{"numero_id": "bm-bmtnaau-1909-02-01", "volume": "bmtnaau_1909-02_01", "ocr_sha256": "8de11b086a3b1c43f98bd9176fa3371a95fb55771698300ac511f9280303d808", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1909/02_01/bmtnaau_1909-02_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1909/02_01/bmtnaau_1909-02_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01", "articles": [{"article_id": "bm-bmtnaau-1909-02-01-c002", "article_bluemountain": "bmtnaau_1909-02_01#c002", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "225", "page_fin": "225", "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=bmtnaau190902-01.2.2", "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": 6, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.6", "debut_caractere": 27, "fin_caractere_exclue": 725, "texte": "CONTENTS.\nAFTER THE PRACTISE THE THEORY\n& THE SHAKESPEARE MEMORIAL. A NATIONAL THEATRE. & VENETIAN\nCOSTUMES FROM THE BOOK OF CESARE VECELLIO by ALLEN CARRIC & D. NEVILE\nLEES. & THE WHITE FAN by HUGO von HOFMANNSTHAL: TRANSLATED by MAURICE\nMAGNUS. TWO THEATRES by LEON DE SCHILDENFELD SCHILLER. CONCLUDED. £> A\nNOTE ON AN OLD ENGRAVING by ALLEN CARRIC. Mr SPENCE ON TOLERANCE IN\nDRAMATIC CRITICISM, by GORDON CRAIG. THE EIGHT COMMANDMENT, (INTERNA-\nTIONAL COPYRIGHT) by JOHN BALANCE A NOTE ON APPLAUSE, by ADOLF FURST.\nBOOK REVIEWS. FOREIGN NOTES. EDITORIAL NOTES.\nIJ^IyUSTRATIONS. <£? FRONTISPIECE. A DESIGN FOR A SCENE FOR MACBETH by\nGORDON CRAIG. SEVEN DESIGNS FROM THE BOOK OF CESARE VECELLIO. &"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c003", "article_bluemountain": "bmtnaau_1909-02_01#c003", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "225", "page_fin": "226", "image_debut": 6, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.3", "titre_corps": "SHAKESPEARE MEMORIAL : A National Theatre", "titre_sommaire": "SHAKESPEARE MEMORIAL : A National Theatre", "signature_source": "A. C.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.6", "debut_caractere": 727, "fin_caractere_exclue": 2838, "texte": "SHAKESPEARE MEMORIAL\nA National Theatre\n\nt seems that this Theatre is going to be built by piling one\nhumbug on the top of another.\n& The Executive Committee will this month organise a\ncampaign in the country for raising the funds. At least, so\nsays Mr Philip Carr, the Secretary of the Executive Committee,\nlie also adds that the cost will be between the 330,000 £.\nsuggested by Messrs Granville Barker and William Archer\nand the million which Sir Henry Irving believed was\nnecessary. Mr Carr also informs us that the Committee\nhas decided individually and collectively what they all mean\nby a National Theatre. All this is a kind of comfort.... glace.\nIn the course of an interview he also said that such a Theatre\nas the National Theatre would never be in competition with the theatres of private enterprise:\nthat the Repertory System can never be in contention with the system of long runs.\nBut what guarantee has the 'Committee of the National Theatre that the theatres of\nprivate enterprise will not also become Repertory theatres? And what guarantee has the\nNational Theatre that it is going to secure the best English talent and prevent the theatres\nof private enterprise from doing so ? jz? &\n& These are the questions which committees cannot decide, and therefore the position of\nthe National Theatre is very insecure. If the Committee would send abroad, to Germany,\nto Russia, to France, and make enquiries in the right places,... that is to say, if they would\nenquire of those people not employed to bolster up these national frauds, they would find\nout that the finest talent in Europe is outside the National Theatre in each country. &\n& Now there are many people on the English Committee who know this, and they are\ndistinctly dishonest if they do not put this fact before the others. &\nWe have spoken of National Theatres as being frauds, but there is no reason why the\nEnglish National Theatre should court so undesirable a reputation. It could outline its\nprogramme.... its artistic programme. It could clearly announce that it is going to be a\n\nTh e Repertory\nSystem.&\nIts Artistic\nProgramme."}, {"page_pdf": 7, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.7", "debut_caractere": 23, "fin_caractere_exclue": 4094, "texte": "florid theatre, a theatre of gorgeous spectacle for which Shakespeare is the excuse, and it\ncould announce that it would request Mr Beerbohm Tree to shed the light of his spectacular\ntalent in this direction. Or it could announce that it is going to be a trite and somewhat\npedantic theatre, and it could announce that it has requested Mr Poel to bring to it this\natmosphere. Or it could announce that it is going to be a theatre of experiment in art and\nsocialism, and that it is going to ask Mr Granville Barker, Mr William Archer and Mr\nBernard Shaw to try their hands upon it. Or it could announce that the spirit of this\ntheatre is to be that inaugurated by Messrs Pinero and Jones in the Eighties. Any of these\nprogrammes are, we suppose, strong and pure enough to receive support. But if it makes no\nannouncement as to its artistic programme, no one interested in the art will know what it\nis they are asked to support. If, on the other hand, all these things are going to be mixed\ntogether, we shall know quite well that we cannot support it at all.\n& The National Theatres abroad have no artistic programmes whatever. The auditoriums of\nthe theatres are generally very dangerous places full of twisting passages and long staircases.,.,\ndeathtraps in the event of fire; yet these theatres serve the excellent purpose of a good\nshow room for pretty dresses and the surplus wealth of the upper classes. &\n<£? Still there is no need for this in London, for we already have many such theatres. We have\nCovent Garden Theatre, Drury Lane Theatre, His Majesty's Theatre; we have the \"Alhambra\"\nwe have the \" Empire \" and we have the \" Paiace. \"(1) JZ? &\nThese six theatres are all handsome and spacious buildings such as are seldom met with\nabroad, unless we go to the Scala in Milan or to some of the theatres in North and South\nAmerica; and yet, in spite of not possessing such vast theatres as we do in London, the\ndrama and the stage in Germany and Russia is in a far better condition. The truth is that\na National Theatre is not wanted in England. Perhaps even a Municipal Theatre is not\nneeded, but if there is a question as to which of the two is more desirable, the Municipal is,\nwithout question, the theatre to support. It was this theatre which Sir Henry Irving\nspoke up for in the latter years of his life. & & & &\nIf the works of Shakespeare are looked upon as means of quickening the patriotism of\nthe English nation, then a Municipal Theatre is again, for this reason, the only one to\nsupport. But it would be a cruel thing to go round the country to Manchester, to Liverpool,\nto Birmingham, to Bristol and the other cities, taking money from those towns in order to\nerect a gilded box of a place in London, so that London may benefit and the other cities\ngo hang. Perhaps it is that London needs reminding of its patriotism more than these other\ncities; but were we the Mayor and Corporation of the cities above mentioned we should\nmost earnestly recommend our citizens to have nothing to do with supporting the theatre\nof London, which London itself could not support. The idea is preposterous. &\nIn Germany, when Munchen wants its State Theatre, Munchen alone pays for that theatre.\nIn Dresden, if they want such a theatre that town pays for it. In Berlin it is the same, and\nso with all the great cities in Europe. It is only in London, the richest city in the world,\nthat they send round the hat to the poor provincial cousins, promising them a free pass at\nthe earliest opportunity. London used not to be so stingy once upon a time. /£?\n\nNatio 11 a 1\nTheatres\nAbroad .\nNot wanted\nin England.\nA M n nicipal\nTheatre.\nA stingy city.\n(1) It Is needless to remind anyone that the \" Paiace \" was born under the title of the \" English Opera House \" and had\nnot only the name of a celebrated composer to give it up-to-date interest, but was lucky in being able to call that man a\nman of talent If not genius. Arthur Sullivan, the inimitable creator of \" The Mikado \" and \" H. M. S. Pinafore \" should\nhave surely won the support of the English nation.\n\nA. C."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c006", "article_bluemountain": "bmtnaau_1909-02_01#c006", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "226", "page_fin": "231", "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=bmtnaau190902-01.2.4", "titre_corps": "VENETIAN COSTUME : TRANSLATED FROM THE BOOK OF CESARE VECELLIO", "titre_sommaire": "VENETIAN COSTUME : TRANSLATED FROM THE BOOK OF CESARE VECELLIO", "signature_source": "D. Nevile Lees ; CESARE VECELLIO ; Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.7", "debut_caractere": 4096, "fin_caractere_exclue": 4543, "texte": "VENETIAN COSTUME\nTRANSLATED FROM THE BOOK OF CESARE VECELLIO\nby D. Nevile Lees & with an Introductory Note\nby Allen Carrie.\n\ngn the year 1590 there was published at Venice a book with the title, \" Degli Abiti antichi\ne moderni di diverse parti del mondo, libri fatti da Cesare Vecellio \", and it is from this\nbook of the \" costumes ancient and modern of divers parts of the world \" that the following\ndesigns with their descriptive text are taken."}, {"page_pdf": 8, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 2857, "texte": "& Its author, Cesare Vecellio, came of a family of painters, of whom the greatest was Titian,\nand, we learn from the meagre records of his life which survive, was himself a painter of\nno mean order. His paintings, however, have been forgotten, it is as an engraver that\nhe is remembered, and,\nliving in Venice, at that\ntime the port to which\nships of all nations\ngathered, he had there\nample opportunity for\nstudying those costumes\nupon the reproduction\nof which his fame rests.\nThese designs, executed\nwith skill and spirit, and\ninvaluable for their careful\ndetail, were reprinted\nsome years later, when, to\ngive the work greater\nimportance by the union\nwith a more celebrated\nname, the drawing of the\nfigures was attributed to\nTitian, and Cesare, the\nengraver, was described\nas the brother of that\npainter. This however is\nincorrect, Cesare being a\nmember of another branch\nof the same family and also\nbeing too young for this\nrelationship.\nAlthough it is by this\nbook of costume that\nCesare is best known, he\nalso published another volume of engravings under the title, \" Corona delle nobili e vertuose\ndonne, nella quale si dimostra in varii disegni tutte le sorti di punti tagliati, punti in aria,\na reticella, e d'ogni altra sorte, cosi per fregi come per merli e rosette\".\nVecellio has constantly been referred to by Mr E. W. Godwin in his articles reissued in\nThe Mask upon the Merchant of Venice, which appeared first in The Architect in 1875 and\nhave been reprinted in The Mask. & & &\nThis book is invaluable to the student. To him every button, every feather is of profound\nimportance. When he knows the grammar of costume he begins to be conscious of the\nvoice of clothes: then later he can show us the poetry of apparel.\n& This is a charming life indeed, where even the widows' weeds are woven of poetry.... a\nwonderful and awe-inspiring existence this, wherein no man dare venture to escape from\nPoetry without fear af his life. \" A stitch in time saves nine \", boys,... and the eye of a\nneedle has been known to be the pass-door to many mysteries. Study costume therefore\nso that you may be gaily caparisoned when the curtain rises. Do not try and be symbolical\nin your stage costume, but drink in the beauty of apparel and every collar and cuff worn\nby you will then become a member of your soul, stiffening or drooping to your will,\nblanching or colouring to your thought,\n& There is a psychology in apparel, but do not attempt to reveal to us the nature of men\nand beasts by the use of costume. Gods and the soul alone possess the secret of apparel.\nDress should not cover but reveal the soul. Men and beasts have no souls worth revealing.\nBeasts know this: men, alas, do not. The elephant or the monkey jjacketted in crimson\nand gold lace is the parody of mortality. Dyonisus in vine leaves and the panther's skin\nthe triumph of divinity."}, {"page_pdf": 8, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.8", "debut_caractere": 2878, "fin_caractere_exclue": 2943, "texte": "An Incorrect\nStatement.\nThe stude ut.\nA psychology\nin ap pa rel #"}, {"page_pdf": 9, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 4277, "texte": "Y O U N G VENETIAN N O B E E S . & & & &\nUp to the ages of fifteen or twenty the noble Venetian youths wear a short robe,\nputting on after that age the long gown with elbow sleeves, because the toga greatly\nrestrains youthful pride and conduces to gravity and modesty. &\n& In as much as it has been already said~that this long gown of the nobles is also used by\ncitizens, doctors, merchants and others, I must here add that when the Prince goes forth from\nhis palace, the secretaries who accompany him wear such a robe of purple with a black stole.\n& But to describe the youths' costume. & &\n& Under the robe they usually wear doublets and what are called 44 braghesse \" or hose,\nof greyish colour for the most part, although some delight in purple and other colours,\nand their clothes are of silk and very fine. *& & &\nThey wear those colours, however, as much covered as possible from a certain modesty\npeculiar to that Republic.\nNOBEES AND OTHER WEEE-TO-DO PERSONS IN INDOOR COSTUME.\n& Nobles and other Well-to-do Persons in Indoor Costume.\nSomething has been said above about the costume for the home and here more clearly\none must state that, on reaching home, they doff the costume described by us, and put on\nrobes either 44 alia Pretina \" or 44 alia Romana \" as they are called; the former have a small\ncollar somewhat round in form while the latter have it larger, hanging lower behind, but\nalmost square in form, The robes are likewise long, reaching to the ground, like those\nworn out of doors.^\nThese collars that we speak of are lined according to the season like the rest of the dress\nwith the same furs or indoor silks as are suitable for the cold or for the heat. &\nIn the fur linings of these robes one observes not only a variety conformable to the\nweather but also the variety of beasts of greater or less value according to the means of\neach person. These robes have the sleeves cut at the elbow, both lengthways and across and\nthus one puts out the arm, letting the rest hang down for show and grandeur. The robes\nare all open in front, but they are girded, one face folding over the other if 44 alia Ro-\nmana; \" the others, 44 alia pretina \" are not usually folded over in that way, but fasten with\nbuttons at least down to where they are girded; and instead of the 44 berretta, \" or cap the\ngreater number of nobles in summer wear certain long caps of pointed form made of shot\nsilk or of some other light stuff either black or of some colour. & &\n& COSTUME OF NOBEES IN THE WINTER SEASON. & & & &\nAbout the beginning of November, according as the cold begins to make itself felt\nearlier or later, the old men lay aside the robe lined with shot silk which is worn loose,\nand don one lined with 44 pelli di vari\" (i) skins; this is girded with a velvet belt, which as is\ndescribed elsewhere, is two fingers wide and has silver clasps. &\nBut as these furs are somewhat light, when the cold increases, instead of the pelli di vari\nthey line the robes with squirrel skins, which are heavier furs and give greater warmth.\n& These they wear until the season begins to grow mild and the cold to diminish and then\nthey take anew the 44 pelli di vari \" which they wear until the heat obliges them to leave\nthem off and assume again the other robes lined with shot silk, which, as has been said,\nthey all wear loose.\n& AH these, which are for out-door wear, are fastened at the throat, but those that they\nwear in the house have turned back collars and from these are called 44 alia Romana. \" &\nNor, however great may be the cold, are they accustomed to wear on their heads any other\ncap than that of cloth, to which some of the more aged add a little embroidered silk cap\nwhich they wear underneath.\n& VENETIAN CITIZENS OR MERCHANTS IN SORIA &\nJt was the custom in ancient times in Soria and neighbouring places for the citizens of\nVenice to devote themselves more to traffic in merchandise than they do at the present\ntime. Hence these places were then full of royal merchants, (2) who for the most part went\n\n(1) A valo Is a small animal resembling- a squirrel.\n(2) \" How doth that royal merchant good Antonio '* Mer. of Ven. Act ill Scene 2.\n\" Enow to weigh a royal merchant down. \" Mer. of Ven. Act IV. Scene I.\n\nYoiiug Nobles,\nIndoor costume.\nWinter Costume."}, {"page_pdf": 11, "page_imprimee": "230", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.11", "debut_caractere": 19, "fin_caractere_exclue": 2139, "texte": "dressed in a doublet of black velvet or of crimson satin, embroidered in colours, and\nwithout collar. They wore red, black or purple stockings, with velvet shoes. The robe was\ncut in the fashion here shown, with long sleeves lined with velvet or satin, without collar,\nbut with a breast piece (pettorale) which covered the opening and was tied under the arms,\nwith silk strings. /&<&&&<&\n& They wore a gathered shirt which continued in use for a long time in Italy, and the\nfrills were visible above the breastpiece. &&&&&&&\n& The fashion for long hose (calze alia martingala) and velvet shoes flourished about this\ntime, and beneath the robe was worn a belt with fittings of silver to which knives were\nattached by means of silver chains. &\n& La forma delle calze alia martingala era questa, che dalla parte di dietro si lasciano\naperte come quelle de' fanciulli: ma nelia coscia era cuccito un pezzo di panno tanto grande\nche bastasse a coprire tutta quella apertura, il quale s'allacciano poi con una stringa all'al-\ntra coscia, e rimaneva tanto ben congegnato, che pareva il fondo delle brache fatto a posta.\nEra cluesta portatura assai commoda, come ciascuno si puo imaginare: perehe sfibbiata\nquella stringa, cadeva giu quel pezzo di panno, & lasciava I'huomo libero alle sue commodity,\nrimanendo tuttavia le calze allacciate al giubbone.\n& VENETIAN WOMEN ABOUT THE YEAR i 530. & & & & <&\n& It is about sixty years since the Venetian women began te renew the fashion of frames\nof copper covered with coifs made of gold net adorned with various and rich ornaments of\npearls and other gems. The boddice in those days come over the hips without any point,\nloose and unstiffened and decorated with gold chains. It is true that in those days the\nVenetian nobility did not possess so large a quantity of pearls as at present, but instead\nthey enriched their boddices and gowns with gold trimmings and wore long sleeves, both\nwide and slashed. & The dresses did not reach to the ground in front but trailed behind.\nThey wore a sable skin fastened to a gold chain, and the fur itself was decorated with a\n\nVenetian\nWomen ."}, {"page_pdf": 12, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.12", "debut_caractere": 19, "fin_caractere_exclue": 3062, "texte": "gold clasp: this fur they put about their shoulders, wearing in addition but a few ornaments\nround the neck.\nThe frills of the chemisette were not very full nor very high, the hair was worn loose\nand natural and the sleeves of a different colour from the dress which was usually purple\nor crimson. &\nThe stockings, again, were of another colour, and the slippers, which in Venice they\ncall \" zoccoli \" (i) were low, and in colour turquoise blue or red. Some wore those of\ndifferent colours and chequered. On their heads they wore a black veil of transparent silk,\nwhich covered the face as is seen in the picture, the which costume is similar to that which\none sees sometimes worn by the women of Burano. & & & & &\nMODERN SENATORS AND CAVALIERS OF THE CITY OF VENICE 1590.\n& The Senators and Cavaliers of our time wear the Ducal robe with the sleeves large and\nopen. They do not wear a robe of gold, from a certain reverence towards the Prince, but\non certain occasions they wear the stole of gold brocade. (3)\n& The robe is of plain black velvet, and the stockings and the slippers red. In the winter\ntime the robes are lined with the finest furs, very costly, such as marten, sable, lynx and\nthe like; in summer robes of the same shape with the open sleeves being used, but of\nlighter material and lined with shot silk (ormesino) (3) This same ample robe is worn also\nby those who from time to time are elected to certain offices, being retained by them only\nfor so long as they continue to hold these offices. Those who may wear it continually are\nonly the Cavaliers, the Procurators (4) and those others who have been great sages or\ncouncellors. The colour generally adopted by these is purple. & & & &\nThis same robe is also worn by those who are sent out as Rulers to the most noble and\nimportant cities, but after their rule is ended, they lay it aside if they have not obtained\nor formerly held one of the aforesaid positions which give them the right to wear it.\n\n(1) Vecellio speaks in this case of the zoccoli being low, but this was rather the exception than the rule. Many shoes\nof tne period which may still be seen raise the wehrer even so much as 40 ctms from the ground.\n(2) The stole falls across the left shoulder and in the accompanying engraving is made of the same stuff as the robe. It\nreaches just below the knee.\n(3) ormesino \"so called from the city of Ormus whence it was first brought to Europe.\n(4) The office of the 44 Procurator! di San Marco \" originated in the 12 th ventury when three were chosen, (there\nnaving been originally only one), to administer the bequests of the Doge Ziani to the poor, and to the Church of St Mark.\nTheir numoer was afterwards iucreased to six, and in 1442 to nine, which number was mairtained until the fall of the\nRepublic. In office they ranked immediately after the Doge, and were usually members of Patrician families, who had\ndistinguished themselves in the service of Venice as generals or ambassadors. At an early period the Doge himself was\noften selected from among them."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c007", "article_bluemountain": "bmtnaau_1909-02_01#c007", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "227", "page_fin": "227", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.4.1", "titre_corps": "CORTE DEL PALAZZO DVCALE DI VENETIA", "titre_sommaire": "CORTE DEL PALAZZO DVCALE DI VENETIA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.8", "debut_caractere": 2945, "fin_caractere_exclue": 3336, "texte": "It is useless to study costume without regard to the place in which it has been worn,\nyet how many costume books are there with innumerable examples of costumes without\nits necessarry architectural background. Costume is the fringe of Architecture.\nVecellio seems to have realised this aud has placed several engravings to serve as\nbackgrounds for his costume. The above cut is one of these."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c014", "article_bluemountain": "bmtnaau_1909-02_01#c014", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "231", "page_fin": "231", "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=bmtnaau190902-01.2.4.8", "titre_corps": "Venetiarum ciuitas : Design from W. Rolewinck fasciculus temporum, 24 Nov. 1480", "titre_sommaire": "Venetiarum ciuitas : Design from W. Rolewinck fasciculus temporum, 24 Nov. 1480", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.12", "debut_caractere": 3064, "fin_caractere_exclue": 3123, "texte": "Design from W. Rolewinck fasciculus temporum, 24 Nov. 1480."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c015", "article_bluemountain": "bmtnaau_1909-02_01#c015", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "231", "page_fin": "231", "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=bmtnaau190902-01.2.5", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "CARLYLE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.12", "debut_caractere": 3125, "fin_caractere_exclue": 3355, "texte": "CARLYLE.\n44 |t is in and through Symbols that man, consciously or unconsciously, lives, works, and\nhas his being; those ages, moreover, are accounted the noblest which can the best recognise\nsymbolical worth, and prize it highest."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c017", "article_bluemountain": "bmtnaau_1909-02_01#c017", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "232", "page_fin": "234", "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=bmtnaau190902-01.2.6", "titre_corps": "THE WHITE FAN : An Interlude", "titre_sommaire": "THE WHITE FAN : An Interlude", "signature_source": "Hugo Von Hofmansthal ; Maurice Magnus", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "232", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 3818, "texte": "THE WHITE FAN\nAn Interlude:\nby Hugo Von Hofmansthal.\nTranslated by Maurice Magnus.\nThe Prologue\nNow, mark you! gentlemen and ladies fair:\nHere is a play that hath not greater weight\nThan merest thistledown. A play in meaning\nthis:\nThat Youth doth love to toy with great and\nmighty words\nAnd yet is weak, so weak it hardly can defy\nA single atom of reality.\nAnd as the flying shuttlescock in childhood\ngame\nIs like unto a bird in flight: so this play\nResembles life. Think not real life it doth\npretend to be\nThough to the inexperienced eye it seemingly\nMay something of its semblance borrow.\nDramatis Personae\nMiranda\nFortunio\nLivio, his friend\nGrandmother of Fortunio\nA mulatto female servant of Miranda.\nA white female servant of Miranda.\nScene: Before the entrance of a ceme=\ntery in the neighborhood of the capital of\na West Indian Island. f\nCostumes of the period of about 1820 to 1830.\n(The left side and the background are\nformed by a blossoming hedge which sur=\nrounds the cemetery. It has entrances in\nseveral places. Behind the hedge are small\nmounds, with pathways, and here and there\na cypress tree. To the left in the fore\nground a single grave only can be seen very\ndistinctly. It is covered with blossoming\nbriar-roses). Fortunio and his friend enter\nfrom the right.\nlivio. &\nAt times I fain would wonder when I think\nThat thou, so young, but little older than myself\nCan teach me things so great in number that,\nmethinks,\nThere's naught which is unknown to thee.\nFORTUNIO. &\nI know so very little, though I have glanced\nAt many things which deeply lie. Have realized\nThat life is nothing but a shadow play.\nLook at it lightly with your eyes\nThen will you find it bearalbe. But clings to it\nAnd as you hold it tightly clasped it is\ndispersed.\nThe shadow of a cloud which moves\nUpon the surface of a flowing river is not\na lesser thing\nThan that which we call life. Honor and riches\nAre pleasant dreams at break of day.\nOf all the words that have no sense „ Pos-\nsession „ means\nThe least. Invented by some teacher in a school\nWho thought, mayhap, that every word\nShould contrast bear, like black to white,\nIt thus was made, because to be possessed\nIs something that is real.\n& L i v i o . &\nThou knowest life full well, and even formerly\nDidst teach me much. So must thou then\nAdapt thyself, clinging to this grave\nStronger and most persistent than an ivy\nclings.\n& FORTUNIO.\nBut such is my desire. I would be better\nThan this play of shadows, in which the role\nOf widower fell to me. And though but young,\nWith so much faith I'll play my part,\nWith much bitter earnestness... Each of us\ncan his fate\nEnnoble or demean. Stamped\nIs no thing with its worth. As we our selves\nDo make it, thus shall it be found. From\nstupid ones and fools\nEverything runs off like water. Inward worth\nDoth therein lie, and as you take is proved\nthereby.\nL I V I O . &\nAnd yet thou hast told me more than once\nIt is not seemly that in joy or sorrow\nWe should let our hands rest idly. Doing\nAnd'thinking, thou hast said, they are the roots\nOf life. And it is therefore fitting to rest\nFrom thinking, in doing, from doing, in\nthinking.\nYet with contempt thou showest thy interest\nIn affairs that are but human. And yet thou\nknowest\nThis is the pathway which leadeth to all doing.\nFORTUNIO.\nDo I not act thus,\nAnd do I treat my servants with contempt?\nAm I not\nSince this great sorrow hath befallen me\nOf all the noblemen on this fair island\nA good master? Question my white servants,\nQuestion the colored ones on my estates!\nDo I notfind pleasure, sweet friend, with thee?\nMy second, dearer, cloudless self?\nSo let me to this grave then wend my way.\nIt robs me not, dear friend, of thee: it only takes\nThe place that otherwise is held by her.\n& L I V I O. &\nBut thus it is, thou shouldst not treat life\nWith so much wilfulness"}, {"page_pdf": 14, "page_imprimee": "233", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 4239, "texte": "& FORTUNIO.\nPeace, dear friend.\nDost thou not know that there must be that\nCertain spice... the only one which faileth not\nWhen added to the cup of love\nTo make the charm complete.\n& LIVIO.\n1 knoweth not what thou dost mean.\n& FORTUNIO. &\nMystery is its name, else a woman may\nBeautiful or ugly, imperious or vulgar be.\nIf child, or Messaline—that matters not\nIf she but be mysterious.\nElse she is nothing. They who are\nWithout mystery are flat beyond all words\n(Not without significance but unintentionally)\nExperiences in one's boyhood,\nChildish, half-forgotten, which like grapes\nLeft hanging on the vine soon shrink\nAnd wither, they are not so much without\nmystery,\nNot so entirely without the charm of that\nWhich I before me see in all such possibilities.\nDo not speak, I pray thee....\n(He stands before the grave, separated\nonly from it by the hedge)\nMystery lies here. Here lies my secret.\nAnd if I thought unto death never should I\nexhaust its depths.\nThou didst know her, and yet thou speakest.\nLIVIO. &\nShe was very beautiful, she was like a child.\n& FORTUNIO £>\nShe was like a child, and like a child\nA new-born wonder came with every step.\nWhen I and thou wouldst speak, Livio, we\nexchange\nBut much-used signs.\nFrom her lips came all words\nJust like new forms, whose hue had not been\ntouched,\nAs laden with a special meaning\nWith open candid eyes she stood\nAnd honoured everything according to its\nworth\nMore just than any mirror. Never was there\nPain with laughter where laughter was not\nreal,\nOr came from her most inner, clear, and well-\nlike soul.\nGiving herself like a flower unto the wind\nBecause she knew of nothing different, and\nuntouched,\nEven untouchable, wanting no shame\nBecause shame is the child of some discordance\nAnd she—she was so thoroughly with herself\nat peace.\nHad I a child of hers, it may be I could bear\nher loss\nAnd come but once a year unto this mound;\nBut remembrance now is all that's left to me.\n(The grandmother and her servant enter from\nthe background, coming from the cemetery.\nShe is an old but beautiful woman; she wears\na long dress made of gold material into which\nblack flowers are woven; she leans on a stick.\nThe negro follows carrying her parasol and\nher fan).\n& THE GRANDMOTHER.\nFortunio!\nFORTUNIO.\nGrandmother, why are you here?\nTHE GRANDMOTHER.\nWhat a question to ask me I Under the nearest\ncypress tree is your father's my son's\ngrave. And under the second nearest cypress\nis your grandfather's—my husband's graVe.\nWithin those graves, on whose stones you\ncan hardly read the names, lie my friends.\nI have more graves here which concern me\nthan you have teeth in your head.\n& FORTUNIO. &\nI have only one grave here, but for me it is\nenough\n& THE GRANDMOTHER. &\nYour wife was but a child. Even now she\nwill be playing with the innocent children\nof Bethlehem in Paradise. Go home,\n& FORTUNIO. &\n(Is silent, and shakes his head)\n& THE GRANDMOTHER.\nWho is the young gentleman there?\nFORTUNIO. &\nMy friend. His name is Livio and he is of the\nhouse of Cisneros.\nTHE GRANDMOTHER. &\n1 have known your grandmother, Sennor.\nShe was three years younger than I, and\nmuch more beautiful. I was once very jealous\nof her.—He has beautiful eyes. When he is\nangry they must be quite dark. Just so were\nthe eyes of his grandmother.—What kind of\nbirds are those, Sennor?\nLIVIO, &\n® believe they are larks, my lady.\n& THE GRANDMOTHER.\n(With slight but dignified contempt)\nNo, Sennor, they are titmice. Larks never sit\non rushes, Larks either fly very high in the\nair, or they sit on the ground between clods\nof earth. Larks never sit on rushes. A mule is\nnot a thoroughbred steed, and a hummingbird\nis not a butterfly. Your eyes are very beautiful\nbut you have them for nothing in your head.\nWhat sort of young people are these? They\nhave spurs on their feet, and wander about\nhere clinging to tombstones, Dress such as\nmine belongs to a place like this—a dress to\nwhich the dead leaves cling and which sweeps\nthe paths clean. Let the dead bury their\ndead. Why do you stand here and lower your\npretty young voices and whisper like nuns\nat a gate? Come, Fortunio, let us go home.\nI will take supper at your house.\n& FORTUNIO. &\nNo, grandmother. I would remain here. Come\nand dine at my house tomorrow."}, {"page_pdf": 15, "page_imprimee": "234", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4278, "texte": "THE GRANDMOTHER.\nHow old are you, Fortunio?\nFORTUNIO. &\nAlmost four and twenty, grandmother.\nTHE GRANDMOTHER. &\nYou are a child, and this excessive mourning\nis out of place for you. Just as if one would\nplant a cypress tree in a small earthen jar\nfilled only with loose earth.\n& FORTUNIO. &\nHow strongly one may mourn a loss is not\nin accordance with one's age, but with the\ngreatness of the loss.\nTHE GRANDMOTHER.\nI was a year older than you are now when\n1 became your grandfather's wife. You know\nI was before that married to another. They\nbrought the body of my husband home to me\none day while I was awaiting his return to\ndinner, and on the same day I saw the dead\nbodies of my two brothers,\nL i v I O. «£>\n(Looks at her)\n& THE GRANDMOTHER.\nIt was in May, f eventeen hundred and seventy®\nfive, Sennor,\n& FORTUNIO. &\nI have no child from her Nothing! When they\ncarried her coffin away they carried everything\naway.\n& THE GRANDMOTHER. &■\n•\nYour grandfather and I, we were banished\nfor ten years. When the ship was taking us\naway we stood gazing with dry eyes at the\nshore as long as we could see it. All at once\nthe last peak of the hills sank into the golden®\ncoloured sea, like a heavy dark coffin. We\nwere beggars. We were poorer than beggers,\nfor we did not even have our names. And\nthere in that stone sarcophagus was our a11...\nOur parents, our children, our houses, our\nnames.... we were but shadows!\n& FORTUNIO.\nShe was the most innocent little creature in\nthe world. Why did she have to die?\nTHE GRANDMOTHER. £?\nI have seen young women of the first families\nin the land sell their honour to some wretc\nin order to save their husbands from the\ngallows and their children from starvation\nYou have experienced but little, Fortunio.\nFORTUNIO £>\n(silent)\n& THE GRAND MOT HE R.\nI have experienced much. 1 know that Death\nis ever present. He is always walking around\nus even if we do not see him. He is forever\nlurking somewhere in the shadow strangling\na small bird, or breaking a withered leaf\nfrom a tree. I have seen dreadful things. But\nin spite of all that, 1 love life, and will always\nlove it more. I even feel it where I never\nfelt it before—ln the stones on the ground,\nin the large heavy cattle with their gentle-\nlooking eyes. Go, go, you will yet learn to\nlove life.\nFORTUNIO. &\nI do not know, grandmother.\nTHE GRANDMOTHER.\n(Turning away from him to her servant)\nDomingo, give me the food for the birds. Not\nthat; that they do not like, but these small\nseeds. Give me these.\n(She feeds a flock of small birds)\nPause\nTHE GRANDMOTHER.\nThere! (All of a sudden the birds fly away)\nHave you heard it?\n«£* L I V I 0.\nit was like the crying of a little child.\nFORTUNIO &\nIt must have been a bird.\n<£? THE GRANDMOTHER.\nA bird! So you have never heard that sound\nin your life? It was a young rabbit which\nhas been caught by a weasel. What have you\ndone with the years of your boyhood that\nyou do not know that? At that time the\nlittle silk shoes of your cousin Miranda were\nof more interest to you than the track of a\nstag on the forest's edge. It was more to you\nto touch her dress when you were playing\nball than to have your forehead brushed by\nthe damp rustling branches of the trees at a\nstag hunt. So you early robbed yourself of\nthat which ought to have belonged to you\nlater, and that which you missed then you\nwill never be able to recover. What an\nobstinate thing youth is, like the cuckoo\nwhich throws out of other nests the eggs\nwhich belong in them in order to make a\nplace for its own. There is something about\nyou young people which can easily make one\nvery impatient. You are like an actor who\nimprovises and who does not pay attention\nto the cues: Later on all that will change.\nEverything that you have in your head is\nold-fashioned. Leave it alone, Fortunio. Do\nyou want to come along now?\n& FORTUNIO. &\nNo, 1 would rather stay here,\n£> THE GRANDMOTHER. &\nThen, come along with me, Sennor. I believe\nyou will find that an old woman is less a\nbore than this young gentleman. I will tell\nyou a story. What kind would you like to\nhear? A love story or a story of the chase?\n(Livio gives her his arm. They go away, the\nservant following).\nlivio.\nFarewell, Fortunio.\nFORTUNIO. &\nGood night.\n(They disappear behind the trees to the right)\n(To be continued)"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c018", "article_bluemountain": "bmtnaau_1909-02_01#c018", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "235", "page_fin": "242", "image_debut": 16, "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=bmtnaau190902-01.2.7", "titre_corps": "TWO THEATRES", "titre_sommaire": "TWO THEATRES", "signature_source": "León de Schildenfeld Schiller", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 4821, "texte": "TWO THEATRES\nby Leon de\nSchildenfeld Schiller.\n(concluded).\n<£? But already the hands of the sun on the heavenly dial are pointing to the hour at which\nall .good Christians should drink wine. The scene is changed and, transported as by miracle,\nthe spectators find themselves at the \" Garter Inn \" famous for its lively girls, easy credit\nand sack. Of the host himself most improbable tales go about in the land of tipsters. He is\nsaid to be so hospitable that his winecellar for 4< The blessed who thirst \" stands open, whereas\nthe garden gate, for those who are desirious of escaping by stealth, is always kept closed.\nSomething is also whispered of the miracles that take place in this good hostel. Once\nit was seen how a tapster changed wine into water, diluting it in a mystic way—another\ntime it was remarked that master innkeeper could with one stroke of the chalk double\nthe number of empty tumblers. But who believes in such miracles in our times—consequently\nthe \" Garter Inn \" is always brimming with life, and the red noses and august stomachs\nof its customers are the best evidences of the miraculous effects of the host's healing cordials.\nHallo! is there a kermess, worthy host, that there is such a swarm today in your tavern?\n—But it is true, we must not forget that, in the calender of these distinguished cavaliers\nthere are as many highways as there are days in the year—and drinking days, lightly\ncounting, at least twice as many. Let us enter, gentlemen—l suppose we shall find a worthy\ncompany here—and then good host, be so kind as to make us acquainted with them,\nrecommending us as not of the worst winebibbers. &\nHere seated on the royal chair is \" rex bibendi \" Sir John Falstaff, having graced his\nhead with stag's antlers. In his hand he has taken the heavy tankard which he is accustomed\nto empty at one draught. At his side stand Masters Nym, Pistol and Bardolph, simulating,\nwith clenched fists, the trumpets of the heralds. \" Silence! le roi boit! \" and when doctors\nskilled in the science of drink declared that not a drop remained at the bottoms of the\nglasses, when the cheeks of the gracious lord had become bloated, his nose violet, his eyes\nfilled with tears and his hair began to smoke, there was a cry of: Vivat! and in the same\nmoment a salvo was sent off, not from mortars but from broken tumblers. <£? &\nAnd now his highness, as is his custom, will begin to tell stories, very curious, and to\nwhich you must give creed, for they are very gay, and very peppery, He will relate of how\nhe had drunk with princes, of how, for him the Windsor ladies had scratched out each\nothers eyes, and of how the sylphs had pinched his calves, on a certain moonlight night in\nWindsor Forest. But look at that loon who has fallen from the bench and is snoring,\nindifferent even to the rude tales. That is Christopher Sly, old Sly's son of Burtonheath, by\nbirth a pedlar, by education a card-maker, by transmutation a bear-herd, and now by present\nprofession a \" tinker \" a frequenter of \" Marian Haeket the fatale wife of Windsor \" and who,\nhaving lost credit with her has taken shelter under the friendly thatch of the \" Garter Inn. \"\nAnd who is that saucy fellow who makes so bold as to pat the king himself on his most\nserene stomach, and in presence of his monarchal nonsense, to boast of his own adventures.\nThat is \" Miles Gloriosus \" Monsieur Parolles mentor to Bertram, Count of Rousillon. Look\nhow he puffs himself up relating about that famous expedition in search of the lost drum,\nand of how cunningly he extricated himself from oppression, when caught by the soldiers\nof the Muskos' regiment. This good-for-nothing threw up the courtier's life and set off\nroving, thinking to himself that \" there's place and means for every man alive \" and as all\nroads lead to the inn, took up his lodgings at this asylum for vagabonds. & &\nNow glance at this merry trio composed of Sir Toby Belch, Sir Andrew Aguecheek and the fool.\nLook, the equally intrepid knight as mannerly gallant, Sir Andrew, has jumped on the\ntable and excels himself in a galliard, in the dancing of which he is famed in all Illyria.\nLook how he kicks about with his thin shanks—the whole table is shaking with laughter.\n& This well chosen company has fled from the puritanism infested palace of Olivia, and has\npitched its tents here, finding every night that \" tis too late to go to bed \" for it was utterly\nimpossible to live among people so conceited as was Malvolio who thought that \" because\nhe was virtuous there shall be no more cakes and ale. \"\nAh! here is also Autolycus, excourtier of the Bohemian Prince, Florizel,... a casual pickpocket...\nsee how cleverly he simulates a pedfer. To the girls he recommends bugles, ribbons and spangles;\n\nThe Garter Inn.\n\" Rex bibendi \"\nParolles\nA merry trio\nAntol i c it s"}, {"page_pdf": 17, "page_imprimee": "236", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.17", "debut_caractere": 14, "fin_caractere_exclue": 4693, "texte": "for the young men he has \" ballads very pitiful and as true \" and \" merry but very pretty ones.\"\n& I should be ready to swear that he is planning some knavery for his foxy eyes are burning\nwith an evil Fire.\nBut who the deuce are those gentlemen in variegated garb and with masks on their faces ?\nWhy are they sitting apart with the miens of conspirators or wandering jugglers? Methinks\nthey do not belong to this society, since they are carrying on between themselves a conver-\nsation in a foreign language on an entirely different subject than the court of King Falstaff.\nWhat? Do you not recognise them? You must have met them on your travels, somewhere\nin the lanes of Bergamo, Bologna or Venice, But since you do not know them, 1 must\nintroduce you to these worthies.\nThis cavalier here in a toga of the times of merry King Francis the First, adorned with\nan immense rabbit tuft, with his face half hidden by a black mask from beneath which projects\na stiff black beard, in garments cunningly made of patches of red, yellow and blue cloth,\nproudly brandishing his wooden sword.... that is Signor Harlequino. Such a world-rover\nas the world has never seen. & &\nJZ? He has been everything by turns. Servant to some scrapepenny, bar-man, warrior,\ncomedian, rope-dancer.... he has humbly served stupid but rich lordlings... he has courted the\nmaids.... and sometimes even, when ktired of these occupations, has donned the Marquis\nSbrufadel's satin garments and repaired to some court or other to try for the hand of some\nIsabella. There he gave rein to his fantasy, which was as many coloured as his dress,\ntelling the ladies, a second Boccaccio, as it were, fables about himself and of his ancestors.\nFor instance, he related that his protoplast had been court sausagemaker to the Emperor\nNero, who simply devoured these true master-pie pieces. His father is said to have been\nCaptain Fregocola, married to a certain Miss Castagna, a maiden of such lively tempera-\nment, that, in less than two months, she presented him with a son. Fregocola was excessively\npolite; in the day he took off his hat to everybody, but in the night he took from everybody\nnot only his hat, but also his cloak. & &\nNot for long however did our gallant play the part of Sbrufadel; the merciless thrashing\nhe received after each masquerade generally threw him into the open arms of Colombine\nthe faithless wife of white Pedrolino.\nThat fellow at his side is Harlequin's full brother, as like to him as the peas in apod:\nSignor Truffaldino.\nFrom his own tales however it could be concluded that he is descended from another\nfamily because he has come out of a foundling hospital, ergo: it is very probable that he\nbe a king's son. They wanted to teach him to write and read, but his royal highness would\nnot for all the world agree to such a thing, and in a fury dashed to pieces the head of\nthe Magister who had dared to do such a dishonour to his majesty. & & &\n& After this celebrated deed the unfortunate Prince Royal fled before the clubs of the\nservants of justice, and thanks to his heroism became a beggar. By a strange disposition\nof fate he found himself in slavery among the Turks, who had bought him dearly, but beyond\nthat.... sold him cheaply.