{"numero_id": "bm-bmtnaau-1909-07-01", "volume": "bmtnaau_1909-07_01", "ocr_sha256": "b3457d176e717bb0844c78523d6f6d0d6059c71c2c9c9257d7eec8b4b6f85a01", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1909/07_01/bmtnaau_1909-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1909/07_01/bmtnaau_1909-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01", "articles": [{"article_id": "bm-bmtnaau-1909-07-01-c002", "article_bluemountain": "bmtnaau_1909-07_01#c002", "volume": "bmtnaau_1909-07_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=bmtnaau190907-01.2.2", "titre_corps": "LITERARY CONTENTS", "titre_sommaire": "LITERARY CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 597, "texte": "LITERARY CONTENTS.\n& GOD SAVE THE KING by GORDON CRAIG. & ELLEN TERRY, FIRST FAIRY by GRAHAM\nROBERTSON. £> SHAKESPEARE AS SCENOGRAPHER by ALEXANDER HEVESI. &\nj0 PELLEAS AND MELISANDE by TORSTEN SODERJHELM WITH A BIOGRAPHICAL NOTE\nby GUNNAR CASTREN. £> THE NEW THEATRE IN POLAND: STANISLAW WYSPIANSKI\nby L. de SCHILDENFELD SCHILLER, WITH AN INTRODUCTORY NOTE by THE EDITOR.\nTHE ARENA GOLDONI, ITS PAST, PRESENT AND FUTURE by DOROTHY NEVILE LEES.\n& Mr FROHMAN'S LAST CONFESSION by JOHN BALANCE. Mr BERNARD SHAW AND\nTHE CENSOR by JOHN SEMAR. - BOOK REVIEWS. j£f FOREIGN NOTES. EDITORIAL\nNOTES. j£r"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c003", "article_bluemountain": "bmtnaau_1909-07_01#c003", "volume": "bmtnaau_1909-07_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=bmtnaau190907-01.2.3", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "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=bmtnaau190907-01.1.2", "debut_caractere": 599, "fin_caractere_exclue": 1001, "texte": "ILLUSTRATIONS.\nj£> THREE THEATRE DESIGNS OP THE FIFTEENTH CENTURY TWO DESIGNS FOR A\nSTAGE SCENE AND A PORTRAIT OF HIMSELF by STANISLAW WYSPIANSKI. THE\nPIAZZA DELLA SIGNORIA AT FLORENCE FROM AN OLD ENGRAVING. SIX VIEWS OF\nTHE ARENA GOLDONI. 0 THE MASK OF THE BOOKSELLER by EDUARD EDUARDOVITCH.\n0 HEAD AND TAIL PIECES by GORDON CRAIG, STANISLAW WYSPIANSKI, E. THESLEFF,\nCHARLES BORROW AND OTHERS. £?&&&&&"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c004", "article_bluemountain": "bmtnaau_1909-07_01#c004", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.4", "titre_corps": "COLOSVS SI VE THEATRVM", "titre_sommaire": "COLOSVS SI VE THEATRVM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 172, "texte": "Design showing the interior of an antique Theatre seen from the stage. The spectators are represented with the Venetian\ncostume of the latter part of the fifteenth century."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c005", "article_bluemountain": "bmtnaau_1909-07_01#c005", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.5", "titre_corps": "GOD SAVE THE KING", "titre_sommaire": "GOD SAVE THE KING", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 3260, "texte": "GOD SAVE THE KING\nby Gordon Craig.\nJf there is a thing in the world that I love it is a symbol. & & & &\n•& If there is a Heaven that I can bend my knee to it is the sky.... if there is a God, the sun.\nI am not content to believe in the smaller things which I can touch. I cannot be familiar\nwith what is above me, but I must be able to see it all, and what I see must be superb.\nTherefore God save the King!\n\" All Architecture is what you do to it when you look upon it \". (i) and if my\nking wanted to chop off my head I think I would submit cheerfully and dance to the block\nfor the sake of preserving my ideal of Kingship. &\nKings have given us everything.... and we in times gone by have in return made up the\nsplendid procession which follows in their wake. Kings have not stopped giving us everything,\nbut we have lately given up forming the splendid processions. We have lost the trick of it\nbecause we are losing the old power of our eyes and our other senses. Our senses,.... those\nwonderful servants of ours over whom we reign as king,.... our senses have rebelled. So\nthat it comes to this: that we on our part have lost our royalty. Our senses have had the\nvanity to revolt. This is infinitely disgusting. Our senses, if you please, are permitting\nthemselves the luxury of becoming tired. They Want another ruler than the 50u1,... and\nexpect Jupiter to send them a better. We have pampered our intellect so much of late, have\nsearched the archives of knowledge at so great an expense, that we have bargained our\nsenses away to our unimaginative reason. & & & & &\n& It costs all this to become practical today; our imagination is the price we pay. It seems\nthat in the Garden of Paradise, the world, there are as many trees of knowledge as there\nare men, so that it will no longer do to put our continual yearly \" fall \" down to woman,\nand we had surely better try to support her bitter laughter than that harsher scorn of the\ngods.\n& And the gods are laughing! My God, so entirely peerless, laughs only with his eyes.\nHe laughs on all the day and I hear the echo of his laughter all the night. But I know how\nnobly all has been arranged in this Garden, for my God's laughter is as the song of Para-\ndise in my ears, and its pale echo soothes me to sleep through the night. &\n& And as surely as this bounteous laughter pours down on me by day and flows away\nfrom me by night, so will I find some way of giving thanks for it all: thanksgiving to the\njoyous laughter. &\nBut to many ears this laughter of the Gods is like the shrieking of a storm, and these\npeople raise their eyebrows, grumble, and pray that it will pass. & &\n& But will It pass? Will it not shriek in their ears until they be dead,... until they have\nlost the sense of hearing? JET\n& Better would it be for these beings to value once more their most noble servants the\nsenses, and attempt to perceive by their means the full meaning of the voice and of the\nface of God. And when they have understood that they will see the full meaning of the\nKing.\n& If I worship the sun 1 cannot listen to the talk which twaddles on about the tyranny\nof kings. The sun is for me the greatest of tyrants; that, in fact, is part of my reason for\nloving the sun.\n\nOur Senses.\nThe Sun-God.\n\n(1) Whitman."}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.6", "debut_caractere": 22, "fin_caractere_exclue": 2544, "texte": "<0 All truth,... the truth of tyranny no less than the truth of slavery, is illumined by the\nsun. From the marble columns of Mount Carrara to the wrinkle on the face of my nurse,\nall is laid bare for me; nothing escapes the eye of God. He is a terrible God to those who\nwill not be burnt by him. From these he will \" breed maggots & & &\n& The Beautiful and the Terrible. Which is which will never be put into words. But I am\nfree to tell myself; and, let me but preserve the senses,... my eyes, my ears, my touch, and\nall shall be we 11,... all shall be far more beautiful than terrible. & &\n& For not only do these servants of our Royalty help to idealise all things for us, but\nthey also help to fix a limit to our vanity. By their help 1 recognise my God as he rises\nlike the spirit of Imagination from the East and sails across the blue straits of Heaven.\n& If I had lost the sense of sight I should be unable to see this glory, and, not seeing it,\nI shoul ddemand more miracles from it than Happiness may expect. I should look for the\npractical daily miracle in vain. Whereas, seeing this daily glory, this Sun, I know that the\nmiracle comes and goes, that the miracle is the passage of this symbol of the Divine, this\nseeming motion of the Sun from east to west. &\nAnd that seeming motion of this God is enough for man to know. Mystic voices seem\nto cry, \" Seek to know no more \"5 and we answer rebelliously, \" I will be satisfied; deny\nme this and an eternal curse fall on ye \" & & & & & &\n\" .... Show his eyes and grieve his heart,\nCome like shadows, so depart. \"\nThis seeking to know more,... this desire of the brain,... robs our senses of their vita-\nlity; our eyes are dim; we can no longer recognise the God before us, nor the King as he\npasses along our way. Our ears are deaf; we cannot hear the song of Paradise, we fail to\npick up the chorus which follows in the wake of Royalty.Our touch is grown coarse. The\nhem of the robes' brocade was once pleasant to our fingers' touch; to press upon the silken\nglove with our lips was once a luxury. Now we have become the mob; ambition's aim,...\nnoble consummation. Afraid to serve like noblemen we must slave like thieves,'having rob-\nbed ourselves of our greatest possession,... our fine senses. We are becoming veritable slaves\nchained together by circumstances, refusing daily to be released by our imagination,... that\nonly power which achieves Freedom. &\n& But for me, I am a free man, by the grace of Royalty. Long live the King! &\n\nThe desire id\nknow. & &"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c007", "article_bluemountain": "bmtnaau_1909-07_01#c007", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "2", "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=bmtnaau190907-01.2.6", "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": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.6", "debut_caractere": 2546, "fin_caractere_exclue": 3153, "texte": "Carlyle.\nJt is meretorious to insist on forms. Religion and all else naturally clothes itself in forms....\nAll substances clothe themselves in forms; but there are suitable true forms, and then\nthere are untrue unsuitable. As the briefest definition one might say, Forms which GROW\nround a substance, if we rightly understand that, will correspond to the real Nature and\npurport of it, will be true, good; forms which are consciously put round a substance, bad,\nI invite you to reflect 011 this. It distinguishes true from false in Ceremonial Form, earnest\nsolemnity from empty pageant, in all human things."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c009", "article_bluemountain": "bmtnaau_1909-07_01#c009", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "5", "image_debut": 7, "image_fin": 9, "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=bmtnaau190907-01.2.7", "titre_corps": "ELLEN TERRY, FIRST FAIRY", "titre_sommaire": "ELLEN TERRY, FIRST FAIRY", "signature_source": "Graham Robertson", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3546, "texte": "ELL'EN TERRY, FIRST FAIRY\nby Graham Robertson\n& Could you curl up a little more?\" said Miss Ellen Terry at a recent rehearsal to a\nsmall elf swinging precariously in mid«air on a bending bough. \" 1 used to come down curled\nup on a big leaf when 1 was a fairy.\"\nWhen she was a Fairy indeed! As if Miss Terry does not know better than most\npeople that once a Fairy, always a Fairy. And this brings us to the beginning of our story.\n& Once upon a time there was a very ugly Age. Perhaps not quite as ugly as this: the\nmotor bus and the aroplane were unknown, but on the other hand there were chignons\nand large gold lockets and crochet antimaccassars and ornaments for your fire stove, and\nbricks were covered with stucco and doors were 'grained' in imitation of whatever wood\nthey did not happen to be.\n& Now all this was very sad, and though of course Beauty was in the midst of it, as she\nalways is, looking charming in her full, plain skirts ahd her sloped away shoulders and\nher trim little bonnets, yet she did not like her surroundings, and at last she felt that she\ncould put up with them no longer. So she called at the nearest Fairy Ring and laid the\nwhole matter before the Folk in Green and asked for advice. £> &\nThe Fairies, who are always ready to do Beauty a good turn, gave the subject their\nfull consideration, and finally said that they would see about it and that it should be all\nright. Then they set to work. And they collected wildfire and May dew and the\nwhispering of leaves and the dancing of waters and the daffodils of dawn and the roses\nof sunset, and they packed them up very carefully into a very neat and very small parcel\nand they called the parcel Ellen Terry and sent it to an address in Coventry which nobody\ncan remember.... right into the great big ugly world. Then they waited results. £>\nFirst of all nothing in particular happened. The little parcel of Fairy Goods adapted\nitself to the situation and pretended to be an ordinary baby; developing therefrom into\nan ordinary little girl. So ordinary did she seem that her parents could think of nothing\nbetter for her to do than to go on to the stage and act plays to make people laugh or\ncry: a career which, I need hardly point out, any thoroughly good and 'properly brought\nup' child would 5c0rn...... and quite rightly too, as she would be no manner of use in it.\nBut then occurred a curious thing. Among the parts which the baby from Fairyland\nwas asked to play was a First Fairy.... the first of all Fairies.... Puck. It was a dangerous\nexperiment. The playing of Puck, Ellen Terry herself acknowledges, produced a marked\neffect upon her chiid~mind: she became wild and wayward, impatient of restraint,a romp,\nas she expresses it; and when Puck in his turn gave place to the Good Fairy Goldenstar,\nwhose robes were 'gold, pink and trailing' to the deep satisfaction of the wearer,... well\nwe may consider ourselves lucky that Ellen Terry is still with us. It was the call of the\nblood, and the only wonder is that the Fairy Child, grown homesick, did not then and\nthere disappear up the chimney after the approved manner of changelings.\n& Perhaps the soothing effect of becoming 'top angel* in Henry VIII may have saved the\nsituation: anyhow, Ellen Terry stayed. More parts were given to her, though as yet no\nmore Fairy parts, but the ordinary little girl began to feel her disguise more difficult to\nsustain, and was very nearly found out, qpon several occasions, to be a very extraordinary\nlittle girl indeed.\n\nAil ugly Age,\nThe Fairy Baby.\n\" Puck ~ &"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.8", "debut_caractere": 13, "fin_caractere_exclue": 4852, "texte": "T it an i a <£?\nThe charm\nThe Fairy T£?"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.9", "debut_caractere": 3492, "fin_caractere_exclue": 3614, "texte": "4< Rosamuud \"\n\" Anut Imogen \"\n(1) This was written in Jan: 1909 when Miss Terry was acting in \"Pinkie and the Fairies.\" Ed"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c012", "article_bluemountain": "bmtnaau_1909-07_01#c012", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "6", "page_fin": "8", "image_debut": 10, "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=bmtnaau190907-01.2.8", "titre_corps": "SHAKESPEARE AS SCENOGRAPHER", "titre_sommaire": "SHAKESPEARE AS SCENOGRAPHER", "signature_source": "Alexander Hevesi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3971, "texte": "SHAKESPEARE AS SCENOGRAPHER\nby Alexander Hevesi\nt is commonly accepted by art historians that the Shakespea-\nrian stage was a most primitive, almost symbolic, arrangement.\n& It was more a podium than a stage, without any of the\nillusions which are possible in our modern up to date theatre.\nIt could not produce any of the artistic revelations of the pain-\nter nor any of the technical wonders of the electrician. In a\nword it was a very primitive stage. Celebrated historians and\ncritics of Shakespeare have explained the relation of this very\nbarren stage and the effect on the spectator of the time in this\nmanner: that the audiences of the Golden Era of the Elizabethan\ndramatists were most naive and receptive and most willingly\nrenounced the pleasantnesses of a strong illusion. The people of\nthat time had more imagination than our great crowds of to»day and they willingly followed\nthe poet in what he had to say and what he had to suggest. £?\nIs there not a possibility that this universally accepted favourable opinion about the\naudiences of that time is subject to a fundamental misunderstanding of the Shakespearian\ndrama ? Why should we rate the Shakespearian audiences higher than he did himself ? Is\nit not a fact that Shakespeare mocks at audiences in \"Hamlet\"? It is always the audience\nwho in order to arrive at certain cheap effects spoils the actor and can never understand\nand appreciate the real poet. That an audience without the proper scenic environment,\nwithout decorations, entered into the imaginary pictures of the poet is not due to its naivity\nor to its receptiveness but to the peculiar, one may say unique, dramatic art which since\nthen has been so imperfectly imitated and which is so perfectly revealed in Shakespeare's\ndialogue.\nThe mediaeval stage which had gradually developed to the time of the English Renaissance\nand become part of it, became by virtue of its lack of magnificence and its primitiveness\nthe stage of unlimited possibilities. It does not remind us of the stage of the Italian\nRenaissance which had for each division of dramatic art a fixed and set environment, tried\nto preserve the appearance of reality and was willing to court the clamours of the audience.\nNeither did the English stage resemble the stage of Corneille or Racine who allowed all their\ntragic subjects to develop amid staid and abstract environments. The English stage could\ncreate an entire world as soon as the poet appeared in whose soul slumbered a world for itself.\nBut this stage expects every thing from the poet even down to the decorations; on this\nstage there is no painter, no regisseur of stage or light; only the poet and the actor are left\nto themselves here. The word is supreme and Shakespeare alone creates the decorations\nand illuminates the play every night with magic quickness. Therein lies the secret and\nthe explanation why Shakespeare's dialogue gives such a wide scope to the purely poetic and\npicturesque elements. As there had not yet been a stage of illusions, it was the task to\narrive at illusions through purely poetic mediums. It was necessary for the poet to suggest\nto his audiences various kinds of decorations. A greater master of this art of suggestion\nhas never lived and there has been no theater director other than Shakespeare who disposed\nof a greater wealth of decorations. There are the fairy woods in \"Midsummernight's\nDream \" with the cowslips in golden coats spotted with rubies, the bower of Titania of\nwild roses and violets on a bank whereon the wild thyme blows. There is the prologue in\n\"The Merchant of Venice\"\n\".... where your argosies with portly sails,\n\" Like signors and rich burghers of the flood,\n•' Or as it were, the pageants of the sea\n\" Do overpeer the petty traffickers,\n\" That curt'sy to them, do them reverence,\n(i As they fly by them with their woven wings.\"\nThere is in the fifth act the garden of Portia where to the lovemaking of Jessica and\nLorenzo,\n\nThe Mediaeval\nStage. £? &"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4827, "texte": "44 The moon shines bright in such a night as this,\n44 When the sweet wind did gently kiss the trees,\n44 And they did make no noise....\"\n& There is the song of Autolicus in 44 The Winters Tale \" with its rich colors: it is nothing\nmore than a bright sunny decoration of spring which the poet brings to our eyes by the\nmelody of his magic words. There is the monastic garden of Friar Laurence in 44 Romeo\nand Juliet\" in the brilliancy of the early morning light, the castle of Inverness with its\ndeceptive swallows' nests, the dark cave of the witches, the terrace of Elsinore where the\nghost of Hamlet's father appears in full armour, the heath in storm where King Lear tears\nhis white hair, all these pictures of the stage receive life solely through the suggestive\npower of the poetic diction. And how generous Shakespeare is with the light effects\nconsidering that he has on his stage no apparatuses for this purpose at his disposal. In\neveryone of his plays the change of time is noted which means a change of light. &\n& Shakespeare is most resourceful in this and he does not miss an opportunity to bring\nout every shade and color in the way of lighting assisted by his diction. In the garden\nscene of 44 The Merchant of Venice44 he simply announces (Lorenzo) 44the moon shines\nbrightin 44 Midsummer night's Dream \" diction is put into the service of the most up to\ndate light effects and it is worth while to note in how many different ways Shakespeare\nplays about with the magic light of the moon. With each change of light a change of\ndecoration takes place and the scenic pictures thus created are positively astounding in\nrichness of color showing visions of the greatest conception. &\n&It is here that the foundation of Shakespeare's dramatic art is to be found. Here is a\ngreat poetic genius changing magically through the power of verbal expression a wooden\nstructure into a stage capable of any transformation and suggesting to his public scenic\npictures of such diversity and with such intensity that centuries later the most ingenious\ncontrivances of a modern stage structure, built for producing illusions, fail to give life to\na Shakespearian drama without experiencing the disappointment that in spite of all the\nmachinery it is not possible to realize the ideas of the poet. From the standpoint of the\nmodern drama such a monopoly of the decorative and lyric element is a hindrance of the\npurely dramatic in the dialogue. A differentiation has gradually taken place and it is\ninteresting to notice how the dramatic in the dialogue has gradually separated from all\nlyric and decorative side issues since the days of the Greek tragedians. The Greek tragedy\ncould place nearly all the necessities of decoration on the stage: a wonderful architecture,\nthe blue dome of the sky, evolutions of rythmic—decorative beauty and mechanical apparatuses\nof much ingenuity were at its disposal. The lyric part however was in the Greek tragedy\nas chorus a parallel counterpart to the dramatic dialogue and gradually declines in the\ncourse of development. In Shakespeare all the lyric and decorative 44 motifs\" are woven\ninto the dialogue. Shakespeare's dialogue is both decorative, lyric and dramatic. The\nmodern drama however places everything decorative within the frame of the stage in form\nof separate explanations which accompany the dialogue. The lyric part as such loses its\nindependence and is involved in the dramatic expression which creates atmosphere or\nStimmung and presupposes an art of acting consisting of silences and secretiveness\nwhich had been hitherto unknown or, at least, until quite modern times.\n& The Shakespearian drama finds two kinds of obstacles in our modern theatre; the first\nis to be found in the stage structure which is built to produce illusions and the second in\nthe differentiation of the art of acting. For both purposes the Shakespearian text is much\ntoo broad, too profuse. The second difficulty is comparatively easily overcome. It means\nthe cutting out of unnecessary words, the substitution of the word by mimic art which\nwill always remain individual. Actors with rhetoric tendencies always depend on the full\nvalue of the word while real mimic actors only look for the suggestions in order to preserve\nthe independence of their art. &&&&&&&&\n& Much more difficult however is the question of the scenic environment. What shall be\nthe relation of a modern stage to the decorations created by Shakespeare in his dramatic\ntext? if everyone of Shakespeare's words is also realised in picture-form on the stage, his\nsuggestive descriptions must act like pleonasms. Therefore the purely poetic suggestion\nwould cease to be necessary. The revolving stage with its realistic pictures and its drastic\ncuts is no solution. The lengths of the intermissions are reduced, but the disturbing"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.11", "debut_caractere": 4863, "fin_caractere_exclue": 4953, "texte": "The I&&&&\n& Many other scenes,... those which give the keenest expression to the mysticism of sen-\ntiment,... were omitted at the theatre. I will only mention the first tableau of the fifth Act,\nperformed by the servant maids, where the silent children afford so typical an instance of\na characteristic of Maeterlinck that it hardly ought to have been omitted. That scene is\nalso, for the same reason, important as preparation for the appearance of the children in\nthe last Act. &&&&&&<&<&'&&\n& I mentioned the servant maids, \" les servantes \"... Their appearance in the first and in\nthe last Act certainly did not give the right impression of their character. In the first\nscene there was far too little style, the whole was too light and too trifling. It ought to\nbe a prolonged prologue that opens the gates of fate,... the same gates that close with a\nclang in the fourth Act, when the fate of Pelleas and Melisande is to be sealed. The spirit\nof the Greek tragedy of fate lies in this brief scene, and the servant maids,... the chorus....\nare much more closely related to Aeschylus than to the novices in an operatic nunnery,\nwhom here they much resemble. I had pictured to myself a procession of stern goddesses\nof fate, advancing out of the darkness with water pails on high carrying-poles, a scene with\nmore perspective and with larger outlines, something quite different from these officious\nscrubbing women with ear-piercing sopranos. And in the last Act it is in the sudden and\nabsolutely simultaneous kneeling that the moment is fixed when the Parces cut the vital\nthread of Melisande. £? &\nThere are some scenes in which the secret language, about which Maeterlinck speaks,\nought to be heard especially clearly, and which therefore ought to have been studied more\ncarefully. In the scene by the sea, (I. 4) where the decorations and the music were at theii\nbest, there was no soul. I do not know what was the reason, but the words had not the\nright ring, the meaning in each of them did not appeal to us beautifully enough. We\nexpected to hear the sentences ring slowly and clearly, one by one, with a soft echo, like\nthe falling of rain-drops, from the willow-tree on the shore, upon the calm surface of the\nwater; more and more slowly, more and full of foreboding, until they cease altogether:...\nonly then could we have understood the mother's question, 44 Have you nothing more to\nsay to each other? \""}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.14", "debut_caractere": 4216, "fin_caractere_exclue": 4288, "texte": "Some omissions.\nThe servant\nmaids, &\nThe secret\nlanguage.\n\nEuterpe 1905."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c018", "article_bluemountain": "bmtnaau_1909-07_01#c018", "volume": "bmtnaau_1909-07_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": 15, "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=bmtnaau190907-01.2.11", "titre_corps": "Design No 2. An antique theatre showing the scenery and costumes as used in Venice in the fifteenth century", "titre_sommaire": "Design No 2. An antique theatre showing the scenery and costumes as used in Venice in the fifteenth century", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 168, "texte": "Design No 2. An antique theatre showing the scenery and costumes as used in Venice in the fifteenth century\nDesign No 1. shows a ruder wood engraving of the same scene."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c019", "article_bluemountain": "bmtnaau_1909-07_01#c019", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "11", "page_fin": "12", "image_debut": 17, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.12", "titre_corps": "THE NEW THEATRE IN POLAND: STANISLAW WYSPIANSKI : by L. de Schildenfeld Schiller, with an Introductory Biographical Note by the Editor", "titre_sommaire": "THE NEW THEATRE IN POLAND: STANISLAW WYSPIANSKI : by L. de Schildenfeld Schiller, with an Introductory Biographical Note by the Editor", "signature_source": "L. de Schildenfeld Schiller", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 3531, "texte": "THE NEW THEATRE IN POLAND:\nSTANISLAW WYSPIANSKI\nby L. de Schildenfeld Schiller, with an\nIntroductory Biographical Note by the Editor.\n§tanis!as Wyspianski, that gifted poet, painter and artist of the Polish Theatre of whose\nwork the following essay treats, was born in May 1869 in the ancient royal capital, in\nCracow, in that part of Poland which is now under the Austrian government. &\nA pupil of John Matejko, (1838*1893) the creator and master of Polish historical painting,\nhe became inspired by that painter's missionary and national idea of art, and took the same\nmission upon himself. Five years study in Paris revealed in him a rare poetical-plastic ta-\nlent, which on his return home declared itself with elemental strength in his painting and\nin his poetical and theatrical works. As a painter he pointed out new roads for Polish paint*\ning, as well in landscape as in composition. His pictures awakened admiration at the Vien-\nnese exhibition \" Secession \". The desire of transforming all the phenomena of life into\nphenomena of beauty and might developed in him a love for monumental and decorative\nart. He gave triumphant expression to this instinct in his architectural plan for the recon-\nstruction of the royal burg or Wawel, for that is what they call the hill rising above Cracow\non which stand 44 The church, castle and mound in the marvellous polychromics in\nthe Franciscan church in Cracow; in the stained windows composed for the cathedrals of\nCracow, (44 St Stanislas 44 Casimir the Great \" and \"Henry the Pious \") and Lemberg,\n(\" Polonia \" and 44 King John Casimir's Vow \"); in the entire arrangement of \" The House\nof Doctors \" in Cracow; in the ornamentation of his own home and those of his friends,\nand in the original decoration of one of the halls in the Palace of Fine Art in Cracow.\n& Taking a lively interest in the popular ceremonies, he invented for their actors new\ncostumes and emblems. His decorative talent distinguished itself also in 44 typographical\ncompositions,\" as one may call the editions of his works for which he himself designed the\ncover, frontispiece, illustrations and vignettes and chose the type; as likewise in the illu-\nstrations for the fragments of the 44 Iliad \" paraphrased by J. Stowacki. In such work\nWyspianski had already had experience in connection with 44 Zicie \", the organ of 44 Young\nPoland \", of which publication he was, together with Stanislas Przybyszewski, art editor.\nWyspianski's poetical work consists of philosophical rhapsodies, and has its source, as have\nall his productions, in his love, pure as crystal, for his country. 44 Boleslas the Bold \";\n44 Piast \", 44 St Stanislas \", (posthumous fragment). & &\n& The atmosphere, however, in which his genius found its fullest development was in the\ntheatre. Although in all his work, in his landscapes, compositions, in stained windows,\nin the illustrations for the 44 Iliad \", in his manner of arranging interiors as also in his\npoetry are concealed certain theatrical elements, yet it was only on the stage, in drama,\nthat these found the most favourable ground for their evolution. To the theatre, therefore,\nWyspianski dedicated the greater part of his work. He wrote dramas; 44 Daniel ~ (a libretto\nfor a musical drama); 44 The Legend \", 44 Meleager 44 Protesilaus and Laodamia 44 The\nLegion 44 The Curse 44 Varsovienne \", 44 The Wedding 44 Boleslas the Bold 44 Deli-\nvrance 44 Achilles 44 Acropolis \", 44 The November Night \", 44 The Rock \", (Skalka) 44 The\n\nHis master. &\nHis theatrical\nwork. & &"}, {"page_pdf": 18, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.18", "debut_caractere": 25, "fin_caractere_exclue": 1894, "texte": "Return of Odysseus \", 44 The Judges \",44 The Death of Ophelia \",44 King Sigismond August \"»\n44 Julius II \",44 King John Cassimir's Vow \"; he paraphrased and staged for the Polish theatre\nCorneille's 44 Le Cid \", he staged Mickiewiez's 44 The Feast of the Dead \" and wrote a study\non Shakespeare's 44 Hamlet \" under the title 44 The Tragicall Historie of Hamlet Prince of\nDenmark by William Shakespeare, read and deliberated upon anew by St Wyspianski ,\" in\nwhich he set forth his philosophy of the theatre and the secrets of his dramaturgy. &\nAs poet he was heir to the lute of that national poetry possessed by the Polish Roman-\nticism embodied in the trio of bards, Mickiewicz, Slowacki and Krasinski: that lute which\nlater was so masterfully held by Cyprian Norwid. As painter he is akin, (though only in\nidea) to Gustave Moreau and Puvis de Chavannes. As dramatist, taking the Greek Theatre\nas an ideal model, he may only be compared to Wagner, and, in the history of contemporary\ndramaturgy, we may place his name by those of Maeterlinck and Hofmannsthal. Lastly, as\nartist of the theatre, (and his dramas, of which almost every one presents a fresh problem\nin theatrical form and original scenic experiments, give him the right to this title), Wyspianski\nbelongs to those few, very few good Spirits of the Theatre who desire its Delivrance.\n& He died November 28th, 1907. He lies in the 44 Tomb of the Meretorious \" in the Church\non his beloved 44 Rock \" whose legend he dramatised in his poems, stained windows and\ndrama. His native town buried him at its own cost, bidding farewell to this departing Soul\nas in glorious times they bade farewell to the remains of hetmen, burning funeral torches\nand ringing all the bells, but, according to his own desire, without pronouncing any oration\nover his grave. <£? & & <£/ & & & & J£>\n\nJZ? Poet, Painter\nand Dramatist."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c022", "article_bluemountain": "bmtnaau_1909-07_01#c022", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "12", "page_fin": "27", "image_debut": 18, "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=bmtnaau190907-01.2.13", "titre_corps": "THE NEW THEATRE IN POLAND", "titre_sommaire": "THE NEW THEATRE IN POLAND", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.18", "debut_caractere": 1896, "fin_caractere_exclue": 4179, "texte": "THE NEW THEATRE IN POLAND\n\nrJPoday, the new Soul of Humanity \" writes E. Schure, 44 whose shivers have passed over us\n44 raising our heads, calls for cradles, arenas and temples; cradles, for childhood to grow\n44 therein; arenas that youth may wrestle; temples that genius may take shelter and speak\n44 to the people. \" & & & & & &\n& Our epoch is the feast of the Resurrection of Princess Psyche, awakened from lethargical\nsleep by the kiss of the spousal lips of love. The Awakened Soul who is already hastening\nto step out at the head of the pilgrim multitudes carrying an oil lamp in her hands, to\ntake up with us the tedious work, demands of us new hospices from which she might take\nfire for her lamp for her further wanderings; demands of us a palace in which she might\ncelebrate her joyful nuptial with Eros, demands of us homage in the form of cult, the ar»\ntistic act of our will, in which our talent might disburden itself, which would be the full\nand complete expression of our joy.\n& Now the most suitable sanctuary for the Soul of today will be the Theatre. <£?\n& This theatre which was yesterday, at its best, but 44 le divertissement le plus doux de\nnos princes, les delices du peuple et le plaisir des grands.\" (i) or gave, dissected with ana-\ntomical precision, 44 tranches de vie \", may become today similar to the Greek theatre, to\nwhich approached the roar of the sea, over which flew the 44Cranes of Ibicus\" in menacing\nflight, the Church of the Joy of Life. In the first phase of its Renaissance it will still be\n44 Ecclesia Militans \", for its task will be to make known to the social instinct of delight,\ndeep-rooted in the indignation of the wronged man of today, its noblest meaning, and to\npoint out the true path to the natural impulse for the enjoyment of life. In the next phases\nof its evolution the theatre, in concert with the other arts, will create more and more per-\nfect forms of delight (for every art is consecrated to delight and there exists no sublimer\nand more serious task than that of rendering people happy (2)), until at last on the day of\nDelivrance of the Human Soul from promethean fetters, when our energy will express itself\n\nOut epoch.\n& \" Bcclcsia\nMilitans.\n\n(1) Corneille.\n(2) Fr. Schiller: Preface to \" The Betrothed of Messina"}, {"page_pdf": 19, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.19", "debut_caractere": 23, "fin_caractere_exclue": 4891, "texte": "solely in the direction of Beauty, will arise the new theatre, \" Ecclesia triumphans \", in\nwhich \"some day, as artists, we will unite for the aggregate, free co-operation, and above\nall for the matter of art itself, and not for any secondary aim of profit\"; the new theatre\non whose thymele will kindle the fire in honour of \" Jesus, who suffered for humanity,\nand Apollo who raised it to a dignity full of joy\" (i) \"a new theatre, of calm and beauty\nwithout tears \" (2).\nOf such a theatre Wagner was thinking when, having brought his Bayreuth temple to\ncompletion, he wrote to Feustl: \"We are giving by this building only the outline of our\nidea and we are leaving it to the nation to accomplish, so that it make of it a monumental\nEdifice.\" &\nSuch a Temple of the Soul is the Theatre of Wyspianski. The theafre of Wyspianski is\na church militant; under its gothic vaulting sounds the prophetic voice of the high priest,\nnow with a sombre menace and now with a joyful announcement; before the tabernacle\nburns the everlasting lamp of Love, pointing out the road in the gloom to those who hunger\nand thirst for the Power-giving communion. The militant character is to be distinguished\nhere more clearly than in the Wagnerian theatre; for while Wagner sang to a free nation\na song comforting and inebriating like wine, the Polish bard, standing before a martyr-people,\nwhich, in the history of fights for liberty played many times towards European nations the part\nof the Cyrenean; which, under the yoke of the cross of bondage began to bend with the\nChristly groan on its livid lips, \" Eli, Eli, lamma sabacthani\"; standing before this people\nthe Polish bard draws from his lute the rhythms of Jeremias, of Tyrtacus and of St John.\nThe theatre of Wyspianski is a temple, in which the people pronounces judgment on\nitself, in which it seeks its own Truth, in which it beholds in the magic mirror of the poet\nthe countenance of the Soul. The theatre of Wyspianski is purely national. It is, as it were,\nthe corner-stone placed under the Edifice of the Future of which Mieckiewicz dreamed. (3)\nFor Wyspianski's drama combines in itself all the elements of national art, passes through\nthe whole range of poetry from lay to epopee; on the pattern of the mysteries of the reli-\ngious theatre unites the supernatural world with the earthly stage; touches all the problems\naffecting the nation, and, as the Master exacted, concludes with a great prophecy. &\n& His drama gets its substance from the heroic deeds of the Nation, and for form dips into\nnative popular art. By the touch of the magic wand of Wyspianski's talent legend is min-\ngled with history in a logical whole. Old theatrical manequins, gifted with the immortal\nsoul of national demi-gods, clothed in new garments, having received as background for\ntheir gestures new scenery, become for us new themes of thought. &\n& The Theatre of Wyspianski is the Tribunal of the national Conscience. The poet plays\nin it the role of Inquisitor. The actors, \" those people of rare talent, of real utility, the\nmost eloquent preachers of honesty and virtues, the scourges of drollery and vice, whom\nthe genius uses as a birch to chastise the wicked and the mad \", (4) the actors, who are\n\" the abstract and brief chronicles of the time \" become in his hands instruments of tor-\nture by which the conscience of the delinquent will be taken and will betray itself. All the\nspectacles which take place here, with only a few exceptions, might form a dramatic cycle\nunder the title in \" Hamlet \", \" The Mouse -trap \". Wyspianski, whose mission as natio-\nnal poet is akin to that with which the ghost of the murdered king charged the unfortunate\nPrince of Denmark, in his mind's eye sees continually the Ghost of his Nation, hears un-\nceasingly its call to the Deed of Vengeance, and reasons like Hamlet: \" About, my brain!\n1 have heard that guilty creatures sitting at a play have by the very cunning of the scene\nbeen struck so to the soul that presently they have proclaimed their malefactions. \" for\n\" murder, though it have no tongue, will speak with most miraculous organ. \" And, like\nHamlet, Wyspianski resolves with the help of the actors, \" persons acting on the stage on\nthe road through the Labyrinth called the Theatre \", (5) to surround the consciences of\nthe spectators, discover the fault, and point out the guilty ones in the theatre, \" whose\nend, both at the first and now, was and is to hold as t'were the mirror up to nature; to\nshow virtue her own feature, scorn her own image, and the very age and body of the time\n\n& A Chutch\nmilitant.\nThe example\nof Hamlet.\n\n(1) R. Wagner: \" Art and Revolution\n(2) M. Maeterlinck: \" The Double Garden\n(3) Essay on Slav literature given at the \" college de France \" XVI Lesson. (April 4. 1843.)\n(4) Diderot: \" Paradox on the Comedian\n(5) Wysplanski: *' Hamlet\" (dedication)."}, {"page_pdf": 20, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.20", "debut_caractere": 22, "fin_caractere_exclue": 4982, "texte": "his form and pressure \", in the missionary theatre, which was to point out the Way, reveal\nthe Truth and give Life, & <<&&&?&?<£?\n& It was not given to Wyspianski, as it was to Wagner, to live and create in his own\ntheatre. The ground of his action was exclusively the tiny Cracow theatre on whose front\nglitters the inscription: \" Cracow, to National Art \". But nevertheless, stepping on to its\nboards, he, like Prospero, knew how to rule over it, and his work as an artist of the thea-\ntre will remain as a guide-post for the future. <£?\nWyspianski delineated his ideal programme in \" Harrsiet, read and deliberated upon anew\nby himself \". This essay, written by a ripe and experienced artist, is Ariadne's thread in\nthe true Labyrinth as in the theatre of Wyspianski; it explains his connection with the\nnational stage and with the actors, it discloses the secret of his theatrical tecnique, and\ngives likewise a conception of that theatre for which he yearned. &\nThoroughly sifting the problem of Hamlet according to <4 what there is in Poland for\nthought\", he considers the problem of the production of Shakespeare 44 and of that\nShakespeare who wrote Hamlet \" and sketches its picture, supporting himself on some histo-\nrical data, (to which, however, he attached no importance), and principally on the basis of\nthe ideas expressed in 44 Hamlet \" which testify to its author as an ideal dramaturge, stage-\nmanager and pedagogue of the theatre. Wyspianski dreams of that theatre 44 whose end is to\nhold the mirror up to nature \" and at whose head stands Shakespeare,... Prospero 44 whose\ncharm is nothing else but intelligence \", making servants of enemies, and humbling by its\nsupremacy.... the true gift for divining people \",... the talent of people like Holbein, for\ninstance, which knows how to 44 read in the countenance of living people and to writ# it in\na picture \". & <6?\nHe dreams of that theatre which, under the government of such an Intelligence, \"becomes\na judgment hall where art, drama, artism, judge, and take also such a note,. .. that as. on\na fishing-rod they bring conscience to the surface\"; he'dreams of such an intelligent judg-\nment 44 inquiring into the conscience of the amphitheatre which,\" however well it may mask\nitself, nevertheless 44wil! stammer out the truth at last wearied by the watchfulness of in-\ntelligence For Wyspianski the ideal is that Shakespeare who 44 lived in the theatre and\nfor the theatre, gave to that theatre his artism and talent\"; who, being in continual con-\ntact with the stage and actors, looked from near on those 44 LIVING HEROES \" and, \"that\n44 life which they had off the stage, but which on the stage they lacked, he wanted on the\n44 stage to give them. And that sincerity of movement which they had not on the stage and\n44 had off the stage, he wanted on the stage to give them. And that course of conversation,\n44 natural and supple, fluent and spontaneous since enclosed in rhyme by no one awkward,\n44 but flowing of the free will, which they had not on the stage and which they had off the\n64 stage, he wanted on the stage to give them. \" & &\n<6? He sets himself as an example the Shakespearean method of creating, consisting of col-\nlaboration with the actors, 44 How did Shakespeare write ? \" Wyspianski asks himself. 44A1»\n44 most all the so-called \"Shakespearean\" dramas were played before Shakespeare. And they\n44 were bad, miserable plays. And perhaps not everything was bad and miserable in them.\n44 First of all their substance was beautiful and tragic; and Shakespeare altered them all\n44 in turn, reconstructed them, completed them, .. and at last wrote; the later he did so the\n44 more completely changing the former, to him tiresome, text, and giving more and more\n44 frequently new works. He altered them, rendered their performance possible. Spen-\n-44 ding years at this, he altered more and more clearly and thoroughly, better and better\n44 and more and more independently and through his incessant theatrical practise had con-\n-44 tinual control over the stage and means of verifying his plays and possibilities of inter-\n-44 polating fresh corrections and improvements from day to day. The theatrical manuscript\n44 from which they played, at the outset minute and homely and embracing solely the fable,\n44 grew, grew with the increase of episodical scenes, augmented in figures in proportion to\n4i the capable actors, augmented in circuit in proportion as a prominent actor-talent was\n44 discovered which might play this or that scene well. Shakespeare was of himself concise\n44 and must have had a real reason in an actor of unusual capability when he allowed some\n44 of his personages to talk too much on the stage. \" & & & &\nIn this manner 44 he- created the work of which nothing more need be said, which on\nits appearance loosens all tongues.44 For a WORK overcomes the want of talent in everyone\n\nThe problem\nof Hamlet• &\nA judgment hall.\nShakesp e a re's\nMethod."}, {"page_pdf": 21, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4658, "texte": "who is not the creator of that work. \"Shakespeare lived In the theatre and lived among\nmen into whose minds he penetrated thanks to his Intelligence. &\n\"Very wrong would be the opinion that Shakespeare, in writing his dramas, thought of\n\"the stage, of the boards, of the platform and such like. Nothing of the sort and never.\n\"Shakespeare wrote and thought having at hand, at his disposition, a theatre obedient to\n\"his orders and an obedient stage, boards, platform and such like; wrote and thought out\n\"his works following the substance and the logic and the ground of the real occurrences\n\"of the drama. For Shakespeare thought of what he had to write and had to write of\n\"what he thought. But at the same time, while writing and thinking out the destiny of\n\"any of his dramatic figures, he knew that such a part would be played by such and such\nan actor. And if even it sometimes happened that with this or that actor he spoke of\n\"some part, they always spoke of this or that personage so as to divine it,..if independent,\n„and not of whether to tack or sew on to some part this or that something which came\n\"into somebody's head\". For in writing a drama Shakespeare had \"always reality in his\n\"thoughts, reality in his imagination, and the men of his drama lived in his imagination\n\"on real ground It was only the TRAGEDY which concerned both actor and author, it\n\"was the drama, the destiny of men. THE DESTINY OF MEN and of those men of whom\n\"the tragedy spoke. These men were either born of legends and tales, or of the remini-\nscences of artists. They become living and had their own will. Their will was everything.\n\"The stage served to show them. The stage is for that end\". & & &\n& And now let us see how far Wyspianski in his theatrical work keeps to the above\nsystem, and what value it presents to him. &\nWyspianski, in allotting to the theatre the principal role in the History of National\nCulture, feels that its Renaissance will be accomplished by the change of the interior con-\nditions reigning in the institution, which was not yet become conscious of its social task\nand is at present either an establishment for diversion or a lucrutive enterprise; he feels\nthat the principal factors in this metamorphosis will be harmony between the creator of a\ntheatrical work and its performers, between the poet and the actor, and, fully aware of the\ndifficulties which stand in the way of the attainment of such a harmony, supposes that\nthe simplest road leading to the end is the common work of author and actor, taken up\nin a common interest, with a common ideal. On his way he meets with \"the best actors\nin the world, either \"for tragedy, comedy, history, pastoral, pastoral-comical, historical-\n\"pastoral, tragical-historical, tragical-comical-historical-pastoral\", for whom, \"Seneca cannot\n\"be too heavy, nor Plautus too light\"; he meets actors who \"but in a fiction, in a dream\n\"of passion could free their souls so to their own conceit that from her working all their\nvisages wan\", tears flow from their eyes, \" and all for nothing! For Hecuba! What's\nHecuba to them or they to Hecuba, that they should weep for her? \" & &\nTo these actors he is to entrust the fruit of promethean labours, the WORK OF HIS\nINTELLIGENCE which would \" overcome the want of talent in everyone who is not the\ncreator of that work. \" And he asks himself what these people would have done \" had they\nthe motive and the cue for passion that he has? \" In this case \" they would drown the\nstage with tears and cleave the general ear with horrid speech, make sad the guilty and\nappal the free, confound the ignorant \". He wishes to teach them how one can \" in the\nvery torrent, tempest and whirlwind of passion acquire and beget a temperance that may\ngive it a smoothness \" so as \" not to tear a passion to tatters \", not to make of it \" very\nrags \" solely with the aim of \" splitting the ears of the groundlings, who for the most\npart are capable of nothing but inexplicable dumb shows and noise \". He wishes, having\nassumed the management of them like Hamlet, like Shakespeare, to elevate their profession\nto the dignity of judge of the Human Conscience; for \" these are not clowns, though, while\nthrowing in their faces the nickname of clown they are covered with applause \", but men;\nmen who are called for this,... that putting on a mask and simulation they may speak the\ncommandment of everlasting truth. \" (i) & &\nThis work Wyspianski was to accomplish in the poor little Cracow theatre, in that\nBethlehem-Ephratah of Polish art, living amongst \" his \" actors and creating in their\nfriendly circle. Only a part of this work does he succeed in accomplishing. &"}, {"page_pdf": 21, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.21", "debut_caractere": 4683, "fin_caractere_exclue": 4736, "texte": "Wysp i an sky's\nSystem. &\n\n(1) Wyspianski: \" Hamlet \""}, {"page_pdf": 22, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.22", "debut_caractere": 23, "fin_caractere_exclue": 4937, "texte": "Working far from the theatre he often frequents the parts behind the scenes and the\nartists' dressing rooms. He wanders about Macbeth's castle at Inverness, kisses Lady\nMacbeth's hand with respect and 44 no one is capable of persuading him that it was not\nLady Macbeth, but Modjewska He is in company in 44 one room with Duncan, Macduff,\nand Donalbain; and their royal highnesses conversing with him in a very friendly manner,\nread from some cards and pronounce in a low voice rhythmical words; \" To any one else\nit would have seemed perhaps that they were repeating their parts. Wyspianski sees, how-\never,44 LIVING HEROES \" who 44 spoke of their hard lot, of their lot heavy and wearisome,\nfor a moment, before that moment when they had to play out their Lot. \" He visits Macbeth\nand beholds 44 how with each moment he grows into a king and gains by blood what he\nhad once desired \" and meditates together with him on his fortunes. 44 The doctor, that\ndoctor of mad Lady Macbeth, he knew very well, and talked with him of Lady Macbeth, of\nher singular behaviour, weighing each of her movements and gestures. \" 44 Perhaps some\none will wish to talk me into believing \" says he in his 44 Hamlet \" from which I quote these\nfacts, 44 that we are speaking of Modjewska's rare talent. No. we are talking of the strange\nmadness of Lady Macbeth \". At another time when they are playing 44 Hamlet \" Wyspianski\ngazes from behind the scenes on the King's Ghost, wandering in the light of the reflectors\non the terrace of or goes into the dressing-room where 44 he finds, chatting gaily,\nMr Rosencrantz and \" Mr Guildenstern, lying on the sofa, waiting till it fall to their turn\nto show themselves at the royal castle of Elsinore \". He likes to look on at the characte-\nrising (making up ) of the actors, for 44 there was and is nothing ridiculous to see in this\n44 transformation as slowly and carefully it takes place, until at last you have a different\n44 man before you from the one who was here a moment ago, a man who thinks and feels\n44 differently since that moment of metamorphosis;.•• that is worth something more than the\n44 impression that may be obtained elsewhere of the theatre, or that may be accepted jocu-\n-44 larly in saying that actor-artists are ridiculous behind the scenes. Ridiculous? It is untrue.