and linen. & & & &"}, {"page_pdf": 22, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.22", "texte": "BOOK REVIEWS\n\nTHE TRAINING OR THE\nIMAGINATION. JAMRS RHOADRS.\nJohn Jane. I/- net. cloth.\nD. N. L.\n\" Wow' w*ia* * want is facts. Teach these\nboys and girls nothing but facts. Pacts\n44 alone are wanted in life. Plant nothing\n44 else and root out everything else, and be in\n44 all things regulated and governed by fact.\"\nThis theory of Mr Gradgrind's, in spite of the\nyears which have elapsed since Dickens wrote\nhis 44 Hard Times,\" still finds its advocates,...\ntoo many of them; and for that reason we\nought to be grateful to all who, in whatever\nsphere, try, like Mr James Rhoades, by word\n& example to combat so pernicious a doctrine,\nto advocate the training and development of\nthe imagination, and to help to set life free\nfrom the slavery of statistics and the bondage\nof mere facts. & & &\nWe have certainly travelled far since those\ndays in our educational theories: more\nenlightened teachers have begun to grasp the\nidea that facts are only symbols representing\ndeeper things, and that it is of greater\nimportance to help a pupil to open his eyes\nand perceive for himself those underlying\ntruths than it is to stuff him with names and\nstatistics like a Strassburg goose; and we\nshould hope great things from such methods\nas those set forth by Mr Rhoades in his little\nbook. JS/\nBut although the reproach lies less heavy\nupon our schools than it once did, we\nfear that this dictum of Mr Gradgrind's is\nstill held in far too much esteem in the\ntheatre, and we can very readily imagine\nthese words, in a slightly altered form, upon\nthe lips of certain stage managers of the\npresent day.\n44 What we want is facts: Realism. Give this\n44 audience nothing but facts. Facts alone\n44 are wanted on the stage. Let your model\n44 of Glamis Castle be a perfect detailed\n44 statement, on however small a scale. Let\n44 streams of real water, fresh from the\n44 Borough Reservoirs, flow beneath it.\n44 Surround your witches with real vapour\n44 produced by a real steam engine in the\n44 background, and what more can an\n44 intelligent public desire?\"\nWhat more? Rather, perhaps, what less?\nThey want less statement; more suggestion.\nThey do not want to be shut up in this world\nof realities, for reality is of necessity limited:\nthey want an opening made through which\ntheir imagination can escape into wider spaces,\ninto the infinite region of the poet's thought.\nThe scenery may be very ingenious, even, in\nin its way, beautiful: but, as Mr Rhoades\nwrites, there is a 44 higher thing than the\nbeauty either off words or of thought clothed in\nwords, the pure thought itself\"; and, so,\nbeyond the scenery, beyond the interpretive\nor symbolic gestures of the actors, must be\nthe pure thought itself; and any mode of\nrepresentation which has closed or obscured\nthe way to the perception of this thought has\nfailed in its aim. & &\nThe materials used \"may be of the simplest.\nThe Bible miracles of the turning of stones\ninto bread, the fairy legends of the changing\nof dead leaves into gold, are really no more\nwonderful than what the artist still does for\nus today. For, as Mr W. S. Lilley writes,\n44 the incommunicable attribute of genius is\n44 that active imagination which constrains\n44 exterior objects to express the artist's\n44 thought. \" &\nAs Mr Rhoades points out, a poet can take a\nhandful of common words, such as 44 blow \",\n<4winter,\" 44und\" 44unkind,\" \"ingratitude,\" &,\nwith a sprinkling of conjunctions, prepositions\nand pronouns, 44 transform them into a thing\nof perfect beauty and immortal breath.\" So,\non the stage, the artists of the stage should\nbegin to create like wonders from the barest\nmaterial.