{"numero_id": "bm-bmtnaau-1909-01-01", "volume": "bmtnaau_1909-01_01", "ocr_sha256": "0d9c25022b1b1f24d5ca773882b58059691fe458cc469d4736f21c32e5700a3d", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1909/01_01/bmtnaau_1909-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1909/01_01/bmtnaau_1909-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01", "articles": [{"article_id": "bm-bmtnaau-1909-01-01-c002", "article_bluemountain": "bmtnaau_1909-01_01#c002", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[204]", "page_fin": "[204]", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.2.2", "titre_corps": "DESIGN FOR THE SORCERESS", "titre_sommaire": "DESIGN FOR THE SORCERESS", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[204]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 38, "texte": "DESIGN FOR THE SORCERESS. GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c003", "article_bluemountain": "bmtnaau_1909-01_01#c003", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "205", "page_fin": "205", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.2.3", "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": 5, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.5", "debut_caractere": 163, "fin_caractere_exclue": 764, "texte": "CONTENTS\nAFTER THE PR AC TISE THE THEORY\n& FROM A RARE PROGRAMME. A NOTE ON THREE DESIGNS by ALLEN\nCARRIC. & TWO THEATRES. INTRODUCTION TO AN ESSAY ON THE GROTESQUE\nTHEATRE by LEON de SCHILDENFELD SCHILLER (Continued). & A MEMORABLE FANCY\nby WILLIAM BLAKE. THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK\nPLAYS by E. W. GODWIN. 0 MUSICAL COMEDY by HORACE WYNDHAM. THE\nSHAKESPEARE MEMORIAL by ALLEN CARRIC. 0 ERA UPON ART AND THE\nMILLIONAIRE & A LETTER ON THE RUSSIAN THEATRE from GORDON CRAIG. uS> FOREIGN\nNOTES. £> EDITORIAL NOTES. £> ENGRAVINGS by GORDON CRAIG, JULIUS OLIVER,\nE. THESLEFF & & sS"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c004", "article_bluemountain": "bmtnaau_1909-01_01#c004", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "205", "page_fin": "206", "image_debut": 5, "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=bmtnaau190901-01.2.4", "titre_corps": "FROM A RARE PROGRAMME : A NOTE ON THREE DESIGNS", "titre_sommaire": "FROM A RARE PROGRAMME : A NOTE ON THREE DESIGNS", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.5", "debut_caractere": 766, "fin_caractere_exclue": 3016, "texte": "FROM A RARE PROGRAMME. A NOTE ON\nTHREE DESIGNS\nby Allen Carric.\n\nI n this number are reprinted from the original wood blocks three of the designs which\nappeared in a very scarce programme issued by the Purcell Operatic Society in 1900 when Mr\nGordon Craig produced his first opera with his friend Mr Martin Shaw the English composer.\n& The programme was in itself a beautiful work of art of about fifteen to twenty pages,\ncontaining eight or nine wood engravings of the scene and figures in the opera. &\nThe performance was given at the Conservatoire in Hampstead under most disadvantageous\nconditions. For such is the up-to-date patriotism of England that, when British artists wish\nto do honour to their art, they are obliged to do it with all the odds against them. &\n& Had Mr Craig, and Mr Shaw been born in Berlin, Vienna, St Petersburg, Moscow,\nMunich or any of the great continental cities of the leading powers of Europe, they would\nwithout doubt have received enthusiastic support which would not have been withdrawn\nfrom them after the first performance but would have continued to assist them for as many\nyears as the artists showed talent and pluck.\n& From the year 1900, the date of this programme of which 1 write until the present\nyear, Mr Craig has advanced through, and in spite of, opposition. How much easier it would\nhave been, and how much more profitable for the people of England to have attempted to\nunderstand what he meant; and if they could not understand, to have waited patiently\nuntil they could understand. But now to a large public these things are becoming quite\nclear and therefore these designs from the programme of his first production are reprinted\nso that they may not be entirely lost, for I understand that only a few hundred copies of\nthis programme were printed.\nPurcell's Opera is capable of being presented on the stage in very many different ways.\nIt can be given with the singers seated on chairs and making but few movements; or it\ncan be mounted as they mount the operas of Gluck in Paris. And then there is another,\nstyle of mounting it; that is in the more modern up-to-date manner. And then there is the\nway of the individualist. This is Mr Craig's way. It is always different, and when he produces"}, {"page_pdf": 6, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 1339, "texte": "a play or an opera he follows no old-fashioned manner, and no up-to-date manner; he does it\nIn a manner which is personal and which is not to be imitated and which cannot be labelled.\nThe first design is that of the Sorceress who appears in that memorable second scene, the\nscene where the assembled witches plot against the life of /Eneas. In this scene Mr Craig\nchose to give the idea of Wreckage, We seemed to be on some long low waste of dunes to\nwhich had drifted all the wreckage of the world.... the skeletons of ships and men. Above\nall this rose the figure of the Sorceress herself, grown thick with wreckage, looking like\nsome ancient figure-head to which all the flotsam and jetsome and seaweed of the ocean\nwas clinging. Her one arm and hand is a dead thing of wood; the other is reaching down\ninto the earth finding there roots in the unfruitful soil. Only one movement was designed\nfor this figure; it was when, in her rage, she wrenched this rooted hand and arm free from\nthe earth, snapping and tearing the roots and scattering the rotten debris like a cloud\nof delusion into the world.\nThe other design for the helmetted figure of /Eneas explains itself. The third,\nthe little heading, is of an eighteenth century orchestra, playing in the open air before a\nscene which breathes out the romance of mediaeval Germany. & & &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c006", "article_bluemountain": "bmtnaau_1909-01_01#c006", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "206", "page_fin": "206", "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=bmtnaau190901-01.2.4.2", "titre_corps": "ÆNEAS", "titre_sommaire": "ÆNEAS", "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": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.6", "debut_caractere": 1341, "fin_caractere_exclue": 1359, "texte": "MNBAS GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c007", "article_bluemountain": "bmtnaau_1909-01_01#c007", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "207", "page_fin": "212", "image_debut": 7, "image_fin": 12, "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=bmtnaau190901-01.2.5", "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": "Léon de Schildenfeld Schiller", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3569, "texte": "The Dramatis\nPersona e.&\nTheir Costume»\nThe poe t9 s\ndevice.\nRomeo.\n\nTWO THEATRES, INTRODUCTION TO\n\"AN ESSAY ON THE GROTESQUE\nTHEATRE,\"\nby Léon de Schildenfeld\nSchiller.\n(Continued).\nush! The play is beginning! The theatre represents a\nwild park, bathed in silvery moonlight. From afar is to\nbe heard the murmur of fountains and the dreamful sound\nof mandolines. In the alleys swarm the DRAMATIS\nPERSONAE who are of no time and no country; (1) they\ncome and go without our knowing why and how; they do\nnot eat, neither do they drink; they live nowhere and have\nno trade; they possess neither grounds nor income nor\nhouses; in walking they do not cause a single drop of\nrain to fall from the petals of the flowers and do not raise\na single grain of dust on the roads.\nje> Their clothes are of the most extravagant and of the\nmost fantastical in the world. Pointed hats like bell towers; with brims as large as a\nChinese parasol, and decked with demesurable feathers, plucked from the tails of the bird\nof paradise and the phoenix; mantles striped with brilliant colours, doublets of velvet and\nbrocade, letting the lining of satin or cloth of silver be seen through the gold-laced slashes;\ntrunk hose puffed and inflated like balloons; scarlet stockings with embroidered clocks;\nhigh-heeled shoes with large rosettes, thin little swords covered with braid and ribbons, point\nupwards, the hilt downwards. & &\nj& The thus-attired cavaliers meet on their way the no less singularly bedizened dames,\ngreeting them with such profound reverences, as though they would with their picturesque\ncrests, sweep the dust from before their feet. This honourable society is enlivened by clowns\nin sequin-trimmed caps, which they gain as rewards for their pains and pertinent songs.\nThe ladies sometimes cover their faces with masks or dress themselves up in men's garb,\nchanging their appearance to such an extent that their own brothers would be incapable of\nrecognising them.\n& The gentlemen sometimes draw swords on each other, supposedly so as not to let them\nrust in their scabbards, all the same, however, rarely doing each other harm, since as a\nrule some fool appears \" ex machina,\" disarming the pert swaggerers with one of his thousand\nsallies.... and \" all's well that ends \" ....in a drinking bout. & &\n& 44 The most complicated tragical knots unravel themselves, with admirable indifference\nas to what once improbably anemical bookworms shortly and concisely christened with the\nname of 44 &\nThe poet's device was without doubt 44 Pour nous, ce qui est beau est toujours\nvraisemblable \"• (2) 44 Effects have not their causes, and causes do not attract any effects;\nthat person is the wisest, who talks the greatest nonsense; the most foolish, on the contrary,\npronounces things of unheard-of wisdom; young girls carry on such discourse among\nthemselves that courtesans on hearing it would blush, whereas courtesans deliver moral\nmaxims; the most astounding adventures follow inexplicably on each other time after time....\n«' Drum seid nur brav und zeigt euch musterhaft.\n44 Lasst Phantasie mit alien ihren Choren,\n*4 Vernunft, Verstand, Empfindung, Leidenschaft,\n44 Doch merkt euch wohl! nicht ohne Narrheit horen.\" (3)\n& Behold! out on to the stage comes a youth with the face of Michaelangelo's 44 David,\" and\nstands un der the balcony, on which appears in the midst of flowers, the daughter of the\nCapulets. Romeo, intoxicated with the aroma of flowers and hair, vows to love her till death.\n\n(1) Gautler, Op. clt.\n(2) Gautier, \" Souvenirs de Thg&tre \".\n(S) Goethe, lb."}, {"page_pdf": 8, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 4330, "texte": "And the echo in the parks repeats the vow. But as the hoarse voice of the nurse, who Is\nbeing fanned by a malicious buffoon in the alcove, calls the young lady home, Juliet, time\nafter time, wishes her lover goodnight. And the echo in the parlc repeats 44 goodnight\".\nBehold! A golden gondola conveys a pair ©f lovers, who, sitting under a baldaquin of\nsweet pine, sea! their love secrets with innumerable kisses. Where are we.... Ah yes! at\nBelmont! The night is kind,... favourable to lovers. In such a night as this did Troilus\nsigh his soul towards Cressida, sleeping in the Grecian tents: in such a night did Thisbe flee\nbefore the lion's shadow; in such a night did Dido summon her beloved back to Carthage:\nin such a night did Medea gather the enchanted herbs that were to renew old Aeson: In sqcji\na night as this the young Lorenzo, ravishing the wealthy Jew's daughter, hums love duettinos\nwith the young and beautiful Jessica, who unhesitatingly abandoned the sacred house of her\nfather for ever, escaping in the dress of a mischievous page, with Shylock's precious ring\non her finger. & && && && &*& &\n& But who is that black gentleman, stalking like a crane, smiling foolishly to himself and\nat every moment arranging his crossed garters and his stockings, of a most dreadful\nyellow, failing from his virtue-thinned calves? Is it not perchance that Puritan, the\nirreconciliable enemy to wine and gay songs, Malvolio, steward to Olivia? Yes, it is he....\nthe poor fellow is seeking his mistress to boast before her of the yellowness of his stockings.\nBut whom does he find on his way.... Count Almaviva's first page golden-haired little\nCherubin, (Cherubino di Amore), the easy-loving giddy-head, pampered by the great ladies\nand their maids* poet, knightling; who although fickle and giving promise of becoming a\nyet greater good-for-nothing than his master, nevertheless 44 il n'est ce que toute mere, au\nfond du coeur, voudrait peut-etre que ffit son fils, quoiqu' elle dut beaucoup en souffrir.\"\n44 What the deuce thinks Malvolio to himself, 441 was but just now in Ulyria, how comes\nit then that I find myself in Aguas-Frescas, three leagues from Seville? Eh! These are\nvisions appearing only to lovers.\" 44 But no, it is the reality.\nThe wee page confides his troubles to the stars and laurel-bushes, and pressing to his\nlips a ribbon belonging to Rosina, the lady of his heart, hums the woeful, childish canzona,\n44 Voi che sapete che cosa h amor....\" (i) 44 Tell me excellent Toby, what new joke has come\ninto your head....\"\n& What must have been the fright, however, of the abstemious lover, when, instead of Sir\nToby Belch, he beheld before him Don Basilio's gloomy figure,44 The talented village organist,\nteaching the countess to play on the clavecin, her maid to sing, and the pages to thrum on\nthe mandoline, his office being to gladden the count's companions by playing on the guitar.\"\n& This figure, in a black mantle, with wide sleeves and in a hat of the same colour with\na large rolled brim, came towards the dumbfounded steward, screwing up maliciously its\ngoat-face and raising its inseperable guitar in such a manner, as though to measure the\ndegree of hardness of his skull.\nAngels and ministers of grace defend us!\nBe thou a spirit of health or goblin damn'd,\nBring with thee airs from heaven or blasts from hell,\nBe thy intents wicked or charitable,\nThou comest in such a questionable shape\nThat 1 will speak to thee. I'll call thee Basilio....\nSay why is this?...\nBut the phantom replied not a word and twisted its face still more maliciously. Malvolio's\nflesh crept and his passionate blood froze in his veins; then, remembering the advice of\nthe chevalier 44 sans peur et sans reproche \" Monsieur Parolies, ran away as fast as his\nlegs could carry him. Basilio however does not give up the game and sets off after him\nin chase.\nThe count, who has been heartily amused at Malvolio's fright, comes forth from the\nbower with his lively companion. The peasants of both sexes range themselves in couples\nready for dancing.\nIn a moment will resound the willing fandango... and the count himself in the first pair\nwill open the dance with his ever-romantic wife, whom he loves dearly, yet all the same is\nof the opinion that 44 three years of married life render hymen so worthy of esteem that....\""}, {"page_pdf": 8, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.8", "debut_caractere": 4346, "fin_caractere_exclue": 4433, "texte": "hotenzo. &\nMalvolio.\nCherubino.\nDon Bamlio. &\nFigaro.\n\n(1) Mozart. \"Figaro's Hochzeit.\""}, {"page_pdf": 9, "page_imprimee": "209", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.9", "debut_caractere": 14, "fin_caractere_exclue": 4092, "texte": "Queen Mab, &\nPapagino.\n\n<*p In a moment the bridegroom himself who was the \" metteur en sc&ne \" of that amusing\nfarce, will begin, to the sounds of Basilio's murderous guitar, to sing his favourite eavatina:\n** Ah! che bet vivere, ehe bel piacere\nper un barbiere\ndi quaiita, di quality \" (i)\nM And he will remember Seville.... the beloved old houses smiling at the passers by with\ntheir windows decorated with flowers and with the faces of maidens, glancing stealthily\nfrom behind the curtains; he will remember the serenades, the ravishment, the red lanterns,\nthe love errands.... and his difficult trade, requiring so much wit and courage, of barber.\n\" Tutti mi chiedono, tutti mi vogliono,\ndonne, ragazzi, vecchie, fanciulle,\nqua la parrucca, presto la barba,\nqua la sanguigna, presto il biglietto...\nand the echo in the park will respond \" Figaro!.... Figaro!.... Figaro!.... Figaro!.... Figaro....\n& And it will seem to him that it is the Seville maidens calling. &\n& But \" the iron tongue of midnight hath told twelve.... lovers to bed ! \" Soon the hungry\nlion will begin to roar and the wolf to howl at the moon: soon the owls will pass over the\nsick in their beds, and poison their minds with dreams of coffins and shrouds: soon the\nbolts of the tombs will opeh, from which skeletons of the dead will come forth and start\noff the dance around the chapel.\n& Arrive Queen Mab! The hour for human dreams has struck, the hour that announces\nthe aurora to spirits of all kinds. &\nAnd now on to the stage floats tiny Queen Mab, the well-known fairies7 midwife, in a\nchariot of an empty hazel-nut, drawn by a team of little atomies, driven by a gnat, cleverly\nrestraining his fiery steeds, in colours of the moon shine's watery beams. The Queen,\ncomfortably lolling in her little carriage, gives her orders carelessly to her waggoner, who\nin the twinkling of an eye fulfils her capricious wishes. And thus passes the merry drive\nof this lavish cateress of strange dreams,\n\" Through lovers* brains, and then they dream of love;\nO' er lawyers' fingers, who straight dream on fees,\nO' er ladies' lips who straight on kisses dream....\n& Glance out of the windows at the palace. On a white bed Juliet sleeps, with hands\nfolded as though in prayer; the lamp, hanging before the picture of the Madonna, illuminates\nfrom time to time, with its flickering, the sweetly smiling face. In his bachelor's room\nMalvolio is already snoring tucked up in an eider down, his head bound with a wet towel,\nand dreaming of how to morrow he will make a charming bow, and smile to his Lady Olivia.\n<£? The worthy Alcayde Brid' oison has fallen asleep in his long wig, letting the judge's\nstaff fall out of his hand.... and dreams of sentences, executions and sacks of thalers. In\na bedroom hung with pink satin, on a bed of swansdown, the countess has also fallen into\nslumber and her lips are dreaming of Cherubin's kisses, which, although innocent,.... must\nbe passionate.\nSleep peacefully, ye mortals who are as the everlasting dancing-jacks for sprites. Sleep\npeacefully and dream pleasant dreams; tomorrow perhaps you will awake with the bitterness\nof annoyance in your mouths and salt tears will flow from your heavy eye-lids, furrowing\ntears of regret for the lost dream: sleep peacefully.... and whoever of you will render\nservice to the spirits, as a reward will never awaken, and the elves will transform his\nsoul into a soap bubble, and high up under the sun will let it free, to burst there in\nrainbow colours far from the world and far from men. & & &\nAnd now, ladies and gentlemen, let us show What we know I On With the dance.... play\nfrom your hearts!\nBehold! Windy Papagino who has had the golden padlock taken from his lips, half man,\nhalf some fabulous bird, overgrown with gold and green parrot's feathers, has put his\nsyringe to his lips, at whose voice the sleeping birds arouse, and draws them to his\ntreacherous cage\n«• Der Vogelhlndler bin ich ja\"\nA strange bird-fancier Indeed who catches the birds in his nets, and does not sell them\n\n(i) IRessini, \" Barbtere di SeViglia.\""}, {"page_pdf": 10, "page_imprimee": "210", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.10", "debut_caractere": 15, "fin_caractere_exclue": 4468, "texte": "at lairs at ail, because in the enchanted country, of which he is a citizen, fairs are unknown;\nsilver money is a smile, and gold a kiss. & & & & &\nBehold! The trees, clothed in short lace dresses of leaves, having coquettishly decked\nthemselves out with flowery Jewels, gladdened with this music, take each other by their\nbough-hands and move in a striding dance, tapping smartly on the ground with their up-\ntorn roots. See in the avenue how the slender poplars are dancing the country-dance, and\nthere by the lake rustle the silken skirts of the silver-haired birches, turning pirouettes\non one spot.\n<£? Behold! Wonders! Wonders! The nightingales hover round the head of the squeaking\nmusician and take the first parts with their learned voices in this dancing air. Prom the\ndepths of the park runs in \" Arlequin poll par 1'amour \", who having treacherously stolen\nthe divining rod from the fairy who has fallen in love with him, has now become master\nof the little world of spirits. Look how cleverly he wields the stick, trying the effects of\nmoulinet on the skins of the astounded elves, not sparing even the poor little fairy because\nshe had tormented him with her ethereal and distinguished passion, because she had spun\na net of intrigue around his love for the beautiful shepherdess Silvia. Look how the elves\nare obliged to jump over Harlequin's stick, look at the queen herself fuming with helpless\nrage, and how, smoothing her tinsel garment, she must dance whether she will or no. But\nas there is an end to everything, and as Harlequin's anger is as innocent and of as short\nduration as the comedies of his worship Mr. Pierre Carlet de Chamblain de Marivaux, for\nthis reason he forgives the fairy on condition that \" there will be singing and dancing....\"\nalready rocking \" on the waves in the gulf, are the boats decorated with wreaths and\nribbons, ready to transport the idyllic couples to Cythere, the country of Watteau. Harlequin\nthen bows politely to the public, thanks them for their \" bravos \" and goes behind the\nscenes, lying finally that \" he is going somewhere to proclaim himself king..... \"\nBut what Is the matter, Papagino? Thy melody is becoming appalling. Did we not\nknow thee, thou old windy fellow, we should be ready to swear that some evil spirit had\n%\ncommenced his night revels. Desist, for it is getting terrible.... look, the nightingales are\nscared and fly away from thee, hiding themselves in the thickets.... look, thy evil-omened\nmusic attracts the clouds in the heavens who have cast a pall-like veil over the silver face\nof the moon.... Oh, desist, player, we entreat thee, thy song reviles the gods who give thee\na bloody response with lightening flashes. Furious Aquila blowing across the garden has\ntorn the leaves from the branches, and the trees stretch up their naked blackened shoulders\ntowards the sky, as though they would call for vengeance.... Oh Heavens,\n\".... What are these\nSo withered and so wild in their attire,\nThat look not like the inhabitants of earth,\nAnd yet are on't? Live you? or are you aught\nThat man may question? You seem to understand me,\nBy each at once her choppy finger laying\nUpon her skinny lips: you should be women,\nAnd yet your beards forbid me to interpret\nThat you are so. \"\nTell us why you look on us with such terrible gaze, seated around the cauldron from\nwhich burst forth flames, intoxicating with the smell of blood. Oh! your silence is awful\nand shortens the hours of our life. Are you meditating perhaps over some but newly\nperpetrated crime? Heigh! behold companions! Running towards us is a grey-haired old\nman, with a wreath of herbs on his head instead of a crown, and instead of a sceptre a,\nbranch of fir, which he sometimes straddles as though it were a horse, when his weak\nlegs refuse to obey him.\nHola! Where is the royal retinue? Where is the cup-bearer who should give his Majesty\nthe King to drink? Where is the seneschal who shall saddle the finest stallion from the\nroyal stud.... evil servants,... look look! The old man can scarcely creep about, starving\nwith hunger and thirst. Look how ths tears roll down his cheeks engraven with the\nwrinkles of trouble. Yet, but just now, he was singing with his fool and arranging wise\nmaxims with his philosopher Poor Tom. Who in the world has dared to do him such wrong\nthat he tears his silver hair calling on the vengeance of thunder-bolts? What mean these words:\n\nHarlequin.\nThe witches.\nKing Lear."}, {"page_pdf": 11, "page_imprimee": "211", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.11", "debut_caractere": 14, "fin_caractere_exclue": 4474, "texte": "Aaron .\nA change of\nscene .\nThe forest\nof Ard e n.\n\n\" I tax not you, yon elements, with unkindness;\nI never gave you kingdom, called you children,\nYou owe me no subscription : then let fall\nYour horrible pleasure. \"\nOh look! look! The zigzags of the thunderbolts one after the other pierce the air; they\nstrike trees a century old, which, falling on the ground barricade these night wanderers'\nroad. Look! The lightening illuminated someone's terrible face. Who art thou, man,\ncrouching in the undergrowth not coming forward with help for poor folks? Ha! thy black\nface hath betrayed thee, Aaron.... 1 see on thy hands the still uncongealed blood. Humble\nthyself before me and repent of thy sins, for in truth thy last hour hath struck. Art thou\nnot sorry for these heinous deeds, abominable Moor? Thou sayest thou art sorry thou hadst\nnot done a thousand more, for which Tamora Queen of the Goths rewarded thee with usury\nwith her impure kisses. Thou laughest long and almost broke thy heart with extreme\nlaughter, on beholding the victims of thy murderous desires. Thou wilt laugh another way\nwhen in the damp obscure cell will appear to thee in the sleepless night the spectre of\nHunger....\n& But look, my brothers, what a singular change of scene is accomplished before our eyes.\nBehold! The flower beds are changed into graves, and the rose bushes into wooden crosses\nand the bower, in which the love pair were cooing, is transformed into a chapel standing\nin a grove of mournful cypresses. The Garden of the Dead. The favourite spot for meditation\nof the strangely inclined Prince Hamlet and of the misanthrope Alceste. Every day at this\nhour do they come here clothed in mourning raiment, so as, escaping from the tumult of\nhuman hypocrisy, to sit on the tombs of those who are already possessors of extreme wisdom\nand of supreme joy, and to become plunged in thoughts of the same hue as their dress.\nLook; the prince stands over the tomb of the unfortunate lovers from Verona and, smiling\nbitterly to himself, repeats monotonously: \" To die: to sleep, no more; \" Look, Alceste\nstanding over the neglected tomb of Timon of Athens, over that \" everlasting mansion upon\nthe bleached verge of the salt=flood; who once a day with his embossed froth the turbulent\nsurge covers, \" engraves these words; \" Trop de perversitd regne au siecle oil nous\nsommes. \" (1) The meditations of these solitaries are accompanied by the gravediggers\nwith their careless ditties and the hollow blows of their picks on the crumbling skulls\nof diplomats, courtiers, jurists and fools.... &\n& Hark! The morning singer, the cock on the church steeple, has crowed in greeting to\nthe sun, turning round quickly on one leg; the monks in the white monastery are ringing\nfor matins. Blessed be the name of the Lord: happy are those who have awakened living\nafter this night of phantom dreams; happy are those who on coming out of their houses\nsign themselves with the holy sign of the Cross, and smile gleefully to the swallows, who\nare sticking their nests above the windows, bringing luck to good people, and smile gleefully\nat the pilgrims who are going to far=off miraculous places, praying for everybody and for\neverything. But what will it be for us, this day we have greeted with song, can we tell?