\nThey have only to depict, and do depict in the piece they are playing, human vices and\n44 human servitude, awkwardness of thought and infirmity; they put on masks, costume\n44 and a living destiny, and your consciousness judges them. \"\n& Writing his libretti outside the theatre he either constructs them in such away that\nthe actor may read from them as from the most accurate scenario, or endows them with\nindications in verse form, suggesting to the imagination of the reader, (and of the actor)\nfaithful and accurate pictures of the world and men 44 of which the Tragedy speaks \". The\ntext of his dramas he changes and corrects on the stage; he willingly deliberates with con-\nfidential actors on the Deeds of the tragic personages they have to play: he sketches the\nscenery which, in the frame of that theatre, would point out symbolically the ground of real\nevents. He creates the models of the figures which the actors have to represent, he designs\nthe costumes and properties. The actors reproducing the destiny of his heroes interest him\nto such a degree that he immortalises their theatrical personages in portraits. Last of all,\nso far as lies in his power, he himself directs the rehearsals and teaches a new style of\nplaying. *;;»\n4? But it would be very wrong to think that Wyspianski in writing his dramas thought\nexclusively of the small stage of the Cracow theatre. He knew all too well that a theatre\ncarrying on a financial speculation did a great deal on its part in extending hospitality to\nhardly a third of his dramas, the reproduction of which always involved fresh expenses and\nexacted an immense outlay of work. He knew this, and never made a compromise with this\nstate of affairs. He created the greater part of his dramas with the thought of another\ntheatre, well known to his imagination: with the thought of other actors with whom he\nassociated in his dreams. In writing them he applied to them the Shakespearean method,\nas likewise to the dramas he destined for the contemporary stage. One must understand\nhowever that when he began his artistic process he was different from what he was when\nhe terminated it: that he was forming himself in the course of each such play \". (i)\n& He wrote these dramas for his own Ideal Stage, controlling their effect on the boards\nof this stage, reckoning with the demands of an ideal amphitheatre. Hence the differences\nbetween the 44 editio princeps \" of an unplayed drama and its following editions; hence the\nalterations, corrections and improvements. & & &\n\ngiving Heroes.\nHis libretti. &\nHis Ideal stage.\n\n(l) Wyspianski \" Hamlet"}, {"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 4824, "texte": "Stricken with a terrible disease, Wyspianski confined himself to his own house, which\nhe constructed with the thought of the tomb, and henceforth created almost exclusively\nfor that ideal theatre. \"My theatre, I see it, immense writes he in a letter to a friend,\nspaces great and airy.... filled with men and shadows;... at their play lam present.... In\nthunder and gale they rage and are Quenched in thunder and gale j fainting and Quieter\n44 in the gloom, hardly, hardly can they be seen: again they rise; they return, immense,\n\" gigantic, living, sentient. They play the tragedy, the soul's vision under the theatre's\ntragic vault.... sacred fires in tripods flame, drones the shepherd's flute. I listen, listen\n\" and look. I recognise faces to me well known, they are not here,... I think and dream....\n\" I see them in the theatre of my soul. &\n& How highly Wyspianski valued the theatre, how important a mission in the spiritual\nlife of the nation he confided to it, is witnessed to by the fact that in his drama, of which\nhe could, like Slowacki of his 44 Genesis from the Soul \" speak as 44 of the writing the\nmost important of all he had ever written in the drama in which the Master tears asun-\nder the breast of the nation with Jupiter's thunderbolt, to raise the Soul slumbering in\nits depths on his eagle wings into the iridescent sphere of his thoughts, in this drama\nwritten in blood, he unites the Destiny of Poland with the destiny of the 44 New Theatre „.\n& And here again, as always, he takes Shakespeare as an example, 44 and that Shakespeare\nwho wrote Hamlet „. In the example of Shakespeare Wyspianski wishes to summarize in\none drama his connection with the world and manifest new ethics and aesthetics of the\ntheatre. And as to Shakespeare so to him the idea comes 44 to introduce the theatre into\nthe theatre actors who would play the 44 murder of Gonzago in presence of actors who\nwould be the authors of similar crimes \". The idea comes to him of showing that old theatre\nwith all its qualities and bad habits pseudo-artistic, but which have already passed into\ncommonplace; the types of the old theatre, the black characters, the kings and queens,\nwith tragical pathos, historical-pathetical-comical lyrism in which people still believe and are\ntouched by to tears.... and which is only a false fire,... a pretence! \" &\n& To these 44 best in the world \" histrions of the old theatre he wishes 44 to show how they\nwould look with their artificial and inflated pathos, in presence of the personages of the\nnew theatre : he wants to represent a thing, at which the public already laughs in its sleeve,\nm an entirely new situation. He wants so to mingle this thing with the tragicalness of the\nprincipal piece, that by conserving all the marks of its ludicrousness it would not be lu-\ndicrous; that it would make as strange an impression as though this deed were led by the\nhand of an unseen FATUM, as though it were someone invisible who is judge and judges,\nwho brings criminal consciences to light \", (i) And to his drama, so like that famous\nMurder of Gonzago \", Wyspianski, Hamlet and Shakespeare in one person, gives the title\nDelivrance ', for 44 real art has as its serious aim not only the transporting of man in a\nmomentary dream of liberty but the rendering of him really free \". (2) & &\n' Municipal Theatre \" of Cracow announced for Saturday, February 28 th. A.D.MCMIII\na new drama in three acts by Stanislas Wyspianski under the title 44 Delivrance \". The\nplay bill laconically stated, 44 The scene of action is the stage of the Cracow theatre \". And\nin sooth, to the eyes of 44 the first night public „ a strange sight presented itself. &\n& After the raising of the curtain the empty stage of the Cracow theatre appeared as it\nlooks before the commencement of a theatrical performance: plunged in darkness, for 44 the\ngas and footlights are still unlit \"; empty save only for a handful of workmen who, their\nwearied heads leaning on their hands, are seated in silence, 44 near the wall, where the\ncoulisses are ranged patiently awaiting the arrival of those who will call them to their\ndaily work. But 44 though charmed be the curtain the spectacle has commenced \" for\nConrad \" comes, the hero of Mickiewicz's drama 44 The Feast of the Dead \" of which\nWyspianski had rendered the performance possible a short time before,, adopting, in the\nwork of staging it, his own method, the 44 Shakespearean » method. It is Conrad whom\nWyspianski, in this 44 Feast of the Dead \" deliberated upon anew by himself and recon-\nstructed, endowing him with a new life, passing his problem through the prism of his own\nthoughts; whom he leads out of the obscurity behind the scenes into the light of the Argand\nlamps, so as at last to solve the enigma disturbing Polish intellects in his way in the sphere"}, {"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.25", "debut_caractere": 4853, "fin_caractere_exclue": 4990, "texte": "The example of\nShakespeare. &\n44 Delivrance\nConrad. &\n\n(1) Wyspianski. «« Hamlet\n(2) Fr: Schiller : Preface to \" The Betrothed of Messina"}, {"page_pdf": 26, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.26", "debut_caractere": 23, "fin_caractere_exclue": 5007, "texte": "of art, on the stage National thought which like Shakespeare in **Hamlet\", like Miekiewicz\nin \" The Feast of the Dead \" he makes the mirror of his own life; and this in such a manner\nthat the deeds of the hero, represented in the tragedy, will be Wyspianski's deeds, that\nthe catastrophe they call forth will overtake Wyspianski, that the Delivrance of Conrad\nwill be the delivrance of Wyspianski. & & & &\n& This hero, well known to everyone, enters just as he left the stage in the finale of\nMickiewicz's drama; this hero from whose lips but yesterday the public could hear these\nwords, \" I love my whole people! I have taken into my arms all its past and present ge-\nnerations! I have pressed it to my heart like a friend, a lover, a spouse, a father; 1 want to\nraise it and make it happy, I want to amaze the whole world with it \"; and, further, \" 1\nam called Million for I love and suffer the rack for millions \"s he who but yesterday, on\nthis same stage, perhaps before these same spectators, challenged God to fight, so as to gain\nthe 44 power of the government of the sou! \" in his nation, so as to govern by the senti*\nment which is in him, he, Conrad Avenger, again passes the threshold of the stage, to end\nhere his drama. In the usual sacramental theatrical costume, dragging fetters on his hands\nand feet, which the Country's enemies in Miekiewicz's drama had attached, he comes to\naccomplish his work, \" to steal that sacred fire \",.... that glow which awakens, gives\nstrength, power, might,... and give it to those who are awaiting it this new Conrad,\nConrad-Wyspianski, comes to awaken the nation from dreams of the past which, instead of\nbeing, as for him, the source of Living Strength, had become for it a coffin, exhaling a\ncoldness of Death; he comes to -lead the nation by strength towards Delivrance. And\n\" strength, it is you \" says he to the workmen freeing him from his irons, to the men\n\" sitting in the nooks and gloomy corners of the stage \" to the forgotten class which, not\nhaving its pages in the history of this great world, alone has been able to preserve in its\nbreast the virginal, immaculate, elemental power, and which, excluded from social life, did\nnot fall a victim to its degeneration, and whose young strength, in consequence, blessed by\na challenge to combat, will be capable of accomplishing the deed of vengeance, JS?\n& Conrad knows this and commands them \" to do what they do every night in this building \"\nfor which 44 they will receive ordinary pay he calls them to the erection of\" a church,\ncastle and mound \" which they will afterwards have to destroy; he bids them sit there in\nthe nooks and corners, until he call them that they come forth with deed here people\nwill enjoy themselves, and they will look on, until the hour for vengeance comes\n& At last arrive those actors, \" the best in the world \", and at their head the clever stage*\nmanager, always ready, on a stage measuring 44 twenty paces in length and breadth \" to\nenclose the Polish idea to the rattling of tin thunder, to the sound of the tom-tom, which\nis capable of rendering with exquisite accuracy the lugubriousness of the bells.\n& The prima-donna enters: the Muse of literature, with whom 44 even her caprices\nare routine \"; she enters leading a chorus of 44 ethereal \" theatrical goddesses swimming\nin a golden conch on wheels. All the light-hearted company greets Conrad like an old\nacquaintance, always ready at his service; i. e., always ready to appear in his drama. This\ntime, however, Conrad,... Hamlet and Wyspianski in one person, does not bring any piece\nwith him, for he comes to act, and that, not with gesture as the Muse believes, but with\ndeed; \"he comes to strike with the hammer \" to destroy the old theatre, though 44 the\nbuilding has strong foundations \" and 44 to elevate on its ruins another theatre: a New\nTheatre in which he wishes to represent the nation. \" & & & &\n& So the experienced Muse, who has already eaten off her head in more than one national\ndrama, offers Conrad a traditional recipe. 44 It must take place in such a manner that the\n44 nation may enjoy itself. The scenery must be arranged, every accessory remembered, the\n44 prompter put in his place in case some have forgotten the text. Behind the scenes have\n44 the stage manager and call-boy and give them an abridged version. And when all is\n\" ready have a polonaise played at the commencement if the theme be Polish, and throw\n44 as the first card a mighty word Why, here a new form is unnecessary. \" probably it\nis an old story \"; then \" should either Duse or Sorma, Sarah or Modjewska enter, the\ncurtain may be raised \", for, 44 it is the actress who leads the piece, the tragedy \" and\n44 everything depends on the recitation \". & &\n& This will be a Commedia dell' Arte having as canvas the fable of 44 Contemporary Po-\nland and it will be improvised by 44 the best actors in the world \" in tragical-comical-\n\nHis Mission. &\n& The Prima\ndonna. &\n& A traditional\nrecipe."}, {"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 4621, "texte": "style. The Muse of course will play in this drama full\nof 44 suffering, pain, passion, dolour, plaint, mourning, regret, sadness, fear, terror, pity\nthe principal part, under the mask of 44 Melancholy \", and Conrad, following the advice of\nthe stagemanager, has to enter at the end of the drama 44 when sounds the tom-tom be 11...,\nand take the highest tone \". And Conrad-Hamlet, summoning the actors to deed, calls out,\n44 Dress me this national stage, let me see how your soul burns; let me see today the whole\nriches, and let me cast in that fire which burns in my breast and let me call your fame!\nTheatre, temple of art, come, oh 50u1!... Theatre of the nation,... art, Polish art! We want\nto dress it, to paint it; we want in this theatre to build Poland I \" & &\nHardly has he uttered these words when the workmen sitting 44 in the nooks and gloomy\ncorners of the stage \" rise; 44 they are already bringing in the scenery, they are putting\nit in place, towering, arranging and before the eyes of the spectators takes place this\nwork, before the eyes of the spectators the stage changes into the 44 Labyrinth called the\ntheatre \" (i).... the national theatre whose end was, and is, 44 to show virtue her own\nfeature, scorn her own image, and the very age and body of the time his form and pres-\nsure \"; changes into the Labyrinth called Wawel (2) to which Ariadne-Pride leads Polish\nTheseuses (3); before the eyes of the spectators rises the Polish Acropolis: 44 Church, castle\nand mound &\nAnd already are the actors crowding, gathering; they put on those costumes in which\nthey will later play their parts. The stage is peopled with thoroughly Polish figures:\nknights in glittering armour, magnates in scarlet cloaks, poor nobles in faded coats, burghers\nand peasantry, monks, insurgents, artists; here, too, national nymphs and fairies are not\nunknown with rouged faces, in transparent frills and furbelows, waiting with impatience\nfor some 44 entree de ballet a pantomimo-fairylike diversion or a bengal-allegorical apo-\ntheosis in which they might develop their talent. All these, 44 called to life by the magic\nof art dressed in Sunday clothes, clanking imitations of sceptres and glaives to the\nrustling of dusty standards, taking up interesting attitudes, stand in position to begin\n44 the combat of thoughts and fencing of words ».\n& Conrad, for whom it is close and stifling, goes out, throwing to the actors these words\nin farewell, 44 Play and from your souls. Draw out from concealment what in you is secret,\ndo not conceal.... tear at your hearts. \" & &\nThe parts are distributed. The stage-manager claps three times. The footlights are lit\nand the Muse to whom it falls to begin acting alters and arranges her dress and at last\nbegins with emphasis 44 to recite the prologue to the drama under the title 44 The Murder\nof Gonzago \" or 44 the Mouse-trap \" or 44 Contemporary Poland 44 Whoever lives on\n44 Polish soil, sorrows and hides his head, with hands crossed on his breast, laments, let\n44 him come hither; he will be revived! Into Space will we great words cast, dress them\n44 will we in a tragic mask. Whoever knows what means the Polish tongue, let him come\n44 hither; he will be revived by the grace of Word. You will see the day of Delivrance; we\n44 come here with the annunciation; our play will be tragic, it will be a reproach and a\n44 confession. We will take sublime high tones, like that majesty of the bells ringing from\n44 the tower. We come here with the annunciation. Our play will be tragic: Complaint,\n44 chastisement and confession. He will see Delivrance who is delivered from his own will!! \"\nAnd they play that 44 Divina Commedia \" delP arte before the conscience of the public-\nnation, before the conscience of the Claudius-nation, plunging it into the sombre abyss of\nthe Polish Inferno; and they play Conrad's strange drama sounding of the 44 prayer that\nweeps \" and 44 the thunder that lightens \" (4); they play that 44 drame h grand spectacle \"\nwith all the wonders that 44 Hohe Maschinerie \" can effect, raising the demons from the\ntheatre caves; they play that retrospective-actuel 44 revue \" teeming with 44 macabre \"\nhumour, merciless irony and tragic horror. The King and Queen, Polonius and Ophelia,\nRosencrantz and Guildenstern and all Denmark (all Poland) may look on their 44 Sosies *%\nwho, led by the hand of an invisible 44 titterero \" play out their parts in this great tragic\n44 castillo \". The trap doors creak, the artificial thunder rolls and the stage at the touch\nof Prospero's wand, as it were a sounding board, multiplies the force of the golden rhymes"}, {"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.27", "debut_caractere": 4648, "fin_caractere_exclue": 4877, "texte": "The wotkmen*\nThe Perfor-\nmance.\nThe Prologue.\n\n(1) Wysplanski: \" Hamlet\" (dedication).\n(2) Vide Biographical Note.\n(3) Wysplanski. \" Dellvrance dialogue between Conrad and 7th Mask.\n(4) Slowacki: \" Poem on Hell by Piast Dantiscus"}, {"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.28", "debut_caractere": 23, "fin_caractere_exclue": 4899, "texte": "of the recited text.\n& The drama reaches its culminating point. Conrad-Hamlet, chained, like Ixion, to his piece,\nhas to enter from behind the scenes where he has remained during the second act, and\nstep on to the stage, to accomplish his Work, so as to terminate the drama by a duel. In\nthe third and last act Conrad-Wyspianski drives away from the Cathedral on Wawel the\nharpie of the nation which is fed by its best strength, 44 felling it to renounce, what ploughed\nland can give felling it li to deprive its lips of all the sweetness of fruits he curses\n44 Genius \", (for thus is this person named in the drama), who 44 wants to seize the nation\nin the snare of beauty dead and extinguished, and to awaken a groan in its breast instead\nof joy \"5 who tells them to expect delivrance only in death: he slams to the entry to the\ncathedral 's subterranean vaults, to the abyss of the royal tombs into which Genius wished\nto conduct the nation hallucinated by his words, and stops up the iron ring-bolt with a\nflaming torch.\n& Conrad in the second act ravishes this TORCH of rebellion burning with hate. 44 perhaps\nyou do not know what this torch means? ,' Wyspianski asks in the note at the end of this\nact. 44 The Torch is fire, light, glow; it sheds light and at the same time burns; brings the\n\" gift of heat and at the same time by fire throws all into ruin. It illuminates, but at the\n44 same time destroys; it is capable of killing with a living fire.... If it flames At is that\n44 elemental force which the FREE SOUL possesses. If it flames it is the power of the soul\n44 to whose force the body submits. He who wiil discover this divine flame damned may\nbe or saved\nWhat then will be the Lot of Conrad? He loses his torch, for the Delivrance of the nation\nfrom the death giving charms of Genius. The torch goes out on the slab that closes the\nentry to the tombs of Wawel. But the man who shall have 44 lost the glow of sacred\nstrength, though in sacrifice for the nation, believing that by fire he will save it,... will be\novertaken by the vengeful Erinyes, by the Vulture of everlasting hunger. This eternal que-\nstion: what afterwards, after ages, ages? Such a man,44 the nearer knowledge, the further\nfrom it, flees further and further: consuming with his own fire he burns! \" in the likeness\nof 44 those stars which fall into the night. You look at them.... they disappear \". Conrad's\ntorch goes out; 44 the piece played, ends; Conrad's idea does not end. All the others come\n44 out of their parts, though remaining in their costumes The workmen 44 demolish the\nscenery and cloths, putting them in the corners \". Conrad does not come out of his part;\nfor him, the deed accomplished is a real deed, not fiction; is a deed not a gesture. Awa-\nkened as from heavy Sleep by the shaking of actors' hands, he does not recognise the spot\nin which lie finds himself. 44 Where am I? What did I want to do? What shall 1 be? I\nbrought you the torch.... defended the tomb! How do you want to live...? \" he demands,\nforgetful of the fact that he is speaking already to actors who have ended their parts, and\nnot to men. He does not recognise them, these, 44 his actors.... his friends. \" He cannot\nunderstand why the Muse who had possessed his heart and delivered his thought curtesys\nincessantly and throws kisses; so the stage-manager has to explain that the 44 Diva \" is\nthanking the public for its applause and garlands. He looks with horror at this woman in\nlaurels flirting with the Critic, the voice of opinion, allowing him to stroke her face. He\ndoes not comprehend why those who but a moment before stood on cothurns, are now\ntalking of their past lot all too prosaically, esteeming it lightly; why they have cast off\ntheir parts which they took upon themselves of their own free will, and he throws them\nwords of contempt. 44 The part, the part is ended? You so divide your thought into the\n44 part and everyday nothingness that as soon as you have repeated the part smoothly the\n\\6 stage boards glide from under your feet, and the most beautiful part becomes for you\n4 absurd. Miserable creatures! \" He cannot understand why indeed their cheeks wanned\nand why hot tears flowed from their eyes, since Hecuba and her fortunes are nothing to\nthem. Then these are those 44 LIVING HEROES \"? Could these men write by their deeds\nthe abstract and brief chronicles of future time? Why, these are Venders of holy things,\n«4 their trade is prostitution! \"\nThe lights are extinguished. The actors with the stage-manager go out, deliberating\nwhether it would not be better 44 from the stage point of view \" to shorten the piece the\nnext time in the scene where Conrad enters. And the actors go out....44 Goodnight, friends,\nGoodnight? sweet prince. \" On the great empty stage Conrad remains alone, 44 the slave\n\n& The Torch#\nThe end of the\npiece. & &\nThe exit of the\nactors. &"}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4465, "texte": "to one great thought ,J hidden in which 44 is his weakness and his strength \" at the same\ntime, tie had entered 44 into the temple, large, dark he had aimed, but now he knows\nnot whither he aims; 44 now his thought has crumbled into dust.... how will he escape from\nthe circle of the spells of art? \" He remains quite alone, with fear as his only consolation,\nwith a yearning thirsting for blood. 44 Art thou, my Poland, but with me? \" He casts the\ndespairing question into the void. Midnight strikes. With a crash the floor opens. From\nthe depths comes forth a chorus of Erinyes which surrounds Conrad in a circle and afflicts\nhim with the suffering of Laocoon and Orestes; it encircles his brow with a burning crown\nof serpent coils, tears out his eyes,... and puts into his hand the avenging glaive. And Conrad\nsets himself at the head of the vengeful deities, so as to rush out into the world. Vain\neffort! The iron gate with an iron strength bars his way. Then pursued 44 by a band of\nfamished vultures \" he is forced to return to the 44 stage®night \", seeking an Issue. The\nadder«wreath burns. In his eyes night reigns. The curtain falls. & & &\n44 Let the stricken deer go weep,\nThe hart ungalled play,\nFor some must watch while some must sleep;\nSo runs the world away! \"\n44 The first®night public \" covers author and performers with applause. The public which\nduring the whole evening had stood as in the pillory claps Wyspianski and the actors. The\nactors, whom Wyspianski had during the whole evening in presence of the public kept as\nin the pillory thank for the applause with low bows. And, too, the actor playing Conrad\ncomes before the curtain. Is it surprising? What is he to Hecuba or Hecuba to him? And\nbesides, the play®bill had forewarned them, 44 The seat of action is the stage of the Cracow\nTheatre &\nBut Conscience»King rises and calls 44 Lights \". The King goes to his apartments,44 mar®\nvellous distempered \". The Queen is 44 struck into amazement and admiration at such\nbehaviour \". The enlightened critic, Polonius, had slept in his editorial chair, 44 he is for\na jig or a tale of bawdry or he sleeps \": on the whole the crowd had no liking for the\npiece: 44 It was caviar to the general \". & & & &\nWyspianskFs drama ends with a great prophecy just as Mickiewicz had demanded of\nPolish drama. On the last page of the first edition Wyspianski writes these words, 44 here\n44 ends the drama. But thought, that nimble, speedy runner, flies beyond it, and this is\n44 what it whispers me: When Eos rosy®haired will appear on the vault of heaven and the\n44 birds chirp the first tones of their matin®song, someone will be found who will come\n44 with keys, (a workman perchance, or perchance a barefooted maid), and first will be to\n44 open the gate. Then in this blue morning, united to the deities by a fraternal oath,\n44 Conrad=Erinnys with the Erinyes, at the same time slave and lover, will rush forth into\n44 the world in FLIGHT in the grey dawn, in the blue dawn, a glaive in hand, eyes torn\n44 out, in an adder wreath, surrounded by a chorus and will call to the nation: TEAR\n44 OFF YOUR BONDS!!! \" & & & &\n& The executor then of the Idea of a national theatre will be the nation itself in the day\nof Delivrance, the nation who will seize WyspianskFs thought and, leading it out into the\nworld will, from the darkness of the closed theatre, at last deliver it.... 44 In me lives the\n44 soul of the nation, that sublime power of which the silver-haired bard of the Skalds\n44 te115,... the soul that rejuvenates, that awakens, that seeks its own road, its own beliefs,\n44 seeks existence and truth and a covenant with those souls that are great, sky-high, which\n44 are strong beyond the strength of worlds and mighty as legendary kings! I want to\n44 bring them to life, yes, I will make so bold as to bring this Slav world to life, an arch®\n44 pagan, a perished world. \" (a) & & jt?\n& With these words uttered by the lips of one of his tragic figures Wyspianski seems to\ndefine the essence of his art. WyspianskFs art is a new phenomenon on the skyfine of na®\ntional life, it is a new moment in the national metempsychosis, it is the new incarnation\nof the Over-soul of the nation.\nIn WyspianskFs works that immortal Phoenix, who writes the history of the nation\nwith thunder®bolts on giddy heights, awakened, again claims his rights, seeks new roads and\ncovenanters. Wyspianski, worshipper of Power, and singer of Joy, in erecting his Free"}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.29", "debut_caractere": 4489, "fin_caractere_exclue": 4596, "texte": "After the piece.\nA gteat pro-\nphecy, &\nThemes and\nmaterials of the\ndramas. & &\n\n(1) Wyspianski. \" Lelewel \""}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.30", "debut_caractere": 23, "fin_caractere_exclue": 4839, "texte": "Theatre, turns for the canvas of his spectacles to those epochs in which Power, wedded to\nJoy, had its kingdom in the human soul. And like Wagner, who ravishes from the depths\nof the Rhine the golden secret of the Nibelungens, Wyspianski plunges into the waves of\nthe Vistula, his native river, and draws out from them, drowned, forgotten treasure-legends\nof past Glory capable of disenchanting and setting free the strength, spellbound in the\nbreast of the nation. jgr & &\n& In dreaming of this prehistorical Poland bowing before the gods of the sun, Wyspianski\ncomes to the land of Homer and Aeschylus, wanders amongst withered laurels and ruins,\nand from its mounds resuscitates a procession of heroic giants. He calls to life these two\n♦\nworlds above which his soul moves as over a nameless chaos and enchants them into form\nby love, for it Is by love alone one may create. He couples the life of these two worlds\nwith the link of one idea, so that on his stage Achilles or Hector, raised to a symbolical\npower, stand in one rank with the heroes of national traditions and ballads, fighting in a\ncommon cause. Receiving the secret meaning of the legends of these two worlds, which\nevery product of popular imagination conceals in its primitive form, he unites them with\nthe logic, examined by himself, of the later heroic periods, and he so connects these two\ncategories of material that they may serve him as the basis for the Leading Historical Idea.\n& And this first cycle formed by dramas woven 011 the ground of Polish myths and legends:\n44 The Legend 44 Boleslas the Bold \", 44 The Rock together with the dramas, so-called\nGreek,.... 44 Achilles \",44 The Return of Odysseus \", 44 Protesilas and Laodamia \",44 Meleager \"5\nthis first cycle singing of olden glory and which closes with the prophetic drama under the\ntitle of 44 Acropolis \", unites by an historical thread with the second cycle embracing dramas\nwhose substance is the history of the Insurrection and Martyrdom of the Polish Nation:\n44 The November Night \", 44 La Varsovienne \", 44 Lelewel \", 44 The Legion and the staging\nof Mickiewicz's 44 Feast of the Dead The second cycle is a fantasy on the events of the\n44 November Insurrection \" (1830=31831) and its historical consequences, is a rhapsody whirring\nwith the rustle of the wings of the last Napoleonic eagles, flying away with the autumn\ngale from the 44 land of mounds and crosses \" (1). This 44 romantic \" cycle together with the\nthird and last, comprised of dramas with the fable drawn from 44 Today \",... 44 Delivrance \",\n44 The Curse \" and 44 Judges \", accomplishes in the repertory of the 44 Theatre Militant \"\nthe most important of functions: 44 shows the very age and body of the time his form and\npressure \". & & &\n& So then VVyspianski's theatre encloses in its frame the history, past, present and future,\nof Poland, history of human strength in its autumnal maturity, and in the winter dream\nof a new spring of blossom, of Renaissance.\njg/ Equally with the substance of the spectacles does their form change. Antique prehisto-\nrical themes require a landscape and architecture harmonized with their grandeur. On the\nbackground of this scenery pass figures of over-men, imposing by their mask and gesture,\nas though hammered in the forge of Hephaistos, accomplfshing laudable deeds under the\nshield of the gods issuing from the sun, earth and waters. &\n& The historical themes, together with the contemporary ones to which they form the\ntransition from the antique, demnad other staging. So that the landscape may illustrate\nthe state of mind of the heroes it is composed in mournful values, the architecture no\nlonger suggesting that joyful Strength that the silence of ruins emits, and the whole scenery\nof the prehistorical dramas, delineated in gigantic proportions, agrees with the'theatrical\n44 staffage \" created after the dimensions of Euripides rather than those of Aeschylus,\nformed of people from whose breasts joy has fled, whose hands are bound by a Superior\nForce, and of spectres born as from their tortured imagination In delirium. £? &\n& The future of the nation is not treated by Wyspianski in a special cycle, for almost\neach of his dramas closes with a prophesy of it, and its vision he incorporates in the same\nforms, which he adopts in externalising the world of prehistorical Power and Joy. In his\ntheatre, 44 of ashes enclosed in the national urn \" Wyspianski resuscitates a people of\nWarriors, and, placing it in the cothurn of mounds, makes of them 44 actors, higher by the\nwhole mound he makes of them the awakeners of the national conscience whom 44 one\ngreets with a smile and takes leave of in tears (2) Drawing the substance from the\n\nThe three cycles.\nThe historical\nthemes. & &\n\n(1) Krasinski. \" Irydyon \".\n(2) Slowack 1: \" Kordyan (Prologue)."}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4727, "texte": "inexhaustible thesaurus of myths and tragical and true events, he reaches for form to the\n\" Ark of the Covenant \" between new and former years (i) to popular art, which alone is\ncapable of giving the true expression to his strength of thought. For the Polish people\nalone, deprived of all participation in the political life of the nation, that unwitting creator\nof the only true Art which is the symbol of its life, this people, living by art and be=\nlieving in it, has not departed from its archaic sources, and in its art, plastic, mimes, music\nand poetry, in these ritualistic arts has preserved the paleo=Slav elements.\nWyspianski, born in Cracow, the capital of the kingdom of Poland, makes of that town,...\ndead, like Rome, like Bruges,... by the might of artism, a new Athens which was \" the\nconscience of Greece (2) makes it the symbol of national Life and the capital of his\nthought. Placing on this reliquary of the Polish Past a pious kiss, he resuscitates and im=\nmortalises its legend.\nTbe starting point of Wyspianski's dramas is Wawel, the myths connected with it, its\nhistoric lot, and the problem of its future. The Legend says that formerly in dusky times\non this hill, rising on the banks of the Vistula, on whose sandy bed, in coralline palaces\nsing Undines, settled the Chief of Chrobatia of the name of Cracus and built himself a\nwooden mansion. And in this mountain an insatiable dragon had its den and fed on the\nblood of the prince's serfs, and was always hungering for fresh victims. This monster\nCracus killed with his own hand; and the legend speaks of Wanda, his royal daughter, who,\nrather than give her hand to the German Prince Rytogar, wedded her virginal body to the\nVistula. The grateful people raised barrows to the heroic warrior and beloved maiden, and\nhanded down to posterity a simple tale of them. And afterwards in this castle kings ruled,\nwielding the terrible glaive jagged on the gates of besieged burgs. And their prayers were\n)\nsounded by \" Sigismundus \", the royal bell cast out of prize cannon.'And there is a Cathedral\nLeside this castle, and in it a crucified miraculous Christ, veiled in crape, and the golden*\ncountenanced King°Psalmist on the summit of the organ=loft singing, to the accompaniment\nof the angelic orchestra of golden-winged players, Syggaion to the Most High Singer. On\nthe wall hang Flemish gobelins illustrating \" Historia Troiae \" and \" Historia Jacobi \". The\nfaded figures of belligerent men and of pious men contemplated those who came to seek\nthe spiritual fire for their manliness. In the crypt of this Cathedral lie crowned corpses,\nthe sceptres and the orbs have fallen from their crumbled fingers, scarlets and cloths of\ngold have fallen into dust..... The royal tombs. In the crypt of this Cathedral sleeps the\nCommander of the tiny Roman Legion, the Knight of the Polish Graal: Mickiewiez.\n& Of the kings they tell today a Christmas Eve fable. It seems that under the old castle,\ndeep deep down, is to be found a second like it, but more beautiful, and in it, in the throne\nhall, seated in a semicicle, are all the Polish kings in coronation robes. Once a year is to\nbe heard the blast of the horn and the neighing of the horses; then King Boleslas the\nValiant can be seen passing with iron steps across the jousting court with the angelic\nglaive glistening on his shoulder. & &\n& Today the bell \"Sigismundus\" rings for Midnight Mass, and for the Resurrection, when\nin the Polish soul, as in the holy manger, Christ is born, and when in this soul as in the\nholy sepulchre rises again. &\n& One of the legends of Wawel touches directly the temple under the patronage of St\nMichael and standing on \"The Rock \" (Skalka) • There, according to the oldest chroniclers,\nKing Boleslas the Bold commanded his sbirris to put Bishop Stanislas Szczepanowski to death,\nfor his having dared to excommunicate him \" from bread and aeres, from strength and\nwilland when an invisible power held their swords in the air, they being cast to the\nground by it, the bold king cleft the bishop through the head and ordered his body to be\nhacked into seventy two parts. According to the recorders a brightness rose over the body\nin the night, and four eagles defended it from the beaks of carrion birds. Today different\nrelics remain of St Stanislas. In the cathedral on Wawel silver angels bear the heavy silver\ncoffin containing his body. On s* The Rock \" they show the stains of blood which had spurted\nover the walls of the church. There is, too, the miraculous poo! to which are ascribed\nhealing powers, as to Bethesda; out of the centre of the turijid water covered with aver*\ndigris of duckweed, arises the triumphant monument of the Saint, Today pious christians"}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.31", "debut_caractere": 4752, "fin_caractere_exclue": 4874, "texte": "The Wawel\nlegend, & &\n& A Christmas\nfable.\n\n(1) Mickiewiez. \" Konrad Wallenrod\n(2) E. Sehurtb \" History of Musical drama \""}, {"page_pdf": 32, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.32", "debut_caractere": 24, "fin_caractere_exclue": 4970, "texte": "in simple souled canticles praise the miracles of St Stanislas in processions, carrying his head\nset in gold. The history, mythical and authentic, of these spots, undergoing in .Wyspianski's\nfantasy a symbolical metamorphosis, will become the scaffolding for the idea of almost the\nwhole cycle of prehistoric dramas. Both of these spots will form the theatrical ground\non which the heroes of these dramas will act with choruses. Wawel will be the principal\nstage showing tragic deeds, while \"The Rock\", placed behind the scenes will explain their\nmystery. In Wyspianski's artistic conception, Wawel, that hill dominating the \"Polish Con-\nscience\", on which stand the \"castle, church and mound\" grows to the power of the Polish\nAcropolis; the former centre of national life again becomes the focus, gathering in itself\nall the rays which the Polish Soul can emanate; the former heroic shrine is regenerated\nin the temple of future strength; the former treasury of Polish relics again opens wide its\ndoors for the People which will come there to deposit its deeds. On Wawel Wyspianski's\nart is born. On Wawel Wyspianski's art takes its beginning; there it arrives at its tragic\nmoment, and, at last at its apogee is delivered. & &\n& Wyspianski recasts the Wawel themes not only on the stage but also ip poetry, in\nrhapsodies such as \" Casimir the Great\" and \" Boleslas the Bold/\" in painting,...landscape,\ncomposition and ornamentation. &\n& Wyspianski regarded the stage, however, as the most suitable frame for these themes,\npurely theatrical in the noblest sense of the word, and although he treats them in another\nform, that only testifies to the fact that, like Shakespeare \"he had always reality in his\nthoughts, reality in his imagination \"that always \"the men of his drama lived in his ima-\ngination on real ground perfectly well-known to him \", for in his plastic and poetical works\nhis genuine theatrical talent stamps the mark of its originality. For it suffices to arrange\nthe text of the rhapsodies for voices, translate it into mimic ianguage, for them to become\nscenic spectacles of the first water. & 4?\nWith equal strength the theatrical elements of his talent express themselves in his\nlandscapes, compositions or decorative projects. The most eloquent proof of this gravitation\nof vision to theatrical forms we see in the stained glass windows by Wyspianski destined\nfor the Cathedral on Wawel. These are no longer anecdotes such as formerly were depicted\nornamentally with thought but about their chromatic effect, but dramatic scenes expressed\nIn theatrical drawing and colouring in such away that the figures under the influence of\nlight appear in the recesses of the cathedral windows as those spectres of the past with\nwhich Wyspianski's stage swarms.\nIt appears that alread3? in the moment when Wyspianski composed these \" Wawel dramas\"\non glass, destining them for the cathedral amphitheatre, he was governed by the thought\nof enlarging his theatre, which had become crystallised only in the project for the building\nover of the Wawel hill, published after his death under the title \" Wawel-Acropolis \". In\ncreating the plan for the restoration of the old buildings in such a manner that they might\nbecome useful in the future, and at the same time the plan for the buildings over of Acro-\npolis with new buildings, resulting from the needs of a society politically free, regenerating\nitself spiritually, Wyspianski points out a spot by the side of the temples, the royal palace,\nthe edifice of the Polish Diet, the Academy of Science and the Cracow Sorbonne, for this\n\" Greek Theatre \", that Church Triumphant in which one day the Free People might assemble\nwith a view of common contemplation. & &\nRendering account to himself however all too well, that such a reconstruction of ruins can\nonly be the work of the nation, which through the Labyrinth called Wawel will attain\nDelivrance, and recommending the elevation of the \" Greek Theatre to future times and\npeople he returns to his \" Shakespearean Theatre \" and, consecrating his whole supply of\nstrength to that Church Militant, he proceeds in a contrary direction: in the \" Labyrinth\ncalled the Theatre \" he represents the Acropolis of Wawel: And Wyspianaki's thought, like\nthe Ghost of King Hamlet, wanders by night over the breast-works of the Polish Elsinore,\ncalling out to whoever can understand it: \" duller shouldst thou be than the fat weed\nthat roots itself in ease on Lethe wharf shouldst thou not stir in this. «£? jg? &\nAt this call a long procession of kings comes forth from the Wawel subterranes, behind\nwhom steps the Master Mickiewicz wielding Christ's banner; the marble monuments of\nnational knights awaken, from the gobelins float misty figures, so as to act, on the steps\nleading to the cathedral, the Polish history of Troy and of Jacob. And far away, from the\n\n& The Polish\nAcropolis. &\n& The Wawel\ndramas on glass.\nA work for the\nfuture. £? &"}, {"page_pdf": 35, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4995, "texte": "silver waters of the Vistula laving the feet of the castle, the wind brings songs in praise\nof past glory which a chorus of Undines hums to shepherd shalms.\nThe Idea of Wawel is one of the light motives of Wyspianski's drama repeating itself al-\nways with chords, now of joy, now of sorrow. This motive employed for the first time in\n44 The Legend \", in 44 Boleslas the Bold\" and in 44 The Rock\", repeated as an echo in 44 The\nWedding\", will sound the most tragically in 44 Delivrance \"so as last to melt away into\nSilence with the hymn of resurrection in 44 Acropolis \" . The hill of Wawel itself in Wyspian-\nski's theatre is the ground, not only of events that took place here either in mythical or\nhistorical times, but in general of all the tragic deeds which would be in their legend akin\nto Polish fortunes. And so on the background of scenery representing Wawel, by the side\nof Polish ghosts and heroes, glide before the eyes of the spectators the gods and demi-gods\nfighting for Troy and even the Prince of Denmark appears here, swearing to avenge the\nKing-Ghost.\nAnd again in this case Wyspianski employed his own method, the Shakespearean method.\n44 The opinion is widely spread \", he writes in 44 Hamlet \", 44 that Shakespeare's theatre\n44 did not trouble about scenery at all; that they paid no attention to it, stood higher above\n44 these 4 rags ' and 4 tatters '. I believe that to be an exaggeration as regards the produc-\n-44 tiveness of Shakespeare. It is very probable that on his stage, in his little theatre, he had\n44 modest, very modest, scenery; so then he knew this, and knew he would find nothing\n44 there. So he sought nothing there. But when he wrote 4 Macbeth ' and wrote for in-\n-4 stance4 Forres, a hall in the palace', he had a palace in his thought, one of those\nknown to him. And when he wrote 4 Inverness , a room in Macbeth's castle' he had again\nanother real castle in his thoughts. That signifies, that each time he represented in writing\nwhat took place, he had really before his eyes the ground where it took place. And for that\nreason such things as doors, windows, the plan and arrangement of the rooms of castle\nand palace in general was in accord with a real architecture and a real logical building\nthat existed somewhere. It is very possible that when he wrote 4 Macbeth ' or 4 Lear ' he\nhad a castle in renaissance style in his thoughts, and not Roman or of wood; that when he\n44 wrote 4 Othello ' or 4 The Merchant of Venice ' it was difficult for him to think of gon-\n-44 dolas never having been in Venice. But he had always reality in his thoughts, reality in\n44 his imagination and the men of his drama lived in his imagination on real ground\n44 If he says distinctly, 4 Fife, Macduff's castle ', and at another time 4 Forres, a hall in\n44 the palace', and at another, 4 Inverness, court of Macbeth's castle ', his words must be\n44 taken literally, and above all seriously. It must be really understood that when he wrote\n44 4 Macbeth', those three castles, Duncan's, Macduff's and Macbeth's, were in his thoughts\n44 as three different castles, and in his imagination these three castles were really diffe*\n44 rent, and he did not confuse them. \" & & & &\n& Wyspianski in writing his dramas, in reading and deliberating upon the dramas of\nothers, has always reality in his thoughts, the personages of these dramas he places in\nhis imagination on real ground. (44 Am lin the castle or on the stage? \" Wyspianski asks\nhimself in the Wawel drama 44 Boleslas the Bold \".) When he meditates on the Fortunes\nof Hamlet he examines and sifts them according to 44 what there is in Poland for thought \"\nuntil at last the result of this analysis will be the New and tragicall History of Hamlet\nPrince of Denmark, just as it happened on real Polish ground. 44 Everything since the time\nof Shakespeare \", writes he in the same work, 44 that the European theatres have deigned\n44 to do for him with the idea of enriching him with scenery, is worth very little. At the\n44 most it is rich and testifies a great attachment and cult for Shakespeare but not in the\n44 least to the understanding of Shakespeare. But he who, following the thought of Shake-\n-44 speare, would enclose the situations of any drama in some buildings existing in reality\n44 and would make the logic of the architecture of these building agree with the logic of\n44 the Shakespearean text, he only could invent the scenery. 4 Hamlet' for instance.\n44 In what castle could this drama come to pass? At Elsinore? Of the castle at Elsinore\n44 probably, we all know as much as Shakespeare did, when he wrote 4 Hamlet', which\n44 means that we have not the slightest idea how it looked, nor in what style it was built.\n44 Then that need not regard us at all. t( Yet, Shakespeare in writing the tragedy of Hamlet's\n44 castle at Elsinore had some existing building in his thoughts. Which? That we shall ne-\n-44 Ver know, even after the longest investigation it is uncertain, whether it, would be posj"}, {"page_pdf": 35, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.35", "debut_caractere": 5020, "fin_caractere_exclue": 5076, "texte": "Shakespeare's\nscenery. & &\nWyspianski9s\ntheory about it."}, {"page_pdf": 36, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.36", "debut_caractere": 24, "fin_caractere_exclue": 4909, "texte": "44 sible to find out and unriddle anything whatsoever.!! is better then to leave these re-\n-44 searches alone.\n44 And if this tragedy were to be played with us, in Cracow for instance, one must seek\n\" such a castle, where this tragedy might take place. One must seek above all, such a\n\" nation, who would believe in that Ghost-King, Hamlet's father, who reveals to his son\n44 the crime of the evil-doers; who binding with an oath his son who believes in the Belo-\n-44 ved Shade and takes the resemblance and features of his father, attaches him to the\n44 sentiment of revenge for ever. „ & &\nWyspianski then tries, following the thought of Shakespeare, to enclose the situations\nof 44 Hamlet\" in buildings existing in reality and endeavours to make the logic of the ar-\nchitecture of these buildings agree with the logic of the Shakesperean text. He finds the\nPolish nation, whose contemporary history Is joined by certain threads with the tragic his-\ntory of Prince Hamlet. lie finds the sacred burg of Wawel over which watches the King-\nGhost of the Nation. Wyspianski keeps to these methods, consisting of the polonisatioin of\nexotic themes, each time he has either some foreign myth or even another's drama to re-\npresent on his stage. He uses similar methods in dramatising Greek myths, in the para-\nphrase of Corneille's 44 Le Cid \" and in the dramatic scene under the title 44The Death of Ophe-\nlia.\" In this way he enriches the Theatre-Valhalla wihh a train of new gods and national\nheroes.\nThe second source of Wyspianski's themes and materials is the Polish village, which has\npreserved to our days, in its disposition and its buildings, the character of ancient Slav\nsettlements. In the beliefs and rites of its inhabitants he still finds traces of Paleo-Slav\npantheism which, modified by the influence of Christian legends, forms a mythology on an\nImmensely rich, sentimental scale, embracing the whole world of Spirits Dark and Bright, wa-\nging a continuous war on each other on earth and in heaven. In the village ceremonies\n\\\nand customs he descries the remains of the former Slav theatre, which, open to the air, gave\nits performances 44 sub Jove,, in sacred groves, on battle fields and in grave-yards. In these\nhieratical spectacles he also discerns the noblest rudiments of the Future Art of the Polish\nTheatre.\n& In the everyday life of the peasant, who is already to a certain degree through\nhis decorativeness a theatrical spectacle, individually improvised on the canvas of\ntradition and superstition, in his daily actions, in his manner of acting on exterior im-\npulses, penetrating into the dignified melody of his speech, contemplating the royalty of his\ngesticulations, he sees the perfectly preserved Might, distinguishing mythical heroes, be they\nSlav or Greek. In one word, Wyspianski finds here just as he does on Wawel, theatrical\nmaterial all ready for him : legends, costumes, models for the mimic of seperate persona-\nges or for the crowd, models for the music and colouring of the scenic dialogue and, above\nall, figures capable of serving as an example for the composition of theatrical characters.\nWyspianski exploits the village themes in three dramas played throughout on this ground:\nin 44 The Curse ~ The Wedding ~ and in 44 The Judges \". Village art however lends him forms\nfor a whole series of dramas. And thus we shall find these raw materials recast and subti-\nlized in 44 The Legend \" 44 Boleslas the Bold \" The Rock \" 44 Achilles \" 44 Acropolis \" 44 The No-\nvember Night\" and even in \"The Death of Ophelia.\" We shall meet with rites taken literally\nfrom peasant life in the Wawel dramas, or with reminiscences of the same in the dramas\nso called Greek We shall meet the Polish peasant whom Wyspianski characterizes now as\na Wawel king, now as a Trojan warrior; we shall perceive this hero on the back-ground\nof his own life, in his superb costume, with his cothurnated gesticulations and his ono-\nmatocacuic language, we shall perceive his Soul which, as seen through the theatrical is\nmagnified to the symbol of human Might. We shall meet here too the world of Spirits\nDark and Bright, incorporated in those forms in which the popular imagination depicts them.\nThe guide-post in this work was for Wyspianski the 44 Living Theatre,, preserved until\ntoday in Poland by the tradition of a believing people, like in that archaic theatre of the\nSlavs not possessing a regular building but giving its spectacles now in the church, now\nin the hut, in the fields, in the town places. All of these spectacles without exception,\neither those proceeding from the liturgy of the Roman Catholic Church or those being the\nresidue of Paleo-Slav cereminies, possess a specific national colouring and are the solemn\nacts of actors and spectators united by the same sentimental interest. & &\n\nThe Polish\nVillage, &\nThe peasant,\n& The 44 Tiring\nTheatre u"}, {"page_pdf": 37, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 3612, "texte": "& In this hieratical theatre Wyspianski finds the Leading Idea akin to his own conception\nof the National Theatre, he finds likewise the technique for nationalizing the spectacular\nthemes and figures, which he always applies to his theatre. In this ever developing Living\nTheatre he sees the Mirror showing as it were \"the very age and body of the time his form\ndnd pressure. „ &\nAnd, too, he gives himself up passionately to the scrutiny of this theatre; he studies\nits text both spoken and sung, its apparatus both mimic and decorative; he himself com-\nposes for one these spectacles a new mise-en-sc&ne, until at last he removes these spoils\nskilfully recast, on to the stage, and purified of all accidental appendages.\nThe influence of these spectacles on the scenic productiveness of Wyspianski we see\nespecially in his manner of bringing the crowd on to the stage, and his management of\nit during the drama. For, in the crowd appearing in Wyspianski's theatre, there is nothing\nthat would remind one of the individualisation of the supernumeraries or of the famed\n\" Rhabarbergemurnae! der Massen,, to which innovations the management \"des hin-un-und-\nher-zoglichen Theaters,, conveyed a false apprehension of the scenie ensemble. Wyspianski's\ncrowd, as though copied in movement from the bas-reliefs adorning the friezes of Greek\ntemples, seized in majestic lines, whether forming the background for figures on the first\nplan or national processions and is a chorus in every instance. & JZ?