{"numero_id": "bm-bmtnaau-1910-04-01", "volume": "bmtnaau_1910-04_01", "ocr_sha256": "dd66b9e652ef6435e557d6a60c28628fe6e836987fd7c7e936a7ac40fabc93e5", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1910/04_01/bmtnaau_1910-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1910/04_01/bmtnaau_1910-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01", "articles": [{"article_id": "bm-bmtnaau-1910-04-01-c002", "article_bluemountain": "bmtnaau_1910-04_01#c002", "volume": "bmtnaau_1910-04_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=bmtnaau191004-01.2.2", "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=bmtnaau191004-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 966, "texte": "LITERARY CONTENTS.\nTHE ANCIENT ENGLISH MORRIS DANCE by FRANCIS DOUCE. 1807. £> ATTENTION,\nCHILDREN I A WORD ON SYMBOLISM. £> THE ENEMIES OF TRADITION, by JAN VAN\nHOLT. & TWO STAGE CHARACTERS by GILBERT k BECKET. uS> THE MANNERS OF THE\nSTAGE. LA BRUYERE. FLAMMARION AND CROCE by ALLEN CARRIC. HAMLET, A\nSUCCESS OR A FAILURE? by A. F. 0A WORD AGAINST FOOTLIGHTS. PSYCHOLOGY\nAND THE DRAMA by JOHN SEMAR. 0 A WORD ON MASKS by NIETZSCHE. THE\nARCHITECTURE AND COSTUME OF OTHELLO AND THE TWO GENTLEMEN OF VERONA\nby E. W. GODWIN. uS> EMOTION IN THE THEATRE. LA BRUYERE. CHANTECLER AND\nTHE RETURN OF THE MASK by J. S. MALLARMIS AND THE NEW DRAMA by ALLEN\nCARRIC A NOTE ON THE ART OF THE THEATRE by G. WOLFE PLANK VENETIAN\nCOSTUMES TRANSLATEDFROMTHE BOOK OF CESARE VECELLIO by D. NEVILE LEES\nA FURTHER NOTE ON CHOPINES THE GERMANS by JOHN BALANCE 0 A NOTE ON\nGREAT MEN by RUDOLF SCHMERZ & ART AND THE JOY OF LIFE by GORDON CRAIG\nBOOK REVIEWS 0 FOREIGN NOTES £> EDITORIAL NOTES"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c003", "article_bluemountain": "bmtnaau_1910-04_01#c003", "volume": "bmtnaau_1910-04_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=bmtnaau191004-01.2.3", "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=bmtnaau191004-01.1.2", "debut_caractere": 968, "fin_caractere_exclue": 1470, "texte": "ILL USTRATIONS.\nFRONTISPICE. SIX FIGURES OF MORRIS DANCERS FROM THE ENGRAVING by ISRAEL\nVON MECHELN. 1460-1470. FIVE OTHER DESIGNS OF MORRIS DANCFRS AND ONE PIECE\nOF MORRIS MUSIC. J0 TWO ILLUSTRATIONS OF STAGE LOVERS by GEORGE\nCRUICKSHANK. - A MASK DESIGNED by E. THESLEFF AND ENGRAVED by GORDON\nCRAIG. FOUR DESIGNS OF VENETIAN COSTUME FROMTHE BOOK OF CESARE\nVECELLIO &AN ILLUSTRATION OF A CHOPINE. j£f HEAD AND TAIL PIECES\nAND INITIALS FROM DESIGNS BY CHARLES BORROW, JULIUS OLIVER AND GORDON\nCRAIG"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c004", "article_bluemountain": "bmtnaau_1910-04_01#c004", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[147]", "page_fin": "[147]", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.4", "titre_corps": "Six Figures from the engraving by Israel von Mecheln", "titre_sommaire": "Six Figures from the engraving by Israel von Mecheln", "signature_source": "Israel von Mecheln", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "[147]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 78, "texte": "Six Figures from the engraving by Israel von Mecheln. 1460-1470, See page 153."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c005", "article_bluemountain": "bmtnaau_1910-04_01#c005", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "156", "image_debut": 5, "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=bmtnaau191004-01.2.5", "titre_corps": "THE ANCIENT ENGLISH MORRIS DANCE", "titre_sommaire": "THE ANCIENT ENGLISH MORRIS DANCE", "signature_source": "Francis Douce", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 3429, "texte": "THE ANCIENT ENGLISH MORRIS\nDANCE\nby Francis Douce. 1807.\n\nJt is the observation of an elegant writer that disquisitions concerning the manners and\nconduct of our species in early times, or indeed at any time, are always curious at least\nand amusing. An investigation of the subject before us, if completely and successfully\nperformed, would serve to fill up a chasm in the history of our popular antiquities; but\nthis must not be expected. The culpable indifference of historical writers to private man-\nners, and more especially to the recreations and amusements of the common people, has\noccasioned the difficulties that always attend enquiries of this nature, many of which are\ninvolved in impenetrable darkness; whilst others can only receive illustration from detached\nand scattered facts accompanied by judicious inferences and opinions. &\n& It will be necessary in the first place, to attempt some definition of what the morris\ndance originally was: this may be best accomplished by the aid of etymology, which will generally\nbe found a faithful guide, when managed with discretion. It seems, however, on the present\noccasion, to have been too slightly treated in a work of considerable labour and ingenuity,\nthe author of which has expressed an opinion that the Morris dance originated from that\npart of the ancient ceremony of the feast of fools, in which certain persons habited like\nbuffoons, with bells etc, joined in a dance. He then proceeds as follows, \" The word Morris\napplied to the dance is usually derived from Morisco, which in the Spanish language signifies\na Moor, as if the dance had been taken from the Moors; but I cannot help considering\nthis as a mistake, for it appears to me that the Morisce or Moor dance is exceedingly dif-\nferent from the morris-dance formerly practised in this country; it being performed with\nthe castanets or rattles, at the ends of the fingers, and not with bells attached to various\nparts of the dress, (i) I shall not pretend to investigate the derivation of the word Morris,\nthough probably it might be found at home; it seems, however, to have been applied to\nthe dance in modern times, and, I trust, long after the festival to which it originally belonged\nwas done away and had nearly sunk into oblivion.\" (2) & &\nNow if the term in question had been exclusively used in England, there would have\nbeen some weight in these observations; but when we find it adopted by most of the\nEuropean nations to express a dance, the origin of which both English and foreign glos-\nsaries uniformly ascribe to the Moors, we must pause at least before we consent to abandon\nthe only clue that presents itself to assist us. & <&\nThe genuine Moorish or Morisco dance was, no doubt, very different from the English\nmorris; but there is scarcely an instance in which a fashion or amusement that has been\nborrowed from a distant region has not in its progress through other countries undergone\nsuch alterations as have much obscured its origin. This remark may be exemplified in chess\nand cards, which, beyond all doubt, were invented in India or China, and spread, by means\n\nA definition. &\nThe genuine\nMo risco • &\n\nNO T E S.\n(1) This will hereafter appear to be a mistake.\n(2) Strutt's Sports and pastimes of the people of England, p. 171.\n(1) Three Figures from a stained glass window at Betley, Staffordshire; early 16th century. The Background is added from a design\nof the same date."}, {"page_pdf": 6, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.6", "debut_caractere": 21, "fin_caractere_exclue": 4220, "texte": "Its Origin.\n\nof the Arabians, progressively throughout Spain, Italy, Prance, England, and the North of\nEurope. But the above writer has cited a passage from the play of Variety, 1949, in which\nthe Spanish Morrisco is mentioned; and this not only shows the legitimacy of the term\nmorris, but that the real and uncorrupted Moorish dance was to be found in Spain, where\nit still continues to delight both natives and strangers under the name of the fandango.\nIt may be likewise remarked, that the exquisitely pretty music to this lively dance is\nundoubtedly Moorish. (1) The Spanish morris was also danced at puppet-shows by a person\nhabited like a Moor, with castagnets; and Junius (Du Jon) has informed us that the morris\ndancers usually blackened their faces with soot, that they might the better pass for Moors. (2)\n& Some have sought the origin of the morris in the Pyrrhica saltatio of the ancients, a\nmilitary dance which seems to have been invented by the Greeks, and was afterwards adopted\nby the Salii or priests of Mars. This continued to be practised for many ages, till it became\ncorrupted by figures and gesticulations foreign to its original purpose. Such a dance was\nwell known in France and Italy by the name of the dance of fools or Matachins, who were\nhabited in short jackets with gilt=paper helmets, long streamers tied to their shoulders,\nand bells to their legs. They carried in their hands a sword and buckler, with which they\nmade a clashing noise, and performed various quick and sprightly evolutions. (3) &\n& A species of this sword dance by some means or other got introduced into England,\nwhere it has generally and unaccountably been exhibited by women, whose dexterous feats\nof tumbling and dancing with swords at fairs, and in the minor theatres, are still remem-\nbered by many persons.\nA very learned writer, speaking of the Pyrrhica saltatio, informs us, that \" The common\npeople in many parts of England still practise what they call a Morisco dance, In a wild\nmanner, and as it were in armour, at proper intervals striking upon each other's staves,\netc. \" (5) This might be found on enquiry to differ from the common morris, and to be a\nmixture of the old Pyrrhic and Moorish dances. Such a one may be alluded to in \"The second\npart of King Henry the Sixth,\" Act iii. Sc. I\n\" I have seen him\nCaper upright like a wild Morisco,\nShaking the bloody darts, as he his bells. \"\nBefore we proceed to an examination of the more immediate object of this essay, the\nEnglish morris, it may be as well to lay before the reader a short description of the\nuncorrupted morris dance, as practised in France about the middle of the sixteenth\n\nNOTES.\n(J) Hist, of musick, vol. IV. 388, by Sir John Hawkins, who was clearly of opinion that the\nmorris dance was derived from the Moors.\n(2) Etymologlcum Anglicanum. In further corroboration of this deduction of the morris\ndance, the following words may be adduced; Moresque a kind of grotesque painting,\nsometimes called Arabesque, and used in embroidery and damasking. Moriscle, and Mouricle,\na gold coin used in Spain by the Moors, and called in the barbarous Latin of the fourteenth\ncentury morikinus. See Carpentier, Suppl. and glossar. JDucangian. v. Morikinus.\nMorris wax, called likewise mores wax, In the Garbelling of spices, 1594, 4to. To\nthese the morris-pike may perhaps be added. It is probable that the English terms\nmorris and morice have been corrupted from mores, the older and more genuine\northography.\n(3) Tabourot Orchesographie, 1589, 4*o, p. 97» where the several postures of this dance\nare described and represented. The Pyrrhic dance appears to have travelled from Greece\ninto the North. See Olaus Magnus, De gentibus septentrionaiibus, lib XV. c. 23, 24,\n25, 26, 27.\n(4) It Is remarkable that the same practise should be found in the island of Ceylon. Knox\ntells us that \" A woman takes two naked swords, under each arm one, and another she\nholds in her mouth, then fetcheth a run and turns clean over, and never touches\nthe ground till she lights on her feet again holding all her swords fast.\" Hist, of\nCeylon, p. 99.\n(5) Wise's •• Enquiries concerning the first inhabitants, language, etc. of Europe.\" p. 51."}, {"page_pdf": 7, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 2573, "texte": "century. It has been preserved by Tabourot, the oldest and by far the most curious writer\nof any other on the art of dancing. (1) & jg? &\nHe relates that in his youthful days it was the custom in good societies for a boy to\ncome into the hall when supper was finished, with his face blackened, his forehead bound\nwith white or yellow taffeta, and bells tied to his legs. He then proceeded to dance the Morisco\nthe whole length of the hall, backwards and forwards, to the great amusement of the\ncompany. (2) He hints that the bell might have been borrowed from the crotali of the\nancients in the Pyrrhic dance. He then describes the more modern morris dance, which\nwas performed by striking the ground with the forepart of the feet; but, as this was found\nto be too fatiguing, the motion was afterwards confined to the heel, the toes being kept\nfirm, by which means the dancer contrived to rattle his bells with more effect. He adds that\nthis mode of dancing fell into disuse, as it was found to bring on gouty complaints. This\nis the air to which the last-mentioned morris was performed.\nIt has been supposed that the morris dance\nwas first brought into England in the time of\nEdward the Third, when John of Gaunt returned\nfrom Spain; (3) but it is much more probable\nthat we had it from our Gallic neighbours, or\neven from the Flemings. Few if any vestiges\nof it can be traced beyond the reign of Henry the Seventh; about which time, and particu-\nlarly in that of Henry the Eighth, the churchwardens' accounts in several parishes\nafford materials that throw much light on the subject, and show that the morris dance\nmade a very considerable figure in the parochial festivals. & & &\nj£/ A late valuable writer has remarked that in some places the May-games of Robin Hood\nwere nothing more than a morris dance, in which Robin Hood, Little John, Maid Marian,\nand Frier Tuck were the principal personages, the others being a clown or fool, the hobby-\nhorse, the taborer, and the dancers, who were more or less numerous; (4) but this seems\nto be a mistake. The May games of Robin Hood appear to have been principally instituted\nfor the encouragement of archery, and were generally accompanied by morris dancers, who,\nnevertheless, formed but a subordinate part of the ceremony. It is by no means clear that\nat any time Robin Hood and his companions were constituent characters in the morris.\nThere were, besides, May-games of a more simple nature, being merely dances round a\nMay-pole, by the lads and lasses of the village, and the undoubted remains of the Roman\nFloralia. (5)"}, {"page_pdf": 7, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.7", "debut_caractere": 2596, "fin_caractere_exclue": 4240, "texte": "Its introduction\ninto England.\nThe May games.\n\nN*o T E S .\n(1) Jean Tabourot, canon and official of the cathedral of Lengres, published his 44 Qrcheso-\ngraphie et traicte an forme de dialogue par lequel toutes personnes peuvent facilement\napprendre et pratiquer 1' honneste exercise des dances'\" 1589, 4to, under the anagram-\nmatized name of 44 Thoinot Arbeau.\" He died in 1595, at the age of 66. His work is\nequally curious and uncommon.\n(2) But the French morris can be traced to a much earlier period. Among other instances\nof the prodigality of Messire Gilles de Raiz, in 1440, morris dancers are specified.\nLobineau, Hist, de Bretagne, ii. 1069. In the accounts of Olivier de Roux, treasurer to\nArthur 111. duke of Bretagne in 1457* is this article. 44 h certais cempaignons qui avoient\nfait plusiers esbatemens de morisques et eutres jeux devant le due h Tours vi. escus.\"\nId. 1205. At a splendid feast given by Gaston de Foix at Venddme in 1458, 44 foure yong\nladdes and a damosell attired like savages daunced (by good direction) an excellent\nMorisco, before the assembly. \" Favines 44 Theater of honour \" p. 345, and see\nCarpentier, 44 Suppl. ad glossar. Ducangian. v. MorikinusCoquillart, a French poet\nwho wrote about 1470, says that the Swiss danced the Morisco to the beat of the drum,\n44 Oeuvres, p. 127.\n(3) Peck's 44 Memoirs of Milton\", 135. What this writer has added on the subject of the morris\ndance is not very interesting; but he is certainly mistaken In his explanation of five, seven,\nor nine men ' s morris.\n(4) Rltson 's 44 Robin Hood I. cfi.\n(5) See particularly Stubbes 44 Anatomie of abuses p. 109, edit. 1595, 4to."