{"numero_id": "bm-bmtnaau-1909-10-01", "volume": "bmtnaau_1909-10_01", "ocr_sha256": "5e82d80df9329f91f851572afdc6cba530d9ad652433091373b111d9d6598c5d", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1909/10_01/bmtnaau_1909-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1909/10_01/bmtnaau_1909-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01", "articles": [{"article_id": "bm-bmtnaau-1909-10-01-c002", "article_bluemountain": "bmtnaau_1909-10_01#c002", "volume": "bmtnaau_1909-10_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=bmtnaau190910-01.2.2", "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=bmtnaau190910-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 708, "texte": "LITERARY CONTENTS.\nTHE CENSOR AND THE MASK by JOHN SEMAR. & COSTUMES FROM THE BOOK OF CESARE\nVECELLIO, TRANSLATED by D. NEVILE LEES, WITH A NOTE ON CHOPINES by ALLEN\nCARRIC. & EVERLASTING POSTPONEMENT by JOHN BALANCE. & THE NEW THEATRE\nIN POLAND: STANISLAW WYSPIANSKI by L. de SCHILDENFELD SCHILLER, & A NOTE\nON MARIONETTES by ADOLF FURST. & THE ARCHITECTURE AND COSTUME OF JULIUS\nCAESAR by E.W.GODWIN. REPRINTED FROM THE \" ARCHITECT \". & A NATIONAL\nTHEATRE, ITS ADVANTAGES AND DISADVANTAGES : AN INTERNATIONAL SYMPOSIUM.\nSARAH BERNHARDT AND LUDWIG BARNEY ON ENDOWED THEATRES. OPEN AIR\nTHEATRES: A LETTER FROM GORDON CRAIG. THE WISE AND FOOLISH VIRGINS &\nBOOK REVIEWS. & FOREIGN NOTES. & EDITORIAL NOTES. & &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c003", "article_bluemountain": "bmtnaau_1909-10_01#c003", "volume": "bmtnaau_1909-10_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=bmtnaau190910-01.2.3", "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=bmtnaau190910-01.1.2", "debut_caractere": 710, "fin_caractere_exclue": 1047, "texte": "ILLUSTRATIONS.\nFRONTISPIECE : A DESIGN FOR A STAGE SCENE by GORDON CRAIG. & FIVE DESIONS\nFROM THE BOOK OF CESARE VECELLIO & TWO DESIGNS FOR BACK CLOTHS REPRINTED\nFROM \" THE PAGE \" 1900, by GORDON CRAIG. HEAD AND TAIL PIECES AND\nINITIALS FROM OLD ENGRAVINGS, AND FROM DESIGNS by CHARLES BORROW, JULIUS\nOLIVER, AND GORDON CRAIG. &&&&&£>£>&"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c004", "article_bluemountain": "bmtnaau_1909-10_01#c004", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[48]", "page_fin": "[48]", "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=bmtnaau190910-01.2.4", "titre_corps": "Scene from the \"Sacra Rappresentazione\" of St. Agatha", "titre_sommaire": "Scene from the \"Sacra Rappresentazione\" of St. Agatha", "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": "[48]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 54, "texte": "Scene from the \"Sacra Rappresentazione\" of St. Agatha."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c005", "article_bluemountain": "bmtnaau_1909-10_01#c005", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[48]", "page_fin": "[48]", "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=bmtnaau190910-01.2.5", "titre_corps": "Scene from the \"Sacra Rappresentazione\" of Joseph and his Brethren", "titre_sommaire": "Scene from the \"Sacra Rappresentazione\" of Joseph and his Brethren", "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": "[48]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.4", "debut_caractere": 56, "fin_caractere_exclue": 123, "texte": "Scene from the \"Sacra Rappresentazione\" of Joseph and his Brethren."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c006", "article_bluemountain": "bmtnaau_1909-10_01#c006", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "52", "image_debut": 5, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.2.6", "titre_corps": "THE CENSOR AND \"THE MASK\"", "titre_sommaire": "THE CENSOR AND \"THE MASK\"", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 2893, "texte": "THE CENSOR AND \"THE MASK\"\nby John Semar.\nYours faithfully, A Well-wisher.\nEdwin Holt. Brookwood Ferris\nSir, What is this mad idea of yours of supporting the Censor? Every one is asking\nme if 44 The Mask \" has changed hands or only its face, for 44 The Mask \" was once the\nchampion of liberty, and fought against all such enemies of the drama. Now it claims that\nthe Censor is not only a Blessing but a Necessity. &\n& Do you think that this kind of thing will win you more friends for your Journal ? If so\nyou are mistaken.\nSir, I am glad to see that in the midst of so much fuss about the 44 vile Censor \"\n44 The Mask\" keeps its head. & & & & &\nWe don't want these uncensored plays, especially since the authors have shown us\nlately what kind of matter such plays deal in. Many thanks.\nhese two letters have lately reached me, and in view of these and of the questions\nput by many supporters of \" The Mask \" I feel that it is time for me to set before\nits readers my reasons for not attacking the Censor. & & &\nTo begin with the mob which is hunting him is made up of the last people in England\nwho have any justice in doing so.\nThe excuses they offer are many. Most of them are the excuses of the martyr, and we\nhave learnt by experience that a crying martyr is a fraud. &\nThe second reason is that 1 believe entirely in the principle, and if 1 fail to praise the\npresent Censor it is only because he does not carry the principle far e nough. It is not less,\nbut more Censor, that the theatre needs. & jg?\n& The present Censor permits what I hope no other Censor will permit again,... he allows\nLondon to be flooded by vulgarity. The shows at the music halls do not count. We expect,\nvulgarity there; and the Censor tolerates more than vulgarity there for he knows that the\nMusic Hall is the property of the mob and he also remembers that it was once much worse\nand that even the Emperors of Constantinople, Rome and Alexandria were unable to censor\nsuch exhibitions.\nBut the Theatre is not the property of the mob and is not a place for exhibitions, animal\nor human.\nFor what then is the Theatre? The reply is given us by the historians, It is for\nReligion. jg?\n& You will possibly imagine that the Censor would oppose a theatre entirely dedicated\nto Religion. If so you must be wrong, and that is shown by the plain fact that he censors\nall which in his belief is non religious. &\n& You will now possibly tell me that I am wrong and that he vetos plays which are reli-\ngious. But here we come to the heart of the matter. So-called Religious Plays are not\nreligious any more than books with religious titles are Religious. \" Bethlehem \" which the\nCensor refused to sanction for public performance was not Religious; nor was \"Eagerheart\"\nwhich somehow got through. Mr Gordon Craig's stage management gave a certain mys-\n\nTwo fetters.\nReasons for the\ndefence. <£?\nFor what is the\nTh e atre ? &"}, {"page_pdf": 6, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.6", "debut_caractere": 27, "fin_caractere_exclue": 4693, "texte": "tery to \" Bethlehem \" but it could not make it religious. It was queerly acted, very pic-\nturesque, dramatic, theatrical, artificial, and none of these qualities are noticeable when\nthe symbols of religion are before us. &\nThe Censor cannot restore Religion to the Theatre; no one but the philosopher-artist\ncan do that, but he should at least try to keep out that which is Jiou-religious. The mo-\ndern authors who clamour for the Censor's removal are frankly non-religious and would\npossibly like to be atheistical; and it is even more because their reasons for the abolition\nof the Censor are bad than because the arguments in favour of that office are good that\n\" The Mask \" gives, and will continue to give, the Censor its support. & &\nSir William Gilbert in his evidence at the recent enquiry supports the principle of the\nCensor and points out that the stage is not a pulpit, but that, should no restraint be\nexercised, there seems to be a possible danger of its becoming a pulpit of the socialist and\nthe anarchist. &\nSir Herbert Beerbohm Tree supports the Censor chiefly, so we are led to believe, be-\ncause he finds the dramatic author insupportable, and it is really mainly restless dramatic\nauthors and a few critics who form the attacking party.\n<£? For my part 1 should be very glad to see acted a few of those plays by Mr Bernard Shaw\nwhich the present Censor prohibits on account of what he believes to be their immorality,\nbut I should not like to see the hundreds of daring plays, the ugliness masquerading as force,\nwhich would be let loose on to the stage as the result of this privilege being allowed to\nMr Shaw. For so long as English drawing rooms are what they are and the English\nhouseholder is what he is, so long will it be impossible to discuss in a theatre, without\ndanger, matters which are never breathed inside an English home.\n& It may be urged that freedom is permitted to the Continental theatres and that it is\nunreasonable that in a country which, above all others, boasts of its freedom, any restric-\ntion should be in force. But this question turns on the difference between the blood and\nbrains of the Englishman and the Foreigner, and for my part 1 do not want the Englishman\nany different from what he is. &\nThis matter of the value of the Censorship might, however, easily be put to a practical\ntest. JZ? J2? &\n& To that end I should like to see it possible for certain theatres and certain authors to\nbe given freedom in such matters, and I think that this experiment might soon settle the\nwhole matter in a very few years. What* should there be against a license being given\nto the Court Theatre with a special license to Mr Bernard Shaw and Mr Granville Barker\nto give the public just what they want to give them? The Court Theatre wrould then be\nknown as the \" Free Theatre \" and the public would soon decide whether or not this free\nnew theatre were better than the old one. JZ? JZ? JZ?\nIf Mr Bernard Shaw's influence is for good a few years liberty will prove it, and after\nall it is men of independent thought whose works all Englishmen desire to hear. But if,\non the other hand, Mr. Bernard Shaw is merely the mouthpiece of an unruly section of\nsociety, in a few years this also would become quite evident instead of only rather evident\nas it is today.\n£> I have said that if anything the power of the Censor is not carried far enough, and 1\nbelieve it to be in this fact that the weakness of the system lies. It is true that he may\nveto any idea, any word, or any suggestion which is in the written text; but what\ncontrol has he over the interpretation? Yet it is in the interpretation, even more than in the\nwords themselves, that the danger may lie. This fact has escaped most people. Yet if we\nconsider it for a moment there is hardly any line in any play to which a double entendre\ncannot be given, and even \" How do you do, Mrs Jones \" can be made positively indecent\nby the way in which it Is said and the gestures by which it is accompanied. &\n<£/ And it does not stop there; for without saying a word an actor is able to be as gross\nas he pleases. And if the grasp of the Censor is not relaxed from the wrist of the writer\nthe writer will use his other hand. He will learn how to write innocent conversations and\nthen he will instruct the actor how to interpret them; and as far as 1 can see it will be\nimpossible to stop the actor from doing so. &\nWhat action would be taken if such a thing should come to pass ? And what is the use\nof making a law when you cannot enforce it or when it can be easily evaded ? It would\n\n& A possible\ndanger. &\nA practical test.\nThe interpreta»\ntion of words.\nMano Sinistra."}, {"page_pdf": 7, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 4898, "texte": "be very easy to write such a play as I have suggested . & & & &\nAs I have said; I would like to see much more power behind the Censor. 1 would like\nto see him able to prevent all the musical comedies, not because of what people call the\nimproprieties in them but because of that vast impropriety of vulgarity; the repetition of\nvulgar words sung to commoplace tunes on a stage covered with glittering and tawdry\nscenery and costumes. Then I would like to see him veto any tragedy which had an exhi-\nbition of murder or attempted murder, suicide, or attempted suicide, or revenge; ambition\njealousy, seduction and all acts of violence; anything, in fact, dealing with the breaking\nof the ten Commandments; for as Nietzsche has very truly pointed out to us, \" He who be-\nlieves that Shakespeare's stage has a moral effect and that the sight of Macbeth irresistably\ndetracts from evil ambition is mistaken. \" j® j® j®\nj® For this is what it comes to. That the audience, seeing a pathetic interpretation of\n\" Shylock,\" will undoubtedly be led to feel that revenge is a holy state of mind leading\nto a sort of divine persecution. What more attractive ? An audience witnessing \"Othello\"\nwill be led to suppose that jealousy is an attribute of the noble minded and the strong,\nand that a jealous man is privileged to wind all things up to his own advantage by com-\nmitting murder and afterwards a glorified suicide. \" Do you imagine that Tristan and Isolde\n\" give a warning example of adultery through its being the cause of their death ? This\n\"would be turning the poets upside down: for they, and Shakespeare above all, are in love\n\" with the passions themselves and no less with their yearnings for death. \" (1) Take the ex-\nhibition of Julius Caesar being stabbed by the noble Brutus. If I were the Censor 1 would\nput the \" noble Brutus \" out of the running at once without further delay; for the killing\nof Caesar by the noble Brutus is an act which any man who thinks differently from his\nmaster is quite likely to copy without delay provided he finds seven other honourable\ngentlemen prepared to hatch the plot with him in the back yard. j® j® &\nj® As for the story of Faust and Marguerite, Goethe or no Goethe, how this abomination\ncan have been permitted or continue to be permitted must astound every right thinking\ncitizen; for the audience, listening to the cooing voice of Faust and watching the amiable gam-\nbols of the two love birds, and with their eye upon the absurd antics of the gentleman in pink\nmust say to themselves if they have any senses, Edwin.... \"Angelina, let us run the risk of\nbeing bored by that old gentleman's Society, and let us play Faust and Marguerite without a\nmoment's delay \".Have they not heard that this story of the devil is an old grandmother's\nstory and is thought of no more J® J® J® J® J® &\nBut assuredly to anticipate all such and many other crimes by suggestion, the Censor\nwill have to concern himself with the interpretation as much as with the play; for it is\nnot what Faust says but what he does; it is not what Othello says, it is what he does;\nand soon it will be not merely what he does but what he indicates, and if in the future\nstage murders are not perpetrated on beds in front of the audience, they will be\nperpetrated off the stage: not a word will be said about it, but by the faces of the actors,\nand especially by what they do not say, murders, revenges, seductions, and jealousies will\nbe suggested so vividly that they will become too horrible to contemplate. j® j®\n& It is curious that no one has written a play like this 1ate1y,.... a play which a child or a\nJesuit could read without detecting any possibilities of horror. J® j® j®\nJ® And finally, surely it comes to this; that now is the day to stop all this, to make the\nCensor unnecessary, rather than try to do without him. Cannot some of the feeling of the\nair be brought into the theatre even as that feeling is now coming into journalism ? Eve-\nry thing seems to be getting fresher. Our halfpenny journals are a positive delight to\nus today. The influence of the air Is upon them. The currents of wind seem to be wafting\nmost of the bloodthirsty paragraphs away, so that there may be more room for airy\nthoughts, A&J®J®J®J®&J®J®J®J®J®\n& And what is to prevent the Theatre throwing open its doors and letting in the\ncurrent ? It would not be so impossible. We begin to see today that nothing is im-\npossible. j® j® j® & *® j® j® j® j® j® j®\n<£? Come, then; let all talk of the Censor cease; let us admit that he can do us no harm,\nthat he may do us a great deal of good, let us accept him, and let us be far sterner censors\nto our work; let us leave the horrible and the gross ; the pathetic and the gloomy\nand let us see if we cannot keep pace with the more vivid thought of the new era. J®\n& And, Reader, do not say that in my proposition 1 take away everything and leave you"}, {"page_pdf": 7, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.7", "debut_caractere": 4929, "fin_caractere_exclue": 5024, "texte": "& Nietzsche.\nThe danger, 4?\nZP Horrors by\n44 Suggestion \".\nThe time for a\nchange\n(1) Nietzsche."}, {"page_pdf": 8, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.8", "debut_caractere": 28, "fin_caractere_exclue": 700, "texte": "nothing, and that I am not \" practical \". For that is just it. Nobody wants to be practical\nin such matters. You would hardly call Shelley's \"Ode to a Skylark\" practical, and\nnothing which is practical on God' searth ever created Poetry and it is just that kind of thing\nwe want in the theatre.\nAnd again, dear Reader, don't imagine I want skylarks twittering about the stage. I am\nsure that is what comes into some of your minds on reading this. I want poetry; poetry,\npoetry; not sad poetry, not pitiful poetry, not terrible poetry; I want joyous poetry, and\nif I should not be thought profane I would cry with Corporal Brewster, \" And, by God,\nwe shall have it!\" ,<s> &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c009", "article_bluemountain": "bmtnaau_1909-10_01#c009", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "52", "page_fin": "55", "image_debut": 8, "image_fin": 11, "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=bmtnaau190910-01.2.7", "titre_corps": "VENETIAN COSTUME : TRANSLATED FROM THE BOOK OF CESARE VECELLIO", "titre_sommaire": "VENETIAN COSTUME : TRANSLATED FROM THE BOOK OF CESARE VECELLIO", "signature_source": "D. Nevile Lees ; CESARE VECELLIO", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.8", "debut_caractere": 702, "fin_caractere_exclue": 2319, "texte": "VENETIAN COSTUME\nTRANSLATED FROM THE BOOR OF CESARE VECELLIO\nby D. Nevile Lees, with a note on\nby Allen Carrie.\n\nLADIESATPUBLIC FESTIVALS.\nnoblewomen are invited to banquets or pageants at which some great personage\nis present, as very often happens in Venice, they are allowed without regard to the\nlaw or detriment to themselves to dress and adorn themselves as best pleases them\nalthough on other occasions their dress is restricted by the sumptuary lords. <£?\nAnd therefore when Henry\n111 king of France, on leaving\nPoland, where he was king,\ndassed Venice, he was entertai-\nned, (in addition to other superb\nand marvellous spectacles) with\na great train of two hundred\nof the most beautiful and di-\nstinguished ladies of the city\ngathered in the Hall of the\ngreat Council. &\n& These were all dressed in\nwhite; and appeared in such\nguise and in such complete\nbeauty that the king, with all\nhis retinue, was astonished.\n& All these ladies passed two\nby two before His Royal High-\nness and with graceful manners\n4\nand low courtesies paid him\nthe reverence due. £* &\nAll had their heads covered\nwith pearls, and their necks,\nbreasts, shoulders, bodices and\nsleeves, were also adorned with\na wealth of other jewels, all of\nwhich were set in gold with\nmost beautiful embroideries\naround them.\nSo great in fact was the\npomp with which they appea-\nred that it was estimated that\neach one bore about her more\nthan fifty thousand scudi.<£?\n& And, in addition to the dances gracefully performd by them before his Majesty there was\nalso a most sumptuous banquet on which were spent many thousands of scudi*\n\nVenetian ladies."}, {"page_pdf": 9, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.9", "debut_caractere": 19, "fin_caractere_exclue": 1903, "texte": "Venetian ladies.\nVenetian youths.\n\nBut to return to the subjeet of these dresses, 1 say and confess that the bodices of that\ntime were not so long as they are today, nor did those wise and beautiful maidens wear\ntheir curled hair in so high a form, arranging it only as seen in this picture. Their dress\nwas often similar to that of the lady in black with the crown (i). She whom 1 here picture\nfor you was one of those adorned as 1 have described and invited to that great festival. &\n& Now our modern ladies use brocades and cloth of gold and silver with many jewels,\nbodices and costly sleeves. The tiring of the head is modern, and modern the sleeves and\ncollar in which jewels are used; and in their hands they carry beautiful woven fans with\ngolden handles.\nTHE COSTUME OF YOUTHS.\n''jphe costume of the young men or students of the city of Venice is very beautiful and\nneat and renders the figure active and vivacious Thus such youths wear on their heads\nthe high black caps known as \" h tozzo \", made of rich velvet in winter and in summer\nof silk brocade or tabby, or of watered silk with the lining of coloured taffetas, around\nwhich they have a veil tied or garlands of little pearls, fair to see, with some medallion\nor jewel or with braids of gold intertwined with pearls or little crystals. jg? &\n& They wear doublets of silk, satin, brocade or tabby with buttons of gold or silk,\nand adorned likewise with braid or lace. At the neck they put clean frills, well shaped\nand very white, and they wear hose of the same material as the doublet. And both the\ndoublet and hose they slash and cut in fine designs, through which slashes they show the\nlinings of various coloured taffetas.\nThey have on their legs stockings of silk, or of Flanders wool worked with needles; and\nthey wear shoes of Morocco leather, elegantly made. & & & &\nThis design will appear in a later number."}, {"page_pdf": 10, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.10", "debut_caractere": 19, "fin_caractere_exclue": 3230, "texte": "VENETIAN LADIES\nBLEACHING THEIR\nJ tis the custom in Venice to have upon\nthe roofs of the houses certain square\nedifices of wood in the form of open log-\ngias, the which edifices in \" terra ferma\"\nare in the form of walls and covered over\nas one sees in Florence, where they are\ncalled terraces. And in the city of Naples\nthey have upon the houses certain unco-\nvered places which they there call *' bat-\ntuti\", and which are made of coarse sand\nand lime, well beaten, which resists the\nheavy rains. & &\nNow to return to our subject. Howbeit\nthat all women show themselves desirous\nof increasing their natural beauty by art,\nthe Venetians manifest themselves the\nmost desirous of all. By which they do\nno small wrong to themselves since, per-\nhaps, they less than others have need of\nart. And also because, this diligence of\ntheirs being known, it comes about that\neven their natural beauty loses in the\nminds of others a great part of its credit\nand is judged as artificial. <£?\nWith this idea therefore they have,\namong others, the artifice, as we have\nsaid, of making themselves fair; which\nis the reason that they frequent the \" altana \" (for that is what the aforesaid wooden\nedifice is called ), holding the head exposed for whole days to the sun for this purpose. &\nFor this work, in which they have themselves to be both the served and the servant, they\nusually stay on these \" altane \" when the sun is hottest, and, sitting there, with a little\nsponge tied to the end of a stick and soaked in a wash which they buy or make for them-\nselves at home, they wet all their hair many times, letting the sun dry it as often as they\nwet it, and thus making their hair blond as they all seem to have it. & &\nWhile doing this they wear over all a white robe of silk or very soft linen which they\ncall \" schiavonetto \" and on their heads they wear a straw hat without a crown which\nthey call \" solana, \" and this by the width of its brim holds the hair distended and pro-\ndects the face from the sun while they are waiting to bleach themselves. jg?\nPUBLIC PROSTITUTES.\n'yhe public prostitutes who dwell in places of ill fame, are not uniform in their dress because,\nalthough they all follow the same calling, none the less, owing to the inequality of their\nfortunes, not all can go arrayed with similar gradeur. & & & &\nFor all that, they have in use a costume which rather resembles that of a man, for\nthey wear doublets made of silk, linen or material more or less costly according as each\ncan afford; and these are trimmed with wide fringes and padded with cotton wool just at\nthose worn by youths; and are similar in fashion to those worn by the French. And next\nthe skin they wear a man's shirt, this also depending for its finenes and elegance upon the\n.amount which each one can afford. Above the which shirt they fold in the hot weather a\ncross-over apron of silk or linen reaching to the feet; and in cold weather a robe lined\neither with cotton or silk as best they can afford. &\n& The slippers which they wear are more than a quarter of a braccio high; but adorned\nwith fringes, and they have stockings of silk or of embroidered cloth with Roman shoes\non their feet. &\n\nWetting the\nhair.\nTheir slippers."}, {"page_pdf": 11, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 1884, "texte": "Many of them wear, like men, hose of\nwatered silk or other material; and by\nthese signs and by such others as their\nsilver rings and bracelets they are easily\nknown. & & &\nBut one cannot easily describe how they\ntire their heads, nor see them at the win-\ndows, as they frequent rather the door\nway and the street, to draw into their\nsnare the passing birds. There they loiter,\nsinging love songs; but with little grace,\nin conformity with their vile condition, ma-\nking themselves heard with hoarse voice.\nA NOTE ON CH O PINES.\nThe high shoes referred to in this last\ndescription by Vecellio were evidently not\nlimited to the particular class to which\nhe attributes them, as we read in other\nrecords of the period that the Venetians\nand the women of all Northern Italy took\nto wearing shoes with soles two or three\nfeet high, so that to avoid falling they\nwere obliged to walk leaning on their\nattendants. &\n& This fashion dates as far back as 1430\nwhen mention of it is already made in a\ndecree of the Venetian senate. Later on\nthe high soles gave place to wooden pedes-\ntals which were painted blue, red or yel-\nlow and some times gilded. £?&<&&&& &&\n& The high pattens shown in the illustration are similar to the over-shoe which in Shake-\nspeare's time in England was called a i4 chopine. \" (see Hamlet Act 11. Scene 2.) The\nchopine was usually put on when going out and served to keep the skirts dry and clean by\nraising the wearer some inches from the ground. &\n& Later on the ladies took advantage of having learned to walk gracefully with these high\nclogs and adopted a similar fashion for indoors. This increased their height and added a\ndignity to their movement which became slower and more measured. Should an actress of\ntoday learn how to walk on such clogs she would have mastered the majestic movements\npossessed by these \" grandes dames \" of the sixteenth century. & &"}, {"page_pdf": 11, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.11", "debut_caractere": 1905, "fin_caractere_exclue": 1927, "texte": "A hint to\nactresses. &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c010", "article_bluemountain": "bmtnaau_1909-10_01#c010", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "52", "page_fin": "52", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.2.7.1", "titre_corps": "PERSPETTIVA DELLA SECONDA PIAZZA di San Marco", "titre_sommaire": "PERSPETTIVA DELLA SECONDA PIAZZA di San Marco", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.8", "debut_caractere": 2321, "fin_caractere_exclue": 2367, "texte": "PERSPETTIVA DELLA SECONDA PIAZZA\ndi San Marco."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c015", "article_bluemountain": "bmtnaau_1909-10_01#c015", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "55", "page_fin": "56", "image_debut": 11, "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=bmtnaau190910-01.2.8", "titre_corps": "EVERLASTING POSTPONEMENT", "titre_sommaire": "EVERLASTING POSTPONEMENT", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.11", "debut_caractere": 1929, "fin_caractere_exclue": 2909, "texte": "EVERLASTING POSTPONEMENT\nby John Balance.\nmagination is a rare quality. The power of being able to summon up\nin a moment a clear vision of what we call the intangible and the impossibl\nseems to be possessed by very few. & &\nAbout eight months ago column after column in the 44 Daily Mail \"\ncontained some such phrases as the following: 44 It surpassed the imagi-\nnation, \" 44 it was beyond belief. \" I have read these phrases several times\nin the course of a week, and that which 44 surpassed imagination \" was the\nflying of Wilbur Wright. Now I beg respectfully to tell the 44 Daily Mall \"\nthat there is nothing which surpasses the imagination or goes beyond\nbelief, and this reiteration of the phrase by the 44 Daily Mail \" is most\nharmful, for it makes all people out to be greater fools than they are.\n& And againo niy the other day Mr Lloyd Qeorge, on seeing the ships flying in the air\nat Rheims, speaks in the same way, 44 it was far beyond anything I could have imagined.\""}, {"page_pdf": 12, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.12", "debut_caractere": 26, "fin_caractere_exclue": 4739, "texte": "This may be true of Mr Lloyd George but it is not true that the power is so weak as all\nthese people suggest.l maglnatlon was with Wilbur Wright from the beginning; if anything\nit surpassed him and still surpasses him. Not merely the imagination and invention of Mr\nWells and Mr Jules Verne, but the imagination of thousands of cultivated and uncultivated\npeople all the world over,\n& It is imagination which has given birth to the flying machine; it is imagination which\nhas given birth to everything which is valuable on earth from religion down to the halfpenny\npiece; and it is because the value of imagination is not understood in England that\neverything is delayed for us some years after it has appeared in other lands, and even Mr\nLloyd George and the \" Daily Mail \" both regret the delay. & -&\n& Is it to be supposed for one instant that there have not been for a long time in England\nmen who have had this Ideal of flying and have even been able to materialise their idea up to\na certain point ? Undoubtedly there have been such men In England and they have been\nallowed to die because of these people who undervalue imagination and refuse to follow\nIts lead or support its possessors.\n& In England you have but to whisper of an idea which has not fully materialised for it\nto be scouted instantly, and the greater amount of imagination there is In that idea the\nmore will it be scouted. Truly it makes one believe that If such a poet, such a man of\nimagination as the Christ were to come into England at the present day, he would be locked\nup In an asylum or a prison.\n& And it is not to be supposed that the people who would do this are those who would\nbe accused of being straight-laced or those who are called old fashioned Englishnen. It is\nthe modern up-to-date man, the matter of fact Englishman who would be guilty. Aud here\nagain 1 must not be mistaken to mean a large number of Englishmen. I mean a small\ngroup of Englishmen; composed of a number of slow, vulgar beings who since time imme-\nmorial have been attempting to delay everything by a loathesome caution which pretends to\nbe discretion. They it is who have made it possible for the \" Daily Mall \" to glow with\nenthusiasm when announcing its lack of imaginative Force. & &\n& They It is who have lowered the standard of art In the country. If it were not for\nsuch people there would not be these continual appeals to the country. Owing to the pe-\nculiar morbid cautiousness of these men everything good is postponed until the twelfth hour,\nand then the enthusiasts of England,.... the old Englishmen, are appealed to throughthe press.\n& We want an airship: appeal to the country. We want to save a picture by Holbein, and\nappeal to the country. We want volunteers for South Africa; appeal to the country. We\nwant Dreadnoughts; appeal to the Empire.\nThe thing is In a nutshell in the word \" appeal. \" Paupers use it. It is a word which\nIs generally used when an emergency arises. But are we a tenth rate power that repeated\nnually emergencies should be created by a minority of decadent deadheads, to use a thea-\ntrical term ? For deadheads they are. They neither pay for their seats, nor are they\nfond of the play; they despise the actors, and having accepted free seats from them they\nrun down the performance.\nEfforts are being made to get rid of the deadheads in the theatre; let us hope that the\nsame efforts will be made to get rid of them in the Empire. When they are made to pay\nfor their diversion we shall see and hear less of them, and there will be more room for the\ntrue lovers of the play to sit at ease. Then perhaps imagination will also have free play,\nthe dreams will become more ample and the people will be more eager for their fulfilment,\nurging and assisting in that fulfilment. The young and unknown men who are rich with\nIdeas and Ideals, the young imaginations who create ships of the air, who sketch out\nplans for the feeding of the hungry, who create works of art to feed those who are starving\nfor the lack of beauty, all these men will again be recognised assets of the country. &\n& Imagination, soaring once more over England, will announce with each beat of its wings\nthe power of the Dream and the Vision. The satirical dramatist with his cheap socialism;\nthe shrieking suffragette; the \" unemployed \" humbug; the orator and his \" down with the\nLords; \" the matter of fact, weary with his facts, and the matter of them; the solitary mil-\nlionaire; the well-wisher with his weak knees, all these will come under the influence of\nthis thing, will look up and begin to move In unison with it until at last the whole people\nwill be once again a soaring nation.\n& New ideas\nScouted,\ni\nA morbid\ncautiousness. J&"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c017", "article_bluemountain": "bmtnaau_1909-10_01#c017", "volume": "bmtnaau_1909-10_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": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.2.9", "titre_corps": "Design for a back cloth for a Stage Scene", "titre_sommaire": "Design for a back cloth for a Stage Scene", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 89, "texte": "Design for a back cloth for a Stage Scene Reprinted from \"The Page\" 1900.\nby Gordon Craig"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c018", "article_bluemountain": "bmtnaau_1909-10_01#c018", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "57", "page_fin": "71", "image_debut": 15, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.2.10", "titre_corps": "THE NEW THEATRE IN POLAND: STANISLAW WYSPIANSKI;", "titre_sommaire": "THE NEW THEATRE IN POLAND: STANISLAW WYSPIANSKI;", "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": 15, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 3595, "texte": "THE NEW THEATRE IN POLAND:\nSTANISLAW WYSPIANSKI;\nby\nL. de Schildenfeld Schiller.\n(concluded.)\ntwo-act tragedy, \" The Legend \" occurring at the Court of Wawel, forms the over-\nture to the cycle of dramas lauding former Might and Glory. Its tragic purport is the\npopular tale of the King-Knight Cracus and his daughter Vanda, already adapted by Kra-\nsinski (in the drama entitled \" Vanda \" ) and by Norwid (Cracus the unknown prince \" and\n\" Vanda \",) which theme Wyspianski varies in his way and enriches with new episodes.\n& The action of the first act passes in the wooden mansion which the knight Cracus, an\nold man who wore the simple peasant dress, leaned on a knotted club and was strong\nand powerful as a forest robber, had himself erected, taking logs for it from the fir wood,\nhaving first destroyed the sacred temple that stood on Wawel hill and driven away blessed\nserpents that lay hidden in its caves.\n& The scene represents the royal hall whose architecture and fittings are modelled on the\ninterior of a Polish hut. In the red rays of the waning sun on a straw pallet lies the\nlifeless king, who had but just breathed his last, and at his knees falls the chorus of the\npeople and, lamenting, observes his lips. Here there are wizards, seers and diviners whom\nthe Elder liked to have around him in life; here there are his herdsmen, his equerries, his\ncourtiers and harpers who have come hither to sing on the eve of the equinoctial feast.\nBeside the parental litter Princess Vanda laments, waiting in resignation for dawn, when,\naccording to custom, as the only daughter, they would burn her with the corpse on the\nsame pyre. Behind the scenes in the meanwhile a fierce fight is being waged between the\nhouse servants and the warriors of the German prince Rytogar, who having fallen on the\nstronghold of Cracus and been enchanted by the beauty of the wonder-of-wonders maiden,\nexacts her in tribute for himself. The chorus of warriors fighting leaderless behind the\nscenes announces their final overthrow, for the Teutons have forced the gate, rushed into the\ncourtyard of the castle and are already tearing through the arcade towards the royal hall.\nThen the manly soul awakes in Vanda; she will not render the beloved remains up to\nshame, she will not render her virginal body to be the prey of the flaxen warrior. So, fol-\nlowing the advice of an old chaunter, she vows to her Goddess-Mother that if she will\ngrant her for this one night a nine-fold strength that she might drive away the enemies'\narmy and intone a mourning chant to her father on the pyre, tomorrow she would demolish\nthe paternal demesne, and that on the hill where the dead good-man destroyed her altars,\nuprooted the holy orchards and killed the blessed adders she would erect a temple to her\nhonour and that she herself would give up her own young life to her. \" She kneels, pros-\n-44 trates herself to the earth, and, with both hands,.... dumb is the ill-boding murderess....\n\" seizes a doe, presses it between her knees and thrusts a glittering blade into the hairy\n\" breast of the beast: a stream of hot blood gushes forth; she raises the bloodstained blade,\n\" places her hands thereon, raises them to her face and smears it with the warm blood.\n\" Dumb is the ill-boding murderess.... she kneels, with hands crossed on her bosom. Around\n\" her lights, thunder and lightning round her head. With her hand she describes runes\n\" with the blood and her lips murmur a spell & & & &\n<& Having fulfilled the sacrifice, Vanda, full of a superhuman strength, goes to the portcul-\n\nThe legend. &\nThe Scene.\nVanda. &"}, {"page_pdf": 16, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.16", "debut_caractere": 23, "fin_caractere_exclue": 4835, "texte": "lis, in a wreath of lightning and with the charm of her eyes hurls to the ground the knight\nRytogar who immediately, vanquished by the strength of an unknown spirit, sounds a\nblast on the horn as a signal to his soldiers to retreat.\nThe storm abates. In the distance is to be heard only the clattering of mail. Vanda\nstands as though enchanted. The people, calmed of its fear already, waves away the evil spi-\nrits with its hands, approaches the portcullis to look at the corpses of its brethren, drones\nmournfully and weeps. Soon will the liche-wake begin. \" And in time will they take up\n\" the singing round the dead knight, since he is already arrayed and provided for the\n\" journey. They have put him in sitting posture on the straw in his armour, on a litter\n\" of a few sheaves in full ear. Round the body are placed ewers, larger ones filled with\n\" honey and milk and lesser ones which are to be filled with tears \" . And Vanda, ready\nto go to her death, takes leave of her handmaidens in words as doleful as that weeping of\nAntigone \" looking for the last time at the light of sun \", reminding, by the melody of\nverse and touching simplicity of substance of the ditties the young bride sings on quitting\nthe paternal hut. The maidens of her suite seat her at her father's feet and, like brides\nmaids at a village wedding, nestle close to her, whispering words of comfort and embracing\nthe beloved in farewell.\nThe chorus of peasants and women seat themselves to the liche-wake collation. Old royal\nrhapsodists thrumming on the cithara sing to the departing soul plaintive lauds and ballads\nof its heroic earthly sojourn. Inebriated by the strong drink of the songs the people have\ndozed, the players have bent their heads and, to the minds of all it seems \" that some\n\" great warriors arrive in flowing garments, that over the old warrior they are bending\n\" like a hazy cloud, that they take apples from their wallets and a pleasant fragrance\n\" spreads around as in a summer orchard when the season is fruitful; it seems to them\n'* that they bend their staves over the heads of the slumbering liche-wake guests and that\n\" they disappear as spectres into the night, into darkness\".\n& While this vision of elder-fathers appears to the sleeping people Vanda still watches,\nyearning for life, for liberty; she meditates how to escape from those who tomorrow will\ndrag her, young, to the stake; but she too is soon overcome by sleep.\nAnd then the old king- goodman revives, the blood flows into his pale cheeks and beats\nlike a hammer in his heart. In his ears still sounds playing and the ring of someone's\nmournful song. He listens.,.. From the fields float the piping notes of shepherds shalms. He\nsees the crowd sleeping over the dishes, rhapsodists with lyres and maidens who had\ntwined wreaths here: he sees courtiers who, having put aside their broadswords have fallen,\nwearied, into sleep. This silence and calm surprises him. He himself knows not whether he\nbe living or whether he be looking at wonders in the other world. & &\n& While the king thus gazes around and listens intently the portcullis which had closed\nthe doorway rises, revealing dense forests ages old and the mirror of the Vistula shining\nin monthly rays. From the Vistula in chorus, sporting in dreamy dance, come some figures\nstrangely garbed, covered with flowers and carrying nosegays in their hands. A wizard\ndirects their steps with his staff. They stream by slowly, now emerging into bright light and\nliow plunged in shadow. At their head walks an old herdsman playing on a sad fife recalling\na melody of the warbling of birds once heard, and behind him glide couples of mermen,\nmermaidens, kelpies and werewolves. The whole of this singular cortege surrounds in a\ndancing circle the king-tiller. Afterwards groomsmen approach and sing betrothal songs to\nthe sleeping princess. &\n& Rejuvenated by the charm of the songs the corpse of the king remembers former times,\nsings and taps merrily to the dance. Soon however his head falls on his breast, his heart\nceases to beat, for the three witches in crape head-dresses who have issued from the\nground have severed the golden thread of his life. & & &\n& The chorus now surrounds the sleeping Vanda and reminding her, now she has awaken-\ned in soul, to return to live to her native and rightful kingdom on the bed of the Vistula\nwaters, places on her brow a bloody wreath twined of Vistula flowers which will endow\nher for one day with such strength that she may bear off the victory over the enemy and\nthe people name her its king at the council. &\n<£> Having done this the whole company of water-folk, as a punishment that the dead king\nhad not offered sacrifice to them, that he destroyed their sacred altars and killed blessed\n\nThe Lichewake\nThe King\nrevives. &\nThe water folk."}, {"page_pdf": 17, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4992, "texte": "serpents, having dressed him in a simple peasant frock instead of armour, having placed\non his head instead of a crown a wreath of weeds, seat him on the back of \" Jarowite's\ncharger \" (i) and amidst plaudits and jeering songs carry him with them to the banks\nof the Vistula. The charm of the wreath works. Vanda awakes. She dons her father's\nbreastplate which the spirits had cast into a corner, attaches the heavy sword, and on her\nhead, adorned with the cursed wreath, she puts the winged viking casque with gold\npendants, the same the knight Cracus wore when he led the people at the council.\n& And here arises a new Leader, of whom the diviners had sung, the Leader=Maiden; and\nhaving with a storm of words awakened Might in the breast of the Nation, rushes to the\nFight which is to bring the final disaster to the enemy. Through the portcullis are to be\nseen the slain led by nixes who, fondling them, give them lovage to suck, and in the distance\nis still to be heard the funeral chorus of water gods. Vanda's horn sounds. The People\nmoves onward to the combat.\nThe scenery of the second Act represents the bank of the Vistula at the feet of Wawel.\nOn the waves, silvered by the light of the moon, to the sobbing piping of shepherd shalms,\nfrolics an ondine ring, luring mortals by its singing to the magic dance. In their midst\nthe drowned corpse of the knight Cracus intones a lamentation over his fate. The serpents\nand holy dragons emerge from the waters and devour his body, monstrous water-spirits\nare consuming from his sack the grain he was to have sown. His grain is going to nothing,\nthe fields will go fallow, his house will be in embers. Tied by the force of the evil spirits\nhe stands amidst the waters, king without a crown, knight without a sword, waiting for\nthe Dawn and Resurrection.\nFalse Dawn. The Chorus in a sung intermezzo lauds the sunrise and glorious victory\nwhich the New Leader had gained that night over the invaders. The Vistula reddens with\nthe blood of the slain. Horns sound. The Nation gathers on the bank in festal dress praising\nsummer and fruitful times in ceremonial chants. In the retinue of victorious peasants\nappears the golden Knight=Maiden. The fiddlers strike up a wedding march. Vanda steps\non to the raft with the army so as to cross over to the Burg. The old harper with an\nimmense wreath of flowers and compears on his head is before her as mediator from the\nPeople prostrating himself and begging her in a betrothal song to accept the government\nof the nation. As a sign of agreement Vanda doffs her winged helmet, which the harper,\nfixing on a pike, shows to the people. The Chorus sings a coronation hymn. The raft is on\nthe move towards the Burg when suddenly, from the watery depths, emerges the ondine\nchorus, reminding her that on her brow she wears a crimson Vistula wreath and that as the\nSiren who had saved the people by charms she must descend to the bottom as she had\nvowed the previous night. The raft begins to sink, rent by the hands of Vistula spirits. The\npeople, affrighted by the spells, flees to the shore. On the raft the Maiden King remains\nalone unheeding the appeals of the chorus of the people; gazes into the charmed whirlpool\nfrom which arise the walls of the Castle \" in gold and blue from foot to summit \" where\nFame will celebrate her nuptials; gazes into the charmed whirlpool and a wedding process\nsion appears to her luring her with a joyous nuptial hymn, and she sees the stern face of\nthe old King whose grey beard had grown into a coral bush. In vain the chorus of people\nimplores Vanda to cast away the enchanted wreath. The Maiden=Hero will not deprive\nherself of the wreath of the glory; she stands as though turned to stone on the raft having\nraised the sword high in the air. The People wishes to tear the flower crown from her\ntemples. Too late. The water carries away the raft at a furious rate and shatters it on the\nrocks at the bend. The chorus of Vistula spirits is stilled. The curtain falls. &\nWyspianski dramatises the Legend of King Boleslas the Bold who murdered Bishop\nStanislas Szczepanowski (1079) in two three=act dramas: in \" Boleslas the Bold \" in which\nthe principal action takes place, and in \" The Rock \", which completes the principal action\nin behind«the°scene events underlining the symbolical meaning of the first tragedy, and\nwhose tableaux may serve as an interlude between the acts of \" Boleslas the Bold \".\n& In ** Boleslas the Bold \" the scene of action is the royal hall built on crossbeams of\nstout logs. In the background a great double door fastening with powerful bolts and ador«\nned with two lion's heads holding rings in their jaws, leads to the wooden arcade whence\nthe view stretches on to the \" Rock \" and on to the bed of the Vistula, which landscape\nis marked on the back cloth. The whole scenery, maintained in grey tones, is lit up by\n(1) Wyspianski models the burial of Cracus on the popular folk ceremony performed in the villages at christmas-tide."}, {"page_pdf": 17, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.17", "debut_caractere": 5022, "fin_caractere_exclue": 5091, "texte": "A new Leader.\nA False Dawn*\nThe Maiden-\nHero &\n& Boleslas\nthe Bold. &"}, {"page_pdf": 18, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.18", "debut_caractere": 23, "fin_caractere_exclue": 4998, "texte": "the light of the sun which either enters through the doorway or, when that is closed,\nfilters in a meagre stream through the crescent shaped openings in the shutters. Across\nthe centre of the stage runs a strip of red cloth almost to the edge of the proscenium\nwhere stands tho faldistolium, the royal throne encrusted with gold and in the form of the\nletter X on which, with his back to the spectators, the King seats himself, strong, heavy-\nmoustached, clothed in richly embroidered garments, bearing on his head a sexagonal\ngold crown studded with jewels, with pendants in the shape of fan crosses, and wielding an\nenormous glaive. The remainder of the furniture consists of stools covered with leather\nand with dentated edges, coloured with red paint,and a coffer of hammered silver plates\nin which are ranged the royal garments and near which the king is accustomed to sit\nin judgement.\n& In this chamber Boleslas the Bold rules the people by crime, torturing and murdering\namidst the singing of courtiers and courtisans in rose garlands, dancing round the room\nstained with innocent blood. Blind in his cruelty, the king, who believes himself to be the\nwand of God, this lavish blood-shedder who desires that his people, like him thirsting for\nblood, would reign together with him by the sword that slays and exterminates, is heed-\nless of the admonitions of Bishop Stanislas appearing in the dress and armour of Michael the\narchangel, the patron of the church on 44 The Rock \" and foretelling his not far distant end.\nWhen to the crimes of the king there is no limit, when every day brings a fresh harvest\nof death the Bishop arrives at the court \" in pontificalitus \" with a procession of the\npeople and friars to invoke the curse. At his side stalks the ressuscitated corpse of the\nKnight Peter in cerements, summoned as a witness. 44 He appears just as he had lain in\nthe tomb a year, for thus rose the royal Hoplite. Clods of clay cling to his armour and a\nserpent encircles his brow. From his extinct eyes runs a bloody slime, his garments are in\nrags \". All fall on their knees. The friars in black cowls drone a gloomy maledictional\nchant after which they extinguish the flaming tapers, break them and hurl them with a\ncrash to the ground. A banner bends over the king's head with the Archangel Michael pain-\nted thereon who seems to touch him with his flaming avenging sword. The king starts up\nfrom the throne, but the crown falls from his brow. All flee in terror. The procession\nwithdraws in silence. Then the king awakening from the daze into which he had fallen\ncommands his courtiers to bring the bishop living to the court. But when these same re-\nturn in bewilderment and fear because some mysterious power had arrested them in the\ndeed, the king himself snatches up his sword and rushes out to avenge his shame. &\nIn the last act we see the king returning late into the night with the bloody glaive.\nEmptiness all around. All the courtiers have fled from the accursed court. The queen-mother\nhas left and the wife with her little son, and now they are kneeling there on the \" Rock \"\nwith the people where eagles are guarding the corpse. About the empty castle hall rove\nWhiz and Whistle (i) at whose every step a year passes while when they run a league a\ncentury elapses, spirits who show visions of the future to the conscience of the bloody king.\nSo now at the head of the chorus of cripples, at the rear of which walk the queen\nmother, and the queen-consort with her little son, marches an old sacriston in a confrater-\nnity dress of today reading through spectacles in a nasal voice from a thick hymn book,\nversicles, canticles in honour of St Stanislas, which the chorus, plaintively drawing out the\nwords, repeats. Now from under the ground emerges the Statue of the Saint with uplifted\nhand, just as we see it today on the 44 Rock \" standing in the miraculous pool. The visions\nfade away. The king alone has remained in the empty castle, and behind him in his tracks\nwanders blind-eyed Echo whispering words of torture to his soul. A storm bursts. Amidst\nthe lightning flashes into the room from the arcade creeps the silver Coffin of St Stanislas\nlaid in Wawel Cathedral. The king recoils terrified and, seizing the crown with both hands,\nrecedes towards the throne. 44 Whence, whence comest thou with the command?\" he calls.\n44 away from me, my brow I bend it not! Oh Fame!!! Take my life and crown! Oh Fame!!!\nI curse God ! I execrate God !!! \" A thunderbolt strikes, the coffin falls OIL the king with\nits silver weight. £><&&&&&&& & &\n& In twenty six dramatic scenes with the epic title 44 Achilles \" Wyspianski sings the\nanger of nimble footed Pelides and the fall of sacred Ilion. & &\n& This poem, representing the conflict of the demi—gods with men and of men with the\ngods, is performed partly on the Trojan battle field, partly in Priam's unfortunate burg.\n(1) Slav gods of the wind.\n\nThe Bishop1 s\ncurse. &\nThe revenge.\n£? Achilles."}, {"page_pdf": 19, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 5029, "texte": "Before our eyes will stand, revived from the Homeric tale, the noble warrior, son of Tethys,\nwho would rather listen to Patroclus' lute in his tent than fight with the Atridae against\nthe Trojans. He wears armour, the gift of the god's armourer, that refuses obedience to him\nwho wishes to commit evil, and he had perceived that the Atridae had flown here like\nvultures to the town above which had raised a defending weapon, Hector, the man of men,\nwhose heart by its probity is innocent and over whom is the divine protection. Achilles\nhad recognised \" that those he had slain were innocent and that in these noble deeds must\nbe inactive \". And we shall behold the demi-god sitting by the Scamander, crouching on\nthe steep shore listening to the music of the waves that \" mutter, whisper, chatter, now\nendowing him with a word of consolation, now darkening the light of his soul. Musing he\nlistens to these waves how they mutter, whisper, chatter, flow and play before his eyes,\nrise and perish\". The chorus of waves now flowing, now ebbing from the shore foretell him\nthat he will never return to his country, that he is decreed to conquer and to perish here,\nbut that his life nevertheless will not terminate: \" that he will wander amidst the drift until\nhe undertake a new labour, begin a new 1ife,.... will awaken a new nation to strength and\ndeed. And the chorus of waves brings him on its crests the inanimate body of fair-haired\nPenhesilea, which Achilles awakening with a kiss again gives to the water, saying Goodnight,\nto his love, since his heart had ceased to love with an earthly love. And we shall see him\nagain in his tent conversing of his destiny with his mother, the silvery goddess, surrounded\nby the chorus of mermaids. From her lips he will learn that the hour will come when his\nsword will become the torch of vengeance and by the disposition of fate it will reach in\nspite of his intent the first of the men of Troy. & & & &\n& And we shall see the man Ajax whose knightly conscience will not let him sleep trou-\nbled by the inactivity of Pelides, who, awakened in soul appeared as a demi-god amidst\nall the Danai. Near his tent plays the flutist struck with insanity, the enemy of Apollo,\nMarsyas who awakens in him the mad soul of a man-knight by the melody of his songs\nwhose charm, dulled by day, blossoms only in the night. And about his tent stirs the girl\ncalled Night, the daughter of a fisher. She lives with her father who has no hut, her family\nsleep in swaths amongst the grass and herbs on the bank; every night she comes to his\ntent stepping noiselessly, since the sand on the shore stifles the tapping of her clogs. Noticed\nby Ajax she says she knew the moment would come when he would perceive her, for such\na moment had to come, but she knew too that then his tranquillity would perish. And\nwhen the amorous knight asks if she can remain near him she replies mysteriously \" I\nshall remain\n& And we shall hear the fearful scream of mad Cassandra and the moans of Laocoon who,\nempoisoned with the venom of serpents, will himself become the serpent and on the ruins\nof Troy will pasture his vengeance. And we shall see Paris Priamide on the walls of Ilion\nreceiving in his arms Aphrodite the Queen of the Seas, who descends to him on a moon-\nbeam in a mantle of twinkling stars. And we shall see Hector on whose dwelling anxiety\nfor the Nation has crouched, taking leave of his wife, humming to the child in the cradle\na lullaby of the beautiful shepherd and three maids. A whole string of battles will show\nthemselves to us among which the most sanguinary will be that in which Achilles will\nvanquish Hector his equal in strength and destiny, so that the decrees of predestination\nmight be accomplished.\n& After this combat the soul of the demigod will thirst for that moment when, having cast\noff its earthly shell, it will fly away to the Land of Delivrance. And a chariot will come\nfor him driven by Pallas in black armour with lowered vizier and silver aegis. Achilles\nwith the luminous whirl before his eyes will step into the chariot which the unbridled\ncoursers will bear away and shatter on the flaming stake of the body of Patroclus. We\nshall see last of all Ilion, cursed by Poseidon, taken by the strategies of Odysseus. The\ncunning king of Ithaca, who has succeeded in persuading the Trojans to bathe the horses of\nthe god of the ocean in the sea to obtain his pardon, dressed in the Medean way and\nfeigning Poseiden will enter the castle gate on a wooden poney; the trunk of which is sup-\nported on braces, and, prancing about on his own feet, chases the festal crowd with a\ntrident, (i) Behind him will march the army of Achaei disguised as the suite of Poseidon\nand will attack the stupified mob with swords. Amidst the lively piping of the flutes the\n(1) The idea of this scene was supplied to Wyspianski by the spectacle preserved until today, of the Living Theatre in\nCracow: Lej konlk \" the Poney of the Chase celebrated in remembrance of the repulse of the Tartar attack."}, {"page_pdf": 19, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.19", "debut_caractere": 5054, "fin_caractere_exclue": 5122, "texte": "& K The chorus\nof waves.\nCassandra.\nHector & &\nThe wooden\nhorse. & &"}, {"page_pdf": 20, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.20", "debut_caractere": 24, "fin_caractere_exclue": 4894, "texte": "cry of mad Cassandra will pierce the air, 44 Oh Laocoon, the prophecy is accomplished! \"\nAnd on to the embers of Troy will descend on a moonbeam, in a garment of stars, Aphrodite\nand Helen.\nThe four-act drama \" Acropolis \" terminating with a 44 great prophecy \", the dramatic\ncycle lauding former Glory and Might, unites in itself symbolical legends of Greece (pagan)\nwith those of Poland, (Christian) . The scene of action is Wawel on the great night of the\nResurrection, Holy Saturday. The Wawel Cathedral empty. They are gone, who sang songs\nhere of Rome, prostrating themselves before the altar coffin; who, to the flickering of the\ntapers on the altar stones read words prophesying that 44 this night the spirit is to be\ntranformed, he is to come who had promised to save the world, he is to rise and live again.\"\nThe hammers of the clock strike midnight and the Charms begin. The silver angels who\nsupported God's bugbear,, the coffin of St Stanislas, awake, and deposing their sacred bur-\nden on the altar table unfold their wings whose feathers ring and rustle, and the rattling\nscarecrows grow, and stroke and caress their feathers.\" From the marble sarcophogi descend\nwhite figures yearning for the New Life. Wawel changes into Ilion, since from the gobelins\nspread over the Cathedral walls float in faded garments the Trojan dramatic personae\". Near\nthe Wawel donjons on the breastworks are sitting mailed watchmen leaning their heads on\nsabres, on cruel staves, and call the sonorous watchword to each other. In the town deep\nnight. Silence. The waves of Scamander-Vistula ripple, sparkle. The elders, Priam and\nHecuba, seat themselves near the gate to listen to the music of the bells and clocks of\nCracow that sing the praises of divers epochs. The Wawel clocks hammer out the names of\nkings, bells from the steeple of 44 Our Lady of Cracow \" sing canticles to the Mother of God\nand the trumpeter in the tower accompanies them with a morning song, the convent\nprayer- bells call the monks to matins and from the labyrinths of dwellings gathered at\nthe foot of Wawel steals the song of a maiden and of the lute player watching under her\nlattice. From afar can be heard the ill-boding cry of Apollo's prophetess above whom hover\ncrows in mournful flight, accompanying her with their cawing.\nMeanwhile, on the steps leading to the cathedral, in the extinct rich garments of the\ngobelins a new spectacle is being performed; the instructive 44 Historia Jacobi\". And when\nthe hour of three will strike on the historical castle clock, the King Harper David, all in\ngold, will descend from the summit of the organ loft on to the church pavement and will\nbegin to sing a psalmody in praise of the sun and resurrection. And then Night, with her\ncortege extinguishing the stars on their mantles, will sink into the earth; the rose-windows\nwill redden with the sunrise and Aurora will announce to the harper that a multitude has\nassembled on the banks of Jordun-Vistula awaiting his chant. Through the iron gate can\nbe heard the chorus of the people calling to the harper. The Harper sings. He raises himself\nin the air to where, in the choir, resounds the orchestra of golden angels. His head and\nharp flame with the dawn. Salvator on the summit of the High Altar rises again. The\nmoaning crash of the shattered metal of the silver coffin is to be heard from the altar of\nSt Stanislas, from whence will drive up in a golden chariot drawn by four white chargers,\nApollo. Thunder.... Light.\n&44 The November Night\" in ten 44 dramatic scenes \" comprises events that took place in\nWarsaw on the 29th November 1830. On that night the Polish insurrection broke out with\nthe aim of casting off Russian bondage. On that night the spirit of the nation awoke and\nthirsted for revenge 44 for the shame for years of slavery, for years, for years of tears \" .\nWyspianski following the ground and chronology of occurrences, represents in the ten\nscenes the different modes in which the Idea of Liberty acted on the minds of the crowd\nand its leaders. &\nIn the first Scene the scenery represents a corridor in the Cadet School. Evening. Night.\nVoid. The green of the moon falls through the broad window. A murmur floats from the\nneighbouring park where the white stone monument of the king-hero stands. The watch is\nwalking somewhere; their steps are to be heard. All at once the floor opens wide. Pallas\nAthene appears. 44 A casque of red brass covers her countenance and her eyes burn in the\nvizier; her garment gleams with the reflection of the moon; in one hand she wields silvery\nAegis rattling with living serpents, in the other a lance which she drives into the earth.\nAmidst thunder and lightning she summons the victorious spirits from Marathon, Salamina,\nThermopylae. Hardly has she uttered the words of conjuration when already a troupe of\n\nAcropolis.\nThe Novembet\nNight."}, {"page_pdf": 21, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 5024, "texte": "fleet goddesses flies towards her, surrounding her in a winged circle. And among them is\nthe haughty Nike of Phidias, a giantess, who is here called the Nike of Napoleonidae. And\nhere too is the Nike from Cheronaca; she has entered here, pale, her mouth drawn. A black\nveil floats from her head. Her crape garments have absorbed the odour of the cemetery.\nShe carries fir wreaths which she throws to the ground. She now clasps her hands\nin despair, now raises them tragically above her head, continually repeating one word,\n44 Woe!\" And Pallas calls them all to eagle flight allotting to each a particular mission.\nFor today Poland is going to fight against the Czar. Ares has already flown from the gates\nof Olympia, has fallen like a storm on the town, and now rushes through it on horseback\nshouting and exciting to revolt. Then the chorus of obedient goddesses runs off to sound\nthe tocsin for vengeance, to awaken, flying over the town with that one cry, 44 To arms ! I \"\nNow Pallas, through the lips of Peter Wysocki to whom she whispers words of fire, will\ncall the chorus of cadets, his pupils, to the fight and she herself will march at its head to\nthe town standing in the incendiary glow calling 44 To arms! 11\"\nScene 2 will show us the drawingroom of the Grand Duke at Belvedere. Through the\nwindows is to be seen the park and in the distance near the pond the monument of a\nwhite rider, who seems to menace the inhabitants of the palace with his sword. Night. On\nthe panes flit shadows, as though some people were wandering in the garden. The howling\nof the wind outside can be heard and the crackling of dried twigs. Alarm creeps into the\nsoul of the Grand Duke. The November Night. For November is a dangerous month for\nPoland since then the soul can come among the living and associate with them. The soul\nof Joan, a Pole, the wife and lover of the Grand Duke, is overcome by strange forebodings.\nIn her dreams she sees the Grand Duke in the madness of Ares, crushing the power of the\nCzar his brother, and putting himself at the head of his brethren. The November Night. &\nIn Scene 3 in the park under the white monument of King Sobieski sixteen youths are\nawaiting the arrival of their companions with whom they are to attack Belvedere. 44 The\nwind blows and the garden sobs quietly after each murmur of the leaves.... a shining frost\nhas sprinkled the branches and the thick veil of fog becomes denser and denser.... The\ngarden talks.... The youthful heroes are plunged in painful meditation; and now, to the\nmelodious murmur of the trees the monument rises in a flood of light, rises in his stirrups\nand points to the Palace as though giving them the word of command. Those are shadows\nof trees 0n1y... and again to the melodious murmur of the trees come two women and pass\nthrough the ranks of young men; they come slowly, in a hearty embrace. That is Demeter\ntaking leave of her daughter Cora. Rime has already bleached the leaves, therefore the\nmaiden, impelled by a terrible inexorable force, must descend to the underground kingdom\nof Orcus. She consoles the lamenting mother, who is taking leave of her as though for all\neternity, telling her that it is a country 44 where everlasting strengths are interred, there\nall life has its existence and is waiting till the dawn will glimmer for it, is waiting till its\ntime will come to shine forth in all its beauty. 44 Rich are the garners of that realm, for in\nthem carefully stored is the grain of all fruits. She is the guardian of this grain until the\ntime will come when the first ice will break. Then rising again for the great feast of seedtime,\nshe brings this treasured grain out into the world, which vivifies with flowers and bears\nmanifold fruits. She tells her mother to prepare for that joyful time, when she will return\nin an immortal garland, ploughshares, harrows. But that which will live must die today\non this November Night. When sad at this separation but joyous with the secret, she thus\ntakes leave of JDemeter, Isa,rth, Hymen approaches with a Polish peasant wedding cortege\nbearing torches, and, to the squeaking of the violins and the grumbling of the basses, leads\nCora to the lower regions. Demeter is lost into the garden. & & & &\nThe youths standing under the white monument wake as though from sleep. Cadets\nrun up and give the word for the attack on Belvedere. The chorus of youths runs off first\nhaving saluted the white king. In the garden again appears the sorrowing mother, Demeter,\nand summons Hecate mindful of all complaints and mourning. For she has been wronged.\nThey have ravished and imprisoned her young daughter. They have ravished full life and redu«\nced it to the tomb and night. All around is dead, withered, extinguished, faded, the trees\nbared of raiment, the fruit and flowers all rotted, the earth has become like to a corpse.\nHecate comes forth from under the earth bearing two torches and calls to the Eumeni*\ndes. 44 born from drops of blood fallen on the black earth, born from the blood of amur-"}, {"page_pdf": 21, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.21", "debut_caractere": 5051, "fin_caractere_exclue": 5074, "texte": "Scene Two.\nScene Three."}, {"page_pdf": 22, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.22", "debut_caractere": 23, "fin_caractere_exclue": 4848, "texte": "dered man and therefore weeping bloody tears. \" The Eumenides appear. They are already\nlighting their brands, and suddenly, in the brilliancy of the red glow, their eyes shine with\ndripping blood. On their heads are serpents in coils dragging their brows with pain. Hecate\norders them to fly to the war, to fall on the breasts and napes of men and suck the blood\nfrom their hearts, for the earth has moaned her plaint, \"wronged, wronged!!!\" The eume-\nnides run about the garden. The serpent coils on their heads hiss. Hecate disappears.\njst Scene 4 represents the attack on Belvedere, unsuccessful on account of the flight of the\nGrand duke.\nScene 5 takes place in the \" Variety Theatre \" . About the stage of the little theatre\ndecorated for the vaudeville with song which is being performed, wander lively deities of\nderision, Satyrs in costumes of the supers of the ballet. The uninvited guests disturb the\naction of the piece by their episodes, imitating the Grand Duke with his adjutant, singing\nrevolutionary songs in chorus, prompting the actors with words not included in the text\nand uncensurable.\nThe despairing stage manager who had carelessly stepped on to the flap trap disappears\nunder the stage at a sign from a satyr. The Satyrs appear in the auditory, tempting and\ntormenting the consciences of the public, who does not know what to think of such a strange\nspectacle. In the midst of this consternation the Nike of Napaleonidae rushes into the\nauditorium from the street, announces the outbreak of the insurrection and clears the theatre\nwith the words of Adrienne Lecouvreur; \" G0... Let the doors of this hall be closed and\nancient arrangements take their place!