\nThe most forcible influence, however, on the dram tic composition of Wyspianski was exer-\nted by the \"Crib,, (Szopka) an ambulant puppet show giving its spectacles in the villages\nand towns at Christmas-tide. This tiny theatre is to a certain extent the synthesis of po-\npular art. Its structure prescribed' traditionally combines in itself the intricately ornamen-\nted architecture of village churches or even of Wawel with a stage in correct style &\nThe text of the spectacles both sung and spoken, which arose as an abridgement of the\nold Mystery Plays, is composed of favourite carols, pastorals, ditties and patriotic verses. On\nthe tiny stage move in pairs the most popular folk types together with the heroes of le-\ngend and history, together with spirits bright and dark streaming to Bethlehem and prai-\nsing the New Born in recitatives, airs and dance. <£> & & &\nSo here again Wyspianski meets with a theatre showing the very age and body of the\ntime, with a theatre that unites by an unbreakable thread the earthly stage with the world\nof spirits, legend with history, which unwittingly perhaps and simply, touches national pro-\nblems and whose drama terminates in a great Messianic prophecy. And again he finds in\nthis sincere art of popular production a real mine of new scenic forms. &\nUnder the charm of this tiny theatre Wyspianski creates \"The Wedding\" \" Delivrancc \"\nand \"Bolsslas the Bold\", dramas whose composition has a decided resemblance to that\nof \"The Crib\" lie places human fignres in direct contact with spirits, makes them enter\nand exit by pairs and recite his thoughts in wonderful verse-songs, modelled on the\nmelic parte of the \" Crib\" libretto. At the age of eleven Wyspianski built himself a\nCrib of immense size imitating architecturally the Castle of Wawel, in which he played\nmany different tragedies spun round the history of the royal burg with the help of figures\nwhich he had himself composed. Perhaps already then was germinating in the boyish soul\nthe idea of the Theatre-Wawel which in his manly productiveness brought forth manifold\nfruits. & && &&?&&&&&&\nTo be continued"}, {"page_pdf": 37, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.37", "debut_caractere": 3638, "fin_caractere_exclue": 3653, "texte": "The \" Crib. \" &"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c023", "article_bluemountain": "bmtnaau_1909-07_01#c023", "volume": "bmtnaau_1909-07_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": 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=bmtnaau190907-01.2.13.1", "titre_corps": "Stanislaw Wyspianski. Portrait of himself", "titre_sommaire": "Stanislaw Wyspianski. Portrait of himself", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 41, "texte": "Stanislaw Wyspianski. Portrait of himself"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c024", "article_bluemountain": "bmtnaau_1909-07_01#c024", "volume": "bmtnaau_1909-07_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": 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=bmtnaau190907-01.2.13.2", "titre_corps": "Two Designs for a Stage Scene for \"The Legend' by Stanislaw Wyspianski", "titre_sommaire": "Two Designs for a Stage Scene for \"The Legend' by Stanislaw Wyspianski", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 155, "texte": "Two Designs for a\nStage Scene for \"The\nLegend' by Stanislaw\nWyspianski.\nReproduced by permission of Architect\nW. Ekielski, joint author of the 'Acropolis.'"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c027", "article_bluemountain": "bmtnaau_1909-07_01#c027", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "38", "image_debut": 38, "image_fin": 50, "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=bmtnaau190907-01.2.14", "titre_corps": "THE ARENA GOLDONI, ITS PAST, ITS PRESENT AND ITS FUTURE", "titre_sommaire": "THE ARENA GOLDONI, ITS PAST, ITS PRESENT AND ITS FUTURE", "signature_source": "Dorothy Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 2964, "texte": "THE ARENA GOLDONI,\nITS PAST, ITS PRESENT\nAND ITS FUTURE\nby Dorothy Nevile Lees.\n\nIn a city so ancient as Florence, in one which, until recent\nyears, remained so compact and close-crowded within its\nmassive walls, there is no space of ground which is not rich\nin associations, no street along which the ghosts of a past\nage do not walk with us at every step.\nFor, in spite of the centuries during which they have lain in their dusty tombs in the\ngrey cold churches, they are curiously alive, those old Florentines: how could it be other-\nwise with race so vigorous and vital, so keen and quick-witted and alert? how could death\never really conquer them, or the broad marble slabs of their carved monuments ever really\nshut them in? At midday, in the crowded tourist season, they may shrink away a little; but\nat nightfall, and in the hot silence of the summer noon when the city is well nigh deserted,\nit is of their presence we are most conscious; it is they who pass with us along the pave-\nments, their faces which look down upon us from carved window frame or pillared loggia;\nthey who shelter in the deep shadows which the blazing sunshine casts into the streets from\nthe heavy eaves of the palaces; they who linger on the bridges while the moon whitens the\nbroad waves of the Arno during those hours when no modern sound of tram or motor breaks\nthe silence, and nothing is heard save the lapping of the water against the stone piers, and,\nfrom somewhere in the darkness, the throbbing of mandolines, and a voice in which all the\npassion of the South seems to find expression streaming out like a banner towards stars.\nit is in such hours that the old Florence lives again for us; that we find the city peo-\npled with strange presences, that we feel our houses to be the dwellings of sweet shadows\nand of living ghosts.\nAnd is not this inevitable ? There is a curious permanence in a noble past. It is\ntenacious of its power. Materially it passess: spiritually it lives, Today epitomises a mil-\nlion yesterdays. The present ever rises upon the past. The future will be born of the\npresent. We are linked to these old Florentines by an indestructable chain. Beneath the foun-\ndations of our houses are the foundations of theirs, theirs rose upon the foundations of others,\nand so on, since the earliest day when the first architect raised the first walls upon each piece\nof ground, from one to another, through all the centuries, has passed the message, \"After\nme cometh a builder; tell him I too have known!\" And, since it is ever interesting to know\nwho those were who yet live for us in their works, those who before us were sheltered by\nthe same walls, passed in and out of the same doorways, let us trace a little the history\nof the Arena Qoldoni, the traditions of that piece of ground between the Via Serragli and\nthe Via Romana,, the Via Santa Maria and the Via Serumido upon a part of which it stands.\n\n& The old\nFlorentines\nThe permanence\nof the past."}, {"page_pdf": 39, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 4635, "texte": "THE ARENA GOLDONI IN THE FIFTEENTH CENTURY.\n-0 The great \" Stabilimento Goldoniano \" of which the Arena forms a part is associated\nwith two convents which originally stood there, those of Annalena and of Sta Chiara, the\nbuildings and gardens of which together covered about 140,000 square feet of ground. Of\nthese the larger and more important seems to have been that founded by Annalena, whose\ntragic story is typical of the turbulent times in which she lived. And this is how the\nstory runs:....\nIn the yar 1426, to Oaleotto Malatesta, Lord of Chiusercole and member of the great Ri-\nmini family, and to his wife Maria degli Orsini of Rome was born a little daughter, Anna\nElena, who, being early deprived by death of her mother's care, was sent, her father being\nabsorbed in war and politics, to be brought up by her Aunt Elisabetta dei Conti Ouidi who\nlived in Florence in the parish oi San Felice. & &\nHere, in the midst of that wonderful quattrocento Florence, where the astute Cosimo dei\nMedici was fast establishing the supremacy of his family, where Fra Angelico was painting\nin the cloisters of San Marco, where Brunelleschi was raising his great dome and Ghiberti\nworking upon his golden gates, little Annalena was educated; and, since childhood was short\nin those days, and the inevitable choice, marriage or the cloister, had to be made early by\nevery girl, she was not yet in her teens before Madonna Eiisabetta was on the lookout for\na suitable husband for her niece.\n& Her choice, fell upon a certain Baldaccio, Lord of the castle of Ranco near Anghiari; one\nof those condottieri who, like Sir John Hawkwood, lived by warfare, selling his sword to\nfirst one and then another of the rival states in that continual struggle carried on in the\ndisunited Italy of that day, and, when not engaged in this way, occupying himself in private\nand picturesque plundering on the mountain passes. & & &\nBaldaccio was at that time high in the favour of the Florentine government for the pro-\nwess he had displayed in their interests, and although more thnn once condenmed to death\nfor violent and lawless deeds, he had always managed to make his peace with the authorities\nand was in 1437 presented by the Florentines with the freedom of the city, and, by a de-\ncree dated June 19th of the same year, with a house valued at four hundred florins, which,\nwas afterwards known as Casa Annalena.\n& This fierce young soldier was rendered no less eligible in the eyes of the match-makjng\ncontessa Elisabetta by his ferocious deeds and his narrow escapes from execution; and the\ncontract between little Annalena and her condottiere was signed on February 7th, 1438,\nAnnalena's dowry being fixed at two thousand gold florins of \" good weight and Florentine\ncoinage \", a list following of the houses and property of the young couple which were to be\nsettled upon their heirs for ever, and Baldaccio being bound \" never to make cause of\nquarrel against his wife.\"\n&SO Annalena, with her jewels and painted\" cassoni\" full of fine dresses and her two\nthousand gold florins, went to live in the house whioh the government had bestowed upon\nher husband, and there, a year later, a little son, Guido Antonio was born.\nTo be fhe wife of a condottiere in those days was, however, to have but little of one's\nhusband's society, and for the three years after his marriage Baldaccio was engaged, some-\ntimes for and sometimes against Florence, in almost ceaseless war.\n& But meantime, while he was fighting at a distance, his enemies were busy at home; let-\nters of complaint against him sent by the feudal chiefs of the Romagna, on account of the\ndestruction of their crops and the violation of their homes, aroused the displeasure of the\nTen of War, and Baldaccio was summoned back to answer for his doings.\n& In the old house Annalena was awaiting him with her two-year-old baby, ready to warn\nhim of the dangers threatening him in the city,... greater, probably, than the danger which\nhe had run in the field, for his enemy, Bartolommeo Orlandini, was gonfalonier, and the\naudacity of Baldaccio's conduct in the recent war had so aroused the fears of the Signoria\nthat they were desirous of putting him out of the way. & & &\n& Some say that Orlandini had been embittered owing to the fact that Annalena had re-\npulsed certain advances made by him in her husband's absense; Macchiavelli attributes his\nhatred to the fact that, sent with Baldaccio to guard Marradi, he basely fled, \"abandoning a\nposition which by its nature almost defended itself;\" which cowardice \" disgusted Baldaccio,\n\n& The Arena\nGoldonu 4? &\nAnnalena, &\nBaldaccio.\nThe Marriage."}, {"page_pdf": 40, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.40", "debut_caractere": 20, "fin_caractere_exclue": 4594, "texte": "who hotli wrote and spoke of it in hitter terms\" so that \" enraged at being thus discredit\nted, Messer Bartolommeo burned to avenge himself, thinking he could wipe out his own\nshame by the death of his accuser. &\n& But be the motive what it might, the situation was a menacing one, and the blow was\nnot long deferred.\nOn Wednesday, September 6th 1441, Baldaccio was summoned from the Piazza to the\nPalazzo delfa Signoria, a summons which, fearing some plot, he hesitated to obey; but finally,\n\"after about an hour he came.\"\nThe annals of the convent tell the story a little differently. According to these Baldac-\ncio was at home with his wife when the summons came. Both were seized with a present\ntiment of evil, and the record runs that Baldaccio \"turned to a Cristo which was in the room\nand in mortal terror begged pardon for his sin \" whereupon \" the Lord bowed his head as\nhe hung on the cross, and it has ever remained so in our monastery to the great devotion\nof us all.\" & & & & & & &\nHowever that may be, within the hour Baldaccio had said goodbye to Annalena and taken\nhis last walk across the city to meet his fate.\nMacchiavelli gives the following account, confirmed by Canibi, Ammirati and others, of\nthe way in which the plot was carried out. He relates that, having made up his mind to\nslay Baldaccio \" Messer Bartolommeo concealed a band of armed ruffians in his chamber,\n\" and on Baldaccio's coming, as he did daily, into the Piazza to speak with the magistrates\n\" about his engagement, the gonfalonier sent for him, and he, without misgivings, obeyed\n\" the summons....\" though this last statement is difficult to reconcile with other accounts.\n\" The gonfalonier,\" continues Macchiavelli, \" came forward to meet him and walked\n\" with him to and fro along the passage leading to the chambers of the Signers,\n\" talking of his engagement. But presentiy, when he thought the suitable moment\n\" had come, being then close to the chamber in which he had posted his armed men, he sig-\n\" nailed to them, and they, rushing out and falling upon Baldaccio, wh© was unarmed and\n\" alone, siew him. They then from a window of the palace facing the Custom House, threw\n\" the body to the ground, whence, carrying it to the Piazza, they cut off the head, which\n\" for a whole day they showed as a sight to the people.\" & & & &\nThe headless body was carried home to poor little Annalena, waiting in an agony of\nforeboding for the outcome of the interview, and changed the quiet home into a house of\nmourning, where the girl-wife sobbed her heart out over her dead husband, and the priests\ngathered to pray for the soul of this fierce soldier who had himself met with a death as\nsudden and violent as that which so many had met with at his hands. Then, in solemn pro-\ncession, with wailing chants and the hot glare of many torches, Just as one may see in Flo-\nrence any evening now at nightfall, they bore Baldaccio away for the last time through\nthe familiar streets and iaid him in the great church of Santo Spirito, leaving Annalena to\nher loneliness and sorrow in the house which, but three years previously, she had entered\nas a bride, jg? &\nBaldaccio's property was confiscated by the government, but, so great was the respect\nin which his girl widow was held that, when she protested on behalf of her little son, all\nwhich had been Baldaccio's by inheritance and not by robbery was restored. &\n& But Annalena's troubles were not ended. Not long after three-year-old Guido Antonio\nfell ill; neither prayers nor doctors could save him, and his mother saw him, too, carried\naway on his open bier to burial, no good San Zanobi intervening, as in the case of that\nmiraculous restoration of a child of the Albizi painted by Ghirlandaio, to raise him from\nthe dead.\nThus Annalena remained a childless widow when barely seventeen, and, refusing all\nsuitors presented to her, turned from a world which had dealt with her but harshly, vow-\ning herself to perpetual widowhood and good works. By degrees she gathered around her\nother widows, solitary as herself, and these, living together, devoted themselves to charity,\nsolacing, in the care of orphan children, their mother-hunger and the loneliness of their\nhearts.\nBound at first by no vows and united only by their sympathies, a desire to be definitely\nenrolled in some order grew in time among the community, and in 1450 Annalena journeyed\nto Rome and obtained a Brief from the Pope sanctioning her to receive as cloistered nun\n\nBaldaccio* s\ndeath. &\nMacch lav elli} s\naccount.\nA girl widow. &\nThe founding of\nthe convent. &"}, {"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 4785, "texte": "young girls and widows desirous of separating themselves from the world under the vows\nof the Third Order of penitents of St Domenic. JZ?\nSo many gathered around Annalena on her return to Florence that, her own house no\nlonger sufficing, she was obliged to enlarge it and build a convent, and we find a document\ndated June 12th 1458, which states that \" Annalena de' Malatesti buys from Stefano di\nNello di Ser Bertolommeo di Ser Nello \" three houses adjoining her own. A garden was\nalso purchased for a hundred gold florins, and a church began to rise apace. Papal sanction\nwas obtained for the celebration of mass in the convent and for the use of church bells,\nand by 1460 there were one hundred nuns in the new building, besides a scheol for children.\nHow much of this work Annalena actually lived to see completed is uncertain. That\nquaint old book, the \"Qsservatore Fiorentino\" tell us that, \"a sensitive and pure woman, she\nfollowed the way which sorrow showed her from earth towards Heaven about the age of twenty\nfive\" but the foregoing documents prove her to have been buying houses and visiting Rome at\nthe age of thirty one, not dating her death until 1480. Whichever date be the correct one,\nhowever, certain it is that she \" lived and died a saint \" and that, as Macchiavelli writes,\n\"it is by this convent founded by her and bearing her name\" that \"her memory lives and\nwill live always.\"\nAfter Annalena's death the convent continued to flourish, and we hear of Caterina Sforza\nduring the second exile of the Medici in 1494, hiding her six-year-old son Giovanni there,\nunder the care of the nuns, disguised as a little girl. Here the child, who was to grow into\nthat ferocious warrier, Giovanni delle Bande Nere, was kept and educated for eight months;\nand, since he grew up to be the father of Cosimo Ist and of all the Medicean line of\nDukes, it may be said that the Sisterhood, in saving his life, was saving the whole race.\nAnother person who found refuge here during the third Medicean exile in 1527 was\nTommaso Soderini, who, while confusion and anarchy reigned in the streets, fled here and\nwas sheltered by the nuns.\nAs may be imagined, so popular a convent would hardly be without its art treasures,\nand we hear among others of a Nativity painted by Fra Lippo Lippi for Annalena, in which\nher brother, Fra Roberto, Knight of Jerusalem, was depicted as St Hilary. Mention has al-\nready been made of the famous \" Cristo \" which bowed its head to Baldaccio, and which\nwe may be sure would be preserved as a sacred relic by his widow; and there is also re-\ncord of a wonderful Virgin called \" The Virgin of the Ball.\"\n& In the National Library at Florence is a small book with vellum back and blue and\nyellow side covers of one of those quaint patterned Florentine papers to which the\nprocess employed in their production gave a softness and delicacy which modern imi-\ntations fail to attain. Here, in strange company, flanked by \" The Loves of Hero and Lean-\nder, \" by \" Christian instruction on the Sacrament of Confirmation \" printed at the Episco-\npal Press in Pistoia in 1783, by a treatise on the \" Guild of Free Masons \" printed at Na-\nples in 1748 and other equally incongruous matter, are sandwiched about fifty pages of which\nthe title reads as follows; \"Information as to the Venerable Image of Mary Virgin of the\nBall, for long preserved in the monastery of Annalena of Florence, collected by Domenico\nM. Manni. \" Beneath is a lozenge-shaped woodcut, with a design of three nails surmounted\nby a cross and 1. H. S. and surrounded by the inscription \"In Florence, 1763, at the Press\nof Pietro Gaetano Viviani, with Permission of the Superiors.\" The treatise is dedicated to\nthe Signora Maria Antinori Settimani, a benefactress of the convent, by her \" most humble\nservants, Sister Francesca Teresa Dati, Prioress and the Nuns of Annalena.\" &\n& The author in a prefatory note, explains that his researches have been undertaken at\nthe urgent request of the nuns, but that the material available in their archives is but\nscanty, owing to a disastrous fire which took place there in 1511. However, a certain amount\nof success he admits to having had, and therefore rejoices that he yielded to the pressing\nentreaties of those who united \" to the purity of their blood a christian piety.\"\nHere we have evidence enough of the aristocratic character of the convent, but even if\nthe writer did not assure us of the fact repeatedly, the names of the sisters recorded in the\narchives are sufficient proof of the nobility of the families whose members found admit-\ntance among the nuns.\n& It is easy to understand the desire of the sisterhood that researches should be made into\nthe history of their Madonna. Their amour-propre was wounded by the records of the mi-"}, {"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.45", "debut_caractere": 4809, "fin_caractere_exclue": 4868, "texte": "& Some\nrefugees.\nArt Treasures.\n£> The Madonna\nof the Ball."}, {"page_pdf": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.46", "debut_caractere": 22, "fin_caractere_exclue": 4476, "texte": "raculous doings of other people's Madonnas while they, owing to that lamentable fire, had\nnothing of which to boast. One can imagine how each church or convent plumed itself upon\nthe attainments of its own Saint or Virgin, and how it rankled in the hearts of Annalena's\nfollowers that their records should be so imperfect on this point. & & &\n& Others, they declared, fell back on private diaries when official records were wanting.\nWas it not a private journal which related that on November 13th, 1506, a figure of Our\nLady of San Michele Berteldi had opened her lips and begun to speak of her own miracles?\nHad not the Madonna dei Teri, now enclosed with a holy tabernacle, done, according to\nanother, the same thing? and on April 15th, 1564 did not the news run through the city\nthat a painted image of our Lady in a shrine on the outer wall of the city between the\nGates of St George and St Pier Gattolino, had performed miracles? In view af all this nothing\nwould satisfy the nuns of Annalena but that something should be found to add to the glory\nof their Madonna of the Ball, and how far success crowned their efforts may be read in the\nlittle volume above cited. JZ? &\n& It was, indeed, a certain legend clinging to this image which gave it its name; for, we\nare told that, to protect her Baby from a ball flung by a little boy, Madonna Mary caught\nit and held it ever after in her hand, while, to save himself from the blow, the Holy Child\npressed his face close to that off his mother, a gesture which the image ever afterwards\nretained.\nWhat the precise construction of the convent was in those days it is not easy now to learn,\nor what exact part of the large area covered by buildings and gardens comprised the convent\nof Sta Chiara, which was so close to that of Annalena that we read that a little door led\nfrom one to the other, and that, in consequence of a long-cherished desire felt by the nuns\nof the two Orders for each others' acquaintance, a solemn visit took place once a year.\nLater on, however, discord arose between the two communities and the door was opened\nno more.\nThe contiguous part had, even early in the nineteenth century, disappeared, making\nplace for a garden, but that the church of Annalena adjoined the street of Sta Maria\nwhich forms the northern boundary is proved by the record that it was the custom on Sa-\nturday nights while the office was being sung, to have the windows on to that street open\nso that the people of the neighbouring houses might hear and take their part. &\nTHE ARENA GOLDONI IN THE NINETEENTH CENTURY.\nhe gentle placid life of the nuns seems to have continued until the beginning of the\nnineteenth century, when, after the suppression of many of the religious orders, the adjoin*\ning buildings of Annalena and Sta Chiara entirely changed their aspects and their aims.\nWe are told that \" a clever and courageous intraprendente, Signor Luigi Gargani, pur-\nchased them with the view of founding there an establishment which should unite various\nkinds of decent diversions for every season of the year,\" his scheme comprising an Arena,\na Theatre, gardens, billiard rooms, ball rooms and other places of amusement.\nHis first proceeding was to build a theatre for evening performances, no such thing\nexisting in the southern quarter of the city, and this, planned with many 'elegant additions'\nfor the use of both the Court and the general public, was \" dedicated to the immortal Carlo\nGoldoni, from whom the whole establishment has taken its name.\"\n& This theatre was opened to the public on April 7th, 1817, and in the following spring\nthe Arena for daylight performance was also completed and opened, with houses, stables\nbilliard rooms, a ball room, (adjoining the Arena and now used for the inspection of re-\ncruits), and a large garden with loggias and covered galleries. Indeed, the whole scheme\nwas in accordance with the name of \" Delices Goldoniano \" given to the place by a writer\nof that period. &&&&&&&&*&\n& Gargiolli writing about 1818, asserts that the Arena was built on the foundation of the\nconvent of Sta Chiara, an ancient religious house which, under one rule or another, dated\nback to the eleventh century, whereas the 'Osservatore Fiorentino' asserts that this building\nwas turned into a school. But whichever be right amongst the various historians, and whether\nthe remains of pillars and carved capitals which still exist on and near the stage of the\n\nQardani's\nscheme."}, {"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 4938, "texte": "Arena be those of Annalena or of Sta Chiara, they afford tangible and indisputable evidence\nthat a church or cloister of one or the other of the two sisterhoods stood upon this site.\n& The Arena was designed and built by the architect Corazzi who afterwards went to Var-\nsovie in the service of the Czar of Russia, and, being his first work, was a remarkable achieve-\nment for so young a man. This architect was a pupil of Del Rosso by whom he was recom-\nmended for his honourable position in the Czar's service,... a position in which, we are told,\nhe greatly distinguished himself.\n<6? The description given by Gargiolii of the architectural form of the Arena is as follows,\n44 Le parterre, en forme de demicercle orchestra, le degres sur lesquels les spectateurs\n44 sont assis cunei graduorum; le portique couvert qui les entoure porticust les debouches\n44 qui coupent le degres aditus, tout cela est parfaitement conforme au theatre des Romains\n44 et doit surprendre les amateurs de I'antique qui n' entrouvent nulle part une imitation\n44 aussi fidele et aussi bien appuyee a nos usages. Le proscenium des anciens etait seul incom-\n-44 patible avec nos representations dramatiques, et c' est pourquoi on Fa remplac£ par une\n44 scene couverte a peu pres comme celle des Theatres modernes.\"\nGargiolii was certainly justified in his enthusiasm over the architecture of the building.\nIt is beautiful; and it is this beauty, possessed in so extraordinary a degree, which raises it\nabove almost every open air theatre of its kind which exists today. Its proportions are per-\nfect. Though quite large, (it seats 1500 people), one is not conscious of its size; it is well\nknit together and does not sprawl like so many modern amphitheatres. Although it bears\na certain resemblance to the Coliseum of Rome, it has none of the weakness of a copy; it\nis the strong and original work of an original and gifted mind\nOf the performances given at the period of its construction there is little record, but\nsomething of the behaviour of the audience may be inferred from Conti's description in his\n44 Firenze Vecchia,, of the smaller Florentine theatres, the scenes which he records as ta-\nking place at the Quarconia and the Goldoni Theatre being doubtless characteristic also of\nthe Arena, though probably in a somewhat modified degree, as it seems to have been in-\ntended for performances by day rather than by night. Still, it may have had its share of\nthose evening performances at which, according to Conti, the most riotous scenes took\nplace. It is true that it had been opened for the Court also to visit, but apparently such\nvisits were not continued, being paid instead to the more dignified performances at the\nPergola,.... perhaps owing to the coarse and realistic style of play most in favour in the\nsmaller theatres.\n& At these the people usually arrived early, with pots of stew or lamb, bread and flasks\nof wine, which they consumed in the semi-darkness that, lighted only by three or four oil\nlamps, reigned until the curtain rose. As it was their pleasant custom during these carousals\nto throw their bones and empty flasks upon the heads of those below, it can be imagined\nthat this often gave rise to litigation and heated protest, and that violent scenes ensued, in\nwhich bones and crusts served as missiles, and the 44 reply courteous \" quickly leapt the\nintermediate stages to the 44 lie direct. \" <£? & & & &\nThe performance, when at last it began, seldom consisted of one comedy or farce only,\nbut usually of five or six things, such as a drama in six or seven acts, a pantomime, a farce,\na ballet, and even a wrestling match, although at the Goldoni Theatre, and so perhaps also\nat the adjoining Arena, opera seems to have been more popular than anything else. £>\nThe theatre has always been one of the inborn passions of the Florentines, and the people\ntook the keenest interest in what went on upon the stage, treating it as if it were real. A ty-\nrant was usually received with shouts of 44 kill him, kill him!\" a victim to whom poison\nwas offered with warning cries, 44 It's poison! don't drink!\" while on their way home they\nwould discuss the crimes they had witnessed and that they longed to witness, the injustices\nwhich had been perpetrated, as seriously as if it were all true instead of make-believe.\nThese smaller theatres, probably from their democratic and realistic character, from the\nspectacles, managed by common minds for common minds, which they offered, were usually\nonly frequented by the lowest class of the people; riotous conduct was the rule, not the\nexception, and arrests were frequently necessary among the rowdy crowd whose exuberant\nspirits found vent in demonstrations for which 44horseplay\" would be too mild a term.\nIndeed, at times it was only with fixed bayonets that the soldiers could repulse or\ncontrol the people at a11,,., a contrast to the state of things at the Pergola, which Conti"}, {"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.47", "debut_caractere": 4964, "fin_caractere_exclue": 5019, "texte": "The Performan-\nces. J& &\nThe Audience,\nA riotous crowd."}, {"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.48", "debut_caractere": 22, "fin_caractere_exclue": 4214, "texte": "describes as frequented only by the Court, the nobles and the richest and most distin\nguished foreigners, and as so quiet that not a fly could be heard, so orderly and solemn\nthat one felt as if entering a church! & & & & & &\nTHE ARENA GOLDONI IN THE PRESENT.\nA.nd now, as the quiet nuns before them, so these riotous jovial crowds have gone their\nway and the Arena has entered upon another phase of its existence,... a phase of emptiness,\nsilence, of quiet ordered activity, of preparation for great things to be.\nAll day the imperious Tuscan sun pours down upon the circular tiers of stone seats, upon\nthe pillared loggia which crowns them, and upon the white walls above which cut in sharp\ncontrast against the intense blue of the Italian sky. From the gardens beyond comes the\nmusic of the song-birds and a little murmur of wind-stirred leaves. The lizards bask undi-\nsturbed on the hot stones and run up and down the columns. The noises of the street out-\nside penetrate but faintly into this peaceful place, where there is no change through the\nlong hours save the shifting of the shadows, the drifting of clouds like white ships across\nthe blue, the alternation of the day and night. &\n& The two foremost things which strike one on entering the building are its unexpectedness\nand its beauty. On coming in from the narrow Florentine street the first impression created is\none of exquisite surprise,... of having discovered some beautiful secret thing; such an impres-\nsion as is created when one passes from some dark byeway through a commonplace door in\na commonplace street, and then,.... one of those wonderful Italian cloisters with their slender\ncolumns, their arches, their lovely fading frescoes, their green grass and pink roses, their\ninviolable quiet.\n& The next impressicn is of a profound peace, due partly to a certain quietness and dignity\nin the architecture, partly to the silence which reigns. & & jg/\nAs the door closes the noise of the street seems to become suddenly very remote, to be\nseparated from one by more than a stout oaken door and a few yards of dusky passage;\nrather is it separated by that infinite gulf which by material calculation may be but a\nhand'sbreadth,... the gulf between restlessness and tranquillity, between sound and silence,\nbetween darkness and light.\n& Since the Arena came into the possession of Mr Gordon Craig there have been no per-\nformances. In the large entrance hall stands his model theatre where he experiments with\nhis lights, his wonderful little wooden figures; but the actual stage is empty and unused.\nIn a large vaulted room, lent by Mr Craig for the purpose, The Mash has its editorial\noffices; down in the sunny courtyard the compositors ply their peaceful eraft: in one of the\nsmaller rooms beyond a printing press is estabiished: but, for the rest, the Arena is waiting,....\nwaiting for plans to materialise, for ideals to be fulfilled. & & & JZ?\n& Mr Craig is in no hurry. Men who are occupied with great things seldom are. An ideal so\nbeautiful, a work so imperative, as his, is the guarantee of its own fulfilment. Time and all\nother forces must, one feels, become subject to so indomitahle a purpose, so undeviating\nan aim.\nThe man is ready; the place is ready; the idea is ready. All that is now needed is the\ncourageous capitalist who shall come forward with the golden key which shall unlock the\ndoor of that future where so much beauty waits. &\nTHE ARENA GOLDONI IN THE FUTURE.\nAnd what of that Future? Well, it is a subject which i will leave to be treated of fully\nby those better qualified than I to speak of it. Something, however, I have learned of Mr\nCraig's intention, and so may give if but a hint of this.\nHe intends to found a school there, a school of the Art of the Theatre such as has never be\nfore existed. It will be an ideal society organised for the accomplishment of an ideal work. All\nover Europe are men scattered here and there, working in the different theatres, but wait-\ning ; ready on the moment when that little miracle of the capitalist shall have been work-\ned, to leave what they are doing and come and group themselves around the man in whom\n\nIts Beauty.\nThe Mask,\n~\nA School, &"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 4661, "texte": "the hopes of the European theatre find at once their centre and their guarantee.\nHere, for several years, they will study to perfect themselves in the crafts pertaining\nto that which, in his writings, Mr Craig has told us that he means by the Art of the\nTheatre. Then, when the preparation time is over, their means perfected, they will begin\ntheir public work. &\nCertain hints as to the methods they will adopt have already reached us through Mr\nCraig's recent writings in The Mask. &\nFrom those we may gather that here, under his rule, realism and artificiality will find no\nplace: that redundant and petty detail will be excluded, obtrusive personality subdued: that\nwe shall witness symbolism rather than imitation, suggestion rather than statement, that\nthe intention will be to insist more upon the ideal than the actual, and, by poetry and sig-\nnificant action, to convey impressions rather than chronicle facts. We know that here\nwill be dispelled the illusion that the artist of the theatre must be the actor or the poet\nor the painter, for instead of these being called in to give their assistance; the work done\nwill be entirely independent, created for the Theatre by Artists of the Theatre, and thus\npossessing a harmony impossible where that which is set before us is a patchwork of the\nproductions of many minds... & &\n& Mr Craig's idea of an artist of the Theatre is, as he has told us repeatedly, a man who\ncontains in himself all those gifts possessed by stage manager, actor, scene painter, costu-\nmier, and electrician, and who adds to all these the gifts of a poet; a man who can use\nand control, for the expression of his own idea, sounds, colours, gestures, lights, figures\njust as the musician makes use of alternating notes and silences, the poet of words, the\npainter of line and colour, light and shade. &\nIt is with the intention of training such artists as these that Mr Craig has taken the\nArena and intends to found his school. &\nWhat will be the result upon the public when the time comes for their first represen-\ntations it is not hard to surmise. A part of their work will certainly amaze and a part it\nwill probably amuse; but there will be a certain number scattered here and there over Europe\nwho will understand, and who, owing to these artists, may find Florence become in a new\nsense, the home of Beauty, the centre from which a new revelation of it shall be given to\nthe world.\n£/ And is not the Arena, of all others, by its history as well as by its architectural quali-\nties, the ideal place for this renaissance of the Art of the Theatre? For is not Mr Craig's\nideal for the Theatre of Future that it shall be a place no less sacred in its character, no\nless uplifting in its influence on the national life, than a church? so is there not, therefore,\nsomething peculiarly fitting in the fact that this home of the Theatre of the Future should\nhave beenformerly a church?\n& Here those women of a past day sought sanctuary from the sorrows and discords of the\nworld. Here we shall seek sanctuary from the blatant realism and commercialism of the\nmodern stage. Here, sick of artificiality, we shall find the simplicity and sincerity which are\nthe attributes of Beauty; the symbolism which satisfies our imagination instead of the realism\nwhich bruises and the superfluity of detail which stifles it; here, through our eyes, we shall\nreceive that sacrament of Beauty which shall refresh and purify our hearts. £/\nAs I sit upon the stage and write this the shadows are deepening about the lofty pillars\nand the arches. So strong is the spell of the past that almost they seem the black figures\nof Annalena and her nuns lingering in the cloisters where, at this hour, they must have\nso often passed to vespers. The sudden cry of a child cuts the silence. It might be that of\nlittle Giovanni of the Black Bands, turbulent and passionate even in his baby days. £>\nThe brief twilight fades, the luminous green of the sky has turned to sapphire, in which\na few great stars are throbbing like jewels on the breast of night. The rising moon sharpens\nthe shadows in the loggia opposite and transfigures the stained plaster of the walls and co-\nlumns until they seem as if built of pearl. In a cypress in the gardens beyond a nightingale\nis singing. Tranquillity and loveliness dominate the scene. It is a place shut in from the\nugly, the restless, the noisy and vulgar; full of silence; open only to the wind and rain, to\nthe sun and moon and stars.\nHere, watching the encroaching shadows, one may dream undisturbed, peopling these quiet\nspaces with the creatures of imagination, the figures of a long past day; with Annalena the"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.49", "debut_caractere": 4687, "fin_caractere_exclue": 4730, "texte": "Its work and\naims.\n& The spell of\nthe past."}, {"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.50", "debut_caractere": 22, "fin_caractere_exclue": 2377, "texte": "young widow who founded here her convent, and Corazzi, the young architect who achieved\nhere his first work, and many many more. They are all gone now, as today's shadows will\nbe gone tomorrow, but their work remains; that which they touched and looked upon yet\nsurvives.\nPerhaps it is some trace of the cloistered spirit of those many nuns which yet lingers\nhere and which gives such charm, so peaceful an atmosphere, to the place.\nAh, indeed, there can be few more beautiful theatres in the world than this! It is ideal\nand stirs ideal emotions; and, since it is the prerogative of the artist not merely to create\nbeauty but to increase and develop that already existent, the degree of his power being\nmeasured by his capacity for so doing, of what will this place not prove capable in the\nhands of so supreme an artist as Mr Gordon Craig? &\nAt that thought the illusion of the past fades a little: it is, instead, the spell of the fu-\nture which dominates and holds. The place, for all its tranquillity, seems to be awaiting\nsomething. It is the destined beauty: and, since destiny is strong, the issue leaves little\nroom for doubt. It seems almost as inevitable as the past is sure. & &\n& Mr Craig's purposes are the outcome of long practise and profound research. He has stu®\ndied well the details of his organisation; he has foreseen contingencies, he has balanced\npossibilities. The scheme is ready; it awaits, like a ship in dock, the hand which shall cut\nits cable and launch it upon the seas. & & & &\nAnd who shall do this ?\nWell, there are many rich men, and some of them are courageous and ready to support\ncourageous enterprises, and there are even some who understand that Beauty is as worthy\nan investment, and, in a profound sense, as profitable a one, as railway shares or mines.\n& Of course such men are rare: but the world has not grown so old yet that courage\nand generosity and large interests and noble enthusiasms are dead, or that all these qua®\nlities may not at times be found united in the person of a millionaire. & J&\n& One of these days such a capitalist will pass by the Arena, and pause, and give the ne®\ncessary magical touch with his golden wand, and, so at length work the last little miracle\nneeded to bring realisation to hopes, fulfilment to purposes and actuality to dreams, &\n\nThe future.\nA \" courageous\ncapitalist."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c030", "article_bluemountain": "bmtnaau_1909-07_01#c030", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "31", "page_fin": "31", "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=bmtnaau190907-01.2.14.3", "titre_corps": "THE PALAZZO AND PIAZZA DELLA SIGNORIA", "titre_sommaire": "THE PALAZZO AND PIAZZA DELLA SIGNORIA", "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": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 37, "texte": "THE PALAZZO AND PIAZZA DELLA SIGNORIA"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c031", "article_bluemountain": "bmtnaau_1909-07_01#c031", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "32", "image_debut": 44, "image_fin": 44, "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=bmtnaau190907-01.2.14.4", "titre_corps": "The Arena Goldoni", "titre_sommaire": "The Arena Goldoni", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 65, "texte": "The Arena Goldoni; Mr Gordon Craig's open air theatre in Florence"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c032", "article_bluemountain": "bmtnaau_1909-07_01#c032", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 50, "image_fin": 50, "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=bmtnaau190907-01.2.14.5", "titre_corps": "THE ARENA GOLDONI", "titre_sommaire": "THE ARENA GOLDONI", "signature_source": "E. THESLEFF", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.50", "debut_caractere": 2379, "fin_caractere_exclue": 2409, "texte": "THE ARENA GOLDONI E. THESLEFF."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c033", "article_bluemountain": "bmtnaau_1909-07_01#c033", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 51, "image_fin": 51, "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=bmtnaau190907-01.2.15", "titre_corps": "Mr FROHMAN'S LAST CONFESSION", "titre_sommaire": "Mr FROHMAN'S LAST CONFESSION", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 3269, "texte": "Mr FROHMAN'S LAST CONFESSION\nby John Balance.\nI am referred to I am always spoken of as an exemplary businesss man. Now\n1 think that is about the last thing in the world that lam \". & J& &\nDaily Mail, May Ist, 1909\nWe always suspected it. We knew Mr Frohman was not an artist and now he confes-\nses to what we had feared,... that he is no business man. &\nThen what exactly is Mr Frohman ? Nobody knows now. Some had dreamed a fair\ndream that Mr Prohman was the ideal business man, but he himself denies it. Mr Prohman\ncan now leave the Theatre with a clear conscience, for we want no men in the Theatre\nwho are confessedly unbusinesslike and obviously inartistic. &\nStill, 44 I like reading plays and buying plays and producing plays \" sobs Mr Frohman after\nhaving admitted his incompetence. And let us add that he likes lowering the standard of\na once noble institution.\nAnd just because he likes doing all this as an idler does, without being able to give\nany good reason why he does it, he is as a worthless and degenerate derelict in the The-\natrical seas and search parties should be formed by the Admiralty,... by Messrs Collins,\nTree, Alexander, Maude and Harrison, and the poor thing should be secured and blown up\nas speedily as possible.\n& The Germans have warned us about this Frohman danger. Our own experts have war-\nned us also; and if you will ask most of the leading European stars they too will warn you\nagainst this gentleman at large who confesses to his inability as a business man. & &\n& What do the stars want with a business man who ruins their business for them ? The\npathos of the situation of a man who has spent his life making mistakes in the Theatre is\naugmented by this trembling confession of the reasons which have induced him to so great\na folly \"I like reading plays, buying plays, producing plays.\"\nIf Mr Prohman reads a few plays it will do nobody any harm. Brown or Smith can do\nso also, and for the cost of a few shillings. And buying plays is only a little more expensive.\nAs for producing plays, has Mr Frohman produced a play in his life? We believe that he\nhas not and cannot; and, being incapable, he is obliged to employ others to do his work of\n44 producing.\nCompare, for instance, Mr Frohman with Mr Arthur Collins, and you soon see what is\nthe difference between an amateur and a professional. &\nMr Arthur Collins has worked his way from the position of call-boy to that of manager\nof Drury Lane,... and without any skipping of the difficulties. Mr Collins is a well-equipped\nmanager and understands all the crafts which he employs to produce his effects. He can write\nyou a play if necessary; act you a difficult part, rehearse two hundred supers with success*\ndesign and paint with his own hands any scenes he may need,... and added to all this is a\nshrewd man of affairs. The net result is Old Drury,... a national asset. & &\nIt is Mr Collins who should be given the control of the many London Theatres which\nMr Frohman plays about with. &\nWhy? Because Mr Collins is an Englishman and thorough, and because Mr Frohman\nbeing an American and 44 more of a sentimentalist than a business man \" could possibly\nbe of great value in his own land, but is valueless or worse in ours. £/ &\nWhat is\nMr Froliman.\nMr Arthur\nCollins."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c035", "article_bluemountain": "bmtnaau_1909-07_01#c035", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 52, "image_fin": 52, "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=bmtnaau190907-01.2.16", "titre_corps": "Mr BERNARD SHAW AND THE CENSOR", "titre_sommaire": "Mr BERNARD SHAW AND THE CENSOR", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 2530, "texte": "Mr BERNARD SHAW AND THE CENSOR\nby John Semar\neally Mr Bernard Shaw's quarrels grow somewhat tiresome*\nHe has nagged at everything which is beautiful and Beauty\nhas turned the cold shoulder to him. He is unable to create\na work of Beauty,... a work of Art. And now in sheer des-\nperation he begins to nag at the Censor, and, what is quite\nintolerable, at His Majesty the King. £?\nWe hate this: and certainly his attitude in no way reflects\nthe feeling of the theatre towards our Monarch or his wishes.\nIt reflects instead a certain nasty socialism which the lovers\nof Shakespeare and Great Britain cannot tolerate. & £?\nMr Shaw is, in short, a most nasty traitor. Unable to\nunderstand Beauty, and unable to create a work of Beauty\nthrough lack of a certain nobility of spirit which has since time immemorial possessed the\ngreat artists, he vents his spleen on us all, creating thereby works of mischief. Mr Shaw\nwould have been imprisoned long ago in any other land than England, and everyone would\nhave rejoiced.\n& It is of no use for him to attempt to excuse himself as he does so weakly in 4\n|ark Twain asserts that Shakespeare ne-\nver existed and then asks if he is dead.\n£> Mark Twain having evidently been at\nschool as a boy with Sir Francis Bacon, and\nhaving certain prejudices against the actors\nof England, decides that no low rogue or va-\ngabond could have written 'Hamlet' and 'King\nLear.' He thinks these miracles are only to be\nachieved by lawyers or well-to-do educated\ngentlemen like Sir Francis. £?\n£? We are amongst those who hold fast to\nour dreams where we can, and like to take\nour poetry as seriously as we take our dreams.\nSo that Mark Twain's delightful nonsense\ndoes not justify us in taking him at all se-\nriously, especially as we hear on good autho-\nrity that he is now occupied in writing ano-\nther delicious work proving that if Shake-\nspeare never existed; he, Mark Twain, cannot\ndie. £/ £?\n£1 Nevertheless, the great humourist has be-\ncome so fine, so subtle in his humour, that\nthe whole reading world is taking his book\non Shakespeare seriously. A brilliant world!\nA shrewd and profound world! £?\nWhat does it matter what hand or name\nwrote the wonderful plays? Who do the sta-\ntues in Egypt represent? Rameses or who, is\nthis? and that, who? Kings erased the names\nfrom statues which they fancied and had\ntheir own cut in place of them; and who cares\nand what does it matter? No one loses there\nbyt It is the sculpture we care about and\nnot the name, and so it is with the plays of\nShakespeare. £?£?£?£>\nA nation must be growing very degenerate\nthat loses this sense of the true value of\nbeauty,.... believing that it lies in the name,\nnot in the work. &? £/\n49 Seriously to contend on either side in this\nidiotic controversy is not the particular folly\nwe English should care to indulge in. It is\nperfectly just and admirable that Americans\nshould act so and they will without doubt\nprove that Bacon wrote the plays And\nthen ?..? Having broken rudely into another\ndream of ours, they will prove that dreams\nthemselves have no existence and that our\nlittle life is not rounded by anything more\nsleepy than a certain American vulgarity.^\n\nTUB AMERICAN STAG® OB TODAY by\nWalter Pritchard Baton. Small, Maynard\nand Co. Boston. & £> &\nIn this volume of collected essays, most of\nwhich are reprinted, though with numerous\nchanges and additions, from \"The New York\nSun,\" Mr Eaton proves himself a clever wri-\nter even when faced by that supreme diffi-\nculty, a foolish or uncongenial theme. For on\nwhat rubbish is it often the unhappy lot of\nthe Dramatic Critic to discourse, how trivial\nand wearisome is much that he must witness\nand conscientiously criticise, (if he be, as Mr\nEaton evidently is, conscientious in his work;)\nhow disheartening must be the outlook for\nthe man who has dreams of the theatre as\nan Art, not merely as an amusement or a\ntrade. £/ £/ £>\n£? In his Preface Mr Eaton touches on the\nTheatrical Syndicate and his reason for not\ntreating of it in his book. 'lf,' he writes, \"in\n\" a work on the current stage in America, I\n\" have said nothing about the so-called\n\" Theatrical Syndicate, it is not because I\n\" am indifferent to its considerable, though\n\" somewhat exaggerated evils. It is a subject\n\" that does not belong to the critic of aesthe-\n\" tics. It is but a part of a vaster economic\n\" condition. The competitor in theatrical ma-\n\" nagement will after all fare quite as well\n\" as the competitor in 0i1,... if not better\nPerhaps so; but thank Heaven, never foh\nlong, for while oil is always in demand, vulga-\nrity is so only for a decade, and we look for-\nward to a day, not far distant, when the world\nshall be in love with beauty, and the false\ngod of vulgar realism be deposed.