\nHeigh! The forest wakes.... as from a censor floats the perfume of mint and resin; the\nyellow thrushes and blackbirds, troubadours of the forest, sing their aubades. Heigh! The\nforest of Arden! The banished old duke is awake and has seated himself with his attendants,\nLord Amiens and Lord Jacques, to their morning refreshment, and taking in his hands the\nwooden cup filled with a precious beverage drawn from the choicest spring, raised a toast\nin honour of the free life of an exile, concluding with these words:\n\" And this our life exempt from public haunt\nFinds tongues in trees, books in the running brooks\nSermons in stones and good in everything\nI would not change it. \"\nAnd really, life in this forest is as in a fable, in a country beyond the seven mountains\nand seven rivers. Orlando, head over ears in love, hangs up erotics, praising Rosalind's\nname, on all trees.\n& Monsieur Jaques, sulky and morose gazes sadly on a stag expiring in the shade of the\noaks by the stream.... Monsieur Jaques the enemy of man and the friend of beasts and plants,\nable to \" suck melancholy as a weasel sucks eggs. \" But this his \" humorous sadness \" may\n\n(1) Moliere. \" Misanthrope. '"}, {"page_pdf": 12, "page_imprimee": "212", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.12", "debut_caractere": 14, "fin_caractere_exclue": 1701, "texte": "Belarius\nImogen.&\n\nbe dispersed perhaps with the finding of Touchstone, a veritable fool in motley garb, a very\nrata avis in this uninhabited forest, and then he will say to the duke \" O that 1 were a\nfool! I am ambitious for a motley coat. \" & & &\nIn this forest, in a cave hewn out of the rock, dwells the old exile Belarius, nursing the\nroyal sons Quiderius and Arviragus, relating to them tales of the world which is unknown\nto them. Sometimes a wanderer loses his way, and then, if it be neither Cymbeline nor his\nstep-son Cloten, Belarius gives him his refuge. Do you hear the woeful sound of the harp\ndo you hear the mournful long-drawn notes? Now the youths are carrying out of the grotto\nthe dead boy, to whom they were united with a mysterious brotherly love, and having laid\nhim on the grass, cover him with flowers for a tomb, believing that that grave would be\nfor him a bed only \" with female fairies haunted \" and to which \" worms will not come. \"\nBut do not grieve—soon the little Page will waken, but however sad will be his awakening,\nwhen at his side he will see the headless trunk of her beloved husband (for the page was\nImogen) the gods will not leave her long in despair, soon she will be convinced of her\nerror and of that of the Roman soldiers who rendered the last honours, and with their\npikes dug a grave for the remains not of Posthumous but of the ignominious Cloten.\nIn this forest at the setting of the sun, when the sheep with tinkling bells return to\nthe fold, to the sound of the bagpipes, will be held a merry ballet of satyrs, performed by\nthree carters, three shepherds, three neat-herds and three swine-herds, clothed in wolfskins.\nTo be continued."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c009", "article_bluemountain": "bmtnaau_1909-01_01#c009", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "212", "page_fin": "212", "image_debut": 12, "image_fin": 12, "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=bmtnaau190901-01.2.6", "titre_corps": "A MEMORABLE FANCY", "titre_sommaire": "A MEMORABLE FANCY", "signature_source": "W. Blake", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "212", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.12", "debut_caractere": 1703, "fin_caractere_exclue": 4298, "texte": "A MEMORABLE FANCY,\nby W. Blake.\nThe Prophets Isaiah and Ezekiel dined with me, and I asked them how they dared so\nroundly to assert that God spoke to them, and whether they did not think at the time that\nthey would be misunderstood, and so be the cause of imposition. & &\nIsaiah answered: 44 I saw no God, nor heard any, in a finite organical perception: but\n44 my senses discovered the infinite in everything; and as I was then persuaded, and remained\n44 confirmed, that the voice of honest indignation is the voice of God, I cared not for\n46 consequences, but wrote.\nThen I asked: 44 Does a firm persuasion that a thing is so, make it so? \" £?\n& He replied: 44 All poets believe that it does, and in ages of imagination this firm persuasion\n44 removed mountains; but many are not capable of a firm persuasion of anything. \" J&\n& Then Esekiel said: 44 The philosophy of the East taught the first principles of human\n44 perception; some nations held one principle for the origin, and some another. We of Israel\n44 taught that the Poetic Genius (as you now call it) was the first principle, and all the\n44 others merely derivative, which was the cause of our despising the Priests and Philosophers\n44 of other countries, and prophesying that all Gods would at last be proved to originate in\n44 ours, and to be the tributaries of the Poetic Genius. It was this that our great poet King\n44 David desired so fervently, and invokes so pathetically, saying by this he conquers enemies\n44 and governs kingdoms; and we so loved our God that we cursed in His name all the deities\n44 of surrounding nations, and asserted that they had rebelled. From these opinions the\n44 vulgar came to think that all nations would at last be subject to the Jews. \"\n& \" This, \" said he, 44 like all firm persuasions, is come to pass, for all nations believe the\n44 Jews' code, and worship the Jews' God; and what greater subjection can be? \"\nI heard this with some wonder, and must confess my own conviction. After dinner I\nasked Isaiah to favour the world with his lost works; he said none of equal value was lost.\nEzekiel said the same of his.\n& I also asked Isaiah what made him go naked and barefoot three years. He answered:\n44 The same that made our friend Diogenes the Grecian. \" & &\n& I then asked Ezekiel why he ate dung, and lay so long on his right and left side. He\nanswered: 44 The desire of raising other meh into a perception of the infinite. This the\n44 North American tribes practise. And is he honest who resists his genius or conscience,\n44 only for the sake of present ease or gratification? \" & & & &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c010", "article_bluemountain": "bmtnaau_1909-01_01#c010", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "213", "page_fin": "215", "image_debut": 13, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.2.7", "titre_corps": "MUSICAL COMEDY, ITS MANNERS & METHODS", "titre_sommaire": "MUSICAL COMEDY, ITS MANNERS & METHODS", "signature_source": "Horace Wyndham", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4724, "texte": "All on the same\npattern\nThe plot\n\nMUSICAL COMEDY, ITS MANNERS &\nMETHODS\nby Horace Wyndham.\ncomedy in this country is clearly named on the lucus a non lucendo principle.\nIt seems to have been invented by Mr George Edwardes and brought to its present\npitch of efficiency, or degeneracy, (whichever way you like to take it) by Mr Seymour\nHicks. Perhaps, however, \" evolved \" would be a better term than \" invented Still, whoever\nthe primarily responsible party may be he has nothing of which to boast, for I would defy\neven Sherlock Holmes himself to discover anything more utterly banal, pointless, devoid\nof humour, boring, silly, un=melodious, and generally calculated to make one tired than\nthe average musical comedy as presented at the different theatres given over to this form\nof alleged entertainment every week day night, and Wednesday and Saturday afternoons\nthroughout the year.\n& On this subject I speak from considerable experience, for 1 have patiently sat out musical\ncomedy, over and over again, and under all circumstances, occupying a place in the gallery,\npit, stalls, boxes, and on the stage itself; I have stood the comedian drinks, taken the\nleading lady out to tea after a matinee, and shaken hands with the composer; I have heard\nthe music before, during, and after the performance; and in half a dozen cases I have also\nread the \" book of the words \" backwards, forwards, and sideways, so as to gather some\nrudimentary idea of the author's intentions. Yet, even after this exhaustive training, I am\nas far from appreciating such entertainments as ever. The loss, no doubt, is mine. &\n& Musical comedies would all appear to be built to much the same pattern, whether they\nbe produced at the Gaiety, or anywhere else. The person who has seen one has seen the\nlot. Among the features common to this description of theatrical fare is the fact that it\nusually takes from four to eight people to write the words and compose the music, and that\neach of these people takes leave of his senses before he starts work. On the whole, I am\ninclined to regard this plethora of librettists and composers as a desirable provision. At any\nrate, in the few instances when we have had only two persons responsible between them\nfor the words and music we do not seem to get beyond the childish humours of \" Amasis \"\nand pieces of a similar genre. Personally, I should like to find Mr Edwardes and Mr Frohman\nenlisting a corps of fifty experts next time they produce a \" play with music as it is the\nfashion to call these entertainments nowadays. There is just a bare possibility then that\none of the fifty might have occasional moments of intelligence.\nEvery musical comedy is closely related to all those that have gone before, and probably\nto all those that will come after it as well. I do not care two straws whether the theatre\nin question be the Gaiety, the Aldwych, the Apollo, or Daly's and located in the Strand, in\nShaftesbury Avenue, in Leicester Square, in Bayswater, or in Jericho — one specimen piece\nis practically the same as another, so far as goes what is humourously called the \" plot\n& This never varies in respect of its main outlines. To begin with, we have the dashing\nhero, who, in return for his labours, draws a salary of fifty pounds a week and has his\nname on the motor busses. He is poor but honest in the first act, and is united, with the\nfull consent of her parents, to the lady of his choice just before the final curtain falls. He\nis further distinguished by a light baritone voice, a heart in the right place, and a fondness\nfor disporting himself on ail occasions in full naval or military uniform. Sometimes his kit\nsuggests a pleasing attempt to combine the principal sartorial features of both Services.\nThe heroine, with whom he has most of his scenes, is remarkable for little beyond a wealth\nof peroxide of hydrogen-dyed hair, a pronounced simper, and some elementary notions of\nsinging and dancing. I have more respect for the comedian. This member of the cast is, it\nis true, generally undersized and ugly, and with about as much spontaneous humour in\nhis composition as one could expect of a man who habitually looks as though he had tossed\nfor his dinner and lost, and who has to spend his evenings making jokes that are nearly\nas broad as they are long. Still, he always works harder than anybody else connected with\nthe piece, and it is almost entirely due to his efforts that managers, authors, and composers\nare able to buy motor-cars and spend the winter on the Riviera. The comedian is the \" draw \"\nthe magnet.of the musical comedy world, and brings more money into the box-office than\nthe rest of the company put together. Accordingly, he receives the emoluments of an"}, {"page_pdf": 14, "page_imprimee": "214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.14", "debut_caractere": 17, "fin_caractere_exclue": 3867, "texte": "The remaindei\nof the Cast* &\nThe Belle of\nNew York.\nThe writers of\nthe songs.\n\nambassador for years on end, and six months after he retires into private life the public\ncheerfully give him a benefit on the grounds that he is no longer able to pursue his\nprofessional career and is accordingly threatened with the workhouse.\n& As for the remainder of the lengthy cast-list associated with an up4o°date musical comedy\nit does not count for very much, being made up of a few young men and women in subordinate\nparts, supported by a chorus. These last, technically termed a \" crowd caper aimlessly\nabout the stage in the wake of the principals, with one eye permanently fixed on the\nlimelight man, and the other on the occupants of the front row of the stalls. At the proper\nmoment, and quite mechanically, they form a picturesque group in the centre and sing at\nthe tops of their voices the inane words allotted them by the person who has written the\n44 lyrics \". To remove a general (and deeply rooted) misconception, 1 may say, as an expert,\nthat a musical comedy 44 crowd \" is always composed of entirely respectable and well-behaved\nyoung men and women. The only thing I have against them is that their intelligence is\nalmost invariably atrophied. Yet, one can scarcely blame them for this, when the nature\nof their employment is taken into consideration. The words of the songs (now, by the way,\nknown as 44 lyrics \") which these unfortunate people are compelled to sing, in order to gain\nan honest livelihood, usually appear to have emanated from the disordered mind of a\nwandering lunatic. I am told that in a piece of this class, called 44 The Belle of New York \",\nthe opening lines allotted to the unhappy chorus ran:\n44 When a man is twenty-one\nThen is the time to drink hot rum! \"\nThis bright, particular gem of its class was produced ten years ago, and is still running\nin the provinces, We do not, however, appear to have advanced far since those days. As I\nwrite, 1 have before me a printed copy of the 44 lyrics \" of a recent Gaiety success. Here is\na verse that the chorus had to deliver as the curtain rose:\n44 If we love in the land we live\nWe must live in thte land we love,\nThough the iron pierce the soul,\nWear the velvet glove;\nBut the future must take its course,\nBe it bankruptcy or divorce;\nThat is why we're here to see\nMonsieur Babori — ah! \"\nBetween this and the old fashioned 44 sing tra, la, la, la, la! Sing tol, de rol, de, do! \"\nthat we all sneer at as being out of date, I really cannot see a hap'orth of difference. &\njgr If those who have read the fragment just quoted without suffering serious injury can\nendure a second specimen from a similar source I append one herewith:\n44 If ever we meet the German Fleet\nAnd it as strong as ours is,\nI give you my word, Lord Charles Beresford\nWill give it a slap on the trousers! \"\nThe brain that evolved this would be capable of anything. &\nLike most other people connected with the production of musical comedies nowadays,\nthe people who write the necessary songs always take themselves very seriously. They\naccord interviews to reporters from Carmelite Street and discourse portentously on their\n44 art \". The only person among the lot of them who appears to have any sober views about\nthe matter is, it seems to me, Mr James Glover, the musical conductor of Drury Lane. I\nonce read an article by this authority on the closely allied subject of pantomime songs. In\nthe course of this Mr Glover backed himself to write a typical ballad off hand which should\nbe at least no worse than the average one of its kind. A representative verse from this\neffort ran as follows:\n44 Mary Jane of Tooting\nWas a proper sort of girl\nWhen her sweetheart from his office got the push;\nBut Mary knew a thing or two\nAnd bolted with an Earl;\nSo they're living now in naughty Shepherd's Bush! \""}, {"page_pdf": 15, "page_imprimee": "215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.15", "debut_caractere": 17, "fin_caractere_exclue": 2681, "texte": "The average\n\"1yri c . \" &\nThe use of Mu-\nsical Comedy, &\nMatrimonial\nChances.\nA problem.\n\nFor the life of me I cannot see that this is in any respect more vulgar or silly, or\nmeaningless than the average \" lyric \" figuring in musical comedy. Of course, there are\npeople who can write songs with some regard for the principles of scansion, rhythm and\nsense — the names of Mr Adrian Ross, and Captain Basil Hood suggest themselves more\nparticularly-— but the number of them seems to be a very small one. & &\nThere are people who would like to see musical comedy prohibited, and severe penalties\nmeted out to all who either write, witness, produce, or act in anything of the sort. Despite\nmy own inability to appreciate such entertainments, 1 am, however, by no means opposed\nto them. 1 consider, indeed, that they fulfil a very good purpose, and ought on this account\nto be encouraged.\nTo begin with, every musical comedy — no matter how bad, at least provides exceedingly\nwell paid employment for a large number of amiable young women, with pretty faces and\nshapely limbs, who have not sufficient brains among the lot of them to earn ten shillings\na week as nursery governesses.\nAgain, where else, but from the subordinate ranks of a musical comedy cast list, would\nour bachelor guardsmen and heirs to the peerage find suitable partners in life? 1 know\nthat in certain exclusive—and ultra old fashioned—circles the narrow view obtains that a\npeer should no more marry an actress than an actor should marry a peeress. 1am convinced\nthough that this is entirely wrong. In fact, 1 feel so strongly on the subject that not only\nwould I say an uncompromising yes to the important domestic problem, \" Should Peers marry\nChorus Girls? \" (which recently came up for discussion in the Perfect lady, or some similar\norgan), but I would even go so far as to say that they ought to be compelled to do so by\nlaw. This is because the number of unappropriated chorus-girls is, and must be, always\nvastly in excess of the number of eligible peers. Under the circumstances then, it is nothing\nless than the bounden duty of every peer, not already provided for, to lead to the altar at\nleast one member of the chorus. 1 am glad to find that this view is generally inclined to\nby at any rate the eldest sons of most of our leading peers. A few, however, are obstinately\nstanding out, but this, perhaps, is only to be expected in a country where so many time-worn\nclass distinctions still obtain. Besides, there are peers whom no self-respecting chorus girl\nwould marry while an unattached scene shifter was left.\nMusical comedy no use, indeed 1 Pray, what shall we be hearing next-? &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c012", "article_bluemountain": "bmtnaau_1909-01_01#c012", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "216", "page_fin": "218", "image_debut": 16, "image_fin": 18, "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=bmtnaau190901-01.2.8", "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": 16, "page_imprimee": "216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 3692, "texte": "THE ARCHITECTURE\nAND COSTUME OF\nSHAKESPEARE'S GREEK\nPLAYS\nby E. W. Godwin.\npericles—so popular in the seventeenth century that it\ndivided the honours with Jane Shore—is such a very\ndoubtful play, no matter what point of view we take, that I\nmight fairly be excused if I omitted it altogether from this\nseries. It is, moreover, a drama that has not been acted for\na long time, and it is devoutly to foe hoped never may be\nacted again. Gower as chorus fixes the date of the story,\nand shows that the \" Antiochus, King of Antioch, \" of the\ndramatis petsonsc, is the same as Antiochus the Great who\nreigned over Syria B. C. 233—187. There is nothing, probably,\nin the whole range of dramatic writing where the unities of\ntime and place are so persistently disregarded as in Pericles.\nIn the four scenes of the short first Act we are hurried\nfrom Antioch to Tyre, and from Tyre to Tharsus. By the\ntime we reach the second Act we find ourselves in\n\" Pentapolis \" (Cyrenaica) (1), whence we go to Tyre and\nback again. In the third Act we are on a ship at sea, then\nat Ephesus, then at Tharsus, returning again to Ephesus.\nIn the next act we go to and fro between Tharsus and\nMitylene, and in the last we go from Mitylene to Ephesus.\nThen again the text teems with anachronisms, e. g., stringed\nviols, pistols, bellows, parish churches with their steeples,\nbells and all, beadles, tennis courts, tournaments, shields\ncharged with mediaeval devices and mottoes, ink and paper,\na Spaniard in a ruff, a French knight—one \" Monsieur\nVeroles, \" a Puritan, and other late sixteenth century names of persons and things which\nit is not necessary to rehearse. &\n& The Comedy of Errors, on the other hand, possesses complete unity of time and place;\nand although the text is somewhat laden with anachronisms, there is nothing so outrageous\nas a medieval tournament taking a place In the action of a piece which in itself professes\nto belong to the time of Antiochus the Great. The scene of this Comedy is Ephesus, and\nthe time that when the old order of things was giving place to the new. Therefore,\nalthough 1 have classed this work with the Greek plays, it is really classical only in the\nassociations of its scenery and in the pictures it may present us of such portions of the\nancient city which may have been preserved as late as the time of Constantine. For we\nmust, i think, admit that the Comedy of Errors has reference to a time when the Christian\nChurch of Ephesus was enjoying either the undisturbed days that followed after the\nDiocletian persecution (A. D. 303), or the earlier lull that ensued about fifty years before\nthis, or immediately after the Valerian persecution. As there is not the faintest indication\nIn the text of the worship of either the Greek or Ephesian Artemis, as no one throughout\nthe play refers to any god or goddess of Roman, Greek, or Asiatic mythology, and as there\nis an abbess evidently regarded with no small respect, I am inclined to accept the latest\ndate or the reign of Constantine the Great, A. D. 306-337, as the period of the action, a\ntime when Ephesus, although her glory had departed, was still a busy place, when her\ntemples and public buildings had not yet been scanned from the quarryman's point of view,\nand when a stranger might very well desire or even be anxious to \" view the city, \" and\n\" gaze upon the buildings\n\nPeric 1 e s .\nThe Come dy\nof Errors*\n\n(1) As even the author of Pericles with the assistance of a chorus can hardly bring, at one and the same time, the good\nKing Simonides and his friends into five cities, we must select one out ol Pentapolis for the King's residence, and the\ncity Cyrene will do as well as any other. &&£>&&>&&&&■ &"}, {"page_pdf": 17, "page_imprimee": "217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.17", "debut_caractere": 28, "fin_caractere_exclue": 5107, "texte": "The Scene ry.\nA2te m i s\nArchitecture &\nSculpture.\nThe houses of\nJ^phesus.\n\n& The scenery as set down for this comedy consists of: —\n1. A hall in the Duke's palace.\n2. A public place (for Acts 2 and 4).\n3. A public place (in front of the house of Antipholus for Act. 3).\n4. A public place (in front of a nunnery for Act 5).\n& The second Scene of the first Act is also a public place or street; and if an open\nvestibule or portico of the palace be arranged so as to form part of it, one set scene might\nwell serve for the first Act. The scenery thus treated would be wholly external, and\nillustrative of the street architecture of Ephesus circa A. D. 330. With a little care these\nfour scenes might be made very interesting, for nowhere did the twilight of the old order\nof things and the dawn of the new commingle more completely than in this great Ionian\ncity. But the old order of things was very different in the Ionian Greek colony of Asia\nMinor to what it was in Hellas proper. The basic influence of the native or Asiatic in this\ncolony was immense, whilst the operations, first of their neighbour Crceseus, then of Persia\non the one hand, and Macedonia on the other, were not likely to pass over the heads of\nsuch a lively impressionable mixed population as the Ephesians were without leaving some\nevidence behind them. The Asiatic part in the combination was markedly visible in the\ngreat idol. The Artemis of the Greeks closely fellowed in the Diana of the Romans was\never a maiden goddess, and in early mythology was as distinct from the Goddess of the Moon\nas Apollo was from Helios. The chaste goddess of the silver bow sending forth arrows armed\n0\nwith plagues and death for man and beast, yet helpful and curative, and especially watchful\nof the young, is a very different sort of divinity from one whose priests were eunuchs,\nand who embodied as her chief attractions the ideas of fructification and nourishment:\none who was represented not as a tall small-hipped, beautiful woman by any manner of\nmeans, but as a strange archaic mass of symbolism, of which it is enough to say that a\nmural crown rested upon the head, and the body was literally covered with numerous\nbreasts (1). Later on, or B. C., 355, when the Great Temple (whose character, has been made\nknown to us through Mr. J. T. Wood's excavations) was designed, the influence of\nPersepolitan art becomes manifest. The colunince ccelatce are almost as widely separated\nfrom the pillars of the Athenian Propylae or the Parthenon as the freest-Renaissance is\nfrom the severest Roman. Commercial prosperity and undisciplined freedom were tolerably\nsafe foundations for the licentiousness and voluptuous luxury that towered not only over\nEphesian society, but over the whole Ionian district, and this licentiousness, splendid in its\nextravagance, we may be quite sure found expression in architecture and sculpture as well\nas in poetry and music, or in habits of life. The fragments of the Temple now in the British\nMuseum, especially of the colunince ccelatce, or sculptured pillars, are quite sufficient to show\nthis, and although from its size and its costliness, both in material and labour, this building\nmight have arrested the attention of the mass of the people, and have been regarded as one\nof the wonders of the world by men who revelled in the luck of their geographical position,\nwho loved uproar and witchcraft, but could not fight—although no doubt there were certain\nelegances in its Ionic proportions, enchanting effects in its tall columns and their long vistas\nand bewitching beauty in its architectural features made to look their best by help of paint\nand the plastic art; yet from the evidence before us the Doric temple of Minerva at Athens,\ncovering not a quarter of the area this at Ephesus occupied, must have been as immeasurably\nsuperior to it as order is to confusion or sobriety to intemperance. The general street\narchitecture of Ephesus, A. D. 330, would not, however, be composed of Ionic colonnades, nor\nwould the house of Antipholus, nor even that of the chief magistrate, duke, or proconsul\nbe a miniature reproduction of the temple of Artemis or Diana. That the houses of Ephesus\nwere more elaborate and more fanciful than those of towns where the Doric style prevailed\nmay be at once admitted; that in the better class of buildings the upper floor might have\nbeen planned as an open loggia surrounded by Ionic columns supporting entablature and\nlow-pitched roof is not improbable; that public leschai with rows of marble shafts and\npicture-covered walls might be seen in many an open place is more than probable, and it\nis not unlikely that some of these might have existed in the midst of new Roman arches and\npiles of Roman pilasters in A. D. 330 but the scene painter, whose only notion of Ephesus\n\n(i) Artemis, in early Greek myth, Is, so to speak, the female of Apollo; when Apollo and Helios were confounded together,\nand treated as one personality, Artemis and Selene became one. The greatness of the Ephesian divinity seems to have\nconsisted in its dual nature."