}, {"page_pdf": 8, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.8", "debut_caractere": 21, "fin_caractere_exclue": 4346, "texte": "We find also that other festivals and ceremonies had their morris, as Holy Thursday;\nthe Whitsun-ales; the bride-ales, or weddings, (1) and a sort of play or pageant called the\nlord of misrule. Sheriffs too had their morris dance. (2) The reader may be amused with\nthe following account of the lord of misrule, as it contains a description of an attendant\nmorris. It has been fortunately handed down to us by a puritanical writer of the reign of\nElizabeth, whose loud ravings against the fashionable excesses of his countrymen have\ncontributed to furnish posterity with the completest information respecting a considerable\nportion of the manners and custom of the above period that is any where to be found. These\nare his words:\n£? First, all the wilde heads of the parish, flocking together, chuse them a graund captaine\n\"(of mischiefe) whome they innoble with the title of my Z,ord of misrule, and him they\n44 crowne with great solemnitie, and adopt him for their king. This king annoynted, chooseth\n\"foorth twentie, fourtie, three-score or a hundred lustie guttes like to himselfe to waite\n44 upon his lordly majesty, and to guarde his noble person. Then every one of these his\n44 men, he investeth with his liveries of greene, yellow, or some other light wanton col-\n\" lour. And as though that were not (bawdy) gawdy ynough, I should say, they bedecke\n\"themselves with scarffes, ribbons and laces hanged all over with golde ringes, precious\n\" stones; and other jewels, this done, they tie about either legge twentie or fourtie belles\n44 with rich handkerchiefe in their handes, and sometimes laide a crosse over their shoulders\n44 and neckes, borrowed for the most part of their pretie Mopsies and loving Bessies, for\n44 bussing them in the darke. Thus all things set in order, then have they their hobby-\n•4 horses, their dragons and other antiques, togither with their baudie pipers, and thundering\n44 drummers, to strike up the Devils Daunce withall: then martch this heathen company\n44 towards the church and church-yarde, their pypers pyping, their drummers thundering,\n44 their stumpes dancing, their bells jyngling, their handkercheefes\n44 fluttering about their heades like madde men, their hobble horses,\n44 and other monsters skirmishing amongst the throng: and in this\n44sorte they goe to the church (though the minister be at prayer\n44 or preaching) dauncing and swinging their handkerchiefes over\n44 their heades in the church like Devils incarnate, with such a\n44 confused noise, that no man can heare his owne voice. Then the\n44 foolish people they looke, they stare, they laugh, they fleere, and\n44 mount upon formes and pewes, to see these goodly pageants so®\n44 lemnized in this sort. Then after this about the church they goe\n44 againe, and againe, and so foorth into the church yard, where they\n44 have commonly their sommer haules, their bowers, arbours, and\n44 banquetting houses set up, wherein they feast, banquet, and\n44 daunce all that day, and (peradventure) all that night too. And\n44 thus these terrestrial furies spend the Sabboth day. Another sort\n44 of fantastical! fooles bring to these helhoundes (the Lord of misrule\n44 and his complices) some bread, some good ale, some new cheese, some olde cheese, some\n44 custardes, some cracknels, some cakes, some flaumes, some tartes, some creame, some\n44 meate, some one thing, some another; but if they knewe that as often as they bringe anye\n44 to the maintenance of these execrable pastimes, they offer sacrifice to the Devil and Sa-\n-44 thanas, they would repent and withdrawe their handes, which God graunt they may. (3) &\nAnother declaimer of the like kind, speaking of May games and morris dances, thus holds\nforth; 44 The abuses which are committed in your may-games are infinite. The first whereof\n44 is this, that you doe use to attyre in womans apparrell whom you doe most commonly\n44 call may-marrions, whereby you infringe that straight commaundement whiche is given\n\nThe 140 rd of\nMisrule.\nA protest.\n\nNOTES.\n(1) In Laneham's \"Letter from Kenilworth or Killingworth castle\", a bride-ale is described,\nin which mention is made of \"a lively Moris dauns, according too the aunciant manner:\nsix dauncerz, Mawdmarion, and the fool.\"\n(2) See Stowe' s 44 Survey of London \", 1618, 4to, p. 161.\n(3) Stubbes 's 44 Anatomle of abuses p. 107*"}, {"page_pdf": 9, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3907, "texte": "\"in Deut. XXII 5, that men must not put on womens apparrell for fear of enormities. Nay\n*• I myself have seene in a may game a troupe, the greater part whereof hath been men, and\n&&&&&&&&\nA. Is that so ? Yet brooding and meditation is by no means guaranteed even to bring\noff an accident; rather does it preclude any chance of action of any kind. <£? &\nYou seem to think that Hamlet' s meditations are the meditations of Guildenstern. But if\nyou read carefully you will see that Hamlet\" s meditations are upon justice. Hamlet' s\nresolves are like those of all the rest of the world. He resolves to do evil to achieve good.\nAnd it is only during those meditations at which we are not present that he resolves not\nto do evil, and it is these resolutions which restrain him from hasty action and which\nassist fate, not accident, to guide Fortinbras to Denmark at the psychological moment.\n\nAGAINST FOOT LIGHTS.\nLeonardo da Vinci.\nThe Art of the Theatre. Gordon Craig. 1905.\nall let the figures that you paint have sufficient light and from above, that is,\nall living persons whom you paint, for the people whom you see in the streets are all\nlighted from above; and I would have you know that you have no acquaintance so intimate\nbut that if the light fell on him from below you would find it difficult to recognise him.\n\"And there's a row of lamps, my eye !\n\"How they do blaze .... / wonder why\nfC they keep them on the ground \".\n\"Rejected Addresses.\"\n\" That was in 18121 and we are still wondering\"."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c024", "article_bluemountain": "bmtnaau_1910-04_01#c024", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "162", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.10.1", "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": 19, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.19", "debut_caractere": 39, "fin_caractere_exclue": 4080, "texte": "reation is too complicated for anybody to understand It, (and this is\nstill being proved) but its voice is at least so clear and so simple that\nnobody can fail to understand what it is saying. You have only got to\nlook around to understand the voice of Nature; but ferret about, dig,\nenquire, search, put two and two together, compare, and go on inces«\nsantly with the study of creation and you will only get further away\nfrom any solution. & &\n& It therefore seems strange that instead of using their senses people should use their\nbrains so much. I am speaking of a brain that is at war with the senses, a brain that\ntries to master the finer senses.\nFor instance, 1 am no clearer after reading a chapter of Croce' s \" Aesthetic \" than 1\nwas after having worked for a year or two towards creating a work of art, but I am very\nmuch clearer after reading a chapter of Flammarion on Astronomy than I was after contem®\nplating those beautiful worlds for a life time. There must be something very wrong with\nCroce and very right with Flammarion. Why should the stars be easier to apprehend than\n\"Aesthetic?\" Flammarion, that man whose very name spunds like the whirl of a comet,\nmakes everything clear to us; he gives us the stars, sun, moon, and all, whereas Croce\ngives us nothing, not even \" Aesthetic.\" Flammarion respects the problem and bows to\nit as beyond solution: Croce attempts to solve the riddle by much argument. He does not\nmake a straightforward appeal to our senses, or a subtle appeal to our mind, neither does\nhe insinuate himself into us by any magic way of his own: he does not charm us, he does\nnot whisper, he does not shout; he simply goes on, on, on we leave him to go\non His book is a mass of words, words, words. It is another instance of not being\nable to see the wood for the trees. In this instance the trees are so closely packed together\nthat it is impossible to go through & &\n& How strange it is that men who wish to write on such subjects as Croce has chosen,\non the Aesthetic, on Logic and on the Philosophy of the Practical, do not first see the\nwisdom of being born poets, for only poets can explain these extraordinary things to us.\nReading a page of Whitman or Shakespeare you will be aware of more Logic, Aesthetic and\nPhilosoply of the Practical than in the whole of Croce' s work. & & &\nCroce' s translator tells us that he (Croce) \"is ready to meet any one on equal terms\n\"and try with them to get at the truth on any subject, be it historical, literary or\n\" philosophical.\" Again how extraordinary that he overlooked the importance of being\nborn a poet! &\nPoets and Dreamers solve problems and show us how simple is the solution of every\nproblem. Columbus solved a problem but Croce solves no problem. Had he been sitting\nopposite Columbus at the table when the celebrated egg was produced he would have begun\nto talk about the inside of the egg, and how later on the chicken, if allowed to emerge,\nwould have stood on its own legs, which is extremely clever but right away from the\npoint. The point was how, then and there, to make that egg stand up; and any ordinary\nlittle painter of twenty years experience is able to tell us more vital truths about \"Aesthetic\"\nbecause of his technical knowledge of one craft than Croce with all his theory which he\nhas gathered together about Art.\nCroce is an example of modern degeneration. I think it is hardly possible that a book\nsuch as his could have been written when Leonardo da Vinci was alive. In those days\npeople talked about things after they had done them; and, when you come to think of it,\nof what use is the opinion of any one but that man whose practise has revealed to him\nwhat is true and what is false?\n& The innumerable books that have been written about the theatre, of what value are\nthey unless written by a man who has practised that which he defines? These theorists\nare all utterly unpractical and it is amazing how people will listen to them, for these\n\nTwo attitudes.\nColumbus and\nCroce.\nMod ern\ndegeneration, jet\nThe theoiists. &"}, {"page_pdf": 20, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.20", "debut_caractere": 23, "fin_caractere_exclue": 1022, "texte": "same people refuse to have anything to do with the theory of carpentering unless expounded\nby a carpenter; they have a rooted objection to their chairs giving way under them; they\nare horrified at the idea of any theory which might affect them unpleasantly in their\ndaily life. Fancy theorising about bread and butter, for example!.... how to make good bread,\nhow to keep butter fresh; and the question of art is no different from this; you make a\nwork of art precisely as you snake a loaf of bread,... you make it well or you make it badly;\nyou can experiment with new material iff you think you can create a new species of loaf,\nbut until you have made a new loaf or are perfectly sure of making it you had better\nkeep your theory to yourself.\nFlammarion in his book on Astronomy almost persuades one that he could create a\nnew star he seems to know them all so well; but he does not propose doing so though he\nis probably quite prepared to point out to us a hundred that we have not yet observed."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c026", "article_bluemountain": "bmtnaau_1910-04_01#c026", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "162", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.10.2", "titre_corps": "HAMLET; A SUCCESS OR A FAILURE?", "titre_sommaire": "HAMLET; A SUCCESS OR A FAILURE?", "signature_source": "A. F", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.20", "debut_caractere": 1024, "fin_caractere_exclue": 3106, "texte": "HAMLET; A SUCCESS OR A FAILURE?\nA. F.\nId Hamlet succeed in his designs? Did he accomplish his task? You have a company\nof very intelligent actors. If you were to ask them one and all what do you think\ntheir answer would be? &\nBo They would say he failed. & ® jg?\nA. Yes. They think that he is a weak character; I think the contrary. 1 think he is one\nof the strongest that has ever been drawn by the poet. And yet he has always been played,\nnot as a dreamer, for a dreamer is perhaps the strongest of all men if he is capable of dream-\n3ng strong dreams; but he has been played like a sullen and degenerate school boy as in\nMunich ; or as an aesthetic prince with a touch of madness as in England, or as a veritable\nJunatic as in France. & A& & &\nBut consider what he achieved ; look at the play and see how it takes him less time to\nsucceed than it has taken a modern English reformer to reform England, . . England, where\nthe heart of the court is pure, compared with Denmark where it was impure. \"Wake up,\nEngland, \" cries the Prince of Wales for six years without avail, while Hamlet awakens\nDenmark in a few months when once he applies himself to the task.\n<£& B. Yes, awakens it and dies in doing so! jg? &\nA. His method, of achieving his end, that is all. ag? & & &\nB. & But the whole thing is an accident. He broods and meditates until everything\nhappens by itself. £>&&&&&&&&\nA. Is that so ? Yet brooding and meditation is by no means guaranteed even to bring\noff an accident; rather does it preclude any chance of action of any kind. <£? &\nYou seem to think that Hamlet' s meditations are the meditations of Guildenstern. But if\nyou read carefully you will see that Hamlet\" s meditations are upon justice. Hamlet' s\nresolves are like those of all the rest of the world. He resolves to do evil to achieve good.\nAnd it is only during those meditations at which we are not present that he resolves not\nto do evil, and it is these resolutions which restrain him from hasty action and which\nassist fate, not accident, to guide Fortinbras to Denmark at the psychological moment."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c028", "article_bluemountain": "bmtnaau_1910-04_01#c028", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "162", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.10.3", "titre_corps": "AGAINST FOOT LIGHTS", "titre_sommaire": "AGAINST FOOT LIGHTS", "signature_source": "Leonardo da Vinci ; Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.20", "debut_caractere": 3108, "fin_caractere_exclue": 3719, "texte": "AGAINST FOOT LIGHTS.\nLeonardo da Vinci.\nThe Art of the Theatre. Gordon Craig. 1905.\nall let the figures that you paint have sufficient light and from above, that is,\nall living persons whom you paint, for the people whom you see in the streets are all\nlighted from above; and I would have you know that you have no acquaintance so intimate\nbut that if the light fell on him from below you would find it difficult to recognise him.\n\"And there's a row of lamps, my eye !\n\"How they do blaze .... / wonder why\nfC they keep them on the ground \".\n\"Rejected Addresses.\"\n\" That was in 18121 and we are still wondering\"."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c029", "article_bluemountain": "bmtnaau_1910-04_01#c029", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "164", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.11", "titre_corps": "PSYCHOLOGY AND THE DRAMA", "titre_sommaire": "PSYCHOLOGY AND THE DRAMA", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4237, "texte": "PSYCHOLOGY AND THE DRAMA\nby John Semar.\n\no long as people continue to believe that drama can be revealed\nthrough psychology, so long the theatre will remain where it has\nbeen for the last hundred years. This dependence upon psychology is\ncharacteristic of men who have turned their art Into a business.\nIt shows plainly that they realize the importance of quick returns.\nPsychology is a beautiful word, and, when applied to the thea-\ntre, confusing enough to baffle the outsider. When the art of tmusic\nhas sunk to its lowest point of development we shall be hearing\nabout the psychology of music. We shall hear about the psychology of everything when\neverything is pointing to decay.\n& What need is there to bring this word \" psychology\" Into this simple and beautiful\nmatter at all ? What has it got to do with it ? We are concerned with an art and a craft.\nOur work is essentially a practical osse. jZ? &\n«£? All art is the result of something Intensely practical, and we are trying to confuse it\nand make it indirect and mysterious by the use of this word psychology. jZ?