\nMr Eaton's studies cover a wide and varied\nground as may be seen by the titles of some\nof his papers: \"Sophocles in the Back Yard,\"\n(which treats of the \"Electra\" of the poet Hof-\nmannsthal): \"Parnasuss versus the Public\",\n\"Nazimova as the Lady Lisa\", \"Our Leading\nActor \", \" Kisses and David Belasco \", \" The\nRough Diamond as Hero \", \" The Servant in\nthe House\", \"Where is our Drama of '76\",\n\"Audiences \", \" Observation in the Drama \"\nand many more. The plays, players, traditions,\ntendencies of the American stage, about all\nthese Mr Eaton has something to say, and"}, {"page_pdf": 56, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4666, "texte": "often something of value, and we cordially\nrecommend this book to those interested in\nthe life and work of the Theatre in America,.,\nor rather, in America's greatest centre, in\nNew York. & & &\n\nA TYPICAL SHAKLSPKARE STAG%\nby Victor E. Albright M.A. Knickerbocker\nPress, New York. & & &\nIn this pamphlet, which forms the third\nchapter of a study, Mr Albright treats of the\nformation and working of the Shakespearean\nstage. In any discussion of this stage, howe=>\nver, the first point to emphasize is that it was\nfor the Shakespearean period; the next, whe-\nther it will stand the test of time as well as the\nplays do and serve our use today as its advo-\ncates would assert, or whether it was not\nrather a makeshift. We believe this latter to\nbe the case, for the main need, the matter\nof radical importance, in a stage, is that it\nshould be in harmony with the play or per-\nformance to take place thereon, and this\nharmony we do not find existing between\nthe plays of Shakespeare and the construction\nof the Elizabethan stage. & &\nNow in saying this we must not be mis-\nunderstood, nor must our readers jump to the\nconclusion that, if we do not favour this\nShakespearean stage we favour the \"Illusion\"\nstage. That \"Illusion\" is a vaguo word, a word\nfull of deception. With modern managers,...\nwith Mr Tree, for instance,., it means 'decep-\ntion'. Mr Tree would 'deceive' his audiences\nby what he sets before them. It is the old\nconjurer's trick again. Shakespeare would\ninstead take them into his spiritual world,\nthe world of his Imagination. This is Prospe-\nro's way. The difference is enormous, the\ndistinction obvious. &\nNo, the so called \" Shakespearean \" stage,\nand the modern Illusive stage both are bad in\ntheir several ways.\nWhat then is good? &\nNow here we come to the thing which puz-\nzles everyone. What is the Riddle? A simple\none to ask and even so simple to answer.\nIt is the old Spanish egg over again. &\nThe Riddle put to us is this: If you have a\nPlay, such as 'Hamlet' for instance, with twenty\nscenes, some taking place in open air, some\nunder a roof, some in one open place, some\nin another, how are you going to suggest this\nto the eyes of the audience and to their\nimagination on one stage without several\ndifferent scenes ? JS? & &\n& The answer given by the Elizabethan Stage\nSociety with Mr Poel at its head is that\nShakespeare knew how to do it and our best\nplan is to go back and gather as much infor-\niiiation as the incomplete records can give us.\nMr Tree's answer as representing the Illusion-\nRealism School is that Shakespeare being a\nman of the world and a good business man\nto boot would keep up to date and would give\nthe Public what the critics say the Public\nwants; that Shakespeare would be \"only too\nglad, old chap\" to have his plays run for two\nhundred nights at a stretch and would accept\nany plan of achieving this which the manager\ncould devise. Therefore he would willingly\nwitness his plays being performed before\ntwenty different realistic scenes which would\nswiftly switch the beholders' thoughts from\none idea on to another. From \" Battlements\nand a rising moon, etc, etc,\" to \"A Palace\nwith tapestries copied from the originals,\netc, etc.\" &\n& Neither of these gentlemen solves the rid*\ndie. The first begs the question and hums\nand haws nervously. The second, winking the\neye which is fixed upon the main chance, out\nof a full heart beating with love and tender\nremembrance of 'Our great William, that\never glorious master of stage craft, etc etc,\"\nproudly and generously proposes to make\nShakespeare pay at all costs. &\nAnd the cost is great. The cost is the loss\nof the play.\n& Now let us turn to Mr Victor E. Albright\nM. A. to learn why Shakespeare chose to\nchange the \"place\" so often in his plays and\nwhat reason he had in so doing.\nThe rapid changes in Shakespeare's plays\n\" from a room to a street, or a council cham-\n\" ber to a battle field, were not so construc-\n\" ted because the dice fell in that manner,\n\" but because he was writing for a certain\n\" form of stage with a fixed method of staging\n\" in mind. It is strange how completely all\n\" this has been forgotten.\" &\nNow we are not going to disagree with\nMr Albright as to what Shakespeare had 'in\nhis mind' when writing the plays, nor to take\nup the position held up by Goethe when he\nsaid that Shakespeare never thought of the\nstage at all. We are content to accept Mr\nAlbright's explanation as representing the\nconviction of the students of the Shakespeare\nstage; so that we are also convinced, like Mr\nAlbright, that Shakespeare was writing for\n\" a certain form of stage with a fixed me-\nthod of staging in his mind \". The italics\nare ours. & & & & &"}, {"page_pdf": 57, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 4814, "texte": "& But will Mr Albright be so bold as to say\nwhat form of stage and what fixed method\nwas in Shakespeare's mind? & &\n& When a thinker wishes to concentrate his\nthought he gazes upon that which is least\nconfusing to the eye,... a flat toned wall, a\nstretch of sea, a sky. Does Mr Albright believe\nthat Shakespeare saw in his mind's eye this\nlittle stage with its two pillars and its couple\nof curtains while writing 'King Lear'? If this\nis what he saw when he commenced his\ndreams we venture to state that those pillars\nand curtains stretched and grew to whatever\nsize and shape he wished as his dream advan-\nced* And therefore we are willing to accept\nMr Albright's theory that the 'form' and the\n'method' of stage and staging were what\nShakespeare desired, and on this basis we\noffer our solution of the Riddle which has\nnot yet been answered. & &\njSf If you would stage 'Hamlet' with its twenty\nscenes so as to be in harmony with the\nthoughts of the play, the form of the stage\nand the method of staging must be that\nwhich Shakespeare desired. You must have\none scene, one place, and that scene or place\nwhether made of marble, wood or wool must\nbe capable of changing its shape and tone\nwithout removing it and replacing it by ano-\nther. Therefore you must not alter the thing\nitself, the marble, wood or wool; that must\nremain where it is ever before your eyes. You\nmust change its character; you must, in short,\ninvent a scene of many moods, a living thing;\nnot merely a dead woollen curtain, two dead\nElizabethan or Victorian pillars, a couple of\ndoors. You must invent a background which\nis as full of moods as the sea. In front of that\nyou must erect a built up place with as many\nreminiscenes as a once-loved home, and instead\nof doors of this or that period you must invent\nplaces for exits and places for entrances.\nShakespeare's men and women really do not\ncall upon the door knobs to act; they call upon\nthe exits and entrances to open as they pass.\n& We are prepared to advance that the scene\nwhich Shakespeare had in his mind when\nwriting his plays is the same scene which all\npoets have in their minds,... that place of\nDestiny which they fill with their loved chil-\ndren. & £> &\njg> That such a place should be made palpa-\nble to sight as well as to our mind's eye is\nwhat we ask.\n& Mr Albright's book is thorough and most\nscholarly. He prepares the way for the stage\nmanager of the future, and for this we ten-\nder him our gratitude. & & &\nThe Oiigin of the Sense of Beauty by Felix\nClay. Smith, Flder, ptice 67- & &\nThere is much which is thoughtful and valua-\nble in this volume, and a carefully arranged\nindex and list of the books referred to adds\nto its usefulness from the student's point of\nview.\nChapters are devoted to \"The Psychology\nof Sensations and Feeling,\" 44 Emotions and\nInstincts \", 44 The Origin of Instinctive Prefer\nrences,\" \"Colour and Rhythm,\" \"The Artist\",\n\" Meaning and Expression \", \" Inspiration,\"\nand \"Art and Life\"; and, since in a brief notice\nit is impossible to do more than note these\ntitles, we give one or two extracts which\nwill themselves attest to the interest of the\nwork.\n\"At the present day art has become so con-\nfused with skill in drawing and painting that\na moderate degree of dexterity in either is\npopularly supposed to make the possessor,\nipso facto, an artist; we cannot even teach\ndrawing in a school without its being called\nart teaching; although such drawing is in\nreality a simple and useful piece of technical\nskill, having the same relation to art as\nreading and writing to literature. So accusto-\nmed have we become to this feeling that there\nis some quality peculiar to painting and draw-\ning, that many people, when they find them-\nselves looking at a picture, at once put on\na special attitude, not unlike that which they\nput on with their Sunday clothes in going\nto church; the result is an unnatural state of\nmind, and they are reduced to an effort to\njudge intellectually what fails to move them\nemotionally, and fails largely, because of the\ntraining and habit of mind which has taught\nthem to dissociate what they call \"works of\nart'' from any sort of natural feeling and\neverj'day life. Perfectly natural expression of\nfeeling would no doubt do something to\nimprove art; and iff people would say at once\nwhat they felt, instead of stopping to think\nwhether they ought or ought not to admire,\nthere would be some chance of art at least\nbeing expressive of the general feeling.\"\n& And again, in the concluding chapter on\n\"Art and Life,\"\"We see with ever renewed\nforce that our evils are due to disharmonies;\nwe turn to science to help us, but her aid,\nthough it may be sure is slow. Religion, meta-\nphysics, philosophy, each offers us a solution,\nand some find peace, there. To all, art, with\nher power of creating beauty, offers her"}, {"page_pdf": 58, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 2075, "texte": "solace; she is nature's spokesman and inter-\npreter, and so we send the artist hack and\nback to nature. If he cannot tell us the way,\nhe can at least create an ideal world for us,\nin which we may catch a glimpse of a pure\nand a perfect harmony, a momentary resting-\nplace in the never-ending struggle to realise,\nwith full understanding, 44 Nature's unchan-\nging harmony.\"\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED. & & &\n& \" The Appreciation of the Drama \" by Charles Caffin.\nBaker and Taylor Co. \" Joseph and his Brethren \"\nby Charles Wells. Henry Frowde. & \" Songs of England\nAvraking \" by George Barlow. H.J. Glaisher. £> \" Other\nDays \" by William Winter. Moffat Yard and Co.\n\" The Life of Henry Irving \" by Austin Brereton. Long-\nmans and Co. \" Criminal Types in Shakespeare \" by\nA. Goll. Methuen. & \" Patcola \" by Ena Fitzgerald.\nGreening and Co. '* The Famulus of Terence \" Ed:\nby John Sargeaunt and A. G. S. Raynor. Clarenden Press.\n& \" The American Stage of Today \" by W. P. Eaton.\nSmall, Maynard and Co. \" The Origin of the Sense\nof Beauty \" by Felix Clay. Smith, Elder and Co. <£?\n\" Is Shakespeare Dead? \" by Mark Twain .Harper Bros.\n\" The Tragedy of St Elizabeth of Hungary \" by Arthur\nDillon. Elkin Matthews. & \" Buried Herculaneum by\nE. R. Barker, A and C. Black. & \" A Pageant of the\nItalian Renaissance \" by Thos Wood Stevens. Art Insti-\ntute. Chicago. & \" Shakespeare \" by Walter Raleigh.\nMacmillan. & \" The Playhouse and the Play \" by Percy\nMackay. Macmillan Co. & \" Handbuch der Kostum-\nkunde \" W. Quicke. Verlag von J. J. Weber, Leipzig.\n\" La PSque des Roses \" by Touny-Lowys. \" Le Livre\nde D6sir \" by Charles Demange. Mercure de France.\nThe Studio. What's On. Referee. Bookshelf. Atlantic\nMonthly. London. Die Schaubuhne. Berlin. & Le\nTSmoin. Paris. Rivista di Roma. Roma. & La Ma-\nschera, Naples. Argus. Helsingfors. & Scene Sztur-\nka. Warsaw. JS? Harpers. Dramatic Mirror. New York.\n& Book News Monthly. Conservator. Philadelphia.\nOrd och Blld, Arktos, Stockholm. & Papyrus. East\nOrange. N. J. & The Bibelot. Portland. U. S. A. &\nTeatro Illustrato. & & &"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c041", "article_bluemountain": "bmtnaau_1909-07_01#c041", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "41", "image_debut": 55, "image_fin": 55, "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=bmtnaau190907-01.2.19.2", "titre_corps": "IS SHAKESPEARB DEAD? by Mark Twain", "titre_sommaire": "IS SHAKESPEARB DEAD? by Mark Twain", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.55", "debut_caractere": 14, "fin_caractere_exclue": 2156, "texte": "IS SHAKBSPBARB DBAD ? by Mark\nTwain. Harper Brothers. Price sj6 £>\n|ark Twain asserts that Shakespeare ne-\nver existed and then asks if he is dead.\n£> Mark Twain having evidently been at\nschool as a boy with Sir Francis Bacon, and\nhaving certain prejudices against the actors\nof England, decides that no low rogue or va-\ngabond could have written 'Hamlet' and 'King\nLear.' He thinks these miracles are only to be\nachieved by lawyers or well-to-do educated\ngentlemen like Sir Francis. £?\n£? We are amongst those who hold fast to\nour dreams where we can, and like to take\nour poetry as seriously as we take our dreams.\nSo that Mark Twain's delightful nonsense\ndoes not justify us in taking him at all se-\nriously, especially as we hear on good autho-\nrity that he is now occupied in writing ano-\nther delicious work proving that if Shake-\nspeare never existed; he, Mark Twain, cannot\ndie. £/ £?\n£1 Nevertheless, the great humourist has be-\ncome so fine, so subtle in his humour, that\nthe whole reading world is taking his book\non Shakespeare seriously. A brilliant world!\nA shrewd and profound world! £?\nWhat does it matter what hand or name\nwrote the wonderful plays? Who do the sta-\ntues in Egypt represent? Rameses or who, is\nthis? and that, who? Kings erased the names\nfrom statues which they fancied and had\ntheir own cut in place of them; and who cares\nand what does it matter? No one loses there\nbyt It is the sculpture we care about and\nnot the name, and so it is with the plays of\nShakespeare. £?£?£?£>\nA nation must be growing very degenerate\nthat loses this sense of the true value of\nbeauty,.... believing that it lies in the name,\nnot in the work. &? £/\n49 Seriously to contend on either side in this\nidiotic controversy is not the particular folly\nwe English should care to indulge in. It is\nperfectly just and admirable that Americans\nshould act so and they will without doubt\nprove that Bacon wrote the plays And\nthen ?..? Having broken rudely into another\ndream of ours, they will prove that dreams\nthemselves have no existence and that our\nlittle life is not rounded by anything more\nsleepy than a certain American vulgarity.^"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c042", "article_bluemountain": "bmtnaau_1909-07_01#c042", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "42", "image_debut": 55, "image_fin": 56, "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=bmtnaau190907-01.2.19.3", "titre_corps": "THE AMERICAN STAGE OF TODAY by Walter Pritchard Eston", "titre_sommaire": "THE AMERICAN STAGE OF TODAY by Walter Pritchard Eston", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.55", "debut_caractere": 2158, "fin_caractere_exclue": 4291, "texte": "TUB AMERICAN STAG® OB TODAY by\nWalter Pritchard Baton. Small, Maynard\nand Co. Boston. & £> &\nIn this volume of collected essays, most of\nwhich are reprinted, though with numerous\nchanges and additions, from \"The New York\nSun,\" Mr Eaton proves himself a clever wri-\nter even when faced by that supreme diffi-\nculty, a foolish or uncongenial theme. For on\nwhat rubbish is it often the unhappy lot of\nthe Dramatic Critic to discourse, how trivial\nand wearisome is much that he must witness\nand conscientiously criticise, (if he be, as Mr\nEaton evidently is, conscientious in his work;)\nhow disheartening must be the outlook for\nthe man who has dreams of the theatre as\nan Art, not merely as an amusement or a\ntrade. £/ £/ £>\n£? In his Preface Mr Eaton touches on the\nTheatrical Syndicate and his reason for not\ntreating of it in his book. 'lf,' he writes, \"in\n\" a work on the current stage in America, I\n\" have said nothing about the so-called\n\" Theatrical Syndicate, it is not because I\n\" am indifferent to its considerable, though\n\" somewhat exaggerated evils. It is a subject\n\" that does not belong to the critic of aesthe-\n\" tics. It is but a part of a vaster economic\n\" condition. The competitor in theatrical ma-\n\" nagement will after all fare quite as well\n\" as the competitor in 0i1,... if not better\nPerhaps so; but thank Heaven, never foh\nlong, for while oil is always in demand, vulga-\nrity is so only for a decade, and we look for-\nward to a day, not far distant, when the world\nshall be in love with beauty, and the false\ngod of vulgar realism be deposed.\nMr Eaton's studies cover a wide and varied\nground as may be seen by the titles of some\nof his papers: \"Sophocles in the Back Yard,\"\n(which treats of the \"Electra\" of the poet Hof-\nmannsthal): \"Parnasuss versus the Public\",\n\"Nazimova as the Lady Lisa\", \"Our Leading\nActor \", \" Kisses and David Belasco \", \" The\nRough Diamond as Hero \", \" The Servant in\nthe House\", \"Where is our Drama of '76\",\n\"Audiences \", \" Observation in the Drama \"\nand many more. The plays, players, traditions,\ntendencies of the American stage, about all\nthese Mr Eaton has something to say, and"}, {"page_pdf": 56, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 192, "texte": "often something of value, and we cordially\nrecommend this book to those interested in\nthe life and work of the Theatre in America,.,\nor rather, in America's greatest centre, in\nNew York. & & &"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c043", "article_bluemountain": "bmtnaau_1909-07_01#c043", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "44", "image_debut": 56, "image_fin": 58, "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=bmtnaau190907-01.2.19.4", "titre_corps": "A TYPICAL SHAKLSPKARE STAGE by Victor E. Albright", "titre_sommaire": "A TYPICAL SHAKLSPKARE STAGE by Victor E. Albright", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.56", "debut_caractere": 194, "fin_caractere_exclue": 4666, "texte": "A TYPICAL SHAKLSPKARE STAG%\nby Victor E. Albright M.A. Knickerbocker\nPress, New York. & & &\nIn this pamphlet, which forms the third\nchapter of a study, Mr Albright treats of the\nformation and working of the Shakespearean\nstage. In any discussion of this stage, howe=>\nver, the first point to emphasize is that it was\nfor the Shakespearean period; the next, whe-\nther it will stand the test of time as well as the\nplays do and serve our use today as its advo-\ncates would assert, or whether it was not\nrather a makeshift. We believe this latter to\nbe the case, for the main need, the matter\nof radical importance, in a stage, is that it\nshould be in harmony with the play or per-\nformance to take place thereon, and this\nharmony we do not find existing between\nthe plays of Shakespeare and the construction\nof the Elizabethan stage. & &\nNow in saying this we must not be mis-\nunderstood, nor must our readers jump to the\nconclusion that, if we do not favour this\nShakespearean stage we favour the \"Illusion\"\nstage. That \"Illusion\" is a vaguo word, a word\nfull of deception. With modern managers,...\nwith Mr Tree, for instance,., it means 'decep-\ntion'. Mr Tree would 'deceive' his audiences\nby what he sets before them. It is the old\nconjurer's trick again. Shakespeare would\ninstead take them into his spiritual world,\nthe world of his Imagination. This is Prospe-\nro's way. The difference is enormous, the\ndistinction obvious. &\nNo, the so called \" Shakespearean \" stage,\nand the modern Illusive stage both are bad in\ntheir several ways.\nWhat then is good? &\nNow here we come to the thing which puz-\nzles everyone. What is the Riddle? A simple\none to ask and even so simple to answer.\nIt is the old Spanish egg over again. &\nThe Riddle put to us is this: If you have a\nPlay, such as 'Hamlet' for instance, with twenty\nscenes, some taking place in open air, some\nunder a roof, some in one open place, some\nin another, how are you going to suggest this\nto the eyes of the audience and to their\nimagination on one stage without several\ndifferent scenes ? JS? & &\n& The answer given by the Elizabethan Stage\nSociety with Mr Poel at its head is that\nShakespeare knew how to do it and our best\nplan is to go back and gather as much infor-\niiiation as the incomplete records can give us.\nMr Tree's answer as representing the Illusion-\nRealism School is that Shakespeare being a\nman of the world and a good business man\nto boot would keep up to date and would give\nthe Public what the critics say the Public\nwants; that Shakespeare would be \"only too\nglad, old chap\" to have his plays run for two\nhundred nights at a stretch and would accept\nany plan of achieving this which the manager\ncould devise. Therefore he would willingly\nwitness his plays being performed before\ntwenty different realistic scenes which would\nswiftly switch the beholders' thoughts from\none idea on to another. From \" Battlements\nand a rising moon, etc, etc,\" to \"A Palace\nwith tapestries copied from the originals,\netc, etc.\" &\n& Neither of these gentlemen solves the rid*\ndie. The first begs the question and hums\nand haws nervously. The second, winking the\neye which is fixed upon the main chance, out\nof a full heart beating with love and tender\nremembrance of 'Our great William, that\never glorious master of stage craft, etc etc,\"\nproudly and generously proposes to make\nShakespeare pay at all costs. &\nAnd the cost is great. The cost is the loss\nof the play.\n& Now let us turn to Mr Victor E. Albright\nM. A. to learn why Shakespeare chose to\nchange the \"place\" so often in his plays and\nwhat reason he had in so doing.\nThe rapid changes in Shakespeare's plays\n\" from a room to a street, or a council cham-\n\" ber to a battle field, were not so construc-\n\" ted because the dice fell in that manner,\n\" but because he was writing for a certain\n\" form of stage with a fixed method of staging\n\" in mind. It is strange how completely all\n\" this has been forgotten.\" &\nNow we are not going to disagree with\nMr Albright as to what Shakespeare had 'in\nhis mind' when writing the plays, nor to take\nup the position held up by Goethe when he\nsaid that Shakespeare never thought of the\nstage at all. We are content to accept Mr\nAlbright's explanation as representing the\nconviction of the students of the Shakespeare\nstage; so that we are also convinced, like Mr\nAlbright, that Shakespeare was writing for\n\" a certain form of stage with a fixed me-\nthod of staging in his mind \". The italics\nare ours. & & & & &"}, {"page_pdf": 57, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 4814, "texte": "& But will Mr Albright be so bold as to say\nwhat form of stage and what fixed method\nwas in Shakespeare's mind? & &\n& When a thinker wishes to concentrate his\nthought he gazes upon that which is least\nconfusing to the eye,... a flat toned wall, a\nstretch of sea, a sky. Does Mr Albright believe\nthat Shakespeare saw in his mind's eye this\nlittle stage with its two pillars and its couple\nof curtains while writing 'King Lear'? If this\nis what he saw when he commenced his\ndreams we venture to state that those pillars\nand curtains stretched and grew to whatever\nsize and shape he wished as his dream advan-\nced* And therefore we are willing to accept\nMr Albright's theory that the 'form' and the\n'method' of stage and staging were what\nShakespeare desired, and on this basis we\noffer our solution of the Riddle which has\nnot yet been answered. & &\njSf If you would stage 'Hamlet' with its twenty\nscenes so as to be in harmony with the\nthoughts of the play, the form of the stage\nand the method of staging must be that\nwhich Shakespeare desired. You must have\none scene, one place, and that scene or place\nwhether made of marble, wood or wool must\nbe capable of changing its shape and tone\nwithout removing it and replacing it by ano-\nther. Therefore you must not alter the thing\nitself, the marble, wood or wool; that must\nremain where it is ever before your eyes. You\nmust change its character; you must, in short,\ninvent a scene of many moods, a living thing;\nnot merely a dead woollen curtain, two dead\nElizabethan or Victorian pillars, a couple of\ndoors. You must invent a background which\nis as full of moods as the sea. In front of that\nyou must erect a built up place with as many\nreminiscenes as a once-loved home, and instead\nof doors of this or that period you must invent\nplaces for exits and places for entrances.\nShakespeare's men and women really do not\ncall upon the door knobs to act; they call upon\nthe exits and entrances to open as they pass.\n& We are prepared to advance that the scene\nwhich Shakespeare had in his mind when\nwriting his plays is the same scene which all\npoets have in their minds,... that place of\nDestiny which they fill with their loved chil-\ndren. & £> &\njg> That such a place should be made palpa-\nble to sight as well as to our mind's eye is\nwhat we ask.\n& Mr Albright's book is thorough and most\nscholarly. He prepares the way for the stage\nmanager of the future, and for this we ten-\nder him our gratitude. & & &\nThe Oiigin of the Sense of Beauty by Felix\nClay. Smith, Flder, ptice 67- & &\nThere is much which is thoughtful and valua-\nble in this volume, and a carefully arranged\nindex and list of the books referred to adds\nto its usefulness from the student's point of\nview.\nChapters are devoted to \"The Psychology\nof Sensations and Feeling,\" 44 Emotions and\nInstincts \", 44 The Origin of Instinctive Prefer\nrences,\" \"Colour and Rhythm,\" \"The Artist\",\n\" Meaning and Expression \", \" Inspiration,\"\nand \"Art and Life\"; and, since in a brief notice\nit is impossible to do more than note these\ntitles, we give one or two extracts which\nwill themselves attest to the interest of the\nwork.\n\"At the present day art has become so con-\nfused with skill in drawing and painting that\na moderate degree of dexterity in either is\npopularly supposed to make the possessor,\nipso facto, an artist; we cannot even teach\ndrawing in a school without its being called\nart teaching; although such drawing is in\nreality a simple and useful piece of technical\nskill, having the same relation to art as\nreading and writing to literature. So accusto-\nmed have we become to this feeling that there\nis some quality peculiar to painting and draw-\ning, that many people, when they find them-\nselves looking at a picture, at once put on\na special attitude, not unlike that which they\nput on with their Sunday clothes in going\nto church; the result is an unnatural state of\nmind, and they are reduced to an effort to\njudge intellectually what fails to move them\nemotionally, and fails largely, because of the\ntraining and habit of mind which has taught\nthem to dissociate what they call \"works of\nart'' from any sort of natural feeling and\neverj'day life. Perfectly natural expression of\nfeeling would no doubt do something to\nimprove art; and iff people would say at once\nwhat they felt, instead of stopping to think\nwhether they ought or ought not to admire,\nthere would be some chance of art at least\nbeing expressive of the general feeling.\"\n& And again, in the concluding chapter on\n\"Art and Life,\"\"We see with ever renewed\nforce that our evils are due to disharmonies;\nwe turn to science to help us, but her aid,\nthough it may be sure is slow. Religion, meta-\nphysics, philosophy, each offers us a solution,\nand some find peace, there. To all, art, with\nher power of creating beauty, offers her"}, {"page_pdf": 58, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 372, "texte": "solace; she is nature's spokesman and inter-\npreter, and so we send the artist hack and\nback to nature. If he cannot tell us the way,\nhe can at least create an ideal world for us,\nin which we may catch a glimpse of a pure\nand a perfect harmony, a momentary resting-\nplace in the never-ending struggle to realise,\nwith full understanding, 44 Nature's unchan-\nging harmony.\""}]}, {"article_id": "bm-bmtnaau-1909-07-01-c044", "article_bluemountain": "bmtnaau_1909-07_01#c044", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 58, "image_fin": 58, "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=bmtnaau190907-01.2.19.5", "titre_corps": "BOOKS, JOURNALS AND MAGAZINES RECEIVED", "titre_sommaire": "BOOKS, JOURNALS AND MAGAZINES RECEIVED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.58", "debut_caractere": 374, "fin_caractere_exclue": 2075, "texte": "BOOKS, JOURNALS AND MAGAZINES\nRECEIVED. & & &\n& \" The Appreciation of the Drama \" by Charles Caffin.\nBaker and Taylor Co. \" Joseph and his Brethren \"\nby Charles Wells. Henry Frowde. & \" Songs of England\nAvraking \" by George Barlow. H.J. Glaisher. £> \" Other\nDays \" by William Winter. Moffat Yard and Co.\n\" The Life of Henry Irving \" by Austin Brereton. Long-\nmans and Co. \" Criminal Types in Shakespeare \" by\nA. Goll. Methuen. & \" Patcola \" by Ena Fitzgerald.\nGreening and Co. '* The Famulus of Terence \" Ed:\nby John Sargeaunt and A. G. S. Raynor. Clarenden Press.\n& \" The American Stage of Today \" by W. P. Eaton.\nSmall, Maynard and Co. \" The Origin of the Sense\nof Beauty \" by Felix Clay. Smith, Elder and Co. <£?\n\" Is Shakespeare Dead? \" by Mark Twain .Harper Bros.\n\" The Tragedy of St Elizabeth of Hungary \" by Arthur\nDillon. Elkin Matthews. & \" Buried Herculaneum by\nE. R. Barker, A and C. Black. & \" A Pageant of the\nItalian Renaissance \" by Thos Wood Stevens. Art Insti-\ntute. Chicago. & \" Shakespeare \" by Walter Raleigh.\nMacmillan. & \" The Playhouse and the Play \" by Percy\nMackay. Macmillan Co. & \" Handbuch der Kostum-\nkunde \" W. Quicke. Verlag von J. J. Weber, Leipzig.\n\" La PSque des Roses \" by Touny-Lowys. \" Le Livre\nde D6sir \" by Charles Demange. Mercure de France.\nThe Studio. What's On. Referee. Bookshelf. Atlantic\nMonthly. London. Die Schaubuhne. Berlin. & Le\nTSmoin. Paris. Rivista di Roma. Roma. & La Ma-\nschera, Naples. Argus. Helsingfors. & Scene Sztur-\nka. Warsaw. JS? Harpers. Dramatic Mirror. New York.\n& Book News Monthly. Conservator. Philadelphia.\nOrd och Blld, Arktos, Stockholm. & Papyrus. East\nOrange. N. J. & The Bibelot. Portland. U. S. A. &\nTeatro Illustrato. & & &"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c045", "article_bluemountain": "bmtnaau_1909-07_01#c045", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "45", "image_debut": 58, "image_fin": 59, "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=bmtnaau190907-01.2.20", "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": 58, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.58", "debut_caractere": 2077, "fin_caractere_exclue": 4876, "texte": "FOREIGN NOTES\n\nLONDON\nG. N.\niVir Herbert Trench has decided to open the\nRepertory Theatre in September next with\n44 King Lear.\" Mr Norman McKinnel will be\nproducer-in-chief to the Repertory Theatre.\nThis announcement has reached me today,\nJune 2nd, which leaves but three months\nfrom now until September 3rd, and three\nmonths in which to produce 44King Lear\" is\nnot long. Even allowing for postponement\nuntil September 30th it leaves only four\nmonths, two of which are holiday months.\nLearning this I begin to have doubts about\nthe seriousness of this amazing Repertory\nTheatre which can produce one of Shake-\nspeare's most profound plays in four months.\nIf I am not mistaken it took Henry Irving a\nlifetime to produce this piece, and the actual\nwork in the theatre took eight months. &\njgr Mr Trench probably thinks that by dispen-\nsing with Romantic scenery he has made the\ntask easier,... as if scenery or no scenery\nmade any difference to the stupendous un-\ndertaking.\nI feel inclined to agree with Mr Gordon\nCraig, who holds that it is impossible to pro-\nduce these plays upon the stage, yet who also\nholds that, if you produce them at all you\nmust do so in as Romantic a manner as pos-\nsible. Shakespeare is not an Aeschylus; no,\nnor so hard a playwright as the author of\n44 Everyman\"; nor so cold a master as those\nearlier Chinese writers. Shakespeare is distinct\nly Romantic; often vulgar in colour, break-\ning all laws; and I hold that when we pro-\nduce him on the stage we should try to match\nhis Romance and his lawlessness as well as\nwe can. It is true we cannot always keep\npace with his extravagant stride, but we must\ntry to do so, and must not put our telescope\nto our blind eye and say we can't see the\nShakespearean signal. & &\nThe manner of Shakespeare is what is cal-\nled the grand Romantic manner; it is not the\ndry-as-dust manner, not the classic manner.\n<£? I am eager to see what Messrs Trench,\nMcKinnel, Poel and Co will make of \"King\nLear\" in four months, attempting to please,\nlet us say, even five thousand London men\nand women. & &\n\nR. S.\nIVLr Forbes Robertson has lent his good\nheart to the services of the English Suffra-\ngette movement. He has been making speeches\nliterally throbbing with pathos about the\nmad women. &\nWhat the ladies of England will say to this\none dreads to think,... for Mr Forbes Robert-\nson once swore unalterable loyalty to them.\nAh, it's a fickle heart that ye're weering an\nyer sleeve, Mister Rabertson !\nMr Beerbohm Tree hasn't lent his heart to\nthe cause.\nMiss Ellen Terry, it is believed, holds very\nstrong reasons for supporting the votes for\nwomen movement, but at the time of going\nto print we understand these reasons are not\nquite clear.\n\nPARIS\n\nDramaticus,\" the amiable writer in the Lon-\ndon Graphic wrote some little time ago, (it"}, {"page_pdf": 59, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 2981, "texte": "was in April I think), about the need for pay®\ning actors for rehearsing. He mentioned the\ncase of Miss Marie Dressier and her two weeks\nrun after five weeks rehearsing. &\nWe entirely agree with \" Dramaticus \" in\nwhat he says in many of his notes, but he is\nwrong in saying that \"Any play can be got\nready in three or four weeks. &\nAny scratch performance could be perpe-\ntrated in three or four hours for that matter.\nThe English managers have taught the\nactors and their other employes that four\nweeks is long enough to do the trick in, and\ntherefore it is the general opinion in the Eng-\nlish theatre that a four weeks standard is a\nhigh one.\n& We should be inclined to believe that eight\nweeks was an unreasonably short time and\nfour months a fairly reasonable length of\ntime. Yet some plays might need six months,\na year, or even longer to rehearse, and we\nare not alone in the opinion that rehearsals\nof plays should continue until a play is per-\nfect. That is generally a longer time than it\ntakes to get a play •• ready \". &\nBy the way, why does the Graphic employ\nwriters who mix up fashionable Hats and Art,\nPolitics, and the rest in one column of incor-\nrect information ? & «<£> &\n& Page 472 of the Graphic is almost epoch\nmaking in this respect. Thus we have \"Hats\nto hide under,\" \"The Naval Crisis and the\nWoman,\" Isadora Duncan and Queen Alex-\nandra, this all coming under the heading\n\"Place aux Dames.\" & &\n& We are here only concerned with the in-\ncorrectness of the paragraph relating to Miss\nDuncan. & & & &\nHere is the Paragraph: \"Where England\ncomes first.1' I,a Duncanisme. & &\nLast season we discovered Maud Allen on\nour own responsibility. (1) Maud Allen never\nwent to Paris, but the bare feet and Grecian\nUrn idea (2) had another exponent there in\nIsadora Duncan.(3) who thrilled vast audiences\nlong after (4) Salome and the Spring Song\nhad become an old story to British audiences.\n(5) In Paris also la Duncanisme has had its\nday. (6) But the credit of the classic cult (7)\nif credit there be, is ours.\n(1) Truly an awful responsibility; but even a greater one\nto shift it on to any other nation.\n(2) Possibly has some connection with the awful respon-\nsibility.\n(3) The writer, having been correct if foolish, now be-\ncomes incorrect and foolish. It is incorrect to speak of Miss\nDuncan as another exponent of the barefoot and Grecian\nurn idea,... and it is foolish.\n(4) Possibly a slip of the pen. The writer meant \" before\nTo be quite accurate the writer should have used both\n\" before \" and \" after\n(5) Frequenters of the Palace Music Hall cannot be called\nBritish audiences by anyone at all patriotic.\n(6) Allow us to give the lie direct to this almost culpable\nstatement.\n(7) \" Classic cult \". We are unable to trace the meaning\nof this; possibly indicates something objectionable; a\nquack medicine, perhaps, and the credit of having disco*\nvered and tasted and liked it may certainly be claimed\nby the writer of the paragraphin the Graphic,\n\n\"H. B."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c047", "article_bluemountain": "bmtnaau_1909-07_01#c047", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 58, "image_fin": 58, "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=bmtnaau190907-01.2.20.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "G. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.58", "debut_caractere": 2092, "fin_caractere_exclue": 4137, "texte": "LONDON\nG. N.\niVir Herbert Trench has decided to open the\nRepertory Theatre in September next with\n44 King Lear.\" Mr Norman McKinnel will be\nproducer-in-chief to the Repertory Theatre.\nThis announcement has reached me today,\nJune 2nd, which leaves but three months\nfrom now until September 3rd, and three\nmonths in which to produce 44King Lear\" is\nnot long. Even allowing for postponement\nuntil September 30th it leaves only four\nmonths, two of which are holiday months.\nLearning this I begin to have doubts about\nthe seriousness of this amazing Repertory\nTheatre which can produce one of Shake-\nspeare's most profound plays in four months.\nIf I am not mistaken it took Henry Irving a\nlifetime to produce this piece, and the actual\nwork in the theatre took eight months. &\njgr Mr Trench probably thinks that by dispen-\nsing with Romantic scenery he has made the\ntask easier,... as if scenery or no scenery\nmade any difference to the stupendous un-\ndertaking.\nI feel inclined to agree with Mr Gordon\nCraig, who holds that it is impossible to pro-\nduce these plays upon the stage, yet who also\nholds that, if you produce them at all you\nmust do so in as Romantic a manner as pos-\nsible. Shakespeare is not an Aeschylus; no,\nnor so hard a playwright as the author of\n44 Everyman\"; nor so cold a master as those\nearlier Chinese writers. Shakespeare is distinct\nly Romantic; often vulgar in colour, break-\ning all laws; and I hold that when we pro-\nduce him on the stage we should try to match\nhis Romance and his lawlessness as well as\nwe can. It is true we cannot always keep\npace with his extravagant stride, but we must\ntry to do so, and must not put our telescope\nto our blind eye and say we can't see the\nShakespearean signal. & &\nThe manner of Shakespeare is what is cal-\nled the grand Romantic manner; it is not the\ndry-as-dust manner, not the classic manner.\n<£? I am eager to see what Messrs Trench,\nMcKinnel, Poel and Co will make of \"King\nLear\" in four months, attempting to please,\nlet us say, even five thousand London men\nand women. & &"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c048", "article_bluemountain": "bmtnaau_1909-07_01#c048", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 58, "image_fin": 58, "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=bmtnaau190907-01.2.20.3", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.58", "debut_caractere": 4139, "fin_caractere_exclue": 4780, "texte": "R. S.\nIVLr Forbes Robertson has lent his good\nheart to the services of the English Suffra-\ngette movement. He has been making speeches\nliterally throbbing with pathos about the\nmad women. &\nWhat the ladies of England will say to this\none dreads to think,... for Mr Forbes Robert-\nson once swore unalterable loyalty to them.\nAh, it's a fickle heart that ye're weering an\nyer sleeve, Mister Rabertson !\nMr Beerbohm Tree hasn't lent his heart to\nthe cause.\nMiss Ellen Terry, it is believed, holds very\nstrong reasons for supporting the votes for\nwomen movement, but at the time of going\nto print we understand these reasons are not\nquite clear."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c049", "article_bluemountain": "bmtnaau_1909-07_01#c049", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "45", "image_debut": 58, "image_fin": 59, "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=bmtnaau190907-01.2.20.4", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "H. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.58", "debut_caractere": 4782, "fin_caractere_exclue": 4876, "texte": "PARIS\n\nDramaticus,\" the amiable writer in the Lon-\ndon Graphic wrote some little time ago, (it"}, {"page_pdf": 59, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 2981, "texte": "was in April I think), about the need for pay®\ning actors for rehearsing. He mentioned the\ncase of Miss Marie Dressier and her two weeks\nrun after five weeks rehearsing. &\nWe entirely agree with \" Dramaticus \" in\nwhat he says in many of his notes, but he is\nwrong in saying that \"Any play can be got\nready in three or four weeks. &\nAny scratch performance could be perpe-\ntrated in three or four hours for that matter.\nThe English managers have taught the\nactors and their other employes that four\nweeks is long enough to do the trick in, and\ntherefore it is the general opinion in the Eng-\nlish theatre that a four weeks standard is a\nhigh one.\n& We should be inclined to believe that eight\nweeks was an unreasonably short time and\nfour months a fairly reasonable length of\ntime. Yet some plays might need six months,\na year, or even longer to rehearse, and we\nare not alone in the opinion that rehearsals\nof plays should continue until a play is per-\nfect. That is generally a longer time than it\ntakes to get a play •• ready \". &\nBy the way, why does the Graphic employ\nwriters who mix up fashionable Hats and Art,\nPolitics, and the rest in one column of incor-\nrect information ? & «<£> &\n& Page 472 of the Graphic is almost epoch\nmaking in this respect. Thus we have \"Hats\nto hide under,\" \"The Naval Crisis and the\nWoman,\" Isadora Duncan and Queen Alex-\nandra, this all coming under the heading\n\"Place aux Dames.\" & &\n& We are here only concerned with the in-\ncorrectness of the paragraph relating to Miss\nDuncan. & & & &\nHere is the Paragraph: \"Where England\ncomes first.1' I,a Duncanisme. & &\nLast season we discovered Maud Allen on\nour own responsibility. (1) Maud Allen never\nwent to Paris, but the bare feet and Grecian\nUrn idea (2) had another exponent there in\nIsadora Duncan.(3) who thrilled vast audiences\nlong after (4) Salome and the Spring Song\nhad become an old story to British audiences.\n(5) In Paris also la Duncanisme has had its\nday. (6) But the credit of the classic cult (7)\nif credit there be, is ours.\n(1) Truly an awful responsibility; but even a greater one\nto shift it on to any other nation.\n(2) Possibly has some connection with the awful respon-\nsibility.\n(3) The writer, having been correct if foolish, now be-\ncomes incorrect and foolish. It is incorrect to speak of Miss\nDuncan as another exponent of the barefoot and Grecian\nurn idea,... and it is foolish.\n(4) Possibly a slip of the pen. The writer meant \" before\nTo be quite accurate the writer should have used both\n\" before \" and \" after\n(5) Frequenters of the Palace Music Hall cannot be called\nBritish audiences by anyone at all patriotic.\n(6) Allow us to give the lie direct to this almost culpable\nstatement.\n(7) \" Classic cult \". We are unable to trace the meaning\nof this; possibly indicates something objectionable; a\nquack medicine, perhaps, and the credit of having disco*\nvered and tasted and liked it may certainly be claimed\nby the writer of the paragraphin the Graphic,\n\n\"H. B."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c050", "article_bluemountain": "bmtnaau_1909-07_01#c050", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "48", "image_debut": 59, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.21", "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": 59, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.59", "debut_caractere": 2983, "fin_caractere_exclue": 4328, "texte": "EDITORIAL NOTES.\n\ncongratulate Sir Herbert Beerbohm\nTree on his knighthood. This honour will\nbecome him well. <&&&?&\nwant to know if any of our readers can\nanswer the six questions which we have\nreceived from one of our subscribers. &\nWe respectfully request that ladies shall\nrefrain from repilyng to these questions for\nthe reason that we are loath to put any strain\nwhatever upon them,... and then we are sure\nthey would not know what they were writing\nabout, or why; also because we know that\nthey are too well occupied to trouble their\nbeautiful heads about such trifles. &\nOn the other hand women called Suffra-\ngettes may do as they please,... and Heaven\nhelp them! &\n& These are the questions. &\n& i. Why does an audience in a theatre scream\nand roar to express their pleasure, when in\na gallery of pictures they remain silent to\nexpress the same pleasure ?\n& 2. Are there any theatres in Europe where\napplause fails to bring the actors before the\ncurtain? &\n3. Is a beautiful woman thrown away upon\nthe stage? j£>\n& 4. Why were not the Greek women of the\ntime of Aeschylus, Sophocles, and Euripides,\nand why were not the Englishwomen of the\ntime of Shakespeare, actresses?\n5. is Tradition valueless? &\n& 6. Can such a thing exist as an unpracti-\ncal artist? & &\nThe two Repertory Theatres promised to\nLondon by Mr Frohman and Mr Herbert"}, {"page_pdf": 60, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4715, "texte": "Trench will be sure to prove the need for\nreforming the stage \"altogether,\" for it is\nhe hoped that these to two Repertory Thea-\ntres will reform the stage \" indifferently. \"\nWe do not the use the word Reform in any\nmora! sense, nor do we believe any Reform of\nthe Art can be accomplished until Mr Frohman\nor Mr Trench has found an artist of strong\nbeliefs and methods to do the reforming for\nthem. J® & & &\n& Mr Frohman has Mr Barker, and a more\ndelightful stage manager could hardly be\nfound to control what the Frohman London\nRepertory Theatre is sure to be;... but a de-\nlightful stage manager is quite a different\nkind of being from an artist of strongly mar-\nked personality. je> & &\n& We are not sorry to see Mr Barker joining\nthe degenerate forces of Mr Frohman, for Mr\nBarker will have a chance, and Mr Frohman\na last chance. & &\nAbout Mr Trench's programme for his Reper-\ntory Theatre we have received a little more\nnews than about Mr Frohman's venture. Mr\nFrohman and his works we know, and we are\nalways sorry that he does not confine his\nbrilliant blunders to some more banal trade,\nsuch, for example, as the selling of butter.\nAbout Mr Trench himself as yet we know\nlittle or nothing, Someone says he is an Irish\npoet, \" another he says, Nay I &\n\" He's just a rolling vagabond\n\"That's lost his roguish way.\"\nBut we would likq to have heard a little\nmore about Mr Trench's policy:... what he in-\ntends to do, why, and how he intends to do it.\nIn his theatre we learn that Mondays are\nto be reserved for the revival of Elizabethan\nTheatricals; Tuesdays, Modern playlets, or\nsomething else; Wednesdays, Poetic Drama,\nand the rest of the days good old commercial\nstuff. But this announcement does not en-\nlighten us as to the policy he will pursue,...\nhow the theatre will be administered, how\nthe stage will be governed, and how the\ntreatment of these two branches of the work\nwill differ here from the way in which the\nsame branches are treated in other theatres.\n& We hear that Mr Trench has a great sum\nof money behind him,... and of course money\ncan do a great deal; it can do much good or\nmuch harm,.... in such a case it generally\ndoes much harm. For money is inclined to\nsuppose that it can dispense with brains, and\neveryone in a theatre takes it far more\neasily where there is a great deal of money\nto spend; for, why waste brains they say,\nwhen you can waste money? & &\nStill, it is too early in the day to complain.\nMr Trench will probably make use of the enor-\nmous amount of talent which is at present\nidly kicking its heels in England, He Will pos-\nsibly make use of only English talent, English\nplays, English playwrights, English stage ma-\nnagers and English ideas. &\n& This reminds us of a rumour which has\nreached us and which cannot be true,... that\nMr Trench is about to found his English Re-\nvival of English Stage Art by appealing for\nhelp from Germany, France and Russia.\nIf such a report should prove to have the\nslightest foundation it would foe so utterly\ndisgraceful that the theatre and its manage-\nment could at once be put down as incom-\npetent. J£> & & & &\n& We hope, however, that the report is not\nto be credited, and until we ascertain further\nabout it we shall take it that Mr Trench\nintends to act like an Englishman and not\nlike a German. &\nAnd even the Germans do not go so far as\nreport says Mr Trench intends to do, for he\nis reported to have the intention of importing\nproductions wholesale,... that is to say, the\nplay, the ideas of acting it, staging it and\nlighting it, from abroad. Our information\ncomes from England and we have yet to ascer-\ntain from abroad if the report has any foun-\ndation. &\nFor the rest we regret Mr Trench's weak-\nness in falling back on Revived Period Pro-\nductions. To revive Greek plays as done in\nAthens in B. C. 400 or Elizabethan Plays as\nperformed in the time of Shakespeare is as\nweak as anything we have heard, coming from\na management which proposes to break fresh\nground and do the stage some good. It is on\na parallel with the imitation furniture which\nthe furnishing trade turns out and to our\nart it will be so much dead fruit. &\nOn the other hand Mr Trench's desire to\nencourage our younger English playwrights\ndoes him entire credit. We should like to\nhear some plays by Mr Max Beerbohm, for\ninstance, for we look to Mr Beerbohm as the\npossible writer of a really poetic play. His\nwork has always contained a sense of dream:\nin everything he does there is the touch of\nthe poet: his caricatures are not funny in the\nleast, but they are always pretty or poetic,\nand we feel sure that Piccadilly, its shady\nside and its sunny, could be in his delicate\nhands a background for the great poetic\nplays of this new century, &"}, {"page_pdf": 61, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 4840, "texte": "And Mr Yeats? Mr Trench will be sure to\ngive us one of Yeats' dream plays. And Messrs\nPinero, Jones, Barrie? the plays by these\nplaywrights will, we feel sure, fall due on the\n4 commercial ' nights and will be presented\nneither in the Elizabethan nor the Greek\nmanner, but perhaps in the Victorian.\nNow, it wasn't long ago, that great Victo-\nrian era. Can anyone tell us how the presenta-\ntion of plays differed in that period from\nthat in any other period? It was only yester-\nday, yet we venture to believe that no one\ncan exactly say what is the Victorian man-\nner of presenting a play.\nOh wonderful...! and yet some of you are\nbold enough to tell us that the Elizabethan\nmanner was the tomfool kind of dried chat\nter in a cage which today you try to force\ndown the throats of a sheep-like public.\nWell, we pray heaven Mr Trench deceive\nus not; pray heaven he sweep the dried dusty\n\"Revival\" idea out of the fresh little Haymar-\nket, forswear foreign goods and play the\ngame straghtforwardly. Then, \"strike up pi-\npers !\" for we too are eager to join in the\ndance which ends in crowning Mr Trench as\na blessing,.... at present in disguise.\nMr Roosevelt, master of men, wild ani-\nmals and millionaires, should fail to under®\nstand a master of arts is not strange; but\nthat he should rashly fling off a thoughtless\narticle containing reproaches of a personal\ndescription against so great an artist as Tol-\nstoi will lower Mr Roosevelt in the estimation\nof people who value discernment and caution\nas two of the prime qualities of a great leader.\nThis sort of thing from so strong a man\nas the late President of the United States\ntakes one's breath away:...\n44 However high he (Tolstoi) may stand in\n44 certain respects, he has in him certain\n44 dreadful qualities of the moral pervert.....\n44 That side of his teaching, however, which\n44 is partially manifested in the revolting\n44 4Kreutzer Sonata' can do exceedingly little\n44 damage in America, for it would appeal only\n44 to decadents. \" <£? &\n<£? The ignorance of this amazing outlook\ngives one to think.\n& One thinks one perceives in Mr Roosevelt\nreal signs of that decadence of which he seems\nto be in so great fear. One thinks one has had\nthe first real glimpse of Roosevelt,... and hopes\none has thought wrong. One thinks and thinks\nand still no interpretation of those amazing,\nperverse words of his alters the impression.\nAnd here is our impression;... A strong\nman placed over a corrupt world, chosen to\ncontrol it, attempting to cleanse it, achieving,\n(so they say) something of what he attempts.\nBut in the process, whilst washing out this\nblack corner he gets bespattered,... the traces\nof many years of his association with corrup-\ntion stick to him. Then he flings aside the\nscrubbing brush and the soap and gives up\nthe office of government \"char.\" He accepts\na more refined post; he becomes a contribu-\ntor to a journal, the 44 Outlook\" of America,\nand becomes the 44char\" of literature.