}, {"page_pdf": 18, "page_imprimee": "218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.18", "debut_caractere": 28, "fin_caractere_exclue": 5244, "texte": "The Costume.\nThe toga.\nThe meretrix.\nThe Ah bess .\n\nis that it was a town of Greek temples or a city of Roman palaces or basilicas, would do\nbetter if, instead of troubling to put his idea into pictured form of pillar and pediment,\nhe gave us whitewashed canvas and wrote upon it—\" This is Ephesus.\" If, however, he is\nminded to make his v/ork go hand in hand with our age—an age when every branch of\nscience is being more or less explored—then by careful study of Mr Wood's discoveries and\nof such remains and restorations of the monuments of Xanthus and Halicarnassus that\nwe possess the character of the early architecture of Ephesus may be secured. So, also,\nby turning his attention to such works as the houses at Pompeii, the Flavian Amphiteatre\n(A. D. 70), Diocletian's Palace at Spalatro (A. D. 284), and even the Porta Nigra at Treves,\nhe may be enabled, if he has any constructive intelligence, to give us a tolerably fair idea\nof the later buildings of Ephesus in A. D. 330. &\n& For the costume of the Comedy of Errors authorities are to be found in wall paintings,\nin coins, and in the sculptures of the reign of Constantine. The influence of Rome, it must\nbe remembered, was like no other influence the world has ever experienced in the irresistible\npower with which she grasped the outward life of the people she conquered, moulding their\ndress and their building, in her own way. In Gaul, in Germany, in Asia, as in Italy, the\nsame Roman fashions prevailed. The ordinary civil dress was a long tunic, made without\nsleeves, but cut square, so that the material fell over the shoulder like loose sleeves, much\nthe same as we see in the Greek chiton, for the sleeved tunic does not appear to have been\ngenerally adopted until the fifth century. The men's tunic was as a rule short, the women's\nlong. Three kinds of mantle or upper garment were used at this time:—1, a short thick\nwoollen cloak, called pcenula, reaching to the knee, chiefly used on journeys as less\ncumbersome than the other forms of wrap; 2, a birrus or cloak for rainy weather, generally\nmade of wool left long and shaggy—this was also used as a hood or covering for the head;\n3, the toga, used only by the upper classes at important meetings or on great festive occasions;\nthis robe was made extremely capacious, so as to be full of folds when arranged on the\nbody, and was cut in a curved shape, usually something less than a semicircle: one end was\nthrown over the left shoulder, and the circular part hung down in front, neariy as low as\nthe feet. It was then wrapped round the back, passed under the right arm, and brought\nonce more over the left shoulder across the chest like a belt, but not too tightly. The\n\" Duke\" in the play should wear a toga embroidered with gold, but the ordinary toga\nwas of plain white wool. In A. D. 330 the use of the toga was rapidly on the decline. As\nan article of female costume it had long been given up, except by the meretrix and the\nadultera, the latter of whom at the time we are considering had not much opportunity for\nthe display of the toga or any other costume, for by the law of Constantine she was first\nwhipped and then sent to a nunnery, whence if not taken by her husband she was forced\nto take the habit of a nun and the convent gate was closed on her for ever. The meretrix\nin the comedy might, besides her tunic, wear a thin silk scarf or shawl, for silk or sericum\nas an ordinary material for the better kind of dress had come into fashion, gone out and\ncome in again since the time of Hermione and Timon of Athens. Holoserica or bonbycinum\nwas made entirely from the cocoons of the homhyx or silkworm, but there was also a\nsemi=silk manufacture known by the name subsericus, where the wrap was of linen or\nwool, and this was by no means an uncommon material in the wardrobes of the luxurious\nand the gay of both sexes, although its use was regarded with more or less jealousy by\nimperial eyes. The \"Abbess\" would be dressed in the tunic and the birrus; the latter\nworn over the head—hood*wise—brought round the right cheek over the breast, and thrown\nover the left shoulder. Any figure on the dress, or on the \" Priory,\" would be probably\nlimited to that of the sacred monogram (the X and P) which appears on the coins of\nConstantine, and which seems to have been then generally used, precisely as the\nsimple form of cross was at a later period. A material much affected by the Christians\nof this period was a woollen stuff with a dark band woven in it, or left as the selvage. In\nthe latter case the dress, if made of four widths of stuff, would thus have two vertical stripes\non the front and the back, where the selvages joined. The psenula shown on one of\nthe paintings in the Catacombs, illustrated by Perret, shows the outer or edge border dark,\nand two bands double the width of this border, dividing the mantle into what, if laid out,\nwould be three equal portions. Shoes and slippers appear to have been commonly worn by\nboth sexes, and necklaces, chains, ear-rings, costly girdles, and head dresses, seem to have\n\nfound favour in the eyes of the fair Ephesians in spite of all St. Paul's teaching.\nReprinted by kind permission of the proprietor of \" The Architect. \""}]}, {"article_id": "bm-bmtnaau-1909-01-01-c014", "article_bluemountain": "bmtnaau_1909-01_01#c014", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "219", "page_fin": "220", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.2.9", "titre_corps": "SHAKESPEARE MEMORIAL : A National TheatreTO THE PUBLIC", "titre_sommaire": "SHAKESPEARE MEMORIAL : A National TheatreTO THE PUBLIC", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "219", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3904, "texte": "SHAKESPEARE MEMORIAL.\nA Nation a 1 Theatre.\nTO THE PUBLIC\n\nyou heard of it? Have you been asked about it? Do you want it? Can you bear\nit? And then can you be terribly revenged after you have got it? & & &\n<£? You noble aristocracy of England, you poor city gentlemen with responsibilities enough\non your shoulders, and you, struggling middle class, are you aware that you are about to\nbe \" presented \" with a scheme which is now being prepared for you by the Executive\nCommittee of the proposed theatre\n& The plot has been brewing for a long time. Some first signs of simmering were\nobserved a while ago, and now the thing promises to boil. If the scheme develops to\nlarger proportions an eruption may be expected and extermination faithfully guaranteed.\n& Extermination of what? Why, of everything that Shakespeare stands for.\n& The details of the scheme are to be made public this month, when the general meeting\nof the committee will take place.\n\" Round about the cauldron go,\nIn the poison'd entrails throw. \"\n& It is generally whispered that a well-known actor-manager will be made the scapegoat\nfor a lot of former indiscretions on the part of the Theatre in the matter of producing\nShakespeare in the florid Piccadilly manner.\n\" Cool it with a baboon's blood,\n\" Then the charm is firm and good \".\nMeantime, Public, what do you think of the whole matter?.... I mean to say, the expense\nhas been estimated at a million sterling; a million so that a pack of amateurs can make\nsport of a giant. It is announced definitely that a public fund is contemplated; that is to\nsay, dear Public, you pay at least half a million so that a National Theatre may be knocked\ntogether; and then, after it has been opened, you have got to pay for your seats, which\nat the end of ten years amounts to about another million out of your pockets. <£>\nNow, this is awfully spirited of you, but awfully foolish, because the beauty of\nShakespeare is not going to be brought to you even if you pay twenty million. And let me\ntell you another thing which will remain true long after you and I are dead. It is that\nthe Art of the Theatre is not going to come into this National Theatre, this Memorial to\nShakespeare. & &\nYou may think that if you give half a million of money to building a National Theatre\nyou are doing the same for the Art of the Theatre as you are for the Art of Painting when\nyou give the same sum to erecting a National Gallery. But the two things in no way\nresemble each other. In the National Gallery you have examples of all the great Masters\nof Europe. When they are purchased they are hung in their position and you may go to\nsee them any year you like and you will find them as you last saw them. They have\nactually not been tampered with: they have positively not been made \"up to date \": in\nshort the Directors of the Gallery have not availed themselves of \" every modern advantage\nthe studios offer \". But if we had a National Theatre the managers of it would perhaps\nthink they were producing Shakespeare \" as he would have wished \", that is to say, they\nwould avail themselves of all these \" advantages \" which the modern stage has to offer.\nNow, these advantages are positively disadvantages, and Shakespeare would have been\nthe first to deride the idea of these tricks and decorations as bringing anything towards\nthe interpretation of his stupendous drama. & JS> &\n& Not that 1 am at all inclined to think that he would have advocated the old Elizabethan\nway of producing his plays today, but because one extreme is not right is no reason for\nrushing to the other. Indeed, both extremes are equally what may be described as \"eccentric\".\nWhat we have to find, if it is possible to find, is the right way of producing Shakespeare,\n....something in between these two extremes; something balanced. & &\n44 Tell me, (if your art\nCan tell so much), shall Banquo's issue ever\nReign in this kingdom?"}, {"page_pdf": 20, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 656, "texte": "& Well, it is a difficult question to answer, but it is a fearsome thing when Actor«Manager\nMacbeth becomes ambitious. He then dreams of daggers; he then plots and offers the\nscheme to the Public: he then annexes a new theatrical castle with all modern improvements\nattached to it. He murders Shakespeare,.... but forgets that Banquo is looking round the\ncorner, and he doesn't even reckon with the little Fleance who escapes. NO, really it is\ncareless on the part of the Actor Manager: if he kills Shakespeare he should really kill the\nwhole brood. &\nYet even then all the perfumes of Arabia will not sweeten his little hand.... Oh, oh, oh.\n\nALLEN CARRIC."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c015", "article_bluemountain": "bmtnaau_1909-01_01#c015", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "220", "page_fin": "220", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.2.10", "titre_corps": "\"THE ERA\" UPON ART & THE MILLIONAIRE", "titre_sommaire": "\"THE ERA\" UPON ART & THE MILLIONAIRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.20", "debut_caractere": 658, "fin_caractere_exclue": 3430, "texte": "\"THE ERA\" UPON ART & THE MILLIONAIRE\n\" THINGS ARE AT SUCH A PASS IN ENGLAND THAT NONE BUT THE MILLIONAIRE CAN\nAFFORD TO BE PURELY ARTISTIC.\nwhat does this mean? The Bra is responsible for the passage: the Daily Mail copies\nit, and thereby more than a million people are told that no one can afford to be purely\nartistic except the millionaire,... as if a man could be purely artistic by the grace of his\nmillions! What does it mean? It reads like nonsense and yet I suppose there must be\nsomething in it. <£? And yet again there seems to be nothing in it, for I know at least\nthree people in England possessed of about twenty=four pounds sterling and a few tables and\nchairs, and who are yet entirely what can be described as \" artistic. \" & &\n& It is quite extraordinary how a certain set of Englishmen in responsible journalistic\npositions become utterly confused as to the reason of art, the means of bringing it about,\nand the kind of person who brings it about.\n& Does the Bra perhaps mean that only a millionaire can afford to buy works of art because\nin England works of art are so expensive? If so this statement is entirely false. It is only\nworks of extremely bad taste that are expensive..., expensive from every point of view. &\n& Thus, in the theatre, we have a vulgar showy performance which costs, we are assured\nby the manager, ten thousand pounds; whereas a beautiful production on the stage\ncosts far less than this if artists and good sound craftsmen are employed. & &\n& The worst part of theatrical affairs in regard to productions in England is that the manager\nputs his job into the hands of \" Firms. \" &\n& These Firms are very excellent and reliable in all matters pertaining to yards and\ninches, and these Firms also know how to charge so that their establishments shall be a\nsuccess. All this is very creditable to them but it is disastrous to the theatre. &\nWhat the managers have never understood is that they should engage their stage\nmanagers, their scenic artists, their costumiers, their artistic advisers and all connected\nwith the different works which are to be produced year after year in the same theatre,\nand they should never go to any other people but these when producing a work. These\npeople would then all work hand in hand, would be as practical as any Firm, and, what is\nmore, they would perhaps, through the gifts of one special artist in the theatre, produce\nworks of great taste.\nThis is the system which is beginning to be general in some few of the first theatres\nof Europe, and it works extremely satisfactorily. Everyone in the theatre is then more\ncontented, and they are able to produce works of a better quality, and to produce any\nplays which they wish without consulting the public and without dread of bankruptcy. &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c017", "article_bluemountain": "bmtnaau_1909-01_01#c017", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "221", "page_fin": "222", "image_debut": 21, "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=bmtnaau190901-01.2.11", "titre_corps": "THE THEATRE", "titre_sommaire": "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": 21, "page_imprimee": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 5133, "texte": "THE THEATRE\n\nIN GERMANY, HOLLAND, RUSSIA &\nENGLAND\n\n& A Series of from\nGordon Craig.\nMy dear Semar,\nI have been intending to write you about the\nTheatre in England. Perhaps one of these\ndays I may be inspired to fill in a picture\npost card with the few necessary expressive\nwords, but today words fail me to express\nall I feel about the Theatre in England. &\nYou see I've seen it and the jolly fellows who\nperpetrate it; they are great fun.... I could\nwrite you books about them and their genial\namiabilities. &\nI am now in Russia and lodged in the\nvivid city of Moscow: feted by the actors\nof the first theatre here, who are some\nof the most splendid fellows in the world,\nand, besides being admirable hosts they are\nadmirable actors. <£? &\nMoskwin, Artem, Leonidow, Katschalow,\nWischnewski, Luschski, Ballif, Adaschew; Frau\nLilina,... quite delicious; Frau Knipper,...\nmagnificent when she wishes; the two chil*\ndren in \"The Blue Bird\" adorable, and clever.\nAdd to these the hundred other actors\nand actresses who show promise of forming\na powerful and united dramatic force,... and\nlet me tell you they are one and all intelli*\ngent, enthusiastic about their work, working\ncontinuously, new plays each day, new\nideas each minute,.... and with this to go\non you can form for yourself whatever im-\npression you wish.\nIf such a company could be conjured into\nexistence in England Shakespeare would again\nbecome a force. As it is he is merely a stock\nin trade. The Art Theatre here, (about which\nI write) is alive,... is possessed of character\nand intelligence. <£?\nIts directors, Constantin Stanislawsky and\nNemirowitsch Dantschenko, have achieved\nthe impossible: they have successfully\nestablished a noncommercial Theatre.\nThey believe in Realism as a medium through\nwhich the actor can reveal the psychology of\nthe dramatist. I don't believe in it. This is\nnot the place to discuss the wisdom or folly\nof this theory: in the dust jewels are some*\ntimes found; by looking downward the sky\ncan sometimes be seen.\nIt is quite enough to say that what they do\nupon their stage they do to perfection. They\nwaste time, money, labour, brains and pa*\ntience like Emperors: like true Emperors\nthey do not think they have done all when\nthey have merely spent a lavish sum upon\ndecorations and machinery, although they do\nnot omit to attend to this. jp\nThey give hundreds of rehearsals to a play,\nthey change and rechange a scene until it\nbalances to their thought: they rehearse and\nrehearse and rehearse, inventing detail upon\ndetail with consummate care and patience\nand always with vivid intelligence,... Russian\nintelligence.\nSeriousness, character, these two\nqualities will guide the Moscow Art Theatre\nto unending success in Europe or elsewhere.\nTheir theatre was born with a silver spoon\nin its mouth: it is now only ten years old:\nit has a long life before it: when it comes\nof age it will be a firmly established institu*\ntion. It must take care not to court Poetry....\nand must certainly not wed her, but when\nit reaches man's estate it will awaken to a\nnew consciousness,... spread wings and soar\nby the two wings of imagination into that\nvaster and more open path which has no name\nand leads nowhere beyond itself.\nAnd I am perhaps more miserable than ever\nbefore in my life, because I realise the hopeless\ninactivity of England and its stage, the hope*\nless vanity and folly of its stage, the utter\nstupidity of every one connected with the\nArts in England, the death-like complaisancy\nwith which London thinks it is active and\nintelligent about these matters, the idiocy of\nthat section of the Press which calls every\ncourageous attempt to revive Life and Art\n\"eccentric,...\" that lack of comradeship in Lon*\ndon,... that lust for twopence at all costs.\nThe English actors have no chance; their\nsystem of management is bad: they get no\nchance of study or experience and dare not\nrebel or they would lose their bread and\nbutter; so they laugh their life away as best\nthey can.... that is to say, grimly.\n& The Russian actors of the Kunstlerisches\nTheater at Moscow give me the impression\nthat they experience a keener intellectual\nenjoyment during their performances than\nany other actors in Europe. &\nAll their performances are admirable, and\nwhether they touch a play of modern life and\nmodern feeling or a fairy tale, the touch is\nalways sure, always delicate, masterly....\nNothing is slipshod. Everything is treated seri*\nously,... seriousness, as 1 have said, is the\nmarked quality of this Russian theatre.\nEarnestness is never apparent.... coming from\nEngland this seriousness is possibly more\napparent to me than if I were a resident here.\nIn England the spirit of mockery is the same\nforce as it was thirty years ago when E. W.\nGodwin drew attention to the fact. The\nmanagers and actors are afraid to be serious....\nthey might be laughed at.... they most\nnaturally fear to be merely earnest. In England\nwe find a clever actor laughing at his part, and\nhimself, and winking all the time at the\naudience, horrified lest he may be taken\nseriously for what he really never meant. To\ncommit himself would be more than a crime,"}, {"page_pdf": 22, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 1286, "texte": "as Alexandre says, it would be a blunder. &\nHere in Moscow they risk the blunder and\nachieve the distinction of being the best set\nof actors upon the European stage.\nLess of a spontaneous whirlwind than Qrasso,\ntheir first actor Stanislawsky is more intel-\nlectual. jg? & & j£*\nThis is not to be misunderstood. You are not\nto imagine that this actor is cold or stilted.\nA simpler technique, a more human result\nwould be difficult to find. A master of\npsychology, his acting is most realistic.... yet\nhe avoids nearly all the brutalities.,., his\nperformances are all remarkable for their\ngrace. I can find no better word. <£?\nI have been most pleased by the performance\n44 of Onkel Wanja \", although this company is\nable to handle any play admirably. &\nIn 44 The Enemy of the People \" Stanislawsky\nshows us how to act Dr Stockmann without\nbeing 44 theatrical \" and without being comic\nor dull. The audience smile all the time that\nthey are not being moved to tears, but never\ndoes a coarse roar go up such as we are used\nto in the English Theatre.\nLet me congratulate you on your Journal\nwhich does not improve but developes\ndelightfully.\nI cannot believe you will really print\n10,000 copies in February. You really deserve\nthe gratitude of the European theatre...\n\nGORDON CRAIG. Moscow."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c019", "article_bluemountain": "bmtnaau_1909-01_01#c019", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "221", "page_fin": "222", "image_debut": 21, "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=bmtnaau190901-01.2.11.2", "titre_corps": "IN GERMANY, HOLLAND, RUSSIA & ENGLAND : A Series of Letters from Gordon Craig", "titre_sommaire": "IN GERMANY, HOLLAND, RUSSIA & ENGLAND : A Series of Letters from 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": 21, "page_imprimee": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.21", "debut_caractere": 13, "fin_caractere_exclue": 5133, "texte": "IN GERMANY, HOLLAND, RUSSIA &\nENGLAND\n\n& A Series of from\nGordon Craig.\nMy dear Semar,\nI have been intending to write you about the\nTheatre in England. Perhaps one of these\ndays I may be inspired to fill in a picture\npost card with the few necessary expressive\nwords, but today words fail me to express\nall I feel about the Theatre in England. &\nYou see I've seen it and the jolly fellows who\nperpetrate it; they are great fun.... I could\nwrite you books about them and their genial\namiabilities. &\nI am now in Russia and lodged in the\nvivid city of Moscow: feted by the actors\nof the first theatre here, who are some\nof the most splendid fellows in the world,\nand, besides being admirable hosts they are\nadmirable actors. <£? &\nMoskwin, Artem, Leonidow, Katschalow,\nWischnewski, Luschski, Ballif, Adaschew; Frau\nLilina,... quite delicious; Frau Knipper,...\nmagnificent when she wishes; the two chil*\ndren in \"The Blue Bird\" adorable, and clever.\nAdd to these the hundred other actors\nand actresses who show promise of forming\na powerful and united dramatic force,... and\nlet me tell you they are one and all intelli*\ngent, enthusiastic about their work, working\ncontinuously, new plays each day, new\nideas each minute,.... and with this to go\non you can form for yourself whatever im-\npression you wish.\nIf such a company could be conjured into\nexistence in England Shakespeare would again\nbecome a force. As it is he is merely a stock\nin trade. The Art Theatre here, (about which\nI write) is alive,... is possessed of character\nand intelligence. <£?\nIts directors, Constantin Stanislawsky and\nNemirowitsch Dantschenko, have achieved\nthe impossible: they have successfully\nestablished a noncommercial Theatre.\nThey believe in Realism as a medium through\nwhich the actor can reveal the psychology of\nthe dramatist. I don't believe in it. This is\nnot the place to discuss the wisdom or folly\nof this theory: in the dust jewels are some*\ntimes found; by looking downward the sky\ncan sometimes be seen.\nIt is quite enough to say that what they do\nupon their stage they do to perfection. They\nwaste time, money, labour, brains and pa*\ntience like Emperors: like true Emperors\nthey do not think they have done all when\nthey have merely spent a lavish sum upon\ndecorations and machinery, although they do\nnot omit to attend to this. jp\nThey give hundreds of rehearsals to a play,\nthey change and rechange a scene until it\nbalances to their thought: they rehearse and\nrehearse and rehearse, inventing detail upon\ndetail with consummate care and patience\nand always with vivid intelligence,... Russian\nintelligence.\nSeriousness, character, these two\nqualities will guide the Moscow Art Theatre\nto unending success in Europe or elsewhere.\nTheir theatre was born with a silver spoon\nin its mouth: it is now only ten years old:\nit has a long life before it: when it comes\nof age it will be a firmly established institu*\ntion. It must take care not to court Poetry....\nand must certainly not wed her, but when\nit reaches man's estate it will awaken to a\nnew consciousness,... spread wings and soar\nby the two wings of imagination into that\nvaster and more open path which has no name\nand leads nowhere beyond itself.\nAnd I am perhaps more miserable than ever\nbefore in my life, because I realise the hopeless\ninactivity of England and its stage, the hope*\nless vanity and folly of its stage, the utter\nstupidity of every one connected with the\nArts in England, the death-like complaisancy\nwith which London thinks it is active and\nintelligent about these matters, the idiocy of\nthat section of the Press which calls every\ncourageous attempt to revive Life and Art\n\"eccentric,...\" that lack of comradeship in Lon*\ndon,... that lust for twopence at all costs.\nThe English actors have no chance; their\nsystem of management is bad: they get no\nchance of study or experience and dare not\nrebel or they would lose their bread and\nbutter; so they laugh their life away as best\nthey can.... that is to say, grimly.