\n<£? Nothing strikes two or more beholders in the same manner except those very simple\nthings which are most direct in their appeal, Set us almost say the commonplace things.\nThus none of the beholders will see one and the same thing in that which they behold.\njZ? It is never to be forgotten that in the theatre we make our appeal to some thousands\nof different people. Appealing to their minds we shall impress each one differently.\nAppealing to anything but their common sense we shall fall. &\nWe must call a spade a spade, and in two words, not in twenty, and it Is absolutely\nimmaterial to us whether it is explained to us that the spade is rounded or square at the\nedge. It is quite unnecessary whether we are given to understand that there is a little\nmud on the blade which suggests that the spade comes from Wiltshire, or whether there is\na trade mark on the handle which shows that it was made in America. These details explained\nat length with great subtlety will not make us recognize the spade any better, because the\nspecial mud from Wiltshire and the American trade mark convey little; but, if it is a golden\nspade or a silver spade that everybody will recognize, it is unnecessary then to explain it.\nIt has appealed to our common sense; in short it is quit© unnecessary even to call it a\nspade. & zz? zz? & zz? & zz?\n& And so it is with acting. Everything must be direct and simple in its appeal. Whether\nit be in tragedy or comedy, the appeal must be through the senses, not through the\nbrain, for when we begin to think about the tragic or the comic we shall neither weep\nnor laugh.jZ? jz? & & jgr jZ? &\nSo whether we are actors, stage managers or even scene painters, our study must be\nhow to reach everyone in the theatre simultaneously so that they may respond simul-\ntaneously. When we know how to do this we shall know how to deal in essentials and\nnot in details, and the details will be thrown out into the scene dock. For instance let us\ntake a single example. The scene is a large waiting-room in which are seated the near\nfriends and relations of one who is dying in the next room. With the dying man are his\nnearest relations and one friend, a woman. Very soon this woman has to come into the\nroom where the friends and relations are all gathered and convey to them that the man is\ndead. How shall she do this in the most direct way, so that there shall be no mistake, no\noffence? how, in short, shall she call a spade a spade to our satisfaction? You may say there\nare many ways. Can you think of one? If she goes on to the stage and commences to talk\na great deal it is quite likely that many of us may be confused as to what she has to say.\nIf she remains silent we are still left in doubt. In what way can she convey the event to\nus? By an action. But what action? What action shall convey the sorrow of the fact and\nshall be so solemn that it prevents the flood-gates of sentiment breaking loose ? It is to\ncreate such action that the actor has been born; it is to avoid the trouble of it that he\nhas made an alliance with psychology. Psychology will not help him because these things\n\n& A practical\nWOlka\nActing. &\nAn example."}, {"page_pdf": 22, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 4102, "texte": "must-be created hot. &\n\" All art continually strives towards the condition of music.\" Think how far from the\ncondition of music our art will go if it is led by psychology ! <£? &\nIt is far better for all the arts, until they arrive at that condition, to travel along alone\nand to concern themselves with nothing but the way their mere bodies are constructed.\nLet them get hold of THAT first. There is plenty of time afterwards for the study of the\nsoul. & &\nThus let the actor study how to walk about on the stage so beautifully that by his\nwalking the feelings of the people shall warm and be set in motion. Let the actor think\nhow he can make the sound of his voice beautiful so that on hearing it people shall want\nto listen to the sound. Let him not think that life can say that which is light or profound\nif his voice is never to float or fall, to glide or to leap, to run and to pull up abruptly.\nThese and thousands of other moods and changes. And let him not think that he can make\ngestures and movements which shall be understood until he can make the movements which\ncan be felt. Let him not concern himself about the meaning; let him only concern himself\nwith the manner. And in order to do this he must feel the earth under his feet. As he\ntreads the stage his whole body must be alive and his feet like those of Mercury. It is all\nthis that made Edmund Kean a greater actor than any other English actor. It was through\nphysical feeling, not by thinking or by reason. & & & &\n& It is only by feeling that you will be able to tell me what movement the woman whom\nI have told you about should make when she comes into the room to tell the others of\ntheir loss. Can anybody tell me what that movement should be ? JZ? & &\nA WORD ON MASKS.\nJgverything that is profound loves the mask; the profoundest things have a hatred even\nof image and likeness. Should not the contrary only be the right disguise for the shame\nof a God to go about in ? A question worthy asking!.... it would be strange if some\nmystic has not already ventured on the same kind of thing. There are proceedings of §uch\na delicate nature that it is well to overwhelm them with coarseness and make them\nunrecognisable; there are actions of love and of an extravagant magnanimity after which\nnothing can be wiser than to take a stick and thrash the witness soundly: one thereby\nobscures his recollection. Many a one is able to obscure and abuse his own memory in\norder at least to have vengeance on this sole party in the secret: shame is inventive.\nThey are not the worst things of which one is most ashamed: there is not only deceit\nbehind a mask.... there is so much goodness in craft. I could imagine that a man with\nsomething fragile and costly to conceal, would roll through life clumsily and rotundly\nlike an old, green, heavily»cooped wine=cask: the refinement of his shame requiring it to be\nso. A man who has depths in his shame meets his destiny and his delicate decisions upon\npaths which few ever reach, and with regard to the existence of which his nearest and\nmost intimate friends may be ignorant; his mortal danger conceals itself from their eyes,\nand equally so his regained security. £/ &\nSuch a hidden nature, which instinctively employs speech for silence and concealment,\nand is inexhaustible in evasion of communication, desires and insists that a mask of himself\nshall occupy his place in the hearts and heads of his friends; and supposing he does not\ndesire it, his eyes will some day be opened to the fact that there is nevertheless a mask\nof him there .... and that it is well to be so.\nEvery profound spirit needs a mask; nay, more, around every profound spirit there\ncontinually grows a mask, owing to the constantly false, that is to say, superficial\ninterpretation of every word he utters, every step he takes, every sign of life he\nmanifests.\nOccasionally folly itself is the mask of an unfortunate over*>assured knowledge.... From\nwhich it follows that it is a part of a more refined humanity to have reverence u for\nthe mask and hot to shake use of psychology and curiosity in the wrong place. &"}, {"page_pdf": 22, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.22", "debut_caractere": 4129, "fin_caractere_exclue": 4211, "texte": "What to study.\n\nNietzsche. Beyond Good and Evil. Translated by Helen Zimmern. 1907"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c031", "article_bluemountain": "bmtnaau_1910-04_01#c031", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "165", "page_fin": "170", "image_debut": 23, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.12", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2525, "texte": "THE ARCHITECTURE AND COSTUME\nOF SHAKESPEARE'S PLAYS\nby E. W. Godwin. F. R. S.\nOTHELLO\nJn the Italian Group we find that with two exceptions—Othello and the Two Gentlemen\nof Verona—there is nothing In the text of any of them indicative of time other than\nthat of the period at which Shakespere wrote them. In Othello there is a scene laid in\nCyprus, which is never acted, consisting of these six lines:—\nOthello. These letters give, lago, to the pilot;\nAnd, by him, do my duties to the Senate;\nThat done, I will be walking on the works,—\nRepair there to me.\nlago. Well, my good lord, I'll do't,\nOthello. This fortification, gentlemen, shall we see ' t ?\nGentlemen. We' 11 wait upon your lordship. (Exeunt.)\nThis is alone sufficient to show that Cyprus was not only garrisoned by Venetian troops\nbut that the port where Othello lived was being fortified during the period of the action.\nNow, as Cyprus was taken by the Turks in 1570, and the Venetian garrison was first quartered\nthere in 1471, we must seek between these years the time for Othello' s occupation. &\nFrom 1471 to 1489 the island, although defended by Venetian soldiers, was nominally\nruled by Catherine Cornaro; but in the year last mentioned she resigned all her rights in\nfavour of the Republic, and Venice maintained peaceful possession until the Cyprian wars,\nwhich ended (after Othello's death) with the Turkish victory of May 1570. War, however,\nhas been declared before the play opens, for in the very first scene, lago, speaking of Othello\nsays: s s.. he's embark'd\nWith such loud reason to the Cyprus' wars,\n(Which even now stand in act,)....\nAnd in the third scene we learn that the Turks, with a fleet counting between one and two\nhundred galleys, had been seen \"bearing up to Cyprus,\" but had changed their course\n\" toward the isle of Rhodes, \" and there, Joined by a second fleet of thirty sail, were seen to\n.... restem\nTheir backward course bearing with frank appearance\nTheir purposes towards Cyprus.\njg? This expedition, however, came to grief, for a \" desperate tempest\" scattered the fleet\nand brought it to entire or \" mere perdition,\" as the Venetian Herald calls it. But the\ncourse described in the text exactly tallies with that which was actually pursued in the\nearly part of the year 1570 under the Ottoman leader, Mustapha, who, after weathering\nthe equinoxial gales, made his successful attack on Cyprus in the following May. We may\ntherefore conclude that the play refers us to the Spring of 1570, or thirty=two years before\n\nCyprus."}, {"page_pdf": 24, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.24", "debut_caractere": 10, "fin_caractere_exclue": 3947, "texte": "it was first acted. This brings us so near to Shakespere's own day that it is scarcely\nnecessary for us to make any distinction between the costume of this play and that of the\nMerchant of Venice, which I purpose to describe in detail. (1) It may be noted, however,\nthat there are still remains of mediaeval buildings sufficient to show that the town of\nFamagusta.... doubtless the sea«port where Othello lived, and which the Venetians were\nfortifying in 1570.... was a place of Importance In an architectural point of view long\nbefore the Venetian occupation of the island. & & & &\n& The play off Othello contains fifteen scenes, three exhibiting the architecture of Venice\nand the other twelve that of Famagusta. We need only look at them as they are placed\nIn the text to see how easily they may be modified to suit the modern fashion of a set\nscene for nearly each act.\nThe first Act consists of three scenes In Venice.\n1. A street. 2. Another street.\n3. A council chamber: Duke and senators sitting; officers attending.\n•<£? The first street or place is opposite the palace of the Magnifico Brabantio. The second\nis close to the arsenal, the sagittary or sagitarius being a piece of sculpture marking (most\nVenetian houses had their special marks) the entrance to the residences or quarters of the\nsuperior officers. This second street might serve quite well for the first scene if, in cutting\nthe text to prepare it for modern acting, our stage editors would finish the scene at that\nspeech of lago' s beginning with the words,\nCall up her father,\nRouse him: make after him, poison his delight,\nThen exit Roderigo. lago, retiring in an opposite direction, meets Othello, and so returns\nfor the second scene. (2) This scene may be rendered very effective if arranged as shown in\nthe diagram, where A shows the proscenium,\nB the canal, C the court=yard ot the \"sagit«\ntary,\" and D the way to the Duke' s and\nBrabantio * s Palaces, although Cassio or Bra*\nbantio, or both, may be supposed to arrive\nby gondola at the quay E. Boundary walls,\ngateways, and low towers, with a background\nof ships of war, would form the elements\nof this scene, and the style of the buildings\nmay include old brick walls as well as new\nstone work, the latter of course being in the Renaissance style of the Library of St. Mark or\nof the Vandramini, Grimani, or the old Cornaro palaces, built or designed between 1520 and\n2350. A scene set like this would necessitate the fall of the curtain in order to prepare the\nlast and the most sumptuous scene in the whole play; viz, the Council Chamber in the Doge's\npalace. For this, however, I refer my readers to my notes on The Merchant of Venice. For the\nrest of this play we are in Cyprus. In the second Act we have three scenes, but there\nappears to me no reason why one scene should not suffice for all. The text gives\n1. A seaport town in Cyprus.\n2. A street.\n3. A hall in the castle.\nJ? The first direction is very vague, and we must therefore go to the text to seek a definite\nmeaning for it. There we find that the first scene is a kind of open or public courtyard\nto the citadel or castle, that close outside it is the harbour or bay with the quay or landing\"\nplace, and that the castle or the residence of the commander or governor of the island is\non one side of it. Standing in this halfpublic sort of courtyard we hear the shouts of the\npeople who line the brow o' the sea; \"we see the blocks of stone scattered about, and\nthe new works \"in all the usual confusion of builders' mess and muddle. Here, on the\nright, through an archway newly built, with the lion of St. Mark roughed out on its frieze\nwe see the hill that leads to the town on one side of it. At the back of the scene rises the\n\nFifteen scenes.\nA seaport town.\n\n(1) The articles on this play were reprinted in The Mask, May, June and July, 1908.\n(2) lago's last speech in this scene might be joined to that \" Call up her father \" etc."}, {"page_pdf": 25, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 4314, "texte": "fifteenth century castle with its broad stairs leading to the great entrance doorway, from\nthe castle to the other side of the scene stretches the sixteenth century fortified wall, half\nbuilt, outside which steps conduct down to the lower line of fortification and the quay\nbeyond; through a tower gateway on the extreme left we get a glimpse of further\nfortifications and the new works thereof, and there, too, is the guard-room with an open\narcade, under which, in the third scene, the drinking party would begin their revels. In\nsuch a scene as this 1 have thus roughly and very imperfectly sketched, if properly set,\ncomposed and painted, the whole of the second and third acts may be represented. I say\nthe third, because the short second scene, which is the only one inside the castle, might\njust as well be before the castle as not. The fourth act contains three scenes:\n1. Before the castle.\n2. A room in the castle.\n3. Another room In the castle.\nThere is no reason that I can discover why there should be two different rooms for the\nsecond and third scenes, nor can I see why the first scene should not be inside instead of\nbefore the castle, except for the presence of Bianca the courtezan, and this may be rendered\nas possible to an interior as to the courtyard if we make the room open through a cloister,\ncorridor, or double arcade to the courtyard at the back. Bianca might then ascend by two\nor three steps just under the arches without in any way violating the probabilities, and\nthus a set scene for the whole of the fourth act could be secured. This interior might be\nGothic or Renaissance; if the first, we must bear in mind the fact that the Gothic of Cyprus\nhad nothing whatever to do with Venetian Gothic, but was more like that of Jerusalem\nand even of Central and Northern France. & & &\n& The fifth act contains two scenes:....