\nAnd the audience? Would they be discontented\nbefore such a representation? We do not\nthink so: for, to quote Mr. Rhoades again,\n(since what he says of his scholars would, we\nbelieve, apply also to their elders) 44 they have\nimagination and to spare: what it needs is\nwakening and directing. \" &\nWe do not deny that the imaginative faculty,\nso fresh and strong in the young, does become\nto a certain extent atrophied in older persons,\nwhen, through long years, it is never exercised:\nbut even so we believe that it is not so much\ndead as dormant, and is ready to awaken at\nthe right appeal. & & &\nThat this appeal is at present but rarely made\nin the theatre all will admit. That it will be\nmade in the near future, ever more strongly\nand poignantly, all who watch the work of\nthe younger men, the few artists, in the\ntheatre, in whom lies the hope of the future,\nfirmly believe. £?£?£?&\nThis is an enjoyable little book, excellently\nprinted by Mr Clownes & Sons for Mr John\nLane.\n\nBOOKS, A2VTD JOURNALS RECEIVED.\n« The Life of Henry Irving, by Austin Brereton.\nLongmans, Green & Co, London. The Study of\nthe Drama by Charles Caffyn, Baker & Taylor Co.\nNew York. Putnam's & The Reader. Indianapolis.\nOrd och Bild, Stockholm. & The Book News Monthly\nPhiladelphia, Pa. U.S.A What's On London. &Le\nTSmoin, Paris. The Fra East Aurora. New York. &\n\" The Bibelot Portland, Maine U. S. A. £> \" The\nPapyrus East Orange., New Jersey U. S. A. &\n\"Current Literature \" New York. \" The Studio ,\nLondon. & \" The New York Dramatic Mirror ,\nNew York. & \" Rivista di Roma \", Rome. \" Argus ,\nHelsingfors. & \" Die Schaubuhne Berlin. li\nTeatro Illustrate \" Milan. & &"}, {"page_pdf": 23, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.23", "texte": "FOREIGN NOTES\n\nMANCHESTER\nJ. D. B.\n| Tnless The Mash aspires to be as cosmo-\npolitan as to forget that \" London \" and\n44 England \" (to say nothing of 44 Britain \")\nare not quite synonomous terms, it may\ninterest your readers to know that we in our\nhumble way are now sharing in that revival\nof the Art of the Stage that we have hitherto\nwatched enviously from afar.\nI say this advisedly, because it is only during\nthe last twelve months that we have been\nable to consider our contributions under this\nhead as at all worthy of the dignity of the\nArt. While commercialism and travelling\ncompanies reigned supreme, our audiences\ncould hardly be expected to do more than\nabuse the fare provided; but with the esta-\nblishment of a repertoire theatre we, who\nlove the stage, are glad to notice the gradual\ngrowth of a new standard of taste,.... a\njudgment which estimates and appraises\nbefore affixing the seal of contemporary\napproval.\nWhat this criterion may be, it is of course\nimpossible for me to say; but it will have to\nbe flexible, and perfectly adjustable to the\nrequirements of the new atmosphere.\nWe do not aspire very high as yet; and it\nmay be that the dignity of the Art has been\nserved better by the bringing together of a\nsmall community of theatre lovers, than by\nany matter put before them. The latter is\ngood, but its tendencies are limiting; the\nformer is a nucleus for indefinite expansion.\nThe plays produced for us by the reper-\ntoire company under the direction of Mr B.\nIden Payne, have included several by Mr\nCharles Mc Evoy, one by Bernard Shaw;\ntranslations from Rostand and Sudermann\nand Maeterlinck; other work on the same\nlines and more to follow. Our limitations\nhave not yet begun to hamper u5.... when\nthey do it will be time to think of breaking\nthrough them. In the meantime we have a\ncharming theatre, and we are just beginning\nto find out what it is we really want to see\nthere.\n\nCAMBRIDGE\n\n'TMie Art of the Drama does not flourish,\ngenerally, at Cambridge; There are always\ntouring companies at the New Theatre,... of\nthe usual quality! Within the University are\nsome dramatic societies, which fulfill their\npurpose of amusing. But the stupid Univer-\nsity regulation that no society may produce\na play in which women act, whilst no doubt\nit preserves the morality of Cambridge, is a\nsad obstacle to serious dramatic effort (i).