\n& The Russian actors of the Kunstlerisches\nTheater at Moscow give me the impression\nthat they experience a keener intellectual\nenjoyment during their performances than\nany other actors in Europe. &\nAll their performances are admirable, and\nwhether they touch a play of modern life and\nmodern feeling or a fairy tale, the touch is\nalways sure, always delicate, masterly....\nNothing is slipshod. Everything is treated seri*\nously,... seriousness, as 1 have said, is the\nmarked quality of this Russian theatre.\nEarnestness is never apparent.... coming from\nEngland this seriousness is possibly more\napparent to me than if I were a resident here.\nIn England the spirit of mockery is the same\nforce as it was thirty years ago when E. W.\nGodwin drew attention to the fact. The\nmanagers and actors are afraid to be serious....\nthey might be laughed at.... they most\nnaturally fear to be merely earnest. In England\nwe find a clever actor laughing at his part, and\nhimself, and winking all the time at the\naudience, horrified lest he may be taken\nseriously for what he really never meant. To\ncommit himself would be more than a crime,"}, {"page_pdf": 22, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 1286, "texte": "as Alexandre says, it would be a blunder. &\nHere in Moscow they risk the blunder and\nachieve the distinction of being the best set\nof actors upon the European stage.\nLess of a spontaneous whirlwind than Qrasso,\ntheir first actor Stanislawsky is more intel-\nlectual. jg? & & j£*\nThis is not to be misunderstood. You are not\nto imagine that this actor is cold or stilted.\nA simpler technique, a more human result\nwould be difficult to find. A master of\npsychology, his acting is most realistic.... yet\nhe avoids nearly all the brutalities.,., his\nperformances are all remarkable for their\ngrace. I can find no better word. <£?\nI have been most pleased by the performance\n44 of Onkel Wanja \", although this company is\nable to handle any play admirably. &\nIn 44 The Enemy of the People \" Stanislawsky\nshows us how to act Dr Stockmann without\nbeing 44 theatrical \" and without being comic\nor dull. The audience smile all the time that\nthey are not being moved to tears, but never\ndoes a coarse roar go up such as we are used\nto in the English Theatre.\nLet me congratulate you on your Journal\nwhich does not improve but developes\ndelightfully.\nI cannot believe you will really print\n10,000 copies in February. You really deserve\nthe gratitude of the European theatre...\n\nGORDON CRAIG. Moscow."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c020", "article_bluemountain": "bmtnaau_1909-01_01#c020", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "222", "page_fin": "223", "image_debut": 22, "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=bmtnaau190901-01.2.12", "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": 22, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.22", "debut_caractere": 1288, "fin_caractere_exclue": 5147, "texte": "FOREIGN NOTES\n\nFLORENCE\n\n'TMhe one important piece of news here in\n* relation to the theatre is that Mr Gordon\nCraig has taken the Arena Goldoni. (1) .<&\nThis is perhaps the most beautiful theatre\nin Europe with the exception of the Greek\nand Roman theatres and Palladio's theatre\nin Vicenza. jg> jg? &\nIt is open to the air, its seats are built of\nstone, more than fifteen hundred people can\nbe seated and the stage is a very large one.\nA portion of the Theatre he has put at the\ndisposal of the publishers of The Mask for\ntheir use as editorial offices. jg/\nMr Gordon Craig, after some months' absence,\nhas himself returned to Florence, which he\nintends to make his head-quarters and will,\nI understand, now continue the work he\nbegan here in February 1907, a date which\nmarked a new period in his development of\nthat which he holds to be the Art of the\nTheatre in its purest form. & &\nThe carrying forward of this will be, as I have\nsaid, his main work; but at the same time\nhe intends to assist in a few productions in\ncertain of the European theatres. These\ntheatres he will assist because the workers in\nthem have an especial attraction for him\npersonally and not because he believes that\nthose particular theatres have solved the\nproblem of|the art any better than the others.\nHis decision to give his help is therefore\npurely on account of the men in those theatres\nand because they have expressed the belief\nthat he can be of use in raising the standard\nof the work in their theatres. So much I\ngathered from a short conversation with Mr\nCraig yesterday. &\nThis attitude is explained by the above passage\nwhere I have pointed out that his whole heart\nis so entirely given over to the discovery of\nthe principles of the art in its purest form\nthat he no longer desires to fight with those\npeople who hold opinions different from his\nown about this or that development of the\nmodern theatre, the modern theatre having\nceased to interest him beyond a certain extent.\nIt is not, in fact, to different styles in the\nmodern theatre that Mr Craig takes exception\nbut to the entire theatre. That he should,\nnotwithstanding this, be prepared to assist\nsome of the modern directors with his ideas\nfor bettering the artificiality of the theatre,\nand making that artificiality more distin*\nguished is much to Mr Craig's credit.\nMr Craig is also engaged on work for the\nMoscow Art Theatre which will in part\noccupy him for at least twelve months. This\nstatement will probably be piisunderstood in\nEngland unless it is explained that this work\nis not the preparation of eight or nine different\nproductions which Mr Craig has to get ready\nby a certain date and in a certain way, so\nthat it may \" please the public. \" Indeed I\nunderstand that M. Stanislawski's theatre in\nMoscow makes no attempt to please the\npublic.... and invariably succeeds in pleasing\nwithout making the\nI also understand that when they produce a\nplay in this theatre of Mr Stanislawski's in\nMoscow they devote as much time to it as the\nwork demands instead of hurrying the work\nto fit the time. They do not set a certain\ndate for a production and then rush the work\nthrough. Indeed, so opposed to this is their\nmethod that I learn that a play to be produced\nsometime in 1910 is already in preparation.\n44 If only \" said Mr Craig in the course of his\nconversation, referring to this fact,44 if only the\n\"London managers would understand that this\n44 is the way to set about the work. If only\n44 they would understand that success follows\n\"upon such a method; if only they would\n44 not listen to the few ignorant critics who\n44 keep telling them that the public must first\n44 be educated up, and that there is 4 such a\n44 risk' in presenting beautiful things, and if\n\n(1) An article on this Interesting1 and very beautiful theatre\nhas been promised us, and will appear early in the new\nyear. Ed:"}, {"page_pdf": 23, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2234, "texte": "\" only they would make enquiries abroad and\n\" learn how active and alert is the business\n\"management as well as the stage management\n\" in these continental theatres then all would\n\" be well in the English theatres for there\n\" is as much talent going to seed in London\n\"as in the whole of Europe, and I can't\nexpress my sorrow and my fury,... I don't\n44 know which is the greater..., at seeing\n\" the London theatre managers waste the\n\" wonderful material which they have at hand.\n\" The people who are to blame are, in my\n\" opinion, the actor managers and the busi«\n44 ness managers, chiefly the latter, and if\n44 there is anything I can do to expose their\n44 meanness and their want of pluck I will\n44 do it. I have in my eye certain men who\n44 positively clog the advance of the English\n44 Theatre; they are as debris which can dam\n44 the best and biggest river—but with care\n44 they can be removed. \" & &\n\nJ. S.\n\nMOSCOW\nV. N.\n/\"Trasso, the extraordinary Sicilian being,\nis a poor word with which to describe\nhim), has swooped down upon Moscow and\nmade everybody smile with the conscious\npleasure of their existence.\nActors as great as Grasso have that power of\nawakening a multitude from its annual sleep\ninto which it falls. j2>\nThey are not to be called 44 artists \", these\nextraordinary beings; they are nature's\nchildren just as much as waterfalls, rivers,\ngreat birds, grand animals, are nature's\noffspring. I, for one, admire such signs of the\nprodigality of Nature, and have but one regret,\nwhich is, that such forces should be cramped\nwithin the artificial box of a place we call a\ntheatre... an embankment, or a cage, for their\nfull glory can only be realized in natural\nsurroundings, free of all restrictions.\n\nLONDON\nR. S.\nHp he Afternoon Theatre is announced. 44f1is\nMajesty's \" is the meeting place.\nThe name is a curious one, but probably a\nbetter is not to be found. Still, it conveys\nbut little to the man or woman who cares\nnot a rap whether Beauty is to be seen at 2.30\nor at 8 o' clock so long as Beauty actually\nappears. But one may wish the new venture\nsuccess and hope it will steer clear of the\nthe amateur. There is cleverness in the idea,\nand Frederick Whelen's management will be\ninteresting to watch. <£? &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c022", "article_bluemountain": "bmtnaau_1909-01_01#c022", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "222", "page_fin": "223", "image_debut": 22, "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=bmtnaau190901-01.2.12.2", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "signature_source": "J. S.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.22", "debut_caractere": 1303, "fin_caractere_exclue": 5147, "texte": "FLORENCE\n\n'TMhe one important piece of news here in\n* relation to the theatre is that Mr Gordon\nCraig has taken the Arena Goldoni. (1) .<&\nThis is perhaps the most beautiful theatre\nin Europe with the exception of the Greek\nand Roman theatres and Palladio's theatre\nin Vicenza. jg> jg? &\nIt is open to the air, its seats are built of\nstone, more than fifteen hundred people can\nbe seated and the stage is a very large one.\nA portion of the Theatre he has put at the\ndisposal of the publishers of The Mask for\ntheir use as editorial offices. jg/\nMr Gordon Craig, after some months' absence,\nhas himself returned to Florence, which he\nintends to make his head-quarters and will,\nI understand, now continue the work he\nbegan here in February 1907, a date which\nmarked a new period in his development of\nthat which he holds to be the Art of the\nTheatre in its purest form. & &\nThe carrying forward of this will be, as I have\nsaid, his main work; but at the same time\nhe intends to assist in a few productions in\ncertain of the European theatres. These\ntheatres he will assist because the workers in\nthem have an especial attraction for him\npersonally and not because he believes that\nthose particular theatres have solved the\nproblem of|the art any better than the others.\nHis decision to give his help is therefore\npurely on account of the men in those theatres\nand because they have expressed the belief\nthat he can be of use in raising the standard\nof the work in their theatres. So much I\ngathered from a short conversation with Mr\nCraig yesterday. &\nThis attitude is explained by the above passage\nwhere I have pointed out that his whole heart\nis so entirely given over to the discovery of\nthe principles of the art in its purest form\nthat he no longer desires to fight with those\npeople who hold opinions different from his\nown about this or that development of the\nmodern theatre, the modern theatre having\nceased to interest him beyond a certain extent.\nIt is not, in fact, to different styles in the\nmodern theatre that Mr Craig takes exception\nbut to the entire theatre. That he should,\nnotwithstanding this, be prepared to assist\nsome of the modern directors with his ideas\nfor bettering the artificiality of the theatre,\nand making that artificiality more distin*\nguished is much to Mr Craig's credit.\nMr Craig is also engaged on work for the\nMoscow Art Theatre which will in part\noccupy him for at least twelve months. This\nstatement will probably be piisunderstood in\nEngland unless it is explained that this work\nis not the preparation of eight or nine different\nproductions which Mr Craig has to get ready\nby a certain date and in a certain way, so\nthat it may \" please the public. \" Indeed I\nunderstand that M. Stanislawski's theatre in\nMoscow makes no attempt to please the\npublic.... and invariably succeeds in pleasing\nwithout making the\nI also understand that when they produce a\nplay in this theatre of Mr Stanislawski's in\nMoscow they devote as much time to it as the\nwork demands instead of hurrying the work\nto fit the time. They do not set a certain\ndate for a production and then rush the work\nthrough. Indeed, so opposed to this is their\nmethod that I learn that a play to be produced\nsometime in 1910 is already in preparation.\n44 If only \" said Mr Craig in the course of his\nconversation, referring to this fact,44 if only the\n\"London managers would understand that this\n44 is the way to set about the work. If only\n44 they would understand that success follows\n\"upon such a method; if only they would\n44 not listen to the few ignorant critics who\n44 keep telling them that the public must first\n44 be educated up, and that there is 4 such a\n44 risk' in presenting beautiful things, and if\n\n(1) An article on this Interesting1 and very beautiful theatre\nhas been promised us, and will appear early in the new\nyear. Ed:"}, {"page_pdf": 23, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 912, "texte": "\" only they would make enquiries abroad and\n\" learn how active and alert is the business\n\"management as well as the stage management\n\" in these continental theatres then all would\n\" be well in the English theatres for there\n\" is as much talent going to seed in London\n\"as in the whole of Europe, and I can't\nexpress my sorrow and my fury,... I don't\n44 know which is the greater..., at seeing\n\" the London theatre managers waste the\n\" wonderful material which they have at hand.\n\" The people who are to blame are, in my\n\" opinion, the actor managers and the busi«\n44 ness managers, chiefly the latter, and if\n44 there is anything I can do to expose their\n44 meanness and their want of pluck I will\n44 do it. I have in my eye certain men who\n44 positively clog the advance of the English\n44 Theatre; they are as debris which can dam\n44 the best and biggest river—but with care\n44 they can be removed. \" & &\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c023", "article_bluemountain": "bmtnaau_1909-01_01#c023", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "223", "page_fin": "223", "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=bmtnaau190901-01.2.12.3", "titre_corps": "MOSCOW", "titre_sommaire": "MOSCOW", "signature_source": "V. N.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.23", "debut_caractere": 914, "fin_caractere_exclue": 1720, "texte": "MOSCOW\nV. N.\n/\"Trasso, the extraordinary Sicilian being,\nis a poor word with which to describe\nhim), has swooped down upon Moscow and\nmade everybody smile with the conscious\npleasure of their existence.\nActors as great as Grasso have that power of\nawakening a multitude from its annual sleep\ninto which it falls. j2>\nThey are not to be called 44 artists \", these\nextraordinary beings; they are nature's\nchildren just as much as waterfalls, rivers,\ngreat birds, grand animals, are nature's\noffspring. I, for one, admire such signs of the\nprodigality of Nature, and have but one regret,\nwhich is, that such forces should be cramped\nwithin the artificial box of a place we call a\ntheatre... an embankment, or a cage, for their\nfull glory can only be realized in natural\nsurroundings, free of all restrictions."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c024", "article_bluemountain": "bmtnaau_1909-01_01#c024", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "223", "page_fin": "223", "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=bmtnaau190901-01.2.12.4", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "R. S.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.23", "debut_caractere": 1722, "fin_caractere_exclue": 2234, "texte": "LONDON\nR. S.\nHp he Afternoon Theatre is announced. 44f1is\nMajesty's \" is the meeting place.\nThe name is a curious one, but probably a\nbetter is not to be found. Still, it conveys\nbut little to the man or woman who cares\nnot a rap whether Beauty is to be seen at 2.30\nor at 8 o' clock so long as Beauty actually\nappears. But one may wish the new venture\nsuccess and hope it will steer clear of the\nthe amateur. There is cleverness in the idea,\nand Frederick Whelen's management will be\ninteresting to watch. <£? &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c026", "article_bluemountain": "bmtnaau_1909-01_01#c026", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "223", "page_fin": "224", "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=bmtnaau190901-01.2.13", "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": 23, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.23", "debut_caractere": 2236, "fin_caractere_exclue": 4391, "texte": "EDITORIAL NOTES\n\nIn the July and August numbers of the Mask\n*1 drew attention to a disquieting exhibition\nof scenes from the life of Jesus Christ which\n1 witnessed at a Cinemetograph performance\nin Florence.\nIt was, as 1 said, a diabolical parody, for\nwhich much money had been spent, and\nwhile pretending to be religious it was\nessentially profane. And now I read in an\nAmerican journal the following announcement:\n\nA GREAT RELIGIOUS FILM.\n\nKolem Soon to Issue the Double Subjects,\nJerusalem in the Days of Christ and David\nand Goliath.\n44 The Kolem film manufacturing company of\n44 New York will have ready for release on\n44 Nov. 2 a notable subject of a strictly\n44 religious nature, or, rather, a series of\n44 subjects, as the reel of about 1,900 feet\n44 covers Biblical events commencing with\n\" David and Goliath and ending with the fall\n44 of Jerusalem, seventy years after Christ.\n\" Being a religious series, the film is not\n44 subject to the trade agreement between\n44 the Edison licenses and the Film Service\n44 Association and may be sold outright to all\n44 classes of theatrical or lecture course\n44 exihibitors. It should prove specially valuable\n44 to the latter. A Mirror representative was\n44 given the opportunity of seeing the picture\n44 at the Kolem offices last week. It is contrary\n44 to The Mirror's rule to review films not\n44 witnessed in a regular place of amusement\n44 but it need be no violation of this rule to\n44 state that the film in question appears to\n44 be of a very high order. The scenes were\n44 all produced out of doors, the walls and\n44 edifices being represented where necessary\n44 by huge painted backgrounds splendidly\n44 executed. Nearly 200 people were employed\n44 in acting the several scenes, the one where\n44 Christ drives the money changers from the\n44 temple, being, perhaps, the most realistic.\n44 The Kolem Company accompany the subject\n44 with a carefully prepared lecture. \"\nThis sort of thing should be put a stop to....\nFor all reasons.... Because of the non«religious\nfeeling produced,... because of the profanity\nin treating such subjects in this vulgar\nmanner.... because of the professed intention"}, {"page_pdf": 24, "page_imprimee": "224", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 5072, "texte": "of the Kolem Company, to make money out\nof these 44 Days of Christ \", because it must\nbe an insult to the intelligence and the\nfeelings of every one except the ignorant....\nand because to the ignorant it is a vile\ninfluence, & &\nAdded to this the pictures are offered to\nTheatres as well as to lecturers on Biblical\nHistory, and such exhibitions in Theatres\nare as theatrical and sentimental as they\nought to be religious.\nNew York should stop the Kolem Company,\nfrom such immoralities.\nNo amount of carefully prepared lectures on\nthe Life of Jesus Christ can mitigate the\noffence to all Christians in thus representing\nin actual detail and in a sentimental manner,\nthe profound story. &\nAnd not only will all Christians be horrified\nbut also those who are not so«called Christians\nmust be disgusted. It is the most subtle\nand dangerous attack which can be made on\nthe Religion of Christ.\nIf the New York Censor or Public Prosecutor\ndoes not take immediate action incalculable\nharm will be done to the people of New York.\nWe look upon the Kolem Company as dangerous\nlunatics, not merely suffering from occasional\nbrain storms, but as affected with brain\ndisease in its most violent form. &\nThese films which they are putting before\nthe Public are the ulcers of a pestilence more\nhorrible than leprosy. The Kolem Company\nwill deserve all the misfortune which is bound\nto attend their lack of forethought; and by\nexhibiting such pictures the Cinemetograph\nwill forfeit the support of a large section of\nits public. & <£?\n\nJ. S.\n\nTHE CRITIC CRITICIZED.\nlife are left at the end,... for the book\n* * holds us to the end.... to wonder that\n44 the man who loved and revived beauty in art\n44 should have wailed over want of recognition\n44 yet insulted the patron; have scorned the\n44 layman, yet appealed to twelve jurymen to\n44 decide between Ruskin and himself in taste\n44 and literature in art; that he should have\n44 breakfasted his friends at the expense of\n44 the Chelsea tradesmen, and turned to cheap\n44 jesting the man who sought for payments\n44 due; that he should call Sir Coutts Lindsay\n44 a shopkeeper, and enter into the most\n44 squalid squabbles over money that the\n44 annals of art offer: that he should denounce\n44 a story in art and then paint the meanest\n44 anecdote in his Leyland portrait; that he\n44 should brandish canes where words did not\n44 contain insult and advertisement enough\n44 for the friend after friend and acquaintance\n44 after acquaintance with whom he quarrelled;\n44 that he should be proud, and not ashamed\n44 of his rancour.... all this, and more, remains\n44 a mystery \" etc, etc.\nSo writes somebody or other (more likely\n44 other \") in the Illustrated Eondon News,\nOctober 24, 1908, and the dulness of the brain\npf this class of London critic is exposed.\nWhen will the critic be a little more modest?\nWhen will he trouble to understand those\nabout whom he writes even if Ire cannot\nunderstand their work? & &\nThe art critic who does not champion the\nartist is a poor kind of a knave. Are there\nso many artists that he can afford to make\nmistakes in this matter?\nIs there a single man, woman or child who\nis not able to understand that royalty is a\nthing you must take care to salute and be\nloyal to if you want to be worth your salt?\nAnd is there anyone who questions the\nRoyalty of the artist?\nTo us it seems that Whistler wished to\nemphasize this to its full extent. 44 Critics\nthe mob, 44 patrons \", acquaintances, have no\nbusiness to be familiar with the artist and\nhis work; and it is not merely their privilege\nto remain uncovered before works of art;\nit is obviously part of their profession. &\nNations that cannot uncap before works of\nart are in a bad state of health. Fools who\nthink they are being humourous when they\n44 patronise \" art and the artist, and generous\nwhen they give a hundred guineas for a\nmasterpiece, (or even for a good painting,\nfor that matter) ought to be severely punished\nby some imprisonment or a fine. J&>\nAs there is no law which punishes such license\nthe artist takes the law into his own hands\nand the Fool is handed down to posterity\ngiggling and posturing. &\nOften the artist, having had a taste of the\nFool, turns with disgust from the exhibition.\nBut Whistler, with the gentle courage of a\nQuixote, attacks the Fool. The position of\nyoung painters today has thereby been made\nmore possible than it was before. £> &\nThe Royalty of the Artist must be insisted\non until he takes his place again among the\nroyal things. &\nThese people who still have stupid things to\nsay about Whistler's life show that to this\nday they do not see that everything done by\nWhistler was done with intention. They think\nit was all a kind of vulgar accident.\nBut after all, the same kind of critic writes\njust in the same tone about a prince who one\nday decides to enter his own capital as King.\n\" Shocking \", 44 barbarous \", 44 bad taste\necco Bulgaria.... &\nWhat is so extraordinary, is how critics dare\nto judge such a man as Whistler. It is so\nutterly disgraceful, so utterly idiotic,... and\nsurely it cannot pay? & &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c028", "article_bluemountain": "bmtnaau_1909-01_01#c028", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "223", "page_fin": "223", "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=bmtnaau190901-01.2.13.2", "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": 23, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.23", "debut_caractere": 2253, "fin_caractere_exclue": 2651, "texte": "In the July and August numbers of the Mask\n*1 drew attention to a disquieting exhibition\nof scenes from the life of Jesus Christ which\n1 witnessed at a Cinemetograph performance\nin Florence.\nIt was, as 1 said, a diabolical parody, for\nwhich much money had been spent, and\nwhile pretending to be religious it was\nessentially profane. And now I read in an\nAmerican journal the following announcement:"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c029", "article_bluemountain": "bmtnaau_1909-01_01#c029", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "223", "page_fin": "224", "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=bmtnaau190901-01.2.13.3", "titre_corps": "A GREAT RELIGIOUS FILM", "titre_sommaire": "A GREAT RELIGIOUS FILM", "signature_source": "J. S.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.23", "debut_caractere": 2653, "fin_caractere_exclue": 4391, "texte": "A GREAT RELIGIOUS FILM.\n\nKolem Soon to Issue the Double Subjects,\nJerusalem in the Days of Christ and David\nand Goliath.\n44 The Kolem film manufacturing company of\n44 New York will have ready for release on\n44 Nov. 2 a notable subject of a strictly\n44 religious nature, or, rather, a series of\n44 subjects, as the reel of about 1,900 feet\n44 covers Biblical events commencing with\n\" David and Goliath and ending with the fall\n44 of Jerusalem, seventy years after Christ.