\n1. A street. 2. A bedchamber.\nIt is impossible in the last Act to do with less than two scenes. The street here is\nclearly in the town, and so we may indulge our fancy so far as to group together the\nRenaissance of Italy, the Gothic of Syria, the Romanesque of Byzantium, and the ruins of\npre-Christian times.\n& We come now to the last scene. And here we find the text agreeing with\nthe ordinary construction of the bedchamber of the sixteenth century, so that we\nneed not go out of our way to copy the double stage apparatus of the Elizabethan Theatre.\nDesdemona' s bedroom was in plan nothing more nor less than what we still see in many\nmodern houses on the continent, i.e. the bed-place was an alcove or recess, or, if you\nprefer to call it so, a small room with one side open to the chamber proper. Across this\nopen side, which might be arched, curtains were suspended, and the floor or the bed-place\nmight be raised three or four steps above the chamber floor. This apartment would naturally\nbe placed in the best part of the castle, and would therefore be Renaissance work of the\ncharacter already mentioned.\nThe costume of the Venetians in 1570, or twenty years before the date of the Merchant\nof Venice, was so like that I propose to describe when 1 come to treat of this last-mentioned\nplay, that it is unnecessary to dwell on it here. The inhabitants of Cyprus....Othello' s old\nacquaintance of the isle....were more or less men of warlike character, and were habited\nlike Greeks or Persians rather than like western Europeans. The cavalry of the island\nwere really Greek, and were called Stratigari or Estradiots; they wore tall turban-like hats\nwith a feather stuck upright in the front, tight guarded or braided bodies, long loose\nskirts of a different colour, tight under sleevs, a rich sash, and a sabre suspended behind\nby a belt across the right shoulder: one of their sabres may be seen in the collection at\nGoodrich Castle.\nOne word as to the music. Amidst the drinking songs and the old ballad of \" Willow \"\nmay not room be found for those charming compositions of Luca Marenzio (1570) and G*o-\n- (1560) which were known to Shakspere and the Court of Elizabeth of England as\nwell as they were in Florence and Venice? In the intervals of lago' s rough songs It would\nform a pleasing contrast to hear from the castle the distant harmonies of Cynthia thy\nSong, &c.,\" \"So saith my fair and beautiful Lygoris,\" or «« Lady see on every side,\" &c."}, {"page_pdf": 25, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.25", "debut_caractere": 4326, "fin_caractere_exclue": 4367, "texte": "The fourth act.\nThe costume.\n& The Music."}, {"page_pdf": 26, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 4459, "texte": "TWO GENTLEMEN OF VERONA.\nbe chronologically correct I ought to have placed this play before Othello, for the\ndate of the action must be taken to be prior to 1535, because In that year died Francesco\nSforza, the last Duke who ruled nominally as an independent prince, although really\nunder the Empire. After Francesco's death the Emperors, Charles V. and Francis 1.,\ncarried on their contention for the possession of the Duchy, which, in 1540, Charles\nadded to his other possessions. In 1555 he, however, gave up all to his son Philip, who he\nhad already created Duke of Milan, and the title became from this a mere appanage of the\nImperial Crown. The tone of the play is thoroughly peaceful, and we have to make our\nchoice between the later quiet time of 1529=1535, that is, after the treaty of Cambrai, and\nearlier period of quiet, such as that which followed the battle of Pavia. The references in\nthe text to Shakespeare's own time incline me to adopt the later period. jg?\nThe architectural scenery is divided between Verona and Milan, and may be thus\nsummarised;—\nVerona.—An open place, Act i. Sc. 1; Act ii, Sc. 3.\nJulia's house; exterior, Act i. Sc. 2.\n~ „ interior, Act ii. Sc. 2 and 7.\nAntonio's house; interior, Act i. Sc. 3.\nMilan.— The Duke's Palace. Interiors: Act ii., sc. 1, 4, and 6;\nAct ii!.; Act iv., sc. 2, 3, and 4; Act v., sc. 2.\nAn alley; Act v., sc. 1. A street; Act ii., sc. 5.\nThe three remaining scenes are laid in the forest near Mantua.\nNow, although the Verona of Julia must have been different from the Verona of\nJuliet, yet the difference created in the two centuries, which elapsed between the dates\nof the two stories, was felt, perhaps, as little there as in any town in Italy. The greatest\nchange was due to the fortifications erected from the designs of San Michele, who died\nin 1549, and who was between 40 and 50 years old at the time I have accepted as the period\nof the story of the Two Gentlemen of Verona. But, for a full century before this, the style\nof the Renaissance had been practised at the great architectural centre on the other side\nof the Apennines, for the Riccardi palace at Florence was begun in 1430, and the Pitt!\npalace only five years later. Nearer Julia's home we find that the Vandramini palace at\nVenice was begun before she was able to toddle about alone, whilst at Milan the north\nwing of the great hospital was commenced as early as 1456 by one Filarete, an architect\nof Florence. But whether we \" trudge about through fair Verona \" or peruse the streets of\nMilan, we shall find the builders more or less busy with the fashionable style, pulling down\nold walls of Romanesque and Early Pointed character, and setting up in their places a very\nfree translation of the Classic Orders. & & & &\nThe open place, square, or wide street of the first scene of Act i. and the third scene\nof Act ii., might show, not only the Renaissance, but the other three great phases of\narchitecture through which Verona had passed. One or two new buildings in the Free\nClassic style of the hour would give us, so to speak, the time of day; and the long history\nof the little aristocratic town might be traced through Pointed arch and Romanesque shaft\nup to the pilasters and friezes of the time of Theodoric the Goth, and so to the still\nearlier work of his predecessor. For the general character of these buildings I refer the\nreader to my notes on the play of Romeo and Juliet, in the Architect for November 14,\n1874. (1) The two houses introduced in the first and second acts are, I need hardly say, palatial\nin character, for that Antonio is a nobleman, and Julia the daughter of a nobleman, are\nfacts settled for us by the text. We may perhaps be allowed to go further and say that\nAntonio is an old-fashioned nobleman, for he has kept his son Proteus at home, until\nimportuned to send him away by his brother, the prior probably of that Franciscan house\nwhere our old friend Friar Lawrence once busied himself in toxicology. Antonio's\nservant too is allowed to hold free converse with his 6t lordship,\" and to counsel his master\nin family affairs: from all of which It may not unreasonably be supposed that his palace or\nhouse would be of some age, and if we only give It 200 years we shall find it a fully-\ndeveloped Gothic structure, with 0. G. trefoils to the window-heads, marble balconies, and\n\n& The scenery.\nVerona.\n& The Archi-\ntecture. & £>\n\n(1) This article will be shortly reprinted in \" The Mask \""}, {"page_pdf": 27, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.27", "debut_caractere": 28, "fin_caractere_exclue": 4906, "texte": "all the other charming detail which Mr. G. E. Street has so well Illustrated in his hook\non 46 The Brick and Marble Architecture of Italy.\" The lady Julia might dwell in a still\nolder house for, unlike the lady of Belmont, she does not appear to have been a very\ndesirable match in a financial point of view, for Proteus feared to show his father Julia's\nletter lest Antonio should take exception to his love. True It is she lias some landed property,\nas well as a house full of goods and chattels, but they are not so great as to prevent her\nleaving them at the complete disposal of her maid Lucetta. & & &\nIn Milan we have a street, an 44 abbey, \" and the ducal palace. The short scene of twelve\nlines which begins the fifth Act might well be transposed, and thus the 44 abbey \" got rid\nof altogether. If St be retained we must remember that It Is a convent of friars, and\nconsequently not an abbey like that of St. Ambrogio, but a priory of one of the four orders,\nDominicans, Franciscans, Carmelites, or Augustinfans. The streets of a place like Milan in\n153S would be brilliant with new cut stone and marble in the style of the Renaissance,\nmany palaces and houses would have already been built, and many others would be in course\nof erection, the place would be quite gay with the fashions of the time, and crowds of new\ndresses would be backed up by crowds of new \nAs Bath is to Wells, or Cheltenham to Gloucester, so Milan was to Verona, and the\nscene painter who omits to show us this distinction is guilty of gross neglect altogether\nunpardonable in days when real fire-engines, broughams, and such like gear are brought\non the stage with a view to completeness In the realisation of a scene in some fleeting\nsensational entertainment. Of the ducal palace, in the rooms and courts of which so much\nof the action of the Two Gentlemen of Verona is carried on, we have no remains to guide\nus, except the tower of the mediaeval palace erected by Azzo Visconti about 1330. Giotto\n(ob. 1336) certainly painted the walls of some of its rooms; and, although portions were\nrebuilt during the fifteenth and sixteenth centuries, the fourteenth century was still strongly\nmarked 011 it up to the time when Gothic and Renaissance together fell before what we\ncall 44 the hand of modern improvement.\" The architecture, therefore, of the Milan Palace\nmay be Gothic of 1330, or Early Renaissance, or both.\n<£? The costume of the youths who attended the Imperial Court, of the Emperor—who\nmight be seen in procession though not found in the dramatis persone—of the Duke of\nMilan, of the lords and ladies of Milan and Verona, of Gentlemen from the courts of\nFrancis or of Henry, of artists from Florence and merchants from Venice—may be sought\nin paintings, contemporary MSS., drawings, engravings, and sculpture. But wherever the\ntheatrical manager may be led to seek for his authorities, it is to be hoped he will be\nconsistent, and not expect Giorgione, who died in 1511, to furnish him with the costume\nof 1530. He must or ought to know that whatever later painters, looking to the past, may\nhave done, it is impossible that painters who died years before the period we attempt to\nillustrate can be fairly regarded as authorities for the fashions of that period. For instance,\nVeronese can scarcely be quoted on the costume of 1530, since he was a tiny boy only\nwhen Proteus married Julia. On the other hand, Tintoretto, who was a young man,\nand Titian, who had reached a ripe age, may be implicitly followed. But Titian is more\nthan an authority for us in this play. As a favourite artist .with the Emperor, he might\nvery possibly have received a summons to attend Charles at Milan, so that we may well\nhave among the figures in our background the great colourist of Venice. The text of the\nTwo Gentlemen of Verona supplies many references to costume, e. g.f Thurior's \"jerking\"\nis a doublet; Thurio's servants have 44 bare liveries;\" Julia's hair is knit up in silken\nstrings with 44 odd-connected true-love knots;\" and the particular cut of her trunk hose is\nspecified. Mention is also made of gloves—then manufactured extensively in Italy—sun-\nexpelling masks, purses, periwigs, high boots, and long cloaks. &\n& The list of moveables includes trenchers, looking-glasses, pictures, salts, a rope ladder\nwith grappling or 44 anchoring\" hooks, tablets (of ivory), and musical] instruments. And\nalthough no doubt the words refer to articles Shakespeare had himself seen, yet there is\nnothing inconsistent with the date I have selected for the action, for although the looking\nglass was not commonly used until after 1664, when the glass mirror makers of Murano\nwere incorporated as a distinct guild, we have it on record that in 1507 two men of Murano\nclaimed before the Council of Ten to have Invented away of making good mirrors of crystal\n\nj& & Milan.\n& Costume.\nThe moveables"}, {"page_pdf": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.28", "debut_caractere": 28, "fin_caractere_exclue": 2718, "texte": "glass, and had a monopoly granted them for twenty years. The \" bare liveries \" of Thurios'\nservants is explained by this passage in the Merchant of Venice—\" Give him a livery more\nguarded than his fellows, \" the guards being the horizontal bars of lace or braid, as we\nshould now call it, which more or less covered the front of the doublet, and without\nwhich any livery must, by comparison with others, have indeed looked bare. As to the\ngeneral fashion of the costume, I refer the reader to the remarks already made on the\ncostume of this period in my notes on Henry VIII. (1) In our National Gallery we have a portrait\nof a lady of Genoa by Paris Bordone (1500-71) which might be copied for Silvia, although\nthe colour of the hair in the painting is like Jiulia's—\" a perfect yellow.\" Silvia's hair\nwas auburn, and her forehead was low, while Julia's was high, so that we get quite a\ncharming contrast in the two ladies of the play, whose only point of resemblance seems to\nhave been In the eyes, which in both were as \" grey as glass \" (/.e. the glass of Shakespere's\nday). Angelo Bronzino(iso2 -72) has supplied us with more than one portrait of the time,\nand the actress is free to choose between him and Bordone. We have also by Pontorno\n(1494-1556) a life-size full length portrait of a boy in crimson and black, which, merely as a\npiece of colonr, would be invaluable in a stage picture. Then, again, from the hand of\nSebastiano del Piombo (1485-1547) we have a likeness of himself, the Cardinal Ippolito\nde' Medici, and the lady Giulla Gonzaga of Mantua. At the Kensington Museum there\nis also much from which we may derive valuable information in any endeavour to realise\nthe aspect of persons and things In Northern Italy during the period under consideration.\nThere we can find almost everything which was required to furnish a palace—chests-\ncabinets, chairs, tables, hangings, candlesticks, candelabra, brackets for lights, lamps,\nlanterns, chandeliers, caskets, picture-frames, inkstands, books, musical instruments, and-\nirons, fireirons, bellows, mirrors of polished steel, glass, statuary, materials for dress, swords,\nand numerous other examples of the armourer's art, and last, though not least, a fine\ncollection of specimens of the work of the gold and colour still preserved, some wood\ncarving from the panelled ceiling of one of the Renaissance rooms of the Ducal Palace at\nMilan, and even carved columns and pilasters. And yet, with this wealth of authority at\nour very doors, is there one theatrical or stage manager in London who takes sufficient\ninterest in art or education to use even one department of this admirable collection ?\n\nSilvia and Julia\nFurniture."}, {"page_pdf": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.28", "debut_caractere": 4098, "fin_caractere_exclue": 4153, "texte": "(1) This article will be shortly reprinted in The Mask."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c035", "article_bluemountain": "bmtnaau_1910-04_01#c035", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.13", "titre_corps": "EMOTION IN THE THEATRE", "titre_sommaire": "EMOTION IN THE THEATRE", "signature_source": "La Bruyère", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.28", "debut_caractere": 2720, "fin_caractere_exclue": 4096, "texte": "EMOTION IN THE THEATRE.\nLa Bruyère. 1639-1696.