\n& In the new life the old habits cleave to him.\nHe enters the office of the 440ut100k,\" pail,\nsoap and scrubbing brush in hand. One thinks\none hears him saying as he takes his seat in\nthe editorial chair, 44 Its no good, I know it's\nno good. I was never a dreamer; I was born\nto char. Bring me some book which the man\nin the street finds dirty and let me show him\nthat his Roosevelt is of the same opinion.\"\n& One thinks one sees a whole library of the\nworld's greatest masterpieces being brought\nto the poor man at the desk, and that one\nsees him irresolute for a moment, confronted\nby the foul creations of those obscene beings\nShakespeare, Euripides, Rabelais, Byron, Mil-\nton, Whitman, Gogol, Ben Jonson, Chaucer,\nAristophanes, Keats, Swinburne, Sophocles,\nSocrates, Tolstoi, and, well, Reader, you know\nthe rest of the wonderful names and their\nmore wonderful works. & &\n& Mr Roosevelt seems to have paused irre-\nsolutely for one brief second only; then, with\nall the maddened bravado of the entrapped\nsavage, to have pounced on the works of\nTolstoi.\nMiraculously misunderstanding this fine\nthinker, this most moral of masters, he ac-\ncuses him of deliberate moral perversion, of\ndecadence. & £?\nThis is entirely horrible in Mr Roosevelt;\nhorrible for him to have confessed himself to\nus as one ignorant of the purpose and means of\nthe art of literature. This charwoman-like at-\ntack on what in his egoism he takes for a dirty\ncorner would be grotesque in its blundering\nif it were not decadent in its self-deception.\nBrave in the presence of brutality, he become\na fatuous bore before the front of intellect. He\nis as an unnecessary and stranded vessel\nwhose foghorn bellows a preposterous warn-\ning from the dry beach, a pathetic but ugly\nskeleton of a boat stranded upon the Fortu-\nnate Isles. An absurdity, a preposterous thing\nposing horridly for posterity, something per-"}, {"page_pdf": 62, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 4602, "texte": "versely decadent in its demeanour; this is\nMr Roosevelt, once the pilot of a people; now\nnot even the pedlar of their opinions.\nAnthony Scarlett, writing lately to the\n\" Saturday Review,\" calls upon the com-\nmittee of the proposed National Theatre to\nmake sure of securing Mr Gordon Craig as\ntheir stage director. Mr Max Beerbohm, wri-\nting the week after on the same subject, calls\nupon Mr Herbert Trench to secure Mr Craig\nfor some experiments. & &\n& We like Mr Scarlett's suggestion better\nthan Mr Beerbohm's, for we are not a little\npuzzled to guess what Mr Beerbohm consi-\nders to be the gifts of Mr Craig.\nHe first of all scouts the idea that the\nNational Theatre can have anything to do\nwith Mr Craig, an opinion which we are far\nfrom sharing. He then goes on to scout ano-\nther idea, that is to say, that Mr Craig can\ndo anything else except arrange scenery,\nlighting and costumes for a poetic or fantas-\ntic play.\n& He says, \"It is obvious that Mr Craig, arran-\nging the scenery and lighting and costumes of\n\" a realistic tragedy or comedy, would either\n\" have to forswear his methods, and thus\n\" waste his time, or would wreck the play,\n\" and thus waste his time and ours.\" &\nThis is a very puzzling sentence. One does\nnot know whether to be amused, or whether\nto be suspicious of Mr Beerbohm in his atti-\ntude towards Mr Craig, for, as Mr Craig has\nnever yet produced a realistic tragedy or\ncomedy it is by no means 'obvious' that he\nwould wreck either by his arrangement of the\nscenery, lighting and costume. &\n& On looking closer at the matter we find\nit quite rash of Mr Beerbohm, who is so careful\nas a rule, to commit that superlative indis-\ncretion of criticising that which he has not\nseen and which does not exist. jg/ &\n& As we have said above, up to the present\ntime Mr Craig has not produced a modern\nrealistic tragedy or comedy, although Mr\nArthur Symons is one of those who have\nwished to see Mr Craig's production of Ibsen's\n\" Ghosts.\" In his \"Studies in Seven Arts\" he\nwrites as follows.\n& \" Then I would like to see Mr. Craig go\n\" further still; I would like to see him deal\n\" with a purely modern play, a play which\n\" takes place indoors, in the house of middle-\n\" class people. He should mount the typical\n\" modern play, Ibsen's ' Ghosts.' Think of\n\" that room 'in Mrs. Alving's country-house,\n\" beside one of the large fjords in Western\n\" Norway.' Do you remember the stage direc-\n\" tions? In the first act the glimpse, through\n\" the glass windows of the conservatory, of\n\" 'a gloomy fjord landscape, veiled by steady\n\" rain;' in the second 'the mist still lies\n\" heavy over the landscape;' in the third the\n\" lamp burning on the table, the darkness\n\" outside, the 'faint glow from the conflagra-\n\" tion.' And always'the room as before.' What\n\" might not Mr. Craig do with that room 1\n\" What precisely, I do not know; but I am sure\n\" that his method is capable of an extension\n\" which will take in that room, and, if it\n\" can take in that room, it can take in all\n\" of modern life which is of importance to the\n\" playwright.\" &\nWe are also really at a loss to understand\nwhy Mr Beerbohm, after stating in regard to\nthe National Theatre committee that it would\nbe useless to recommend Mr Craig to them,\nis so good as to take upon himself the office\nof giving Mr Craig a recommendation to Mr\nTrench. & &\nBut let us see the exact terms of Mr Beer-\nbohm's recommendation. These are the very\nwords: \"I don't ask him (Mr Trench) to pro®\n\" mise that all such poetic or fantastic plays\n\" as he may produce shall be according to Mr\n\" Craig's methods. Merely let him experiment\n\" and see what happens.\" & & &\nWhy, a recommendation like this would\ndamn even a domestic servant who wanted\nto get a new job. &\n<£/ Such a recommendation would run, \"Dear\n\" Mrs Jones, I am very much surprised that I\n\" omitted to say anything about this admi-\n\" rable servant of mine who is leaving me,\n\" and even now I don't ask you to engage\n\" him to do the work such a servant usually\n\" does, for who am I that I should speak in\n\" superlatives of what is comparatively un»\n\" known to me? But I only beg of you to give\n\" him a chance and see what happens. I am\n\" dear Mrs Jones, yours faithfully, Sarah\n\" Smith. P. S. Don't hold me responsible if he\n\" is no good. I never said he was any good.\"\nMr Beerbohm adds \"It is ludicrous that\n\" Mr Craig should be not without honour in\n\"all countries but this one.\" But after reading\nMr Beerbohm's very extraordinary lines one\nunderstands better why such ludicrous things\nare and how they \"overcome us like a sum-\nmer's cloud, without our special wonder.\"\n\nJ.S."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c052", "article_bluemountain": "bmtnaau_1909-07_01#c052", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "48", "image_debut": 59, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.21.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.59", "debut_caractere": 3001, "fin_caractere_exclue": 4328, "texte": "congratulate Sir Herbert Beerbohm\nTree on his knighthood. This honour will\nbecome him well. <&&&?&\nwant to know if any of our readers can\nanswer the six questions which we have\nreceived from one of our subscribers. &\nWe respectfully request that ladies shall\nrefrain from repilyng to these questions for\nthe reason that we are loath to put any strain\nwhatever upon them,... and then we are sure\nthey would not know what they were writing\nabout, or why; also because we know that\nthey are too well occupied to trouble their\nbeautiful heads about such trifles. &\nOn the other hand women called Suffra-\ngettes may do as they please,... and Heaven\nhelp them! &\n& These are the questions. &\n& i. Why does an audience in a theatre scream\nand roar to express their pleasure, when in\na gallery of pictures they remain silent to\nexpress the same pleasure ?\n& 2. Are there any theatres in Europe where\napplause fails to bring the actors before the\ncurtain? &\n3. Is a beautiful woman thrown away upon\nthe stage? j£>\n& 4. Why were not the Greek women of the\ntime of Aeschylus, Sophocles, and Euripides,\nand why were not the Englishwomen of the\ntime of Shakespeare, actresses?\n5. is Tradition valueless? &\n& 6. Can such a thing exist as an unpracti-\ncal artist? & &\nThe two Repertory Theatres promised to\nLondon by Mr Frohman and Mr Herbert"}, {"page_pdf": 60, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4715, "texte": "Trench will be sure to prove the need for\nreforming the stage \"altogether,\" for it is\nhe hoped that these to two Repertory Thea-\ntres will reform the stage \" indifferently. \"\nWe do not the use the word Reform in any\nmora! sense, nor do we believe any Reform of\nthe Art can be accomplished until Mr Frohman\nor Mr Trench has found an artist of strong\nbeliefs and methods to do the reforming for\nthem. J® & & &\n& Mr Frohman has Mr Barker, and a more\ndelightful stage manager could hardly be\nfound to control what the Frohman London\nRepertory Theatre is sure to be;... but a de-\nlightful stage manager is quite a different\nkind of being from an artist of strongly mar-\nked personality. je> & &\n& We are not sorry to see Mr Barker joining\nthe degenerate forces of Mr Frohman, for Mr\nBarker will have a chance, and Mr Frohman\na last chance. & &\nAbout Mr Trench's programme for his Reper-\ntory Theatre we have received a little more\nnews than about Mr Frohman's venture. Mr\nFrohman and his works we know, and we are\nalways sorry that he does not confine his\nbrilliant blunders to some more banal trade,\nsuch, for example, as the selling of butter.\nAbout Mr Trench himself as yet we know\nlittle or nothing, Someone says he is an Irish\npoet, \" another he says, Nay I &\n\" He's just a rolling vagabond\n\"That's lost his roguish way.\"\nBut we would likq to have heard a little\nmore about Mr Trench's policy:... what he in-\ntends to do, why, and how he intends to do it.\nIn his theatre we learn that Mondays are\nto be reserved for the revival of Elizabethan\nTheatricals; Tuesdays, Modern playlets, or\nsomething else; Wednesdays, Poetic Drama,\nand the rest of the days good old commercial\nstuff. But this announcement does not en-\nlighten us as to the policy he will pursue,...\nhow the theatre will be administered, how\nthe stage will be governed, and how the\ntreatment of these two branches of the work\nwill differ here from the way in which the\nsame branches are treated in other theatres.\n& We hear that Mr Trench has a great sum\nof money behind him,... and of course money\ncan do a great deal; it can do much good or\nmuch harm,.... in such a case it generally\ndoes much harm. For money is inclined to\nsuppose that it can dispense with brains, and\neveryone in a theatre takes it far more\neasily where there is a great deal of money\nto spend; for, why waste brains they say,\nwhen you can waste money? & &\nStill, it is too early in the day to complain.\nMr Trench will probably make use of the enor-\nmous amount of talent which is at present\nidly kicking its heels in England, He Will pos-\nsibly make use of only English talent, English\nplays, English playwrights, English stage ma-\nnagers and English ideas. &\n& This reminds us of a rumour which has\nreached us and which cannot be true,... that\nMr Trench is about to found his English Re-\nvival of English Stage Art by appealing for\nhelp from Germany, France and Russia.\nIf such a report should prove to have the\nslightest foundation it would foe so utterly\ndisgraceful that the theatre and its manage-\nment could at once be put down as incom-\npetent. J£> & & & &\n& We hope, however, that the report is not\nto be credited, and until we ascertain further\nabout it we shall take it that Mr Trench\nintends to act like an Englishman and not\nlike a German. &\nAnd even the Germans do not go so far as\nreport says Mr Trench intends to do, for he\nis reported to have the intention of importing\nproductions wholesale,... that is to say, the\nplay, the ideas of acting it, staging it and\nlighting it, from abroad. Our information\ncomes from England and we have yet to ascer-\ntain from abroad if the report has any foun-\ndation. &\nFor the rest we regret Mr Trench's weak-\nness in falling back on Revived Period Pro-\nductions. To revive Greek plays as done in\nAthens in B. C. 400 or Elizabethan Plays as\nperformed in the time of Shakespeare is as\nweak as anything we have heard, coming from\na management which proposes to break fresh\nground and do the stage some good. It is on\na parallel with the imitation furniture which\nthe furnishing trade turns out and to our\nart it will be so much dead fruit. &\nOn the other hand Mr Trench's desire to\nencourage our younger English playwrights\ndoes him entire credit. We should like to\nhear some plays by Mr Max Beerbohm, for\ninstance, for we look to Mr Beerbohm as the\npossible writer of a really poetic play. His\nwork has always contained a sense of dream:\nin everything he does there is the touch of\nthe poet: his caricatures are not funny in the\nleast, but they are always pretty or poetic,\nand we feel sure that Piccadilly, its shady\nside and its sunny, could be in his delicate\nhands a background for the great poetic\nplays of this new century, &"}, {"page_pdf": 61, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 4840, "texte": "And Mr Yeats? Mr Trench will be sure to\ngive us one of Yeats' dream plays. And Messrs\nPinero, Jones, Barrie? the plays by these\nplaywrights will, we feel sure, fall due on the\n4 commercial ' nights and will be presented\nneither in the Elizabethan nor the Greek\nmanner, but perhaps in the Victorian.\nNow, it wasn't long ago, that great Victo-\nrian era. Can anyone tell us how the presenta-\ntion of plays differed in that period from\nthat in any other period? It was only yester-\nday, yet we venture to believe that no one\ncan exactly say what is the Victorian man-\nner of presenting a play.\nOh wonderful...! and yet some of you are\nbold enough to tell us that the Elizabethan\nmanner was the tomfool kind of dried chat\nter in a cage which today you try to force\ndown the throats of a sheep-like public.\nWell, we pray heaven Mr Trench deceive\nus not; pray heaven he sweep the dried dusty\n\"Revival\" idea out of the fresh little Haymar-\nket, forswear foreign goods and play the\ngame straghtforwardly. Then, \"strike up pi-\npers !\" for we too are eager to join in the\ndance which ends in crowning Mr Trench as\na blessing,.... at present in disguise.\nMr Roosevelt, master of men, wild ani-\nmals and millionaires, should fail to under®\nstand a master of arts is not strange; but\nthat he should rashly fling off a thoughtless\narticle containing reproaches of a personal\ndescription against so great an artist as Tol-\nstoi will lower Mr Roosevelt in the estimation\nof people who value discernment and caution\nas two of the prime qualities of a great leader.\nThis sort of thing from so strong a man\nas the late President of the United States\ntakes one's breath away:...\n44 However high he (Tolstoi) may stand in\n44 certain respects, he has in him certain\n44 dreadful qualities of the moral pervert.....\n44 That side of his teaching, however, which\n44 is partially manifested in the revolting\n44 4Kreutzer Sonata' can do exceedingly little\n44 damage in America, for it would appeal only\n44 to decadents. \" <£? &\n<£? The ignorance of this amazing outlook\ngives one to think.\n& One thinks one perceives in Mr Roosevelt\nreal signs of that decadence of which he seems\nto be in so great fear. One thinks one has had\nthe first real glimpse of Roosevelt,... and hopes\none has thought wrong. One thinks and thinks\nand still no interpretation of those amazing,\nperverse words of his alters the impression.\nAnd here is our impression;... A strong\nman placed over a corrupt world, chosen to\ncontrol it, attempting to cleanse it, achieving,\n(so they say) something of what he attempts.\nBut in the process, whilst washing out this\nblack corner he gets bespattered,... the traces\nof many years of his association with corrup-\ntion stick to him. Then he flings aside the\nscrubbing brush and the soap and gives up\nthe office of government \"char.\" He accepts\na more refined post; he becomes a contribu-\ntor to a journal, the 44 Outlook\" of America,\nand becomes the 44char\" of literature.\n& In the new life the old habits cleave to him.\nHe enters the office of the 440ut100k,\" pail,\nsoap and scrubbing brush in hand. One thinks\none hears him saying as he takes his seat in\nthe editorial chair, 44 Its no good, I know it's\nno good. I was never a dreamer; I was born\nto char. Bring me some book which the man\nin the street finds dirty and let me show him\nthat his Roosevelt is of the same opinion.\"\n& One thinks one sees a whole library of the\nworld's greatest masterpieces being brought\nto the poor man at the desk, and that one\nsees him irresolute for a moment, confronted\nby the foul creations of those obscene beings\nShakespeare, Euripides, Rabelais, Byron, Mil-\nton, Whitman, Gogol, Ben Jonson, Chaucer,\nAristophanes, Keats, Swinburne, Sophocles,\nSocrates, Tolstoi, and, well, Reader, you know\nthe rest of the wonderful names and their\nmore wonderful works. & &\n& Mr Roosevelt seems to have paused irre-\nsolutely for one brief second only; then, with\nall the maddened bravado of the entrapped\nsavage, to have pounced on the works of\nTolstoi.\nMiraculously misunderstanding this fine\nthinker, this most moral of masters, he ac-\ncuses him of deliberate moral perversion, of\ndecadence. & £?\nThis is entirely horrible in Mr Roosevelt;\nhorrible for him to have confessed himself to\nus as one ignorant of the purpose and means of\nthe art of literature. This charwoman-like at-\ntack on what in his egoism he takes for a dirty\ncorner would be grotesque in its blundering\nif it were not decadent in its self-deception.\nBrave in the presence of brutality, he become\na fatuous bore before the front of intellect. He\nis as an unnecessary and stranded vessel\nwhose foghorn bellows a preposterous warn-\ning from the dry beach, a pathetic but ugly\nskeleton of a boat stranded upon the Fortu-\nnate Isles. An absurdity, a preposterous thing\nposing horridly for posterity, something per-"}, {"page_pdf": 62, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 4602, "texte": "versely decadent in its demeanour; this is\nMr Roosevelt, once the pilot of a people; now\nnot even the pedlar of their opinions.\nAnthony Scarlett, writing lately to the\n\" Saturday Review,\" calls upon the com-\nmittee of the proposed National Theatre to\nmake sure of securing Mr Gordon Craig as\ntheir stage director. Mr Max Beerbohm, wri-\nting the week after on the same subject, calls\nupon Mr Herbert Trench to secure Mr Craig\nfor some experiments. & &\n& We like Mr Scarlett's suggestion better\nthan Mr Beerbohm's, for we are not a little\npuzzled to guess what Mr Beerbohm consi-\nders to be the gifts of Mr Craig.\nHe first of all scouts the idea that the\nNational Theatre can have anything to do\nwith Mr Craig, an opinion which we are far\nfrom sharing. He then goes on to scout ano-\nther idea, that is to say, that Mr Craig can\ndo anything else except arrange scenery,\nlighting and costumes for a poetic or fantas-\ntic play.\n& He says, \"It is obvious that Mr Craig, arran-\nging the scenery and lighting and costumes of\n\" a realistic tragedy or comedy, would either\n\" have to forswear his methods, and thus\n\" waste his time, or would wreck the play,\n\" and thus waste his time and ours.\" &\nThis is a very puzzling sentence. One does\nnot know whether to be amused, or whether\nto be suspicious of Mr Beerbohm in his atti-\ntude towards Mr Craig, for, as Mr Craig has\nnever yet produced a realistic tragedy or\ncomedy it is by no means 'obvious' that he\nwould wreck either by his arrangement of the\nscenery, lighting and costume. &\n& On looking closer at the matter we find\nit quite rash of Mr Beerbohm, who is so careful\nas a rule, to commit that superlative indis-\ncretion of criticising that which he has not\nseen and which does not exist. jg/ &\n& As we have said above, up to the present\ntime Mr Craig has not produced a modern\nrealistic tragedy or comedy, although Mr\nArthur Symons is one of those who have\nwished to see Mr Craig's production of Ibsen's\n\" Ghosts.\" In his \"Studies in Seven Arts\" he\nwrites as follows.\n& \" Then I would like to see Mr. Craig go\n\" further still; I would like to see him deal\n\" with a purely modern play, a play which\n\" takes place indoors, in the house of middle-\n\" class people. He should mount the typical\n\" modern play, Ibsen's ' Ghosts.' Think of\n\" that room 'in Mrs. Alving's country-house,\n\" beside one of the large fjords in Western\n\" Norway.' Do you remember the stage direc-\n\" tions? In the first act the glimpse, through\n\" the glass windows of the conservatory, of\n\" 'a gloomy fjord landscape, veiled by steady\n\" rain;' in the second 'the mist still lies\n\" heavy over the landscape;' in the third the\n\" lamp burning on the table, the darkness\n\" outside, the 'faint glow from the conflagra-\n\" tion.' And always'the room as before.' What\n\" might not Mr. Craig do with that room 1\n\" What precisely, I do not know; but I am sure\n\" that his method is capable of an extension\n\" which will take in that room, and, if it\n\" can take in that room, it can take in all\n\" of modern life which is of importance to the\n\" playwright.\" &\nWe are also really at a loss to understand\nwhy Mr Beerbohm, after stating in regard to\nthe National Theatre committee that it would\nbe useless to recommend Mr Craig to them,\nis so good as to take upon himself the office\nof giving Mr Craig a recommendation to Mr\nTrench. & &\nBut let us see the exact terms of Mr Beer-\nbohm's recommendation. These are the very\nwords: \"I don't ask him (Mr Trench) to pro®\n\" mise that all such poetic or fantastic plays\n\" as he may produce shall be according to Mr\n\" Craig's methods. Merely let him experiment\n\" and see what happens.\" & & &\nWhy, a recommendation like this would\ndamn even a domestic servant who wanted\nto get a new job. &\n<£/ Such a recommendation would run, \"Dear\n\" Mrs Jones, I am very much surprised that I\n\" omitted to say anything about this admi-\n\" rable servant of mine who is leaving me,\n\" and even now I don't ask you to engage\n\" him to do the work such a servant usually\n\" does, for who am I that I should speak in\n\" superlatives of what is comparatively un»\n\" known to me? But I only beg of you to give\n\" him a chance and see what happens. I am\n\" dear Mrs Jones, yours faithfully, Sarah\n\" Smith. P. S. Don't hold me responsible if he\n\" is no good. I never said he was any good.\"\nMr Beerbohm adds \"It is ludicrous that\n\" Mr Craig should be not without honour in\n\"all countries but this one.\" But after reading\nMr Beerbohm's very extraordinary lines one\nunderstands better why such ludicrous things\nare and how they \"overcome us like a sum-\nmer's cloud, without our special wonder.\"\n\nJ.S."}]}, {"article_id": "bm-bmtnaau-1909-07-01-c054", "article_bluemountain": "bmtnaau_1909-07_01#c054", "volume": "bmtnaau_1909-07_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=bmtnaau190907-01.2.23", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.2", "debut_caractere": 1003, "fin_caractere_exclue": 2114, "texte": "mm\n■3F\n%\n=3\nQ\ni\nQ\nsafc\nUSE\nA\n»*\nSWAN\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 a\ngreater necessity than any second best.\nTHE \"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 both\nsides of the nib, so that the light writer or the heavy hand has the right supply of ink\nNot these characteristics alone, but—\n\"LE TOUT ENSEMBLE \" makes the PERFECT PEN\n& Sold by Stationers and Jewellers Everywhere. INSIST ON \"SWAN\" I\n£?\nBRANCHES:\n93* Cheapside, E. C.; 95a, Regent Street W.\n3, Exchange Street, Manchester.\n10, Rue Neuve, Brussels.\n79 & 80, HIGH HOLBORN, LONDON, W. C. Brentano's, 37, Ave, de l'Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nPRICES: English10 \\6 - Trench Fes. 15.00 - Italian - Tire 15.00 upwards. &\nWrite for Catalogue, post free.\nMABIE, TODD & CO.\n(\"SWAN\" Fountpen Makers,)\nSWAN PEN"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c055", "article_bluemountain": "bmtnaau_1909-07_01#c055", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "image_debut": 63, "image_fin": 63, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.24", "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": 63, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 317, "texte": "HEAL & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\nSi\nCo\n§\nA\n«a>\nChintzes, Printed Linens & Printed Cottons. Write for\nillustrated Booklet \"M\" with photographs & prices.\nHeal & Son have special materials for Casement\nCurtains. Booklet \" K \" with small patterns sent postfree.\nTOTTENHAM COURT ROAD, LONDON"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c056", "article_bluemountain": "bmtnaau_1909-07_01#c056", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "50", "image_debut": 64, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.25", "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": 64, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.64", "debut_caractere": 159, "fin_caractere_exclue": 577, "texte": "FRILL!\nANTONIO\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES £> &\nFLORENCE\nVia dei Fossi 4\n(ESTABLISHED i860) jb>\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble & Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904"}]}, {"article_id": "bm-bmtnaau-1909-07-01-c057", "article_bluemountain": "bmtnaau_1909-07_01#c057", "volume": "bmtnaau_1909-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "50", "image_debut": 64, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.64", "debut_caractere": 579, "fin_caractere_exclue": 1057, "texte": "L I BRA I R I E ANCIENNE &\nT. DE MARINIS & Co. & 5 Via Vecchietti - FIRENZE\na\n1\n?: '\n2*\num\nflAr\nU1\n(|J3L\nX\nmi\n»«\nJL\nA.\nIfi\n•••\n» ®\n■nit\n■«»*\n• s\nMil\n181\nI\n»•• •\n«1\n111\n/£\n• 14\nJmJULO\n1111\no\no\noo\n'•I\n359\n00\nII\"\nMi\nMU\nOOfl\n\"I\nn0 il\nill\nH\ntu\ntill! I\n» »\n111\n0«\n• I\nMil\nfBSS\nM\nM\nfit\n*&<*\n0 0\n50\nMill\n111\nturn\nGsi\nl»M*\nggSSKSrr—\n• M\n« a\nQflg\nSO\n06\nI I\n1114\n■ nil\nWW\nJFine Collection of MSS., Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application-"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.1", "texte": "the'MASK BEQ?ns A NEW VOLUME\nVol. 3 N.» 1-3 JULY 1909\nTHE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nARENA GOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS, POST FREE."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.2", "texte": "LITERARY CONTENTS.\n& GOD SAVE THE KING by GORDON CRAIG. & ELLEN TERRY, FIRST FAIRY by GRAHAM\nROBERTSON. £> SHAKESPEARE AS SCENOGRAPHER by ALEXANDER HEVESI. &\nj0 PELLEAS AND MELISANDE by TORSTEN SODERJHELM WITH A BIOGRAPHICAL NOTE\nby GUNNAR CASTREN. £> THE NEW THEATRE IN POLAND: STANISLAW WYSPIANSKI\nby L. de SCHILDENFELD SCHILLER, WITH AN INTRODUCTORY NOTE by THE EDITOR.\nTHE ARENA GOLDONI, ITS PAST, PRESENT AND FUTURE by DOROTHY NEVILE LEES.\n& Mr FROHMAN'S LAST CONFESSION by JOHN BALANCE. Mr BERNARD SHAW AND\nTHE CENSOR by JOHN SEMAR. - BOOK REVIEWS. j£f FOREIGN NOTES. EDITORIAL\nNOTES. j£r\n\nILLUSTRATIONS.\nj£> THREE THEATRE DESIGNS OP THE FIFTEENTH CENTURY TWO DESIGNS FOR A\nSTAGE SCENE AND A PORTRAIT OF HIMSELF by STANISLAW WYSPIANSKI. THE\nPIAZZA DELLA SIGNORIA AT FLORENCE FROM AN OLD ENGRAVING. SIX VIEWS OF\nTHE ARENA GOLDONI. 0 THE MASK OF THE BOOKSELLER by EDUARD EDUARDOVITCH.\n0 HEAD AND TAIL PIECES by GORDON CRAIG, STANISLAW WYSPIANSKI, E. THESLEFF,\nCHARLES BORROW AND OTHERS. £?&&&&&\n\nmm\n■3F\n%\n=3\nQ\ni\nQ\nsafc\nUSE\nA\n»*\nSWAN\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 a\ngreater necessity than any second best.\nTHE \"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 both\nsides of the nib, so that the light writer or the heavy hand has the right supply of ink\nNot these characteristics alone, but—\n\"LE TOUT ENSEMBLE \" makes the PERFECT PEN\n& Sold by Stationers and Jewellers Everywhere. INSIST ON \"SWAN\" I\n£?\nBRANCHES:\n93* Cheapside, E. C.; 95a, Regent Street W.\n3, Exchange Street, Manchester.\n10, Rue Neuve, Brussels.\n79 & 80, HIGH HOLBORN, LONDON, W. C. Brentano's, 37, Ave, de l'Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nPRICES: English10 \\6 - Trench Fes. 15.00 - Italian - Tire 15.00 upwards. &\nWrite for Catalogue, post free.\nMABIE, TODD & CO.\n(\"SWAN\" Fountpen Makers,)\nSWAN PEN"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.4", "texte": "Design showing the interior of an antique Theatre seen from the stage. The spectators are represented with the Venetian\ncostume of the latter part of the fifteenth century."}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.5", "texte": "GOD SAVE THE KING\nby Gordon Craig.\nJf there is a thing in the world that I love it is a symbol. & & & &\n•& If there is a Heaven that I can bend my knee to it is the sky.... if there is a God, the sun.\nI am not content to believe in the smaller things which I can touch. I cannot be familiar\nwith what is above me, but I must be able to see it all, and what I see must be superb.\nTherefore God save the King!\n\" All Architecture is what you do to it when you look upon it \". (i) and if my\nking wanted to chop off my head I think I would submit cheerfully and dance to the block\nfor the sake of preserving my ideal of Kingship. &\nKings have given us everything.... and we in times gone by have in return made up the\nsplendid procession which follows in their wake. Kings have not stopped giving us everything,\nbut we have lately given up forming the splendid processions. We have lost the trick of it\nbecause we are losing the old power of our eyes and our other senses. Our senses,.... those\nwonderful servants of ours over whom we reign as king,.... our senses have rebelled. So\nthat it comes to this: that we on our part have lost our royalty. Our senses have had the\nvanity to revolt. This is infinitely disgusting. Our senses, if you please, are permitting\nthemselves the luxury of becoming tired. They Want another ruler than the 50u1,... and\nexpect Jupiter to send them a better. We have pampered our intellect so much of late, have\nsearched the archives of knowledge at so great an expense, that we have bargained our\nsenses away to our unimaginative reason. & & & & &\n& It costs all this to become practical today; our imagination is the price we pay. It seems\nthat in the Garden of Paradise, the world, there are as many trees of knowledge as there\nare men, so that it will no longer do to put our continual yearly \" fall \" down to woman,\nand we had surely better try to support her bitter laughter than that harsher scorn of the\ngods.\n& And the gods are laughing! My God, so entirely peerless, laughs only with his eyes.\nHe laughs on all the day and I hear the echo of his laughter all the night. But I know how\nnobly all has been arranged in this Garden, for my God's laughter is as the song of Para-\ndise in my ears, and its pale echo soothes me to sleep through the night. &\n& And as surely as this bounteous laughter pours down on me by day and flows away\nfrom me by night, so will I find some way of giving thanks for it all: thanksgiving to the\njoyous laughter. &\nBut to many ears this laughter of the Gods is like the shrieking of a storm, and these\npeople raise their eyebrows, grumble, and pray that it will pass. & &\n& But will It pass? Will it not shriek in their ears until they be dead,... until they have\nlost the sense of hearing? JET\n& Better would it be for these beings to value once more their most noble servants the\nsenses, and attempt to perceive by their means the full meaning of the voice and of the\nface of God. And when they have understood that they will see the full meaning of the\nKing.\n& If I worship the sun 1 cannot listen to the talk which twaddles on about the tyranny\nof kings. The sun is for me the greatest of tyrants; that, in fact, is part of my reason for\nloving the sun.\n\nOur Senses.\nThe Sun-God.\n\n(1) Whitman."}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.6", "texte": "GOD SAVE, THE\nKING &\n\n<0 All truth,... the truth of tyranny no less than the truth of slavery, is illumined by the\nsun. From the marble columns of Mount Carrara to the wrinkle on the face of my nurse,\nall is laid bare for me; nothing escapes the eye of God. He is a terrible God to those who\nwill not be burnt by him. From these he will \" breed maggots & & &\n& The Beautiful and the Terrible. Which is which will never be put into words. But I am\nfree to tell myself; and, let me but preserve the senses,... my eyes, my ears, my touch, and\nall shall be we 11,... all shall be far more beautiful than terrible. & &\n& For not only do these servants of our Royalty help to idealise all things for us, but\nthey also help to fix a limit to our vanity. By their help 1 recognise my God as he rises\nlike the spirit of Imagination from the East and sails across the blue straits of Heaven.\n& If I had lost the sense of sight I should be unable to see this glory, and, not seeing it,\nI shoul ddemand more miracles from it than Happiness may expect. I should look for the\npractical daily miracle in vain. Whereas, seeing this daily glory, this Sun, I know that the\nmiracle comes and goes, that the miracle is the passage of this symbol of the Divine, this\nseeming motion of the Sun from east to west. &\nAnd that seeming motion of this God is enough for man to know. Mystic voices seem\nto cry, \" Seek to know no more \"5 and we answer rebelliously, \" I will be satisfied; deny\nme this and an eternal curse fall on ye \" & & & & & &\n\" .... Show his eyes and grieve his heart,\nCome like shadows, so depart. \"\nThis seeking to know more,... this desire of the brain,... robs our senses of their vita-\nlity; our eyes are dim; we can no longer recognise the God before us, nor the King as he\npasses along our way. Our ears are deaf; we cannot hear the song of Paradise, we fail to\npick up the chorus which follows in the wake of Royalty.Our touch is grown coarse. The\nhem of the robes' brocade was once pleasant to our fingers' touch; to press upon the silken\nglove with our lips was once a luxury. Now we have become the mob; ambition's aim,...\nnoble consummation. Afraid to serve like noblemen we must slave like thieves,'having rob-\nbed ourselves of our greatest possession,... our fine senses. We are becoming veritable slaves\nchained together by circumstances, refusing daily to be released by our imagination,... that\nonly power which achieves Freedom. &\n& But for me, I am a free man, by the grace of Royalty. Long live the King! &\n\nThe desire id\nknow. & &\n\nCarlyle.\nJt is meretorious to insist on forms. Religion and all else naturally clothes itself in forms....\nAll substances clothe themselves in forms; but there are suitable true forms, and then\nthere are untrue unsuitable. As the briefest definition one might say, Forms which GROW\nround a substance, if we rightly understand that, will correspond to the real Nature and\npurport of it, will be true, good; forms which are consciously put round a substance, bad,\nI invite you to reflect 011 this. It distinguishes true from false in Ceremonial Form, earnest\nsolemnity from empty pageant, in all human things."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.7", "texte": "ELL'EN TERRY, FIRST FAIRY\nby Graham Robertson\n& Could you curl up a little more?\" said Miss Ellen Terry at a recent rehearsal to a\nsmall elf swinging precariously in mid«air on a bending bough. \" 1 used to come down curled\nup on a big leaf when 1 was a fairy.\"\nWhen she was a Fairy indeed! As if Miss Terry does not know better than most\npeople that once a Fairy, always a Fairy. And this brings us to the beginning of our story.\n& Once upon a time there was a very ugly Age. Perhaps not quite as ugly as this: the\nmotor bus and the aroplane were unknown, but on the other hand there were chignons\nand large gold lockets and crochet antimaccassars and ornaments for your fire stove, and\nbricks were covered with stucco and doors were 'grained' in imitation of whatever wood\nthey did not happen to be.\n& Now all this was very sad, and though of course Beauty was in the midst of it, as she\nalways is, looking charming in her full, plain skirts ahd her sloped away shoulders and\nher trim little bonnets, yet she did not like her surroundings, and at last she felt that she\ncould put up with them no longer. So she called at the nearest Fairy Ring and laid the\nwhole matter before the Folk in Green and asked for advice. £> &\nThe Fairies, who are always ready to do Beauty a good turn, gave the subject their\nfull consideration, and finally said that they would see about it and that it should be all\nright. Then they set to work. And they collected wildfire and May dew and the\nwhispering of leaves and the dancing of waters and the daffodils of dawn and the roses\nof sunset, and they packed them up very carefully into a very neat and very small parcel\nand they called the parcel Ellen Terry and sent it to an address in Coventry which nobody\ncan remember.... right into the great big ugly world. Then they waited results. £>\nFirst of all nothing in particular happened. The little parcel of Fairy Goods adapted\nitself to the situation and pretended to be an ordinary baby; developing therefrom into\nan ordinary little girl. So ordinary did she seem that her parents could think of nothing\nbetter for her to do than to go on to the stage and act plays to make people laugh or\ncry: a career which, I need hardly point out, any thoroughly good and 'properly brought\nup' child would 5c0rn...... and quite rightly too, as she would be no manner of use in it.\nBut then occurred a curious thing. Among the parts which the baby from Fairyland\nwas asked to play was a First Fairy.... the first of all Fairies.... Puck. It was a dangerous\nexperiment. The playing of Puck, Ellen Terry herself acknowledges, produced a marked\neffect upon her chiid~mind: she became wild and wayward, impatient of restraint,a romp,\nas she expresses it; and when Puck in his turn gave place to the Good Fairy Goldenstar,\nwhose robes were 'gold, pink and trailing' to the deep satisfaction of the wearer,... well\nwe may consider ourselves lucky that Ellen Terry is still with us. It was the call of the\nblood, and the only wonder is that the Fairy Child, grown homesick, did not then and\nthere disappear up the chimney after the approved manner of changelings.\n& Perhaps the soothing effect of becoming 'top angel* in Henry VIII may have saved the\nsituation: anyhow, Ellen Terry stayed. More parts were given to her, though as yet no\nmore Fairy parts, but the ordinary little girl began to feel her disguise more difficult to\nsustain, and was very nearly found out, qpon several occasions, to be a very extraordinary\nlittle girl indeed.\n\nAil ugly Age,\nThe Fairy Baby.\n\" Puck ~ &"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.8", "texte": "ELLEN TERRY\n\nT it an i a <£?\nThe charm\nThe Fairy T£?\n\nELLEN TERRY\n\n4< Rosamuud \"\n\" Anut Imogen \"\n(1) This was written in Jan: 1909 when Miss Terry was acting in \"Pinkie and the Fairies.\" Ed"}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.10", "texte": "SHAKESPEARE AS SCENOGRAPHER\nby Alexander Hevesi\nt is commonly accepted by art historians that the Shakespea-\nrian stage was a most primitive, almost symbolic, arrangement.\n& It was more a podium than a stage, without any of the\nillusions which are possible in our modern up to date theatre.\nIt could not produce any of the artistic revelations of the pain-\nter nor any of the technical wonders of the electrician. In a\nword it was a very primitive stage. Celebrated historians and\ncritics of Shakespeare have explained the relation of this very\nbarren stage and the effect on the spectator of the time in this\nmanner: that the audiences of the Golden Era of the Elizabethan\ndramatists were most naive and receptive and most willingly\nrenounced the pleasantnesses of a strong illusion. The people of\nthat time had more imagination than our great crowds of to»day and they willingly followed\nthe poet in what he had to say and what he had to suggest. £?\nIs there not a possibility that this universally accepted favourable opinion about the\naudiences of that time is subject to a fundamental misunderstanding of the Shakespearian\ndrama ? Why should we rate the Shakespearian audiences higher than he did himself ? Is\nit not a fact that Shakespeare mocks at audiences in \"Hamlet\"? It is always the audience\nwho in order to arrive at certain cheap effects spoils the actor and can never understand\nand appreciate the real poet. That an audience without the proper scenic environment,\nwithout decorations, entered into the imaginary pictures of the poet is not due to its naivity\nor to its receptiveness but to the peculiar, one may say unique, dramatic art which since\nthen has been so imperfectly imitated and which is so perfectly revealed in Shakespeare's\ndialogue.\nThe mediaeval stage which had gradually developed to the time of the English Renaissance\nand become part of it, became by virtue of its lack of magnificence and its primitiveness\nthe stage of unlimited possibilities. It does not remind us of the stage of the Italian\nRenaissance which had for each division of dramatic art a fixed and set environment, tried\nto preserve the appearance of reality and was willing to court the clamours of the audience.\nNeither did the English stage resemble the stage of Corneille or Racine who allowed all their\ntragic subjects to develop amid staid and abstract environments. The English stage could\ncreate an entire world as soon as the poet appeared in whose soul slumbered a world for itself.\nBut this stage expects every thing from the poet even down to the decorations; on this\nstage there is no painter, no regisseur of stage or light; only the poet and the actor are left\nto themselves here. The word is supreme and Shakespeare alone creates the decorations\nand illuminates the play every night with magic quickness. Therein lies the secret and\nthe explanation why Shakespeare's dialogue gives such a wide scope to the purely poetic and\npicturesque elements. As there had not yet been a stage of illusions, it was the task to\narrive at illusions through purely poetic mediums. It was necessary for the poet to suggest\nto his audiences various kinds of decorations. A greater master of this art of suggestion\nhas never lived and there has been no theater director other than Shakespeare who disposed\nof a greater wealth of decorations. There are the fairy woods in \"Midsummernight's\nDream \" with the cowslips in golden coats spotted with rubies, the bower of Titania of\nwild roses and violets on a bank whereon the wild thyme blows. There is the prologue in\n\"The Merchant of Venice\"\n\".... where your argosies with portly sails,\n\" Like signors and rich burghers of the flood,\n•' Or as it were, the pageants of the sea\n\" Do overpeer the petty traffickers,\n\" That curt'sy to them, do them reverence,\n(i As they fly by them with their woven wings.\"\nThere is in the fifth act the garden of Portia where to the lovemaking of Jessica and\nLorenzo,\n\nThe Mediaeval\nStage. £? &"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.11", "texte": "44 The moon shines bright in such a night as this,\n44 When the sweet wind did gently kiss the trees,\n44 And they did make no noise....\"\n& There is the song of Autolicus in 44 The Winters Tale \" with its rich colors: it is nothing\nmore than a bright sunny decoration of spring which the poet brings to our eyes by the\nmelody of his magic words. There is the monastic garden of Friar Laurence in 44 Romeo\nand Juliet\" in the brilliancy of the early morning light, the castle of Inverness with its\ndeceptive swallows' nests, the dark cave of the witches, the terrace of Elsinore where the\nghost of Hamlet's father appears in full armour, the heath in storm where King Lear tears\nhis white hair, all these pictures of the stage receive life solely through the suggestive\npower of the poetic diction. And how generous Shakespeare is with the light effects\nconsidering that he has on his stage no apparatuses for this purpose at his disposal. In\neveryone of his plays the change of time is noted which means a change of light. &\n& Shakespeare is most resourceful in this and he does not miss an opportunity to bring\nout every shade and color in the way of lighting assisted by his diction. In the garden\nscene of 44 The Merchant of Venice44 he simply announces (Lorenzo) 44the moon shines\nbrightin 44 Midsummer night's Dream \" diction is put into the service of the most up to\ndate light effects and it is worth while to note in how many different ways Shakespeare\nplays about with the magic light of the moon. With each change of light a change of\ndecoration takes place and the scenic pictures thus created are positively astounding in\nrichness of color showing visions of the greatest conception. &\n&It is here that the foundation of Shakespeare's dramatic art is to be found. Here is a\ngreat poetic genius changing magically through the power of verbal expression a wooden\nstructure into a stage capable of any transformation and suggesting to his public scenic\npictures of such diversity and with such intensity that centuries later the most ingenious\ncontrivances of a modern stage structure, built for producing illusions, fail to give life to\na Shakespearian drama without experiencing the disappointment that in spite of all the\nmachinery it is not possible to realize the ideas of the poet. From the standpoint of the\nmodern drama such a monopoly of the decorative and lyric element is a hindrance of the\npurely dramatic in the dialogue. A differentiation has gradually taken place and it is\ninteresting to notice how the dramatic in the dialogue has gradually separated from all\nlyric and decorative side issues since the days of the Greek tragedians. The Greek tragedy\ncould place nearly all the necessities of decoration on the stage: a wonderful architecture,\nthe blue dome of the sky, evolutions of rythmic—decorative beauty and mechanical apparatuses\nof much ingenuity were at its disposal. The lyric part however was in the Greek tragedy\nas chorus a parallel counterpart to the dramatic dialogue and gradually declines in the\ncourse of development. In Shakespeare all the lyric and decorative 44 motifs\" are woven\ninto the dialogue. Shakespeare's dialogue is both decorative, lyric and dramatic. The\nmodern drama however places everything decorative within the frame of the stage in form\nof separate explanations which accompany the dialogue. The lyric part as such loses its\nindependence and is involved in the dramatic expression which creates atmosphere or\nStimmung and presupposes an art of acting consisting of silences and secretiveness\nwhich had been hitherto unknown or, at least, until quite modern times.\n& The Shakespearian drama finds two kinds of obstacles in our modern theatre; the first\nis to be found in the stage structure which is built to produce illusions and the second in\nthe differentiation of the art of acting. For both purposes the Shakespearian text is much\ntoo broad, too profuse. The second difficulty is comparatively easily overcome. It means\nthe cutting out of unnecessary words, the substitution of the word by mimic art which\nwill always remain individual. Actors with rhetoric tendencies always depend on the full\nvalue of the word while real mimic actors only look for the suggestions in order to preserve\nthe independence of their art. &&&&&&&&\n& Much more difficult however is the question of the scenic environment. What shall be\nthe relation of a modern stage to the decorations created by Shakespeare in his dramatic\ntext? if everyone of Shakespeare's words is also realised in picture-form on the stage, his\nsuggestive descriptions must act like pleonasms. Therefore the purely poetic suggestion\nwould cease to be necessary. The revolving stage with its realistic pictures and its drastic\ncuts is no solution. The lengths of the intermissions are reduced, but the disturbing\n\nSHAKESPEARE\nAS SCENOGRA-\nPHER. &\n\nThe I&&&&\n& Many other scenes,... those which give the keenest expression to the mysticism of sen-\ntiment,... were omitted at the theatre. I will only mention the first tableau of the fifth Act,\nperformed by the servant maids, where the silent children afford so typical an instance of\na characteristic of Maeterlinck that it hardly ought to have been omitted. That scene is\nalso, for the same reason, important as preparation for the appearance of the children in\nthe last Act. &&&&&&<&<&'&&\n& I mentioned the servant maids, \" les servantes \"... Their appearance in the first and in\nthe last Act certainly did not give the right impression of their character. In the first\nscene there was far too little style, the whole was too light and too trifling. It ought to\nbe a prolonged prologue that opens the gates of fate,... the same gates that close with a\nclang in the fourth Act, when the fate of Pelleas and Melisande is to be sealed. The spirit\nof the Greek tragedy of fate lies in this brief scene, and the servant maids,... the chorus....\nare much more closely related to Aeschylus than to the novices in an operatic nunnery,\nwhom here they much resemble. I had pictured to myself a procession of stern goddesses\nof fate, advancing out of the darkness with water pails on high carrying-poles, a scene with\nmore perspective and with larger outlines, something quite different from these officious\nscrubbing women with ear-piercing sopranos. And in the last Act it is in the sudden and\nabsolutely simultaneous kneeling that the moment is fixed when the Parces cut the vital\nthread of Melisande. £? &\nThere are some scenes in which the secret language, about which Maeterlinck speaks,\nought to be heard especially clearly, and which therefore ought to have been studied more\ncarefully. In the scene by the sea, (I. 4) where the decorations and the music were at theii\nbest, there was no soul. I do not know what was the reason, but the words had not the\nright ring, the meaning in each of them did not appeal to us beautifully enough. We\nexpected to hear the sentences ring slowly and clearly, one by one, with a soft echo, like\nthe falling of rain-drops, from the willow-tree on the shore, upon the calm surface of the\nwater; more and more slowly, more and full of foreboding, until they cease altogether:...\nonly then could we have understood the mother's question, 44 Have you nothing more to\nsay to each other? \"\n\n<£? PELLEAS AND\nMELISANDE. &\n\nSome omissions.\nThe servant\nmaids, &\nThe secret\nlanguage.\n\nEuterpe 1905."}, {"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.15", "texte": "Design No 2. An antique theatre showing the scenery and costumes as used in Venice in the fifteenth century\nDesign No 1. shows a ruder wood engraving of the same scene."}, {"page_pdf": 17, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.17", "texte": "THE NEW THEATRE IN POLAND:\nSTANISLAW WYSPIANSKI\nby L. de Schildenfeld Schiller, with an\nIntroductory Biographical Note by the Editor.\n§tanis!as Wyspianski, that gifted poet, painter and artist of the Polish Theatre of whose\nwork the following essay treats, was born in May 1869 in the ancient royal capital, in\nCracow, in that part of Poland which is now under the Austrian government. &\nA pupil of John Matejko, (1838*1893) the creator and master of Polish historical painting,\nhe became inspired by that painter's missionary and national idea of art, and took the same\nmission upon himself. Five years study in Paris revealed in him a rare poetical-plastic ta-\nlent, which on his return home declared itself with elemental strength in his painting and\nin his poetical and theatrical works. As a painter he pointed out new roads for Polish paint*\ning, as well in landscape as in composition. His pictures awakened admiration at the Vien-\nnese exhibition \" Secession \". The desire of transforming all the phenomena of life into\nphenomena of beauty and might developed in him a love for monumental and decorative\nart. He gave triumphant expression to this instinct in his architectural plan for the recon-\nstruction of the royal burg or Wawel, for that is what they call the hill rising above Cracow\non which stand 44 The church, castle and mound in the marvellous polychromics in\nthe Franciscan church in Cracow; in the stained windows composed for the cathedrals of\nCracow, (44 St Stanislas 44 Casimir the Great \" and \"Henry the Pious \") and Lemberg,\n(\" Polonia \" and 44 King John Casimir's Vow \"); in the entire arrangement of \" The House\nof Doctors \" in Cracow; in the ornamentation of his own home and those of his friends,\nand in the original decoration of one of the halls in the Palace of Fine Art in Cracow.\n& Taking a lively interest in the popular ceremonies, he invented for their actors new\ncostumes and emblems. His decorative talent distinguished itself also in 44 typographical\ncompositions,\" as one may call the editions of his works for which he himself designed the\ncover, frontispiece, illustrations and vignettes and chose the type; as likewise in the illu-\nstrations for the fragments of the 44 Iliad \" paraphrased by J. Stowacki. In such work\nWyspianski had already had experience in connection with 44 Zicie \", the organ of 44 Young\nPoland \", of which publication he was, together with Stanislas Przybyszewski, art editor.\nWyspianski's poetical work consists of philosophical rhapsodies, and has its source, as have\nall his productions, in his love, pure as crystal, for his country. 