\"\n& In Scene 6 we enter into the apartment of the historian Lelewel, who watches beside\nhis agonising father and refuses help to his friends in revolutionary work. But as soon\nhowever, as Caducifer Hermes will lead off the phantom of his father, the savant will\nlisten with beating heart to the Nike from Cheronea and to the voice of the drums outside\nthe windows.\njs/ In Scene 7 before our eyes march the battalions of the insurgents over whom with the\nswiftness of the wind flies Ares with a cortege of winged Nikes. The frenzy of Ares seizes\nthe soldiers who follow blindly in his lead unheeding the counsels of Pallas. The stage\nbecomes covered with corpses. Along the walls steal in Caerae, carrion spirits who cast\nthemselves on the slain, bend over them and suck their blood. In Scene 8 the action is\ntransported to the Palace. The scenery represents the vestibule with a colonnade. Withered\nshrubs and cypresses. The chorus of the goddesses of victory lead in Ares as Triumpher. They\ndivest him of his bloody armour, present to him a goblet with wine and light thanksgiving\nincense in tripods.^\nAres, struck by the dart which the statue of Eros flings at him, feels an influx of love in\nhis heart. The goddesses singing a bridal song lead up to him from the depth of the palace\nthe dream-sick Joan clothed in a large white veil and a white starry dress. Joan yields to the\ndreamed-of god and allows him to lead her towards the palace door. In the doorway, however,\nshe halts, looking at the Goddesses of Victory who are folding their wings and laying\nthemselves down to sleep in the vestibule of the palace, placing under their heads wreaths\ntriumph. Joan's brow darkens with trouble. This means they will fight no longer! \" That\nis wrong \" she whispers. In the vestibule of the palace appears Queen Cora. Her suite\nhands her golden keys with which she locks all human hearts and souls in this November\nnight until the time when, on the ground fructified with Polish blood, she will appear, the\nImmortal Spring with a star on her brow, resuscitating from shed blood new sons for the\nFatherland. \" One day will come again that time \" says she turning to the sleeping Nike,\nwhen Pallas will summon you and pay you the debt of victory. Remember the words. \" Saying\nwhich she locks the door of the palace into the gloom of which Ates had entered with Joan.\nAnd the children of Aeolus murmur in the rustle of the trees, \" Queen... Queen... Queen.\"\nScene 9 passes in the same park near the lake. On the ait separated from the bank by\na narrow ribbon of water rises the ancient Greek theatre of his Majesty Stanislas August.\nAbove the water in a podium is the stage on which in the rays of the moon loom the ro»\nmanesque ruins of a temple. Opposite the stage on the shore is a semicircle of stone for\nthe guests. Midnight. On the steps of the theatre are seated in company those who fell in\nwarlike deed and are waiting for the time when, by the orders of the chosen immortals,\nthey will sail to the kingdom of shadows. Amongst them are enemies and traitors to the\n\nScenes four\n& five, &\nScene six, j®\nScene seven, &\nScene eight, &\nScene nine."}, {"page_pdf": 23, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4828, "texte": "country whose souls are consumed by one only torture; fear that the tears of that Nation\nwill weigh down the balance of the judgement when they will stand before God's tribunal.\nTheir plaints are interrupted by the entrance of Pallas who summons them to the fight\nwhich will terminate at day-break in victory. There in the distance on the other side of\nthe crystal waters in the white palace Ares is revelling, bound by the fetters of love. In a\nmoment he will arrive here and lead them to the bloody conflict. Pallas nevertheless shakes\nher aegis in vain* the knights pay no heed to its call, they are waiting only for peace.\nInstead of Ares comes Hermes having shaken his caduceus, tranquillised the whole world in\nrevolt and announced death.\nThe messenger of the Immortals inclines his sceptre over Pallas and bids her retire, since\nshe has already achieved her work by running to inflame the people. The town is consumed\nby fire. Ares received his tribute, but although he did not bear off complete victory yet he\ntriumphs, inebriated with only a part, imprisoned in the white palace until the terrible\ndawn will awaken him when he will recognise his mistake. Pallas by the will of Zeus has\nto fly away with the cortege of winged goddesses. The people that had risen this night\nwill now fight deprived of her protection, abandoned to its own strength, and of this war\nonly vain-glory will remain to it. &\nFrom the direction of the white palace run up Nikes whom, in the vestibule of the pa-\nlace, sleep had overcome with fallacious dreams of victory, and will fly away from this\nearth with Pallas toward the summit snows of Hymettus for Zeus has bid them abandon\nthe matter. Ending are the charms of night. Livid fogs float from the fields. Charon's bark\nsails up from afar into which the Chorus of the fallen enters. Hermes, its leader, raises his\ncaduceus over its heads. The boat sails away. & &\n& Scene 10. The November night's dream is ended. An Autumn morning. In the fields\nRussian squadrons are standing at attention under the leadership of the escaped Grand\nDuke. A guard lead in one of those Polish Prometheuses of whom so many sleep under\nthe white graves of Siberia, the dangerous conspirator Valerian Lukasinki, blinded in\nRussian prisons, in tatters, fetters on his hands and feet. The soldiers at the command of\nthe Grand Duke attach him to a cannon.... At the same moment all the bells sound in\nuprisen Warsaw. Lukasinski who had been confined in the cellars of Belvedere for some\nyears feels that long desired moment of liberty has already arrived 44 He has felt that his\n44 brethren had soared like eagles; he has felt that the striking bells bring the glorious\n\" news that they had risen heroes. \" From his heart bursts forth in joyful sobbing the he-\nroic prayer, 44 Perseverance! Oh God, grant them perseverance, let not their strength be\n44 wasted. Let cruel pain be my bed and my life one torture. Let them drag me, let them\n44 drag me, let them fetter me in the cellars, let vultures devour my body if only those\n44 brethren who are ringing in Warsaw gain the victory in the fight. \" He stretches out his\nhands before him and listens; he feels every breath of air and his face changes, his soul is\nin ecstasy, he guesses the accomplished work, his cheeks flame with joy and he murmurs\nand the words hardly come forth, he sobs a secret prayer. The bells ring a hymn of insur-\nrection.... Above Lukasinski's head the sun rises in a warm aureole which the blind martyr\ngreets in the words of Mickiewicz's 44 Ode to Youth; \" Hail to thee, dawn of Liberty.... after\nthee appears the Sun of redemption \". (i) On the Grand Duke's command the army moves*\nEnd of the drama.\nOf the cycle of dramas woven on the ground of contemporary life the three-act drama\nunder the title 44 The Wedding \" stands out well to the front. The scene of action is November\nin the year 1900 in the village at the house of a painter married to a peasant and in whch is\nbeing celebrated the brilliant wedding of the Poet with the younger sister of the Good-wife.\n44 Scenery, A November Night. The parlour. The chamber, washed in one greyish tone of\n44 light blue embracing both effects and the people who will pass through it. Through an open\n44 door at side leading towards the passage is to be heard a lively wedding feast, the buz-\n-44 zing of basses, the squeaking of the fiddles, the refractory clarnet, the shouts of peasants,\n44 men and women, and, deadening all notes, the melodious rustle of dresses and that of\n44 the boots of the dancers who are turning^there in a compact mass to the time of some\n44 song losing itself in the bustle.... And the whole attention of the personnages who will\n44 pass through this chamber-stage will be directed there; they will look continually there\n(1) This scene is played in pantomime *"}, {"page_pdf": 23, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.23", "debut_caractere": 4854, "fin_caractere_exclue": 4877, "texte": "Scene ten*\nThe Wedding."}, {"page_pdf": 24, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.24", "debut_caractere": 23, "fin_caractere_exclue": 5003, "texte": "44 at this dance to a Polish strain.... whirling round the room in the half light of a small lamp,\n44 a dance of colours, dazzling ribbons, peacock feathers, white coats and bright scarlet\n44 caftans, our contemporary village Poland of today. And in the wall at back: a door leading\n44 to the alcove, where is the goodman and wife's bed, a cradle and children sleeping in\n44 their beds, with holy pictures above them in rows. On the other side of the room; a window\n44 covered with a white muslin curtain, above the window a harvest feast wreath of corn ears;\n44 outside the window it is dark, black; outside the window the orchard and in it shivers\n44 in rain and frost the rose-bush wrapped up in straw, covered with its winter shelter.\" (i)\nAbout this room, like on the little 44 Crib \" stage, move in couples figures of contemporary\nPoland, both town and village, inebriated by the yearning melody of the ditty ringing all\nthe time there behind the scenes; they rock their souls to its rhythm, they speak and sing\nto its rhythm. & & &\n& The Wedding. Almost an historical fact. The fraternizing of two worlds unknown to each\nother. The fraternizing of gentlemen with peasants, with those peasants who through whole\nages, 44 adstricti glebae \" with their own backs under the steward's rod ploughed the ma-\nster's land; who, in the year 1784, armed only with scythes and blessed scapulars, rushed\noff to the fight when the Country began to perish, under the leadership of the Chieftain\nTadensz Kosciuszko clothed in their simple dress; who, in the year 1846, having snatched\nup their flails and forks, rushed off to the bloody butchery of the masters. The meeting\nof the peasants with the masters,... with those masters who but yesterday tortured them\nin their donjons; who today, contemplating them in their garb, their sincere, primitive and\nwide gestures, listening to their speech resounding some wondrous Slav might, have come\nhere for this one night to chatter with them, so as afterwards.... to be moved. Almost an\nhistorical fact. The date of that Wedding will be immortalised on the pages of new history.\nIt reminds one of the Constitution of the 3rd of May in the year 1791. It reminds one of the\nnational seer Count Sigismond Krasinski; 44 There is only one great miracle;... Polish nobles\nwith Polish people III!\"\nThe melancholy ditty behind the scenes rings continuously. Melancholy descends into\nthe souls of the painters, poets, journalists, literary men, dancing round with the comely\nbridesmaids. Melancholy steals into the little hearts of the romanesque young ladies turning\nround and round embraced by the strong arms of the bridesmen. What history could not\naccomplish was accomplished by the wedding of a noble with a peasant maid. These two\nworlds, unknown to each other, in this enchanted dance 44 to a.... Polish strain \" Ergo; an\nhistorical fact.\nThe melancholy ditty rings eontinuously behind the scenes. To its time the consciences\nof the gentlemen from the town awaken, to its time regret for historic sins awakens, the\nsentiment is awakened for which there is no name in any other European language;\n\"Trsknota\", (44 yearning\" approaches it in English, 44 sehnsucht \"in German.) They are\ndancing, Hamletising Manfreds, Manfredising Pantasios... They are dancing, Epigoni, in ar-\ntificial excitement seeking in vain the weapons at their sides. A Magic November Night*\nThe hut is completely poetized... Artists with portfolios and geniuses without them are\nweaving on this poetic theme some poetic projects, which tomorrow perhaps, after this\nsleepless night will be immortalised in polite literature, or of which tomorrow perhaps\nnot a vestige will remain.\nAt the instigation of a romanesque young lady the inn keeper's well-educated daughter\nwho has come here in a black dress and enveloped in a black scarf to see the true tales*\nthe dreamy Poet together with his friend and colleague of the pen the Bridegroom, and\nthe Bride invite new guests to the wedding, all of those 44 unfortunate tortured in hell,\nwhose souls are tormented in fear and long for the delivrance \" that they come to enjoy\nthis kind caressing music and then like smoke to disperse. £/\nThe odd idea comes to the Bridegroom, who would like to invite the whole world to his\nnuptials, of inviting to the wedding the man of straw with which the rose-bush in the\ngarden before the house is enveloped. (1) Let him come to rejoice with them all at the\nfeast and bring with him whomsoever he chooses.... A November Night. On such a night\nthe spirits come forth from the graves and fraternize with the living. Midnight strikes. The\nstraw scare-crow rolls on to the stage and in a sepulchral voice announces that many guests\n(1) The straw covering with which the rose bushes are enveloped for the Winter is called in Poland \" Chochol\" ( man of straw ) and this\nWyspianski brings as a personage into his drama.\n\nGentlemen and\npeasants.\nA Magic <4 No-\nvember Night \".\n£> The man of\nStraw. £>"}, {"page_pdf": 25, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 4592, "texte": "will come here, that whosoever anyone sees in his dreams, that will appear to him at the\nwedding.\n& And now appear these dream people, seen only by those in whose souls they were born\nunder the influence of the melody played behind the scenes, &\n& First of all there appears to a village maiden, whom a young gentleman had rejected\nyears before, the corpse of her betrothed. He has been lured here by this well-known hearty\nmusic, and thus he rises from the grave which had been dug for him in a foreign land and\nhe has come here to dance, once around, once around, only with her, for afterwards he must\ngo. And the maiden dances with him to the time of the monotonous ditty, but when she\nfeels the cold emitted by his mouth and the damp touch of his hands she tears from him\nwith a terrible scream. The corpse goes out.\n% *\nTo the Journalist the famous jester of King Sigismund the Old shows himself in red\nclothes sewn with bells in that meditation over the fortunes of his country just as the\nMaster John Matejko had painted him, and hands him with words teeming with irony, his\nfool's sceptre.\n& The Poet, who arranges in his thoughts some 44 drama, horrible, pompous, gliding as a\nPolonaise\" is seized by the hand of the Black Knight who wishes to take him with him as\na prisoner, he Glory and Might.\n& The Bridegroom is struck with awe by the ghost of the Hetman who, because he had\nsold Poland to Russia for red ducats, wanders a hundred years already by night about the\nforests, and scatters broadcast the money that turns into his palms, and behind whom\nrushes a chorus of devils in Muscovite uniform from the times of Catherine 11, sucking\nhis blood and adding fresh ducats burning with hell fire. &\n& To the old Beggar, who still, remembers perfectly well that massacre in the year 1846\nand like the ill-omened raven croaks predictions to this sentimental fraternisation of the\nnobles with the people, appears the famous leader of that massacre, who for Austrian money\nmurdered the nobility, decorated with government orders of merit, in a blood-stained coat\nwith blood in clots on his hair and hands. The ghost asks the Beggar to give him a pail\nof water because he wishes to wash away the blood so as to present himself worthily as\na mediator at the wedding; he is afraid, however, that the bloody stain will not leave\nhis brow.\nThe last phantom shows itself in the end. To the Goodman-noble who, having settled\nhere in the village has gained the respect and hearts of the people, arrives for hospitality\nthe old Lyrist about whom many legends circulate in Poland, Vernyhora. A giant, a\nhoary old man in a flame-coloured mantle with the magic lyre at his girdle, on a white\ngold-shod charger, comes from afar with the Command.\nVernyhora orders the Goodman to send forth edicts before dawn to the four corners\nof the world, and that he himself is to gather the people before the church, having greet-\ned them with the Word of God, after which they are all to kneel down and in concentra-\ntion of soul are to listen whether the clatter of hoofs is not yet to be heard in the direc-\ntion of Cracow, if He is not yet arriving with the Archangel. As a sign of the covenant\nhe gives him a Golden Horn with which to summon the brotherly assembly; 44 at its chivalrous\nvoice the Soul will become powerful but by its golden sound the whole movement will be\nmarred \". The Goodman swears on his soul that all this shall be accomplished and imme-\ndiately sends forth his confidential farm hand, the Brideman, with the message he is to\nspread to the four corners of the earth, with the watchword agreed upon formerly 44 on\nhearing which they are all to stand before dawn, armed, before the church; afterwards he\nbids him return here, and on this Golden Horn to sound a blast; 44 then the Soul will so\nincrease as it had not done for a hundred years; \" he commands him, however, not to\nlisten to the temptation of the Devil, not to stoop for anything 011 the way for he might\nlose Vernyhora's gift. The Bridesman runs off, but all the same he will turn back and,\nbending, will raise his cap decked with peacock feathers which had been thrown on the floor.\nThe excited Goodman on whom this mission has fallen like a bolt from heaven, prepares\nhimself for sleep. Before dawn he is awakened by the peasants who at his summons have\ncome here with their scythes so as to go with him to the fight, like in the year 1764. But\nthe Goodman is surprised at all this... he recollects nothing. At last when above Wawel\nappears Bloody Dawn, when in the air some secret songs are to be heard, when the whole"}, {"page_pdf": 25, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.25", "debut_caractere": 4617, "fin_caractere_exclue": 4646, "texte": "Dre aiii'peo pie\n& Vernyhora•"}, {"page_pdf": 26, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.26", "debut_caractere": 25, "fin_caractere_exclue": 4357, "texte": "field near Cracow will become peopled with peasantry armed with scythes, when in the sky\nsome cloudy army will fly by, he will come to himself, and spread the tidings of the Mystery\nof that past night. One must listen with the whole strength of soul, strain the hearing,\nfor in a moment will come He, Vernyhora, with the Archangel, and will bless the field\ncovered with kneeling people with his lyre.\n& Day breaks. All remembering the dreams of the past night kneel inclined towards the doors\nand window and in deep silence listen with intentness 44 grasping strongly in their hands,\n44 some scythes, some antique swords snatched from the walls; others again, flints and\n44 pistols. They listen speechless as though having fallen into an ecstasy of soul, their hands\n44 to their ears, and really for some minutes one has heard trampling which becomes\n44 near, nearer and nearer;-it suddenly ceases-after a moment, heavy, quick, vehement steps\n44 are to be heard in the passage, in the second room, until in the doorway at the back\n44 stands the first Bridesman, behind whom, in his steps, enters rolling the monster, the\nMan of Straw.\nThe Bridesman as though stupified gazes at the charmed hut in sleep, awakens them all\nbut they hear him not. He remembers that he was to sound a blast from the Qolden Horn\nbut seeks about him in vain for it: it is lost somewhere only the cord has remained,\ntwisted around his neck. The Man of straw in a taunting whisper reminds him that, under\na calvary at the cross-roads, where ghosts startle the passers by, the wind had swept from\nhis head the superb red cap with peacock feathers of which he had been so proud, and that\nwhen he stooped for it he had lost the Qolden Horn. 44 The affrighted Bridesman runs\nthrough the side door forcing his way through the motionless group. The thud of his steps\nis to be heard in the passage, now he stops, then runs on further. The Man of Straw rocks\nalong in his tracks rustling the straw as he rubs against the people. From the orchard,\nfrom the fields, in a light of sapphire that comes like a blue glow, the peep-of-day war-\nbling of the birds penetrates; the blue light fills the chamber with a Charm and plays\nin colours over the people, bent in half-sleep in half-ecstasy. Through the door at the back\nthe Bridesman returns, looks around and cannot believe his eyes, tottering more and\nmore with terror\". £? & & & &\nThe wedding company is all the time plunged in the charmed dream-sleep of listening,\ntheir brows are furrowed with wrinkles, their faces have paled. How deliver them from\ntheir sufferings ? &\nThe Man of Straw who had again entered behind the Bridesman had clambered on to their\nbrilliantly painted coffer and now advises him in a funereal voice to describe rings on their\nforeheads, take the scythes and weapons from their hands and throw them somewhere into\na corner, that he join their hands for dancing and the Fear and Sadness will leave them\nand they will forget their wounds. And he himself will play for the dance they will dance\nthe whole year.\nThe Bridesman executes these things in the twinkling of an eye, and the enchanted straw\nbug-bear, having seized in his unwieldy paws two simple sticks that the Bridesman hands\nto him, begins to play with them, imitating the movements of a violinist, and 44 music is\n44 to be heard as though coming from the blue atmosphere, wedding music, soft yet hopping\n44 drawing hearts and lulling souls, languid, faint, yet living as a spring of blood, beating\n\" unevenly to time in the pulses of the dances, bleeding like a fresh wound:... melodious\n44 sound brought forth from Polish soil in pain and delight.\" &\nThe Bridesman is now pleased and marvels. And when the Man of Straw shouts to him,\n44 dance; the whole puppet show is dancing \" he touches his head as though to push jauntily\nover one ear his cap decked with feathers of Peacock Pride; but he remembers he has lost\nit somewhere on the road. Then the Man of Straw sings him montonously a jeering ditty,\nrocking to its time:\n44 Boor thou hadst a golden horn,\n44 Boor thou hadst a feathered cap:\n44 Cap by wind is taken,\n44 Horn halloos in braken,\n~ Nothing hast thou but the cord,\n44 Nothing hast thou but the cord \".\nThe cock crows. The Bridesman as though struck comes to himself and in a voice hoarse\n\nThe lost Horn.\nThe Dance."}, {"page_pdf": 27, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 4838, "texte": "from shouting calls to the dancers to seize their arms with all speed and rush to the\ncastle of Wawel.. But no one hears him as the Man of Straw is playing, 44 and to the\nstrange sound of the moaning music glide numerous couples, in slow, serious tranquil serene\n44 dance,so that the stiffly starched outspread skirts hardly murmur, or the long ribbons\n44 rustle and the spangled head-dresses ring: the heavy boots thud dully. \" &\nThe cock again crows. The Bridesman with the remainder of his strength strives to\nawaken them. In vain. Despair takes away his breath and he is turned to stone by fright\nand horror. He staggers, bends towards the ground, knocked about by the compact circle\nof dancers which he vainly tries to sever; and to the dull sound glide stiffly dancing cou-\nples in a wedding ring, festal slow, serene. 44 And the mighty Man of Straw sings, 44 Boor\nthou hadst a golden horn \" and with this the drama ends.\n& Temples serve Truth. Wyspianski's Theatre serves Truth and shows Truth in which he\nbelieves, in which the actors and public are to believe. Wyspianski's theatre shows Truth\nin its nakedness without romanesque drapery. Wyspianski's theatre is true because it serves\nas a mirror to Nature, as a mirror reflecting not only certain of her phenomena but the\nwhole expanse of phenomena that the flaming fantasy of an artist is capable of embracing.\nIt is not, however, a 44 naturalistic theatre \" . By no means. Wyspianski does not natu-\nralise the theatre but on the contrary theatralizes nature in an ingenious manner. The\nbest proof of this is given by his 44 contemporary dramas \" which species, the favourite of\nnaturalists, was of their theatre the one pride, the one prop and the one...., weak point\nat the same time. Wyspianski's dramas woven on contemporary background may serve as\na pattern for how one must stage-symbolize a real fact or a raw anecdote from life, with-\nout either adding to or taking from its substance. I am thinking here not only of the\ndramas in which the fantastic element meets visibly with the real (as in 44 Delivrance \",\n44 The Wedding\") but also of those most 44 Greek \" dramas, (44 The Curse\" and 44 Judges\")\nwhose scene of action is exclusively on earthly ground.\nWyspianski's theatre serves Truth. That Truth, which manifested itself in the hieratical\ntheatre of antiquity and which today only the eye of the clairvoyant Genius can read from\nthe Stars.\n& Wyspianski's theatre however never ceases to be a theatre. Above all, the construction\nof his dramas is theatrical, and, incomplete in reading,gain their real expression only in the\nscenic frame. His favourite form is the drama not divided into Acts but into 44 dramatic\nscenes \" a series of tableaux forming,each one apart a certain whole, closely united neverthe-\nless with the course of the principal action and harmonising with the fundamental tonality\nand colouring of the work. The substance of these single scenes he so encloses in the melody\nof mimics that they become a sequence of spectacles in the principal spectacle. He applies\nthe same technique also to dramas divided into longer acts, terminating each act with a\nfinale expressed either vocally or musically, striving however in the first place for the\nrounding of it in the gesticulations of the soloists or in the choric groups. &\nSome have tried to call Wyspianski's dramas pictorial. In my opinion on account of\ntheir exquisite theatricality they should rather be called in all modesty theatrical.\nWyspianski, the initiate of the spirit of the art of the theatre, conscious of its aims and\nlimits, is concerned only with Action, only with Movement.... its Birth, Development and\nDeath. In his spectacles the mimic element forms the essential part. We meet with but few\ndramas in which so much space would be consecrated as here to mimic art, to choric\nmanoevres, processions, pantomimes, the dumb play of the soloists or even to complete\npauses in the action.\nWyspianski's pictorial talent expresses itself in its own field. In the theatre Wyspianski\navails himself of other means. He avoids painted cloths as far as possible. He fills the stage\nwith plastic architecture and animates it with the light which, subject to the logic of his\nartism, becomes here an immensely important factor. & & JS> &\n& One of Wyspianski's merits too is the ennoblng of the vocal element and the justification\n%\nof its existence in the theatre. Wyspianski in his dramas operates with theatrical voice and\nverb. His voice and verb harmonize with the colour of sentiments and in consequence with\nthe spirit and colouring of the whole drama. Voice and verb are here epigrams on the mimic\nnotions, and it never happens contrariwise. We never meet here wih pseudo-classic tirade,\neven in scenes in which actors receive a formidable melic or recitative part to deliver. For"}, {"page_pdf": 27, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.27", "debut_caractere": 4863, "fin_caractere_exclue": 4904, "texte": "Wyspianski's\nmirror.\nTheatrical\nDramas. &"}, {"page_pdf": 28, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 4877, "texte": "Wyspianski composes the partition of his drama not in written verb which only in reading\nhas to produce an impression, but in the symbol of the 44 living verb \" which in delivrance\nonly obtains its expression. £?\nWyspianski owes the strength and virility of his language to popular talk and poetry,\npreserving the onomatopaeic character of that speech with which the primitive man might\nhave served himself, Wyspianski studies this material, transforms it artistically until at last\nhe creates for his theatre verb-sound, verb colour, which he uses economically, careful\nof the sentimental and mimic substrate on which they must develop themselves logically.\nEvery creative reader of Wyspianski's dramas may convince himself of the pictorial value\nof his verb and likewise of its practical significance for the theatre; when representing the\ndrama in the theatre of his own soul he will find, in the spoken text of the drama indica-\ntions for complete scenery, for its drawing and colouring. jz/\nMuch has been said of the preponderance of the musical element in his dramas, of his\ntendency for creating musical sensations on the stage. And indeed, the musical element\ndoes play a certain part in his dramas. Wyspianski however attaches to it no special distinc-\ntion but serves himself with it with a view towards calling forth theatrical sensations.\nEach one of his dramas may be a proof of this since, in almost each of them, this element\nappears equipoised with the others and subject to the dramatic idea and action. Above all\nwe meet it in two dramas, born 44Aus dem Qeiste der Musik\": in 44 The Wedding\" where\nthe whole action is spun on the background of the magic melody of a peasant dance, and\nin 44 La Varsovienne \" in which the song of E. Delavigne played on an old clavichord winds\nitself slowly through the whole drama with a red thread. We meet it in 44 The Legend \"\nwhich is filled with solo airs and solo recitations, songs and choral melodeclamations; we\nmeet it in \" Boleslas \", 44 The November Night \" 44 Acropolis \", in the antique 44 Greek \"\ndramas and in the dramas most Greek; in the contemporary dramas. & &\nWyspianski does not illustrate his dramas with music, he does not stuff the mimic and\npoetical text with loose interpolations either symphonic or sung. The musical part on his\nstage plays an equal role with the poetical part and is no ornament patched in; it is\ntheatrically and logically justified, is important and necessary. Orchestral and vocal music\nWyspianski uses then and then only when the Action demands it. In 44 The Legend \" old\nharpers sing ballads to the dead king to the strain of those songs of blind beggars\nwandering about from kermess to kermess and the song and declamation of water gods flow\nfrom the depths of the waters in the rhyme and rhythm of peasant ditties; in 44 Achilles \"\nAndromaque sings over the infant's cradle a lullaby of the judgement of Paris reminding in\nits simplicity of popular songs; in like manner he twines song with the action in 44 Boleslas\nthe Bold\", in 44 The Rock\", in 44 The November Night \", in 44 The Death of Ophelia\", etc,\nnot for the purpose of showing off the actor, not for the pleasure and amusement of the\nspectator, not to save the spectacle but for the self-same reason which leads him to the\nuse of the verb.\nWyspianski's personages sing and speak only when logical necessity demands it, they sing\nand speak what the people in a given drama may feel, what in the depths of their souls\narranges ltselLto melody hence the musicality of the text. In Wyspianski's dramas\nNature sings and speaks when action demands it, she speaks in that sincere voice of hers\nwhich is audible only for her contemplators and not for scrutators and artistic imitators\nIn his dramas we neither meet with elaborate diversions nor those symphonic entr'actes\nnor with tremolo preludes. In Wyspianski's dramas music sounds then only when nature as\nvisible (impersonified or not) 44 dramatis persona \" appears, when act and speak she will As\nthe whole orchestra he uses lyres, harps, shepherd flutes, war horns mingled with the\nclanking of arms, the rustle of the wind, the ripple of the water, the clap of the thunder,\nand even silence, a fermata placed over the mimic vocal text.\n& In Wyspianski's dramas either complete silence or interupted by a quiet accompaniment\nof words or sound rings in the ear of the spectator with that whole orchestra of indefinable\nmysterious, hardly conscious tones, resounding in the soul of a maid In communion with\nthe Peace and Silence of nature. For instance, in the tragedy under the title 44 Meleager \"\nthe chorus of Elders, which after the announced exposition around the altar of sacrifice\nafter the hymn in honour of Diana, Moon, (one of the invisible personages of the tragedy)\nrising In a golden car on the black heavens, becomes silent to drink In the music of the"}, {"page_pdf": 28, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.28", "debut_caractere": 4903, "fin_caractere_exclue": 4933, "texte": "& The Musical\nElement.\nSounds."}, {"page_pdf": 29, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 2649, "texte": "evening:. The Indication In the book edition says \" The chorus seats Itself on the steps of\n\" the palace: the music of the evening murmur is to be heard coming from the garden, from\n\" the olives, cypresses and laurels; the leaves on the poplars tremble in a cool beeeze and\n\" rustle; from the fields come the chirps of a swarm of grasshoppers; beetles buzz fluttering\n\" their wings; a flock of bleating goats passes and a shepherd plays on his pipes; in the di-\n\" stance in the ponds frogs throat and croak and the sparks of fireflies chase one another.\n\" The nightingale sings for one moment a10ne,.... when it ceases the splash of fountains\n\" in the garden may be recognised.... slowly, the rythmical spell is dulled, troubled, ceases \"\nWe have here before us no symphonic intermezzo but a dramatic scene. The goddess who\nduring the whole course of the drama acts invisibly behind the scenes holding the thread\nof human fortunes comes on the stage in the form of the moon. On that moonlit night the\nwhole of nature resounds with a hymn of praise. On this moonlit night the chorus of Elders\nthat had but just sung to Atalanta, Diana's favourite, the skilful and beautiful huntress,\naccompanies this hymn of the chorus of all being with the silent, dumb song of Its soul.\nThe Goddess acts with the light of her beauty on the groves, on the ponds, and on all exi-\nstence secreted in them. The Goddess acts on the souls of the chorus to whom the whole of\nthis mysterious nocturnal movement appears before its eyes under the influence of the\nsounds of shepherd flutes. The Goddess acts on the soul of the auditor who is present at the\nwhole of that mysterious, hidden spectacle, though he sees only the white group of elders\nhewn as It were out of marble, Inundated as it were with a flood of monthly light, hears\nonly the song played on the pipe.^\nA theatrical sensation... and not a musical. Wyspianskl's drama is theatrical. Wyspianski\ndoes not strive to create Illusion of life although his theatre is the most faithful mirror\nof Life. Each dramatic theme Is for him a new problem of theatrical form, each is a new\nsolution of it. Wyspianski crushes and destroys the theatricality of the old theatre, but\nin the art of the theatre he discovers everlasting values which In his individual handling\nbecome the elements of a new theatricality. Wyspianski destroys the old theatre whether\nit be called romantic or naturalistic. He destrovs it in the name of Truth which he bears\ninscribed on his soul like Hamlet or like that fabulous Shakespeare divined by him. In the\nname of Truth,... not psychological realism nor ideo-realism. That Is another thing"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c021", "article_bluemountain": "bmtnaau_1909-10_01#c021", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "71", "page_fin": "71", "image_debut": 29, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.2.11", "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": 29, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.29", "debut_caractere": 2674, "fin_caractere_exclue": 3277, "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, aud then\nthere are untrue unsuitable. As the briefest definition one might say, Forms which GREW\nround a substance, if we rightly understand that, will correspond to the real Nature\nand purport of it, will be true, good; forms which are consciously jput round a substance,\nbad. 1 invite you to reflect on this. It distinguishes true from false in Ceremonial Form,\nearnest solemnity from empty pageant, in all human things."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c023", "article_bluemountain": "bmtnaau_1909-10_01#c023", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "72", "page_fin": "76", "image_debut": 30, "image_fin": 34, "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=bmtnaau190910-01.2.12", "titre_corps": "A NOTE ON MARIONETTES", "titre_sommaire": "A NOTE ON MARIONETTES", "signature_source": "Adolf Furst", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 4129, "texte": "A NOTE ON MARIONETTES\nby Adolf Furst.\n44 We are such stuff as dreams are made of and out little life is\nrounded hy a sleep\". &\n|f only this were really the truth of men and women I Yet it may\nbe believed of the Marionettes. They are made of such ideal stuff,\nfar more than we are, and is not their little life one perfect round\nof sleep ? £/ &\n& The race of these dream folk is a small one; but, whether of rag\nor gold, rich or poor, king or peasant the marionette is always distin-\nguished, and it is curious to note that he only loses his distinction\nwhen allied with a human being. For come across him when he is\nsuspended in his quiet chamber of rest and you will be awed by his\ndistinguished manner, but let a human being but touch him and he\nwill act In the most outrageous manner. For these humans even make him copy the actors;\nthey make him behave like a man In the street, whereas if left to himself he will do\nnothing wrong doing nothing.\n& And It is this doing nothing, this saying nothing, this meaning nothing which raises him\nto an altitude that is limitless. Not many people have seen these little beings, and very\nfew have seen them doing nothing. Those people who have been persuaded for one reason\nor another to enter the small theatres where the marionettes are obliged to fret their\nhour on the stage, have seen them under great disadvantages for they have seen them as\nslaves of men who are ignorant of the existence of the Holy Ghost. But of course there\nare some who are able to tell us of strange sights they have seen, of strange pleasures\nthat they have tasted through Marionettes inspired by artists.... men of spiritual power.\nThese are the travellers who have visited China, Java and India, and even visitors to\nParis, Vienna and Naples have also had something good to see at one time or another,\nWhile In England the vision of Punch and Judy (i) whispers to us of something \" once upon a\ntime.\" But it is those who travel furthest who see more than the rest. It is they who travel\nIn the imagination and who realise the unlimited possibilities of that Holy Land.\nIn the olden days a marionette performance was called a ' Motion', and this * Motion ,\ntook place in silence. (2)\n& The * unspoken meanings of the earth' are not to be explained by speech, for as there Is\nalways that part of nature which can be stated perfectly by words, there must ever remain\nsome mysteries of nature which can only be expressed by movement. We may take it that\nthe Motion is the just and best means of expression for that which lies outside beyond\nthe province of words.\n& Dumb show by pantomimists (especially the modern dumb show) is but a negative kind\nof expression. When you have a voice, to refrain from making good use of it is niggardly\nand for twelve people to be wandering about on a stage continually clapping their hands,\npointing, waving, struggling to express what we see could be quite simply expressed if they\nwould but open their mouths, is foolish and no art. You have a mouth; use it. You have a\nvoice ; speak. Are you still a child....have you no voice ?,... then move....play.\n& The marionette has no voice, though a degenerate public has at times begged that he\nshall be made to speak. His power and his expression lies in movement. By movement he\n\n(1) The derivation of these personages from the Pontius Pilate and Judas Iscariot of miracle plays is the merest philological whimsy, Punch is\ndoubtless the Pulcinella , who makes his appearance about 1600 as a stock figure in the impromptu comedy of Naples. Under other names bis\ntraditions may, for all one knows,go back far beyond the miracle plays to the \" Fabulae Atellanae. But the particular drama in which alone\nhe now takes the stage, although certainly not a miracle play, follows closely upon the traditional lines of the moralities,\nE. K. Chambers . The Mediaeval Stage,\nVol, 2, 159-160,\n(2) The term \"Motion \"is not however, confined to puppet-plays, Bacon, Essay XXXVII, uses it of the dumb shows of masquers, and Jonson,\n\"Tale of a Tub\", v.l, of Shadow - plays.\nE. K. Chambers-The Mediaeval Stage,\nVol, 2, 158, note.\n\nA Motion. &"}, {"page_pdf": 31, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4630, "texte": "can tell us of the very things that Shakespeare, with all his words, cannot tell us; and so\nto manufacture for him a voice is foolish and extravagant.\nAnd now a word or two about his construction, for he is, after all, in his private life\njust a little machine.\nSometimes he is made of wood and suspended by wires from above. These wires are\nattached to a short stick which some human machine holds from above: two machines,\nyou see, the one human, the other, when constructed with art-Divine. Some marionettes are\nsupported from beneath by a rod held by a human manipulator underneath the stage which\nis generally a narrow platform. Punch is one of these. In his case the arm of the manipu-\nlator plays the part of the rod and the fingers move his arms and head. Some marionettes\nare flat like a piece of cardboard and cut in silhouette. Some have a little more complica-\nted mechanism as in the case of the Chinese figures. We must realise that the whole thing\nis a little matter of a very little mechanism. Pull a string, an arm goes up; another\nstring and it bends, another string, and it comes round. Nowadays a man controls all this\nbut might it not perhaps be possible that at a later date we may have these little figures\nbrought to so great a mechanical perfection that they may not need the assistance of that\nhuman machine, man\nBernardino Baldi, Abbot of Guastalla, who was both poet and geometrician and who\nwrote of Marionettes in 1589, declares a knowledge of mathematics to be essential to their\nconstruction , and the value of such knowledge to both the constructor and the manipu-\nlator is easy to understand.\nWe are told that in Greece a life sized figure was once made by an artist mechanic in\nsuch away that without assistance if could move its legs and arms and advance upon the\nbeholders to whom it gave a blessing. This movement was caused by the mercury with\nwhich it was filled, the inward construction of the figure setting the mercury in motion\nand this, in its turn, setting in motion the figure; while mention is made of such a figure\nby Aristotle, who admits that it was the mercury which she contained which gave movement\nto the famous wooden Venus attributed to Daedolus.\nAnother means of causing the figures to move was by the power of a magnet, of which\nwe have an example in the inscription given by Diodore of the ceremonies which took\nplace in the temple of Heliopolis. - \" When the god wished to deliver his oracle\" he\ntells us, \" the statue, which was of gold, moved of itself; if the priests delayed to raise\nit on their shoulders it struggled and moved again. When they had taken it and placed it\non a litter it led them and obliged them to make several turns. At last the high priest\npresented himself before the statue of the god and put to him the questions on which it\nwas wished to consult him. If Apollon disapproved of the enterprise the statue drew back; if\nhe approved of it it pushed its bearers forward as if drawing them with reins. \" And he\nadds in conclusion, \" the priests having taken the statue on their shoulders it left them on\nthe ground and raised itself quite alone towards the vault of the temple \".\nNow there seems no reason why my keen, clever and energetic countrymen, especially\nthose who dwell in Berlin, should not soon master these matters of mercury and magnet\nand produce some figures capable of exquisite, if mechanical, movement. Though even then\nthe difficulty would not be ended, for it is one thing to make a piece of mechanism and\nanother to set it to its right use, and after the mechanism of these figures is made perhaps\nwe shall have to go to France or England to find those who shall know how to extract\nand conjure some beauty from it all. & & & & &\nFor what artists the young Englishmen are beside the Americans, in so many traits akin\nto us I By the side of these how an Englishman shines ! Indeed, young England possesses\nprobably more artists with a more virile and distinguished sense of beauty, nay, with more\nbrains, than any other western state. &\nBut to glance again most briefly at the history of the Marionette. &\nVery far back across the centuries may we trace the procession of this silent race to\ntheir remote origin in the figure of the gods in Egypt. For the little figures which it has\nbecome the custom to treat as something trivial, perhaps even rather contemptable, a di-\nversion for children only, have a most noble ancestry. To quote Mr Ernest Maindron,\n\" They come from far away. They have been the joy of the unnumbered generations\n\" which preceded our own; they have gained, with our direct ancesters, many and brilliant"}, {"page_pdf": 31, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.31", "debut_caractere": 4657, "fin_caractere_exclue": 4696, "texte": "j& Secrets of\nmovement.\nT7ieir history."}, {"page_pdf": 32, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.32", "debut_caractere": 25, "fin_caractere_exclue": 5017, "texte": "\" successes; they have made them laugh but they have also made them think; they have\n\" had eminent protectors; for them celebrated authors have written. At all periods they\n\" have enjoyed a liberty of manners and language which has rendered them dear to the\n44 people for whom they were made. J® J® J® J® <® <® J®\nJ® Always they have touched on everything, they have directed their shafts at everything;\n44 art, poetry, politics and religions. More courageous than men, they have often attacked\n44 the powerful and have sometimes put them to confusion. \" J® J® J® J®\nJ® As to their true origin theories may vary. Mr Charies Nodier finds it in 44 the first\ndoll put into the hands of a child \", 44 It is impossible \", he asserts. 44 not to recognise the\ntype of them in that cosmopolitan toy which we call a doll \". But I would rather incline\nto the theory put forward by Mr Magnin, in support of which he cites Heroditus and other\nancient writers, that the marionettes are descended from those jointed statuettes which,\nin celebration of the feast of Bacchus, the Egyptian women bore from village to village;\nand in the figure of Jupitor Ammon which, carried in procession on the shoulders of eighty\npriests, indicated the route it wished to follow by a movement of the head. j® j®\nj® That the Egyptians used these moving figures as means of amusement in what we today\ncall a theatre we have no evidence, nor does it seem probable. It is true that in miniature\nthey were used as toys for children, but their real place was in the religious ceremonies,\nand it was just in these ceremonies, these silent rites and movements, and not, as was\nonce upon a time asserted, in the words of the poets, that the theatre had its birth, being\nborn of motion, not of sound. j® j® j® j® j® j® j® j®\nj® Both in Egypt and Greece many little jointed figures have been found, in *wood, ivory\nand terra cotta, the heads set upon a pivot which permitted movement; the limbs jointed\nthat they might be moved by means of a string, J® J® J® J® J® J®\nJ® In Greece they had evidently been early adopted as a means of entertainment, since\nXenophon relates, in connection with a famous banquet, that among the diversions provi-\nded by the host was a Syracusian player of marionettes, J® J® J® J® J®\nJ® The author of the treatise, \" de Mundo \" treating of these little figures, writes as follows:\n\" The Sovereign master of the universe has not need of numerous ministers nor of compli-\n\" cated means, to direct all the parts of his immense empire; one act of his will suffice him,\n\" just as those who control the marionettes have only need to put in motion the head or\n\" hand of these little beings, then their shoulders, their eyes, and sometimes all the parts\n44 of their bodies, which at once obey with grace and rhythm. \" And, as Mr Gordon Craig\npoints out, it is just this passivity, obedience and responsiveness which renders the mario-\nnettes such valuable material for the artist of the theatre, which would make possible that\nwhich with the living material of the living actor's body remains impossible, • • • the\ncreation of a work of art. In a perfomance in which the actors are living persons it is\nimpossible, however well disciplined they be, that they subdue entirely their own will and\npersonality to the will of their director, and thus the unity, the expression of but one\nwill which is a necessary quality of a work of art, is unattainable. With the marionettes,\nhowever, those who direct the movement and the gestures of the little figures of men\nmade of wood have, as Apulee wrote in the second century, A. D. 44 only to draw the\n44 string destined to move such and such a limb; immediately one sees the neck bend, the\n44 head bow, the eyes take vivacity of expression, the hands lend themselves for all the\n44 offices required; in short, the whole person shows itself graceful and as if alive \". *®\nIn regard to the performances given at Athens in the Theatre of Dronyus we are told\nby some authorities that, since the ancient theatres were ill adapted for such a use, a\nkind of second little stage composed of a four sided draped scaffolding was arranged upon\nthe thymele or orchestra, so constructed as to allow the spectators to see the little actors\nbut not the hands which manipulated them, the piece being given without words while\nthe story was narrated by one who stood in front. One distinguished authority, however,\nreferring to the celebrated performances given in this theatre by Pothein, opposes the idea\nthat the figures were small ones and puts forward another theory. 44 I think, \" he writes,\n44 that Pothein presented life-size figures or even larger than life, each of which contained\n44 a manipulator, and my reason for holding this view is that 1 do not find the Greeks\n44 lacking in a sense of proportion \" Not so unlike Mr Craig's über marionette, this.\nj® Passing on to the middle ages we find the moving figures have again reverted to their ori-\n\n& Their origin.\nTheir value"}, {"page_pdf": 33, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4714, "texte": "ginal religious character and dwell once more in the churches in the form of Madonnas and\ncrucifixes, with eyes that turn and limbs that move, and as the actors of the sacred dramas\nwhich it was customary to perform at the great festivals of the church. The introduction of\nthose moving statues into the ceremonies met, however, with vigorous though unsuccessful\nopposition on the part of the prelates, and in 1086 we learn that Abbot Hugues of Cluny.\n\" refused to ordain a monk who was a mechanician, that is to say, a conjurer and necro-\nmancer. \"\n& Of the construction of the figures at this period we can find but little information, but\na manuscript of the 12th century which formerly existed in the Strasbourg Library and of\nwhich miniatures were later reproduced by Ch. Marice Engelhard under the title 44 Hortus\ndeliciarum 44 were represented two little warriors in full armour, which were caused to\nfight and move by two manipulators by means of a string crossed in the centre and of\nwhich each manipulator holds an end, the action thus being horizontal instead of, as is\nusual, perpendicular.\n& In England, as elsewhere, we find the moveable statuettes playing their parts in the\nchurches, in those dramas and sacred pageants which have ever been the delight of the\nCatholic Church. Even today the white pigeon which in olden days, coming through an\nopening in the vault, represented on Whitsunday the descent of the Holy Ghost, has its\ncounterpart in Florence in the mechanical dove which on Easter Saturday carries the Easter\nfire from the altar of the cathedral to the 44 carro \" set before the wide-open western door.\nBut when the storm of the Reformation swept over England, and Henry VIII In his fight\nagainst the Pope despoiled the churches, the 44 miraculous \" crucifixes, the little figures\nwhich had performed the Nativity and Passion plays, were destroyed and the new religion\ncast out as idols what the old religion had sheltered as saints.\n& Turned out from their altars we find the moving statuettes reappearing in more secular\nguise as marionettes upon the ordinary stage.\nMany names have been given to this silent race In different qges and countries.... for\na silent people we must remember that they are, their grave eyes and immobile lips having\nnothing In common with the squeaky tones which a more trivial age than that which saw\ntheir birth has insisted on attributing to them.\n& The title of puppet is perhaps the most ancient in derivation ; coming through the\nFrench 44 poupee from the Latin pupa. Maumet or mammet as we find them called in\nFrance has, Mr Maindron tells us, 44 as in our ancient word of marmouset in its origin\nthe sense of an idol 44 but the modern name marionette comes from Marion the man who\nfirst during the reign of Charles IX Introduced them Into France; while the Italian title of\nBurattlni comes from Burattino, a famous manipulator living in 1622.\nThe performances in which they appeared In England seem to have been generally known\nby the name of 44 motions \" which, signifying 44 a movement\" came to be applied to a show\nof puppets, either automatic or moved by strings; but in Shakespeare' s time we often\nfind the word 44 drollery \" used ; meaning a farce played by wooden actors. & &\n& It is a curious fact worthy of notice that in the bills passed by the Puritans in 1642\nand 1647, the first for the suspension, the second for the abolition, of theatres, no mention\nwas made of marionettes and no measures taken against theni, which seems to afford a\ngood proof that what the reformers objected to was the exposure of the human body on\nthe stage rather than the mere representation of a drama, a reason which was probably\nat the root, even if unconsciously, of much of the pious horror of the stage which even to\nday is felt, though in a modified degree, by many. &\nThe original performances by the marionettes in England and France seem to have\nbeen in 44 miracles \" and 44 mysteries \" which were held under the direction of the clergy\nand confraternities in celebration of the church feasts; but in the middle of the fifteenth\ncentury we find the figures of the simple old Bible [narratives and the legends of the\nsaints beginning to give place to the more theological and allegorical personifications of\nvices and virtues such as Vanity, Gluttony, False Doctrine, and that most celebrated\npersonage, Old Vice, or Old Iniquity, the inseperable companion of the devil of whom\ntwo centuries later, under the rule of the house of Orange, Punch was born; and about\nthe same time the marionette theatres began to rise to a better social standing, to afford\nmore luxuries and to offer for the first time seats at varied prices. Indeed, the end of the"}, {"page_pdf": 33, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.33", "debut_caractere": 4740, "fin_caractere_exclue": 4773, "texte": "& Their names.\nAllegorical\nPlays."}, {"page_pdf": 34, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.34", "debut_caractere": 26, "fin_caractere_exclue": 4544, "texte": "17 th century seems to have seen the English puppet theatre at the height both ol its\npopularity and its success,\nIn those days, Mr Magnin tells us, 44 all the limbs of these little figures were jointed,\nand from the top of their heads came out a metal stalk which united all the strings in\nthe hand of the manipulator\", so that it was evidently not until later that Punch and\nis companions took the form under which we now see them, being worked, not from\nabove, but from beneath. &\n& In the British Museum is to be found the original of a curious advertisement dating back\nto the days of Queen Anne and announcing Punch as an actor together with John Spen=\ndall, an ancient and popular performer of moralities. This document runs as follows: (i)\n& *4 At Crawley's Booth, over against the Crown Tavern in Smithfield, during the time of\n44 Barrholemew Fair, will be presented a little opera, called the Old Creation of the World;\n44 yet newly revived ; with the ddition of Noah's Flood; also veral fountain s playing wather\n44 during the time of the play. The last scene does present Noach end his famfly coming\n44 out of the Ark, with all the beasts two and two, and all the fowls of the air seen in a\n44 prospect sitting upon trees; likewise over the ark is seen the Sun rising in a most\n44 glorious manner; moreover a multitude of Angels will be seen in a double rank ; which\n44 presents a double prospect, one for the sun, another for a palace, where will be seen six\n44 Angels ringing of bells. Likewise Machines descend from above, double and treble; with\n44 Dives rising out of Hell ; and Lazarus seen in Abraham's bosom ; besides several figures\n44 dancing jiggs, sarabands, and country dances; to the admiration of the spectators; with\n44 the merry conceits of squire Punch and Sir John Spendall.\" JZ?\n& This curious medley was, we are told, 44 completed by an Entertainment of singing and\n44 dancing with several naked swords, performed by a Child of eight years of age, \" &\nA famous English puppet showman was Martin Powell, who began to distinguish himself\nabout this time and continued under the succeeding reigns of George I, George n, George in,\nand we find in him something of those powers which we look for today in the Artist of the\nTheatre, since he was not only the author of the pieces which he put on this tiny stage,\nbut also the maker of the puppets, (we hear of his devoting especial care to Punch, whom\nhe endowed with a moveable jaw) the costumier and the controller of every action, and\ngesture.\nThe subject of Punch and his fellows is, however, so wide and interesting a one as to\ncall for a special and seperate study, and the same must be said of that wonderful company\nof marionettes which have their homes in the East, in Java, China, Burmah and Japan.\nTo speak of the marionettes once more, therefore, in conclusion, in the general sense.\nTwo of the most salient characteristics which chiefly impress us in them are their\nsimplicity and their calm. The gestures which seem so varied, so complicated as to\nnecessitate the most elaborate mechanism are produced by means amazingly simple, while\na marionette 44 greenroom \" between the performances is,...and in this it forms a welcome\ncontrast to the real theatre,... as tranquil a spot as can be found. Each little figure,\nstrangely human in its repose, hangs upon its nail in the dim light, gazing before it with\neyes as inscrutable as those which yet meet ours from under the quiet brows of the gods\nof Egypt and Etruria. It is their silence, their passionless gaze, their profound indifference\nwhich give so supreme a dignity to the frail little bodies tricked out in gauze and tinsel.\nAs in the fallen descendant of a great family some one trait may yet remain to recall a\nnoble origin, so does that impassive gaze, that air of seeing beyond all the transitory and\nthe accidental, still proclaim for the marionette his kinship with the grave stone images\nof the ancient eastern world. And when, in more than his former dignity and dowered with\nmore than his former gifts, the puppet returns to our stage in the form of that Über\nMarionette whom Mr Gordon Graig has created, bringing with him his supreme quality,\nthat of perfect obedience to the hand and mind of the master whom he serves as material,\nwith him will come that Renaissance of the Art of the Theatre of which the first hints\nare even now beginning to appear. & & &\n\n& An old\nadvertisement•\nMa rtin Po well •\nThe Ueber\nMarionette. <£?\n\n(1) \" Sports and Pastimes Strutt."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c025", "article_bluemountain": "bmtnaau_1909-10_01#c025", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "80", "image_debut": 35, "image_fin": 38, "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=bmtnaau190910-01.2.13", "titre_corps": "THE ARCHITECTURE AND COSTUME OF JULIUS CAESAR", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF JULIUS CAESAR", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4749, "texte": "THE ARCHITECTURE AND COSTUME\nOF JULIUS CAESAR\nby E. W. Godwin.\n\n(1)\nprom the Rome of Coriolanus to the Rome of Julius Caesar we leap over four centuries.\nThose four centuries were crowded with every kind of energy but with very little fine art\nfor this comes of other parentage, and is not to be had because of energy, be it of consul,\ndictator or imperator.\n& Soon after the Commonwealth had been established Rome found herself surrounded\nby enemies....Etruscan, /Equian, and Volscian. Under Cammillus Furius, censor, after-\nwards consular tribune and finally dictator, Rome conquered the Etruscan city Veii, and by\nthis rose to a greater position than she had hitherto assumed. Then came the Gallic invasions,\nthe destruction of the city that Coriolanus and Tarquinus knew, and the long series of\nwars which at last, about b. c. 282, ended in the city of Rome dominating all Italy or rather\nall Italian cities, for a few Greek cities in the south of Italy still held out. Less than twenty\nyears after the date last mentioned began the Punic Wars, the first extending from b. c. 264\nto b. c. 240. The result of which was that the Phoenician city Carthage transferred to Rome\nher rights in Sicily, and this island became the first Roman province. After twenty three\nyears came the second Punic War, and in b. c. 149 began the third Punic War, during\nwhich Carthage was destroyed and part of its territory was annexed as a province to Rome\nMeanwhile, however, war was going on (b. c. 229) with the Greeks on the coast of Illyria,\nand the first Macedonian war began in b. e. 213. In b. c. 200 came the second Macedonian\nwar, and in 196 the Greek1 allies of Rome were really her dependents. Still further and further\ndid the city by the Tiber push her conquests until Greece lay almost at her feet, and the\nthird and fourth Macedonian Wars (b. c. 171-178) ended in the subjection of Macedonia.\nThen came war with the Achaians; and Corinth was destroyed in b. e. 146. Now followed\nthe conquest of Western Asia and its annexation, b. c. 133, as a Roman province. Before\nthis, and during the Punic Wars, Rome had not only dominated Northern Italy or Cisalpine\nGaul (b. c. 191), and soon after Liguria and Venetia, but had extended her power to Spain,\nwhich she had completely dominated by b.c. 133. Then we have the conquests of Mariusf\nfollowed by the social war of b.c. 90, wars in Greece and Asia, and the final success of Sulla\nin the civil war with Marius9 and the salvation of Rome in b. c. 83. Jerusalem was taken\nby Pompeius in b. c. 63, and what we call the Holy Land was from that time really subject\nto Rome. In b.c. 59, Caius Julius Caesar was Consul. In b.c. 60 he went into Gaul. In b.c. 49\nthe civil war between him and his son-in-law. Pompeius, began, and on the defeat of the\nlatter at Pharsalos Caesar was called Imperator and made Dictator for life. On March 15,\nb.c. 44, he was killed in the Senate—first, because he was entirely superior as a man to\ncontemporaries, and second because certain of the senators were envious of him, or to put\nit more kindly, thought him too ambitious, and feared his use of power would end in abuse\nof it. It is to the year b.c. 44 that the action of the play of Julius Caesar belongs.\nNow it was not until the Empire had been founded in the person of Caesar's great-\nnephew, Caius Julius Caesar Octavianus, who was dignified by the title of Augustus—\nthat is to say not before b.c.27 that anything of great architectural importance happened\nto Rome. The Colosseum or Flavian Amphitheatre, the triumphal arches, the heavy rotunda\nof the Pantheon, the Column of Victory, the Tomb of Hadrian, called the Castle of St Angelo,\nin fact, the buildings through which the modern mind usually receives its idea of Classic\nRome, belong to the Christian era, and are from one hundred to two hundred years later\neven than the age of Augustus. Again the fragments in the Forum of the Temples of Mi-\nnerva (Jupiter Stator), of Saturn (Jupiter Tonas), and Mars Uultor, are later than the time\nof Julius Caesar. \"Classic\" Rome, as we usually understand the phrase, really begins\nwith the comparatively peaceful reign of Augustus. To his time belongs that bold copyism\nof Greek work, which has given us the three Roman editions of the Doric, lonic, and Co-\nrinthian orders or styles. To the Augustan age belongs also that imitation of Greek art, in\nanother form of expression, made famous by such men as Virgil, Ovid, Horace, and J<ivy.\nIt is true that in Caesar's time we have as writers, besides the great Dictator himself,\nCicero and the poets Catullus and JLucretius; but the highest reach of Latin literature is\n\nThe historical\nperiod.\nThe Age of\nAugustus.\n\n(1) Reprinted by permission from \" The Architect- \" 1875."}, {"page_pdf": 36, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.36", "debut_caractere": 15, "fin_caractere_exclue": 4778, "texte": "later than Caesar, and the most distinctive, i.e. the least imitative, is, like the architecture,\nlater even than the time of Augustus, Nevertheless, we may be tolerably certain that the\ndays of Caesai9 Cicero9 and Catullus had an architectural expression of their own, although\nno doubt very inferior to the refinement of Creek art on the one hand or the viguor of\nthe later Roman on the other hand. The importation of Greek statues might certainly have\nadded to the art furnishing of the city, but the importation of Greek artists must not be\nallowed to count for much, first, because Greece itself was in its decline, and had no art\ncomparable with that to which we usually refer as characteristic of the artistic excellence\nof the Hellenes; and next because if they had existed they would have felt in Rome much\nthe same as the Jews felt long before, when they found the sorrow of their hearts enlarged\nand their eyes too full to sing to those who had led them away captive the melodies and\nsongs of their own home. \" By the waters of Babylon we sat down and wept9 when we\nremembered thee9 O Sion9\" has been the cry, and must ever be the cry of every human soul in\nthe heaviness of bondage or banishment. But in saying this I do not by any means wish to\nimply that the Rome of b,c, 44 had no architecture worthy our attention. There may have\nbeen a great deal of truth in the saying attributed to Augustus, \" I found the city of brick\nand left it of marble\". No doubt the city of b,c, 44 was built mainly of brick, tufa, and wood,\nand it is quite possible, not to say probable, that the tufo walls lately discovered in the sub-\nstructure of the Flavian amphitheatre are portions of the walls on which Julius Caesar's wood\namphitheatre stood. On the the other hand Cicero gave about 30.000f.f0r his house on the\nPalatine hill. For half a century before this marble had been used, and although L, CraSsus\nhad only a few marble columns, not more than six, and these not more than 17 feet high, in\nhis house (c. b. c, 95), yet M, Scaurus erected in his atrium black marble columns as much\nas 30 feet in height. One who wrote about a hundred years after Caesar's death tells us\nthat in the great Dictator's time some houses were even lined with slabs of marble. But\nit seems these were rather exceptional cases, and that structures even partially built of\nmarble were only for the favoured few or the richest of the patricians. The greater part\nof the city was unquestionably built in narrow and irregular streets lined with houses so\nhigh that in the time of Augustus a kind of building act was passed restricting the height\nof street fronts to 70 feet. These many-storeyed houses were let out in flats at rents\narranged on a sliding scale, as in London and other towns at this day. And we may be\ntolerably sure that these towering tenements were built of wood or brick and roofed with\nthatch or shingles, for the class of people who dwelt in them were mostly either slaves or\npoor citizens living a wretchedly idle and dirty life. & &\nNow turning to the play, we find there are eighteen scenes, the first eleven architectural,\nthe others the plains of Philippi.\nThe eleven are all laid in Rome, and can easily be reduced to the following six:—\n1. A public place (for the whole of Act i.).\n1, Brutus's orchard (Act ii Sc. 1).\n3. A room in Caesar's palace (Act ii. Sc. 2).\n4. Street before the house of Brutus (Act ii Sc. 3 and 4),\n5. The Capitol (Act iii. Sc. i).\n6. The Forum (Act iii. Sc 2 and 3, also Act iv. Sc. 1, for there is no reason why\nthis short scene should not have happened under some public colonnade).