\n\" Being a religious series, the film is not\n44 subject to the trade agreement between\n44 the Edison licenses and the Film Service\n44 Association and may be sold outright to all\n44 classes of theatrical or lecture course\n44 exihibitors. It should prove specially valuable\n44 to the latter. A Mirror representative was\n44 given the opportunity of seeing the picture\n44 at the Kolem offices last week. It is contrary\n44 to The Mirror's rule to review films not\n44 witnessed in a regular place of amusement\n44 but it need be no violation of this rule to\n44 state that the film in question appears to\n44 be of a very high order. The scenes were\n44 all produced out of doors, the walls and\n44 edifices being represented where necessary\n44 by huge painted backgrounds splendidly\n44 executed. Nearly 200 people were employed\n44 in acting the several scenes, the one where\n44 Christ drives the money changers from the\n44 temple, being, perhaps, the most realistic.\n44 The Kolem Company accompany the subject\n44 with a carefully prepared lecture. \"\nThis sort of thing should be put a stop to....\nFor all reasons.... Because of the non«religious\nfeeling produced,... because of the profanity\nin treating such subjects in this vulgar\nmanner.... because of the professed intention"}, {"page_pdf": 24, "page_imprimee": "224", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 1525, "texte": "of the Kolem Company, to make money out\nof these 44 Days of Christ \", because it must\nbe an insult to the intelligence and the\nfeelings of every one except the ignorant....\nand because to the ignorant it is a vile\ninfluence, & &\nAdded to this the pictures are offered to\nTheatres as well as to lecturers on Biblical\nHistory, and such exhibitions in Theatres\nare as theatrical and sentimental as they\nought to be religious.\nNew York should stop the Kolem Company,\nfrom such immoralities.\nNo amount of carefully prepared lectures on\nthe Life of Jesus Christ can mitigate the\noffence to all Christians in thus representing\nin actual detail and in a sentimental manner,\nthe profound story. &\nAnd not only will all Christians be horrified\nbut also those who are not so«called Christians\nmust be disgusted. It is the most subtle\nand dangerous attack which can be made on\nthe Religion of Christ.\nIf the New York Censor or Public Prosecutor\ndoes not take immediate action incalculable\nharm will be done to the people of New York.\nWe look upon the Kolem Company as dangerous\nlunatics, not merely suffering from occasional\nbrain storms, but as affected with brain\ndisease in its most violent form. &\nThese films which they are putting before\nthe Public are the ulcers of a pestilence more\nhorrible than leprosy. The Kolem Company\nwill deserve all the misfortune which is bound\nto attend their lack of forethought; and by\nexhibiting such pictures the Cinemetograph\nwill forfeit the support of a large section of\nits public. & <£?\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c030", "article_bluemountain": "bmtnaau_1909-01_01#c030", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "224", "page_fin": "224", "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=bmtnaau190901-01.2.13.4", "titre_corps": "THE CRITIC CRITICIZED", "titre_sommaire": "THE CRITIC CRITICIZED", "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": "224", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.24", "debut_caractere": 1527, "fin_caractere_exclue": 5072, "texte": "THE CRITIC CRITICIZED.\nlife are left at the end,... for the book\n* * holds us to the end.... to wonder that\n44 the man who loved and revived beauty in art\n44 should have wailed over want of recognition\n44 yet insulted the patron; have scorned the\n44 layman, yet appealed to twelve jurymen to\n44 decide between Ruskin and himself in taste\n44 and literature in art; that he should have\n44 breakfasted his friends at the expense of\n44 the Chelsea tradesmen, and turned to cheap\n44 jesting the man who sought for payments\n44 due; that he should call Sir Coutts Lindsay\n44 a shopkeeper, and enter into the most\n44 squalid squabbles over money that the\n44 annals of art offer: that he should denounce\n44 a story in art and then paint the meanest\n44 anecdote in his Leyland portrait; that he\n44 should brandish canes where words did not\n44 contain insult and advertisement enough\n44 for the friend after friend and acquaintance\n44 after acquaintance with whom he quarrelled;\n44 that he should be proud, and not ashamed\n44 of his rancour.... all this, and more, remains\n44 a mystery \" etc, etc.\nSo writes somebody or other (more likely\n44 other \") in the Illustrated Eondon News,\nOctober 24, 1908, and the dulness of the brain\npf this class of London critic is exposed.\nWhen will the critic be a little more modest?\nWhen will he trouble to understand those\nabout whom he writes even if Ire cannot\nunderstand their work? & &\nThe art critic who does not champion the\nartist is a poor kind of a knave. Are there\nso many artists that he can afford to make\nmistakes in this matter?\nIs there a single man, woman or child who\nis not able to understand that royalty is a\nthing you must take care to salute and be\nloyal to if you want to be worth your salt?\nAnd is there anyone who questions the\nRoyalty of the artist?\nTo us it seems that Whistler wished to\nemphasize this to its full extent. 44 Critics\nthe mob, 44 patrons \", acquaintances, have no\nbusiness to be familiar with the artist and\nhis work; and it is not merely their privilege\nto remain uncovered before works of art;\nit is obviously part of their profession. &\nNations that cannot uncap before works of\nart are in a bad state of health. Fools who\nthink they are being humourous when they\n44 patronise \" art and the artist, and generous\nwhen they give a hundred guineas for a\nmasterpiece, (or even for a good painting,\nfor that matter) ought to be severely punished\nby some imprisonment or a fine. J&>\nAs there is no law which punishes such license\nthe artist takes the law into his own hands\nand the Fool is handed down to posterity\ngiggling and posturing. &\nOften the artist, having had a taste of the\nFool, turns with disgust from the exhibition.\nBut Whistler, with the gentle courage of a\nQuixote, attacks the Fool. The position of\nyoung painters today has thereby been made\nmore possible than it was before. £> &\nThe Royalty of the Artist must be insisted\non until he takes his place again among the\nroyal things. &\nThese people who still have stupid things to\nsay about Whistler's life show that to this\nday they do not see that everything done by\nWhistler was done with intention. They think\nit was all a kind of vulgar accident.\nBut after all, the same kind of critic writes\njust in the same tone about a prince who one\nday decides to enter his own capital as King.\n\" Shocking \", 44 barbarous \", 44 bad taste\necco Bulgaria.... &\nWhat is so extraordinary, is how critics dare\nto judge such a man as Whistler. It is so\nutterly disgraceful, so utterly idiotic,... and\nsurely it cannot pay? & &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c032", "article_bluemountain": "bmtnaau_1909-01_01#c032", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "225", "page_fin": "225", "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=bmtnaau190901-01.2.14", "titre_corps": "A design for \"Macbeth\" Act. V. Scene. I : Lo you! here she comes. This is her very guise; and upon my life, fast asleep", "titre_sommaire": "A design for \"Macbeth\" Act. V. Scene. I : Lo you! here she comes. This is her very guise; and upon my life, fast asleep", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.25", "debut_caractere": 20, "fin_caractere_exclue": 160, "texte": "A design for \"Macbeth\" Act. V. Scene. I.... Gordon Craig.\n„ Lo you! here she comes. This is her very guise; and upon my life, fust asleep. \""}]}, {"article_id": "bm-bmtnaau-1909-01-01-c033", "article_bluemountain": "bmtnaau_1909-01_01#c033", "volume": "bmtnaau_1909-01_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=bmtnaau190901-01.2.15", "titre_corps": "Advertisement?", "titre_sommaire": "Advertisement?", "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=bmtnaau190901-01.1.2", "debut_caractere": 2211, "fin_caractere_exclue": 3770, "texte": "THE MOSHER BOOKS\n-2? & & MDCCCXCIMCMVIII & & &\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.\nGUY 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-1909-01-01-c034", "article_bluemountain": "bmtnaau_1909-01_01#c034", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "227", "page_fin": "227", "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=bmtnaau190901-01.2.16", "titre_corps": "THE WOOD ENGRAVERS of San LEONARDO", "titre_sommaire": "THE WOOD ENGRAVERS of San LEONARDO", "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": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 430, "texte": "THE WOOD ENQRAVERS of San LEONARDO\nTHEATRE PROGRAMMES, js> J£>\nBeautiful and unique designs such as will make each\nprogramme a souvenir whort preserving are made by the\nENGRAVERS OF S. LEONARDO. Their intention is to\nsupply what a distinguished and refined management would\nwish to present to their public.\nFurther particulars on application. &\nJZ, THE WOOD ENGRAVERS OF SAN EEONARDO.\nARENAGOEDONI'VIADEISERRAGEI - FEORENCE\nITALY."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c035", "article_bluemountain": "bmtnaau_1909-01_01#c035", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "227", "page_fin": "227", "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=bmtnaau190901-01.2.17", "titre_corps": "A PORTFOLIO OF ETCHINGS", "titre_sommaire": "A PORTFOLIO OF ETCHINGS", "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": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.27", "debut_caractere": 432, "fin_caractere_exclue": 1846, "texte": "A PORTFOLIO OF ETCHINGS. &\n& By Gordon Craig with a preface.\nf|nly thirty portfolios will be issued, although ten or twenty additional copies of some of\nthe plates 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 a/3 x 15 2/3 ctms. The price for a portfolio will be L. 16 . o . o, (400 Francs or 320 Marks).\nThese 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 Movementwrites Mr Craig, 44 was at the roots of the Ancient Theatre and will ever\n44 remain the very Essence of the Art.\n44 We must translate Movement through the medium of inanimate forms and thereby produce\n44 once more an Impersonal Art which shall take its place by the side of its two sister\nArts, Music and Architecture\". & & & &\n<«\nORDER FORM\nTo The Director,\nThe Mask Press, Arena Qoldoni, Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Qordon Craig, in payment for which\n1 enclose the sum of L. 16.0.0, (or 400 Francs or 330 Marks)\nSigned «"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c036", "article_bluemountain": "bmtnaau_1909-01_01#c036", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "228", "page_fin": "228", "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=bmtnaau190901-01.2.18", "titre_corps": "LIBRAIRIE ANCIENNE", "titre_sommaire": "LIBRAIRIE ANCIENNE", "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": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 426, "texte": "LIBRA1RIE ANCIENNE &\nT. DE MARINIS & Co. £r 5 Via Vecchiettl - FIRENZE\nt£8aa\ntO\n*\n£lf\nr\\.\nrJrL\nRrtJPV*\nM! ! 1\nnn.p\n1\naii\nn\nJRJUU\n•Vxe;\nwi\n— Ao\nI\n-a\nits\nII!\n&\n«\n!SSS\n~td\n5P\nloo'\n(US\n»M*\n00\nJLi2i\ntut\n0]\nm\nin\n\"1\n*r-\nLIU.\nL«»\nIIIM I\n&\n.44\nltl>\nz\nII\n20 0 00\nno*\nUL\nsbsU.\nim\n•••••\nI\n\" ntwi\nIJP\nQca] 00\nH\n14 ii\nnruv\nPine Collection of MSS.y lncuuabulaf rate and curious books XV-X12Z cent.\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c038", "article_bluemountain": "bmtnaau_1909-01_01#c038", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "228", "page_fin": "228", "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=bmtnaau190901-01.2.20", "titre_corps": "ORD OCH BILD", "titre_sommaire": "ORD OCH BILD", "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": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.28", "debut_caractere": 428, "fin_caractere_exclue": 593, "texte": "ORD\n»\nm\nBHD\nOCH\na\nThe principal Artistic and Literary\npublication of Scandinavia.\nYearly subscription Francs: 20\nWahlstrom & Widstrand, Stockholm\nPublished Monthly &"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c039", "article_bluemountain": "bmtnaau_1909-01_01#c039", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "229", "page_fin": "229", "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=bmtnaau190901-01.2.21", "titre_corps": "ANTONIO FRILLI", "titre_sommaire": "ANTONIO FRILLI", "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": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.29", "debut_caractere": 164, "fin_caractere_exclue": 587, "texte": "PURVEYOR TO 10\nIMPERIAL. & ROYAL\nFAMILIES -S> £r\nFLORENCE\nVia dei Fossi 4\nj0 (ESTABLISHED i860) &\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\n■\nMantels, Pedestals, Garden Seats, &\nVases Fountains Flower=stands, etc:\nm & I jsMjs?\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n19 04"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c040", "article_bluemountain": "bmtnaau_1909-01_01#c040", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "229", "page_fin": "229", "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=bmtnaau190901-01.2.22", "titre_corps": "DINI & CELLAI", "titre_sommaire": "DINI & CELLAI", "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": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.29", "debut_caractere": 589, "fin_caractere_exclue": 845, "texte": "DINI & CELLA'l\nArtistic & Decorative Terra Cotta of\nSigna\nVia del Fossi N. x - FLORENCE\n£?epi<oduetion of sculptures of Old and\nJftodern masters M Statues * Busts «\nVases <« Bas*relief s M fountains « Doors\nCbimneyMpieees « Bases ete. ■ ete. in\nevery style"}]}, {"article_id": "bm-bmtnaau-1909-01-01-c042", "article_bluemountain": "bmtnaau_1909-01_01#c042", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "229", "page_fin": "229", "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=bmtnaau190901-01.2.24", "titre_corps": "G. P. VIEUSSEUX", "titre_sommaire": "G. P. VIEUSSEUX", "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": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.29", "debut_caractere": 847, "fin_caractere_exclue": 1113, "texte": "NEW YORK DRAMATIC\nJE7 MIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\n& Sample copies on request free of\nmma\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months."}]}, {"article_id": "bm-bmtnaau-1909-01-01-c043", "article_bluemountain": "bmtnaau_1909-01_01#c043", "volume": "bmtnaau_1909-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "229", "page_fin": "229", "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=bmtnaau190901-01.2.25", "titre_corps": "EDITION DE LUXE", "titre_sommaire": "EDITION DE LUXE", "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": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.29", "debut_caractere": 1115, "fin_caractere_exclue": 1661, "texte": "EDITION DE LUXE.\nSPECIAL NOTICE TO BOOK LOVERS\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 Pre©\n„ a a Germany, Marks 67,00 „ „\n„ ,t M America Dollars 16.00 „ ,,\n,, ,, ,, Italy Llr© 83.00 „ ,,\n„ „ „ Russia Roubles 30.00 ,, „"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.1", "texte": "Vol. I. N.° 11. JANUARY i o o o\nTHE MASK\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE *\nEUROPEAN & AMERICAN AGENTS.\nAMSTERDAM, KIRBEROSR&KESPER, 134 Rokin\nBERLIN . EDMUND MEYER.\nPotsdam eistrasse 27 b. & &\nBUDAPEST. NAGEE OTTO, Museum-Korut, 2\nLONDON. D. J. RIDER, 36 St Martin's Court.\nCharing Cross Road. W. C. &\nMOSCOU. \"LA BALANCE \"\nOffice, Place du Theatre.\nNEW YORK. BRUNTANO, Fifth Avenue.\nNAPLES. Michaelsen, 2 Via Chiatamone.\nPHILADELPHIA. U. S. A.\n« THE BUTTERFLY \" Office. 1126 Walnut Street.\n& PRICE ONE SHILLING NET MONTHLY,\nA very amusing and stimulating, as well as a most\nbeautiful, magazine.\n£> JS> THE DAILY TELEGRAPH."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.2", "texte": "\" 1 . »» <. \"* .gaga*! J -MtniiiJ wt|^JLuWiMA^f»rie ,\nANNOUNCEMENTS TO OUR READERS\nXA/e herewith beg to announce to our readers that the February edition of The\nMask will 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 found on the advertising page following the\nreading matter, & && && &&? &\nIHWIIIMWII iwimwmffliiMMi■ I —mi win mini mn—mn HIMI1) II hi IIBII iIII i III IMIH mil |)| HlliilB lUiUmim.\nReaders 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) 15/-\nIn Russia, 8 Roubles. In Holland, 10 Gulden.\n■■■■!■■ nininiiii inm mi nun w 11 iii—iw—ii 1 ■inw-n ■imm iumi iihiiiii— mil\npor the convenience of our readers we herewith give the list of our agents in the\n* different 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 Thdatre.\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.\nNaples. Michaelsen, 2 Via Chiatamone.\nJ*he Editor will he glad to consider any MSS. submitted to him. These should\nhear the names and addresses of the authors, he typewritten and accompanied\nhy stamps. Any MSS. submitted in this manner will receive the earliest attention,\nand every care will he taken as to their safe return, hut the Editor cannot take\nany responsibility should any loss occur.\nEditorial Offices, ARENA GOLD ONI, Via dei Serragli, Florence, Italy. |\nPUBLISHING OFFICE OF \"THE MASK,\" 8 BORGO S. JACOPO, FLORENCE, ITALY\nEDITORIAL OFFICE, ARENA GOLDONI, VIA DEI SERRAGLI, FLORENCE, ITALY\n\nTHE MOSHER BOOKS\n-2? & & MDCCCXCIMCMVIII & & &\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.\nGUY 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": 4, "page_imprimee": "[204]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.4", "texte": "DESIGN FOR THE SORCERESS. GORDON CRAIG"}, {"page_pdf": 5, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.5", "texte": "v w—-4 m m ▲' rt w jr the journal of the art\nr 8 17 i*/l AW 1/ OF THE THEATRE,\nf ( T \"< Iw 1 /-% IV VOLUME ONE, No. ELEVEN\nJ8 ft J. * *4 1 T A..1. JANUARY. 1909.\n\nCONTENTS\nAFTER THE PR AC TISE THE THEORY\n& FROM A RARE PROGRAMME. A NOTE ON THREE DESIGNS by ALLEN\nCARRIC. & TWO THEATRES. INTRODUCTION TO AN ESSAY ON THE GROTESQUE\nTHEATRE by LEON de SCHILDENFELD SCHILLER (Continued). & A MEMORABLE FANCY\nby WILLIAM BLAKE. THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK\nPLAYS by E. W. GODWIN. 0 MUSICAL COMEDY by HORACE WYNDHAM. THE\nSHAKESPEARE MEMORIAL by ALLEN CARRIC. 0 ERA UPON ART AND THE\nMILLIONAIRE & A LETTER ON THE RUSSIAN THEATRE from GORDON CRAIG. uS> FOREIGN\nNOTES. £> EDITORIAL NOTES. £> ENGRAVINGS by GORDON CRAIG, JULIUS OLIVER,\nE. THESLEFF & & sS\n\nFROM A RARE PROGRAMME. A NOTE ON\nTHREE DESIGNS\nby Allen Carric.\n\nI n this number are reprinted from the original wood blocks three of the designs which\nappeared in a very scarce programme issued by the Purcell Operatic Society in 1900 when Mr\nGordon Craig produced his first opera with his friend Mr Martin Shaw the English composer.\n& The programme was in itself a beautiful work of art of about fifteen to twenty pages,\ncontaining eight or nine wood engravings of the scene and figures in the opera. &\nThe performance was given at the Conservatoire in Hampstead under most disadvantageous\nconditions. For such is the up-to-date patriotism of England that, when British artists wish\nto do honour to their art, they are obliged to do it with all the odds against them. &\n& Had Mr Craig, and Mr Shaw been born in Berlin, Vienna, St Petersburg, Moscow,\nMunich or any of the great continental cities of the leading powers of Europe, they would\nwithout doubt have received enthusiastic support which would not have been withdrawn\nfrom them after the first performance but would have continued to assist them for as many\nyears as the artists showed talent and pluck.\n& From the year 1900, the date of this programme of which 1 write until the present\nyear, Mr Craig has advanced through, and in spite of, opposition. How much easier it would\nhave been, and how much more profitable for the people of England to have attempted to\nunderstand what he meant; and if they could not understand, to have waited patiently\nuntil they could understand. But now to a large public these things are becoming quite\nclear and therefore these designs from the programme of his first production are reprinted\nso that they may not be entirely lost, for I understand that only a few hundred copies of\nthis programme were printed.\nPurcell's Opera is capable of being presented on the stage in very many different ways.\nIt can be given with the singers seated on chairs and making but few movements; or it\ncan be mounted as they mount the operas of Gluck in Paris. And then there is another,\nstyle of mounting it; that is in the more modern up-to-date manner. And then there is the\nway of the individualist. This is Mr Craig's way. It is always different, and when he produces"}, {"page_pdf": 6, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.6", "texte": "a play or an opera he follows no old-fashioned manner, and no up-to-date manner; he does it\nIn a manner which is personal and which is not to be imitated and which cannot be labelled.\nThe first design is that of the Sorceress who appears in that memorable second scene, the\nscene where the assembled witches plot against the life of /Eneas. In this scene Mr Craig\nchose to give the idea of Wreckage, We seemed to be on some long low waste of dunes to\nwhich had drifted all the wreckage of the world.... the skeletons of ships and men. Above\nall this rose the figure of the Sorceress herself, grown thick with wreckage, looking like\nsome ancient figure-head to which all the flotsam and jetsome and seaweed of the ocean\nwas clinging. Her one arm and hand is a dead thing of wood; the other is reaching down\ninto the earth finding there roots in the unfruitful soil. Only one movement was designed\nfor this figure; it was when, in her rage, she wrenched this rooted hand and arm free from\nthe earth, snapping and tearing the roots and scattering the rotten debris like a cloud\nof delusion into the world.\nThe other design for the helmetted figure of /Eneas explains itself. The third,\nthe little heading, is of an eighteenth century orchestra, playing in the open air before a\nscene which breathes out the romance of mediaeval Germany. & & &\n\nMNBAS GORDON CRAIG"}, {"page_pdf": 7, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.7", "texte": "The Dramatis\nPersona e.&\nTheir Costume»\nThe poe t9 s\ndevice.\nRomeo.\n\nTWO THEATRES, INTRODUCTION TO\n\"AN ESSAY ON THE GROTESQUE\nTHEATRE,\"\nby Léon de Schildenfeld\nSchiller.\n(Continued).\nush! The play is beginning! The theatre represents a\nwild park, bathed in silvery moonlight. From afar is to\nbe heard the murmur of fountains and the dreamful sound\nof mandolines. In the alleys swarm the DRAMATIS\nPERSONAE who are of no time and no country; (1) they\ncome and go without our knowing why and how; they do\nnot eat, neither do they drink; they live nowhere and have\nno trade; they possess neither grounds nor income nor\nhouses; in walking they do not cause a single drop of\nrain to fall from the petals of the flowers and do not raise\na single grain of dust on the roads.\nje> Their clothes are of the most extravagant and of the\nmost fantastical in the world. Pointed hats like bell towers; with brims as large as a\nChinese parasol, and decked with demesurable feathers, plucked from the tails of the bird\nof paradise and the phoenix; mantles striped with brilliant colours, doublets of velvet and\nbrocade, letting the lining of satin or cloth of silver be seen through the gold-laced slashes;\ntrunk hose puffed and inflated like balloons; scarlet stockings with embroidered clocks;\nhigh-heeled shoes with large rosettes, thin little swords covered with braid and ribbons, point\nupwards, the hilt downwards. & &\nj& The thus-attired cavaliers meet on their way the no less singularly bedizened dames,\ngreeting them with such profound reverences, as though they would with their picturesque\ncrests, sweep the dust from before their feet. This honourable society is enlivened by clowns\nin sequin-trimmed caps, which they gain as rewards for their pains and pertinent songs.\nThe ladies sometimes cover their faces with masks or dress themselves up in men's garb,\nchanging their appearance to such an extent that their own brothers would be incapable of\nrecognising them.\n& The gentlemen sometimes draw swords on each other, supposedly so as not to let them\nrust in their scabbards, all the same, however, rarely doing each other harm, since as a\nrule some fool appears \" ex machina,\" disarming the pert swaggerers with one of his thousand\nsallies.... and \" all's well that ends \" ....in a drinking bout. & &\n& 44 The most complicated tragical knots unravel themselves, with admirable indifference\nas to what once improbably anemical bookworms shortly and concisely christened with the\nname of 44 &\nThe poet's device was without doubt 44 Pour nous, ce qui est beau est toujours\nvraisemblable \"• (2) 44 Effects have not their causes, and causes do not attract any effects;\nthat person is the wisest, who talks the greatest nonsense; the most foolish, on the contrary,\npronounces things of unheard-of wisdom; young girls carry on such discourse among\nthemselves that courtesans on hearing it would blush, whereas courtesans deliver moral\nmaxims; the most astounding adventures follow inexplicably on each other time after time....\n«' Drum seid nur brav und zeigt euch musterhaft.\n44 Lasst Phantasie mit alien ihren Choren,\n*4 Vernunft, Verstand, Empfindung, Leidenschaft,\n44 Doch merkt euch wohl! nicht ohne Narrheit horen.\" (3)\n& Behold! out on to the stage comes a youth with the face of Michaelangelo's 44 David,\" and\nstands un der the balcony, on which appears in the midst of flowers, the daughter of the\nCapulets. Romeo, intoxicated with the aroma of flowers and hair, vows to love her till death.\n\n(1) Gautler, Op. clt.\n(2) Gautier, \" Souvenirs de Thg&tre \".\n(S) Goethe, lb."}, {"page_pdf": 8, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.8", "texte": "And the echo in the parks repeats the vow. But as the hoarse voice of the nurse, who Is\nbeing fanned by a malicious buffoon in the alcove, calls the young lady home, Juliet, time\nafter time, wishes her lover goodnight. And the echo in the parlc repeats 44 goodnight\".\nBehold! A golden gondola conveys a pair ©f lovers, who, sitting under a baldaquin of\nsweet pine, sea! their love secrets with innumerable kisses. Where are we.... Ah yes! at\nBelmont! The night is kind,... favourable to lovers. In such a night as this did Troilus\nsigh his soul towards Cressida, sleeping in the Grecian tents: in such a night did Thisbe flee\nbefore the lion's shadow; in such a night did Dido summon her beloved back to Carthage:\nin such a night did Medea gather the enchanted herbs that were to renew old Aeson: In sqcji\na night as this the young Lorenzo, ravishing the wealthy Jew's daughter, hums love duettinos\nwith the young and beautiful Jessica, who unhesitatingly abandoned the sacred house of her\nfather for ever, escaping in the dress of a mischievous page, with Shylock's precious ring\non her finger. & && && && &*& &\n& But who is that black gentleman, stalking like a crane, smiling foolishly to himself and\nat every moment arranging his crossed garters and his stockings, of a most dreadful\nyellow, failing from his virtue-thinned calves? Is it not perchance that Puritan, the\nirreconciliable enemy to wine and gay songs, Malvolio, steward to Olivia? Yes, it is he....