\nThat other two-humped rascal in a plaited cap of yellow-red green from which hang\ncock's plumes, with a black bird mask on his face with a hooked nose, in a wide jerkin,\nin trousers somewhat short and singular, of which one leg is yellow and the other red\nliberally distributing to all the caresses of his thick staff, that is Signor Pulcinella a native\nof Naples. Your worships had better not approach that scoundrel for he is a cruel godless\nman, submitting only to his own passions, a dull tippler, and an adulterer. Do not put\nfaith in his jollity. \" When he laughs be sure he has killed somebody \" (i) Look how he is\nfraternizing with Autolycus ; look how perfectly they are conversing with each other by signs.\n& Let us escape from here.,., some evil is brewing.\nNow let us go to the town.... before evening we should stand in the forum. We can already\nsee the round cupolas of the churches and the tower of the city-hall, on whose spire the\ngolden fane is glistening. Glance, companions, on the intricate flourishes engraved on the\ntown gate; it must have been no trifling art-master who adorned it. You can see here some\nmonstrous flowers strangely tied together with droll masks. But what is that?... heavens!\nThe masks' eyes are starting out of their sockets at us and they are rolling out their tongues\n\n(1) Maurice Sand, \" Masques et Bouf'fons. \"\n\nIT a rleq ii i no .\nS i g 11 or\nT ru f fsC l d i no.\nP u lei ne 11 a.\nIn the tow li."}, {"page_pdf": 18, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.18", "debut_caractere": 14, "fin_caractere_exclue": 4915, "texte": "The square.\nPe 11 ueh i o\n\nfrom their livid muzzles. Can these be human heads? Tell us, halberdiers, who keep guard\nin silence at the gate!.... Then those are the decapitated heads of dare-devils who ventured\nto court Turandotte a Princess of China, and who were punished, as an example, with a cruel\ndeath because they could not guess the sphinx riddle of the wonder-maiden... Oh! let us hide\nour eyes, gentlemen, for 1 feel that my knightly courage is deserting me, and let us go as fast\nas we can into the town;... perhaps, sporting and idling in some temple of Bacchus, we shall\nforget about this fearful picture. <£? & & & & &\nTis a wonderful town,... upon my honour it would be worth while living here. It is the\ntrue land, flowing with milk and honey for all calibres of coxcombs and parasites.\n& There are plenty of houses of merry love here, and inns in which sojourn nobles, fraternizing\nwith squires and burghers, revelling till daylight with the full-cheeked ma'm'selles. You may\nrecognise these houses by the sign-boards representing the lascivious god Priapus; by the\neverlastingly lowered gaudy blinds, and by the portly bellied tousled bawds, who, standing\non the threshold, attract the passers-by with promises of good amusement*. Then if ever thou\nart importuned by Mistress Overdone, or by any other female practising her trade enter\nfearlessly into her house, and perchance, amidst the company of freneh-crowned lewdsters\nand immodest damsels, thou wilt find,.... resembling a white lily and like her innocent....\nMarina daughter to Pericles, whom wicked pirates sold to pandars, and 1 am in hopes that\non seeing her thy mouth will not water, but thou wilt rescue her from this den of knaves.\nTis a town of towns! Song and dance follow each other here, day and night. In the square\nbefore the church are erected booths with ginger bread, demiohns of mead, and thousands\nof feminine baubles. Market tricksters distinguish themselves before the crowd of astounded\nburghers, with tight rope dancing and sword-swallowing. Unfrocked monks traffic in medals,\nscapulars and relics of the saints. The renowned quack-doctor, Baloardo from Bologna,\nhaving to add to his dignity, puts a black mask on his forehead and nose, and in a flowing toga\nrecommends at the top of his voice, clysters of his own invention, miraculous balsams\nand love philters, interlarding his orations with Latin maxims. Through the streets with\npompous steps stroll the citizens of this frolicsome borough, arm in arm with their proud dames\nin festive dress. The gentlemen in fox caps, wearing scarlet fur-lined cloaks fastened with gold\nbuttons, lean on their knotted sticks terminating in ivory knobs representing Turk's heads\nor fabulous beasts. The ladies, in canary silk crinolines, in corsets garnished with Flemish\nlace, lead, on chains, monkeys with red rumps. Princesses in powdered wigs, pass by in\ngilt coaches, with their maids-in-waiting. In small chaises, at breakneck speed, drive fashion-\nable Fops, holding glasses to their eyes so as better to inspect the rosy-cheeked daughters\nof councillors and aldermen. At the corners of the streets stand philosophers weeping and\nlaughing, scholastical wiseacres, abecedarians in night-caps trimmed with fringe, in dressing\ngowns embroidered with palms, in half boots, more holy than righteous, never taking from\ntheir mouths the long pipes terminating in bowls of burnt meerschaum. These ardent\nperipatetics explain to curious hearers, of their own good will, the mysteries of the 44 seven\nfine arts \", choking themselves from time to time with the cracklings offered them by their\npupils in lieu of payment.\n& Meanwhile from Auerbach's cave float the sounds of Mephistopheles' song:\n44 Es war einmal ein Koenig\nDer hatt' einen grossen F10h....\"\nand a chorus of student-idlers repeat the refrain of the satanical song, feasting themselves\non the fiery wine which flows from the tables as though by sorcery. &\nThe church bells are playing lively sarabands.... on the dial of the town-hall clock Death\ndances with Judas; under the windows of princesses or of daughters of niggardly Harpagons,\namorous cavaliers with empty pouches, passionately sing love stances, while their Jacks of\nall trades disguised as marquises lead the action of the character comedy. The organ in the\nchurch resounds with Haydn's 44 Ochsenmenuett.,,\nHere is Signor Petruchio of Yerona arriving for his marriage festival with the still\nuntamed shrew, on a 44 horse hipped with an old mothy saddle and stirrups of no kindred;\nbesides,possessed with the glanders and like to mose in the chine; troubled with the lampass,\ninfected with the fashions, full of wind-galls, sped with spavins, rayed with the yellows,\npast cure of the fives, stark-spoiled with the staggers, begnawn with the bots, swayed in\nthe back and shoulder shotten; near legged before \" descending from the same family as"}, {"page_pdf": 19, "page_imprimee": "238", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.19", "debut_caractere": 14, "fin_caractere_exclue": 4554, "texte": "nimble Rosinant. Like horse like rider. Signor Petruchio has on his head a new hat but\nan old ferkin, breeches thrice turned, old boots (one buckled another laced); at his side an\nold rusty sword, with a broken hilt, and chapeless; with two broken points. Like master\nlike man. Grunio has a linen stock on one leg and a kersey boot-hose on the other, gartered with\na red and blue list; an old hat and the \" humour of forty fancies \" pricked in it for a feather.\nAfter them run a gang of street gapers shouting and whistling. & <£?\n& At this sight Monsieur Jordain \" bourgeois geutilhomme \"shrugged his shoulders; the\nsame who was beside himself with joy when he learned from his preceptor that, for more\nthan forty years, he had been speaking in prose though he himself had not known it; he\nshrugged his shoulders, spit with indignation into his silk handkerchief and went on for\nhis walk accompanied by his two lackeys, following by his orders at three paces, so that\nevery body might know that they belonged to him. &\nDo you hear the rolling of the kettle drums and the trumpeting of Martial music. A\nwar march.\nOut on to the stage comes the Grecian army on its waj' to besiege Troy. In front\nmarches the spiteful hunch-back Thersitea as drummer, and jeers aloud at Ajax \" who\nwears his wits in his belly and his guts in his head \" and at \" the shepherd of the people \"\nwho \" has not so much brain as ear-wax. \" &\nHere march the heroes at the head of the warriors armed with arquebuses and muskets\ngoing to die with a smile on their lips, having taken beforehand their viaticum of kisses\nfrom their concubines.\nWhen the famous adventurer Capitano Spavento saw this he roared in a voice of thunder\nSangre y faego! io son clii son! and took refuge at the nearest tavern. & &\nThere, having barricaded the doors, he will throw himself on a bench and order his\nfactotum to extol him in a loud voice, so that all may hear of his knightly deeds, promising\nhim food at his own table, if he augment the number of unfortunates killed by his hand.\nAnd now we hear from the servant's lips, whose appetite is in direct proportion to the\nnumber of victims, that his master is known in all the world, that the Spanish doncellas\ncall him Matamsras, and that the French 44 precieuses \" name him Francasse, that his sword\nlaments when it reposes for too long a time in its scabbard, and that King Seleucus has\njust commanded him to raise an army &\nThe blood-thirsty captain on hearing these words, sweet as the falernian wine he is\ndrinking, will twist his leonine moustache and mourn over the lot of so many ladies who,\nfor love of him, have lost their heads: the latterly experienced fear and miracle of dionysian\nfruit will call forth a blush on his martial countenance and his body will become bathed\nin sweat. For that reason our knight will heedlessly unbutton his richly galooned uniform\ndecorated with crosses of merit, and then we shall perceive that his shirt is wanting, and\nthat bruises, from sharp blows of a stick, are his only war trophies. &\n& The mob rejoices: it has just stilletoed Julius Caesar, instigated by its tribunes; with\nstones and insults have they banished the defender of the country, the proud patrician\nCoriolanus, disbelieving the existence of sacred wounds on his body; and now, look how they\nare deriding old Titus Andronicus become mad from trouble and shooting complaints,\nwith arrows, to Mercury, Apollo, Mars and Pallas, of human cruelty, which has deprived\nhim of one hand and his daughter of both hands and of the name of virtuous woman. The\nmob rejoices: it is bearing on its shoulders the conqueror Thersitis, proclaims the tinker\nChristophers Sly, king, delivers Barabbas, puts the Chevalier de la Manche in the pillory,\nrolls out the tuns from cellars of the wealthy and drinks brandy without end out of chalices\nstolen from churches.... The mob rejoices.... in the court has just been pronounced, on\naccount of the speech of Portia disguised as a jurist, the sentence unfavourable to Shylock....\nrefusing him the right of cutting a pound of flesh from around Antonio's heart, and depriving\nhim of his riches. The mob rejoices equally at the fury of the helpless Jew, who but just\nnow called the unjust judge a wise Daniel and had already sharpened his knife, as at the\ndispleasure of his luckless lawyer Tartaglia, a thick-set man in blue spectacles covering\nthree quarters of his visage. & &\nThe mob rejoices.\nThe mob rejoices!\nO 9\n\nMonsieur\nford a i n .\nThe Grecian\nArmy . 4?\nCapita 11 o\nSpavento.\nT he Mo b"}, {"page_pdf": 20, "page_imprimee": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 4463, "texte": "We Siave lost our way, companions, in this virgin forest fuH of hissing reptiles and\nmalicious dwarves, who, with their giggling, lead us into stray paths.... Ye stars! show us\nour way to the castle on the crystal mountain where Good King Cole rules over the fairy-land\nof children and of dolls. Ye stars! come to our aid, we bring curious tidings of new witches\nand new princesses, we bring gifts which eye has not yet seen, of which the ear of his\nMajesty the King and his court hath not heard. & & & &\n& But on the way we shall perish of hunger and thirst, and in our souls bugbears\narise with venomous eyes.... Ye stars! Ye stars!... &\nKnock! knock! knock! Let us in, good porter... we are honest travellers, carrying presents\nfrom far-off lands for the gracious king, and perhaps some souvenir will be found for thee\nin our wallets, if thou wilt let us into the castle. The night, as if on purpose, will not\nend,... and in this forest, it seems brigands with thick clubs have their dens, and in this\nforest are bogies....^\nKnock! knock! knock! Let us in, good porter.... our knocking would awaken the dead....\n\" Anon, Anon! I pray you remember the porter! \"\n& Then the doorchains fall with a clinking noise, and in the gate-way appears the jocund\nporter, hardly able to keep his feet, whether it be from fatigue, or from yesterday's\ndrinking bout is unknown, But from the descriptions of old time fabulists, the castle should\npresent a different aspect. It seems to me that everything conspires against us, and the\nstars have deceived us. But let us not put faith in appearances. Let us enter into the\ncastle. Somehow or other, it is not gay here. & &\n& In the vestibule playing at dice are squires and pandoors, runners and pages in sombre\nliveries. Masters Rosencrantz and Guildenstern note carefully in their observations the\nstate of mind of Prince Hamlet, overhearing his monologue from behind the curtain. The\nLord Chancellor Polonius scatters to right and left the pearls of his wisdom.... always\nadvising, always rebuking, profoundly persuaded of the importance of his buffoonery. In\nthe watch-tower the court astrologer, instead of reading from the stars the fate of the king\nand state, brews, in phials, some poisonous elixir. The tricked out ladies-in-waiting move\nabout the conspirating courtiers, informing the king of everything. The red headsman has\nfolded his arms on his breast and awaits a sign from the king. From the dungeons escape\nthe ever weaker moans of those starving with hunger.\nIn the banqueting hall Titus Andronicus dressed like a cook regales Queen Tamora with\na pasty, excellently prepared by himself, made of her sons, venging himself in this way for\nthe cruelties to which he had been subjected. But who is that new-comer to the feast?\nHow strange his face is, as though hewn out of marble. He points to Don Juan and commands\nhim to follow him. Don Juan pales but goes boldly towards him, not wishing to break his\nknightly word, given yesterday to the Commander's statue. See, the floor is opening, and\nthe gay harum-scarum disappears into the earth, together with the white spectre. All will\nrejoice at the death of the hardened sinner.... \" Heaven offended, laws violated, girls seduced,\nfamilies dishonoured, relations outraged, wives wronged, husbands in despair \" (i) AH, all\nare pleased;*\" one only, the faithful partner in nocturnal escapades, one only, Sgaramelle\nLeporello, with dejected mien will call out: \"My wages, my wages! \" <2? &\n& In her bedchamber Desdemona sings the doleful song of the green willow and the sad\nmaiden.... her eyes itch.... it seems to bode weeping,... Behold, by her bed has stood a man\nwith gloomy black countenance.... look, how, in the obscurity, the whites of his eyes\nglitter.... He is murmuring something to himself.\n\" It is the cause, it is the cause, my soul,\nLet me not name it to you, you chaste stars\nIt is the cause. Yet I'll not shed her blood;\nNor scar that whiter skin of hers than snow\nAnd smooth as monumental alabaster...! \"\n& Look, the black man bends over the sleeper, laying on her childish lips the last kiss....\nthe tear, stealing from under his eye-lashes, falls on Desdemona's face and wakes her....\nThe black man summons her to prepare for death... \" Then heaven have mercy on me! \"\nsoftly sighs Desdemona. \" Amen \" replies 0the110.... and now all is quiet.... no sound.... I\nbelieve the black moor has killed her.... let us withdraw....\n\n(i) Moliere, Don Juan."}, {"page_pdf": 20, "page_imprimee": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.20", "debut_caractere": 4479, "fin_caractere_exclue": 4540, "texte": "The Castle.\nTit us p\nAndronicus.\nDon Juan.\nD e s d e wo 11 a."}, {"page_pdf": 21, "page_imprimee": "240", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.21", "debut_caractere": 29, "fin_caractere_exclue": 3077, "texte": "D aw ii. jg?\nSun after storm\n\nOh night! when wilt thou end! How silent the castle i 5.... is everyone dead already?\nHark! The doors creaked.... from her chamber comes Lady Macbeth in a white garment....\npasses along the corridor with closed eyes, bearing a night-lamp in her hand.... see, she\nstops at last before the barred window, through which flow the moonbeams, silvering the\nbloodstained stone floor.\nBehold! Lady Macbeth places the lamp in the embrasure of the window, and rubs her\nhands together, as though washing them... She whispers something:... \" All the perfumes\nof Arabia will not sweeten this little hand.... \"\n& Dawn already.... dawn! The matinal bird has flapped with his wings on the window-panes.\n& Open the windows! The air is saturated with the odour of poison. Open the windows!\nIt is stifling!... & &\nHeigh! look!.., am I not mistaken?... strain your eyes, companions, there.... there far\n0ff.... heavens! Coming towards us is BIRNAM WOOD. &\n& The rustling of the leaves is already to be heard on the drawbridge. For God's\nsake close the gates quicker.... &\nDo you hear? the wood ripples the chant of VENGEANCE. £?\nLower the curtain! this tragi-comedy awakes awe in my bosom. &\nSing, excellent Toby.... louder, louder, so that I do not hear the rattleof the dying. Dance\nyour galliard, sweet Sir Andrew, and thou, self-proclaimed king-fiddler Sir John, tell me\nsome lively anecdote so that I can laugh even to tears, instead of being touched to tears....\nGive me some music.\nNow, good Cesario, but that piece of song,\nThat old and antic song we heard last night;\nMethought it did relieve my passion much.... (i)\nBehold! what a sunny day has set in after the storm. God has hung a rainbow on the\nsky..., as a sign of & &\n& Let joy illumine our features, joy which is the rainbow after our tears.\n\" Laud we the gods;\nAnd let our crooked smokes climb to their nostrils\nFrom our blest altars. \"\n& Peace! Peace! Let us adorn our brows with oak-wreaths... let us wash the blood from our\nhands and swords.... let the king's grace grant an amnesty to prisoners.... Go, soldiers, and\nlower your standards before the corpses of unfortunate heroes.\n\" Let four captains\nBear Hamlet like a soldier, to the stage ;\nFor he was likely, had he been put on,\nTo have proved most royally: and for his passage\nThe soldiers' music and the rites of war\nSpeak loudly for him* \"\nEntwine your swords with olive branches:\n\" Make war breed peace, make peace stint war, make each\nPrescribe to other as each other's leech.\nLet our drums strike. \"\nAnd now:\n\" Proceed, proceed: we will begin these rites,\nAs we do trust they'll end, in true delights. \"\nLower the curtain! \" Quels spectacles charmants! quels plaisirs goutons nous!\nLes dieux merries, les dieux n'en ont point de plus doux. \"\nBravo! Bravo!\n111.\nAnd now you will wake, for\n\" Now my charms are all o'erthrown\nAnd what strength 1 hav's mine own,\nWhich is most faint! \"\n\n(1) These finales are taken from \" Twelfth night\" \" Cymbeline \" —Hamlet \" \" Timon of Athens \" and \" Bourgeois\nGentllhomme. \""}, {"page_pdf": 22, "page_imprimee": "241", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 4335, "texte": "& At these words the wanderers awoke and what was their amazement when they found\nthemselves at the banqueting table, in company with the Magus Prospero, Miranda and\nthe two spirits. No trace of the theatre..., Could it have been a dream.... such dreams\nwould be worth having every day!\n£? «• Yes, it was a dream \" spoke Prospero, \" and it took birth in your brains, under the\ninfluence of that enchanting beverage with which Ariel regaled you yesterday. Thanks to\nmy mirror I was able to see the phantom of your imaginations. Yes, that theatre you will\nfind nowhere.... beyond the circle described by your fantasies. But this theatre really\nexists! And its life is a strange one, since, although it develops itself and becomes more\ncomplicated with each century.... nevertheless it is everlastingly young, thanks, truly, to\nits imaginary existence. Try to give it a real shape.... Prospero's theatre will become the\ntheatre of Messrs Quince and Bottom; it will imbibe the influences of the epoch and \"milieu\";\nit will become a pulpit of literature or an histrionic circus. TJtiiiam falsus vates sim.\nThis theatre does not exist,... but in its place exists Prospero, and your fantasy, my\nhonourable guests, capable of embroidering, on canvas given to you by me, the most\nwonderful designs. In me you see the poet, the actor, and the stage-maitager in one person.\n1 myself prepared this beverage, myself sought the worthiest and most beautiful vessels\nfor it, myself I scientifically guided the mirror during its operations on your minds; me\nand only me, in various forms, did you see during the whole time of your dream. On the\nTHEATRUM OF YOUR SOULS have appeared figures from different epochs in costumes cut\nin various styles.\nIn the most dishonest pickpockets you have been able to discern just as much goodness\nas there is dishonesty in the best citizen.... consequently, you could not, without tears,\nlook upon the sufferings of criminals whom fate very often punishes too late. Your mirth\nequalled your sadness when looking on these cowards, boasters, and on ludicrous and\nunhappy lovers; for every MAN appearing in this TRAGICOMEDY OF MAN, whether\nappalling or amusing you, must have awakened in your HUMAN BREASTS:\nI have drawn tones from every key, have mixed colours from all palettes.... so as to\ncreate a man.\nHe appeared to you more grotesque, more ridiculous, more terrible than his photograph\nIn naturalistic drama. He appeared to you less elegant, less virtuous, and less elegantly\nvicious, than his optimistic caricature in pseudo-classical <£? &\nYou have seen that every heroic deed has its comic side, and vice versa; you have\nlearned to descry in, apparently, the most absolute baseness, certain elements of Beauty\nand vice versa; you have recognised that in this world, good and bad are equal powers,\nwhich are governed by DESTINY. & & & & &\nYou have perceived, in fine, that behind the back of each man without exception, stand\nmy two subordinate spirits: Ariel and Caliban. jg? <£? <£? <£?\nI have given you a foretaste of the existence of \" more things in heaven and earth....\nthan are dreamt of in your philosophy. \"\nI have shown you the mystical union of man and spirits, and the mysterious germs of\nhuman actions. jz? & .£?<£? jz?\nI have given you proofs that the rainbow flourishes after a storm, and that, over the\ngraves of those sleeping the everlasting sleep, lilies grow and larks &\nAnd all that I have shown you \" held, as 'twere the mirror up to nature; showed virtue\nher own feature, scorn her own image, and the very age and body of the time his form\nand pressure. \" jz? jg? jg?\njz? You would certainly not be creators.... and creation is the duty of every man who is\naware of the existence of his soul.... you would not, I repeat, be creators, but Athenian\nartisans of Mr. Bottom's company, deprived of imagination, if in every day life you will\nnot have descried those fantastic colours with which my drama burned.\nIt seems to me however that this pell»mell and apparent disorder render more exactly\nreal life under fantastic forms than the moral drama the most minutely studied. Each man\ncontains in himself the entire humanity; and, writing what comes into his head, he meets\nwith greater success than in copying with a magnifying glass objects placed outside of him. (i)\n\n(1) Gautler. op. clt."}, {"page_pdf": 22, "page_imprimee": "241", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.22", "debut_caractere": 4366, "fin_caractere_exclue": 4472, "texte": "Pr os p e r o ' &\nTheatre .\nThe creation ot\na M a 11 .\nAriel & Caliban\nC re at i o 11 i s\nthe duty of man."}, {"page_pdf": 23, "page_imprimee": "242", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.23", "debut_caractere": 14, "fin_caractere_exclue": 2786, "texte": "& I am sometimes astonished at youthful poetasters* complaints of reality, which clips\ntheir wings. What kind of reality do they see? The same with which those Athenians live,\nthat, which is the rotten fruit of their boorish philosophy. Hence are derived the invented\nstuff, and nonsense about Utopia, in which such malcontents, from that seeming grey reality\nmight find a refuge, but which they never do find. 4> 4? 4?\n4? How unheavenward must be the flight of those over-poetised ganders, how unswanlike!\nthe dirty hands of the first-coming Athenian churl may reach their wings. But we. gentlemen,\nwho by the grace of God have the wings of cherubims, we know that reality is something\nutterly different from the distorted picture reflected in the cheap greenish looking-glass of\nthe rustic consciousness of the Athenian man. & & & &\n4/ We know that reality depends on ourselves only, that we are its creatures always, and\nthat we see it such as our CREATIVE WILL desires to see it. For that reason we do not\nknow the boundery line between fable and truth, between dreaming and waking, and for\nthat reason let us not flee from this reality for it is situated within us; each apparition,\napparently for the ages of others, placed beyond us, is the effect of the emanation of that\ncluster of rays which fills our souls with a mystic light. »€? 4? 4? 4?\nFor that reason I earnestly beg you not to try to range m;y drama under any category\nwhatsoever. Leave that to literary historians, who would not fall asleep quietly, if, having\nmet on their way with something singular, they did not baptise it with one of the names\nof their more than modest calendar. 4/ 4? 4?\n4? Do not call my theatre either classic or romantic or naturalistic. & 4?\nYou have seen that all these beautiful movements are contained in it without a remainder.\n4* Do not call it idealistic or realistic, since these words are devoid of sense for us, the\ncreators of reality. j&4? &\n4? Call it: NATURE'S MIRROR.... 4? A mirror as singular.... as beautiful as nature itself.\n& And now behold!\n& Here Prospero threw high up into the air his regal orb, turned in the form of the\nterrestrial globe, which shone in the sun with the most marvellous colours. 4? 4&\n4> 44 Behold! 44 TOTUS MUNDUS HISTRIONEM AGIT. 4? 4? 4? &\n4? Farewell.... go to your own country and do not forget Prospero's Theatre. Do not try\neven to combat with Mr. Bottom, your pride should not allow you to do 50.... in fine, this\ntheatre will last at least as long as human stupidity. Farewell! \" 4? & &\nThe Languishing Mariners sailed from the enchanted island, taking with them the\nprescription for the bewitching beverage, and their souls enriched with treasures of\nexquisite dreams. 4? 4? 4/ 4? THE END.\n\nCieati vc Will.\nNature's Mirror."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c019", "article_bluemountain": "bmtnaau_1909-02_01#c019", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "242", "page_fin": "242", "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=bmtnaau190902-01.2.8", "titre_corps": "A NOTE ON AN OLD ENGRAVING", "titre_sommaire": "A NOTE ON AN OLD ENGRAVING", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "242", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.23", "debut_caractere": 2788, "fin_caractere_exclue": 3480, "texte": "A NOTE ON AN OLD\nENGRAVING.\nby Allen Carric.\nwh at an excellent background to\nthe Drama of Astronomers is this window\nwith moon, and stars... The modern artist\nwould have represented the moon & stars seen\nthrough the window.... how appalling, how\noverwhelming would it then have been to\ncontemplate! But here the artist shows us the\nmoon and stars of the Astronomer-Poets; not\nthings to be reckoned with and argued about,\nbut matters of Poetry. & 4? &\n4? The Artist has no business to concern\nhimself with that which comes under the\nheading of speculation. How can he draw for\nus that about which he is still in doubt?\n& Let philosophers and logicians have\ndoubts,... an Artist can have none."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c021", "article_bluemountain": "bmtnaau_1909-02_01#c021", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "243", "page_fin": "245", "image_debut": 24, "image_fin": 26, "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=bmtnaau190902-01.2.9", "titre_corps": "ON TOLERANCE IN DRAMATIC CRITICISM", "titre_sommaire": "ON TOLERANCE IN DRAMATIC CRITICISM", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "243", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 4925, "texte": "ON TOLERANCE IN DRAMATIC CRITICISM.\nby Gordon Craig.\nMr E. F. Spence has written lately in the Westminster Gazette on Tolerance in Dramatic\nCriticism. It is hardly a subject which we should expect Mr William Archer to be able\nto handle, or even Mr Max Beerbohm. Mr Walkley....? we 11....! But Mr Spence is of all the\ncritics the most tolerant and the most generous and what he says is really most important.\n1 shall therefore reprint rather a long passage from it, believing that by so doing I am\nserving the very best interests of the most spirited movement of the theatre in England.\n& 44 Some remarks lately appearing in a popular weekly paper concerning Mrs. Patrick\n44 Campbell's 44 Deirdre \" and 44 Electra \" deserve a little consideration. One of the critics\n44 attached to the paper spoke of the affair as being an 44 indifferent performance of indifferent\n44 tragedies,\" and then said it was 44 a simple affectation to profess to enjoy it,\" and that it\n44 was not, 44 as some people seem to think, a mark of culture, but only of insufficient culture\n44 not to acknowledge that one is bored by this kind of thing.\" An affronted critic wrote\n14 to the paper, complaining of the charge of affectation and insufficient culture, and was\n44 promptly rebuked as 44 a bumptious correspondent, and told that his letter convinced the\n44 critic that he was one of those affected persons whose misdirected zeal the writer deplored.\n44 This attitude is not a novelty. Most of the critics, when 1 was a boy, charged the professed\n44 admirers of Wagner with being impostors or imbeciles; later on, anyone who professed\n44 to like the pictures of Whistler or Rossetti or Burne-Jones, or any of the Impressionists,\n44 was accused of affectation. When Ibsen was introduced to England the conservative\n44 critics raved, and alleged that the Ibsenites (or Obscenites—the word was considered very\n44 witty) were humbugs; this was the least offensive of their charges. The same kind of\n44 thing happened in the case of Maeterlink. One might cite many other instances. &\n44 It is a curious form of attack. Why should I, who had much pleasure and certainly\n44 no boredom, if a shade of disappointment, from Mr. Yeats's play and Mrs. Campbell's\n44 beautiful acting, be charged with affectation because I said so, and also with insufficient\n44 culture? There is a certain amount of inconsistency in the charges which may be disregarded.\n44 Of course, I am insufficiently cultured. There are thousands of plays and books that I\n44 ought to have read, of dramas I ought to have witnessed, of pictures I ought to have\n44 seen, masses of music I ought to have heard—and have not—and, therefore, 1 am a person\n44 of very insufficient culture. But the writer in question should offer some evidence of his\n44 own sufficiency of culture before alleging that my opinion concerning the play and the\n44 performance is due to a lack of culture. After all, in a free country one would seem\n44 entitled to express an opinion on a question of art without being called a liar by someone\n44 who takes a different view. The matter is one of some importance, because the attack is\n44 insidious and dangerous. The deadliest weapon in the hands of the critic is the allegation\n44 of boredom. You may say that a piece is vulgar, indelicate, inartistic, indecent, full of\n44 44 chestnuts, \" old-fashioned, 44 melodramatic, \" violent, ill-constructed, or unoriginal\n44 without doing fatal injury, but if you allege that you and everybody else suffered from\n44 boredom your attack may be fatal. This, I think, is the reason why the charge is so often\n44 made by people with strong prejudices. &\n& 44 There is something to be said on both sides. No doubt the lovers of the severer form of\n44 drama, the worshippers of Shaw, the body which has supported the societies of which the\n44 Independent Theatre was the first and has regarded the Court Theatre for a while as a\n44 kind of Mecca, are not always judicious when talking about musical comedy and comic opera,\n4 and some members of it have been very narrow-minded. They have refused to admit the\nmerit of any comic operas, except those of Gilbert and Sullivan, they have lavished\n44 indiscriminating abuse upon almost all others, have looked upon Daly's Theatre and the\n44 Gaiety and the Prince of Wales' as so many Nazareths. This, of course, has caused a great\n44 deal of annoyance to the lovers of musico-dramatic work, some of whom have been quite\n44 indiscriminate in their loves. Moreover, some of the austere folk have denounced melodrama\n44 and the so-called romantic comedy, without drawing nice distinctions. This indiscriminate\n44 denunciation has naturally caused annoyance and reprisals. Still, a strong difference of\n44 attitude exists. Because I dislike 44 A Chinese Honeymoon \" enormously, because wild\n\nDeirdre \" and\n]slec t r a \"\nA curious form\nof attack.\n44 Boredom n\nNarro w-minde d\nciit i c s ."}, {"page_pdf": 25, "page_imprimee": "244", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.25", "debut_caractere": 37, "fin_caractere_exclue": 5022, "texte": "44 motorbuses could not drag me to see 44 The Scarlet Pimpernel,\" I do not doubt, or pretend\n44 to doubt, that hundreds of thousands, perhaps millions, of people have enjoyed them. When\n44 an eminent member of the Bar told me that he had been three times to see 44 A Chinese\nHoneymoon,\" I did not charge him with affectation or insufficient culture, I merely put him,\n44 in my mind, into a particular interesting class. When a charming lady told me at dinner\nthat she doted on 44 The Scarlet Pimpernel,\" and would like to go and see it every night,\n44 1 knew she was in earnest, and asked her to point out.her husband to me; he did look a\n44 little careworn. Without for one moment believing in the phrase 44 De gustibus non est\n44 dispulandum \" as ordinarily interpreted, ! fully recognise that palates differ. If M. Steinheil\n44 chose to dine upon cold pork=pie, sausage, cold veal, and lobster, as the papers allege, I am\n44 not surprised that he died, only a little amazed that the French police are puzzled as to\n44 the cause of his death, but I see no reason for charging him with affectation in eating such\n44 a meal, or insufficient culture, though it was hardly the banquet of a gourmet. I have\n44 shuddered at a costly Bouillabaisse chez Roubillon at Marseilles without doubting that\n44 poor old 44 G. A. S.\" loved the dish. I prefer homely beer to any of the white wines of the\n44 Rhine; yet I believe that many people honestly enjoy those high=priced varieties of\n44 weak-minded vinegar, and am sure that it is not affectation that causes some people to\n44 profess to like black-pudding and tripe and onions. &\n44 The matter has its serious aspect. The attacks made, very unfairly I think, upon the\n44 novel forms of drama by conservative critics, when they take this form of alleging that not\n44 only the critic but the audience was bored, and that professed admirers are insincere,\n44 undoubtedly are very effective, and certainly are sometimes made in good faith. There are\n44 people so foolish as to think that nobody can like what they do not; also so fatuous as to\n44 consider that no one ought to like what they do not: but to jump from this to alleging that\n44 the professed admirers of ambitious works are humbugs is outrageous. Ido not doubt that\n44 the butcher=»boy enjoys 44 Sweeney Todd, the Barber of Fleet=street.\" Why should he\n44 disbelieve the statement by me that I get pleasure from a performance of a 44 Hedda Gabler,\"\n44 which would hardly appeal to him? In my belief large numbers of playgoers have been kept\n44 away from able and ambitious dramas, written by dramatists with a true artistic aim, because\n44 of the oft repeated allegations by newspaper writers who did not like them that everybodj'\n44 was bored; also, I think that the wholesale denunciation of the lighter forms of dramatic\n44 and musico-dramatic forms of entertainment by some of the critics has weakened their\n44 influence, has led the man in the street to think that if Mr. X or Y or Z can find no pleasure\n44 in what he likes that he will get no entertainment from what they admire. One supposes,\n44 at least hopes, that dramatic critics of all kinds and grades have an honest desire for the\n44 advance and success of British drama. They will hardly be successful in their„wishes unless\n4 on each side a little more tolerance is shown for the opinions professed by members of the\n44 other.\nThat is the commencement of Mr Spence's article. The insufferable attitude which he\nobjects to is peculiar to England alone. It seems to be the prerogative of a peculiarly\neccentric clique in London to find in the work of young poets and young painters something\nwhich is vile and not to be endured.\nThis clique positively hates beauty and the people who live to create beauty. It is\ncomposed of people who are intolerable and intolerant. They are a wretched and ignorant\nlittle set who go about calling themselves the majority, and, as Mr Spence says, they are\ndangerous because, like scandalmongers, they go about whispering that every one is bored\nby Beauty.\n1 think Mr Spence is far too good when he tries to set the example of tolerance for the\nsake of these wretches. I think his tolerance does them too much honour. They care not\na scrap for the mild and courteous remonstrance for their skin is thick and their\nconscience dull.\nBut there is something we must not forget. This little clique here spoken of is always\nboasting that it is the public, (as if that could stand as an excuse for its sterility) and has\nsucceeded in coining so many phrases for the occupants of the stalls and the pit to make\nuse of, that evefi today we find really nice people with the best will in the world talking\nutter nonsense at the theatre. If the managers were to cancel all the free lists, things would be\nbetter, for it is obvious that it is the welI»to»do, ill-doing ladies and gentlemen who get their\n\nPalates differ.\nI li tolerance.\nIts result.\nAn eccentric\nclique.\nThe evil of free\nlists . &"}, {"page_pdf": 26, "page_imprimee": "245", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 2855, "texte": "seats for nothing who start all this chatter. English audiences must talk at all costs, and\nas they cannot talk sense they must talk nonsense, and generally harmful nonsense. In\nother lands the theatre public is a most intelligent body off people, intensely serious and\nnot afraid of being so: intensely fond of these very plays, \" Deirdre \" and \"Electra,\" by\nthese very poets, Yeats and Hofmannsthal, about whom these imbeciles in the London stalls\nchoose to be impertinent. What right has any man or woman in the London stalls to\nhave anything to say about the work off Mr Yeats or Mr Hofmannsthal? I can bring\ncountless reasons to show that these creatures should remain entirely silent before two\nsuch beautiful works, and give proof beyond measure why public and critics alike should\nremain silent.... yes, entirely silent.... when in the presence off a masterpiece, (i) If such an\nignoramus should proffer me his opinion that the works in question are not masterpieces\nhe will be unable to say why or to defend his assertion, whereas I shall be able to afford\nhim convincing proof as to the truth of mine. JS? & &\nBut I fear these creatures are not even answerable for their opinion: they are answerable\nfor someone else's opinion, and that \" someone else \" is that little clique composed of\nthose who enter the theatre without paying for their seats: and let it be understood clearly\nthat that little clique is composed of a group of men of whom half are on the stage and half\nin the stalls.\nThere is a conspiracy on the part of some of the managers and a few over-fed sleepy\nactors to prevent the development of this younger theatre as represented by its poets, its\nactors and its other members; and let me tell these gentlemen,... and here I can drop the\nimpersonal note and be as personal as is necessary.... let me tell you, gentlemen, that you\nshall not succeed, but it is we who shall succeed.\n£? To begin with, you are a set of cowards. You are entirely afraid to come out and\nfight for your cause because you know that yours is the old cause of the incapable. The\nincapable, as you know quite well, fight more meanly than any other body of people. The\nincapable have grown fat and unhealthy through the success of their incapacity, and that\nis the success which 1 attribute to you. If the standard which you have lowered till it\ntrails on the ground be raised but a foot higher your occupation is gone. You have the\ncleverness, the cunning, to know this, but you have not the cleverness to know how to hide\nyourselves entirely and we are now taking steps to marshal! your names in order so\nthat we may make an exhibition of you before these sycophants of yours, whom you\ntell to whisper it about that the world is bored by the works of young masters who\nwill not permit their works to be defiled by the unutterable clamminess of your touch."}, {"page_pdf": 26, "page_imprimee": "245", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.26", "debut_caractere": 2894, "fin_caractere_exclue": 2922, "texte": "A conspiiacy.\nThe incapable."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c022", "article_bluemountain": "bmtnaau_1909-02_01#c022", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "245", "page_fin": "247", "image_debut": 26, "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=bmtnaau190902-01.2.10", "titre_corps": "THE EIGHTH COMMANDMENT : INTERNATIONAL COPYRIGHT", "titre_sommaire": "THE EIGHTH COMMANDMENT : INTERNATIONAL COPYRIGHT", "signature_source": "JOHN BALANCE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "245", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.26", "debut_caractere": 2924, "fin_caractere_exclue": 4553, "texte": "THE EIGHTH COMMANDMENT.\nINTERNATIONAL COPYRIGHT.\n\nstill hold the belief that they can rule the fate of the world, guide the forces\nof man and generally keep everything straight, and so a Committee has been formed to\nteach people to keep their hands from picking and stealing, and, queerly enough, the meeting\nfor this purpose is convoked in Berlin, in the ery hot=bed of the pickers and stealers.\n£/ Far reaching revisions of the Copyright Law have been lately reported, and everyone\nreads these voluminous reports, looking for some sign in this heavenly firmament,... some\nsign that they are living in an age of civilization where there are banks for other things than\nbonds and strong rooms for other things than gold. But, alas, no sign is to be seen. The columns\nof reports show only too clearly that there is no protection against the thief.\n£? The thief is a peculiar kind of man. A thief is not one who annexes a purse or an idea\nand enlarges it and returns it to the people or the owner in a better state than he took it;\nbut he is a thief who takes a purse or an idea and robs it of what it contains and returns\nit to the people or the owner guaranteeing that it is improved, and backing his guarantee\nby much advertisement and influence.\n\nC o m mi tte e s .\n\n(i) If a man approaches a work of art with any desire to exercise authority over it and the artist, he approaches it in\nsuch a spirit that he cannot receive any artistic impression from it at all. The work of art is to dominate the spectator:\nthe spectator is not to dominate the work of art. The spectator Js to be receptive. \" The Soul of Man. \" Oscar Wilde."}, {"page_pdf": 27, "page_imprimee": "246", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.27", "debut_caractere": 25, "fin_caractere_exclue": 5116, "texte": "Now that is what is done every day in regard to ideas. No one would be fooled about\nsuch a thing were purses merely the stolen goods, for everyone knows the difference between\na full and an empty purse, but few know the difference between a full and an empty idea.\nI make bold to say that there is not an artist in the world who would grudge another\nman stealing his genius (if, by the way, it conld be stolen), transforming it into something\nmore beautiful and passing it on to the world. Artists are perhaps the most generous people\non the round globe and their trials today are far sterner than they were formerly, for they\nare not only witnesses of the theft and ruination of their ideas, they are doomed to stand\nby while the people hysterically applaud the transformation of good to bad, and to listen\nto the cries of the hawkers who are announcing \" all the latest improvements \". &\nAll the conferences in the world on the question of International Copyright are not going\nto alter this, and the only question which remains to be answered is, Is this a sign of the\nnatural death of the Arts? It is folly for Nature to contend against dissolution, and if\nthe Arts are dying, then why waste any more time over them? A quick and tidy death is\nfar more desirable than a protracted one.\nPerhaps the winds from America which are assisting in this destruction—which I, as an\nartist, must look on as the utmost folly of all follies—perhaps this wind bringing on its\ncurrents the wonders of electricity and the marvels of aviation, perhaps this wind will blow\ngood stuff around the world. Perhaps it is really time to put away childish things such as\nmusic, poetry and the rest; or, to put it differently, perhaps it is time for the artists\ngracefully to retire from the field. There is such a thing as over=staying one's welcome.\n& To those who wish to be rid of us, those last words on the doorstep are really\nrathef a bore, although to the departing guest who wishes to stay they are the pleasantest\nof all. & Still, it would be far more tasteful of the artists to retire before the hour is too late\nand before everyone is yawning. Perhaps a little ceremony to mark the moment would\nbe a graceful act on the part of the world; a little conference perhaps on that; perhaps\na few speeches of thanks to the artists for their labours, more especially for the\nlabours of their forefathers whose works have supported so very many wealthy families\nfor many centuries and still continue to be the pride (?) of the centres of Europe.