\nThis law, indeed, applies only to societies,\n(so subtle are the workings of morality I), so\nthat plays are sometimes performed, with\nwomen in the female parts, by temporary\nassociations of private individuals. But even\nwhen these are serious efforts their effect\ncannot last. There can be no continuity....\nThen there are the triennial and much-praised\nGreek Plays; of great interest to scholars and\noften, to musicians. They are staged with\nsome expense and great archaeological accu*\nracy, and stage-managed and directed by a\ngreat many dons. There is a lot of light and\ncolour, quite uncontrolled and garish, and\nthe whole effect is rather dreary; though it\ncannot always conceal the supreme qualities\nof the actual play. uS? &\nAbout a year ago a small society, called the\nMarlowe Dramatic Society, and composed\nalmost entirely of undergraduates, was formed\nfor studying and producing plays. They have\nalready given two performances of Marlowe's\n44 Dr. Faustus\" with some success.\nIt was to them that Christ's College turned,\nwhen it had decided to celebrate the tercen-\ntenary of Milton's Birth, and had come to\nthe vastly sensible conclusion that a dinner\nfollowed by a performance of 44 Comus \" was\na more reverent and agreeable way of honour-\ning Milton than the customary dinner and\ntwo hours of speeches.\nOwing to the rule about women acting, the\nMarlowe Society could not perform the play.\nBut it was undertaken by many of the same\npeople, acting privately, with a few more of\nkindred ideals; all, except one, connected\nwith the University or Newnham College.\nBoth the producers and the actors of 44Comus\"\nwere, by their own desire, anonymous on the\nprogrammes and bills. &\nThe business was carried through against the\ndisapproval or actual hindrance of some of\nthose of former generations who are now\nresponsible for the Drama at Cambridge;\nthough others of them nobly helped with\nencouragement and advice a project quite\nopposed to their own ideas of drama. &\nThe performances were given in the New\nTheatre on July 10th and nth, 1908, and were\nvery successful. Even the Press, though puz-\nzled, was enthusiastic. \" Comus though not\na true 44 mask \", is not wholly dramatic,*...\nmore a poem than a play. So great care was\ngiven to a right and beautiful speaking of\nthe poetry,... that art that's lost from the\nmodern stage! and the ever-changing but\ncontinuous music of Milton's verse is harder\nthan any to express. The action was, as a\nwhole, consciously restrained and slow;\nbroken by the dances,... the 44fantastic round\"\n\n(I) At Oxford the law is just the reverse. No member of\nOxford University may take a female part. So do the laws\nof morality change with locality I"}, {"page_pdf": 24, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.24", "texte": "of Com us' rout in the first scene, and the\nmorris=dances, an aim airs and a corrente in\nthe third. jg?\nIn the whole movement of the play a solemn\nrhythm was aimed at,... the white Apollonian\nspirit (but not purely classical!) of the early\nMilton, shot through by the most Oriental\nfervour of the rout of Comus, son of Bacchus!\nTo the attainment of some such complete\neffect each part,... music, dancing, speech,\nscenery,... was subordinated. The music,\nplayed by a string orchestra, was that written\nby Henry Lawes for the original production of\n\" Comus \" in 1684, with some contemporary\ndance tunes.\nIn the setting of the play a compromise be*\ntween means and ideals was inevitable, but\nnot discordant. In the second scene, especially,\nComus' palace by means of lighting from the\nwings, simple drapery, straight simple linee\nand rich and harmonious colour in dress and\ndecoration, a setting of great beauty was\nattained, which yet aided, not competed with,\nthe action, in claiming and pleasing the at-\ntention of the spectator.\nThe performance found great favour both\nwith the company of literary celebraties who\nhad come to celebrate Milton's tercentenary,\nand with the public next day. The success of\n\" Comus \" is only the beginning in Cambridge\nof a dramatic movement with fresh ideals and\nhigh enthusiasm.\n\nR. B.\n\nLONDON\nJ. B.