44 Boleslas the Bold \";\n44 Piast \", 44 St Stanislas \", (posthumous fragment). & &\n& The atmosphere, however, in which his genius found its fullest development was in the\ntheatre. Although in all his work, in his landscapes, compositions, in stained windows,\nin the illustrations for the 44 Iliad \", in his manner of arranging interiors as also in his\npoetry are concealed certain theatrical elements, yet it was only on the stage, in drama,\nthat these found the most favourable ground for their evolution. To the theatre, therefore,\nWyspianski dedicated the greater part of his work. He wrote dramas; 44 Daniel ~ (a libretto\nfor a musical drama); 44 The Legend \", 44 Meleager 44 Protesilaus and Laodamia 44 The\nLegion 44 The Curse 44 Varsovienne \", 44 The Wedding 44 Boleslas the Bold 44 Deli-\nvrance 44 Achilles 44 Acropolis \", 44 The November Night \", 44 The Rock \", (Skalka) 44 The\n\nHis master. &\nHis theatrical\nwork. & &"}, {"page_pdf": 18, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.18", "texte": "STAN IS LAW\nWYSPIANSKI.\n\nReturn of Odysseus \", 44 The Judges \",44 The Death of Ophelia \",44 King Sigismond August \"»\n44 Julius II \",44 King John Cassimir's Vow \"; he paraphrased and staged for the Polish theatre\nCorneille's 44 Le Cid \", he staged Mickiewiez's 44 The Feast of the Dead \" and wrote a study\non Shakespeare's 44 Hamlet \" under the title 44 The Tragicall Historie of Hamlet Prince of\nDenmark by William Shakespeare, read and deliberated upon anew by St Wyspianski ,\" in\nwhich he set forth his philosophy of the theatre and the secrets of his dramaturgy. &\nAs poet he was heir to the lute of that national poetry possessed by the Polish Roman-\nticism embodied in the trio of bards, Mickiewicz, Slowacki and Krasinski: that lute which\nlater was so masterfully held by Cyprian Norwid. As painter he is akin, (though only in\nidea) to Gustave Moreau and Puvis de Chavannes. As dramatist, taking the Greek Theatre\nas an ideal model, he may only be compared to Wagner, and, in the history of contemporary\ndramaturgy, we may place his name by those of Maeterlinck and Hofmannsthal. Lastly, as\nartist of the theatre, (and his dramas, of which almost every one presents a fresh problem\nin theatrical form and original scenic experiments, give him the right to this title), Wyspianski\nbelongs to those few, very few good Spirits of the Theatre who desire its Delivrance.\n& He died November 28th, 1907. He lies in the 44 Tomb of the Meretorious \" in the Church\non his beloved 44 Rock \" whose legend he dramatised in his poems, stained windows and\ndrama. His native town buried him at its own cost, bidding farewell to this departing Soul\nas in glorious times they bade farewell to the remains of hetmen, burning funeral torches\nand ringing all the bells, but, according to his own desire, without pronouncing any oration\nover his grave. <£? & & <£/ & & & & J£>\n\nJZ? Poet, Painter\nand Dramatist.\n\nTHE NEW THEATRE IN POLAND\n\nrJPoday, the new Soul of Humanity \" writes E. Schure, 44 whose shivers have passed over us\n44 raising our heads, calls for cradles, arenas and temples; cradles, for childhood to grow\n44 therein; arenas that youth may wrestle; temples that genius may take shelter and speak\n44 to the people. \" & & & & & &\n& Our epoch is the feast of the Resurrection of Princess Psyche, awakened from lethargical\nsleep by the kiss of the spousal lips of love. The Awakened Soul who is already hastening\nto step out at the head of the pilgrim multitudes carrying an oil lamp in her hands, to\ntake up with us the tedious work, demands of us new hospices from which she might take\nfire for her lamp for her further wanderings; demands of us a palace in which she might\ncelebrate her joyful nuptial with Eros, demands of us homage in the form of cult, the ar»\ntistic act of our will, in which our talent might disburden itself, which would be the full\nand complete expression of our joy.\n& Now the most suitable sanctuary for the Soul of today will be the Theatre. <£?\n& This theatre which was yesterday, at its best, but 44 le divertissement le plus doux de\nnos princes, les delices du peuple et le plaisir des grands.\" (i) or gave, dissected with ana-\ntomical precision, 44 tranches de vie \", may become today similar to the Greek theatre, to\nwhich approached the roar of the sea, over which flew the 44Cranes of Ibicus\" in menacing\nflight, the Church of the Joy of Life. In the first phase of its Renaissance it will still be\n44 Ecclesia Militans \", for its task will be to make known to the social instinct of delight,\ndeep-rooted in the indignation of the wronged man of today, its noblest meaning, and to\npoint out the true path to the natural impulse for the enjoyment of life. In the next phases\nof its evolution the theatre, in concert with the other arts, will create more and more per-\nfect forms of delight (for every art is consecrated to delight and there exists no sublimer\nand more serious task than that of rendering people happy (2)), until at last on the day of\nDelivrance of the Human Soul from promethean fetters, when our energy will express itself\n\nOut epoch.\n& \" Bcclcsia\nMilitans.\n\n(1) Corneille.\n(2) Fr. Schiller: Preface to \" The Betrothed of Messina"}, {"page_pdf": 19, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.19", "texte": "STANISLAW\nW YSPIANSKI\n\nsolely in the direction of Beauty, will arise the new theatre, \" Ecclesia triumphans \", in\nwhich \"some day, as artists, we will unite for the aggregate, free co-operation, and above\nall for the matter of art itself, and not for any secondary aim of profit\"; the new theatre\non whose thymele will kindle the fire in honour of \" Jesus, who suffered for humanity,\nand Apollo who raised it to a dignity full of joy\" (i) \"a new theatre, of calm and beauty\nwithout tears \" (2).\nOf such a theatre Wagner was thinking when, having brought his Bayreuth temple to\ncompletion, he wrote to Feustl: \"We are giving by this building only the outline of our\nidea and we are leaving it to the nation to accomplish, so that it make of it a monumental\nEdifice.\" &\nSuch a Temple of the Soul is the Theatre of Wyspianski. The theafre of Wyspianski is\na church militant; under its gothic vaulting sounds the prophetic voice of the high priest,\nnow with a sombre menace and now with a joyful announcement; before the tabernacle\nburns the everlasting lamp of Love, pointing out the road in the gloom to those who hunger\nand thirst for the Power-giving communion. The militant character is to be distinguished\nhere more clearly than in the Wagnerian theatre; for while Wagner sang to a free nation\na song comforting and inebriating like wine, the Polish bard, standing before a martyr-people,\nwhich, in the history of fights for liberty played many times towards European nations the part\nof the Cyrenean; which, under the yoke of the cross of bondage began to bend with the\nChristly groan on its livid lips, \" Eli, Eli, lamma sabacthani\"; standing before this people\nthe Polish bard draws from his lute the rhythms of Jeremias, of Tyrtacus and of St John.\nThe theatre of Wyspianski is a temple, in which the people pronounces judgment on\nitself, in which it seeks its own Truth, in which it beholds in the magic mirror of the poet\nthe countenance of the Soul. The theatre of Wyspianski is purely national. It is, as it were,\nthe corner-stone placed under the Edifice of the Future of which Mieckiewicz dreamed. (3)\nFor Wyspianski's drama combines in itself all the elements of national art, passes through\nthe whole range of poetry from lay to epopee; on the pattern of the mysteries of the reli-\ngious theatre unites the supernatural world with the earthly stage; touches all the problems\naffecting the nation, and, as the Master exacted, concludes with a great prophecy. &\n& His drama gets its substance from the heroic deeds of the Nation, and for form dips into\nnative popular art. By the touch of the magic wand of Wyspianski's talent legend is min-\ngled with history in a logical whole. Old theatrical manequins, gifted with the immortal\nsoul of national demi-gods, clothed in new garments, having received as background for\ntheir gestures new scenery, become for us new themes of thought. &\n& The Theatre of Wyspianski is the Tribunal of the national Conscience. The poet plays\nin it the role of Inquisitor. The actors, \" those people of rare talent, of real utility, the\nmost eloquent preachers of honesty and virtues, the scourges of drollery and vice, whom\nthe genius uses as a birch to chastise the wicked and the mad \", (4) the actors, who are\n\" the abstract and brief chronicles of the time \" become in his hands instruments of tor-\nture by which the conscience of the delinquent will be taken and will betray itself. All the\nspectacles which take place here, with only a few exceptions, might form a dramatic cycle\nunder the title in \" Hamlet \", \" The Mouse -trap \". Wyspianski, whose mission as natio-\nnal poet is akin to that with which the ghost of the murdered king charged the unfortunate\nPrince of Denmark, in his mind's eye sees continually the Ghost of his Nation, hears un-\nceasingly its call to the Deed of Vengeance, and reasons like Hamlet: \" About, my brain!\n1 have heard that guilty creatures sitting at a play have by the very cunning of the scene\nbeen struck so to the soul that presently they have proclaimed their malefactions. \" for\n\" murder, though it have no tongue, will speak with most miraculous organ. \" And, like\nHamlet, Wyspianski resolves with the help of the actors, \" persons acting on the stage on\nthe road through the Labyrinth called the Theatre \", (5) to surround the consciences of\nthe spectators, discover the fault, and point out the guilty ones in the theatre, \" whose\nend, both at the first and now, was and is to hold as t'were the mirror up to nature; to\nshow virtue her own feature, scorn her own image, and the very age and body of the time\n\n& A Chutch\nmilitant.\nThe example\nof Hamlet.\n\n(1) R. Wagner: \" Art and Revolution\n(2) M. Maeterlinck: \" The Double Garden\n(3) Essay on Slav literature given at the \" college de France \" XVI Lesson. (April 4. 1843.)\n(4) Diderot: \" Paradox on the Comedian\n(5) Wysplanski: *' Hamlet\" (dedication)."}, {"page_pdf": 20, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.20", "texte": "STANISLAW\nWYSPIANSKL\n\nhis form and pressure \", in the missionary theatre, which was to point out the Way, reveal\nthe Truth and give Life, & <<&&&?&?<£?\n& It was not given to Wyspianski, as it was to Wagner, to live and create in his own\ntheatre. The ground of his action was exclusively the tiny Cracow theatre on whose front\nglitters the inscription: \" Cracow, to National Art \". But nevertheless, stepping on to its\nboards, he, like Prospero, knew how to rule over it, and his work as an artist of the thea-\ntre will remain as a guide-post for the future. <£?\nWyspianski delineated his ideal programme in \" Harrsiet, read and deliberated upon anew\nby himself \". This essay, written by a ripe and experienced artist, is Ariadne's thread in\nthe true Labyrinth as in the theatre of Wyspianski; it explains his connection with the\nnational stage and with the actors, it discloses the secret of his theatrical tecnique, and\ngives likewise a conception of that theatre for which he yearned. &\nThoroughly sifting the problem of Hamlet according to <4 what there is in Poland for\nthought\", he considers the problem of the production of Shakespeare 44 and of that\nShakespeare who wrote Hamlet \" and sketches its picture, supporting himself on some histo-\nrical data, (to which, however, he attached no importance), and principally on the basis of\nthe ideas expressed in 44 Hamlet \" which testify to its author as an ideal dramaturge, stage-\nmanager and pedagogue of the theatre. Wyspianski dreams of that theatre 44 whose end is to\nhold the mirror up to nature \" and at whose head stands Shakespeare,... Prospero 44 whose\ncharm is nothing else but intelligence \", making servants of enemies, and humbling by its\nsupremacy.... the true gift for divining people \",... the talent of people like Holbein, for\ninstance, which knows how to 44 read in the countenance of living people and to writ# it in\na picture \". & <6?\nHe dreams of that theatre which, under the government of such an Intelligence, \"becomes\na judgment hall where art, drama, artism, judge, and take also such a note,. .. that as. on\na fishing-rod they bring conscience to the surface\"; he'dreams of such an intelligent judg-\nment 44 inquiring into the conscience of the amphitheatre which,\" however well it may mask\nitself, nevertheless 44wil! stammer out the truth at last wearied by the watchfulness of in-\ntelligence For Wyspianski the ideal is that Shakespeare who 44 lived in the theatre and\nfor the theatre, gave to that theatre his artism and talent\"; who, being in continual con-\ntact with the stage and actors, looked from near on those 44 LIVING HEROES \" and, \"that\n44 life which they had off the stage, but which on the stage they lacked, he wanted on the\n44 stage to give them. And that sincerity of movement which they had not on the stage and\n44 had off the stage, he wanted on the stage to give them. And that course of conversation,\n44 natural and supple, fluent and spontaneous since enclosed in rhyme by no one awkward,\n44 but flowing of the free will, which they had not on the stage and which they had off the\n64 stage, he wanted on the stage to give them. \" & &\n<6? He sets himself as an example the Shakespearean method of creating, consisting of col-\nlaboration with the actors, 44 How did Shakespeare write ? \" Wyspianski asks himself. 44A1»\n44 most all the so-called \"Shakespearean\" dramas were played before Shakespeare. And they\n44 were bad, miserable plays. And perhaps not everything was bad and miserable in them.\n44 First of all their substance was beautiful and tragic; and Shakespeare altered them all\n44 in turn, reconstructed them, completed them, .. and at last wrote; the later he did so the\n44 more completely changing the former, to him tiresome, text, and giving more and more\n44 frequently new works. He altered them, rendered their performance possible. Spen-\n-44 ding years at this, he altered more and more clearly and thoroughly, better and better\n44 and more and more independently and through his incessant theatrical practise had con-\n-44 tinual control over the stage and means of verifying his plays and possibilities of inter-\n-44 polating fresh corrections and improvements from day to day. The theatrical manuscript\n44 from which they played, at the outset minute and homely and embracing solely the fable,\n44 grew, grew with the increase of episodical scenes, augmented in figures in proportion to\n4i the capable actors, augmented in circuit in proportion as a prominent actor-talent was\n44 discovered which might play this or that scene well. Shakespeare was of himself concise\n44 and must have had a real reason in an actor of unusual capability when he allowed some\n44 of his personages to talk too much on the stage. \" & & & &\nIn this manner 44 he- created the work of which nothing more need be said, which on\nits appearance loosens all tongues.44 For a WORK overcomes the want of talent in everyone\n\nThe problem\nof Hamlet• &\nA judgment hall.\nShakesp e a re's\nMethod."}, {"page_pdf": 21, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.21", "texte": "who is not the creator of that work. \"Shakespeare lived In the theatre and lived among\nmen into whose minds he penetrated thanks to his Intelligence. &\n\"Very wrong would be the opinion that Shakespeare, in writing his dramas, thought of\n\"the stage, of the boards, of the platform and such like. Nothing of the sort and never.\n\"Shakespeare wrote and thought having at hand, at his disposition, a theatre obedient to\n\"his orders and an obedient stage, boards, platform and such like; wrote and thought out\n\"his works following the substance and the logic and the ground of the real occurrences\n\"of the drama. For Shakespeare thought of what he had to write and had to write of\n\"what he thought. But at the same time, while writing and thinking out the destiny of\n\"any of his dramatic figures, he knew that such a part would be played by such and such\nan actor. And if even it sometimes happened that with this or that actor he spoke of\n\"some part, they always spoke of this or that personage so as to divine it,..if independent,\n„and not of whether to tack or sew on to some part this or that something which came\n\"into somebody's head\". For in writing a drama Shakespeare had \"always reality in his\n\"thoughts, reality in his imagination, and the men of his drama lived in his imagination\n\"on real ground It was only the TRAGEDY which concerned both actor and author, it\n\"was the drama, the destiny of men. THE DESTINY OF MEN and of those men of whom\n\"the tragedy spoke. These men were either born of legends and tales, or of the remini-\nscences of artists. They become living and had their own will. Their will was everything.\n\"The stage served to show them. The stage is for that end\". & & &\n& And now let us see how far Wyspianski in his theatrical work keeps to the above\nsystem, and what value it presents to him. &\nWyspianski, in allotting to the theatre the principal role in the History of National\nCulture, feels that its Renaissance will be accomplished by the change of the interior con-\nditions reigning in the institution, which was not yet become conscious of its social task\nand is at present either an establishment for diversion or a lucrutive enterprise; he feels\nthat the principal factors in this metamorphosis will be harmony between the creator of a\ntheatrical work and its performers, between the poet and the actor, and, fully aware of the\ndifficulties which stand in the way of the attainment of such a harmony, supposes that\nthe simplest road leading to the end is the common work of author and actor, taken up\nin a common interest, with a common ideal. On his way he meets with \"the best actors\nin the world, either \"for tragedy, comedy, history, pastoral, pastoral-comical, historical-\n\"pastoral, tragical-historical, tragical-comical-historical-pastoral\", for whom, \"Seneca cannot\n\"be too heavy, nor Plautus too light\"; he meets actors who \"but in a fiction, in a dream\n\"of passion could free their souls so to their own conceit that from her working all their\nvisages wan\", tears flow from their eyes, \" and all for nothing! For Hecuba! What's\nHecuba to them or they to Hecuba, that they should weep for her? \" & &\nTo these actors he is to entrust the fruit of promethean labours, the WORK OF HIS\nINTELLIGENCE which would \" overcome the want of talent in everyone who is not the\ncreator of that work. \" And he asks himself what these people would have done \" had they\nthe motive and the cue for passion that he has? \" In this case \" they would drown the\nstage with tears and cleave the general ear with horrid speech, make sad the guilty and\nappal the free, confound the ignorant \". He wishes to teach them how one can \" in the\nvery torrent, tempest and whirlwind of passion acquire and beget a temperance that may\ngive it a smoothness \" so as \" not to tear a passion to tatters \", not to make of it \" very\nrags \" solely with the aim of \" splitting the ears of the groundlings, who for the most\npart are capable of nothing but inexplicable dumb shows and noise \". He wishes, having\nassumed the management of them like Hamlet, like Shakespeare, to elevate their profession\nto the dignity of judge of the Human Conscience; for \" these are not clowns, though, while\nthrowing in their faces the nickname of clown they are covered with applause \", but men;\nmen who are called for this,... that putting on a mask and simulation they may speak the\ncommandment of everlasting truth. \" (i) & &\nThis work Wyspianski was to accomplish in the poor little Cracow theatre, in that\nBethlehem-Ephratah of Polish art, living amongst \" his \" actors and creating in their\nfriendly circle. Only a part of this work does he succeed in accomplishing. &\n\nSTANISLAW\nWYSPIANSKI.\n\nWysp i an sky's\nSystem. &\n\n(1) Wyspianski: \" Hamlet \""}, {"page_pdf": 22, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.22", "texte": "STANISLAW\nWYSPIANSKI.\n\nWorking far from the theatre he often frequents the parts behind the scenes and the\nartists' dressing rooms. He wanders about Macbeth's castle at Inverness, kisses Lady\nMacbeth's hand with respect and 44 no one is capable of persuading him that it was not\nLady Macbeth, but Modjewska He is in company in 44 one room with Duncan, Macduff,\nand Donalbain; and their royal highnesses conversing with him in a very friendly manner,\nread from some cards and pronounce in a low voice rhythmical words; \" To any one else\nit would have seemed perhaps that they were repeating their parts. Wyspianski sees, how-\never,44 LIVING HEROES \" who 44 spoke of their hard lot, of their lot heavy and wearisome,\nfor a moment, before that moment when they had to play out their Lot. \" He visits Macbeth\nand beholds 44 how with each moment he grows into a king and gains by blood what he\nhad once desired \" and meditates together with him on his fortunes. 44 The doctor, that\ndoctor of mad Lady Macbeth, he knew very well, and talked with him of Lady Macbeth, of\nher singular behaviour, weighing each of her movements and gestures. \" 44 Perhaps some\none will wish to talk me into believing \" says he in his 44 Hamlet \" from which I quote these\nfacts, 44 that we are speaking of Modjewska's rare talent. No. we are talking of the strange\nmadness of Lady Macbeth \". At another time when they are playing 44 Hamlet \" Wyspianski\ngazes from behind the scenes on the King's Ghost, wandering in the light of the reflectors\non the terrace of or goes into the dressing-room where 44 he finds, chatting gaily,\nMr Rosencrantz and \" Mr Guildenstern, lying on the sofa, waiting till it fall to their turn\nto show themselves at the royal castle of Elsinore \". He likes to look on at the characte-\nrising (making up ) of the actors, for 44 there was and is nothing ridiculous to see in this\n44 transformation as slowly and carefully it takes place, until at last you have a different\n44 man before you from the one who was here a moment ago, a man who thinks and feels\n44 differently since that moment of metamorphosis;.•• that is worth something more than the\n44 impression that may be obtained elsewhere of the theatre, or that may be accepted jocu-\n-44 larly in saying that actor-artists are ridiculous behind the scenes. Ridiculous? It is untrue.\nThey have only to depict, and do depict in the piece they are playing, human vices and\n44 human servitude, awkwardness of thought and infirmity; they put on masks, costume\n44 and a living destiny, and your consciousness judges them. \"\n& Writing his libretti outside the theatre he either constructs them in such away that\nthe actor may read from them as from the most accurate scenario, or endows them with\nindications in verse form, suggesting to the imagination of the reader, (and of the actor)\nfaithful and accurate pictures of the world and men 44 of which the Tragedy speaks \". The\ntext of his dramas he changes and corrects on the stage; he willingly deliberates with con-\nfidential actors on the Deeds of the tragic personages they have to play: he sketches the\nscenery which, in the frame of that theatre, would point out symbolically the ground of real\nevents. He creates the models of the figures which the actors have to represent, he designs\nthe costumes and properties. The actors reproducing the destiny of his heroes interest him\nto such a degree that he immortalises their theatrical personages in portraits. Last of all,\nso far as lies in his power, he himself directs the rehearsals and teaches a new style of\nplaying. *;;»\n4? But it would be very wrong to think that Wyspianski in writing his dramas thought\nexclusively of the small stage of the Cracow theatre. He knew all too well that a theatre\ncarrying on a financial speculation did a great deal on its part in extending hospitality to\nhardly a third of his dramas, the reproduction of which always involved fresh expenses and\nexacted an immense outlay of work. He knew this, and never made a compromise with this\nstate of affairs. He created the greater part of his dramas with the thought of another\ntheatre, well known to his imagination: with the thought of other actors with whom he\nassociated in his dreams. In writing them he applied to them the Shakespearean method,\nas likewise to the dramas he destined for the contemporary stage. One must understand\nhowever that when he began his artistic process he was different from what he was when\nhe terminated it: that he was forming himself in the course of each such play \". (i)\n& He wrote these dramas for his own Ideal Stage, controlling their effect on the boards\nof this stage, reckoning with the demands of an ideal amphitheatre. Hence the differences\nbetween the 44 editio princeps \" of an unplayed drama and its following editions; hence the\nalterations, corrections and improvements. & & &\n\ngiving Heroes.\nHis libretti. &\nHis Ideal stage.\n\n(l) Wyspianski \" Hamlet"}, {"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.23", "texte": "Stanislaw Wyspianski. Portrait of himself"}, {"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.25", "texte": "Stricken with a terrible disease, Wyspianski confined himself to his own house, which\nhe constructed with the thought of the tomb, and henceforth created almost exclusively\nfor that ideal theatre. \"My theatre, I see it, immense writes he in a letter to a friend,\nspaces great and airy.... filled with men and shadows;... at their play lam present.... In\nthunder and gale they rage and are Quenched in thunder and gale j fainting and Quieter\n44 in the gloom, hardly, hardly can they be seen: again they rise; they return, immense,\n\" gigantic, living, sentient. They play the tragedy, the soul's vision under the theatre's\ntragic vault.... sacred fires in tripods flame, drones the shepherd's flute. I listen, listen\n\" and look. I recognise faces to me well known, they are not here,... I think and dream....\n\" I see them in the theatre of my soul. &\n& How highly Wyspianski valued the theatre, how important a mission in the spiritual\nlife of the nation he confided to it, is witnessed to by the fact that in his drama, of which\nhe could, like Slowacki of his 44 Genesis from the Soul \" speak as 44 of the writing the\nmost important of all he had ever written in the drama in which the Master tears asun-\nder the breast of the nation with Jupiter's thunderbolt, to raise the Soul slumbering in\nits depths on his eagle wings into the iridescent sphere of his thoughts, in this drama\nwritten in blood, he unites the Destiny of Poland with the destiny of the 44 New Theatre „.\n& And here again, as always, he takes Shakespeare as an example, 44 and that Shakespeare\nwho wrote Hamlet „. In the example of Shakespeare Wyspianski wishes to summarize in\none drama his connection with the world and manifest new ethics and aesthetics of the\ntheatre. And as to Shakespeare so to him the idea comes 44 to introduce the theatre into\nthe theatre actors who would play the 44 murder of Gonzago in presence of actors who\nwould be the authors of similar crimes \". The idea comes to him of showing that old theatre\nwith all its qualities and bad habits pseudo-artistic, but which have already passed into\ncommonplace; the types of the old theatre, the black characters, the kings and queens,\nwith tragical pathos, historical-pathetical-comical lyrism in which people still believe and are\ntouched by to tears.... and which is only a false fire,... a pretence! \" &\n& To these 44 best in the world \" histrions of the old theatre he wishes 44 to show how they\nwould look with their artificial and inflated pathos, in presence of the personages of the\nnew theatre : he wants to represent a thing, at which the public already laughs in its sleeve,\nm an entirely new situation. He wants so to mingle this thing with the tragicalness of the\nprincipal piece, that by conserving all the marks of its ludicrousness it would not be lu-\ndicrous; that it would make as strange an impression as though this deed were led by the\nhand of an unseen FATUM, as though it were someone invisible who is judge and judges,\nwho brings criminal consciences to light \", (i) And to his drama, so like that famous\nMurder of Gonzago \", Wyspianski, Hamlet and Shakespeare in one person, gives the title\nDelivrance ', for 44 real art has as its serious aim not only the transporting of man in a\nmomentary dream of liberty but the rendering of him really free \". (2) & &\n' Municipal Theatre \" of Cracow announced for Saturday, February 28 th. A.D.MCMIII\na new drama in three acts by Stanislas Wyspianski under the title 44 Delivrance \". The\nplay bill laconically stated, 44 The scene of action is the stage of the Cracow theatre \". And\nin sooth, to the eyes of 44 the first night public „ a strange sight presented itself. &\n& After the raising of the curtain the empty stage of the Cracow theatre appeared as it\nlooks before the commencement of a theatrical performance: plunged in darkness, for 44 the\ngas and footlights are still unlit \"; empty save only for a handful of workmen who, their\nwearied heads leaning on their hands, are seated in silence, 44 near the wall, where the\ncoulisses are ranged patiently awaiting the arrival of those who will call them to their\ndaily work. But 44 though charmed be the curtain the spectacle has commenced \" for\nConrad \" comes, the hero of Mickiewicz's drama 44 The Feast of the Dead \" of which\nWyspianski had rendered the performance possible a short time before,, adopting, in the\nwork of staging it, his own method, the 44 Shakespearean » method. It is Conrad whom\nWyspianski, in this 44 Feast of the Dead \" deliberated upon anew by himself and recon-\nstructed, endowing him with a new life, passing his problem through the prism of his own\nthoughts; whom he leads out of the obscurity behind the scenes into the light of the Argand\nlamps, so as at last to solve the enigma disturbing Polish intellects in his way in the sphere\n\nS TAN IS LAW\nW YSPIANSKI.\n\nThe example of\nShakespeare. &\n44 Delivrance\nConrad. &\n\n(1) Wyspianski. «« Hamlet\n(2) Fr: Schiller : Preface to \" The Betrothed of Messina"}, {"page_pdf": 26, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.26", "texte": "STANISLAW\nWYSPIANSKI.\n\nof art, on the stage National thought which like Shakespeare in **Hamlet\", like Miekiewicz\nin \" The Feast of the Dead \" he makes the mirror of his own life; and this in such a manner\nthat the deeds of the hero, represented in the tragedy, will be Wyspianski's deeds, that\nthe catastrophe they call forth will overtake Wyspianski, that the Delivrance of Conrad\nwill be the delivrance of Wyspianski. & & & &\n& This hero, well known to everyone, enters just as he left the stage in the finale of\nMickiewicz's drama; this hero from whose lips but yesterday the public could hear these\nwords, \" I love my whole people! I have taken into my arms all its past and present ge-\nnerations! I have pressed it to my heart like a friend, a lover, a spouse, a father; 1 want to\nraise it and make it happy, I want to amaze the whole world with it \"; and, further, \" 1\nam called Million for I love and suffer the rack for millions \"s he who but yesterday, on\nthis same stage, perhaps before these same spectators, challenged God to fight, so as to gain\nthe 44 power of the government of the sou! \" in his nation, so as to govern by the senti*\nment which is in him, he, Conrad Avenger, again passes the threshold of the stage, to end\nhere his drama. In the usual sacramental theatrical costume, dragging fetters on his hands\nand feet, which the Country's enemies in Miekiewicz's drama had attached, he comes to\naccomplish his work, \" to steal that sacred fire \",.... that glow which awakens, gives\nstrength, power, might,... and give it to those who are awaiting it this new Conrad,\nConrad-Wyspianski, comes to awaken the nation from dreams of the past which, instead of\nbeing, as for him, the source of Living Strength, had become for it a coffin, exhaling a\ncoldness of Death; he comes to -lead the nation by strength towards Delivrance. And\n\" strength, it is you \" says he to the workmen freeing him from his irons, to the men\n\" sitting in the nooks and gloomy corners of the stage \" to the forgotten class which, not\nhaving its pages in the history of this great world, alone has been able to preserve in its\nbreast the virginal, immaculate, elemental power, and which, excluded from social life, did\nnot fall a victim to its degeneration, and whose young strength, in consequence, blessed by\na challenge to combat, will be capable of accomplishing the deed of vengeance, JS?\n& Conrad knows this and commands them \" to do what they do every night in this building \"\nfor which 44 they will receive ordinary pay he calls them to the erection of\" a church,\ncastle and mound \" which they will afterwards have to destroy; he bids them sit there in\nthe nooks and corners, until he call them that they come forth with deed here people\nwill enjoy themselves, and they will look on, until the hour for vengeance comes\n& At last arrive those actors, \" the best in the world \", and at their head the clever stage*\nmanager, always ready, on a stage measuring 44 twenty paces in length and breadth \" to\nenclose the Polish idea to the rattling of tin thunder, to the sound of the tom-tom, which\nis capable of rendering with exquisite accuracy the lugubriousness of the bells.\n& The prima-donna enters: the Muse of literature, with whom 44 even her caprices\nare routine \"; she enters leading a chorus of 44 ethereal \" theatrical goddesses swimming\nin a golden conch on wheels. All the light-hearted company greets Conrad like an old\nacquaintance, always ready at his service; i. e., always ready to appear in his drama. This\ntime, however, Conrad,... Hamlet and Wyspianski in one person, does not bring any piece\nwith him, for he comes to act, and that, not with gesture as the Muse believes, but with\ndeed; \"he comes to strike with the hammer \" to destroy the old theatre, though 44 the\nbuilding has strong foundations \" and 44 to elevate on its ruins another theatre: a New\nTheatre in which he wishes to represent the nation. \" & & & &\n& So the experienced Muse, who has already eaten off her head in more than one national\ndrama, offers Conrad a traditional recipe. 44 It must take place in such a manner that the\n44 nation may enjoy itself. The scenery must be arranged, every accessory remembered, the\n44 prompter put in his place in case some have forgotten the text. Behind the scenes have\n44 the stage manager and call-boy and give them an abridged version. And when all is\n\" ready have a polonaise played at the commencement if the theme be Polish, and throw\n44 as the first card a mighty word Why, here a new form is unnecessary. \" probably it\nis an old story \"; then \" should either Duse or Sorma, Sarah or Modjewska enter, the\ncurtain may be raised \", for, 44 it is the actress who leads the piece, the tragedy \" and\n44 everything depends on the recitation \". & &\n& This will be a Commedia dell' Arte having as canvas the fable of 44 Contemporary Po-\nland and it will be improvised by 44 the best actors in the world \" in tragical-comical-\n\nHis Mission. &\n& The Prima\ndonna. &\n& A traditional\nrecipe."}, {"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.27", "texte": "style. The Muse of course will play in this drama full\nof 44 suffering, pain, passion, dolour, plaint, mourning, regret, sadness, fear, terror, pity\nthe principal part, under the mask of 44 Melancholy \", and Conrad, following the advice of\nthe stagemanager, has to enter at the end of the drama 44 when sounds the tom-tom be 11...,\nand take the highest tone \". And Conrad-Hamlet, summoning the actors to deed, calls out,\n44 Dress me this national stage, let me see how your soul burns; let me see today the whole\nriches, and let me cast in that fire which burns in my breast and let me call your fame!\nTheatre, temple of art, come, oh 50u1!... Theatre of the nation,... art, Polish art! We want\nto dress it, to paint it; we want in this theatre to build Poland I \" & &\nHardly has he uttered these words when the workmen sitting 44 in the nooks and gloomy\ncorners of the stage \" rise; 44 they are already bringing in the scenery, they are putting\nit in place, towering, arranging and before the eyes of the spectators takes place this\nwork, before the eyes of the spectators the stage changes into the 44 Labyrinth called the\ntheatre \" (i).... the national theatre whose end was, and is, 44 to show virtue her own\nfeature, scorn her own image, and the very age and body of the time his form and pres-\nsure \"; changes into the Labyrinth called Wawel (2) to which Ariadne-Pride leads Polish\nTheseuses (3); before the eyes of the spectators rises the Polish Acropolis: 44 Church, castle\nand mound &\nAnd already are the actors crowding, gathering; they put on those costumes in which\nthey will later play their parts. The stage is peopled with thoroughly Polish figures:\nknights in glittering armour, magnates in scarlet cloaks, poor nobles in faded coats, burghers\nand peasantry, monks, insurgents, artists; here, too, national nymphs and fairies are not\nunknown with rouged faces, in transparent frills and furbelows, waiting with impatience\nfor some 44 entree de ballet a pantomimo-fairylike diversion or a bengal-allegorical apo-\ntheosis in which they might develop their talent. All these, 44 called to life by the magic\nof art dressed in Sunday clothes, clanking imitations of sceptres and glaives to the\nrustling of dusty standards, taking up interesting attitudes, stand in position to begin\n44 the combat of thoughts and fencing of words ».\n& Conrad, for whom it is close and stifling, goes out, throwing to the actors these words\nin farewell, 44 Play and from your souls. Draw out from concealment what in you is secret,\ndo not conceal.... tear at your hearts. \" & &\nThe parts are distributed. The stage-manager claps three times. The footlights are lit\nand the Muse to whom it falls to begin acting alters and arranges her dress and at last\nbegins with emphasis 44 to recite the prologue to the drama under the title 44 The Murder\nof Gonzago \" or 44 the Mouse-trap \" or 44 Contemporary Poland 44 Whoever lives on\n44 Polish soil, sorrows and hides his head, with hands crossed on his breast, laments, let\n44 him come hither; he will be revived! Into Space will we great words cast, dress them\n44 will we in a tragic mask. Whoever knows what means the Polish tongue, let him come\n44 hither; he will be revived by the grace of Word. You will see the day of Delivrance; we\n44 come here with the annunciation; our play will be tragic, it will be a reproach and a\n44 confession. We will take sublime high tones, like that majesty of the bells ringing from\n44 the tower. We come here with the annunciation. Our play will be tragic: Complaint,\n44 chastisement and confession. He will see Delivrance who is delivered from his own will!! \"\nAnd they play that 44 Divina Commedia \" delP arte before the conscience of the public-\nnation, before the conscience of the Claudius-nation, plunging it into the sombre abyss of\nthe Polish Inferno; and they play Conrad's strange drama sounding of the 44 prayer that\nweeps \" and 44 the thunder that lightens \" (4); they play that 44 drame h grand spectacle \"\nwith all the wonders that 44 Hohe Maschinerie \" can effect, raising the demons from the\ntheatre caves; they play that retrospective-actuel 44 revue \" teeming with 44 macabre \"\nhumour, merciless irony and tragic horror. The King and Queen, Polonius and Ophelia,\nRosencrantz and Guildenstern and all Denmark (all Poland) may look on their 44 Sosies *%\nwho, led by the hand of an invisible 44 titterero \" play out their parts in this great tragic\n44 castillo \". The trap doors creak, the artificial thunder rolls and the stage at the touch\nof Prospero's wand, as it were a sounding board, multiplies the force of the golden rhymes\n\nSTAN ISL AW\nWYSPIANSKI.\n\nThe wotkmen*\nThe Perfor-\nmance.\nThe Prologue.\n\n(1) Wysplanski: \" Hamlet\" (dedication).\n(2) Vide Biographical Note.\n(3) Wysplanski. \" Dellvrance dialogue between Conrad and 7th Mask.\n(4) Slowacki: \" Poem on Hell by Piast Dantiscus"}, {"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.28", "texte": "STANISLAW\nWYSPIANSKI,\n\nof the recited text.\n& The drama reaches its culminating point. Conrad-Hamlet, chained, like Ixion, to his piece,\nhas to enter from behind the scenes where he has remained during the second act, and\nstep on to the stage, to accomplish his Work, so as to terminate the drama by a duel. In\nthe third and last act Conrad-Wyspianski drives away from the Cathedral on Wawel the\nharpie of the nation which is fed by its best strength, 44 felling it to renounce, what ploughed\nland can give felling it li to deprive its lips of all the sweetness of fruits he curses\n44 Genius \", (for thus is this person named in the drama), who 44 wants to seize the nation\nin the snare of beauty dead and extinguished, and to awaken a groan in its breast instead\nof joy \"5 who tells them to expect delivrance only in death: he slams to the entry to the\ncathedral 's subterranean vaults, to the abyss of the royal tombs into which Genius wished\nto conduct the nation hallucinated by his words, and stops up the iron ring-bolt with a\nflaming torch.\n& Conrad in the second act ravishes this TORCH of rebellion burning with hate. 44 perhaps\nyou do not know what this torch means? ,' Wyspianski asks in the note at the end of this\nact. 44 The Torch is fire, light, glow; it sheds light and at the same time burns; brings the\n\" gift of heat and at the same time by fire throws all into ruin. It illuminates, but at the\n44 same time destroys; it is capable of killing with a living fire.... If it flames At is that\n44 elemental force which the FREE SOUL possesses. If it flames it is the power of the soul\n44 to whose force the body submits. He who wiil discover this divine flame damned may\nbe or saved\nWhat then will be the Lot of Conrad? He loses his torch, for the Delivrance of the nation\nfrom the death giving charms of Genius. The torch goes out on the slab that closes the\nentry to the tombs of Wawel. But the man who shall have 44 lost the glow of sacred\nstrength, though in sacrifice for the nation, believing that by fire he will save it,... will be\novertaken by the vengeful Erinyes, by the Vulture of everlasting hunger. This eternal que-\nstion: what afterwards, after ages, ages? Such a man,44 the nearer knowledge, the further\nfrom it, flees further and further: consuming with his own fire he burns! \" in the likeness\nof 44 those stars which fall into the night. You look at them.... they disappear \". Conrad's\ntorch goes out; 44 the piece played, ends; Conrad's idea does not end. All the others come\n44 out of their parts, though remaining in their costumes The workmen 44 demolish the\nscenery and cloths, putting them in the corners \". Conrad does not come out of his part;\nfor him, the deed accomplished is a real deed, not fiction; is a deed not a gesture. Awa-\nkened as from heavy Sleep by the shaking of actors' hands, he does not recognise the spot\nin which lie finds himself. 44 Where am I? What did I want to do? What shall 1 be? I\nbrought you the torch.... defended the tomb! How do you want to live...? \" he demands,\nforgetful of the fact that he is speaking already to actors who have ended their parts, and\nnot to men. He does not recognise them, these, 44 his actors.... his friends. \" He cannot\nunderstand why the Muse who had possessed his heart and delivered his thought curtesys\nincessantly and throws kisses; so the stage-manager has to explain that the 44 Diva \" is\nthanking the public for its applause and garlands. He looks with horror at this woman in\nlaurels flirting with the Critic, the voice of opinion, allowing him to stroke her face. He\ndoes not comprehend why those who but a moment before stood on cothurns, are now\ntalking of their past lot all too prosaically, esteeming it lightly; why they have cast off\ntheir parts which they took upon themselves of their own free will, and he throws them\nwords of contempt. 44 The part, the part is ended? You so divide your thought into the\n44 part and everyday nothingness that as soon as you have repeated the part smoothly the\n\\6 stage boards glide from under your feet, and the most beautiful part becomes for you\n4 absurd. Miserable creatures! \" He cannot understand why indeed their cheeks wanned\nand why hot tears flowed from their eyes, since Hecuba and her fortunes are nothing to\nthem. Then these are those 44 LIVING HEROES \"? Could these men write by their deeds\nthe abstract and brief chronicles of future time? Why, these are Venders of holy things,\n«4 their trade is prostitution! \"\nThe lights are extinguished. The actors with the stage-manager go out, deliberating\nwhether it would not be better 44 from the stage point of view \" to shorten the piece the\nnext time in the scene where Conrad enters. And the actors go out....44 Goodnight, friends,\nGoodnight? sweet prince. \" On the great empty stage Conrad remains alone, 44 the slave\n\n& The Torch#\nThe end of the\npiece. & &\nThe exit of the\nactors. &"}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.29", "texte": "to one great thought ,J hidden in which 44 is his weakness and his strength \" at the same\ntime, tie had entered 44 into the temple, large, dark he had aimed, but now he knows\nnot whither he aims; 44 now his thought has crumbled into dust.... how will he escape from\nthe circle of the spells of art? \" He remains quite alone, with fear as his only consolation,\nwith a yearning thirsting for blood. 44 Art thou, my Poland, but with me? \" He casts the\ndespairing question into the void. Midnight strikes. With a crash the floor opens. From\nthe depths comes forth a chorus of Erinyes which surrounds Conrad in a circle and afflicts\nhim with the suffering of Laocoon and Orestes; it encircles his brow with a burning crown\nof serpent coils, tears out his eyes,... and puts into his hand the avenging glaive. And Conrad\nsets himself at the head of the vengeful deities, so as to rush out into the world. Vain\neffort! The iron gate with an iron strength bars his way. Then pursued 44 by a band of\nfamished vultures \" he is forced to return to the 44 stage®night \", seeking an Issue. The\nadder«wreath burns. In his eyes night reigns. The curtain falls. & & &\n44 Let the stricken deer go weep,\nThe hart ungalled play,\nFor some must watch while some must sleep;\nSo runs the world away! \"\n44 The first®night public \" covers author and performers with applause. The public which\nduring the whole evening had stood as in the pillory claps Wyspianski and the actors. The\nactors, whom Wyspianski had during the whole evening in presence of the public kept as\nin the pillory thank for the applause with low bows. And, too, the actor playing Conrad\ncomes before the curtain. Is it surprising? What is he to Hecuba or Hecuba to him? And\nbesides, the play®bill had forewarned them, 44 The seat of action is the stage of the Cracow\nTheatre &\nBut Conscience»King rises and calls 44 Lights \". The King goes to his apartments,44 mar®\nvellous distempered \". The Queen is 44 struck into amazement and admiration at such\nbehaviour \". The enlightened critic, Polonius, had slept in his editorial chair, 44 he is for\na jig or a tale of bawdry or he sleeps \": on the whole the crowd had no liking for the\npiece: 44 It was caviar to the general \". & & & &\nWyspianskFs drama ends with a great prophecy just as Mickiewicz had demanded of\nPolish drama. On the last page of the first edition Wyspianski writes these words, 44 here\n44 ends the drama. But thought, that nimble, speedy runner, flies beyond it, and this is\n44 what it whispers me: When Eos rosy®haired will appear on the vault of heaven and the\n44 birds chirp the first tones of their matin®song, someone will be found who will come\n44 with keys, (a workman perchance, or perchance a barefooted maid), and first will be to\n44 open the gate. Then in this blue morning, united to the deities by a fraternal oath,\n44 Conrad=Erinnys with the Erinyes, at the same time slave and lover, will rush forth into\n44 the world in FLIGHT in the grey dawn, in the blue dawn, a glaive in hand, eyes torn\n44 out, in an adder wreath, surrounded by a chorus and will call to the nation: TEAR\n44 OFF YOUR BONDS!!! \" & & & &\n& The executor then of the Idea of a national theatre will be the nation itself in the day\nof Delivrance, the nation who will seize WyspianskFs thought and, leading it out into the\nworld will, from the darkness of the closed theatre, at last deliver it.... 44 In me lives the\n44 soul of the nation, that sublime power of which the silver-haired bard of the Skalds\n44 te115,... the soul that rejuvenates, that awakens, that seeks its own road, its own beliefs,\n44 seeks existence and truth and a covenant with those souls that are great, sky-high, which\n44 are strong beyond the strength of worlds and mighty as legendary kings! I want to\n44 bring them to life, yes, I will make so bold as to bring this Slav world to life, an arch®\n44 pagan, a perished world. \" (a) & & jt?\n& With these words uttered by the lips of one of his tragic figures Wyspianski seems to\ndefine the essence of his art. WyspianskFs art is a new phenomenon on the skyfine of na®\ntional life, it is a new moment in the national metempsychosis, it is the new incarnation\nof the Over-soul of the nation.\nIn WyspianskFs works that immortal Phoenix, who writes the history of the nation\nwith thunder®bolts on giddy heights, awakened, again claims his rights, seeks new roads and\ncovenanters. Wyspianski, worshipper of Power, and singer of Joy, in erecting his Free\n\nSTANISLAW\nWYSPIANSK!\n\nAfter the piece.\nA gteat pro-\nphecy, &\nThemes and\nmaterials of the\ndramas. & &\n\n(1) Wyspianski. \" Lelewel \""}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.30", "texte": "STANISLAW\nWYSPIANSKI.\n\nTheatre, turns for the canvas of his spectacles to those epochs in which Power, wedded to\nJoy, had its kingdom in the human soul. And like Wagner, who ravishes from the depths\nof the Rhine the golden secret of the Nibelungens, Wyspianski plunges into the waves of\nthe Vistula, his native river, and draws out from them, drowned, forgotten treasure-legends\nof past Glory capable of disenchanting and setting free the strength, spellbound in the\nbreast of the nation. jgr & &\n& In dreaming of this prehistorical Poland bowing before the gods of the sun, Wyspianski\ncomes to the land of Homer and Aeschylus, wanders amongst withered laurels and ruins,\nand from its mounds resuscitates a procession of heroic giants. He calls to life these two\n♦\nworlds above which his soul moves as over a nameless chaos and enchants them into form\nby love, for it Is by love alone one may create. He couples the life of these two worlds\nwith the link of one idea, so that on his stage Achilles or Hector, raised to a symbolical\npower, stand in one rank with the heroes of national traditions and ballads, fighting in a\ncommon cause. Receiving the secret meaning of the legends of these two worlds, which\nevery product of popular imagination conceals in its primitive form, he unites them with\nthe logic, examined by himself, of the later heroic periods, and he so connects these two\ncategories of material that they may serve him as the basis for the Leading Historical Idea.\n& And this first cycle formed by dramas woven 011 the ground of Polish myths and legends:\n44 The Legend 44 Boleslas the Bold \", 44 The Rock together with the dramas, so-called\nGreek,.... 44 Achilles \",44 The Return of Odysseus \", 44 Protesilas and Laodamia \",44 Meleager \"5\nthis first cycle singing of olden glory and which closes with the prophetic drama under the\ntitle of 44 Acropolis \", unites by an historical thread with the second cycle embracing dramas\nwhose substance is the history of the Insurrection and Martyrdom of the Polish Nation:\n44 The November Night \", 44 La Varsovienne \", 44 Lelewel \", 44 The Legion and the staging\nof Mickiewicz's 44 Feast of the Dead The second cycle is a fantasy on the events of the\n44 November Insurrection \" (1830=31831) and its historical consequences, is a rhapsody whirring\nwith the rustle of the wings of the last Napoleonic eagles, flying away with the autumn\ngale from the 44 land of mounds and crosses \" (1). This 44 romantic \" cycle together with the\nthird and last, comprised of dramas with the fable drawn from 44 Today \",... 44 Delivrance \",\n44 The Curse \" and 44 Judges \", accomplishes in the repertory of the 44 Theatre Militant \"\nthe most important of functions: 44 shows the very age and body of the time his form and\npressure \". & & &\n& So then VVyspianski's theatre encloses in its frame the history, past, present and future,\nof Poland, history of human strength in its autumnal maturity, and in the winter dream\nof a new spring of blossom, of Renaissance.\njg/ Equally with the substance of the spectacles does their form change. Antique prehisto-\nrical themes require a landscape and architecture harmonized with their grandeur. On the\nbackground of this scenery pass figures of over-men, imposing by their mask and gesture,\nas though hammered in the forge of Hephaistos, accomplfshing laudable deeds under the\nshield of the gods issuing from the sun, earth and waters. &\n& The historical themes, together with the contemporary ones to which they form the\ntransition from the antique, demnad other staging. So that the landscape may illustrate\nthe state of mind of the heroes it is composed in mournful values, the architecture no\nlonger suggesting that joyful Strength that the silence of ruins emits, and the whole scenery\nof the prehistorical dramas, delineated in gigantic proportions, agrees with the'theatrical\n44 staffage \" created after the dimensions of Euripides rather than those of Aeschylus,\nformed of people from whose breasts joy has fled, whose hands are bound by a Superior\nForce, and of spectres born as from their tortured imagination In delirium. £? &\n& The future of the nation is not treated by Wyspianski in a special cycle, for almost\neach of his dramas closes with a prophesy of it, and its vision he incorporates in the same\nforms, which he adopts in externalising the world of prehistorical Power and Joy. In his\ntheatre, 44 of ashes enclosed in the national urn \" Wyspianski resuscitates a people of\nWarriors, and, placing it in the cothurn of mounds, makes of them 44 actors, higher by the\nwhole mound he makes of them the awakeners of the national conscience whom 44 one\ngreets with a smile and takes leave of in tears (2) Drawing the substance from the\n\nThe three cycles.