\nls the reason that people laugh so easily, yet are ashamed to weep at a theatre? Is\nnature more easily swayed to mirth than moved to pity ? or Is It the disfigurement of\ntears which keeps them back ? Immoderate laughter is more unseemly than the bitterest\ngrief and we ought to be as much ashamed to let others see us laugh as cry. Are we afraid\nto be thought soft-hearted, or weak-minded, or easily imposed on by unreal things? We\nshall not take into account those strong-minded persons who never give way to either\nexcessive laughter or to tears, but let us consider for what reason we go to listen to a\ntragedy. Is it to laugh? Is truth not as vividly portrayed there as In comedy? Will anything\nbut truth, let it be in comedy or tragedy, move the soul ? Will people be satisfied with\nthe improbable ? Therefore, as it is no unusual thing for a theatre to ring with spontaneous\nlaughter at some amusing hit in a comedy, so also the violent efforts people make to\ncontrol their tears and break into forced laughter at some touch of pathos, clearly prove\nthat giving way to natural emotion should cause no other embarassment than that of drying\nour eyes, and having agreed to indulge our feelings in this way, experience will teach us\nthat there is less fear of being moved to tears at a play than of being made to feel\nashamed."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c036", "article_bluemountain": "bmtnaau_1910-04_01#c036", "volume": "bmtnaau_1910-04_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": 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=bmtnaau191004-01.2.14", "titre_corps": "A MASK DESIGNED BY E. THESLEFF, ENGRAVED BY GORDON CRAIG", "titre_sommaire": "A MASK DESIGNED BY E. THESLEFF, ENGRAVED BY GORDON CRAIG", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 57, "texte": "A MASK DESIGNED BY E. THESLEFF, ENGRAVED BY GORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c037", "article_bluemountain": "bmtnaau_1910-04_01#c037", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "172", "image_debut": 31, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.15", "titre_corps": "\"CHANTECLER\" AND THE RETURN OF THE MASK", "titre_sommaire": "\"CHANTECLER\" AND THE RETURN OF THE MASK", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4674, "texte": "\"CHANTECLER\" AND THE RETURN\nOF THE MASK.\n\nThe triumph of « Chantecler 7is the triumph of the Mask. Paris, the modern Athens, pronoun-\nces that Rostand, having written a play of animal life, played by actors in animal masks,\nhas made it plausible. Paris is enthusiastic about the masks; even Paris, which could not\nunderstand before, now understands. It understands that, though the mask conceals the face,\nfacial expression has triumphed for the first time since the 16th century, (i) The Mask\nhas pointed out the importance of masks replacing the face of the actor from its com-\nmencement.\nThe fact that ' Chantecler 7 is played with masks and that Paris has accepted them is\nsatisfactory. It is not always the unexpected which happens; it is sometimes the expected.\nWe in the street are amazed at comets, but the astronomers know of these things long before\nthey appear and take their appearance all as a matter of course. Those in the street once\nupon a time believed that the sun moved round the earth, but an eccentric gentleman called\nGalileo knew that the earth went round the sun. So of course, when it was asserted time\nafter time in The Mask that masks were the only fit means of expressing those emotions\nof the sou! which are registered on the face, those who asserted this were put down as lunatics.\nHere again it is the expected that happens. &\nAnd now we are going to take another step forward and you will see that what is predicted\nwill come to pass.\n& Before the art of the stage can revive women must have passed off the boards. No\noriginality is claimed for this idea; it is an idea as old as the hills; it has been tried, and,\nlike the hills, it was never known to fail, whereas the actress, for many reasons, as I hope\nto show in a forthcoming number, has been known to fail lamentably. In saying this I in no\nway imply the failure of woman; it is a failure due to circumstances against which nature and\nother powerful things oppose themselves.\nJS? A section of English women who have banded themselves together are preparing the way\nfor the exodus of the woman from the theatre. These ladies are called the Suffragettes, and\nin doing a little wrong to themselves they are doing a great right to their sisters in the\ntheatre. They are opening hundreds of other doors through which the women will enter,\nand, In entering these, will leave the stage.\nThousands of women who want something to do go 011 to the stage; thousands of women\nwho want to make a little money go on the stage; but the Suffragettes, by their agitation,\nare going to make it possible for these same women to go somewhere else; they are going\nto train a new kind of woman, and the new kind of woman will not take kindly to painting\nher face since she will have learned by her superior intelligence that paint hurts the skin;\nneither will she know how to play those feminine roles which the poets always choose to\nwrite because these characters will be composed of a mass of things which she is opposed\nto and which will no longer interest her. Instead of pretending to be the stupid Ophelia she\nwill have joined some society for saving those who would have committed suicide by drowning;\na far more useful occupation than imitating a drowned lady, instead of pretending to be a\ngirl who through some spontaneous sweetness of disposition stands up to a Jew in the law\ncourts of Venice she will be far better occupied in the law courts of Fleet Street. In fact,\nwhen woman lives in the real world, she will leave the mimic world. <£?\njg? If it is suggested that men have not done this though men are in the real world, the\nanswer is that men take themselves very seridusly as artists and the mimic world becomes\nfor them the real world. With women it is quite different. And besides, what men and\nwomen do and feel is always different; the two can never be compared. Until I perceived\nall this I had less sympathy with the Suffragettes than I have at present when I see the\ngood they are going to do the theatre, and that these ladies, by doing a little wrong achieve\n\nA step forward,\nWomen & the\nStage.\nThe Suffragettes\nTheir influence.\nAn impossible\ncomparison,\n(1) 01 course it may be said that some of the masks may have been raised and have thereby exposed the faces of the acto.s; but, the play\nhaving been written for masks, this would only p.ove the stupidity of the actors against which the poet had contended in vain. To wear a\nmask and a face at the same time and to wear the first on the top of the head was a triumph even then. It only needs a short slip for\nthe mask to descend and cover that abomination oI the theatre, the expressionless expression of the actor's lace."}, {"page_pdf": 32, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.32", "debut_caractere": 15, "fin_caractere_exclue": 175, "texte": "this great right..... a masculine theatre And then the masks ...! <£?\nDo you see the connection ? The triumplTof 4Chantecler' is the triumph of the Mask.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c038", "article_bluemountain": "bmtnaau_1910-04_01#c038", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "173", "image_debut": 32, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.16", "titre_corps": "MALLARMÉ AND THE NEW DRAMA", "titre_sommaire": "MALLARMÉ AND THE NEW DRAMA", "signature_source": "Allen Carric ; George Wolfe Plank", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.32", "debut_caractere": 177, "fin_caractere_exclue": 3695, "texte": "MALLARMÉ AND THE NEW DRAMA\nby Allen Carric.\n\nQne night I ventured to ask him what new work he was producing. &\nj& \"A drama\", he replied with visible pride.\n& That evening our talk was of the theatre and he reproached Victor Hugo for wishing\nto revive Shakespearean drama in Alexandrine verse.\n\"Then, your play, Is not at all like \"Kernani?\"\n\" Not at all \" he replied with the howl of a dog whose tail has been stepped on.\n\"ln how many acts is your play, Master ? \" \" Three \". \" How many characters ? \"\n\" Two; myself and the wind\".\nTo question the Master about his scenario which, moreover, must have been of the\ngreatest simplicity, would have seemed impolite. I waited for him to speak.\n\"A young man, the last of his race, is dreaming in his ruined castle. Dreams,\n\" dreams ... he dreams of battles, duels, adventures in distant forests .... of Life\n\" itself.... his life.... he makes plan after plan and prays his ancestors to direct his\n\" course. But always it is the wind in the old tower which answers, which tries to answer,\n\" for it is a tribute to the genius of the French language that the wind in an old tower\n\" always desires to whisper the word OU ... I (oui, yes). \" And the dreamer listens\nwithout ever being sure if it is \" yes \" that the wind wishes to say.\nMallarme spoke again and again to me of his play, and when I would ask him where\nhe wished to give it, in what theatre, he would always speak of travelling in a caravan,\nand of himself playing the role of his hero in all the fairs of France. He would grow\nenthusiastic over the idea that the poet should be his own mountebank. &\nis a passage from a charming \" Souvenir sur Mallarme by Qeorge Moore,\na translation of which appeared in the \" Butterfly\" (i) last summer; and after the\nword \" Mountebank \" there is the following footnote: \" J ' emploie le mot saltimbanque\nplutot qu ' interprete, parce que Mallarme airnait ce mot. \" &\n£/ Now, what the truly wise man will ask, even at the risk of being thought dull, what\nhe will whisper to us (2) is, was Mallarme right in speaking of his creation as drama ?\nWas he right in feeling it to be so ? if he was right then may be \" The Mask \" after all\nhas not been not entirely wrong.\n\"In how many acts is your play, Master? \" \" Three \" .... \" How many characters ? ...\n\"Two, myself and the wind\". \"What does the wind say?\" \"It desires to whisper the word,\n\" 0u... i\". Not one single murder, not one intrigue, you see. No actuality, no personality;\nmerely the soul of a man and the soul of the wind. &\nNow, what would Mr William Archer say of this ? He is a professional critic; he Is supposed\nto know his business; he is an expert, which is about the best thing a man can be. And Mr\nMax Beerbohm, what would he say? What would Mr Walkley and what would Mr Spence\nsay? What would Carados say?,... for after all, when all is said and done, this is the important\npoint. All these gentleman stand for the wisdom of the English stage; they are the guiding\nslapping, pinching nurses, prim or jolly, of the English drama.\nWould Sir Oracle weigh the whole matter ? Would Miss Prim pick holes? would Carados\nlaugh the whole thing off as a good joke? Yes, that is just what they would do. And yet\nthere ,is nothing to weigh, there is no hole to pick, there is nothing to laugh about in what\n(1) Published Quarterly, 1136 Walnut St. Philadelphia.\n(2) \" Wisdom, that Immensely complicated thing, cannot be shouted. \" Max Beerbohm. Saturday Review: Vol 180. Page 749.\n\nMallarme\nspeaks. &\nHis idea.\nWas he right ?"}, {"page_pdf": 33, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.33", "debut_caractere": 23, "fin_caractere_exclue": 3874, "texte": "Mallarme says is the essence of the new drama. & &\n& What he proposed to do would have created a new theatre. 44 He would always speak of\ntravelling in a caravan, and of himself playing In the role of his hero in all the fairs of\nFrance. He would grow enthusiastic over the idea that the poet should be his own\nmountebank.\" He is fond of the word mountebank and knows how to pronounce it. Nowadays\nactors shudder when they are called mountebanks, so that we see both the drama and\nthe theatre are reversed today.\nWhich among these critics would accept the travelling caravan with the poet in it\nperforming for an hour ? Which of them would see in that caravan a more honest, a more\nstraight-forward cradle for the drama than the ridiculous theatres in which they waste their\nnights each week ? jg? & &\njg? Alas! Everyone must arrive at the conclusion that these gentlemen are essentially\nunpractical. They know that there are but a few years in a life time, and they waste these\nyears bolstering up that which they do not believe in, enjoying themselves in the most\ndismal fetters. Chained by the waist to journals which gave up the ghost long ago they are\ncontent to exist at the end of a tether which is played out in the evening as far as an\norchestra stall and pulled back in the morning. Truly, gentlemen, 44 your content is your\nbest having. \"&?/z>jg?jg?£?jg?jg>jg?jg?j&\n& I remember asking one of these gentlemen why he did not seize the opportunity of\nwriting in his journal and exposing the whole stupidity of the English theatre; and his\nreply was, \" I think that should be left to somebody younger than myself \". So we must\naccept him at his own estimate: he considers himself an old man. The lines from The\nWasps \" of Aristophanes sing in our ears,\n\" What is the use of old men now ?\nUseless are we, useless are we;\nJeered as we walk along the street,\nSupers are we to every one.\nElderly affidavits, (i)\nMr Bernard Shaw wrote lately in The Mask; \" Anything is better for the artist than the\nsolitary despotism of his own temperament\", and added that it was \" Irving' s isolation,\nhis attempt to live on and by himself alone, that led to the downfall of his theatre. \" I\nshould say that this downfall came about for precisely the opposite reason, and that had\nhe lived as much on himself and by himself as Mallarme his theatre would be a living one\ntoday. I suppose Mallarme is one of those artists whom Mr Bernard Shaw would call \" more\nor less idiots\" and we can safely leave Mallarme and Bernard Shaw to settle this\nsubtle difference between them.\nnphe Art of the Theatre, being, as it is, a child among the arts, has no desire to clothe Itself\nin the rags of the Theatre, nor inhale Its musty odours. It is a grave mistake to consider the\nArt of the Theatre an evolution of the Theatre, for the new Art is striving for an expres-\nsion of new things and not the mere selection of questionable accomplishments. Some day,\nperhaps, the Art will find a name for itself, a name to express its spiritual meaning. We\nare concerned at present with the prelude to the Art, and to understand these intimations\nwe must strip ourselves of all sophistries and regard it with the same unaffected delight\nas the pure music of the shepherd * s pipe.\nJ would see its first steps on some high green hill; see it with clean, fresh, healthy eyes\nunder the most natural conditions and spontaneous impulses. As needs present themselves\nthey will be met from within and not from the poisonous places which have turned us to\nsuch ardent desires. If walls and a roof are needed for the man-grown Art they will\nappear as a part of the Art, not as a cage. Heaven defend us from borrowed artificialities\nwhen those closer ones which shadow us require our eternal vigilance I\n\nThe Critics.\nOld men. er\nMallarme &\nBernard Shaw.\nI) Cambridge 1909.\n\nGeorge Wolfe Plank."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c041", "article_bluemountain": "bmtnaau_1910-04_01#c041", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "175", "image_debut": 34, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.17", "titre_corps": "VENETIAN COSTUME : TRANSLATED FROM THE BOOK OF CESARE VECCELLIO", "titre_sommaire": "VENETIAN COSTUME : TRANSLATED FROM THE BOOK OF CESARE VECCELLIO", "signature_source": "D. Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 4139, "texte": "VENETIAN COSTUME\nTRANSLATED FROM THE BOOK OF CESARE VECCELLIO\nby D. Nevile Lees.\n2y|any of the merchants and well»td=do shop keepers of the city of Venice wear the robe\nwith elbow sleeves like the nobles, but the majority adopt the short costume, with the\ncloak of serge, cloth, camlet, silk brocade or other material, heavier or lighter according\nto the season. And they wear the high cap called 44 h tozzo \" some wearing it also 44 a\ntagliare \", with a narrow brim and with a veil round it; but this latter is rather the cap\nfor quiet and mature persons and that other adapted for young men. &\nIn like manner with the elderly persons, though not all, it is customary to wear under\nthe cloak the long robes which are called Romane or Pretine; the former, as has been said\nelsewhere, (i) with the open collar, the latter fastened at the collar as is here seen. And\nmany, whatever the robe may be, make the collar of it project over the cloak or over-\ngarment and gird it with a silken girdle. And their greatest splendour is the most covered,\nbecause their doublets which are usually of satin, are covered by the robe and scarcely\nanything but the sleeves Is seen. And these gowns that we speak of, of camlet, as they\nusually are in summer, in winter are lined with fur of greater or less value according to\nthe wish and wealth of the wearer. & <£?