\nAnd there are reasons why the artist should retire once and for all. He does not\nusually like posing, although today it is the general belief that every artist is a poseur,\nand so this enforced position of his today of lying posed upon the rack is thoroughly distasteful\nto him. There is too much talk about the \" will to endure \" today. That is almost as gross\nas its opposite: it has become with nearly threefourths of the people today a pose which\nthey are forced to accept through necessity. Not that I mean \" necessity \" in the trifling\nmatter of bread and butter. I mean the need of the nourishment of their ancient pride and\nnobility. It is this need and this starvation which fill Trafalgar Square today, and which\nbring out five thousand policemen to prevent twenty women entering Parliament, and\nwhich will in time breed some strange and terrible resistance among those who practise\nthe arts, unless, as I have suggested, they retire freely. By doing so they would thus save\nthe face of those for whom they have continually laboured,... their children, the vulgar\npeople. For the earth is made up of two classes only: artists and the vulgar: there is no\nother distinction between people than this.\nThe vulgar have got the upper hand so it is best that the artist should retire. Then there will\nbe no further need for these farces which are called \" Conferences\" to decide matters\nrelating to International Copyright. Then everybody will be free to take any ideas they can\nfind, for there will be no longer any ideas to lose. As it is, about a handful of men on the\nearth provide the rest with ideas, and the rest arrange International Copyright Laws.\nWhat on earth is the use then of them to any but \"the rest\"? & &\nMr E. F. Spence, writing in the Westminster Gazette on the 28th November, says, \" 1 o\n\" the bulk of the people ideas seem hardly the subject of property: even the stern moralist\n\" who would hesitate to steal an umbrella, or to exchange an old for a new Gibus, at a\n\" crush, thinks lightly of the theft of an idea; and I doubt whether the convicted plagiarist\n\" would be banished from any club. Nevertheless, 110 thoughtful person can deny that\n\" in a court of morals the theft of an idea, which has been so far realised as to become the\n\" subject of property, is quite as dishonourable as the theft of a gold watch and chain\n& Mr Spence indicates that a conference on morality would be more profitable: he suggests\n\nThe trials of\nAt t i st s .\nAmerica 11\n111 f1 u c nee.\nThe withdrawal\nof the Artist.\nTwo classes\nonly . &\nMr /?. F. Spence,"}, {"page_pdf": 28, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 1453, "texte": "that priest's laws, not patent laws, are more desirable. He addresses himself, with fine\ntoleration, to the deafest city in Europe; he appeals to its morals, the morals of London:...\nand on matters relating to theft!!! He suggests a new Idea, a new moral, to the people of\nLondon. This is not merely tolerant; it is decidedly bold. It suggests that London is deficient\nin its knowledge of how many morals there are. & &\nHow charmingly Mr Spence writes! With up=!ifted finger he seems to say, in the somewhat\nkindly tone of the old Englishman, \" Now then, you know, my boy,.... no umbrellas, no\ncrush hats; and if you can manage it, try also to resist forging cheques!\"\nI am afraid that very little will be done by so kindly an exhortation as this. I am afraid\nthat it needs something sterner than this, and I am also afraid that no amount of copyright-\nlaw will ever be so complete that it cannot be circumvented. Ideas, as I have said\nabove, are not actually stolen, but their worth is stolen and something worthless is\nsubstituted under the same name. Ideas cannot be stolen and their value preserved by\nthe thief, (i) This is what should be told to the people, this is what the world should be\ntaught: this truth, fully understood, would be of more protection to the work of the artist\nthan any number of Copyright Laws, however w£H revised. For there is nothing a receiver\nof stolen goods detests more than to be cheated by a thief. &\n\nJOHN BALANCE."}, {"page_pdf": 28, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.28", "debut_caractere": 1479, "fin_caractere_exclue": 1512, "texte": "So 111 e th i n g\nsterner needed,"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c024", "article_bluemountain": "bmtnaau_1909-02_01#c024", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "247", "page_fin": "247", "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=bmtnaau190902-01.2.11", "titre_corps": "A NOTE ON APPLAUSE", "titre_sommaire": "A NOTE ON APPLAUSE", "signature_source": "Adolf Furst", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.28", "debut_caractere": 1514, "fin_caractere_exclue": 4011, "texte": "A NOTE ON APPLAUSE\nby Adolf Furst.\n|n the Moscow Art=Theatre applause plays a very minor role. In England no play can live\nwithout it. No actor takes a call before the curtain; hence there is no applause.\n& Re a del; Isn't that very dull?\nWriter: You might think so, Moscow doesn't. It is all a matter of the point of view.\nWhen the acting is poor an enthusiastic roaring and thundering audience are necessary to\nkeep up the spirits; but when the acting is absorbing, applause is not needed.... and if the\nactor wont come and bow, or the curtain rise after it has once fallen,... well then, applause\nbecomes futile. &\nReader: Who ever heard of such an idea? &\nWriter: My dear reader, it is not an idea, it is an established fact. Remove the reason\nfor applause and you prevent the applause itself, and in doing so prevent a vulgarity.\n& Reader: But it is tSie natural desire to want to applaud when you see something good.\nWriter: Rather is it an unnatural habit. You do not applaud a thing, only a man or a\nwoman. Applause is the flattery of the strong by the weak. & & &\nIf the conductor and musicians of an orchestra were not seen we should never applaud\nmusic. We do not applaud architecture, painting, sculpture or literature. & &\nIt is only when the poet appears that we suddenly become excited through fear of the\nsuperior force of the man we scent a danger we burst out into applause.\nWe do not applaud the Atlantic Ocean or the poems of the Ocean, but, catching sight of\nthe man who can swim furthest in that Ocean, we utter birdlike and beastlike cries.... what\nBarbarism ! The air and the poems of the air leave us calm,... but the arioplanist we\ngreet with enthusiasm.... we feel it is better for us to be friends with such a man.\nApplause is the gross expression of a fear awakened in the presence of a man in a\nstronger position than that held by ourselves. The sooner applause is banished from the\ntheatre the better for actors and audience. The way partly to prevent it is to leave the\ncurtain down at the end of each act and not raise it again till the beginning of the next act,\nand to give up the bad practice of the actor appearing before the curtain. &\n& Reader: But the audience want it, they want to see their favorites again and again.\nWriter: Then let there be a new kind of Zoo, with men and women on view in the cages.\n(1) Like the Blue Birds in the Maeterlinck tale which turn black when caged and carried off, so do ideas lose all their\ncolour in the hands of a thief."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c025", "article_bluemountain": "bmtnaau_1909-02_01#c025", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "248", "page_fin": "249", "image_debut": 29, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.12", "titre_corps": "BOOK REVIEW", "titre_sommaire": "BOOK REVIEW", "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": "248", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 5392, "texte": "BOOK REVIEW\n\nFAUST AT \"HIS MAJESTY'S\"\nA dapted by Stephen Phillips & J.Comyns\nCarr. (Macmillan & C.) Price 4/-\n\nHphe Dramatist finds the materials for his\n* Art in the relations of Man with himself:\nwith his experience, i. e. with his fellow men,\nwith women; and with the Infinite, God or\nDestiny. All dramatic motifs will come under\none of these heads, and the greatest Dramas\nto some extent deal with them all, though\nit will generally be found that one or other\nof them has supplied the leading theme. The\ntragedy of Hamlet for instance, is that of\nhis own personality, which his egotism, pushed\nto insanity, identifies with the Infinite; his\nrelations with others, with his father's spirit\nor with Ophelia, serve merely as foils or\nillustrations to that main idea.\nThe great dramatists, being not only poets\nand philosophers but also great artists, their\nsubsidiary motifs are apt to be treated with\nsuch patient craft and wealth of detail that it\nis not always very easy to determine the\nfundamental theme of the drama. Especially\nis this the case with Faust. The skill with\nwhich the subordinate characters are drawn,\nthe precision and richness of the secondary\nevents in the action, not to speak of the\nintricate symbolism of the Second Part, serve\nas much to veil as to indicate the main idea.\nThe popular imagination has naturally seized\non the romance of Faust and Gretchen as\nthe principal theme of the poem. The 44 heart\"\nis easily moved by the tears of maidens who\nlove more well than wisely, and seduction\nmust inevitably appear to those many people\nwho are constitutionally unable to raise their\npsychic lives out of the soft valleys of sense\nand emotion, as the one supremely tragic\nclimax of experience. To such as these\n44 Faust \" under the title of 44 The Woes of\nGretchen \" is nothing but a pendant to the\n44 Sorrows of Werther. \" The Management of\n44 His Majesty's \" whose primary duty is to\nentertain the public, very properly takes this\nview and Messrs Stephen Phillips and Comyns\nCarr have 44 freely adapted \" and cut the poem\nto suit it. These gentlemen seem to call for\nneither praise nor blame. Since it had to be\ndone, I daresay they have done it as well as\nwas possible. And when we remember the\nspectacular resources of which Mr. Tree has\nso often given us proof, the enormous success\nof the venture is more than amply justified.\nIt is just possible however that some of the\ndelighted occupants of the Stalls, or perhaps\nthe Pit, of that comfortable House, in the\nintervals of the 44 Ohs! \" drawn from their\ndinner-laden bosoms by each fresh culmination\nof scenic display, may have asked themselves\nwhat Goethe's meaning really was. Is it really\nthe case, they may have in an\nentr'acte, unheeding the proffered bonbon or\nlemonade (and even the charming persons\nwho sell them), that the mightiest intellect of\nmodern timesfound such profound significance\nin the episode of Gretchen's adventure that he\nchose it for the great work of his life, lavishing\non it his utmost resources of wisdom and\nfancy? tls the eternal Magdalen the true\n44 Womansoul who leads us onward and up? \"\nTo any such devout enquirers into Goethe's\nmeaning I would suggest that there is another\nand a deeper interpretation. & ug?\nThe conflict between pure thought and\nexperience forces itself very soon upon the\nattention of the student of philosophy. It\npresents itself in various forms. Hegel's\nAbsolute Idea eternally realized in full\nperfection as it demonstrably must be, in the\nWorld, jars hopelessly with the circumstances\nof the destruction of Messina or indeed with\nthe fact of five minutes of toothache. If\n44 Reality \" is placed in that which can without\nlogical contradiction be formulated as such,\nthen experience leaping exultantly from one\nshattered category of thought to another\nis evidently 44 unreal. \" On the other hand\nexperience is given us and without it we\nshould not know ourselves at all, much less\nas the 44 spirit \" of Hegelian philosophers.\nHere is a hopeless impasse. 44 What must be\nis \" says the metaphysician withlogical truth;\nbut the premisses of that perfectly correct\ndeduction cannot throw even the faintest\ngleam of light on what will be. Experience\ngoes its reckless way careless of the conditions\nwhich from motives of the highest rationality\nwe wish to impose on it; it can only be\nconquered on its own terms. Those who will\nnot accept them are sterilized, they have\ndenied an instinct deeper than the instinct of\nknowledge, they have denied the instinct of\nlife. This negation was always to Goethe the\none sin against the Holy Ghost. Faust, in the\nfirst scene, is represented at the close of a\nlong life passed in the accumulation ofjabstract\nknowledge, with his hands empty, his nature\nstarved. So intolerable is his boredom that\nhe sees no escape but suicide. He is checked\nin this purpose by the accidental revival of\nthe religious mood which dissolves him in\nsentimental memories of his childhood. But\nthe religious mood is bound up with the\nassertion of the manifestly incredible dogma\nof Christ's resurrection. His learning has at\nleast convinced him of the impossibility of\nsuch a solution of the world's mystery as\nthat. Then he walks abroad with Wagner the\nsimple-minded enthusiast of knowledge, and\nthe respect which his disciple and his fellow-\ncitizens have for his wisdom turns to ironic\ngall in his breast. At length he fully realizes"}, {"page_pdf": 30, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 5100, "texte": "his delusion and turns to life. But how\nto reach it? His waning powers and his\nsophisticated mind preclude the path of\nunconscious instinct. There is no way but\none; only the Devil can lead him into the\nschool of experience. So to the Devil he goes.\nIn that school he learns both to love and to\nsuffer, but is never bored again. As the\nDevil's apprentice he at length arrives through\nthe changing lessons of experience, and the\nvaried functioning of his own nature at\nacquiescence in human lot and reconciliation\nwith destiny, which he sees at last as part\nof himself. For the Devil is the force which\nattempts evil but can only achieve good. Thus\nthe mystery of life solves itself for him in\nthe continuous act of life. This is what 1\nwould like to murmur into the ear of the\nenquiring pleasure seeker at \" His Majesty's \"\n\nA. L. T.\n\nE E THEATRE I) E MONSIEUR.\nPericaud (E>): Paris, Eibrairie E» Jotel,\nmi vol. in=S., prix 5 fr.\nM,onsieur Louis Pericaud publie le premier\nvolume d'un vaste travail sur les grandes et\nles petites scenes de Paris pendant la Revo=>\nlution, le Consulat et V Empire. &\nEe Theatre de Monsieur, dont il nous conte\naujourd' hui Thistoire, fut fonde dans la salle\nde spectacle des Thuileries par Leonard, le\nperruquier de Marie Antoniette, et ViOtti, le\nvioloniste compositeur. Apres de nombreuses\ndifficultes, ils avaient obtenu du Comte de\nProvence d'ouvrir leur etablissement sous\nson patronage. Lorsque la Cour abandonna\nVersailles pour rentrer a Paris, les deux\nassocies Tordre de quitter les Thui=»\nleries. Ils se rendirent alors a la Foire Saint\nGermain, dans la petite salle des Varietes,\nqu'avait occupee Nicolet; mais leur sejour dans\nce local fut de courte duree: aubout de quelques\nmois, il s'installaient dans un edifice tout\nbattant neuf, qu' ils venaient d' elever a leurs\nfrais rue Feydeau. L'aventure de Varennes\nrendit le frere du Roi tellement impopulaire\nque Leonard et Viotti se virent dans Tobli-\ngation de debaptiser leur theatre. II s' appela\ndesormais le Theatre Feydeau,\nOn trouvera dans V ouvrage de M. Pericaud\nle nom de tousles artistes qui appartinrent\nh la troupe de Monsieut, le titre des pieces,\nqu' ils jouerent et de curieuses anecdotes sur\nleurs representations. C' est un livre d'une\ndocumentation solide, ou les faits sont exposes\navec autant de clarete que d'agrement.\n\nMONSIGNY ET SON TEMPS.\nPong in (A): Paris, Eibrairie Fisclihacher,\nun vol. in=B, prix 10 fr.\nIljxcellent monographie,dont le besoin se fai=\nsait sentir. Si nous possedions en effet plu=\nsieurs travaux sur Gretry, nous n'avions\naucun ouvrage consacre a Monsigny. Et pour\ntant, T auteur de Rose et Colas ne le cede en\nrien a I'auteur de Richard. Bien que pourvu\nd'une instructien musicale insuffisante, Mon=\nsigny par son exquise sensibility, par sa puis**\nsance demotion, par son inspiration abondante\net variee merite d'etre considere comme une\ndes gloires de V opera comique.\nM. Arthur Pougin retrace la vie et la carrier©\nde son heros avec une minutieus© exactitude.\nGrace a des papiers de famille, dont il a eu\ncommunication, il.rectifie nombre d'erreurs\net apporte des faits nouveaux. II analyse les\npartitions; il en present© les interpretes:\nCaillot, Clairval, Mme. Dugazon, les Larnette\net les Triol. Et son interessante etude est\naccompagnee d'une serie d'illustrations (por»\ntraits, costumes et decors) fournies par le\nMusee de TOpera, la Bibliotheque national©\net des collections privees. & & &\n\nMA ISTRE PIERRE PATHEEIN\npublie par M. E» Scheegans, professeur de\nlangue et de litterature francaises a V Uni-\nversity de Heidelberg. Bibliotheca ronia-\nnica. Strasbourg. Heitz & Miindel. Un vol.\nin-i2y prix o fr., 50 cent.\ntext de la premiere edition connue,\nI'edition sortie de l'officine de Guillaume\nLe Roy, que reproduitM. EdouardSchneegans.\nII en respecte S' orthographe et donne en no=\ntes les variantes des editions de Pierre Levet,\nGermain Beneaut et Marion De Malaunoy.\nLa notice de M. Schneegans sur la celebre\nfarce da XV. siecle est aussi savante que spi=\nrituelle. Signalons en particulier la page ou\nse trouve refute le jugement severe d'Ernest\nRenan. II est impossible de mieux expliquer\nles choses et de les ramener a de plus justes\nproportions. Un glossaire facilite Tintelligence\ndu tete. De fideles reproductions font connaitre\nau lecteur les bois d'un realisme si vigoureux,\nqui ornent le Pathelin de Pierre Levet. &\nCe nouveau volume de la Bibliotheca roma-\nnica est digne de la precieuse collection de=\nstinee a mettre a la portee de tous, en des\neditions scientifiquement etablies, les chefs\nd' oeuvre des litteratures italienne,\nespagnole et portugeaise. & zz?\n\nANNATES DU THÉATRE ET DE LA\nMUSIQUE. Stoullig (E.): Tome XXXIII.\nParis, Ollendorff. Un vol. in-18. Prix:\n3 fr. 50.\nJEAN = JACQUES OLIVIER.\nr\\ans son nouveau volume, M. Edmond\nStoullig dresse le bilan de Tannee 1907.\nNous n'avons pas a faire Teloge de cette\npublication. Tout le monde en connait les\nmerites. Elle fournira les plus precieux do-\ncuments aux futurs historiens de notre\ntheatre. La preface de M. Noziere \" Contre\ntonte tradition\" est d'une delicieuse ironie."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c027", "article_bluemountain": "bmtnaau_1909-02_01#c027", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "248", "page_fin": "249", "image_debut": 29, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.12.2", "titre_corps": "FAUST AT \"HIS MAJESTY'S\" Adapted by Stephen Phillips", "titre_sommaire": "FAUST AT \"HIS MAJESTY'S\" Adapted by Stephen Phillips", "signature_source": "A. L. T", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "248", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.29", "debut_caractere": 13, "fin_caractere_exclue": 5392, "texte": "FAUST AT \"HIS MAJESTY'S\"\nA dapted by Stephen Phillips & J.Comyns\nCarr. (Macmillan & C.) Price 4/-\n\nHphe Dramatist finds the materials for his\n* Art in the relations of Man with himself:\nwith his experience, i. e. with his fellow men,\nwith women; and with the Infinite, God or\nDestiny. All dramatic motifs will come under\none of these heads, and the greatest Dramas\nto some extent deal with them all, though\nit will generally be found that one or other\nof them has supplied the leading theme. The\ntragedy of Hamlet for instance, is that of\nhis own personality, which his egotism, pushed\nto insanity, identifies with the Infinite; his\nrelations with others, with his father's spirit\nor with Ophelia, serve merely as foils or\nillustrations to that main idea.\nThe great dramatists, being not only poets\nand philosophers but also great artists, their\nsubsidiary motifs are apt to be treated with\nsuch patient craft and wealth of detail that it\nis not always very easy to determine the\nfundamental theme of the drama. Especially\nis this the case with Faust. The skill with\nwhich the subordinate characters are drawn,\nthe precision and richness of the secondary\nevents in the action, not to speak of the\nintricate symbolism of the Second Part, serve\nas much to veil as to indicate the main idea.\nThe popular imagination has naturally seized\non the romance of Faust and Gretchen as\nthe principal theme of the poem. The 44 heart\"\nis easily moved by the tears of maidens who\nlove more well than wisely, and seduction\nmust inevitably appear to those many people\nwho are constitutionally unable to raise their\npsychic lives out of the soft valleys of sense\nand emotion, as the one supremely tragic\nclimax of experience. To such as these\n44 Faust \" under the title of 44 The Woes of\nGretchen \" is nothing but a pendant to the\n44 Sorrows of Werther. \" The Management of\n44 His Majesty's \" whose primary duty is to\nentertain the public, very properly takes this\nview and Messrs Stephen Phillips and Comyns\nCarr have 44 freely adapted \" and cut the poem\nto suit it. These gentlemen seem to call for\nneither praise nor blame. Since it had to be\ndone, I daresay they have done it as well as\nwas possible. And when we remember the\nspectacular resources of which Mr. Tree has\nso often given us proof, the enormous success\nof the venture is more than amply justified.\nIt is just possible however that some of the\ndelighted occupants of the Stalls, or perhaps\nthe Pit, of that comfortable House, in the\nintervals of the 44 Ohs! \" drawn from their\ndinner-laden bosoms by each fresh culmination\nof scenic display, may have asked themselves\nwhat Goethe's meaning really was. Is it really\nthe case, they may have in an\nentr'acte, unheeding the proffered bonbon or\nlemonade (and even the charming persons\nwho sell them), that the mightiest intellect of\nmodern timesfound such profound significance\nin the episode of Gretchen's adventure that he\nchose it for the great work of his life, lavishing\non it his utmost resources of wisdom and\nfancy? tls the eternal Magdalen the true\n44 Womansoul who leads us onward and up? \"\nTo any such devout enquirers into Goethe's\nmeaning I would suggest that there is another\nand a deeper interpretation. & ug?\nThe conflict between pure thought and\nexperience forces itself very soon upon the\nattention of the student of philosophy. It\npresents itself in various forms. Hegel's\nAbsolute Idea eternally realized in full\nperfection as it demonstrably must be, in the\nWorld, jars hopelessly with the circumstances\nof the destruction of Messina or indeed with\nthe fact of five minutes of toothache. If\n44 Reality \" is placed in that which can without\nlogical contradiction be formulated as such,\nthen experience leaping exultantly from one\nshattered category of thought to another\nis evidently 44 unreal. \" On the other hand\nexperience is given us and without it we\nshould not know ourselves at all, much less\nas the 44 spirit \" of Hegelian philosophers.\nHere is a hopeless impasse. 44 What must be\nis \" says the metaphysician withlogical truth;\nbut the premisses of that perfectly correct\ndeduction cannot throw even the faintest\ngleam of light on what will be. Experience\ngoes its reckless way careless of the conditions\nwhich from motives of the highest rationality\nwe wish to impose on it; it can only be\nconquered on its own terms. Those who will\nnot accept them are sterilized, they have\ndenied an instinct deeper than the instinct of\nknowledge, they have denied the instinct of\nlife. This negation was always to Goethe the\none sin against the Holy Ghost. Faust, in the\nfirst scene, is represented at the close of a\nlong life passed in the accumulation ofjabstract\nknowledge, with his hands empty, his nature\nstarved. So intolerable is his boredom that\nhe sees no escape but suicide. He is checked\nin this purpose by the accidental revival of\nthe religious mood which dissolves him in\nsentimental memories of his childhood. But\nthe religious mood is bound up with the\nassertion of the manifestly incredible dogma\nof Christ's resurrection. His learning has at\nleast convinced him of the impossibility of\nsuch a solution of the world's mystery as\nthat. Then he walks abroad with Wagner the\nsimple-minded enthusiast of knowledge, and\nthe respect which his disciple and his fellow-\ncitizens have for his wisdom turns to ironic\ngall in his breast. At length he fully realizes"}, {"page_pdf": 30, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 833, "texte": "his delusion and turns to life. But how\nto reach it? His waning powers and his\nsophisticated mind preclude the path of\nunconscious instinct. There is no way but\none; only the Devil can lead him into the\nschool of experience. So to the Devil he goes.\nIn that school he learns both to love and to\nsuffer, but is never bored again. As the\nDevil's apprentice he at length arrives through\nthe changing lessons of experience, and the\nvaried functioning of his own nature at\nacquiescence in human lot and reconciliation\nwith destiny, which he sees at last as part\nof himself. For the Devil is the force which\nattempts evil but can only achieve good. Thus\nthe mystery of life solves itself for him in\nthe continuous act of life. This is what 1\nwould like to murmur into the ear of the\nenquiring pleasure seeker at \" His Majesty's \"\n\nA. L. T."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c028", "article_bluemountain": "bmtnaau_1909-02_01#c028", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "249", "page_fin": "249", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.12.3", "titre_corps": "LE THÉATRE DE MONSIEUR Pericaud(L.)", "titre_sommaire": "LE THÉATRE DE MONSIEUR Pericaud(L.)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.30", "debut_caractere": 835, "fin_caractere_exclue": 2333, "texte": "E E THEATRE I) E MONSIEUR.\nPericaud (E>): Paris, Eibrairie E» Jotel,\nmi vol. in=S., prix 5 fr.\nM,onsieur Louis Pericaud publie le premier\nvolume d'un vaste travail sur les grandes et\nles petites scenes de Paris pendant la Revo=>\nlution, le Consulat et V Empire. &\nEe Theatre de Monsieur, dont il nous conte\naujourd' hui Thistoire, fut fonde dans la salle\nde spectacle des Thuileries par Leonard, le\nperruquier de Marie Antoniette, et ViOtti, le\nvioloniste compositeur. Apres de nombreuses\ndifficultes, ils avaient obtenu du Comte de\nProvence d'ouvrir leur etablissement sous\nson patronage. Lorsque la Cour abandonna\nVersailles pour rentrer a Paris, les deux\nassocies Tordre de quitter les Thui=»\nleries. Ils se rendirent alors a la Foire Saint\nGermain, dans la petite salle des Varietes,\nqu'avait occupee Nicolet; mais leur sejour dans\nce local fut de courte duree: aubout de quelques\nmois, il s'installaient dans un edifice tout\nbattant neuf, qu' ils venaient d' elever a leurs\nfrais rue Feydeau. L'aventure de Varennes\nrendit le frere du Roi tellement impopulaire\nque Leonard et Viotti se virent dans Tobli-\ngation de debaptiser leur theatre. II s' appela\ndesormais le Theatre Feydeau,\nOn trouvera dans V ouvrage de M. Pericaud\nle nom de tousles artistes qui appartinrent\nh la troupe de Monsieut, le titre des pieces,\nqu' ils jouerent et de curieuses anecdotes sur\nleurs representations. C' est un livre d'une\ndocumentation solide, ou les faits sont exposes\navec autant de clarete que d'agrement."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c029", "article_bluemountain": "bmtnaau_1909-02_01#c029", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "249", "page_fin": "249", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.12.4", "titre_corps": "MONSIGNY ET SON TEMPS Pougin (A)", "titre_sommaire": "MONSIGNY ET SON TEMPS Pougin (A)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.30", "debut_caractere": 2335, "fin_caractere_exclue": 3439, "texte": "MONSIGNY ET SON TEMPS.\nPong in (A): Paris, Eibrairie Fisclihacher,\nun vol. in=B, prix 10 fr.\nIljxcellent monographie,dont le besoin se fai=\nsait sentir. Si nous possedions en effet plu=\nsieurs travaux sur Gretry, nous n'avions\naucun ouvrage consacre a Monsigny. Et pour\ntant, T auteur de Rose et Colas ne le cede en\nrien a I'auteur de Richard. Bien que pourvu\nd'une instructien musicale insuffisante, Mon=\nsigny par son exquise sensibility, par sa puis**\nsance demotion, par son inspiration abondante\net variee merite d'etre considere comme une\ndes gloires de V opera comique.\nM. Arthur Pougin retrace la vie et la carrier©\nde son heros avec une minutieus© exactitude.\nGrace a des papiers de famille, dont il a eu\ncommunication, il.rectifie nombre d'erreurs\net apporte des faits nouveaux. II analyse les\npartitions; il en present© les interpretes:\nCaillot, Clairval, Mme. Dugazon, les Larnette\net les Triol. Et son interessante etude est\naccompagnee d'une serie d'illustrations (por»\ntraits, costumes et decors) fournies par le\nMusee de TOpera, la Bibliotheque national©\net des collections privees. & & &"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c030", "article_bluemountain": "bmtnaau_1909-02_01#c030", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "249", "page_fin": "249", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.12.5", "titre_corps": "MAISTRE PIERRE PATHELIN. M.E. Scheegans", "titre_sommaire": "MAISTRE PIERRE PATHELIN. M.E. Scheegans", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.30", "debut_caractere": 3441, "fin_caractere_exclue": 4627, "texte": "MA ISTRE PIERRE PATHEEIN\npublie par M. E» Scheegans, professeur de\nlangue et de litterature francaises a V Uni-\nversity de Heidelberg. Bibliotheca ronia-\nnica. Strasbourg. Heitz & Miindel. Un vol.\nin-i2y prix o fr., 50 cent.\ntext de la premiere edition connue,\nI'edition sortie de l'officine de Guillaume\nLe Roy, que reproduitM. EdouardSchneegans.\nII en respecte S' orthographe et donne en no=\ntes les variantes des editions de Pierre Levet,\nGermain Beneaut et Marion De Malaunoy.\nLa notice de M. Schneegans sur la celebre\nfarce da XV. siecle est aussi savante que spi=\nrituelle. Signalons en particulier la page ou\nse trouve refute le jugement severe d'Ernest\nRenan. II est impossible de mieux expliquer\nles choses et de les ramener a de plus justes\nproportions. Un glossaire facilite Tintelligence\ndu tete. De fideles reproductions font connaitre\nau lecteur les bois d'un realisme si vigoureux,\nqui ornent le Pathelin de Pierre Levet. &\nCe nouveau volume de la Bibliotheca roma-\nnica est digne de la precieuse collection de=\nstinee a mettre a la portee de tous, en des\neditions scientifiquement etablies, les chefs\nd' oeuvre des litteratures italienne,\nespagnole et portugeaise. & zz?"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c031", "article_bluemountain": "bmtnaau_1909-02_01#c031", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "249", "page_fin": "249", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.12.6", "titre_corps": "ANNALES DU THÉATRE ET DE LA MUSIQUE. Stoullig (E.)", "titre_sommaire": "ANNALES DU THÉATRE ET DE LA MUSIQUE. Stoullig (E.)", "signature_source": "JEAN-JACQUES OLIVIER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.30", "debut_caractere": 4629, "fin_caractere_exclue": 5100, "texte": "ANNATES DU THÉATRE ET DE LA\nMUSIQUE. Stoullig (E.): Tome XXXIII.\nParis, Ollendorff. Un vol. in-18. Prix:\n3 fr. 50.\nJEAN = JACQUES OLIVIER.\nr\\ans son nouveau volume, M. Edmond\nStoullig dresse le bilan de Tannee 1907.\nNous n'avons pas a faire Teloge de cette\npublication. Tout le monde en connait les\nmerites. Elle fournira les plus precieux do-\ncuments aux futurs historiens de notre\ntheatre. La preface de M. Noziere \" Contre\ntonte tradition\" est d'une delicieuse ironie."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c033", "article_bluemountain": "bmtnaau_1909-02_01#c033", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "250", "page_fin": "252", "image_debut": 31, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.13", "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": 31, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 5001, "texte": "FOREIGN NOTES\n\nNEW York.\nP. G.\nHjphe cornerstone of the New Theatre in New\n* York is laid, and the ceremony connected\nwith it has gone off: we might say it has\n44 gone off fine. \" The kind of work which\nthis theatre is built to enshrine is, according\nto Mr Richard Watson Gilder, the poetical\nworks of Shakespeare until something better\ncan be found, and that Shakespeare is going\nto be put on in the most lavish way may be\ngathered from the lavish way in which the\ncorner stone was laid.\nMany beautiful rose trees were stripped of\ntheir blossoms so that a bower might be\nformed for Mr. Vanderbilt, Mr. Gilder, Mr\nThomas, Mr Finley, Mayor Mclellan and Miss\nGeraldine Farrar.\nWhat a thoughtless way to commence anything\nnew! Could not the art of any man in America\ndevise a canopy which should be worthy\nenough without having resource to nature\npure and simple and without the massacre\nof many beautiful flowers, .... those flowers\nwhich the Emperor Huensung of the Tang\nDynasty loved so much that he hung tiny\ngolden bells on the branches of the trees to\nkeep the birds from them... those flowers that\nhe went often in the spring time with his\ncourt musicians to give pleasure to by playing\nthe music of moderation ? &\nIf the Society of the West chooses to choke\nits tables with a glut of cut flowers, surely\nthe artists of the West can learn something\nfrom the artist of the East,... can learn from\nthem the respect which is due to flowers ?\nHow right is Okakura=<Kakuzo when he writes\nabout this matter: 44 Sad as it is, we cannot\n44 conceal the fact that in spite of our\n44 companionship with flowers we have not\n44 risen very far above the brute. Scratch the\n44 sheepskin and the wolf within us will soon\n44 show his teeth. It has been said that a man\n44 at ten is an animal, at twenty a lunatic, at\n44 thirty a failure, at forty a fraud, and at\n44 fifty a criminal. Perhaps he has become\n44 a criminal because he has never ceased to\n44 be an animal. Nothing is real to us but\n44 hunger, nothing sacred except our own\n44 desires. Shrine after shrine has crumbled\n44 before our eyes; but one altar forever is\n44 reserved, that whereon we burn incense to\n44 the supreme id 01,... ourselves. Our god is\n44 great, and money is his Prophet! We\n44 devastate nature in order to make sacrifice\n44 to him. We boast that we have conquered\n44 Matter and forget that it is Matter that has\n44 enslaved us. What atrocities do we not\n44 perpetrate in the name of culture and\n44 refinement! \" &\nAnd again, 44 The wanton waste of flowers\n44 among Western communities is even more\n14 appalling than the way they are treated\n44 by Eastern Flower Masters. The number of\n44 flowers cut daily to adorn the ballrooms\n44 and banquet=tables of Europe and America,\n44 to be thrown away on the morrow, must be\n46 something enormous; if strung together\n44 they might garland a continent. Beside this\n44 utter carelessness of life, the guilt of the\n44 Flower=Master becomes insignificant. He,\n44 at least, respects the economy of nature,\n44 selects his victims with careful foresight,\n44 and after death does honour to their remains\n44 In the West the display of flowers seems\n44 to be a part of the pageantry of wealth,...\n44 the fancy of a moment. Whither do they\n44 all go, these flowers, when the revelry is\n44 over? Nothing is more pitiful than to see a\n44 faded flower remorselessly flung upon a\n44 dung heap. \"\nHowever, Miss Geraldine Farrar singing of the\nStar Spangled Banner must have been very\ninspiring. The poem of Mr Richard Watson\nGilder must have sounded very noble, and\nthe picture of the uncovered heads of the\nother gentlemen standing round the grave\nmust have struck the hardest heart with pity.\nBut that these poor roses should have been\ndragged into the scandal....no, no, no! That\nwas a bad omen for the future of the New\nTheatre in New York.\n\nTHE CINEMATOGRAPH.\n'The authorities are acting in time.... the\n* mayor of New York has revoked all licences\nfor cinemetograph exhibitions here. That\nmeans that five hundred and fifty places\nwhere such shows are given have been dosed,\nThere has been much protest from people of\nNew York at the character of many of the\nexhibitions. This is an excellent act on the\npart of the authorities who are looked to to\nprotect us from so called Religious Films\nwhich are nothing short of vulgar exhibitions\nof subjects far too sacred to be turned into\nshows of this kind. Sunday performances have\nbeen abolished here so that those firms that\nwaste their time and money preparing\n44 Religious \" Films need do so no longer.\nTheir Sunday business has been succesfully\nknocked on the head.\n\nPARIS\n\nHjphe Muse of the Art of the Theatre\ncontinually fails to keep her appointment\nwith this city, and she thereby places her\nimpresario in a very awkward predicament\nfrom which he annually extracts himself, but\nnot without some difficulty. This year he\nhas had to resort to 44 feeding the brutes. \"\nAn announcement therefore appears to the\neffect that the managers of some of the"}, {"page_pdf": 32, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 5347, "texte": "fashionable Parisian Theatres are arranging\nto serve dinners in their houses which the\nwayward Muse has deserted. &\nThis piece of news is received by all right-\nthinking people with a relief which almost\nborders upon a sensation.\nYet it must not be thought for one moment\ntSiat we impute any lack of dignity on the\npart of the Parisians. A dead city peopled\nwith phantoms bedecked with diamonds and\ndisease, it still carries on its sleeve a certain\ndignity which even daws will not peck at\nfor reasons.\nFor all that the dinner bell ringing in the\nTheatre causes a silver-grey blush to spring\nto the cheeks of the claqueur.... the audience.\nIts duties are a burden to it; it pays almost\nnothing, and a dinner or two during the\nevening will make the time pass less drearily.\nAt the Opera House there is Paillard the\nrestaurateur: his light suppers seem like\nthe afterglow of some dead lamp. They\npunctuate the 44 Gotterdammerung. \" They\nlast sometimes an hour and a half, and for\nthis reason Mr. Paillard has been approached\nas to whether or no he is in favour of the\nprincipal performers appearing before the\ncurtain at the end of an act. &\nIt is suggested that he should take advantage\nof the privilege.\nMr Paillard is reputed to have replied that\nso long as his light suppers are not eaten\nupon the boards of the stage he and his\nwaiters will not be able to bring themselves\nto appear personally before the curtain, no\nmatter how great the applause may be.\nThe 44 Journal des Theatres \" states that\ncomplications may arise owing to Mr Paillard's\nobduracy, and to avoid anything in the nature\nof a disturbance a deputation of the other\nartists will wait upon him at his Hotel.\n\nJ. de S.\n\nBRUSSELS. js?\nTPhe Theatre here is as fashionable as ever,\n* the Art of the Theatre as unpopular. Often\nwe have shocking attempts to imitate the\nwork of individual artists who visit us from\ntime to time.\nThis was the case when Miss Isadora Duncan\ndanced here some time ago. The opera went\nmad for a while. It made its ballet girls costume\nthemselves in things which resembled night\ndresses more than Greek robes, and the ballet\nmaster, evidently bent on the sincerest form\nof insult, made the poor ballet dancers more\nmiserable by forcing them to prance about\nin a manner more distrait that buoyant,...\nand the result was villainous. &\nFancy sixty or seventy chic girls, thoroughly\nat home in frills and tights, having to discard\nboth,... for bareness and bedroom wear! The\npoor dears took it amiably enough, but so\nsadly! They felt so ashamed for once, and\nthe audience so full of pity. We were all\nhorrified here, for we love our old=fashioned\nballet with its foolery and its frills, and its\nfine, if fading, echo of a noble century. &\nIf the master of the ballet has the desire to\nbring back the 44 Greek Dance \" (whatever\nthat namey thing may be), he might spare\nus his experiments for a few years, and in\nthe meantime find his Greek girls, instil into\nthem, (if he knows it himself), the Greek\nbelief, make them dance to Greek music, and\nso do the thing more thoroughly. If it should\ntake him ten years we should not complain,\nand perhaps our children would rejoice.\nStill, Brussels has little to complain of as a\nrule, and if the 44 Greek Cult that is to\nsay, the imitations of the performance of a\nbeautiful personality, (i) threatens us for a\nwhile, the clouds vanish, all the sooner by\nthe assistance of the many serious and learned\nessays and books which come to us often\nenough. jg? &\nTo these can be added the lectures lately\ngiven here by Mr Jean Jacques Olivier, one\nof the first of the living Theatrical Historians,\nwhose interesting study of the actor Lekain,\n& other books relating to the iBth Century\nTheatre in France, form so valuable a\ncontribution to Theatrical Literature.\n\nFLORENCE.\nJ. S.\nStudents of the Theatre in Florence will be\ninterested to learn that a series of lectures\ndealing with the Art and History of the stage\nwill be given here in connection with The\nMash in the months of April and May. &\nThese lectures will be delivered some in\nEnglish and some in French, and Italian, the\nnames of the lecturers and the subjects of\nthe lectures being announced later.\n\nLONDON\nTHE AFTERNOON THEATRE.\n| may be prejudiced, (how well this beginning\nreminds me of the opening of a scathing\nremark by some Londoner who is going to\ntell me he does not like my writings!), I may\nbe prejudiced against the Afternoon Theatre\non account of my affection for the Evening\nTheatre: I may be inclined to wonder why\nin the name of goodness we should have a\ntheatre all the time, more especially why we\nshould have a theatre during that time when\nartificial light is surely undesirable. On the\nother hand I can quite understand that the\nhour ds shortly approaching when we shall\nhave the Breakfast Theatre. The Supper\nTheatre is already with us, according to the\nreports from Paris. And then there will be\nthe 44 Hurried Lunch Theatre: \" there will be\nthe 44 Never Come Home to Tea \" Theatre,\nand finally the 44 In time for the 2d Tube \"\nTheatre. &\nWhatever one may feel about this matter of\ntoo much or too little theatre there is no\ndoubt about one thing. It is, that if we have\na theatre which opens at a somewhat un-\ncommon hour it must contain something of\nuncommon quality.\n\n(1) We suppose our correspondent to refer to Miss Isadora\nDuncan. Ed."}, {"page_pdf": 33, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4069, "texte": "I can in away imagine a theatre beginning\nat eight o' clock in the morning, (they do it\nin the East.), and I can imagine people being\nbrought out of their beds to go to that theatre\nat eight o' clock in the morning, but there\nmust be something very fine indeed to be\nseen there to make people do so. & &\nI was not able to go to the Afternoon Theatre\nmyself for two reasons. First of all, I was\nnot invited, and secondly I was very busy\npreparing myself for a fatal plunge into one\nof the new Frohmann theatres that evening.\nI had promised myself a whole day of undis-\nturbed rest before venturing into that\nterrible atmosphere, but I knew I could rely\non the instinct and taste of two of my\ncolleagues who had accompanied me often to\ndifferent performances. & &\nI asked them to write me as to what they\nthought of the performance of 44 Hannele.\"\n1 received two letters the next day.\nOne began on the subject of the Anglo-Russian\nentente, passed on to matters of foreign art\nand then somehow or other glided into a\ngloomy talk about death. After a page or\ntwo in this strain the writer proceeded:44 And\n\"speaking of being dead, I saw \"Hannele\" bril-\nliantly misinterpreted... misunderstood with\n44 quite marvellous instinct... it is wonderful\n44 how skilfully men escape the toils of Beauty.\"\nThe writer then went on to speak of Shake-\nspeare, of the art of India and other beautiful\nthings which evidently had nothing to do\nwith the Afternoon Theatre and are therefore\nnot necessary to be rewritten here.\nSo much for my first colleague.\nMy second correspondant went into more\ndetail.\n441 thought 44 Hannele\" at His Majesty's\n44 Theatre very bad. When it was originally\n44 given in England there was something lovely\n44 about it. There was no attempt at stage\n44 effect then.... it was not pretentious. The\n44 acting was not wonderful, but it was not\n44 gaudy, it was not showy. At His Majesty's\n44 the show was what has been described as\n44 a Christmas Card Show. Mr Ainley was well\n44 enough as the Schoolmaster. Miss Marie\n44 Lohr looked very pretty as 44 Hannele \"....\nand the rest of the communication was\nlibellous.\nNow, what is to be done when, unable to face\na Matinee and an evening performance in the\nsame day, and when you ask intelligent people\nto report to you intelligently about one of\nthe two they are unable to find anything\nto praise? There must be something back\nof it a11.... Perhaps there is actually nothing\nto praise !\nPerhaps I am prejudiced, but if I had been\nthere I think I could have extracted some\npleasure out of the performance and found\nsomething and some one to praise.\nThere is the Box Office, for instance, and the\namiable man who guards it. There are the\nprogramme sellers: there are the obedient\nlime light workers: there are the scene\nshifters: there is the orchestra, and there is\nthe man who rings the curtain up and down.\nAll honourable positions, and always filled\ncreditably and, seemingly, with, the utmost\nenthusiasm; and I do think that, had I wit=\nnessed \" Hannele \" I should have given much\npraise to these excellent men of the ranks.\nAs for the captains, if, as according to the\nreports, they had been untrue to all the canons\nof art, we 11,... we 11,... we all know what is\ndone to the traitors to a cause. g?\n\nTRADITION.\nG. H.\nM r H.B. Irving continues to delight the public\nby performing for them the plays his fa=\nthermade famous. Opinion is a little divided as\nto whether he should not leave these plays\nalone and choose others which belong more\nrightfully to his own personality, but 1 am\nentirely of. the opinion that no one has a\nbetter right to enact these plays, and in my\njudgment no one does or could act them\nbetter.\nTo say that the performances are not the\nsame as those which Henry Irving gave us is\nno more than to say that Charles Kean's\nperformances of Shylock or Richard 111 were\nnot the same as those of Edmund Kean.