\nIt is only quite lately, in the last few hundred\nyears, that the beggar and poverty have\nbecome popular themes for the artist. Once\nupon a time it was held a vile thing to sing\nof pain and of hungry bodies and to paint it\nor hew it in marble or to groan it on musical\ninstruments no less vile.\nRembrandt?.... Kings had turned away from\nthe artist by that time, and hence the\nenthroning of poverty.\nIt is the wise duty of kings to do honour to\nthe artists of their land, for when the artist\nfinds nothing sympathetic in the idea of\nRoyalty, he perforce turns to the extreme\nand rags interest him, then absorb him, and\nin the terrible and the despairing he\nfinds something akin. & &\nToday I was at a meeting of the unemployed\nof London. It was ug1y,.... terrible enough to\nattract the thoughts of an artist when Royalty\npasses him without noting his existence.\nThe Country and its Rulers are sometimes apt\nto forget this actual existence of the artist,\nand I think they undervalue his power.\nEngland would be a different and a more\nJoyous country today if Royalty tried more\nto understand the Artist and all he represents.\nIf the House of Lords should ever have its\nexistence curtailed it will be partly owing to\nthis utter disregard of the Arts of Architecture,\nMusic and the Drama and those who lend\ntheir force to create these Arts. &\n\nMOSCOW\nE. B.\n\" TPhe Bine Bird \"by Maeterlinck was pro*\nduced here last month at the Moscow\nArt Theatre, whose directors, M. Stanislawski\nand M. Dantschenko have made their Theatre\nperhaps the first in Europe. jg?\nIt is too little to say that a fine vitality is\npossessed by the members of this remarkable\ncompany no less than by the directors. They\nseem to be able to do tlmags better than any\nother theatrical company I have seen. They\ncan sit on a chair better, they can rattle off\nwords better, they can flock out through a\ndoor better, they can sit or stand still saying\nnothing better than any other set of actors\nin Europe. Added to this they can capture\nthe atmosphere of the author in so loving\nand so fine a manner.\nThey can even be comic without being\nvulgar,... thus a comedy with them is some*\ntimes a tragic affair at beholding which we\nfeel impelled to seriousness instead of being\nconvulsed by mirth.\n\nTHE SPECTATORS\n\nft is in a theatre at Munich. The audience\nof students is very unruly and is continually\ninterrupting the performance of \" Hamlet\"\nwith bursts of laughter and loud criticisms.\nThe King is suddenly seen striding towards\nthe footlights.\nHe is about to speak.... silence prevails. He\ndoes not move as, with tragic and intense eyes\nand firm voice his sentences roll out :\nI have to act a King. It is very difficult.\nYou have only to act at being gentlemen,...\nand you are unable to. \"\nThe silence in the theatre after this\nspeech proclaims the power of the actor.\nBut why should he wait to exert his power\nuntil the students have derided his art?"}, {"page_pdf": 25, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.25", "texte": "EDITORIAL NOTES\n\nft is really quite extraordinary how certain\nwriters of today will attack anyone who states\nthat acting is not an art... it is more extra-\nordinary that these writers will dare to write\nutter tomfoolery about both acting and art\nand it is most extraordinary that responsible\npapers will print the rubbish. &\nAn American actress has lately expressed the\nopinion that acting \" is not one of the great\narts \". \"If a woman is clever, if she has\nthat great drawing power to attract attention\nand admiration, the chances are she will be\na good actress\". JZ? & &\nNow it is quite obvious to anyone what this\nlady means. By great drawing pover she\nmeans great personal magnetism, without\nwhich she most correctly asserts no woman\ncan be a good actress.\nOne would think that this point had been\nsettled and accepted long ago; one does not\ndream that anyone will call in question so\nwell-established a fact: yet the Pittsburgh\nGazette-Times says in its editorial columns:\n'• With ideas such as these current in the\n\" profession, is it any wonder that ' the\n\" actor's reputation as an artist has been\n\"steadily declining? The matinee idol has set\n\" up for himself exactly the same standard....