\nThis list may be still further reduced by making No. 1 serve also for Act No. 4, so that\npublic external scenes will be limited to two, viz., a public place before the house of\nBrutus, and the Forum,\n& A public place in Rome was laid out (like the streets) in a formal right-angled fashion\nafter the fire of a, d, 64, before this time the open spaces in front of the public buildings\nor the houses of distinguished senators might be either regular or irregular. But what ever\nwere the boundary lines of the space itself there would be an interruption to their conti-\nnuation wherever houses like that belonging to BRUTUS stood. For here an extra open\nspace would be added forming a front court to the house which the Romans called the\nvestibulum and the Greeks npoQvpv. This vestibule was surrounded on three sides by buil-\ndings, but on the fourth side it was open to the street or public place. In the centre of\nthe recessed side or pricipal facade was the front door, opening into what we now impro-\nperly call the hall, or vestibule, but which was then called the ostium, or janua; that is\n\nThe city, &\nThe Scenes,\n& Domestic\narchitecture. &"}, {"page_pdf": 37, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.37", "debut_caractere": 15, "fin_caractere_exclue": 5007, "texte": "to say, the place of the doors or opening. The doors were nearly always in pairs, or folding\nand thus we find the word for the door itself generally used in the plural—fores. Some\nimportant doors were so wide as to be made in more than two folds, so that each side was\nfolded back twice or more in itself, just like the large Japanese doors are at the present\ntime. The wealth of material—of wood and bronze, ivory and silver, tortoiseshell and gold-\nexpended on these doors and door-cases, their great size as compared with modern propor-\ntions, and the reverence, not to say superstition, with which the threshold was regarded,\nshow us the paramount importance of these features in the exteriors at least of domestic\nclassic architecture. Passing through the ostium, paved with marble, we enter the real\nhall, or atrium. In small houses this would amount to nothing more than an inner court-\nyard, having a tank in the centre, with a shed roof against the four walls as a protection\nfrom both sun and rain; but in the mansions of the nobility this courtyard expands into a\nrichly decorated quadrangle, with the impluvium and fountain in the centre; whilst busts,\nstatues, bronze seats and tables, covered with skins or embroideries, ivories and curtains\nheavy with gold and crowded with needlework made the shady walks beneath the wide-\nspreading roofs a very pleasant lounging place after breakfast, as Brutus or Cicero chatted\nwith their friends, received clients, or snubbed deputations. Beyond the atrium facing the\nentrance or ostium, was a room called the tabtinum (what we should call an ante room)\none side was open to the atrium, and the opposite side to the peristyle, A Passage way\nor fauces by its side shows that the tablinum was not used as a common corrider. The\nside passage was, no doubt, for the servants, and the large opening for the guests. Beyond\nthe peristyle another broad opening called oecus9 with its attendant passage, led to the\ngarden or orchard, so that from the front door to the garden an uninterrupted view, va-\nried by beautiful gradations of light and shadow, could be had whenever the curtains of\nthe cecus and the tablinum were with-drawn. Round the two courts (the atrium and the\nperistyle) the various apartments of the house were arranged. & &\n& Such is the general plan of one of the most important houses in Pompeii, and its length\nfrom the street door to the garden entrance is about 200 feet. 1 see no reason to suppose\nthat the first-class houses of Rome were widely different from this. Granted plenty of land\nat his disposal, and there is hardly a limit to the number or size of courts or peristyles a\nwealthy Roman aristocrat might desire—and have. There was no lack of size nor of costly\nfurniture, no lack of slave-work in tesselated floor and encrusted wall, no want of most\nlovely statues from Greece, or textile fabrics from Asia, for every country that had been\ndominated by Rome, and that possessed artistic work worth having, contributed to make\nthe houses of Roman nobles all glorious within. But in spite of all this there was really\nno architecture—artistically speaking. And in this sense any one of the buildings of the\nAthenian Acropolis, Parthenon, Propylaea or Erectheium would have outweighed all Rome.\nThe first scene of the third act is described as laid in the Capitol. Now the Capitolium\nproperly so called, was the temple on the Mons Capitolinus—the triple shrine of JUPITER\nJUNO and MINERVA already referred to in my notes on the play of Coriolanus. (1) The old\nEtruscan building of Tarquinius Priscus that CORIOLANUS saw had been burnt down\nb, c, 83), rebuilt by SULLA and dedicated b, c, 69. Imposing it possibly was not; rich in all\nsorts of borrowed art it may have been, but we must not confound it with the work of\nDOMITIAN, that temple which was 200 feet square, to which 100 steps ascended, whose\ngates were of bronze, and whose ceilings and tiles were overlaid with gold at a cost of\n12,000 talents. The temple of the year b,c, 69 was no doubt less sumptuous than its successor;\nand if we may accept as any evidence the coins of VESPASIAN, it was not much superior,\nto the Etruscan example. Like the medieval Councils and Parliaments of England, the Senate\nmet at different places, in accordance with the summons of the Consul. It was in the\nTemple of Jupiter Stator, on the Palatine, that the Senate met on the important occasion\nwhen was enacted the great parliamentary scene between CICERO and CATALINE, which\nended in the utter discomfiture of the latter. It was in the Capitol—and 1 would venture\nto say in the pronaos, otherwise the prodomus of the temple, enclosed by marble screens\nand thick set with statues, that of POMPEY among others—that the mighty JULIUS fell.\nBut neither this nor the houses or palaces of BRUTUS and C/ESAR can be fairly described\nwithout drawings. The Porum of the play is unquestionably the principal one of the city,\n\nThe Capitol,\n\n(1) Reprinted in \" The Mask \" August 1908."}, {"page_pdf": 38, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.38", "debut_caractere": 15, "fin_caractere_exclue": 2757, "texte": "or the Forum Romanum, the site of which was in the valley between the Capitoline and\nPalatine hills—an irregular space, one end wider than the other where was placed the\nplatform from which BRUTUS and ANTONY made their speeches to the people. The whole\nenclosure did not cover much more ground than an ordinary cathedral does, and so, this\nproving insufficient, CAESAR built another, called the Forum Julium, and after him AU-\nGUSTUS built a third, but of these we know next to nothing, for the remains which now\nexist are those of TRAJAN'S forum (a.d. 98-117). & & &\nIn speaking of the costume of the time of JULIUS CAESAR we must be careful, as with\nthe architecture, not to confound the distinctively Roman style of the full-blown empire,\nas shown on sculptured column and triumphal arch, with the transitional style of the later\ndays of the Commonwealth. People are far too much in the habit of looking on the styles\nof art in Greece and Rome as stagnant, the one represented by her Parthenon, the other\nby her Colosseum, which is about as reasonable as it would be to look at the church\nof HENRY 111. at Westminster, and forget there was ever a Waltham, a HAROLD, or an\nEAD WARD-\n& There can be little question that until the empire was established and the art of foreign\ncountries not merely looted but brought to bear on Rome with something like a definite\ninfluence, in costume as in architecture and other arts, Etruscan tradition still formed the\nbasis. Real authorities as to the costume of JULIUS C/ESAR are by no means plentiful. 1 tis\ntrue SUETONIUS TRANQUILLUS in his \" Vitas Duodecim Csesaeum \", gives usdetail ed descrip-\ntions of the dress as well as of the persons of JULIUS and OCTAVIUS, but SUETONIUS wrote\nquite a century and a half after the death of CESAR, and is not so carefully accurate in\nall other matters as to lead us to place any more reliance on his description of the dress\nof b. c. 44 than we should on a Daily Telegraph review of the habits and manners of\na.d. 1700. DION CASSIUS shows more discrimination and is more careful of detail; but then\nDION is later even than SUETONIUS, for he wrote more than two hundred years after the\nevents recorded In the play.lt is more than likely that the costumes of the later years of\ncommonwealth were not very widely different from those described in my last article. (1) It\nmay be that the toga and tunic were fuller than in the true Etruscan examples, and that\nthere was less of the Asiatic and more of the Greek in the general toilettes, not only in\nthe dress but in the mode of wearing the hair, personal ornaments, &c.; but as my next\narticl will be on the play of Antony and Cleopatra, I reserve further comment on the cos-\ntume of this period.\n(1) Coriolanus."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c026", "article_bluemountain": "bmtnaau_1909-10_01#c026", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "image_debut": 38, "image_fin": 38, "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=bmtnaau190910-01.2.13.1", "titre_corps": "An antique theatre design showing the scenery and costumes as used in Venice in the fifteenth century", "titre_sommaire": "An antique theatre design 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": 38, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.38", "debut_caractere": 2759, "fin_caractere_exclue": 2861, "texte": "An antique theatre design showing the scenery and costumes as used in\nVenice in the filteenuh century,"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c027", "article_bluemountain": "bmtnaau_1909-10_01#c027", "volume": "bmtnaau_1909-10_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": 39, "image_fin": 39, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.2.14", "titre_corps": "Design for a Stage Scene", "titre_sommaire": "Design for a Stage Scene", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 41, "texte": "Design for a Stage Scene\nby Gordon Craig."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c028", "article_bluemountain": "bmtnaau_1909-10_01#c028", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "91", "image_debut": 41, "image_fin": 53, "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=bmtnaau190910-01.2.15", "titre_corps": "A NATIONAL THEATRE : ITS ADVANTAGES AND DISADVANTAGES", "titre_sommaire": "A NATIONAL THEATRE : ITS ADVANTAGES AND DISADVANTAGES", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 3575, "texte": "A NATIONAL THEATRE:\nITS ADVANTAGES AND DISADVANTAGES.\n\nAN INTERNATIONAL SYMPOSIUM.\n\nince Shakespeare died it is close upon three hundred years.\nHe was a member of a Company called The Queen' s Compa-\nny. This Company had a figure head, or patron, the Earl of\nLeicester. In 3594 the Earl' s place as patron and licenser was\nfilled by one Lord Chamberlain and in 1597 by another Lord\nChamberlain. The Company was then promoted; it became\nknown as King' s Players. This company acted in \" The\nTheatre \", the first English Theatre to be built. &\nToday all theatres in England are private enterprises. Many\nof Shakespeare' s plays have become popular In England\nthrough the instrumentality of the actors ; Betterton, Garrick,\nKemble, Kean, Macready, Phelps and Irving assisted by the\nactresses Sarah Siddons, Helen Faucit and Ellen Terry.\nThese actors have not always found the plays of Shakespeare profitable in a monetary\nsense but have always been eager to interpret the half dozen celebrated Shakespearean\ncreations knowing that posterity will applaud the actor whose name is most closely asso-\nciated with that of Shakespeare's heroes, &\nAnother cause of Shakespeare's popularity is the \" lavish scenic elaboration \" with\nwhich some managers have presented the plays. Of Shakespeare's thirty seven plays twenty\nsix are acted now and again ; eight to ten quite often, and a very few regularly. It is seldom\nthat London is without one or even two such revivals. But there is no theatre in England\nin which his plays are to be heard all the year round. & & jg? & &\n& A foreigner coming to England after his first glance at London naturally asks where he\ncan see a true English interpretation of the great English Dramatist. No one is able to\ninform him. The productions of Shakespeare are fitful, and their style is not any more\nEnglish than German, or American. In short, there is no Shakespersan style; and\nthe nearest approach to this, (though we are not happy to admit it) is the \" resurrection \"\nstyle attempted by Mr William „Poel, which purposes to place the productions on the stage\nin the same manner as they were presented in Shakespeare's lifetime.\nTo a foreigner this can only suggest a stage of stagnation. He looks for some decided\nyet nobly restrained development based upon the principles hinted at by Shakespeare, but\nhe does not expect to appreciate the undeveloped amateurism of the resurrectionists. He\nreturns to his country and tells them that in England Shakespeare is not seriously treated\non the stage, that the National Drama does not flourish, and the result is that Germany\nannexes our Drama.\n& In 1897 no fewer than nine hundred and thirty performances were given in Germany of\ntwenty four plays by Shakespeare. In 1898 performances of twenty eight plays reached a\ntotal of eight hundred and ninety five, an average of nearly three Shakespearean represen-\ntations a day in the German speaking district of Europe. \" &\nAnd the mere performance of these plays is not the only way in which this spirited\nland aims to make up the deficiency which England has created. Germany attempts to\nwin the first place in its manner of representing Shakespeare. To this end it treats the\nwhole question of \" production\" as seriously as though life and death depended on it.\nPatrons are all eager to assist, artists to advise and the theatres to carry out each and\nevery idea at all original. In this it over-reaches the main object which is to attempt to\nproduce these Dramas in the most Shakespearean manner, that is, in the most Imaginative\nor Poetical way. & & &"}, {"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 3176, "texte": "In England some managers are more Romantic than Poetic, more Inventive than imagi-\nnative; they are clever rather than calm, they present Shakespeare in patches, some floridly\nbrilliant, others inadequate we see the bare boards through them. Or else they produce\nwith a dull touch, the touch of the Provinces; everything is thought out, nothing left to\nchance, not even any chance inspiration of a moment. Of the two manners the florid is the\nbest, and that is impossible for us to take our friends from Paris or Berlin to see.\n& Will a National Theatre if it is established remedy all this? That is what we want to find\nout and that is why we have asked the four following questions. We believe that the world\nand the stage has not yet understood the main reason which underlies the success or failure\nof the production of noble Drama; we fear that everyone who replies to these questions\nwill do so in the belief that it is the State or the Star Actors who hold the key to the\nTheatre's secret. & We shall see.\nTHE QUESTIONS.\nI. Do you believe a National Theatre, directed by a Com-\nmittee, is advantageous to the development of our Artists ?\n11. Has your experience shown you that the greatest talent\nis to be found in the National Theatres of Europe, or\nin the Theatres of private enterprise ?\n111. Do you think greater advantage would accrue to the\nState if it supported the independent efforts of individual\nartists of great talent, rather than a collective and less\ntalented body of artists under the control of a Committee ?\nV. If you had been asked the question thirty years ago\nwould you have voted in favour of the State supporting\nMadame Bernhardt, Madame Duse, Tommaso Salvini\nand Henry Irving, or would you have been in favour\nof the Nation supporting the National Theatre of France,\nand proposed National Theatres in England and Italy?\nTHE ANSWERS.\nWilletn Rooyards, •£? Amsterdam.\nI. I do not believe in any National Theatre, directed by a Committee, as being in any\nway advantageous to the development of our artists. & *£? &\nII. My experience has shown me that the greatest talent is not to be found in any Na-\ntional Theatre of Europe, but surely in the theatres of private enterprise. If there\nis a really great talent in any National Theatre it is nearly always hindered in its\ndevelopment by the Committee which directed that body. I except some Geniuses\nthat are not to be killed.\nIII. I certainly believe that greater advantage will accrue to the State if it support the\nindividual efforts of individual artists of great talent than by supporting a National\nTheatre that stands under the control of a Committee. &\nIV. I certainly should have voted in favour of the State supporting such talents as Ma-\ndame Bernhardt, Madame Duse, Signer Salvinl or Sir Henry Irving instead of the State\nsupporting the National Theatre of France, of England or of Italy; supposing England\nand Italy had had National Theatres at that time, if the same question had been asked\nme thirty years ago. I am sure that our art would have had a greater development\nin the last thirty years If the State had supported the individual efforts of each of\nthese well-known artists. &"}, {"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4512, "texte": "Jan %/aa s s en Emmerich.\nI. 1 should say that a National Theatre, no matter who directed It, would prove an ad-\nvantage to everything except itself. &\n11. For the moment that a nation indulges In a special theatre of its own, the humbug\nand snobbery of the place acts as an incentive to all the discontented actors; and dis-\ncontented actors are most desirable people They keep things alive whenever\nthere is any sign of decay. There would be no discontented actors Sf the frauds were\nnot in the high places.\n111. I never knew a state that was clever enough to pick out its artists of great talent\nfrom the horde of professionals jwho call themselves or get called \" artists. \" It is\non record that two of the most discerning States, Athens and the Florentine Republic,\nbanished two fairly good artists from the land; Euripides and Dante. The former wrote\nsome good plays and the latter some good \"poetry; judging from this it seems hardly\nlikely that any State today will act as it should towards its nobler children even if\nit continue to pamper its incompetent sucklings. &\nIV. Thirty years ago, had I been an Englishman, I should have voted for your Irving;\nand if like Chicot in Dumas' novel I could have managed to do a little elegant cheating\nI should have recorded my vote twenty times over. I should not have voted for Sal-\nvinl had I been an Italian for his talent as a stage manager was small. I should cer-\ntainly not have voted for the adorable Madame Bernhardt or the divine Madame Duse\nfor I am of the opinion that the director of a stage should not be subject to ner-\nvousness nor governed by sentiment.\n■ .m.n w•* m *■. * . i-w U'Wi'iUl wy H\"'U'iPWUIJ JVil'mWU»■ WW WWW. U WJP WM 'AiTH.9JU. 4 JtWtmJWLMMW-'MH WPBCTCTTOLBJIWiWAaWJ■■HUI-PMWfI-^\"WJMWtW-'WW AWM P^Li.M^..^B^graßW.^W-LIM.IJLLBIKJ!iiMIIIII W* ■ \"'- ~\nPercy Mackaye & Windsor, Vermont.\n1, Believing that the art of the theatre is capable of becoming the highest Influence for\ncivilization in modern society, I believe that every civilized community, whether natio-\nnal or municipal, should recognize the fact that the theatre, as an institution, exerts\na ceaseless and powerful influence for or against the public good. Instituted upon a\nbasis of private commercial speculation, the theatre tends, I think, naturally to exert\ninfluences against the public good. The incentives of Its artists, as such, are Inevitably\nopposed to the incentives of Its controlling directors, as such. For the former, by\nself-interest, desire to lead public taste toward higher standards; whereas the latter,\nby self-interest, desire to cater to public taste according to existing standards what\never they happen to be. Therefore, I believe that every civilized community should\ntake steps to change the basis of the theatre as an institution from Its prevailing\nbasis of private speculation for money profit to some basis which shall completely\nharmonize the incentives of its artists and its controlling directors. Such should be\nthe basis of a National Theatre. The first essential of such a theatre is, I think,\nabsolute financial independence. Absolute financial independence, however, may be\nwisely used,or it may be abused. The second great coessential, therefore, is harmo-\nnious organization : organization adapted permanently to promote the prime object of\nsuch financial independence, namely :the development of artists, creative and Inter-\npretative. &\nMy answer, then, to this question, is this ; It depends upon the constitutional\npower and personal qualifications of the committee. &\nA National Theatre, however, would defeat its own ralson d' etre if It should appoint\na committee opposed to the development of artists. £/ & & &\nli. My experience does not enable me to answer.\n111. The alternative suggested should be avoided by an enlightened state. The state should\nseek its own advantage by so organizing the institution of the theatre as to\nattract and support the co-operative efforts of the most talented artists.\nIV. Doubtless it is true that all co-operative Institutions of art tend to become sluggish\nthrough routine. This tendency however, is perennially checked by the schism of\nIndividual artists, who revolt from academic restraint, leaven the people with their\nspecial genius, and so, by reflex, reinvigorate the supply of the co-operative insti\ntutfon. But these individual careers take their essential significance from the fact of this\nrevolt... Lucifer rebelled from an established Heaven not from Chaos,... Unhappy the"}, {"page_pdf": 44, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 4043, "texte": "state which possesses no artistic norm, from which individual genius may rebel. Ame-\nrica artistically to-day is such a state. In France, the Theatre Antoine would lack its vital\nsignificance but for the existence of the Theatre Thus the chief function\nof a National Theatre is the assertion, by achievement, of standards, which may be\nchallenged and corrected only by the counter-achievement of great artists. & &\nMy answer, then, to this question, is this: I would have voted to have the state\nsupport the artists named through the National Theatres named. The fact that no\nEnglish National Theatre existed to support Henry Irving is an artistic indictment of\nEngland, not of a National Theatre per se. &\nBernard Shaw & London.\nI. Yes. The reason that all artists become more or less idiots (in the strict sense of the\nword) is that they so seldom get that discipline In convincing and considering\nother people that a committee affords. Europe is strewn with the wrecks of the bril-\nliant talents that have been thrown away for want of this social training.\n11. In the National Theatres, of course. The National Theatres are but a small percentage\nof all the theatres, and a slightly larger percentage of the greatest talent Is enough\nto give them the superiority. But it must be borne in mind that under our commer-\ncial system no actor who can fill a theatre and manage a theatre for himself is likely\nto stay in a National Theatre. Coquelin and Sarah Bernhardt left the but not for\nartistic reasons. Irving would probably have left an English National Theatre. But the\nsuperiority remains with the National and quasi National Theatres, including the\nOpera houses. \" The greatest talent \" does not include the highest genius, which,\nas in Wagner's case, can hardly expect an official organ for its revolutionary workc\n111. The two things are not alternative: why should not the State do both ? In France\nnot only is the subsidized ; but M. Lugne Poe enjoys a State subsidy for\nhis enterprise called L' Oeuvre. That would be impossible If the State had not already\nbegun with what is virtually a National Theatre, and discovered the limitations of\nthat method. Not until we have a National Theatre in England will it be possible to\nget, as an extension of this principle, a subsidy for an individual dramatic artist.\nIV. I should have voted for the State doing both. If Irving had had State support and\npublic responsibility, he could have done work that a concurrent National Theatre\nwould not have done; and he would at the same time have been compelled by the\nexample of the National Theatre to treat the works of Shakespeare with some respect.\nAs it was; the only thing the State did for him was to prevent him from producing\nplays of which the heroes were Mahomet and Robert Emmett. A conditional subsidy\nmight have saved him. Even a committee might have saved him. It was his appalling\nisolation, his attempt to live on himself and by himself alone, that led to the downfall\nof his theatre. Anything is better for an artist than the solitary despotism of his\nown temperament.\nSir H. Beerbohm Tree & London.\nI. It is good to have a National Theatre so that the Classical repertory may be preserved,\nIt is also a recognition of the art of the theatre and therefore desirable. & &\n11. The most vital art springs, I think, from individual effort.\n111. Individual artists of outstanding powers rise superior to and independent of the\ntrammels and shackles of Committees. &&&&&&\nIV. Take away the struggle and you lessen the energy of the man.\nGordon Craig Florence.\nI. Do I believe a National Theatre, elected by a Committee, Is advantageous to the deve-\niopment of our Artist t & & &\nI do not. A Committee is often less capable of keeping its temper than an Individual.\nAnd the Theatre is as trying to the temper as it was in 400 B. C. in Greece, in 400 A. D. in\nRome, and in the Middle Ages in Italy. Apollo and Dionysus are still at war in the Theatre\nPuncinello still fights Roscius and the minstrel squabbles with both; whilst the new"}, {"page_pdf": 45, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 4586, "texte": "actor, the socially immaculate one, threatens to filch with hypocritical hands the very\nsoul of the Theatre and put it in his pocket* It is well he should not be a social an&t*\nchist, but to have accidentally washed away his talent with his roguery and vagabondage\nwas not clever of him.\nTo me there seems to be but one way to save the Theatre from itself: it is to remove\nthe Art out of the Theatre; to transfer it to a place of safety for a certain period; to\na university or to a church, and there to await developments. & & &\nOur artists \" are never going to be developed, therefore a Committee cannot force\nthem to it* 44 Our artists \" are persons to whom it gives quite exceptional delight to\nsneer at the word 44 culture ** * 44 Our artists \" are those actors, actresses, stage managers,\nscene painters, etc., whose very existence is dependent upon the Theatre remaining\n*//f-developed\nThe actors have for centuries had it in their power to preserve noble instead of base\nart traditions in the Theatre; they have chosen to preserve the base and thereby\nthey have abdicated all right to act as the real guardians of the institution although\ny they still masquerade as such* It is not so long ago that they laboured side by side\nWith the other priests of three noble religions and strove to express by their gift# the\nprofound truths of which now they make a jest for the sake of a 44 name \" and cash.\nThe actors have not been judged rashly after a short trial, and they have but condemned\nthemselves. Their retreat from the Holy Land, their ejection or flight from the Church\nand their subsequent antagonism to the Church,.... who knows, perhaps, their defeat\nof the Church ?.... all this justifies a nation in withdrawing its trust from meis who\nhave failed for so many centuries to withstand the transient material advantages of*\nfered to them by the mob, and who have been blind to the spiritual and political in-\nfluence they once exerted* &\n11. 44 The greatest talent\"? Well, 1 suppose the Private Theatres have the best of it* But\nfor my part, though I have searched in Europe, I have found but little talent at\nfor the Standard is so low* In one particular theatre of private enterprise I ft&vo\nfound more talent than in all the other theatres of Europe put together. But it is a\nresult of long training under perfect masters. And the same thing would be the case\nif the stage director of this theatre were to obtain control of, let us say, the Royal\nOpera in Paris. But he would have to be given a free hand for fifteen years. These\nthings cannot be done in a hurry at the twelfth hour. England is sometimes inclined\nto forget this. She sometimes wastes the power and patience of her sons until it is\nvery late, and they very old and tired, and then when in a difficulty, begs them to\nsave the situation which she in her arrogance has created. It is too late then. In\norder to establish a serious theatre in London it will take ten years hard up-hill work\nand then success will only come if some great talent or genius can be found to under-\ntake the task unhampered by intrigue, and loyally assisted by ten or fifteen men of\nvery exceptional ability. When a serious and well-organised theatre can be formed,\nnobler plays will then receive the treatment on the boards which is due to them\nand dramatists will be encouraged. & & & & & &\nHI. The State, like everything else, has itself to support. It rests with itself to decide\nwhether a noble and non-commercial Theatre is more beneficial to its health than a\ndegraded and mony-making Theatre; and the difficult task it sets itself is to discern\nthe difference between a noble Theatre and a claptrap Theatre. The latter class of\nTheatre can be observed any day from the comfortable seat of a hansome cab if the\ndriver is directed to go down Shaftesbury Avenue, the Haymarket, turn down to St\nJames' Palace, back through Pall Mall into St Martin's Lane and turn down the Strand.\nThe non-commercial Theatre must be imagined. This is not so difficult... with prac-\ntise, and when once it has been imagined by the artist the State has the power to\nassist in the realisation of the Dream.\nIV. To me there is no longer any doubt that when the State decides to support anything\nit does so with the best intentions, often with much real success and always with tact.\nIt does not seem to me that the State is always responsible for its mistakes. It acts\nin such matters as it thinks will lead to the best results for all people. As a rule it\nweighs all things impartially, it judges without haste, and it acts upon its final judge-"}, {"page_pdf": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 4849, "texte": "ment. And I am sure that if the matter of a State-aided Theatre could be weighed\nimpartially, and all things relating to it judged with justice, we should have as good\nState Theatres as State Ships and State Laws. But it has been well said that Art\ntakes long to learn and that life is very short, and we have learnt that the whole\nlifetime of the artist given up unselfishly to the study of a single art is not too Song\na time in which to learn some of its most profound truths. It is therefore difficult to\nsee how holders of the State offices can be expected to devote the same amount of\ntime to study this art so as to have the requisite knowledge of what kind of theatre\na State Theatre should be. If the State decides to interest itself in such matters it\nseems to me that its representatives should first carefully consider the conclusions\narrived at by the most single-minded professors of the Art of the Theatre. And it is in\nselecting advisers.... these most single-minded professors... from the Theatrical Profession\nthat their greatest difficulty lies. Should they choose aas adviser one who has worked all\nhis life for popularity they will be courting a danger which must be obvious to all who\nhave studied the Rise and Fall of the Theatre of the Roman Empire. If they decide to\naccept the advice of an actor or actress they run even greater risks. Neither can an\nenthusiastic student of the antique theatre be of assistance to them for he confuses\nyesterday with today. And a Theatrical Business Director would be unthinkable as an\nadviser. Those who could give the best advice are often the last to be consulted. They\nare the few independent thinkers in the European Theatre. They may be Russians,\nItalians, English or Hungarians; it matters but little what nationality they are; they\nare faithful sons of the Theatre who have not wasted the talent with which they were\nentrusted. In my opinion it is these men who if possible should be invited to tell the\nState the result of their experience, for they look towards the future of the Theatre\nwith grave eves, neither hopeless of its present unstable condition, nor indifferent as\nto its mighty past. There are such men in Moscow; there is one in Budapest; one in\nHolland, one In America, and possibly one or more in England. Most of these men are\nthe stage managers of the first Theatres of their country, and it is due to the fact of\ntheir having served for many years in the position of stage manager which in my opi-\nnion entitles them to speak with authority on this matter. If they were great dramatic\npoets they might be less provided with the necessary experience; if they were great\nactors they would be prejudiced ; but being stage directors as well as men of conside-\nrable culture, they look upon the stage and its poets, actors and other craftsmen as\na Father may do upon his Home with its Family. The Stage-manager, provided he is an\nartist and a serious thinker, is the only man of the Theatre who is unable to find a\npreference for any one member of this family. He regards all alike. He anticipates\nthe future; he is far sighted ; he knows that the Theatre cannot continue long mas-\nquerading as the poor relation of the other arts; he knows that sooner or later the\nTheatre must cease from depending for its support on the poet, the painter and the\nmusician; he has learnt from Nietzsche the trick which Wagner has played on the\nTheatre; he has seen through the trick which the painter has tried of late to play\nupon the Theatre, and he feels that dependence on the poet since the time of Elizabeth\nhas robbed him and his fellows of all initiative, and he is prepared for the tasks by\nwhich he can gain strength and in the far future win back once more what is his....\nthe Art of the Theatre. This is the thought that stirs the imagination of the stage\nmanager whose eyes are gravely fixed on the future of the Stage, and though there are\nonly a handful of such men they have their followers and there are amongst them the\nmost serious men of today. And it is important to bear in mind that this far-sighted\nvision of the ultimate liberty of the Theatre is necessary to even the most conser-\nvative of stage managers for as it is only by very slow and cautious steps that\nsuch reforms can be effected, yet is it of paramount importance that those\nsteps be taken in the right direction; and no one who looks at the Art and the\nInstitution at close range can perceive the right direction. Only the visionary can do this.\nTo over-estimate the importance of the Art which is today coffined in the Theatrical Crypt\nis neither my intention nor is it in my power to do so. This Art is as important as any\nother Fine Art; it is as important as Music, as Architecture, and it is the compliment\nof hese two. But the coloured Christmas card culture which in the teeth of common"}, {"page_pdf": 47, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 4203, "texte": "sense and conventional good taste displays its impertinence night after night, year\nafter year upon our English Stage and claims the right to be held as artistic, for this\nto be judged as a work of art and to receive the distinctions due to a work of art,\nthis the state should attempt to estimate at its true value as quickly as possible. The\nState, if it decides to consider the desirability of aiding the Theatre, should not refuse\nto accept the evidence of that portion of the population which possesses that innate\nif conventional good taste that despises what is termed the \"THEATRICAL,\" otherwise\nthe State might live to realise and regret that it had subsidised not a great art but a\nglaring vulgarity. This is my answer then to your fourth question:... That it is de-\nsirable that the State support none but the most gifted stage managers if the State\ndecides to support the Theatre at all; and that the stage managers 1 allude to must be\nartists: and that in order to select these Englishmen they should if possible first\nconsult a collective International Committee of such artists in order to understand\nentirely what are the qualifications of an Ideal Stage Director.\nMartin Harvey London.\nI. I should pray that the Committee would have nothing whatever to do with the develop-\nment of the artists. This should be the care of the producer of the plays or the stage\nmanager. I myself received infinite advantage from being under the greatest producer\nand stage manager; viz: Henry Irving. & & & & &\n11. Alas! I have not sufficient knowledge of the National Theatres of Europe to answer\nyour question. & &\n111. 1 most emphatically do: but this is too much to hope for!\nIV. Thirty years ago I was too young to form an opinion on any subject whatever:\nbut had it been possible I should, as I say in answer to question 3, vote for the State\nassistance of the individual rather than the Theatre.\nE. F. Spence. London.\nI. Not if directed by a Committee of human beings.\n11. My experience is hardly great enough to justify me in speaking. To the best of my\nknowledge no direct answer can be made to the question. Players of talent are to be\nfound in the National Theatres and also outside. In some, perhaps most cases, the\nplayer of genius refuses to remain in the National Theatre and endure its system, and\nmakes sacrifices to gain freedom. As a rule genius hates systems... and creates them.\nGenius for acting is not necessarily associated with a real love for art: belief in its\npower has in some cases led the player to desert the National Theatre and its compa-\nratively moderate remuneration for more profitable if perilous private enterprise.\nProbably the most brilliant period of the player of genius is that which comes almost\nimmediately after departure from a National Theatre.\n111. I think the greater advantage would be in supporting the independent effort if the\nState were able to control the player supported, and force her or him to play drama\nfor the sake of drama and not merely for the sake of acting. The fact is not suffi-\nciently appreciated that many players of genius, or great talent, have an unconscious\nantagonism to drama except so far as it is a vehicle for their acting: the chariot of\nThespis is generally put before the horse on the stage.\nThe danger to be feared from the establishment of a National Theatre in England\nis that it might become like the Royal Academy ... A home of jobbery and medio-\ncrity and that although if extraordinarily fortunate it might start with an intelligent\nmanagement it would soon become Reactionary. In the course of time the maxim that\nhe who pays the piper calls the tune would be applied and the institution would be\nmanaged for the entertainment of tax payers and not for the development of drama.\nThe tax payer generally prefers the ephemeral to the immortal; the players to the\nplay, and star dramas by Shakespeare and others would be the staple fare. Yet a Na-\ntional Theatre may be the only effective weapon with which to fight the theatrical\nTrust which after it has throttled the theatre in the United States will assail England.\nIV. I offer no opinion concerning Italy and Duse and Salvini. I fail to see that the French"}, {"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 4240, "texte": "State would have gained by supporting Bernhardt who was one of the instances of\nmy third answer and so far as we can guess from what she has done sets higher\nvalue upon her acting than upon French drama. Thirty years ago a \" National Theatre \"\nin England would have been a kind of Museum: there were not then any signs of the\ncoming of modern English drama. I do not know what the State would have gained for\ndrama by supporting Henry Irving: what lay in him he accomplished without its aid.\nAlexander Hevesi <£? Budapest.\nI. If starting from the point of view of the individual artist, few will be found to regard the\nsystem of the official theatre as a sympathetic or desirable one. National Theatres\nhave everywhere their inherent limits in tradition and convention and in this way\nthey are handicapped. But on the other hand, (and this must be distinctly understood)\ngreat artists such as Rachel always break down even traditions, and a National Theatre\nean always renew itself by the very talent of its great artists. & &\n11. The practise of the last thirty years differs materially from that of earlier times.\nFormerly In France or Germany the most prominent actors and actresses were intent\non obtaining an engagement in the National Theatre. The change noticed In our days\nmust be attributed to both artistic and material reasons. Theatres of private enters\nprise of our time are intent on securing the greatest artists, wand at prices beyond the\npower of National Theatres. Nevertheless Mr. Kainz, the greatest of German actors,\nis in Vienna at the Bourgtheater.\n111. I have no doubt whatever that independent efforts of individual actors of great talent\nare always successful, materially and artistically, without any support from the State\nor Nation. 1 find a Committee as in France unnecessary; a manager, a man of artistic\nsense and experience, will suffice and there Is no reason to talk about a \" less talented\"\nbody when the Comedie can boast of the advantage of retaining Mounet\nSully, Frandy and Mme Bartet after having lost Madame Bernhardt and Coquelin. In=\ndependent artistic efforts (I do not mean actors here) should be supported by the\nState.\nIV. As far as 1 know Mme. Duse and Slgnor Salvini never did consider support of that\nkind, because their individual efforts had been very successful. I believe a National\nTheatre according to the ideas of Heinrich Laube, the ancient manager of the Burgtheater\nin Vienna, is a thing to be desired in every land with all one's heart. Laube's proposal\nwas to create a classical repertory of international character,... a school for dramatic\nliterature and good taste, a house of culture and not of business. Perhaps lam very\npartial to the idea of the National Theatre, for in Hungary, for instance, our National\nTheatre was for the space of forty years the one only stage devoted to the purposes\nof art, and it holds at this moment, with some few exceptions, the greatest artists to\nbe found on the entire Hungarian stage. & & &\nAllen Carrie. Paris.\nI. The mere establishment of a Theatre subsidised by the state would, it seems to me,\nbe of little benefit to the Artists; but if in addition to a Theatre the Government were\nto lie aside a sum of money for the publication of serious works relating to Theatrical\nHistory, Literature and Art, so as to facilitate and assist the stage artist in his studies\nof those subjects, it would be of the highest value and advantage to the Art of the\nTheatre, since it would have the effect of sending more serious, thoughtful and better\nequipped men to the work.\n11. The greatest stage talent is in neither one nor the other, though possibly at times con«\nnected with both. \"All that glitters is not gold\" and stars may seem brilliant and yet\ndead. When private enterprise creates the theatres controlled by Mr Prohman it\nindulges in a collection of these extinct stars. Mr Frohman is, of course, only a pirate\non the high seas of an inartistic world, and the harm he does tells only against a\nfoolish group of timid London managers. Still if, the State intends to construct it should\nalso take care to destroy. It should destroy Mr Prohman, close half the Music Halls,\nand attempt the reform of some of our home-grown managers. & J£> &"}, {"page_pdf": 51, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 3996, "texte": "li. Greater advantage would accrue to the stage if it assisted in the education of ALL its\nartists as indicated in answer No. i.\nIV. 1 never saw Irving or Salvini, but Madame Bernhardt and Madame Duse have done more\nto create a sentimental unrest in the mind of the modern girl than all the Mrs\nPankhursts that ever lived. The exhibition of weeping grief and monotonous grey\ngloom of the Tragediennes of today has proved very dangerous,... more so, 1 should\nsay, than that of the sentimental novelette. If the State wanted to be of service to\nitself it would ban all such so-called \" tragedies \" as \"La Dame aux Camelias,\"\n\" Magda,\" \" Tosca \" until the chief actress had given her assurance not to cry during\nthe play or otherwise appeal for sympathy on the basis of sentimentality.\nWalter Pritchard Eaton. New York.\nI. 1 believe that in America a National Theatre is not likely to prosper, because the\nUnited States has no capital in the sense that Paris, London or Berlin are capitals. I\ndo believe, however, that various sections of the country, as New York, New England,\nthe Middle West, (Chicago) and the Pacific Coast, (San Prancisco) could and should\nindividually maintain an endowed theatre, managed by a committee and removed\nfrom politics on the one hand, from present indiosyncrasies on the other. In the\nStates the Art of the Theatre is still looked upon with too little favour for out and\nout government endowment. Private endowment must come first, till the public is\neducated to see that the play house is something more than vaudeville. We have\nhopes of our New Theatre in New York City. &\n11. lam not competent to answer.\n111. 1 do not see why the body of artists in a National Theatre company need to be ne-\ncessarily \" less talented.\" 1 can speak only for America, but here our political ideals\nwould not permit us to endow private individuals. As I naturally sympathise with\nthese ideals I should not at any time & jsr\nVI. have voted state support to Duse or Bernhardt. It seems to me a State Theatre, by\ncreating a standard, creates a competition by which private artists must gain, ... and\nas the private artists gain and grow better, so the State's standard is constantly re-\nnewed and pushed along. Has it not been so in Paris?\nHerbert Trench. London.\nI. I do. It is of service to their development indirectly. Anything which is a recognition\nby the State of the importance of great art, must indirectly serve artists by increasing\npublic respect for the artist's life and for the artist's function. Perhaps the chief dif\nficulty of an artist's life is the cultivation of self respect in the face of public neglect.\nThe existence of a National Theatre will, however indirectly, contribute to the growth\nof the Artist's self respect. I would however, qualify my reply by assuming that the\npractical direction of such a Theatre would really rest with one Director having al-\nmost dictatorial powers, and the control of the Committee would be of the slenderest\nkind. Practical control by a Committee of such an enterprise would be impossible.\n11. My observation has shown me that the greatest individual talent is usually to be\nfound in the Theatres of private enterprise: but not the [best acting of Companies\ntaken as a whole.\n111. 1 think that the methods indicated in the question are not necessarily mutually ex-\nclusive. Great advantage would accrue if the State pensioned early in life separate\nand individual artists of special talent, besides endowing certain dramatic companies.\nIV. 1 should have voted for the establishment of National Theatres and for the reasons\nIndicated partly In (i) above: and partly for the reason which leads me to be strongly\nin favour of the existence of an Academy of Letters (such as the Academy in Prance).\nIt is as much for the State's own sake i. e. for the sake of the organised nation itself,\nquite as much as for any benefit to the individual artist, that I would have a\npublicly-founded recognition of the importance of Drama. &"}, {"page_pdf": 52, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 4254, "texte": "SARAH BERNHARDT AND LUD WIG BARNEY\nON ENDOWED THEATRES.\nby Bram Stoker. 1906\nJuly 3rd 1880 Irving and Sarah Bernhardt were both at their best and spoke quite freely on\nall subjects concerning their art which came on the tapis Irving was eager to know\nthe opinion of one so familiar with the working of the French stage and yet so daring and\noriginal in her own life and artistic method.... When they touched on the subject of the\nsubsidy she grew excited and spoke of the value of freedom and independence. \" What\nuse \" she said \" subsidy, when a French actress cannot live on the salary, even at the\nComedie Francaise ?\" (5) j® 4® & j® & j® j® j® j®\nJuly Ist 1881. \" Amongst the guests were Irving and Barney. After supper someone,\nI think it was Irving... said something on the subject of State subsidy for theatres. There\nwere all sorts and varieties of opinion, for each said what was in his heart. When it came\nto Barney's turn he electrified us all. He did not say much, but it was all to the point\nand spoken In away which left no doubt as to his own sincerity. He finished up: \" Yes,\nthese are all g00d,... to some. The subsidy in France ; the system of the Hoff and the Staadt\nTheatres in Germany; and help and control in Austria which brings the chosen actors into\nthe State service. But.., \" and here his eyes flashed, his nostrils quivered, and his face was\nSit with enthusiasm,... \"Your English freedom is worth them all! \" Then springing to his\nfeet, he raised his glass and cried in a voice that rang like a trumpet, \" Freiheit I \" J®\nPersonal Reminiscences of Henry Irving\n\nOPEN AIR THEATRES. A Letter from Mr Gordon Craig.\n\nt gives us pleasure to print the following letter which we have received from\nMr Gordon Craig. S®J®J®&?J®J®J®J®\nDear Semar,\nj® It seems to me that the Theatre has nearly always longed to be \" natural \",\nthat the playwrights, actors and scene painters have nearly always struggled to\nfree themselves from being \" theatrical\". Even in the 18th century, when most things\ngloried in a sumptuous artificiality gorgeous in silver gilt, there appears a master who\nattempts to make all things \" natural\" again; and yet Moliere's plays seem to us today\nanything but natural and their ancient manner of representation strikes us as very artificial.\nj® Not for one but for many centuries men have crowned their chosen playwright for that\nhe was more \" natural \" than his fellows, yet the plays of Shakespeare no longer strike us\nas \" natural \" ; even Robertson with his \" Caste \" and \" Ours \", which were looked upon\nas very natural a few years ago and their manner of representation quite like life today\nseem antiquated, somewhat artificial. J® J® J®\n& There are some who go so far as to say|that the earlier plays of Sir Arthur Pinero and the\nlater plays by Mr Shaw have grown artificial. j® <£? & j® j® j®\nJ® Scene painting, too. A hundred years ago Clarkson Stanfield in England was painting\nscenery which amazed the critics by its \" natural \" appearance, and that, too, after they\nhad known the work of de Loutherbourg... and soon Stanfield was looked on as unnatural,\nfor Telbin the elder gave them what they asserted was very nature itself; and yet hardly\nhave they said so before they eat their words, turn their backs on Telbin and find true\nnature in Hawes Craven, only to put him away a little later for Harker who \" at last\npaints nature for us\". J® £? J® J® J® J® J®\n& Nor is it any better with the acting. The Kembles and their grand artificiality had to\nmake room for Edmund Kean, who in thirty years from then was looked on as anything\nbut natural, for was not Macready \" more natural \", and in a few years time all of these\nactors seemed to us stilted and artificial when Henry Irving appeared. And now we talk\nof Irving's artificiality by the side of Antoine's natural acting; \"it is nature itself \"\ncry the critics, and soon Antoine's natural acting is to become mere artifice by the side of\nthe acting of Stanislawsky. J® J® J® J® *® J® J® J®\nJ® What then are all these manifestations of this \" nature \" ? J® & J® J®\n\n1) The Salary received by Mme. Bernhardt averaged L. 1143.0.0 a year. We should have thought this was sufficient for any actress to \" live on\n\nP lay wrights.\nScene painter?.\nA c to 1 s."}, {"page_pdf": 53, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 2044, "texte": "I find them one and all to be merely examples of a new artificiality.... the artificiality\nof naturalism.\nDramatists, actors, scenic artists are under a spell do you remember the story of\nthe Sleeping Beauty?.... and the spell must be broken before they can awake. To break\nit will be at once most hard and most easy most hard to those who were born to sleep,\nmost easy for one born to awaken; but most assuredly until this spell be broken, utterly\nand entirely destroyed, all the plays, acting and scenes on the stage of Europe must and\nwill remain theatrical, (i) j® j® j® j® j® j®\nj® I do not think the time has arrived when I can give you a hint of how to break this\nspell which lies over the European Theatre; besides my purpose in writing this letter is to\nput a question to you, not to answer one. Should you find the question itself is connected\nin anyway with what I have written as preface and should you have space in your journal\nto invite replies to what 1 ask 1 believe some good might come of it.\nj® But it might be born in mind that I have put my question to you without any thought\nof what is called its 44 practicality \", and that the answers must be made in the same spirit*\nThere is always a very natural desire in man, (born of a sound caution) to keep things\non a practical basis, and when we discuss Economic or Hygenic questions it is as well to be\nas practical as possible. u®y®j®y®j®j®j®y®y®\nj® But where the question takes us outside that radius and when we enter into discus=\nsion of those things which emanate from the spirit, such as the Arts or Philosophy, we\nmight do well to consider them in as Ideal a manner as they deserve ; we can later on re=*\nturn to earth and attempt their symbolisation. My question is this: &\no you feel that the open air Theatre is the right place in which to present the\npeople with that which we call the Art of the Theatre, or do you feel that a\nroofed in theatre is better? The first supplies us with natural conditions, the\nsecond with artificial conditions. & & & & Yours truly,"}, {"page_pdf": 53, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.53", "debut_caractere": 2066, "fin_caractere_exclue": 3046, "texte": "The Question\n\nGordon Craig.\n\n(I) Here we have to acknowledge that a certain charm, (the very essence and reflection of that Romance which comes to us in Books. ...)\n»es in the pretty or swaggering artifice of the \" theatrical We most of us love the fun of the sham, and admire the playfulness oil\ntinsel, powder and rouge, but all of us in the Theatre, from the first actor of the realm to the last call boy of the provinces, are longing\nwith all our hearts fo the whole spirit of nature to take possession of this, the home which we love.\n\nTHE WISE AND FOOLISH VIRGINS.\nA. C.\n\n& He Women are worthless on the stage. & & & & &\n& She. Women are invaluable.\n& He When yon say that you substitute a new value for the old one. Women are more\nvaluable than you think. It is because you undervalue them that you say they are\nble on the stage. Their value is in the natural, not in the artificial world ; in the greater,\nnot in the less ; in the substance, and not in the shadow. & jg/ &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c029", "article_bluemountain": "bmtnaau_1909-10_01#c029", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "89", "image_debut": 41, "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=bmtnaau190910-01.2.15.1", "titre_corps": "AN INTERNATIONAL SYMPOSIUM", "titre_sommaire": "AN INTERNATIONAL SYMPOSIUM", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.41", "debut_caractere": 55, "fin_caractere_exclue": 3575, "texte": "AN INTERNATIONAL SYMPOSIUM.\n\nince Shakespeare died it is close upon three hundred years.\nHe was a member of a Company called The Queen' s Compa-\nny. This Company had a figure head, or patron, the Earl of\nLeicester. In 3594 the Earl' s place as patron and licenser was\nfilled by one Lord Chamberlain and in 1597 by another Lord\nChamberlain. The Company was then promoted; it became\nknown as King' s Players. This company acted in \" The\nTheatre \", the first English Theatre to be built. &\nToday all theatres in England are private enterprises. Many\nof Shakespeare' s plays have become popular In England\nthrough the instrumentality of the actors ; Betterton, Garrick,\nKemble, Kean, Macready, Phelps and Irving assisted by the\nactresses Sarah Siddons, Helen Faucit and Ellen Terry.\nThese actors have not always found the plays of Shakespeare profitable in a monetary\nsense but have always been eager to interpret the half dozen celebrated Shakespearean\ncreations knowing that posterity will applaud the actor whose name is most closely asso-\nciated with that of Shakespeare's heroes, &\nAnother cause of Shakespeare's popularity is the \" lavish scenic elaboration \" with\nwhich some managers have presented the plays. Of Shakespeare's thirty seven plays twenty\nsix are acted now and again ; eight to ten quite often, and a very few regularly. It is seldom\nthat London is without one or even two such revivals. But there is no theatre in England\nin which his plays are to be heard all the year round. & & jg? & &\n& A foreigner coming to England after his first glance at London naturally asks where he\ncan see a true English interpretation of the great English Dramatist. No one is able to\ninform him. The productions of Shakespeare are fitful, and their style is not any more\nEnglish than German, or American. In short, there is no Shakespersan style; and\nthe nearest approach to this, (though we are not happy to admit it) is the \" resurrection \"\nstyle attempted by Mr William „Poel, which purposes to place the productions on the stage\nin the same manner as they were presented in Shakespeare's lifetime.\nTo a foreigner this can only suggest a stage of stagnation. He looks for some decided\nyet nobly restrained development based upon the principles hinted at by Shakespeare, but\nhe does not expect to appreciate the undeveloped amateurism of the resurrectionists. He\nreturns to his country and tells them that in England Shakespeare is not seriously treated\non the stage, that the National Drama does not flourish, and the result is that Germany\nannexes our Drama.\n& In 1897 no fewer than nine hundred and thirty performances were given in Germany of\ntwenty four plays by Shakespeare. In 1898 performances of twenty eight plays reached a\ntotal of eight hundred and ninety five, an average of nearly three Shakespearean represen-\ntations a day in the German speaking district of Europe. \" &\nAnd the mere performance of these plays is not the only way in which this spirited\nland aims to make up the deficiency which England has created. Germany attempts to\nwin the first place in its manner of representing Shakespeare. To this end it treats the\nwhole question of \" production\" as seriously as though life and death depended on it.\nPatrons are all eager to assist, artists to advise and the theatres to carry out each and\nevery idea at all original. In this it over-reaches the main object which is to attempt to\nproduce these Dramas in the most Shakespearean manner, that is, in the most Imaginative\nor Poetical way. & & &"}, {"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 3176, "texte": "In England some managers are more Romantic than Poetic, more Inventive than imagi-\nnative; they are clever rather than calm, they present Shakespeare in patches, some floridly\nbrilliant, others inadequate we see the bare boards through them. Or else they produce\nwith a dull touch, the touch of the Provinces; everything is thought out, nothing left to\nchance, not even any chance inspiration of a moment. Of the two manners the florid is the\nbest, and that is impossible for us to take our friends from Paris or Berlin to see.\n& Will a National Theatre if it is established remedy all this? That is what we want to find\nout and that is why we have asked the four following questions. We believe that the world\nand the stage has not yet understood the main reason which underlies the success or failure\nof the production of noble Drama; we fear that everyone who replies to these questions\nwill do so in the belief that it is the State or the Star Actors who hold the key to the\nTheatre's secret. & We shall see.\nTHE QUESTIONS.\nI. Do you believe a National Theatre, directed by a Com-\nmittee, is advantageous to the development of our Artists ?\n11. Has your experience shown you that the greatest talent\nis to be found in the National Theatres of Europe, or\nin the Theatres of private enterprise ?\n111. Do you think greater advantage would accrue to the\nState if it supported the independent efforts of individual\nartists of great talent, rather than a collective and less\ntalented body of artists under the control of a Committee ?\nV. If you had been asked the question thirty years ago\nwould you have voted in favour of the State supporting\nMadame Bernhardt, Madame Duse, Tommaso Salvini\nand Henry Irving, or would you have been in favour\nof the Nation supporting the National Theatre of France,\nand proposed National Theatres in England and Italy?\nTHE ANSWERS.\nWilletn Rooyards, •£? Amsterdam.\nI. I do not believe in any National Theatre, directed by a Committee, as being in any\nway advantageous to the development of our artists. & *£? &\nII. My experience has shown me that the greatest talent is not to be found in any Na-\ntional Theatre of Europe, but surely in the theatres of private enterprise. If there\nis a really great talent in any National Theatre it is nearly always hindered in its\ndevelopment by the Committee which directed that body. I except some Geniuses\nthat are not to be killed.\nIII. I certainly believe that greater advantage will accrue to the State if it support the\nindividual efforts of individual artists of great talent than by supporting a National\nTheatre that stands under the control of a Committee. &\nIV. I certainly should have voted in favour of the State supporting such talents as Ma-\ndame Bernhardt, Madame Duse, Signer Salvinl or Sir Henry Irving instead of the State\nsupporting the National Theatre of France, of England or of Italy; supposing England\nand Italy had had National Theatres at that time, if the same question had been asked\nme thirty years ago. I am sure that our art would have had a greater development\nin the last thirty years If the State had supported the individual efforts of each of\nthese well-known artists. &"}, {"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4512, "texte": "Jan %/aa s s en Emmerich.\nI. 1 should say that a National Theatre, no matter who directed It, would prove an ad-\nvantage to everything except itself. &\n11. For the moment that a nation indulges In a special theatre of its own, the humbug\nand snobbery of the place acts as an incentive to all the discontented actors; and dis-\ncontented actors are most desirable people They keep things alive whenever\nthere is any sign of decay. There would be no discontented actors Sf the frauds were\nnot in the high places.\n111. I never knew a state that was clever enough to pick out its artists of great talent\nfrom the horde of professionals jwho call themselves or get called \" artists. \" It is\non record that two of the most discerning States, Athens and the Florentine Republic,\nbanished two fairly good artists from the land; Euripides and Dante. The former wrote\nsome good plays and the latter some good \"poetry; judging from this it seems hardly\nlikely that any State today will act as it should towards its nobler children even if\nit continue to pamper its incompetent sucklings. &\nIV. Thirty years ago, had I been an Englishman, I should have voted for your Irving;\nand if like Chicot in Dumas' novel I could have managed to do a little elegant cheating\nI should have recorded my vote twenty times over. I should not have voted for Sal-\nvinl had I been an Italian for his talent as a stage manager was small. I should cer-\ntainly not have voted for the adorable Madame Bernhardt or the divine Madame Duse\nfor I am of the opinion that the director of a stage should not be subject to ner-\nvousness nor governed by sentiment.\n■ .m.n w•* m *■. * . i-w U'Wi'iUl wy H\"'U'iPWUIJ JVil'mWU»■ WW WWW. U WJP WM 'AiTH.9JU. 4 JtWtmJWLMMW-'MH WPBCTCTTOLBJIWiWAaWJ■■HUI-PMWfI-^\"WJMWtW-'WW AWM P^Li.M^..^B^graßW.^W-LIM.IJLLBIKJ!iiMIIIII W* ■ \"'- ~\nPercy Mackaye & Windsor, Vermont.\n1, Believing that the art of the theatre is capable of becoming the highest Influence for\ncivilization in modern society, I believe that every civilized community, whether natio-\nnal or municipal, should recognize the fact that the theatre, as an institution, exerts\na ceaseless and powerful influence for or against the public good. Instituted upon a\nbasis of private commercial speculation, the theatre tends, I think, naturally to exert\ninfluences against the public good. The incentives of Its artists, as such, are Inevitably\nopposed to the incentives of Its controlling directors, as such. For the former, by\nself-interest, desire to lead public taste toward higher standards; whereas the latter,\nby self-interest, desire to cater to public taste according to existing standards what\never they happen to be. Therefore, I believe that every civilized community should\ntake steps to change the basis of the theatre as an institution from Its prevailing\nbasis of private speculation for money profit to some basis which shall completely\nharmonize the incentives of its artists and its controlling directors. Such should be\nthe basis of a National Theatre. The first essential of such a theatre is, I think,\nabsolute financial independence. Absolute financial independence, however, may be\nwisely used,or it may be abused. The second great coessential, therefore, is harmo-\nnious organization : organization adapted permanently to promote the prime object of\nsuch financial independence, namely :the development of artists, creative and Inter-\npretative. &\nMy answer, then, to this question, is this ; It depends upon the constitutional\npower and personal qualifications of the committee. &\nA National Theatre, however, would defeat its own ralson d' etre if It should appoint\na committee opposed to the development of artists. £/ & & &\nli. My experience does not enable me to answer.\n111. The alternative suggested should be avoided by an enlightened state. The state should\nseek its own advantage by so organizing the institution of the theatre as to\nattract and support the co-operative efforts of the most talented artists.\nIV. Doubtless it is true that all co-operative Institutions of art tend to become sluggish\nthrough routine. This tendency however, is perennially checked by the schism of\nIndividual artists, who revolt from academic restraint, leaven the people with their\nspecial genius, and so, by reflex, reinvigorate the supply of the co-operative insti\ntutfon. But these individual careers take their essential significance from the fact of this\nrevolt... Lucifer rebelled from an established Heaven not from Chaos,... Unhappy the"}, {"page_pdf": 44, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 4043, "texte": "state which possesses no artistic norm, from which individual genius may rebel. Ame-\nrica artistically to-day is such a state. In France, the Theatre Antoine would lack its vital\nsignificance but for the existence of the Theatre Thus the chief function\nof a National Theatre is the assertion, by achievement, of standards, which may be\nchallenged and corrected only by the counter-achievement of great artists. & &\nMy answer, then, to this question, is this: I would have voted to have the state\nsupport the artists named through the National Theatres named. The fact that no\nEnglish National Theatre existed to support Henry Irving is an artistic indictment of\nEngland, not of a National Theatre per se. &\nBernard Shaw & London.\nI. Yes. The reason that all artists become more or less idiots (in the strict sense of the\nword) is that they so seldom get that discipline In convincing and considering\nother people that a committee affords. Europe is strewn with the wrecks of the bril-\nliant talents that have been thrown away for want of this social training.\n11. In the National Theatres, of course. The National Theatres are but a small percentage\nof all the theatres, and a slightly larger percentage of the greatest talent Is enough\nto give them the superiority. But it must be borne in mind that under our commer-\ncial system no actor who can fill a theatre and manage a theatre for himself is likely\nto stay in a National Theatre. Coquelin and Sarah Bernhardt left the but not for\nartistic reasons. Irving would probably have left an English National Theatre. But the\nsuperiority remains with the National and quasi National Theatres, including the\nOpera houses. \" The greatest talent \" does not include the highest genius, which,\nas in Wagner's case, can hardly expect an official organ for its revolutionary workc\n111. The two things are not alternative: why should not the State do both ? In France\nnot only is the subsidized ; but M. Lugne Poe enjoys a State subsidy for\nhis enterprise called L' Oeuvre. That would be impossible If the State had not already\nbegun with what is virtually a National Theatre, and discovered the limitations of\nthat method. Not until we have a National Theatre in England will it be possible to\nget, as an extension of this principle, a subsidy for an individual dramatic artist.\nIV. I should have voted for the State doing both. If Irving had had State support and\npublic responsibility, he could have done work that a concurrent National Theatre\nwould not have done; and he would at the same time have been compelled by the\nexample of the National Theatre to treat the works of Shakespeare with some respect.\nAs it was; the only thing the State did for him was to prevent him from producing\nplays of which the heroes were Mahomet and Robert Emmett. A conditional subsidy\nmight have saved him. Even a committee might have saved him. It was his appalling\nisolation, his attempt to live on himself and by himself alone, that led to the downfall\nof his theatre. Anything is better for an artist than the solitary despotism of his\nown temperament.\nSir H. Beerbohm Tree & London.\nI. It is good to have a National Theatre so that the Classical repertory may be preserved,\nIt is also a recognition of the art of the theatre and therefore desirable. & &\n11. The most vital art springs, I think, from individual effort.\n111. Individual artists of outstanding powers rise superior to and independent of the\ntrammels and shackles of Committees. &&&&&&\nIV. Take away the struggle and you lessen the energy of the man.\nGordon Craig Florence.\nI. Do I believe a National Theatre, elected by a Committee, Is advantageous to the deve-\niopment of our Artist t & & &\nI do not. A Committee is often less capable of keeping its temper than an Individual.\nAnd the Theatre is as trying to the temper as it was in 400 B. C. in Greece, in 400 A. D. in\nRome, and in the Middle Ages in Italy. Apollo and Dionysus are still at war in the Theatre\nPuncinello still fights Roscius and the minstrel squabbles with both; whilst the new"}, {"page_pdf": 45, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 4586, "texte": "actor, the socially immaculate one, threatens to filch with hypocritical hands the very\nsoul of the Theatre and put it in his pocket* It is well he should not be a social an&t*\nchist, but to have accidentally washed away his talent with his roguery and vagabondage\nwas not clever of him.