\nThere cannot be anything more becoming\nthan that a son should keep alive the memory\nof his father, and there is no better way to\ndo it than what young Henry Irving is doing\nat present."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c035", "article_bluemountain": "bmtnaau_1909-02_01#c035", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "250", "page_fin": "250", "image_debut": 31, "image_fin": 31, "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=bmtnaau190902-01.2.13.2", "titre_corps": "NEW York", "titre_sommaire": "NEW York", "signature_source": "P. G", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.31", "debut_caractere": 15, "fin_caractere_exclue": 3840, "texte": "NEW York.\nP. G.\nHjphe cornerstone of the New Theatre in New\n* York is laid, and the ceremony connected\nwith it has gone off: we might say it has\n44 gone off fine. \" The kind of work which\nthis theatre is built to enshrine is, according\nto Mr Richard Watson Gilder, the poetical\nworks of Shakespeare until something better\ncan be found, and that Shakespeare is going\nto be put on in the most lavish way may be\ngathered from the lavish way in which the\ncorner stone was laid.\nMany beautiful rose trees were stripped of\ntheir blossoms so that a bower might be\nformed for Mr. Vanderbilt, Mr. Gilder, Mr\nThomas, Mr Finley, Mayor Mclellan and Miss\nGeraldine Farrar.\nWhat a thoughtless way to commence anything\nnew! Could not the art of any man in America\ndevise a canopy which should be worthy\nenough without having resource to nature\npure and simple and without the massacre\nof many beautiful flowers, .... those flowers\nwhich the Emperor Huensung of the Tang\nDynasty loved so much that he hung tiny\ngolden bells on the branches of the trees to\nkeep the birds from them... those flowers that\nhe went often in the spring time with his\ncourt musicians to give pleasure to by playing\nthe music of moderation ? &\nIf the Society of the West chooses to choke\nits tables with a glut of cut flowers, surely\nthe artists of the West can learn something\nfrom the artist of the East,... can learn from\nthem the respect which is due to flowers ?\nHow right is Okakura=<Kakuzo when he writes\nabout this matter: 44 Sad as it is, we cannot\n44 conceal the fact that in spite of our\n44 companionship with flowers we have not\n44 risen very far above the brute. Scratch the\n44 sheepskin and the wolf within us will soon\n44 show his teeth. It has been said that a man\n44 at ten is an animal, at twenty a lunatic, at\n44 thirty a failure, at forty a fraud, and at\n44 fifty a criminal. Perhaps he has become\n44 a criminal because he has never ceased to\n44 be an animal. Nothing is real to us but\n44 hunger, nothing sacred except our own\n44 desires. Shrine after shrine has crumbled\n44 before our eyes; but one altar forever is\n44 reserved, that whereon we burn incense to\n44 the supreme id 01,... ourselves. Our god is\n44 great, and money is his Prophet! We\n44 devastate nature in order to make sacrifice\n44 to him. We boast that we have conquered\n44 Matter and forget that it is Matter that has\n44 enslaved us. What atrocities do we not\n44 perpetrate in the name of culture and\n44 refinement! \" &\nAnd again, 44 The wanton waste of flowers\n44 among Western communities is even more\n14 appalling than the way they are treated\n44 by Eastern Flower Masters. The number of\n44 flowers cut daily to adorn the ballrooms\n44 and banquet=tables of Europe and America,\n44 to be thrown away on the morrow, must be\n46 something enormous; if strung together\n44 they might garland a continent. Beside this\n44 utter carelessness of life, the guilt of the\n44 Flower=Master becomes insignificant. He,\n44 at least, respects the economy of nature,\n44 selects his victims with careful foresight,\n44 and after death does honour to their remains\n44 In the West the display of flowers seems\n44 to be a part of the pageantry of wealth,...\n44 the fancy of a moment. Whither do they\n44 all go, these flowers, when the revelry is\n44 over? Nothing is more pitiful than to see a\n44 faded flower remorselessly flung upon a\n44 dung heap. \"\nHowever, Miss Geraldine Farrar singing of the\nStar Spangled Banner must have been very\ninspiring. The poem of Mr Richard Watson\nGilder must have sounded very noble, and\nthe picture of the uncovered heads of the\nother gentlemen standing round the grave\nmust have struck the hardest heart with pity.\nBut that these poor roses should have been\ndragged into the scandal....no, no, no! That\nwas a bad omen for the future of the New\nTheatre in New York."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c036", "article_bluemountain": "bmtnaau_1909-02_01#c036", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "250", "page_fin": "250", "image_debut": 31, "image_fin": 31, "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=bmtnaau190902-01.2.13.3", "titre_corps": "THE CINEMATOGRAPH", "titre_sommaire": "THE CINEMATOGRAPH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.31", "debut_caractere": 3842, "fin_caractere_exclue": 4616, "texte": "THE CINEMATOGRAPH.\n'The authorities are acting in time.... the\n* mayor of New York has revoked all licences\nfor cinemetograph exhibitions here. That\nmeans that five hundred and fifty places\nwhere such shows are given have been dosed,\nThere has been much protest from people of\nNew York at the character of many of the\nexhibitions. This is an excellent act on the\npart of the authorities who are looked to to\nprotect us from so called Religious Films\nwhich are nothing short of vulgar exhibitions\nof subjects far too sacred to be turned into\nshows of this kind. Sunday performances have\nbeen abolished here so that those firms that\nwaste their time and money preparing\n44 Religious \" Films need do so no longer.\nTheir Sunday business has been succesfully\nknocked on the head."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c037", "article_bluemountain": "bmtnaau_1909-02_01#c037", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "250", "page_fin": "251", "image_debut": 31, "image_fin": 32, "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=bmtnaau190902-01.2.13.4", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "J. de S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.31", "debut_caractere": 4618, "fin_caractere_exclue": 5001, "texte": "PARIS\n\nHjphe Muse of the Art of the Theatre\ncontinually fails to keep her appointment\nwith this city, and she thereby places her\nimpresario in a very awkward predicament\nfrom which he annually extracts himself, but\nnot without some difficulty. This year he\nhas had to resort to 44 feeding the brutes. \"\nAn announcement therefore appears to the\neffect that the managers of some of the"}, {"page_pdf": 32, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 1686, "texte": "fashionable Parisian Theatres are arranging\nto serve dinners in their houses which the\nwayward Muse has deserted. &\nThis piece of news is received by all right-\nthinking people with a relief which almost\nborders upon a sensation.\nYet it must not be thought for one moment\ntSiat we impute any lack of dignity on the\npart of the Parisians. A dead city peopled\nwith phantoms bedecked with diamonds and\ndisease, it still carries on its sleeve a certain\ndignity which even daws will not peck at\nfor reasons.\nFor all that the dinner bell ringing in the\nTheatre causes a silver-grey blush to spring\nto the cheeks of the claqueur.... the audience.\nIts duties are a burden to it; it pays almost\nnothing, and a dinner or two during the\nevening will make the time pass less drearily.\nAt the Opera House there is Paillard the\nrestaurateur: his light suppers seem like\nthe afterglow of some dead lamp. They\npunctuate the 44 Gotterdammerung. \" They\nlast sometimes an hour and a half, and for\nthis reason Mr. Paillard has been approached\nas to whether or no he is in favour of the\nprincipal performers appearing before the\ncurtain at the end of an act. &\nIt is suggested that he should take advantage\nof the privilege.\nMr Paillard is reputed to have replied that\nso long as his light suppers are not eaten\nupon the boards of the stage he and his\nwaiters will not be able to bring themselves\nto appear personally before the curtain, no\nmatter how great the applause may be.\nThe 44 Journal des Theatres \" states that\ncomplications may arise owing to Mr Paillard's\nobduracy, and to avoid anything in the nature\nof a disturbance a deputation of the other\nartists will wait upon him at his Hotel.\n\nJ. de S."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c038", "article_bluemountain": "bmtnaau_1909-02_01#c038", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "251", "page_fin": "251", "image_debut": 32, "image_fin": 32, "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=bmtnaau190902-01.2.13.5", "titre_corps": "BRUSSELS", "titre_sommaire": "BRUSSELS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.32", "debut_caractere": 1688, "fin_caractere_exclue": 3783, "texte": "BRUSSELS. js?\nTPhe Theatre here is as fashionable as ever,\n* the Art of the Theatre as unpopular. Often\nwe have shocking attempts to imitate the\nwork of individual artists who visit us from\ntime to time.\nThis was the case when Miss Isadora Duncan\ndanced here some time ago. The opera went\nmad for a while. It made its ballet girls costume\nthemselves in things which resembled night\ndresses more than Greek robes, and the ballet\nmaster, evidently bent on the sincerest form\nof insult, made the poor ballet dancers more\nmiserable by forcing them to prance about\nin a manner more distrait that buoyant,...\nand the result was villainous. &\nFancy sixty or seventy chic girls, thoroughly\nat home in frills and tights, having to discard\nboth,... for bareness and bedroom wear! The\npoor dears took it amiably enough, but so\nsadly! They felt so ashamed for once, and\nthe audience so full of pity. We were all\nhorrified here, for we love our old=fashioned\nballet with its foolery and its frills, and its\nfine, if fading, echo of a noble century. &\nIf the master of the ballet has the desire to\nbring back the 44 Greek Dance \" (whatever\nthat namey thing may be), he might spare\nus his experiments for a few years, and in\nthe meantime find his Greek girls, instil into\nthem, (if he knows it himself), the Greek\nbelief, make them dance to Greek music, and\nso do the thing more thoroughly. If it should\ntake him ten years we should not complain,\nand perhaps our children would rejoice.\nStill, Brussels has little to complain of as a\nrule, and if the 44 Greek Cult that is to\nsay, the imitations of the performance of a\nbeautiful personality, (i) threatens us for a\nwhile, the clouds vanish, all the sooner by\nthe assistance of the many serious and learned\nessays and books which come to us often\nenough. jg? &\nTo these can be added the lectures lately\ngiven here by Mr Jean Jacques Olivier, one\nof the first of the living Theatrical Historians,\nwhose interesting study of the actor Lekain,\n& other books relating to the iBth Century\nTheatre in France, form so valuable a\ncontribution to Theatrical Literature."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c039", "article_bluemountain": "bmtnaau_1909-02_01#c039", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "251", "page_fin": "251", "image_debut": 32, "image_fin": 32, "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=bmtnaau190902-01.2.13.6", "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": 32, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.32", "debut_caractere": 3785, "fin_caractere_exclue": 4182, "texte": "FLORENCE.\nJ. S.\nStudents of the Theatre in Florence will be\ninterested to learn that a series of lectures\ndealing with the Art and History of the stage\nwill be given here in connection with The\nMash in the months of April and May. &\nThese lectures will be delivered some in\nEnglish and some in French, and Italian, the\nnames of the lecturers and the subjects of\nthe lectures being announced later."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c040", "article_bluemountain": "bmtnaau_1909-02_01#c040", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "251", "page_fin": "252", "image_debut": 32, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.13.7", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.32", "debut_caractere": 4184, "fin_caractere_exclue": 5347, "texte": "LONDON\nTHE AFTERNOON THEATRE.\n| may be prejudiced, (how well this beginning\nreminds me of the opening of a scathing\nremark by some Londoner who is going to\ntell me he does not like my writings!), I may\nbe prejudiced against the Afternoon Theatre\non account of my affection for the Evening\nTheatre: I may be inclined to wonder why\nin the name of goodness we should have a\ntheatre all the time, more especially why we\nshould have a theatre during that time when\nartificial light is surely undesirable. On the\nother hand I can quite understand that the\nhour ds shortly approaching when we shall\nhave the Breakfast Theatre. The Supper\nTheatre is already with us, according to the\nreports from Paris. And then there will be\nthe 44 Hurried Lunch Theatre: \" there will be\nthe 44 Never Come Home to Tea \" Theatre,\nand finally the 44 In time for the 2d Tube \"\nTheatre. &\nWhatever one may feel about this matter of\ntoo much or too little theatre there is no\ndoubt about one thing. It is, that if we have\na theatre which opens at a somewhat un-\ncommon hour it must contain something of\nuncommon quality.\n\n(1) We suppose our correspondent to refer to Miss Isadora\nDuncan. Ed."}, {"page_pdf": 33, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 3258, "texte": "I can in away imagine a theatre beginning\nat eight o' clock in the morning, (they do it\nin the East.), and I can imagine people being\nbrought out of their beds to go to that theatre\nat eight o' clock in the morning, but there\nmust be something very fine indeed to be\nseen there to make people do so. & &\nI was not able to go to the Afternoon Theatre\nmyself for two reasons. First of all, I was\nnot invited, and secondly I was very busy\npreparing myself for a fatal plunge into one\nof the new Frohmann theatres that evening.\nI had promised myself a whole day of undis-\nturbed rest before venturing into that\nterrible atmosphere, but I knew I could rely\non the instinct and taste of two of my\ncolleagues who had accompanied me often to\ndifferent performances. & &\nI asked them to write me as to what they\nthought of the performance of 44 Hannele.\"\n1 received two letters the next day.\nOne began on the subject of the Anglo-Russian\nentente, passed on to matters of foreign art\nand then somehow or other glided into a\ngloomy talk about death. After a page or\ntwo in this strain the writer proceeded:44 And\n\"speaking of being dead, I saw \"Hannele\" bril-\nliantly misinterpreted... misunderstood with\n44 quite marvellous instinct... it is wonderful\n44 how skilfully men escape the toils of Beauty.\"\nThe writer then went on to speak of Shake-\nspeare, of the art of India and other beautiful\nthings which evidently had nothing to do\nwith the Afternoon Theatre and are therefore\nnot necessary to be rewritten here.\nSo much for my first colleague.\nMy second correspondant went into more\ndetail.\n441 thought 44 Hannele\" at His Majesty's\n44 Theatre very bad. When it was originally\n44 given in England there was something lovely\n44 about it. There was no attempt at stage\n44 effect then.... it was not pretentious. The\n44 acting was not wonderful, but it was not\n44 gaudy, it was not showy. At His Majesty's\n44 the show was what has been described as\n44 a Christmas Card Show. Mr Ainley was well\n44 enough as the Schoolmaster. Miss Marie\n44 Lohr looked very pretty as 44 Hannele \"....\nand the rest of the communication was\nlibellous.\nNow, what is to be done when, unable to face\na Matinee and an evening performance in the\nsame day, and when you ask intelligent people\nto report to you intelligently about one of\nthe two they are unable to find anything\nto praise? There must be something back\nof it a11.... Perhaps there is actually nothing\nto praise !\nPerhaps I am prejudiced, but if I had been\nthere I think I could have extracted some\npleasure out of the performance and found\nsomething and some one to praise.\nThere is the Box Office, for instance, and the\namiable man who guards it. There are the\nprogramme sellers: there are the obedient\nlime light workers: there are the scene\nshifters: there is the orchestra, and there is\nthe man who rings the curtain up and down.\nAll honourable positions, and always filled\ncreditably and, seemingly, with, the utmost\nenthusiasm; and I do think that, had I wit=\nnessed \" Hannele \" I should have given much\npraise to these excellent men of the ranks.\nAs for the captains, if, as according to the\nreports, they had been untrue to all the canons\nof art, we 11,... we 11,... we all know what is\ndone to the traitors to a cause. g?"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c041", "article_bluemountain": "bmtnaau_1909-02_01#c041", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "252", "page_fin": "252", "image_debut": 33, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.13.8", "titre_corps": "TRADITION", "titre_sommaire": "TRADITION", "signature_source": "G. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.33", "debut_caractere": 3260, "fin_caractere_exclue": 4069, "texte": "TRADITION.\nG. H.\nM r H.B. Irving continues to delight the public\nby performing for them the plays his fa=\nthermade famous. Opinion is a little divided as\nto whether he should not leave these plays\nalone and choose others which belong more\nrightfully to his own personality, but 1 am\nentirely of. the opinion that no one has a\nbetter right to enact these plays, and in my\njudgment no one does or could act them\nbetter.\nTo say that the performances are not the\nsame as those which Henry Irving gave us is\nno more than to say that Charles Kean's\nperformances of Shylock or Richard 111 were\nnot the same as those of Edmund Kean.\nThere cannot be anything more becoming\nthan that a son should keep alive the memory\nof his father, and there is no better way to\ndo it than what young Henry Irving is doing\nat present."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c042", "article_bluemountain": "bmtnaau_1909-02_01#c042", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "252", "page_fin": "256", "image_debut": 33, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.14", "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": 33, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.33", "debut_caractere": 4071, "fin_caractere_exclue": 4808, "texte": "EDITORIAL NOTES\n\nOne of Mr Bernard Shaw's latest utterances\nconvinces us that he is just beginning to\nperceive wherein lies the difference between\nan artist and a socialist, wherein lies the\ndifference between beauty and ugliness, and\nwherein lies the difference between William\nBlake and Mr Bernard Shaw. &\nWe all know Blake's splendid lines from \" A\nvision of the Last Judgment \" in which he\nsays \" 1 assert, for myself, that 1 do not\n\" behold the outward creation, and that to\n\"me it is hindrance and not action. What\n\"it will be questioned, when the sun rises,\n\" do you not see a round disc of fire somewhat\n\" like a guinea? Oh! no, no, 1 see an\n\" innumerably company of the heavenly host\n\" crying, \" Holy, holy, holy is the Lord God"}, {"page_pdf": 34, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 5584, "texte": "\" Almighty! \" I question not my corporeal\n\"eye any more than 1 would question a window\n44 concerning a sight. 1 look through it, and\n44 not with it. \" &\nMr Bernard Shaw writes: 44 If you stand on\n44 Holborn Viaduct and take a snapshot of the\n44 things that are occurring, you have an\n\" exact, superficial record; but you know\n44 nothing of Holborn Viaduct in any spiritual\n44 or truthful sense. If, on the other hand,\n44 another man, instead of saying,44 There are\n44 men and women walking up and down the\n44 street, \" says 441 see a ladder stretched from\n44 earth to heaven, with angels ascending and\n44 descending, \" you not only find that man\n44 much more interesting than the other, but\n44 I suggest that there would be genuine truth\n4* at the bottom of what he said, that there\n44 was some thing to be got out of it, that\n44 possibly he was a man able to make a\n44 revelation to you. \" & &\nNow it seems to us, when we call to mind\nMr Bernard Shaw's writings of many years\nthat he has written in mockery against all\nthat is beautiful: that is to say, all that is\nnot actual, all that cannot be seen with the\ncorporeal eye. Had he sincerely felt and seen\nwith Blake, all this time we had been receiving\npoems instead of satires; for Mr Bernard\nShaw, instead of seeing 44 men and women\nwalking up and down the street \" would\nhave seen 44 a ladder stretched from earth to\nheaven, with angels ascending and descending,\nand we would have found 44 that man much\nmore interesting than the other \" and we are\nquite sure there would have been 44 genuine\ntruth at the bottom of what he said \" and\nthat 44 possibly he was a man able to make\na revelation\" to us. & &\nBut Mr Shaw has always pointed out the\nstreet, and said it is a street and nothing but\na street; that it is the ugliest street on the\nface of the earth; that there is only one thing\nto do and that is to sneer at it and to walk\nup and down it. And as he has looked upon\nthe street with the corporeal eye so has he\nlooked upon the sun with the corporeal eye,\nand in the same way has he looked upon the\ntrees, the animals, the men and women of\nthe suburb in which he has chosen to dwell.\nNow what makes Mr Shaw shift his whole\nground in this manner? Has influence been\nbrought to bear upon him? We fear it is too\nlate. The old laws remain the same as they\never did and poets and artists are born, not\ninfluenced into being. &\nMr Shaw is the type of the self«made artist\nand there is no such thing as a genuine\nartist who has made himself; and yet self made\nartists abound all over the place. It is as\nmuch a profession today to be 44 an artist \"\nas to be anything else. & & &\nMr Shaw, like one of the characters in his\nown plays, has felt behind him that propelling\npower of moral purpose which has shot him\nfrom Dublin into London with the direct\npurpose of reforming London; and having\ngiven us a sermon,... a bitter sermon,... and\nmocked at all things to do with the poor\npeople of London, he winds up by turning on\nthe sanctimonious smile and suggesting that\nlater on he will see ladders stretching from\nLondon to Heaven, and the angels of Adelphi\nTerrace ascending and descending thereon.\nare very thankful to see that the\nReligious Film Firms are having a bad\ntime of it in New York. Our correspondant\nin New York points out in another column\nthat the people of that town have protested\nagainst the whole traffic, so that the Mayor\nof New York closed five hundred and fifty\nof the places where such blasphemies are\nperpetrated.\nIn the July, August and January numbers of\nThe Mask we drew attention to the danger\nof permitting such exhibitions and we hope\nthe authorities will act in the severest possible\nway and will not rest until they have passed\na law, preventing horrors of any description\nleaking through to the public by this deadly\nprocess. Besides the unspeakable horror of\nthese Religious Films there are other horrors\nwhich it would be good to prevent. Far too\nmany murders and suicides are shown in\nthis realistic manner. It conduces to murder\nand suicide.... if is in no way a prevention....\nscientists should be consulted on such matters\nif there be any doubt in the mind of the\nauthorities. Some time ago picture posters\ndepicting such horrors were banned in\nEngland. There must be some reason behind\nsuch a\nWe hope this whole matter of the censorship\nof Cinemetograph Films will be carried through\nsternly and thoroughly.\nmm r William Archer has made a wonderful\nnew 44 arrangement. \" As announced in\nThe Author it reads as follows:\n44 Mr William Archer has now made an\n44 arrangement with Messrs. Curtis, Brown\n44 & Massie by which he will, if desired by\n44 the authors, prepare a detailed criticism\n44 and comment on all plays submitted to him.\n44 A feature of the arrangement is that Mr\n44 Archer will report, not only on completed\n44 plays, but also on scenarios, and may thus\n44 be able to help many a good idea from\n44 going wrong, and may also be able to nip\n44 in the bud some of the hopeless plays on\n44 which authors might otherwise waste their\n44 time. \" <£>\nWe think that this is about the last word\nthat can be said in the matter of play writing.\nThe idea of Mr William Archer seriously\n44 helping to save many a good idea from\ngoing wrong \"... in fact, preventing a single\ndramatic egg from being addled, is stupendous;\nthe picture of Mr Archer 44 nipping in the\nbud \" some of the 44 hopeless plays on which\nauthors might otherwise waste their time \"\nis delicious.^\nHow many beautiful flowers Mr Archer will\ndestroy if he gets the chance! We see him\nwandering round the garden, pausing before"}, {"page_pdf": 35, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 5840, "texte": "every other tree and, with a sigh, breathing\nforth the dread words, 44 Hopeless, hopeless,\nhopeless! \" We see him passing onwards,\nnipping to the right and to the left: we see\nhim carrying all these buds and throwing\nthem to the poultry whose eggs he is going\nto take under his wing: we see him carrying-\nall these eggs back to the house,... and we\nmust say that we would give anything to see\nhim slip with the whole basket, and, after a\ngood scolding from his housekeeper, promise\nhe will never do it again. &\nFor really, if the report is right, Mr Archer's\nattempt is one of the most stupendous pieces\nof impertinence which has ever been flung in\nthe face of an intelligent world.\nTo begin with, what right has Mr Archer to\ncomment on any plays? He knows less about\nthe creation of a play than these young\nauthors whom he proposes to help. He has\nheld authoritative positions on papers in\nEngland, and has done more damage to the\nEnglish Theatre than any other man we can\ncall to mind through tbe awful earnestness\nwith which he regards himself and his mission,\n...an earnestness not tempered by a sense of\nbeauty or humanity; through the self-conscious\nyet uninspired rapture in which he is never\ncaught even napping; through the undisguised\nmelancholy attitude towards things which are\nbeautiful and beyond his power either to create\nor understand; through these infirmities he\nhas unwittingly done great harm to the quite\nunprejudiced minds of the English Playgoers.\nBesides this Mr Archer has never, so far as\nwe know, written a play,... and if he has we\nhave heard very little about it. Mr Archer is\ntherefore one of the last people to be of any\nvital use in such a matter..^\nAfter a work is finished, and while the world\nis criticising it, the professional critic has the\nsame liberty as the public to give his opinion,\nand he has the added advantage of being able\nto express the opinion in public. But when\nthe critic over-steps the limits of discretion,\nand, with a show of valour, prepares to tussle\nwith the Muse in private on behalf of some\ntrembling author who is waiting in the anti-\nchamber, this strikes us as really a little too\nmuch.\nArtists all the world over know quite well\nthat when they wish for assistance there is\nonly one man to whom they can go, and that\nis to the Artist. If a young painter does not\nknow what to do he goes to another painter\nwho is more talented, or he studies under a\nmaster of painting: but he never goes to the\nprofessional critic. In this manner he follows\nthe custom of the carpenter, the smith, the\nweaver and other straightforward craftsmen.,\nand who is there to say he does wrong?\nAgain, a nice book of poems we should have\nhad if young John Keats, whom most of the\ncritics would have liked to have 44 nipped in\nthe bud,\" had submitted his masterpiece to\nthe famous Mr Z., the writer in Blackwood's\nEdinburgh Magazine & of one of the most stu-\npidly misleading criticisms which England has\never had to suffer for. One can say now of this\nimpertinent person, this wretched crea-\nture, this poltroon, this funny gentleman, this\nwriter, in short, this critic, we can say of him\nthat his disgrace is today complete in the\neyes of the entire world; that his lack of\nintellect, his lack of critical ability, his conceit,\nis tremendously laid bare and the poet\ngloriously vindicated.\nAnd history preserves for us the names of\nhundreds of artists who, permitted to go their\nown way, developed by their own talent if at\nall they developed, and never through the\nassistance of either the public or the critic.\nTo attack a great artist is, after all, very\nlittle, for, as Keats writes, '• Praise or blame\n\" has but a momentary effect on the man\n\" whose love of beauty in the abstract makes\n\" him a severe critic on his own Works,\" and\nthat is ever the attitude of the great artist\ntowards his own works. No critic can be so\ncritical as the artist, and outside criticism\nhas but this momentary effect on the great\nartists. But criticism applied to beginners, to\nthose who are not great artists but who are\ntalented men, is, unless it be to praise, a\nvile thing at best. Nevertheless, it exists. We\naccept it; it has grown into a convention.\nBut that we should add to this vile thing a\nmore vile one, that it should be proposed\nthat one who ladles out criticism after the\nwork is done, should ladle it out in advance\nwhile the work is being conceived, surpasses\nall the horrors imaginable by a man of\nimagination.\nThere is something ghoul-like about such a\nthing, there is something uncanny and\ncreepy about it; it suggests a new kind of\nvampire. The horrible stories of vampires who\nsucked the blood from men are not so horrible\nas the idea of a vampire that should prey\nupon something which is half-born. It would\nbe criminal to the last degree for a man in\na position such as Mr Archer proposes for\nhimself, to nip any play in the bud, to nip\nany single play which any young author may\nhave written because he, Mr Archer, thinks\nit is hopeless. What Mr Archer thinks\nhe is at perfect liberty to think, but he should\nnot be permitted to be in the position of\nnipping anything in the bud. There is nothing\nwhich it is necessary to nip in the bud; there\nis nothing which, by development, cannot\nadvance a stage further. &\nIf some monstrosity in nature is born it is\npermitted to live on and it has been seen\nthat it in no way harms itself or others. The\nsingle excuse which may be found for putting\nan end to life is when the life in question is\nmiserable to itself on account of physical pain.\nNow, no work of art can do any harm to\nanyone, neither can it suffer personal pain.\nTherefore there is no reason for putting it\nout of existence.\nThose people who would tell us they are very\ngrateful to this proposal of Mr Archer's and\nwill avail themselves of it are the dunder\nheads, and do not count."}, {"page_pdf": 36, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 5653, "texte": "Sir Hubert von Herkomer, as Professor of\nPainting in the Royal Academy, has been\nsaying some very splendid things to the stu-\ndents. We should like to have heard the stu-\ndents cheer.\nHe spoke against the dealer in pictures; he\nspoke of how the world had learnt to gamble\nin Old Masters. He mentioned how Millet's\nu Angelus \", which was originally sold for £.40\nwas then resold for £. 72; then, at successive\nsales, for £. 480, £. 1520, £. 6400, £. 22,020,\nand finally for £. 32,000. Yet the artistic\nvalue of the picture had not altered. And to\nthis gambling he attributed the present un-\nhappy condition of living artists.\nThat Sir Hubert von Herkomer was thinking\nof the younger school of artists there can be\nno doubt, and he deserves and will receive\nthe affectionate thanks of all these young\nfellows: because what Sir Hubert said is not\nthe sort of thing a man of his position in\nLondon is generally heard saying, and it\ndenotes a particularly courageous and fine\nnature.\nHe then sfioke of wood 'engravers and their\nart and regretted that the snap-shotter had\ntaken the place of the illustrator of the\njournals. He showed how the snap-shot ma-\nchine was a cheaper article to buy than the\nright hand of an artist and how this was\nsufficient reason for employing the snap shot-\nter. He put the whole weight of his argument\nagainst the value of the work of the snap-\nshotter: he pointed out that once perhaps in\na thousand times a man or woman in the\nact of walking, shaking hands or tumbling\noff a horse might turn out passably presen-\ntable and interesting in a snap shot, but that\nin the other nine hundred and ninety nine\ncases the snap shot was little short of a per-\nsonal libel against which there was no legal\nredress: To the assertion by the trade that\nthe camera can make no mistakes he replied\nthat the man who held the camera could and\neven did make mistakes. He stated that the\npublic were accepting an inferior article\nwhen there was no real reason for their ac-\ncepting it.\nWe do not see the value of Sir Hubert's line\nof argument in this particular instance. The\nartist cannot and will not feed the minds of\nthe curious, and we cannot see why Sir\nHubert should advocate such as a desirability.\nWe wish that the courageous speaker had\npointed out that that it is mainly in England\nthat the snap shotter has taken such a fore-\nmost position, and had put forth the modest\nplea that, although the snap shotter\nshould reign, the wood engraver should be\npermitted at any rate to live. The artist is\nlittle concerned with the acknowledgement\nof his supremacy: but, like all other creators\non the round globe, he likes to receive all the\nrights due to inferiority if the f privileges \"\ndue to the ** Superior \" ones are to be witheld\nfrom him. We cannot think that the artist\nwould like to compete with the rapidity\nand cheapness of the process block maker:\nin fact, we are quite certain that the public\nshould guard its artists against the likelihood\nof such a competition. Haste is an enemy to\nArt, and therefore Art can have nothing to\ndo with the Daily Newspaper.\nOne of the things which artists have always\ntaught the world and which they are still\nattempting to teach it, is to take time. Men\nwho can take time are important to the\nworld, and the civilisation built on the prin-\nciples laid down by men who take time would\nbe the grandest civilisation which the mind\ncan conceive. The climax of Rush has been\nreached and tomorrow will hold for us such\na civilisation. Time, and the idea of time,\nfrightens everyone. America is peopled by men\nand women who dread the loss of a second.\nWe think many men must have died there\nthrough chagrin on remembering the loss of\na year: and there is no doubt whatever that\nmany beautiful women have grown swiftly\nold because of this fear. jg?\nWhen speaking of a woman of fifty whose\nexpression is as young as ever, people say,\n\"time makes no impression on her\": and\nthat is just it. She is not frightened of time:\nshe know that she is as limitless as time and\nshe is therefore one of those beings who\nbelong to that civilisation which we expect\nwill be with us Tomorrow. The moment\nthat a million men and women will look upon\ntime without fear, that moment shall we be\nin the ideal state. All men and women will\nlook beautiful and will act beautifully because\ntime will be at their service. And this is\nwhat has always raised the artist above his\nfellows, this sense that he is master of time.\nTp he distinguished woman known to us as\nMiss Mary Anderson has been telling a\nreporter in America that she considers there\nis a gradual decline in all the arts. She says\nthat the Hamlet of years ago, Booth's Hamlet\nwas a far more brilliant thing than Forbes\nRobertson's Hamlet.\nIn passing we may remark what a jar it is to\nhear people speak of these characters of\nShakespeare's such as Macbeth, Othello and\nHamlet as \" Irving's Macbeth\" or \" Bernhardt's\nHamlet \" or \" Salvini's Othello. \" It shows\nclearly how people have come to look upon\nan actor as a creator, whereas he can at best\nbe only an interpreter until he ceases to\nperform plays created by\nMiss Anderson says, \" We have lost the flare\nof our ideas in art; they burn more quietly,\nless brilliantly.\" She seems to want them\nto be more brilliant and less quiet, less\nsteady. But that light is best which burns\nwith the fiercest brilliance and the most\nconstant tranquillity.\nAnd when such a light appears people shade\ntheir eyes from it and retire far away before\nthey dare look at it. Such a light cannot be\nhailed instantly; it is akin to the face of God\nwhich no man can look upon and live. Let\ntime elapse and distance separate it from the"}, {"page_pdf": 37, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 4795, "texte": "beholder, and 10, the telescopes are out at once.\nStill, for the sake of the developments of\nart, European or National, it will be well\nthat the beholders should exercise their\nfaculties of observation and accustom their\neyes to the higher rather than the lower\nlights, so that they may not be heard later\nlaughing at the sun. &\n\nINCIDENTAL MUSIC. &\n7t/|r George Alexander L. C. C. speaking\nthe annual conference of teachers in\nelementary and secondary schools at the\nHolborn Restaurant on January 7 th said that,\nimportant as music was, it was limited in its\nscope. He then tried to explain what he meant\nbut the explanation does not seem to make\nhis cryptic statement any clearer.^\nHe said that, when he contemplated the\nproduction of 44 Paolo and Francesca \" he\napproached his old friend Sir Arthur Sullivan\nand asked him to write the music. Sir Arthur\nreplied, 44 My dear Alexander, the theatre is\n44 not the place for music. When the curtain\n44 is up the music interrupts the actors, and\n44 when the curtain is down the music inter-\n-44 rupts the audience. \" JS?\nMr George Alexander being a man with a\nsense of humour evidently wished to score a\npoint for music and musicians by relating this\ngenial sarcasm uttered by Sir Arthur Sullivan.\nWhat exactly Mr George Alexander was\naiming at is not clear. Perhaps he wished to\nshow quite simply that soft music is a nuisance\nin the theatre, and quoted Sis Arthur Sullivan\nin support of his argument. As a matter of\nfact musicians do not relish the idea of writing\nincidental music to punctuate the voices of\nthe players, for the music is seldom properly\nheard, is played pianissimo, is often cut here,\nthere and everywhere, and the Muse of Music\nis not pleased by this position of her\nThe late Sir Henry Irving, it is reported,\nspent vast sums of money on the purchase\nof incidental music for the theatre, Sir\nArthur Sullivan, Sir H. Mackenzie, Edward\nGerman and Sir Villiars Stanford supplying\nhim with the goods; but to write music which\nshould accompany the voice of an Irving may\nbe some excuse for a bad practise, and every\nrule has its exceptions. & &\nIt is of course well known that incidental\nmusic is comparatively unknown in the other\nEuropean centres, such music being regarded\nas an entirely illegitimate means of heightening\nthe significance of a drama. The audiences in\nthe continental cities would object to this\nirritating tinkle because at best it can only\nmake but a sentimental appeal, allied as it\nis to moments of dramatic sentiment. These\naudiences are glad to avoid sentiment as\nmuch as possible so that they may get deeper\nunder the skin of the drama. In the English\nTheatre false sentiment reigns supreme in a\nmawkish kind of way, and it is only innovators\nlike Mr Granville Barker who are bold enough\nto release us from the tasteless tyranny of\nsentiment gone to seed. &\nVVfhat is the matter with Mr George Bernard\nShaw? In an Interview, (January 25,\nDaily Telegraph) he flattered all the actors\nwhom he had previously abused like pick-\npockets: he attacked critics for being cruel\nto actors, as though he had himself never\nwritten the cruellest things about actors in\nthe Saturday Review, and he made all sorts\nof rash and incorrect statements which he\nused not to do in the time of Henry Irving.\nReading the interview we came across a\npassage relating to Mr Gordon Craig in which\nMr Shaw says that, as he could not annex\nMr Craig as actor he would annex him as\nscenic decorator, and would 44 borrow his\ncurtains.\nBut on making enquiries we ascertained that\nno such curtains exist.\nThis is Mr Craig's reply as given to our\nrepresentative, 44 I know nothing about any\n44 curtains... and I possess none. I cannot guess\n44 what Mr Bernard Shaw can mean. Years ago\n44 when I was a boy, and Mr Shaw in his prime,\n441 made an experiment or two with some\n44 draped stuff instead of scenery, but that was\n44 because the theatre was not rich enough\n44 to run to wood and canvas. I was excused\n44 the offence I suppose on account of my\n44youth, but I gather that Mr Shaw is quite\n44 old enough to know better. &\n44 I suppose it is this old threadbare curtain\n44 idea which Mr Shaw is alluding t0... and I\n44 hope for his own sake he will find it of a\n44 piece with his plays. If he is keen about it\n44 he is perfectly welcome to it. Why not ?...\n44 everyone may borrow ideas, but I feel that\n44 it's alway best to borrow the latest,... they\n44are so much more likely to be fresh. Still,\n44 for Shakespeare, those curtains are rather\n44nice: they will d 0... anything does for\n44 Hamlet & Cymbelene. But when it comes to\n44 supplying scenery to the author of 44 Mrs\n44 Warren's Profession \" and 44 Don Juan in\n44 Hell \" something sterner, grander, is\n44necessary; something more like Trafalgar\n44 Square on a Sunday.... No ? \" £?"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c044", "article_bluemountain": "bmtnaau_1909-02_01#c044", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "252", "page_fin": "256", "image_debut": 33, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.14.2", "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": 33, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.33", "debut_caractere": 4088, "fin_caractere_exclue": 4808, "texte": "One of Mr Bernard Shaw's latest utterances\nconvinces us that he is just beginning to\nperceive wherein lies the difference between\nan artist and a socialist, wherein lies the\ndifference between beauty and ugliness, and\nwherein lies the difference between William\nBlake and Mr Bernard Shaw. &\nWe all know Blake's splendid lines from \" A\nvision of the Last Judgment \" in which he\nsays \" 1 assert, for myself, that 1 do not\n\" behold the outward creation, and that to\n\"me it is hindrance and not action. What\n\"it will be questioned, when the sun rises,\n\" do you not see a round disc of fire somewhat\n\" like a guinea? Oh! no, no, 1 see an\n\" innumerably company of the heavenly host\n\" crying, \" Holy, holy, holy is the Lord God"}, {"page_pdf": 34, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 5584, "texte": "\" Almighty! \" I question not my corporeal\n\"eye any more than 1 would question a window\n44 concerning a sight. 1 look through it, and\n44 not with it. \" &\nMr Bernard Shaw writes: 44 If you stand on\n44 Holborn Viaduct and take a snapshot of the\n44 things that are occurring, you have an\n\" exact, superficial record; but you know\n44 nothing of Holborn Viaduct in any spiritual\n44 or truthful sense. If, on the other hand,\n44 another man, instead of saying,44 There are\n44 men and women walking up and down the\n44 street, \" says 441 see a ladder stretched from\n44 earth to heaven, with angels ascending and\n44 descending, \" you not only find that man\n44 much more interesting than the other, but\n44 I suggest that there would be genuine truth\n4* at the bottom of what he said, that there\n44 was some thing to be got out of it, that\n44 possibly he was a man able to make a\n44 revelation to you. \" & &\nNow it seems to us, when we call to mind\nMr Bernard Shaw's writings of many years\nthat he has written in mockery against all\nthat is beautiful: that is to say, all that is\nnot actual, all that cannot be seen with the\ncorporeal eye. Had he sincerely felt and seen\nwith Blake, all this time we had been receiving\npoems instead of satires; for Mr Bernard\nShaw, instead of seeing 44 men and women\nwalking up and down the street \" would\nhave seen 44 a ladder stretched from earth to\nheaven, with angels ascending and descending,\nand we would have found 44 that man much\nmore interesting than the other \" and we are\nquite sure there would have been 44 genuine\ntruth at the bottom of what he said \" and\nthat 44 possibly he was a man able to make\na revelation\" to us. & &\nBut Mr Shaw has always pointed out the\nstreet, and said it is a street and nothing but\na street; that it is the ugliest street on the\nface of the earth; that there is only one thing\nto do and that is to sneer at it and to walk\nup and down it. And as he has looked upon\nthe street with the corporeal eye so has he\nlooked upon the sun with the corporeal eye,\nand in the same way has he looked upon the\ntrees, the animals, the men and women of\nthe suburb in which he has chosen to dwell.\nNow what makes Mr Shaw shift his whole\nground in this manner? Has influence been\nbrought to bear upon him? We fear it is too\nlate. The old laws remain the same as they\never did and poets and artists are born, not\ninfluenced into being. &\nMr Shaw is the type of the self«made artist\nand there is no such thing as a genuine\nartist who has made himself; and yet self made\nartists abound all over the place. It is as\nmuch a profession today to be 44 an artist \"\nas to be anything else. & & &\nMr Shaw, like one of the characters in his\nown plays, has felt behind him that propelling\npower of moral purpose which has shot him\nfrom Dublin into London with the direct\npurpose of reforming London; and having\ngiven us a sermon,... a bitter sermon,... and\nmocked at all things to do with the poor\npeople of London, he winds up by turning on\nthe sanctimonious smile and suggesting that\nlater on he will see ladders stretching from\nLondon to Heaven, and the angels of Adelphi\nTerrace ascending and descending thereon.\nare very thankful to see that the\nReligious Film Firms are having a bad\ntime of it in New York. Our correspondant\nin New York points out in another column\nthat the people of that town have protested\nagainst the whole traffic, so that the Mayor\nof New York closed five hundred and fifty\nof the places where such blasphemies are\nperpetrated.