\n\"to attract attention and admiration '. But\n\" that is not acting. It is precisely the same\n\" ambition that actuates the masher and the\n\" coquette. The actor who cannot rise above\n\" this base conception of his art should seek\n\" some other calling, but should not on that\n\" account belittle the art he does not measure\n\" up to. With such great names as Booth and\n\" Forrest in a past generation, and such as\n\" Irving and Mansfield within a few years, it\n\"would be futile to deny that there have\n\"been actors who are real artists. We have\n\" such actors among us 5ti11.... men and wo-\n\" men who realize that though the stage paints\n\" no enduring pictures it is as potent as the\n\" pulpit as an esthetic and moral force. But\n\" they do not put forward as their first am-\n* bition ' to attract attention and admiration Y'\ngn August the Stage took a step nearer\nperfection. It produced a play in a language...\nwhich few people can understand. &\nGoethe's \" Iphigenia in Tauris \" was performed\nin Dresden by that remarkable actor Emanuel\nReicher and his beautifal daughter, and the\nlanguage spoken was Esperanto.\nIt must have been an entrancing sight to see\nEraulein Reicher moving gracefully through\nthe dramatic piece and to have heard the fine\nvoice of Emanuel Reicher without having to\nfollow the sense of the things they were saying.\nThe scenery, to judge from the reproductions\nin the Illustrated Journals, must have been\nappallingly bad, and the costumes seem to\nhave been quite fairly incorrect.\nSoon we hope plays will be given in a language\nno one can understand. &\nThen the last tendency to preach will have\nbeen brushed away; then the Stage can turn\nto serious things again. & &\n\nTHE CRITIC CRITICISED.\nUnder this heading a letter lately appeared\nin the ''Westminster Gazette\", and Mr E. F.\nSpence was the critic who had the honour of\nreceiving it,... a doubtful honour, and it\nsurprises us that he took the trouble to print\nit. Yet it serves as a good illustration of the\nstupid section of the London public.\n\" You seem to think,\" writes some arrogantly\ndull creature, \" that we can and ought to\n\" have a drama like the novels of Meredith,\n\" which I believe nobody ever reads, or like\n\" the pictures of Whistler that are simply\n\" ridiculous\": and later on we come to a\nbrilliantly stupid passage which drawls as\nfollows: \"Art is all very well in its way and\n\"in its proper place. I like a good picture\n\" or a good song, or a rattling story as well as\n\" anybody; but art ought not to be shoved\n\" down our throats.\" & &\nInnocence cannot go further than this. The\nwriter signs the letter, \" a middle-aged\nPleasure Seeker.\" Such a one takes pleasure\nin middle age. The youth is gone anyhow,\nfor we must not forget that it is youth that\nsprings joyously to the works of Meredith\nand Whistler, knowing it will find Youth in\nthese works,... and even Youth may claim\nthat it knows something about pleasure, for\nit creates pleasure if it does not go in search\nof it. But the writer of the \" Westminster\nGazette \" letter is evidently masquerading,\npretending, laughing, having \"a bit of fun\",\nand so is typical of the weary middle-aged\nparty in England, who want \" fun \" at all\ncosts. Ashamed to be simple, alarmed lest\nthey may be serious, frightened to feel\nanything, they assume the penny satin mask\nsold and bought by the million, and feel they\nare \" awfully witty \" daring \".... \" what\nfun\". Fun without wit, watery fun, the\nconsequence of delaying until middle age....\ncautious fun.... flopping fun.... fun getting up\nat midday.... fagged-out fun. This is what\nsuch a writer asks for in the Theatre,\nand too often gets. & J?