\nTo me there seems to be but one way to save the Theatre from itself: it is to remove\nthe Art out of the Theatre; to transfer it to a place of safety for a certain period; to\na university or to a church, and there to await developments. & & &\nOur artists \" are never going to be developed, therefore a Committee cannot force\nthem to it* 44 Our artists \" are persons to whom it gives quite exceptional delight to\nsneer at the word 44 culture ** * 44 Our artists \" are those actors, actresses, stage managers,\nscene painters, etc., whose very existence is dependent upon the Theatre remaining\n*//f-developed\nThe actors have for centuries had it in their power to preserve noble instead of base\nart traditions in the Theatre; they have chosen to preserve the base and thereby\nthey have abdicated all right to act as the real guardians of the institution although\ny they still masquerade as such* It is not so long ago that they laboured side by side\nWith the other priests of three noble religions and strove to express by their gift# the\nprofound truths of which now they make a jest for the sake of a 44 name \" and cash.\nThe actors have not been judged rashly after a short trial, and they have but condemned\nthemselves. Their retreat from the Holy Land, their ejection or flight from the Church\nand their subsequent antagonism to the Church,.... who knows, perhaps, their defeat\nof the Church ?.... all this justifies a nation in withdrawing its trust from meis who\nhave failed for so many centuries to withstand the transient material advantages of*\nfered to them by the mob, and who have been blind to the spiritual and political in-\nfluence they once exerted* &\n11. 44 The greatest talent\"? Well, 1 suppose the Private Theatres have the best of it* But\nfor my part, though I have searched in Europe, I have found but little talent at\nfor the Standard is so low* In one particular theatre of private enterprise I ft&vo\nfound more talent than in all the other theatres of Europe put together. But it is a\nresult of long training under perfect masters. And the same thing would be the case\nif the stage director of this theatre were to obtain control of, let us say, the Royal\nOpera in Paris. But he would have to be given a free hand for fifteen years. These\nthings cannot be done in a hurry at the twelfth hour. England is sometimes inclined\nto forget this. She sometimes wastes the power and patience of her sons until it is\nvery late, and they very old and tired, and then when in a difficulty, begs them to\nsave the situation which she in her arrogance has created. It is too late then. In\norder to establish a serious theatre in London it will take ten years hard up-hill work\nand then success will only come if some great talent or genius can be found to under-\ntake the task unhampered by intrigue, and loyally assisted by ten or fifteen men of\nvery exceptional ability. When a serious and well-organised theatre can be formed,\nnobler plays will then receive the treatment on the boards which is due to them\nand dramatists will be encouraged. & & & & & &\nHI. The State, like everything else, has itself to support. It rests with itself to decide\nwhether a noble and non-commercial Theatre is more beneficial to its health than a\ndegraded and mony-making Theatre; and the difficult task it sets itself is to discern\nthe difference between a noble Theatre and a claptrap Theatre. The latter class of\nTheatre can be observed any day from the comfortable seat of a hansome cab if the\ndriver is directed to go down Shaftesbury Avenue, the Haymarket, turn down to St\nJames' Palace, back through Pall Mall into St Martin's Lane and turn down the Strand.\nThe non-commercial Theatre must be imagined. This is not so difficult... with prac-\ntise, and when once it has been imagined by the artist the State has the power to\nassist in the realisation of the Dream.\nIV. To me there is no longer any doubt that when the State decides to support anything\nit does so with the best intentions, often with much real success and always with tact.\nIt does not seem to me that the State is always responsible for its mistakes. It acts\nin such matters as it thinks will lead to the best results for all people. As a rule it\nweighs all things impartially, it judges without haste, and it acts upon its final judge-"}, {"page_pdf": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 4849, "texte": "ment. And I am sure that if the matter of a State-aided Theatre could be weighed\nimpartially, and all things relating to it judged with justice, we should have as good\nState Theatres as State Ships and State Laws. But it has been well said that Art\ntakes long to learn and that life is very short, and we have learnt that the whole\nlifetime of the artist given up unselfishly to the study of a single art is not too Song\na time in which to learn some of its most profound truths. It is therefore difficult to\nsee how holders of the State offices can be expected to devote the same amount of\ntime to study this art so as to have the requisite knowledge of what kind of theatre\na State Theatre should be. If the State decides to interest itself in such matters it\nseems to me that its representatives should first carefully consider the conclusions\narrived at by the most single-minded professors of the Art of the Theatre. And it is in\nselecting advisers.... these most single-minded professors... from the Theatrical Profession\nthat their greatest difficulty lies. Should they choose aas adviser one who has worked all\nhis life for popularity they will be courting a danger which must be obvious to all who\nhave studied the Rise and Fall of the Theatre of the Roman Empire. If they decide to\naccept the advice of an actor or actress they run even greater risks. Neither can an\nenthusiastic student of the antique theatre be of assistance to them for he confuses\nyesterday with today. And a Theatrical Business Director would be unthinkable as an\nadviser. Those who could give the best advice are often the last to be consulted. They\nare the few independent thinkers in the European Theatre. They may be Russians,\nItalians, English or Hungarians; it matters but little what nationality they are; they\nare faithful sons of the Theatre who have not wasted the talent with which they were\nentrusted. In my opinion it is these men who if possible should be invited to tell the\nState the result of their experience, for they look towards the future of the Theatre\nwith grave eves, neither hopeless of its present unstable condition, nor indifferent as\nto its mighty past. There are such men in Moscow; there is one in Budapest; one in\nHolland, one In America, and possibly one or more in England. Most of these men are\nthe stage managers of the first Theatres of their country, and it is due to the fact of\ntheir having served for many years in the position of stage manager which in my opi-\nnion entitles them to speak with authority on this matter. If they were great dramatic\npoets they might be less provided with the necessary experience; if they were great\nactors they would be prejudiced ; but being stage directors as well as men of conside-\nrable culture, they look upon the stage and its poets, actors and other craftsmen as\na Father may do upon his Home with its Family. The Stage-manager, provided he is an\nartist and a serious thinker, is the only man of the Theatre who is unable to find a\npreference for any one member of this family. He regards all alike. He anticipates\nthe future; he is far sighted ; he knows that the Theatre cannot continue long mas-\nquerading as the poor relation of the other arts; he knows that sooner or later the\nTheatre must cease from depending for its support on the poet, the painter and the\nmusician; he has learnt from Nietzsche the trick which Wagner has played on the\nTheatre; he has seen through the trick which the painter has tried of late to play\nupon the Theatre, and he feels that dependence on the poet since the time of Elizabeth\nhas robbed him and his fellows of all initiative, and he is prepared for the tasks by\nwhich he can gain strength and in the far future win back once more what is his....\nthe Art of the Theatre. This is the thought that stirs the imagination of the stage\nmanager whose eyes are gravely fixed on the future of the Stage, and though there are\nonly a handful of such men they have their followers and there are amongst them the\nmost serious men of today. And it is important to bear in mind that this far-sighted\nvision of the ultimate liberty of the Theatre is necessary to even the most conser-\nvative of stage managers for as it is only by very slow and cautious steps that\nsuch reforms can be effected, yet is it of paramount importance that those\nsteps be taken in the right direction; and no one who looks at the Art and the\nInstitution at close range can perceive the right direction. Only the visionary can do this.\nTo over-estimate the importance of the Art which is today coffined in the Theatrical Crypt\nis neither my intention nor is it in my power to do so. This Art is as important as any\nother Fine Art; it is as important as Music, as Architecture, and it is the compliment\nof hese two. But the coloured Christmas card culture which in the teeth of common"}, {"page_pdf": 47, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 4203, "texte": "sense and conventional good taste displays its impertinence night after night, year\nafter year upon our English Stage and claims the right to be held as artistic, for this\nto be judged as a work of art and to receive the distinctions due to a work of art,\nthis the state should attempt to estimate at its true value as quickly as possible. The\nState, if it decides to consider the desirability of aiding the Theatre, should not refuse\nto accept the evidence of that portion of the population which possesses that innate\nif conventional good taste that despises what is termed the \"THEATRICAL,\" otherwise\nthe State might live to realise and regret that it had subsidised not a great art but a\nglaring vulgarity. This is my answer then to your fourth question:... That it is de-\nsirable that the State support none but the most gifted stage managers if the State\ndecides to support the Theatre at all; and that the stage managers 1 allude to must be\nartists: and that in order to select these Englishmen they should if possible first\nconsult a collective International Committee of such artists in order to understand\nentirely what are the qualifications of an Ideal Stage Director.\nMartin Harvey London.\nI. I should pray that the Committee would have nothing whatever to do with the develop-\nment of the artists. This should be the care of the producer of the plays or the stage\nmanager. I myself received infinite advantage from being under the greatest producer\nand stage manager; viz: Henry Irving. & & & & &\n11. Alas! I have not sufficient knowledge of the National Theatres of Europe to answer\nyour question. & &\n111. 1 most emphatically do: but this is too much to hope for!\nIV. Thirty years ago I was too young to form an opinion on any subject whatever:\nbut had it been possible I should, as I say in answer to question 3, vote for the State\nassistance of the individual rather than the Theatre.\nE. F. Spence. London.\nI. Not if directed by a Committee of human beings.\n11. My experience is hardly great enough to justify me in speaking. To the best of my\nknowledge no direct answer can be made to the question. Players of talent are to be\nfound in the National Theatres and also outside. In some, perhaps most cases, the\nplayer of genius refuses to remain in the National Theatre and endure its system, and\nmakes sacrifices to gain freedom. As a rule genius hates systems... and creates them.\nGenius for acting is not necessarily associated with a real love for art: belief in its\npower has in some cases led the player to desert the National Theatre and its compa-\nratively moderate remuneration for more profitable if perilous private enterprise.\nProbably the most brilliant period of the player of genius is that which comes almost\nimmediately after departure from a National Theatre.\n111. I think the greater advantage would be in supporting the independent effort if the\nState were able to control the player supported, and force her or him to play drama\nfor the sake of drama and not merely for the sake of acting. The fact is not suffi-\nciently appreciated that many players of genius, or great talent, have an unconscious\nantagonism to drama except so far as it is a vehicle for their acting: the chariot of\nThespis is generally put before the horse on the stage.\nThe danger to be feared from the establishment of a National Theatre in England\nis that it might become like the Royal Academy ... A home of jobbery and medio-\ncrity and that although if extraordinarily fortunate it might start with an intelligent\nmanagement it would soon become Reactionary. In the course of time the maxim that\nhe who pays the piper calls the tune would be applied and the institution would be\nmanaged for the entertainment of tax payers and not for the development of drama.\nThe tax payer generally prefers the ephemeral to the immortal; the players to the\nplay, and star dramas by Shakespeare and others would be the staple fare. Yet a Na-\ntional Theatre may be the only effective weapon with which to fight the theatrical\nTrust which after it has throttled the theatre in the United States will assail England.\nIV. I offer no opinion concerning Italy and Duse and Salvini. I fail to see that the French"}, {"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 4240, "texte": "State would have gained by supporting Bernhardt who was one of the instances of\nmy third answer and so far as we can guess from what she has done sets higher\nvalue upon her acting than upon French drama. Thirty years ago a \" National Theatre \"\nin England would have been a kind of Museum: there were not then any signs of the\ncoming of modern English drama. I do not know what the State would have gained for\ndrama by supporting Henry Irving: what lay in him he accomplished without its aid.\nAlexander Hevesi <£? Budapest.\nI. If starting from the point of view of the individual artist, few will be found to regard the\nsystem of the official theatre as a sympathetic or desirable one. National Theatres\nhave everywhere their inherent limits in tradition and convention and in this way\nthey are handicapped. But on the other hand, (and this must be distinctly understood)\ngreat artists such as Rachel always break down even traditions, and a National Theatre\nean always renew itself by the very talent of its great artists. & &\n11. The practise of the last thirty years differs materially from that of earlier times.\nFormerly In France or Germany the most prominent actors and actresses were intent\non obtaining an engagement in the National Theatre. The change noticed In our days\nmust be attributed to both artistic and material reasons. Theatres of private enters\nprise of our time are intent on securing the greatest artists, wand at prices beyond the\npower of National Theatres. Nevertheless Mr. Kainz, the greatest of German actors,\nis in Vienna at the Bourgtheater.\n111. I have no doubt whatever that independent efforts of individual actors of great talent\nare always successful, materially and artistically, without any support from the State\nor Nation. 1 find a Committee as in France unnecessary; a manager, a man of artistic\nsense and experience, will suffice and there Is no reason to talk about a \" less talented\"\nbody when the Comedie can boast of the advantage of retaining Mounet\nSully, Frandy and Mme Bartet after having lost Madame Bernhardt and Coquelin. In=\ndependent artistic efforts (I do not mean actors here) should be supported by the\nState.\nIV. As far as 1 know Mme. Duse and Slgnor Salvini never did consider support of that\nkind, because their individual efforts had been very successful. I believe a National\nTheatre according to the ideas of Heinrich Laube, the ancient manager of the Burgtheater\nin Vienna, is a thing to be desired in every land with all one's heart. Laube's proposal\nwas to create a classical repertory of international character,... a school for dramatic\nliterature and good taste, a house of culture and not of business. Perhaps lam very\npartial to the idea of the National Theatre, for in Hungary, for instance, our National\nTheatre was for the space of forty years the one only stage devoted to the purposes\nof art, and it holds at this moment, with some few exceptions, the greatest artists to\nbe found on the entire Hungarian stage. & & &\nAllen Carrie. Paris.\nI. The mere establishment of a Theatre subsidised by the state would, it seems to me,\nbe of little benefit to the Artists; but if in addition to a Theatre the Government were\nto lie aside a sum of money for the publication of serious works relating to Theatrical\nHistory, Literature and Art, so as to facilitate and assist the stage artist in his studies\nof those subjects, it would be of the highest value and advantage to the Art of the\nTheatre, since it would have the effect of sending more serious, thoughtful and better\nequipped men to the work.\n11. The greatest stage talent is in neither one nor the other, though possibly at times con«\nnected with both. \"All that glitters is not gold\" and stars may seem brilliant and yet\ndead. When private enterprise creates the theatres controlled by Mr Prohman it\nindulges in a collection of these extinct stars. Mr Frohman is, of course, only a pirate\non the high seas of an inartistic world, and the harm he does tells only against a\nfoolish group of timid London managers. Still if, the State intends to construct it should\nalso take care to destroy. It should destroy Mr Prohman, close half the Music Halls,\nand attempt the reform of some of our home-grown managers. & J£> &"}, {"page_pdf": 51, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 3996, "texte": "li. Greater advantage would accrue to the stage if it assisted in the education of ALL its\nartists as indicated in answer No. i.\nIV. 1 never saw Irving or Salvini, but Madame Bernhardt and Madame Duse have done more\nto create a sentimental unrest in the mind of the modern girl than all the Mrs\nPankhursts that ever lived. The exhibition of weeping grief and monotonous grey\ngloom of the Tragediennes of today has proved very dangerous,... more so, 1 should\nsay, than that of the sentimental novelette. If the State wanted to be of service to\nitself it would ban all such so-called \" tragedies \" as \"La Dame aux Camelias,\"\n\" Magda,\" \" Tosca \" until the chief actress had given her assurance not to cry during\nthe play or otherwise appeal for sympathy on the basis of sentimentality.\nWalter Pritchard Eaton. New York.\nI. 1 believe that in America a National Theatre is not likely to prosper, because the\nUnited States has no capital in the sense that Paris, London or Berlin are capitals. I\ndo believe, however, that various sections of the country, as New York, New England,\nthe Middle West, (Chicago) and the Pacific Coast, (San Prancisco) could and should\nindividually maintain an endowed theatre, managed by a committee and removed\nfrom politics on the one hand, from present indiosyncrasies on the other. In the\nStates the Art of the Theatre is still looked upon with too little favour for out and\nout government endowment. Private endowment must come first, till the public is\neducated to see that the play house is something more than vaudeville. We have\nhopes of our New Theatre in New York City. &\n11. lam not competent to answer.\n111. 1 do not see why the body of artists in a National Theatre company need to be ne-\ncessarily \" less talented.\" 1 can speak only for America, but here our political ideals\nwould not permit us to endow private individuals. As I naturally sympathise with\nthese ideals I should not at any time & jsr\nVI. have voted state support to Duse or Bernhardt. It seems to me a State Theatre, by\ncreating a standard, creates a competition by which private artists must gain, ... and\nas the private artists gain and grow better, so the State's standard is constantly re-\nnewed and pushed along. Has it not been so in Paris?\nHerbert Trench. London.\nI. I do. It is of service to their development indirectly. Anything which is a recognition\nby the State of the importance of great art, must indirectly serve artists by increasing\npublic respect for the artist's life and for the artist's function. Perhaps the chief dif\nficulty of an artist's life is the cultivation of self respect in the face of public neglect.\nThe existence of a National Theatre will, however indirectly, contribute to the growth\nof the Artist's self respect. I would however, qualify my reply by assuming that the\npractical direction of such a Theatre would really rest with one Director having al-\nmost dictatorial powers, and the control of the Committee would be of the slenderest\nkind. Practical control by a Committee of such an enterprise would be impossible.\n11. My observation has shown me that the greatest individual talent is usually to be\nfound in the Theatres of private enterprise: but not the [best acting of Companies\ntaken as a whole.\n111. 1 think that the methods indicated in the question are not necessarily mutually ex-\nclusive. Great advantage would accrue if the State pensioned early in life separate\nand individual artists of special talent, besides endowing certain dramatic companies.\nIV. 1 should have voted for the establishment of National Theatres and for the reasons\nIndicated partly In (i) above: and partly for the reason which leads me to be strongly\nin favour of the existence of an Academy of Letters (such as the Academy in Prance).\nIt is as much for the State's own sake i. e. for the sake of the organised nation itself,\nquite as much as for any benefit to the individual artist, that I would have a\npublicly-founded recognition of the importance of Drama. &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c031", "article_bluemountain": "bmtnaau_1909-10_01#c031", "volume": "bmtnaau_1909-10_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": 49, "image_fin": 49, "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=bmtnaau190910-01.2.15.1.2", "titre_corps": "Design for a back cloth for a Stage Scene Reprinted from \"The Page\" 1900", "titre_sommaire": "Design for a back cloth for a Stage Scene Reprinted from \"The Page\" 1900", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 90, "texte": "Design for a back cloth for a Stage Scene Reprinted from \"The Page\" 1900.\nby Gordon Craig."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c032", "article_bluemountain": "bmtnaau_1909-10_01#c032", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "90", "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=bmtnaau190910-01.2.15.2", "titre_corps": "SARAH BERNHARDT AND LUD WIG BARNEY ON ENDOWED THEATRES", "titre_sommaire": "SARAH BERNHARDT AND LUD WIG BARNEY ON ENDOWED THEATRES", "signature_source": "Bram Stoker", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 1588, "texte": "SARAH BERNHARDT AND LUD WIG BARNEY\nON ENDOWED THEATRES.\nby Bram Stoker. 1906\nJuly 3rd 1880 Irving and Sarah Bernhardt were both at their best and spoke quite freely on\nall subjects concerning their art which came on the tapis Irving was eager to know\nthe opinion of one so familiar with the working of the French stage and yet so daring and\noriginal in her own life and artistic method.... When they touched on the subject of the\nsubsidy she grew excited and spoke of the value of freedom and independence. \" What\nuse \" she said \" subsidy, when a French actress cannot live on the salary, even at the\nComedie Francaise ?\" (5) j® 4® & j® & j® j® j® j®\nJuly Ist 1881. \" Amongst the guests were Irving and Barney. After supper someone,\nI think it was Irving... said something on the subject of State subsidy for theatres. There\nwere all sorts and varieties of opinion, for each said what was in his heart. When it came\nto Barney's turn he electrified us all. He did not say much, but it was all to the point\nand spoken In away which left no doubt as to his own sincerity. He finished up: \" Yes,\nthese are all g00d,... to some. The subsidy in France ; the system of the Hoff and the Staadt\nTheatres in Germany; and help and control in Austria which brings the chosen actors into\nthe State service. But.., \" and here his eyes flashed, his nostrils quivered, and his face was\nSit with enthusiasm,... \"Your English freedom is worth them all! \" Then springing to his\nfeet, he raised his glass and cried in a voice that rang like a trumpet, \" Freiheit I \" J®\nPersonal Reminiscences of Henry Irving"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c033", "article_bluemountain": "bmtnaau_1909-10_01#c033", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "91", "image_debut": 52, "image_fin": 53, "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=bmtnaau190910-01.2.15.3", "titre_corps": "OPEN AIR THEATRES : A Letter from Mr Gordon Craig", "titre_sommaire": "OPEN AIR THEATRES : A Letter from Mr Gordon Craig", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.52", "debut_caractere": 1590, "fin_caractere_exclue": 4254, "texte": "OPEN AIR THEATRES. A Letter from Mr Gordon Craig.\n\nt gives us pleasure to print the following letter which we have received from\nMr Gordon Craig. S®J®J®&?J®J®J®J®\nDear Semar,\nj® It seems to me that the Theatre has nearly always longed to be \" natural \",\nthat the playwrights, actors and scene painters have nearly always struggled to\nfree themselves from being \" theatrical\". Even in the 18th century, when most things\ngloried in a sumptuous artificiality gorgeous in silver gilt, there appears a master who\nattempts to make all things \" natural\" again; and yet Moliere's plays seem to us today\nanything but natural and their ancient manner of representation strikes us as very artificial.\nj® Not for one but for many centuries men have crowned their chosen playwright for that\nhe was more \" natural \" than his fellows, yet the plays of Shakespeare no longer strike us\nas \" natural \" ; even Robertson with his \" Caste \" and \" Ours \", which were looked upon\nas very natural a few years ago and their manner of representation quite like life today\nseem antiquated, somewhat artificial. J® J® J®\n& There are some who go so far as to say|that the earlier plays of Sir Arthur Pinero and the\nlater plays by Mr Shaw have grown artificial. j® <£? & j® j® j®\nJ® Scene painting, too. A hundred years ago Clarkson Stanfield in England was painting\nscenery which amazed the critics by its \" natural \" appearance, and that, too, after they\nhad known the work of de Loutherbourg... and soon Stanfield was looked on as unnatural,\nfor Telbin the elder gave them what they asserted was very nature itself; and yet hardly\nhave they said so before they eat their words, turn their backs on Telbin and find true\nnature in Hawes Craven, only to put him away a little later for Harker who \" at last\npaints nature for us\". J® £? J® J® J® J® J®\n& Nor is it any better with the acting. The Kembles and their grand artificiality had to\nmake room for Edmund Kean, who in thirty years from then was looked on as anything\nbut natural, for was not Macready \" more natural \", and in a few years time all of these\nactors seemed to us stilted and artificial when Henry Irving appeared. And now we talk\nof Irving's artificiality by the side of Antoine's natural acting; \"it is nature itself \"\ncry the critics, and soon Antoine's natural acting is to become mere artifice by the side of\nthe acting of Stanislawsky. J® J® J® J® *® J® J® J®\nJ® What then are all these manifestations of this \" nature \" ? J® & J® J®\n\n1) The Salary received by Mme. Bernhardt averaged L. 1143.0.0 a year. We should have thought this was sufficient for any actress to \" live on\n\nP lay wrights.\nScene painter?.\nA c to 1 s."}, {"page_pdf": 53, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 2044, "texte": "I find them one and all to be merely examples of a new artificiality.... the artificiality\nof naturalism.\nDramatists, actors, scenic artists are under a spell do you remember the story of\nthe Sleeping Beauty?.... and the spell must be broken before they can awake. To break\nit will be at once most hard and most easy most hard to those who were born to sleep,\nmost easy for one born to awaken; but most assuredly until this spell be broken, utterly\nand entirely destroyed, all the plays, acting and scenes on the stage of Europe must and\nwill remain theatrical, (i) j® j® j® j® j® j®\nj® I do not think the time has arrived when I can give you a hint of how to break this\nspell which lies over the European Theatre; besides my purpose in writing this letter is to\nput a question to you, not to answer one. Should you find the question itself is connected\nin anyway with what I have written as preface and should you have space in your journal\nto invite replies to what 1 ask 1 believe some good might come of it.\nj® But it might be born in mind that I have put my question to you without any thought\nof what is called its 44 practicality \", and that the answers must be made in the same spirit*\nThere is always a very natural desire in man, (born of a sound caution) to keep things\non a practical basis, and when we discuss Economic or Hygenic questions it is as well to be\nas practical as possible. u®y®j®y®j®j®j®y®y®\nj® But where the question takes us outside that radius and when we enter into discus=\nsion of those things which emanate from the spirit, such as the Arts or Philosophy, we\nmight do well to consider them in as Ideal a manner as they deserve ; we can later on re=*\nturn to earth and attempt their symbolisation. My question is this: &\no you feel that the open air Theatre is the right place in which to present the\npeople with that which we call the Art of the Theatre, or do you feel that a\nroofed in theatre is better? The first supplies us with natural conditions, the\nsecond with artificial conditions. & & & & Yours truly,"}, {"page_pdf": 53, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.53", "debut_caractere": 2066, "fin_caractere_exclue": 2605, "texte": "The Question\n\nGordon Craig.\n\n(I) Here we have to acknowledge that a certain charm, (the very essence and reflection of that Romance which comes to us in Books. ...)\n»es in the pretty or swaggering artifice of the \" theatrical We most of us love the fun of the sham, and admire the playfulness oil\ntinsel, powder and rouge, but all of us in the Theatre, from the first actor of the realm to the last call boy of the provinces, are longing\nwith all our hearts fo the whole spirit of nature to take possession of this, the home which we love."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c036", "article_bluemountain": "bmtnaau_1909-10_01#c036", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "91", "image_debut": 53, "image_fin": 53, "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=bmtnaau190910-01.2.15.4", "titre_corps": "THE WISE AND FOOLISH VIRGINS", "titre_sommaire": "THE WISE AND FOOLISH VIRGINS", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.53", "debut_caractere": 2607, "fin_caractere_exclue": 3046, "texte": "THE WISE AND FOOLISH VIRGINS.\nA. C.\n\n& He Women are worthless on the stage. & & & & &\n& She. Women are invaluable.\n& He When yon say that you substitute a new value for the old one. Women are more\nvaluable than you think. It is because you undervalue them that you say they are\nble on the stage. Their value is in the natural, not in the artificial world ; in the greater,\nnot in the less ; in the substance, and not in the shadow. & jg/ &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c037", "article_bluemountain": "bmtnaau_1909-10_01#c037", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "91", "image_debut": 53, "image_fin": 53, "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=bmtnaau190910-01.2.15.4.1", "titre_corps": "A Foolish virgin advertising herself", "titre_sommaire": "A Foolish virgin advertising herself", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.53", "debut_caractere": 3048, "fin_caractere_exclue": 3085, "texte": "A Foolinh virgin advertising herself."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c038", "article_bluemountain": "bmtnaau_1909-10_01#c038", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "97", "image_debut": 54, "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=bmtnaau190910-01.2.16", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4357, "texte": "BOOK REVIEWS\n\nTHE PLAYHOUSE AND THE PLAY by\nPercy Mackaye, Macmillan Co. Dol: 1.25.\n\nis a book which is welcome as a really\nserious contribution to that literature\nwhich deals with the problems relating to the\nwelfare, present and future, of the theatre.\nIts thoughtful and well reasoned arguments\nwould arrest attention whoever they were\nput forward by; they gain additional weight\nfrom the fact that the writer, Mr Percy\nMackaye,is one of those qualified to speak with\nauthority, since, as the son of Steele Mackaye,\none of the pioneers of the theatre of the fu-\nture in America, he is theatre born and bred\nand knows intimately the subject of which\nhe treats. He may thus be included in that\nvery small group of men, scattered over\nEurope and America, whose views about the\ntheatre are worthy of the grave considera-\ntion of all earnest lovers and students of\nthe art.\nIn the seriousness of Mr Mackaye's attitude\nwe recognise at once one who has studied\ndeeply, not superficially; who has searched\ninto the ancient origins of the playhouse and\nnot been content with the conclusion of the\ncareless,... that theatrical history before the\nreign of Elisabeth is a matter which has little\nrelation to the existing theatre and may be\ndismissed in half a dozen words. &\nHe sets before the student some interes-\nting questions: \"Theatrical production\", he\nwrites \"arose from church ritual; why did\n\" it diverge? Do the historic reasons for its\n\" divergence still hold good? What kinship,\n\" if any, has the dramatic instinct with the\n\" religious\" ? & <£?\n& These are questions which cannot here be\ndealt with, but one of his sentences is suffi-\ncient witness to his high ideal of the theatre,\nhis grave realisation of the potential dignity\nof the stage: \"The playhouse, then, is pro-\nperly the house of the joy ot lite... The\nfunction of a temple is its only legitimate\nfunction\" • It follows naturally that a man\nholding such an ideal of the function of the\nplayhouse cannot but view with profound\ndisquiet the existing theatrical conditions and\noccupy himself with schemes for reforma-\ntion.\n\" Reformation of the playhouse is not \",\nhe holds \" a matter of reforming individuals\nbut of reforming conditions ; \" and this is\ntrue in the sense that the evil is so great\nthat some radical and fundamental change\nis essential; but is it not necessary that the\nforce of individuals work outward to act upon\nconditions before those conditions, by being\nimproved, can react beneficially upon the\nmass of the people ? for says Carlyle,\n\"Every new opinion, at its starting, is precisely\njn a minority of one \". The reformer must,\nhowever, be a man who can take a wide view\nof the theatre at the present day in relation\nto both its past and its future, for it is not\nenough to \" detect pernicious conditions; \"\nindeed, to detect some, and the least, of these,\nis of but little value; it is like treating a man\nmerely for a cut finger when he is dying of\nsome mortal disease. & &\nThis matter of the degeneration of the\nTheatre is one so serious that it calls for the\ngravest consideration on the part of all those\nwho have at heart the welfare of the nation\n»\nand Mr Mackaye justly reminds us, that \"night\n\" after night, year after year, our theatres\n\" are educating our people by the millions\n\" and tens of millions. The question is, shall\n\" the theatre educate those millions right\n\"or wrong?\" & & &\n& What they are doing at present no one can\nquestion; that the future shall be unlike the\npresent is the aim of that ever increasing\nband of the younger artists, among whom\nmay be numbered Mr Mackaye himself, who\nare devoting their lives to the restoration of\nthis long degraded art. &\nTwo of the most glaring evils of the pre-\nsent day in the theatre are its commercia-\nlism and its vulgarity. Mr Mackaye would\nseek salvation from these in a system of en-\ndowment. \" The status of a playhouse in\nsociety\", he claims, \"is as vital as the status\n\"of the university in society. The dignity\n\" and efficiency of the one demand the same\n\" safeguarding against inward deterioration\n\" as the dignity and efficiency of the other. The\n\" functions of both are educative. The safe-\n\" guard of each is endowment\".\nThere is much to be said for Mr. Mackaye's\nsuggestion. Such a system would free the\ntheatre from any financial dependence upon\nthe public; it would lift it above all com-"}, {"page_pdf": 55, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4926, "texte": "mercial considerations; it would not then\nsurvive according to the 44wi1l of the people\",\nbut would dominate and hold the people by\nthe power of art.\nFor the public is really a child, which may\nbe educated to take pleasure in what is gaudy\nand vulgar or in what is beautiful and simple,\naccording to the influences brought to bear\nupon it; but these influences must be brought\nto bear steadily and must be long sustained.\nOf course the argument is always ad-\nvanced that the public demand must be sup-\nplied and that it is this demand which the\npresent managers are supplying. But does\nthe public ever really make any demand on\nthe theatre,... or on anything? We hear of a\n44 demand \" at one time for sheath dresses\nand at another for crinolines, but there is no\ninitiative or inborn desire in the public for\neither of these things. Fashion dictates what\nthey are to demand,... and they demand if.\nSo at present the leaders of the theatre\ndictate to the public what they are to want,...\nand they want it.\nMr Mackaye puts some pertinent questions\nrelating to the Dramatic Critic. &\n& 44 Since theatrical productions are reported\n44 and interpreted to the public by dramatic\n44 critics, what is the usual nature of edu-\n-44 cation in dramatic criticism? who appoints\n44 dramatic critics ? When appointed, what\n44 standard of excellence must they maintain\n44 in order to practise their profession?\nThese questions deserve serious conside-\nration, for the critic too often assists infde-\nlaying a reform of one kind or another\nthrough lack of courage in England and sheer\nignorance elsewhere. &\n& To return to the commercial conditions:\nat present there is everywhere in the theatre\nthe eagerness for quick returns from which\nresult hasty work, vulgar and gaudy display\nto catch the eye, appeals to the lower rather\nthan the higher instincts in the spectator.\nThis results from an insecure financial stan-\nding. Today's takings must pay tomorrow's\nbills, is the principle. There is no time to\nwoo the public to the love of Beauty. But if\nby a system of endowment all commercial\nquestions were set aside, or at least relegated\nto the secondary place they merit, a great\nstep towards the setting free of] the theatre\nwould have been made.\nThe Moscow Art Theatre is a remarkable\ninstance of what can be accomplished by a play\nhouse which has been content for fifteen\nyears to serve the Art conscienciously, to\nuphold its own ideals, to win the public to\nlike what is beautiful, before any idea of\nprofit was entertained. &\nIn treating of endowment Mr Mackaye is,\nhowever, careful to remind us that 44 the\nconditions of endowment\" differ from \" the\nconditions of subsidy\". \" This truth \" he goes\non, 44 would seem to be obvious, yet there is\n\" much popular misconception on the subject.\n44 Some theatrical enterprises supported by\n44 subscription have been frequently alluded\n44 to in the press as 44 endowed theatres \" .\n44 Likewise the principle of subscription is of-\n-44 ten vaguely referred to as being the same as\n44 that of endowment, or practically equiva-\n-44 lent to it. Between subscription and en-\n-44 dowment there is an impassible chasm of\n44 principle. The former is a makeshift, the\n44 latter a solution. Subsidy of art by subscript\n44 tion does not recognise the right of art to\n44 perpetual freedom from commercial compe-\n-44 tition; endowment does recognise that right.\n44 Subscription releases art from subjection\n44 on a temporary parole; endowment signs\n44 its emancipation proclamation. Being com-\n-44 pelled, for its own survival, to appeal to\n44 existing public standards of taste within a\n44 given few weeks or months, or seasons, a\n44 theatre supported only by subscription is\n44 thereby prevented from leading public\n44 taste; yet to enable it to lead public taste\n44 is presumably the very object of the sub-\n-44 scription; therefore the enterprise is affected\n44 from the start with an innate compromise\n44 which tends to undermine the ideal at\n44 stake. \" jSf & &\n44 It would sound strange 44 he continues,\n44 to one of our university presidents to re-\n-44 ceive the offer of a great sum for endow-\n-44 ment by a philanthropist, upon the stipu-\n-44 lation that the university should show good\n44 security for returning to the philanthropist\n44 a certain per cent on the amount of his\n44 endowment. Pounded upon such a financial\n44 basis a medical school, a museum, an in-\n-44 stitute of scientific research, would have a\n44 hard scramble for existence, its special\n44 cause could hardly be expected to thrive in\n44 the community, its staff and equipment\n44 could hardly be expected to fulfil effectually\n44 the objects for which it was founded.\"\nThe present evil is, not that there is not\nenough money in the theatre, but that the\ntheatre is used for the making of money.\nView the theatre in its highest aspect, and\nthe selling of tickets to be present at its rites\nwould become as grave an abuse as the"}, {"page_pdf": 56, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4670, "texte": "charge lately instituted for entering the\nItalian churches.\n& But to pass from the question of endow-\nment. & & &\nI am inclined to question a little Mr\nMackaye's statement that 44the drama is pecu-\nliarly an art for the people\", for I doubt if\nthe people, left to themselves, want an art\nat all. The many have lost the power to\nobey, and the taste for fine art has gone from\nthem; they must relearn obedience before it\ncan return. They must follow the priests of\nthe art and accept as good what they say is\ngood. This was the attitude towards the\npriests of art in Egypt before the birth of\nChrist. Then and for 3000 years before the\nart of Egypt was the flower of obedience,...\nthe obedience of the good slave for the good\nmaster. And what in tho daysse guided the\npriests? No less a thing than the belief that\ntheir gods had given them orders how and\nwhat to create, and, obeying their gods,\nthey were in their turn obeyed by the people.\nToday obedience is forgotten; socialism,\nanarchy, athiesm, have slain it; everywhere\nthere is sex revolt and class revolt.\n& Democracy or Monarchy, what does it\nmatter if there is only obedience? To con-\nnect Art with any special form of govern-\nment seems unnecessary. Through Art the\nspiritual leaders of the ages have spoken to\nthe people over the heads of government,...\nbut they have spoken best when in harmony\nwith a well governed state,... and superbly\nwhen that state could boast a king.\n\nD. N. L.\n\nTHE BIRTH OF TRAGEDY by Fried rich\nNietzsche, T. N. Foutis. Price 216,\n\nijphis is a book which speaks of Drama,\nWagnerian music and Music; of Grecian\nart, Opera and Revolution,... and of Friedrich\nNietzsche. & & & JSZ\nIt is written with all the energy of Ger-\nmany and the conceit of the writer for\nhimself is characteristic of a nation whose\nsecond class men are never so overbearing\nas when they light upon some half truth.\nThen they rage, then they announce their\n44 discovery \", then they collect proofs innu-\nmerable to support their theory which they\npresent to us in a book. &\nThroughout this book not a single good\nlaugh is to be heard though plenty of\ncrackling thorn laughter pierces the smoke\nwhich in place of fire issues from the pages.\nThis is more noticeable on account of the\nimportance which the writer attributes to\nlaughter. 44 You should learn to laugh, my\nyoung iriends \". And again, 44 This crown of\n44 the laughter, this rose garland crown; I\n44 myself have put on this crown. 1 myself have\n44 consecrated my laughter. No one else have\n44 I found today strong enough for this. \"\nAnd again; 44 Ye higher men, learn, I pray\ny0u,... to laugh ! \" This 44 learning \" to be\nJoyous when it is too late is very character\nristic of your second-rate philosopher. And\nall this is addressed to young people and\ntherefore it is the more incomprehensible,\nfor it is these young people who are for ever\nlaughing who die young because the Gods\nlove them so much. & &\nThis prayer to the young is made in the\nintroduction which the author calls 44 An\nattempt at self-criticism \", and was written\nin 1886, or about fourteen years after the\nessay itself, which was conceived and born\nf\nduring the Franco - Prussian war. (1870-\n71) so that perhaps this appeal to the young\npeople to 44 laugh, . . . learn, I pray you, to\nlaugh \" is but the cry of one whose cup of\nlaughter is dry and whose smiles are all\nspilt on the ground. &\n& Altogether it is a very incomprehensible\nintroduction for it is full of excuses, the\nresult of attempting self criticism. It would\nhave been better to have destroyed the book\naltogether than to have created confusion\nby telling us that he has 44 doubts concern-\ning the views it contains and the manner\nin which they are presented. (1) & &\n& In 1886 Nietzsche again writes about this\nearly work of his. It is, he says, 44 A book\nconsisting of mere experiences relating to\npleasurable and unpleasurable aesthetic states\nwith a metaphysico-artistic background. At\nthe same time the confession of a romanti-\ncist, (the sufferer feels the deepest long-\ning tor beauty, ... he begets it); finally\na product of youth, full of youthful courage\nand melancholy. \" What more is there to be\nsaid about a work which we dislike when\nthe author himself dislikes it? We sahll\nrefrain from further criticism of the book\nand will concern ourselves mainly with the\nauthor's self-depreciaton. & &\nHe tells us that he feels <(the deepest\nlonging for beauty\", he adds as an after-\nthought three words so that they may balance\nour after-thought; he adds that \"he begets\nit \". We wish that he did not beget beauty;\nwe have always wished that of Nietzsche for\n(1) Introduction by Elisabeth Forster Nietzsche. 1995."}, {"page_pdf": 57, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 4610, "texte": "it seems to us that his voice is so often posses-\nsed of that courage which desires to lose\nall so as to achieve beauty. He seems so often\n011 the verge of becoming an artist and then\nhis grand German BRAIN pulls him up and in\na long speech to himself full of twists and\nturns he mesmerizes his soul back again\ninto limbo Rest; Rest perturbed Spirit. \"\n£? \" The deepest longing for Beauty \" a con-\nfession that Beauty has evaded him, that\nLove preferred not to be mixed up with\n44 aesthetic states \" or set off against44 a me-\ntaphysico-artistic back- ground\nAnd if Nietzsche has never begotten Be-\nauty it is because Beauty is not fond of\nthe men who have to think long to find\ntheir courage, nor fond of the men who have\nto think fourteen years to arrive at a truth\nwhich Inspiration whispers to the man she\nloves in one moment...44 Laugh. jz?\nThe Germans have always been deep thin-\n*\nkers. They have gone down the well, one\ndeeper than the other, doing so with cautious\ncourage and a determined will. Alas, to what\nend? Not to the end of that well where Truth\nlies reflected from above. Dear Germans,\nthere is something very boyish in their\nsearch .. baby boyish .. with serious mouths\nand unsparkling eyes they lower themselves\ninto the grave which has received so many\nraces ... and the last to lower himself has\nbeen the solemn-faced Nietzsche, eager, ra-\nther cross, his fire hidden in the smoke of\nhis lowering brows; down he goes into the\nwell murmuring, \"Learn to Dance, Nietzsche,\nLearn to laugh, Nietzsche . ~ then you will\nhave learnt the secret of secrets ...\" And\nnow he is out of sight. . . out of hearing .. .\nfrom the depths of that well not even a\nsigh ascends .. • silence •.. another man is\nlost for ever. & & jet jet\njet Lost... through learning... and through\nbelief that Love is learnable, that Laughter\nis learnable, that Dancing is learnable and\nthat Beauty is to be achieved and won by\nfair intellectual means. jet j& jet\njet Dear Love, with your two little faces;\nTruth and Beauty. A thousand blessings on\nyou for all time, or when you frown or when\nyou smile,when you remember or forget. Your\nsweet faults are ours and we can love them.\nSweet Truth, sweet Beauty, your two faces,\nhow dear they are,for you can frown and smile\nwith them at the same moment. You can\nsatisfy yourself . .. and that is all we want.\nYou are the Eternal, and you shall have one\nEternal Lover. We will never desert you.\n(Echo of Comedy back from the years) ....\nfor we will never ask you to be less than\nEternal. Today your Truth hurts us, tomor-\nrow your Beauty heals the smart, and when\nyou squander and pollute your Beauty with\nthe mob is not your Truth turned towards\nus and do not its invisible eyes search ours\nand silently pass into their home? jet\n& And the full sum of all this human talk of\nbruising and of healing is that we have found\nHappiness through you. We do not ask if you\nhave found it through us your sons and lovers.,\nBut we of all your sons, of all your lovers\nalone are able to tell you that it is not alone\nyour Truth that we love and not alone your\nBeauty... it is both ... the two expressions\nof that double face, the Alpha and the Ome-\nga of Love, with its impossible deceit and its\nimpossible j&\n\nA. C.\n\nBURIED HERCULANIUM by E. R. Barker.\nV. and C. Black. Price. 716 net.\nD. N. L.\n'phis is a volume which, interesting at any\ntime, made a peculiar appeal at the time of\nits publication just after the great earthquake\nin Southern Italy, and the Mes-\nsina, recalling as it did the destruction of\nanother famous city and the art treasures\nthen buried, some of which have now, by\nexcavation, been after many centuries resto-\nred to us. J& J& &t j£t\nj& The volume, which is profusely illustrated,\ncontains one chapter of especial interest to\nreaders of 44 The Mask\" upon the Theatre\nrediscovered in the year 1713. It is full of\nvaluable information about the structure and\ndecoration of the building, and throws con-\nsiderable light upon the performances of that\nlong past day. j& j& & jet\njet There is also a note upon those five state-\nly figures known as the 44 Dancers, \" which\nhave a peculiar interest for us today when\nso much is being done to revive the Greek\nspirit and to restore its ancient beauty to\nthe dancer's art. jet j£t jet j&\nj& All classical students will find the volume\nof value to them, both for its well arranged\nmatter and its numerous and excellent plates.\n\nSt ELIZABETH OF HUNGARY by\nArthur Dillon. Elkin Matthews. Price\n416 net.\n\nplay, as is stated in an introductory\nnote, is founded on the \"Saint's Tragedy\"\nof Charles Kingsley, and, although covering"}, {"page_pdf": 58, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 4878, "texte": "the same ground and showing no very orig-\nnal conception of the familiar characters, will\nyet give pleasure to those who admire the\npicturesque personality of the young German\nsaint. The volume is pleasing in format and\nprinting, as is usually the case with all books\nbearingthe name of MrElkin Matthews.\n\nD.N.L.\n\nSHAKESPEARE by Walter\nRaleigh. Mac mi II an. Price 4f-net. <®\nexcellent book which can only receive\nJust criticism after some years have elap-\nsed, for it is one which must be studied very\nthoroughly. j® j® j® j®\n<® Here is an excellent passage from the only\nchapter relating to the theatre and the only\none which we can treat of In this review.\nJ® 44 The boys who acted Rosalind, Viola,\n44 and Julia, had the difficult task of preten-\n\" ding to be girls disguised as boys. In spite\n44 of all this, it may be doubted whether\n44 Shakespeare has not suffered more than he\n44 has gained by the genius of latter-day ac-\n-44 tresses, who bring into the plays a realism\n44 and robust emotion which sometimes ob-\n-44 scure the sheer poetic value of the author's\n44 conception. The boys were no doubt very\n44 highly trained, and amenable to instruction\n44 so that the parts of Rosalind and Desde-\n-44 mona may well have been rendered with a\n44 clarity and simplicity which served as a\n44 transparent medium for the author's wit\n44 and pathos. Poetry, like religion, is out-\n-44 raged when it is made a platform for the\n44 exhibition of their own talent and passion\n44 by those who are its ministers. With the\n44 disappearance of the boy players the poetic\n44 drama died in England, and it has had no\n44 second life.\" J® J® J® J®\nj® Nothing truer has been said about this\nimportant subject. Where, however, Professor\nRaleigh speaks of boys pretending to be\ngirls we think he has chosen a wrong verb\nfor there could never have been the illu-\nsion that it was a real woman but only that\nit was the spirit of a woman which was\nbrought upon the stage, and inasmuch as the\nspirit was present without the body the gain\nmust have been incalculable. J® J®\n<® The impersonal element must have been\nfelt very much in the theatre, and it is only\ntoo true that today it is the bodily presence\nof women which makes all the difference to\nthe beholder. She is 44charming,\" 44fascina-\nting, \" she 44 carries one awaythis is what\nwe hear, and when the critic speaks of her\nit is often to admit that criticism is impos-\nsible because he is so bewitched. This is\ncharming in a drawing room, beautiful in a\nhome, but abominable in a theatre. j®\nLater on in the same chapter Professor Raleigh\nreminds us that costume was 44something\nmore than idly decorative\" and it is very right\nto repeat this, for people do not seem to\nbe aware that clothes are capable of psycho-\nlogical expression. J® J® J® J®\nIn telling us later on that the scenery\nwas of the simplest, he again underlines the\nwell known fact that it was the words and\nthe gestures of the players which alone pro-\nduced the strange and wonderful impression\nas of something living. He says, after having\ndescribed the scene where Brutus is left\nalone in the tent with his sleeping servant,\n44 The whole scene is heavy with the sense\n44 of night and the darkness of conspiracy,\nt4 yet the effect is produced by nothing but\n44 the spoken words and the gestures of the\n44 players. \" and of course nothing else, no-\nthing more, is desirable;.... rather something\nless. Here we are but saying what a well-\nknown artist who has worked in the theatre\nfor many years said to us the other day when\nwe were discussing this passage in Professor\nRaleigh's book. 44 Of course he is right ;\n44 nothing else is desirable .... rather some\n«4 thing less. And what must it cost me\nt4 to say so? \" he added. 448y agreeing with\n44 this statement, or rather by acknowledging\n44 its truth, 1 figuratively throw into the\n*4 waste paper basket the work of fifteen or\n44 twenty years. AH my designs for what is\n*4 called \"scenery\", \"effects\", the pictorially\n44 dramatic movements of the chief actors and\n44 the crowd which I have laboured to pro-\n-44 duce for so long and which possibly have\n44 been good in their way, I put them all into\n44 the fire But willingly and those of\n44 my predecessors for the last three hundred\n44 years rather reluctantly. And what follows?\n44 It must follow as the day the night we can-\n-64 not then be false to any truth. \" J®\nIf all those who collaborate in the pro-\nduction of a play by Shakespeare would face\nthe truth as unfalteringly as this artist, the\nproduction of Shakespeare would be much\nsimplified and we should see very many more\nperformances of his works. As it is pro-\nductions are becoming more complicated. j®\nj® As we write this a fresh complication has\nbeen invented. J® J® J® J®\n/® Madame Georgette Leblanc has announced\nthat she will give a performance of 44Macbeth\"\nin the antique Abbey which belongs to her"}, {"page_pdf": 59, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 1015, "texte": "celebrated husband, M. Maeterlinck, using the\nAbbey with its corridors, flights of steps,\ncourtyards and surrounding country as the\nsetting in which the play will be presented.\nHer audience, which is not to exceed fifty in\nnumber, will pass from place to place as the\nscenes change. As there are twenty eight\nscenes in \"Macbeth\" we anticipate an extreme\nly bored audience at the end, so tired as hardly\nto be compensated by the great banquet which\nwill then take place (i). We find two main\nfaults in Madame Maeterlinck's plan. The first\nthat she should have conceived the idea; the\nsecond that she should have carried it out.\nIt is to prevent such eccentric experi-\nments that books such as Professor Raleigh's\nare written. & & &\n\nA HISTORY OF THEATRICAL ART.\nVolume V. by Karl Mantzius. Duckworth.\nadmirable work which every manager\nand student should purchase. We shall\nreview it in the next number of The Mask.\nwing to lack of space the list of books\nand magazines received is held over until\nthe next number. &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c040", "article_bluemountain": "bmtnaau_1909-10_01#c040", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "94", "image_debut": 54, "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=bmtnaau190910-01.2.16.2", "titre_corps": "THE PLAYHOUSE AND THE PLAY by Percy Mackaye", "titre_sommaire": "THE PLAYHOUSE AND THE PLAY by Percy Mackaye", "signature_source": "D. N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.54", "debut_caractere": 14, "fin_caractere_exclue": 4357, "texte": "THE PLAYHOUSE AND THE PLAY by\nPercy Mackaye, Macmillan Co. Dol: 1.25.\n\nis a book which is welcome as a really\nserious contribution to that literature\nwhich deals with the problems relating to the\nwelfare, present and future, of the theatre.\nIts thoughtful and well reasoned arguments\nwould arrest attention whoever they were\nput forward by; they gain additional weight\nfrom the fact that the writer, Mr Percy\nMackaye,is one of those qualified to speak with\nauthority, since, as the son of Steele Mackaye,\none of the pioneers of the theatre of the fu-\nture in America, he is theatre born and bred\nand knows intimately the subject of which\nhe treats. He may thus be included in that\nvery small group of men, scattered over\nEurope and America, whose views about the\ntheatre are worthy of the grave considera-\ntion of all earnest lovers and students of\nthe art.\nIn the seriousness of Mr Mackaye's attitude\nwe recognise at once one who has studied\ndeeply, not superficially; who has searched\ninto the ancient origins of the playhouse and\nnot been content with the conclusion of the\ncareless,... that theatrical history before the\nreign of Elisabeth is a matter which has little\nrelation to the existing theatre and may be\ndismissed in half a dozen words. &\nHe sets before the student some interes-\nting questions: \"Theatrical production\", he\nwrites \"arose from church ritual; why did\n\" it diverge? Do the historic reasons for its\n\" divergence still hold good? What kinship,\n\" if any, has the dramatic instinct with the\n\" religious\" ? & <£?\n& These are questions which cannot here be\ndealt with, but one of his sentences is suffi-\ncient witness to his high ideal of the theatre,\nhis grave realisation of the potential dignity\nof the stage: \"The playhouse, then, is pro-\nperly the house of the joy ot lite... The\nfunction of a temple is its only legitimate\nfunction\" • It follows naturally that a man\nholding such an ideal of the function of the\nplayhouse cannot but view with profound\ndisquiet the existing theatrical conditions and\noccupy himself with schemes for reforma-\ntion.\n\" Reformation of the playhouse is not \",\nhe holds \" a matter of reforming individuals\nbut of reforming conditions ; \" and this is\ntrue in the sense that the evil is so great\nthat some radical and fundamental change\nis essential; but is it not necessary that the\nforce of individuals work outward to act upon\nconditions before those conditions, by being\nimproved, can react beneficially upon the\nmass of the people ? for says Carlyle,\n\"Every new opinion, at its starting, is precisely\njn a minority of one \". The reformer must,\nhowever, be a man who can take a wide view\nof the theatre at the present day in relation\nto both its past and its future, for it is not\nenough to \" detect pernicious conditions; \"\nindeed, to detect some, and the least, of these,\nis of but little value; it is like treating a man\nmerely for a cut finger when he is dying of\nsome mortal disease. & &\nThis matter of the degeneration of the\nTheatre is one so serious that it calls for the\ngravest consideration on the part of all those\nwho have at heart the welfare of the nation\n»\nand Mr Mackaye justly reminds us, that \"night\n\" after night, year after year, our theatres\n\" are educating our people by the millions\n\" and tens of millions. The question is, shall\n\" the theatre educate those millions right\n\"or wrong?\" & & &\n& What they are doing at present no one can\nquestion; that the future shall be unlike the\npresent is the aim of that ever increasing\nband of the younger artists, among whom\nmay be numbered Mr Mackaye himself, who\nare devoting their lives to the restoration of\nthis long degraded art. &\nTwo of the most glaring evils of the pre-\nsent day in the theatre are its commercia-\nlism and its vulgarity. Mr Mackaye would\nseek salvation from these in a system of en-\ndowment. \" The status of a playhouse in\nsociety\", he claims, \"is as vital as the status\n\"of the university in society. The dignity\n\" and efficiency of the one demand the same\n\" safeguarding against inward deterioration\n\" as the dignity and efficiency of the other. The\n\" functions of both are educative. The safe-\n\" guard of each is endowment\".\nThere is much to be said for Mr. Mackaye's\nsuggestion. Such a system would free the\ntheatre from any financial dependence upon\nthe public; it would lift it above all com-"}, {"page_pdf": 55, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4926, "texte": "mercial considerations; it would not then\nsurvive according to the 44wi1l of the people\",\nbut would dominate and hold the people by\nthe power of art.\nFor the public is really a child, which may\nbe educated to take pleasure in what is gaudy\nand vulgar or in what is beautiful and simple,\naccording to the influences brought to bear\nupon it; but these influences must be brought\nto bear steadily and must be long sustained.\nOf course the argument is always ad-\nvanced that the public demand must be sup-\nplied and that it is this demand which the\npresent managers are supplying. But does\nthe public ever really make any demand on\nthe theatre,... or on anything? We hear of a\n44 demand \" at one time for sheath dresses\nand at another for crinolines, but there is no\ninitiative or inborn desire in the public for\neither of these things. Fashion dictates what\nthey are to demand,... and they demand if.\nSo at present the leaders of the theatre\ndictate to the public what they are to want,...\nand they want it.\nMr Mackaye puts some pertinent questions\nrelating to the Dramatic Critic. &\n& 44 Since theatrical productions are reported\n44 and interpreted to the public by dramatic\n44 critics, what is the usual nature of edu-\n-44 cation in dramatic criticism? who appoints\n44 dramatic critics ? When appointed, what\n44 standard of excellence must they maintain\n44 in order to practise their profession?\nThese questions deserve serious conside-\nration, for the critic too often assists infde-\nlaying a reform of one kind or another\nthrough lack of courage in England and sheer\nignorance elsewhere. &\n& To return to the commercial conditions:\nat present there is everywhere in the theatre\nthe eagerness for quick returns from which\nresult hasty work, vulgar and gaudy display\nto catch the eye, appeals to the lower rather\nthan the higher instincts in the spectator.\nThis results from an insecure financial stan-\nding. Today's takings must pay tomorrow's\nbills, is the principle. There is no time to\nwoo the public to the love of Beauty. But if\nby a system of endowment all commercial\nquestions were set aside, or at least relegated\nto the secondary place they merit, a great\nstep towards the setting free of] the theatre\nwould have been made.\nThe Moscow Art Theatre is a remarkable\ninstance of what can be accomplished by a play\nhouse which has been content for fifteen\nyears to serve the Art conscienciously, to\nuphold its own ideals, to win the public to\nlike what is beautiful, before any idea of\nprofit was entertained. &\nIn treating of endowment Mr Mackaye is,\nhowever, careful to remind us that 44 the\nconditions of endowment\" differ from \" the\nconditions of subsidy\". \" This truth \" he goes\non, 44 would seem to be obvious, yet there is\n\" much popular misconception on the subject.\n44 Some theatrical enterprises supported by\n44 subscription have been frequently alluded\n44 to in the press as 44 endowed theatres \" .\n44 Likewise the principle of subscription is of-\n-44 ten vaguely referred to as being the same as\n44 that of endowment, or practically equiva-\n-44 lent to it. Between subscription and en-\n-44 dowment there is an impassible chasm of\n44 principle. The former is a makeshift, the\n44 latter a solution. Subsidy of art by subscript\n44 tion does not recognise the right of art to\n44 perpetual freedom from commercial compe-\n-44 tition; endowment does recognise that right.\n44 Subscription releases art from subjection\n44 on a temporary parole; endowment signs\n44 its emancipation proclamation. Being com-\n-44 pelled, for its own survival, to appeal to\n44 existing public standards of taste within a\n44 given few weeks or months, or seasons, a\n44 theatre supported only by subscription is\n44 thereby prevented from leading public\n44 taste; yet to enable it to lead public taste\n44 is presumably the very object of the sub-\n-44 scription; therefore the enterprise is affected\n44 from the start with an innate compromise\n44 which tends to undermine the ideal at\n44 stake. \" jSf & &\n44 It would sound strange 44 he continues,\n44 to one of our university presidents to re-\n-44 ceive the offer of a great sum for endow-\n-44 ment by a philanthropist, upon the stipu-\n-44 lation that the university should show good\n44 security for returning to the philanthropist\n44 a certain per cent on the amount of his\n44 endowment. Pounded upon such a financial\n44 basis a medical school, a museum, an in-\n-44 stitute of scientific research, would have a\n44 hard scramble for existence, its special\n44 cause could hardly be expected to thrive in\n44 the community, its staff and equipment\n44 could hardly be expected to fulfil effectually\n44 the objects for which it was founded.\"\nThe present evil is, not that there is not\nenough money in the theatre, but that the\ntheatre is used for the making of money.\nView the theatre in its highest aspect, and\nthe selling of tickets to be present at its rites\nwould become as grave an abuse as the"}, {"page_pdf": 56, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 1446, "texte": "charge lately instituted for entering the\nItalian churches.\n& But to pass from the question of endow-\nment. & & &\nI am inclined to question a little Mr\nMackaye's statement that 44the drama is pecu-\nliarly an art for the people\", for I doubt if\nthe people, left to themselves, want an art\nat all. The many have lost the power to\nobey, and the taste for fine art has gone from\nthem; they must relearn obedience before it\ncan return. They must follow the priests of\nthe art and accept as good what they say is\ngood. This was the attitude towards the\npriests of art in Egypt before the birth of\nChrist. Then and for 3000 years before the\nart of Egypt was the flower of obedience,...\nthe obedience of the good slave for the good\nmaster. And what in tho daysse guided the\npriests? No less a thing than the belief that\ntheir gods had given them orders how and\nwhat to create, and, obeying their gods,\nthey were in their turn obeyed by the people.\nToday obedience is forgotten; socialism,\nanarchy, athiesm, have slain it; everywhere\nthere is sex revolt and class revolt.\n& Democracy or Monarchy, what does it\nmatter if there is only obedience? To con-\nnect Art with any special form of govern-\nment seems unnecessary. Through Art the\nspiritual leaders of the ages have spoken to\nthe people over the heads of government,...\nbut they have spoken best when in harmony\nwith a well governed state,... and superbly\nwhen that state could boast a king.\n\nD. N. L."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c041", "article_bluemountain": "bmtnaau_1909-10_01#c041", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "95", "image_debut": 56, "image_fin": 57, "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=bmtnaau190910-01.2.16.3", "titre_corps": "THE BIRTH OF TRAGEDY by Fried rich Nietzsche", "titre_sommaire": "THE BIRTH OF TRAGEDY by Fried rich Nietzsche", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.56", "debut_caractere": 1448, "fin_caractere_exclue": 4670, "texte": "THE BIRTH OF TRAGEDY by Fried rich\nNietzsche, T. N. Foutis. Price 216,\n\nijphis is a book which speaks of Drama,\nWagnerian music and Music; of Grecian\nart, Opera and Revolution,... and of Friedrich\nNietzsche. & & & JSZ\nIt is written with all the energy of Ger-\nmany and the conceit of the writer for\nhimself is characteristic of a nation whose\nsecond class men are never so overbearing\nas when they light upon some half truth.\nThen they rage, then they announce their\n44 discovery \", then they collect proofs innu-\nmerable to support their theory which they\npresent to us in a book. &\nThroughout this book not a single good\nlaugh is to be heard though plenty of\ncrackling thorn laughter pierces the smoke\nwhich in place of fire issues from the pages.\nThis is more noticeable on account of the\nimportance which the writer attributes to\nlaughter. 44 You should learn to laugh, my\nyoung iriends \". And again, 44 This crown of\n44 the laughter, this rose garland crown; I\n44 myself have put on this crown. 