\nIn the July, August and January numbers of\nThe Mask we drew attention to the danger\nof permitting such exhibitions and we hope\nthe authorities will act in the severest possible\nway and will not rest until they have passed\na law, preventing horrors of any description\nleaking through to the public by this deadly\nprocess. Besides the unspeakable horror of\nthese Religious Films there are other horrors\nwhich it would be good to prevent. Far too\nmany murders and suicides are shown in\nthis realistic manner. It conduces to murder\nand suicide.... if is in no way a prevention....\nscientists should be consulted on such matters\nif there be any doubt in the mind of the\nauthorities. Some time ago picture posters\ndepicting such horrors were banned in\nEngland. There must be some reason behind\nsuch a\nWe hope this whole matter of the censorship\nof Cinemetograph Films will be carried through\nsternly and thoroughly.\nmm r William Archer has made a wonderful\nnew 44 arrangement. \" As announced in\nThe Author it reads as follows:\n44 Mr William Archer has now made an\n44 arrangement with Messrs. Curtis, Brown\n44 & Massie by which he will, if desired by\n44 the authors, prepare a detailed criticism\n44 and comment on all plays submitted to him.\n44 A feature of the arrangement is that Mr\n44 Archer will report, not only on completed\n44 plays, but also on scenarios, and may thus\n44 be able to help many a good idea from\n44 going wrong, and may also be able to nip\n44 in the bud some of the hopeless plays on\n44 which authors might otherwise waste their\n44 time. \" <£>\nWe think that this is about the last word\nthat can be said in the matter of play writing.\nThe idea of Mr William Archer seriously\n44 helping to save many a good idea from\ngoing wrong \"... in fact, preventing a single\ndramatic egg from being addled, is stupendous;\nthe picture of Mr Archer 44 nipping in the\nbud \" some of the 44 hopeless plays on which\nauthors might otherwise waste their time \"\nis delicious.^\nHow many beautiful flowers Mr Archer will\ndestroy if he gets the chance! We see him\nwandering round the garden, pausing before"}, {"page_pdf": 35, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 5840, "texte": "every other tree and, with a sigh, breathing\nforth the dread words, 44 Hopeless, hopeless,\nhopeless! \" We see him passing onwards,\nnipping to the right and to the left: we see\nhim carrying all these buds and throwing\nthem to the poultry whose eggs he is going\nto take under his wing: we see him carrying-\nall these eggs back to the house,... and we\nmust say that we would give anything to see\nhim slip with the whole basket, and, after a\ngood scolding from his housekeeper, promise\nhe will never do it again. &\nFor really, if the report is right, Mr Archer's\nattempt is one of the most stupendous pieces\nof impertinence which has ever been flung in\nthe face of an intelligent world.\nTo begin with, what right has Mr Archer to\ncomment on any plays? He knows less about\nthe creation of a play than these young\nauthors whom he proposes to help. He has\nheld authoritative positions on papers in\nEngland, and has done more damage to the\nEnglish Theatre than any other man we can\ncall to mind through tbe awful earnestness\nwith which he regards himself and his mission,\n...an earnestness not tempered by a sense of\nbeauty or humanity; through the self-conscious\nyet uninspired rapture in which he is never\ncaught even napping; through the undisguised\nmelancholy attitude towards things which are\nbeautiful and beyond his power either to create\nor understand; through these infirmities he\nhas unwittingly done great harm to the quite\nunprejudiced minds of the English Playgoers.\nBesides this Mr Archer has never, so far as\nwe know, written a play,... and if he has we\nhave heard very little about it. Mr Archer is\ntherefore one of the last people to be of any\nvital use in such a matter..^\nAfter a work is finished, and while the world\nis criticising it, the professional critic has the\nsame liberty as the public to give his opinion,\nand he has the added advantage of being able\nto express the opinion in public. But when\nthe critic over-steps the limits of discretion,\nand, with a show of valour, prepares to tussle\nwith the Muse in private on behalf of some\ntrembling author who is waiting in the anti-\nchamber, this strikes us as really a little too\nmuch.\nArtists all the world over know quite well\nthat when they wish for assistance there is\nonly one man to whom they can go, and that\nis to the Artist. If a young painter does not\nknow what to do he goes to another painter\nwho is more talented, or he studies under a\nmaster of painting: but he never goes to the\nprofessional critic. In this manner he follows\nthe custom of the carpenter, the smith, the\nweaver and other straightforward craftsmen.,\nand who is there to say he does wrong?\nAgain, a nice book of poems we should have\nhad if young John Keats, whom most of the\ncritics would have liked to have 44 nipped in\nthe bud,\" had submitted his masterpiece to\nthe famous Mr Z., the writer in Blackwood's\nEdinburgh Magazine & of one of the most stu-\npidly misleading criticisms which England has\never had to suffer for. One can say now of this\nimpertinent person, this wretched crea-\nture, this poltroon, this funny gentleman, this\nwriter, in short, this critic, we can say of him\nthat his disgrace is today complete in the\neyes of the entire world; that his lack of\nintellect, his lack of critical ability, his conceit,\nis tremendously laid bare and the poet\ngloriously vindicated.\nAnd history preserves for us the names of\nhundreds of artists who, permitted to go their\nown way, developed by their own talent if at\nall they developed, and never through the\nassistance of either the public or the critic.\nTo attack a great artist is, after all, very\nlittle, for, as Keats writes, '• Praise or blame\n\" has but a momentary effect on the man\n\" whose love of beauty in the abstract makes\n\" him a severe critic on his own Works,\" and\nthat is ever the attitude of the great artist\ntowards his own works. No critic can be so\ncritical as the artist, and outside criticism\nhas but this momentary effect on the great\nartists. But criticism applied to beginners, to\nthose who are not great artists but who are\ntalented men, is, unless it be to praise, a\nvile thing at best. Nevertheless, it exists. We\naccept it; it has grown into a convention.\nBut that we should add to this vile thing a\nmore vile one, that it should be proposed\nthat one who ladles out criticism after the\nwork is done, should ladle it out in advance\nwhile the work is being conceived, surpasses\nall the horrors imaginable by a man of\nimagination.\nThere is something ghoul-like about such a\nthing, there is something uncanny and\ncreepy about it; it suggests a new kind of\nvampire. The horrible stories of vampires who\nsucked the blood from men are not so horrible\nas the idea of a vampire that should prey\nupon something which is half-born. It would\nbe criminal to the last degree for a man in\na position such as Mr Archer proposes for\nhimself, to nip any play in the bud, to nip\nany single play which any young author may\nhave written because he, Mr Archer, thinks\nit is hopeless. What Mr Archer thinks\nhe is at perfect liberty to think, but he should\nnot be permitted to be in the position of\nnipping anything in the bud. There is nothing\nwhich it is necessary to nip in the bud; there\nis nothing which, by development, cannot\nadvance a stage further. &\nIf some monstrosity in nature is born it is\npermitted to live on and it has been seen\nthat it in no way harms itself or others. The\nsingle excuse which may be found for putting\nan end to life is when the life in question is\nmiserable to itself on account of physical pain.\nNow, no work of art can do any harm to\nanyone, neither can it suffer personal pain.\nTherefore there is no reason for putting it\nout of existence.\nThose people who would tell us they are very\ngrateful to this proposal of Mr Archer's and\nwill avail themselves of it are the dunder\nheads, and do not count."}, {"page_pdf": 36, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 5653, "texte": "Sir Hubert von Herkomer, as Professor of\nPainting in the Royal Academy, has been\nsaying some very splendid things to the stu-\ndents. We should like to have heard the stu-\ndents cheer.\nHe spoke against the dealer in pictures; he\nspoke of how the world had learnt to gamble\nin Old Masters. He mentioned how Millet's\nu Angelus \", which was originally sold for £.40\nwas then resold for £. 72; then, at successive\nsales, for £. 480, £. 1520, £. 6400, £. 22,020,\nand finally for £. 32,000. Yet the artistic\nvalue of the picture had not altered. And to\nthis gambling he attributed the present un-\nhappy condition of living artists.\nThat Sir Hubert von Herkomer was thinking\nof the younger school of artists there can be\nno doubt, and he deserves and will receive\nthe affectionate thanks of all these young\nfellows: because what Sir Hubert said is not\nthe sort of thing a man of his position in\nLondon is generally heard saying, and it\ndenotes a particularly courageous and fine\nnature.\nHe then sfioke of wood 'engravers and their\nart and regretted that the snap-shotter had\ntaken the place of the illustrator of the\njournals. He showed how the snap-shot ma-\nchine was a cheaper article to buy than the\nright hand of an artist and how this was\nsufficient reason for employing the snap shot-\nter. He put the whole weight of his argument\nagainst the value of the work of the snap-\nshotter: he pointed out that once perhaps in\na thousand times a man or woman in the\nact of walking, shaking hands or tumbling\noff a horse might turn out passably presen-\ntable and interesting in a snap shot, but that\nin the other nine hundred and ninety nine\ncases the snap shot was little short of a per-\nsonal libel against which there was no legal\nredress: To the assertion by the trade that\nthe camera can make no mistakes he replied\nthat the man who held the camera could and\neven did make mistakes. He stated that the\npublic were accepting an inferior article\nwhen there was no real reason for their ac-\ncepting it.\nWe do not see the value of Sir Hubert's line\nof argument in this particular instance. The\nartist cannot and will not feed the minds of\nthe curious, and we cannot see why Sir\nHubert should advocate such as a desirability.\nWe wish that the courageous speaker had\npointed out that that it is mainly in England\nthat the snap shotter has taken such a fore-\nmost position, and had put forth the modest\nplea that, although the snap shotter\nshould reign, the wood engraver should be\npermitted at any rate to live. The artist is\nlittle concerned with the acknowledgement\nof his supremacy: but, like all other creators\non the round globe, he likes to receive all the\nrights due to inferiority if the f privileges \"\ndue to the ** Superior \" ones are to be witheld\nfrom him. We cannot think that the artist\nwould like to compete with the rapidity\nand cheapness of the process block maker:\nin fact, we are quite certain that the public\nshould guard its artists against the likelihood\nof such a competition. Haste is an enemy to\nArt, and therefore Art can have nothing to\ndo with the Daily Newspaper.\nOne of the things which artists have always\ntaught the world and which they are still\nattempting to teach it, is to take time. Men\nwho can take time are important to the\nworld, and the civilisation built on the prin-\nciples laid down by men who take time would\nbe the grandest civilisation which the mind\ncan conceive. The climax of Rush has been\nreached and tomorrow will hold for us such\na civilisation. Time, and the idea of time,\nfrightens everyone. America is peopled by men\nand women who dread the loss of a second.\nWe think many men must have died there\nthrough chagrin on remembering the loss of\na year: and there is no doubt whatever that\nmany beautiful women have grown swiftly\nold because of this fear. jg?\nWhen speaking of a woman of fifty whose\nexpression is as young as ever, people say,\n\"time makes no impression on her\": and\nthat is just it. She is not frightened of time:\nshe know that she is as limitless as time and\nshe is therefore one of those beings who\nbelong to that civilisation which we expect\nwill be with us Tomorrow. The moment\nthat a million men and women will look upon\ntime without fear, that moment shall we be\nin the ideal state. All men and women will\nlook beautiful and will act beautifully because\ntime will be at their service. And this is\nwhat has always raised the artist above his\nfellows, this sense that he is master of time.\nTp he distinguished woman known to us as\nMiss Mary Anderson has been telling a\nreporter in America that she considers there\nis a gradual decline in all the arts. She says\nthat the Hamlet of years ago, Booth's Hamlet\nwas a far more brilliant thing than Forbes\nRobertson's Hamlet.\nIn passing we may remark what a jar it is to\nhear people speak of these characters of\nShakespeare's such as Macbeth, Othello and\nHamlet as \" Irving's Macbeth\" or \" Bernhardt's\nHamlet \" or \" Salvini's Othello. \" It shows\nclearly how people have come to look upon\nan actor as a creator, whereas he can at best\nbe only an interpreter until he ceases to\nperform plays created by\nMiss Anderson says, \" We have lost the flare\nof our ideas in art; they burn more quietly,\nless brilliantly.\" She seems to want them\nto be more brilliant and less quiet, less\nsteady. But that light is best which burns\nwith the fiercest brilliance and the most\nconstant tranquillity.\nAnd when such a light appears people shade\ntheir eyes from it and retire far away before\nthey dare look at it. Such a light cannot be\nhailed instantly; it is akin to the face of God\nwhich no man can look upon and live. Let\ntime elapse and distance separate it from the"}, {"page_pdf": 37, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 328, "texte": "beholder, and 10, the telescopes are out at once.\nStill, for the sake of the developments of\nart, European or National, it will be well\nthat the beholders should exercise their\nfaculties of observation and accustom their\neyes to the higher rather than the lower\nlights, so that they may not be heard later\nlaughing at the sun. &"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c045", "article_bluemountain": "bmtnaau_1909-02_01#c045", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "256", "page_fin": "256", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.14.3", "titre_corps": "INCIDENTAL MUSIC", "titre_sommaire": "INCIDENTAL MUSIC", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.37", "debut_caractere": 330, "fin_caractere_exclue": 4795, "texte": "INCIDENTAL MUSIC. &\n7t/|r George Alexander L. C. C. speaking\nthe annual conference of teachers in\nelementary and secondary schools at the\nHolborn Restaurant on January 7 th said that,\nimportant as music was, it was limited in its\nscope. He then tried to explain what he meant\nbut the explanation does not seem to make\nhis cryptic statement any clearer.^\nHe said that, when he contemplated the\nproduction of 44 Paolo and Francesca \" he\napproached his old friend Sir Arthur Sullivan\nand asked him to write the music. Sir Arthur\nreplied, 44 My dear Alexander, the theatre is\n44 not the place for music. When the curtain\n44 is up the music interrupts the actors, and\n44 when the curtain is down the music inter-\n-44 rupts the audience. \" JS?\nMr George Alexander being a man with a\nsense of humour evidently wished to score a\npoint for music and musicians by relating this\ngenial sarcasm uttered by Sir Arthur Sullivan.\nWhat exactly Mr George Alexander was\naiming at is not clear. Perhaps he wished to\nshow quite simply that soft music is a nuisance\nin the theatre, and quoted Sis Arthur Sullivan\nin support of his argument. As a matter of\nfact musicians do not relish the idea of writing\nincidental music to punctuate the voices of\nthe players, for the music is seldom properly\nheard, is played pianissimo, is often cut here,\nthere and everywhere, and the Muse of Music\nis not pleased by this position of her\nThe late Sir Henry Irving, it is reported,\nspent vast sums of money on the purchase\nof incidental music for the theatre, Sir\nArthur Sullivan, Sir H. Mackenzie, Edward\nGerman and Sir Villiars Stanford supplying\nhim with the goods; but to write music which\nshould accompany the voice of an Irving may\nbe some excuse for a bad practise, and every\nrule has its exceptions. & &\nIt is of course well known that incidental\nmusic is comparatively unknown in the other\nEuropean centres, such music being regarded\nas an entirely illegitimate means of heightening\nthe significance of a drama. The audiences in\nthe continental cities would object to this\nirritating tinkle because at best it can only\nmake but a sentimental appeal, allied as it\nis to moments of dramatic sentiment. These\naudiences are glad to avoid sentiment as\nmuch as possible so that they may get deeper\nunder the skin of the drama. In the English\nTheatre false sentiment reigns supreme in a\nmawkish kind of way, and it is only innovators\nlike Mr Granville Barker who are bold enough\nto release us from the tasteless tyranny of\nsentiment gone to seed. &\nVVfhat is the matter with Mr George Bernard\nShaw? In an Interview, (January 25,\nDaily Telegraph) he flattered all the actors\nwhom he had previously abused like pick-\npockets: he attacked critics for being cruel\nto actors, as though he had himself never\nwritten the cruellest things about actors in\nthe Saturday Review, and he made all sorts\nof rash and incorrect statements which he\nused not to do in the time of Henry Irving.\nReading the interview we came across a\npassage relating to Mr Gordon Craig in which\nMr Shaw says that, as he could not annex\nMr Craig as actor he would annex him as\nscenic decorator, and would 44 borrow his\ncurtains.\nBut on making enquiries we ascertained that\nno such curtains exist.\nThis is Mr Craig's reply as given to our\nrepresentative, 44 I know nothing about any\n44 curtains... and I possess none. I cannot guess\n44 what Mr Bernard Shaw can mean. Years ago\n44 when I was a boy, and Mr Shaw in his prime,\n441 made an experiment or two with some\n44 draped stuff instead of scenery, but that was\n44 because the theatre was not rich enough\n44 to run to wood and canvas. I was excused\n44 the offence I suppose on account of my\n44youth, but I gather that Mr Shaw is quite\n44 old enough to know better. &\n44 I suppose it is this old threadbare curtain\n44 idea which Mr Shaw is alluding t0... and I\n44 hope for his own sake he will find it of a\n44 piece with his plays. If he is keen about it\n44 he is perfectly welcome to it. Why not ?...\n44 everyone may borrow ideas, but I feel that\n44 it's alway best to borrow the latest,... they\n44are so much more likely to be fresh. Still,\n44 for Shakespeare, those curtains are rather\n44nice: they will d 0... anything does for\n44 Hamlet & Cymbelene. But when it comes to\n44 supplying scenery to the author of 44 Mrs\n44 Warren's Profession \" and 44 Don Juan in\n44 Hell \" something sterner, grander, is\n44necessary; something more like Trafalgar\n44 Square on a Sunday.... No ? \" £?"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c046", "article_bluemountain": "bmtnaau_1909-02_01#c046", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "256", "page_fin": "256", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.15", "titre_corps": "TO OUR READERS", "titre_sommaire": "TO OUR READERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.37", "debut_caractere": 4797, "fin_caractere_exclue": 5249, "texte": "TO OUR READERS\nWith this number The Mask completes\nits first year. & & &\nIt has overcome many difficulties.\nSeven Publishers refused to consider it.\nMost people said it could not live three\nmonths.\nIt has lived twelve. & &\nIt will continue to live as long as we wish.\nThe Mask has many true friends.\nWe thank them all from our heart... the\ngenerous Press of England not least of\nthese, and we hope that in the coming\nyear we shall be able to do better."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c047", "article_bluemountain": "bmtnaau_1909-02_01#c047", "volume": "bmtnaau_1909-02_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=bmtnaau190902-01.2.16", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.2", "debut_caractere": 137, "fin_caractere_exclue": 248, "texte": "CARLO M. QIRARD\nANTIQUE FURNITURE\nAND FAITHFUL REPRODUCTIONS\nOF CLASSIC PIECES.\nVIA DELL A VIGNA\nFLORENCE\nITALY"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c048", "article_bluemountain": "bmtnaau_1909-02_01#c048", "volume": "bmtnaau_1909-02_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=bmtnaau190902-01.2.17", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.2", "debut_caractere": 250, "fin_caractere_exclue": 364, "texte": "CANTAGALLI\nARTISTIC MAIOLICA\nARCHITECTURAL DECORATIONS,\nREPRODUCTIONS OF DELLA ROBBIA.\nPORTA ROMANA\nFLORENCE\nITALY"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c049", "article_bluemountain": "bmtnaau_1909-02_01#c049", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.2.18", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 321, "texte": "HEAL & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\nss\n<c\n3\n%\n<O,\n<*,\nChintzes, Printed Linens & Printed Cottons. Write for\nillustrated Booklet \" M \" with photographs & prices.\nHeal & Son have special materials for Casement m\nCurtains. Booklet \"K\"with small patterns sent postfree.\nTOTTENHAM COURT ROAD LONDON"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c050", "article_bluemountain": "bmtnaau_1909-02_01#c050", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[223]", "page_fin": "[223]", "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=bmtnaau190902-01.2.19", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[223]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 1137, "texte": "rap\nTP\nm\nQ\n#5\nis^bi\nsSSll\n&\n65&d556\nfiriHh3ls»\nUSE A\n*«\nCWA M\nJP®%iw\nFOUNTAIN\nPEN\nAND DISCARD ALL ANTIQUATED METHODS.\nFountain pens are Necessities to modern men and women—Shorthand writers especially-\nwho value their time and comfort and saving of expense. The Best Fountain Pen is\na greater necessity than any second best.\nj& THE \"SWAN\" FOUNTPEN\nis Best because it has the highest grade gold nib ever put in a fountain pen. It has\na sure feed—by feed we mean an ink conductor and air compensator. Ink is fed to\nboth sides of the nib, so that the light writer or the heavy hand has the right supply\nof ink. Not these characteristics alone, but—\n\" LE TOUT ENSEMBLE \" makes the PERFECT PEN\nSold by Stationers and Jewellers Eveiywhere. INSIST ON \" SWAN \" !\nMABIE, TODD & CO.\n(\"SWAN\" Fountpen Makers),\n79 & 80, HIGH HOLBORN, LONDON, W. C.\nBRANCHES:\n93, Cheapside, E.C.; 95a, Regent Street, W.\n3, Exchange Street, Manchester.\n10, Rue Neuve, Brussels.\nBrentano's, 37, Ave. de 1' Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nPRICES: English:- io\\6 - French Fes. 15.00 - Italian - Eire 15.00 upwards.\nWrite foi Catalogue, post free."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c051", "article_bluemountain": "bmtnaau_1909-02_01#c051", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[223]", "page_fin": "[223]", "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=bmtnaau190902-01.2.20", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[223]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.4", "debut_caractere": 1139, "fin_caractere_exclue": 1294, "texte": "THE CHENIL GALLERY\n£> EXHIBITIONS £>\nOF THE WORKS OF\nAUGUSTUS JOHN,\nWILLIAM ORPEN, JAMES\nPRYDE, WILLIAM\nNICHOLSON & OTHERS.\niS3 KINGS RD. CHELSEA,\n& LONDON"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c052", "article_bluemountain": "bmtnaau_1909-02_01#c052", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[223]", "page_fin": "[223]", "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=bmtnaau190902-01.2.21", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[223]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.4", "debut_caractere": 1296, "fin_caractere_exclue": 1840, "texte": "Every reader of the English language will be\ninterested in a Magazine that is doing the work of\nThe Book New Monthly\nan illustrated magazine devoted to Literatures:\nArt, published in Philadelphia, Pa., U. S. A.,\nat 10 c. a copy, L. 1,00 a year.\nThe purpose of THE BOOK NEWS MONTHLY\nis to Save Time, to Interest, Instruct, and Guide\nthe Goneral Reader. £? £?\nSpecimen copy sent free to any part of the world\nAgents for Subscriptions in England: &\n& The international News Company.\nAddresses:\nTHE BOOK NEWS MONTHLY,\nPhiladelphia, Pa., U. S. A. £*"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c053", "article_bluemountain": "bmtnaau_1909-02_01#c053", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[223]", "page_fin": "[223]", "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=bmtnaau190902-01.2.22", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[223]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.4", "debut_caractere": 1842, "fin_caractere_exclue": 2107, "texte": "GERMAN\nPRESS CLIPPING\nBUR E A U\nWill supply you with all personal\nreferences and clippings on any subject\nfrom all the papers and periodicals\npublished in the German speaking\ncountries. & & &\nSend for prospectus.\n& ADOLF SCHUSTERMANN\nRu nge St rasse 2 5 BERLIN S. O"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c054", "article_bluemountain": "bmtnaau_1909-02_01#c054", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[223]", "page_fin": "[223]", "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=bmtnaau190902-01.2.23", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[223]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.4", "debut_caractere": 2109, "fin_caractere_exclue": 2169, "texte": "ALICE KAUSER\nDramatic Agent\n& PLAYS &\n1402 Broadway\nNew York"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c055", "article_bluemountain": "bmtnaau_1909-02_01#c055", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[258]", "page_fin": "[258]", "image_debut": 39, "image_fin": 39, "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=bmtnaau190902-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "[258]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 1400, "texte": "THE WOOD ENGRAVERS of S. LEONARDO\nEX LIBRIS & Are you a BOOK LOVER? If you are you will desire that which can\nadd to the beauty & completeness of your Books, & cannot do without a BOOK PLATE.\nIn design your Book Plate must be grave yet charming, for its duty is to act as watchman at\nthe doors of all books, whether religious or profane. If you would possess such a Book Plate,\nsimple, charming and distinguished, write to the Wood Engravers of San Leonardo, directing\nyour letter to them at the ARENA GOLDONI - VIA DEI SERRAGLI - FLORENCE - ITALY -\nand you will receive all the information you desire. jp & & & JP\nPublishers marks, letter paper headings, theatre programmes and souvenirs; exhibition catalogues, designed and\nprinted by us. xp XP & 4P & &\nWe do not make any attempt to compete with the cheap, popular and hastily made designs which may be obtained\nby the crowd: our designs are engraved by hand on picked box-wood, and printed on our hand-press on specially\nselected papers obtained from Holland and England. & From the first design to the last print the work is executed\nand supervised by artists, and therefore art-lovers may be confident that, in sending their commissions to us, they\nare ensuring a work which shall be as careful in its execution as beautiful aud distinguished in its design. 4P\n& & THE WOOD ENGRAVERS OF SAN LEONARDO. & &\nARENA G O L D O N I , FLORENCE - ITALY."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c056", "article_bluemountain": "bmtnaau_1909-02_01#c056", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[258]", "page_fin": "[258]", "image_debut": 39, "image_fin": 39, "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=bmtnaau190902-01.2.25", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "[258]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.39", "debut_caractere": 1402, "fin_caractere_exclue": 2845, "texte": "A PORTFOLIO OF ETCHINGS.\nBy Gordon Craig with a preface.\n/~Jnly thirty portfolios will be issued, although ten or twenty additional copies of\nsome of the plates will be printed according to the condition of the plate. The\nplates will then be destroyed. Each portfolio will be numbered. Each set consists of\ntwelve designs loosely mounted on grey card and contained in a grey cloth box\nportfolio with fastenings. Each plate is signed by the artist. Size of portfolio 48x30\nctms. £> Average size of plate. 14 a/3 x 15 a/3 cttns. The price for a portfolio will be\nL. 16. o. o, (400 Francs or 330 Marks). & &\nHPhese etchings were made by the artist in the Spring of 1907 at Florence, and\nrepresent his most serious work. Connected as they are with his dream of an Ideal\nTheatre, they in no way have anything in common with the modern stage. & &\n** Movement \", writes Mr Craig, \" was at the roots of the Ancient Theatre and will\n\" ever remain the very Essence of the Art. & &\n\" We must translate Movement through the medium of inanimate forms and thereby\n\" produce once more an Impersonal Art which shall take its place by the side of\n\" its two sister Arts, Music and Architecture \". & & & & &\n4 * «• w «\nORDER FORM\nTo The Director,\nThe Mask Press, Arena Goldoni, Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\n1 enclose the sum of L,. 16.0.0, (or 400 Francs or 330 Marks) & &\nSigned\nAddress."}]}, {"article_id": "bm-bmtnaau-1909-02-01-c058", "article_bluemountain": "bmtnaau_1909-02_01#c058", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 41, "image_fin": 41, "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=bmtnaau190902-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.41", "debut_caractere": 125, "fin_caractere_exclue": 556, "texte": "ANTONIO\nFRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES &\nFLORENCE\nVia dei Fossi 4\n£> (ESTABLISHED i860) J®\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMBiiW., 8\nMarble Reproductions from the Antique\n>\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, & Garden Seats, &\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c059", "article_bluemountain": "bmtnaau_1909-02_01#c059", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 41, "image_fin": 41, "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=bmtnaau190902-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.41", "debut_caractere": 558, "fin_caractere_exclue": 798, "texte": "DINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna\nVia dei Foasi N. x - FLORENCE\n♦\nof sealptavcs of Old mod\nJWodeffn masters M Stmtaes M Basts *\nVases N Baa-reliefs •* Fountains N Boot's\nChimney-pieces - Bases ete. ete. In\nevery style"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c060", "article_bluemountain": "bmtnaau_1909-02_01#c060", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 41, "image_fin": 41, "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=bmtnaau190902-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.41", "debut_caractere": 800, "fin_caractere_exclue": 1216, "texte": "G. P . VIEUSSEUX\nFLORENCE VIA VECCHIETTI, 5\nReading rooms, containing the best\nEnglish newspapers and reviews. -\nLatest telegrams Open daily 8 a.m.\nto 10 p.m. Sundays 8 a.m. to 12 p. m.\nSubscription 35.00 a year. Ciiculating\nI/ibrary containing thousand volumes\nin English, French, Italian, German,\nsome Spanish and Russian. Open\ndaily 9 a.m. to 5 p.m. except Sundays.\nBooks sent to all parts of Italy and\nabroad. £/"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c061", "article_bluemountain": "bmtnaau_1909-02_01#c061", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 41, "image_fin": 41, "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=bmtnaau190902-01.2.30", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.41", "debut_caractere": 1218, "fin_caractere_exclue": 1476, "texte": "NEW YORK DRAMATIC\nMIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\nSample copies on request free of\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months.\n\\"}]}, {"article_id": "bm-bmtnaau-1909-02-01-c062", "article_bluemountain": "bmtnaau_1909-02_01#c062", "volume": "bmtnaau_1909-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 41, "image_fin": 41, "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=bmtnaau190902-01.2.31", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.41", "debut_caractere": 1478, "fin_caractere_exclue": 2013, "texte": "EDITION DE LUXE\nSPECIAL NOTICE TO BOOK LOVERS\n15 copies of \" The Mask \" will be\nprinted Monthly upon a yellow hand-\nmade deckleedged paper identical in\nappearance and texture with that made\nin the same district of Fabriano in the\nyear 1315. This edition will contain\nEtchings and other prints signed by\nthe artist, which will not be included\nin the popular edition. & &\nYearly subscription: England, L. 3.5.0 Post Free\n„ ~ Germany, Marks 67.00 „ ~\n~ ~ America, Dollars 16.00 ~ ~\n„ „ Italy, Lire 82.00 ~ ~\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=bmtnaau190902-01.1.1", "texte": "Vol.l. N.° 12. FEBRUARY & 1909\n|THE MASK\nI A MONTHLY JOURNAL OF THE\nI ART OF THE THEATRE\nEUROPEAN & AMERICAN AGENTS.\nAMSTERDAM, KIRBERGER&KESPER, 134 Rokin\nBERLIN. EDMUND MEYER.\nPotsdamezstrasse 2 7 b.\nBUDAPEST. NAGEZ, 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. BRENTANO, Fifth Avenue.\nNAPLES. Michaelsen, 2 Via Chiatamone.\nPHILADELPHIA. U. S. A.\n\" THE BUTTERFLY \" Office. 1126 Walnut Street.\n& PRICE ONE SHILLING NET,I MONTHLY &"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.2", "texte": "PUBLISHING OFFICE OF \"THE MASK,\" BBORGO S. JACOPO, FLORENCE, ITALY\nEDITORIAL OFFICE, ARENA GOLDONI, VIA DEI SERRAGLI, FLORENCE, ITALY\n1\n\nCARLO M. QIRARD\nANTIQUE FURNITURE\nAND FAITHFUL REPRODUCTIONS\nOF CLASSIC PIECES.\nVIA DELL A VIGNA\nFLORENCE\nITALY\n\nCANTAGALLI\nARTISTIC MAIOLICA\nARCHITECTURAL DECORATIONS,\nREPRODUCTIONS OF DELLA ROBBIA.\nPORTA ROMANA\nFLORENCE\nITALY"}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.3", "texte": "HEAL & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\nss\n<c\n3\n%\n<O,\n<*,\nChintzes, Printed Linens & Printed Cottons. Write for\nillustrated Booklet \" M \" with photographs & prices.\nHeal & Son have special materials for Casement m\nCurtains. Booklet \"K\"with small patterns sent postfree.\nTOTTENHAM COURT ROAD LONDON"}, {"page_pdf": 4, "page_imprimee": "[223]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.4", "texte": "rap\nTP\nm\nQ\n#5\nis^bi\nsSSll\n&\n65&d556\nfiriHh3ls»\nUSE A\n*«\nCWA M\nJP®%iw\nFOUNTAIN\nPEN\nAND DISCARD ALL ANTIQUATED METHODS.\nFountain pens are Necessities to modern men and women—Shorthand writers especially-\nwho value their time and comfort and saving of expense. The Best Fountain Pen is\na greater necessity than any second best.\nj& THE \"SWAN\" FOUNTPEN\nis Best because it has the highest grade gold nib ever put in a fountain pen. It has\na sure feed—by feed we mean an ink conductor and air compensator. Ink is fed to\nboth sides of the nib, so that the light writer or the heavy hand has the right supply\nof ink. Not these characteristics alone, but—\n\" LE TOUT ENSEMBLE \" makes the PERFECT PEN\nSold by Stationers and Jewellers Eveiywhere. INSIST ON \" SWAN \" !\nMABIE, TODD & CO.\n(\"SWAN\" Fountpen Makers),\n79 & 80, HIGH HOLBORN, LONDON, W. C.\nBRANCHES:\n93, Cheapside, E.C.; 95a, Regent Street, W.\n3, Exchange Street, Manchester.\n10, Rue Neuve, Brussels.\nBrentano's, 37, Ave. de 1' Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nPRICES: English:- io\\6 - French Fes. 15.00 - Italian - Eire 15.00 upwards.\nWrite foi Catalogue, post free.\n\nTHE CHENIL GALLERY\n£> EXHIBITIONS £>\nOF THE WORKS OF\nAUGUSTUS JOHN,\nWILLIAM ORPEN, JAMES\nPRYDE, WILLIAM\nNICHOLSON & OTHERS.\niS3 KINGS RD. CHELSEA,\n& LONDON\n\nEvery reader of the English language will be\ninterested in a Magazine that is doing the work of\nThe Book New Monthly\nan illustrated magazine devoted to Literatures:\nArt, published in Philadelphia, Pa., U. S. A.,\nat 10 c. a copy, L. 1,00 a year.\nThe purpose of THE BOOK NEWS MONTHLY\nis to Save Time, to Interest, Instruct, and Guide\nthe Goneral Reader. £? £?\nSpecimen copy sent free to any part of the world\nAgents for Subscriptions in England: &\n& The international News Company.\nAddresses:\nTHE BOOK NEWS MONTHLY,\nPhiladelphia, Pa., U. S. A. £*\n\nGERMAN\nPRESS CLIPPING\nBUR E A U\nWill supply you with all personal\nreferences and clippings on any subject\nfrom all the papers and periodicals\npublished in the German speaking\ncountries. & & &\nSend for prospectus.\n& ADOLF SCHUSTERMANN\nRu nge St rasse 2 5 BERLIN S. O\n\nALICE KAUSER\nDramatic Agent\n& PLAYS &\n1402 Broadway\nNew York"}, {"page_pdf": 6, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.6", "texte": "¥jf TSIE JOUR^A£ the AReT\n\nCONTENTS.\nAFTER THE PRACTISE THE THEORY\n& THE SHAKESPEARE MEMORIAL. A NATIONAL THEATRE. & VENETIAN\nCOSTUMES FROM THE BOOK OF CESARE VECELLIO by ALLEN CARRIC & D. NEVILE\nLEES. & THE WHITE FAN by HUGO von HOFMANNSTHAL: TRANSLATED by MAURICE\nMAGNUS. TWO THEATRES by LEON DE SCHILDENFELD SCHILLER. CONCLUDED. £> A\nNOTE ON AN OLD ENGRAVING by ALLEN CARRIC. Mr SPENCE ON TOLERANCE IN\nDRAMATIC CRITICISM, by GORDON CRAIG. THE EIGHT COMMANDMENT, (INTERNA-\nTIONAL COPYRIGHT) by JOHN BALANCE A NOTE ON APPLAUSE, by ADOLF FURST.\nBOOK REVIEWS. FOREIGN NOTES. EDITORIAL NOTES.\nIJ^IyUSTRATIONS. <£? FRONTISPIECE. A DESIGN FOR A SCENE FOR MACBETH by\nGORDON CRAIG. SEVEN DESIGNS FROM THE BOOK OF CESARE VECELLIO. &\n\nSHAKESPEARE MEMORIAL\nA National Theatre\n\nt seems that this Theatre is going to be built by piling one\nhumbug on the top of another.\n& The Executive Committee will this month organise a\ncampaign in the country for raising the funds. At least, so\nsays Mr Philip Carr, the Secretary of the Executive Committee,\nlie also adds that the cost will be between the 330,000 £.\nsuggested by Messrs Granville Barker and William Archer\nand the million which Sir Henry Irving believed was\nnecessary. Mr Carr also informs us that the Committee\nhas decided individually and collectively what they all mean\nby a National Theatre. All this is a kind of comfort.... glace.\nIn the course of an interview he also said that such a Theatre\nas the National Theatre would never be in competition with the theatres of private enterprise:\nthat the Repertory System can never be in contention with the system of long runs.\nBut what guarantee has the 'Committee of the National Theatre that the theatres of\nprivate enterprise will not also become Repertory theatres? And what guarantee has the\nNational Theatre that it is going to secure the best English talent and prevent the theatres\nof private enterprise from doing so ? jz? &\n& These are the questions which committees cannot decide, and therefore the position of\nthe National Theatre is very insecure. If the Committee would send abroad, to Germany,\nto Russia, to France, and make enquiries in the right places,... that is to say, if they would\nenquire of those people not employed to bolster up these national frauds, they would find\nout that the finest talent in Europe is outside the National Theatre in each country. &\n& Now there are many people on the English Committee who know this, and they are\ndistinctly dishonest if they do not put this fact before the others. &\nWe have spoken of National Theatres as being frauds, but there is no reason why the\nEnglish National Theatre should court so undesirable a reputation. It could outline its\nprogramme.... its artistic programme. It could clearly announce that it is going to be a\n\nTh e Repertory\nSystem.&\nIts Artistic\nProgramme."}, {"page_pdf": 7, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.7", "texte": "SHAKESPEARE\nMEMORIAL.\n\nflorid theatre, a theatre of gorgeous spectacle for which Shakespeare is the excuse, and it\ncould announce that it would request Mr Beerbohm Tree to shed the light of his spectacular\ntalent in this direction. Or it could announce that it is going to be a trite and somewhat\npedantic theatre, and it could announce that it has requested Mr Poel to bring to it this\natmosphere. Or it could announce that it is going to be a theatre of experiment in art and\nsocialism, and that it is going to ask Mr Granville Barker, Mr William Archer and Mr\nBernard Shaw to try their hands upon it. Or it could announce that the spirit of this\ntheatre is to be that inaugurated by Messrs Pinero and Jones in the Eighties. Any of these\nprogrammes are, we suppose, strong and pure enough to receive support. But if it makes no\nannouncement as to its artistic programme, no one interested in the art will know what it\nis they are asked to support. If, on the other hand, all these things are going to be mixed\ntogether, we shall know quite well that we cannot support it at all.\n& The National Theatres abroad have no artistic programmes whatever. The auditoriums of\nthe theatres are generally very dangerous places full of twisting passages and long staircases.,.,\ndeathtraps in the event of fire; yet these theatres serve the excellent purpose of a good\nshow room for pretty dresses and the surplus wealth of the upper classes. &\n<£? Still there is no need for this in London, for we already have many such theatres. We have\nCovent Garden Theatre, Drury Lane Theatre, His Majesty's Theatre; we have the \"Alhambra\"\nwe have the \" Empire \" and we have the \" Paiace. \"(1) JZ? &\nThese six theatres are all handsome and spacious buildings such as are seldom met with\nabroad, unless we go to the Scala in Milan or to some of the theatres in North and South\nAmerica; and yet, in spite of not possessing such vast theatres as we do in London, the\ndrama and the stage in Germany and Russia is in a far better condition. The truth is that\na National Theatre is not wanted in England. Perhaps even a Municipal Theatre is not\nneeded, but if there is a question as to which of the two is more desirable, the Municipal is,\nwithout question, the theatre to support. It was this theatre which Sir Henry Irving\nspoke up for in the latter years of his life. & & & &\nIf the works of Shakespeare are looked upon as means of quickening the patriotism of\nthe English nation, then a Municipal Theatre is again, for this reason, the only one to\nsupport. But it would be a cruel thing to go round the country to Manchester, to Liverpool,\nto Birmingham, to Bristol and the other cities, taking money from those towns in order to\nerect a gilded box of a place in London, so that London may benefit and the other cities\ngo hang. Perhaps it is that London needs reminding of its patriotism more than these other\ncities; but were we the Mayor and Corporation of the cities above mentioned we should\nmost earnestly recommend our citizens to have nothing to do with supporting the theatre\nof London, which London itself could not support. The idea is preposterous. &\nIn Germany, when Munchen wants its State Theatre, Munchen alone pays for that theatre.\nIn Dresden, if they want such a theatre that town pays for it. In Berlin it is the same, and\nso with all the great cities in Europe. It is only in London, the richest city in the world,\nthat they send round the hat to the poor provincial cousins, promising them a free pass at\nthe earliest opportunity. London used not to be so stingy once upon a time. /£?\n\nNatio 11 a 1\nTheatres\nAbroad .\nNot wanted\nin England.\nA M n nicipal\nTheatre.\nA stingy city.\n(1) It Is needless to remind anyone that the \" Paiace \" was born under the title of the \" English Opera House \" and had\nnot only the name of a celebrated composer to give it up-to-date interest, but was lucky in being able to call that man a\nman of talent If not genius. Arthur Sullivan, the inimitable creator of \" The Mikado \" and \" H. M. S. Pinafore \" should\nhave surely won the support of the English nation.\n\nA. C.\n\nVENETIAN COSTUME\nTRANSLATED FROM THE BOOK OF CESARE VECELLIO\nby D. Nevile Lees & with an Introductory Note\nby Allen Carrie.\n\ngn the year 1590 there was published at Venice a book with the title, \" Degli Abiti antichi\ne moderni di diverse parti del mondo, libri fatti da Cesare Vecellio \", and it is from this\nbook of the \" costumes ancient and modern of divers parts of the world \" that the following\ndesigns with their descriptive text are taken."}, {"page_pdf": 8, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.8", "texte": "& Its author, Cesare Vecellio, came of a family of painters, of whom the greatest was Titian,\nand, we learn from the meagre records of his life which survive, was himself a painter of\nno mean order. His paintings, however, have been forgotten, it is as an engraver that\nhe is remembered, and,\nliving in Venice, at that\ntime the port to which\nships of all nations\ngathered, he had there\nample opportunity for\nstudying those costumes\nupon the reproduction\nof which his fame rests.\nThese designs, executed\nwith skill and spirit, and\ninvaluable for their careful\ndetail, were reprinted\nsome years later, when, to\ngive the work greater\nimportance by the union\nwith a more celebrated\nname, the drawing of the\nfigures was attributed to\nTitian, and Cesare, the\nengraver, was described\nas the brother of that\npainter. This however is\nincorrect, Cesare being a\nmember of another branch\nof the same family and also\nbeing too young for this\nrelationship.\nAlthough it is by this\nbook of costume that\nCesare is best known, he\nalso published another volume of engravings under the title, \" Corona delle nobili e vertuose\ndonne, nella quale si dimostra in varii disegni tutte le sorti di punti tagliati, punti in aria,\na reticella, e d'ogni altra sorte, cosi per fregi come per merli e rosette\".\nVecellio has constantly been referred to by Mr E. W. Godwin in his articles reissued in\nThe Mask upon the Merchant of Venice, which appeared first in The Architect in 1875 and\nhave been reprinted in The Mask. & & &\nThis book is invaluable to the student. To him every button, every feather is of profound\nimportance. When he knows the grammar of costume he begins to be conscious of the\nvoice of clothes: then later he can show us the poetry of apparel.