\nThe historical\nthemes. & &\n\n(1) Krasinski. \" Irydyon \".\n(2) Slowack 1: \" Kordyan (Prologue)."}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.31", "texte": "inexhaustible thesaurus of myths and tragical and true events, he reaches for form to the\n\" Ark of the Covenant \" between new and former years (i) to popular art, which alone is\ncapable of giving the true expression to his strength of thought. For the Polish people\nalone, deprived of all participation in the political life of the nation, that unwitting creator\nof the only true Art which is the symbol of its life, this people, living by art and be=\nlieving in it, has not departed from its archaic sources, and in its art, plastic, mimes, music\nand poetry, in these ritualistic arts has preserved the paleo=Slav elements.\nWyspianski, born in Cracow, the capital of the kingdom of Poland, makes of that town,...\ndead, like Rome, like Bruges,... by the might of artism, a new Athens which was \" the\nconscience of Greece (2) makes it the symbol of national Life and the capital of his\nthought. Placing on this reliquary of the Polish Past a pious kiss, he resuscitates and im=\nmortalises its legend.\nTbe starting point of Wyspianski's dramas is Wawel, the myths connected with it, its\nhistoric lot, and the problem of its future. The Legend says that formerly in dusky times\non this hill, rising on the banks of the Vistula, on whose sandy bed, in coralline palaces\nsing Undines, settled the Chief of Chrobatia of the name of Cracus and built himself a\nwooden mansion. And in this mountain an insatiable dragon had its den and fed on the\nblood of the prince's serfs, and was always hungering for fresh victims. This monster\nCracus killed with his own hand; and the legend speaks of Wanda, his royal daughter, who,\nrather than give her hand to the German Prince Rytogar, wedded her virginal body to the\nVistula. The grateful people raised barrows to the heroic warrior and beloved maiden, and\nhanded down to posterity a simple tale of them. And afterwards in this castle kings ruled,\nwielding the terrible glaive jagged on the gates of besieged burgs. And their prayers were\n)\nsounded by \" Sigismundus \", the royal bell cast out of prize cannon.'And there is a Cathedral\nLeside this castle, and in it a crucified miraculous Christ, veiled in crape, and the golden*\ncountenanced King°Psalmist on the summit of the organ=loft singing, to the accompaniment\nof the angelic orchestra of golden-winged players, Syggaion to the Most High Singer. On\nthe wall hang Flemish gobelins illustrating \" Historia Troiae \" and \" Historia Jacobi \". The\nfaded figures of belligerent men and of pious men contemplated those who came to seek\nthe spiritual fire for their manliness. In the crypt of this Cathedral lie crowned corpses,\nthe sceptres and the orbs have fallen from their crumbled fingers, scarlets and cloths of\ngold have fallen into dust..... The royal tombs. In the crypt of this Cathedral sleeps the\nCommander of the tiny Roman Legion, the Knight of the Polish Graal: Mickiewiez.\n& Of the kings they tell today a Christmas Eve fable. It seems that under the old castle,\ndeep deep down, is to be found a second like it, but more beautiful, and in it, in the throne\nhall, seated in a semicicle, are all the Polish kings in coronation robes. Once a year is to\nbe heard the blast of the horn and the neighing of the horses; then King Boleslas the\nValiant can be seen passing with iron steps across the jousting court with the angelic\nglaive glistening on his shoulder. & &\n& Today the bell \"Sigismundus\" rings for Midnight Mass, and for the Resurrection, when\nin the Polish soul, as in the holy manger, Christ is born, and when in this soul as in the\nholy sepulchre rises again. &\n& One of the legends of Wawel touches directly the temple under the patronage of St\nMichael and standing on \"The Rock \" (Skalka) • There, according to the oldest chroniclers,\nKing Boleslas the Bold commanded his sbirris to put Bishop Stanislas Szczepanowski to death,\nfor his having dared to excommunicate him \" from bread and aeres, from strength and\nwilland when an invisible power held their swords in the air, they being cast to the\nground by it, the bold king cleft the bishop through the head and ordered his body to be\nhacked into seventy two parts. According to the recorders a brightness rose over the body\nin the night, and four eagles defended it from the beaks of carrion birds. Today different\nrelics remain of St Stanislas. In the cathedral on Wawel silver angels bear the heavy silver\ncoffin containing his body. On s* The Rock \" they show the stains of blood which had spurted\nover the walls of the church. There is, too, the miraculous poo! to which are ascribed\nhealing powers, as to Bethesda; out of the centre of the turijid water covered with aver*\ndigris of duckweed, arises the triumphant monument of the Saint, Today pious christians\n\nSTANISLAW\nWYSPIANSKI.\n\nThe Wawel\nlegend, & &\n& A Christmas\nfable.\n\n(1) Mickiewiez. \" Konrad Wallenrod\n(2) E. Sehurtb \" History of Musical drama \""}, {"page_pdf": 32, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.32", "texte": "STAN ISLAW\nWYSPIANSKI.\n\nin simple souled canticles praise the miracles of St Stanislas in processions, carrying his head\nset in gold. The history, mythical and authentic, of these spots, undergoing in .Wyspianski's\nfantasy a symbolical metamorphosis, will become the scaffolding for the idea of almost the\nwhole cycle of prehistoric dramas. Both of these spots will form the theatrical ground\non which the heroes of these dramas will act with choruses. Wawel will be the principal\nstage showing tragic deeds, while \"The Rock\", placed behind the scenes will explain their\nmystery. In Wyspianski's artistic conception, Wawel, that hill dominating the \"Polish Con-\nscience\", on which stand the \"castle, church and mound\" grows to the power of the Polish\nAcropolis; the former centre of national life again becomes the focus, gathering in itself\nall the rays which the Polish Soul can emanate; the former heroic shrine is regenerated\nin the temple of future strength; the former treasury of Polish relics again opens wide its\ndoors for the People which will come there to deposit its deeds. On Wawel Wyspianski's\nart is born. On Wawel Wyspianski's art takes its beginning; there it arrives at its tragic\nmoment, and, at last at its apogee is delivered. & &\n& Wyspianski recasts the Wawel themes not only on the stage but also ip poetry, in\nrhapsodies such as \" Casimir the Great\" and \" Boleslas the Bold/\" in painting,...landscape,\ncomposition and ornamentation. &\n& Wyspianski regarded the stage, however, as the most suitable frame for these themes,\npurely theatrical in the noblest sense of the word, and although he treats them in another\nform, that only testifies to the fact that, like Shakespeare \"he had always reality in his\nthoughts, reality in his imagination \"that always \"the men of his drama lived in his ima-\ngination on real ground perfectly well-known to him \", for in his plastic and poetical works\nhis genuine theatrical talent stamps the mark of its originality. For it suffices to arrange\nthe text of the rhapsodies for voices, translate it into mimic ianguage, for them to become\nscenic spectacles of the first water. & 4?\nWith equal strength the theatrical elements of his talent express themselves in his\nlandscapes, compositions or decorative projects. The most eloquent proof of this gravitation\nof vision to theatrical forms we see in the stained glass windows by Wyspianski destined\nfor the Cathedral on Wawel. These are no longer anecdotes such as formerly were depicted\nornamentally with thought but about their chromatic effect, but dramatic scenes expressed\nIn theatrical drawing and colouring in such away that the figures under the influence of\nlight appear in the recesses of the cathedral windows as those spectres of the past with\nwhich Wyspianski's stage swarms.\nIt appears that alread3? in the moment when Wyspianski composed these \" Wawel dramas\"\non glass, destining them for the cathedral amphitheatre, he was governed by the thought\nof enlarging his theatre, which had become crystallised only in the project for the building\nover of the Wawel hill, published after his death under the title \" Wawel-Acropolis \". In\ncreating the plan for the restoration of the old buildings in such a manner that they might\nbecome useful in the future, and at the same time the plan for the buildings over of Acro-\npolis with new buildings, resulting from the needs of a society politically free, regenerating\nitself spiritually, Wyspianski points out a spot by the side of the temples, the royal palace,\nthe edifice of the Polish Diet, the Academy of Science and the Cracow Sorbonne, for this\n\" Greek Theatre \", that Church Triumphant in which one day the Free People might assemble\nwith a view of common contemplation. & &\nRendering account to himself however all too well, that such a reconstruction of ruins can\nonly be the work of the nation, which through the Labyrinth called Wawel will attain\nDelivrance, and recommending the elevation of the \" Greek Theatre to future times and\npeople he returns to his \" Shakespearean Theatre \" and, consecrating his whole supply of\nstrength to that Church Militant, he proceeds in a contrary direction: in the \" Labyrinth\ncalled the Theatre \" he represents the Acropolis of Wawel: And Wyspianaki's thought, like\nthe Ghost of King Hamlet, wanders by night over the breast-works of the Polish Elsinore,\ncalling out to whoever can understand it: \" duller shouldst thou be than the fat weed\nthat roots itself in ease on Lethe wharf shouldst thou not stir in this. «£? jg? &\nAt this call a long procession of kings comes forth from the Wawel subterranes, behind\nwhom steps the Master Mickiewicz wielding Christ's banner; the marble monuments of\nnational knights awaken, from the gobelins float misty figures, so as to act, on the steps\nleading to the cathedral, the Polish history of Troy and of Jacob. And far away, from the\n\n& The Polish\nAcropolis. &\n& The Wawel\ndramas on glass.\nA work for the\nfuture. £? &"}, {"page_pdf": 33, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.33", "texte": "Two Designs for a\nStage Scene for \"The\nLegend' by Stanislaw\nWyspianski.\nReproduced by permission of Architect\nW. Ekielski, joint author of the 'Acropolis.'"}, {"page_pdf": 35, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.35", "texte": "silver waters of the Vistula laving the feet of the castle, the wind brings songs in praise\nof past glory which a chorus of Undines hums to shepherd shalms.\nThe Idea of Wawel is one of the light motives of Wyspianski's drama repeating itself al-\nways with chords, now of joy, now of sorrow. This motive employed for the first time in\n44 The Legend \", in 44 Boleslas the Bold\" and in 44 The Rock\", repeated as an echo in 44 The\nWedding\", will sound the most tragically in 44 Delivrance \"so as last to melt away into\nSilence with the hymn of resurrection in 44 Acropolis \" . The hill of Wawel itself in Wyspian-\nski's theatre is the ground, not only of events that took place here either in mythical or\nhistorical times, but in general of all the tragic deeds which would be in their legend akin\nto Polish fortunes. And so on the background of scenery representing Wawel, by the side\nof Polish ghosts and heroes, glide before the eyes of the spectators the gods and demi-gods\nfighting for Troy and even the Prince of Denmark appears here, swearing to avenge the\nKing-Ghost.\nAnd again in this case Wyspianski employed his own method, the Shakespearean method.\n44 The opinion is widely spread \", he writes in 44 Hamlet \", 44 that Shakespeare's theatre\n44 did not trouble about scenery at all; that they paid no attention to it, stood higher above\n44 these 4 rags ' and 4 tatters '. I believe that to be an exaggeration as regards the produc-\n-44 tiveness of Shakespeare. It is very probable that on his stage, in his little theatre, he had\n44 modest, very modest, scenery; so then he knew this, and knew he would find nothing\n44 there. So he sought nothing there. But when he wrote 4 Macbeth ' and wrote for in-\n-4 stance4 Forres, a hall in the palace', he had a palace in his thought, one of those\nknown to him. And when he wrote 4 Inverness , a room in Macbeth's castle' he had again\nanother real castle in his thoughts. That signifies, that each time he represented in writing\nwhat took place, he had really before his eyes the ground where it took place. And for that\nreason such things as doors, windows, the plan and arrangement of the rooms of castle\nand palace in general was in accord with a real architecture and a real logical building\nthat existed somewhere. It is very possible that when he wrote 4 Macbeth ' or 4 Lear ' he\nhad a castle in renaissance style in his thoughts, and not Roman or of wood; that when he\n44 wrote 4 Othello ' or 4 The Merchant of Venice ' it was difficult for him to think of gon-\n-44 dolas never having been in Venice. But he had always reality in his thoughts, reality in\n44 his imagination and the men of his drama lived in his imagination on real ground\n44 If he says distinctly, 4 Fife, Macduff's castle ', and at another time 4 Forres, a hall in\n44 the palace', and at another, 4 Inverness, court of Macbeth's castle ', his words must be\n44 taken literally, and above all seriously. It must be really understood that when he wrote\n44 4 Macbeth', those three castles, Duncan's, Macduff's and Macbeth's, were in his thoughts\n44 as three different castles, and in his imagination these three castles were really diffe*\n44 rent, and he did not confuse them. \" & & & &\n& Wyspianski in writing his dramas, in reading and deliberating upon the dramas of\nothers, has always reality in his thoughts, the personages of these dramas he places in\nhis imagination on real ground. (44 Am lin the castle or on the stage? \" Wyspianski asks\nhimself in the Wawel drama 44 Boleslas the Bold \".) When he meditates on the Fortunes\nof Hamlet he examines and sifts them according to 44 what there is in Poland for thought \"\nuntil at last the result of this analysis will be the New and tragicall History of Hamlet\nPrince of Denmark, just as it happened on real Polish ground. 44 Everything since the time\nof Shakespeare \", writes he in the same work, 44 that the European theatres have deigned\n44 to do for him with the idea of enriching him with scenery, is worth very little. At the\n44 most it is rich and testifies a great attachment and cult for Shakespeare but not in the\n44 least to the understanding of Shakespeare. But he who, following the thought of Shake-\n-44 speare, would enclose the situations of any drama in some buildings existing in reality\n44 and would make the logic of the architecture of these building agree with the logic of\n44 the Shakespearean text, he only could invent the scenery. 4 Hamlet' for instance.\n44 In what castle could this drama come to pass? At Elsinore? Of the castle at Elsinore\n44 probably, we all know as much as Shakespeare did, when he wrote 4 Hamlet', which\n44 means that we have not the slightest idea how it looked, nor in what style it was built.\n44 Then that need not regard us at all. t( Yet, Shakespeare in writing the tragedy of Hamlet's\n44 castle at Elsinore had some existing building in his thoughts. Which? That we shall ne-\n-44 Ver know, even after the longest investigation it is uncertain, whether it, would be posj\n\nSTANISLAW\nWYSPIANSKI.\n\nShakespeare's\nscenery. & &\nWyspianski9s\ntheory about it."}, {"page_pdf": 36, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.36", "texte": "ST ANISLAW\nWYSPIANSKI.\n\n44 sible to find out and unriddle anything whatsoever.!! is better then to leave these re-\n-44 searches alone.\n44 And if this tragedy were to be played with us, in Cracow for instance, one must seek\n\" such a castle, where this tragedy might take place. One must seek above all, such a\n\" nation, who would believe in that Ghost-King, Hamlet's father, who reveals to his son\n44 the crime of the evil-doers; who binding with an oath his son who believes in the Belo-\n-44 ved Shade and takes the resemblance and features of his father, attaches him to the\n44 sentiment of revenge for ever. „ & &\nWyspianski then tries, following the thought of Shakespeare, to enclose the situations\nof 44 Hamlet\" in buildings existing in reality and endeavours to make the logic of the ar-\nchitecture of these buildings agree with the logic of the Shakesperean text. He finds the\nPolish nation, whose contemporary history Is joined by certain threads with the tragic his-\ntory of Prince Hamlet. lie finds the sacred burg of Wawel over which watches the King-\nGhost of the Nation. Wyspianski keeps to these methods, consisting of the polonisatioin of\nexotic themes, each time he has either some foreign myth or even another's drama to re-\npresent on his stage. He uses similar methods in dramatising Greek myths, in the para-\nphrase of Corneille's 44 Le Cid \" and in the dramatic scene under the title 44The Death of Ophe-\nlia.\" In this way he enriches the Theatre-Valhalla wihh a train of new gods and national\nheroes.\nThe second source of Wyspianski's themes and materials is the Polish village, which has\npreserved to our days, in its disposition and its buildings, the character of ancient Slav\nsettlements. In the beliefs and rites of its inhabitants he still finds traces of Paleo-Slav\npantheism which, modified by the influence of Christian legends, forms a mythology on an\nImmensely rich, sentimental scale, embracing the whole world of Spirits Dark and Bright, wa-\nging a continuous war on each other on earth and in heaven. In the village ceremonies\n\\\nand customs he descries the remains of the former Slav theatre, which, open to the air, gave\nits performances 44 sub Jove,, in sacred groves, on battle fields and in grave-yards. In these\nhieratical spectacles he also discerns the noblest rudiments of the Future Art of the Polish\nTheatre.\n& In the everyday life of the peasant, who is already to a certain degree through\nhis decorativeness a theatrical spectacle, individually improvised on the canvas of\ntradition and superstition, in his daily actions, in his manner of acting on exterior im-\npulses, penetrating into the dignified melody of his speech, contemplating the royalty of his\ngesticulations, he sees the perfectly preserved Might, distinguishing mythical heroes, be they\nSlav or Greek. In one word, Wyspianski finds here just as he does on Wawel, theatrical\nmaterial all ready for him : legends, costumes, models for the mimic of seperate persona-\nges or for the crowd, models for the music and colouring of the scenic dialogue and, above\nall, figures capable of serving as an example for the composition of theatrical characters.\nWyspianski exploits the village themes in three dramas played throughout on this ground:\nin 44 The Curse ~ The Wedding ~ and in 44 The Judges \". Village art however lends him forms\nfor a whole series of dramas. And thus we shall find these raw materials recast and subti-\nlized in 44 The Legend \" 44 Boleslas the Bold \" The Rock \" 44 Achilles \" 44 Acropolis \" 44 The No-\nvember Night\" and even in \"The Death of Ophelia.\" We shall meet with rites taken literally\nfrom peasant life in the Wawel dramas, or with reminiscences of the same in the dramas\nso called Greek We shall meet the Polish peasant whom Wyspianski characterizes now as\na Wawel king, now as a Trojan warrior; we shall perceive this hero on the back-ground\nof his own life, in his superb costume, with his cothurnated gesticulations and his ono-\nmatocacuic language, we shall perceive his Soul which, as seen through the theatrical is\nmagnified to the symbol of human Might. We shall meet here too the world of Spirits\nDark and Bright, incorporated in those forms in which the popular imagination depicts them.\nThe guide-post in this work was for Wyspianski the 44 Living Theatre,, preserved until\ntoday in Poland by the tradition of a believing people, like in that archaic theatre of the\nSlavs not possessing a regular building but giving its spectacles now in the church, now\nin the hut, in the fields, in the town places. All of these spectacles without exception,\neither those proceeding from the liturgy of the Roman Catholic Church or those being the\nresidue of Paleo-Slav cereminies, possess a specific national colouring and are the solemn\nacts of actors and spectators united by the same sentimental interest. & &\n\nThe Polish\nVillage, &\nThe peasant,\n& The 44 Tiring\nTheatre u"}, {"page_pdf": 37, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.37", "texte": "& In this hieratical theatre Wyspianski finds the Leading Idea akin to his own conception\nof the National Theatre, he finds likewise the technique for nationalizing the spectacular\nthemes and figures, which he always applies to his theatre. In this ever developing Living\nTheatre he sees the Mirror showing as it were \"the very age and body of the time his form\ndnd pressure. „ &\nAnd, too, he gives himself up passionately to the scrutiny of this theatre; he studies\nits text both spoken and sung, its apparatus both mimic and decorative; he himself com-\nposes for one these spectacles a new mise-en-sc&ne, until at last he removes these spoils\nskilfully recast, on to the stage, and purified of all accidental appendages.\nThe influence of these spectacles on the scenic productiveness of Wyspianski we see\nespecially in his manner of bringing the crowd on to the stage, and his management of\nit during the drama. For, in the crowd appearing in Wyspianski's theatre, there is nothing\nthat would remind one of the individualisation of the supernumeraries or of the famed\n\" Rhabarbergemurnae! der Massen,, to which innovations the management \"des hin-un-und-\nher-zoglichen Theaters,, conveyed a false apprehension of the scenie ensemble. Wyspianski's\ncrowd, as though copied in movement from the bas-reliefs adorning the friezes of Greek\ntemples, seized in majestic lines, whether forming the background for figures on the first\nplan or national processions and is a chorus in every instance. & JZ?\nThe most forcible influence, however, on the dram tic composition of Wyspianski was exer-\nted by the \"Crib,, (Szopka) an ambulant puppet show giving its spectacles in the villages\nand towns at Christmas-tide. This tiny theatre is to a certain extent the synthesis of po-\npular art. Its structure prescribed' traditionally combines in itself the intricately ornamen-\nted architecture of village churches or even of Wawel with a stage in correct style &\nThe text of the spectacles both sung and spoken, which arose as an abridgement of the\nold Mystery Plays, is composed of favourite carols, pastorals, ditties and patriotic verses. On\nthe tiny stage move in pairs the most popular folk types together with the heroes of le-\ngend and history, together with spirits bright and dark streaming to Bethlehem and prai-\nsing the New Born in recitatives, airs and dance. <£> & & &\nSo here again Wyspianski meets with a theatre showing the very age and body of the\ntime, with a theatre that unites by an unbreakable thread the earthly stage with the world\nof spirits, legend with history, which unwittingly perhaps and simply, touches national pro-\nblems and whose drama terminates in a great Messianic prophecy. And again he finds in\nthis sincere art of popular production a real mine of new scenic forms. &\nUnder the charm of this tiny theatre Wyspianski creates \"The Wedding\" \" Delivrancc \"\nand \"Bolsslas the Bold\", dramas whose composition has a decided resemblance to that\nof \"The Crib\" lie places human fignres in direct contact with spirits, makes them enter\nand exit by pairs and recite his thoughts in wonderful verse-songs, modelled on the\nmelic parte of the \" Crib\" libretto. At the age of eleven Wyspianski built himself a\nCrib of immense size imitating architecturally the Castle of Wawel, in which he played\nmany different tragedies spun round the history of the royal burg with the help of figures\nwhich he had himself composed. Perhaps already then was germinating in the boyish soul\nthe idea of the Theatre-Wawel which in his manly productiveness brought forth manifold\nfruits. & && &&?&&&&&&\nTo be continued\n\nSTAN IS LAW\nWYSPIANKI,\n\nThe \" Crib. \" &"}, {"page_pdf": 38, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.38", "texte": "THE ARENA GOLDONI,\nITS PAST, ITS PRESENT\nAND ITS FUTURE\nby Dorothy Nevile Lees.\n\nIn a city so ancient as Florence, in one which, until recent\nyears, remained so compact and close-crowded within its\nmassive walls, there is no space of ground which is not rich\nin associations, no street along which the ghosts of a past\nage do not walk with us at every step.\nFor, in spite of the centuries during which they have lain in their dusty tombs in the\ngrey cold churches, they are curiously alive, those old Florentines: how could it be other-\nwise with race so vigorous and vital, so keen and quick-witted and alert? how could death\never really conquer them, or the broad marble slabs of their carved monuments ever really\nshut them in? At midday, in the crowded tourist season, they may shrink away a little; but\nat nightfall, and in the hot silence of the summer noon when the city is well nigh deserted,\nit is of their presence we are most conscious; it is they who pass with us along the pave-\nments, their faces which look down upon us from carved window frame or pillared loggia;\nthey who shelter in the deep shadows which the blazing sunshine casts into the streets from\nthe heavy eaves of the palaces; they who linger on the bridges while the moon whitens the\nbroad waves of the Arno during those hours when no modern sound of tram or motor breaks\nthe silence, and nothing is heard save the lapping of the water against the stone piers, and,\nfrom somewhere in the darkness, the throbbing of mandolines, and a voice in which all the\npassion of the South seems to find expression streaming out like a banner towards stars.\nit is in such hours that the old Florence lives again for us; that we find the city peo-\npled with strange presences, that we feel our houses to be the dwellings of sweet shadows\nand of living ghosts.\nAnd is not this inevitable ? There is a curious permanence in a noble past. It is\ntenacious of its power. Materially it passess: spiritually it lives, Today epitomises a mil-\nlion yesterdays. The present ever rises upon the past. The future will be born of the\npresent. We are linked to these old Florentines by an indestructable chain. Beneath the foun-\ndations of our houses are the foundations of theirs, theirs rose upon the foundations of others,\nand so on, since the earliest day when the first architect raised the first walls upon each piece\nof ground, from one to another, through all the centuries, has passed the message, \"After\nme cometh a builder; tell him I too have known!\" And, since it is ever interesting to know\nwho those were who yet live for us in their works, those who before us were sheltered by\nthe same walls, passed in and out of the same doorways, let us trace a little the history\nof the Arena Qoldoni, the traditions of that piece of ground between the Via Serragli and\nthe Via Romana,, the Via Santa Maria and the Via Serumido upon a part of which it stands.\n\n& The old\nFlorentines\nThe permanence\nof the past."}, {"page_pdf": 39, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.39", "texte": "THE ARENA GOLDONI IN THE FIFTEENTH CENTURY.\n-0 The great \" Stabilimento Goldoniano \" of which the Arena forms a part is associated\nwith two convents which originally stood there, those of Annalena and of Sta Chiara, the\nbuildings and gardens of which together covered about 140,000 square feet of ground. Of\nthese the larger and more important seems to have been that founded by Annalena, whose\ntragic story is typical of the turbulent times in which she lived. And this is how the\nstory runs:....\nIn the yar 1426, to Oaleotto Malatesta, Lord of Chiusercole and member of the great Ri-\nmini family, and to his wife Maria degli Orsini of Rome was born a little daughter, Anna\nElena, who, being early deprived by death of her mother's care, was sent, her father being\nabsorbed in war and politics, to be brought up by her Aunt Elisabetta dei Conti Ouidi who\nlived in Florence in the parish oi San Felice. & &\nHere, in the midst of that wonderful quattrocento Florence, where the astute Cosimo dei\nMedici was fast establishing the supremacy of his family, where Fra Angelico was painting\nin the cloisters of San Marco, where Brunelleschi was raising his great dome and Ghiberti\nworking upon his golden gates, little Annalena was educated; and, since childhood was short\nin those days, and the inevitable choice, marriage or the cloister, had to be made early by\nevery girl, she was not yet in her teens before Madonna Eiisabetta was on the lookout for\na suitable husband for her niece.\n& Her choice, fell upon a certain Baldaccio, Lord of the castle of Ranco near Anghiari; one\nof those condottieri who, like Sir John Hawkwood, lived by warfare, selling his sword to\nfirst one and then another of the rival states in that continual struggle carried on in the\ndisunited Italy of that day, and, when not engaged in this way, occupying himself in private\nand picturesque plundering on the mountain passes. & & &\nBaldaccio was at that time high in the favour of the Florentine government for the pro-\nwess he had displayed in their interests, and although more thnn once condenmed to death\nfor violent and lawless deeds, he had always managed to make his peace with the authorities\nand was in 1437 presented by the Florentines with the freedom of the city, and, by a de-\ncree dated June 19th of the same year, with a house valued at four hundred florins, which,\nwas afterwards known as Casa Annalena.\n& This fierce young soldier was rendered no less eligible in the eyes of the match-makjng\ncontessa Elisabetta by his ferocious deeds and his narrow escapes from execution; and the\ncontract between little Annalena and her condottiere was signed on February 7th, 1438,\nAnnalena's dowry being fixed at two thousand gold florins of \" good weight and Florentine\ncoinage \", a list following of the houses and property of the young couple which were to be\nsettled upon their heirs for ever, and Baldaccio being bound \" never to make cause of\nquarrel against his wife.\"\n&SO Annalena, with her jewels and painted\" cassoni\" full of fine dresses and her two\nthousand gold florins, went to live in the house whioh the government had bestowed upon\nher husband, and there, a year later, a little son, Guido Antonio was born.\nTo be fhe wife of a condottiere in those days was, however, to have but little of one's\nhusband's society, and for the three years after his marriage Baldaccio was engaged, some-\ntimes for and sometimes against Florence, in almost ceaseless war.\n& But meantime, while he was fighting at a distance, his enemies were busy at home; let-\nters of complaint against him sent by the feudal chiefs of the Romagna, on account of the\ndestruction of their crops and the violation of their homes, aroused the displeasure of the\nTen of War, and Baldaccio was summoned back to answer for his doings.\n& In the old house Annalena was awaiting him with her two-year-old baby, ready to warn\nhim of the dangers threatening him in the city,... greater, probably, than the danger which\nhe had run in the field, for his enemy, Bartolommeo Orlandini, was gonfalonier, and the\naudacity of Baldaccio's conduct in the recent war had so aroused the fears of the Signoria\nthat they were desirous of putting him out of the way. & & &\n& Some say that Orlandini had been embittered owing to the fact that Annalena had re-\npulsed certain advances made by him in her husband's absense; Macchiavelli attributes his\nhatred to the fact that, sent with Baldaccio to guard Marradi, he basely fled, \"abandoning a\nposition which by its nature almost defended itself;\" which cowardice \" disgusted Baldaccio,\n\n& The Arena\nGoldonu 4? &\nAnnalena, &\nBaldaccio.\nThe Marriage."}, {"page_pdf": 40, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.40", "texte": "THE ARENA\nGOLDONI.\n\nwho hotli wrote and spoke of it in hitter terms\" so that \" enraged at being thus discredit\nted, Messer Bartolommeo burned to avenge himself, thinking he could wipe out his own\nshame by the death of his accuser. &\n& But be the motive what it might, the situation was a menacing one, and the blow was\nnot long deferred.\nOn Wednesday, September 6th 1441, Baldaccio was summoned from the Piazza to the\nPalazzo delfa Signoria, a summons which, fearing some plot, he hesitated to obey; but finally,\n\"after about an hour he came.\"\nThe annals of the convent tell the story a little differently. According to these Baldac-\ncio was at home with his wife when the summons came. Both were seized with a present\ntiment of evil, and the record runs that Baldaccio \"turned to a Cristo which was in the room\nand in mortal terror begged pardon for his sin \" whereupon \" the Lord bowed his head as\nhe hung on the cross, and it has ever remained so in our monastery to the great devotion\nof us all.\" & & & & & & &\nHowever that may be, within the hour Baldaccio had said goodbye to Annalena and taken\nhis last walk across the city to meet his fate.\nMacchiavelli gives the following account, confirmed by Canibi, Ammirati and others, of\nthe way in which the plot was carried out. He relates that, having made up his mind to\nslay Baldaccio \" Messer Bartolommeo concealed a band of armed ruffians in his chamber,\n\" and on Baldaccio's coming, as he did daily, into the Piazza to speak with the magistrates\n\" about his engagement, the gonfalonier sent for him, and he, without misgivings, obeyed\n\" the summons....\" though this last statement is difficult to reconcile with other accounts.\n\" The gonfalonier,\" continues Macchiavelli, \" came forward to meet him and walked\n\" with him to and fro along the passage leading to the chambers of the Signers,\n\" talking of his engagement. But presentiy, when he thought the suitable moment\n\" had come, being then close to the chamber in which he had posted his armed men, he sig-\n\" nailed to them, and they, rushing out and falling upon Baldaccio, wh© was unarmed and\n\" alone, siew him. They then from a window of the palace facing the Custom House, threw\n\" the body to the ground, whence, carrying it to the Piazza, they cut off the head, which\n\" for a whole day they showed as a sight to the people.\" & & & &\nThe headless body was carried home to poor little Annalena, waiting in an agony of\nforeboding for the outcome of the interview, and changed the quiet home into a house of\nmourning, where the girl-wife sobbed her heart out over her dead husband, and the priests\ngathered to pray for the soul of this fierce soldier who had himself met with a death as\nsudden and violent as that which so many had met with at his hands. Then, in solemn pro-\ncession, with wailing chants and the hot glare of many torches, Just as one may see in Flo-\nrence any evening now at nightfall, they bore Baldaccio away for the last time through\nthe familiar streets and iaid him in the great church of Santo Spirito, leaving Annalena to\nher loneliness and sorrow in the house which, but three years previously, she had entered\nas a bride, jg? &\nBaldaccio's property was confiscated by the government, but, so great was the respect\nin which his girl widow was held that, when she protested on behalf of her little son, all\nwhich had been Baldaccio's by inheritance and not by robbery was restored. &\n& But Annalena's troubles were not ended. Not long after three-year-old Guido Antonio\nfell ill; neither prayers nor doctors could save him, and his mother saw him, too, carried\naway on his open bier to burial, no good San Zanobi intervening, as in the case of that\nmiraculous restoration of a child of the Albizi painted by Ghirlandaio, to raise him from\nthe dead.\nThus Annalena remained a childless widow when barely seventeen, and, refusing all\nsuitors presented to her, turned from a world which had dealt with her but harshly, vow-\ning herself to perpetual widowhood and good works. By degrees she gathered around her\nother widows, solitary as herself, and these, living together, devoted themselves to charity,\nsolacing, in the care of orphan children, their mother-hunger and the loneliness of their\nhearts.\nBound at first by no vows and united only by their sympathies, a desire to be definitely\nenrolled in some order grew in time among the community, and in 1450 Annalena journeyed\nto Rome and obtained a Brief from the Pope sanctioning her to receive as cloistered nun\n\nBaldaccio* s\ndeath. &\nMacch lav elli} s\naccount.\nA girl widow. &\nThe founding of\nthe convent. &"}, {"page_pdf": 41, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.41", "texte": "THE PALAZZO AND PIAZZA DELLA SIGNORIA"}, {"page_pdf": 44, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.44", "texte": "The Arena Goldoni; Mr Gordon Craig's open air theatre in Florence"}, {"page_pdf": 45, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.45", "texte": "young girls and widows desirous of separating themselves from the world under the vows\nof the Third Order of penitents of St Domenic. JZ?\nSo many gathered around Annalena on her return to Florence that, her own house no\nlonger sufficing, she was obliged to enlarge it and build a convent, and we find a document\ndated June 12th 1458, which states that \" Annalena de' Malatesti buys from Stefano di\nNello di Ser Bertolommeo di Ser Nello \" three houses adjoining her own. A garden was\nalso purchased for a hundred gold florins, and a church began to rise apace. Papal sanction\nwas obtained for the celebration of mass in the convent and for the use of church bells,\nand by 1460 there were one hundred nuns in the new building, besides a scheol for children.\nHow much of this work Annalena actually lived to see completed is uncertain. That\nquaint old book, the \"Qsservatore Fiorentino\" tell us that, \"a sensitive and pure woman, she\nfollowed the way which sorrow showed her from earth towards Heaven about the age of twenty\nfive\" but the foregoing documents prove her to have been buying houses and visiting Rome at\nthe age of thirty one, not dating her death until 1480. Whichever date be the correct one,\nhowever, certain it is that she \" lived and died a saint \" and that, as Macchiavelli writes,\n\"it is by this convent founded by her and bearing her name\" that \"her memory lives and\nwill live always.\"\nAfter Annalena's death the convent continued to flourish, and we hear of Caterina Sforza\nduring the second exile of the Medici in 1494, hiding her six-year-old son Giovanni there,\nunder the care of the nuns, disguised as a little girl. Here the child, who was to grow into\nthat ferocious warrier, Giovanni delle Bande Nere, was kept and educated for eight months;\nand, since he grew up to be the father of Cosimo Ist and of all the Medicean line of\nDukes, it may be said that the Sisterhood, in saving his life, was saving the whole race.\nAnother person who found refuge here during the third Medicean exile in 1527 was\nTommaso Soderini, who, while confusion and anarchy reigned in the streets, fled here and\nwas sheltered by the nuns.\nAs may be imagined, so popular a convent would hardly be without its art treasures,\nand we hear among others of a Nativity painted by Fra Lippo Lippi for Annalena, in which\nher brother, Fra Roberto, Knight of Jerusalem, was depicted as St Hilary. Mention has al-\nready been made of the famous \" Cristo \" which bowed its head to Baldaccio, and which\nwe may be sure would be preserved as a sacred relic by his widow; and there is also re-\ncord of a wonderful Virgin called \" The Virgin of the Ball.\"\n& In the National Library at Florence is a small book with vellum back and blue and\nyellow side covers of one of those quaint patterned Florentine papers to which the\nprocess employed in their production gave a softness and delicacy which modern imi-\ntations fail to attain. Here, in strange company, flanked by \" The Loves of Hero and Lean-\nder, \" by \" Christian instruction on the Sacrament of Confirmation \" printed at the Episco-\npal Press in Pistoia in 1783, by a treatise on the \" Guild of Free Masons \" printed at Na-\nples in 1748 and other equally incongruous matter, are sandwiched about fifty pages of which\nthe title reads as follows; \"Information as to the Venerable Image of Mary Virgin of the\nBall, for long preserved in the monastery of Annalena of Florence, collected by Domenico\nM. Manni. \" Beneath is a lozenge-shaped woodcut, with a design of three nails surmounted\nby a cross and 1. H. S. and surrounded by the inscription \"In Florence, 1763, at the Press\nof Pietro Gaetano Viviani, with Permission of the Superiors.\" The treatise is dedicated to\nthe Signora Maria Antinori Settimani, a benefactress of the convent, by her \" most humble\nservants, Sister Francesca Teresa Dati, Prioress and the Nuns of Annalena.\" &\n& The author in a prefatory note, explains that his researches have been undertaken at\nthe urgent request of the nuns, but that the material available in their archives is but\nscanty, owing to a disastrous fire which took place there in 1511. However, a certain amount\nof success he admits to having had, and therefore rejoices that he yielded to the pressing\nentreaties of those who united \" to the purity of their blood a christian piety.\"\nHere we have evidence enough of the aristocratic character of the convent, but even if\nthe writer did not assure us of the fact repeatedly, the names of the sisters recorded in the\narchives are sufficient proof of the nobility of the families whose members found admit-\ntance among the nuns.\n& It is easy to understand the desire of the sisterhood that researches should be made into\nthe history of their Madonna. Their amour-propre was wounded by the records of the mi-\n\n& THE ARENA\nGOLDONI.\n\n& Some\nrefugees.\nArt Treasures.\n£> The Madonna\nof the Ball."}, {"page_pdf": 46, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.46", "texte": "THE ARENA\nGOLDONI. &\n\nraculous doings of other people's Madonnas while they, owing to that lamentable fire, had\nnothing of which to boast. One can imagine how each church or convent plumed itself upon\nthe attainments of its own Saint or Virgin, and how it rankled in the hearts of Annalena's\nfollowers that their records should be so imperfect on this point. & & &\n& Others, they declared, fell back on private diaries when official records were wanting.\nWas it not a private journal which related that on November 13th, 1506, a figure of Our\nLady of San Michele Berteldi had opened her lips and begun to speak of her own miracles?\nHad not the Madonna dei Teri, now enclosed with a holy tabernacle, done, according to\nanother, the same thing? and on April 15th, 1564 did not the news run through the city\nthat a painted image of our Lady in a shrine on the outer wall of the city between the\nGates of St George and St Pier Gattolino, had performed miracles? In view af all this nothing\nwould satisfy the nuns of Annalena but that something should be found to add to the glory\nof their Madonna of the Ball, and how far success crowned their efforts may be read in the\nlittle volume above cited. JZ? &\n& It was, indeed, a certain legend clinging to this image which gave it its name; for, we\nare told that, to protect her Baby from a ball flung by a little boy, Madonna Mary caught\nit and held it ever after in her hand, while, to save himself from the blow, the Holy Child\npressed his face close to that off his mother, a gesture which the image ever afterwards\nretained.\nWhat the precise construction of the convent was in those days it is not easy now to learn,\nor what exact part of the large area covered by buildings and gardens comprised the convent\nof Sta Chiara, which was so close to that of Annalena that we read that a little door led\nfrom one to the other, and that, in consequence of a long-cherished desire felt by the nuns\nof the two Orders for each others' acquaintance, a solemn visit took place once a year.\nLater on, however, discord arose between the two communities and the door was opened\nno more.\nThe contiguous part had, even early in the nineteenth century, disappeared, making\nplace for a garden, but that the church of Annalena adjoined the street of Sta Maria\nwhich forms the northern boundary is proved by the record that it was the custom on Sa-\nturday nights while the office was being sung, to have the windows on to that street open\nso that the people of the neighbouring houses might hear and take their part. &\nTHE ARENA GOLDONI IN THE NINETEENTH CENTURY.\nhe gentle placid life of the nuns seems to have continued until the beginning of the\nnineteenth century, when, after the suppression of many of the religious orders, the adjoin*\ning buildings of Annalena and Sta Chiara entirely changed their aspects and their aims.\nWe are told that \" a clever and courageous intraprendente, Signor Luigi Gargani, pur-\nchased them with the view of founding there an establishment which should unite various\nkinds of decent diversions for every season of the year,\" his scheme comprising an Arena,\na Theatre, gardens, billiard rooms, ball rooms and other places of amusement.\nHis first proceeding was to build a theatre for evening performances, no such thing\nexisting in the southern quarter of the city, and this, planned with many 'elegant additions'\nfor the use of both the Court and the general public, was \" dedicated to the immortal Carlo\nGoldoni, from whom the whole establishment has taken its name.\"\n& This theatre was opened to the public on April 7th, 1817, and in the following spring\nthe Arena for daylight performance was also completed and opened, with houses, stables\nbilliard rooms, a ball room, (adjoining the Arena and now used for the inspection of re-\ncruits), and a large garden with loggias and covered galleries. Indeed, the whole scheme\nwas in accordance with the name of \" Delices Goldoniano \" given to the place by a writer\nof that period. &&&&&&&&*&\n& Gargiolli writing about 1818, asserts that the Arena was built on the foundation of the\nconvent of Sta Chiara, an ancient religious house which, under one rule or another, dated\nback to the eleventh century, whereas the 'Osservatore Fiorentino' asserts that this building\nwas turned into a school. But whichever be right amongst the various historians, and whether\nthe remains of pillars and carved capitals which still exist on and near the stage of the\n\nQardani's\nscheme."}, {"page_pdf": 47, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.47", "texte": "Arena be those of Annalena or of Sta Chiara, they afford tangible and indisputable evidence\nthat a church or cloister of one or the other of the two sisterhoods stood upon this site.\n& The Arena was designed and built by the architect Corazzi who afterwards went to Var-\nsovie in the service of the Czar of Russia, and, being his first work, was a remarkable achieve-\nment for so young a man. This architect was a pupil of Del Rosso by whom he was recom-\nmended for his honourable position in the Czar's service,... a position in which, we are told,\nhe greatly distinguished himself.\n<6? The description given by Gargiolii of the architectural form of the Arena is as follows,\n44 Le parterre, en forme de demicercle orchestra, le degres sur lesquels les spectateurs\n44 sont assis cunei graduorum; le portique couvert qui les entoure porticust les debouches\n44 qui coupent le degres aditus, tout cela est parfaitement conforme au theatre des Romains\n44 et doit surprendre les amateurs de I'antique qui n' entrouvent nulle part une imitation\n44 aussi fidele et aussi bien appuyee a nos usages. Le proscenium des anciens etait seul incom-\n-44 patible avec nos representations dramatiques, et c' est pourquoi on Fa remplac£ par une\n44 scene couverte a peu pres comme celle des Theatres modernes.\"\nGargiolii was certainly justified in his enthusiasm over the architecture of the building.\nIt is beautiful; and it is this beauty, possessed in so extraordinary a degree, which raises it\nabove almost every open air theatre of its kind which exists today. Its proportions are per-\nfect. Though quite large, (it seats 1500 people), one is not conscious of its size; it is well\nknit together and does not sprawl like so many modern amphitheatres. Although it bears\na certain resemblance to the Coliseum of Rome, it has none of the weakness of a copy; it\nis the strong and original work of an original and gifted mind\nOf the performances given at the period of its construction there is little record, but\nsomething of the behaviour of the audience may be inferred from Conti's description in his\n44 Firenze Vecchia,, of the smaller Florentine theatres, the scenes which he records as ta-\nking place at the Quarconia and the Goldoni Theatre being doubtless characteristic also of\nthe Arena, though probably in a somewhat modified degree, as it seems to have been in-\ntended for performances by day rather than by night. Still, it may have had its share of\nthose evening performances at which, according to Conti, the most riotous scenes took\nplace. It is true that it had been opened for the Court also to visit, but apparently such\nvisits were not continued, being paid instead to the more dignified performances at the\nPergola,.... perhaps owing to the coarse and realistic style of play most in favour in the\nsmaller theatres.\n& At these the people usually arrived early, with pots of stew or lamb, bread and flasks\nof wine, which they consumed in the semi-darkness that, lighted only by three or four oil\nlamps, reigned until the curtain rose. As it was their pleasant custom during these carousals\nto throw their bones and empty flasks upon the heads of those below, it can be imagined\nthat this often gave rise to litigation and heated protest, and that violent scenes ensued, in\nwhich bones and crusts served as missiles, and the 44 reply courteous \" quickly leapt the\nintermediate stages to the 44 lie direct. \" <£? & & & &\nThe performance, when at last it began, seldom consisted of one comedy or farce only,\nbut usually of five or six things, such as a drama in six or seven acts, a pantomime, a farce,\na ballet, and even a wrestling match, although at the Goldoni Theatre, and so perhaps also\nat the adjoining Arena, opera seems to have been more popular than anything else. £>\nThe theatre has always been one of the inborn passions of the Florentines, and the people\ntook the keenest interest in what went on upon the stage, treating it as if it were real. A ty-\nrant was usually received with shouts of 44 kill him, kill him!\" a victim to whom poison\nwas offered with warning cries, 44 It's poison! don't drink!\" while on their way home they\nwould discuss the crimes they had witnessed and that they longed to witness, the injustices\nwhich had been perpetrated, as seriously as if it were all true instead of make-believe.\nThese smaller theatres, probably from their democratic and realistic character, from the\nspectacles, managed by common minds for common minds, which they offered, were usually\nonly frequented by the lowest class of the people; riotous conduct was the rule, not the\nexception, and arrests were frequently necessary among the rowdy crowd whose exuberant\nspirits found vent in demonstrations for which 44horseplay\" would be too mild a term.\nIndeed, at times it was only with fixed bayonets that the soldiers could repulse or\ncontrol the people at a11,,., a contrast to the state of things at the Pergola, which Conti\n\n& THE ARENA\nGOLDONI, &\n\nThe Performan-\nces. J& &\nThe Audience,\nA riotous crowd."}, {"page_pdf": 48, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.48", "texte": "THE ARENA\nGOLDONI. &\n\ndescribes as frequented only by the Court, the nobles and the richest and most distin\nguished foreigners, and as so quiet that not a fly could be heard, so orderly and solemn\nthat one felt as if entering a church! & & & & & &\nTHE ARENA GOLDONI IN THE PRESENT.\nA.nd now, as the quiet nuns before them, so these riotous jovial crowds have gone their\nway and the Arena has entered upon another phase of its existence,... a phase of emptiness,\nsilence, of quiet ordered activity, of preparation for great things to be.\nAll day the imperious Tuscan sun pours down upon the circular tiers of stone seats, upon\nthe pillared loggia which crowns them, and upon the white walls above which cut in sharp\ncontrast against the intense blue of the Italian sky. From the gardens beyond comes the\nmusic of the song-birds and a little murmur of wind-stirred leaves. The lizards bask undi-\nsturbed on the hot stones and run up and down the columns. The noises of the street out-\nside penetrate but faintly into this peaceful place, where there is no change through the\nlong hours save the shifting of the shadows, the drifting of clouds like white ships across\nthe blue, the alternation of the day and night. &\n& The two foremost things which strike one on entering the building are its unexpectedness\nand its beauty. On coming in from the narrow Florentine street the first impression created is\none of exquisite surprise,... of having discovered some beautiful secret thing; such an impres-\nsion as is created when one passes from some dark byeway through a commonplace door in\na commonplace street, and then,.... one of those wonderful Italian cloisters with their slender\ncolumns, their arches, their lovely fading frescoes, their green grass and pink roses, their\ninviolable quiet.