\n\nALL RIGHTS RESERVED &\nGERENTE RESPONSABILE, GINO DUCCI"}, {"page_pdf": 27, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.27", "texte": "~—j—————n^rwrTTTirTTm-iTMrm^^\nAMONG THE WRITERS & ARTISTS CONTRIBUTING TO « THE MASK » ARE\nJOHN BALANCE -27 IVO HAUPTMANN -27 JEAN JACQUES OLI VIER\nCARL BEHRENS & ALEXANDER HEVESI WOLFE PLANKS &\nRUPERT BROOKE & H. von HOFMANNSTHAL WILLEM ROYAARDS\n[ALLEN JAN van HOLT WILL ROTHENSTEIN\nQUNNAR CASTREN -2? EDWARD HUTTON OTTO RUNG .27 .27\nGORDON CRAIG & ANDREAS JYNGE -27 L. DE S. SCHILLER\nIJ. PAUL COOPER ELLEN KEY -27 RUDOLPH SCHMERZ .27\nISADORA DUNCAN .27 JAN KLAASSEN & MARTIN SHAW -27\nA. FRIEDE N TH AL -27 FRITZ LAPIDOTH -27 ELLEN TERRY &\nLOUIS FULEP -2? -27 D. NEVILE LEES .27 E. THESLEFF .27 -27\nADOLF FURST -27 M. L YKIA RDOPO U LOS JAN C. de VOS -2? -27\nJULIUSZ GERMAN .27 HALDANE MACFALL PHILIP WAHLSTROM\nYVETTE GUILBERT . .27 MAURICE MAGNUS H. WILSON. .27 -27\nMARTIN HARVEY & C. NICHOLSON -£7 .2? HELEN ZIMMERN -27\n\"THE MASK\" HAS CORRESPONDENTS IN THE FOEEOWING CITIES\nAMSTERDAM -27 .27 THE HAGUE .27 .27 PHILADELPHIA <0\nBERLIN -2> HELSINGFORS .27 .27 .27 .27\n.27 & LONDON .27 .27 -27 SANFRANCISCO .27\nCOPENHAGEN .27 .27 MADRID .27 .27 STOCKHOLM .27 -2>\nDRESDEN .27 .2? MUNCH EN & & VIENNA .27 &\nDUBLIN .27 & MOSCOW .27 .27 WARSAW .27 &\nFLORE N C E& jZ? PARIS & & <£? WEIMAR 27 <27\nYpadi y i England, 15 Shillings g Italy, 15 Lire, )\nSUBSCRIPTION ) Germany»,5 Marks j Russia 8 Roubles POST FREE\nI America, 4 Dollars | France 20 Francs. J\nSIGN AND TEAR OFF THIS ORDER FORM\nORDER FORM\nTo the Publisher, (or)\nI To Mr. Bookseller\nAddress\nPlease put down my name as a subscriber to \"The Mask\" for one year, or six months\ncommencing with the number, in payment of which subscription, including postage,\nI enclose the sum of Signed\nAddress\n\nUSEFUL AD\nLITERARY OFFICE. Palagio dell'Arte\ndeSla Lana. Copying, Typewriting & Tran=\nslations in all languages. Secretarial work\nundertaken. -Typewriters sent to hotels.\nShorthand, Typewriting & Translations\nThe Misses Meille, 6, Via Campidoglio.\nDrs. DUNN. Grad. Philadelphia. Dental\nCollege. 9 Via Tornabuoni, i st floor.\nJ. Benvenuti physician &\nEnglish, French & German. V. Arcivesovado 2\nMrs Cavazza, Masseuse & American Manicu=\nre, Electric Massage; 31 V.Borghini. Tel. 1785\nDRESSES.\nNORTH GERMAN\nThis Company's OWN Cabin Booking\nOffice is at No. 17, Via Tornabuoni.\nManager: J. C. EBHARDT. &\nARCANGELIGATTI e Cie. Forwarding\nAgents & Custom House Brokers. Via\nCampidoglio I=3. Telephone 2349. &\nR.P.BRUCE. 5 V.Vecchietti. Villas (o let &\nsell. Apartments furnished#unfurnished\nRepresentative of Messrs Nicholas Denyer\n& Co: House & Land Agents, London."}, {"page_pdf": 28, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.28", "texte": "THE WOO D* ENG RAVERS.of San LEONARDO\n*i'jt iirtnll I iniiiiiwi'iiwiiiiiniifPii m milll iiiiiißl'lllllll' 111 in 111 vcmxn*mnm?«nt.rarer,-wnawn7rw7vm'j™*eif!r*ss*zxzrvttaagfirz*m*r*rz*i*\nEX LIB RIS j& Are yo a a BOOK LOVER?\nIf you are you will desire that which can add to the beauty\n& completeness of your Books, & cannot do without A BOOK\nPLATE. In design your Book Plate must be grave yet charming, for its i\nduty is to act as watchman at the doors of all books, whether religious or profane.\nIf you would possess such a Book Plate, simple, charming and distinguished, write\nto the Wood Engravers of San Leonardo, directing your letter to them at the\nARENA GOLD ONI VIA DEI SERRAGLI FLORENCE (ITALY) and\nyou will receive all the information you desire. & & & &\nfMtrmrmuJii* r*imnr-our-.i,'X'firt?xrm'*r?ergea^jjfnSEmcaSKl/S^SfldMMi.^'-tiUCEitiiSßrayStiEK\nPUBLISHERS MARKS, LETTER PAPER HEADINGS, THEATRE PROGRAMMES AND\nSOUVENIRS; EXHIBITION CATALOGUES, CHRISTMAS AND NEW YEAR CARDS DESIGNED\nAND PRINTED BY US. &\n.1. ■■■—..■ ~.i.i^J^.CT t»a^ißa7gw^naiwmiw«!t^^^iriraffii3naM3J^«^pr'f»i^^iW«JiaaL^fr^,™if'irE'?«gtK«v!ij,gL,«i3CgiMaHaa3«r\nWe do not make any attempt to compete with the cheap, popular and hastily made\ndesigns which may be obtained by the crowd: our designs are engraved by hand\non picked box»wood, and printed on our hand=press on specially selected papers obtained\nfrom Holland and England. From the first design to the last print the work is\nexecuted and supervised by artists, and therefore art=lovers may be confident that,\nin sending their commissions to us, they are ensuring a work which shall\nbe as careful in its execution as beautiful and distinguished in its design.