\nthe poor fellow is seeking his mistress to boast before her of the yellowness of his stockings.\nBut whom does he find on his way.... Count Almaviva's first page golden-haired little\nCherubin, (Cherubino di Amore), the easy-loving giddy-head, pampered by the great ladies\nand their maids* poet, knightling; who although fickle and giving promise of becoming a\nyet greater good-for-nothing than his master, nevertheless 44 il n'est ce que toute mere, au\nfond du coeur, voudrait peut-etre que ffit son fils, quoiqu' elle dut beaucoup en souffrir.\"\n44 What the deuce thinks Malvolio to himself, 441 was but just now in Ulyria, how comes\nit then that I find myself in Aguas-Frescas, three leagues from Seville? Eh! These are\nvisions appearing only to lovers.\" 44 But no, it is the reality.\nThe wee page confides his troubles to the stars and laurel-bushes, and pressing to his\nlips a ribbon belonging to Rosina, the lady of his heart, hums the woeful, childish canzona,\n44 Voi che sapete che cosa h amor....\" (i) 44 Tell me excellent Toby, what new joke has come\ninto your head....\"\n& What must have been the fright, however, of the abstemious lover, when, instead of Sir\nToby Belch, he beheld before him Don Basilio's gloomy figure,44 The talented village organist,\nteaching the countess to play on the clavecin, her maid to sing, and the pages to thrum on\nthe mandoline, his office being to gladden the count's companions by playing on the guitar.\"\n& This figure, in a black mantle, with wide sleeves and in a hat of the same colour with\na large rolled brim, came towards the dumbfounded steward, screwing up maliciously its\ngoat-face and raising its inseperable guitar in such a manner, as though to measure the\ndegree of hardness of his skull.\nAngels and ministers of grace defend us!\nBe thou a spirit of health or goblin damn'd,\nBring with thee airs from heaven or blasts from hell,\nBe thy intents wicked or charitable,\nThou comest in such a questionable shape\nThat 1 will speak to thee. I'll call thee Basilio....\nSay why is this?...\nBut the phantom replied not a word and twisted its face still more maliciously. Malvolio's\nflesh crept and his passionate blood froze in his veins; then, remembering the advice of\nthe chevalier 44 sans peur et sans reproche \" Monsieur Parolies, ran away as fast as his\nlegs could carry him. Basilio however does not give up the game and sets off after him\nin chase.\nThe count, who has been heartily amused at Malvolio's fright, comes forth from the\nbower with his lively companion. The peasants of both sexes range themselves in couples\nready for dancing.\nIn a moment will resound the willing fandango... and the count himself in the first pair\nwill open the dance with his ever-romantic wife, whom he loves dearly, yet all the same is\nof the opinion that 44 three years of married life render hymen so worthy of esteem that....\"\n\nTWO THEATRES\n\nhotenzo. &\nMalvolio.\nCherubino.\nDon Bamlio. &\nFigaro.\n\n(1) Mozart. \"Figaro's Hochzeit.\""}, {"page_pdf": 9, "page_imprimee": "209", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.9", "texte": "TWO THEATRES\n\nQueen Mab, &\nPapagino.\n\n<*p In a moment the bridegroom himself who was the \" metteur en sc&ne \" of that amusing\nfarce, will begin, to the sounds of Basilio's murderous guitar, to sing his favourite eavatina:\n** Ah! che bet vivere, ehe bel piacere\nper un barbiere\ndi quaiita, di quality \" (i)\nM And he will remember Seville.... the beloved old houses smiling at the passers by with\ntheir windows decorated with flowers and with the faces of maidens, glancing stealthily\nfrom behind the curtains; he will remember the serenades, the ravishment, the red lanterns,\nthe love errands.... and his difficult trade, requiring so much wit and courage, of barber.\n\" Tutti mi chiedono, tutti mi vogliono,\ndonne, ragazzi, vecchie, fanciulle,\nqua la parrucca, presto la barba,\nqua la sanguigna, presto il biglietto...\nand the echo in the park will respond \" Figaro!.... Figaro!.... Figaro!.... Figaro!.... Figaro....\n& And it will seem to him that it is the Seville maidens calling. &\n& But \" the iron tongue of midnight hath told twelve.... lovers to bed ! \" Soon the hungry\nlion will begin to roar and the wolf to howl at the moon: soon the owls will pass over the\nsick in their beds, and poison their minds with dreams of coffins and shrouds: soon the\nbolts of the tombs will opeh, from which skeletons of the dead will come forth and start\noff the dance around the chapel.\n& Arrive Queen Mab! The hour for human dreams has struck, the hour that announces\nthe aurora to spirits of all kinds. &\nAnd now on to the stage floats tiny Queen Mab, the well-known fairies7 midwife, in a\nchariot of an empty hazel-nut, drawn by a team of little atomies, driven by a gnat, cleverly\nrestraining his fiery steeds, in colours of the moon shine's watery beams. The Queen,\ncomfortably lolling in her little carriage, gives her orders carelessly to her waggoner, who\nin the twinkling of an eye fulfils her capricious wishes. And thus passes the merry drive\nof this lavish cateress of strange dreams,\n\" Through lovers* brains, and then they dream of love;\nO' er lawyers' fingers, who straight dream on fees,\nO' er ladies' lips who straight on kisses dream....\n& Glance out of the windows at the palace. On a white bed Juliet sleeps, with hands\nfolded as though in prayer; the lamp, hanging before the picture of the Madonna, illuminates\nfrom time to time, with its flickering, the sweetly smiling face. In his bachelor's room\nMalvolio is already snoring tucked up in an eider down, his head bound with a wet towel,\nand dreaming of how to morrow he will make a charming bow, and smile to his Lady Olivia.\n<£? The worthy Alcayde Brid' oison has fallen asleep in his long wig, letting the judge's\nstaff fall out of his hand.... and dreams of sentences, executions and sacks of thalers. In\na bedroom hung with pink satin, on a bed of swansdown, the countess has also fallen into\nslumber and her lips are dreaming of Cherubin's kisses, which, although innocent,.... must\nbe passionate.\nSleep peacefully, ye mortals who are as the everlasting dancing-jacks for sprites. Sleep\npeacefully and dream pleasant dreams; tomorrow perhaps you will awake with the bitterness\nof annoyance in your mouths and salt tears will flow from your heavy eye-lids, furrowing\ntears of regret for the lost dream: sleep peacefully.... and whoever of you will render\nservice to the spirits, as a reward will never awaken, and the elves will transform his\nsoul into a soap bubble, and high up under the sun will let it free, to burst there in\nrainbow colours far from the world and far from men. & & &\nAnd now, ladies and gentlemen, let us show What we know I On With the dance.... play\nfrom your hearts!\nBehold! Windy Papagino who has had the golden padlock taken from his lips, half man,\nhalf some fabulous bird, overgrown with gold and green parrot's feathers, has put his\nsyringe to his lips, at whose voice the sleeping birds arouse, and draws them to his\ntreacherous cage\n«• Der Vogelhlndler bin ich ja\"\nA strange bird-fancier Indeed who catches the birds in his nets, and does not sell them\n\n(i) IRessini, \" Barbtere di SeViglia.\""}, {"page_pdf": 10, "page_imprimee": "210", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.10", "texte": "TWO THEATRES.\n\nat lairs at ail, because in the enchanted country, of which he is a citizen, fairs are unknown;\nsilver money is a smile, and gold a kiss. & & & & &\nBehold! The trees, clothed in short lace dresses of leaves, having coquettishly decked\nthemselves out with flowery Jewels, gladdened with this music, take each other by their\nbough-hands and move in a striding dance, tapping smartly on the ground with their up-\ntorn roots. See in the avenue how the slender poplars are dancing the country-dance, and\nthere by the lake rustle the silken skirts of the silver-haired birches, turning pirouettes\non one spot.\n<£? Behold! Wonders! Wonders! The nightingales hover round the head of the squeaking\nmusician and take the first parts with their learned voices in this dancing air. Prom the\ndepths of the park runs in \" Arlequin poll par 1'amour \", who having treacherously stolen\nthe divining rod from the fairy who has fallen in love with him, has now become master\nof the little world of spirits. Look how cleverly he wields the stick, trying the effects of\nmoulinet on the skins of the astounded elves, not sparing even the poor little fairy because\nshe had tormented him with her ethereal and distinguished passion, because she had spun\na net of intrigue around his love for the beautiful shepherdess Silvia. Look how the elves\nare obliged to jump over Harlequin's stick, look at the queen herself fuming with helpless\nrage, and how, smoothing her tinsel garment, she must dance whether she will or no. But\nas there is an end to everything, and as Harlequin's anger is as innocent and of as short\nduration as the comedies of his worship Mr. Pierre Carlet de Chamblain de Marivaux, for\nthis reason he forgives the fairy on condition that \" there will be singing and dancing....\"\nalready rocking \" on the waves in the gulf, are the boats decorated with wreaths and\nribbons, ready to transport the idyllic couples to Cythere, the country of Watteau. Harlequin\nthen bows politely to the public, thanks them for their \" bravos \" and goes behind the\nscenes, lying finally that \" he is going somewhere to proclaim himself king..... \"\nBut what Is the matter, Papagino? Thy melody is becoming appalling. Did we not\nknow thee, thou old windy fellow, we should be ready to swear that some evil spirit had\n%\ncommenced his night revels. Desist, for it is getting terrible.... look, the nightingales are\nscared and fly away from thee, hiding themselves in the thickets.... look, thy evil-omened\nmusic attracts the clouds in the heavens who have cast a pall-like veil over the silver face\nof the moon.... Oh, desist, player, we entreat thee, thy song reviles the gods who give thee\na bloody response with lightening flashes. Furious Aquila blowing across the garden has\ntorn the leaves from the branches, and the trees stretch up their naked blackened shoulders\ntowards the sky, as though they would call for vengeance.... Oh Heavens,\n\".... What are these\nSo withered and so wild in their attire,\nThat look not like the inhabitants of earth,\nAnd yet are on't? Live you? or are you aught\nThat man may question? You seem to understand me,\nBy each at once her choppy finger laying\nUpon her skinny lips: you should be women,\nAnd yet your beards forbid me to interpret\nThat you are so. \"\nTell us why you look on us with such terrible gaze, seated around the cauldron from\nwhich burst forth flames, intoxicating with the smell of blood. Oh! your silence is awful\nand shortens the hours of our life. Are you meditating perhaps over some but newly\nperpetrated crime? Heigh! behold companions! Running towards us is a grey-haired old\nman, with a wreath of herbs on his head instead of a crown, and instead of a sceptre a,\nbranch of fir, which he sometimes straddles as though it were a horse, when his weak\nlegs refuse to obey him.\nHola! Where is the royal retinue? Where is the cup-bearer who should give his Majesty\nthe King to drink? Where is the seneschal who shall saddle the finest stallion from the\nroyal stud.... evil servants,... look look! The old man can scarcely creep about, starving\nwith hunger and thirst. Look how ths tears roll down his cheeks engraven with the\nwrinkles of trouble. Yet, but just now, he was singing with his fool and arranging wise\nmaxims with his philosopher Poor Tom. Who in the world has dared to do him such wrong\nthat he tears his silver hair calling on the vengeance of thunder-bolts? What mean these words:\n\nHarlequin.\nThe witches.\nKing Lear."}, {"page_pdf": 11, "page_imprimee": "211", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.11", "texte": "TWO THEATRES\n\nAaron .\nA change of\nscene .\nThe forest\nof Ard e n.\n\n\" I tax not you, yon elements, with unkindness;\nI never gave you kingdom, called you children,\nYou owe me no subscription : then let fall\nYour horrible pleasure. \"\nOh look! look! The zigzags of the thunderbolts one after the other pierce the air; they\nstrike trees a century old, which, falling on the ground barricade these night wanderers'\nroad. Look! The lightening illuminated someone's terrible face. Who art thou, man,\ncrouching in the undergrowth not coming forward with help for poor folks? Ha! thy black\nface hath betrayed thee, Aaron.... 1 see on thy hands the still uncongealed blood. Humble\nthyself before me and repent of thy sins, for in truth thy last hour hath struck. Art thou\nnot sorry for these heinous deeds, abominable Moor? Thou sayest thou art sorry thou hadst\nnot done a thousand more, for which Tamora Queen of the Goths rewarded thee with usury\nwith her impure kisses. Thou laughest long and almost broke thy heart with extreme\nlaughter, on beholding the victims of thy murderous desires. Thou wilt laugh another way\nwhen in the damp obscure cell will appear to thee in the sleepless night the spectre of\nHunger....\n& But look, my brothers, what a singular change of scene is accomplished before our eyes.\nBehold! The flower beds are changed into graves, and the rose bushes into wooden crosses\nand the bower, in which the love pair were cooing, is transformed into a chapel standing\nin a grove of mournful cypresses. The Garden of the Dead. The favourite spot for meditation\nof the strangely inclined Prince Hamlet and of the misanthrope Alceste. Every day at this\nhour do they come here clothed in mourning raiment, so as, escaping from the tumult of\nhuman hypocrisy, to sit on the tombs of those who are already possessors of extreme wisdom\nand of supreme joy, and to become plunged in thoughts of the same hue as their dress.\nLook; the prince stands over the tomb of the unfortunate lovers from Verona and, smiling\nbitterly to himself, repeats monotonously: \" To die: to sleep, no more; \" Look, Alceste\nstanding over the neglected tomb of Timon of Athens, over that \" everlasting mansion upon\nthe bleached verge of the salt=flood; who once a day with his embossed froth the turbulent\nsurge covers, \" engraves these words; \" Trop de perversitd regne au siecle oil nous\nsommes. \" (1) The meditations of these solitaries are accompanied by the gravediggers\nwith their careless ditties and the hollow blows of their picks on the crumbling skulls\nof diplomats, courtiers, jurists and fools.... &\n& Hark! The morning singer, the cock on the church steeple, has crowed in greeting to\nthe sun, turning round quickly on one leg; the monks in the white monastery are ringing\nfor matins. Blessed be the name of the Lord: happy are those who have awakened living\nafter this night of phantom dreams; happy are those who on coming out of their houses\nsign themselves with the holy sign of the Cross, and smile gleefully to the swallows, who\nare sticking their nests above the windows, bringing luck to good people, and smile gleefully\nat the pilgrims who are going to far=off miraculous places, praying for everybody and for\neverything. But what will it be for us, this day we have greeted with song, can we tell?\nHeigh! The forest wakes.... as from a censor floats the perfume of mint and resin; the\nyellow thrushes and blackbirds, troubadours of the forest, sing their aubades. Heigh! The\nforest of Arden! The banished old duke is awake and has seated himself with his attendants,\nLord Amiens and Lord Jacques, to their morning refreshment, and taking in his hands the\nwooden cup filled with a precious beverage drawn from the choicest spring, raised a toast\nin honour of the free life of an exile, concluding with these words:\n\" And this our life exempt from public haunt\nFinds tongues in trees, books in the running brooks\nSermons in stones and good in everything\nI would not change it. \"\nAnd really, life in this forest is as in a fable, in a country beyond the seven mountains\nand seven rivers. Orlando, head over ears in love, hangs up erotics, praising Rosalind's\nname, on all trees.\n& Monsieur Jaques, sulky and morose gazes sadly on a stag expiring in the shade of the\noaks by the stream.... Monsieur Jaques the enemy of man and the friend of beasts and plants,\nable to \" suck melancholy as a weasel sucks eggs. \" But this his \" humorous sadness \" may\n\n(1) Moliere. \" Misanthrope. '"}, {"page_pdf": 12, "page_imprimee": "212", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.12", "texte": "TWO THEATRES\n\nBelarius\nImogen.&\n\nbe dispersed perhaps with the finding of Touchstone, a veritable fool in motley garb, a very\nrata avis in this uninhabited forest, and then he will say to the duke \" O that 1 were a\nfool! I am ambitious for a motley coat. \" & & &\nIn this forest, in a cave hewn out of the rock, dwells the old exile Belarius, nursing the\nroyal sons Quiderius and Arviragus, relating to them tales of the world which is unknown\nto them. Sometimes a wanderer loses his way, and then, if it be neither Cymbeline nor his\nstep-son Cloten, Belarius gives him his refuge. Do you hear the woeful sound of the harp\ndo you hear the mournful long-drawn notes? Now the youths are carrying out of the grotto\nthe dead boy, to whom they were united with a mysterious brotherly love, and having laid\nhim on the grass, cover him with flowers for a tomb, believing that that grave would be\nfor him a bed only \" with female fairies haunted \" and to which \" worms will not come. \"\nBut do not grieve—soon the little Page will waken, but however sad will be his awakening,\nwhen at his side he will see the headless trunk of her beloved husband (for the page was\nImogen) the gods will not leave her long in despair, soon she will be convinced of her\nerror and of that of the Roman soldiers who rendered the last honours, and with their\npikes dug a grave for the remains not of Posthumous but of the ignominious Cloten.\nIn this forest at the setting of the sun, when the sheep with tinkling bells return to\nthe fold, to the sound of the bagpipes, will be held a merry ballet of satyrs, performed by\nthree carters, three shepherds, three neat-herds and three swine-herds, clothed in wolfskins.\nTo be continued.\n\nA MEMORABLE FANCY,\nby W. Blake.\nThe Prophets Isaiah and Ezekiel dined with me, and I asked them how they dared so\nroundly to assert that God spoke to them, and whether they did not think at the time that\nthey would be misunderstood, and so be the cause of imposition. & &\nIsaiah answered: 44 I saw no God, nor heard any, in a finite organical perception: but\n44 my senses discovered the infinite in everything; and as I was then persuaded, and remained\n44 confirmed, that the voice of honest indignation is the voice of God, I cared not for\n46 consequences, but wrote.\nThen I asked: 44 Does a firm persuasion that a thing is so, make it so? \" £?\n& He replied: 44 All poets believe that it does, and in ages of imagination this firm persuasion\n44 removed mountains; but many are not capable of a firm persuasion of anything. \" J&\n& Then Esekiel said: 44 The philosophy of the East taught the first principles of human\n44 perception; some nations held one principle for the origin, and some another. We of Israel\n44 taught that the Poetic Genius (as you now call it) was the first principle, and all the\n44 others merely derivative, which was the cause of our despising the Priests and Philosophers\n44 of other countries, and prophesying that all Gods would at last be proved to originate in\n44 ours, and to be the tributaries of the Poetic Genius. It was this that our great poet King\n44 David desired so fervently, and invokes so pathetically, saying by this he conquers enemies\n44 and governs kingdoms; and we so loved our God that we cursed in His name all the deities\n44 of surrounding nations, and asserted that they had rebelled. From these opinions the\n44 vulgar came to think that all nations would at last be subject to the Jews. \"\n& \" This, \" said he, 44 like all firm persuasions, is come to pass, for all nations believe the\n44 Jews' code, and worship the Jews' God; and what greater subjection can be? \"\nI heard this with some wonder, and must confess my own conviction. After dinner I\nasked Isaiah to favour the world with his lost works; he said none of equal value was lost.\nEzekiel said the same of his.\n& I also asked Isaiah what made him go naked and barefoot three years. He answered:\n44 The same that made our friend Diogenes the Grecian. \" & &\n& I then asked Ezekiel why he ate dung, and lay so long on his right and left side. He\nanswered: 44 The desire of raising other meh into a perception of the infinite. This the\n44 North American tribes practise. And is he honest who resists his genius or conscience,\n44 only for the sake of present ease or gratification? \" & & & &"}, {"page_pdf": 13, "page_imprimee": "213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.13", "texte": "All on the same\npattern\nThe plot\n\nMUSICAL COMEDY, ITS MANNERS &\nMETHODS\nby Horace Wyndham.\ncomedy in this country is clearly named on the lucus a non lucendo principle.\nIt seems to have been invented by Mr George Edwardes and brought to its present\npitch of efficiency, or degeneracy, (whichever way you like to take it) by Mr Seymour\nHicks. Perhaps, however, \" evolved \" would be a better term than \" invented Still, whoever\nthe primarily responsible party may be he has nothing of which to boast, for I would defy\neven Sherlock Holmes himself to discover anything more utterly banal, pointless, devoid\nof humour, boring, silly, un=melodious, and generally calculated to make one tired than\nthe average musical comedy as presented at the different theatres given over to this form\nof alleged entertainment every week day night, and Wednesday and Saturday afternoons\nthroughout the year.\n& On this subject I speak from considerable experience, for 1 have patiently sat out musical\ncomedy, over and over again, and under all circumstances, occupying a place in the gallery,\npit, stalls, boxes, and on the stage itself; I have stood the comedian drinks, taken the\nleading lady out to tea after a matinee, and shaken hands with the composer; I have heard\nthe music before, during, and after the performance; and in half a dozen cases I have also\nread the \" book of the words \" backwards, forwards, and sideways, so as to gather some\nrudimentary idea of the author's intentions. Yet, even after this exhaustive training, I am\nas far from appreciating such entertainments as ever. The loss, no doubt, is mine. &\n& Musical comedies would all appear to be built to much the same pattern, whether they\nbe produced at the Gaiety, or anywhere else. The person who has seen one has seen the\nlot. Among the features common to this description of theatrical fare is the fact that it\nusually takes from four to eight people to write the words and compose the music, and that\neach of these people takes leave of his senses before he starts work. On the whole, I am\ninclined to regard this plethora of librettists and composers as a desirable provision. At any\nrate, in the few instances when we have had only two persons responsible between them\nfor the words and music we do not seem to get beyond the childish humours of \" Amasis \"\nand pieces of a similar genre. Personally, I should like to find Mr Edwardes and Mr Frohman\nenlisting a corps of fifty experts next time they produce a \" play with music as it is the\nfashion to call these entertainments nowadays. There is just a bare possibility then that\none of the fifty might have occasional moments of intelligence.\nEvery musical comedy is closely related to all those that have gone before, and probably\nto all those that will come after it as well. I do not care two straws whether the theatre\nin question be the Gaiety, the Aldwych, the Apollo, or Daly's and located in the Strand, in\nShaftesbury Avenue, in Leicester Square, in Bayswater, or in Jericho — one specimen piece\nis practically the same as another, so far as goes what is humourously called the \" plot\n& This never varies in respect of its main outlines. To begin with, we have the dashing\nhero, who, in return for his labours, draws a salary of fifty pounds a week and has his\nname on the motor busses. He is poor but honest in the first act, and is united, with the\nfull consent of her parents, to the lady of his choice just before the final curtain falls. He\nis further distinguished by a light baritone voice, a heart in the right place, and a fondness\nfor disporting himself on ail occasions in full naval or military uniform. Sometimes his kit\nsuggests a pleasing attempt to combine the principal sartorial features of both Services.\nThe heroine, with whom he has most of his scenes, is remarkable for little beyond a wealth\nof peroxide of hydrogen-dyed hair, a pronounced simper, and some elementary notions of\nsinging and dancing. I have more respect for the comedian. This member of the cast is, it\nis true, generally undersized and ugly, and with about as much spontaneous humour in\nhis composition as one could expect of a man who habitually looks as though he had tossed\nfor his dinner and lost, and who has to spend his evenings making jokes that are nearly\nas broad as they are long. Still, he always works harder than anybody else connected with\nthe piece, and it is almost entirely due to his efforts that managers, authors, and composers\nare able to buy motor-cars and spend the winter on the Riviera. The comedian is the \" draw \"\nthe magnet.of the musical comedy world, and brings more money into the box-office than\nthe rest of the company put together. Accordingly, he receives the emoluments of an"}, {"page_pdf": 14, "page_imprimee": "214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.14", "texte": "MUSICAL\nCOMEDY.\n\nThe remaindei\nof the Cast* &\nThe Belle of\nNew York.\nThe writers of\nthe songs.\n\nambassador for years on end, and six months after he retires into private life the public\ncheerfully give him a benefit on the grounds that he is no longer able to pursue his\nprofessional career and is accordingly threatened with the workhouse.