\n& This is a charming life indeed, where even the widows' weeds are woven of poetry.... a\nwonderful and awe-inspiring existence this, wherein no man dare venture to escape from\nPoetry without fear af his life. \" A stitch in time saves nine \", boys,... and the eye of a\nneedle has been known to be the pass-door to many mysteries. Study costume therefore\nso that you may be gaily caparisoned when the curtain rises. Do not try and be symbolical\nin your stage costume, but drink in the beauty of apparel and every collar and cuff worn\nby you will then become a member of your soul, stiffening or drooping to your will,\nblanching or colouring to your thought,\n& There is a psychology in apparel, but do not attempt to reveal to us the nature of men\nand beasts by the use of costume. Gods and the soul alone possess the secret of apparel.\nDress should not cover but reveal the soul. Men and beasts have no souls worth revealing.\nBeasts know this: men, alas, do not. The elephant or the monkey jjacketted in crimson\nand gold lace is the parody of mortality. Dyonisus in vine leaves and the panther's skin\nthe triumph of divinity.\n\nVENETIAN\nCOSTUME.\n\nAn Incorrect\nStatement.\nThe stude ut.\nA psychology\nin ap pa rel #\n\nIt is useless to study costume without regard to the place in which it has been worn,\nyet how many costume books are there with innumerable examples of costumes without\nits necessarry architectural background. Costume is the fringe of Architecture.\nVecellio seems to have realised this aud has placed several engravings to serve as\nbackgrounds for his costume. The above cut is one of these."}, {"page_pdf": 9, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.9", "texte": "Y O U N G VENETIAN N O B E E S . & & & &\nUp to the ages of fifteen or twenty the noble Venetian youths wear a short robe,\nputting on after that age the long gown with elbow sleeves, because the toga greatly\nrestrains youthful pride and conduces to gravity and modesty. &\n& In as much as it has been already said~that this long gown of the nobles is also used by\ncitizens, doctors, merchants and others, I must here add that when the Prince goes forth from\nhis palace, the secretaries who accompany him wear such a robe of purple with a black stole.\n& But to describe the youths' costume. & &\n& Under the robe they usually wear doublets and what are called 44 braghesse \" or hose,\nof greyish colour for the most part, although some delight in purple and other colours,\nand their clothes are of silk and very fine. *& & &\nThey wear those colours, however, as much covered as possible from a certain modesty\npeculiar to that Republic.\nNOBEES AND OTHER WEEE-TO-DO PERSONS IN INDOOR COSTUME.\n& Nobles and other Well-to-do Persons in Indoor Costume.\nSomething has been said above about the costume for the home and here more clearly\none must state that, on reaching home, they doff the costume described by us, and put on\nrobes either 44 alia Pretina \" or 44 alia Romana \" as they are called; the former have a small\ncollar somewhat round in form while the latter have it larger, hanging lower behind, but\nalmost square in form, The robes are likewise long, reaching to the ground, like those\nworn out of doors.^\nThese collars that we speak of are lined according to the season like the rest of the dress\nwith the same furs or indoor silks as are suitable for the cold or for the heat. &\nIn the fur linings of these robes one observes not only a variety conformable to the\nweather but also the variety of beasts of greater or less value according to the means of\neach person. These robes have the sleeves cut at the elbow, both lengthways and across and\nthus one puts out the arm, letting the rest hang down for show and grandeur. The robes\nare all open in front, but they are girded, one face folding over the other if 44 alia Ro-\nmana; \" the others, 44 alia pretina \" are not usually folded over in that way, but fasten with\nbuttons at least down to where they are girded; and instead of the 44 berretta, \" or cap the\ngreater number of nobles in summer wear certain long caps of pointed form made of shot\nsilk or of some other light stuff either black or of some colour. & &\n& COSTUME OF NOBEES IN THE WINTER SEASON. & & & &\nAbout the beginning of November, according as the cold begins to make itself felt\nearlier or later, the old men lay aside the robe lined with shot silk which is worn loose,\nand don one lined with 44 pelli di vari\" (i) skins; this is girded with a velvet belt, which as is\ndescribed elsewhere, is two fingers wide and has silver clasps. &\nBut as these furs are somewhat light, when the cold increases, instead of the pelli di vari\nthey line the robes with squirrel skins, which are heavier furs and give greater warmth.\n& These they wear until the season begins to grow mild and the cold to diminish and then\nthey take anew the 44 pelli di vari \" which they wear until the heat obliges them to leave\nthem off and assume again the other robes lined with shot silk, which, as has been said,\nthey all wear loose.\n& AH these, which are for out-door wear, are fastened at the throat, but those that they\nwear in the house have turned back collars and from these are called 44 alia Romana. \" &\nNor, however great may be the cold, are they accustomed to wear on their heads any other\ncap than that of cloth, to which some of the more aged add a little embroidered silk cap\nwhich they wear underneath.\n& VENETIAN CITIZENS OR MERCHANTS IN SORIA &\nJt was the custom in ancient times in Soria and neighbouring places for the citizens of\nVenice to devote themselves more to traffic in merchandise than they do at the present\ntime. Hence these places were then full of royal merchants, (2) who for the most part went\n\n(1) A valo Is a small animal resembling- a squirrel.\n(2) \" How doth that royal merchant good Antonio '* Mer. of Ven. Act ill Scene 2.\n\" Enow to weigh a royal merchant down. \" Mer. of Ven. Act IV. Scene I.\n\nYoiiug Nobles,\nIndoor costume.\nWinter Costume.\n\nVENETIAN\nCOSTUME."}, {"page_pdf": 10, "page_imprimee": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.10", "texte": "VENETIAN\nCOSTUME."}, {"page_pdf": 11, "page_imprimee": "230", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.11", "texte": "VENETIAN\nCOSTUME.\n\ndressed in a doublet of black velvet or of crimson satin, embroidered in colours, and\nwithout collar. They wore red, black or purple stockings, with velvet shoes. The robe was\ncut in the fashion here shown, with long sleeves lined with velvet or satin, without collar,\nbut with a breast piece (pettorale) which covered the opening and was tied under the arms,\nwith silk strings. /&<&&&<&\n& They wore a gathered shirt which continued in use for a long time in Italy, and the\nfrills were visible above the breastpiece. &&&&&&&\n& The fashion for long hose (calze alia martingala) and velvet shoes flourished about this\ntime, and beneath the robe was worn a belt with fittings of silver to which knives were\nattached by means of silver chains. &\n& La forma delle calze alia martingala era questa, che dalla parte di dietro si lasciano\naperte come quelle de' fanciulli: ma nelia coscia era cuccito un pezzo di panno tanto grande\nche bastasse a coprire tutta quella apertura, il quale s'allacciano poi con una stringa all'al-\ntra coscia, e rimaneva tanto ben congegnato, che pareva il fondo delle brache fatto a posta.\nEra cluesta portatura assai commoda, come ciascuno si puo imaginare: perehe sfibbiata\nquella stringa, cadeva giu quel pezzo di panno, & lasciava I'huomo libero alle sue commodity,\nrimanendo tuttavia le calze allacciate al giubbone.\n& VENETIAN WOMEN ABOUT THE YEAR i 530. & & & & <&\n& It is about sixty years since the Venetian women began te renew the fashion of frames\nof copper covered with coifs made of gold net adorned with various and rich ornaments of\npearls and other gems. The boddice in those days come over the hips without any point,\nloose and unstiffened and decorated with gold chains. It is true that in those days the\nVenetian nobility did not possess so large a quantity of pearls as at present, but instead\nthey enriched their boddices and gowns with gold trimmings and wore long sleeves, both\nwide and slashed. & The dresses did not reach to the ground in front but trailed behind.\nThey wore a sable skin fastened to a gold chain, and the fur itself was decorated with a\n\nVenetian\nWomen ."}, {"page_pdf": 12, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.12", "texte": "VENETIAN\nCOSTUME.\n\ngold clasp: this fur they put about their shoulders, wearing in addition but a few ornaments\nround the neck.\nThe frills of the chemisette were not very full nor very high, the hair was worn loose\nand natural and the sleeves of a different colour from the dress which was usually purple\nor crimson. &\nThe stockings, again, were of another colour, and the slippers, which in Venice they\ncall \" zoccoli \" (i) were low, and in colour turquoise blue or red. Some wore those of\ndifferent colours and chequered. On their heads they wore a black veil of transparent silk,\nwhich covered the face as is seen in the picture, the which costume is similar to that which\none sees sometimes worn by the women of Burano. & & & & &\nMODERN SENATORS AND CAVALIERS OF THE CITY OF VENICE 1590.\n& The Senators and Cavaliers of our time wear the Ducal robe with the sleeves large and\nopen. They do not wear a robe of gold, from a certain reverence towards the Prince, but\non certain occasions they wear the stole of gold brocade. (3)\n& The robe is of plain black velvet, and the stockings and the slippers red. In the winter\ntime the robes are lined with the finest furs, very costly, such as marten, sable, lynx and\nthe like; in summer robes of the same shape with the open sleeves being used, but of\nlighter material and lined with shot silk (ormesino) (3) This same ample robe is worn also\nby those who from time to time are elected to certain offices, being retained by them only\nfor so long as they continue to hold these offices. Those who may wear it continually are\nonly the Cavaliers, the Procurators (4) and those others who have been great sages or\ncouncellors. The colour generally adopted by these is purple. & & & &\nThis same robe is also worn by those who are sent out as Rulers to the most noble and\nimportant cities, but after their rule is ended, they lay it aside if they have not obtained\nor formerly held one of the aforesaid positions which give them the right to wear it.\n\n(1) Vecellio speaks in this case of the zoccoli being low, but this was rather the exception than the rule. Many shoes\nof tne period which may still be seen raise the wehrer even so much as 40 ctms from the ground.\n(2) The stole falls across the left shoulder and in the accompanying engraving is made of the same stuff as the robe. It\nreaches just below the knee.\n(3) ormesino \"so called from the city of Ormus whence it was first brought to Europe.\n(4) The office of the 44 Procurator! di San Marco \" originated in the 12 th ventury when three were chosen, (there\nnaving been originally only one), to administer the bequests of the Doge Ziani to the poor, and to the Church of St Mark.\nTheir numoer was afterwards iucreased to six, and in 1442 to nine, which number was mairtained until the fall of the\nRepublic. In office they ranked immediately after the Doge, and were usually members of Patrician families, who had\ndistinguished themselves in the service of Venice as generals or ambassadors. At an early period the Doge himself was\noften selected from among them.\n\nDesign from W. Rolewinck fasciculus temporum, 24 Nov. 1480.\n\nCARLYLE.\n44 |t is in and through Symbols that man, consciously or unconsciously, lives, works, and\nhas his being; those ages, moreover, are accounted the noblest which can the best recognise\nsymbolical worth, and prize it highest."}, {"page_pdf": 13, "page_imprimee": "232", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.13", "texte": "THE WHITE FAN\nAn Interlude:\nby Hugo Von Hofmansthal.\nTranslated by Maurice Magnus.\nThe Prologue\nNow, mark you! gentlemen and ladies fair:\nHere is a play that hath not greater weight\nThan merest thistledown. A play in meaning\nthis:\nThat Youth doth love to toy with great and\nmighty words\nAnd yet is weak, so weak it hardly can defy\nA single atom of reality.\nAnd as the flying shuttlescock in childhood\ngame\nIs like unto a bird in flight: so this play\nResembles life. Think not real life it doth\npretend to be\nThough to the inexperienced eye it seemingly\nMay something of its semblance borrow.\nDramatis Personae\nMiranda\nFortunio\nLivio, his friend\nGrandmother of Fortunio\nA mulatto female servant of Miranda.\nA white female servant of Miranda.\nScene: Before the entrance of a ceme=\ntery in the neighborhood of the capital of\na West Indian Island. f\nCostumes of the period of about 1820 to 1830.\n(The left side and the background are\nformed by a blossoming hedge which sur=\nrounds the cemetery. It has entrances in\nseveral places. Behind the hedge are small\nmounds, with pathways, and here and there\na cypress tree. To the left in the fore\nground a single grave only can be seen very\ndistinctly. It is covered with blossoming\nbriar-roses). Fortunio and his friend enter\nfrom the right.\nlivio. &\nAt times I fain would wonder when I think\nThat thou, so young, but little older than myself\nCan teach me things so great in number that,\nmethinks,\nThere's naught which is unknown to thee.\nFORTUNIO. &\nI know so very little, though I have glanced\nAt many things which deeply lie. Have realized\nThat life is nothing but a shadow play.\nLook at it lightly with your eyes\nThen will you find it bearalbe. But clings to it\nAnd as you hold it tightly clasped it is\ndispersed.\nThe shadow of a cloud which moves\nUpon the surface of a flowing river is not\na lesser thing\nThan that which we call life. Honor and riches\nAre pleasant dreams at break of day.\nOf all the words that have no sense „ Pos-\nsession „ means\nThe least. Invented by some teacher in a school\nWho thought, mayhap, that every word\nShould contrast bear, like black to white,\nIt thus was made, because to be possessed\nIs something that is real.\n& L i v i o . &\nThou knowest life full well, and even formerly\nDidst teach me much. So must thou then\nAdapt thyself, clinging to this grave\nStronger and most persistent than an ivy\nclings.\n& FORTUNIO.\nBut such is my desire. I would be better\nThan this play of shadows, in which the role\nOf widower fell to me. And though but young,\nWith so much faith I'll play my part,\nWith much bitter earnestness... Each of us\ncan his fate\nEnnoble or demean. Stamped\nIs no thing with its worth. As we our selves\nDo make it, thus shall it be found. From\nstupid ones and fools\nEverything runs off like water. Inward worth\nDoth therein lie, and as you take is proved\nthereby.\nL I V I O . &\nAnd yet thou hast told me more than once\nIt is not seemly that in joy or sorrow\nWe should let our hands rest idly. Doing\nAnd'thinking, thou hast said, they are the roots\nOf life. And it is therefore fitting to rest\nFrom thinking, in doing, from doing, in\nthinking.\nYet with contempt thou showest thy interest\nIn affairs that are but human. And yet thou\nknowest\nThis is the pathway which leadeth to all doing.\nFORTUNIO.\nDo I not act thus,\nAnd do I treat my servants with contempt?\nAm I not\nSince this great sorrow hath befallen me\nOf all the noblemen on this fair island\nA good master? Question my white servants,\nQuestion the colored ones on my estates!\nDo I notfind pleasure, sweet friend, with thee?\nMy second, dearer, cloudless self?\nSo let me to this grave then wend my way.\nIt robs me not, dear friend, of thee: it only takes\nThe place that otherwise is held by her.\n& L I V I O. &\nBut thus it is, thou shouldst not treat life\nWith so much wilfulness"}, {"page_pdf": 14, "page_imprimee": "233", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.14", "texte": "& FORTUNIO.\nPeace, dear friend.\nDost thou not know that there must be that\nCertain spice... the only one which faileth not\nWhen added to the cup of love\nTo make the charm complete.\n& LIVIO.\n1 knoweth not what thou dost mean.\n& FORTUNIO. &\nMystery is its name, else a woman may\nBeautiful or ugly, imperious or vulgar be.\nIf child, or Messaline—that matters not\nIf she but be mysterious.\nElse she is nothing. They who are\nWithout mystery are flat beyond all words\n(Not without significance but unintentionally)\nExperiences in one's boyhood,\nChildish, half-forgotten, which like grapes\nLeft hanging on the vine soon shrink\nAnd wither, they are not so much without\nmystery,\nNot so entirely without the charm of that\nWhich I before me see in all such possibilities.\nDo not speak, I pray thee....\n(He stands before the grave, separated\nonly from it by the hedge)\nMystery lies here. Here lies my secret.\nAnd if I thought unto death never should I\nexhaust its depths.\nThou didst know her, and yet thou speakest.\nLIVIO. &\nShe was very beautiful, she was like a child.\n& FORTUNIO £>\nShe was like a child, and like a child\nA new-born wonder came with every step.\nWhen I and thou wouldst speak, Livio, we\nexchange\nBut much-used signs.\nFrom her lips came all words\nJust like new forms, whose hue had not been\ntouched,\nAs laden with a special meaning\nWith open candid eyes she stood\nAnd honoured everything according to its\nworth\nMore just than any mirror. Never was there\nPain with laughter where laughter was not\nreal,\nOr came from her most inner, clear, and well-\nlike soul.\nGiving herself like a flower unto the wind\nBecause she knew of nothing different, and\nuntouched,\nEven untouchable, wanting no shame\nBecause shame is the child of some discordance\nAnd she—she was so thoroughly with herself\nat peace.\nHad I a child of hers, it may be I could bear\nher loss\nAnd come but once a year unto this mound;\nBut remembrance now is all that's left to me.\n(The grandmother and her servant enter from\nthe background, coming from the cemetery.\nShe is an old but beautiful woman; she wears\na long dress made of gold material into which\nblack flowers are woven; she leans on a stick.\nThe negro follows carrying her parasol and\nher fan).\n& THE GRANDMOTHER.\nFortunio!\nFORTUNIO.\nGrandmother, why are you here?\nTHE GRANDMOTHER.\nWhat a question to ask me I Under the nearest\ncypress tree is your father's my son's\ngrave. And under the second nearest cypress\nis your grandfather's—my husband's graVe.\nWithin those graves, on whose stones you\ncan hardly read the names, lie my friends.\nI have more graves here which concern me\nthan you have teeth in your head.\n& FORTUNIO. &\nI have only one grave here, but for me it is\nenough\n& THE GRANDMOTHER. &\nYour wife was but a child. Even now she\nwill be playing with the innocent children\nof Bethlehem in Paradise. Go home,\n& FORTUNIO. &\n(Is silent, and shakes his head)\n& THE GRANDMOTHER.\nWho is the young gentleman there?\nFORTUNIO. &\nMy friend. His name is Livio and he is of the\nhouse of Cisneros.\nTHE GRANDMOTHER. &\n1 have known your grandmother, Sennor.\nShe was three years younger than I, and\nmuch more beautiful. I was once very jealous\nof her.—He has beautiful eyes. When he is\nangry they must be quite dark. Just so were\nthe eyes of his grandmother.—What kind of\nbirds are those, Sennor?\nLIVIO, &\n® believe they are larks, my lady.\n& THE GRANDMOTHER.\n(With slight but dignified contempt)\nNo, Sennor, they are titmice. Larks never sit\non rushes, Larks either fly very high in the\nair, or they sit on the ground between clods\nof earth. Larks never sit on rushes. A mule is\nnot a thoroughbred steed, and a hummingbird\nis not a butterfly. Your eyes are very beautiful\nbut you have them for nothing in your head.\nWhat sort of young people are these? They\nhave spurs on their feet, and wander about\nhere clinging to tombstones, Dress such as\nmine belongs to a place like this—a dress to\nwhich the dead leaves cling and which sweeps\nthe paths clean. Let the dead bury their\ndead. Why do you stand here and lower your\npretty young voices and whisper like nuns\nat a gate? Come, Fortunio, let us go home.\nI will take supper at your house.\n& FORTUNIO. &\nNo, grandmother. I would remain here. Come\nand dine at my house tomorrow."}, {"page_pdf": 15, "page_imprimee": "234", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.15", "texte": "THE GRANDMOTHER.\nHow old are you, Fortunio?\nFORTUNIO. &\nAlmost four and twenty, grandmother.\nTHE GRANDMOTHER. &\nYou are a child, and this excessive mourning\nis out of place for you. Just as if one would\nplant a cypress tree in a small earthen jar\nfilled only with loose earth.\n& FORTUNIO. &\nHow strongly one may mourn a loss is not\nin accordance with one's age, but with the\ngreatness of the loss.\nTHE GRANDMOTHER.\nI was a year older than you are now when\n1 became your grandfather's wife. You know\nI was before that married to another. They\nbrought the body of my husband home to me\none day while I was awaiting his return to\ndinner, and on the same day I saw the dead\nbodies of my two brothers,\nL i v I O. «£>\n(Looks at her)\n& THE GRANDMOTHER.\nIt was in May, f eventeen hundred and seventy®\nfive, Sennor,\n& FORTUNIO. &\nI have no child from her Nothing! When they\ncarried her coffin away they carried everything\naway.\n& THE GRANDMOTHER. &■\n•\nYour grandfather and I, we were banished\nfor ten years. When the ship was taking us\naway we stood gazing with dry eyes at the\nshore as long as we could see it. All at once\nthe last peak of the hills sank into the golden®\ncoloured sea, like a heavy dark coffin. We\nwere beggars. We were poorer than beggers,\nfor we did not even have our names. And\nthere in that stone sarcophagus was our a11...\nOur parents, our children, our houses, our\nnames.... we were but shadows!\n& FORTUNIO.\nShe was the most innocent little creature in\nthe world. Why did she have to die?\nTHE GRANDMOTHER. £?\nI have seen young women of the first families\nin the land sell their honour to some wretc\nin order to save their husbands from the\ngallows and their children from starvation\nYou have experienced but little, Fortunio.\nFORTUNIO £>\n(silent)\n& THE GRAND MOT HE R.\nI have experienced much. 1 know that Death\nis ever present. He is always walking around\nus even if we do not see him. He is forever\nlurking somewhere in the shadow strangling\na small bird, or breaking a withered leaf\nfrom a tree. I have seen dreadful things. But\nin spite of all that, 1 love life, and will always\nlove it more. I even feel it where I never\nfelt it before—ln the stones on the ground,\nin the large heavy cattle with their gentle-\nlooking eyes. Go, go, you will yet learn to\nlove life.\nFORTUNIO. &\nI do not know, grandmother.\nTHE GRANDMOTHER.\n(Turning away from him to her servant)\nDomingo, give me the food for the birds. Not\nthat; that they do not like, but these small\nseeds. Give me these.\n(She feeds a flock of small birds)\nPause\nTHE GRANDMOTHER.\nThere! (All of a sudden the birds fly away)\nHave you heard it?\n«£* L I V I 0.\nit was like the crying of a little child.\nFORTUNIO &\nIt must have been a bird.\n<£? THE GRANDMOTHER.\nA bird! So you have never heard that sound\nin your life? It was a young rabbit which\nhas been caught by a weasel. What have you\ndone with the years of your boyhood that\nyou do not know that? At that time the\nlittle silk shoes of your cousin Miranda were\nof more interest to you than the track of a\nstag on the forest's edge. It was more to you\nto touch her dress when you were playing\nball than to have your forehead brushed by\nthe damp rustling branches of the trees at a\nstag hunt. So you early robbed yourself of\nthat which ought to have belonged to you\nlater, and that which you missed then you\nwill never be able to recover. What an\nobstinate thing youth is, like the cuckoo\nwhich throws out of other nests the eggs\nwhich belong in them in order to make a\nplace for its own. There is something about\nyou young people which can easily make one\nvery impatient. You are like an actor who\nimprovises and who does not pay attention\nto the cues: Later on all that will change.\nEverything that you have in your head is\nold-fashioned. Leave it alone, Fortunio. Do\nyou want to come along now?\n& FORTUNIO. &\nNo, 1 would rather stay here,\n£> THE GRANDMOTHER. &\nThen, come along with me, Sennor. I believe\nyou will find that an old woman is less a\nbore than this young gentleman. I will tell\nyou a story. What kind would you like to\nhear? A love story or a story of the chase?\n(Livio gives her his arm. They go away, the\nservant following).\nlivio.\nFarewell, Fortunio.\nFORTUNIO. &\nGood night.\n(They disappear behind the trees to the right)\n(To be continued)"}, {"page_pdf": 16, "page_imprimee": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.16", "texte": "TWO THEATRES\nby Leon de\nSchildenfeld Schiller.\n(concluded).\n<£? But already the hands of the sun on the heavenly dial are pointing to the hour at which\nall .good Christians should drink wine. The scene is changed and, transported as by miracle,\nthe spectators find themselves at the \" Garter Inn \" famous for its lively girls, easy credit\nand sack. Of the host himself most improbable tales go about in the land of tipsters. He is\nsaid to be so hospitable that his winecellar for 4< The blessed who thirst \" stands open, whereas\nthe garden gate, for those who are desirious of escaping by stealth, is always kept closed.\nSomething is also whispered of the miracles that take place in this good hostel. Once\nit was seen how a tapster changed wine into water, diluting it in a mystic way—another\ntime it was remarked that master innkeeper could with one stroke of the chalk double\nthe number of empty tumblers. But who believes in such miracles in our times—consequently\nthe \" Garter Inn \" is always brimming with life, and the red noses and august stomachs\nof its customers are the best evidences of the miraculous effects of the host's healing cordials.\nHallo! is there a kermess, worthy host, that there is such a swarm today in your tavern?\n—But it is true, we must not forget that, in the calender of these distinguished cavaliers\nthere are as many highways as there are days in the year—and drinking days, lightly\ncounting, at least twice as many. Let us enter, gentlemen—l suppose we shall find a worthy\ncompany here—and then good host, be so kind as to make us acquainted with them,\nrecommending us as not of the worst winebibbers. &\nHere seated on the royal chair is \" rex bibendi \" Sir John Falstaff, having graced his\nhead with stag's antlers. In his hand he has taken the heavy tankard which he is accustomed\nto empty at one draught. At his side stand Masters Nym, Pistol and Bardolph, simulating,\nwith clenched fists, the trumpets of the heralds. \" Silence! le roi boit! \" and when doctors\nskilled in the science of drink declared that not a drop remained at the bottoms of the\nglasses, when the cheeks of the gracious lord had become bloated, his nose violet, his eyes\nfilled with tears and his hair began to smoke, there was a cry of: Vivat! and in the same\nmoment a salvo was sent off, not from mortars but from broken tumblers. <£? &\nAnd now his highness, as is his custom, will begin to tell stories, very curious, and to\nwhich you must give creed, for they are very gay, and very peppery, He will relate of how\nhe had drunk with princes, of how, for him the Windsor ladies had scratched out each\nothers eyes, and of how the sylphs had pinched his calves, on a certain moonlight night in\nWindsor Forest. But look at that loon who has fallen from the bench and is snoring,\nindifferent even to the rude tales. That is Christopher Sly, old Sly's son of Burtonheath, by\nbirth a pedlar, by education a card-maker, by transmutation a bear-herd, and now by present\nprofession a \" tinker \" a frequenter of \" Marian Haeket the fatale wife of Windsor \" and who,\nhaving lost credit with her has taken shelter under the friendly thatch of the \" Garter Inn. \"\nAnd who is that saucy fellow who makes so bold as to pat the king himself on his most\nserene stomach, and in presence of his monarchal nonsense, to boast of his own adventures.\nThat is \" Miles Gloriosus \" Monsieur Parolles mentor to Bertram, Count of Rousillon. Look\nhow he puffs himself up relating about that famous expedition in search of the lost drum,\nand of how cunningly he extricated himself from oppression, when caught by the soldiers\nof the Muskos' regiment. This good-for-nothing threw up the courtier's life and set off\nroving, thinking to himself that \" there's place and means for every man alive \" and as all\nroads lead to the inn, took up his lodgings at this asylum for vagabonds. & &\nNow glance at this merry trio composed of Sir Toby Belch, Sir Andrew Aguecheek and the fool.\nLook, the equally intrepid knight as mannerly gallant, Sir Andrew, has jumped on the\ntable and excels himself in a galliard, in the dancing of which he is famed in all Illyria.\nLook how he kicks about with his thin shanks—the whole table is shaking with laughter.\n& This well chosen company has fled from the puritanism infested palace of Olivia, and has\npitched its tents here, finding every night that \" tis too late to go to bed \" for it was utterly\nimpossible to live among people so conceited as was Malvolio who thought that \" because\nhe was virtuous there shall be no more cakes and ale. \"\nAh! here is also Autolycus, excourtier of the Bohemian Prince, Florizel,... a casual pickpocket...\nsee how cleverly he simulates a pedfer. To the girls he recommends bugles, ribbons and spangles;\n\nThe Garter Inn.\n\" Rex bibendi \"\nParolles\nA merry trio\nAntol i c it s"}, {"page_pdf": 17, "page_imprimee": "236", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.17", "texte": "TWO THEATRES\n\nfor the young men he has \" ballads very pitiful and as true \" and \" merry but very pretty ones.\"\n& I should be ready to swear that he is planning some knavery for his foxy eyes are burning\nwith an evil Fire.\nBut who the deuce are those gentlemen in variegated garb and with masks on their faces ?\nWhy are they sitting apart with the miens of conspirators or wandering jugglers? Methinks\nthey do not belong to this society, since they are carrying on between themselves a conver-\nsation in a foreign language on an entirely different subject than the court of King Falstaff.\nWhat? Do you not recognise them? You must have met them on your travels, somewhere\nin the lanes of Bergamo, Bologna or Venice, But since you do not know them, 1 must\nintroduce you to these worthies.\nThis cavalier here in a toga of the times of merry King Francis the First, adorned with\nan immense rabbit tuft, with his face half hidden by a black mask from beneath which projects\na stiff black beard, in garments cunningly made of patches of red, yellow and blue cloth,\nproudly brandishing his wooden sword.... that is Signor Harlequino. Such a world-rover\nas the world has never seen. & &\nJZ? He has been everything by turns. Servant to some scrapepenny, bar-man, warrior,\ncomedian, rope-dancer.... he has humbly served stupid but rich lordlings... he has courted the\nmaids.... and sometimes even, when ktired of these occupations, has donned the Marquis\nSbrufadel's satin garments and repaired to some court or other to try for the hand of some\nIsabella. There he gave rein to his fantasy, which was as many coloured as his dress,\ntelling the ladies, a second Boccaccio, as it were, fables about himself and of his ancestors.\nFor instance, he related that his protoplast had been court sausagemaker to the Emperor\nNero, who simply devoured these true master-pie pieces. His father is said to have been\nCaptain Fregocola, married to a certain Miss Castagna, a maiden of such lively tempera-\nment, that, in less than two months, she presented him with a son. Fregocola was excessively\npolite; in the day he took off his hat to everybody, but in the night he took from everybody\nnot only his hat, but also his cloak. & &\nNot for long however did our gallant play the part of Sbrufadel; the merciless thrashing\nhe received after each masquerade generally threw him into the open arms of Colombine\nthe faithless wife of white Pedrolino.\nThat fellow at his side is Harlequin's full brother, as like to him as the peas in apod:\nSignor Truffaldino.\nFrom his own tales however it could be concluded that he is descended from another\nfamily because he has come out of a foundling hospital, ergo: it is very probable that he\nbe a king's son. They wanted to teach him to write and read, but his royal highness would\nnot for all the world agree to such a thing, and in a fury dashed to pieces the head of\nthe Magister who had dared to do such a dishonour to his majesty. & & &\n& After this celebrated deed the unfortunate Prince Royal fled before the clubs of the\nservants of justice, and thanks to his heroism became a beggar. By a strange disposition\nof fate he found himself in slavery among the Turks, who had bought him dearly, but beyond\nthat.... sold him cheaply.\nThat other two-humped rascal in a plaited cap of yellow-red green from which hang\ncock's plumes, with a black bird mask on his face with a hooked nose, in a wide jerkin,\nin trousers somewhat short and singular, of which one leg is yellow and the other red\nliberally distributing to all the caresses of his thick staff, that is Signor Pulcinella a native\nof Naples. Your worships had better not approach that scoundrel for he is a cruel godless\nman, submitting only to his own passions, a dull tippler, and an adulterer. Do not put\nfaith in his jollity. \" When he laughs be sure he has killed somebody \" (i) Look how he is\nfraternizing with Autolycus ; look how perfectly they are conversing with each other by signs.\n& Let us escape from here.,., some evil is brewing.\nNow let us go to the town.... before evening we should stand in the forum. We can already\nsee the round cupolas of the churches and the tower of the city-hall, on whose spire the\ngolden fane is glistening. Glance, companions, on the intricate flourishes engraved on the\ntown gate; it must have been no trifling art-master who adorned it. You can see here some\nmonstrous flowers strangely tied together with droll masks. But what is that?... heavens!\nThe masks' eyes are starting out of their sockets at us and they are rolling out their tongues\n\n(1) Maurice Sand, \" Masques et Bouf'fons. \"\n\nIT a rleq ii i no .\nS i g 11 or\nT ru f fsC l d i no.\nP u lei ne 11 a.\nIn the tow li."}, {"page_pdf": 18, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.18", "texte": "TWO THEATRES\n\nThe square.\nPe 11 ueh i o\n\nfrom their livid muzzles. Can these be human heads? Tell us, halberdiers, who keep guard\nin silence at the gate!.... Then those are the decapitated heads of dare-devils who ventured\nto court Turandotte a Princess of China, and who were punished, as an example, with a cruel\ndeath because they could not guess the sphinx riddle of the wonder-maiden... Oh! let us hide\nour eyes, gentlemen, for 1 feel that my knightly courage is deserting me, and let us go as fast\nas we can into the town;... perhaps, sporting and idling in some temple of Bacchus, we shall\nforget about this fearful picture. <£? & & & & &\nTis a wonderful town,... upon my honour it would be worth while living here. It is the\ntrue land, flowing with milk and honey for all calibres of coxcombs and parasites.\n& There are plenty of houses of merry love here, and inns in which sojourn nobles, fraternizing\nwith squires and burghers, revelling till daylight with the full-cheeked ma'm'selles. You may\nrecognise these houses by the sign-boards representing the lascivious god Priapus; by the\neverlastingly lowered gaudy blinds, and by the portly bellied tousled bawds, who, standing\non the threshold, attract the passers-by with promises of good amusement*. Then if ever thou\nart importuned by Mistress Overdone, or by any other female practising her trade enter\nfearlessly into her house, and perchance, amidst the company of freneh-crowned lewdsters\nand immodest damsels, thou wilt find,.... resembling a white lily and like her innocent....\nMarina daughter to Pericles, whom wicked pirates sold to pandars, and 1 am in hopes that\non seeing her thy mouth will not water, but thou wilt rescue her from this den of knaves.\nTis a town of towns! Song and dance follow each other here, day and night. In the square\nbefore the church are erected booths with ginger bread, demiohns of mead, and thousands\nof feminine baubles. Market tricksters distinguish themselves before the crowd of astounded\nburghers, with tight rope dancing and sword-swallowing. Unfrocked monks traffic in medals,\nscapulars and relics of the saints. The renowned quack-doctor, Baloardo from Bologna,\nhaving to add to his dignity, puts a black mask on his forehead and nose, and in a flowing toga\nrecommends at the top of his voice, clysters of his own invention, miraculous balsams\nand love philters, interlarding his orations with Latin maxims. Through the streets with\npompous steps stroll the citizens of this frolicsome borough, arm in arm with their proud dames\nin festive dress. The gentlemen in fox caps, wearing scarlet fur-lined cloaks fastened with gold\nbuttons, lean on their knotted sticks terminating in ivory knobs representing Turk's heads\nor fabulous beasts. The ladies, in canary silk crinolines, in corsets garnished with Flemish\nlace, lead, on chains, monkeys with red rumps. Princesses in powdered wigs, pass by in\ngilt coaches, with their maids-in-waiting. In small chaises, at breakneck speed, drive fashion-\nable Fops, holding glasses to their eyes so as better to inspect the rosy-cheeked daughters\nof councillors and aldermen. At the corners of the streets stand philosophers weeping and\nlaughing, scholastical wiseacres, abecedarians in night-caps trimmed with fringe, in dressing\ngowns embroidered with palms, in half boots, more holy than righteous, never taking from\ntheir mouths the long pipes terminating in bowls of burnt meerschaum. These ardent\nperipatetics explain to curious hearers, of their own good will, the mysteries of the 44 seven\nfine arts \", choking themselves from time to time with the cracklings offered them by their\npupils in lieu of payment.\n& Meanwhile from Auerbach's cave float the sounds of Mephistopheles' song:\n44 Es war einmal ein Koenig\nDer hatt' einen grossen F10h....\"\nand a chorus of student-idlers repeat the refrain of the satanical song, feasting themselves\non the fiery wine which flows from the tables as though by sorcery. &\nThe church bells are playing lively sarabands.... on the dial of the town-hall clock Death\ndances with Judas; under the windows of princesses or of daughters of niggardly Harpagons,\namorous cavaliers with empty pouches, passionately sing love stances, while their Jacks of\nall trades disguised as marquises lead the action of the character comedy. The organ in the\nchurch resounds with Haydn's 44 Ochsenmenuett.,,\nHere is Signor Petruchio of Yerona arriving for his marriage festival with the still\nuntamed shrew, on a 44 horse hipped with an old mothy saddle and stirrups of no kindred;\nbesides,possessed with the glanders and like to mose in the chine; troubled with the lampass,\ninfected with the fashions, full of wind-galls, sped with spavins, rayed with the yellows,\npast cure of the fives, stark-spoiled with the staggers, begnawn with the bots, swayed in\nthe back and shoulder shotten; near legged before \" descending from the same family as"}, {"page_pdf": 19, "page_imprimee": "238", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.19", "texte": "TWO THEATRES\n\nnimble Rosinant. Like horse like rider. Signor Petruchio has on his head a new hat but\nan old ferkin, breeches thrice turned, old boots (one buckled another laced); at his side an\nold rusty sword, with a broken hilt, and chapeless; with two broken points. Like master\nlike man. Grunio has a linen stock on one leg and a kersey boot-hose on the other, gartered with\na red and blue list; an old hat and the \" humour of forty fancies \" pricked in it for a feather.\nAfter them run a gang of street gapers shouting and whistling. & <£?\n& At this sight Monsieur Jordain \" bourgeois geutilhomme \"shrugged his shoulders; the\nsame who was beside himself with joy when he learned from his preceptor that, for more\nthan forty years, he had been speaking in prose though he himself had not known it; he\nshrugged his shoulders, spit with indignation into his silk handkerchief and went on for\nhis walk accompanied by his two lackeys, following by his orders at three paces, so that\nevery body might know that they belonged to him. &\nDo you hear the rolling of the kettle drums and the trumpeting of Martial music. A\nwar march.\nOut on to the stage comes the Grecian army on its waj' to besiege Troy. In front\nmarches the spiteful hunch-back Thersitea as drummer, and jeers aloud at Ajax \" who\nwears his wits in his belly and his guts in his head \" and at \" the shepherd of the people \"\nwho \" has not so much brain as ear-wax. \" &\nHere march the heroes at the head of the warriors armed with arquebuses and muskets\ngoing to die with a smile on their lips, having taken beforehand their viaticum of kisses\nfrom their concubines.\nWhen the famous adventurer Capitano Spavento saw this he roared in a voice of thunder\nSangre y faego! io son clii son! and took refuge at the nearest tavern. & &\nThere, having barricaded the doors, he will throw himself on a bench and order his\nfactotum to extol him in a loud voice, so that all may hear of his knightly deeds, promising\nhim food at his own table, if he augment the number of unfortunates killed by his hand.\nAnd now we hear from the servant's lips, whose appetite is in direct proportion to the\nnumber of victims, that his master is known in all the world, that the Spanish doncellas\ncall him Matamsras, and that the French 44 precieuses \" name him Francasse, that his sword\nlaments when it reposes for too long a time in its scabbard, and that King Seleucus has\njust commanded him to raise an army &\nThe blood-thirsty captain on hearing these words, sweet as the falernian wine he is\ndrinking, will twist his leonine moustache and mourn over the lot of so many ladies who,\nfor love of him, have lost their heads: the latterly experienced fear and miracle of dionysian\nfruit will call forth a blush on his martial countenance and his body will become bathed\nin sweat. For that reason our knight will heedlessly unbutton his richly galooned uniform\ndecorated with crosses of merit, and then we shall perceive that his shirt is wanting, and\nthat bruises, from sharp blows of a stick, are his only war trophies. &\n& The mob rejoices: it has just stilletoed Julius Caesar, instigated by its tribunes; with\nstones and insults have they banished the defender of the country, the proud patrician\nCoriolanus, disbelieving the existence of sacred wounds on his body; and now, look how they\nare deriding old Titus Andronicus become mad from trouble and shooting complaints,\nwith arrows, to Mercury, Apollo, Mars and Pallas, of human cruelty, which has deprived\nhim of one hand and his daughter of both hands and of the name of virtuous woman. The\nmob rejoices: it is bearing on its shoulders the conqueror Thersitis, proclaims the tinker\nChristophers Sly, king, delivers Barabbas, puts the Chevalier de la Manche in the pillory,\nrolls out the tuns from cellars of the wealthy and drinks brandy without end out of chalices\nstolen from churches.... The mob rejoices.... in the court has just been pronounced, on\naccount of the speech of Portia disguised as a jurist, the sentence unfavourable to Shylock....\nrefusing him the right of cutting a pound of flesh from around Antonio's heart, and depriving\nhim of his riches. The mob rejoices equally at the fury of the helpless Jew, who but just\nnow called the unjust judge a wise Daniel and had already sharpened his knife, as at the\ndispleasure of his luckless lawyer Tartaglia, a thick-set man in blue spectacles covering\nthree quarters of his visage. & &\nThe mob rejoices.\nThe mob rejoices!\nO 9\n\nMonsieur\nford a i n .\nThe Grecian\nArmy . 4?\nCapita 11 o\nSpavento.\nT he Mo b"}, {"page_pdf": 20, "page_imprimee": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.20", "texte": "We Siave lost our way, companions, in this virgin forest fuH of hissing reptiles and\nmalicious dwarves, who, with their giggling, lead us into stray paths.... Ye stars! show us\nour way to the castle on the crystal mountain where Good King Cole rules over the fairy-land\nof children and of dolls. Ye stars! come to our aid, we bring curious tidings of new witches\nand new princesses, we bring gifts which eye has not yet seen, of which the ear of his\nMajesty the King and his court hath not heard. & & & &\n& But on the way we shall perish of hunger and thirst, and in our souls bugbears\narise with venomous eyes.... Ye stars! Ye stars!... &\nKnock! knock! knock! Let us in, good porter... we are honest travellers, carrying presents\nfrom far-off lands for the gracious king, and perhaps some souvenir will be found for thee\nin our wallets, if thou wilt let us into the castle. The night, as if on purpose, will not\nend,... and in this forest, it seems brigands with thick clubs have their dens, and in this\nforest are bogies....^\nKnock! knock! knock! Let us in, good porter.... our knocking would awaken the dead....\n\" Anon, Anon! I pray you remember the porter! \"\n& Then the doorchains fall with a clinking noise, and in the gate-way appears the jocund\nporter, hardly able to keep his feet, whether it be from fatigue, or from yesterday's\ndrinking bout is unknown, But from the descriptions of old time fabulists, the castle should\npresent a different aspect. It seems to me that everything conspires against us, and the\nstars have deceived us. But let us not put faith in appearances. Let us enter into the\ncastle. Somehow or other, it is not gay here. & &\n& In the vestibule playing at dice are squires and pandoors, runners and pages in sombre\nliveries. Masters Rosencrantz and Guildenstern note carefully in their observations the\nstate of mind of Prince Hamlet, overhearing his monologue from behind the curtain. The\nLord Chancellor Polonius scatters to right and left the pearls of his wisdom.... always\nadvising, always rebuking, profoundly persuaded of the importance of his buffoonery. In\nthe watch-tower the court astrologer, instead of reading from the stars the fate of the king\nand state, brews, in phials, some poisonous elixir. The tricked out ladies-in-waiting move\nabout the conspirating courtiers, informing the king of everything. The red headsman has\nfolded his arms on his breast and awaits a sign from the king. From the dungeons escape\nthe ever weaker moans of those starving with hunger.\nIn the banqueting hall Titus Andronicus dressed like a cook regales Queen Tamora with\na pasty, excellently prepared by himself, made of her sons, venging himself in this way for\nthe cruelties to which he had been subjected. But who is that new-comer to the feast?