\nIn summer they wear only slippers on their feet, but in winter they add shoes, and on\ntheir legs it is much the custom to wear siik stockings. & &\nIn this costume I have seen at ail times shine most honourably and ornamentally Messer\nPaolo dello Struzzo, a virtuous youth endowed with every rare quality, possessed of the\nfinest talent, who in the profession of pharmacy cedes to no one in keeping choice goods\nand preparing antidotes for poison. Nor will I be silent in regard to Messer Bernardino\nPillotto who, in addition to owning his most famous shop, is a man of the highest good-\nness and courtesy and takes delight in many virtues, and both of these have a great\nnumber of pictures and many other ornaments. £?\ngreat and most note-worthy decorum is the manner of bringing up noble maidens\nIn Venice; for they are so well looked after and guarded in the paternal houses that very\noften not even their closest relatives see them except when they are married, and it is no\nsecret that many of them up to the time of their marriage, conforming with reverent\nobedience to the will of their parents, are without any ornaments at all.\nThese girls, when they begin to grow up, very rarely leave the house, and almost never\nif not to go to Mass and other divine offices In church, and then they wear on the head a\nveil of white silk which they call a fazzwo/o, of ample width, and with this they cover\nthe face and breast. They wear at this time a few ornaments of pearls and some little\nnecklace of gold of small value. & &\n£/ Their are usually of roan or black, of light wool or camlet or other cheap\nmaterial although underneath they are dressed in colours, and they are girded with one\nof those little silken nets which they call poste: but when they are fully grown they go\ndressed in black with a black veil called a cappa of the finest silk, very wide and large,\nfastened and pinned, which is of great value, and thus they cover their faces so that they\nare not seen and yet see others.\n& But the nobles and those of great family rarely go out of the house except on the principle\nfestivals and holy days.\nIt began some time since to be the custom among the brides of Venice that, before the\nassembly for giving the ring or the troth, and while between the bridegroom and bride\nonly visits pass* the bride Is visited one day by all male friends and kinsmen and on\nanother by the women, and then they go out to some amusement, well escorted. &\n& It is the custom then for them to wear a black silken veil called a Cappa, the which\nis very fine and covers the face, but not the breast, and although it is not very closely\nfastened it does not allow of the veiled face being recognised. & &\n\n& Merchants of\nVenice. ZP\nVenetian Girls.\n& Brides before\nMarriage\n\n(1) The Mask Feb: No: 1909."}, {"page_pdf": 37, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 3992, "texte": "& On this occasion they go much adorned with pearls and gold, wearing, in fact, many of\nthose ornaments which they did not wear previous to being promised in marriage. And\nbecause this veil only covers the face they wear the corsage and sleeves of some colour,\nand for the most part of white silk, with the opening of the corsage laced loosely across\nwith a silken cord as is seen in the picture. This opening used to be of gold and embroidered\nin needlework, but now it is simple and without other ornament.\nThey wear perfumed gloves, in winter covering the whole hand, and in summer cut off\nat the middle of the fingers, and they use bracelets and other ornaments and jewels. They\nare girded with a golden jewelled girdle reaching to the ground, and all the rest of the\ndress is black, and long to the ground, with a little train. &\nbrides, after their marriages are made known, and when already the pa.renta.di (as\nthey call in Venice a kind of nuptial ceremony) are being celebrated, are wont for some\ndays to occupy themselves in dancing and in showing themselves and in receiving with cheerful\ncountenance all their relations.\n& And to this end they have Dancing Masters of whom they avail themselves in those\ndays; and these are elderly men, and In the days of the Pareniade both of the men and\nof the women, (which are usually held seperately) they are wont to lead the brides forth\nfrom their chambers into the Portico into the presence of the relatives and of all the rest\nof the gathering who are seated there, and show them how to do reverence to all. And\nthen to the sound of divers instruments they perform some dances and return Into the\ni\nchamber where are many women who robe them, and, often changing their costumes, they\nshow themselves so decked out and well adorned that, these ornaments added to their\nnatural beauties, of which Mother Nature is usually very liberal to them, they appear as\nso many suns.\nJZ? For the actual marriage they go to church with a large company of men and women,\nkinsfolk both of the bridegroom and of the bride, with music before them and torches car-\nried by servants which are lighted while the mass is being said, at which they assist with\nmuch pomp, there being carpets laid down and cushions upon which to lean and kneel. The\nmass over, and having received the blessing of the priests, they (the brides) go away and\nare led to their husband' s house where the feasting Is renewed. & sz?\n& For nearly a year they continue to dress in that fashion, with their hair flowing over\ntheir shoulders, and the golden head-dress, and an ornament on the head like a circle\nladen with jewels of great value; and they all display, some by nature and some by exquisite\ndiligence in art, tresses of the colour of gold with curls according to custom; and wear many\njewels and pendants of great value at their ears, and at the neck strings of pearls instead\nof necklaces, which are a marvel to see. &\n<£? During this time the greater number of them go dressed In white or other silk, according\nto the season, showing their faith, and chastity. In the past they wore simple white\nwithout other trimming, with adornment of curled hair round the forehead; and little frills\non the collars and shoulder pieces and also at the wrist, as is seen in the afore-shown costume.\nBut now for the last six years they have much altered things and in their mode of\ndressing the hair they use horns, skilfully twisted of the hair, wishing to imitate the God-\ndess of Chastity. Their dresses are white, but most finely made and the high upstanding lace\ncollars have the finest net work, as have also the shoulder pieces. And on the bodice they\nuse a stomacher reaching to the extremity of the body, with the usual ornaments, rather\nof greater than of less value, as in the following Illustration may be seen. And when they\ngo out they are accompanied by many matrons of the parentade and by a great number\nof servants, wearing to their dresses a train of no small length."}, {"page_pdf": 37, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.37", "debut_caractere": 4013, "fin_caractere_exclue": 4064, "texte": "Brides after\nmarriage,\nThe Marriage.\nTheir Costume."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c047", "article_bluemountain": "bmtnaau_1910-04_01#c047", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "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=bmtnaau191004-01.2.18", "titre_corps": "A FURTHER NOTE ON CHOPINES", "titre_sommaire": "A FURTHER NOTE ON CHOPINES", "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": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 3715, "texte": "A FURTHER NOTE ON CHOPINES.\nThe following reprint from the Illustrations of Shakespeare\nand of Ancient Manneis \" by Francis Douce, will be of\ninterest to our readers, as giving further information about\nthese high-soled boots which, in earlier days, played so impor-\ntant a part in the actor ' s costume. & & &\nFor by the Greek tragedy-actors such shoes were worn to\nadd to the dignity of their presence, and, by increasing their\nheight, to render it proportionate with the large head pieces\nand masks and the padded clothes which they assumed.\nIt is, however, chiefly with the \" chopines \" as worn by\nthe Italian ladies that the following extract is concerned.\nHamlet. \" Your ladyship is nearer to heaven, than when I\nsaw you last, by the altitude of a chopine \". & &\njn Raymond's \"Voyage through Italy,\" 1648, i2mo, a work\nwhich is said to have been partly written by Dr Bargrave,\nprebendary of Canterbury, the following curious account of\nthe chopine occurs. \" This place (Venice) is much frequented\nby the walking may poles, I meane the women. They weare\ntheir coats halfe too long for their bodies, being mounted\non their chippeens, (which are as high as a man's leg) they walk between two handmaids,\nmajestickly deliberating of every step they take. This fashion was invented and appropriated\nto the noble Venetian wives, to bee constant to distinguish them from the courtesans, who\ngoe covered in a vaile of white taffety.\" £?\n■<& James Howell, speaking of the Venetian women, says, \" They are low and of small statures\nfor the most part, which makes them to rayse their bodies upon high shoes called chapins,\nwhich gave one occasion to say that the Venetian ladies were made of three things, one\npart of them was wood, meaning their chapins, another part was their apparell, and the\nthird part was a woman; The Senat hath often endeavoured to take away the wearing of\nthose high shoes, but all women are so passionately delighted with this kind of state that\nno law can weane them from it\nSome have supposed that the jealousy of Italian husbands gave rise to the invention\nof the chopine. Lirnojon de Saint Didier, a lively French writer on the republic of Venice,\nmentions a conversation with some of the Doge ' s counsellors of state on this subject, in\nwhich it was remarked that smaller shoes would certainly be found more convenient; which\ninduced one of the counsellors to say, putting on at the same time a very austere look,\n\" pur troppo commodi, pur troppo.\" (i) The first ladies who rejected the use of the chopine\nwere the daughters of the Doge Dominico Contareno, about the year 1670. It was impossible\nto set one foot before the other without leaning on the shouldets of two waiting women,\nand those who used them must have stalked along like boys on stilts. & & &\nThe choppine or some kind of high shoe was occasionally used in England. Bulwer in his\n\"Artificial changling\" p 550, complains of this fashion as a monstrous affectation, and says\nthat his countrywomen therein imitated the Venetian and Persian ladies. In Sandys' s\ntravels, 1615, there is a figure of a Turkish lady with chopines; and it is not improbable\nthat the Venetians might have borrowed them from the Greek islands in the Archipelago.\nWe know that something similar was in use among the ancient Greeks. Xenophon in\nhis ceconomics, introduced the wife of Ischomachus, as having high shoes for the purpose\nof increasing her stature. They are still worn by the women in many parts of Turkey, but\nmore particularly at Aleppo. As the figure of an object is often better than twenty pages\nof description, one is here given from a real Venetian chopine. & &\nFrancis Douce.\n1807.\nJames Howell.\n(!) Meaning, \"Only too convenient!\""}]}, {"article_id": "bm-bmtnaau-1910-04-01-c050", "article_bluemountain": "bmtnaau_1910-04_01#c050", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "177", "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=bmtnaau191004-01.2.19", "titre_corps": "THE GERMANS", "titre_sommaire": "THE GERMANS", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 4563, "texte": "THE GERMANS\nby John Balance.\n'Jphe Germans are always interesting and I find myself always thinking and writing about\nthem. I know them a little; their energy is superb, their sense of economy first class;\nthey waste neither time, space nor money; they understand these three things. In one\nthing only do they forget to use economy and in that thing they run riot, become spend-\nthrifts and are altogether quite unseemly. This is when they attempt to create works of\nart: then they become really dangerous. Their practical cities that they build can do no\none harm and do themselves much good. In like manner their mighty ships about which\nwe in England pretend to be so frightened; their army,... all these could do no one harm.\nThere is only one point in which the Germans are really dangerous;... that is in their art.\nj5? One of the men that England can most fear is Dr Richard Strauss. 45? 45?\n& Dr Richard Strauss is not an artist; he is a practical German who would have very well\nemployed his energy in making engines for war but who is horribly employed in making\npeaceful music. The reader must correct me if I am wrong in imagining that the Fine Arts\nare created in honour of the Goddess of Peace. Some how or other I remember the phrase,\n44 the Arts of War or Peace?z? &? ?2? & 45? & £? jS?\n45? Now, instead of being of any value to us in a state of peace, Dr Richard Strauss's 44 Elektra\"\nshould be played by the military band when the Germans set out on their next campaign.\nI defy anyone to stand up against it; it would be overwhelming. The good honest European\nor American soldiers would be mowed down by it with more effect than with a thousand\nMaxim guns; even the Asiatic would tremble as once he did before those horrible masks\nwhich the Japanese invented to frighten the enemy; it is just such another thing as those\nhorrible masks. 4s?&?£?4s?jg?&?j&4&<£?j£?\n45? For example, conceive the sound of drums beaten with rods and of triangles hurled at\ngongs. Both these 44 effects\" the German Doctor has introduced into his \" Elektra \". The\nsound of every animal Is also reproduced; the cracking of whips on the backs of slaves, the\nshrieks of the tortured, the blows of a hatchet upon human flesh, all these noises belch\nout from the orchestra, the orchestra of Strauss,.... and cause the beholder at the Opera\nno fear whatever. But think what they might be on the field of battle I jS? 45? j£?\nj£? Of course Strauss believes that his sounds strike terror, but I ask him for one evening,\ninstead of looking at his score, to turn his eyes towards the audience. He will find them\nshivering with pleasure. What a wise man you are, Doctor, not to have anticipated all this\nbefore you began! You tell yourself that you are moving your audience as in the old days\nAeschylus moved his audience, but you forget that the conditions are quite different. All\nyou do is to amaze and to amuse. Nobody was ever anything but amused or amazed by\nthe comic entertainer who gives imitations of natural sounds. I remember a man who used to be\nable to imitate a pig by shutting one eye and blowing out of one nostril. He brought the house\ndown just as you probably will this year at Covent Garden. It is just a trick like anything\nelse, even as all art is a trick or as eating your breakfast is a trick; but a trick should be\ncharmingly done, and should be recognised as a trick, done stylishly. jg? £? 45?\nI could almost swear, judging from 44 Elektra, \" that you bolt your food, Doctor; that\nyou eat alone, that you grumble that the food is cold while worrying about these life\nproblems which really do not concern you and which you are quite unable to solve.\n45? It is only when a man bolts his food that he returns to the Murder of Agamemnon as a\ntheme upon which to write a modern opera. Now what the murder of Agamemnon has to\ndo with you, Doctor, God only knows. You know perfectly well that it has nothing to do\nwith anybody today. I grant you that it is a theme for a military band and it is all the\nmore strange that His Imperial Highness the German Emperor is so critical about your\nmusic, for it seems the very thing for him ! He is the one man on earth who could put it to\nits right use. Perhaps he fears that it would occupy so many fighting men ' s time that\nthere would be none over to do the shooting, but I dare say you could settle that be-\ntween you. 45?jg?jg?4g?