\n& As for the remainder of the lengthy cast-list associated with an up4o°date musical comedy\nit does not count for very much, being made up of a few young men and women in subordinate\nparts, supported by a chorus. These last, technically termed a \" crowd caper aimlessly\nabout the stage in the wake of the principals, with one eye permanently fixed on the\nlimelight man, and the other on the occupants of the front row of the stalls. At the proper\nmoment, and quite mechanically, they form a picturesque group in the centre and sing at\nthe tops of their voices the inane words allotted them by the person who has written the\n44 lyrics \". To remove a general (and deeply rooted) misconception, 1 may say, as an expert,\nthat a musical comedy 44 crowd \" is always composed of entirely respectable and well-behaved\nyoung men and women. The only thing I have against them is that their intelligence is\nalmost invariably atrophied. Yet, one can scarcely blame them for this, when the nature\nof their employment is taken into consideration. The words of the songs (now, by the way,\nknown as 44 lyrics \") which these unfortunate people are compelled to sing, in order to gain\nan honest livelihood, usually appear to have emanated from the disordered mind of a\nwandering lunatic. I am told that in a piece of this class, called 44 The Belle of New York \",\nthe opening lines allotted to the unhappy chorus ran:\n44 When a man is twenty-one\nThen is the time to drink hot rum! \"\nThis bright, particular gem of its class was produced ten years ago, and is still running\nin the provinces, We do not, however, appear to have advanced far since those days. As I\nwrite, 1 have before me a printed copy of the 44 lyrics \" of a recent Gaiety success. Here is\na verse that the chorus had to deliver as the curtain rose:\n44 If we love in the land we live\nWe must live in thte land we love,\nThough the iron pierce the soul,\nWear the velvet glove;\nBut the future must take its course,\nBe it bankruptcy or divorce;\nThat is why we're here to see\nMonsieur Babori — ah! \"\nBetween this and the old fashioned 44 sing tra, la, la, la, la! Sing tol, de rol, de, do! \"\nthat we all sneer at as being out of date, I really cannot see a hap'orth of difference. &\njgr If those who have read the fragment just quoted without suffering serious injury can\nendure a second specimen from a similar source I append one herewith:\n44 If ever we meet the German Fleet\nAnd it as strong as ours is,\nI give you my word, Lord Charles Beresford\nWill give it a slap on the trousers! \"\nThe brain that evolved this would be capable of anything. &\nLike most other people connected with the production of musical comedies nowadays,\nthe people who write the necessary songs always take themselves very seriously. They\naccord interviews to reporters from Carmelite Street and discourse portentously on their\n44 art \". The only person among the lot of them who appears to have any sober views about\nthe matter is, it seems to me, Mr James Glover, the musical conductor of Drury Lane. I\nonce read an article by this authority on the closely allied subject of pantomime songs. In\nthe course of this Mr Glover backed himself to write a typical ballad off hand which should\nbe at least no worse than the average one of its kind. A representative verse from this\neffort ran as follows:\n44 Mary Jane of Tooting\nWas a proper sort of girl\nWhen her sweetheart from his office got the push;\nBut Mary knew a thing or two\nAnd bolted with an Earl;\nSo they're living now in naughty Shepherd's Bush! \""}, {"page_pdf": 15, "page_imprimee": "215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.15", "texte": "MUSICAL\nCOMEDY.\n\nThe average\n\"1yri c . \" &\nThe use of Mu-\nsical Comedy, &\nMatrimonial\nChances.\nA problem.\n\nFor the life of me I cannot see that this is in any respect more vulgar or silly, or\nmeaningless than the average \" lyric \" figuring in musical comedy. Of course, there are\npeople who can write songs with some regard for the principles of scansion, rhythm and\nsense — the names of Mr Adrian Ross, and Captain Basil Hood suggest themselves more\nparticularly-— but the number of them seems to be a very small one. & &\nThere are people who would like to see musical comedy prohibited, and severe penalties\nmeted out to all who either write, witness, produce, or act in anything of the sort. Despite\nmy own inability to appreciate such entertainments, 1 am, however, by no means opposed\nto them. 1 consider, indeed, that they fulfil a very good purpose, and ought on this account\nto be encouraged.\nTo begin with, every musical comedy — no matter how bad, at least provides exceedingly\nwell paid employment for a large number of amiable young women, with pretty faces and\nshapely limbs, who have not sufficient brains among the lot of them to earn ten shillings\na week as nursery governesses.\nAgain, where else, but from the subordinate ranks of a musical comedy cast list, would\nour bachelor guardsmen and heirs to the peerage find suitable partners in life? 1 know\nthat in certain exclusive—and ultra old fashioned—circles the narrow view obtains that a\npeer should no more marry an actress than an actor should marry a peeress. 1am convinced\nthough that this is entirely wrong. In fact, 1 feel so strongly on the subject that not only\nwould I say an uncompromising yes to the important domestic problem, \" Should Peers marry\nChorus Girls? \" (which recently came up for discussion in the Perfect lady, or some similar\norgan), but I would even go so far as to say that they ought to be compelled to do so by\nlaw. This is because the number of unappropriated chorus-girls is, and must be, always\nvastly in excess of the number of eligible peers. Under the circumstances then, it is nothing\nless than the bounden duty of every peer, not already provided for, to lead to the altar at\nleast one member of the chorus. 1 am glad to find that this view is generally inclined to\nby at any rate the eldest sons of most of our leading peers. A few, however, are obstinately\nstanding out, but this, perhaps, is only to be expected in a country where so many time-worn\nclass distinctions still obtain. Besides, there are peers whom no self-respecting chorus girl\nwould marry while an unattached scene shifter was left.\nMusical comedy no use, indeed 1 Pray, what shall we be hearing next-? &"}, {"page_pdf": 16, "page_imprimee": "216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.16", "texte": "THE ARCHITECTURE\nAND COSTUME OF\nSHAKESPEARE'S GREEK\nPLAYS\nby E. W. Godwin.\npericles—so popular in the seventeenth century that it\ndivided the honours with Jane Shore—is such a very\ndoubtful play, no matter what point of view we take, that I\nmight fairly be excused if I omitted it altogether from this\nseries. It is, moreover, a drama that has not been acted for\na long time, and it is devoutly to foe hoped never may be\nacted again. Gower as chorus fixes the date of the story,\nand shows that the \" Antiochus, King of Antioch, \" of the\ndramatis petsonsc, is the same as Antiochus the Great who\nreigned over Syria B. C. 233—187. There is nothing, probably,\nin the whole range of dramatic writing where the unities of\ntime and place are so persistently disregarded as in Pericles.\nIn the four scenes of the short first Act we are hurried\nfrom Antioch to Tyre, and from Tyre to Tharsus. By the\ntime we reach the second Act we find ourselves in\n\" Pentapolis \" (Cyrenaica) (1), whence we go to Tyre and\nback again. In the third Act we are on a ship at sea, then\nat Ephesus, then at Tharsus, returning again to Ephesus.\nIn the next act we go to and fro between Tharsus and\nMitylene, and in the last we go from Mitylene to Ephesus.\nThen again the text teems with anachronisms, e. g., stringed\nviols, pistols, bellows, parish churches with their steeples,\nbells and all, beadles, tennis courts, tournaments, shields\ncharged with mediaeval devices and mottoes, ink and paper,\na Spaniard in a ruff, a French knight—one \" Monsieur\nVeroles, \" a Puritan, and other late sixteenth century names of persons and things which\nit is not necessary to rehearse. &\n& The Comedy of Errors, on the other hand, possesses complete unity of time and place;\nand although the text is somewhat laden with anachronisms, there is nothing so outrageous\nas a medieval tournament taking a place In the action of a piece which in itself professes\nto belong to the time of Antiochus the Great. The scene of this Comedy is Ephesus, and\nthe time that when the old order of things was giving place to the new. Therefore,\nalthough 1 have classed this work with the Greek plays, it is really classical only in the\nassociations of its scenery and in the pictures it may present us of such portions of the\nancient city which may have been preserved as late as the time of Constantine. For we\nmust, i think, admit that the Comedy of Errors has reference to a time when the Christian\nChurch of Ephesus was enjoying either the undisturbed days that followed after the\nDiocletian persecution (A. D. 303), or the earlier lull that ensued about fifty years before\nthis, or immediately after the Valerian persecution. As there is not the faintest indication\nIn the text of the worship of either the Greek or Ephesian Artemis, as no one throughout\nthe play refers to any god or goddess of Roman, Greek, or Asiatic mythology, and as there\nis an abbess evidently regarded with no small respect, I am inclined to accept the latest\ndate or the reign of Constantine the Great, A. D. 306-337, as the period of the action, a\ntime when Ephesus, although her glory had departed, was still a busy place, when her\ntemples and public buildings had not yet been scanned from the quarryman's point of view,\nand when a stranger might very well desire or even be anxious to \" view the city, \" and\n\" gaze upon the buildings\n\nPeric 1 e s .\nThe Come dy\nof Errors*\n\n(1) As even the author of Pericles with the assistance of a chorus can hardly bring, at one and the same time, the good\nKing Simonides and his friends into five cities, we must select one out ol Pentapolis for the King's residence, and the\ncity Cyrene will do as well as any other. &&£>&&>&&&&■ &"}, {"page_pdf": 17, "page_imprimee": "217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.17", "texte": "SHAKESPEARE'S\nGREEK PLAYS.\n\nThe Scene ry.\nA2te m i s\nArchitecture &\nSculpture.\nThe houses of\nJ^phesus.\n\n& The scenery as set down for this comedy consists of: —\n1. A hall in the Duke's palace.\n2. A public place (for Acts 2 and 4).\n3. A public place (in front of the house of Antipholus for Act. 3).\n4. A public place (in front of a nunnery for Act 5).\n& The second Scene of the first Act is also a public place or street; and if an open\nvestibule or portico of the palace be arranged so as to form part of it, one set scene might\nwell serve for the first Act. The scenery thus treated would be wholly external, and\nillustrative of the street architecture of Ephesus circa A. D. 330. With a little care these\nfour scenes might be made very interesting, for nowhere did the twilight of the old order\nof things and the dawn of the new commingle more completely than in this great Ionian\ncity. But the old order of things was very different in the Ionian Greek colony of Asia\nMinor to what it was in Hellas proper. The basic influence of the native or Asiatic in this\ncolony was immense, whilst the operations, first of their neighbour Crceseus, then of Persia\non the one hand, and Macedonia on the other, were not likely to pass over the heads of\nsuch a lively impressionable mixed population as the Ephesians were without leaving some\nevidence behind them. The Asiatic part in the combination was markedly visible in the\ngreat idol. The Artemis of the Greeks closely fellowed in the Diana of the Romans was\never a maiden goddess, and in early mythology was as distinct from the Goddess of the Moon\nas Apollo was from Helios. The chaste goddess of the silver bow sending forth arrows armed\n0\nwith plagues and death for man and beast, yet helpful and curative, and especially watchful\nof the young, is a very different sort of divinity from one whose priests were eunuchs,\nand who embodied as her chief attractions the ideas of fructification and nourishment:\none who was represented not as a tall small-hipped, beautiful woman by any manner of\nmeans, but as a strange archaic mass of symbolism, of which it is enough to say that a\nmural crown rested upon the head, and the body was literally covered with numerous\nbreasts (1). Later on, or B. C., 355, when the Great Temple (whose character, has been made\nknown to us through Mr. J. T. Wood's excavations) was designed, the influence of\nPersepolitan art becomes manifest. The colunince ccelatce are almost as widely separated\nfrom the pillars of the Athenian Propylae or the Parthenon as the freest-Renaissance is\nfrom the severest Roman. Commercial prosperity and undisciplined freedom were tolerably\nsafe foundations for the licentiousness and voluptuous luxury that towered not only over\nEphesian society, but over the whole Ionian district, and this licentiousness, splendid in its\nextravagance, we may be quite sure found expression in architecture and sculpture as well\nas in poetry and music, or in habits of life. The fragments of the Temple now in the British\nMuseum, especially of the colunince ccelatce, or sculptured pillars, are quite sufficient to show\nthis, and although from its size and its costliness, both in material and labour, this building\nmight have arrested the attention of the mass of the people, and have been regarded as one\nof the wonders of the world by men who revelled in the luck of their geographical position,\nwho loved uproar and witchcraft, but could not fight—although no doubt there were certain\nelegances in its Ionic proportions, enchanting effects in its tall columns and their long vistas\nand bewitching beauty in its architectural features made to look their best by help of paint\nand the plastic art; yet from the evidence before us the Doric temple of Minerva at Athens,\ncovering not a quarter of the area this at Ephesus occupied, must have been as immeasurably\nsuperior to it as order is to confusion or sobriety to intemperance. The general street\narchitecture of Ephesus, A. D. 330, would not, however, be composed of Ionic colonnades, nor\nwould the house of Antipholus, nor even that of the chief magistrate, duke, or proconsul\nbe a miniature reproduction of the temple of Artemis or Diana. That the houses of Ephesus\nwere more elaborate and more fanciful than those of towns where the Doric style prevailed\nmay be at once admitted; that in the better class of buildings the upper floor might have\nbeen planned as an open loggia surrounded by Ionic columns supporting entablature and\nlow-pitched roof is not improbable; that public leschai with rows of marble shafts and\npicture-covered walls might be seen in many an open place is more than probable, and it\nis not unlikely that some of these might have existed in the midst of new Roman arches and\npiles of Roman pilasters in A. D. 330 but the scene painter, whose only notion of Ephesus\n\n(i) Artemis, in early Greek myth, Is, so to speak, the female of Apollo; when Apollo and Helios were confounded together,\nand treated as one personality, Artemis and Selene became one. The greatness of the Ephesian divinity seems to have\nconsisted in its dual nature."}, {"page_pdf": 18, "page_imprimee": "218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.18", "texte": "SHAKESPEARE'S\nGREEK PLAYS.\n\nThe Costume.\nThe toga.\nThe meretrix.\nThe Ah bess .\n\nis that it was a town of Greek temples or a city of Roman palaces or basilicas, would do\nbetter if, instead of troubling to put his idea into pictured form of pillar and pediment,\nhe gave us whitewashed canvas and wrote upon it—\" This is Ephesus.\" If, however, he is\nminded to make his v/ork go hand in hand with our age—an age when every branch of\nscience is being more or less explored—then by careful study of Mr Wood's discoveries and\nof such remains and restorations of the monuments of Xanthus and Halicarnassus that\nwe possess the character of the early architecture of Ephesus may be secured. So, also,\nby turning his attention to such works as the houses at Pompeii, the Flavian Amphiteatre\n(A. D. 70), Diocletian's Palace at Spalatro (A. D. 284), and even the Porta Nigra at Treves,\nhe may be enabled, if he has any constructive intelligence, to give us a tolerably fair idea\nof the later buildings of Ephesus in A. D. 330. &\n& For the costume of the Comedy of Errors authorities are to be found in wall paintings,\nin coins, and in the sculptures of the reign of Constantine. The influence of Rome, it must\nbe remembered, was like no other influence the world has ever experienced in the irresistible\npower with which she grasped the outward life of the people she conquered, moulding their\ndress and their building, in her own way. In Gaul, in Germany, in Asia, as in Italy, the\nsame Roman fashions prevailed. The ordinary civil dress was a long tunic, made without\nsleeves, but cut square, so that the material fell over the shoulder like loose sleeves, much\nthe same as we see in the Greek chiton, for the sleeved tunic does not appear to have been\ngenerally adopted until the fifth century. The men's tunic was as a rule short, the women's\nlong. Three kinds of mantle or upper garment were used at this time:—1, a short thick\nwoollen cloak, called pcenula, reaching to the knee, chiefly used on journeys as less\ncumbersome than the other forms of wrap; 2, a birrus or cloak for rainy weather, generally\nmade of wool left long and shaggy—this was also used as a hood or covering for the head;\n3, the toga, used only by the upper classes at important meetings or on great festive occasions;\nthis robe was made extremely capacious, so as to be full of folds when arranged on the\nbody, and was cut in a curved shape, usually something less than a semicircle: one end was\nthrown over the left shoulder, and the circular part hung down in front, neariy as low as\nthe feet. It was then wrapped round the back, passed under the right arm, and brought\nonce more over the left shoulder across the chest like a belt, but not too tightly. The\n\" Duke\" in the play should wear a toga embroidered with gold, but the ordinary toga\nwas of plain white wool. In A. D. 330 the use of the toga was rapidly on the decline. As\nan article of female costume it had long been given up, except by the meretrix and the\nadultera, the latter of whom at the time we are considering had not much opportunity for\nthe display of the toga or any other costume, for by the law of Constantine she was first\nwhipped and then sent to a nunnery, whence if not taken by her husband she was forced\nto take the habit of a nun and the convent gate was closed on her for ever. The meretrix\nin the comedy might, besides her tunic, wear a thin silk scarf or shawl, for silk or sericum\nas an ordinary material for the better kind of dress had come into fashion, gone out and\ncome in again since the time of Hermione and Timon of Athens. Holoserica or bonbycinum\nwas made entirely from the cocoons of the homhyx or silkworm, but there was also a\nsemi=silk manufacture known by the name subsericus, where the wrap was of linen or\nwool, and this was by no means an uncommon material in the wardrobes of the luxurious\nand the gay of both sexes, although its use was regarded with more or less jealousy by\nimperial eyes. The \"Abbess\" would be dressed in the tunic and the birrus; the latter\nworn over the head—hood*wise—brought round the right cheek over the breast, and thrown\nover the left shoulder. Any figure on the dress, or on the \" Priory,\" would be probably\nlimited to that of the sacred monogram (the X and P) which appears on the coins of\nConstantine, and which seems to have been then generally used, precisely as the\nsimple form of cross was at a later period. A material much affected by the Christians\nof this period was a woollen stuff with a dark band woven in it, or left as the selvage. In\nthe latter case the dress, if made of four widths of stuff, would thus have two vertical stripes\non the front and the back, where the selvages joined. The psenula shown on one of\nthe paintings in the Catacombs, illustrated by Perret, shows the outer or edge border dark,\nand two bands double the width of this border, dividing the mantle into what, if laid out,\nwould be three equal portions. Shoes and slippers appear to have been commonly worn by\nboth sexes, and necklaces, chains, ear-rings, costly girdles, and head dresses, seem to have\n\nfound favour in the eyes of the fair Ephesians in spite of all St. Paul's teaching.\nReprinted by kind permission of the proprietor of \" The Architect. \""}, {"page_pdf": 19, "page_imprimee": "219", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.19", "texte": "SHAKESPEARE MEMORIAL.\nA Nation a 1 Theatre.\nTO THE PUBLIC\n\nyou heard of it? Have you been asked about it? Do you want it? Can you bear\nit? And then can you be terribly revenged after you have got it? & & &\n<£? You noble aristocracy of England, you poor city gentlemen with responsibilities enough\non your shoulders, and you, struggling middle class, are you aware that you are about to\nbe \" presented \" with a scheme which is now being prepared for you by the Executive\nCommittee of the proposed theatre\n& The plot has been brewing for a long time. Some first signs of simmering were\nobserved a while ago, and now the thing promises to boil. If the scheme develops to\nlarger proportions an eruption may be expected and extermination faithfully guaranteed.\n& Extermination of what? Why, of everything that Shakespeare stands for.\n& The details of the scheme are to be made public this month, when the general meeting\nof the committee will take place.\n\" Round about the cauldron go,\nIn the poison'd entrails throw. \"\n& It is generally whispered that a well-known actor-manager will be made the scapegoat\nfor a lot of former indiscretions on the part of the Theatre in the matter of producing\nShakespeare in the florid Piccadilly manner.\n\" Cool it with a baboon's blood,\n\" Then the charm is firm and good \".\nMeantime, Public, what do you think of the whole matter?.... I mean to say, the expense\nhas been estimated at a million sterling; a million so that a pack of amateurs can make\nsport of a giant. It is announced definitely that a public fund is contemplated; that is to\nsay, dear Public, you pay at least half a million so that a National Theatre may be knocked\ntogether; and then, after it has been opened, you have got to pay for your seats, which\nat the end of ten years amounts to about another million out of your pockets. <£>\nNow, this is awfully spirited of you, but awfully foolish, because the beauty of\nShakespeare is not going to be brought to you even if you pay twenty million. And let me\ntell you another thing which will remain true long after you and I are dead. It is that\nthe Art of the Theatre is not going to come into this National Theatre, this Memorial to\nShakespeare. & &\nYou may think that if you give half a million of money to building a National Theatre\nyou are doing the same for the Art of the Theatre as you are for the Art of Painting when\nyou give the same sum to erecting a National Gallery. But the two things in no way\nresemble each other. In the National Gallery you have examples of all the great Masters\nof Europe. When they are purchased they are hung in their position and you may go to\nsee them any year you like and you will find them as you last saw them. They have\nactually not been tampered with: they have positively not been made \"up to date \": in\nshort the Directors of the Gallery have not availed themselves of \" every modern advantage\nthe studios offer \". But if we had a National Theatre the managers of it would perhaps\nthink they were producing Shakespeare \" as he would have wished \", that is to say, they\nwould avail themselves of all these \" advantages \" which the modern stage has to offer.\nNow, these advantages are positively disadvantages, and Shakespeare would have been\nthe first to deride the idea of these tricks and decorations as bringing anything towards\nthe interpretation of his stupendous drama. & JS> &\n& Not that 1 am at all inclined to think that he would have advocated the old Elizabethan\nway of producing his plays today, but because one extreme is not right is no reason for\nrushing to the other. Indeed, both extremes are equally what may be described as \"eccentric\".\nWhat we have to find, if it is possible to find, is the right way of producing Shakespeare,\n....something in between these two extremes; something balanced. & &\n44 Tell me, (if your art\nCan tell so much), shall Banquo's issue ever\nReign in this kingdom?"}, {"page_pdf": 20, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.20", "texte": "& Well, it is a difficult question to answer, but it is a fearsome thing when Actor«Manager\nMacbeth becomes ambitious. He then dreams of daggers; he then plots and offers the\nscheme to the Public: he then annexes a new theatrical castle with all modern improvements\nattached to it. He murders Shakespeare,.... but forgets that Banquo is looking round the\ncorner, and he doesn't even reckon with the little Fleance who escapes. NO, really it is\ncareless on the part of the Actor Manager: if he kills Shakespeare he should really kill the\nwhole brood. &\nYet even then all the perfumes of Arabia will not sweeten his little hand.... Oh, oh, oh.\n\nALLEN CARRIC.\n\n\"THE ERA\" UPON ART & THE MILLIONAIRE\n\" THINGS ARE AT SUCH A PASS IN ENGLAND THAT NONE BUT THE MILLIONAIRE CAN\nAFFORD TO BE PURELY ARTISTIC.\nwhat does this mean? The Bra is responsible for the passage: the Daily Mail copies\nit, and thereby more than a million people are told that no one can afford to be purely\nartistic except the millionaire,... as if a man could be purely artistic by the grace of his\nmillions! What does it mean? It reads like nonsense and yet I suppose there must be\nsomething in it. <£? And yet again there seems to be nothing in it, for I know at least\nthree people in England possessed of about twenty=four pounds sterling and a few tables and\nchairs, and who are yet entirely what can be described as \" artistic. \" & &\n& It is quite extraordinary how a certain set of Englishmen in responsible journalistic\npositions become utterly confused as to the reason of art, the means of bringing it about,\nand the kind of person who brings it about.\n& Does the Bra perhaps mean that only a millionaire can afford to buy works of art because\nin England works of art are so expensive? If so this statement is entirely false. It is only\nworks of extremely bad taste that are expensive..., expensive from every point of view. &\n& Thus, in the theatre, we have a vulgar showy performance which costs, we are assured\nby the manager, ten thousand pounds; whereas a beautiful production on the stage\ncosts far less than this if artists and good sound craftsmen are employed. & &\n& The worst part of theatrical affairs in regard to productions in England is that the manager\nputs his job into the hands of \" Firms. \" &\n& These Firms are very excellent and reliable in all matters pertaining to yards and\ninches, and these Firms also know how to charge so that their establishments shall be a\nsuccess. All this is very creditable to them but it is disastrous to the theatre. &\nWhat the managers have never understood is that they should engage their stage\nmanagers, their scenic artists, their costumiers, their artistic advisers and all connected\nwith the different works which are to be produced year after year in the same theatre,\nand they should never go to any other people but these when producing a work. These\npeople would then all work hand in hand, would be as practical as any Firm, and, what is\nmore, they would perhaps, through the gifts of one special artist in the theatre, produce\nworks of great taste.