1 myself have\n44 consecrated my laughter. No one else have\n44 I found today strong enough for this. \"\nAnd again; 44 Ye higher men, learn, I pray\ny0u,... to laugh ! \" This 44 learning \" to be\nJoyous when it is too late is very character\nristic of your second-rate philosopher. And\nall this is addressed to young people and\ntherefore it is the more incomprehensible,\nfor it is these young people who are for ever\nlaughing who die young because the Gods\nlove them so much. & &\nThis prayer to the young is made in the\nintroduction which the author calls 44 An\nattempt at self-criticism \", and was written\nin 1886, or about fourteen years after the\nessay itself, which was conceived and born\nf\nduring the Franco - Prussian war. (1870-\n71) so that perhaps this appeal to the young\npeople to 44 laugh, . . . learn, I pray you, to\nlaugh \" is but the cry of one whose cup of\nlaughter is dry and whose smiles are all\nspilt on the ground. &\n& Altogether it is a very incomprehensible\nintroduction for it is full of excuses, the\nresult of attempting self criticism. It would\nhave been better to have destroyed the book\naltogether than to have created confusion\nby telling us that he has 44 doubts concern-\ning the views it contains and the manner\nin which they are presented. (1) & &\n& In 1886 Nietzsche again writes about this\nearly work of his. It is, he says, 44 A book\nconsisting of mere experiences relating to\npleasurable and unpleasurable aesthetic states\nwith a metaphysico-artistic background. At\nthe same time the confession of a romanti-\ncist, (the sufferer feels the deepest long-\ning tor beauty, ... he begets it); finally\na product of youth, full of youthful courage\nand melancholy. \" What more is there to be\nsaid about a work which we dislike when\nthe author himself dislikes it? We sahll\nrefrain from further criticism of the book\nand will concern ourselves mainly with the\nauthor's self-depreciaton. & &\nHe tells us that he feels <(the deepest\nlonging for beauty\", he adds as an after-\nthought three words so that they may balance\nour after-thought; he adds that \"he begets\nit \". We wish that he did not beget beauty;\nwe have always wished that of Nietzsche for\n(1) Introduction by Elisabeth Forster Nietzsche. 1995."}, {"page_pdf": 57, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 3236, "texte": "it seems to us that his voice is so often posses-\nsed of that courage which desires to lose\nall so as to achieve beauty. He seems so often\n011 the verge of becoming an artist and then\nhis grand German BRAIN pulls him up and in\na long speech to himself full of twists and\nturns he mesmerizes his soul back again\ninto limbo Rest; Rest perturbed Spirit. \"\n£? \" The deepest longing for Beauty \" a con-\nfession that Beauty has evaded him, that\nLove preferred not to be mixed up with\n44 aesthetic states \" or set off against44 a me-\ntaphysico-artistic back- ground\nAnd if Nietzsche has never begotten Be-\nauty it is because Beauty is not fond of\nthe men who have to think long to find\ntheir courage, nor fond of the men who have\nto think fourteen years to arrive at a truth\nwhich Inspiration whispers to the man she\nloves in one moment...44 Laugh. jz?\nThe Germans have always been deep thin-\n*\nkers. They have gone down the well, one\ndeeper than the other, doing so with cautious\ncourage and a determined will. Alas, to what\nend? Not to the end of that well where Truth\nlies reflected from above. Dear Germans,\nthere is something very boyish in their\nsearch .. baby boyish .. with serious mouths\nand unsparkling eyes they lower themselves\ninto the grave which has received so many\nraces ... and the last to lower himself has\nbeen the solemn-faced Nietzsche, eager, ra-\nther cross, his fire hidden in the smoke of\nhis lowering brows; down he goes into the\nwell murmuring, \"Learn to Dance, Nietzsche,\nLearn to laugh, Nietzsche . ~ then you will\nhave learnt the secret of secrets ...\" And\nnow he is out of sight. . . out of hearing .. .\nfrom the depths of that well not even a\nsigh ascends .. • silence •.. another man is\nlost for ever. & & jet jet\njet Lost... through learning... and through\nbelief that Love is learnable, that Laughter\nis learnable, that Dancing is learnable and\nthat Beauty is to be achieved and won by\nfair intellectual means. jet j& jet\njet Dear Love, with your two little faces;\nTruth and Beauty. A thousand blessings on\nyou for all time, or when you frown or when\nyou smile,when you remember or forget. Your\nsweet faults are ours and we can love them.\nSweet Truth, sweet Beauty, your two faces,\nhow dear they are,for you can frown and smile\nwith them at the same moment. You can\nsatisfy yourself . .. and that is all we want.\nYou are the Eternal, and you shall have one\nEternal Lover. We will never desert you.\n(Echo of Comedy back from the years) ....\nfor we will never ask you to be less than\nEternal. Today your Truth hurts us, tomor-\nrow your Beauty heals the smart, and when\nyou squander and pollute your Beauty with\nthe mob is not your Truth turned towards\nus and do not its invisible eyes search ours\nand silently pass into their home? jet\n& And the full sum of all this human talk of\nbruising and of healing is that we have found\nHappiness through you. We do not ask if you\nhave found it through us your sons and lovers.,\nBut we of all your sons, of all your lovers\nalone are able to tell you that it is not alone\nyour Truth that we love and not alone your\nBeauty... it is both ... the two expressions\nof that double face, the Alpha and the Ome-\nga of Love, with its impossible deceit and its\nimpossible j&\n\nA. C."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c042", "article_bluemountain": "bmtnaau_1909-10_01#c042", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "95", "image_debut": 57, "image_fin": 57, "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=bmtnaau190910-01.2.16.4", "titre_corps": "BURIED HERCULANIUM by E. R. Barker", "titre_sommaire": "BURIED HERCULANIUM by E. R. Barker", "signature_source": "D. N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.57", "debut_caractere": 3238, "fin_caractere_exclue": 4411, "texte": "BURIED HERCULANIUM by E. R. Barker.\nV. and C. Black. Price. 716 net.\nD. N. L.\n'phis is a volume which, interesting at any\ntime, made a peculiar appeal at the time of\nits publication just after the great earthquake\nin Southern Italy, and the Mes-\nsina, recalling as it did the destruction of\nanother famous city and the art treasures\nthen buried, some of which have now, by\nexcavation, been after many centuries resto-\nred to us. J& J& &t j£t\nj& The volume, which is profusely illustrated,\ncontains one chapter of especial interest to\nreaders of 44 The Mask\" upon the Theatre\nrediscovered in the year 1713. It is full of\nvaluable information about the structure and\ndecoration of the building, and throws con-\nsiderable light upon the performances of that\nlong past day. j& j& & jet\njet There is also a note upon those five state-\nly figures known as the 44 Dancers, \" which\nhave a peculiar interest for us today when\nso much is being done to revive the Greek\nspirit and to restore its ancient beauty to\nthe dancer's art. jet j£t jet j&\nj& All classical students will find the volume\nof value to them, both for its well arranged\nmatter and its numerous and excellent plates."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c043", "article_bluemountain": "bmtnaau_1909-10_01#c043", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "96", "image_debut": 57, "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=bmtnaau190910-01.2.16.5", "titre_corps": "St ELIZABETH OF HUNGARY by Arthur Dillon", "titre_sommaire": "St ELIZABETH OF HUNGARY by Arthur Dillon", "signature_source": "D.N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.57", "debut_caractere": 4413, "fin_caractere_exclue": 4610, "texte": "St ELIZABETH OF HUNGARY by\nArthur Dillon. Elkin Matthews. Price\n416 net.\n\nplay, as is stated in an introductory\nnote, is founded on the \"Saint's Tragedy\"\nof Charles Kingsley, and, although covering"}, {"page_pdf": 58, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 312, "texte": "the same ground and showing no very orig-\nnal conception of the familiar characters, will\nyet give pleasure to those who admire the\npicturesque personality of the young German\nsaint. The volume is pleasing in format and\nprinting, as is usually the case with all books\nbearingthe name of MrElkin Matthews.\n\nD.N.L."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c044", "article_bluemountain": "bmtnaau_1909-10_01#c044", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "97", "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=bmtnaau190910-01.2.16.6", "titre_corps": "SHAKESPEARE by Walter Raleigh", "titre_sommaire": "SHAKESPEARE by Walter Raleigh", "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": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.58", "debut_caractere": 314, "fin_caractere_exclue": 4878, "texte": "SHAKESPEARE by Walter\nRaleigh. Mac mi II an. Price 4f-net. <®\nexcellent book which can only receive\nJust criticism after some years have elap-\nsed, for it is one which must be studied very\nthoroughly. j® j® j® j®\n<® Here is an excellent passage from the only\nchapter relating to the theatre and the only\none which we can treat of In this review.\nJ® 44 The boys who acted Rosalind, Viola,\n44 and Julia, had the difficult task of preten-\n\" ding to be girls disguised as boys. In spite\n44 of all this, it may be doubted whether\n44 Shakespeare has not suffered more than he\n44 has gained by the genius of latter-day ac-\n-44 tresses, who bring into the plays a realism\n44 and robust emotion which sometimes ob-\n-44 scure the sheer poetic value of the author's\n44 conception. The boys were no doubt very\n44 highly trained, and amenable to instruction\n44 so that the parts of Rosalind and Desde-\n-44 mona may well have been rendered with a\n44 clarity and simplicity which served as a\n44 transparent medium for the author's wit\n44 and pathos. Poetry, like religion, is out-\n-44 raged when it is made a platform for the\n44 exhibition of their own talent and passion\n44 by those who are its ministers. With the\n44 disappearance of the boy players the poetic\n44 drama died in England, and it has had no\n44 second life.\" J® J® J® J®\nj® Nothing truer has been said about this\nimportant subject. Where, however, Professor\nRaleigh speaks of boys pretending to be\ngirls we think he has chosen a wrong verb\nfor there could never have been the illu-\nsion that it was a real woman but only that\nit was the spirit of a woman which was\nbrought upon the stage, and inasmuch as the\nspirit was present without the body the gain\nmust have been incalculable. J® J®\n<® The impersonal element must have been\nfelt very much in the theatre, and it is only\ntoo true that today it is the bodily presence\nof women which makes all the difference to\nthe beholder. She is 44charming,\" 44fascina-\nting, \" she 44 carries one awaythis is what\nwe hear, and when the critic speaks of her\nit is often to admit that criticism is impos-\nsible because he is so bewitched. This is\ncharming in a drawing room, beautiful in a\nhome, but abominable in a theatre. j®\nLater on in the same chapter Professor Raleigh\nreminds us that costume was 44something\nmore than idly decorative\" and it is very right\nto repeat this, for people do not seem to\nbe aware that clothes are capable of psycho-\nlogical expression. J® J® J® J®\nIn telling us later on that the scenery\nwas of the simplest, he again underlines the\nwell known fact that it was the words and\nthe gestures of the players which alone pro-\nduced the strange and wonderful impression\nas of something living. He says, after having\ndescribed the scene where Brutus is left\nalone in the tent with his sleeping servant,\n44 The whole scene is heavy with the sense\n44 of night and the darkness of conspiracy,\nt4 yet the effect is produced by nothing but\n44 the spoken words and the gestures of the\n44 players. \" and of course nothing else, no-\nthing more, is desirable;.... rather something\nless. Here we are but saying what a well-\nknown artist who has worked in the theatre\nfor many years said to us the other day when\nwe were discussing this passage in Professor\nRaleigh's book. 44 Of course he is right ;\n44 nothing else is desirable .... rather some\n«4 thing less. And what must it cost me\nt4 to say so? \" he added. 448y agreeing with\n44 this statement, or rather by acknowledging\n44 its truth, 1 figuratively throw into the\n*4 waste paper basket the work of fifteen or\n44 twenty years. AH my designs for what is\n*4 called \"scenery\", \"effects\", the pictorially\n44 dramatic movements of the chief actors and\n44 the crowd which I have laboured to pro-\n-44 duce for so long and which possibly have\n44 been good in their way, I put them all into\n44 the fire But willingly and those of\n44 my predecessors for the last three hundred\n44 years rather reluctantly. And what follows?\n44 It must follow as the day the night we can-\n-64 not then be false to any truth. \" J®\nIf all those who collaborate in the pro-\nduction of a play by Shakespeare would face\nthe truth as unfalteringly as this artist, the\nproduction of Shakespeare would be much\nsimplified and we should see very many more\nperformances of his works. As it is pro-\nductions are becoming more complicated. j®\nj® As we write this a fresh complication has\nbeen invented. J® J® J® J®\n/® Madame Georgette Leblanc has announced\nthat she will give a performance of 44Macbeth\"\nin the antique Abbey which belongs to her"}, {"page_pdf": 59, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 730, "texte": "celebrated husband, M. Maeterlinck, using the\nAbbey with its corridors, flights of steps,\ncourtyards and surrounding country as the\nsetting in which the play will be presented.\nHer audience, which is not to exceed fifty in\nnumber, will pass from place to place as the\nscenes change. As there are twenty eight\nscenes in \"Macbeth\" we anticipate an extreme\nly bored audience at the end, so tired as hardly\nto be compensated by the great banquet which\nwill then take place (i). We find two main\nfaults in Madame Maeterlinck's plan. The first\nthat she should have conceived the idea; the\nsecond that she should have carried it out.\nIt is to prevent such eccentric experi-\nments that books such as Professor Raleigh's\nare written. & & &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c045", "article_bluemountain": "bmtnaau_1909-10_01#c045", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "97", "image_debut": 59, "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=bmtnaau190910-01.2.16.7", "titre_corps": "A HISTORY OF THEATRICAL ART by Karl Mantzius", "titre_sommaire": "A HISTORY OF THEATRICAL ART by Karl Mantzius", "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": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.59", "debut_caractere": 732, "fin_caractere_exclue": 1015, "texte": "A HISTORY OF THEATRICAL ART.\nVolume V. by Karl Mantzius. Duckworth.\nadmirable work which every manager\nand student should purchase. We shall\nreview it in the next number of The Mask.\nwing to lack of space the list of books\nand magazines received is held over until\nthe next number. &"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c046", "article_bluemountain": "bmtnaau_1909-10_01#c046", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "100", "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=bmtnaau190910-01.2.17", "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": 59, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.59", "debut_caractere": 1017, "fin_caractere_exclue": 4205, "texte": "FOREIGN NOTES\n\nLONDON.\nG. H.\n'\"phe Follies are undoubtedly the most amu-\nsing of London's possessions, and one of\nthe most entertaining. To a student of the\nmodern theatre they are illuminating as well,\nand how Mr Lewis Waller can parade his\npinchbeck wares in the theatre which stands\nside by side with the Apollo is the question\nmost people are asking. For the Follies were\nbornto assist in the extermination of the false\nsentiment of the modern theatre so loved\nand trafficed in by the Wallers of the stage.\n& They ridicule the mock heroic school of\nplay and player as surely no others have ever\ndone since Aristophanes hurled his terrible\nlaughter at things less deserving of ridicule.\nThe Follies ridicule that which they have a\nright to ridicule; they know the modern\nstage and its humbug and they expose the\npoor fraud of two centuries in ten minutes.\nThus the p>lay, the actor, the chorus\ngirls and the wig makers, the lime lights\nand the orchestra all come in for scathing\ntreatment at the hands of these humourists.\n& The humour is as trenchant as that of the\nauthors of \" Wisdom while you wait \" or\n\" Change for a Halfpenny, \" and if the au-\ndiences who nightly flock to the Apollo will\nlearn to laugh with the Comedians and not\nat them, then the balance against bad melo-\ndrama and trashy musical comedy will turn\nin favour of better things.\nThe fun of the Follies is a relief after the\nfalse seriousness of Mr Bernard Shaw and\nthe King of Cadonia; and these comedians are\nentirely healthy; we may be sure that they\nwill find no fun to poke at serious things.\nThe last performance of theirs containing\nthe skit on a Music Hall entertainment was\nthe best of its kind 1 have ever seen. The tor-\nrent of witticism which they poured inces-\nsantly from their imitation \"gallery\" was\nquite admirable. One felt it could never keep\non and yet it never stopped for an instant.\n& As an important factor in the Renais-\nsance of the English Stage the Follies must\nnever be forgotten. What they are doing is\nadmirable amusement, but what they will\nachieve is more admirable. We take our mask\noff to them. jg? & jg? R. S.\nJf the Marionettes were not the biggest hit\nof the evening at the Colliseum on the same\nnight when Miss Cissie Loftus and about\neleven other stars were working their level\nbest, then I am a bad correspondant with\nneither eyes nor ears.\nThe popular voice hailed the marionettes\nwith twice the enthusiasm with which any\nother pari of the programme was received.\nThe spectators were all invited as guests,.... at eight guineas a head...\n\nFLORENCE\nj&? On August stli there was a crowded au-\ndience to witness the first representation here\nof Renato Simoni's satiric piece, \" Turlupi®\nneide \" which had already won so great a\nsuccess in Rome. & &\nThe Play, which passes in review repre-\nsentative phases and figures of modern Ita-\nlian life, politicians, artists, clerics and the\nrest, spares none of them, and the persona-\nlities are of the keenest. & &\nNone come in for greater ridicule than the\nartists, and among these preeminently D'An-\nnunzio, from the moment when he is revealed\nas a statue in modern dress, set high in the\nmidst of the stage with Dante at his feet;"}, {"page_pdf": 60, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4771, "texte": "until the last act when, after his courtship\nof the gaudy ** Reclame \" for whose smiles\nMascagni, too, is a keen competitor, he is\nshown clothed completely in a glittering\ngolden suit, offering the Manuscript of the\n•• Nave \" with a thousand affectations to the\ncity of Venice. No personality is too pointed,\nno allusion to private matters too indiscreet\nto be brought forward, and the keener the al-\nlusion the greater the delight of the audience.\nWell, perhaps that is what will be seen\nin England also one day if Mr George Bernard\nShaw and Mr Granville Barker and the rest\nof them get their wish and abolish the Censor.\nBut will Mr Shaw really welcome the li-\ncense which will reign after the consumation\nof his labours and his much speaking? Will\nhe be quite ready to be himself pilloried on\nthe London stage, to have all his private af-\nfairs and personal idiosyncracies held up to\nridicule? It is one thing to display those of\nothers, but.... the biter does not always like\nbeing bitten in his turn, and though Mr Shaw\nloves publicity 1 doubt if he would enjoy\nbeing shown without appeal, as an absurd\nfigure, as are D'Annunzio, Mascagni and the\nrest being shown today on the Italian stage.\nHe might realise then that he had been\nbegging \"his own harm\" of the \"wise powers\"\nwho support Mr Redford in office, and feel\nt*o late that he would have profitted \" by\nlosing of his prayers \". <£?\nIndeed, \" Turlupineide \", clever, witty,\namusing as it is, might well, by its unbridled\npersonalities, offer food for serious reflection\nto any opponents of the Censor and give them\npause in their mad career.\n\nGIOVANNI GRASSO.\n\nA, I consider Grasso the greatest actor in\nEurope, and admire his performances entirely.\nB. & Hullo! What is it you are saying? I\nhave read somewhere in one of your essays\nthat actors are not artists. Do you consider\nGrasso an artist ? jg?\nA. No, but that does not prevent me from\nunderstanding that Grasso is possessed by a\nforce which causes him to create a pheno-\nmenal impression. Besides, acting is not an\nart and Grasso helps to prove this. *£/\nb. How can you admire Grasso when he\nexhibits what you profess to despise on the\nstage,... emotion? jz?\nA. Don't you know, bright questioner, the\ndifference between a Grasso and an ordinarily\nemotional actor or actress? I admire Grasso\nbecause he is entirely emotional, because\nagainst all laws of art he triumphs so com-\npletely. If he merely carried me away for a few\nmoments I should be able to recover and\nshould confess his weakness,... but Qrasso\ncarries me away altogether and he refuses\nto let me come to my senses.\nDumas pere carries me away just so; he may\nnot be a great stylist, he may break all the\nlaws sacred to men of letters, sacred to\nthe Muse herself, but he is justified, for\nhe not only makes new laws, he enforces\nthem; and this is exactly what other emo-\ntional authors cannot do. This is also true\nof the actors of the modern stage. How many\nso-called emotional actors are on the stage\nof Europe ? Thousands ! 1 can accept none of\ntheir tepid emotionalism, but I can accept\nthe volcanic emotion of Giovanni Grasso. If\n1 accepted the other thousands of imposters\nI should be insulting nature herself, and if\n1 delude myself that such a phenomenon can\nbe an every-day occurrence 1 insult intel-\nligence and the universe. j&>\nB. JS? Then you cannot accept Bernhardt,\nMounet Sully, Zacconi, Duse and the rest\nbecause of their tepid emotionalism, as you\ncall it ?\nA, They are n dtiier hot nor cold; neither\ngreat thinkers nor great emotionalists; that's\nwhy I detest them. Grasso's emotion is like\nthe lava of Vesuvius. 1 do not question its\nright to move me. If Bernhardt could fling\nsuch force at me I should not question her\ndemonstration; as it is i do: and Madame\nDuse t00,... she cries a little; keeps very\nstill; she gazes with agony around her; she\nmakes me think, and I begin to think that\nshe is attempting to be an artist and failing\nto be an actress. Then I think further and I\nfind that she cannot be an artist to make me\nthink so little. zz?\nj®- With Grasso ! neither think nor feel; he\nleaves me no time. 1 am out of myself. 1 look,\nand instantly with laughter and excitement I\ngo bowling along with his force. Show me\nanother. His late companion, the Sicilian\ngirl, Mimi Aguglia, when she acted with\nhim, derived some of his power but she has\ngone away for some unaccountable reason\nand will.lose her power.. When 1 heard she had\ngone away to some \"Star \"-monger 1 was\ncurious to see how Grasso would act without\nher. He acts better and he is more than loyally\nassisted by his admirable and beautiful part-\nner, Marinella Bragaglia and by his brother.\nB. It is strange to hear you in this vein;\nyou are positively tolerant. &\nA. Am I? 1 meant to be intolerant,.."}, {"page_pdf": 61, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 540, "texte": "exaggeratedly in favour of the whole group\nof Sicilians. Is it possible that you have\nagain misunderstood me ? J® J® J®\nB. j® Well, you don't always make yourself\nclear. Acting no Art, Grasso a great actor;\nGrasso giving you intense pleasure,... its all\na little confusing, j® j® j® j®\nA. j® Never mind; next time you'll get better.\nGo off and tussle with all the other paradoxes\nwhich lie between the initiatory and the\nultimate. Then this little Paradox of the\nTheatre though it become no clearer will\nbe come more interesting.\n\nC.\n\nPARIS"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c048", "article_bluemountain": "bmtnaau_1909-10_01#c048", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "97", "image_debut": 59, "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=bmtnaau190910-01.2.17.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "G. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.59", "debut_caractere": 1032, "fin_caractere_exclue": 3570, "texte": "LONDON.\nG. H.\n'\"phe Follies are undoubtedly the most amu-\nsing of London's possessions, and one of\nthe most entertaining. To a student of the\nmodern theatre they are illuminating as well,\nand how Mr Lewis Waller can parade his\npinchbeck wares in the theatre which stands\nside by side with the Apollo is the question\nmost people are asking. For the Follies were\nbornto assist in the extermination of the false\nsentiment of the modern theatre so loved\nand trafficed in by the Wallers of the stage.\n& They ridicule the mock heroic school of\nplay and player as surely no others have ever\ndone since Aristophanes hurled his terrible\nlaughter at things less deserving of ridicule.\nThe Follies ridicule that which they have a\nright to ridicule; they know the modern\nstage and its humbug and they expose the\npoor fraud of two centuries in ten minutes.\nThus the p>lay, the actor, the chorus\ngirls and the wig makers, the lime lights\nand the orchestra all come in for scathing\ntreatment at the hands of these humourists.\n& The humour is as trenchant as that of the\nauthors of \" Wisdom while you wait \" or\n\" Change for a Halfpenny, \" and if the au-\ndiences who nightly flock to the Apollo will\nlearn to laugh with the Comedians and not\nat them, then the balance against bad melo-\ndrama and trashy musical comedy will turn\nin favour of better things.\nThe fun of the Follies is a relief after the\nfalse seriousness of Mr Bernard Shaw and\nthe King of Cadonia; and these comedians are\nentirely healthy; we may be sure that they\nwill find no fun to poke at serious things.\nThe last performance of theirs containing\nthe skit on a Music Hall entertainment was\nthe best of its kind 1 have ever seen. The tor-\nrent of witticism which they poured inces-\nsantly from their imitation \"gallery\" was\nquite admirable. One felt it could never keep\non and yet it never stopped for an instant.\n& As an important factor in the Renais-\nsance of the English Stage the Follies must\nnever be forgotten. What they are doing is\nadmirable amusement, but what they will\nachieve is more admirable. We take our mask\noff to them. jg? & jg? R. S.\nJf the Marionettes were not the biggest hit\nof the evening at the Colliseum on the same\nnight when Miss Cissie Loftus and about\neleven other stars were working their level\nbest, then I am a bad correspondant with\nneither eyes nor ears.\nThe popular voice hailed the marionettes\nwith twice the enthusiasm with which any\nother pari of the programme was received.\nThe spectators were all invited as guests,.... at eight guineas a head..."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c049", "article_bluemountain": "bmtnaau_1909-10_01#c049", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "98", "image_debut": 59, "image_fin": 60, "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=bmtnaau190910-01.2.17.3", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "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": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.59", "debut_caractere": 3572, "fin_caractere_exclue": 4205, "texte": "FLORENCE\nj&? On August stli there was a crowded au-\ndience to witness the first representation here\nof Renato Simoni's satiric piece, \" Turlupi®\nneide \" which had already won so great a\nsuccess in Rome. & &\nThe Play, which passes in review repre-\nsentative phases and figures of modern Ita-\nlian life, politicians, artists, clerics and the\nrest, spares none of them, and the persona-\nlities are of the keenest. & &\nNone come in for greater ridicule than the\nartists, and among these preeminently D'An-\nnunzio, from the moment when he is revealed\nas a statue in modern dress, set high in the\nmidst of the stage with Dante at his feet;"}, {"page_pdf": 60, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 1603, "texte": "until the last act when, after his courtship\nof the gaudy ** Reclame \" for whose smiles\nMascagni, too, is a keen competitor, he is\nshown clothed completely in a glittering\ngolden suit, offering the Manuscript of the\n•• Nave \" with a thousand affectations to the\ncity of Venice. No personality is too pointed,\nno allusion to private matters too indiscreet\nto be brought forward, and the keener the al-\nlusion the greater the delight of the audience.\nWell, perhaps that is what will be seen\nin England also one day if Mr George Bernard\nShaw and Mr Granville Barker and the rest\nof them get their wish and abolish the Censor.\nBut will Mr Shaw really welcome the li-\ncense which will reign after the consumation\nof his labours and his much speaking? Will\nhe be quite ready to be himself pilloried on\nthe London stage, to have all his private af-\nfairs and personal idiosyncracies held up to\nridicule? It is one thing to display those of\nothers, but.... the biter does not always like\nbeing bitten in his turn, and though Mr Shaw\nloves publicity 1 doubt if he would enjoy\nbeing shown without appeal, as an absurd\nfigure, as are D'Annunzio, Mascagni and the\nrest being shown today on the Italian stage.\nHe might realise then that he had been\nbegging \"his own harm\" of the \"wise powers\"\nwho support Mr Redford in office, and feel\nt*o late that he would have profitted \" by\nlosing of his prayers \". <£?\nIndeed, \" Turlupineide \", clever, witty,\namusing as it is, might well, by its unbridled\npersonalities, offer food for serious reflection\nto any opponents of the Censor and give them\npause in their mad career."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c050", "article_bluemountain": "bmtnaau_1909-10_01#c050", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "98", "page_fin": "99", "image_debut": 60, "image_fin": 61, "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=bmtnaau190910-01.2.17.4", "titre_corps": "GIOVANNI GRASSO", "titre_sommaire": "GIOVANNI GRASSO", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.60", "debut_caractere": 1605, "fin_caractere_exclue": 4771, "texte": "GIOVANNI GRASSO.\n\nA, I consider Grasso the greatest actor in\nEurope, and admire his performances entirely.\nB. & Hullo! What is it you are saying? I\nhave read somewhere in one of your essays\nthat actors are not artists. Do you consider\nGrasso an artist ? jg?\nA. No, but that does not prevent me from\nunderstanding that Grasso is possessed by a\nforce which causes him to create a pheno-\nmenal impression. Besides, acting is not an\nart and Grasso helps to prove this. *£/\nb. How can you admire Grasso when he\nexhibits what you profess to despise on the\nstage,... emotion? jz?\nA. Don't you know, bright questioner, the\ndifference between a Grasso and an ordinarily\nemotional actor or actress? I admire Grasso\nbecause he is entirely emotional, because\nagainst all laws of art he triumphs so com-\npletely. If he merely carried me away for a few\nmoments I should be able to recover and\nshould confess his weakness,... but Qrasso\ncarries me away altogether and he refuses\nto let me come to my senses.\nDumas pere carries me away just so; he may\nnot be a great stylist, he may break all the\nlaws sacred to men of letters, sacred to\nthe Muse herself, but he is justified, for\nhe not only makes new laws, he enforces\nthem; and this is exactly what other emo-\ntional authors cannot do. This is also true\nof the actors of the modern stage. How many\nso-called emotional actors are on the stage\nof Europe ? Thousands ! 1 can accept none of\ntheir tepid emotionalism, but I can accept\nthe volcanic emotion of Giovanni Grasso. If\n1 accepted the other thousands of imposters\nI should be insulting nature herself, and if\n1 delude myself that such a phenomenon can\nbe an every-day occurrence 1 insult intel-\nligence and the universe. j&>\nB. JS? Then you cannot accept Bernhardt,\nMounet Sully, Zacconi, Duse and the rest\nbecause of their tepid emotionalism, as you\ncall it ?\nA, They are n dtiier hot nor cold; neither\ngreat thinkers nor great emotionalists; that's\nwhy I detest them. Grasso's emotion is like\nthe lava of Vesuvius. 1 do not question its\nright to move me. If Bernhardt could fling\nsuch force at me I should not question her\ndemonstration; as it is i do: and Madame\nDuse t00,... she cries a little; keeps very\nstill; she gazes with agony around her; she\nmakes me think, and I begin to think that\nshe is attempting to be an artist and failing\nto be an actress. Then I think further and I\nfind that she cannot be an artist to make me\nthink so little. zz?\nj®- With Grasso ! neither think nor feel; he\nleaves me no time. 1 am out of myself. 1 look,\nand instantly with laughter and excitement I\ngo bowling along with his force. Show me\nanother. His late companion, the Sicilian\ngirl, Mimi Aguglia, when she acted with\nhim, derived some of his power but she has\ngone away for some unaccountable reason\nand will.lose her power.. When 1 heard she had\ngone away to some \"Star \"-monger 1 was\ncurious to see how Grasso would act without\nher. He acts better and he is more than loyally\nassisted by his admirable and beautiful part-\nner, Marinella Bragaglia and by his brother.\nB. It is strange to hear you in this vein;\nyou are positively tolerant. &\nA. Am I? 1 meant to be intolerant,.."}, {"page_pdf": 61, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 533, "texte": "exaggeratedly in favour of the whole group\nof Sicilians. Is it possible that you have\nagain misunderstood me ? J® J® J®\nB. j® Well, you don't always make yourself\nclear. Acting no Art, Grasso a great actor;\nGrasso giving you intense pleasure,... its all\na little confusing, j® j® j® j®\nA. j® Never mind; next time you'll get better.\nGo off and tussle with all the other paradoxes\nwhich lie between the initiatory and the\nultimate. Then this little Paradox of the\nTheatre though it become no clearer will\nbe come more interesting.\n\nC."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c051", "article_bluemountain": "bmtnaau_1909-10_01#c051", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "100", "image_debut": 61, "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=bmtnaau190910-01.2.17.5", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.61", "debut_caractere": 535, "fin_caractere_exclue": 540, "texte": "PARIS"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c052", "article_bluemountain": "bmtnaau_1909-10_01#c052", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "100", "image_debut": 61, "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=bmtnaau190910-01.2.17.5.1", "titre_corps": "SIGNOR FORTUNY'S INVENTION", "titre_sommaire": "SIGNOR FORTUNY'S INVENTION", "signature_source": "J", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.61", "debut_caractere": 542, "fin_caractere_exclue": 4816, "texte": "SIGNOR FORTUNY'S INVENTION\n\n' jpo the majority of people the theatre is in\na perfect state of health. To the minority\nthe theatre is very HI indeed, and there are\none or two people who consider it dead alto-\ngether. Those who are contented with the\nstate of affairs... indeed, their content at\ntimes becomes almost too energetic in its\nprotestation,.... are the men and women\nconnected with the theatre who believe that\nthere is more money to be made out of\nbeing optimistic than being pessimistic. j®\nI think the second group of people mean\nwell In what they propose but in many cases\nthey too would mould the theatre nearer to\ntheir heart's desire for the poor reason that it\nwould pay better, j® j® j® j®\nThis group of course is prepared for slow\nreturns, but it Is none the less the returns\nthat they have their eye on. j® &\nj® The one or two people who consider the\ntheatre is dead and yet desire to recreate\nthe new theatre, these are the only men who\ncan be said to take shares in a concern in\nwhich there can be no material return, j®\nj® It is in the second group that Slgnor\nFortuny comes, and we feel quite sure that\nhe will in time reap a large harvest. Of course\nthat is on the suppositiom that no man arises\nwho shall expose the dead corpse of the\ntheatre and so prove to the world that it is\nutterly worthless to go on spending money on\nthe dear departed. j& j® j® j®\nj? The remedy which Signor Fortuny brings\nL<> what he considers an Invalid is a complt-\ncation of the scenlca! devices. Me has been\nlately giving much time to an invention which\nshall abolish what are known as the sky-bor-\nders. You can get the best idea of his In-\nvention if you will imagine a very large\nperambulator hood large enough to cover the\nback and the upper part of the stage. The\nframework is not a fixture but Is able to be\nclosed up just as a perambulator hood Is able\nto be closed down, and once It Is closed up\nit Is Hat against the proscenium arch and is\ntherefore out of the way. Other scenes can\nthen be placed in position. The framework\nof this hood Is provided with two cloths, the\none external, the other internal, and between\nthem is a space in which by means of an\nelectric ventilator the internal canvas can be\nmade to appear entirely smooth. & j®\nj® A couple of designs of this appliance are\ngiven in \" Natura ed Arte \", (August ist)\na fortnightly review published In Milan, j®\nJ® Further details of the way In which Signor\nFortuny throws his light upon this vast sky\ncloth are also given, and undoubtedly if we\ndesire a better reproduction of the heavens\nthan we have had hitherto we shall do well to\nadopt the Fortuny method for there Is a\ngreat deal of common sense about the idea.\nUnfortunately artists have never dealt In\ncommon sense, for art is the expression of\nthat sense which is uncommon, and no artist\nin his senses would dream of lumbering the\nstage with such an alarming machine as this\nwhich Slgnor Fortuny has Invented. j®\nThis way of solving the difficulty has oc-\ncurred no doubt to several men of inventive\ntalent. Professor Herkomer used a curved\nsky cloth although it was unable to be closed\nup and opened as this one is. J® j®\nThe nearest approach to Signor Fortuny's\nwhich I know Is to be found in a couple of\nrough sketches by Mr Gordon Craig which I\ncame across by chance. These have the date\n1904 on them and are possibly later than Signor\nFortuny's invention, but they have some ori-\ngina! points of their own. j® j® j®\nj® To begin with Mr Craig's surface is not a\nsmooth one although it Is so designed that\nanyone who has studied the matter would\nsee that from a distance It would appear to\nbe quite smooth. Instead of folding up it\nfolds back and goes down tinder the stage. On\nthe designs are one or two curious notes\nwritten in pencil. By these notes It appears\nthat the designs were sketched out In Weiiita/\nwhere it seems that there was an Idea of\nmaking a model, and a small portion of ibis\nmodel was even commenced under tb * so *\nperintendance of Professor Van de We f tie. 4®\nOne of the notes on the sketch is as\nfollows, 44 possibly a splendid Invention If I\ncould wait twenty years for it to bring me\nL 20,000. 1 sketched this out one afternoon\nbecause some serious idiot asked me in a\nsolemn voice as though he were putting a"}, {"page_pdf": 62, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 883, "texte": "question to me relating to my immortal soul\nhow 1 should get out of the difficulty of sky\nborders Would be quite easy to waste\none's life answering such questions in this\nmanner \".\nA model of Slgnor Fortuny's invention is to\nbe seen in Paris. It is quite a large model\nand has been constructed for the Countess de\nBeam. It ought certainly to be Installed in\none or two of the best London theatres be-\ncause after it has been installed a new\ninvention will come along, and after that ano-\nther new one, and then the managers pos-\nsibly, at their wits ends to know what fresh\nthing they can instal, will turn to the artists\nand ask them. Of course what the artists tell\nthem will be a very expensive matter; not\nmerely a matter of a few hundred thousand\npounds; for the artists will tell thein to instal\nthe Art and no estimate has as yet been given\nas to how much that might cost.\n\nJ."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c053", "article_bluemountain": "bmtnaau_1909-10_01#c053", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "100", "page_fin": "100", "image_debut": 62, "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=bmtnaau190910-01.2.18", "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": 62, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.62", "debut_caractere": 885, "fin_caractere_exclue": 3825, "texte": "EDITORIAL NOTES\n\n|r Martin Harvey has lately produced\n\" Hamlet \" in Liverpool in the method\ninitiated by Mr Gordon Craig.\n& But in doing this Mr Harvey has made\nquite a new departure full of originality. He\nhas graciously acknowledged the source of\nhis inspiration. Others adopt this method....\nor the fringe of the method but none of\nthem make any acknowledgement as to\nwhence they have derived their ideas. &\nIn Dusseldorf, in Berlin, in Vienna, in St\nPetersberg, in Munich and even in London\nthere are to be found gentlemen who, if you\nask them about these methods of stage pro-\nduction will either profess ignorance of them\nor jwill suggest that they are rather impossible\nideas, unpractical, you know.\nIt is these same gentlemen who are soon\nafterwards found producing Shakespeare's\nplays in the very method they have decried.\nThat Mr. Harvey should act as he has done\nappears natural to those who know the man\nIt is a good example which we hope will be\na lesson in the future to Professors Orlik and\nRoller, Madame Louise Dumont, Madame\nKomisarzhevsky, Herr Reinhardt and others\nwho have deliberately copied, thinking no\none would notice the original. &\nAfter all there is no harm in copying that\nwhich cannot protect itself; the only danger\nin this kind of infringement of an idea lies\nin the capacity of the inventor to retaliate.\nThe artist once upon a time was generally\nsupposed to be a good amiable kind of fellow,\ncontent to permit any rogue to steal him out\nof house and home. Today the artist is\nsometimes a really good fighter. £? &\nJll 1693 a Bill was passed through Parliament\ngiving liberty to the press, and according\nto the articles of that Bill dramatic pieces\ncould no longer be censured. Political plays,...\nFielding's among others,... became so popular\nthat rowdy scenes were continually occur-\nring at the Little Theatre in the Haymarket\nand elsewhere.\nAny attack on the Government called down\ncheers and hisses. & &\nThings reached a crisis before iong. A\nsatirical play, \"The Golden Rump\", was full\nof open attacks on the government, so open\nindeed that the manager, fearing for his\ntheatre, thought it best to enquire whether\nthe ministry would object if the play were\nperformed.^\nSir Robert Walpole forbade its production\nand immediately requested a limitation 01\ntheatrical liberty and succeeded in passing\nthe Licensing Act (June 21 1737 ) \"\nGolden Rump \" was neither printed nor per=\nformed. & j&r XZ? &\nIt may be well to remember this when\nlistening to the clamour which calls for the\nremoval of the Censor.\nWe congratulate Mr H. B. Irving upon his\nentry into permanent management of a\nLondon Theatre. & & & &\nHis influence is nearly sure to be always\nthrown on the right side. He is not likely\nto astound the world with any innovation\nwhich it might not understand, but he will\ncertainly not pander to the taste of those\nwho find in the theatre nothing but an eve-\nning's amusement. May success attend him."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c055", "article_bluemountain": "bmtnaau_1909-10_01#c055", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "100", "page_fin": "100", "image_debut": 62, "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=bmtnaau190910-01.2.18.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.62", "debut_caractere": 902, "fin_caractere_exclue": 3825, "texte": "|r Martin Harvey has lately produced\n\" Hamlet \" in Liverpool in the method\ninitiated by Mr Gordon Craig.\n& But in doing this Mr Harvey has made\nquite a new departure full of originality. He\nhas graciously acknowledged the source of\nhis inspiration. Others adopt this method....\nor the fringe of the method but none of\nthem make any acknowledgement as to\nwhence they have derived their ideas. &\nIn Dusseldorf, in Berlin, in Vienna, in St\nPetersberg, in Munich and even in London\nthere are to be found gentlemen who, if you\nask them about these methods of stage pro-\nduction will either profess ignorance of them\nor jwill suggest that they are rather impossible\nideas, unpractical, you know.\nIt is these same gentlemen who are soon\nafterwards found producing Shakespeare's\nplays in the very method they have decried.\nThat Mr. Harvey should act as he has done\nappears natural to those who know the man\nIt is a good example which we hope will be\na lesson in the future to Professors Orlik and\nRoller, Madame Louise Dumont, Madame\nKomisarzhevsky, Herr Reinhardt and others\nwho have deliberately copied, thinking no\none would notice the original. &\nAfter all there is no harm in copying that\nwhich cannot protect itself; the only danger\nin this kind of infringement of an idea lies\nin the capacity of the inventor to retaliate.\nThe artist once upon a time was generally\nsupposed to be a good amiable kind of fellow,\ncontent to permit any rogue to steal him out\nof house and home. Today the artist is\nsometimes a really good fighter. £? &\nJll 1693 a Bill was passed through Parliament\ngiving liberty to the press, and according\nto the articles of that Bill dramatic pieces\ncould no longer be censured. Political plays,...\nFielding's among others,... became so popular\nthat rowdy scenes were continually occur-\nring at the Little Theatre in the Haymarket\nand elsewhere.\nAny attack on the Government called down\ncheers and hisses. & &\nThings reached a crisis before iong. A\nsatirical play, \"The Golden Rump\", was full\nof open attacks on the government, so open\nindeed that the manager, fearing for his\ntheatre, thought it best to enquire whether\nthe ministry would object if the play were\nperformed.^\nSir Robert Walpole forbade its production\nand immediately requested a limitation 01\ntheatrical liberty and succeeded in passing\nthe Licensing Act (June 21 1737 ) \"\nGolden Rump \" was neither printed nor per=\nformed. & j&r XZ? &\nIt may be well to remember this when\nlistening to the clamour which calls for the\nremoval of the Censor.\nWe congratulate Mr H. B. Irving upon his\nentry into permanent management of a\nLondon Theatre. & & & &\nHis influence is nearly sure to be always\nthrown on the right side. He is not likely\nto astound the world with any innovation\nwhich it might not understand, but he will\ncertainly not pander to the taste of those\nwho find in the theatre nothing but an eve-\nning's amusement. May success attend him."}]}, {"article_id": "bm-bmtnaau-1909-10-01-c056", "article_bluemountain": "bmtnaau_1909-10_01#c056", "volume": "bmtnaau_1909-10_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=bmtnaau190910-01.2.19", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.2", "debut_caractere": 1049, "fin_caractere_exclue": 1147, "texte": "TYPEWRITING OFFICE.\nTRANSLATIONS IN ALL LANGUAGES.\n& & FLORENCE - Via Vecchietti 6, - FLORENCE. J&"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c057", "article_bluemountain": "bmtnaau_1909-10_01#c057", "volume": "bmtnaau_1909-10_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=bmtnaau190910-01.2.20", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.2", "debut_caractere": 1149, "fin_caractere_exclue": 2267, "texte": "=5\n■ESS\nm\nr>\n>s;\nitntfalm\nizLL*\n&\nSt\nUSE\nA\n»»\nSWAN\nPDUOTAIIM\nPEN\nAND DISCARD ALL ANTIQUATED METHOD*\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 I\nMABIE, TODD &. CO.\n(\"SWAN\" Fountpen Makers,)\n79 & 80, HIGH HOLBORN, LONDON, W. C.\nBRANCHES:\n93, Cheapside, E. C.; 95a, Regent Street W.\n3, Exchange Street, Manchester.\n10, Rue Neuve, Brussels.\nBrentano's, 37* Ave, de I'Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nPRICES: Englishlo |6 - French Fes. 15.00 - Italian - Eite 15.00 upwards. &\nWrite lor Catalogue, post free•\nf s\nWAN PEN"}]}, {"article_id": "bm-bmtnaau-1909-10-01-c058", "article_bluemountain": "bmtnaau_1909-10_01#c058", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "101", "page_fin": "101", "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=bmtnaau190910-01.2.21", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 333, "texte": "V\nHEAL & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\n5S\na\n<k>\n•ft\nfc\n%\n%\n%\n%\n/\n1\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-1909-10-01-c059", "article_bluemountain": "bmtnaau_1909-10_01#c059", "volume": "bmtnaau_1909-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "102", "page_fin": "102", "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=bmtnaau190910-01.2.22", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.64", "debut_caractere": 1604, "fin_caractere_exclue": 2791, "texte": "CHRISTMAS PRESENTS\nFOR THE CHILDREN:\nPICTURES FROM\nGORDON CRAIG'S BOOK\nOF PENNY TOYS.\nrphis book was published in 1898 at the Sign of\nthe Rose, tfackbridge, Surrey. It contained 20\noriginal drawings of 20 Penny Toys, 20 Tail Pieces\nand 20 Verses, and proved so popular that copies are now rarely to be found.\nA FEW COPIES OF THE LARGE DESIGNS\nremain, especially printed on a grey toned paper and will delight the children upon whose\nnursery walls they shall be hung, for so they will have as familiar friends the cock and the\ndog and the little duck, the peacock with its well-clipped tail, the Admiral and the Oil\nCake Crusher and all the rest.\nis coming and gifts for the children must be chosen. No parent, god-parent,\nuncle, aunt or elderly gentleman with a sweetheart under six could find a\npresent which will give more lasting pleasure than a set of\nPENNY TOY PRINTS.\nbut orders should be sent early so as to avoid disappointment as but few sets remain.\nThe series of twenty designs, each wood cut measuring seven and a quarter by eight\nand a quarter inches, printed on large sheets of thick Art paper, price L 4. 4. o. &\n& The Mask Publishers, Arena Gold on i, Florence, Italy.\nss"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.1", "texte": "Vol. 2 N.° 4-6 i 9 o 9\nTHE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE *\nARENA QOLDONI\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=bmtnaau190910-01.1.2", "texte": "LITERARY CONTENTS.\nTHE CENSOR AND THE MASK by JOHN SEMAR. & COSTUMES FROM THE BOOK OF CESARE\nVECELLIO, TRANSLATED by D. NEVILE LEES, WITH A NOTE ON CHOPINES by ALLEN\nCARRIC. & EVERLASTING POSTPONEMENT by JOHN BALANCE. & THE NEW THEATRE\nIN POLAND: STANISLAW WYSPIANSKI by L. de SCHILDENFELD SCHILLER, & A NOTE\nON MARIONETTES by ADOLF FURST. & THE ARCHITECTURE AND COSTUME OF JULIUS\nCAESAR by E.W.GODWIN. REPRINTED FROM THE \" ARCHITECT \". & A NATIONAL\nTHEATRE, ITS ADVANTAGES AND DISADVANTAGES : AN INTERNATIONAL SYMPOSIUM.\nSARAH BERNHARDT AND LUDWIG BARNEY ON ENDOWED THEATRES. OPEN AIR\nTHEATRES: A LETTER FROM GORDON CRAIG. THE WISE AND FOOLISH VIRGINS &\nBOOK REVIEWS. & FOREIGN NOTES. & EDITORIAL NOTES. & &\n\nILLUSTRATIONS.\nFRONTISPIECE : A DESIGN FOR A STAGE SCENE by GORDON CRAIG. & FIVE DESIONS\nFROM THE BOOK OF CESARE VECELLIO & TWO DESIGNS FOR BACK CLOTHS REPRINTED\nFROM \" THE PAGE \" 1900, by GORDON CRAIG. HEAD AND TAIL PIECES AND\nINITIALS FROM OLD ENGRAVINGS, AND FROM DESIGNS by CHARLES BORROW, JULIUS\nOLIVER, AND GORDON CRAIG. &&&&&£>£>&\n\nTYPEWRITING OFFICE.\nTRANSLATIONS IN ALL LANGUAGES.\n& & FLORENCE - Via Vecchietti 6, - FLORENCE. J&\n\n=5\n■ESS\nm\nr>\n>s;\nitntfalm\nizLL*\n&\nSt\nUSE\nA\n»»\nSWAN\nPDUOTAIIM\nPEN\nAND DISCARD ALL ANTIQUATED METHOD*\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 I\nMABIE, TODD &. CO.\n(\"SWAN\" Fountpen Makers,)\n79 & 80, HIGH HOLBORN, LONDON, W. C.\nBRANCHES:\n93, Cheapside, E. C.; 95a, Regent Street W.\n3, Exchange Street, Manchester.\n10, Rue Neuve, Brussels.\nBrentano's, 37* Ave, de I'Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nPRICES: Englishlo |6 - French Fes. 15.00 - Italian - Eite 15.00 upwards. &\nWrite lor Catalogue, post free•\nf s\nWAN PEN"}, {"page_pdf": 4, "page_imprimee": "[48]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.4", "texte": "Scene from the \"Sacra Rappresentazione\" of St. Agatha.\n\nScene from the \"Sacra Rappresentazione\" of Joseph and his Brethren."}, {"page_pdf": 5, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.5", "texte": "THE CENSOR AND \"THE MASK\"\nby John Semar.\nYours faithfully, A Well-wisher.\nEdwin Holt. Brookwood Ferris\nSir, What is this mad idea of yours of supporting the Censor? Every one is asking\nme if 44 The Mask \" has changed hands or only its face, for 44 The Mask \" was once the\nchampion of liberty, and fought against all such enemies of the drama. Now it claims that\nthe Censor is not only a Blessing but a Necessity. &\n& Do you think that this kind of thing will win you more friends for your Journal ? If so\nyou are mistaken.\nSir, I am glad to see that in the midst of so much fuss about the 44 vile Censor \"\n44 The Mask\" keeps its head. & & & & &\nWe don't want these uncensored plays, especially since the authors have shown us\nlately what kind of matter such plays deal in. Many thanks.\nhese two letters have lately reached me, and in view of these and of the questions\nput by many supporters of \" The Mask \" I feel that it is time for me to set before\nits readers my reasons for not attacking the Censor. & & &\nTo begin with the mob which is hunting him is made up of the last people in England\nwho have any justice in doing so.\nThe excuses they offer are many. Most of them are the excuses of the martyr, and we\nhave learnt by experience that a crying martyr is a fraud. &\nThe second reason is that 1 believe entirely in the principle, and if 1 fail to praise the\npresent Censor it is only because he does not carry the principle far e nough. It is not less,\nbut more Censor, that the theatre needs. & jg?\n& The present Censor permits what I hope no other Censor will permit again,... he allows\nLondon to be flooded by vulgarity. The shows at the music halls do not count. We expect,\nvulgarity there; and the Censor tolerates more than vulgarity there for he knows that the\nMusic Hall is the property of the mob and he also remembers that it was once much worse\nand that even the Emperors of Constantinople, Rome and Alexandria were unable to censor\nsuch exhibitions.\nBut the Theatre is not the property of the mob and is not a place for exhibitions, animal\nor human.\nFor what then is the Theatre? The reply is given us by the historians, It is for\nReligion. jg?\n& You will possibly imagine that the Censor would oppose a theatre entirely dedicated\nto Religion. If so you must be wrong, and that is shown by the plain fact that he censors\nall which in his belief is non religious. &\n& You will now possibly tell me that I am wrong and that he vetos plays which are reli-\ngious. But here we come to the heart of the matter. So-called Religious Plays are not\nreligious any more than books with religious titles are Religious. \" Bethlehem \" which the\nCensor refused to sanction for public performance was not Religious; nor was \"Eagerheart\"\nwhich somehow got through. Mr Gordon Craig's stage management gave a certain mys-\n\nTwo fetters.\nReasons for the\ndefence. <£?\nFor what is the\nTh e atre ? &"}, {"page_pdf": 6, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.6", "texte": "THE CENSOR\n&44 THE MASK\".\n\ntery to \" Bethlehem \" but it could not make it religious. It was queerly acted, very pic-\nturesque, dramatic, theatrical, artificial, and none of these qualities are noticeable when\nthe symbols of religion are before us. &\nThe Censor cannot restore Religion to the Theatre; no one but the philosopher-artist\ncan do that, but he should at least try to keep out that which is Jiou-religious. The mo-\ndern authors who clamour for the Censor's removal are frankly non-religious and would\npossibly like to be atheistical; and it is even more because their reasons for the abolition\nof the Censor are bad than because the arguments in favour of that office are good that\n\" The Mask \" gives, and will continue to give, the Censor its support. & &\nSir William Gilbert in his evidence at the recent enquiry supports the principle of the\nCensor and points out that the stage is not a pulpit, but that, should no restraint be\nexercised, there seems to be a possible danger of its becoming a pulpit of the socialist and\nthe anarchist. &\nSir Herbert Beerbohm Tree supports the Censor chiefly, so we are led to believe, be-\ncause he finds the dramatic author insupportable, and it is really mainly restless dramatic\nauthors and a few critics who form the attacking party.\n<£? For my part 1 should be very glad to see acted a few of those plays by Mr Bernard Shaw\nwhich the present Censor prohibits on account of what he believes to be their immorality,\nbut I should not like to see the hundreds of daring plays, the ugliness masquerading as force,\nwhich would be let loose on to the stage as the result of this privilege being allowed to\nMr Shaw. For so long as English drawing rooms are what they are and the English\nhouseholder is what he is, so long will it be impossible to discuss in a theatre, without\ndanger, matters which are never breathed inside an English home.\n& It may be urged that freedom is permitted to the Continental theatres and that it is\nunreasonable that in a country which, above all others, boasts of its freedom, any restric-\ntion should be in force. But this question turns on the difference between the blood and\nbrains of the Englishman and the Foreigner, and for my part 1 do not want the Englishman\nany different from what he is. &\nThis matter of the value of the Censorship might, however, easily be put to a practical\ntest. JZ? J2? &\n& To that end I should like to see it possible for certain theatres and certain authors to\nbe given freedom in such matters, and I think that this experiment might soon settle the\nwhole matter in a very few years. What* should there be against a license being given\nto the Court Theatre with a special license to Mr Bernard Shaw and Mr Granville Barker\nto give the public just what they want to give them? The Court Theatre wrould then be\nknown as the \" Free Theatre \" and the public would soon decide whether or not this free\nnew theatre were better than the old one. JZ? JZ? JZ?\nIf Mr Bernard Shaw's influence is for good a few years liberty will prove it, and after\nall it is men of independent thought whose works all Englishmen desire to hear. But if,\non the other hand, Mr. Bernard Shaw is merely the mouthpiece of an unruly section of\nsociety, in a few years this also would become quite evident instead of only rather evident\nas it is today.\n£> I have said that if anything the power of the Censor is not carried far enough, and 1\nbelieve it to be in this fact that the weakness of the system lies. It is true that he may\nveto any idea, any word, or any suggestion which is in the written text; but what\ncontrol has he over the interpretation? Yet it is in the interpretation, even more than in the\nwords themselves, that the danger may lie. This fact has escaped most people. Yet if we\nconsider it for a moment there is hardly any line in any play to which a double entendre\ncannot be given, and even \" How do you do, Mrs Jones \" can be made positively indecent\nby the way in which it Is said and the gestures by which it is accompanied. &\n<£/ And it does not stop there; for without saying a word an actor is able to be as gross\nas he pleases. And if the grasp of the Censor is not relaxed from the wrist of the writer\nthe writer will use his other hand. He will learn how to write innocent conversations and\nthen he will instruct the actor how to interpret them; and as far as 1 can see it will be\nimpossible to stop the actor from doing so. &\nWhat action would be taken if such a thing should come to pass ? And what is the use\nof making a law when you cannot enforce it or when it can be easily evaded ? It would\n\n& A possible\ndanger. &\nA practical test.\nThe interpreta»\ntion of words.\nMano Sinistra."}, {"page_pdf": 7, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.7", "texte": "be very easy to write such a play as I have suggested . & & & &\nAs I have said; I would like to see much more power behind the Censor. 1 would like\nto see him able to prevent all the musical comedies, not because of what people call the\nimproprieties in them but because of that vast impropriety of vulgarity; the repetition of\nvulgar words sung to commoplace tunes on a stage covered with glittering and tawdry\nscenery and costumes. Then I would like to see him veto any tragedy which had an exhi-\nbition of murder or attempted murder, suicide, or attempted suicide, or revenge; ambition\njealousy, seduction and all acts of violence; anything, in fact, dealing with the breaking\nof the ten Commandments; for as Nietzsche has very truly pointed out to us, \" He who be-\nlieves that Shakespeare's stage has a moral effect and that the sight of Macbeth irresistably\ndetracts from evil ambition is mistaken. \" j® j® j®\nj® For this is what it comes to. That the audience, seeing a pathetic interpretation of\n\" Shylock,\" will undoubtedly be led to feel that revenge is a holy state of mind leading\nto a sort of divine persecution. What more attractive ? An audience witnessing \"Othello\"\nwill be led to suppose that jealousy is an attribute of the noble minded and the strong,\nand that a jealous man is privileged to wind all things up to his own advantage by com-\nmitting murder and afterwards a glorified suicide. \" Do you imagine that Tristan and Isolde\n\" give a warning example of adultery through its being the cause of their death ? This\n\"would be turning the poets upside down: for they, and Shakespeare above all, are in love\n\" with the passions themselves and no less with their yearnings for death. \" (1) Take the ex-\nhibition of Julius Caesar being stabbed by the noble Brutus. If I were the Censor 1 would\nput the \" noble Brutus \" out of the running at once without further delay; for the killing\nof Caesar by the noble Brutus is an act which any man who thinks differently from his\nmaster is quite likely to copy without delay provided he finds seven other honourable\ngentlemen prepared to hatch the plot with him in the back yard. j® j® &\nj® As for the story of Faust and Marguerite, Goethe or no Goethe, how this abomination\ncan have been permitted or continue to be permitted must astound every right thinking\ncitizen; for the audience, listening to the cooing voice of Faust and watching the amiable gam-\nbols of the two love birds, and with their eye upon the absurd antics of the gentleman in pink\nmust say to themselves if they have any senses, Edwin.... \"Angelina, let us run the risk of\nbeing bored by that old gentleman's Society, and let us play Faust and Marguerite without a\nmoment's delay \".Have they not heard that this story of the devil is an old grandmother's\nstory and is thought of no more J® J® J® J® J® &\nBut assuredly to anticipate all such and many other crimes by suggestion, the Censor\nwill have to concern himself with the interpretation as much as with the play; for it is\nnot what Faust says but what he does; it is not what Othello says, it is what he does;\nand soon it will be not merely what he does but what he indicates, and if in the future\nstage murders are not perpetrated on beds in front of the audience, they will be\nperpetrated off the stage: not a word will be said about it, but by the faces of the actors,\nand especially by what they do not say, murders, revenges, seductions, and jealousies will\nbe suggested so vividly that they will become too horrible to contemplate. j® j®\n& It is curious that no one has written a play like this 1ate1y,.... a play which a child or a\nJesuit could read without detecting any possibilities of horror. J® j® j®\nJ® And finally, surely it comes to this; that now is the day to stop all this, to make the\nCensor unnecessary, rather than try to do without him. Cannot some of the feeling of the\nair be brought into the theatre even as that feeling is now coming into journalism ? Eve-\nry thing seems to be getting fresher. Our halfpenny journals are a positive delight to\nus today. The influence of the air Is upon them. The currents of wind seem to be wafting\nmost of the bloodthirsty paragraphs away, so that there may be more room for airy\nthoughts, A&J®J®J®J®&J®J®J®J®J®\n& And what is to prevent the Theatre throwing open its doors and letting in the\ncurrent ? It would not be so impossible. We begin to see today that nothing is im-\npossible. j® j® j® & *® j® j® j® j® j® j®\n<£? Come, then; let all talk of the Censor cease; let us admit that he can do us no harm,\nthat he may do us a great deal of good, let us accept him, and let us be far sterner censors\nto our work; let us leave the horrible and the gross ; the pathetic and the gloomy\nand let us see if we cannot keep pace with the more vivid thought of the new era. J®\n& And, Reader, do not say that in my proposition 1 take away everything and leave you\n\nTHE CENSOR\n& 44 THE MASK \".\n\n& Nietzsche.\nThe danger, 4?\nZP Horrors by\n44 Suggestion \".\nThe time for a\nchange\n(1) Nietzsche."}, {"page_pdf": 8, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.8", "texte": "\" THE MASK \" &\nTHE CENSOR.\n\nnothing, and that I am not \" practical \". For that is just it. Nobody wants to be practical\nin such matters. You would hardly call Shelley's \"Ode to a Skylark\" practical, and\nnothing which is practical on God' searth ever created Poetry and it is just that kind of thing\nwe want in the theatre.\nAnd again, dear Reader, don't imagine I want skylarks twittering about the stage. I am\nsure that is what comes into some of your minds on reading this. I want poetry; poetry,\npoetry; not sad poetry, not pitiful poetry, not terrible poetry; I want joyous poetry, and\nif I should not be thought profane I would cry with Corporal Brewster, \" And, by God,\nwe shall have it!\" ,<s> &\n\nVENETIAN COSTUME\nTRANSLATED FROM THE BOOR OF CESARE VECELLIO\nby D. Nevile Lees, with a note on\nby Allen Carrie.\n\nLADIESATPUBLIC FESTIVALS.\nnoblewomen are invited to banquets or pageants at which some great personage\nis present, as very often happens in Venice, they are allowed without regard to the\nlaw or detriment to themselves to dress and adorn themselves as best pleases them\nalthough on other occasions their dress is restricted by the sumptuary lords. <£?\nAnd therefore when Henry\n111 king of France, on leaving\nPoland, where he was king,\ndassed Venice, he was entertai-\nned, (in addition to other superb\nand marvellous spectacles) with\na great train of two hundred\nof the most beautiful and di-\nstinguished ladies of the city\ngathered in the Hall of the\ngreat Council. &\n& These were all dressed in\nwhite; and appeared in such\nguise and in such complete\nbeauty that the king, with all\nhis retinue, was astonished.\n& All these ladies passed two\nby two before His Royal High-\nness and with graceful manners\n4\nand low courtesies paid him\nthe reverence due. £* &\nAll had their heads covered\nwith pearls, and their necks,\nbreasts, shoulders, bodices and\nsleeves, were also adorned with\na wealth of other jewels, all of\nwhich were set in gold with\nmost beautiful embroideries\naround them.\nSo great in fact was the\npomp with which they appea-\nred that it was estimated that\neach one bore about her more\nthan fifty thousand scudi.<£?\n& And, in addition to the dances gracefully performd by them before his Majesty there was\nalso a most sumptuous banquet on which were spent many thousands of scudi*\n\nVenetian ladies.\n\nPERSPETTIVA DELLA SECONDA PIAZZA\ndi San Marco."}, {"page_pdf": 9, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.9", "texte": "VENETIAN\nCOSTUME*\n\nVenetian ladies.\nVenetian youths.\n\nBut to return to the subjeet of these dresses, 1 say and confess that the bodices of that\ntime were not so long as they are today, nor did those wise and beautiful maidens wear\ntheir curled hair in so high a form, arranging it only as seen in this picture. Their dress\nwas often similar to that of the lady in black with the crown (i). She whom 1 here picture\nfor you was one of those adorned as 1 have described and invited to that great festival. &\n& Now our modern ladies use brocades and cloth of gold and silver with many jewels,\nbodices and costly sleeves. The tiring of the head is modern, and modern the sleeves and\ncollar in which jewels are used; and in their hands they carry beautiful woven fans with\ngolden handles.\nTHE COSTUME OF YOUTHS.\n''jphe costume of the young men or students of the city of Venice is very beautiful and\nneat and renders the figure active and vivacious Thus such youths wear on their heads\nthe high black caps known as \" h tozzo \", made of rich velvet in winter and in summer\nof silk brocade or tabby, or of watered silk with the lining of coloured taffetas, around\nwhich they have a veil tied or garlands of little pearls, fair to see, with some medallion\nor jewel or with braids of gold intertwined with pearls or little crystals. jg? &\n& They wear doublets of silk, satin, brocade or tabby with buttons of gold or silk,\nand adorned likewise with braid or lace. At the neck they put clean frills, well shaped\nand very white, and they wear hose of the same material as the doublet. And both the\ndoublet and hose they slash and cut in fine designs, through which slashes they show the\nlinings of various coloured taffetas.\nThey have on their legs stockings of silk, or of Flanders wool worked with needles; and\nthey wear shoes of Morocco leather, elegantly made. & & & &\nThis design will appear in a later number."}, {"page_pdf": 10, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.10", "texte": "VENETIAN\nCOSTUME.\n\nVENETIAN LADIES\nBLEACHING THEIR\nJ tis the custom in Venice to have upon\nthe roofs of the houses certain square\nedifices of wood in the form of open log-\ngias, the which edifices in \" terra ferma\"\nare in the form of walls and covered over\nas one sees in Florence, where they are\ncalled terraces. And in the city of Naples\nthey have upon the houses certain unco-\nvered places which they there call *' bat-\ntuti\", and which are made of coarse sand\nand lime, well beaten, which resists the\nheavy rains. & &\nNow to return to our subject. Howbeit\nthat all women show themselves desirous\nof increasing their natural beauty by art,\nthe Venetians manifest themselves the\nmost desirous of all. By which they do\nno small wrong to themselves since, per-\nhaps, they less than others have need of\nart. And also because, this diligence of\ntheirs being known, it comes about that\neven their natural beauty loses in the\nminds of others a great part of its credit\nand is judged as artificial. <£?