\nHow strange his face is, as though hewn out of marble. He points to Don Juan and commands\nhim to follow him. Don Juan pales but goes boldly towards him, not wishing to break his\nknightly word, given yesterday to the Commander's statue. See, the floor is opening, and\nthe gay harum-scarum disappears into the earth, together with the white spectre. All will\nrejoice at the death of the hardened sinner.... \" Heaven offended, laws violated, girls seduced,\nfamilies dishonoured, relations outraged, wives wronged, husbands in despair \" (i) AH, all\nare pleased;*\" one only, the faithful partner in nocturnal escapades, one only, Sgaramelle\nLeporello, with dejected mien will call out: \"My wages, my wages! \" <2? &\n& In her bedchamber Desdemona sings the doleful song of the green willow and the sad\nmaiden.... her eyes itch.... it seems to bode weeping,... Behold, by her bed has stood a man\nwith gloomy black countenance.... look, how, in the obscurity, the whites of his eyes\nglitter.... He is murmuring something to himself.\n\" It is the cause, it is the cause, my soul,\nLet me not name it to you, you chaste stars\nIt is the cause. Yet I'll not shed her blood;\nNor scar that whiter skin of hers than snow\nAnd smooth as monumental alabaster...! \"\n& Look, the black man bends over the sleeper, laying on her childish lips the last kiss....\nthe tear, stealing from under his eye-lashes, falls on Desdemona's face and wakes her....\nThe black man summons her to prepare for death... \" Then heaven have mercy on me! \"\nsoftly sighs Desdemona. \" Amen \" replies 0the110.... and now all is quiet.... no sound.... I\nbelieve the black moor has killed her.... let us withdraw....\n\n(i) Moliere, Don Juan.\n\nTWO THEATRES\n\nThe Castle.\nTit us p\nAndronicus.\nDon Juan.\nD e s d e wo 11 a."}, {"page_pdf": 21, "page_imprimee": "240", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.21", "texte": "TWO THEATRES\nIjady Macbeth,\n\nD aw ii. jg?\nSun after storm\n\nOh night! when wilt thou end! How silent the castle i 5.... is everyone dead already?\nHark! The doors creaked.... from her chamber comes Lady Macbeth in a white garment....\npasses along the corridor with closed eyes, bearing a night-lamp in her hand.... see, she\nstops at last before the barred window, through which flow the moonbeams, silvering the\nbloodstained stone floor.\nBehold! Lady Macbeth places the lamp in the embrasure of the window, and rubs her\nhands together, as though washing them... She whispers something:... \" All the perfumes\nof Arabia will not sweeten this little hand.... \"\n& Dawn already.... dawn! The matinal bird has flapped with his wings on the window-panes.\n& Open the windows! The air is saturated with the odour of poison. Open the windows!\nIt is stifling!... & &\nHeigh! look!.., am I not mistaken?... strain your eyes, companions, there.... there far\n0ff.... heavens! Coming towards us is BIRNAM WOOD. &\n& The rustling of the leaves is already to be heard on the drawbridge. For God's\nsake close the gates quicker.... &\nDo you hear? the wood ripples the chant of VENGEANCE. £?\nLower the curtain! this tragi-comedy awakes awe in my bosom. &\nSing, excellent Toby.... louder, louder, so that I do not hear the rattleof the dying. Dance\nyour galliard, sweet Sir Andrew, and thou, self-proclaimed king-fiddler Sir John, tell me\nsome lively anecdote so that I can laugh even to tears, instead of being touched to tears....\nGive me some music.\nNow, good Cesario, but that piece of song,\nThat old and antic song we heard last night;\nMethought it did relieve my passion much.... (i)\nBehold! what a sunny day has set in after the storm. God has hung a rainbow on the\nsky..., as a sign of & &\n& Let joy illumine our features, joy which is the rainbow after our tears.\n\" Laud we the gods;\nAnd let our crooked smokes climb to their nostrils\nFrom our blest altars. \"\n& Peace! Peace! Let us adorn our brows with oak-wreaths... let us wash the blood from our\nhands and swords.... let the king's grace grant an amnesty to prisoners.... Go, soldiers, and\nlower your standards before the corpses of unfortunate heroes.\n\" Let four captains\nBear Hamlet like a soldier, to the stage ;\nFor he was likely, had he been put on,\nTo have proved most royally: and for his passage\nThe soldiers' music and the rites of war\nSpeak loudly for him* \"\nEntwine your swords with olive branches:\n\" Make war breed peace, make peace stint war, make each\nPrescribe to other as each other's leech.\nLet our drums strike. \"\nAnd now:\n\" Proceed, proceed: we will begin these rites,\nAs we do trust they'll end, in true delights. \"\nLower the curtain! \" Quels spectacles charmants! quels plaisirs goutons nous!\nLes dieux merries, les dieux n'en ont point de plus doux. \"\nBravo! Bravo!\n111.\nAnd now you will wake, for\n\" Now my charms are all o'erthrown\nAnd what strength 1 hav's mine own,\nWhich is most faint! \"\n\n(1) These finales are taken from \" Twelfth night\" \" Cymbeline \" —Hamlet \" \" Timon of Athens \" and \" Bourgeois\nGentllhomme. \""}, {"page_pdf": 22, "page_imprimee": "241", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.22", "texte": "& At these words the wanderers awoke and what was their amazement when they found\nthemselves at the banqueting table, in company with the Magus Prospero, Miranda and\nthe two spirits. No trace of the theatre..., Could it have been a dream.... such dreams\nwould be worth having every day!\n£? «• Yes, it was a dream \" spoke Prospero, \" and it took birth in your brains, under the\ninfluence of that enchanting beverage with which Ariel regaled you yesterday. Thanks to\nmy mirror I was able to see the phantom of your imaginations. Yes, that theatre you will\nfind nowhere.... beyond the circle described by your fantasies. But this theatre really\nexists! And its life is a strange one, since, although it develops itself and becomes more\ncomplicated with each century.... nevertheless it is everlastingly young, thanks, truly, to\nits imaginary existence. Try to give it a real shape.... Prospero's theatre will become the\ntheatre of Messrs Quince and Bottom; it will imbibe the influences of the epoch and \"milieu\";\nit will become a pulpit of literature or an histrionic circus. TJtiiiam falsus vates sim.\nThis theatre does not exist,... but in its place exists Prospero, and your fantasy, my\nhonourable guests, capable of embroidering, on canvas given to you by me, the most\nwonderful designs. In me you see the poet, the actor, and the stage-maitager in one person.\n1 myself prepared this beverage, myself sought the worthiest and most beautiful vessels\nfor it, myself I scientifically guided the mirror during its operations on your minds; me\nand only me, in various forms, did you see during the whole time of your dream. On the\nTHEATRUM OF YOUR SOULS have appeared figures from different epochs in costumes cut\nin various styles.\nIn the most dishonest pickpockets you have been able to discern just as much goodness\nas there is dishonesty in the best citizen.... consequently, you could not, without tears,\nlook upon the sufferings of criminals whom fate very often punishes too late. Your mirth\nequalled your sadness when looking on these cowards, boasters, and on ludicrous and\nunhappy lovers; for every MAN appearing in this TRAGICOMEDY OF MAN, whether\nappalling or amusing you, must have awakened in your HUMAN BREASTS:\nI have drawn tones from every key, have mixed colours from all palettes.... so as to\ncreate a man.\nHe appeared to you more grotesque, more ridiculous, more terrible than his photograph\nIn naturalistic drama. He appeared to you less elegant, less virtuous, and less elegantly\nvicious, than his optimistic caricature in pseudo-classical <£? &\nYou have seen that every heroic deed has its comic side, and vice versa; you have\nlearned to descry in, apparently, the most absolute baseness, certain elements of Beauty\nand vice versa; you have recognised that in this world, good and bad are equal powers,\nwhich are governed by DESTINY. & & & & &\nYou have perceived, in fine, that behind the back of each man without exception, stand\nmy two subordinate spirits: Ariel and Caliban. jg? <£? <£? <£?\nI have given you a foretaste of the existence of \" more things in heaven and earth....\nthan are dreamt of in your philosophy. \"\nI have shown you the mystical union of man and spirits, and the mysterious germs of\nhuman actions. jz? & .£?<£? jz?\nI have given you proofs that the rainbow flourishes after a storm, and that, over the\ngraves of those sleeping the everlasting sleep, lilies grow and larks &\nAnd all that I have shown you \" held, as 'twere the mirror up to nature; showed virtue\nher own feature, scorn her own image, and the very age and body of the time his form\nand pressure. \" jz? jg? jg?\njz? You would certainly not be creators.... and creation is the duty of every man who is\naware of the existence of his soul.... you would not, I repeat, be creators, but Athenian\nartisans of Mr. Bottom's company, deprived of imagination, if in every day life you will\nnot have descried those fantastic colours with which my drama burned.\nIt seems to me however that this pell»mell and apparent disorder render more exactly\nreal life under fantastic forms than the moral drama the most minutely studied. Each man\ncontains in himself the entire humanity; and, writing what comes into his head, he meets\nwith greater success than in copying with a magnifying glass objects placed outside of him. (i)\n\n(1) Gautler. op. clt.\n\nTWO THEATRES\nThe Awakening.\n\nPr os p e r o ' &\nTheatre .\nThe creation ot\na M a 11 .\nAriel & Caliban\nC re at i o 11 i s\nthe duty of man."}, {"page_pdf": 23, "page_imprimee": "242", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.23", "texte": "TWO THEATRES\n\n& I am sometimes astonished at youthful poetasters* complaints of reality, which clips\ntheir wings. What kind of reality do they see? The same with which those Athenians live,\nthat, which is the rotten fruit of their boorish philosophy. Hence are derived the invented\nstuff, and nonsense about Utopia, in which such malcontents, from that seeming grey reality\nmight find a refuge, but which they never do find. 4> 4? 4?\n4? How unheavenward must be the flight of those over-poetised ganders, how unswanlike!\nthe dirty hands of the first-coming Athenian churl may reach their wings. But we. gentlemen,\nwho by the grace of God have the wings of cherubims, we know that reality is something\nutterly different from the distorted picture reflected in the cheap greenish looking-glass of\nthe rustic consciousness of the Athenian man. & & & &\n4/ We know that reality depends on ourselves only, that we are its creatures always, and\nthat we see it such as our CREATIVE WILL desires to see it. For that reason we do not\nknow the boundery line between fable and truth, between dreaming and waking, and for\nthat reason let us not flee from this reality for it is situated within us; each apparition,\napparently for the ages of others, placed beyond us, is the effect of the emanation of that\ncluster of rays which fills our souls with a mystic light. »€? 4? 4? 4?\nFor that reason I earnestly beg you not to try to range m;y drama under any category\nwhatsoever. Leave that to literary historians, who would not fall asleep quietly, if, having\nmet on their way with something singular, they did not baptise it with one of the names\nof their more than modest calendar. 4/ 4? 4?\n4? Do not call my theatre either classic or romantic or naturalistic. & 4?\nYou have seen that all these beautiful movements are contained in it without a remainder.\n4* Do not call it idealistic or realistic, since these words are devoid of sense for us, the\ncreators of reality. j&4? &\n4? Call it: NATURE'S MIRROR.... 4? A mirror as singular.... as beautiful as nature itself.\n& And now behold!\n& Here Prospero threw high up into the air his regal orb, turned in the form of the\nterrestrial globe, which shone in the sun with the most marvellous colours. 4? 4&\n4> 44 Behold! 44 TOTUS MUNDUS HISTRIONEM AGIT. 4? 4? 4? &\n4? Farewell.... go to your own country and do not forget Prospero's Theatre. Do not try\neven to combat with Mr. Bottom, your pride should not allow you to do 50.... in fine, this\ntheatre will last at least as long as human stupidity. Farewell! \" 4? & &\nThe Languishing Mariners sailed from the enchanted island, taking with them the\nprescription for the bewitching beverage, and their souls enriched with treasures of\nexquisite dreams. 4? 4? 4/ 4? THE END.\n\nCieati vc Will.\nNature's Mirror.\n\nA NOTE ON AN OLD\nENGRAVING.\nby Allen Carric.\nwh at an excellent background to\nthe Drama of Astronomers is this window\nwith moon, and stars... The modern artist\nwould have represented the moon & stars seen\nthrough the window.... how appalling, how\noverwhelming would it then have been to\ncontemplate! But here the artist shows us the\nmoon and stars of the Astronomer-Poets; not\nthings to be reckoned with and argued about,\nbut matters of Poetry. & 4? &\n4? The Artist has no business to concern\nhimself with that which comes under the\nheading of speculation. How can he draw for\nus that about which he is still in doubt?\n& Let philosophers and logicians have\ndoubts,... an Artist can have none."}, {"page_pdf": 24, "page_imprimee": "243", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.24", "texte": "ON TOLERANCE IN DRAMATIC CRITICISM.\nby Gordon Craig.\nMr E. F. Spence has written lately in the Westminster Gazette on Tolerance in Dramatic\nCriticism. It is hardly a subject which we should expect Mr William Archer to be able\nto handle, or even Mr Max Beerbohm. Mr Walkley....? we 11....! But Mr Spence is of all the\ncritics the most tolerant and the most generous and what he says is really most important.\n1 shall therefore reprint rather a long passage from it, believing that by so doing I am\nserving the very best interests of the most spirited movement of the theatre in England.\n& 44 Some remarks lately appearing in a popular weekly paper concerning Mrs. Patrick\n44 Campbell's 44 Deirdre \" and 44 Electra \" deserve a little consideration. One of the critics\n44 attached to the paper spoke of the affair as being an 44 indifferent performance of indifferent\n44 tragedies,\" and then said it was 44 a simple affectation to profess to enjoy it,\" and that it\n44 was not, 44 as some people seem to think, a mark of culture, but only of insufficient culture\n44 not to acknowledge that one is bored by this kind of thing.\" An affronted critic wrote\n14 to the paper, complaining of the charge of affectation and insufficient culture, and was\n44 promptly rebuked as 44 a bumptious correspondent, and told that his letter convinced the\n44 critic that he was one of those affected persons whose misdirected zeal the writer deplored.\n44 This attitude is not a novelty. Most of the critics, when 1 was a boy, charged the professed\n44 admirers of Wagner with being impostors or imbeciles; later on, anyone who professed\n44 to like the pictures of Whistler or Rossetti or Burne-Jones, or any of the Impressionists,\n44 was accused of affectation. When Ibsen was introduced to England the conservative\n44 critics raved, and alleged that the Ibsenites (or Obscenites—the word was considered very\n44 witty) were humbugs; this was the least offensive of their charges. The same kind of\n44 thing happened in the case of Maeterlink. One might cite many other instances. &\n44 It is a curious form of attack. Why should I, who had much pleasure and certainly\n44 no boredom, if a shade of disappointment, from Mr. Yeats's play and Mrs. Campbell's\n44 beautiful acting, be charged with affectation because I said so, and also with insufficient\n44 culture? There is a certain amount of inconsistency in the charges which may be disregarded.\n44 Of course, I am insufficiently cultured. There are thousands of plays and books that I\n44 ought to have read, of dramas I ought to have witnessed, of pictures I ought to have\n44 seen, masses of music I ought to have heard—and have not—and, therefore, 1 am a person\n44 of very insufficient culture. But the writer in question should offer some evidence of his\n44 own sufficiency of culture before alleging that my opinion concerning the play and the\n44 performance is due to a lack of culture. After all, in a free country one would seem\n44 entitled to express an opinion on a question of art without being called a liar by someone\n44 who takes a different view. The matter is one of some importance, because the attack is\n44 insidious and dangerous. The deadliest weapon in the hands of the critic is the allegation\n44 of boredom. You may say that a piece is vulgar, indelicate, inartistic, indecent, full of\n44 44 chestnuts, \" old-fashioned, 44 melodramatic, \" violent, ill-constructed, or unoriginal\n44 without doing fatal injury, but if you allege that you and everybody else suffered from\n44 boredom your attack may be fatal. This, I think, is the reason why the charge is so often\n44 made by people with strong prejudices. &\n& 44 There is something to be said on both sides. No doubt the lovers of the severer form of\n44 drama, the worshippers of Shaw, the body which has supported the societies of which the\n44 Independent Theatre was the first and has regarded the Court Theatre for a while as a\n44 kind of Mecca, are not always judicious when talking about musical comedy and comic opera,\n4 and some members of it have been very narrow-minded. They have refused to admit the\nmerit of any comic operas, except those of Gilbert and Sullivan, they have lavished\n44 indiscriminating abuse upon almost all others, have looked upon Daly's Theatre and the\n44 Gaiety and the Prince of Wales' as so many Nazareths. This, of course, has caused a great\n44 deal of annoyance to the lovers of musico-dramatic work, some of whom have been quite\n44 indiscriminate in their loves. Moreover, some of the austere folk have denounced melodrama\n44 and the so-called romantic comedy, without drawing nice distinctions. This indiscriminate\n44 denunciation has naturally caused annoyance and reprisals. Still, a strong difference of\n44 attitude exists. Because I dislike 44 A Chinese Honeymoon \" enormously, because wild\n\nDeirdre \" and\n]slec t r a \"\nA curious form\nof attack.\n44 Boredom n\nNarro w-minde d\nciit i c s ."}, {"page_pdf": 25, "page_imprimee": "244", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.25", "texte": "ON TOLERANCE\nIN DRAMATIC\nCRITICISM.\n\n44 motorbuses could not drag me to see 44 The Scarlet Pimpernel,\" I do not doubt, or pretend\n44 to doubt, that hundreds of thousands, perhaps millions, of people have enjoyed them. When\n44 an eminent member of the Bar told me that he had been three times to see 44 A Chinese\nHoneymoon,\" I did not charge him with affectation or insufficient culture, I merely put him,\n44 in my mind, into a particular interesting class. When a charming lady told me at dinner\nthat she doted on 44 The Scarlet Pimpernel,\" and would like to go and see it every night,\n44 1 knew she was in earnest, and asked her to point out.her husband to me; he did look a\n44 little careworn. Without for one moment believing in the phrase 44 De gustibus non est\n44 dispulandum \" as ordinarily interpreted, ! fully recognise that palates differ. If M. Steinheil\n44 chose to dine upon cold pork=pie, sausage, cold veal, and lobster, as the papers allege, I am\n44 not surprised that he died, only a little amazed that the French police are puzzled as to\n44 the cause of his death, but I see no reason for charging him with affectation in eating such\n44 a meal, or insufficient culture, though it was hardly the banquet of a gourmet. I have\n44 shuddered at a costly Bouillabaisse chez Roubillon at Marseilles without doubting that\n44 poor old 44 G. A. S.\" loved the dish. I prefer homely beer to any of the white wines of the\n44 Rhine; yet I believe that many people honestly enjoy those high=priced varieties of\n44 weak-minded vinegar, and am sure that it is not affectation that causes some people to\n44 profess to like black-pudding and tripe and onions. &\n44 The matter has its serious aspect. The attacks made, very unfairly I think, upon the\n44 novel forms of drama by conservative critics, when they take this form of alleging that not\n44 only the critic but the audience was bored, and that professed admirers are insincere,\n44 undoubtedly are very effective, and certainly are sometimes made in good faith. There are\n44 people so foolish as to think that nobody can like what they do not; also so fatuous as to\n44 consider that no one ought to like what they do not: but to jump from this to alleging that\n44 the professed admirers of ambitious works are humbugs is outrageous. Ido not doubt that\n44 the butcher=»boy enjoys 44 Sweeney Todd, the Barber of Fleet=street.\" Why should he\n44 disbelieve the statement by me that I get pleasure from a performance of a 44 Hedda Gabler,\"\n44 which would hardly appeal to him? In my belief large numbers of playgoers have been kept\n44 away from able and ambitious dramas, written by dramatists with a true artistic aim, because\n44 of the oft repeated allegations by newspaper writers who did not like them that everybodj'\n44 was bored; also, I think that the wholesale denunciation of the lighter forms of dramatic\n44 and musico-dramatic forms of entertainment by some of the critics has weakened their\n44 influence, has led the man in the street to think that if Mr. X or Y or Z can find no pleasure\n44 in what he likes that he will get no entertainment from what they admire. One supposes,\n44 at least hopes, that dramatic critics of all kinds and grades have an honest desire for the\n44 advance and success of British drama. They will hardly be successful in their„wishes unless\n4 on each side a little more tolerance is shown for the opinions professed by members of the\n44 other.\nThat is the commencement of Mr Spence's article. The insufferable attitude which he\nobjects to is peculiar to England alone. It seems to be the prerogative of a peculiarly\neccentric clique in London to find in the work of young poets and young painters something\nwhich is vile and not to be endured.\nThis clique positively hates beauty and the people who live to create beauty. It is\ncomposed of people who are intolerable and intolerant. They are a wretched and ignorant\nlittle set who go about calling themselves the majority, and, as Mr Spence says, they are\ndangerous because, like scandalmongers, they go about whispering that every one is bored\nby Beauty.\n1 think Mr Spence is far too good when he tries to set the example of tolerance for the\nsake of these wretches. I think his tolerance does them too much honour. They care not\na scrap for the mild and courteous remonstrance for their skin is thick and their\nconscience dull.\nBut there is something we must not forget. This little clique here spoken of is always\nboasting that it is the public, (as if that could stand as an excuse for its sterility) and has\nsucceeded in coining so many phrases for the occupants of the stalls and the pit to make\nuse of, that evefi today we find really nice people with the best will in the world talking\nutter nonsense at the theatre. If the managers were to cancel all the free lists, things would be\nbetter, for it is obvious that it is the welI»to»do, ill-doing ladies and gentlemen who get their\n\nPalates differ.\nI li tolerance.\nIts result.\nAn eccentric\nclique.\nThe evil of free\nlists . &"}, {"page_pdf": 26, "page_imprimee": "245", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.26", "texte": "seats for nothing who start all this chatter. English audiences must talk at all costs, and\nas they cannot talk sense they must talk nonsense, and generally harmful nonsense. In\nother lands the theatre public is a most intelligent body off people, intensely serious and\nnot afraid of being so: intensely fond of these very plays, \" Deirdre \" and \"Electra,\" by\nthese very poets, Yeats and Hofmannsthal, about whom these imbeciles in the London stalls\nchoose to be impertinent. What right has any man or woman in the London stalls to\nhave anything to say about the work off Mr Yeats or Mr Hofmannsthal? I can bring\ncountless reasons to show that these creatures should remain entirely silent before two\nsuch beautiful works, and give proof beyond measure why public and critics alike should\nremain silent.... yes, entirely silent.... when in the presence off a masterpiece, (i) If such an\nignoramus should proffer me his opinion that the works in question are not masterpieces\nhe will be unable to say why or to defend his assertion, whereas I shall be able to afford\nhim convincing proof as to the truth of mine. JS? & &\nBut I fear these creatures are not even answerable for their opinion: they are answerable\nfor someone else's opinion, and that \" someone else \" is that little clique composed of\nthose who enter the theatre without paying for their seats: and let it be understood clearly\nthat that little clique is composed of a group of men of whom half are on the stage and half\nin the stalls.\nThere is a conspiracy on the part of some of the managers and a few over-fed sleepy\nactors to prevent the development of this younger theatre as represented by its poets, its\nactors and its other members; and let me tell these gentlemen,... and here I can drop the\nimpersonal note and be as personal as is necessary.... let me tell you, gentlemen, that you\nshall not succeed, but it is we who shall succeed.\n£? To begin with, you are a set of cowards. You are entirely afraid to come out and\nfight for your cause because you know that yours is the old cause of the incapable. The\nincapable, as you know quite well, fight more meanly than any other body of people. The\nincapable have grown fat and unhealthy through the success of their incapacity, and that\nis the success which 1 attribute to you. If the standard which you have lowered till it\ntrails on the ground be raised but a foot higher your occupation is gone. You have the\ncleverness, the cunning, to know this, but you have not the cleverness to know how to hide\nyourselves entirely and we are now taking steps to marshal! your names in order so\nthat we may make an exhibition of you before these sycophants of yours, whom you\ntell to whisper it about that the world is bored by the works of young masters who\nwill not permit their works to be defiled by the unutterable clamminess of your touch.\n\nON TOLERANCE\nIN DRAMATIC\nCRITICISM.\n\nA conspiiacy.\nThe incapable.\n\nTHE EIGHTH COMMANDMENT.\nINTERNATIONAL COPYRIGHT.\n\nstill hold the belief that they can rule the fate of the world, guide the forces\nof man and generally keep everything straight, and so a Committee has been formed to\nteach people to keep their hands from picking and stealing, and, queerly enough, the meeting\nfor this purpose is convoked in Berlin, in the ery hot=bed of the pickers and stealers.\n£/ Far reaching revisions of the Copyright Law have been lately reported, and everyone\nreads these voluminous reports, looking for some sign in this heavenly firmament,... some\nsign that they are living in an age of civilization where there are banks for other things than\nbonds and strong rooms for other things than gold. But, alas, no sign is to be seen. The columns\nof reports show only too clearly that there is no protection against the thief.\n£? The thief is a peculiar kind of man. A thief is not one who annexes a purse or an idea\nand enlarges it and returns it to the people or the owner in a better state than he took it;\nbut he is a thief who takes a purse or an idea and robs it of what it contains and returns\nit to the people or the owner guaranteeing that it is improved, and backing his guarantee\nby much advertisement and influence.\n\nC o m mi tte e s .\n\n(i) If a man approaches a work of art with any desire to exercise authority over it and the artist, he approaches it in\nsuch a spirit that he cannot receive any artistic impression from it at all. The work of art is to dominate the spectator:\nthe spectator is not to dominate the work of art. The spectator Js to be receptive. \" The Soul of Man. \" Oscar Wilde."}, {"page_pdf": 27, "page_imprimee": "246", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.27", "texte": "THE EIGHTH\nCOMMANDMENT.\n\nNow that is what is done every day in regard to ideas. No one would be fooled about\nsuch a thing were purses merely the stolen goods, for everyone knows the difference between\na full and an empty purse, but few know the difference between a full and an empty idea.\nI make bold to say that there is not an artist in the world who would grudge another\nman stealing his genius (if, by the way, it conld be stolen), transforming it into something\nmore beautiful and passing it on to the world. Artists are perhaps the most generous people\non the round globe and their trials today are far sterner than they were formerly, for they\nare not only witnesses of the theft and ruination of their ideas, they are doomed to stand\nby while the people hysterically applaud the transformation of good to bad, and to listen\nto the cries of the hawkers who are announcing \" all the latest improvements \". &\nAll the conferences in the world on the question of International Copyright are not going\nto alter this, and the only question which remains to be answered is, Is this a sign of the\nnatural death of the Arts? It is folly for Nature to contend against dissolution, and if\nthe Arts are dying, then why waste any more time over them? A quick and tidy death is\nfar more desirable than a protracted one.\nPerhaps the winds from America which are assisting in this destruction—which I, as an\nartist, must look on as the utmost folly of all follies—perhaps this wind bringing on its\ncurrents the wonders of electricity and the marvels of aviation, perhaps this wind will blow\ngood stuff around the world. Perhaps it is really time to put away childish things such as\nmusic, poetry and the rest; or, to put it differently, perhaps it is time for the artists\ngracefully to retire from the field. There is such a thing as over=staying one's welcome.\n& To those who wish to be rid of us, those last words on the doorstep are really\nrathef a bore, although to the departing guest who wishes to stay they are the pleasantest\nof all. & Still, it would be far more tasteful of the artists to retire before the hour is too late\nand before everyone is yawning. Perhaps a little ceremony to mark the moment would\nbe a graceful act on the part of the world; a little conference perhaps on that; perhaps\na few speeches of thanks to the artists for their labours, more especially for the\nlabours of their forefathers whose works have supported so very many wealthy families\nfor many centuries and still continue to be the pride (?) of the centres of Europe.\nAnd there are reasons why the artist should retire once and for all. He does not\nusually like posing, although today it is the general belief that every artist is a poseur,\nand so this enforced position of his today of lying posed upon the rack is thoroughly distasteful\nto him. There is too much talk about the \" will to endure \" today. That is almost as gross\nas its opposite: it has become with nearly threefourths of the people today a pose which\nthey are forced to accept through necessity. Not that I mean \" necessity \" in the trifling\nmatter of bread and butter. I mean the need of the nourishment of their ancient pride and\nnobility. It is this need and this starvation which fill Trafalgar Square today, and which\nbring out five thousand policemen to prevent twenty women entering Parliament, and\nwhich will in time breed some strange and terrible resistance among those who practise\nthe arts, unless, as I have suggested, they retire freely. By doing so they would thus save\nthe face of those for whom they have continually laboured,... their children, the vulgar\npeople. For the earth is made up of two classes only: artists and the vulgar: there is no\nother distinction between people than this.\nThe vulgar have got the upper hand so it is best that the artist should retire. Then there will\nbe no further need for these farces which are called \" Conferences\" to decide matters\nrelating to International Copyright. Then everybody will be free to take any ideas they can\nfind, for there will be no longer any ideas to lose. As it is, about a handful of men on the\nearth provide the rest with ideas, and the rest arrange International Copyright Laws.\nWhat on earth is the use then of them to any but \"the rest\"? & &\nMr E. F. Spence, writing in the Westminster Gazette on the 28th November, says, \" 1 o\n\" the bulk of the people ideas seem hardly the subject of property: even the stern moralist\n\" who would hesitate to steal an umbrella, or to exchange an old for a new Gibus, at a\n\" crush, thinks lightly of the theft of an idea; and I doubt whether the convicted plagiarist\n\" would be banished from any club. Nevertheless, 110 thoughtful person can deny that\n\" in a court of morals the theft of an idea, which has been so far realised as to become the\n\" subject of property, is quite as dishonourable as the theft of a gold watch and chain\n& Mr Spence indicates that a conference on morality would be more profitable: he suggests\n\nThe trials of\nAt t i st s .\nAmerica 11\n111 f1 u c nee.\nThe withdrawal\nof the Artist.\nTwo classes\nonly . &\nMr /?. F. Spence,"}, {"page_pdf": 28, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.28", "texte": "that priest's laws, not patent laws, are more desirable. He addresses himself, with fine\ntoleration, to the deafest city in Europe; he appeals to its morals, the morals of London:...\nand on matters relating to theft!!! He suggests a new Idea, a new moral, to the people of\nLondon. This is not merely tolerant; it is decidedly bold. It suggests that London is deficient\nin its knowledge of how many morals there are. & &\nHow charmingly Mr Spence writes! With up=!ifted finger he seems to say, in the somewhat\nkindly tone of the old Englishman, \" Now then, you know, my boy,.... no umbrellas, no\ncrush hats; and if you can manage it, try also to resist forging cheques!\"\nI am afraid that very little will be done by so kindly an exhortation as this. I am afraid\nthat it needs something sterner than this, and I am also afraid that no amount of copyright-\nlaw will ever be so complete that it cannot be circumvented. Ideas, as I have said\nabove, are not actually stolen, but their worth is stolen and something worthless is\nsubstituted under the same name. Ideas cannot be stolen and their value preserved by\nthe thief, (i) This is what should be told to the people, this is what the world should be\ntaught: this truth, fully understood, would be of more protection to the work of the artist\nthan any number of Copyright Laws, however w£H revised. For there is nothing a receiver\nof stolen goods detests more than to be cheated by a thief. &\n\nJOHN BALANCE.\n\nTHE EIGHTH\nCOMMANDMENT\n\nSo 111 e th i n g\nsterner needed,\n\nA NOTE ON APPLAUSE\nby Adolf Furst.\n|n the Moscow Art=Theatre applause plays a very minor role. In England no play can live\nwithout it. No actor takes a call before the curtain; hence there is no applause.\n& Re a del; Isn't that very dull?\nWriter: You might think so, Moscow doesn't. It is all a matter of the point of view.\nWhen the acting is poor an enthusiastic roaring and thundering audience are necessary to\nkeep up the spirits; but when the acting is absorbing, applause is not needed.... and if the\nactor wont come and bow, or the curtain rise after it has once fallen,... well then, applause\nbecomes futile. &\nReader: Who ever heard of such an idea? &\nWriter: My dear reader, it is not an idea, it is an established fact. Remove the reason\nfor applause and you prevent the applause itself, and in doing so prevent a vulgarity.\n& Reader: But it is tSie natural desire to want to applaud when you see something good.\nWriter: Rather is it an unnatural habit. You do not applaud a thing, only a man or a\nwoman. Applause is the flattery of the strong by the weak. & & &\nIf the conductor and musicians of an orchestra were not seen we should never applaud\nmusic. We do not applaud architecture, painting, sculpture or literature. & &\nIt is only when the poet appears that we suddenly become excited through fear of the\nsuperior force of the man we scent a danger we burst out into applause.\nWe do not applaud the Atlantic Ocean or the poems of the Ocean, but, catching sight of\nthe man who can swim furthest in that Ocean, we utter birdlike and beastlike cries.... what\nBarbarism ! The air and the poems of the air leave us calm,... but the arioplanist we\ngreet with enthusiasm.... we feel it is better for us to be friends with such a man.\nApplause is the gross expression of a fear awakened in the presence of a man in a\nstronger position than that held by ourselves. The sooner applause is banished from the\ntheatre the better for actors and audience. The way partly to prevent it is to leave the\ncurtain down at the end of each act and not raise it again till the beginning of the next act,\nand to give up the bad practice of the actor appearing before the curtain. &\n& Reader: But the audience want it, they want to see their favorites again and again.\nWriter: Then let there be a new kind of Zoo, with men and women on view in the cages.\n(1) Like the Blue Birds in the Maeterlinck tale which turn black when caged and carried off, so do ideas lose all their\ncolour in the hands of a thief."}, {"page_pdf": 29, "page_imprimee": "248", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.29", "texte": "BOOK REVIEW\n\nFAUST AT \"HIS MAJESTY'S\"\nA dapted by Stephen Phillips & J.Comyns\nCarr. (Macmillan & C.) Price 4/-\n\nHphe Dramatist finds the materials for his\n* Art in the relations of Man with himself:\nwith his experience, i. e. with his fellow men,\nwith women; and with the Infinite, God or\nDestiny. All dramatic motifs will come under\none of these heads, and the greatest Dramas\nto some extent deal with them all, though\nit will generally be found that one or other\nof them has supplied the leading theme. The\ntragedy of Hamlet for instance, is that of\nhis own personality, which his egotism, pushed\nto insanity, identifies with the Infinite; his\nrelations with others, with his father's spirit\nor with Ophelia, serve merely as foils or\nillustrations to that main idea.\nThe great dramatists, being not only poets\nand philosophers but also great artists, their\nsubsidiary motifs are apt to be treated with\nsuch patient craft and wealth of detail that it\nis not always very easy to determine the\nfundamental theme of the drama. Especially\nis this the case with Faust. The skill with\nwhich the subordinate characters are drawn,\nthe precision and richness of the secondary\nevents in the action, not to speak of the\nintricate symbolism of the Second Part, serve\nas much to veil as to indicate the main idea.\nThe popular imagination has naturally seized\non the romance of Faust and Gretchen as\nthe principal theme of the poem. The 44 heart\"\nis easily moved by the tears of maidens who\nlove more well than wisely, and seduction\nmust inevitably appear to those many people\nwho are constitutionally unable to raise their\npsychic lives out of the soft valleys of sense\nand emotion, as the one supremely tragic\nclimax of experience. To such as these\n44 Faust \" under the title of 44 The Woes of\nGretchen \" is nothing but a pendant to the\n44 Sorrows of Werther. \" The Management of\n44 His Majesty's \" whose primary duty is to\nentertain the public, very properly takes this\nview and Messrs Stephen Phillips and Comyns\nCarr have 44 freely adapted \" and cut the poem\nto suit it. These gentlemen seem to call for\nneither praise nor blame. Since it had to be\ndone, I daresay they have done it as well as\nwas possible. And when we remember the\nspectacular resources of which Mr. Tree has\nso often given us proof, the enormous success\nof the venture is more than amply justified.\nIt is just possible however that some of the\ndelighted occupants of the Stalls, or perhaps\nthe Pit, of that comfortable House, in the\nintervals of the 44 Ohs! \" drawn from their\ndinner-laden bosoms by each fresh culmination\nof scenic display, may have asked themselves\nwhat Goethe's meaning really was. Is it really\nthe case, they may have in an\nentr'acte, unheeding the proffered bonbon or\nlemonade (and even the charming persons\nwho sell them), that the mightiest intellect of\nmodern timesfound such profound significance\nin the episode of Gretchen's adventure that he\nchose it for the great work of his life, lavishing\non it his utmost resources of wisdom and\nfancy? tls the eternal Magdalen the true\n44 Womansoul who leads us onward and up? \"\nTo any such devout enquirers into Goethe's\nmeaning I would suggest that there is another\nand a deeper interpretation. & ug?\nThe conflict between pure thought and\nexperience forces itself very soon upon the\nattention of the student of philosophy. It\npresents itself in various forms. Hegel's\nAbsolute Idea eternally realized in full\nperfection as it demonstrably must be, in the\nWorld, jars hopelessly with the circumstances\nof the destruction of Messina or indeed with\nthe fact of five minutes of toothache. If\n44 Reality \" is placed in that which can without\nlogical contradiction be formulated as such,\nthen experience leaping exultantly from one\nshattered category of thought to another\nis evidently 44 unreal. \" On the other hand\nexperience is given us and without it we\nshould not know ourselves at all, much less\nas the 44 spirit \" of Hegelian philosophers.\nHere is a hopeless impasse. 44 What must be\nis \" says the metaphysician withlogical truth;\nbut the premisses of that perfectly correct\ndeduction cannot throw even the faintest\ngleam of light on what will be. Experience\ngoes its reckless way careless of the conditions\nwhich from motives of the highest rationality\nwe wish to impose on it; it can only be\nconquered on its own terms. Those who will\nnot accept them are sterilized, they have\ndenied an instinct deeper than the instinct of\nknowledge, they have denied the instinct of\nlife. This negation was always to Goethe the\none sin against the Holy Ghost. Faust, in the\nfirst scene, is represented at the close of a\nlong life passed in the accumulation ofjabstract\nknowledge, with his hands empty, his nature\nstarved. So intolerable is his boredom that\nhe sees no escape but suicide. He is checked\nin this purpose by the accidental revival of\nthe religious mood which dissolves him in\nsentimental memories of his childhood. But\nthe religious mood is bound up with the\nassertion of the manifestly incredible dogma\nof Christ's resurrection. His learning has at\nleast convinced him of the impossibility of\nsuch a solution of the world's mystery as\nthat. Then he walks abroad with Wagner the\nsimple-minded enthusiast of knowledge, and\nthe respect which his disciple and his fellow-\ncitizens have for his wisdom turns to ironic\ngall in his breast. At length he fully realizes"}, {"page_pdf": 30, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.30", "texte": "his delusion and turns to life. But how\nto reach it? His waning powers and his\nsophisticated mind preclude the path of\nunconscious instinct. There is no way but\none; only the Devil can lead him into the\nschool of experience. So to the Devil he goes.\nIn that school he learns both to love and to\nsuffer, but is never bored again. As the\nDevil's apprentice he at length arrives through\nthe changing lessons of experience, and the\nvaried functioning of his own nature at\nacquiescence in human lot and reconciliation\nwith destiny, which he sees at last as part\nof himself. For the Devil is the force which\nattempts evil but can only achieve good. Thus\nthe mystery of life solves itself for him in\nthe continuous act of life. This is what 1\nwould like to murmur into the ear of the\nenquiring pleasure seeker at \" His Majesty's \"\n\nA. L. T.\n\nE E THEATRE I) E MONSIEUR.\nPericaud (E>): Paris, Eibrairie E» Jotel,\nmi vol. in=S., prix 5 fr.\nM,onsieur Louis Pericaud publie le premier\nvolume d'un vaste travail sur les grandes et\nles petites scenes de Paris pendant la Revo=>\nlution, le Consulat et V Empire. &\nEe Theatre de Monsieur, dont il nous conte\naujourd' hui Thistoire, fut fonde dans la salle\nde spectacle des Thuileries par Leonard, le\nperruquier de Marie Antoniette, et ViOtti, le\nvioloniste compositeur. Apres de nombreuses\ndifficultes, ils avaient obtenu du Comte de\nProvence d'ouvrir leur etablissement sous\nson patronage. Lorsque la Cour abandonna\nVersailles pour rentrer a Paris, les deux\nassocies Tordre de quitter les Thui=»\nleries. Ils se rendirent alors a la Foire Saint\nGermain, dans la petite salle des Varietes,\nqu'avait occupee Nicolet; mais leur sejour dans\nce local fut de courte duree: aubout de quelques\nmois, il s'installaient dans un edifice tout\nbattant neuf, qu' ils venaient d' elever a leurs\nfrais rue Feydeau. L'aventure de Varennes\nrendit le frere du Roi tellement impopulaire\nque Leonard et Viotti se virent dans Tobli-\ngation de debaptiser leur theatre. II s' appela\ndesormais le Theatre Feydeau,\nOn trouvera dans V ouvrage de M. Pericaud\nle nom de tousles artistes qui appartinrent\nh la troupe de Monsieut, le titre des pieces,\nqu' ils jouerent et de curieuses anecdotes sur\nleurs representations. C' est un livre d'une\ndocumentation solide, ou les faits sont exposes\navec autant de clarete que d'agrement.\n\nMONSIGNY ET SON TEMPS.\nPong in (A): Paris, Eibrairie Fisclihacher,\nun vol. in=B, prix 10 fr.\nIljxcellent monographie,dont le besoin se fai=\nsait sentir. Si nous possedions en effet plu=\nsieurs travaux sur Gretry, nous n'avions\naucun ouvrage consacre a Monsigny. Et pour\ntant, T auteur de Rose et Colas ne le cede en\nrien a I'auteur de Richard. Bien que pourvu\nd'une instructien musicale insuffisante, Mon=\nsigny par son exquise sensibility, par sa puis**\nsance demotion, par son inspiration abondante\net variee merite d'etre considere comme une\ndes gloires de V opera comique.\nM. Arthur Pougin retrace la vie et la carrier©\nde son heros avec une minutieus© exactitude.\nGrace a des papiers de famille, dont il a eu\ncommunication, il.rectifie nombre d'erreurs\net apporte des faits nouveaux. II analyse les\npartitions; il en present© les interpretes:\nCaillot, Clairval, Mme. Dugazon, les Larnette\net les Triol. Et son interessante etude est\naccompagnee d'une serie d'illustrations (por»\ntraits, costumes et decors) fournies par le\nMusee de TOpera, la Bibliotheque national©\net des collections privees. & & &\n\nMA ISTRE PIERRE PATHEEIN\npublie par M. E» Scheegans, professeur de\nlangue et de litterature francaises a V Uni-\nversity de Heidelberg. Bibliotheca ronia-\nnica. Strasbourg. Heitz & Miindel. Un vol.