\nThis is the system which is beginning to be general in some few of the first theatres\nof Europe, and it works extremely satisfactorily. Everyone in the theatre is then more\ncontented, and they are able to produce works of a better quality, and to produce any\nplays which they wish without consulting the public and without dread of bankruptcy. &"}, {"page_pdf": 21, "page_imprimee": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.21", "texte": "THE THEATRE\n\nIN GERMANY, HOLLAND, RUSSIA &\nENGLAND\n\n& A Series of from\nGordon Craig.\nMy dear Semar,\nI have been intending to write you about the\nTheatre in England. Perhaps one of these\ndays I may be inspired to fill in a picture\npost card with the few necessary expressive\nwords, but today words fail me to express\nall I feel about the Theatre in England. &\nYou see I've seen it and the jolly fellows who\nperpetrate it; they are great fun.... I could\nwrite you books about them and their genial\namiabilities. &\nI am now in Russia and lodged in the\nvivid city of Moscow: feted by the actors\nof the first theatre here, who are some\nof the most splendid fellows in the world,\nand, besides being admirable hosts they are\nadmirable actors. <£? &\nMoskwin, Artem, Leonidow, Katschalow,\nWischnewski, Luschski, Ballif, Adaschew; Frau\nLilina,... quite delicious; Frau Knipper,...\nmagnificent when she wishes; the two chil*\ndren in \"The Blue Bird\" adorable, and clever.\nAdd to these the hundred other actors\nand actresses who show promise of forming\na powerful and united dramatic force,... and\nlet me tell you they are one and all intelli*\ngent, enthusiastic about their work, working\ncontinuously, new plays each day, new\nideas each minute,.... and with this to go\non you can form for yourself whatever im-\npression you wish.\nIf such a company could be conjured into\nexistence in England Shakespeare would again\nbecome a force. As it is he is merely a stock\nin trade. The Art Theatre here, (about which\nI write) is alive,... is possessed of character\nand intelligence. <£?\nIts directors, Constantin Stanislawsky and\nNemirowitsch Dantschenko, have achieved\nthe impossible: they have successfully\nestablished a noncommercial Theatre.\nThey believe in Realism as a medium through\nwhich the actor can reveal the psychology of\nthe dramatist. I don't believe in it. This is\nnot the place to discuss the wisdom or folly\nof this theory: in the dust jewels are some*\ntimes found; by looking downward the sky\ncan sometimes be seen.\nIt is quite enough to say that what they do\nupon their stage they do to perfection. They\nwaste time, money, labour, brains and pa*\ntience like Emperors: like true Emperors\nthey do not think they have done all when\nthey have merely spent a lavish sum upon\ndecorations and machinery, although they do\nnot omit to attend to this. jp\nThey give hundreds of rehearsals to a play,\nthey change and rechange a scene until it\nbalances to their thought: they rehearse and\nrehearse and rehearse, inventing detail upon\ndetail with consummate care and patience\nand always with vivid intelligence,... Russian\nintelligence.\nSeriousness, character, these two\nqualities will guide the Moscow Art Theatre\nto unending success in Europe or elsewhere.\nTheir theatre was born with a silver spoon\nin its mouth: it is now only ten years old:\nit has a long life before it: when it comes\nof age it will be a firmly established institu*\ntion. It must take care not to court Poetry....\nand must certainly not wed her, but when\nit reaches man's estate it will awaken to a\nnew consciousness,... spread wings and soar\nby the two wings of imagination into that\nvaster and more open path which has no name\nand leads nowhere beyond itself.\nAnd I am perhaps more miserable than ever\nbefore in my life, because I realise the hopeless\ninactivity of England and its stage, the hope*\nless vanity and folly of its stage, the utter\nstupidity of every one connected with the\nArts in England, the death-like complaisancy\nwith which London thinks it is active and\nintelligent about these matters, the idiocy of\nthat section of the Press which calls every\ncourageous attempt to revive Life and Art\n\"eccentric,...\" that lack of comradeship in Lon*\ndon,... that lust for twopence at all costs.\nThe English actors have no chance; their\nsystem of management is bad: they get no\nchance of study or experience and dare not\nrebel or they would lose their bread and\nbutter; so they laugh their life away as best\nthey can.... that is to say, grimly.\n& The Russian actors of the Kunstlerisches\nTheater at Moscow give me the impression\nthat they experience a keener intellectual\nenjoyment during their performances than\nany other actors in Europe. &\nAll their performances are admirable, and\nwhether they touch a play of modern life and\nmodern feeling or a fairy tale, the touch is\nalways sure, always delicate, masterly....\nNothing is slipshod. Everything is treated seri*\nously,... seriousness, as 1 have said, is the\nmarked quality of this Russian theatre.\nEarnestness is never apparent.... coming from\nEngland this seriousness is possibly more\napparent to me than if I were a resident here.\nIn England the spirit of mockery is the same\nforce as it was thirty years ago when E. W.\nGodwin drew attention to the fact. The\nmanagers and actors are afraid to be serious....\nthey might be laughed at.... they most\nnaturally fear to be merely earnest. In England\nwe find a clever actor laughing at his part, and\nhimself, and winking all the time at the\naudience, horrified lest he may be taken\nseriously for what he really never meant. To\ncommit himself would be more than a crime,"}, {"page_pdf": 22, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.22", "texte": "as Alexandre says, it would be a blunder. &\nHere in Moscow they risk the blunder and\nachieve the distinction of being the best set\nof actors upon the European stage.\nLess of a spontaneous whirlwind than Qrasso,\ntheir first actor Stanislawsky is more intel-\nlectual. jg? & & j£*\nThis is not to be misunderstood. You are not\nto imagine that this actor is cold or stilted.\nA simpler technique, a more human result\nwould be difficult to find. A master of\npsychology, his acting is most realistic.... yet\nhe avoids nearly all the brutalities.,., his\nperformances are all remarkable for their\ngrace. I can find no better word. <£?\nI have been most pleased by the performance\n44 of Onkel Wanja \", although this company is\nable to handle any play admirably. &\nIn 44 The Enemy of the People \" Stanislawsky\nshows us how to act Dr Stockmann without\nbeing 44 theatrical \" and without being comic\nor dull. The audience smile all the time that\nthey are not being moved to tears, but never\ndoes a coarse roar go up such as we are used\nto in the English Theatre.\nLet me congratulate you on your Journal\nwhich does not improve but developes\ndelightfully.\nI cannot believe you will really print\n10,000 copies in February. You really deserve\nthe gratitude of the European theatre...\n\nGORDON CRAIG. Moscow.\n\nFOREIGN NOTES\n\nFLORENCE\n\n'TMhe one important piece of news here in\n* relation to the theatre is that Mr Gordon\nCraig has taken the Arena Goldoni. (1) .<&\nThis is perhaps the most beautiful theatre\nin Europe with the exception of the Greek\nand Roman theatres and Palladio's theatre\nin Vicenza. jg> jg? &\nIt is open to the air, its seats are built of\nstone, more than fifteen hundred people can\nbe seated and the stage is a very large one.\nA portion of the Theatre he has put at the\ndisposal of the publishers of The Mask for\ntheir use as editorial offices. jg/\nMr Gordon Craig, after some months' absence,\nhas himself returned to Florence, which he\nintends to make his head-quarters and will,\nI understand, now continue the work he\nbegan here in February 1907, a date which\nmarked a new period in his development of\nthat which he holds to be the Art of the\nTheatre in its purest form. & &\nThe carrying forward of this will be, as I have\nsaid, his main work; but at the same time\nhe intends to assist in a few productions in\ncertain of the European theatres. These\ntheatres he will assist because the workers in\nthem have an especial attraction for him\npersonally and not because he believes that\nthose particular theatres have solved the\nproblem of|the art any better than the others.\nHis decision to give his help is therefore\npurely on account of the men in those theatres\nand because they have expressed the belief\nthat he can be of use in raising the standard\nof the work in their theatres. So much I\ngathered from a short conversation with Mr\nCraig yesterday. &\nThis attitude is explained by the above passage\nwhere I have pointed out that his whole heart\nis so entirely given over to the discovery of\nthe principles of the art in its purest form\nthat he no longer desires to fight with those\npeople who hold opinions different from his\nown about this or that development of the\nmodern theatre, the modern theatre having\nceased to interest him beyond a certain extent.\nIt is not, in fact, to different styles in the\nmodern theatre that Mr Craig takes exception\nbut to the entire theatre. That he should,\nnotwithstanding this, be prepared to assist\nsome of the modern directors with his ideas\nfor bettering the artificiality of the theatre,\nand making that artificiality more distin*\nguished is much to Mr Craig's credit.\nMr Craig is also engaged on work for the\nMoscow Art Theatre which will in part\noccupy him for at least twelve months. This\nstatement will probably be piisunderstood in\nEngland unless it is explained that this work\nis not the preparation of eight or nine different\nproductions which Mr Craig has to get ready\nby a certain date and in a certain way, so\nthat it may \" please the public. \" Indeed I\nunderstand that M. Stanislawski's theatre in\nMoscow makes no attempt to please the\npublic.... and invariably succeeds in pleasing\nwithout making the\nI also understand that when they produce a\nplay in this theatre of Mr Stanislawski's in\nMoscow they devote as much time to it as the\nwork demands instead of hurrying the work\nto fit the time. They do not set a certain\ndate for a production and then rush the work\nthrough. Indeed, so opposed to this is their\nmethod that I learn that a play to be produced\nsometime in 1910 is already in preparation.\n44 If only \" said Mr Craig in the course of his\nconversation, referring to this fact,44 if only the\n\"London managers would understand that this\n44 is the way to set about the work. If only\n44 they would understand that success follows\n\"upon such a method; if only they would\n44 not listen to the few ignorant critics who\n44 keep telling them that the public must first\n44 be educated up, and that there is 4 such a\n44 risk' in presenting beautiful things, and if\n\n(1) An article on this Interesting1 and very beautiful theatre\nhas been promised us, and will appear early in the new\nyear. Ed:"}, {"page_pdf": 23, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.23", "texte": "\" only they would make enquiries abroad and\n\" learn how active and alert is the business\n\"management as well as the stage management\n\" in these continental theatres then all would\n\" be well in the English theatres for there\n\" is as much talent going to seed in London\n\"as in the whole of Europe, and I can't\nexpress my sorrow and my fury,... I don't\n44 know which is the greater..., at seeing\n\" the London theatre managers waste the\n\" wonderful material which they have at hand.\n\" The people who are to blame are, in my\n\" opinion, the actor managers and the busi«\n44 ness managers, chiefly the latter, and if\n44 there is anything I can do to expose their\n44 meanness and their want of pluck I will\n44 do it. I have in my eye certain men who\n44 positively clog the advance of the English\n44 Theatre; they are as debris which can dam\n44 the best and biggest river—but with care\n44 they can be removed. \" & &\n\nJ. S.\n\nMOSCOW\nV. N.\n/\"Trasso, the extraordinary Sicilian being,\nis a poor word with which to describe\nhim), has swooped down upon Moscow and\nmade everybody smile with the conscious\npleasure of their existence.\nActors as great as Grasso have that power of\nawakening a multitude from its annual sleep\ninto which it falls. j2>\nThey are not to be called 44 artists \", these\nextraordinary beings; they are nature's\nchildren just as much as waterfalls, rivers,\ngreat birds, grand animals, are nature's\noffspring. I, for one, admire such signs of the\nprodigality of Nature, and have but one regret,\nwhich is, that such forces should be cramped\nwithin the artificial box of a place we call a\ntheatre... an embankment, or a cage, for their\nfull glory can only be realized in natural\nsurroundings, free of all restrictions.\n\nLONDON\nR. S.\nHp he Afternoon Theatre is announced. 44f1is\nMajesty's \" is the meeting place.\nThe name is a curious one, but probably a\nbetter is not to be found. Still, it conveys\nbut little to the man or woman who cares\nnot a rap whether Beauty is to be seen at 2.30\nor at 8 o' clock so long as Beauty actually\nappears. But one may wish the new venture\nsuccess and hope it will steer clear of the\nthe amateur. There is cleverness in the idea,\nand Frederick Whelen's management will be\ninteresting to watch. <£? &\n\nEDITORIAL NOTES\n\nIn the July and August numbers of the Mask\n*1 drew attention to a disquieting exhibition\nof scenes from the life of Jesus Christ which\n1 witnessed at a Cinemetograph performance\nin Florence.\nIt was, as 1 said, a diabolical parody, for\nwhich much money had been spent, and\nwhile pretending to be religious it was\nessentially profane. And now I read in an\nAmerican journal the following announcement:\n\nA GREAT RELIGIOUS FILM.\n\nKolem Soon to Issue the Double Subjects,\nJerusalem in the Days of Christ and David\nand Goliath.\n44 The Kolem film manufacturing company of\n44 New York will have ready for release on\n44 Nov. 2 a notable subject of a strictly\n44 religious nature, or, rather, a series of\n44 subjects, as the reel of about 1,900 feet\n44 covers Biblical events commencing with\n\" David and Goliath and ending with the fall\n44 of Jerusalem, seventy years after Christ.\n\" Being a religious series, the film is not\n44 subject to the trade agreement between\n44 the Edison licenses and the Film Service\n44 Association and may be sold outright to all\n44 classes of theatrical or lecture course\n44 exihibitors. It should prove specially valuable\n44 to the latter. A Mirror representative was\n44 given the opportunity of seeing the picture\n44 at the Kolem offices last week. It is contrary\n44 to The Mirror's rule to review films not\n44 witnessed in a regular place of amusement\n44 but it need be no violation of this rule to\n44 state that the film in question appears to\n44 be of a very high order. The scenes were\n44 all produced out of doors, the walls and\n44 edifices being represented where necessary\n44 by huge painted backgrounds splendidly\n44 executed. Nearly 200 people were employed\n44 in acting the several scenes, the one where\n44 Christ drives the money changers from the\n44 temple, being, perhaps, the most realistic.\n44 The Kolem Company accompany the subject\n44 with a carefully prepared lecture. \"\nThis sort of thing should be put a stop to....\nFor all reasons.... Because of the non«religious\nfeeling produced,... because of the profanity\nin treating such subjects in this vulgar\nmanner.... because of the professed intention"}, {"page_pdf": 24, "page_imprimee": "224", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.24", "texte": "of the Kolem Company, to make money out\nof these 44 Days of Christ \", because it must\nbe an insult to the intelligence and the\nfeelings of every one except the ignorant....\nand because to the ignorant it is a vile\ninfluence, & &\nAdded to this the pictures are offered to\nTheatres as well as to lecturers on Biblical\nHistory, and such exhibitions in Theatres\nare as theatrical and sentimental as they\nought to be religious.\nNew York should stop the Kolem Company,\nfrom such immoralities.\nNo amount of carefully prepared lectures on\nthe Life of Jesus Christ can mitigate the\noffence to all Christians in thus representing\nin actual detail and in a sentimental manner,\nthe profound story. &\nAnd not only will all Christians be horrified\nbut also those who are not so«called Christians\nmust be disgusted. It is the most subtle\nand dangerous attack which can be made on\nthe Religion of Christ.\nIf the New York Censor or Public Prosecutor\ndoes not take immediate action incalculable\nharm will be done to the people of New York.\nWe look upon the Kolem Company as dangerous\nlunatics, not merely suffering from occasional\nbrain storms, but as affected with brain\ndisease in its most violent form. &\nThese films which they are putting before\nthe Public are the ulcers of a pestilence more\nhorrible than leprosy. The Kolem Company\nwill deserve all the misfortune which is bound\nto attend their lack of forethought; and by\nexhibiting such pictures the Cinemetograph\nwill forfeit the support of a large section of\nits public. & <£?\n\nJ. S.\n\nTHE CRITIC CRITICIZED.\nlife are left at the end,... for the book\n* * holds us to the end.... to wonder that\n44 the man who loved and revived beauty in art\n44 should have wailed over want of recognition\n44 yet insulted the patron; have scorned the\n44 layman, yet appealed to twelve jurymen to\n44 decide between Ruskin and himself in taste\n44 and literature in art; that he should have\n44 breakfasted his friends at the expense of\n44 the Chelsea tradesmen, and turned to cheap\n44 jesting the man who sought for payments\n44 due; that he should call Sir Coutts Lindsay\n44 a shopkeeper, and enter into the most\n44 squalid squabbles over money that the\n44 annals of art offer: that he should denounce\n44 a story in art and then paint the meanest\n44 anecdote in his Leyland portrait; that he\n44 should brandish canes where words did not\n44 contain insult and advertisement enough\n44 for the friend after friend and acquaintance\n44 after acquaintance with whom he quarrelled;\n44 that he should be proud, and not ashamed\n44 of his rancour.... all this, and more, remains\n44 a mystery \" etc, etc.\nSo writes somebody or other (more likely\n44 other \") in the Illustrated Eondon News,\nOctober 24, 1908, and the dulness of the brain\npf this class of London critic is exposed.\nWhen will the critic be a little more modest?\nWhen will he trouble to understand those\nabout whom he writes even if Ire cannot\nunderstand their work? & &\nThe art critic who does not champion the\nartist is a poor kind of a knave. Are there\nso many artists that he can afford to make\nmistakes in this matter?\nIs there a single man, woman or child who\nis not able to understand that royalty is a\nthing you must take care to salute and be\nloyal to if you want to be worth your salt?\nAnd is there anyone who questions the\nRoyalty of the artist?\nTo us it seems that Whistler wished to\nemphasize this to its full extent. 44 Critics\nthe mob, 44 patrons \", acquaintances, have no\nbusiness to be familiar with the artist and\nhis work; and it is not merely their privilege\nto remain uncovered before works of art;\nit is obviously part of their profession. &\nNations that cannot uncap before works of\nart are in a bad state of health. Fools who\nthink they are being humourous when they\n44 patronise \" art and the artist, and generous\nwhen they give a hundred guineas for a\nmasterpiece, (or even for a good painting,\nfor that matter) ought to be severely punished\nby some imprisonment or a fine. J&>\nAs there is no law which punishes such license\nthe artist takes the law into his own hands\nand the Fool is handed down to posterity\ngiggling and posturing. &\nOften the artist, having had a taste of the\nFool, turns with disgust from the exhibition.\nBut Whistler, with the gentle courage of a\nQuixote, attacks the Fool. The position of\nyoung painters today has thereby been made\nmore possible than it was before. £> &\nThe Royalty of the Artist must be insisted\non until he takes his place again among the\nroyal things. &\nThese people who still have stupid things to\nsay about Whistler's life show that to this\nday they do not see that everything done by\nWhistler was done with intention. They think\nit was all a kind of vulgar accident.\nBut after all, the same kind of critic writes\njust in the same tone about a prince who one\nday decides to enter his own capital as King.\n\" Shocking \", 44 barbarous \", 44 bad taste\necco Bulgaria.... &\nWhat is so extraordinary, is how critics dare\nto judge such a man as Whistler. It is so\nutterly disgraceful, so utterly idiotic,... and\nsurely it cannot pay? & &\n\n& & ALL RIGHTS RESERVED & &\nGERENTE RESPONSABILE, GINO DUCCI &"}, {"page_pdf": 25, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.25", "texte": "Th e Ma s k\n19 0 9\n\nA design for \"Macbeth\" Act. V. Scene. I.... Gordon Craig.\n„ Lo you! here she comes. This is her very guise; and upon my life, fust asleep. \""}, {"page_pdf": 26, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.26", "texte": "[THE MASK.I\nThe February, March & April numbers will contain articles\nboth in French and English on the following subjects:\nSketch of Gordon Craig (Illustr.) Palladio's Theatre at Vicenza\nShakespeare as Scenographer. (Illustrated).\nTwo Theatres (continued). The Grotesque Theatre 1908.\n\" Pelleas & Melisande \". The Brothers Parfaict.\nThe Arena Goldoni, Florence. Some Italian Head-dresses\n(Illustrated). (Illustrated).\nVecellio's Venetian Costumes Levachet de Chamois.\n(Illustrated). Itantarello, the Florentine\nWyspiansky (Illustrated). Masque and the Comedy of\nThe Sacre Rappresentazioni Itantarello.\n(Illustrated). The Marionette Theatre of\nThe Machinery of the Paris Munich.\nOpera House. The Brothers Galli da Bibiena\nMaeterlinck's \"The Blue Bird \" °' Bologna.\nat Moscow. \" The White Fan Translated\nEllen Terry as First Fairy. into English.\nA lesson to Scene designers. Voltaire s Theatre in the Cha-\n(Illustrated). teau de Ferney.\nBesides these Booh Reviews will he published in French & English alternately. &\nForeign correspondence, Editorial Notes and a bibliography will appear monthly\nAmong the contributors will be the following:\nJohn Balance, Allen Carrie, Gordon Craig, Andre Gide, Alexandre Joannides, Alexander\nHevesi, Hugo von Hofmannsthal, Edward Hutton, D. Nevile Jees, Maurice Magnus,\nAlbert Mockel, Georges Mouval, Jean Jacques Olivier, Maximilian Schick, J. de\nSchildenfeld-Schiller, Professor Schneegans, Martial Teneo, Algar Thorold, Dr. Paul\nWiegler.\nYFAPI v \\ England, 15 Shillings | Italy, 15 Lire, )\n) Germany, 15 Marks I Russia 8 Roubles POST FREE\nK I America, 4 Dollars g France 20 Francs. )\n»IW Mil—IIUI mill 1IIWI J.'MHaeKIIBBffiiiajHjaaSMiMgBaigaffiaMgaBaMBMBataaMgiMKBgaBMBaaaMBtaMWOBMMBBHBBnBMBMBHaMMPBBMIMIMMMIJIIHIMIfiinHilWHiiaiHlMBl\nSIGN AND TEAR OFF THIS ORDER FORM\n. «.|» mw I. «iI|I« ■■ J. & J ,\nORDER FORM\nTo the Publisher, (or)\nTo 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"}, {"page_pdf": 27, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.27", "texte": "THE WOOD ENQRAVERS of San LEONARDO\nTHEATRE PROGRAMMES, js> J£>\nBeautiful and unique designs such as will make each\nprogramme a souvenir whort preserving are made by the\nENGRAVERS OF S. LEONARDO. Their intention is to\nsupply what a distinguished and refined management would\nwish to present to their public.\nFurther particulars on application. &\nJZ, THE WOOD ENGRAVERS OF SAN EEONARDO.\nARENAGOEDONI'VIADEISERRAGEI - FEORENCE\nITALY.\n\nA PORTFOLIO OF ETCHINGS. &\n& By Gordon Craig with a preface.\nf|nly thirty portfolios will be issued, although ten or twenty additional copies of some of\nthe plates 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 a/3 x 15 2/3 ctms. The price for a portfolio will be L. 16 . o . o, (400 Francs or 320 Marks).\nThese 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 Movementwrites Mr Craig, 44 was at the roots of the Ancient Theatre and will ever\n44 remain the very Essence of the Art.\n44 We must translate Movement through the medium of inanimate forms and thereby produce\n44 once more an Impersonal Art which shall take its place by the side of its two sister\nArts, Music and Architecture\". & & & &\n<«\nORDER FORM\nTo The Director,\nThe Mask Press, Arena Qoldoni, Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Qordon Craig, in payment for which\n1 enclose the sum of L. 16.0.0, (or 400 Francs or 330 Marks)\nSigned «"}, {"page_pdf": 28, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.28", "texte": "LIBRA1RIE ANCIENNE &\nT. DE MARINIS & Co. £r 5 Via Vecchiettl - FIRENZE\nt£8aa\ntO\n*\n£lf\nr\\.\nrJrL\nRrtJPV*\nM! ! 1\nnn.p\n1\naii\nn\nJRJUU\n•Vxe;\nwi\n— Ao\nI\n-a\nits\nII!\n&\n«\n!SSS\n~td\n5P\nloo'\n(US\n»M*\n00\nJLi2i\ntut\n0]\nm\nin\n\"1\n*r-\nLIU.\nL«»\nIIIM I\n&\n.44\nltl>\nz\nII\n20 0 00\nno*\nUL\nsbsU.\nim\n•••••\nI\n\" ntwi\nIJP\nQca] 00\nH\n14 ii\nnruv\nPine Collection of MSS.y lncuuabulaf rate and curious books XV-X12Z cent.\nIllustrated Catalogues free on application.\n\nORD\n»\nm\nBHD\nOCH\na\nThe principal Artistic and Literary\npublication of Scandinavia.\nYearly subscription Francs: 20\nWahlstrom & Widstrand, Stockholm\nPublished Monthly &"}, {"page_pdf": 29, "page_imprimee": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190901-01.1.29", "texte": "/Printed for the Proprietor by E. Morandi, Tipografia Bodonlana, Via Pint!, Florence, and published at The Office\nof \" The Mask \" 8, Borgo S. Jacopo. & £? &>■ & &\n\nPURVEYOR TO 10\nIMPERIAL. & ROYAL\nFAMILIES -S> £r\nFLORENCE\nVia dei Fossi 4\nj0 (ESTABLISHED i860) &\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\n■\nMantels, Pedestals, Garden Seats, &\nVases Fountains Flower=stands, etc:\nm & I jsMjs?\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n19 04\n\nDINI & CELLA'l\nArtistic & Decorative Terra Cotta of\nSigna\nVia del Fossi N. x - FLORENCE\n£?epi<oduetion of sculptures of Old and\nJftodern masters M Statues * Busts «\nVases <« Bas*relief s M fountains « Doors\nCbimneyMpieees « Bases ete. ■ ete. in\nevery style\n\nNEW YORK DRAMATIC\nJE7 MIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\n& Sample copies on request free of\nmma\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months.\n\nEDITION DE LUXE.\nSPECIAL NOTICE TO BOOK LOVERS\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 Pre©\n„ a a Germany, Marks 67,00 „ „\n„ ,t M America Dollars 16.00 „ ,,\n,, ,, ,, Italy Llr© 83.00 „ ,,\n„ „ „ Russia Roubles 30.00 ,, „"}]}