\nWith this idea therefore they have,\namong others, the artifice, as we have\nsaid, of making themselves fair; which\nis the reason that they frequent the \" altana \" (for that is what the aforesaid wooden\nedifice is called ), holding the head exposed for whole days to the sun for this purpose. &\nFor this work, in which they have themselves to be both the served and the servant, they\nusually stay on these \" altane \" when the sun is hottest, and, sitting there, with a little\nsponge tied to the end of a stick and soaked in a wash which they buy or make for them-\nselves at home, they wet all their hair many times, letting the sun dry it as often as they\nwet it, and thus making their hair blond as they all seem to have it. & &\nWhile doing this they wear over all a white robe of silk or very soft linen which they\ncall \" schiavonetto \" and on their heads they wear a straw hat without a crown which\nthey call \" solana, \" and this by the width of its brim holds the hair distended and pro-\ndects the face from the sun while they are waiting to bleach themselves. jg?\nPUBLIC PROSTITUTES.\n'yhe public prostitutes who dwell in places of ill fame, are not uniform in their dress because,\nalthough they all follow the same calling, none the less, owing to the inequality of their\nfortunes, not all can go arrayed with similar gradeur. & & & &\nFor all that, they have in use a costume which rather resembles that of a man, for\nthey wear doublets made of silk, linen or material more or less costly according as each\ncan afford; and these are trimmed with wide fringes and padded with cotton wool just at\nthose worn by youths; and are similar in fashion to those worn by the French. And next\nthe skin they wear a man's shirt, this also depending for its finenes and elegance upon the\n.amount which each one can afford. Above the which shirt they fold in the hot weather a\ncross-over apron of silk or linen reaching to the feet; and in cold weather a robe lined\neither with cotton or silk as best they can afford. &\n& The slippers which they wear are more than a quarter of a braccio high; but adorned\nwith fringes, and they have stockings of silk or of embroidered cloth with Roman shoes\non their feet. &\n\nWetting the\nhair.\nTheir slippers."}, {"page_pdf": 11, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.11", "texte": "Many of them wear, like men, hose of\nwatered silk or other material; and by\nthese signs and by such others as their\nsilver rings and bracelets they are easily\nknown. & & &\nBut one cannot easily describe how they\ntire their heads, nor see them at the win-\ndows, as they frequent rather the door\nway and the street, to draw into their\nsnare the passing birds. There they loiter,\nsinging love songs; but with little grace,\nin conformity with their vile condition, ma-\nking themselves heard with hoarse voice.\nA NOTE ON CH O PINES.\nThe high shoes referred to in this last\ndescription by Vecellio were evidently not\nlimited to the particular class to which\nhe attributes them, as we read in other\nrecords of the period that the Venetians\nand the women of all Northern Italy took\nto wearing shoes with soles two or three\nfeet high, so that to avoid falling they\nwere obliged to walk leaning on their\nattendants. &\n& This fashion dates as far back as 1430\nwhen mention of it is already made in a\ndecree of the Venetian senate. Later on\nthe high soles gave place to wooden pedes-\ntals which were painted blue, red or yel-\nlow and some times gilded. £?&<&&&& &&\n& The high pattens shown in the illustration are similar to the over-shoe which in Shake-\nspeare's time in England was called a i4 chopine. \" (see Hamlet Act 11. Scene 2.) The\nchopine was usually put on when going out and served to keep the skirts dry and clean by\nraising the wearer some inches from the ground. &\n& Later on the ladies took advantage of having learned to walk gracefully with these high\nclogs and adopted a similar fashion for indoors. This increased their height and added a\ndignity to their movement which became slower and more measured. Should an actress of\ntoday learn how to walk on such clogs she would have mastered the majestic movements\npossessed by these \" grandes dames \" of the sixteenth century. & &\n\nVENETIAN\nCOSTUME.\n\nA hint to\nactresses. &\n\nEVERLASTING POSTPONEMENT\nby John Balance.\nmagination is a rare quality. The power of being able to summon up\nin a moment a clear vision of what we call the intangible and the impossibl\nseems to be possessed by very few. & &\nAbout eight months ago column after column in the 44 Daily Mail \"\ncontained some such phrases as the following: 44 It surpassed the imagi-\nnation, \" 44 it was beyond belief. \" I have read these phrases several times\nin the course of a week, and that which 44 surpassed imagination \" was the\nflying of Wilbur Wright. Now I beg respectfully to tell the 44 Daily Mall \"\nthat there is nothing which surpasses the imagination or goes beyond\nbelief, and this reiteration of the phrase by the 44 Daily Mail \" is most\nharmful, for it makes all people out to be greater fools than they are.\n& And againo niy the other day Mr Lloyd Qeorge, on seeing the ships flying in the air\nat Rheims, speaks in the same way, 44 it was far beyond anything I could have imagined.\""}, {"page_pdf": 12, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.12", "texte": "EVERLASTING\nPOSTPONEMENT\n\nThis may be true of Mr Lloyd George but it is not true that the power is so weak as all\nthese people suggest.l maglnatlon was with Wilbur Wright from the beginning; if anything\nit surpassed him and still surpasses him. Not merely the imagination and invention of Mr\nWells and Mr Jules Verne, but the imagination of thousands of cultivated and uncultivated\npeople all the world over,\n& It is imagination which has given birth to the flying machine; it is imagination which\nhas given birth to everything which is valuable on earth from religion down to the halfpenny\npiece; and it is because the value of imagination is not understood in England that\neverything is delayed for us some years after it has appeared in other lands, and even Mr\nLloyd George and the \" Daily Mail \" both regret the delay. & -&\n& Is it to be supposed for one instant that there have not been for a long time in England\nmen who have had this Ideal of flying and have even been able to materialise their idea up to\na certain point ? Undoubtedly there have been such men In England and they have been\nallowed to die because of these people who undervalue imagination and refuse to follow\nIts lead or support its possessors.\n& In England you have but to whisper of an idea which has not fully materialised for it\nto be scouted instantly, and the greater amount of imagination there is In that idea the\nmore will it be scouted. Truly it makes one believe that If such a poet, such a man of\nimagination as the Christ were to come into England at the present day, he would be locked\nup In an asylum or a prison.\n& And it is not to be supposed that the people who would do this are those who would\nbe accused of being straight-laced or those who are called old fashioned Englishnen. It is\nthe modern up-to-date man, the matter of fact Englishman who would be guilty. Aud here\nagain 1 must not be mistaken to mean a large number of Englishmen. I mean a small\ngroup of Englishmen; composed of a number of slow, vulgar beings who since time imme-\nmorial have been attempting to delay everything by a loathesome caution which pretends to\nbe discretion. They it is who have made it possible for the \" Daily Mall \" to glow with\nenthusiasm when announcing its lack of imaginative Force. & &\n& They It is who have lowered the standard of art In the country. If it were not for\nsuch people there would not be these continual appeals to the country. Owing to the pe-\nculiar morbid cautiousness of these men everything good is postponed until the twelfth hour,\nand then the enthusiasts of England,.... the old Englishmen, are appealed to throughthe press.\n& We want an airship: appeal to the country. We want to save a picture by Holbein, and\nappeal to the country. We want volunteers for South Africa; appeal to the country. We\nwant Dreadnoughts; appeal to the Empire.\nThe thing is In a nutshell in the word \" appeal. \" Paupers use it. It is a word which\nIs generally used when an emergency arises. But are we a tenth rate power that repeated\nnually emergencies should be created by a minority of decadent deadheads, to use a thea-\ntrical term ? For deadheads they are. They neither pay for their seats, nor are they\nfond of the play; they despise the actors, and having accepted free seats from them they\nrun down the performance.\nEfforts are being made to get rid of the deadheads in the theatre; let us hope that the\nsame efforts will be made to get rid of them in the Empire. When they are made to pay\nfor their diversion we shall see and hear less of them, and there will be more room for the\ntrue lovers of the play to sit at ease. Then perhaps imagination will also have free play,\nthe dreams will become more ample and the people will be more eager for their fulfilment,\nurging and assisting in that fulfilment. The young and unknown men who are rich with\nIdeas and Ideals, the young imaginations who create ships of the air, who sketch out\nplans for the feeding of the hungry, who create works of art to feed those who are starving\nfor the lack of beauty, all these men will again be recognised assets of the country. &\n& Imagination, soaring once more over England, will announce with each beat of its wings\nthe power of the Dream and the Vision. The satirical dramatist with his cheap socialism;\nthe shrieking suffragette; the \" unemployed \" humbug; the orator and his \" down with the\nLords; \" the matter of fact, weary with his facts, and the matter of them; the solitary mil-\nlionaire; the well-wisher with his weak knees, all these will come under the influence of\nthis thing, will look up and begin to move In unison with it until at last the whole people\nwill be once again a soaring nation.\n& New ideas\nScouted,\ni\nA morbid\ncautiousness. J&"}, {"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.13", "texte": "Design for a back cloth for a Stage Scene Reprinted from \"The Page\" 1900.\nby Gordon Craig"}, {"page_pdf": 15, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.15", "texte": "THE NEW THEATRE IN POLAND:\nSTANISLAW WYSPIANSKI;\nby\nL. de Schildenfeld Schiller.\n(concluded.)\ntwo-act tragedy, \" The Legend \" occurring at the Court of Wawel, forms the over-\nture to the cycle of dramas lauding former Might and Glory. Its tragic purport is the\npopular tale of the King-Knight Cracus and his daughter Vanda, already adapted by Kra-\nsinski (in the drama entitled \" Vanda \" ) and by Norwid (Cracus the unknown prince \" and\n\" Vanda \",) which theme Wyspianski varies in his way and enriches with new episodes.\n& The action of the first act passes in the wooden mansion which the knight Cracus, an\nold man who wore the simple peasant dress, leaned on a knotted club and was strong\nand powerful as a forest robber, had himself erected, taking logs for it from the fir wood,\nhaving first destroyed the sacred temple that stood on Wawel hill and driven away blessed\nserpents that lay hidden in its caves.\n& The scene represents the royal hall whose architecture and fittings are modelled on the\ninterior of a Polish hut. In the red rays of the waning sun on a straw pallet lies the\nlifeless king, who had but just breathed his last, and at his knees falls the chorus of the\npeople and, lamenting, observes his lips. Here there are wizards, seers and diviners whom\nthe Elder liked to have around him in life; here there are his herdsmen, his equerries, his\ncourtiers and harpers who have come hither to sing on the eve of the equinoctial feast.\nBeside the parental litter Princess Vanda laments, waiting in resignation for dawn, when,\naccording to custom, as the only daughter, they would burn her with the corpse on the\nsame pyre. Behind the scenes in the meanwhile a fierce fight is being waged between the\nhouse servants and the warriors of the German prince Rytogar, who having fallen on the\nstronghold of Cracus and been enchanted by the beauty of the wonder-of-wonders maiden,\nexacts her in tribute for himself. The chorus of warriors fighting leaderless behind the\nscenes announces their final overthrow, for the Teutons have forced the gate, rushed into the\ncourtyard of the castle and are already tearing through the arcade towards the royal hall.\nThen the manly soul awakes in Vanda; she will not render the beloved remains up to\nshame, she will not render her virginal body to be the prey of the flaxen warrior. So, fol-\nlowing the advice of an old chaunter, she vows to her Goddess-Mother that if she will\ngrant her for this one night a nine-fold strength that she might drive away the enemies'\narmy and intone a mourning chant to her father on the pyre, tomorrow she would demolish\nthe paternal demesne, and that on the hill where the dead good-man destroyed her altars,\nuprooted the holy orchards and killed the blessed adders she would erect a temple to her\nhonour and that she herself would give up her own young life to her. \" She kneels, pros-\n-44 trates herself to the earth, and, with both hands,.... dumb is the ill-boding murderess....\n\" seizes a doe, presses it between her knees and thrusts a glittering blade into the hairy\n\" breast of the beast: a stream of hot blood gushes forth; she raises the bloodstained blade,\n\" places her hands thereon, raises them to her face and smears it with the warm blood.\n\" Dumb is the ill-boding murderess.... she kneels, with hands crossed on her bosom. Around\n\" her lights, thunder and lightning round her head. With her hand she describes runes\n\" with the blood and her lips murmur a spell & & & &\n<& Having fulfilled the sacrifice, Vanda, full of a superhuman strength, goes to the portcul-\n\nThe legend. &\nThe Scene.\nVanda. &"}, {"page_pdf": 16, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.16", "texte": "STANISLAW\nWYSPIANSKI.\n\nlis, in a wreath of lightning and with the charm of her eyes hurls to the ground the knight\nRytogar who immediately, vanquished by the strength of an unknown spirit, sounds a\nblast on the horn as a signal to his soldiers to retreat.\nThe storm abates. In the distance is to be heard only the clattering of mail. Vanda\nstands as though enchanted. The people, calmed of its fear already, waves away the evil spi-\nrits with its hands, approaches the portcullis to look at the corpses of its brethren, drones\nmournfully and weeps. Soon will the liche-wake begin. \" And in time will they take up\n\" the singing round the dead knight, since he is already arrayed and provided for the\n\" journey. They have put him in sitting posture on the straw in his armour, on a litter\n\" of a few sheaves in full ear. Round the body are placed ewers, larger ones filled with\n\" honey and milk and lesser ones which are to be filled with tears \" . And Vanda, ready\nto go to her death, takes leave of her handmaidens in words as doleful as that weeping of\nAntigone \" looking for the last time at the light of sun \", reminding, by the melody of\nverse and touching simplicity of substance of the ditties the young bride sings on quitting\nthe paternal hut. The maidens of her suite seat her at her father's feet and, like brides\nmaids at a village wedding, nestle close to her, whispering words of comfort and embracing\nthe beloved in farewell.\nThe chorus of peasants and women seat themselves to the liche-wake collation. Old royal\nrhapsodists thrumming on the cithara sing to the departing soul plaintive lauds and ballads\nof its heroic earthly sojourn. Inebriated by the strong drink of the songs the people have\ndozed, the players have bent their heads and, to the minds of all it seems \" that some\n\" great warriors arrive in flowing garments, that over the old warrior they are bending\n\" like a hazy cloud, that they take apples from their wallets and a pleasant fragrance\n\" spreads around as in a summer orchard when the season is fruitful; it seems to them\n'* that they bend their staves over the heads of the slumbering liche-wake guests and that\n\" they disappear as spectres into the night, into darkness\".\n& While this vision of elder-fathers appears to the sleeping people Vanda still watches,\nyearning for life, for liberty; she meditates how to escape from those who tomorrow will\ndrag her, young, to the stake; but she too is soon overcome by sleep.\nAnd then the old king- goodman revives, the blood flows into his pale cheeks and beats\nlike a hammer in his heart. In his ears still sounds playing and the ring of someone's\nmournful song. He listens.,.. From the fields float the piping notes of shepherds shalms. He\nsees the crowd sleeping over the dishes, rhapsodists with lyres and maidens who had\ntwined wreaths here: he sees courtiers who, having put aside their broadswords have fallen,\nwearied, into sleep. This silence and calm surprises him. He himself knows not whether he\nbe living or whether he be looking at wonders in the other world. & &\n& While the king thus gazes around and listens intently the portcullis which had closed\nthe doorway rises, revealing dense forests ages old and the mirror of the Vistula shining\nin monthly rays. From the Vistula in chorus, sporting in dreamy dance, come some figures\nstrangely garbed, covered with flowers and carrying nosegays in their hands. A wizard\ndirects their steps with his staff. They stream by slowly, now emerging into bright light and\nliow plunged in shadow. At their head walks an old herdsman playing on a sad fife recalling\na melody of the warbling of birds once heard, and behind him glide couples of mermen,\nmermaidens, kelpies and werewolves. The whole of this singular cortege surrounds in a\ndancing circle the king-tiller. Afterwards groomsmen approach and sing betrothal songs to\nthe sleeping princess. &\n& Rejuvenated by the charm of the songs the corpse of the king remembers former times,\nsings and taps merrily to the dance. Soon however his head falls on his breast, his heart\nceases to beat, for the three witches in crape head-dresses who have issued from the\nground have severed the golden thread of his life. & & &\n& The chorus now surrounds the sleeping Vanda and reminding her, now she has awaken-\ned in soul, to return to live to her native and rightful kingdom on the bed of the Vistula\nwaters, places on her brow a bloody wreath twined of Vistula flowers which will endow\nher for one day with such strength that she may bear off the victory over the enemy and\nthe people name her its king at the council. &\n<£> Having done this the whole company of water-folk, as a punishment that the dead king\nhad not offered sacrifice to them, that he destroyed their sacred altars and killed blessed\n\nThe Lichewake\nThe King\nrevives. &\nThe water folk."}, {"page_pdf": 17, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.17", "texte": "serpents, having dressed him in a simple peasant frock instead of armour, having placed\non his head instead of a crown a wreath of weeds, seat him on the back of \" Jarowite's\ncharger \" (i) and amidst plaudits and jeering songs carry him with them to the banks\nof the Vistula. The charm of the wreath works. Vanda awakes. She dons her father's\nbreastplate which the spirits had cast into a corner, attaches the heavy sword, and on her\nhead, adorned with the cursed wreath, she puts the winged viking casque with gold\npendants, the same the knight Cracus wore when he led the people at the council.\n& And here arises a new Leader, of whom the diviners had sung, the Leader=Maiden; and\nhaving with a storm of words awakened Might in the breast of the Nation, rushes to the\nFight which is to bring the final disaster to the enemy. Through the portcullis are to be\nseen the slain led by nixes who, fondling them, give them lovage to suck, and in the distance\nis still to be heard the funeral chorus of water gods. Vanda's horn sounds. The People\nmoves onward to the combat.\nThe scenery of the second Act represents the bank of the Vistula at the feet of Wawel.\nOn the waves, silvered by the light of the moon, to the sobbing piping of shepherd shalms,\nfrolics an ondine ring, luring mortals by its singing to the magic dance. In their midst\nthe drowned corpse of the knight Cracus intones a lamentation over his fate. The serpents\nand holy dragons emerge from the waters and devour his body, monstrous water-spirits\nare consuming from his sack the grain he was to have sown. His grain is going to nothing,\nthe fields will go fallow, his house will be in embers. Tied by the force of the evil spirits\nhe stands amidst the waters, king without a crown, knight without a sword, waiting for\nthe Dawn and Resurrection.\nFalse Dawn. The Chorus in a sung intermezzo lauds the sunrise and glorious victory\nwhich the New Leader had gained that night over the invaders. The Vistula reddens with\nthe blood of the slain. Horns sound. The Nation gathers on the bank in festal dress praising\nsummer and fruitful times in ceremonial chants. In the retinue of victorious peasants\nappears the golden Knight=Maiden. The fiddlers strike up a wedding march. Vanda steps\non to the raft with the army so as to cross over to the Burg. The old harper with an\nimmense wreath of flowers and compears on his head is before her as mediator from the\nPeople prostrating himself and begging her in a betrothal song to accept the government\nof the nation. As a sign of agreement Vanda doffs her winged helmet, which the harper,\nfixing on a pike, shows to the people. The Chorus sings a coronation hymn. The raft is on\nthe move towards the Burg when suddenly, from the watery depths, emerges the ondine\nchorus, reminding her that on her brow she wears a crimson Vistula wreath and that as the\nSiren who had saved the people by charms she must descend to the bottom as she had\nvowed the previous night. The raft begins to sink, rent by the hands of Vistula spirits. The\npeople, affrighted by the spells, flees to the shore. On the raft the Maiden King remains\nalone unheeding the appeals of the chorus of the people; gazes into the charmed whirlpool\nfrom which arise the walls of the Castle \" in gold and blue from foot to summit \" where\nFame will celebrate her nuptials; gazes into the charmed whirlpool and a wedding process\nsion appears to her luring her with a joyous nuptial hymn, and she sees the stern face of\nthe old King whose grey beard had grown into a coral bush. In vain the chorus of people\nimplores Vanda to cast away the enchanted wreath. The Maiden=Hero will not deprive\nherself of the wreath of the glory; she stands as though turned to stone on the raft having\nraised the sword high in the air. The People wishes to tear the flower crown from her\ntemples. Too late. The water carries away the raft at a furious rate and shatters it on the\nrocks at the bend. The chorus of Vistula spirits is stilled. The curtain falls. &\nWyspianski dramatises the Legend of King Boleslas the Bold who murdered Bishop\nStanislas Szczepanowski (1079) in two three=act dramas: in \" Boleslas the Bold \" in which\nthe principal action takes place, and in \" The Rock \", which completes the principal action\nin behind«the°scene events underlining the symbolical meaning of the first tragedy, and\nwhose tableaux may serve as an interlude between the acts of \" Boleslas the Bold \".\n& In ** Boleslas the Bold \" the scene of action is the royal hall built on crossbeams of\nstout logs. In the background a great double door fastening with powerful bolts and ador«\nned with two lion's heads holding rings in their jaws, leads to the wooden arcade whence\nthe view stretches on to the \" Rock \" and on to the bed of the Vistula, which landscape\nis marked on the back cloth. The whole scenery, maintained in grey tones, is lit up by\n(1) Wyspianski models the burial of Cracus on the popular folk ceremony performed in the villages at christmas-tide.\n\nS T A N IS LAW\nWYSPIANSKI.\n\nA new Leader.\nA False Dawn*\nThe Maiden-\nHero &\n& Boleslas\nthe Bold. &"}, {"page_pdf": 18, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.18", "texte": "STANISLAW\nWYSPIANSKI.\n\nthe light of the sun which either enters through the doorway or, when that is closed,\nfilters in a meagre stream through the crescent shaped openings in the shutters. Across\nthe centre of the stage runs a strip of red cloth almost to the edge of the proscenium\nwhere stands tho faldistolium, the royal throne encrusted with gold and in the form of the\nletter X on which, with his back to the spectators, the King seats himself, strong, heavy-\nmoustached, clothed in richly embroidered garments, bearing on his head a sexagonal\ngold crown studded with jewels, with pendants in the shape of fan crosses, and wielding an\nenormous glaive. The remainder of the furniture consists of stools covered with leather\nand with dentated edges, coloured with red paint,and a coffer of hammered silver plates\nin which are ranged the royal garments and near which the king is accustomed to sit\nin judgement.\n& In this chamber Boleslas the Bold rules the people by crime, torturing and murdering\namidst the singing of courtiers and courtisans in rose garlands, dancing round the room\nstained with innocent blood. Blind in his cruelty, the king, who believes himself to be the\nwand of God, this lavish blood-shedder who desires that his people, like him thirsting for\nblood, would reign together with him by the sword that slays and exterminates, is heed-\nless of the admonitions of Bishop Stanislas appearing in the dress and armour of Michael the\narchangel, the patron of the church on 44 The Rock \" and foretelling his not far distant end.\nWhen to the crimes of the king there is no limit, when every day brings a fresh harvest\nof death the Bishop arrives at the court \" in pontificalitus \" with a procession of the\npeople and friars to invoke the curse. At his side stalks the ressuscitated corpse of the\nKnight Peter in cerements, summoned as a witness. 44 He appears just as he had lain in\nthe tomb a year, for thus rose the royal Hoplite. Clods of clay cling to his armour and a\nserpent encircles his brow. From his extinct eyes runs a bloody slime, his garments are in\nrags \". All fall on their knees. The friars in black cowls drone a gloomy maledictional\nchant after which they extinguish the flaming tapers, break them and hurl them with a\ncrash to the ground. A banner bends over the king's head with the Archangel Michael pain-\nted thereon who seems to touch him with his flaming avenging sword. The king starts up\nfrom the throne, but the crown falls from his brow. All flee in terror. The procession\nwithdraws in silence. Then the king awakening from the daze into which he had fallen\ncommands his courtiers to bring the bishop living to the court. But when these same re-\nturn in bewilderment and fear because some mysterious power had arrested them in the\ndeed, the king himself snatches up his sword and rushes out to avenge his shame. &\nIn the last act we see the king returning late into the night with the bloody glaive.\nEmptiness all around. All the courtiers have fled from the accursed court. The queen-mother\nhas left and the wife with her little son, and now they are kneeling there on the \" Rock \"\nwith the people where eagles are guarding the corpse. About the empty castle hall rove\nWhiz and Whistle (i) at whose every step a year passes while when they run a league a\ncentury elapses, spirits who show visions of the future to the conscience of the bloody king.\nSo now at the head of the chorus of cripples, at the rear of which walk the queen\nmother, and the queen-consort with her little son, marches an old sacriston in a confrater-\nnity dress of today reading through spectacles in a nasal voice from a thick hymn book,\nversicles, canticles in honour of St Stanislas, which the chorus, plaintively drawing out the\nwords, repeats. Now from under the ground emerges the Statue of the Saint with uplifted\nhand, just as we see it today on the 44 Rock \" standing in the miraculous pool. The visions\nfade away. The king alone has remained in the empty castle, and behind him in his tracks\nwanders blind-eyed Echo whispering words of torture to his soul. A storm bursts. Amidst\nthe lightning flashes into the room from the arcade creeps the silver Coffin of St Stanislas\nlaid in Wawel Cathedral. The king recoils terrified and, seizing the crown with both hands,\nrecedes towards the throne. 44 Whence, whence comest thou with the command?\" he calls.\n44 away from me, my brow I bend it not! Oh Fame!!! Take my life and crown! Oh Fame!!!\nI curse God ! I execrate God !!! \" A thunderbolt strikes, the coffin falls OIL the king with\nits silver weight. £><&&&&&&& & &\n& In twenty six dramatic scenes with the epic title 44 Achilles \" Wyspianski sings the\nanger of nimble footed Pelides and the fall of sacred Ilion. & &\n& This poem, representing the conflict of the demi—gods with men and of men with the\ngods, is performed partly on the Trojan battle field, partly in Priam's unfortunate burg.\n(1) Slav gods of the wind.\n\nThe Bishop1 s\ncurse. &\nThe revenge.\n£? Achilles."}, {"page_pdf": 19, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.19", "texte": "Before our eyes will stand, revived from the Homeric tale, the noble warrior, son of Tethys,\nwho would rather listen to Patroclus' lute in his tent than fight with the Atridae against\nthe Trojans. He wears armour, the gift of the god's armourer, that refuses obedience to him\nwho wishes to commit evil, and he had perceived that the Atridae had flown here like\nvultures to the town above which had raised a defending weapon, Hector, the man of men,\nwhose heart by its probity is innocent and over whom is the divine protection. Achilles\nhad recognised \" that those he had slain were innocent and that in these noble deeds must\nbe inactive \". And we shall behold the demi-god sitting by the Scamander, crouching on\nthe steep shore listening to the music of the waves that \" mutter, whisper, chatter, now\nendowing him with a word of consolation, now darkening the light of his soul. Musing he\nlistens to these waves how they mutter, whisper, chatter, flow and play before his eyes,\nrise and perish\". The chorus of waves now flowing, now ebbing from the shore foretell him\nthat he will never return to his country, that he is decreed to conquer and to perish here,\nbut that his life nevertheless will not terminate: \" that he will wander amidst the drift until\nhe undertake a new labour, begin a new 1ife,.... will awaken a new nation to strength and\ndeed. And the chorus of waves brings him on its crests the inanimate body of fair-haired\nPenhesilea, which Achilles awakening with a kiss again gives to the water, saying Goodnight,\nto his love, since his heart had ceased to love with an earthly love. And we shall see him\nagain in his tent conversing of his destiny with his mother, the silvery goddess, surrounded\nby the chorus of mermaids. From her lips he will learn that the hour will come when his\nsword will become the torch of vengeance and by the disposition of fate it will reach in\nspite of his intent the first of the men of Troy. & & & &\n& And we shall see the man Ajax whose knightly conscience will not let him sleep trou-\nbled by the inactivity of Pelides, who, awakened in soul appeared as a demi-god amidst\nall the Danai. Near his tent plays the flutist struck with insanity, the enemy of Apollo,\nMarsyas who awakens in him the mad soul of a man-knight by the melody of his songs\nwhose charm, dulled by day, blossoms only in the night. And about his tent stirs the girl\ncalled Night, the daughter of a fisher. She lives with her father who has no hut, her family\nsleep in swaths amongst the grass and herbs on the bank; every night she comes to his\ntent stepping noiselessly, since the sand on the shore stifles the tapping of her clogs. Noticed\nby Ajax she says she knew the moment would come when he would perceive her, for such\na moment had to come, but she knew too that then his tranquillity would perish. And\nwhen the amorous knight asks if she can remain near him she replies mysteriously \" I\nshall remain\n& And we shall hear the fearful scream of mad Cassandra and the moans of Laocoon who,\nempoisoned with the venom of serpents, will himself become the serpent and on the ruins\nof Troy will pasture his vengeance. And we shall see Paris Priamide on the walls of Ilion\nreceiving in his arms Aphrodite the Queen of the Seas, who descends to him on a moon-\nbeam in a mantle of twinkling stars. And we shall see Hector on whose dwelling anxiety\nfor the Nation has crouched, taking leave of his wife, humming to the child in the cradle\na lullaby of the beautiful shepherd and three maids. A whole string of battles will show\nthemselves to us among which the most sanguinary will be that in which Achilles will\nvanquish Hector his equal in strength and destiny, so that the decrees of predestination\nmight be accomplished.\n& After this combat the soul of the demigod will thirst for that moment when, having cast\noff its earthly shell, it will fly away to the Land of Delivrance. And a chariot will come\nfor him driven by Pallas in black armour with lowered vizier and silver aegis. Achilles\nwith the luminous whirl before his eyes will step into the chariot which the unbridled\ncoursers will bear away and shatter on the flaming stake of the body of Patroclus. We\nshall see last of all Ilion, cursed by Poseidon, taken by the strategies of Odysseus. The\ncunning king of Ithaca, who has succeeded in persuading the Trojans to bathe the horses of\nthe god of the ocean in the sea to obtain his pardon, dressed in the Medean way and\nfeigning Poseiden will enter the castle gate on a wooden poney; the trunk of which is sup-\nported on braces, and, prancing about on his own feet, chases the festal crowd with a\ntrident, (i) Behind him will march the army of Achaei disguised as the suite of Poseidon\nand will attack the stupified mob with swords. Amidst the lively piping of the flutes the\n(1) The idea of this scene was supplied to Wyspianski by the spectacle preserved until today, of the Living Theatre in\nCracow: Lej konlk \" the Poney of the Chase celebrated in remembrance of the repulse of the Tartar attack.\n\nSTANISLAW\nWYSPIANSKI.\n\n& K The chorus\nof waves.\nCassandra.\nHector & &\nThe wooden\nhorse. & &"}, {"page_pdf": 20, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.20", "texte": "STANISLAW\nWYSPIANSKI •\n\ncry of mad Cassandra will pierce the air, 44 Oh Laocoon, the prophecy is accomplished! \"\nAnd on to the embers of Troy will descend on a moonbeam, in a garment of stars, Aphrodite\nand Helen.\nThe four-act drama \" Acropolis \" terminating with a 44 great prophecy \", the dramatic\ncycle lauding former Glory and Might, unites in itself symbolical legends of Greece (pagan)\nwith those of Poland, (Christian) . The scene of action is Wawel on the great night of the\nResurrection, Holy Saturday. The Wawel Cathedral empty. They are gone, who sang songs\nhere of Rome, prostrating themselves before the altar coffin; who, to the flickering of the\ntapers on the altar stones read words prophesying that 44 this night the spirit is to be\ntranformed, he is to come who had promised to save the world, he is to rise and live again.\"\nThe hammers of the clock strike midnight and the Charms begin. The silver angels who\nsupported God's bugbear,, the coffin of St Stanislas, awake, and deposing their sacred bur-\nden on the altar table unfold their wings whose feathers ring and rustle, and the rattling\nscarecrows grow, and stroke and caress their feathers.\" From the marble sarcophogi descend\nwhite figures yearning for the New Life. Wawel changes into Ilion, since from the gobelins\nspread over the Cathedral walls float in faded garments the Trojan dramatic personae\". Near\nthe Wawel donjons on the breastworks are sitting mailed watchmen leaning their heads on\nsabres, on cruel staves, and call the sonorous watchword to each other. In the town deep\nnight. Silence. The waves of Scamander-Vistula ripple, sparkle. The elders, Priam and\nHecuba, seat themselves near the gate to listen to the music of the bells and clocks of\nCracow that sing the praises of divers epochs. The Wawel clocks hammer out the names of\nkings, bells from the steeple of 44 Our Lady of Cracow \" sing canticles to the Mother of God\nand the trumpeter in the tower accompanies them with a morning song, the convent\nprayer- bells call the monks to matins and from the labyrinths of dwellings gathered at\nthe foot of Wawel steals the song of a maiden and of the lute player watching under her\nlattice. From afar can be heard the ill-boding cry of Apollo's prophetess above whom hover\ncrows in mournful flight, accompanying her with their cawing.\nMeanwhile, on the steps leading to the cathedral, in the extinct rich garments of the\ngobelins a new spectacle is being performed; the instructive 44 Historia Jacobi\". And when\nthe hour of three will strike on the historical castle clock, the King Harper David, all in\ngold, will descend from the summit of the organ loft on to the church pavement and will\nbegin to sing a psalmody in praise of the sun and resurrection. And then Night, with her\ncortege extinguishing the stars on their mantles, will sink into the earth; the rose-windows\nwill redden with the sunrise and Aurora will announce to the harper that a multitude has\nassembled on the banks of Jordun-Vistula awaiting his chant. Through the iron gate can\nbe heard the chorus of the people calling to the harper. The Harper sings. He raises himself\nin the air to where, in the choir, resounds the orchestra of golden angels. His head and\nharp flame with the dawn. Salvator on the summit of the High Altar rises again. The\nmoaning crash of the shattered metal of the silver coffin is to be heard from the altar of\nSt Stanislas, from whence will drive up in a golden chariot drawn by four white chargers,\nApollo. Thunder.... Light.\n&44 The November Night\" in ten 44 dramatic scenes \" comprises events that took place in\nWarsaw on the 29th November 1830. On that night the Polish insurrection broke out with\nthe aim of casting off Russian bondage. On that night the spirit of the nation awoke and\nthirsted for revenge 44 for the shame for years of slavery, for years, for years of tears \" .\nWyspianski following the ground and chronology of occurrences, represents in the ten\nscenes the different modes in which the Idea of Liberty acted on the minds of the crowd\nand its leaders. &\nIn the first Scene the scenery represents a corridor in the Cadet School. Evening. Night.\nVoid. The green of the moon falls through the broad window. A murmur floats from the\nneighbouring park where the white stone monument of the king-hero stands. The watch is\nwalking somewhere; their steps are to be heard. All at once the floor opens wide. Pallas\nAthene appears. 44 A casque of red brass covers her countenance and her eyes burn in the\nvizier; her garment gleams with the reflection of the moon; in one hand she wields silvery\nAegis rattling with living serpents, in the other a lance which she drives into the earth.\nAmidst thunder and lightning she summons the victorious spirits from Marathon, Salamina,\nThermopylae. Hardly has she uttered the words of conjuration when already a troupe of\n\nAcropolis.\nThe Novembet\nNight."}, {"page_pdf": 21, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.21", "texte": "fleet goddesses flies towards her, surrounding her in a winged circle. And among them is\nthe haughty Nike of Phidias, a giantess, who is here called the Nike of Napoleonidae. And\nhere too is the Nike from Cheronaca; she has entered here, pale, her mouth drawn. A black\nveil floats from her head. Her crape garments have absorbed the odour of the cemetery.\nShe carries fir wreaths which she throws to the ground. She now clasps her hands\nin despair, now raises them tragically above her head, continually repeating one word,\n44 Woe!\" And Pallas calls them all to eagle flight allotting to each a particular mission.\nFor today Poland is going to fight against the Czar. Ares has already flown from the gates\nof Olympia, has fallen like a storm on the town, and now rushes through it on horseback\nshouting and exciting to revolt. Then the chorus of obedient goddesses runs off to sound\nthe tocsin for vengeance, to awaken, flying over the town with that one cry, 44 To arms ! I \"\nNow Pallas, through the lips of Peter Wysocki to whom she whispers words of fire, will\ncall the chorus of cadets, his pupils, to the fight and she herself will march at its head to\nthe town standing in the incendiary glow calling 44 To arms! 11\"\nScene 2 will show us the drawingroom of the Grand Duke at Belvedere. Through the\nwindows is to be seen the park and in the distance near the pond the monument of a\nwhite rider, who seems to menace the inhabitants of the palace with his sword. Night. On\nthe panes flit shadows, as though some people were wandering in the garden. The howling\nof the wind outside can be heard and the crackling of dried twigs. Alarm creeps into the\nsoul of the Grand Duke. The November Night. For November is a dangerous month for\nPoland since then the soul can come among the living and associate with them. The soul\nof Joan, a Pole, the wife and lover of the Grand Duke, is overcome by strange forebodings.\nIn her dreams she sees the Grand Duke in the madness of Ares, crushing the power of the\nCzar his brother, and putting himself at the head of his brethren. The November Night. &\nIn Scene 3 in the park under the white monument of King Sobieski sixteen youths are\nawaiting the arrival of their companions with whom they are to attack Belvedere. 44 The\nwind blows and the garden sobs quietly after each murmur of the leaves.... a shining frost\nhas sprinkled the branches and the thick veil of fog becomes denser and denser.... The\ngarden talks.... The youthful heroes are plunged in painful meditation; and now, to the\nmelodious murmur of the trees the monument rises in a flood of light, rises in his stirrups\nand points to the Palace as though giving them the word of command. Those are shadows\nof trees 0n1y... and again to the melodious murmur of the trees come two women and pass\nthrough the ranks of young men; they come slowly, in a hearty embrace. That is Demeter\ntaking leave of her daughter Cora. Rime has already bleached the leaves, therefore the\nmaiden, impelled by a terrible inexorable force, must descend to the underground kingdom\nof Orcus. She consoles the lamenting mother, who is taking leave of her as though for all\neternity, telling her that it is a country 44 where everlasting strengths are interred, there\nall life has its existence and is waiting till the dawn will glimmer for it, is waiting till its\ntime will come to shine forth in all its beauty. 44 Rich are the garners of that realm, for in\nthem carefully stored is the grain of all fruits. She is the guardian of this grain until the\ntime will come when the first ice will break. Then rising again for the great feast of seedtime,\nshe brings this treasured grain out into the world, which vivifies with flowers and bears\nmanifold fruits. She tells her mother to prepare for that joyful time, when she will return\nin an immortal garland, ploughshares, harrows. But that which will live must die today\non this November Night. When sad at this separation but joyous with the secret, she thus\ntakes leave of JDemeter, Isa,rth, Hymen approaches with a Polish peasant wedding cortege\nbearing torches, and, to the squeaking of the violins and the grumbling of the basses, leads\nCora to the lower regions. Demeter is lost into the garden. & & & &\nThe youths standing under the white monument wake as though from sleep. Cadets\nrun up and give the word for the attack on Belvedere. The chorus of youths runs off first\nhaving saluted the white king. In the garden again appears the sorrowing mother, Demeter,\nand summons Hecate mindful of all complaints and mourning. For she has been wronged.\nThey have ravished and imprisoned her young daughter. They have ravished full life and redu«\nced it to the tomb and night. All around is dead, withered, extinguished, faded, the trees\nbared of raiment, the fruit and flowers all rotted, the earth has become like to a corpse.\nHecate comes forth from under the earth bearing two torches and calls to the Eumeni*\ndes. 44 born from drops of blood fallen on the black earth, born from the blood of amur-\n\nSTANISLAW\nW YSPIANSKI •\n\nScene Two.\nScene Three."}, {"page_pdf": 22, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.22", "texte": "STANISLAW\nWYSPIANSKI.\n\ndered man and therefore weeping bloody tears. \" The Eumenides appear. They are already\nlighting their brands, and suddenly, in the brilliancy of the red glow, their eyes shine with\ndripping blood. On their heads are serpents in coils dragging their brows with pain. Hecate\norders them to fly to the war, to fall on the breasts and napes of men and suck the blood\nfrom their hearts, for the earth has moaned her plaint, \"wronged, wronged!!!\" The eume-\nnides run about the garden. The serpent coils on their heads hiss. Hecate disappears.\njst Scene 4 represents the attack on Belvedere, unsuccessful on account of the flight of the\nGrand duke.\nScene 5 takes place in the \" Variety Theatre \" . About the stage of the little theatre\ndecorated for the vaudeville with song which is being performed, wander lively deities of\nderision, Satyrs in costumes of the supers of the ballet. The uninvited guests disturb the\naction of the piece by their episodes, imitating the Grand Duke with his adjutant, singing\nrevolutionary songs in chorus, prompting the actors with words not included in the text\nand uncensurable.\nThe despairing stage manager who had carelessly stepped on to the flap trap disappears\nunder the stage at a sign from a satyr. The Satyrs appear in the auditory, tempting and\ntormenting the consciences of the public, who does not know what to think of such a strange\nspectacle. In the midst of this consternation the Nike of Napaleonidae rushes into the\nauditorium from the street, announces the outbreak of the insurrection and clears the theatre\nwith the words of Adrienne Lecouvreur; \" G0... Let the doors of this hall be closed and\nancient arrangements take their place!\"\n& In Scene 6 we enter into the apartment of the historian Lelewel, who watches beside\nhis agonising father and refuses help to his friends in revolutionary work. But as soon\nhowever, as Caducifer Hermes will lead off the phantom of his father, the savant will\nlisten with beating heart to the Nike from Cheronea and to the voice of the drums outside\nthe windows.\njs/ In Scene 7 before our eyes march the battalions of the insurgents over whom with the\nswiftness of the wind flies Ares with a cortege of winged Nikes. The frenzy of Ares seizes\nthe soldiers who follow blindly in his lead unheeding the counsels of Pallas. The stage\nbecomes covered with corpses. Along the walls steal in Caerae, carrion spirits who cast\nthemselves on the slain, bend over them and suck their blood. In Scene 8 the action is\ntransported to the Palace. The scenery represents the vestibule with a colonnade. Withered\nshrubs and cypresses. The chorus of the goddesses of victory lead in Ares as Triumpher. They\ndivest him of his bloody armour, present to him a goblet with wine and light thanksgiving\nincense in tripods.^\nAres, struck by the dart which the statue of Eros flings at him, feels an influx of love in\nhis heart. The goddesses singing a bridal song lead up to him from the depth of the palace\nthe dream-sick Joan clothed in a large white veil and a white starry dress. Joan yields to the\ndreamed-of god and allows him to lead her towards the palace door. In the doorway, however,\nshe halts, looking at the Goddesses of Victory who are folding their wings and laying\nthemselves down to sleep in the vestibule of the palace, placing under their heads wreaths\ntriumph. Joan's brow darkens with trouble. This means they will fight no longer! \" That\nis wrong \" she whispers. In the vestibule of the palace appears Queen Cora. Her suite\nhands her golden keys with which she locks all human hearts and souls in this November\nnight until the time when, on the ground fructified with Polish blood, she will appear, the\nImmortal Spring with a star on her brow, resuscitating from shed blood new sons for the\nFatherland. \" One day will come again that time \" says she turning to the sleeping Nike,\nwhen Pallas will summon you and pay you the debt of victory. Remember the words. \" Saying\nwhich she locks the door of the palace into the gloom of which Ates had entered with Joan.\nAnd the children of Aeolus murmur in the rustle of the trees, \" Queen... Queen... Queen.\"\nScene 9 passes in the same park near the lake. On the ait separated from the bank by\na narrow ribbon of water rises the ancient Greek theatre of his Majesty Stanislas August.\nAbove the water in a podium is the stage on which in the rays of the moon loom the ro»\nmanesque ruins of a temple. Opposite the stage on the shore is a semicircle of stone for\nthe guests. Midnight. On the steps of the theatre are seated in company those who fell in\nwarlike deed and are waiting for the time when, by the orders of the chosen immortals,\nthey will sail to the kingdom of shadows. Amongst them are enemies and traitors to the\n\nScenes four\n& five, &\nScene six, j®\nScene seven, &\nScene eight, &\nScene nine."}, {"page_pdf": 23, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.23", "texte": "country whose souls are consumed by one only torture; fear that the tears of that Nation\nwill weigh down the balance of the judgement when they will stand before God's tribunal.\nTheir plaints are interrupted by the entrance of Pallas who summons them to the fight\nwhich will terminate at day-break in victory. There in the distance on the other side of\nthe crystal waters in the white palace Ares is revelling, bound by the fetters of love. In a\nmoment he will arrive here and lead them to the bloody conflict. Pallas nevertheless shakes\nher aegis in vain* the knights pay no heed to its call, they are waiting only for peace.\nInstead of Ares comes Hermes having shaken his caduceus, tranquillised the whole world in\nrevolt and announced death.\nThe messenger of the Immortals inclines his sceptre over Pallas and bids her retire, since\nshe has already achieved her work by running to inflame the people. The town is consumed\nby fire. Ares received his tribute, but although he did not bear off complete victory yet he\ntriumphs, inebriated with only a part, imprisoned in the white palace until the terrible\ndawn will awaken him when he will recognise his mistake. Pallas by the will of Zeus has\nto fly away with the cortege of winged goddesses. The people that had risen this night\nwill now fight deprived of her protection, abandoned to its own strength, and of this war\nonly vain-glory will remain to it. &\nFrom the direction of the white palace run up Nikes whom, in the vestibule of the pa-\nlace, sleep had overcome with fallacious dreams of victory, and will fly away from this\nearth with Pallas toward the summit snows of Hymettus for Zeus has bid them abandon\nthe matter. Ending are the charms of night. Livid fogs float from the fields. Charon's bark\nsails up from afar into which the Chorus of the fallen enters. Hermes, its leader, raises his\ncaduceus over its heads. The boat sails away. & &\n& Scene 10. The November night's dream is ended. An Autumn morning. In the fields\nRussian squadrons are standing at attention under the leadership of the escaped Grand\nDuke. A guard lead in one of those Polish Prometheuses of whom so many sleep under\nthe white graves of Siberia, the dangerous conspirator Valerian Lukasinki, blinded in\nRussian prisons, in tatters, fetters on his hands and feet. The soldiers at the command of\nthe Grand Duke attach him to a cannon.... At the same moment all the bells sound in\nuprisen Warsaw. Lukasinski who had been confined in the cellars of Belvedere for some\nyears feels that long desired moment of liberty has already arrived 44 He has felt that his\n44 brethren had soared like eagles; he has felt that the striking bells bring the glorious\n\" news that they had risen heroes. \" From his heart bursts forth in joyful sobbing the he-\nroic prayer, 44 Perseverance! Oh God, grant them perseverance, let not their strength be\n44 wasted. Let cruel pain be my bed and my life one torture. Let them drag me, let them\n44 drag me, let them fetter me in the cellars, let vultures devour my body if only those\n44 brethren who are ringing in Warsaw gain the victory in the fight. \" He stretches out his\nhands before him and listens; he feels every breath of air and his face changes, his soul is\nin ecstasy, he guesses the accomplished work, his cheeks flame with joy and he murmurs\nand the words hardly come forth, he sobs a secret prayer. The bells ring a hymn of insur-\nrection.... Above Lukasinski's head the sun rises in a warm aureole which the blind martyr\ngreets in the words of Mickiewicz's 44 Ode to Youth; \" Hail to thee, dawn of Liberty.... after\nthee appears the Sun of redemption \". (i) On the Grand Duke's command the army moves*\nEnd of the drama.\nOf the cycle of dramas woven on the ground of contemporary life the three-act drama\nunder the title 44 The Wedding \" stands out well to the front. The scene of action is November\nin the year 1900 in the village at the house of a painter married to a peasant and in whch is\nbeing celebrated the brilliant wedding of the Poet with the younger sister of the Good-wife.\n44 Scenery, A November Night. The parlour. The chamber, washed in one greyish tone of\n44 light blue embracing both effects and the people who will pass through it. Through an open\n44 door at side leading towards the passage is to be heard a lively wedding feast, the buz-\n-44 zing of basses, the squeaking of the fiddles, the refractory clarnet, the shouts of peasants,\n44 men and women, and, deadening all notes, the melodious rustle of dresses and that of\n44 the boots of the dancers who are turning^there in a compact mass to the time of some\n44 song losing itself in the bustle.... And the whole attention of the personnages who will\n44 pass through this chamber-stage will be directed there; they will look continually there\n(1) This scene is played in pantomime *\n\nSTANISLA W\nWYSPIANSKI*\n\nScene ten*\nThe Wedding."}, {"page_pdf": 24, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.24", "texte": "STANISLAW\nWYSPIANSKI.\n\n44 at this dance to a Polish strain.... whirling round the room in the half light of a small lamp,\n44 a dance of colours, dazzling ribbons, peacock feathers, white coats and bright scarlet\n44 caftans, our contemporary village Poland of today. And in the wall at back: a door leading\n44 to the alcove, where is the goodman and wife's bed, a cradle and children sleeping in\n44 their beds, with holy pictures above them in rows. On the other side of the room; a window\n44 covered with a white muslin curtain, above the window a harvest feast wreath of corn ears;\n44 outside the window it is dark, black; outside the window the orchard and in it shivers\n44 in rain and frost the rose-bush wrapped up in straw, covered with its winter shelter.\" (i)\nAbout this room, like on the little 44 Crib \" stage, move in couples figures of contemporary\nPoland, both town and village, inebriated by the yearning melody of the ditty ringing all\nthe time there behind the scenes; they rock their souls to its rhythm, they speak and sing\nto its rhythm. & & &\n& The Wedding. Almost an historical fact. The fraternizing of two worlds unknown to each\nother. The fraternizing of gentlemen with peasants, with those peasants who through whole\nages, 44 adstricti glebae \" with their own backs under the steward's rod ploughed the ma-\nster's land; who, in the year 1784, armed only with scythes and blessed scapulars, rushed\noff to the fight when the Country began to perish, under the leadership of the Chieftain\nTadensz Kosciuszko clothed in their simple dress; who, in the year 1846, having snatched\nup their flails and forks, rushed off to the bloody butchery of the masters. The meeting\nof the peasants with the masters,... with those masters who but yesterday tortured them\nin their donjons; who today, contemplating them in their garb, their sincere, primitive and\nwide gestures, listening to their speech resounding some wondrous Slav might, have come\nhere for this one night to chatter with them, so as afterwards.... to be moved. Almost an\nhistorical fact. The date of that Wedding will be immortalised on the pages of new history.\nIt reminds one of the Constitution of the 3rd of May in the year 1791. It reminds one of the\nnational seer Count Sigismond Krasinski; 44 There is only one great miracle;... Polish nobles\nwith Polish people III!\"\nThe melancholy ditty behind the scenes rings continuously. Melancholy descends into\nthe souls of the painters, poets, journalists, literary men, dancing round with the comely\nbridesmaids. Melancholy steals into the little hearts of the romanesque young ladies turning\nround and round embraced by the strong arms of the bridesmen. What history could not\naccomplish was accomplished by the wedding of a noble with a peasant maid. These two\nworlds, unknown to each other, in this enchanted dance 44 to a.... Polish strain \" Ergo; an\nhistorical fact.\nThe melancholy ditty rings eontinuously behind the scenes. To its time the consciences\nof the gentlemen from the town awaken, to its time regret for historic sins awakens, the\nsentiment is awakened for which there is no name in any other European language;\n\"Trsknota\", (44 yearning\" approaches it in English, 44 sehnsucht \"in German.) They are\ndancing, Hamletising Manfreds, Manfredising Pantasios... They are dancing, Epigoni, in ar-\ntificial excitement seeking in vain the weapons at their sides. A Magic November Night*\nThe hut is completely poetized... Artists with portfolios and geniuses without them are\nweaving on this poetic theme some poetic projects, which tomorrow perhaps, after this\nsleepless night will be immortalised in polite literature, or of which tomorrow perhaps\nnot a vestige will remain.\nAt the instigation of a romanesque young lady the inn keeper's well-educated daughter\nwho has come here in a black dress and enveloped in a black scarf to see the true tales*\nthe dreamy Poet together with his friend and colleague of the pen the Bridegroom, and\nthe Bride invite new guests to the wedding, all of those 44 unfortunate tortured in hell,\nwhose souls are tormented in fear and long for the delivrance \" that they come to enjoy\nthis kind caressing music and then like smoke to disperse. £/\nThe odd idea comes to the Bridegroom, who would like to invite the whole world to his\nnuptials, of inviting to the wedding the man of straw with which the rose-bush in the\ngarden before the house is enveloped. (1) Let him come to rejoice with them all at the\nfeast and bring with him whomsoever he chooses.... A November Night. On such a night\nthe spirits come forth from the graves and fraternize with the living. Midnight strikes. The\nstraw scare-crow rolls on to the stage and in a sepulchral voice announces that many guests\n(1) The straw covering with which the rose bushes are enveloped for the Winter is called in Poland \" Chochol\" ( man of straw ) and this\nWyspianski brings as a personage into his drama.\n\nGentlemen and\npeasants.\nA Magic <4 No-\nvember Night \".\n£> The man of\nStraw. £>"}, {"page_pdf": 25, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.25", "texte": "will come here, that whosoever anyone sees in his dreams, that will appear to him at the\nwedding.\n& And now appear these dream people, seen only by those in whose souls they were born\nunder the influence of the melody played behind the scenes, &\n& First of all there appears to a village maiden, whom a young gentleman had rejected\nyears before, the corpse of her betrothed. He has been lured here by this well-known hearty\nmusic, and thus he rises from the grave which had been dug for him in a foreign land and\nhe has come here to dance, once around, once around, only with her, for afterwards he must\ngo. And the maiden dances with him to the time of the monotonous ditty, but when she\nfeels the cold emitted by his mouth and the damp touch of his hands she tears from him\nwith a terrible scream. The corpse goes out.\n% *\nTo the Journalist the famous jester of King Sigismund the Old shows himself in red\nclothes sewn with bells in that meditation over the fortunes of his country just as the\nMaster John Matejko had painted him, and hands him with words teeming with irony, his\nfool's sceptre.\n& The Poet, who arranges in his thoughts some 44 drama, horrible, pompous, gliding as a\nPolonaise\" is seized by the hand of the Black Knight who wishes to take him with him as\na prisoner, he Glory and Might.\n& The Bridegroom is struck with awe by the ghost of the Hetman who, because he had\nsold Poland to Russia for red ducats, wanders a hundred years already by night about the\nforests, and scatters broadcast the money that turns into his palms, and behind whom\nrushes a chorus of devils in Muscovite uniform from the times of Catherine 11, sucking\nhis blood and adding fresh ducats burning with hell fire. &\n& To the old Beggar, who still, remembers perfectly well that massacre in the year 1846\nand like the ill-omened raven croaks predictions to this sentimental fraternisation of the\nnobles with the people, appears the famous leader of that massacre, who for Austrian money\nmurdered the nobility, decorated with government orders of merit, in a blood-stained coat\nwith blood in clots on his hair and hands. The ghost asks the Beggar to give him a pail\nof water because he wishes to wash away the blood so as to present himself worthily as\na mediator at the wedding; he is afraid, however, that the bloody stain will not leave\nhis brow.\nThe last phantom shows itself in the end. To the Goodman-noble who, having settled\nhere in the village has gained the respect and hearts of the people, arrives for hospitality\nthe old Lyrist about whom many legends circulate in Poland, Vernyhora. A giant, a\nhoary old man in a flame-coloured mantle with the magic lyre at his girdle, on a white\ngold-shod charger, comes from afar with the Command.\nVernyhora orders the Goodman to send forth edicts before dawn to the four corners\nof the world, and that he himself is to gather the people before the church, having greet-\ned them with the Word of God, after which they are all to kneel down and in concentra-\ntion of soul are to listen whether the clatter of hoofs is not yet to be heard in the direc-\ntion of Cracow, if He is not yet arriving with the Archangel. As a sign of the covenant\nhe gives him a Golden Horn with which to summon the brotherly assembly; 44 at its chivalrous\nvoice the Soul will become powerful but by its golden sound the whole movement will be\nmarred \". The Goodman swears on his soul that all this shall be accomplished and imme-\ndiately sends forth his confidential farm hand, the Brideman, with the message he is to\nspread to the four corners of the earth, with the watchword agreed upon formerly 44 on\nhearing which they are all to stand before dawn, armed, before the church; afterwards he\nbids him return here, and on this Golden Horn to sound a blast; 44 then the Soul will so\nincrease as it had not done for a hundred years; \" he commands him, however, not to\nlisten to the temptation of the Devil, not to stoop for anything 011 the way for he might\nlose Vernyhora's gift. The Bridesman runs off, but all the same he will turn back and,\nbending, will raise his cap decked with peacock feathers which had been thrown on the floor.\nThe excited Goodman on whom this mission has fallen like a bolt from heaven, prepares\nhimself for sleep. Before dawn he is awakened by the peasants who at his summons have\ncome here with their scythes so as to go with him to the fight, like in the year 1764. But\nthe Goodman is surprised at all this... he recollects nothing. At last when above Wawel\nappears Bloody Dawn, when in the air some secret songs are to be heard, when the whole\n\nSTANISLAW\nWYSPIANSKI.\n\nDre aiii'peo pie\n& Vernyhora•"}, {"page_pdf": 26, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.26", "texte": "ST ANISL AW\nWYSPIANSKI,\n\nfield near Cracow will become peopled with peasantry armed with scythes, when in the sky\nsome cloudy army will fly by, he will come to himself, and spread the tidings of the Mystery\nof that past night. One must listen with the whole strength of soul, strain the hearing,\nfor in a moment will come He, Vernyhora, with the Archangel, and will bless the field\ncovered with kneeling people with his lyre.\n& Day breaks. All remembering the dreams of the past night kneel inclined towards the doors\nand window and in deep silence listen with intentness 44 grasping strongly in their hands,\n44 some scythes, some antique swords snatched from the walls; others again, flints and\n44 pistols. They listen speechless as though having fallen into an ecstasy of soul, their hands\n44 to their ears, and really for some minutes one has heard trampling which becomes\n44 near, nearer and nearer;-it suddenly ceases-after a moment, heavy, quick, vehement steps\n44 are to be heard in the passage, in the second room, until in the doorway at the back\n44 stands the first Bridesman, behind whom, in his steps, enters rolling the monster, the\nMan of Straw.\nThe Bridesman as though stupified gazes at the charmed hut in sleep, awakens them all\nbut they hear him not. He remembers that he was to sound a blast from the Qolden Horn\nbut seeks about him in vain for it: it is lost somewhere only the cord has remained,\ntwisted around his neck. The Man of straw in a taunting whisper reminds him that, under\na calvary at the cross-roads, where ghosts startle the passers by, the wind had swept from\nhis head the superb red cap with peacock feathers of which he had been so proud, and that\nwhen he stooped for it he had lost the Qolden Horn. 44 The affrighted Bridesman runs\nthrough the side door forcing his way through the motionless group. The thud of his steps\nis to be heard in the passage, now he stops, then runs on further. The Man of Straw rocks\nalong in his tracks rustling the straw as he rubs against the people. From the orchard,\nfrom the fields, in a light of sapphire that comes like a blue glow, the peep-of-day war-\nbling of the birds penetrates; the blue light fills the chamber with a Charm and plays\nin colours over the people, bent in half-sleep in half-ecstasy. Through the door at the back\nthe Bridesman returns, looks around and cannot believe his eyes, tottering more and\nmore with terror\". £? & & & &\nThe wedding company is all the time plunged in the charmed dream-sleep of listening,\ntheir brows are furrowed with wrinkles, their faces have paled. How deliver them from\ntheir sufferings ? &\nThe Man of Straw who had again entered behind the Bridesman had clambered on to their\nbrilliantly painted coffer and now advises him in a funereal voice to describe rings on their\nforeheads, take the scythes and weapons from their hands and throw them somewhere into\na corner, that he join their hands for dancing and the Fear and Sadness will leave them\nand they will forget their wounds. And he himself will play for the dance they will dance\nthe whole year.\nThe Bridesman executes these things in the twinkling of an eye, and the enchanted straw\nbug-bear, having seized in his unwieldy paws two simple sticks that the Bridesman hands\nto him, begins to play with them, imitating the movements of a violinist, and 44 music is\n44 to be heard as though coming from the blue atmosphere, wedding music, soft yet hopping\n44 drawing hearts and lulling souls, languid, faint, yet living as a spring of blood, beating\n\" unevenly to time in the pulses of the dances, bleeding like a fresh wound:... melodious\n44 sound brought forth from Polish soil in pain and delight.\" &\nThe Bridesman is now pleased and marvels. And when the Man of Straw shouts to him,\n44 dance; the whole puppet show is dancing \" he touches his head as though to push jauntily\nover one ear his cap decked with feathers of Peacock Pride; but he remembers he has lost\nit somewhere on the road. Then the Man of Straw sings him montonously a jeering ditty,\nrocking to its time:\n44 Boor thou hadst a golden horn,\n44 Boor thou hadst a feathered cap:\n44 Cap by wind is taken,\n44 Horn halloos in braken,\n~ Nothing hast thou but the cord,\n44 Nothing hast thou but the cord \".\nThe cock crows. The Bridesman as though struck comes to himself and in a voice hoarse\n\nThe lost Horn.\nThe Dance."}, {"page_pdf": 27, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.27", "texte": "from shouting calls to the dancers to seize their arms with all speed and rush to the\ncastle of Wawel.. But no one hears him as the Man of Straw is playing, 44 and to the\nstrange sound of the moaning music glide numerous couples, in slow, serious tranquil serene\n44 dance,so that the stiffly starched outspread skirts hardly murmur, or the long ribbons\n44 rustle and the spangled head-dresses ring: the heavy boots thud dully. \" &\nThe cock again crows. The Bridesman with the remainder of his strength strives to\nawaken them. In vain. Despair takes away his breath and he is turned to stone by fright\nand horror. He staggers, bends towards the ground, knocked about by the compact circle\nof dancers which he vainly tries to sever; and to the dull sound glide stiffly dancing cou-\nples in a wedding ring, festal slow, serene. 44 And the mighty Man of Straw sings, 44 Boor\nthou hadst a golden horn \" and with this the drama ends.\n& Temples serve Truth. Wyspianski's Theatre serves Truth and shows Truth in which he\nbelieves, in which the actors and public are to believe. Wyspianski's theatre shows Truth\nin its nakedness without romanesque drapery. Wyspianski's theatre is true because it serves\nas a mirror to Nature, as a mirror reflecting not only certain of her phenomena but the\nwhole expanse of phenomena that the flaming fantasy of an artist is capable of embracing.\nIt is not, however, a 44 naturalistic theatre \" . By no means. Wyspianski does not natu-\nralise the theatre but on the contrary theatralizes nature in an ingenious manner. The\nbest proof of this is given by his 44 contemporary dramas \" which species, the favourite of\nnaturalists, was of their theatre the one pride, the one prop and the one...., weak point\nat the same time. Wyspianski's dramas woven on contemporary background may serve as\na pattern for how one must stage-symbolize a real fact or a raw anecdote from life, with-\nout either adding to or taking from its substance. I am thinking here not only of the\ndramas in which the fantastic element meets visibly with the real (as in 44 Delivrance \",\n44 The Wedding\") but also of those most 44 Greek \" dramas, (44 The Curse\" and 44 Judges\")\nwhose scene of action is exclusively on earthly ground.\nWyspianski's theatre serves Truth. That Truth, which manifested itself in the hieratical\ntheatre of antiquity and which today only the eye of the clairvoyant Genius can read from\nthe Stars.\n& Wyspianski's theatre however never ceases to be a theatre. Above all, the construction\nof his dramas is theatrical, and, incomplete in reading,gain their real expression only in the\nscenic frame. His favourite form is the drama not divided into Acts but into 44 dramatic\nscenes \" a series of tableaux forming,each one apart a certain whole, closely united neverthe-\nless with the course of the principal action and harmonising with the fundamental tonality\nand colouring of the work. The substance of these single scenes he so encloses in the melody\nof mimics that they become a sequence of spectacles in the principal spectacle. He applies\nthe same technique also to dramas divided into longer acts, terminating each act with a\nfinale expressed either vocally or musically, striving however in the first place for the\nrounding of it in the gesticulations of the soloists or in the choric groups. &\nSome have tried to call Wyspianski's dramas pictorial. In my opinion on account of\ntheir exquisite theatricality they should rather be called in all modesty theatrical.