\n& The next impressicn is of a profound peace, due partly to a certain quietness and dignity\nin the architecture, partly to the silence which reigns. & & jg/\nAs the door closes the noise of the street seems to become suddenly very remote, to be\nseparated from one by more than a stout oaken door and a few yards of dusky passage;\nrather is it separated by that infinite gulf which by material calculation may be but a\nhand'sbreadth,... the gulf between restlessness and tranquillity, between sound and silence,\nbetween darkness and light.\n& Since the Arena came into the possession of Mr Gordon Craig there have been no per-\nformances. In the large entrance hall stands his model theatre where he experiments with\nhis lights, his wonderful little wooden figures; but the actual stage is empty and unused.\nIn a large vaulted room, lent by Mr Craig for the purpose, The Mash has its editorial\noffices; down in the sunny courtyard the compositors ply their peaceful eraft: in one of the\nsmaller rooms beyond a printing press is estabiished: but, for the rest, the Arena is waiting,....\nwaiting for plans to materialise, for ideals to be fulfilled. & & & JZ?\n& Mr Craig is in no hurry. Men who are occupied with great things seldom are. An ideal so\nbeautiful, a work so imperative, as his, is the guarantee of its own fulfilment. Time and all\nother forces must, one feels, become subject to so indomitahle a purpose, so undeviating\nan aim.\nThe man is ready; the place is ready; the idea is ready. All that is now needed is the\ncourageous capitalist who shall come forward with the golden key which shall unlock the\ndoor of that future where so much beauty waits. &\nTHE ARENA GOLDONI IN THE FUTURE.\nAnd what of that Future? Well, it is a subject which i will leave to be treated of fully\nby those better qualified than I to speak of it. Something, however, I have learned of Mr\nCraig's intention, and so may give if but a hint of this.\nHe intends to found a school there, a school of the Art of the Theatre such as has never be\nfore existed. It will be an ideal society organised for the accomplishment of an ideal work. All\nover Europe are men scattered here and there, working in the different theatres, but wait-\ning ; ready on the moment when that little miracle of the capitalist shall have been work-\ned, to leave what they are doing and come and group themselves around the man in whom\n\nIts Beauty.\nThe Mask,\n~\nA School, &"}, {"page_pdf": 49, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.49", "texte": "the hopes of the European theatre find at once their centre and their guarantee.\nHere, for several years, they will study to perfect themselves in the crafts pertaining\nto that which, in his writings, Mr Craig has told us that he means by the Art of the\nTheatre. Then, when the preparation time is over, their means perfected, they will begin\ntheir public work. &\nCertain hints as to the methods they will adopt have already reached us through Mr\nCraig's recent writings in The Mask. &\nFrom those we may gather that here, under his rule, realism and artificiality will find no\nplace: that redundant and petty detail will be excluded, obtrusive personality subdued: that\nwe shall witness symbolism rather than imitation, suggestion rather than statement, that\nthe intention will be to insist more upon the ideal than the actual, and, by poetry and sig-\nnificant action, to convey impressions rather than chronicle facts. We know that here\nwill be dispelled the illusion that the artist of the theatre must be the actor or the poet\nor the painter, for instead of these being called in to give their assistance; the work done\nwill be entirely independent, created for the Theatre by Artists of the Theatre, and thus\npossessing a harmony impossible where that which is set before us is a patchwork of the\nproductions of many minds... & &\n& Mr Craig's idea of an artist of the Theatre is, as he has told us repeatedly, a man who\ncontains in himself all those gifts possessed by stage manager, actor, scene painter, costu-\nmier, and electrician, and who adds to all these the gifts of a poet; a man who can use\nand control, for the expression of his own idea, sounds, colours, gestures, lights, figures\njust as the musician makes use of alternating notes and silences, the poet of words, the\npainter of line and colour, light and shade. &\nIt is with the intention of training such artists as these that Mr Craig has taken the\nArena and intends to found his school. &\nWhat will be the result upon the public when the time comes for their first represen-\ntations it is not hard to surmise. A part of their work will certainly amaze and a part it\nwill probably amuse; but there will be a certain number scattered here and there over Europe\nwho will understand, and who, owing to these artists, may find Florence become in a new\nsense, the home of Beauty, the centre from which a new revelation of it shall be given to\nthe world.\n£/ And is not the Arena, of all others, by its history as well as by its architectural quali-\nties, the ideal place for this renaissance of the Art of the Theatre? For is not Mr Craig's\nideal for the Theatre of Future that it shall be a place no less sacred in its character, no\nless uplifting in its influence on the national life, than a church? so is there not, therefore,\nsomething peculiarly fitting in the fact that this home of the Theatre of the Future should\nhave beenformerly a church?\n& Here those women of a past day sought sanctuary from the sorrows and discords of the\nworld. Here we shall seek sanctuary from the blatant realism and commercialism of the\nmodern stage. Here, sick of artificiality, we shall find the simplicity and sincerity which are\nthe attributes of Beauty; the symbolism which satisfies our imagination instead of the realism\nwhich bruises and the superfluity of detail which stifles it; here, through our eyes, we shall\nreceive that sacrament of Beauty which shall refresh and purify our hearts. £/\nAs I sit upon the stage and write this the shadows are deepening about the lofty pillars\nand the arches. So strong is the spell of the past that almost they seem the black figures\nof Annalena and her nuns lingering in the cloisters where, at this hour, they must have\nso often passed to vespers. The sudden cry of a child cuts the silence. It might be that of\nlittle Giovanni of the Black Bands, turbulent and passionate even in his baby days. £>\nThe brief twilight fades, the luminous green of the sky has turned to sapphire, in which\na few great stars are throbbing like jewels on the breast of night. The rising moon sharpens\nthe shadows in the loggia opposite and transfigures the stained plaster of the walls and co-\nlumns until they seem as if built of pearl. In a cypress in the gardens beyond a nightingale\nis singing. Tranquillity and loveliness dominate the scene. It is a place shut in from the\nugly, the restless, the noisy and vulgar; full of silence; open only to the wind and rain, to\nthe sun and moon and stars.\nHere, watching the encroaching shadows, one may dream undisturbed, peopling these quiet\nspaces with the creatures of imagination, the figures of a long past day; with Annalena the\n\n& THE ARENA\nGOLDONI. &\n\nIts work and\naims.\n& The spell of\nthe past."}, {"page_pdf": 50, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.50", "texte": "THE ARENA\nGOLDONI. &\n\nyoung widow who founded here her convent, and Corazzi, the young architect who achieved\nhere his first work, and many many more. They are all gone now, as today's shadows will\nbe gone tomorrow, but their work remains; that which they touched and looked upon yet\nsurvives.\nPerhaps it is some trace of the cloistered spirit of those many nuns which yet lingers\nhere and which gives such charm, so peaceful an atmosphere, to the place.\nAh, indeed, there can be few more beautiful theatres in the world than this! It is ideal\nand stirs ideal emotions; and, since it is the prerogative of the artist not merely to create\nbeauty but to increase and develop that already existent, the degree of his power being\nmeasured by his capacity for so doing, of what will this place not prove capable in the\nhands of so supreme an artist as Mr Gordon Craig? &\nAt that thought the illusion of the past fades a little: it is, instead, the spell of the fu-\nture which dominates and holds. The place, for all its tranquillity, seems to be awaiting\nsomething. It is the destined beauty: and, since destiny is strong, the issue leaves little\nroom for doubt. It seems almost as inevitable as the past is sure. & &\n& Mr Craig's purposes are the outcome of long practise and profound research. He has stu®\ndied well the details of his organisation; he has foreseen contingencies, he has balanced\npossibilities. The scheme is ready; it awaits, like a ship in dock, the hand which shall cut\nits cable and launch it upon the seas. & & & &\nAnd who shall do this ?\nWell, there are many rich men, and some of them are courageous and ready to support\ncourageous enterprises, and there are even some who understand that Beauty is as worthy\nan investment, and, in a profound sense, as profitable a one, as railway shares or mines.\n& Of course such men are rare: but the world has not grown so old yet that courage\nand generosity and large interests and noble enthusiasms are dead, or that all these qua®\nlities may not at times be found united in the person of a millionaire. & J&\n& One of these days such a capitalist will pass by the Arena, and pause, and give the ne®\ncessary magical touch with his golden wand, and, so at length work the last little miracle\nneeded to bring realisation to hopes, fulfilment to purposes and actuality to dreams, &\n\nThe future.\nA \" courageous\ncapitalist.\n\nTHE ARENA GOLDONI E. THESLEFF."}, {"page_pdf": 51, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.51", "texte": "Mr FROHMAN'S LAST CONFESSION\nby John Balance.\nI am referred to I am always spoken of as an exemplary businesss man. Now\n1 think that is about the last thing in the world that lam \". & J& &\nDaily Mail, May Ist, 1909\nWe always suspected it. We knew Mr Frohman was not an artist and now he confes-\nses to what we had feared,... that he is no business man. &\nThen what exactly is Mr Frohman ? Nobody knows now. Some had dreamed a fair\ndream that Mr Prohman was the ideal business man, but he himself denies it. Mr Prohman\ncan now leave the Theatre with a clear conscience, for we want no men in the Theatre\nwho are confessedly unbusinesslike and obviously inartistic. &\nStill, 44 I like reading plays and buying plays and producing plays \" sobs Mr Frohman after\nhaving admitted his incompetence. And let us add that he likes lowering the standard of\na once noble institution.\nAnd just because he likes doing all this as an idler does, without being able to give\nany good reason why he does it, he is as a worthless and degenerate derelict in the The-\natrical seas and search parties should be formed by the Admiralty,... by Messrs Collins,\nTree, Alexander, Maude and Harrison, and the poor thing should be secured and blown up\nas speedily as possible.\n& The Germans have warned us about this Frohman danger. Our own experts have war-\nned us also; and if you will ask most of the leading European stars they too will warn you\nagainst this gentleman at large who confesses to his inability as a business man. & &\n& What do the stars want with a business man who ruins their business for them ? The\npathos of the situation of a man who has spent his life making mistakes in the Theatre is\naugmented by this trembling confession of the reasons which have induced him to so great\na folly \"I like reading plays, buying plays, producing plays.\"\nIf Mr Prohman reads a few plays it will do nobody any harm. Brown or Smith can do\nso also, and for the cost of a few shillings. And buying plays is only a little more expensive.\nAs for producing plays, has Mr Frohman produced a play in his life? We believe that he\nhas not and cannot; and, being incapable, he is obliged to employ others to do his work of\n44 producing.\nCompare, for instance, Mr Frohman with Mr Arthur Collins, and you soon see what is\nthe difference between an amateur and a professional. &\nMr Arthur Collins has worked his way from the position of call-boy to that of manager\nof Drury Lane,... and without any skipping of the difficulties. Mr Collins is a well-equipped\nmanager and understands all the crafts which he employs to produce his effects. He can write\nyou a play if necessary; act you a difficult part, rehearse two hundred supers with success*\ndesign and paint with his own hands any scenes he may need,... and added to all this is a\nshrewd man of affairs. The net result is Old Drury,... a national asset. & &\nIt is Mr Collins who should be given the control of the many London Theatres which\nMr Frohman plays about with. &\nWhy? Because Mr Collins is an Englishman and thorough, and because Mr Frohman\nbeing an American and 44 more of a sentimentalist than a business man \" could possibly\nbe of great value in his own land, but is valueless or worse in ours. £/ &\nWhat is\nMr Froliman.\nMr Arthur\nCollins."}, {"page_pdf": 52, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.52", "texte": "Mr BERNARD SHAW AND THE CENSOR\nby John Semar\neally Mr Bernard Shaw's quarrels grow somewhat tiresome*\nHe has nagged at everything which is beautiful and Beauty\nhas turned the cold shoulder to him. He is unable to create\na work of Beauty,... a work of Art. And now in sheer des-\nperation he begins to nag at the Censor, and, what is quite\nintolerable, at His Majesty the King. £?\nWe hate this: and certainly his attitude in no way reflects\nthe feeling of the theatre towards our Monarch or his wishes.\nIt reflects instead a certain nasty socialism which the lovers\nof Shakespeare and Great Britain cannot tolerate. & £?\nMr Shaw is, in short, a most nasty traitor. Unable to\nunderstand Beauty, and unable to create a work of Beauty\nthrough lack of a certain nobility of spirit which has since time immemorial possessed the\ngreat artists, he vents his spleen on us all, creating thereby works of mischief. Mr Shaw\nwould have been imprisoned long ago in any other land than England, and everyone would\nhave rejoiced.\n& It is of no use for him to attempt to excuse himself as he does so weakly in 4\n|ark Twain asserts that Shakespeare ne-\nver existed and then asks if he is dead.\n£> Mark Twain having evidently been at\nschool as a boy with Sir Francis Bacon, and\nhaving certain prejudices against the actors\nof England, decides that no low rogue or va-\ngabond could have written 'Hamlet' and 'King\nLear.' He thinks these miracles are only to be\nachieved by lawyers or well-to-do educated\ngentlemen like Sir Francis. £?\n£? We are amongst those who hold fast to\nour dreams where we can, and like to take\nour poetry as seriously as we take our dreams.\nSo that Mark Twain's delightful nonsense\ndoes not justify us in taking him at all se-\nriously, especially as we hear on good autho-\nrity that he is now occupied in writing ano-\nther delicious work proving that if Shake-\nspeare never existed; he, Mark Twain, cannot\ndie. £/ £?\n£1 Nevertheless, the great humourist has be-\ncome so fine, so subtle in his humour, that\nthe whole reading world is taking his book\non Shakespeare seriously. A brilliant world!\nA shrewd and profound world! £?\nWhat does it matter what hand or name\nwrote the wonderful plays? Who do the sta-\ntues in Egypt represent? Rameses or who, is\nthis? and that, who? Kings erased the names\nfrom statues which they fancied and had\ntheir own cut in place of them; and who cares\nand what does it matter? No one loses there\nbyt It is the sculpture we care about and\nnot the name, and so it is with the plays of\nShakespeare. £?£?£?£>\nA nation must be growing very degenerate\nthat loses this sense of the true value of\nbeauty,.... believing that it lies in the name,\nnot in the work. &? £/\n49 Seriously to contend on either side in this\nidiotic controversy is not the particular folly\nwe English should care to indulge in. It is\nperfectly just and admirable that Americans\nshould act so and they will without doubt\nprove that Bacon wrote the plays And\nthen ?..? Having broken rudely into another\ndream of ours, they will prove that dreams\nthemselves have no existence and that our\nlittle life is not rounded by anything more\nsleepy than a certain American vulgarity.^\n\nTUB AMERICAN STAG® OB TODAY by\nWalter Pritchard Baton. Small, Maynard\nand Co. Boston. & £> &\nIn this volume of collected essays, most of\nwhich are reprinted, though with numerous\nchanges and additions, from \"The New York\nSun,\" Mr Eaton proves himself a clever wri-\nter even when faced by that supreme diffi-\nculty, a foolish or uncongenial theme. For on\nwhat rubbish is it often the unhappy lot of\nthe Dramatic Critic to discourse, how trivial\nand wearisome is much that he must witness\nand conscientiously criticise, (if he be, as Mr\nEaton evidently is, conscientious in his work;)\nhow disheartening must be the outlook for\nthe man who has dreams of the theatre as\nan Art, not merely as an amusement or a\ntrade. £/ £/ £>\n£? In his Preface Mr Eaton touches on the\nTheatrical Syndicate and his reason for not\ntreating of it in his book. 'lf,' he writes, \"in\n\" a work on the current stage in America, I\n\" have said nothing about the so-called\n\" Theatrical Syndicate, it is not because I\n\" am indifferent to its considerable, though\n\" somewhat exaggerated evils. It is a subject\n\" that does not belong to the critic of aesthe-\n\" tics. It is but a part of a vaster economic\n\" condition. The competitor in theatrical ma-\n\" nagement will after all fare quite as well\n\" as the competitor in 0i1,... if not better\nPerhaps so; but thank Heaven, never foh\nlong, for while oil is always in demand, vulga-\nrity is so only for a decade, and we look for-\nward to a day, not far distant, when the world\nshall be in love with beauty, and the false\ngod of vulgar realism be deposed.\nMr Eaton's studies cover a wide and varied\nground as may be seen by the titles of some\nof his papers: \"Sophocles in the Back Yard,\"\n(which treats of the \"Electra\" of the poet Hof-\nmannsthal): \"Parnasuss versus the Public\",\n\"Nazimova as the Lady Lisa\", \"Our Leading\nActor \", \" Kisses and David Belasco \", \" The\nRough Diamond as Hero \", \" The Servant in\nthe House\", \"Where is our Drama of '76\",\n\"Audiences \", \" Observation in the Drama \"\nand many more. The plays, players, traditions,\ntendencies of the American stage, about all\nthese Mr Eaton has something to say, and"}, {"page_pdf": 56, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.56", "texte": "often something of value, and we cordially\nrecommend this book to those interested in\nthe life and work of the Theatre in America,.,\nor rather, in America's greatest centre, in\nNew York. & & &\n\nA TYPICAL SHAKLSPKARE STAG%\nby Victor E. Albright M.A. Knickerbocker\nPress, New York. & & &\nIn this pamphlet, which forms the third\nchapter of a study, Mr Albright treats of the\nformation and working of the Shakespearean\nstage. In any discussion of this stage, howe=>\nver, the first point to emphasize is that it was\nfor the Shakespearean period; the next, whe-\nther it will stand the test of time as well as the\nplays do and serve our use today as its advo-\ncates would assert, or whether it was not\nrather a makeshift. We believe this latter to\nbe the case, for the main need, the matter\nof radical importance, in a stage, is that it\nshould be in harmony with the play or per-\nformance to take place thereon, and this\nharmony we do not find existing between\nthe plays of Shakespeare and the construction\nof the Elizabethan stage. & &\nNow in saying this we must not be mis-\nunderstood, nor must our readers jump to the\nconclusion that, if we do not favour this\nShakespearean stage we favour the \"Illusion\"\nstage. That \"Illusion\" is a vaguo word, a word\nfull of deception. With modern managers,...\nwith Mr Tree, for instance,., it means 'decep-\ntion'. Mr Tree would 'deceive' his audiences\nby what he sets before them. It is the old\nconjurer's trick again. Shakespeare would\ninstead take them into his spiritual world,\nthe world of his Imagination. This is Prospe-\nro's way. The difference is enormous, the\ndistinction obvious. &\nNo, the so called \" Shakespearean \" stage,\nand the modern Illusive stage both are bad in\ntheir several ways.\nWhat then is good? &\nNow here we come to the thing which puz-\nzles everyone. What is the Riddle? A simple\none to ask and even so simple to answer.\nIt is the old Spanish egg over again. &\nThe Riddle put to us is this: If you have a\nPlay, such as 'Hamlet' for instance, with twenty\nscenes, some taking place in open air, some\nunder a roof, some in one open place, some\nin another, how are you going to suggest this\nto the eyes of the audience and to their\nimagination on one stage without several\ndifferent scenes ? JS? & &\n& The answer given by the Elizabethan Stage\nSociety with Mr Poel at its head is that\nShakespeare knew how to do it and our best\nplan is to go back and gather as much infor-\niiiation as the incomplete records can give us.\nMr Tree's answer as representing the Illusion-\nRealism School is that Shakespeare being a\nman of the world and a good business man\nto boot would keep up to date and would give\nthe Public what the critics say the Public\nwants; that Shakespeare would be \"only too\nglad, old chap\" to have his plays run for two\nhundred nights at a stretch and would accept\nany plan of achieving this which the manager\ncould devise. Therefore he would willingly\nwitness his plays being performed before\ntwenty different realistic scenes which would\nswiftly switch the beholders' thoughts from\none idea on to another. From \" Battlements\nand a rising moon, etc, etc,\" to \"A Palace\nwith tapestries copied from the originals,\netc, etc.\" &\n& Neither of these gentlemen solves the rid*\ndie. The first begs the question and hums\nand haws nervously. The second, winking the\neye which is fixed upon the main chance, out\nof a full heart beating with love and tender\nremembrance of 'Our great William, that\never glorious master of stage craft, etc etc,\"\nproudly and generously proposes to make\nShakespeare pay at all costs. &\nAnd the cost is great. The cost is the loss\nof the play.\n& Now let us turn to Mr Victor E. Albright\nM. A. to learn why Shakespeare chose to\nchange the \"place\" so often in his plays and\nwhat reason he had in so doing.\nThe rapid changes in Shakespeare's plays\n\" from a room to a street, or a council cham-\n\" ber to a battle field, were not so construc-\n\" ted because the dice fell in that manner,\n\" but because he was writing for a certain\n\" form of stage with a fixed method of staging\n\" in mind. It is strange how completely all\n\" this has been forgotten.\" &\nNow we are not going to disagree with\nMr Albright as to what Shakespeare had 'in\nhis mind' when writing the plays, nor to take\nup the position held up by Goethe when he\nsaid that Shakespeare never thought of the\nstage at all. We are content to accept Mr\nAlbright's explanation as representing the\nconviction of the students of the Shakespeare\nstage; so that we are also convinced, like Mr\nAlbright, that Shakespeare was writing for\n\" a certain form of stage with a fixed me-\nthod of staging in his mind \". The italics\nare ours. & & & & &"}, {"page_pdf": 57, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.57", "texte": "& But will Mr Albright be so bold as to say\nwhat form of stage and what fixed method\nwas in Shakespeare's mind? & &\n& When a thinker wishes to concentrate his\nthought he gazes upon that which is least\nconfusing to the eye,... a flat toned wall, a\nstretch of sea, a sky. Does Mr Albright believe\nthat Shakespeare saw in his mind's eye this\nlittle stage with its two pillars and its couple\nof curtains while writing 'King Lear'? If this\nis what he saw when he commenced his\ndreams we venture to state that those pillars\nand curtains stretched and grew to whatever\nsize and shape he wished as his dream advan-\nced* And therefore we are willing to accept\nMr Albright's theory that the 'form' and the\n'method' of stage and staging were what\nShakespeare desired, and on this basis we\noffer our solution of the Riddle which has\nnot yet been answered. & &\njSf If you would stage 'Hamlet' with its twenty\nscenes so as to be in harmony with the\nthoughts of the play, the form of the stage\nand the method of staging must be that\nwhich Shakespeare desired. You must have\none scene, one place, and that scene or place\nwhether made of marble, wood or wool must\nbe capable of changing its shape and tone\nwithout removing it and replacing it by ano-\nther. Therefore you must not alter the thing\nitself, the marble, wood or wool; that must\nremain where it is ever before your eyes. You\nmust change its character; you must, in short,\ninvent a scene of many moods, a living thing;\nnot merely a dead woollen curtain, two dead\nElizabethan or Victorian pillars, a couple of\ndoors. You must invent a background which\nis as full of moods as the sea. In front of that\nyou must erect a built up place with as many\nreminiscenes as a once-loved home, and instead\nof doors of this or that period you must invent\nplaces for exits and places for entrances.\nShakespeare's men and women really do not\ncall upon the door knobs to act; they call upon\nthe exits and entrances to open as they pass.\n& We are prepared to advance that the scene\nwhich Shakespeare had in his mind when\nwriting his plays is the same scene which all\npoets have in their minds,... that place of\nDestiny which they fill with their loved chil-\ndren. & £> &\njg> That such a place should be made palpa-\nble to sight as well as to our mind's eye is\nwhat we ask.\n& Mr Albright's book is thorough and most\nscholarly. He prepares the way for the stage\nmanager of the future, and for this we ten-\nder him our gratitude. & & &\nThe Oiigin of the Sense of Beauty by Felix\nClay. Smith, Flder, ptice 67- & &\nThere is much which is thoughtful and valua-\nble in this volume, and a carefully arranged\nindex and list of the books referred to adds\nto its usefulness from the student's point of\nview.\nChapters are devoted to \"The Psychology\nof Sensations and Feeling,\" 44 Emotions and\nInstincts \", 44 The Origin of Instinctive Prefer\nrences,\" \"Colour and Rhythm,\" \"The Artist\",\n\" Meaning and Expression \", \" Inspiration,\"\nand \"Art and Life\"; and, since in a brief notice\nit is impossible to do more than note these\ntitles, we give one or two extracts which\nwill themselves attest to the interest of the\nwork.\n\"At the present day art has become so con-\nfused with skill in drawing and painting that\na moderate degree of dexterity in either is\npopularly supposed to make the possessor,\nipso facto, an artist; we cannot even teach\ndrawing in a school without its being called\nart teaching; although such drawing is in\nreality a simple and useful piece of technical\nskill, having the same relation to art as\nreading and writing to literature. So accusto-\nmed have we become to this feeling that there\nis some quality peculiar to painting and draw-\ning, that many people, when they find them-\nselves looking at a picture, at once put on\na special attitude, not unlike that which they\nput on with their Sunday clothes in going\nto church; the result is an unnatural state of\nmind, and they are reduced to an effort to\njudge intellectually what fails to move them\nemotionally, and fails largely, because of the\ntraining and habit of mind which has taught\nthem to dissociate what they call \"works of\nart'' from any sort of natural feeling and\neverj'day life. Perfectly natural expression of\nfeeling would no doubt do something to\nimprove art; and iff people would say at once\nwhat they felt, instead of stopping to think\nwhether they ought or ought not to admire,\nthere would be some chance of art at least\nbeing expressive of the general feeling.\"\n& And again, in the concluding chapter on\n\"Art and Life,\"\"We see with ever renewed\nforce that our evils are due to disharmonies;\nwe turn to science to help us, but her aid,\nthough it may be sure is slow. Religion, meta-\nphysics, philosophy, each offers us a solution,\nand some find peace, there. To all, art, with\nher power of creating beauty, offers her"}, {"page_pdf": 58, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.58", "texte": "solace; she is nature's spokesman and inter-\npreter, and so we send the artist hack and\nback to nature. If he cannot tell us the way,\nhe can at least create an ideal world for us,\nin which we may catch a glimpse of a pure\nand a perfect harmony, a momentary resting-\nplace in the never-ending struggle to realise,\nwith full understanding, 44 Nature's unchan-\nging harmony.\"\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED. & & &\n& \" The Appreciation of the Drama \" by Charles Caffin.\nBaker and Taylor Co. \" Joseph and his Brethren \"\nby Charles Wells. Henry Frowde. & \" Songs of England\nAvraking \" by George Barlow. H.J. Glaisher. £> \" Other\nDays \" by William Winter. Moffat Yard and Co.\n\" The Life of Henry Irving \" by Austin Brereton. Long-\nmans and Co. \" Criminal Types in Shakespeare \" by\nA. Goll. Methuen. & \" Patcola \" by Ena Fitzgerald.\nGreening and Co. '* The Famulus of Terence \" Ed:\nby John Sargeaunt and A. G. S. Raynor. Clarenden Press.\n& \" The American Stage of Today \" by W. P. Eaton.\nSmall, Maynard and Co. \" The Origin of the Sense\nof Beauty \" by Felix Clay. Smith, Elder and Co. <£?\n\" Is Shakespeare Dead? \" by Mark Twain .Harper Bros.\n\" The Tragedy of St Elizabeth of Hungary \" by Arthur\nDillon. Elkin Matthews. & \" Buried Herculaneum by\nE. R. Barker, A and C. Black. & \" A Pageant of the\nItalian Renaissance \" by Thos Wood Stevens. Art Insti-\ntute. Chicago. & \" Shakespeare \" by Walter Raleigh.\nMacmillan. & \" The Playhouse and the Play \" by Percy\nMackay. Macmillan Co. & \" Handbuch der Kostum-\nkunde \" W. Quicke. Verlag von J. J. Weber, Leipzig.\n\" La PSque des Roses \" by Touny-Lowys. \" Le Livre\nde D6sir \" by Charles Demange. Mercure de France.\nThe Studio. What's On. Referee. Bookshelf. Atlantic\nMonthly. London. Die Schaubuhne. Berlin. & Le\nTSmoin. Paris. Rivista di Roma. Roma. & La Ma-\nschera, Naples. Argus. Helsingfors. & Scene Sztur-\nka. Warsaw. JS? Harpers. Dramatic Mirror. New York.\n& Book News Monthly. Conservator. Philadelphia.\nOrd och Blld, Arktos, Stockholm. & Papyrus. East\nOrange. N. J. & The Bibelot. Portland. U. S. A. &\nTeatro Illustrato. & & &\n\nFOREIGN NOTES\n\nLONDON\nG. N.\niVir Herbert Trench has decided to open the\nRepertory Theatre in September next with\n44 King Lear.\" Mr Norman McKinnel will be\nproducer-in-chief to the Repertory Theatre.\nThis announcement has reached me today,\nJune 2nd, which leaves but three months\nfrom now until September 3rd, and three\nmonths in which to produce 44King Lear\" is\nnot long. Even allowing for postponement\nuntil September 30th it leaves only four\nmonths, two of which are holiday months.\nLearning this I begin to have doubts about\nthe seriousness of this amazing Repertory\nTheatre which can produce one of Shake-\nspeare's most profound plays in four months.\nIf I am not mistaken it took Henry Irving a\nlifetime to produce this piece, and the actual\nwork in the theatre took eight months. &\njgr Mr Trench probably thinks that by dispen-\nsing with Romantic scenery he has made the\ntask easier,... as if scenery or no scenery\nmade any difference to the stupendous un-\ndertaking.\nI feel inclined to agree with Mr Gordon\nCraig, who holds that it is impossible to pro-\nduce these plays upon the stage, yet who also\nholds that, if you produce them at all you\nmust do so in as Romantic a manner as pos-\nsible. Shakespeare is not an Aeschylus; no,\nnor so hard a playwright as the author of\n44 Everyman\"; nor so cold a master as those\nearlier Chinese writers. Shakespeare is distinct\nly Romantic; often vulgar in colour, break-\ning all laws; and I hold that when we pro-\nduce him on the stage we should try to match\nhis Romance and his lawlessness as well as\nwe can. It is true we cannot always keep\npace with his extravagant stride, but we must\ntry to do so, and must not put our telescope\nto our blind eye and say we can't see the\nShakespearean signal. & &\nThe manner of Shakespeare is what is cal-\nled the grand Romantic manner; it is not the\ndry-as-dust manner, not the classic manner.\n<£? I am eager to see what Messrs Trench,\nMcKinnel, Poel and Co will make of \"King\nLear\" in four months, attempting to please,\nlet us say, even five thousand London men\nand women. & &\n\nR. S.\nIVLr Forbes Robertson has lent his good\nheart to the services of the English Suffra-\ngette movement. He has been making speeches\nliterally throbbing with pathos about the\nmad women. &\nWhat the ladies of England will say to this\none dreads to think,... for Mr Forbes Robert-\nson once swore unalterable loyalty to them.\nAh, it's a fickle heart that ye're weering an\nyer sleeve, Mister Rabertson !\nMr Beerbohm Tree hasn't lent his heart to\nthe cause.\nMiss Ellen Terry, it is believed, holds very\nstrong reasons for supporting the votes for\nwomen movement, but at the time of going\nto print we understand these reasons are not\nquite clear.\n\nPARIS\n\nDramaticus,\" the amiable writer in the Lon-\ndon Graphic wrote some little time ago, (it"}, {"page_pdf": 59, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.59", "texte": "was in April I think), about the need for pay®\ning actors for rehearsing. He mentioned the\ncase of Miss Marie Dressier and her two weeks\nrun after five weeks rehearsing. &\nWe entirely agree with \" Dramaticus \" in\nwhat he says in many of his notes, but he is\nwrong in saying that \"Any play can be got\nready in three or four weeks. &\nAny scratch performance could be perpe-\ntrated in three or four hours for that matter.\nThe English managers have taught the\nactors and their other employes that four\nweeks is long enough to do the trick in, and\ntherefore it is the general opinion in the Eng-\nlish theatre that a four weeks standard is a\nhigh one.\n& We should be inclined to believe that eight\nweeks was an unreasonably short time and\nfour months a fairly reasonable length of\ntime. Yet some plays might need six months,\na year, or even longer to rehearse, and we\nare not alone in the opinion that rehearsals\nof plays should continue until a play is per-\nfect. That is generally a longer time than it\ntakes to get a play •• ready \". &\nBy the way, why does the Graphic employ\nwriters who mix up fashionable Hats and Art,\nPolitics, and the rest in one column of incor-\nrect information ? & «<£> &\n& Page 472 of the Graphic is almost epoch\nmaking in this respect. Thus we have \"Hats\nto hide under,\" \"The Naval Crisis and the\nWoman,\" Isadora Duncan and Queen Alex-\nandra, this all coming under the heading\n\"Place aux Dames.\" & &\n& We are here only concerned with the in-\ncorrectness of the paragraph relating to Miss\nDuncan. & & & &\nHere is the Paragraph: \"Where England\ncomes first.1' I,a Duncanisme. & &\nLast season we discovered Maud Allen on\nour own responsibility. (1) Maud Allen never\nwent to Paris, but the bare feet and Grecian\nUrn idea (2) had another exponent there in\nIsadora Duncan.(3) who thrilled vast audiences\nlong after (4) Salome and the Spring Song\nhad become an old story to British audiences.\n(5) In Paris also la Duncanisme has had its\nday. (6) But the credit of the classic cult (7)\nif credit there be, is ours.\n(1) Truly an awful responsibility; but even a greater one\nto shift it on to any other nation.\n(2) Possibly has some connection with the awful respon-\nsibility.\n(3) The writer, having been correct if foolish, now be-\ncomes incorrect and foolish. It is incorrect to speak of Miss\nDuncan as another exponent of the barefoot and Grecian\nurn idea,... and it is foolish.\n(4) Possibly a slip of the pen. The writer meant \" before\nTo be quite accurate the writer should have used both\n\" before \" and \" after\n(5) Frequenters of the Palace Music Hall cannot be called\nBritish audiences by anyone at all patriotic.\n(6) Allow us to give the lie direct to this almost culpable\nstatement.\n(7) \" Classic cult \". We are unable to trace the meaning\nof this; possibly indicates something objectionable; a\nquack medicine, perhaps, and the credit of having disco*\nvered and tasted and liked it may certainly be claimed\nby the writer of the paragraphin the Graphic,\n\n\"H. B.\n\nEDITORIAL NOTES.\n\ncongratulate Sir Herbert Beerbohm\nTree on his knighthood. This honour will\nbecome him well. <&&&?&\nwant to know if any of our readers can\nanswer the six questions which we have\nreceived from one of our subscribers. &\nWe respectfully request that ladies shall\nrefrain from repilyng to these questions for\nthe reason that we are loath to put any strain\nwhatever upon them,... and then we are sure\nthey would not know what they were writing\nabout, or why; also because we know that\nthey are too well occupied to trouble their\nbeautiful heads about such trifles. &\nOn the other hand women called Suffra-\ngettes may do as they please,... and Heaven\nhelp them! &\n& These are the questions. &\n& i. Why does an audience in a theatre scream\nand roar to express their pleasure, when in\na gallery of pictures they remain silent to\nexpress the same pleasure ?\n& 2. Are there any theatres in Europe where\napplause fails to bring the actors before the\ncurtain? &\n3. Is a beautiful woman thrown away upon\nthe stage? j£>\n& 4. Why were not the Greek women of the\ntime of Aeschylus, Sophocles, and Euripides,\nand why were not the Englishwomen of the\ntime of Shakespeare, actresses?\n5. is Tradition valueless? &\n& 6. Can such a thing exist as an unpracti-\ncal artist? & &\nThe two Repertory Theatres promised to\nLondon by Mr Frohman and Mr Herbert"}, {"page_pdf": 60, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.60", "texte": "Trench will be sure to prove the need for\nreforming the stage \"altogether,\" for it is\nhe hoped that these to two Repertory Thea-\ntres will reform the stage \" indifferently. \"\nWe do not the use the word Reform in any\nmora! sense, nor do we believe any Reform of\nthe Art can be accomplished until Mr Frohman\nor Mr Trench has found an artist of strong\nbeliefs and methods to do the reforming for\nthem. J® & & &\n& Mr Frohman has Mr Barker, and a more\ndelightful stage manager could hardly be\nfound to control what the Frohman London\nRepertory Theatre is sure to be;... but a de-\nlightful stage manager is quite a different\nkind of being from an artist of strongly mar-\nked personality. je> & &\n& We are not sorry to see Mr Barker joining\nthe degenerate forces of Mr Frohman, for Mr\nBarker will have a chance, and Mr Frohman\na last chance. & &\nAbout Mr Trench's programme for his Reper-\ntory Theatre we have received a little more\nnews than about Mr Frohman's venture. Mr\nFrohman and his works we know, and we are\nalways sorry that he does not confine his\nbrilliant blunders to some more banal trade,\nsuch, for example, as the selling of butter.\nAbout Mr Trench himself as yet we know\nlittle or nothing, Someone says he is an Irish\npoet, \" another he says, Nay I &\n\" He's just a rolling vagabond\n\"That's lost his roguish way.\"\nBut we would likq to have heard a little\nmore about Mr Trench's policy:... what he in-\ntends to do, why, and how he intends to do it.\nIn his theatre we learn that Mondays are\nto be reserved for the revival of Elizabethan\nTheatricals; Tuesdays, Modern playlets, or\nsomething else; Wednesdays, Poetic Drama,\nand the rest of the days good old commercial\nstuff. But this announcement does not en-\nlighten us as to the policy he will pursue,...\nhow the theatre will be administered, how\nthe stage will be governed, and how the\ntreatment of these two branches of the work\nwill differ here from the way in which the\nsame branches are treated in other theatres.\n& We hear that Mr Trench has a great sum\nof money behind him,... and of course money\ncan do a great deal; it can do much good or\nmuch harm,.... in such a case it generally\ndoes much harm. For money is inclined to\nsuppose that it can dispense with brains, and\neveryone in a theatre takes it far more\neasily where there is a great deal of money\nto spend; for, why waste brains they say,\nwhen you can waste money? & &\nStill, it is too early in the day to complain.\nMr Trench will probably make use of the enor-\nmous amount of talent which is at present\nidly kicking its heels in England, He Will pos-\nsibly make use of only English talent, English\nplays, English playwrights, English stage ma-\nnagers and English ideas. &\n& This reminds us of a rumour which has\nreached us and which cannot be true,... that\nMr Trench is about to found his English Re-\nvival of English Stage Art by appealing for\nhelp from Germany, France and Russia.\nIf such a report should prove to have the\nslightest foundation it would foe so utterly\ndisgraceful that the theatre and its manage-\nment could at once be put down as incom-\npetent. J£> & & & &\n& We hope, however, that the report is not\nto be credited, and until we ascertain further\nabout it we shall take it that Mr Trench\nintends to act like an Englishman and not\nlike a German. &\nAnd even the Germans do not go so far as\nreport says Mr Trench intends to do, for he\nis reported to have the intention of importing\nproductions wholesale,... that is to say, the\nplay, the ideas of acting it, staging it and\nlighting it, from abroad. Our information\ncomes from England and we have yet to ascer-\ntain from abroad if the report has any foun-\ndation. &\nFor the rest we regret Mr Trench's weak-\nness in falling back on Revived Period Pro-\nductions. To revive Greek plays as done in\nAthens in B. C. 400 or Elizabethan Plays as\nperformed in the time of Shakespeare is as\nweak as anything we have heard, coming from\na management which proposes to break fresh\nground and do the stage some good. It is on\na parallel with the imitation furniture which\nthe furnishing trade turns out and to our\nart it will be so much dead fruit. &\nOn the other hand Mr Trench's desire to\nencourage our younger English playwrights\ndoes him entire credit. We should like to\nhear some plays by Mr Max Beerbohm, for\ninstance, for we look to Mr Beerbohm as the\npossible writer of a really poetic play. His\nwork has always contained a sense of dream:\nin everything he does there is the touch of\nthe poet: his caricatures are not funny in the\nleast, but they are always pretty or poetic,\nand we feel sure that Piccadilly, its shady\nside and its sunny, could be in his delicate\nhands a background for the great poetic\nplays of this new century, &"}, {"page_pdf": 61, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.61", "texte": "And Mr Yeats? Mr Trench will be sure to\ngive us one of Yeats' dream plays. And Messrs\nPinero, Jones, Barrie? the plays by these\nplaywrights will, we feel sure, fall due on the\n4 commercial ' nights and will be presented\nneither in the Elizabethan nor the Greek\nmanner, but perhaps in the Victorian.\nNow, it wasn't long ago, that great Victo-\nrian era. Can anyone tell us how the presenta-\ntion of plays differed in that period from\nthat in any other period? It was only yester-\nday, yet we venture to believe that no one\ncan exactly say what is the Victorian man-\nner of presenting a play.\nOh wonderful...! and yet some of you are\nbold enough to tell us that the Elizabethan\nmanner was the tomfool kind of dried chat\nter in a cage which today you try to force\ndown the throats of a sheep-like public.\nWell, we pray heaven Mr Trench deceive\nus not; pray heaven he sweep the dried dusty\n\"Revival\" idea out of the fresh little Haymar-\nket, forswear foreign goods and play the\ngame straghtforwardly. Then, \"strike up pi-\npers !\" for we too are eager to join in the\ndance which ends in crowning Mr Trench as\na blessing,.... at present in disguise.\nMr Roosevelt, master of men, wild ani-\nmals and millionaires, should fail to under®\nstand a master of arts is not strange; but\nthat he should rashly fling off a thoughtless\narticle containing reproaches of a personal\ndescription against so great an artist as Tol-\nstoi will lower Mr Roosevelt in the estimation\nof people who value discernment and caution\nas two of the prime qualities of a great leader.\nThis sort of thing from so strong a man\nas the late President of the United States\ntakes one's breath away:...\n44 However high he (Tolstoi) may stand in\n44 certain respects, he has in him certain\n44 dreadful qualities of the moral pervert.....\n44 That side of his teaching, however, which\n44 is partially manifested in the revolting\n44 4Kreutzer Sonata' can do exceedingly little\n44 damage in America, for it would appeal only\n44 to decadents. \" <£? &\n<£? The ignorance of this amazing outlook\ngives one to think.\n& One thinks one perceives in Mr Roosevelt\nreal signs of that decadence of which he seems\nto be in so great fear. One thinks one has had\nthe first real glimpse of Roosevelt,... and hopes\none has thought wrong. One thinks and thinks\nand still no interpretation of those amazing,\nperverse words of his alters the impression.\nAnd here is our impression;... A strong\nman placed over a corrupt world, chosen to\ncontrol it, attempting to cleanse it, achieving,\n(so they say) something of what he attempts.\nBut in the process, whilst washing out this\nblack corner he gets bespattered,... the traces\nof many years of his association with corrup-\ntion stick to him. Then he flings aside the\nscrubbing brush and the soap and gives up\nthe office of government \"char.\" He accepts\na more refined post; he becomes a contribu-\ntor to a journal, the 44 Outlook\" of America,\nand becomes the 44char\" of literature.\n& In the new life the old habits cleave to him.\nHe enters the office of the 440ut100k,\" pail,\nsoap and scrubbing brush in hand. One thinks\none hears him saying as he takes his seat in\nthe editorial chair, 44 Its no good, I know it's\nno good. I was never a dreamer; I was born\nto char. Bring me some book which the man\nin the street finds dirty and let me show him\nthat his Roosevelt is of the same opinion.\"\n& One thinks one sees a whole library of the\nworld's greatest masterpieces being brought\nto the poor man at the desk, and that one\nsees him irresolute for a moment, confronted\nby the foul creations of those obscene beings\nShakespeare, Euripides, Rabelais, Byron, Mil-\nton, Whitman, Gogol, Ben Jonson, Chaucer,\nAristophanes, Keats, Swinburne, Sophocles,\nSocrates, Tolstoi, and, well, Reader, you know\nthe rest of the wonderful names and their\nmore wonderful works. & &\n& Mr Roosevelt seems to have paused irre-\nsolutely for one brief second only; then, with\nall the maddened bravado of the entrapped\nsavage, to have pounced on the works of\nTolstoi.\nMiraculously misunderstanding this fine\nthinker, this most moral of masters, he ac-\ncuses him of deliberate moral perversion, of\ndecadence. & £?\nThis is entirely horrible in Mr Roosevelt;\nhorrible for him to have confessed himself to\nus as one ignorant of the purpose and means of\nthe art of literature. This charwoman-like at-\ntack on what in his egoism he takes for a dirty\ncorner would be grotesque in its blundering\nif it were not decadent in its self-deception.\nBrave in the presence of brutality, he become\na fatuous bore before the front of intellect. He\nis as an unnecessary and stranded vessel\nwhose foghorn bellows a preposterous warn-\ning from the dry beach, a pathetic but ugly\nskeleton of a boat stranded upon the Fortu-\nnate Isles. An absurdity, a preposterous thing\nposing horridly for posterity, something per-"}, {"page_pdf": 62, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.62", "texte": "versely decadent in its demeanour; this is\nMr Roosevelt, once the pilot of a people; now\nnot even the pedlar of their opinions.\nAnthony Scarlett, writing lately to the\n\" Saturday Review,\" calls upon the com-\nmittee of the proposed National Theatre to\nmake sure of securing Mr Gordon Craig as\ntheir stage director. Mr Max Beerbohm, wri-\nting the week after on the same subject, calls\nupon Mr Herbert Trench to secure Mr Craig\nfor some experiments. & &\n& We like Mr Scarlett's suggestion better\nthan Mr Beerbohm's, for we are not a little\npuzzled to guess what Mr Beerbohm consi-\nders to be the gifts of Mr Craig.\nHe first of all scouts the idea that the\nNational Theatre can have anything to do\nwith Mr Craig, an opinion which we are far\nfrom sharing. He then goes on to scout ano-\nther idea, that is to say, that Mr Craig can\ndo anything else except arrange scenery,\nlighting and costumes for a poetic or fantas-\ntic play.\n& He says, \"It is obvious that Mr Craig, arran-\nging the scenery and lighting and costumes of\n\" a realistic tragedy or comedy, would either\n\" have to forswear his methods, and thus\n\" waste his time, or would wreck the play,\n\" and thus waste his time and ours.\" &\nThis is a very puzzling sentence. One does\nnot know whether to be amused, or whether\nto be suspicious of Mr Beerbohm in his atti-\ntude towards Mr Craig, for, as Mr Craig has\nnever yet produced a realistic tragedy or\ncomedy it is by no means 'obvious' that he\nwould wreck either by his arrangement of the\nscenery, lighting and costume. &\n& On looking closer at the matter we find\nit quite rash of Mr Beerbohm, who is so careful\nas a rule, to commit that superlative indis-\ncretion of criticising that which he has not\nseen and which does not exist. jg/ &\n& As we have said above, up to the present\ntime Mr Craig has not produced a modern\nrealistic tragedy or comedy, although Mr\nArthur Symons is one of those who have\nwished to see Mr Craig's production of Ibsen's\n\" Ghosts.\" In his \"Studies in Seven Arts\" he\nwrites as follows.\n& \" Then I would like to see Mr. Craig go\n\" further still; I would like to see him deal\n\" with a purely modern play, a play which\n\" takes place indoors, in the house of middle-\n\" class people. He should mount the typical\n\" modern play, Ibsen's ' Ghosts.' Think of\n\" that room 'in Mrs. Alving's country-house,\n\" beside one of the large fjords in Western\n\" Norway.' Do you remember the stage direc-\n\" tions? In the first act the glimpse, through\n\" the glass windows of the conservatory, of\n\" 'a gloomy fjord landscape, veiled by steady\n\" rain;' in the second 'the mist still lies\n\" heavy over the landscape;' in the third the\n\" lamp burning on the table, the darkness\n\" outside, the 'faint glow from the conflagra-\n\" tion.' And always'the room as before.' What\n\" might not Mr. Craig do with that room 1\n\" What precisely, I do not know; but I am sure\n\" that his method is capable of an extension\n\" which will take in that room, and, if it\n\" can take in that room, it can take in all\n\" of modern life which is of importance to the\n\" playwright.\" &\nWe are also really at a loss to understand\nwhy Mr Beerbohm, after stating in regard to\nthe National Theatre committee that it would\nbe useless to recommend Mr Craig to them,\nis so good as to take upon himself the office\nof giving Mr Craig a recommendation to Mr\nTrench. & &\nBut let us see the exact terms of Mr Beer-\nbohm's recommendation. These are the very\nwords: \"I don't ask him (Mr Trench) to pro®\n\" mise that all such poetic or fantastic plays\n\" as he may produce shall be according to Mr\n\" Craig's methods. Merely let him experiment\n\" and see what happens.\" & & &\nWhy, a recommendation like this would\ndamn even a domestic servant who wanted\nto get a new job. &\n<£/ Such a recommendation would run, \"Dear\n\" Mrs Jones, I am very much surprised that I\n\" omitted to say anything about this admi-\n\" rable servant of mine who is leaving me,\n\" and even now I don't ask you to engage\n\" him to do the work such a servant usually\n\" does, for who am I that I should speak in\n\" superlatives of what is comparatively un»\n\" known to me? But I only beg of you to give\n\" him a chance and see what happens. I am\n\" dear Mrs Jones, yours faithfully, Sarah\n\" Smith. P. S. Don't hold me responsible if he\n\" is no good. I never said he was any good.\"\nMr Beerbohm adds \"It is ludicrous that\n\" Mr Craig should be not without honour in\n\"all countries but this one.\" But after reading\nMr Beerbohm's very extraordinary lines one\nunderstands better why such ludicrous things\nare and how they \"overcome us like a sum-\nmer's cloud, without our special wonder.\"\n\nJ.S.\n\nALL RIGHTS RESERVED &\nGerent© Responsabile, GHJLIO VANZI"}, {"page_pdf": 63, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.63", "texte": "HEAL & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\nSi\nCo\n§\nA\n«a>\nChintzes, Printed Linens & Printed Cottons. Write for\nillustrated Booklet \"M\" with photographs & prices.\nHeal & Son have special materials for Casement\nCurtains. Booklet \" K \" with small patterns sent postfree.\nTOTTENHAM COURT ROAD, LONDON"}, {"page_pdf": 64, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190907-01.1.64", "texte": "Printed for the Proprietor by E. Morandi, Tipografla Bodoniana, Via Pintl, Florence, and published at The Office\nof \" The Mask \" Arena Gohdoni & £?&■&?£>&&&&\n\nFRILL!\nANTONIO\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES £> &\nFLORENCE\nVia dei Fossi 4\n(ESTABLISHED i860) jb>\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble & Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904\n\nL I BRA I R I E ANCIENNE &\nT. DE MARINIS & Co. & 5 Via Vecchietti - FIRENZE\na\n1\n?: '\n2*\num\nflAr\nU1\n(|J3L\nX\nmi\n»«\nJL\nA.\nIfi\n•••\n» ®\n■nit\n■«»*\n• s\nMil\n181\nI\n»•• •\n«1\n111\n/£\n• 14\nJmJULO\n1111\no\no\noo\n'•I\n359\n00\nII\"\nMi\nMU\nOOfl\n\"I\nn0 il\nill\nH\ntu\ntill! I\n» »\n111\n0«\n• I\nMil\nfBSS\nM\nM\nfit\n*&<*\n0 0\n50\nMill\n111\nturn\nGsi\nl»M*\nggSSKSrr—\n• M\n« a\nQflg\nSO\n06\nI I\n1114\n■ nil\nWW\nJFine Collection of MSS., Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application-"}]}