£?45?45?jg?4(?j&\njg? By the bye, Doctor, did yqu ever hear about Plain Song jg? 45? j& 45?\n& Di. Richaid\nStrauss.\nSome of his\n\" Effects. \" &\n& The comic\nEntertainei.\nA Question. *£?"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c051", "article_bluemountain": "bmtnaau_1910-04_01#c051", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "image_debut": 40, "image_fin": 40, "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=bmtnaau191004-01.2.20", "titre_corps": "A NOTE ON \"GREAT MEN\"", "titre_sommaire": "A NOTE ON \"GREAT MEN\"", "signature_source": "Rudolf Schmerz", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 4516, "texte": "A NOTE ON \"GREAT MEN\"\nby Rudolf Schmerz.\n\\yhat is it which distinguishes a great man ? I am always wanting to see a great man,\nbut somehow very few are to be found. Is a great writer a great man? Can he be a great\nwriter unless he is a great man ? It has never been ciearly stated what constitutes a great man\nand I do not propose to attempt the solution of the problem here. But I have been set\nthinking about all this by reading about M. Maeterlinck. £? & & & &\nHe writes for the theatre, although, so far as I know, he has no special friendship for\nthe theatre I mean this poor old dilapidated modern theatre and I am a little\nbit surprised at this. To embrace the theatre for what it is or to reproach the theatre for\nwhat it is not, either of these attitudes denotes affection for it; but to treat it with indif-\nference seems to me unworthy in a man who uses the theatre for his own purposes.\n& Again, the theatre concerns itself with ceremony. The essence of the theatre is ceremony,\nyet one finds M. Maeterlinck frightened to death of ceremony. He writes to a friend in\nBrussels who has invited him to dinner that he will accept 44 On condition that you receive\nme with absolute simplicity. Every sort of ceremony dismaj s me; I am a peasant\".\nThis is all the more curious because we know that if there is a thing that pleases a\npeasant it is ceremony; if there is a thing which pleases the open=>alr man it is ceremony.\nAs for the theatre, they adore it; so M. Maeterlinck cannot be a peasant because he has\nthe whole country side against him on this score. The peasants are by no means dismayed\nby the theatre or by the village procession or by the courteous and distinguished gathe-\nrings in which they delight. Nothing that I can think of can be more ceremonious and\nshow a better sense of fine ceremony than fie peasant. Thus this claiming to be a peasant on\nM. Maeterlinck's part is a little affectation. Perhaps it is also affectation, this pretended\ndisregard for the theatre.\n& And M. Maeterlinck pretends to hate interviews. Writing to a friend he says, 44 / be~\nseech you in all sincerity, in all sincerity, if you can prevent the interviews of which you\nspeak, for the love of God do it I I begin to be frightfully weary of it all. Yesterday, while\nI was dining, two reporters tumbled into my soup\". & & & & &\nNow for my part I can think of nothing nicer than to spend half an hour conversing with\ntwo gentlemen who have undertaken the very difficult task of writing reviews for a\njournal.... reviews of the great, reviews of the middle sized, and reviews of the small\nand should I happen to be at dinner when an interviewer called on me what could be a\ngreater pleasure for me than to offer him a seat at my table ? There is always something\nto be said to those good fellows and if one does not speak of symbolism to children they\nare none the less welcome at the table. &\n& I wonder If a really great man would have written about ceremony and interviewers as\nM.Maeterlinck has done? I am almost of the opinion that had Socrates let himself get into\nthe position of M. Maeterlinck by writing plays appealing to the public at large he would\nhave received interviewers without grumbling and would have known exactly what to say\nto them. There are many people who object to receiving interviewers, but if it is conside-\nred for a moment, what is there against the interviewer? What awful crime has he com-\nmitted that he is to be treated like an outcast ? On the other hand we find that all the\ngreat men do not treat this excellent servant of the public in this way. For instance there\nis Walt Whitman and there is Mark Twain, and neither has manifested an unhealthy fear\nof the interviewer, and yet I should say that Walt Whitman was far more of a peasant\nthan Maeterlinck, and a real adorer of the theatre & ■£? &\n& Although M. Maeterlinck has set me thinking as to what a great man might be, I cannot\ncome anywhere nearer by thinking of his attitude towards those two things, the theatre\nand ceremony. He does not help me to a conclusion. <& & & &\n& In his writings he aims to be simple; in his life he is affected while he continues to lay\nsuch stress upon being a simple peasant who hates ceremony and Ignores the theatre; for,\nwhile he professes this hatred and this indifference, he yet makes a reputation and a fat\nincome from the theatre, and strives year after year to write more, not less, actable plays.\nM. Maeterlinck.\nHis fear of\nce lemony. &\n& And of\ninietviews.\n& Some\ncomparisons."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c052", "article_bluemountain": "bmtnaau_1910-04_01#c052", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 41, "image_fin": 41, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.21", "titre_corps": "ART AND THE JOY OF LIFE", "titre_sommaire": "ART AND THE JOY OF LIFE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 4360, "texte": "ART AND THE JOY OF LIFE\nby Gordon Craig.\nthis heading an excelient article appeared in 44 The Times\" two days after the\nLondon production of Mr Galsworthy's drama 44 Justice The article was shortly followed\nby an admirable note by Sir H. Beerbohm Tree. The writer of the article begs our artists\nto \" give us a touch of the joie de vivre \" and is puzzled to understand how it is that\nthis joie is absent from our art.\nI have read his carefully written article carefully, it is excellently done; it Is very\ntolerantly and very clearly written; he tries to find excuses for the artist, and he finds\nplenty, but they are the wrong ones. In fact excuses are not needed. Explanation he cannot\ngive because he is in a puzzled condition. He cannot understand why the artists of today\navoid the martyrdom which all artists who have expressed true joie de vivre have\nundergone at the hands of the English public and critics and public servants. <£>\nI have not the pleasure of knowing Mr Galsworthy' s work; but that he cautiously avoids\nthe path taken by Shelley, William Blake, Keats, Byron and Chatterton is not surprising. 1\nam not writing a second 44 Book of Martyrs \" or I should complete the list, with full details\nadded of each individual torture, but readers of this note will easily call to mind the\nindignities which these men whom I have named were called upon to suffer in the cause\nof the Joy of Life.^\n& The writer in 44 The Times \" is none the less right when he says that 44 art that does\n44 not express the Joy of Life in some way, with some exultation of laughter or tears, is not\n44 art at all, and in sacrificing everything to truth, tells a lie.\" 3 have noticed that most of\nthe writers in \"The Mask\" have said this again and again. <£?\n& But what would you have in England ? England, the freshest sweetest land\non earth is the victim of Fog. The very buttercups and daisies themselves are dying out,\nfor nobody notices them. Love may only be whispered of In bated breath. God may only\nbe worshipped by white bearded men, and women, in churches; youth may not express\nitself openly until it becomes age; where then can the joie de vivre come from ? £?\nThe Joy of Life has a joyous way of expressing itself, but in England it may only express\nitself one way,.... sadly. 44 The Times \" has helped us into this condition, for it and many\nother journals have sided with the gloomy and the aged, and whenever a rash young lover\nof life has leapt to his feet and begun to dance Bacchic dances 44 The Times \" and the others\nhave instantly plotted to destroy him. & &\nIn London today there are living many artists who are possessed with this Joy of Life\nand whose work is full of it, and yet44 The Times \" seems to be ignorant of the fact. I know\nthe names of these men and will be only too happy to inform \"The Times\" on the point any\ntime it may condescend to enquire.\nThey answer to the description given by the writer of the article; they are not shy, they\nare entirely at their ease, they dislike no one, they are not on their guard. They create\nwonderful works of art and all but a few people detest them heartily for not giving them\nwarning.\njg? If Shakespeare or Aristophanes were living in London today and were to write \"Measure\nfor Measure \", 44 King Lear \", 44 Othello \", or that famous Greek satire on Votes for Women,\n*\nLondon would manage to be rid of these writers in less than six months. Neither would\nfind a publisher who would dare to print, neither would be able to produce his play except\nat a Sunday evening private performance. &\nI have never been in favour of the removal of the Censor in Modern London because his\nremoval would not remove the prejudice against the beauty of life which London today is\npleased to call the immorality of life. & & & & &\nThere is only one solution to all this if you want the joie de vivre to return in Art. You\nmust accept the young people and you must be glad of their courage and encourage it; you\nmust accept their blunders, their stupidity, their lack of caution, and you must win their\nconfidence by a nobler attitude towards their superb virtues and their lamentable sins; for\nit is only the young men and women who can alter this state of gloom, it is only they who\ncan bring you once more the Joy of Life,\nAn excellent\narticle. &\nThe victim of\nFog.\nSome joyous\naitists. &\nThe solution, jg?"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c053", "article_bluemountain": "bmtnaau_1910-04_01#c053", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "185", "image_debut": 42, "image_fin": 47, "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=bmtnaau191004-01.2.22", "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": 42, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 4253, "texte": "BOOK REVIEWS\n\nFLA YS, ACTING AND MUSIC by\nArthur Symons. Constable. net.\n'\"phis book of critical essays on Plays, Acting\nand Music contains much which was inclu-\nded in a former volume but also much that\nis new. We welcome it as we ever do Mr\nArthur Symon ' s work, not only for the fine\nand rhythmic prose in which he expresses\nhimself or for the keen delight in beauty\nwith which all his work is charged, but\nbecause he is always the friend of the theatre;\nand, though it is certain that had he had the\nopportunity for closer connection with it he\nwould have come to different conclusions,\nhe is yet often very sweet in his way of\nwriting about it.\nBesides, whether one agrees with all his\nopinions or not one is bound to listen to Mr\nSymon' s criticism because one knows that\nit is a poet who is speaking; and it is this\nfact which differentiates him from some of\nthe famous critics of the day. &\nThe book Is divided into three sections,\non \"Plays and Acting\", on \"Drama\" and on\n44 Music\" and includes studies of Sarah\nBernhardt, Eleonora Duse, Yvette Guilbert,\nThe Question of the Censorship, The Speaking\nof Verse, The Sicilian Actors and Technique\nand the Artist.\nBut there are two subjects upon which the\nauthor touches which are of especial interest\nto us, and these are 4 Masks' and 4 Mario-\nnettes '.\nIn relation to the former what he says is\nsuggestive rather than explicit; indeed, we\ndo not think Mr Symons is aware himself to\nwhat extent he is advocating the return of\nthe mask to the theatre when he praises\nthat which, if not a mask, has the qualities\nof a mask, and falls short of perfection only\nin so far as it has not attained to the per-\nfection of the real mask. & &\nThis is what he writes of Coquelin Aine;\n44 In 4Tartuffe' Coquelin stands motionless\n44 for five minutes at a time, without change\n44 of expression, and yet nothing could be\n44 more expressive than his face at those\n44 moments It is that power of\n44 sustaining an expression unchanged, and\n44 yet always full of living significance, that\n441 find in Coquelin.lt is a part of his eco-\n-44 nomy of the artist. The iniproviser disdains\n44 economy as much as the artist cherishes it.\n44 Coquelin has some half-dozen complete va-\n-44 riations of the face he has composed for\n44 Tartuffe; no more than that, with no\n44 insignificance of expression thrown away:\n44 but each variation is a new point of view,\n44 from which we see the whole character. \"\nAnd he traces this same mask-like quality in\nIrving when, describing his representation\nof Coriolanus he writes, 44 Restrained in\n44 scorn, he kept throughout an attitude of\n44 disdainful pride, the face, the eyes, set,\n44 while only his mouth twitched, seeming to\n44 chew his words, with the disgust of one\n44 swallowing a painful morsel.\" And again,\nas Mephistopheles.44The image with its solemn\n44 mask lives in a kind of galvanic life of Its\n44 own, seductively, with some mocking sug-\n-44 gestion of his 4 cousin the snake \": and yet\nonce more relating to a performance of\nMarionettes, he asserts that 44 Losing, as we\n44 do, something of the particularity of these\n44 painted faces, we are able to enjoy all the\n44 better what it is certainly important we\n44 should appreciate, if we are truly to ap=\n44 preciate our puppets. This is nothing less\n44 than a fantastic, yet a direct, return, to\n44 the masks of the Greeks: that learned\n44 artifice by which tragedy and comedy were\n44 assisted in speaking to the world with the\n44 universal voice, by this deliberate genera-\n-44 lislng of emotion. It will be a lesson to\n44 some of our modern notions; and it may be\n44 instructive for us to consider that we could\n44 not give a play of Ibsen's to marionettes,\n44 but that we could give them the 44 Aga-\n-44 memnon\".\n& How interesting it is to find Mr Symons\nexpressing such views as these, and yet more\nso to find him writing as he does in his\n44 Apology for Puppets\" on the subject of the\nmarionette. On the very first page of this\nessay he strikes at the roots of one of the\nworst and most growing evils of the modern\n*\ntheatre, the personality of the actor which\nrenders it impossible to bring a work of art\nupon the stage. JZ? &\n44 After seeing a ballet, a farce, and the\n44 fragment of an opera performed by the"}, {"page_pdf": 43, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4506, "texte": "at the Costanzi Theatre in\n44 Rome \" he writes, 441 am inclined to ask\nmyself why we require the intervention\n44 of any less perfect medium between the\n44 meaning of a piece, as the author conceived\n44 it, and that other meaning which it derives\n44 from our reception of it. & &\n\" The living actor, even when he conde\n44 cends to subordinate himself to the\n*4 requirements of pantomime, has always\n44 what he is proud to call his tempe*\n44 rament; in other words, so much personal\n44 caprice, which for the most part means\n44 wilful misunderstanding; and in seeing his\n44 acting you have to consider this intrusive\n44 little personality of his as well as the\n44 author's.\" & &\nAs he is painted, so will he smile;\nas the wires lift or lower his hands,\nso will his gestures be; and he will\ndance when his legs are set in motion.