\nWyspianski, the initiate of the spirit of the art of the theatre, conscious of its aims and\nlimits, is concerned only with Action, only with Movement.... its Birth, Development and\nDeath. In his spectacles the mimic element forms the essential part. We meet with but few\ndramas in which so much space would be consecrated as here to mimic art, to choric\nmanoevres, processions, pantomimes, the dumb play of the soloists or even to complete\npauses in the action.\nWyspianski's pictorial talent expresses itself in its own field. In the theatre Wyspianski\navails himself of other means. He avoids painted cloths as far as possible. He fills the stage\nwith plastic architecture and animates it with the light which, subject to the logic of his\nartism, becomes here an immensely important factor. & & JS> &\n& One of Wyspianski's merits too is the ennoblng of the vocal element and the justification\n%\nof its existence in the theatre. Wyspianski in his dramas operates with theatrical voice and\nverb. His voice and verb harmonize with the colour of sentiments and in consequence with\nthe spirit and colouring of the whole drama. Voice and verb are here epigrams on the mimic\nnotions, and it never happens contrariwise. We never meet here wih pseudo-classic tirade,\neven in scenes in which actors receive a formidable melic or recitative part to deliver. For\n\nSTANIStAW\nWYSPIANSKI.\n\nWyspianski's\nmirror.\nTheatrical\nDramas. &"}, {"page_pdf": 28, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.28", "texte": "Wyspianski composes the partition of his drama not in written verb which only in reading\nhas to produce an impression, but in the symbol of the 44 living verb \" which in delivrance\nonly obtains its expression. £?\nWyspianski owes the strength and virility of his language to popular talk and poetry,\npreserving the onomatopaeic character of that speech with which the primitive man might\nhave served himself, Wyspianski studies this material, transforms it artistically until at last\nhe creates for his theatre verb-sound, verb colour, which he uses economically, careful\nof the sentimental and mimic substrate on which they must develop themselves logically.\nEvery creative reader of Wyspianski's dramas may convince himself of the pictorial value\nof his verb and likewise of its practical significance for the theatre; when representing the\ndrama in the theatre of his own soul he will find, in the spoken text of the drama indica-\ntions for complete scenery, for its drawing and colouring. jz/\nMuch has been said of the preponderance of the musical element in his dramas, of his\ntendency for creating musical sensations on the stage. And indeed, the musical element\ndoes play a certain part in his dramas. Wyspianski however attaches to it no special distinc-\ntion but serves himself with it with a view towards calling forth theatrical sensations.\nEach one of his dramas may be a proof of this since, in almost each of them, this element\nappears equipoised with the others and subject to the dramatic idea and action. Above all\nwe meet it in two dramas, born 44Aus dem Qeiste der Musik\": in 44 The Wedding\" where\nthe whole action is spun on the background of the magic melody of a peasant dance, and\nin 44 La Varsovienne \" in which the song of E. Delavigne played on an old clavichord winds\nitself slowly through the whole drama with a red thread. We meet it in 44 The Legend \"\nwhich is filled with solo airs and solo recitations, songs and choral melodeclamations; we\nmeet it in \" Boleslas \", 44 The November Night \" 44 Acropolis \", in the antique 44 Greek \"\ndramas and in the dramas most Greek; in the contemporary dramas. & &\nWyspianski does not illustrate his dramas with music, he does not stuff the mimic and\npoetical text with loose interpolations either symphonic or sung. The musical part on his\nstage plays an equal role with the poetical part and is no ornament patched in; it is\ntheatrically and logically justified, is important and necessary. Orchestral and vocal music\nWyspianski uses then and then only when the Action demands it. In 44 The Legend \" old\nharpers sing ballads to the dead king to the strain of those songs of blind beggars\nwandering about from kermess to kermess and the song and declamation of water gods flow\nfrom the depths of the waters in the rhyme and rhythm of peasant ditties; in 44 Achilles \"\nAndromaque sings over the infant's cradle a lullaby of the judgement of Paris reminding in\nits simplicity of popular songs; in like manner he twines song with the action in 44 Boleslas\nthe Bold\", in 44 The Rock\", in 44 The November Night \", in 44 The Death of Ophelia\", etc,\nnot for the purpose of showing off the actor, not for the pleasure and amusement of the\nspectator, not to save the spectacle but for the self-same reason which leads him to the\nuse of the verb.\nWyspianski's personages sing and speak only when logical necessity demands it, they sing\nand speak what the people in a given drama may feel, what in the depths of their souls\narranges ltselLto melody hence the musicality of the text. In Wyspianski's dramas\nNature sings and speaks when action demands it, she speaks in that sincere voice of hers\nwhich is audible only for her contemplators and not for scrutators and artistic imitators\nIn his dramas we neither meet with elaborate diversions nor those symphonic entr'actes\nnor with tremolo preludes. In Wyspianski's dramas music sounds then only when nature as\nvisible (impersonified or not) 44 dramatis persona \" appears, when act and speak she will As\nthe whole orchestra he uses lyres, harps, shepherd flutes, war horns mingled with the\nclanking of arms, the rustle of the wind, the ripple of the water, the clap of the thunder,\nand even silence, a fermata placed over the mimic vocal text.\n& In Wyspianski's dramas either complete silence or interupted by a quiet accompaniment\nof words or sound rings in the ear of the spectator with that whole orchestra of indefinable\nmysterious, hardly conscious tones, resounding in the soul of a maid In communion with\nthe Peace and Silence of nature. For instance, in the tragedy under the title 44 Meleager \"\nthe chorus of Elders, which after the announced exposition around the altar of sacrifice\nafter the hymn in honour of Diana, Moon, (one of the invisible personages of the tragedy)\nrising In a golden car on the black heavens, becomes silent to drink In the music of the\n\nST ANISLAW\nWYSPIANSKI.\n\n& The Musical\nElement.\nSounds."}, {"page_pdf": 29, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.29", "texte": "evening:. The Indication In the book edition says \" The chorus seats Itself on the steps of\n\" the palace: the music of the evening murmur is to be heard coming from the garden, from\n\" the olives, cypresses and laurels; the leaves on the poplars tremble in a cool beeeze and\n\" rustle; from the fields come the chirps of a swarm of grasshoppers; beetles buzz fluttering\n\" their wings; a flock of bleating goats passes and a shepherd plays on his pipes; in the di-\n\" stance in the ponds frogs throat and croak and the sparks of fireflies chase one another.\n\" The nightingale sings for one moment a10ne,.... when it ceases the splash of fountains\n\" in the garden may be recognised.... slowly, the rythmical spell is dulled, troubled, ceases \"\nWe have here before us no symphonic intermezzo but a dramatic scene. The goddess who\nduring the whole course of the drama acts invisibly behind the scenes holding the thread\nof human fortunes comes on the stage in the form of the moon. On that moonlit night the\nwhole of nature resounds with a hymn of praise. On this moonlit night the chorus of Elders\nthat had but just sung to Atalanta, Diana's favourite, the skilful and beautiful huntress,\naccompanies this hymn of the chorus of all being with the silent, dumb song of Its soul.\nThe Goddess acts with the light of her beauty on the groves, on the ponds, and on all exi-\nstence secreted in them. The Goddess acts on the souls of the chorus to whom the whole of\nthis mysterious nocturnal movement appears before its eyes under the influence of the\nsounds of shepherd flutes. The Goddess acts on the soul of the auditor who is present at the\nwhole of that mysterious, hidden spectacle, though he sees only the white group of elders\nhewn as It were out of marble, Inundated as it were with a flood of monthly light, hears\nonly the song played on the pipe.^\nA theatrical sensation... and not a musical. Wyspianskl's drama is theatrical. Wyspianski\ndoes not strive to create Illusion of life although his theatre is the most faithful mirror\nof Life. Each dramatic theme Is for him a new problem of theatrical form, each is a new\nsolution of it. Wyspianski crushes and destroys the theatricality of the old theatre, but\nin the art of the theatre he discovers everlasting values which In his individual handling\nbecome the elements of a new theatricality. Wyspianski destroys the old theatre whether\nit be called romantic or naturalistic. He destrovs it in the name of Truth which he bears\ninscribed on his soul like Hamlet or like that fabulous Shakespeare divined by him. In the\nname of Truth,... not psychological realism nor ideo-realism. That Is another thing\n\nSTANISLAW\nWYSPIANSKI.\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, aud then\nthere are untrue unsuitable. As the briefest definition one might say, Forms which GREW\nround a substance, if we rightly understand that, will correspond to the real Nature\nand purport of it, will be true, good; forms which are consciously jput round a substance,\nbad. 1 invite you to reflect on this. It distinguishes true from false in Ceremonial Form,\nearnest solemnity from empty pageant, in all human things."}, {"page_pdf": 30, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.30", "texte": "A NOTE ON MARIONETTES\nby Adolf Furst.\n44 We are such stuff as dreams are made of and out little life is\nrounded hy a sleep\". &\n|f only this were really the truth of men and women I Yet it may\nbe believed of the Marionettes. They are made of such ideal stuff,\nfar more than we are, and is not their little life one perfect round\nof sleep ? £/ &\n& The race of these dream folk is a small one; but, whether of rag\nor gold, rich or poor, king or peasant the marionette is always distin-\nguished, and it is curious to note that he only loses his distinction\nwhen allied with a human being. For come across him when he is\nsuspended in his quiet chamber of rest and you will be awed by his\ndistinguished manner, but let a human being but touch him and he\nwill act In the most outrageous manner. For these humans even make him copy the actors;\nthey make him behave like a man In the street, whereas if left to himself he will do\nnothing wrong doing nothing.\n& And It is this doing nothing, this saying nothing, this meaning nothing which raises him\nto an altitude that is limitless. Not many people have seen these little beings, and very\nfew have seen them doing nothing. Those people who have been persuaded for one reason\nor another to enter the small theatres where the marionettes are obliged to fret their\nhour on the stage, have seen them under great disadvantages for they have seen them as\nslaves of men who are ignorant of the existence of the Holy Ghost. But of course there\nare some who are able to tell us of strange sights they have seen, of strange pleasures\nthat they have tasted through Marionettes inspired by artists.... men of spiritual power.\nThese are the travellers who have visited China, Java and India, and even visitors to\nParis, Vienna and Naples have also had something good to see at one time or another,\nWhile In England the vision of Punch and Judy (i) whispers to us of something \" once upon a\ntime.\" But it is those who travel furthest who see more than the rest. It is they who travel\nIn the imagination and who realise the unlimited possibilities of that Holy Land.\nIn the olden days a marionette performance was called a ' Motion', and this * Motion ,\ntook place in silence. (2)\n& The * unspoken meanings of the earth' are not to be explained by speech, for as there Is\nalways that part of nature which can be stated perfectly by words, there must ever remain\nsome mysteries of nature which can only be expressed by movement. We may take it that\nthe Motion is the just and best means of expression for that which lies outside beyond\nthe province of words.\n& Dumb show by pantomimists (especially the modern dumb show) is but a negative kind\nof expression. When you have a voice, to refrain from making good use of it is niggardly\nand for twelve people to be wandering about on a stage continually clapping their hands,\npointing, waving, struggling to express what we see could be quite simply expressed if they\nwould but open their mouths, is foolish and no art. You have a mouth; use it. You have a\nvoice ; speak. Are you still a child....have you no voice ?,... then move....play.\n& The marionette has no voice, though a degenerate public has at times begged that he\nshall be made to speak. His power and his expression lies in movement. By movement he\n\n(1) The derivation of these personages from the Pontius Pilate and Judas Iscariot of miracle plays is the merest philological whimsy, Punch is\ndoubtless the Pulcinella , who makes his appearance about 1600 as a stock figure in the impromptu comedy of Naples. Under other names bis\ntraditions may, for all one knows,go back far beyond the miracle plays to the \" Fabulae Atellanae. But the particular drama in which alone\nhe now takes the stage, although certainly not a miracle play, follows closely upon the traditional lines of the moralities,\nE. K. Chambers . The Mediaeval Stage,\nVol, 2, 159-160,\n(2) The term \"Motion \"is not however, confined to puppet-plays, Bacon, Essay XXXVII, uses it of the dumb shows of masquers, and Jonson,\n\"Tale of a Tub\", v.l, of Shadow - plays.\nE. K. Chambers-The Mediaeval Stage,\nVol, 2, 158, note.\n\nA Motion. &"}, {"page_pdf": 31, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.31", "texte": "can tell us of the very things that Shakespeare, with all his words, cannot tell us; and so\nto manufacture for him a voice is foolish and extravagant.\nAnd now a word or two about his construction, for he is, after all, in his private life\njust a little machine.\nSometimes he is made of wood and suspended by wires from above. These wires are\nattached to a short stick which some human machine holds from above: two machines,\nyou see, the one human, the other, when constructed with art-Divine. Some marionettes are\nsupported from beneath by a rod held by a human manipulator underneath the stage which\nis generally a narrow platform. Punch is one of these. In his case the arm of the manipu-\nlator plays the part of the rod and the fingers move his arms and head. Some marionettes\nare flat like a piece of cardboard and cut in silhouette. Some have a little more complica-\nted mechanism as in the case of the Chinese figures. We must realise that the whole thing\nis a little matter of a very little mechanism. Pull a string, an arm goes up; another\nstring and it bends, another string, and it comes round. Nowadays a man controls all this\nbut might it not perhaps be possible that at a later date we may have these little figures\nbrought to so great a mechanical perfection that they may not need the assistance of that\nhuman machine, man\nBernardino Baldi, Abbot of Guastalla, who was both poet and geometrician and who\nwrote of Marionettes in 1589, declares a knowledge of mathematics to be essential to their\nconstruction , and the value of such knowledge to both the constructor and the manipu-\nlator is easy to understand.\nWe are told that in Greece a life sized figure was once made by an artist mechanic in\nsuch away that without assistance if could move its legs and arms and advance upon the\nbeholders to whom it gave a blessing. This movement was caused by the mercury with\nwhich it was filled, the inward construction of the figure setting the mercury in motion\nand this, in its turn, setting in motion the figure; while mention is made of such a figure\nby Aristotle, who admits that it was the mercury which she contained which gave movement\nto the famous wooden Venus attributed to Daedolus.\nAnother means of causing the figures to move was by the power of a magnet, of which\nwe have an example in the inscription given by Diodore of the ceremonies which took\nplace in the temple of Heliopolis. - \" When the god wished to deliver his oracle\" he\ntells us, \" the statue, which was of gold, moved of itself; if the priests delayed to raise\nit on their shoulders it struggled and moved again. When they had taken it and placed it\non a litter it led them and obliged them to make several turns. At last the high priest\npresented himself before the statue of the god and put to him the questions on which it\nwas wished to consult him. If Apollon disapproved of the enterprise the statue drew back; if\nhe approved of it it pushed its bearers forward as if drawing them with reins. \" And he\nadds in conclusion, \" the priests having taken the statue on their shoulders it left them on\nthe ground and raised itself quite alone towards the vault of the temple \".\nNow there seems no reason why my keen, clever and energetic countrymen, especially\nthose who dwell in Berlin, should not soon master these matters of mercury and magnet\nand produce some figures capable of exquisite, if mechanical, movement. Though even then\nthe difficulty would not be ended, for it is one thing to make a piece of mechanism and\nanother to set it to its right use, and after the mechanism of these figures is made perhaps\nwe shall have to go to France or England to find those who shall know how to extract\nand conjure some beauty from it all. & & & & &\nFor what artists the young Englishmen are beside the Americans, in so many traits akin\nto us I By the side of these how an Englishman shines ! Indeed, young England possesses\nprobably more artists with a more virile and distinguished sense of beauty, nay, with more\nbrains, than any other western state. &\nBut to glance again most briefly at the history of the Marionette. &\nVery far back across the centuries may we trace the procession of this silent race to\ntheir remote origin in the figure of the gods in Egypt. For the little figures which it has\nbecome the custom to treat as something trivial, perhaps even rather contemptable, a di-\nversion for children only, have a most noble ancestry. To quote Mr Ernest Maindron,\n\" They come from far away. They have been the joy of the unnumbered generations\n\" which preceded our own; they have gained, with our direct ancesters, many and brilliant\n\n& A NOTE ON\nMARIONETTES\n\nj& Secrets of\nmovement.\nT7ieir history."}, {"page_pdf": 32, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.32", "texte": "& A NOTE ON\nMARIONETTES\n\n\" successes; they have made them laugh but they have also made them think; they have\n\" had eminent protectors; for them celebrated authors have written. At all periods they\n\" have enjoyed a liberty of manners and language which has rendered them dear to the\n44 people for whom they were made. J® J® J® J® <® <® J®\nJ® Always they have touched on everything, they have directed their shafts at everything;\n44 art, poetry, politics and religions. More courageous than men, they have often attacked\n44 the powerful and have sometimes put them to confusion. \" J® J® J® J®\nJ® As to their true origin theories may vary. Mr Charies Nodier finds it in 44 the first\ndoll put into the hands of a child \", 44 It is impossible \", he asserts. 44 not to recognise the\ntype of them in that cosmopolitan toy which we call a doll \". But I would rather incline\nto the theory put forward by Mr Magnin, in support of which he cites Heroditus and other\nancient writers, that the marionettes are descended from those jointed statuettes which,\nin celebration of the feast of Bacchus, the Egyptian women bore from village to village;\nand in the figure of Jupitor Ammon which, carried in procession on the shoulders of eighty\npriests, indicated the route it wished to follow by a movement of the head. j® j®\nj® That the Egyptians used these moving figures as means of amusement in what we today\ncall a theatre we have no evidence, nor does it seem probable. It is true that in miniature\nthey were used as toys for children, but their real place was in the religious ceremonies,\nand it was just in these ceremonies, these silent rites and movements, and not, as was\nonce upon a time asserted, in the words of the poets, that the theatre had its birth, being\nborn of motion, not of sound. j® j® j® j® j® j® j® j®\nj® Both in Egypt and Greece many little jointed figures have been found, in *wood, ivory\nand terra cotta, the heads set upon a pivot which permitted movement; the limbs jointed\nthat they might be moved by means of a string, J® J® J® J® J® J®\nJ® In Greece they had evidently been early adopted as a means of entertainment, since\nXenophon relates, in connection with a famous banquet, that among the diversions provi-\nded by the host was a Syracusian player of marionettes, J® J® J® J® J®\nJ® The author of the treatise, \" de Mundo \" treating of these little figures, writes as follows:\n\" The Sovereign master of the universe has not need of numerous ministers nor of compli-\n\" cated means, to direct all the parts of his immense empire; one act of his will suffice him,\n\" just as those who control the marionettes have only need to put in motion the head or\n\" hand of these little beings, then their shoulders, their eyes, and sometimes all the parts\n44 of their bodies, which at once obey with grace and rhythm. \" And, as Mr Gordon Craig\npoints out, it is just this passivity, obedience and responsiveness which renders the mario-\nnettes such valuable material for the artist of the theatre, which would make possible that\nwhich with the living material of the living actor's body remains impossible, • • • the\ncreation of a work of art. In a perfomance in which the actors are living persons it is\nimpossible, however well disciplined they be, that they subdue entirely their own will and\npersonality to the will of their director, and thus the unity, the expression of but one\nwill which is a necessary quality of a work of art, is unattainable. With the marionettes,\nhowever, those who direct the movement and the gestures of the little figures of men\nmade of wood have, as Apulee wrote in the second century, A. D. 44 only to draw the\n44 string destined to move such and such a limb; immediately one sees the neck bend, the\n44 head bow, the eyes take vivacity of expression, the hands lend themselves for all the\n44 offices required; in short, the whole person shows itself graceful and as if alive \". *®\nIn regard to the performances given at Athens in the Theatre of Dronyus we are told\nby some authorities that, since the ancient theatres were ill adapted for such a use, a\nkind of second little stage composed of a four sided draped scaffolding was arranged upon\nthe thymele or orchestra, so constructed as to allow the spectators to see the little actors\nbut not the hands which manipulated them, the piece being given without words while\nthe story was narrated by one who stood in front. One distinguished authority, however,\nreferring to the celebrated performances given in this theatre by Pothein, opposes the idea\nthat the figures were small ones and puts forward another theory. 44 I think, \" he writes,\n44 that Pothein presented life-size figures or even larger than life, each of which contained\n44 a manipulator, and my reason for holding this view is that 1 do not find the Greeks\n44 lacking in a sense of proportion \" Not so unlike Mr Craig's über marionette, this.\nj® Passing on to the middle ages we find the moving figures have again reverted to their ori-\n\n& Their origin.\nTheir value"}, {"page_pdf": 33, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.33", "texte": "ginal religious character and dwell once more in the churches in the form of Madonnas and\ncrucifixes, with eyes that turn and limbs that move, and as the actors of the sacred dramas\nwhich it was customary to perform at the great festivals of the church. The introduction of\nthose moving statues into the ceremonies met, however, with vigorous though unsuccessful\nopposition on the part of the prelates, and in 1086 we learn that Abbot Hugues of Cluny.\n\" refused to ordain a monk who was a mechanician, that is to say, a conjurer and necro-\nmancer. \"\n& Of the construction of the figures at this period we can find but little information, but\na manuscript of the 12th century which formerly existed in the Strasbourg Library and of\nwhich miniatures were later reproduced by Ch. Marice Engelhard under the title 44 Hortus\ndeliciarum 44 were represented two little warriors in full armour, which were caused to\nfight and move by two manipulators by means of a string crossed in the centre and of\nwhich each manipulator holds an end, the action thus being horizontal instead of, as is\nusual, perpendicular.\n& In England, as elsewhere, we find the moveable statuettes playing their parts in the\nchurches, in those dramas and sacred pageants which have ever been the delight of the\nCatholic Church. Even today the white pigeon which in olden days, coming through an\nopening in the vault, represented on Whitsunday the descent of the Holy Ghost, has its\ncounterpart in Florence in the mechanical dove which on Easter Saturday carries the Easter\nfire from the altar of the cathedral to the 44 carro \" set before the wide-open western door.\nBut when the storm of the Reformation swept over England, and Henry VIII In his fight\nagainst the Pope despoiled the churches, the 44 miraculous \" crucifixes, the little figures\nwhich had performed the Nativity and Passion plays, were destroyed and the new religion\ncast out as idols what the old religion had sheltered as saints.\n& Turned out from their altars we find the moving statuettes reappearing in more secular\nguise as marionettes upon the ordinary stage.\nMany names have been given to this silent race In different qges and countries.... for\na silent people we must remember that they are, their grave eyes and immobile lips having\nnothing In common with the squeaky tones which a more trivial age than that which saw\ntheir birth has insisted on attributing to them.\n& The title of puppet is perhaps the most ancient in derivation ; coming through the\nFrench 44 poupee from the Latin pupa. Maumet or mammet as we find them called in\nFrance has, Mr Maindron tells us, 44 as in our ancient word of marmouset in its origin\nthe sense of an idol 44 but the modern name marionette comes from Marion the man who\nfirst during the reign of Charles IX Introduced them Into France; while the Italian title of\nBurattlni comes from Burattino, a famous manipulator living in 1622.\nThe performances in which they appeared In England seem to have been generally known\nby the name of 44 motions \" which, signifying 44 a movement\" came to be applied to a show\nof puppets, either automatic or moved by strings; but in Shakespeare' s time we often\nfind the word 44 drollery \" used ; meaning a farce played by wooden actors. & &\n& It is a curious fact worthy of notice that in the bills passed by the Puritans in 1642\nand 1647, the first for the suspension, the second for the abolition, of theatres, no mention\nwas made of marionettes and no measures taken against theni, which seems to afford a\ngood proof that what the reformers objected to was the exposure of the human body on\nthe stage rather than the mere representation of a drama, a reason which was probably\nat the root, even if unconsciously, of much of the pious horror of the stage which even to\nday is felt, though in a modified degree, by many. &\nThe original performances by the marionettes in England and France seem to have\nbeen in 44 miracles \" and 44 mysteries \" which were held under the direction of the clergy\nand confraternities in celebration of the church feasts; but in the middle of the fifteenth\ncentury we find the figures of the simple old Bible [narratives and the legends of the\nsaints beginning to give place to the more theological and allegorical personifications of\nvices and virtues such as Vanity, Gluttony, False Doctrine, and that most celebrated\npersonage, Old Vice, or Old Iniquity, the inseperable companion of the devil of whom\ntwo centuries later, under the rule of the house of Orange, Punch was born; and about\nthe same time the marionette theatres began to rise to a better social standing, to afford\nmore luxuries and to offer for the first time seats at varied prices. Indeed, the end of the\n\nA NOTE ON\nMARIONETTES.\n\n& Their names.\nAllegorical\nPlays."}, {"page_pdf": 34, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.34", "texte": "& A NOTE ON\nMARIONETTES,\n\n17 th century seems to have seen the English puppet theatre at the height both ol its\npopularity and its success,\nIn those days, Mr Magnin tells us, 44 all the limbs of these little figures were jointed,\nand from the top of their heads came out a metal stalk which united all the strings in\nthe hand of the manipulator\", so that it was evidently not until later that Punch and\nis companions took the form under which we now see them, being worked, not from\nabove, but from beneath. &\n& In the British Museum is to be found the original of a curious advertisement dating back\nto the days of Queen Anne and announcing Punch as an actor together with John Spen=\ndall, an ancient and popular performer of moralities. This document runs as follows: (i)\n& *4 At Crawley's Booth, over against the Crown Tavern in Smithfield, during the time of\n44 Barrholemew Fair, will be presented a little opera, called the Old Creation of the World;\n44 yet newly revived ; with the ddition of Noah's Flood; also veral fountain s playing wather\n44 during the time of the play. The last scene does present Noach end his famfly coming\n44 out of the Ark, with all the beasts two and two, and all the fowls of the air seen in a\n44 prospect sitting upon trees; likewise over the ark is seen the Sun rising in a most\n44 glorious manner; moreover a multitude of Angels will be seen in a double rank ; which\n44 presents a double prospect, one for the sun, another for a palace, where will be seen six\n44 Angels ringing of bells. Likewise Machines descend from above, double and treble; with\n44 Dives rising out of Hell ; and Lazarus seen in Abraham's bosom ; besides several figures\n44 dancing jiggs, sarabands, and country dances; to the admiration of the spectators; with\n44 the merry conceits of squire Punch and Sir John Spendall.\" JZ?\n& This curious medley was, we are told, 44 completed by an Entertainment of singing and\n44 dancing with several naked swords, performed by a Child of eight years of age, \" &\nA famous English puppet showman was Martin Powell, who began to distinguish himself\nabout this time and continued under the succeeding reigns of George I, George n, George in,\nand we find in him something of those powers which we look for today in the Artist of the\nTheatre, since he was not only the author of the pieces which he put on this tiny stage,\nbut also the maker of the puppets, (we hear of his devoting especial care to Punch, whom\nhe endowed with a moveable jaw) the costumier and the controller of every action, and\ngesture.\nThe subject of Punch and his fellows is, however, so wide and interesting a one as to\ncall for a special and seperate study, and the same must be said of that wonderful company\nof marionettes which have their homes in the East, in Java, China, Burmah and Japan.\nTo speak of the marionettes once more, therefore, in conclusion, in the general sense.\nTwo of the most salient characteristics which chiefly impress us in them are their\nsimplicity and their calm. The gestures which seem so varied, so complicated as to\nnecessitate the most elaborate mechanism are produced by means amazingly simple, while\na marionette 44 greenroom \" between the performances is,...and in this it forms a welcome\ncontrast to the real theatre,... as tranquil a spot as can be found. Each little figure,\nstrangely human in its repose, hangs upon its nail in the dim light, gazing before it with\neyes as inscrutable as those which yet meet ours from under the quiet brows of the gods\nof Egypt and Etruria. It is their silence, their passionless gaze, their profound indifference\nwhich give so supreme a dignity to the frail little bodies tricked out in gauze and tinsel.\nAs in the fallen descendant of a great family some one trait may yet remain to recall a\nnoble origin, so does that impassive gaze, that air of seeing beyond all the transitory and\nthe accidental, still proclaim for the marionette his kinship with the grave stone images\nof the ancient eastern world. And when, in more than his former dignity and dowered with\nmore than his former gifts, the puppet returns to our stage in the form of that Über\nMarionette whom Mr Gordon Graig has created, bringing with him his supreme quality,\nthat of perfect obedience to the hand and mind of the master whom he serves as material,\nwith him will come that Renaissance of the Art of the Theatre of which the first hints\nare even now beginning to appear. & & &\n\n& An old\nadvertisement•\nMa rtin Po well •\nThe Ueber\nMarionette. <£?\n\n(1) \" Sports and Pastimes Strutt."}, {"page_pdf": 35, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.35", "texte": "THE ARCHITECTURE AND COSTUME\nOF JULIUS CAESAR\nby E. W. Godwin.\n\n(1)\nprom the Rome of Coriolanus to the Rome of Julius Caesar we leap over four centuries.\nThose four centuries were crowded with every kind of energy but with very little fine art\nfor this comes of other parentage, and is not to be had because of energy, be it of consul,\ndictator or imperator.\n& Soon after the Commonwealth had been established Rome found herself surrounded\nby enemies....Etruscan, /Equian, and Volscian. Under Cammillus Furius, censor, after-\nwards consular tribune and finally dictator, Rome conquered the Etruscan city Veii, and by\nthis rose to a greater position than she had hitherto assumed. Then came the Gallic invasions,\nthe destruction of the city that Coriolanus and Tarquinus knew, and the long series of\nwars which at last, about b. c. 282, ended in the city of Rome dominating all Italy or rather\nall Italian cities, for a few Greek cities in the south of Italy still held out. Less than twenty\nyears after the date last mentioned began the Punic Wars, the first extending from b. c. 264\nto b. c. 240. The result of which was that the Phoenician city Carthage transferred to Rome\nher rights in Sicily, and this island became the first Roman province. After twenty three\nyears came the second Punic War, and in b. c. 149 began the third Punic War, during\nwhich Carthage was destroyed and part of its territory was annexed as a province to Rome\nMeanwhile, however, war was going on (b. c. 229) with the Greeks on the coast of Illyria,\nand the first Macedonian war began in b. e. 213. In b. c. 200 came the second Macedonian\nwar, and in 196 the Greek1 allies of Rome were really her dependents. Still further and further\ndid the city by the Tiber push her conquests until Greece lay almost at her feet, and the\nthird and fourth Macedonian Wars (b. c. 171-178) ended in the subjection of Macedonia.\nThen came war with the Achaians; and Corinth was destroyed in b. e. 146. Now followed\nthe conquest of Western Asia and its annexation, b. c. 133, as a Roman province. Before\nthis, and during the Punic Wars, Rome had not only dominated Northern Italy or Cisalpine\nGaul (b. c. 191), and soon after Liguria and Venetia, but had extended her power to Spain,\nwhich she had completely dominated by b.c. 133. Then we have the conquests of Mariusf\nfollowed by the social war of b.c. 90, wars in Greece and Asia, and the final success of Sulla\nin the civil war with Marius9 and the salvation of Rome in b. c. 83. Jerusalem was taken\nby Pompeius in b. c. 63, and what we call the Holy Land was from that time really subject\nto Rome. In b.c. 59, Caius Julius Caesar was Consul. In b.c. 60 he went into Gaul. In b.c. 49\nthe civil war between him and his son-in-law. Pompeius, began, and on the defeat of the\nlatter at Pharsalos Caesar was called Imperator and made Dictator for life. On March 15,\nb.c. 44, he was killed in the Senate—first, because he was entirely superior as a man to\ncontemporaries, and second because certain of the senators were envious of him, or to put\nit more kindly, thought him too ambitious, and feared his use of power would end in abuse\nof it. It is to the year b.c. 44 that the action of the play of Julius Caesar belongs.\nNow it was not until the Empire had been founded in the person of Caesar's great-\nnephew, Caius Julius Caesar Octavianus, who was dignified by the title of Augustus—\nthat is to say not before b.c.27 that anything of great architectural importance happened\nto Rome. The Colosseum or Flavian Amphitheatre, the triumphal arches, the heavy rotunda\nof the Pantheon, the Column of Victory, the Tomb of Hadrian, called the Castle of St Angelo,\nin fact, the buildings through which the modern mind usually receives its idea of Classic\nRome, belong to the Christian era, and are from one hundred to two hundred years later\neven than the age of Augustus. Again the fragments in the Forum of the Temples of Mi-\nnerva (Jupiter Stator), of Saturn (Jupiter Tonas), and Mars Uultor, are later than the time\nof Julius Caesar. \"Classic\" Rome, as we usually understand the phrase, really begins\nwith the comparatively peaceful reign of Augustus. To his time belongs that bold copyism\nof Greek work, which has given us the three Roman editions of the Doric, lonic, and Co-\nrinthian orders or styles. To the Augustan age belongs also that imitation of Greek art, in\nanother form of expression, made famous by such men as Virgil, Ovid, Horace, and J<ivy.\nIt is true that in Caesar's time we have as writers, besides the great Dictator himself,\nCicero and the poets Catullus and JLucretius; but the highest reach of Latin literature is\n\nThe historical\nperiod.\nThe Age of\nAugustus.\n\n(1) Reprinted by permission from \" The Architect- \" 1875."}, {"page_pdf": 36, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.36", "texte": "JULIUS CESAR.\n\nlater than Caesar, and the most distinctive, i.e. the least imitative, is, like the architecture,\nlater even than the time of Augustus, Nevertheless, we may be tolerably certain that the\ndays of Caesai9 Cicero9 and Catullus had an architectural expression of their own, although\nno doubt very inferior to the refinement of Creek art on the one hand or the viguor of\nthe later Roman on the other hand. The importation of Greek statues might certainly have\nadded to the art furnishing of the city, but the importation of Greek artists must not be\nallowed to count for much, first, because Greece itself was in its decline, and had no art\ncomparable with that to which we usually refer as characteristic of the artistic excellence\nof the Hellenes; and next because if they had existed they would have felt in Rome much\nthe same as the Jews felt long before, when they found the sorrow of their hearts enlarged\nand their eyes too full to sing to those who had led them away captive the melodies and\nsongs of their own home. \" By the waters of Babylon we sat down and wept9 when we\nremembered thee9 O Sion9\" has been the cry, and must ever be the cry of every human soul in\nthe heaviness of bondage or banishment. But in saying this I do not by any means wish to\nimply that the Rome of b,c, 44 had no architecture worthy our attention. There may have\nbeen a great deal of truth in the saying attributed to Augustus, \" I found the city of brick\nand left it of marble\". No doubt the city of b,c, 44 was built mainly of brick, tufa, and wood,\nand it is quite possible, not to say probable, that the tufo walls lately discovered in the sub-\nstructure of the Flavian amphitheatre are portions of the walls on which Julius Caesar's wood\namphitheatre stood. On the the other hand Cicero gave about 30.000f.f0r his house on the\nPalatine hill. For half a century before this marble had been used, and although L, CraSsus\nhad only a few marble columns, not more than six, and these not more than 17 feet high, in\nhis house (c. b. c, 95), yet M, Scaurus erected in his atrium black marble columns as much\nas 30 feet in height. One who wrote about a hundred years after Caesar's death tells us\nthat in the great Dictator's time some houses were even lined with slabs of marble. But\nit seems these were rather exceptional cases, and that structures even partially built of\nmarble were only for the favoured few or the richest of the patricians. The greater part\nof the city was unquestionably built in narrow and irregular streets lined with houses so\nhigh that in the time of Augustus a kind of building act was passed restricting the height\nof street fronts to 70 feet. These many-storeyed houses were let out in flats at rents\narranged on a sliding scale, as in London and other towns at this day. And we may be\ntolerably sure that these towering tenements were built of wood or brick and roofed with\nthatch or shingles, for the class of people who dwelt in them were mostly either slaves or\npoor citizens living a wretchedly idle and dirty life. & &\nNow turning to the play, we find there are eighteen scenes, the first eleven architectural,\nthe others the plains of Philippi.\nThe eleven are all laid in Rome, and can easily be reduced to the following six:—\n1. A public place (for the whole of Act i.).\n1, Brutus's orchard (Act ii Sc. 1).\n3. A room in Caesar's palace (Act ii. Sc. 2).\n4. Street before the house of Brutus (Act ii Sc. 3 and 4),\n5. The Capitol (Act iii. Sc. i).\n6. The Forum (Act iii. Sc 2 and 3, also Act iv. Sc. 1, for there is no reason why\nthis short scene should not have happened under some public colonnade).\nThis list may be still further reduced by making No. 1 serve also for Act No. 4, so that\npublic external scenes will be limited to two, viz., a public place before the house of\nBrutus, and the Forum,\n& A public place in Rome was laid out (like the streets) in a formal right-angled fashion\nafter the fire of a, d, 64, before this time the open spaces in front of the public buildings\nor the houses of distinguished senators might be either regular or irregular. But what ever\nwere the boundary lines of the space itself there would be an interruption to their conti-\nnuation wherever houses like that belonging to BRUTUS stood. For here an extra open\nspace would be added forming a front court to the house which the Romans called the\nvestibulum and the Greeks npoQvpv. This vestibule was surrounded on three sides by buil-\ndings, but on the fourth side it was open to the street or public place. In the centre of\nthe recessed side or pricipal facade was the front door, opening into what we now impro-\nperly call the hall, or vestibule, but which was then called the ostium, or janua; that is\n\nThe city, &\nThe Scenes,\n& Domestic\narchitecture. &"}, {"page_pdf": 37, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.37", "texte": "JULIUS CESAR.\n\nto say, the place of the doors or opening. The doors were nearly always in pairs, or folding\nand thus we find the word for the door itself generally used in the plural—fores. Some\nimportant doors were so wide as to be made in more than two folds, so that each side was\nfolded back twice or more in itself, just like the large Japanese doors are at the present\ntime. The wealth of material—of wood and bronze, ivory and silver, tortoiseshell and gold-\nexpended on these doors and door-cases, their great size as compared with modern propor-\ntions, and the reverence, not to say superstition, with which the threshold was regarded,\nshow us the paramount importance of these features in the exteriors at least of domestic\nclassic architecture. Passing through the ostium, paved with marble, we enter the real\nhall, or atrium. In small houses this would amount to nothing more than an inner court-\nyard, having a tank in the centre, with a shed roof against the four walls as a protection\nfrom both sun and rain; but in the mansions of the nobility this courtyard expands into a\nrichly decorated quadrangle, with the impluvium and fountain in the centre; whilst busts,\nstatues, bronze seats and tables, covered with skins or embroideries, ivories and curtains\nheavy with gold and crowded with needlework made the shady walks beneath the wide-\nspreading roofs a very pleasant lounging place after breakfast, as Brutus or Cicero chatted\nwith their friends, received clients, or snubbed deputations. Beyond the atrium facing the\nentrance or ostium, was a room called the tabtinum (what we should call an ante room)\none side was open to the atrium, and the opposite side to the peristyle, A Passage way\nor fauces by its side shows that the tablinum was not used as a common corrider. The\nside passage was, no doubt, for the servants, and the large opening for the guests. Beyond\nthe peristyle another broad opening called oecus9 with its attendant passage, led to the\ngarden or orchard, so that from the front door to the garden an uninterrupted view, va-\nried by beautiful gradations of light and shadow, could be had whenever the curtains of\nthe cecus and the tablinum were with-drawn. Round the two courts (the atrium and the\nperistyle) the various apartments of the house were arranged. & &\n& Such is the general plan of one of the most important houses in Pompeii, and its length\nfrom the street door to the garden entrance is about 200 feet. 1 see no reason to suppose\nthat the first-class houses of Rome were widely different from this. Granted plenty of land\nat his disposal, and there is hardly a limit to the number or size of courts or peristyles a\nwealthy Roman aristocrat might desire—and have. There was no lack of size nor of costly\nfurniture, no lack of slave-work in tesselated floor and encrusted wall, no want of most\nlovely statues from Greece, or textile fabrics from Asia, for every country that had been\ndominated by Rome, and that possessed artistic work worth having, contributed to make\nthe houses of Roman nobles all glorious within. But in spite of all this there was really\nno architecture—artistically speaking. And in this sense any one of the buildings of the\nAthenian Acropolis, Parthenon, Propylaea or Erectheium would have outweighed all Rome.\nThe first scene of the third act is described as laid in the Capitol. Now the Capitolium\nproperly so called, was the temple on the Mons Capitolinus—the triple shrine of JUPITER\nJUNO and MINERVA already referred to in my notes on the play of Coriolanus. (1) The old\nEtruscan building of Tarquinius Priscus that CORIOLANUS saw had been burnt down\nb, c, 83), rebuilt by SULLA and dedicated b, c, 69. Imposing it possibly was not; rich in all\nsorts of borrowed art it may have been, but we must not confound it with the work of\nDOMITIAN, that temple which was 200 feet square, to which 100 steps ascended, whose\ngates were of bronze, and whose ceilings and tiles were overlaid with gold at a cost of\n12,000 talents. The temple of the year b,c, 69 was no doubt less sumptuous than its successor;\nand if we may accept as any evidence the coins of VESPASIAN, it was not much superior,\nto the Etruscan example. Like the medieval Councils and Parliaments of England, the Senate\nmet at different places, in accordance with the summons of the Consul. It was in the\nTemple of Jupiter Stator, on the Palatine, that the Senate met on the important occasion\nwhen was enacted the great parliamentary scene between CICERO and CATALINE, which\nended in the utter discomfiture of the latter. It was in the Capitol—and 1 would venture\nto say in the pronaos, otherwise the prodomus of the temple, enclosed by marble screens\nand thick set with statues, that of POMPEY among others—that the mighty JULIUS fell.\nBut neither this nor the houses or palaces of BRUTUS and C/ESAR can be fairly described\nwithout drawings. The Porum of the play is unquestionably the principal one of the city,\n\nThe Capitol,\n\n(1) Reprinted in \" The Mask \" August 1908."}, {"page_pdf": 38, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.38", "texte": "JULIUS CESAR.\n\nor the Forum Romanum, the site of which was in the valley between the Capitoline and\nPalatine hills—an irregular space, one end wider than the other where was placed the\nplatform from which BRUTUS and ANTONY made their speeches to the people. The whole\nenclosure did not cover much more ground than an ordinary cathedral does, and so, this\nproving insufficient, CAESAR built another, called the Forum Julium, and after him AU-\nGUSTUS built a third, but of these we know next to nothing, for the remains which now\nexist are those of TRAJAN'S forum (a.d. 98-117). & & &\nIn speaking of the costume of the time of JULIUS CAESAR we must be careful, as with\nthe architecture, not to confound the distinctively Roman style of the full-blown empire,\nas shown on sculptured column and triumphal arch, with the transitional style of the later\ndays of the Commonwealth. People are far too much in the habit of looking on the styles\nof art in Greece and Rome as stagnant, the one represented by her Parthenon, the other\nby her Colosseum, which is about as reasonable as it would be to look at the church\nof HENRY 111. at Westminster, and forget there was ever a Waltham, a HAROLD, or an\nEAD WARD-\n& There can be little question that until the empire was established and the art of foreign\ncountries not merely looted but brought to bear on Rome with something like a definite\ninfluence, in costume as in architecture and other arts, Etruscan tradition still formed the\nbasis. Real authorities as to the costume of JULIUS C/ESAR are by no means plentiful. 1 tis\ntrue SUETONIUS TRANQUILLUS in his \" Vitas Duodecim Csesaeum \", gives usdetail ed descrip-\ntions of the dress as well as of the persons of JULIUS and OCTAVIUS, but SUETONIUS wrote\nquite a century and a half after the death of CESAR, and is not so carefully accurate in\nall other matters as to lead us to place any more reliance on his description of the dress\nof b. c. 44 than we should on a Daily Telegraph review of the habits and manners of\na.d. 1700. DION CASSIUS shows more discrimination and is more careful of detail; but then\nDION is later even than SUETONIUS, for he wrote more than two hundred years after the\nevents recorded In the play.lt is more than likely that the costumes of the later years of\ncommonwealth were not very widely different from those described in my last article. (1) It\nmay be that the toga and tunic were fuller than in the true Etruscan examples, and that\nthere was less of the Asiatic and more of the Greek in the general toilettes, not only in\nthe dress but in the mode of wearing the hair, personal ornaments, &c.; but as my next\narticl will be on the play of Antony and Cleopatra, I reserve further comment on the cos-\ntume of this period.\n(1) Coriolanus.\n\nAn antique theatre design showing the scenery and costumes as used in\nVenice in the filteenuh century,"}, {"page_pdf": 39, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.39", "texte": "Design for a Stage Scene\nby Gordon Craig."}, {"page_pdf": 41, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.41", "texte": "A NATIONAL THEATRE:\nITS ADVANTAGES AND DISADVANTAGES.\n\nAN INTERNATIONAL SYMPOSIUM.\n\nince Shakespeare died it is close upon three hundred years.\nHe was a member of a Company called The Queen' s Compa-\nny. This Company had a figure head, or patron, the Earl of\nLeicester. In 3594 the Earl' s place as patron and licenser was\nfilled by one Lord Chamberlain and in 1597 by another Lord\nChamberlain. The Company was then promoted; it became\nknown as King' s Players. This company acted in \" The\nTheatre \", the first English Theatre to be built. &\nToday all theatres in England are private enterprises. Many\nof Shakespeare' s plays have become popular In England\nthrough the instrumentality of the actors ; Betterton, Garrick,\nKemble, Kean, Macready, Phelps and Irving assisted by the\nactresses Sarah Siddons, Helen Faucit and Ellen Terry.\nThese actors have not always found the plays of Shakespeare profitable in a monetary\nsense but have always been eager to interpret the half dozen celebrated Shakespearean\ncreations knowing that posterity will applaud the actor whose name is most closely asso-\nciated with that of Shakespeare's heroes, &\nAnother cause of Shakespeare's popularity is the \" lavish scenic elaboration \" with\nwhich some managers have presented the plays. Of Shakespeare's thirty seven plays twenty\nsix are acted now and again ; eight to ten quite often, and a very few regularly. It is seldom\nthat London is without one or even two such revivals. But there is no theatre in England\nin which his plays are to be heard all the year round. & & jg? & &\n& A foreigner coming to England after his first glance at London naturally asks where he\ncan see a true English interpretation of the great English Dramatist. No one is able to\ninform him. The productions of Shakespeare are fitful, and their style is not any more\nEnglish than German, or American. In short, there is no Shakespersan style; and\nthe nearest approach to this, (though we are not happy to admit it) is the \" resurrection \"\nstyle attempted by Mr William „Poel, which purposes to place the productions on the stage\nin the same manner as they were presented in Shakespeare's lifetime.\nTo a foreigner this can only suggest a stage of stagnation. He looks for some decided\nyet nobly restrained development based upon the principles hinted at by Shakespeare, but\nhe does not expect to appreciate the undeveloped amateurism of the resurrectionists. He\nreturns to his country and tells them that in England Shakespeare is not seriously treated\non the stage, that the National Drama does not flourish, and the result is that Germany\nannexes our Drama.\n& In 1897 no fewer than nine hundred and thirty performances were given in Germany of\ntwenty four plays by Shakespeare. In 1898 performances of twenty eight plays reached a\ntotal of eight hundred and ninety five, an average of nearly three Shakespearean represen-\ntations a day in the German speaking district of Europe. \" &\nAnd the mere performance of these plays is not the only way in which this spirited\nland aims to make up the deficiency which England has created. Germany attempts to\nwin the first place in its manner of representing Shakespeare. To this end it treats the\nwhole question of \" production\" as seriously as though life and death depended on it.\nPatrons are all eager to assist, artists to advise and the theatres to carry out each and\nevery idea at all original. In this it over-reaches the main object which is to attempt to\nproduce these Dramas in the most Shakespearean manner, that is, in the most Imaginative\nor Poetical way. & & &"}, {"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.42", "texte": "In England some managers are more Romantic than Poetic, more Inventive than imagi-\nnative; they are clever rather than calm, they present Shakespeare in patches, some floridly\nbrilliant, others inadequate we see the bare boards through them. Or else they produce\nwith a dull touch, the touch of the Provinces; everything is thought out, nothing left to\nchance, not even any chance inspiration of a moment. Of the two manners the florid is the\nbest, and that is impossible for us to take our friends from Paris or Berlin to see.\n& Will a National Theatre if it is established remedy all this? That is what we want to find\nout and that is why we have asked the four following questions. We believe that the world\nand the stage has not yet understood the main reason which underlies the success or failure\nof the production of noble Drama; we fear that everyone who replies to these questions\nwill do so in the belief that it is the State or the Star Actors who hold the key to the\nTheatre's secret. & We shall see.\nTHE QUESTIONS.\nI. Do you believe a National Theatre, directed by a Com-\nmittee, is advantageous to the development of our Artists ?\n11. Has your experience shown you that the greatest talent\nis to be found in the National Theatres of Europe, or\nin the Theatres of private enterprise ?\n111. Do you think greater advantage would accrue to the\nState if it supported the independent efforts of individual\nartists of great talent, rather than a collective and less\ntalented body of artists under the control of a Committee ?\nV. If you had been asked the question thirty years ago\nwould you have voted in favour of the State supporting\nMadame Bernhardt, Madame Duse, Tommaso Salvini\nand Henry Irving, or would you have been in favour\nof the Nation supporting the National Theatre of France,\nand proposed National Theatres in England and Italy?\nTHE ANSWERS.\nWilletn Rooyards, •£? Amsterdam.\nI. I do not believe in any National Theatre, directed by a Committee, as being in any\nway advantageous to the development of our artists. & *£? &\nII. My experience has shown me that the greatest talent is not to be found in any Na-\ntional Theatre of Europe, but surely in the theatres of private enterprise. If there\nis a really great talent in any National Theatre it is nearly always hindered in its\ndevelopment by the Committee which directed that body. I except some Geniuses\nthat are not to be killed.\nIII. I certainly believe that greater advantage will accrue to the State if it support the\nindividual efforts of individual artists of great talent than by supporting a National\nTheatre that stands under the control of a Committee. &\nIV. I certainly should have voted in favour of the State supporting such talents as Ma-\ndame Bernhardt, Madame Duse, Signer Salvinl or Sir Henry Irving instead of the State\nsupporting the National Theatre of France, of England or of Italy; supposing England\nand Italy had had National Theatres at that time, if the same question had been asked\nme thirty years ago. I am sure that our art would have had a greater development\nin the last thirty years If the State had supported the individual efforts of each of\nthese well-known artists. &"}, {"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.43", "texte": "Jan %/aa s s en Emmerich.\nI. 1 should say that a National Theatre, no matter who directed It, would prove an ad-\nvantage to everything except itself. &\n11. For the moment that a nation indulges In a special theatre of its own, the humbug\nand snobbery of the place acts as an incentive to all the discontented actors; and dis-\ncontented actors are most desirable people They keep things alive whenever\nthere is any sign of decay. There would be no discontented actors Sf the frauds were\nnot in the high places.\n111. I never knew a state that was clever enough to pick out its artists of great talent\nfrom the horde of professionals jwho call themselves or get called \" artists. \" It is\non record that two of the most discerning States, Athens and the Florentine Republic,\nbanished two fairly good artists from the land; Euripides and Dante. The former wrote\nsome good plays and the latter some good \"poetry; judging from this it seems hardly\nlikely that any State today will act as it should towards its nobler children even if\nit continue to pamper its incompetent sucklings. &\nIV. Thirty years ago, had I been an Englishman, I should have voted for your Irving;\nand if like Chicot in Dumas' novel I could have managed to do a little elegant cheating\nI should have recorded my vote twenty times over. I should not have voted for Sal-\nvinl had I been an Italian for his talent as a stage manager was small. I should cer-\ntainly not have voted for the adorable Madame Bernhardt or the divine Madame Duse\nfor I am of the opinion that the director of a stage should not be subject to ner-\nvousness nor governed by sentiment.\n■ .m.n w•* m *■. * . i-w U'Wi'iUl wy H\"'U'iPWUIJ JVil'mWU»■ WW WWW. U WJP WM 'AiTH.9JU. 4 JtWtmJWLMMW-'MH WPBCTCTTOLBJIWiWAaWJ■■HUI-PMWfI-^\"WJMWtW-'WW AWM P^Li.M^..^B^graßW.^W-LIM.IJLLBIKJ!iiMIIIII W* ■ \"'- ~\nPercy Mackaye & Windsor, Vermont.\n1, Believing that the art of the theatre is capable of becoming the highest Influence for\ncivilization in modern society, I believe that every civilized community, whether natio-\nnal or municipal, should recognize the fact that the theatre, as an institution, exerts\na ceaseless and powerful influence for or against the public good. Instituted upon a\nbasis of private commercial speculation, the theatre tends, I think, naturally to exert\ninfluences against the public good. The incentives of Its artists, as such, are Inevitably\nopposed to the incentives of Its controlling directors, as such. For the former, by\nself-interest, desire to lead public taste toward higher standards; whereas the latter,\nby self-interest, desire to cater to public taste according to existing standards what\never they happen to be. Therefore, I believe that every civilized community should\ntake steps to change the basis of the theatre as an institution from Its prevailing\nbasis of private speculation for money profit to some basis which shall completely\nharmonize the incentives of its artists and its controlling directors. Such should be\nthe basis of a National Theatre. The first essential of such a theatre is, I think,\nabsolute financial independence. Absolute financial independence, however, may be\nwisely used,or it may be abused. The second great coessential, therefore, is harmo-\nnious organization : organization adapted permanently to promote the prime object of\nsuch financial independence, namely :the development of artists, creative and Inter-\npretative. &\nMy answer, then, to this question, is this ; It depends upon the constitutional\npower and personal qualifications of the committee. &\nA National Theatre, however, would defeat its own ralson d' etre if It should appoint\na committee opposed to the development of artists. £/ & & &\nli. My experience does not enable me to answer.\n111. The alternative suggested should be avoided by an enlightened state. The state should\nseek its own advantage by so organizing the institution of the theatre as to\nattract and support the co-operative efforts of the most talented artists.\nIV. Doubtless it is true that all co-operative Institutions of art tend to become sluggish\nthrough routine. This tendency however, is perennially checked by the schism of\nIndividual artists, who revolt from academic restraint, leaven the people with their\nspecial genius, and so, by reflex, reinvigorate the supply of the co-operative insti\ntutfon. But these individual careers take their essential significance from the fact of this\nrevolt... Lucifer rebelled from an established Heaven not from Chaos,... Unhappy the"}, {"page_pdf": 44, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.44", "texte": "state which possesses no artistic norm, from which individual genius may rebel. Ame-\nrica artistically to-day is such a state. In France, the Theatre Antoine would lack its vital\nsignificance but for the existence of the Theatre Thus the chief function\nof a National Theatre is the assertion, by achievement, of standards, which may be\nchallenged and corrected only by the counter-achievement of great artists. & &\nMy answer, then, to this question, is this: I would have voted to have the state\nsupport the artists named through the National Theatres named. The fact that no\nEnglish National Theatre existed to support Henry Irving is an artistic indictment of\nEngland, not of a National Theatre per se. &\nBernard Shaw & London.\nI. Yes. The reason that all artists become more or less idiots (in the strict sense of the\nword) is that they so seldom get that discipline In convincing and considering\nother people that a committee affords. Europe is strewn with the wrecks of the bril-\nliant talents that have been thrown away for want of this social training.\n11. In the National Theatres, of course. The National Theatres are but a small percentage\nof all the theatres, and a slightly larger percentage of the greatest talent Is enough\nto give them the superiority. But it must be borne in mind that under our commer-\ncial system no actor who can fill a theatre and manage a theatre for himself is likely\nto stay in a National Theatre. Coquelin and Sarah Bernhardt left the but not for\nartistic reasons. Irving would probably have left an English National Theatre. But the\nsuperiority remains with the National and quasi National Theatres, including the\nOpera houses. \" The greatest talent \" does not include the highest genius, which,\nas in Wagner's case, can hardly expect an official organ for its revolutionary workc\n111. The two things are not alternative: why should not the State do both ? In France\nnot only is the subsidized ; but M. Lugne Poe enjoys a State subsidy for\nhis enterprise called L' Oeuvre. That would be impossible If the State had not already\nbegun with what is virtually a National Theatre, and discovered the limitations of\nthat method. Not until we have a National Theatre in England will it be possible to\nget, as an extension of this principle, a subsidy for an individual dramatic artist.\nIV. I should have voted for the State doing both. If Irving had had State support and\npublic responsibility, he could have done work that a concurrent National Theatre\nwould not have done; and he would at the same time have been compelled by the\nexample of the National Theatre to treat the works of Shakespeare with some respect.\nAs it was; the only thing the State did for him was to prevent him from producing\nplays of which the heroes were Mahomet and Robert Emmett. A conditional subsidy\nmight have saved him. Even a committee might have saved him. It was his appalling\nisolation, his attempt to live on himself and by himself alone, that led to the downfall\nof his theatre. Anything is better for an artist than the solitary despotism of his\nown temperament.\nSir H. Beerbohm Tree & London.\nI. It is good to have a National Theatre so that the Classical repertory may be preserved,\nIt is also a recognition of the art of the theatre and therefore desirable. & &\n11. The most vital art springs, I think, from individual effort.\n111. Individual artists of outstanding powers rise superior to and independent of the\ntrammels and shackles of Committees. &&&&&&\nIV. Take away the struggle and you lessen the energy of the man.\nGordon Craig Florence.\nI. Do I believe a National Theatre, elected by a Committee, Is advantageous to the deve-\niopment of our Artist t & & &\nI do not. A Committee is often less capable of keeping its temper than an Individual.\nAnd the Theatre is as trying to the temper as it was in 400 B. C. in Greece, in 400 A. D. in\nRome, and in the Middle Ages in Italy. Apollo and Dionysus are still at war in the Theatre\nPuncinello still fights Roscius and the minstrel squabbles with both; whilst the new"}, {"page_pdf": 45, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.45", "texte": "actor, the socially immaculate one, threatens to filch with hypocritical hands the very\nsoul of the Theatre and put it in his pocket* It is well he should not be a social an&t*\nchist, but to have accidentally washed away his talent with his roguery and vagabondage\nwas not clever of him.\nTo me there seems to be but one way to save the Theatre from itself: it is to remove\nthe Art out of the Theatre; to transfer it to a place of safety for a certain period; to\na university or to a church, and there to await developments. & & &\nOur artists \" are never going to be developed, therefore a Committee cannot force\nthem to it* 44 Our artists \" are persons to whom it gives quite exceptional delight to\nsneer at the word 44 culture ** * 44 Our artists \" are those actors, actresses, stage managers,\nscene painters, etc., whose very existence is dependent upon the Theatre remaining\n*//f-developed\nThe actors have for centuries had it in their power to preserve noble instead of base\nart traditions in the Theatre; they have chosen to preserve the base and thereby\nthey have abdicated all right to act as the real guardians of the institution although\ny they still masquerade as such* It is not so long ago that they laboured side by side\nWith the other priests of three noble religions and strove to express by their gift# the\nprofound truths of which now they make a jest for the sake of a 44 name \" and cash.\nThe actors have not been judged rashly after a short trial, and they have but condemned\nthemselves. Their retreat from the Holy Land, their ejection or flight from the Church\nand their subsequent antagonism to the Church,.... who knows, perhaps, their defeat\nof the Church ?.... all this justifies a nation in withdrawing its trust from meis who\nhave failed for so many centuries to withstand the transient material advantages of*\nfered to them by the mob, and who have been blind to the spiritual and political in-\nfluence they once exerted* &\n11. 44 The greatest talent\"? Well, 1 suppose the Private Theatres have the best of it* But\nfor my part, though I have searched in Europe, I have found but little talent at\nfor the Standard is so low* In one particular theatre of private enterprise I ft&vo\nfound more talent than in all the other theatres of Europe put together. But it is a\nresult of long training under perfect masters. And the same thing would be the case\nif the stage director of this theatre were to obtain control of, let us say, the Royal\nOpera in Paris. But he would have to be given a free hand for fifteen years. These\nthings cannot be done in a hurry at the twelfth hour. England is sometimes inclined\nto forget this. She sometimes wastes the power and patience of her sons until it is\nvery late, and they very old and tired, and then when in a difficulty, begs them to\nsave the situation which she in her arrogance has created. It is too late then. In\norder to establish a serious theatre in London it will take ten years hard up-hill work\nand then success will only come if some great talent or genius can be found to under-\ntake the task unhampered by intrigue, and loyally assisted by ten or fifteen men of\nvery exceptional ability. When a serious and well-organised theatre can be formed,\nnobler plays will then receive the treatment on the boards which is due to them\nand dramatists will be encouraged. & & & & & &\nHI. The State, like everything else, has itself to support. It rests with itself to decide\nwhether a noble and non-commercial Theatre is more beneficial to its health than a\ndegraded and mony-making Theatre; and the difficult task it sets itself is to discern\nthe difference between a noble Theatre and a claptrap Theatre. The latter class of\nTheatre can be observed any day from the comfortable seat of a hansome cab if the\ndriver is directed to go down Shaftesbury Avenue, the Haymarket, turn down to St\nJames' Palace, back through Pall Mall into St Martin's Lane and turn down the Strand.\nThe non-commercial Theatre must be imagined. This is not so difficult... with prac-\ntise, and when once it has been imagined by the artist the State has the power to\nassist in the realisation of the Dream.