\n& & THE WOOD ENGRAVERS OF SAN LEONARDO. &\nARENA GOLD ONI - VIA DEI SERRAGLI - FLORENCE - ITALY.\n\nA PORTFOLIO OF ETCHINOS.\nBy Gordon Craig with a preface.\n/'Xnly thirty portfolios will be issued, although ten or twenty additional copies of some of\nplates will be printed according to the condition of the plate. The plates will then\nbe destroyed. Each portfolio will be numbered. Each set consists of twelve designs loosely\nmounted on grey card and contained in a grey cloth box portfolio with fastenings. Each\nplate is signed by the artist. Size of portfolio 48x30 ctms. Average size of plate.\n14 2/3 x 15 2/3 ctms. The price for a portfolio will be L. 16 . o . o, (400 Francs or 320 Marks).\nHphese etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage. &&&?<&\n44 Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\n\" remain the very Essence of the Art. & & &\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\" once more an Impersonal Art which shall take its place by the side of its two sister\n\" Arts, Music and Architecture\". & &\nORDER FORM\nTo The Publishers,\nThe Publishing Office of \" The Mask \" 8, Borgo San Jacopo p. 2. Florence. Italy. &\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks) & & &\nSigned\nAddress."}, {"page_pdf": 29, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.29", "texte": "LIBRAIRIE ANCIENNE\nT. DE MARIN IS & Co. & 5 Via Vecchietti - FIRENZE\na\n5\nT5\n&\niLtJ\nUBZ? $\nill\niiui\nruvr\n11\nh\nru\nIXZD2\n»«\ni\nA,\nIS)\nfi, i\n«»*\n<5:\n-.a\n»a• ( 9\n• «»«\n• ■\ntil\nll*\nMil\nLfl\n/X\n111\n>57\na\nULdJ\nI* !•\no\nuir\n00\nr»l\nIBtl\n30\n=!\nliii\n1\n0.1\nnan\nin\nril\na\nI c\n(MM\n•111\nJ.lll IPO u\n* 9\ni I\n1911\n44\n»!»•\nU«l\nr~\n00\nit\nhi\"\nI I\nHI\nMM\nit*\nft\nu\n»•••*\nnil*\nOfls\nnrtr\nGO\nOC\n1I\nft It\nVtr\nin\"\nvw\nCm\nFine Collection of MSS.y Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application.\n\nADVERTISERS!\nSPECIAL OFFER\nThe Mask will be enlarged\nand contain French & Eng-\nlish articles commencing\nwith the February num-\nber. It will have a circu-\nlation of\n10,000 copies\na month.\nApply immediately for spe-\ncial terms to be made to\nthose advertising in the\nFebruary number.\nPrice of three advertise-\nments for the price of\none. Circulation 10,000\nguaranteed. ■£*\n\nNEW YORK DRAMATIC\nMIRROR £7\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\nSample copies on request free of\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months.\n\nEDITION DE LUXE.\nSPECIAL NOTICE TOBOOKEOVERS\n15 copies of \" The Mask \" will be printed\nMonthly upon a yellow hand-made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition. &\nYearly subscription: England, L. 3.5.0 Post Free\n„ „ f, Germany, Marks 67,00 „ „\n„ ~ „ America Dollars 16.00 „ »»\n„, t, » Italy Lire 82.00 ~ »\n„ „ Russia Roubles 30.00 „ ,»"}, {"page_pdf": 30, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190812-01.1.30", "texte": "Printed for the Proprietor by E. Morandl, Tlpografia Bodoniana, Via Pint!, Florence, and published at The Office\nof \" The Mask \" 8, Borgo S. Jacopo. ■Ct & & &\n\nANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES &\nFLORENCE\nVia dei Fossi 4\nj0 (ESTABLISHED i860)\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\n,\nMarble Reproductions from the Antique\n& Original Works. Portraits. 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Beoks\nsent to all parts of Italy and abroad.\nmmmmmmmmmmarngmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmammmmammmmm\n\nSPECIAL NOTICE\nThree Back Numbers\nof \" The Mask \" for\nthe Price of One Number.\nThis offer holds good only\nfor This Month.\nSend one shilling or the\nequivalent in stamps of\nwhatever country you are\nin to\nTHE PUBLISHING OFFICE\n8 BORGO SAN JACOPO\nFLORENCE\nITALY."}]}