\nin-i2y prix o fr., 50 cent.\ntext de la premiere edition connue,\nI'edition sortie de l'officine de Guillaume\nLe Roy, que reproduitM. EdouardSchneegans.\nII en respecte S' orthographe et donne en no=\ntes les variantes des editions de Pierre Levet,\nGermain Beneaut et Marion De Malaunoy.\nLa notice de M. Schneegans sur la celebre\nfarce da XV. siecle est aussi savante que spi=\nrituelle. Signalons en particulier la page ou\nse trouve refute le jugement severe d'Ernest\nRenan. II est impossible de mieux expliquer\nles choses et de les ramener a de plus justes\nproportions. Un glossaire facilite Tintelligence\ndu tete. De fideles reproductions font connaitre\nau lecteur les bois d'un realisme si vigoureux,\nqui ornent le Pathelin de Pierre Levet. &\nCe nouveau volume de la Bibliotheca roma-\nnica est digne de la precieuse collection de=\nstinee a mettre a la portee de tous, en des\neditions scientifiquement etablies, les chefs\nd' oeuvre des litteratures italienne,\nespagnole et portugeaise. & zz?\n\nANNATES DU THÉATRE ET DE LA\nMUSIQUE. Stoullig (E.): Tome XXXIII.\nParis, Ollendorff. Un vol. in-18. Prix:\n3 fr. 50.\nJEAN = JACQUES OLIVIER.\nr\\ans son nouveau volume, M. Edmond\nStoullig dresse le bilan de Tannee 1907.\nNous n'avons pas a faire Teloge de cette\npublication. Tout le monde en connait les\nmerites. Elle fournira les plus precieux do-\ncuments aux futurs historiens de notre\ntheatre. La preface de M. Noziere \" Contre\ntonte tradition\" est d'une delicieuse ironie."}, {"page_pdf": 31, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.31", "texte": "FOREIGN NOTES\n\nNEW York.\nP. G.\nHjphe cornerstone of the New Theatre in New\n* York is laid, and the ceremony connected\nwith it has gone off: we might say it has\n44 gone off fine. \" The kind of work which\nthis theatre is built to enshrine is, according\nto Mr Richard Watson Gilder, the poetical\nworks of Shakespeare until something better\ncan be found, and that Shakespeare is going\nto be put on in the most lavish way may be\ngathered from the lavish way in which the\ncorner stone was laid.\nMany beautiful rose trees were stripped of\ntheir blossoms so that a bower might be\nformed for Mr. Vanderbilt, Mr. Gilder, Mr\nThomas, Mr Finley, Mayor Mclellan and Miss\nGeraldine Farrar.\nWhat a thoughtless way to commence anything\nnew! Could not the art of any man in America\ndevise a canopy which should be worthy\nenough without having resource to nature\npure and simple and without the massacre\nof many beautiful flowers, .... those flowers\nwhich the Emperor Huensung of the Tang\nDynasty loved so much that he hung tiny\ngolden bells on the branches of the trees to\nkeep the birds from them... those flowers that\nhe went often in the spring time with his\ncourt musicians to give pleasure to by playing\nthe music of moderation ? &\nIf the Society of the West chooses to choke\nits tables with a glut of cut flowers, surely\nthe artists of the West can learn something\nfrom the artist of the East,... can learn from\nthem the respect which is due to flowers ?\nHow right is Okakura=<Kakuzo when he writes\nabout this matter: 44 Sad as it is, we cannot\n44 conceal the fact that in spite of our\n44 companionship with flowers we have not\n44 risen very far above the brute. Scratch the\n44 sheepskin and the wolf within us will soon\n44 show his teeth. It has been said that a man\n44 at ten is an animal, at twenty a lunatic, at\n44 thirty a failure, at forty a fraud, and at\n44 fifty a criminal. Perhaps he has become\n44 a criminal because he has never ceased to\n44 be an animal. Nothing is real to us but\n44 hunger, nothing sacred except our own\n44 desires. Shrine after shrine has crumbled\n44 before our eyes; but one altar forever is\n44 reserved, that whereon we burn incense to\n44 the supreme id 01,... ourselves. Our god is\n44 great, and money is his Prophet! We\n44 devastate nature in order to make sacrifice\n44 to him. We boast that we have conquered\n44 Matter and forget that it is Matter that has\n44 enslaved us. What atrocities do we not\n44 perpetrate in the name of culture and\n44 refinement! \" &\nAnd again, 44 The wanton waste of flowers\n44 among Western communities is even more\n14 appalling than the way they are treated\n44 by Eastern Flower Masters. The number of\n44 flowers cut daily to adorn the ballrooms\n44 and banquet=tables of Europe and America,\n44 to be thrown away on the morrow, must be\n46 something enormous; if strung together\n44 they might garland a continent. Beside this\n44 utter carelessness of life, the guilt of the\n44 Flower=Master becomes insignificant. He,\n44 at least, respects the economy of nature,\n44 selects his victims with careful foresight,\n44 and after death does honour to their remains\n44 In the West the display of flowers seems\n44 to be a part of the pageantry of wealth,...\n44 the fancy of a moment. Whither do they\n44 all go, these flowers, when the revelry is\n44 over? Nothing is more pitiful than to see a\n44 faded flower remorselessly flung upon a\n44 dung heap. \"\nHowever, Miss Geraldine Farrar singing of the\nStar Spangled Banner must have been very\ninspiring. The poem of Mr Richard Watson\nGilder must have sounded very noble, and\nthe picture of the uncovered heads of the\nother gentlemen standing round the grave\nmust have struck the hardest heart with pity.\nBut that these poor roses should have been\ndragged into the scandal....no, no, no! That\nwas a bad omen for the future of the New\nTheatre in New York.\n\nTHE CINEMATOGRAPH.\n'The authorities are acting in time.... the\n* mayor of New York has revoked all licences\nfor cinemetograph exhibitions here. That\nmeans that five hundred and fifty places\nwhere such shows are given have been dosed,\nThere has been much protest from people of\nNew York at the character of many of the\nexhibitions. This is an excellent act on the\npart of the authorities who are looked to to\nprotect us from so called Religious Films\nwhich are nothing short of vulgar exhibitions\nof subjects far too sacred to be turned into\nshows of this kind. Sunday performances have\nbeen abolished here so that those firms that\nwaste their time and money preparing\n44 Religious \" Films need do so no longer.\nTheir Sunday business has been succesfully\nknocked on the head.\n\nPARIS\n\nHjphe Muse of the Art of the Theatre\ncontinually fails to keep her appointment\nwith this city, and she thereby places her\nimpresario in a very awkward predicament\nfrom which he annually extracts himself, but\nnot without some difficulty. This year he\nhas had to resort to 44 feeding the brutes. \"\nAn announcement therefore appears to the\neffect that the managers of some of the"}, {"page_pdf": 32, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.32", "texte": "fashionable Parisian Theatres are arranging\nto serve dinners in their houses which the\nwayward Muse has deserted. &\nThis piece of news is received by all right-\nthinking people with a relief which almost\nborders upon a sensation.\nYet it must not be thought for one moment\ntSiat we impute any lack of dignity on the\npart of the Parisians. A dead city peopled\nwith phantoms bedecked with diamonds and\ndisease, it still carries on its sleeve a certain\ndignity which even daws will not peck at\nfor reasons.\nFor all that the dinner bell ringing in the\nTheatre causes a silver-grey blush to spring\nto the cheeks of the claqueur.... the audience.\nIts duties are a burden to it; it pays almost\nnothing, and a dinner or two during the\nevening will make the time pass less drearily.\nAt the Opera House there is Paillard the\nrestaurateur: his light suppers seem like\nthe afterglow of some dead lamp. They\npunctuate the 44 Gotterdammerung. \" They\nlast sometimes an hour and a half, and for\nthis reason Mr. Paillard has been approached\nas to whether or no he is in favour of the\nprincipal performers appearing before the\ncurtain at the end of an act. &\nIt is suggested that he should take advantage\nof the privilege.\nMr Paillard is reputed to have replied that\nso long as his light suppers are not eaten\nupon the boards of the stage he and his\nwaiters will not be able to bring themselves\nto appear personally before the curtain, no\nmatter how great the applause may be.\nThe 44 Journal des Theatres \" states that\ncomplications may arise owing to Mr Paillard's\nobduracy, and to avoid anything in the nature\nof a disturbance a deputation of the other\nartists will wait upon him at his Hotel.\n\nJ. de S.\n\nBRUSSELS. js?\nTPhe Theatre here is as fashionable as ever,\n* the Art of the Theatre as unpopular. Often\nwe have shocking attempts to imitate the\nwork of individual artists who visit us from\ntime to time.\nThis was the case when Miss Isadora Duncan\ndanced here some time ago. The opera went\nmad for a while. It made its ballet girls costume\nthemselves in things which resembled night\ndresses more than Greek robes, and the ballet\nmaster, evidently bent on the sincerest form\nof insult, made the poor ballet dancers more\nmiserable by forcing them to prance about\nin a manner more distrait that buoyant,...\nand the result was villainous. &\nFancy sixty or seventy chic girls, thoroughly\nat home in frills and tights, having to discard\nboth,... for bareness and bedroom wear! The\npoor dears took it amiably enough, but so\nsadly! They felt so ashamed for once, and\nthe audience so full of pity. We were all\nhorrified here, for we love our old=fashioned\nballet with its foolery and its frills, and its\nfine, if fading, echo of a noble century. &\nIf the master of the ballet has the desire to\nbring back the 44 Greek Dance \" (whatever\nthat namey thing may be), he might spare\nus his experiments for a few years, and in\nthe meantime find his Greek girls, instil into\nthem, (if he knows it himself), the Greek\nbelief, make them dance to Greek music, and\nso do the thing more thoroughly. If it should\ntake him ten years we should not complain,\nand perhaps our children would rejoice.\nStill, Brussels has little to complain of as a\nrule, and if the 44 Greek Cult that is to\nsay, the imitations of the performance of a\nbeautiful personality, (i) threatens us for a\nwhile, the clouds vanish, all the sooner by\nthe assistance of the many serious and learned\nessays and books which come to us often\nenough. jg? &\nTo these can be added the lectures lately\ngiven here by Mr Jean Jacques Olivier, one\nof the first of the living Theatrical Historians,\nwhose interesting study of the actor Lekain,\n& other books relating to the iBth Century\nTheatre in France, form so valuable a\ncontribution to Theatrical Literature.\n\nFLORENCE.\nJ. S.\nStudents of the Theatre in Florence will be\ninterested to learn that a series of lectures\ndealing with the Art and History of the stage\nwill be given here in connection with The\nMash in the months of April and May. &\nThese lectures will be delivered some in\nEnglish and some in French, and Italian, the\nnames of the lecturers and the subjects of\nthe lectures being announced later.\n\nLONDON\nTHE AFTERNOON THEATRE.\n| may be prejudiced, (how well this beginning\nreminds me of the opening of a scathing\nremark by some Londoner who is going to\ntell me he does not like my writings!), I may\nbe prejudiced against the Afternoon Theatre\non account of my affection for the Evening\nTheatre: I may be inclined to wonder why\nin the name of goodness we should have a\ntheatre all the time, more especially why we\nshould have a theatre during that time when\nartificial light is surely undesirable. On the\nother hand I can quite understand that the\nhour ds shortly approaching when we shall\nhave the Breakfast Theatre. The Supper\nTheatre is already with us, according to the\nreports from Paris. And then there will be\nthe 44 Hurried Lunch Theatre: \" there will be\nthe 44 Never Come Home to Tea \" Theatre,\nand finally the 44 In time for the 2d Tube \"\nTheatre. &\nWhatever one may feel about this matter of\ntoo much or too little theatre there is no\ndoubt about one thing. It is, that if we have\na theatre which opens at a somewhat un-\ncommon hour it must contain something of\nuncommon quality.\n\n(1) We suppose our correspondent to refer to Miss Isadora\nDuncan. Ed."}, {"page_pdf": 33, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.33", "texte": "I can in away imagine a theatre beginning\nat eight o' clock in the morning, (they do it\nin the East.), and I can imagine people being\nbrought out of their beds to go to that theatre\nat eight o' clock in the morning, but there\nmust be something very fine indeed to be\nseen there to make people do so. & &\nI was not able to go to the Afternoon Theatre\nmyself for two reasons. First of all, I was\nnot invited, and secondly I was very busy\npreparing myself for a fatal plunge into one\nof the new Frohmann theatres that evening.\nI had promised myself a whole day of undis-\nturbed rest before venturing into that\nterrible atmosphere, but I knew I could rely\non the instinct and taste of two of my\ncolleagues who had accompanied me often to\ndifferent performances. & &\nI asked them to write me as to what they\nthought of the performance of 44 Hannele.\"\n1 received two letters the next day.\nOne began on the subject of the Anglo-Russian\nentente, passed on to matters of foreign art\nand then somehow or other glided into a\ngloomy talk about death. After a page or\ntwo in this strain the writer proceeded:44 And\n\"speaking of being dead, I saw \"Hannele\" bril-\nliantly misinterpreted... misunderstood with\n44 quite marvellous instinct... it is wonderful\n44 how skilfully men escape the toils of Beauty.\"\nThe writer then went on to speak of Shake-\nspeare, of the art of India and other beautiful\nthings which evidently had nothing to do\nwith the Afternoon Theatre and are therefore\nnot necessary to be rewritten here.\nSo much for my first colleague.\nMy second correspondant went into more\ndetail.\n441 thought 44 Hannele\" at His Majesty's\n44 Theatre very bad. When it was originally\n44 given in England there was something lovely\n44 about it. There was no attempt at stage\n44 effect then.... it was not pretentious. The\n44 acting was not wonderful, but it was not\n44 gaudy, it was not showy. At His Majesty's\n44 the show was what has been described as\n44 a Christmas Card Show. Mr Ainley was well\n44 enough as the Schoolmaster. Miss Marie\n44 Lohr looked very pretty as 44 Hannele \"....\nand the rest of the communication was\nlibellous.\nNow, what is to be done when, unable to face\na Matinee and an evening performance in the\nsame day, and when you ask intelligent people\nto report to you intelligently about one of\nthe two they are unable to find anything\nto praise? There must be something back\nof it a11.... Perhaps there is actually nothing\nto praise !\nPerhaps I am prejudiced, but if I had been\nthere I think I could have extracted some\npleasure out of the performance and found\nsomething and some one to praise.\nThere is the Box Office, for instance, and the\namiable man who guards it. There are the\nprogramme sellers: there are the obedient\nlime light workers: there are the scene\nshifters: there is the orchestra, and there is\nthe man who rings the curtain up and down.\nAll honourable positions, and always filled\ncreditably and, seemingly, with, the utmost\nenthusiasm; and I do think that, had I wit=\nnessed \" Hannele \" I should have given much\npraise to these excellent men of the ranks.\nAs for the captains, if, as according to the\nreports, they had been untrue to all the canons\nof art, we 11,... we 11,... we all know what is\ndone to the traitors to a cause. g?\n\nTRADITION.\nG. H.\nM r H.B. Irving continues to delight the public\nby performing for them the plays his fa=\nthermade famous. Opinion is a little divided as\nto whether he should not leave these plays\nalone and choose others which belong more\nrightfully to his own personality, but 1 am\nentirely of. the opinion that no one has a\nbetter right to enact these plays, and in my\njudgment no one does or could act them\nbetter.\nTo say that the performances are not the\nsame as those which Henry Irving gave us is\nno more than to say that Charles Kean's\nperformances of Shylock or Richard 111 were\nnot the same as those of Edmund Kean.\nThere cannot be anything more becoming\nthan that a son should keep alive the memory\nof his father, and there is no better way to\ndo it than what young Henry Irving is doing\nat present.\n\nEDITORIAL NOTES\n\nOne of Mr Bernard Shaw's latest utterances\nconvinces us that he is just beginning to\nperceive wherein lies the difference between\nan artist and a socialist, wherein lies the\ndifference between beauty and ugliness, and\nwherein lies the difference between William\nBlake and Mr Bernard Shaw. &\nWe all know Blake's splendid lines from \" A\nvision of the Last Judgment \" in which he\nsays \" 1 assert, for myself, that 1 do not\n\" behold the outward creation, and that to\n\"me it is hindrance and not action. What\n\"it will be questioned, when the sun rises,\n\" do you not see a round disc of fire somewhat\n\" like a guinea? Oh! no, no, 1 see an\n\" innumerably company of the heavenly host\n\" crying, \" Holy, holy, holy is the Lord God"}, {"page_pdf": 34, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.34", "texte": "\" Almighty! \" I question not my corporeal\n\"eye any more than 1 would question a window\n44 concerning a sight. 1 look through it, and\n44 not with it. \" &\nMr Bernard Shaw writes: 44 If you stand on\n44 Holborn Viaduct and take a snapshot of the\n44 things that are occurring, you have an\n\" exact, superficial record; but you know\n44 nothing of Holborn Viaduct in any spiritual\n44 or truthful sense. If, on the other hand,\n44 another man, instead of saying,44 There are\n44 men and women walking up and down the\n44 street, \" says 441 see a ladder stretched from\n44 earth to heaven, with angels ascending and\n44 descending, \" you not only find that man\n44 much more interesting than the other, but\n44 I suggest that there would be genuine truth\n4* at the bottom of what he said, that there\n44 was some thing to be got out of it, that\n44 possibly he was a man able to make a\n44 revelation to you. \" & &\nNow it seems to us, when we call to mind\nMr Bernard Shaw's writings of many years\nthat he has written in mockery against all\nthat is beautiful: that is to say, all that is\nnot actual, all that cannot be seen with the\ncorporeal eye. Had he sincerely felt and seen\nwith Blake, all this time we had been receiving\npoems instead of satires; for Mr Bernard\nShaw, instead of seeing 44 men and women\nwalking up and down the street \" would\nhave seen 44 a ladder stretched from earth to\nheaven, with angels ascending and descending,\nand we would have found 44 that man much\nmore interesting than the other \" and we are\nquite sure there would have been 44 genuine\ntruth at the bottom of what he said \" and\nthat 44 possibly he was a man able to make\na revelation\" to us. & &\nBut Mr Shaw has always pointed out the\nstreet, and said it is a street and nothing but\na street; that it is the ugliest street on the\nface of the earth; that there is only one thing\nto do and that is to sneer at it and to walk\nup and down it. And as he has looked upon\nthe street with the corporeal eye so has he\nlooked upon the sun with the corporeal eye,\nand in the same way has he looked upon the\ntrees, the animals, the men and women of\nthe suburb in which he has chosen to dwell.\nNow what makes Mr Shaw shift his whole\nground in this manner? Has influence been\nbrought to bear upon him? We fear it is too\nlate. The old laws remain the same as they\never did and poets and artists are born, not\ninfluenced into being. &\nMr Shaw is the type of the self«made artist\nand there is no such thing as a genuine\nartist who has made himself; and yet self made\nartists abound all over the place. It is as\nmuch a profession today to be 44 an artist \"\nas to be anything else. & & &\nMr Shaw, like one of the characters in his\nown plays, has felt behind him that propelling\npower of moral purpose which has shot him\nfrom Dublin into London with the direct\npurpose of reforming London; and having\ngiven us a sermon,... a bitter sermon,... and\nmocked at all things to do with the poor\npeople of London, he winds up by turning on\nthe sanctimonious smile and suggesting that\nlater on he will see ladders stretching from\nLondon to Heaven, and the angels of Adelphi\nTerrace ascending and descending thereon.\nare very thankful to see that the\nReligious Film Firms are having a bad\ntime of it in New York. Our correspondant\nin New York points out in another column\nthat the people of that town have protested\nagainst the whole traffic, so that the Mayor\nof New York closed five hundred and fifty\nof the places where such blasphemies are\nperpetrated.\nIn the July, August and January numbers of\nThe Mask we drew attention to the danger\nof permitting such exhibitions and we hope\nthe authorities will act in the severest possible\nway and will not rest until they have passed\na law, preventing horrors of any description\nleaking through to the public by this deadly\nprocess. Besides the unspeakable horror of\nthese Religious Films there are other horrors\nwhich it would be good to prevent. Far too\nmany murders and suicides are shown in\nthis realistic manner. It conduces to murder\nand suicide.... if is in no way a prevention....\nscientists should be consulted on such matters\nif there be any doubt in the mind of the\nauthorities. Some time ago picture posters\ndepicting such horrors were banned in\nEngland. There must be some reason behind\nsuch a\nWe hope this whole matter of the censorship\nof Cinemetograph Films will be carried through\nsternly and thoroughly.\nmm r William Archer has made a wonderful\nnew 44 arrangement. \" As announced in\nThe Author it reads as follows:\n44 Mr William Archer has now made an\n44 arrangement with Messrs. Curtis, Brown\n44 & Massie by which he will, if desired by\n44 the authors, prepare a detailed criticism\n44 and comment on all plays submitted to him.\n44 A feature of the arrangement is that Mr\n44 Archer will report, not only on completed\n44 plays, but also on scenarios, and may thus\n44 be able to help many a good idea from\n44 going wrong, and may also be able to nip\n44 in the bud some of the hopeless plays on\n44 which authors might otherwise waste their\n44 time. \" <£>\nWe think that this is about the last word\nthat can be said in the matter of play writing.\nThe idea of Mr William Archer seriously\n44 helping to save many a good idea from\ngoing wrong \"... in fact, preventing a single\ndramatic egg from being addled, is stupendous;\nthe picture of Mr Archer 44 nipping in the\nbud \" some of the 44 hopeless plays on which\nauthors might otherwise waste their time \"\nis delicious.^\nHow many beautiful flowers Mr Archer will\ndestroy if he gets the chance! We see him\nwandering round the garden, pausing before"}, {"page_pdf": 35, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.35", "texte": "every other tree and, with a sigh, breathing\nforth the dread words, 44 Hopeless, hopeless,\nhopeless! \" We see him passing onwards,\nnipping to the right and to the left: we see\nhim carrying all these buds and throwing\nthem to the poultry whose eggs he is going\nto take under his wing: we see him carrying-\nall these eggs back to the house,... and we\nmust say that we would give anything to see\nhim slip with the whole basket, and, after a\ngood scolding from his housekeeper, promise\nhe will never do it again. &\nFor really, if the report is right, Mr Archer's\nattempt is one of the most stupendous pieces\nof impertinence which has ever been flung in\nthe face of an intelligent world.\nTo begin with, what right has Mr Archer to\ncomment on any plays? He knows less about\nthe creation of a play than these young\nauthors whom he proposes to help. He has\nheld authoritative positions on papers in\nEngland, and has done more damage to the\nEnglish Theatre than any other man we can\ncall to mind through tbe awful earnestness\nwith which he regards himself and his mission,\n...an earnestness not tempered by a sense of\nbeauty or humanity; through the self-conscious\nyet uninspired rapture in which he is never\ncaught even napping; through the undisguised\nmelancholy attitude towards things which are\nbeautiful and beyond his power either to create\nor understand; through these infirmities he\nhas unwittingly done great harm to the quite\nunprejudiced minds of the English Playgoers.\nBesides this Mr Archer has never, so far as\nwe know, written a play,... and if he has we\nhave heard very little about it. Mr Archer is\ntherefore one of the last people to be of any\nvital use in such a matter..^\nAfter a work is finished, and while the world\nis criticising it, the professional critic has the\nsame liberty as the public to give his opinion,\nand he has the added advantage of being able\nto express the opinion in public. But when\nthe critic over-steps the limits of discretion,\nand, with a show of valour, prepares to tussle\nwith the Muse in private on behalf of some\ntrembling author who is waiting in the anti-\nchamber, this strikes us as really a little too\nmuch.\nArtists all the world over know quite well\nthat when they wish for assistance there is\nonly one man to whom they can go, and that\nis to the Artist. If a young painter does not\nknow what to do he goes to another painter\nwho is more talented, or he studies under a\nmaster of painting: but he never goes to the\nprofessional critic. In this manner he follows\nthe custom of the carpenter, the smith, the\nweaver and other straightforward craftsmen.,\nand who is there to say he does wrong?\nAgain, a nice book of poems we should have\nhad if young John Keats, whom most of the\ncritics would have liked to have 44 nipped in\nthe bud,\" had submitted his masterpiece to\nthe famous Mr Z., the writer in Blackwood's\nEdinburgh Magazine & of one of the most stu-\npidly misleading criticisms which England has\never had to suffer for. One can say now of this\nimpertinent person, this wretched crea-\nture, this poltroon, this funny gentleman, this\nwriter, in short, this critic, we can say of him\nthat his disgrace is today complete in the\neyes of the entire world; that his lack of\nintellect, his lack of critical ability, his conceit,\nis tremendously laid bare and the poet\ngloriously vindicated.\nAnd history preserves for us the names of\nhundreds of artists who, permitted to go their\nown way, developed by their own talent if at\nall they developed, and never through the\nassistance of either the public or the critic.\nTo attack a great artist is, after all, very\nlittle, for, as Keats writes, '• Praise or blame\n\" has but a momentary effect on the man\n\" whose love of beauty in the abstract makes\n\" him a severe critic on his own Works,\" and\nthat is ever the attitude of the great artist\ntowards his own works. No critic can be so\ncritical as the artist, and outside criticism\nhas but this momentary effect on the great\nartists. But criticism applied to beginners, to\nthose who are not great artists but who are\ntalented men, is, unless it be to praise, a\nvile thing at best. Nevertheless, it exists. We\naccept it; it has grown into a convention.\nBut that we should add to this vile thing a\nmore vile one, that it should be proposed\nthat one who ladles out criticism after the\nwork is done, should ladle it out in advance\nwhile the work is being conceived, surpasses\nall the horrors imaginable by a man of\nimagination.\nThere is something ghoul-like about such a\nthing, there is something uncanny and\ncreepy about it; it suggests a new kind of\nvampire. The horrible stories of vampires who\nsucked the blood from men are not so horrible\nas the idea of a vampire that should prey\nupon something which is half-born. It would\nbe criminal to the last degree for a man in\na position such as Mr Archer proposes for\nhimself, to nip any play in the bud, to nip\nany single play which any young author may\nhave written because he, Mr Archer, thinks\nit is hopeless. What Mr Archer thinks\nhe is at perfect liberty to think, but he should\nnot be permitted to be in the position of\nnipping anything in the bud. There is nothing\nwhich it is necessary to nip in the bud; there\nis nothing which, by development, cannot\nadvance a stage further. &\nIf some monstrosity in nature is born it is\npermitted to live on and it has been seen\nthat it in no way harms itself or others. The\nsingle excuse which may be found for putting\nan end to life is when the life in question is\nmiserable to itself on account of physical pain.\nNow, no work of art can do any harm to\nanyone, neither can it suffer personal pain.\nTherefore there is no reason for putting it\nout of existence.\nThose people who would tell us they are very\ngrateful to this proposal of Mr Archer's and\nwill avail themselves of it are the dunder\nheads, and do not count."}, {"page_pdf": 36, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.36", "texte": "Sir Hubert von Herkomer, as Professor of\nPainting in the Royal Academy, has been\nsaying some very splendid things to the stu-\ndents. We should like to have heard the stu-\ndents cheer.\nHe spoke against the dealer in pictures; he\nspoke of how the world had learnt to gamble\nin Old Masters. He mentioned how Millet's\nu Angelus \", which was originally sold for £.40\nwas then resold for £. 72; then, at successive\nsales, for £. 480, £. 1520, £. 6400, £. 22,020,\nand finally for £. 32,000. Yet the artistic\nvalue of the picture had not altered. And to\nthis gambling he attributed the present un-\nhappy condition of living artists.\nThat Sir Hubert von Herkomer was thinking\nof the younger school of artists there can be\nno doubt, and he deserves and will receive\nthe affectionate thanks of all these young\nfellows: because what Sir Hubert said is not\nthe sort of thing a man of his position in\nLondon is generally heard saying, and it\ndenotes a particularly courageous and fine\nnature.\nHe then sfioke of wood 'engravers and their\nart and regretted that the snap-shotter had\ntaken the place of the illustrator of the\njournals. He showed how the snap-shot ma-\nchine was a cheaper article to buy than the\nright hand of an artist and how this was\nsufficient reason for employing the snap shot-\nter. He put the whole weight of his argument\nagainst the value of the work of the snap-\nshotter: he pointed out that once perhaps in\na thousand times a man or woman in the\nact of walking, shaking hands or tumbling\noff a horse might turn out passably presen-\ntable and interesting in a snap shot, but that\nin the other nine hundred and ninety nine\ncases the snap shot was little short of a per-\nsonal libel against which there was no legal\nredress: To the assertion by the trade that\nthe camera can make no mistakes he replied\nthat the man who held the camera could and\neven did make mistakes. He stated that the\npublic were accepting an inferior article\nwhen there was no real reason for their ac-\ncepting it.\nWe do not see the value of Sir Hubert's line\nof argument in this particular instance. The\nartist cannot and will not feed the minds of\nthe curious, and we cannot see why Sir\nHubert should advocate such as a desirability.\nWe wish that the courageous speaker had\npointed out that that it is mainly in England\nthat the snap shotter has taken such a fore-\nmost position, and had put forth the modest\nplea that, although the snap shotter\nshould reign, the wood engraver should be\npermitted at any rate to live. The artist is\nlittle concerned with the acknowledgement\nof his supremacy: but, like all other creators\non the round globe, he likes to receive all the\nrights due to inferiority if the f privileges \"\ndue to the ** Superior \" ones are to be witheld\nfrom him. We cannot think that the artist\nwould like to compete with the rapidity\nand cheapness of the process block maker:\nin fact, we are quite certain that the public\nshould guard its artists against the likelihood\nof such a competition. Haste is an enemy to\nArt, and therefore Art can have nothing to\ndo with the Daily Newspaper.\nOne of the things which artists have always\ntaught the world and which they are still\nattempting to teach it, is to take time. Men\nwho can take time are important to the\nworld, and the civilisation built on the prin-\nciples laid down by men who take time would\nbe the grandest civilisation which the mind\ncan conceive. The climax of Rush has been\nreached and tomorrow will hold for us such\na civilisation. Time, and the idea of time,\nfrightens everyone. America is peopled by men\nand women who dread the loss of a second.\nWe think many men must have died there\nthrough chagrin on remembering the loss of\na year: and there is no doubt whatever that\nmany beautiful women have grown swiftly\nold because of this fear. jg?\nWhen speaking of a woman of fifty whose\nexpression is as young as ever, people say,\n\"time makes no impression on her\": and\nthat is just it. She is not frightened of time:\nshe know that she is as limitless as time and\nshe is therefore one of those beings who\nbelong to that civilisation which we expect\nwill be with us Tomorrow. The moment\nthat a million men and women will look upon\ntime without fear, that moment shall we be\nin the ideal state. All men and women will\nlook beautiful and will act beautifully because\ntime will be at their service. And this is\nwhat has always raised the artist above his\nfellows, this sense that he is master of time.\nTp he distinguished woman known to us as\nMiss Mary Anderson has been telling a\nreporter in America that she considers there\nis a gradual decline in all the arts. She says\nthat the Hamlet of years ago, Booth's Hamlet\nwas a far more brilliant thing than Forbes\nRobertson's Hamlet.\nIn passing we may remark what a jar it is to\nhear people speak of these characters of\nShakespeare's such as Macbeth, Othello and\nHamlet as \" Irving's Macbeth\" or \" Bernhardt's\nHamlet \" or \" Salvini's Othello. \" It shows\nclearly how people have come to look upon\nan actor as a creator, whereas he can at best\nbe only an interpreter until he ceases to\nperform plays created by\nMiss Anderson says, \" We have lost the flare\nof our ideas in art; they burn more quietly,\nless brilliantly.\" She seems to want them\nto be more brilliant and less quiet, less\nsteady. But that light is best which burns\nwith the fiercest brilliance and the most\nconstant tranquillity.\nAnd when such a light appears people shade\ntheir eyes from it and retire far away before\nthey dare look at it. Such a light cannot be\nhailed instantly; it is akin to the face of God\nwhich no man can look upon and live. Let\ntime elapse and distance separate it from the"}, {"page_pdf": 37, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.37", "texte": "beholder, and 10, the telescopes are out at once.\nStill, for the sake of the developments of\nart, European or National, it will be well\nthat the beholders should exercise their\nfaculties of observation and accustom their\neyes to the higher rather than the lower\nlights, so that they may not be heard later\nlaughing at the sun. &\n\nINCIDENTAL MUSIC. &\n7t/|r George Alexander L. C. C. speaking\nthe annual conference of teachers in\nelementary and secondary schools at the\nHolborn Restaurant on January 7 th said that,\nimportant as music was, it was limited in its\nscope. He then tried to explain what he meant\nbut the explanation does not seem to make\nhis cryptic statement any clearer.^\nHe said that, when he contemplated the\nproduction of 44 Paolo and Francesca \" he\napproached his old friend Sir Arthur Sullivan\nand asked him to write the music. Sir Arthur\nreplied, 44 My dear Alexander, the theatre is\n44 not the place for music. When the curtain\n44 is up the music interrupts the actors, and\n44 when the curtain is down the music inter-\n-44 rupts the audience. \" JS?\nMr George Alexander being a man with a\nsense of humour evidently wished to score a\npoint for music and musicians by relating this\ngenial sarcasm uttered by Sir Arthur Sullivan.\nWhat exactly Mr George Alexander was\naiming at is not clear. Perhaps he wished to\nshow quite simply that soft music is a nuisance\nin the theatre, and quoted Sis Arthur Sullivan\nin support of his argument. As a matter of\nfact musicians do not relish the idea of writing\nincidental music to punctuate the voices of\nthe players, for the music is seldom properly\nheard, is played pianissimo, is often cut here,\nthere and everywhere, and the Muse of Music\nis not pleased by this position of her\nThe late Sir Henry Irving, it is reported,\nspent vast sums of money on the purchase\nof incidental music for the theatre, Sir\nArthur Sullivan, Sir H. Mackenzie, Edward\nGerman and Sir Villiars Stanford supplying\nhim with the goods; but to write music which\nshould accompany the voice of an Irving may\nbe some excuse for a bad practise, and every\nrule has its exceptions. & &\nIt is of course well known that incidental\nmusic is comparatively unknown in the other\nEuropean centres, such music being regarded\nas an entirely illegitimate means of heightening\nthe significance of a drama. The audiences in\nthe continental cities would object to this\nirritating tinkle because at best it can only\nmake but a sentimental appeal, allied as it\nis to moments of dramatic sentiment. These\naudiences are glad to avoid sentiment as\nmuch as possible so that they may get deeper\nunder the skin of the drama. In the English\nTheatre false sentiment reigns supreme in a\nmawkish kind of way, and it is only innovators\nlike Mr Granville Barker who are bold enough\nto release us from the tasteless tyranny of\nsentiment gone to seed. &\nVVfhat is the matter with Mr George Bernard\nShaw? In an Interview, (January 25,\nDaily Telegraph) he flattered all the actors\nwhom he had previously abused like pick-\npockets: he attacked critics for being cruel\nto actors, as though he had himself never\nwritten the cruellest things about actors in\nthe Saturday Review, and he made all sorts\nof rash and incorrect statements which he\nused not to do in the time of Henry Irving.\nReading the interview we came across a\npassage relating to Mr Gordon Craig in which\nMr Shaw says that, as he could not annex\nMr Craig as actor he would annex him as\nscenic decorator, and would 44 borrow his\ncurtains.\nBut on making enquiries we ascertained that\nno such curtains exist.\nThis is Mr Craig's reply as given to our\nrepresentative, 44 I know nothing about any\n44 curtains... and I possess none. I cannot guess\n44 what Mr Bernard Shaw can mean. Years ago\n44 when I was a boy, and Mr Shaw in his prime,\n441 made an experiment or two with some\n44 draped stuff instead of scenery, but that was\n44 because the theatre was not rich enough\n44 to run to wood and canvas. I was excused\n44 the offence I suppose on account of my\n44youth, but I gather that Mr Shaw is quite\n44 old enough to know better. &\n44 I suppose it is this old threadbare curtain\n44 idea which Mr Shaw is alluding t0... and I\n44 hope for his own sake he will find it of a\n44 piece with his plays. If he is keen about it\n44 he is perfectly welcome to it. Why not ?...\n44 everyone may borrow ideas, but I feel that\n44 it's alway best to borrow the latest,... they\n44are so much more likely to be fresh. Still,\n44 for Shakespeare, those curtains are rather\n44nice: they will d 0... anything does for\n44 Hamlet & Cymbelene. But when it comes to\n44 supplying scenery to the author of 44 Mrs\n44 Warren's Profession \" and 44 Don Juan in\n44 Hell \" something sterner, grander, is\n44necessary; something more like Trafalgar\n44 Square on a Sunday.... No ? \" £?\n\nTO OUR READERS\nWith this number The Mask completes\nits first year. & & &\nIt has overcome many difficulties.\nSeven Publishers refused to consider it.\nMost people said it could not live three\nmonths.\nIt has lived twelve. & &\nIt will continue to live as long as we wish.\nThe Mask has many true friends.\nWe thank them all from our heart... the\ngenerous Press of England not least of\nthese, and we hope that in the coming\nyear we shall be able to do better.\n\n£? ALL RIGHTS RESERVED &\nGERENTE RESPONSABILE, GINO DUCCI &"}, {"page_pdf": 38, "page_imprimee": "[257]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.38", "texte": "|THE MASK.]\nANNOUNCEMENTS TO OUR READERS\nare 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.\npor the convenience of our readers we herewith give the list of our agents in the\ndifferent parts of the world.\nLondon, D. J. Rider, 36 St Martin's Court, Charing Cross Road.\nBerlin, Edmund Meyer, Potsdamerstrasse 27 b.\nAmsterdam, Kirberger & Kesper, 134 Rokin.\nVienna, Hugo Heller, 3 Bauernmarkt.\nMoscow, Michael Lykiardoupolos, 44 La Balance Place du Thd&tre.\nHelsingfors, Akademiska Bokhandeln.\nBudapest, Nagel Otto, Muzeumkorut 2.\nStockholm, C. E. Fritze, 18 Gustaf Adolfstorg.\nGoteborg, Ringner & Enewald, Kungsgatan 31.\nNew York, Brentano's, Fifth Avenue.\nPhiladelphia, G. W. Plank, 1126 Walnut Street.\nNaples, Michaelsen, 2 Via Chiatamone.\nThe T$ditor will be glad to consider any MSS. submitted to him• These should 11\nbear the names and addresses of the authors, be typewritten and accompanied\nby stamps. Any MSS. submitted in this manner will receive the earliest attention,\nand every care will be taken as to their safe return, but the Editor cannot take\nany responsibility should any loss occur. & & &\nEditorial Offices, ARENA GOLD ONI, Via dei Serragli, Florence, Italy.\nvcadiv \\ England, 15 Shillings I Italy, 15 Lire, j\ncimcrDiDTinw 1 Germany, 15 Marks 1 Russia 8 Roubles > POST FREE\nbUBSC/RiP I ION / America, 4 Dollars | France 20 Francs. )\nSIGN AND TEAR OFF THIS ORDER FORM\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\npostage, (enclose the sum of\nAddress „"}, {"page_pdf": 39, "page_imprimee": "[258]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.39", "texte": "THE WOOD ENGRAVERS of S. LEONARDO\nEX LIBRIS & Are you a BOOK LOVER? If you are you will desire that which can\nadd to the beauty & completeness of your Books, & cannot do without a BOOK PLATE.\nIn design your Book Plate must be grave yet charming, for its duty is to act as watchman at\nthe doors of all books, whether religious or profane. If you would possess such a Book Plate,\nsimple, charming and distinguished, write to the Wood Engravers of San Leonardo, directing\nyour letter to them at the ARENA GOLDONI - VIA DEI SERRAGLI - FLORENCE - ITALY -\nand you will receive all the information you desire. jp & & & JP\nPublishers marks, letter paper headings, theatre programmes and souvenirs; exhibition catalogues, designed and\nprinted by us. xp XP & 4P & &\nWe do not make any attempt to compete with the cheap, popular and hastily made designs which may be obtained\nby the crowd: our designs are engraved by hand on picked box-wood, and printed on our hand-press on specially\nselected papers obtained from Holland and England. & From the first design to the last print the work is executed\nand supervised by artists, and therefore art-lovers may be confident that, in sending their commissions to us, they\nare ensuring a work which shall be as careful in its execution as beautiful aud distinguished in its design. 4P\n& & THE WOOD ENGRAVERS OF SAN LEONARDO. & &\nARENA G O L D O N I , FLORENCE - ITALY.\n\nA PORTFOLIO OF ETCHINGS.\nBy Gordon Craig with a preface.\n/~Jnly thirty portfolios will be issued, although ten or twenty additional copies of\nsome of the plates will be printed according to the condition of the plate. The\nplates will then be destroyed. Each portfolio will be numbered. Each set consists of\ntwelve designs loosely mounted on grey card and contained in a grey cloth box\nportfolio with fastenings. Each plate is signed by the artist. Size of portfolio 48x30\nctms. £> Average size of plate. 14 a/3 x 15 a/3 cttns. The price for a portfolio will be\nL. 16. o. o, (400 Francs or 330 Marks). & &\nHPhese etchings were made by the artist in the Spring of 1907 at Florence, and\nrepresent his most serious work. Connected as they are with his dream of an Ideal\nTheatre, they in no way have anything in common with the modern stage. & &\n** Movement \", writes Mr Craig, \" was at the roots of the Ancient Theatre and will\n\" ever remain the very Essence of the Art. & &\n\" We must translate Movement through the medium of inanimate forms and thereby\n\" produce once more an Impersonal Art which shall take its place by the side of\n\" its two sister Arts, Music and Architecture \". & & & & &\n4 * «• w «\nORDER FORM\nTo The Director,\nThe Mask Press, Arena Goldoni, Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\n1 enclose the sum of L,. 16.0.0, (or 400 Francs or 330 Marks) & &\nSigned\nAddress."}, {"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190902-01.1.41", "texte": "Printed by E. Morandl, Tipografla Bodoniana, Via Pint!, Florence, published by Maurice Magnus, 8, Borgo S. Jacopo, Florence\n\nANTONIO\nFRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES &\nFLORENCE\nVia dei Fossi 4\n£> (ESTABLISHED i860) J®\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMBiiW., 8\nMarble Reproductions from the Antique\n>\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, & Garden Seats, &\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904\n\nDINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna\nVia dei Foasi N. x - FLORENCE\n♦\nof sealptavcs of Old mod\nJWodeffn masters M Stmtaes M Basts *\nVases N Baa-reliefs •* Fountains N Boot's\nChimney-pieces - Bases ete. ete. In\nevery style\n\nG. P . VIEUSSEUX\nFLORENCE VIA VECCHIETTI, 5\nReading rooms, containing the best\nEnglish newspapers and reviews. -\nLatest telegrams Open daily 8 a.m.\nto 10 p.m. Sundays 8 a.m. to 12 p. m.\nSubscription 35.00 a year. Ciiculating\nI/ibrary containing thousand volumes\nin English, French, Italian, German,\nsome Spanish and Russian. Open\ndaily 9 a.m. to 5 p.m. except Sundays.\nBooks sent to all parts of Italy and\nabroad. £/\n\nNEW YORK DRAMATIC\nMIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\nSample copies on request free of\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months.\n\\\n\nEDITION DE LUXE\nSPECIAL NOTICE TO BOOK LOVERS\n15 copies of \" The Mask \" will be\nprinted Monthly upon a yellow hand-\nmade deckleedged paper identical in\nappearance and texture with that made\nin the same district of Fabriano in the\nyear 1315. This edition will contain\nEtchings and other prints signed by\nthe artist, which will not be included\nin the popular edition. & &\nYearly subscription: England, L. 3.5.0 Post Free\n„ ~ Germany, Marks 67.00 „ ~\n~ ~ America, Dollars 16.00 ~ ~\n„ „ Italy, Lire 82.00 ~ ~\n' „ „ Russia Roubles 30.00 ~ „"}]}