\nIV. To me there is no longer any doubt that when the State decides to support anything\nit does so with the best intentions, often with much real success and always with tact.\nIt does not seem to me that the State is always responsible for its mistakes. It acts\nin such matters as it thinks will lead to the best results for all people. As a rule it\nweighs all things impartially, it judges without haste, and it acts upon its final judge-"}, {"page_pdf": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.46", "texte": "ment. And I am sure that if the matter of a State-aided Theatre could be weighed\nimpartially, and all things relating to it judged with justice, we should have as good\nState Theatres as State Ships and State Laws. But it has been well said that Art\ntakes long to learn and that life is very short, and we have learnt that the whole\nlifetime of the artist given up unselfishly to the study of a single art is not too Song\na time in which to learn some of its most profound truths. It is therefore difficult to\nsee how holders of the State offices can be expected to devote the same amount of\ntime to study this art so as to have the requisite knowledge of what kind of theatre\na State Theatre should be. If the State decides to interest itself in such matters it\nseems to me that its representatives should first carefully consider the conclusions\narrived at by the most single-minded professors of the Art of the Theatre. And it is in\nselecting advisers.... these most single-minded professors... from the Theatrical Profession\nthat their greatest difficulty lies. Should they choose aas adviser one who has worked all\nhis life for popularity they will be courting a danger which must be obvious to all who\nhave studied the Rise and Fall of the Theatre of the Roman Empire. If they decide to\naccept the advice of an actor or actress they run even greater risks. Neither can an\nenthusiastic student of the antique theatre be of assistance to them for he confuses\nyesterday with today. And a Theatrical Business Director would be unthinkable as an\nadviser. Those who could give the best advice are often the last to be consulted. They\nare the few independent thinkers in the European Theatre. They may be Russians,\nItalians, English or Hungarians; it matters but little what nationality they are; they\nare faithful sons of the Theatre who have not wasted the talent with which they were\nentrusted. In my opinion it is these men who if possible should be invited to tell the\nState the result of their experience, for they look towards the future of the Theatre\nwith grave eves, neither hopeless of its present unstable condition, nor indifferent as\nto its mighty past. There are such men in Moscow; there is one in Budapest; one in\nHolland, one In America, and possibly one or more in England. Most of these men are\nthe stage managers of the first Theatres of their country, and it is due to the fact of\ntheir having served for many years in the position of stage manager which in my opi-\nnion entitles them to speak with authority on this matter. If they were great dramatic\npoets they might be less provided with the necessary experience; if they were great\nactors they would be prejudiced ; but being stage directors as well as men of conside-\nrable culture, they look upon the stage and its poets, actors and other craftsmen as\na Father may do upon his Home with its Family. The Stage-manager, provided he is an\nartist and a serious thinker, is the only man of the Theatre who is unable to find a\npreference for any one member of this family. He regards all alike. He anticipates\nthe future; he is far sighted ; he knows that the Theatre cannot continue long mas-\nquerading as the poor relation of the other arts; he knows that sooner or later the\nTheatre must cease from depending for its support on the poet, the painter and the\nmusician; he has learnt from Nietzsche the trick which Wagner has played on the\nTheatre; he has seen through the trick which the painter has tried of late to play\nupon the Theatre, and he feels that dependence on the poet since the time of Elizabeth\nhas robbed him and his fellows of all initiative, and he is prepared for the tasks by\nwhich he can gain strength and in the far future win back once more what is his....\nthe Art of the Theatre. This is the thought that stirs the imagination of the stage\nmanager whose eyes are gravely fixed on the future of the Stage, and though there are\nonly a handful of such men they have their followers and there are amongst them the\nmost serious men of today. And it is important to bear in mind that this far-sighted\nvision of the ultimate liberty of the Theatre is necessary to even the most conser-\nvative of stage managers for as it is only by very slow and cautious steps that\nsuch reforms can be effected, yet is it of paramount importance that those\nsteps be taken in the right direction; and no one who looks at the Art and the\nInstitution at close range can perceive the right direction. Only the visionary can do this.\nTo over-estimate the importance of the Art which is today coffined in the Theatrical Crypt\nis neither my intention nor is it in my power to do so. This Art is as important as any\nother Fine Art; it is as important as Music, as Architecture, and it is the compliment\nof hese two. But the coloured Christmas card culture which in the teeth of common"}, {"page_pdf": 47, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.47", "texte": "sense and conventional good taste displays its impertinence night after night, year\nafter year upon our English Stage and claims the right to be held as artistic, for this\nto be judged as a work of art and to receive the distinctions due to a work of art,\nthis the state should attempt to estimate at its true value as quickly as possible. The\nState, if it decides to consider the desirability of aiding the Theatre, should not refuse\nto accept the evidence of that portion of the population which possesses that innate\nif conventional good taste that despises what is termed the \"THEATRICAL,\" otherwise\nthe State might live to realise and regret that it had subsidised not a great art but a\nglaring vulgarity. This is my answer then to your fourth question:... That it is de-\nsirable that the State support none but the most gifted stage managers if the State\ndecides to support the Theatre at all; and that the stage managers 1 allude to must be\nartists: and that in order to select these Englishmen they should if possible first\nconsult a collective International Committee of such artists in order to understand\nentirely what are the qualifications of an Ideal Stage Director.\nMartin Harvey London.\nI. I should pray that the Committee would have nothing whatever to do with the develop-\nment of the artists. This should be the care of the producer of the plays or the stage\nmanager. I myself received infinite advantage from being under the greatest producer\nand stage manager; viz: Henry Irving. & & & & &\n11. Alas! I have not sufficient knowledge of the National Theatres of Europe to answer\nyour question. & &\n111. 1 most emphatically do: but this is too much to hope for!\nIV. Thirty years ago I was too young to form an opinion on any subject whatever:\nbut had it been possible I should, as I say in answer to question 3, vote for the State\nassistance of the individual rather than the Theatre.\nE. F. Spence. London.\nI. Not if directed by a Committee of human beings.\n11. My experience is hardly great enough to justify me in speaking. To the best of my\nknowledge no direct answer can be made to the question. Players of talent are to be\nfound in the National Theatres and also outside. In some, perhaps most cases, the\nplayer of genius refuses to remain in the National Theatre and endure its system, and\nmakes sacrifices to gain freedom. As a rule genius hates systems... and creates them.\nGenius for acting is not necessarily associated with a real love for art: belief in its\npower has in some cases led the player to desert the National Theatre and its compa-\nratively moderate remuneration for more profitable if perilous private enterprise.\nProbably the most brilliant period of the player of genius is that which comes almost\nimmediately after departure from a National Theatre.\n111. I think the greater advantage would be in supporting the independent effort if the\nState were able to control the player supported, and force her or him to play drama\nfor the sake of drama and not merely for the sake of acting. The fact is not suffi-\nciently appreciated that many players of genius, or great talent, have an unconscious\nantagonism to drama except so far as it is a vehicle for their acting: the chariot of\nThespis is generally put before the horse on the stage.\nThe danger to be feared from the establishment of a National Theatre in England\nis that it might become like the Royal Academy ... A home of jobbery and medio-\ncrity and that although if extraordinarily fortunate it might start with an intelligent\nmanagement it would soon become Reactionary. In the course of time the maxim that\nhe who pays the piper calls the tune would be applied and the institution would be\nmanaged for the entertainment of tax payers and not for the development of drama.\nThe tax payer generally prefers the ephemeral to the immortal; the players to the\nplay, and star dramas by Shakespeare and others would be the staple fare. Yet a Na-\ntional Theatre may be the only effective weapon with which to fight the theatrical\nTrust which after it has throttled the theatre in the United States will assail England.\nIV. I offer no opinion concerning Italy and Duse and Salvini. I fail to see that the French"}, {"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.48", "texte": "State would have gained by supporting Bernhardt who was one of the instances of\nmy third answer and so far as we can guess from what she has done sets higher\nvalue upon her acting than upon French drama. Thirty years ago a \" National Theatre \"\nin England would have been a kind of Museum: there were not then any signs of the\ncoming of modern English drama. I do not know what the State would have gained for\ndrama by supporting Henry Irving: what lay in him he accomplished without its aid.\nAlexander Hevesi <£? Budapest.\nI. If starting from the point of view of the individual artist, few will be found to regard the\nsystem of the official theatre as a sympathetic or desirable one. National Theatres\nhave everywhere their inherent limits in tradition and convention and in this way\nthey are handicapped. But on the other hand, (and this must be distinctly understood)\ngreat artists such as Rachel always break down even traditions, and a National Theatre\nean always renew itself by the very talent of its great artists. & &\n11. The practise of the last thirty years differs materially from that of earlier times.\nFormerly In France or Germany the most prominent actors and actresses were intent\non obtaining an engagement in the National Theatre. The change noticed In our days\nmust be attributed to both artistic and material reasons. Theatres of private enters\nprise of our time are intent on securing the greatest artists, wand at prices beyond the\npower of National Theatres. Nevertheless Mr. Kainz, the greatest of German actors,\nis in Vienna at the Bourgtheater.\n111. I have no doubt whatever that independent efforts of individual actors of great talent\nare always successful, materially and artistically, without any support from the State\nor Nation. 1 find a Committee as in France unnecessary; a manager, a man of artistic\nsense and experience, will suffice and there Is no reason to talk about a \" less talented\"\nbody when the Comedie can boast of the advantage of retaining Mounet\nSully, Frandy and Mme Bartet after having lost Madame Bernhardt and Coquelin. In=\ndependent artistic efforts (I do not mean actors here) should be supported by the\nState.\nIV. As far as 1 know Mme. Duse and Slgnor Salvini never did consider support of that\nkind, because their individual efforts had been very successful. I believe a National\nTheatre according to the ideas of Heinrich Laube, the ancient manager of the Burgtheater\nin Vienna, is a thing to be desired in every land with all one's heart. Laube's proposal\nwas to create a classical repertory of international character,... a school for dramatic\nliterature and good taste, a house of culture and not of business. Perhaps lam very\npartial to the idea of the National Theatre, for in Hungary, for instance, our National\nTheatre was for the space of forty years the one only stage devoted to the purposes\nof art, and it holds at this moment, with some few exceptions, the greatest artists to\nbe found on the entire Hungarian stage. & & &\nAllen Carrie. Paris.\nI. The mere establishment of a Theatre subsidised by the state would, it seems to me,\nbe of little benefit to the Artists; but if in addition to a Theatre the Government were\nto lie aside a sum of money for the publication of serious works relating to Theatrical\nHistory, Literature and Art, so as to facilitate and assist the stage artist in his studies\nof those subjects, it would be of the highest value and advantage to the Art of the\nTheatre, since it would have the effect of sending more serious, thoughtful and better\nequipped men to the work.\n11. The greatest stage talent is in neither one nor the other, though possibly at times con«\nnected with both. \"All that glitters is not gold\" and stars may seem brilliant and yet\ndead. When private enterprise creates the theatres controlled by Mr Prohman it\nindulges in a collection of these extinct stars. Mr Frohman is, of course, only a pirate\non the high seas of an inartistic world, and the harm he does tells only against a\nfoolish group of timid London managers. Still if, the State intends to construct it should\nalso take care to destroy. It should destroy Mr Prohman, close half the Music Halls,\nand attempt the reform of some of our home-grown managers. & J£> &"}, {"page_pdf": 49, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.49", "texte": "Design for a back cloth for a Stage Scene Reprinted from \"The Page\" 1900.\nby Gordon Craig."}, {"page_pdf": 51, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.51", "texte": "li. Greater advantage would accrue to the stage if it assisted in the education of ALL its\nartists as indicated in answer No. i.\nIV. 1 never saw Irving or Salvini, but Madame Bernhardt and Madame Duse have done more\nto create a sentimental unrest in the mind of the modern girl than all the Mrs\nPankhursts that ever lived. The exhibition of weeping grief and monotonous grey\ngloom of the Tragediennes of today has proved very dangerous,... more so, 1 should\nsay, than that of the sentimental novelette. If the State wanted to be of service to\nitself it would ban all such so-called \" tragedies \" as \"La Dame aux Camelias,\"\n\" Magda,\" \" Tosca \" until the chief actress had given her assurance not to cry during\nthe play or otherwise appeal for sympathy on the basis of sentimentality.\nWalter Pritchard Eaton. New York.\nI. 1 believe that in America a National Theatre is not likely to prosper, because the\nUnited States has no capital in the sense that Paris, London or Berlin are capitals. I\ndo believe, however, that various sections of the country, as New York, New England,\nthe Middle West, (Chicago) and the Pacific Coast, (San Prancisco) could and should\nindividually maintain an endowed theatre, managed by a committee and removed\nfrom politics on the one hand, from present indiosyncrasies on the other. In the\nStates the Art of the Theatre is still looked upon with too little favour for out and\nout government endowment. Private endowment must come first, till the public is\neducated to see that the play house is something more than vaudeville. We have\nhopes of our New Theatre in New York City. &\n11. lam not competent to answer.\n111. 1 do not see why the body of artists in a National Theatre company need to be ne-\ncessarily \" less talented.\" 1 can speak only for America, but here our political ideals\nwould not permit us to endow private individuals. As I naturally sympathise with\nthese ideals I should not at any time & jsr\nVI. have voted state support to Duse or Bernhardt. It seems to me a State Theatre, by\ncreating a standard, creates a competition by which private artists must gain, ... and\nas the private artists gain and grow better, so the State's standard is constantly re-\nnewed and pushed along. Has it not been so in Paris?\nHerbert Trench. London.\nI. I do. It is of service to their development indirectly. Anything which is a recognition\nby the State of the importance of great art, must indirectly serve artists by increasing\npublic respect for the artist's life and for the artist's function. Perhaps the chief dif\nficulty of an artist's life is the cultivation of self respect in the face of public neglect.\nThe existence of a National Theatre will, however indirectly, contribute to the growth\nof the Artist's self respect. I would however, qualify my reply by assuming that the\npractical direction of such a Theatre would really rest with one Director having al-\nmost dictatorial powers, and the control of the Committee would be of the slenderest\nkind. Practical control by a Committee of such an enterprise would be impossible.\n11. My observation has shown me that the greatest individual talent is usually to be\nfound in the Theatres of private enterprise: but not the [best acting of Companies\ntaken as a whole.\n111. 1 think that the methods indicated in the question are not necessarily mutually ex-\nclusive. Great advantage would accrue if the State pensioned early in life separate\nand individual artists of special talent, besides endowing certain dramatic companies.\nIV. 1 should have voted for the establishment of National Theatres and for the reasons\nIndicated partly In (i) above: and partly for the reason which leads me to be strongly\nin favour of the existence of an Academy of Letters (such as the Academy in Prance).\nIt is as much for the State's own sake i. e. for the sake of the organised nation itself,\nquite as much as for any benefit to the individual artist, that I would have a\npublicly-founded recognition of the importance of Drama. &"}, {"page_pdf": 52, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.52", "texte": "SARAH BERNHARDT AND LUD WIG BARNEY\nON ENDOWED THEATRES.\nby Bram Stoker. 1906\nJuly 3rd 1880 Irving and Sarah Bernhardt were both at their best and spoke quite freely on\nall subjects concerning their art which came on the tapis Irving was eager to know\nthe opinion of one so familiar with the working of the French stage and yet so daring and\noriginal in her own life and artistic method.... When they touched on the subject of the\nsubsidy she grew excited and spoke of the value of freedom and independence. \" What\nuse \" she said \" subsidy, when a French actress cannot live on the salary, even at the\nComedie Francaise ?\" (5) j® 4® & j® & j® j® j® j®\nJuly Ist 1881. \" Amongst the guests were Irving and Barney. After supper someone,\nI think it was Irving... said something on the subject of State subsidy for theatres. There\nwere all sorts and varieties of opinion, for each said what was in his heart. When it came\nto Barney's turn he electrified us all. He did not say much, but it was all to the point\nand spoken In away which left no doubt as to his own sincerity. He finished up: \" Yes,\nthese are all g00d,... to some. The subsidy in France ; the system of the Hoff and the Staadt\nTheatres in Germany; and help and control in Austria which brings the chosen actors into\nthe State service. But.., \" and here his eyes flashed, his nostrils quivered, and his face was\nSit with enthusiasm,... \"Your English freedom is worth them all! \" Then springing to his\nfeet, he raised his glass and cried in a voice that rang like a trumpet, \" Freiheit I \" J®\nPersonal Reminiscences of Henry Irving\n\nOPEN AIR THEATRES. A Letter from Mr Gordon Craig.\n\nt gives us pleasure to print the following letter which we have received from\nMr Gordon Craig. S®J®J®&?J®J®J®J®\nDear Semar,\nj® It seems to me that the Theatre has nearly always longed to be \" natural \",\nthat the playwrights, actors and scene painters have nearly always struggled to\nfree themselves from being \" theatrical\". Even in the 18th century, when most things\ngloried in a sumptuous artificiality gorgeous in silver gilt, there appears a master who\nattempts to make all things \" natural\" again; and yet Moliere's plays seem to us today\nanything but natural and their ancient manner of representation strikes us as very artificial.\nj® Not for one but for many centuries men have crowned their chosen playwright for that\nhe was more \" natural \" than his fellows, yet the plays of Shakespeare no longer strike us\nas \" natural \" ; even Robertson with his \" Caste \" and \" Ours \", which were looked upon\nas very natural a few years ago and their manner of representation quite like life today\nseem antiquated, somewhat artificial. J® J® J®\n& There are some who go so far as to say|that the earlier plays of Sir Arthur Pinero and the\nlater plays by Mr Shaw have grown artificial. j® <£? & j® j® j®\nJ® Scene painting, too. A hundred years ago Clarkson Stanfield in England was painting\nscenery which amazed the critics by its \" natural \" appearance, and that, too, after they\nhad known the work of de Loutherbourg... and soon Stanfield was looked on as unnatural,\nfor Telbin the elder gave them what they asserted was very nature itself; and yet hardly\nhave they said so before they eat their words, turn their backs on Telbin and find true\nnature in Hawes Craven, only to put him away a little later for Harker who \" at last\npaints nature for us\". J® £? J® J® J® J® J®\n& Nor is it any better with the acting. The Kembles and their grand artificiality had to\nmake room for Edmund Kean, who in thirty years from then was looked on as anything\nbut natural, for was not Macready \" more natural \", and in a few years time all of these\nactors seemed to us stilted and artificial when Henry Irving appeared. And now we talk\nof Irving's artificiality by the side of Antoine's natural acting; \"it is nature itself \"\ncry the critics, and soon Antoine's natural acting is to become mere artifice by the side of\nthe acting of Stanislawsky. J® J® J® J® *® J® J® J®\nJ® What then are all these manifestations of this \" nature \" ? J® & J® J®\n\n1) The Salary received by Mme. Bernhardt averaged L. 1143.0.0 a year. We should have thought this was sufficient for any actress to \" live on\n\nP lay wrights.\nScene painter?.\nA c to 1 s."}, {"page_pdf": 53, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.53", "texte": "I find them one and all to be merely examples of a new artificiality.... the artificiality\nof naturalism.\nDramatists, actors, scenic artists are under a spell do you remember the story of\nthe Sleeping Beauty?.... and the spell must be broken before they can awake. To break\nit will be at once most hard and most easy most hard to those who were born to sleep,\nmost easy for one born to awaken; but most assuredly until this spell be broken, utterly\nand entirely destroyed, all the plays, acting and scenes on the stage of Europe must and\nwill remain theatrical, (i) j® j® j® j® j® j®\nj® I do not think the time has arrived when I can give you a hint of how to break this\nspell which lies over the European Theatre; besides my purpose in writing this letter is to\nput a question to you, not to answer one. Should you find the question itself is connected\nin anyway with what I have written as preface and should you have space in your journal\nto invite replies to what 1 ask 1 believe some good might come of it.\nj® But it might be born in mind that I have put my question to you without any thought\nof what is called its 44 practicality \", and that the answers must be made in the same spirit*\nThere is always a very natural desire in man, (born of a sound caution) to keep things\non a practical basis, and when we discuss Economic or Hygenic questions it is as well to be\nas practical as possible. u®y®j®y®j®j®j®y®y®\nj® But where the question takes us outside that radius and when we enter into discus=\nsion of those things which emanate from the spirit, such as the Arts or Philosophy, we\nmight do well to consider them in as Ideal a manner as they deserve ; we can later on re=*\nturn to earth and attempt their symbolisation. My question is this: &\no you feel that the open air Theatre is the right place in which to present the\npeople with that which we call the Art of the Theatre, or do you feel that a\nroofed in theatre is better? The first supplies us with natural conditions, the\nsecond with artificial conditions. & & & & Yours truly,\n\nOPEN AIR\nTHEATRES.\n\nThe Question\n\nGordon Craig.\n\n(I) Here we have to acknowledge that a certain charm, (the very essence and reflection of that Romance which comes to us in Books. ...)\n»es in the pretty or swaggering artifice of the \" theatrical We most of us love the fun of the sham, and admire the playfulness oil\ntinsel, powder and rouge, but all of us in the Theatre, from the first actor of the realm to the last call boy of the provinces, are longing\nwith all our hearts fo the whole spirit of nature to take possession of this, the home which we love.\n\nTHE WISE AND FOOLISH VIRGINS.\nA. C.\n\n& He Women are worthless on the stage. & & & & &\n& She. Women are invaluable.\n& He When yon say that you substitute a new value for the old one. Women are more\nvaluable than you think. It is because you undervalue them that you say they are\nble on the stage. Their value is in the natural, not in the artificial world ; in the greater,\nnot in the less ; in the substance, and not in the shadow. & jg/ &\n\nA Foolinh virgin advertising herself."}, {"page_pdf": 54, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.54", "texte": "BOOK REVIEWS\n\nTHE PLAYHOUSE AND THE PLAY by\nPercy Mackaye, Macmillan Co. Dol: 1.25.\n\nis a book which is welcome as a really\nserious contribution to that literature\nwhich deals with the problems relating to the\nwelfare, present and future, of the theatre.\nIts thoughtful and well reasoned arguments\nwould arrest attention whoever they were\nput forward by; they gain additional weight\nfrom the fact that the writer, Mr Percy\nMackaye,is one of those qualified to speak with\nauthority, since, as the son of Steele Mackaye,\none of the pioneers of the theatre of the fu-\nture in America, he is theatre born and bred\nand knows intimately the subject of which\nhe treats. He may thus be included in that\nvery small group of men, scattered over\nEurope and America, whose views about the\ntheatre are worthy of the grave considera-\ntion of all earnest lovers and students of\nthe art.\nIn the seriousness of Mr Mackaye's attitude\nwe recognise at once one who has studied\ndeeply, not superficially; who has searched\ninto the ancient origins of the playhouse and\nnot been content with the conclusion of the\ncareless,... that theatrical history before the\nreign of Elisabeth is a matter which has little\nrelation to the existing theatre and may be\ndismissed in half a dozen words. &\nHe sets before the student some interes-\nting questions: \"Theatrical production\", he\nwrites \"arose from church ritual; why did\n\" it diverge? Do the historic reasons for its\n\" divergence still hold good? What kinship,\n\" if any, has the dramatic instinct with the\n\" religious\" ? & <£?\n& These are questions which cannot here be\ndealt with, but one of his sentences is suffi-\ncient witness to his high ideal of the theatre,\nhis grave realisation of the potential dignity\nof the stage: \"The playhouse, then, is pro-\nperly the house of the joy ot lite... The\nfunction of a temple is its only legitimate\nfunction\" • It follows naturally that a man\nholding such an ideal of the function of the\nplayhouse cannot but view with profound\ndisquiet the existing theatrical conditions and\noccupy himself with schemes for reforma-\ntion.\n\" Reformation of the playhouse is not \",\nhe holds \" a matter of reforming individuals\nbut of reforming conditions ; \" and this is\ntrue in the sense that the evil is so great\nthat some radical and fundamental change\nis essential; but is it not necessary that the\nforce of individuals work outward to act upon\nconditions before those conditions, by being\nimproved, can react beneficially upon the\nmass of the people ? for says Carlyle,\n\"Every new opinion, at its starting, is precisely\njn a minority of one \". The reformer must,\nhowever, be a man who can take a wide view\nof the theatre at the present day in relation\nto both its past and its future, for it is not\nenough to \" detect pernicious conditions; \"\nindeed, to detect some, and the least, of these,\nis of but little value; it is like treating a man\nmerely for a cut finger when he is dying of\nsome mortal disease. & &\nThis matter of the degeneration of the\nTheatre is one so serious that it calls for the\ngravest consideration on the part of all those\nwho have at heart the welfare of the nation\n»\nand Mr Mackaye justly reminds us, that \"night\n\" after night, year after year, our theatres\n\" are educating our people by the millions\n\" and tens of millions. The question is, shall\n\" the theatre educate those millions right\n\"or wrong?\" & & &\n& What they are doing at present no one can\nquestion; that the future shall be unlike the\npresent is the aim of that ever increasing\nband of the younger artists, among whom\nmay be numbered Mr Mackaye himself, who\nare devoting their lives to the restoration of\nthis long degraded art. &\nTwo of the most glaring evils of the pre-\nsent day in the theatre are its commercia-\nlism and its vulgarity. Mr Mackaye would\nseek salvation from these in a system of en-\ndowment. \" The status of a playhouse in\nsociety\", he claims, \"is as vital as the status\n\"of the university in society. The dignity\n\" and efficiency of the one demand the same\n\" safeguarding against inward deterioration\n\" as the dignity and efficiency of the other. The\n\" functions of both are educative. The safe-\n\" guard of each is endowment\".\nThere is much to be said for Mr. Mackaye's\nsuggestion. Such a system would free the\ntheatre from any financial dependence upon\nthe public; it would lift it above all com-"}, {"page_pdf": 55, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.55", "texte": "mercial considerations; it would not then\nsurvive according to the 44wi1l of the people\",\nbut would dominate and hold the people by\nthe power of art.\nFor the public is really a child, which may\nbe educated to take pleasure in what is gaudy\nand vulgar or in what is beautiful and simple,\naccording to the influences brought to bear\nupon it; but these influences must be brought\nto bear steadily and must be long sustained.\nOf course the argument is always ad-\nvanced that the public demand must be sup-\nplied and that it is this demand which the\npresent managers are supplying. But does\nthe public ever really make any demand on\nthe theatre,... or on anything? We hear of a\n44 demand \" at one time for sheath dresses\nand at another for crinolines, but there is no\ninitiative or inborn desire in the public for\neither of these things. Fashion dictates what\nthey are to demand,... and they demand if.\nSo at present the leaders of the theatre\ndictate to the public what they are to want,...\nand they want it.\nMr Mackaye puts some pertinent questions\nrelating to the Dramatic Critic. &\n& 44 Since theatrical productions are reported\n44 and interpreted to the public by dramatic\n44 critics, what is the usual nature of edu-\n-44 cation in dramatic criticism? who appoints\n44 dramatic critics ? When appointed, what\n44 standard of excellence must they maintain\n44 in order to practise their profession?\nThese questions deserve serious conside-\nration, for the critic too often assists infde-\nlaying a reform of one kind or another\nthrough lack of courage in England and sheer\nignorance elsewhere. &\n& To return to the commercial conditions:\nat present there is everywhere in the theatre\nthe eagerness for quick returns from which\nresult hasty work, vulgar and gaudy display\nto catch the eye, appeals to the lower rather\nthan the higher instincts in the spectator.\nThis results from an insecure financial stan-\nding. Today's takings must pay tomorrow's\nbills, is the principle. There is no time to\nwoo the public to the love of Beauty. But if\nby a system of endowment all commercial\nquestions were set aside, or at least relegated\nto the secondary place they merit, a great\nstep towards the setting free of] the theatre\nwould have been made.\nThe Moscow Art Theatre is a remarkable\ninstance of what can be accomplished by a play\nhouse which has been content for fifteen\nyears to serve the Art conscienciously, to\nuphold its own ideals, to win the public to\nlike what is beautiful, before any idea of\nprofit was entertained. &\nIn treating of endowment Mr Mackaye is,\nhowever, careful to remind us that 44 the\nconditions of endowment\" differ from \" the\nconditions of subsidy\". \" This truth \" he goes\non, 44 would seem to be obvious, yet there is\n\" much popular misconception on the subject.\n44 Some theatrical enterprises supported by\n44 subscription have been frequently alluded\n44 to in the press as 44 endowed theatres \" .\n44 Likewise the principle of subscription is of-\n-44 ten vaguely referred to as being the same as\n44 that of endowment, or practically equiva-\n-44 lent to it. Between subscription and en-\n-44 dowment there is an impassible chasm of\n44 principle. The former is a makeshift, the\n44 latter a solution. Subsidy of art by subscript\n44 tion does not recognise the right of art to\n44 perpetual freedom from commercial compe-\n-44 tition; endowment does recognise that right.\n44 Subscription releases art from subjection\n44 on a temporary parole; endowment signs\n44 its emancipation proclamation. Being com-\n-44 pelled, for its own survival, to appeal to\n44 existing public standards of taste within a\n44 given few weeks or months, or seasons, a\n44 theatre supported only by subscription is\n44 thereby prevented from leading public\n44 taste; yet to enable it to lead public taste\n44 is presumably the very object of the sub-\n-44 scription; therefore the enterprise is affected\n44 from the start with an innate compromise\n44 which tends to undermine the ideal at\n44 stake. \" jSf & &\n44 It would sound strange 44 he continues,\n44 to one of our university presidents to re-\n-44 ceive the offer of a great sum for endow-\n-44 ment by a philanthropist, upon the stipu-\n-44 lation that the university should show good\n44 security for returning to the philanthropist\n44 a certain per cent on the amount of his\n44 endowment. Pounded upon such a financial\n44 basis a medical school, a museum, an in-\n-44 stitute of scientific research, would have a\n44 hard scramble for existence, its special\n44 cause could hardly be expected to thrive in\n44 the community, its staff and equipment\n44 could hardly be expected to fulfil effectually\n44 the objects for which it was founded.\"\nThe present evil is, not that there is not\nenough money in the theatre, but that the\ntheatre is used for the making of money.\nView the theatre in its highest aspect, and\nthe selling of tickets to be present at its rites\nwould become as grave an abuse as the"}, {"page_pdf": 56, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.56", "texte": "charge lately instituted for entering the\nItalian churches.\n& But to pass from the question of endow-\nment. & & &\nI am inclined to question a little Mr\nMackaye's statement that 44the drama is pecu-\nliarly an art for the people\", for I doubt if\nthe people, left to themselves, want an art\nat all. The many have lost the power to\nobey, and the taste for fine art has gone from\nthem; they must relearn obedience before it\ncan return. They must follow the priests of\nthe art and accept as good what they say is\ngood. This was the attitude towards the\npriests of art in Egypt before the birth of\nChrist. Then and for 3000 years before the\nart of Egypt was the flower of obedience,...\nthe obedience of the good slave for the good\nmaster. And what in tho daysse guided the\npriests? No less a thing than the belief that\ntheir gods had given them orders how and\nwhat to create, and, obeying their gods,\nthey were in their turn obeyed by the people.\nToday obedience is forgotten; socialism,\nanarchy, athiesm, have slain it; everywhere\nthere is sex revolt and class revolt.\n& Democracy or Monarchy, what does it\nmatter if there is only obedience? To con-\nnect Art with any special form of govern-\nment seems unnecessary. Through Art the\nspiritual leaders of the ages have spoken to\nthe people over the heads of government,...\nbut they have spoken best when in harmony\nwith a well governed state,... and superbly\nwhen that state could boast a king.\n\nD. N. L.\n\nTHE BIRTH OF TRAGEDY by Fried rich\nNietzsche, T. N. Foutis. Price 216,\n\nijphis is a book which speaks of Drama,\nWagnerian music and Music; of Grecian\nart, Opera and Revolution,... and of Friedrich\nNietzsche. & & & JSZ\nIt is written with all the energy of Ger-\nmany and the conceit of the writer for\nhimself is characteristic of a nation whose\nsecond class men are never so overbearing\nas when they light upon some half truth.\nThen they rage, then they announce their\n44 discovery \", then they collect proofs innu-\nmerable to support their theory which they\npresent to us in a book. &\nThroughout this book not a single good\nlaugh is to be heard though plenty of\ncrackling thorn laughter pierces the smoke\nwhich in place of fire issues from the pages.\nThis is more noticeable on account of the\nimportance which the writer attributes to\nlaughter. 44 You should learn to laugh, my\nyoung iriends \". And again, 44 This crown of\n44 the laughter, this rose garland crown; I\n44 myself have put on this crown. 1 myself have\n44 consecrated my laughter. No one else have\n44 I found today strong enough for this. \"\nAnd again; 44 Ye higher men, learn, I pray\ny0u,... to laugh ! \" This 44 learning \" to be\nJoyous when it is too late is very character\nristic of your second-rate philosopher. And\nall this is addressed to young people and\ntherefore it is the more incomprehensible,\nfor it is these young people who are for ever\nlaughing who die young because the Gods\nlove them so much. & &\nThis prayer to the young is made in the\nintroduction which the author calls 44 An\nattempt at self-criticism \", and was written\nin 1886, or about fourteen years after the\nessay itself, which was conceived and born\nf\nduring the Franco - Prussian war. (1870-\n71) so that perhaps this appeal to the young\npeople to 44 laugh, . . . learn, I pray you, to\nlaugh \" is but the cry of one whose cup of\nlaughter is dry and whose smiles are all\nspilt on the ground. &\n& Altogether it is a very incomprehensible\nintroduction for it is full of excuses, the\nresult of attempting self criticism. It would\nhave been better to have destroyed the book\naltogether than to have created confusion\nby telling us that he has 44 doubts concern-\ning the views it contains and the manner\nin which they are presented. (1) & &\n& In 1886 Nietzsche again writes about this\nearly work of his. It is, he says, 44 A book\nconsisting of mere experiences relating to\npleasurable and unpleasurable aesthetic states\nwith a metaphysico-artistic background. At\nthe same time the confession of a romanti-\ncist, (the sufferer feels the deepest long-\ning tor beauty, ... he begets it); finally\na product of youth, full of youthful courage\nand melancholy. \" What more is there to be\nsaid about a work which we dislike when\nthe author himself dislikes it? We sahll\nrefrain from further criticism of the book\nand will concern ourselves mainly with the\nauthor's self-depreciaton. & &\nHe tells us that he feels <(the deepest\nlonging for beauty\", he adds as an after-\nthought three words so that they may balance\nour after-thought; he adds that \"he begets\nit \". We wish that he did not beget beauty;\nwe have always wished that of Nietzsche for\n(1) Introduction by Elisabeth Forster Nietzsche. 1995."}, {"page_pdf": 57, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.57", "texte": "it seems to us that his voice is so often posses-\nsed of that courage which desires to lose\nall so as to achieve beauty. He seems so often\n011 the verge of becoming an artist and then\nhis grand German BRAIN pulls him up and in\na long speech to himself full of twists and\nturns he mesmerizes his soul back again\ninto limbo Rest; Rest perturbed Spirit. \"\n£? \" The deepest longing for Beauty \" a con-\nfession that Beauty has evaded him, that\nLove preferred not to be mixed up with\n44 aesthetic states \" or set off against44 a me-\ntaphysico-artistic back- ground\nAnd if Nietzsche has never begotten Be-\nauty it is because Beauty is not fond of\nthe men who have to think long to find\ntheir courage, nor fond of the men who have\nto think fourteen years to arrive at a truth\nwhich Inspiration whispers to the man she\nloves in one moment...44 Laugh. jz?\nThe Germans have always been deep thin-\n*\nkers. They have gone down the well, one\ndeeper than the other, doing so with cautious\ncourage and a determined will. Alas, to what\nend? Not to the end of that well where Truth\nlies reflected from above. Dear Germans,\nthere is something very boyish in their\nsearch .. baby boyish .. with serious mouths\nand unsparkling eyes they lower themselves\ninto the grave which has received so many\nraces ... and the last to lower himself has\nbeen the solemn-faced Nietzsche, eager, ra-\nther cross, his fire hidden in the smoke of\nhis lowering brows; down he goes into the\nwell murmuring, \"Learn to Dance, Nietzsche,\nLearn to laugh, Nietzsche . ~ then you will\nhave learnt the secret of secrets ...\" And\nnow he is out of sight. . . out of hearing .. .\nfrom the depths of that well not even a\nsigh ascends .. • silence •.. another man is\nlost for ever. & & jet jet\njet Lost... through learning... and through\nbelief that Love is learnable, that Laughter\nis learnable, that Dancing is learnable and\nthat Beauty is to be achieved and won by\nfair intellectual means. jet j& jet\njet Dear Love, with your two little faces;\nTruth and Beauty. A thousand blessings on\nyou for all time, or when you frown or when\nyou smile,when you remember or forget. Your\nsweet faults are ours and we can love them.\nSweet Truth, sweet Beauty, your two faces,\nhow dear they are,for you can frown and smile\nwith them at the same moment. You can\nsatisfy yourself . .. and that is all we want.\nYou are the Eternal, and you shall have one\nEternal Lover. We will never desert you.\n(Echo of Comedy back from the years) ....\nfor we will never ask you to be less than\nEternal. Today your Truth hurts us, tomor-\nrow your Beauty heals the smart, and when\nyou squander and pollute your Beauty with\nthe mob is not your Truth turned towards\nus and do not its invisible eyes search ours\nand silently pass into their home? jet\n& And the full sum of all this human talk of\nbruising and of healing is that we have found\nHappiness through you. We do not ask if you\nhave found it through us your sons and lovers.,\nBut we of all your sons, of all your lovers\nalone are able to tell you that it is not alone\nyour Truth that we love and not alone your\nBeauty... it is both ... the two expressions\nof that double face, the Alpha and the Ome-\nga of Love, with its impossible deceit and its\nimpossible j&\n\nA. C.\n\nBURIED HERCULANIUM by E. R. Barker.\nV. and C. Black. Price. 716 net.\nD. N. L.\n'phis is a volume which, interesting at any\ntime, made a peculiar appeal at the time of\nits publication just after the great earthquake\nin Southern Italy, and the Mes-\nsina, recalling as it did the destruction of\nanother famous city and the art treasures\nthen buried, some of which have now, by\nexcavation, been after many centuries resto-\nred to us. J& J& &t j£t\nj& The volume, which is profusely illustrated,\ncontains one chapter of especial interest to\nreaders of 44 The Mask\" upon the Theatre\nrediscovered in the year 1713. It is full of\nvaluable information about the structure and\ndecoration of the building, and throws con-\nsiderable light upon the performances of that\nlong past day. j& j& & jet\njet There is also a note upon those five state-\nly figures known as the 44 Dancers, \" which\nhave a peculiar interest for us today when\nso much is being done to revive the Greek\nspirit and to restore its ancient beauty to\nthe dancer's art. jet j£t jet j&\nj& All classical students will find the volume\nof value to them, both for its well arranged\nmatter and its numerous and excellent plates.\n\nSt ELIZABETH OF HUNGARY by\nArthur Dillon. Elkin Matthews. Price\n416 net.\n\nplay, as is stated in an introductory\nnote, is founded on the \"Saint's Tragedy\"\nof Charles Kingsley, and, although covering"}, {"page_pdf": 58, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.58", "texte": "the same ground and showing no very orig-\nnal conception of the familiar characters, will\nyet give pleasure to those who admire the\npicturesque personality of the young German\nsaint. The volume is pleasing in format and\nprinting, as is usually the case with all books\nbearingthe name of MrElkin Matthews.\n\nD.N.L.\n\nSHAKESPEARE by Walter\nRaleigh. Mac mi II an. Price 4f-net. <®\nexcellent book which can only receive\nJust criticism after some years have elap-\nsed, for it is one which must be studied very\nthoroughly. j® j® j® j®\n<® Here is an excellent passage from the only\nchapter relating to the theatre and the only\none which we can treat of In this review.\nJ® 44 The boys who acted Rosalind, Viola,\n44 and Julia, had the difficult task of preten-\n\" ding to be girls disguised as boys. In spite\n44 of all this, it may be doubted whether\n44 Shakespeare has not suffered more than he\n44 has gained by the genius of latter-day ac-\n-44 tresses, who bring into the plays a realism\n44 and robust emotion which sometimes ob-\n-44 scure the sheer poetic value of the author's\n44 conception. The boys were no doubt very\n44 highly trained, and amenable to instruction\n44 so that the parts of Rosalind and Desde-\n-44 mona may well have been rendered with a\n44 clarity and simplicity which served as a\n44 transparent medium for the author's wit\n44 and pathos. Poetry, like religion, is out-\n-44 raged when it is made a platform for the\n44 exhibition of their own talent and passion\n44 by those who are its ministers. With the\n44 disappearance of the boy players the poetic\n44 drama died in England, and it has had no\n44 second life.\" J® J® J® J®\nj® Nothing truer has been said about this\nimportant subject. Where, however, Professor\nRaleigh speaks of boys pretending to be\ngirls we think he has chosen a wrong verb\nfor there could never have been the illu-\nsion that it was a real woman but only that\nit was the spirit of a woman which was\nbrought upon the stage, and inasmuch as the\nspirit was present without the body the gain\nmust have been incalculable. J® J®\n<® The impersonal element must have been\nfelt very much in the theatre, and it is only\ntoo true that today it is the bodily presence\nof women which makes all the difference to\nthe beholder. She is 44charming,\" 44fascina-\nting, \" she 44 carries one awaythis is what\nwe hear, and when the critic speaks of her\nit is often to admit that criticism is impos-\nsible because he is so bewitched. This is\ncharming in a drawing room, beautiful in a\nhome, but abominable in a theatre. j®\nLater on in the same chapter Professor Raleigh\nreminds us that costume was 44something\nmore than idly decorative\" and it is very right\nto repeat this, for people do not seem to\nbe aware that clothes are capable of psycho-\nlogical expression. J® J® J® J®\nIn telling us later on that the scenery\nwas of the simplest, he again underlines the\nwell known fact that it was the words and\nthe gestures of the players which alone pro-\nduced the strange and wonderful impression\nas of something living. He says, after having\ndescribed the scene where Brutus is left\nalone in the tent with his sleeping servant,\n44 The whole scene is heavy with the sense\n44 of night and the darkness of conspiracy,\nt4 yet the effect is produced by nothing but\n44 the spoken words and the gestures of the\n44 players. \" and of course nothing else, no-\nthing more, is desirable;.... rather something\nless. Here we are but saying what a well-\nknown artist who has worked in the theatre\nfor many years said to us the other day when\nwe were discussing this passage in Professor\nRaleigh's book. 44 Of course he is right ;\n44 nothing else is desirable .... rather some\n«4 thing less. And what must it cost me\nt4 to say so? \" he added. 448y agreeing with\n44 this statement, or rather by acknowledging\n44 its truth, 1 figuratively throw into the\n*4 waste paper basket the work of fifteen or\n44 twenty years. AH my designs for what is\n*4 called \"scenery\", \"effects\", the pictorially\n44 dramatic movements of the chief actors and\n44 the crowd which I have laboured to pro-\n-44 duce for so long and which possibly have\n44 been good in their way, I put them all into\n44 the fire But willingly and those of\n44 my predecessors for the last three hundred\n44 years rather reluctantly. And what follows?\n44 It must follow as the day the night we can-\n-64 not then be false to any truth. \" J®\nIf all those who collaborate in the pro-\nduction of a play by Shakespeare would face\nthe truth as unfalteringly as this artist, the\nproduction of Shakespeare would be much\nsimplified and we should see very many more\nperformances of his works. As it is pro-\nductions are becoming more complicated. j®\nj® As we write this a fresh complication has\nbeen invented. J® J® J® J®\n/® Madame Georgette Leblanc has announced\nthat she will give a performance of 44Macbeth\"\nin the antique Abbey which belongs to her"}, {"page_pdf": 59, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.59", "texte": "celebrated husband, M. Maeterlinck, using the\nAbbey with its corridors, flights of steps,\ncourtyards and surrounding country as the\nsetting in which the play will be presented.\nHer audience, which is not to exceed fifty in\nnumber, will pass from place to place as the\nscenes change. As there are twenty eight\nscenes in \"Macbeth\" we anticipate an extreme\nly bored audience at the end, so tired as hardly\nto be compensated by the great banquet which\nwill then take place (i). We find two main\nfaults in Madame Maeterlinck's plan. The first\nthat she should have conceived the idea; the\nsecond that she should have carried it out.\nIt is to prevent such eccentric experi-\nments that books such as Professor Raleigh's\nare written. & & &\n\nA HISTORY OF THEATRICAL ART.\nVolume V. by Karl Mantzius. Duckworth.\nadmirable work which every manager\nand student should purchase. We shall\nreview it in the next number of The Mask.\nwing to lack of space the list of books\nand magazines received is held over until\nthe next number. &\n\nFOREIGN NOTES\n\nLONDON.\nG. H.\n'\"phe Follies are undoubtedly the most amu-\nsing of London's possessions, and one of\nthe most entertaining. To a student of the\nmodern theatre they are illuminating as well,\nand how Mr Lewis Waller can parade his\npinchbeck wares in the theatre which stands\nside by side with the Apollo is the question\nmost people are asking. For the Follies were\nbornto assist in the extermination of the false\nsentiment of the modern theatre so loved\nand trafficed in by the Wallers of the stage.\n& They ridicule the mock heroic school of\nplay and player as surely no others have ever\ndone since Aristophanes hurled his terrible\nlaughter at things less deserving of ridicule.\nThe Follies ridicule that which they have a\nright to ridicule; they know the modern\nstage and its humbug and they expose the\npoor fraud of two centuries in ten minutes.\nThus the p>lay, the actor, the chorus\ngirls and the wig makers, the lime lights\nand the orchestra all come in for scathing\ntreatment at the hands of these humourists.\n& The humour is as trenchant as that of the\nauthors of \" Wisdom while you wait \" or\n\" Change for a Halfpenny, \" and if the au-\ndiences who nightly flock to the Apollo will\nlearn to laugh with the Comedians and not\nat them, then the balance against bad melo-\ndrama and trashy musical comedy will turn\nin favour of better things.\nThe fun of the Follies is a relief after the\nfalse seriousness of Mr Bernard Shaw and\nthe King of Cadonia; and these comedians are\nentirely healthy; we may be sure that they\nwill find no fun to poke at serious things.\nThe last performance of theirs containing\nthe skit on a Music Hall entertainment was\nthe best of its kind 1 have ever seen. The tor-\nrent of witticism which they poured inces-\nsantly from their imitation \"gallery\" was\nquite admirable. One felt it could never keep\non and yet it never stopped for an instant.\n& As an important factor in the Renais-\nsance of the English Stage the Follies must\nnever be forgotten. What they are doing is\nadmirable amusement, but what they will\nachieve is more admirable. We take our mask\noff to them. jg? & jg? R. S.\nJf the Marionettes were not the biggest hit\nof the evening at the Colliseum on the same\nnight when Miss Cissie Loftus and about\neleven other stars were working their level\nbest, then I am a bad correspondant with\nneither eyes nor ears.\nThe popular voice hailed the marionettes\nwith twice the enthusiasm with which any\nother pari of the programme was received.\nThe spectators were all invited as guests,.... at eight guineas a head...\n\nFLORENCE\nj&? On August stli there was a crowded au-\ndience to witness the first representation here\nof Renato Simoni's satiric piece, \" Turlupi®\nneide \" which had already won so great a\nsuccess in Rome. & &\nThe Play, which passes in review repre-\nsentative phases and figures of modern Ita-\nlian life, politicians, artists, clerics and the\nrest, spares none of them, and the persona-\nlities are of the keenest. & &\nNone come in for greater ridicule than the\nartists, and among these preeminently D'An-\nnunzio, from the moment when he is revealed\nas a statue in modern dress, set high in the\nmidst of the stage with Dante at his feet;"}, {"page_pdf": 60, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.60", "texte": "until the last act when, after his courtship\nof the gaudy ** Reclame \" for whose smiles\nMascagni, too, is a keen competitor, he is\nshown clothed completely in a glittering\ngolden suit, offering the Manuscript of the\n•• Nave \" with a thousand affectations to the\ncity of Venice. No personality is too pointed,\nno allusion to private matters too indiscreet\nto be brought forward, and the keener the al-\nlusion the greater the delight of the audience.\nWell, perhaps that is what will be seen\nin England also one day if Mr George Bernard\nShaw and Mr Granville Barker and the rest\nof them get their wish and abolish the Censor.\nBut will Mr Shaw really welcome the li-\ncense which will reign after the consumation\nof his labours and his much speaking? Will\nhe be quite ready to be himself pilloried on\nthe London stage, to have all his private af-\nfairs and personal idiosyncracies held up to\nridicule? It is one thing to display those of\nothers, but.... the biter does not always like\nbeing bitten in his turn, and though Mr Shaw\nloves publicity 1 doubt if he would enjoy\nbeing shown without appeal, as an absurd\nfigure, as are D'Annunzio, Mascagni and the\nrest being shown today on the Italian stage.\nHe might realise then that he had been\nbegging \"his own harm\" of the \"wise powers\"\nwho support Mr Redford in office, and feel\nt*o late that he would have profitted \" by\nlosing of his prayers \". <£?\nIndeed, \" Turlupineide \", clever, witty,\namusing as it is, might well, by its unbridled\npersonalities, offer food for serious reflection\nto any opponents of the Censor and give them\npause in their mad career.\n\nGIOVANNI GRASSO.\n\nA, I consider Grasso the greatest actor in\nEurope, and admire his performances entirely.\nB. & Hullo! What is it you are saying? I\nhave read somewhere in one of your essays\nthat actors are not artists. Do you consider\nGrasso an artist ? jg?\nA. No, but that does not prevent me from\nunderstanding that Grasso is possessed by a\nforce which causes him to create a pheno-\nmenal impression. Besides, acting is not an\nart and Grasso helps to prove this. *£/\nb. How can you admire Grasso when he\nexhibits what you profess to despise on the\nstage,... emotion? jz?\nA. Don't you know, bright questioner, the\ndifference between a Grasso and an ordinarily\nemotional actor or actress? I admire Grasso\nbecause he is entirely emotional, because\nagainst all laws of art he triumphs so com-\npletely. If he merely carried me away for a few\nmoments I should be able to recover and\nshould confess his weakness,... but Qrasso\ncarries me away altogether and he refuses\nto let me come to my senses.\nDumas pere carries me away just so; he may\nnot be a great stylist, he may break all the\nlaws sacred to men of letters, sacred to\nthe Muse herself, but he is justified, for\nhe not only makes new laws, he enforces\nthem; and this is exactly what other emo-\ntional authors cannot do. This is also true\nof the actors of the modern stage. How many\nso-called emotional actors are on the stage\nof Europe ? Thousands ! 1 can accept none of\ntheir tepid emotionalism, but I can accept\nthe volcanic emotion of Giovanni Grasso. If\n1 accepted the other thousands of imposters\nI should be insulting nature herself, and if\n1 delude myself that such a phenomenon can\nbe an every-day occurrence 1 insult intel-\nligence and the universe. j&>\nB. JS? Then you cannot accept Bernhardt,\nMounet Sully, Zacconi, Duse and the rest\nbecause of their tepid emotionalism, as you\ncall it ?\nA, They are n dtiier hot nor cold; neither\ngreat thinkers nor great emotionalists; that's\nwhy I detest them. Grasso's emotion is like\nthe lava of Vesuvius. 1 do not question its\nright to move me. If Bernhardt could fling\nsuch force at me I should not question her\ndemonstration; as it is i do: and Madame\nDuse t00,... she cries a little; keeps very\nstill; she gazes with agony around her; she\nmakes me think, and I begin to think that\nshe is attempting to be an artist and failing\nto be an actress. Then I think further and I\nfind that she cannot be an artist to make me\nthink so little. zz?\nj®- With Grasso ! neither think nor feel; he\nleaves me no time. 1 am out of myself. 1 look,\nand instantly with laughter and excitement I\ngo bowling along with his force. Show me\nanother. His late companion, the Sicilian\ngirl, Mimi Aguglia, when she acted with\nhim, derived some of his power but she has\ngone away for some unaccountable reason\nand will.lose her power.. When 1 heard she had\ngone away to some \"Star \"-monger 1 was\ncurious to see how Grasso would act without\nher. He acts better and he is more than loyally\nassisted by his admirable and beautiful part-\nner, Marinella Bragaglia and by his brother.\nB. It is strange to hear you in this vein;\nyou are positively tolerant. &\nA. Am I? 1 meant to be intolerant,.."}, {"page_pdf": 61, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.61", "texte": "exaggeratedly in favour of the whole group\nof Sicilians. Is it possible that you have\nagain misunderstood me ? J® J® J®\nB. j® Well, you don't always make yourself\nclear. Acting no Art, Grasso a great actor;\nGrasso giving you intense pleasure,... its all\na little confusing, j® j® j® j®\nA. j® Never mind; next time you'll get better.\nGo off and tussle with all the other paradoxes\nwhich lie between the initiatory and the\nultimate. Then this little Paradox of the\nTheatre though it become no clearer will\nbe come more interesting.\n\nC.\n\nPARIS\n\nSIGNOR FORTUNY'S INVENTION\n\n' jpo the majority of people the theatre is in\na perfect state of health. To the minority\nthe theatre is very HI indeed, and there are\none or two people who consider it dead alto-\ngether. Those who are contented with the\nstate of affairs... indeed, their content at\ntimes becomes almost too energetic in its\nprotestation,.... are the men and women\nconnected with the theatre who believe that\nthere is more money to be made out of\nbeing optimistic than being pessimistic. j®\nI think the second group of people mean\nwell In what they propose but in many cases\nthey too would mould the theatre nearer to\ntheir heart's desire for the poor reason that it\nwould pay better, j® j® j® j®\nThis group of course is prepared for slow\nreturns, but it Is none the less the returns\nthat they have their eye on. j® &\nj® The one or two people who consider the\ntheatre is dead and yet desire to recreate\nthe new theatre, these are the only men who\ncan be said to take shares in a concern in\nwhich there can be no material return, j®\nj® It is in the second group that Slgnor\nFortuny comes, and we feel quite sure that\nhe will in time reap a large harvest. Of course\nthat is on the suppositiom that no man arises\nwho shall expose the dead corpse of the\ntheatre and so prove to the world that it is\nutterly worthless to go on spending money on\nthe dear departed. j& j® j® j®\nj? The remedy which Signor Fortuny brings\nL<> what he considers an Invalid is a complt-\ncation of the scenlca! devices. Me has been\nlately giving much time to an invention which\nshall abolish what are known as the sky-bor-\nders. You can get the best idea of his In-\nvention if you will imagine a very large\nperambulator hood large enough to cover the\nback and the upper part of the stage. The\nframework is not a fixture but Is able to be\nclosed up just as a perambulator hood Is able\nto be closed down, and once It Is closed up\nit Is Hat against the proscenium arch and is\ntherefore out of the way. Other scenes can\nthen be placed in position. The framework\nof this hood Is provided with two cloths, the\none external, the other internal, and between\nthem is a space in which by means of an\nelectric ventilator the internal canvas can be\nmade to appear entirely smooth. & j®\nj® A couple of designs of this appliance are\ngiven in \" Natura ed Arte \", (August ist)\na fortnightly review published In Milan, j®\nJ® Further details of the way In which Signor\nFortuny throws his light upon this vast sky\ncloth are also given, and undoubtedly if we\ndesire a better reproduction of the heavens\nthan we have had hitherto we shall do well to\nadopt the Fortuny method for there Is a\ngreat deal of common sense about the idea.\nUnfortunately artists have never dealt In\ncommon sense, for art is the expression of\nthat sense which is uncommon, and no artist\nin his senses would dream of lumbering the\nstage with such an alarming machine as this\nwhich Slgnor Fortuny has Invented. j®\nThis way of solving the difficulty has oc-\ncurred no doubt to several men of inventive\ntalent. Professor Herkomer used a curved\nsky cloth although it was unable to be closed\nup and opened as this one is. J® j®\nThe nearest approach to Signor Fortuny's\nwhich I know Is to be found in a couple of\nrough sketches by Mr Gordon Craig which I\ncame across by chance. These have the date\n1904 on them and are possibly later than Signor\nFortuny's invention, but they have some ori-\ngina! points of their own. j® j® j®\nj® To begin with Mr Craig's surface is not a\nsmooth one although it Is so designed that\nanyone who has studied the matter would\nsee that from a distance It would appear to\nbe quite smooth. Instead of folding up it\nfolds back and goes down tinder the stage. On\nthe designs are one or two curious notes\nwritten in pencil. By these notes It appears\nthat the designs were sketched out In Weiiita/\nwhere it seems that there was an Idea of\nmaking a model, and a small portion of ibis\nmodel was even commenced under tb * so *\nperintendance of Professor Van de We f tie. 4®\nOne of the notes on the sketch is as\nfollows, 44 possibly a splendid Invention If I\ncould wait twenty years for it to bring me\nL 20,000. 1 sketched this out one afternoon\nbecause some serious idiot asked me in a\nsolemn voice as though he were putting a"}, {"page_pdf": 62, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.62", "texte": "question to me relating to my immortal soul\nhow 1 should get out of the difficulty of sky\nborders Would be quite easy to waste\none's life answering such questions in this\nmanner \".\nA model of Slgnor Fortuny's invention is to\nbe seen in Paris. It is quite a large model\nand has been constructed for the Countess de\nBeam. It ought certainly to be Installed in\none or two of the best London theatres be-\ncause after it has been installed a new\ninvention will come along, and after that ano-\nther new one, and then the managers pos-\nsibly, at their wits ends to know what fresh\nthing they can instal, will turn to the artists\nand ask them. Of course what the artists tell\nthem will be a very expensive matter; not\nmerely a matter of a few hundred thousand\npounds; for the artists will tell thein to instal\nthe Art and no estimate has as yet been given\nas to how much that might cost.\n\nJ.\n\nEDITORIAL NOTES\n\n|r Martin Harvey has lately produced\n\" Hamlet \" in Liverpool in the method\ninitiated by Mr Gordon Craig.\n& But in doing this Mr Harvey has made\nquite a new departure full of originality. He\nhas graciously acknowledged the source of\nhis inspiration. Others adopt this method....\nor the fringe of the method but none of\nthem make any acknowledgement as to\nwhence they have derived their ideas. &\nIn Dusseldorf, in Berlin, in Vienna, in St\nPetersberg, in Munich and even in London\nthere are to be found gentlemen who, if you\nask them about these methods of stage pro-\nduction will either profess ignorance of them\nor jwill suggest that they are rather impossible\nideas, unpractical, you know.\nIt is these same gentlemen who are soon\nafterwards found producing Shakespeare's\nplays in the very method they have decried.\nThat Mr. Harvey should act as he has done\nappears natural to those who know the man\nIt is a good example which we hope will be\na lesson in the future to Professors Orlik and\nRoller, Madame Louise Dumont, Madame\nKomisarzhevsky, Herr Reinhardt and others\nwho have deliberately copied, thinking no\none would notice the original. &\nAfter all there is no harm in copying that\nwhich cannot protect itself; the only danger\nin this kind of infringement of an idea lies\nin the capacity of the inventor to retaliate.\nThe artist once upon a time was generally\nsupposed to be a good amiable kind of fellow,\ncontent to permit any rogue to steal him out\nof house and home. Today the artist is\nsometimes a really good fighter. £? &\nJll 1693 a Bill was passed through Parliament\ngiving liberty to the press, and according\nto the articles of that Bill dramatic pieces\ncould no longer be censured. Political plays,...\nFielding's among others,... became so popular\nthat rowdy scenes were continually occur-\nring at the Little Theatre in the Haymarket\nand elsewhere.\nAny attack on the Government called down\ncheers and hisses. & &\nThings reached a crisis before iong. A\nsatirical play, \"The Golden Rump\", was full\nof open attacks on the government, so open\nindeed that the manager, fearing for his\ntheatre, thought it best to enquire whether\nthe ministry would object if the play were\nperformed.^\nSir Robert Walpole forbade its production\nand immediately requested a limitation 01\ntheatrical liberty and succeeded in passing\nthe Licensing Act (June 21 1737 ) \"\nGolden Rump \" was neither printed nor per=\nformed. & j&r XZ? &\nIt may be well to remember this when\nlistening to the clamour which calls for the\nremoval of the Censor.\nWe congratulate Mr H. B. Irving upon his\nentry into permanent management of a\nLondon Theatre. & & & &\nHis influence is nearly sure to be always\nthrown on the right side. He is not likely\nto astound the world with any innovation\nwhich it might not understand, but he will\ncertainly not pander to the taste of those\nwho find in the theatre nothing but an eve-\nning's amusement. May success attend him.\n\nALL RIGHTS RESERVED & J&\nmi |i iim Iiimnwfiii ■\"tfTi'ri i wwri>-iTi frit il n aim.\nj& Gerente Responsabile, GIUL10 VANZ1"}, {"page_pdf": 63, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.63", "texte": "V\nHEAL & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\n5S\na\n<k>\n•ft\nfc\n%\n%\n%\n%\n/\n1\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": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190910-01.1.64", "texte": "WQRP ABOUT \"THE MASK\"\n/frp^e Mask is published Quarterly, on July ist, October ist,\n' January ist and April ist. j& j& &\nSubscription rates for each country are given below. If\nyou wish to receive The Mask regularly on these dates all\n> r*?* V that you have to do is to send your name and address to\nr rW/ us today with the sum indicated, and we will do the rest,\nsupplying the quarterly parts already issued and each new\nifIL /TlfllfcV- number as published. j& j& & j&\n§§=;; The sendinS °* money is facilitated by enclosing paper\n' money in a registered letter, and should be made payable\nto The Publisher. j&\nYEARLY England, 15 Shillings America, 4 Dollars Russia, S Roubles POST\nSUBSCRIPTION Germany, 15 Marks Italy, 15 Lire, France, 20 Francs. FREE\nj& The Mask Offices, Arena Goldoni, Florence, Italy\n& Mr PERCY MACKAYE'S OPINION OF \"THE MASK\" &\n44 Your journal has for me the rare attraction of abundant intellectual activity with\n44 aesthetic charm. Its freedom, its courage, its fecundity of ideas, its emphasis of vital po«\n<4 tentialities in the theatre, its ample horizon, which aims to review the centuries as well\n44 as the seasons of theatrical art, its earnest search for rational criteria, its championship\n44 of the poetic and creative in its own field,.... these unusual qualities differentiate The Mask\n44 from that large class of art journals which are mere catalogues and tend to give it a\n44 perennial rather than a momentary appeal. \" &\nPrinted for the Proprietor by E. Morandi, Tipografia Bodoniana, Via Pinti, Florence and published at The Office of 44 The Mask \"\nArena Goldoni.\n\nCHRISTMAS PRESENTS\nFOR THE CHILDREN:\nPICTURES FROM\nGORDON CRAIG'S BOOK\nOF PENNY TOYS.\nrphis book was published in 1898 at the Sign of\nthe Rose, tfackbridge, Surrey. It contained 20\noriginal drawings of 20 Penny Toys, 20 Tail Pieces\nand 20 Verses, and proved so popular that copies are now rarely to be found.\nA FEW COPIES OF THE LARGE DESIGNS\nremain, especially printed on a grey toned paper and will delight the children upon whose\nnursery walls they shall be hung, for so they will have as familiar friends the cock and the\ndog and the little duck, the peacock with its well-clipped tail, the Admiral and the Oil\nCake Crusher and all the rest.\nis coming and gifts for the children must be chosen. No parent, god-parent,\nuncle, aunt or elderly gentleman with a sweetheart under six could find a\npresent which will give more lasting pleasure than a set of\nPENNY TOY PRINTS.\nbut orders should be sent early so as to avoid disappointment as but few sets remain.\nThe series of twenty designs, each wood cut measuring seven and a quarter by eight\nand a quarter inches, printed on large sheets of thick Art paper, price L 4. 4. o. &\n& The Mask Publishers, Arena Gold on i, Florence, Italy.\nss"}]}