\n44 The marionette may be relied upon. He will\n44 respond to an indication without reserve\n44 or revolt; an error on his part (we are all\n44 human) will certainly be the fault of the au-\n-44 thor; he can be trained to perfection... Abo*\n44 all, for we need it above all, let the ma-\n-44 rionettes remind us that the art of the\n44 theatre should be beautiful first, and then\n44 indeed what you will afterwards. Gesture\n44 on the stage is the equivalent of rhythm\n44 in verse, and it can convey, as a perfect\n44 rhythm should, not a little of the inner\n44 meaning of words, a meaning perhaps\n44 more latent in things'\nDoes not gesture indeed make emotion,\n44 more certainly and more immediately than\n44 emotion makes gesture? You may feel that\n„ you may suppress emotion: but assume a\n44 smile, lifted eyebrows, a clenched fist, and\n4' it is impossible for you not to assume\n44 along with the gesture, if but for a mo-\n-44 ment, the emotion to which that gesture\n44 corresponds. & & &\nIn our marionettes, then, we get perso*\n44 nified gesture and the gesture, like all\n44 other forms of emotion, generalised. The\n44 appeal in what seems to you these childish\n44 manoeuvres is to a finer, because to a more\n44 intimately poetic, sense of things than the\n44 merely rationalistic appeal of very modern\n44 plays. If at times we laugh, it is with won*\n44 der at seeing humanity so gay, heroic and\n44 untiring. There is the romantic suggestion\n44 of magic in this beauty. & & JZ?\n44 Maeterlinck wrote on the title=page of one\n44 of his volumes 44 Drames pour marionettes,\"\n44 no doubt to intimate his sense of the sym=>\n* bolic value, in the interpretation of a pror\n*4 found inner meaning of that external nullity\n44 which the marionette by its very nature\n44 emphasises. And so I find my puppets,\n44 where the extremes meet, ready to inter*\n44 pret not only the 4\nIn designing this cover what has Mr.\nGraham Robertson been guilty of ? First he\nmay be said to have filched L. 3.0.0. from the\npocket of a professional book-cover designer\nand perhaps a man of talent, for if Mr.\nRobertson had not been so ready to come\nforward with a pot boiler Mr. the young\nprofessional book-cover designer, would have\nto have made if, and being for Mr. John\nLane, whose book covers were once so\ncharming and distinguished, the designer\nwould have had a chance. & &\n£? Then the second thing that Mr. Graham\nRobertson is guilty of Is actually copying\nthe type of book cover which the other young\nfellow would have been sure to have avoided.\nThe cloth is a sickly kind of bluegreen.\nThe third thing that Mr. Robertson does\nis to forget to apologize for it. He lets the\nawful thing go out to the public without a\nword of regret. &\nHeaven knows how many thousands a\nyear Mr. Graham Robertson is credited with,\nbut it seems hardly any excuse for acting in\nsuch a manner.\nJZ? And he seems to be setting a fashion\nHe recently had a sort of fairy play on in\nLondon In which amateurs were performing\ninstead of professionals. This may be all right\nfor the well established professional actors\nwho can take care of themselves, but it Is a\nvery bad precedent to establish where the\npoorer members are concerned. Thus the ex-\npert is pushed aside and the amateur flouri-\nshes. And the worst of it is that the amate-\nurs are rather proud of themselves for having\nto do this, and if one of them happens to be a\nmillionaire he is immensely proud of himself,\nexpecially, it seems, if he can do somebody\nelse out of a job. & & &\nCan Mr. Robertson be ignorant of the\nfact that what we say is literally the truth I\nCan he be aware that some young fellow to\nwhom L. 3,0.0 is a very Important matter has\nhad that L. 3.0.0 taken away from him by a\nman who has possibly from L. 10,000.0.0. to\nL. 20,000.0.0 a year ? It matters not whether\nRobertson is paid or not:... the other fellow\nisn't."}, {"page_pdf": 45, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 4232, "texte": "4* If Mr, Robertson had done an exquisite\ncover all would be well. The author would\nhave been done credit to; the publishers aiso;\nthe public would have had a beautiful design\nfor their money; the young man would have\nhad a high standard to set him an example;\nand Mr. Robertson would have had some\nsatisfaction. As it is everybody is the loser,\nand none loses so much as Mr. Robertson.\n& Mr. Robertson approves of the principle\nof pot boiling and thereby loses the esteem\nof artists. &&&?&£?\n\nTHE MAGNIFICENT MUMMER by\nHorace Wyndham. F. V. White and Co.\n//- net.\n'Jphis little book of \" Reflections on the\nTwentieth Century Stage \" contains chap-\nters on the Actor-Manager, Theatrical Jour-\nnalism, Theatrical Novelists, Musical Comedy,\nCritics and Criticism, and various other\nsubjects relating to the modern theatre.\nWe have already in earlier numbers of\nThe Mask drawn attention to the absurd and\ntrivial paragraphs of \" uninforming infor-\nmation \" about actors and actresses which\nfill the columns of theatrical and society\npapers and are glad to see Mr Wyndham\nholding this same folly up to ridicule. &\n& We wish that more actors took the\nsensible view which he quotes as expressed\nby Mr H.B. Irving, \"An actor should never\n\" let himself be beguiled into the belief that\n\" society, generally speaking, is seriously\n\" interested In what he does but we fear\nthat the majority hold an entirely opposite\nview &\nThis seems to us a pity, for as in \"Alice\nin Wonderland \" the Duchess ' s baby \" made\na dreadfully ugly child \" but \" a rather\nhandsome pig \", so, vice versa, a very good\nactor may make a rather poor society man.\nIndeed, it was a discriminating member of\nthe theatrical profession who said, \" of late\n\" years it has been the aim and object of cer-\n\" tain actors to get into society..... once let\n\" society get the upper hand, and the actor\n\" develops into a snob of the most pronoun-\n\" ced order.\"\nThe clever actor, however, knows how to\navoid both extremes; he is just as simple as\nany other artist, and wins respect for the art\nwith which he is associated by being entirely\nunassuming off the stage. £? &\n\nA JUSTIFICATION OF THE\nCENSORSHIP OF PLAYS. Heine-\nmann. 6d\n'Jphis is a poor pamphlet by an anonymous\nwriter but is presented to us by Mr\nGalsworthy in a \" Prefatory Note \" in which\nhe declares it to be so far as he can discern,\n\"flawless in logic\" & &\nWe could point on page 17 to at least one\ngrave flaw in the mental attitude of a writer\nwho can see any analogy between Politics\nand the Drama and can question whether\nthere exist \" essential difference between\nthe Drama and this branch of the public\nservice\". We should have thought was there\nwas no question. &\nHowever, now the Censorship discussion Is\nover, the matter settled, and this pamphlet,\nwith much other similar matter called forth\nby the controversy, will sink into that\nquiet oblivion from which only association\nwith Mr Galsworthy's name lifted it, but\nwhich it well deserves..\n\nMAKESHIFTS and Other Short Plays, by\nGertrude Robins. Werner Laurie. 2/6 net.\nlittle volume contains five short plays\nsuitable as \" Curtain-raisers \", of which\nthe first, which gives its name to the book,\nhas already been successfully played at the\nCoronet Theatre. Miss Robins displays obser-\nvation, versatility, and humour, and this\ncollection will doubtless be welcomed by\nmany amateurs on the look-out for short\nplays for which not too many actors are\nrequired. & & &\n\nTHE VALLEY OF SHADO WS by Francis\nGrierson. Constable. 6j- net.\njy|r Grierson is already known to us as the\nauthor of \" Modern Mysticism \" and \"The\nCeltic Temperament\" of which latter book\na poet once wrote, \" He has in his better\nmoments that most rare gift of casting cer-\ntain shafts, or a light, simple and decisive,\nupon some of the most difficult, obscure and\nunlooked for points in Art, Morality and\nPsychology, \" adding that Mr Grierson ' s\nessays are among the most subtle and the\nmost substantial known to him.\nJZ? In the present volume the author has\nbroken fresh ground, turning to Illinois in the\ndays of Abraham Lincoln and throwing a new\nlight upon American Puritanism, lending\nromance to It by the charm and distinction\nof his style.\nBut the chapter which stands out for us"}, {"page_pdf": 46, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 4514, "texte": "as the most interesting is that descriptive of\nthe Dance of Death,... one of those strange\nceremonies found among all primitive peoples\nand yet surviving in certain races; ceremonials\nwhich correspond with those religious rites\nin which the theatre in all lands has had\nits origin.\n& 44A11 the preparations\" writes Mr Grierson,\n44 had been made beforehand, and things\n44 went as by clockwork. Far out on the plains\n44 a long row of flickering lights could be seen.\n44 At last the Indians arrived at the dancing\n44 grounds, carrying small torches made of\n44 pine knots, and gathered in a huge circle,\n44 without noise or confusion, as if each Indian\n44 had rehearsed the scene scores of times and\n44 knew the exact position to take.\" Disguised\nas wolves, bears and buffalos, groups of In-\ndians then executed a strange rhythmic dan-\n-4 4 ce, moving in perfect order three steps\nforward, then one step in retreat, repeating\nthis again and again all the animals\nkeeping silence.\" And, he adds, 44 All who\nhad eyes could understand for themselves.\"\nPerfect preparation, perfect order, perfect\nsilence; these threo things characterised the\nperformance,... a performance so direct in\nits appeal,so complete in its symbolism that\nwithout any use of the spoken word 44 all\nwho had eyes could understand for them-\nselves\" . & & &\n\nHISTORY OF THEATRICAL ART by Dr\nKarl Mantzius, Duckworth.\nlatest volume of Karl Mantzius's History\nof Theatrical Art is as good as his first,\nalthough the great actors of the i6th century\nA. D. are hardly so interesting a topic as the\ngreat dramatists of the fourth century B. C.\nThe first part of the book is more or less\nnew to English readers. & &\nIt is a queer story, this of the German\nactors and their travelling companies, and\nthere is something very interesting about It.\n£* Ekhof,.... Schroeder,... Iffland; their\ncareers are undoubtedly of interest, and it is\nonly the quarrels between the actors and\nactresses, of which there are plenty recorded\nin the three lives, which are uninteresting.\nLack of money and conceit seem to have\ngiven rise to most of these quarrels and the\nsame story goes on and on right through the\nhistory of the French and English schools of\nthis period. <&&&<&\n& Adrienne Lecouvre, Betterton, Cibber,\nGarrick, it is the same thing; one long inces-\nsant squabble about nothing. One wonders\nwhether at some later date the record of\nSlenr3' Irving' s period will contain the same\nidiotic history of differences. We hardly think\nso, at least not on the score of money, for\nIrving was shrewder than all these other\nactors in that, before employing anybody, he\nfirst purchased them. The necessity for this\nis not creditable to those who enter the\nprofession but it is none the less horribly\ntrue.\n& There was no training school for the\nactors who wished to enter Irving's theatre\nand therefore any beginner wishing to enter\nIrving's school would have to be prepared to\nput himself entirely at the mercy of Irving's\nmethod and perhaps six out of three hundred\nof those that must have been with Irving\ncould have understood anything of what that\nmethod stood for. &\nMr Granville Barker has been saying lately\nthat Irving left no school of acting behind\nhim. If this is the case it was the fault of\nthe pupils, for Irving' s teaching was purely\nby suggestion and presupposed receptive\nability. Even so, for those who take the\ntrouble to enquire, it can be ascertained that\na school has been created by this actor.\nEkhof, Schroeder and Iffland certainly never\nleft such schools; Betterton, Cibber, Garrick?\nwe doubt if they did either, and this book\nby Dr Mantzius makes it rather plainer. In\nfact they belonged to a school, the old-\nfashioned school, from which they broke away\nnow and then in timid little bursts, whereas\nIrving may one day be recognised as having,\n✓\nby suggestion, been instrumental in founding\nthe great school of acting of the future.\n\nWILLIAM SHAKESPEARE by\nDr Wallace, Harper's Magazine\nMarch 1910,\nJn our opinion the Shakespeare Discoveries\nmade by Dr Wallace and given to us for\nthe first time In Harper's Monthly Magazine\nare interesting because, as the discoverer\nsays, 44 the documents have lifted the veil\n44 for a moment and shown us a man among\n44 men, whom we call poet and seer and know\n44 as friend \". But at the same time we feel\nthat it needed a poet to make the intro-\nduction, and Dr Wallace Is not even a poet\nin prose.\nThe occasion was worthy of something\nless drily sentimental and more\nWe think that had we been clever enough"}, {"page_pdf": 47, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 2427, "texte": "to have discovered these documents we should\nhave felt impelled before publishing them to\nlay the facts before the first English poet of\nour day as being the man whom it would\nmost delight to get the first glimpse of the\nmaster poet, and as also being the one man\nmost surely entitled to that first glimpse.^?\nImagine the pleasure which Keats or\nSwinburne would have received from such a\nvisit! Either of these poets would have sung\nfor joy, and we should thereby have had the\nnews heralded by the right man in the\nright way. &\nDr Wallace's legal right to introduce the\ndiscovery is indisputable, but the introduction\nis not up to the man whose hand he offers\nus. Only poetry could have done full justice\nto the occasion, and so, alas, the reception\nto which we were invited may be said to have\ngone off with a fizzle.\nIf anyone else discovers anything as inte-\nresting about Shakespeare we hope he\nwill introduce it to the world with just a\nlittle more dash. None the less, Dr Wallace\ncommands our admiration because of his\nextraordinary capacity for taking so much\npains to find these documents, and he can\njustly feel as pleased as Punch about it all.\n\nMAURICE MAETERLINCK par Gerard\nHarry &\nCAMILLE LEMONNIBR par Maurice des\nOmbiaux. Charles Carrington. Brussels.\nFrs 2, 50.\njfyjr Charles Carrington is to be congratula-\nted on his happy idea in Initiating this\nseries of monographs on the French writers\nof Belgium, of which series the above-named\nvolumes are the two first to be published.\nAmong those shortly to follow are studies\nof the life and work of Emile Verhaeren,\nEdmond Pacard, Georges Eckhoud, Albert\nGiraud, and about forty other Belgian writers\nof prose and poetry whom the Editor in his\npreface fells us that he hopes to include in\nthe series. &\n& These monographs will form a valuable\naddition to the libraries of all those interested\nin contemporary European literature, for,\nwith the exception of Maeterlinck, these\nBelgian writers are too little known to\nEnglish readers. Of this last-named writer M.\nGerard Harry gives us an interesting study,\n(i) and both volumes are well printed and il-\nlustrated, and bear the stamp of that affec-\ntionate care and craftsmanship which distin-\nguishes all books issuing from the St. Ca-\ntherine's Press at Bruges and bearing\nMr Carrington's name.\n(1) An article relating to certain passages in this book will be\nfound on pg 178 of the present number of The Mask. Ed:"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c055", "article_bluemountain": "bmtnaau_1910-04_01#c055", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "181", "image_debut": 42, "image_fin": 43, "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=bmtnaau191004-01.2.22.2", "titre_corps": "PLAYS, ACTING AND MUSIC by Arthur Symons", "titre_sommaire": "PLAYS, ACTING AND MUSIC by Arthur Symons", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.42", "debut_caractere": 14, "fin_caractere_exclue": 4253, "texte": "FLA YS, ACTING AND MUSIC by\nArthur Symons. Constable. net.\n'\"phis book of critical essays on Plays, Acting\nand Music contains much which was inclu-\nded in a former volume but also much that\nis new. We welcome it as we ever do Mr\nArthur Symon ' s work, not only for the fine\nand rhythmic prose in which he expresses\nhimself or for the keen delight in beauty\nwith which all his work is charged, but\nbecause he is always the friend of the theatre;\nand, though it is certain that had he had the\nopportunity for closer connection with it he\nwould have come to different conclusions,\nhe is yet often very sweet in his way of\nwriting about it.\nBesides, whether one agrees with all his\nopinions or not one is bound to listen to Mr\nSymon' s criticism because one knows that\nit is a poet who is speaking; and it is this\nfact which differentiates him from some of\nthe famous critics of the day. &\nThe book Is divided into three sections,\non \"Plays and Acting\", on \"Drama\" and on\n44 Music\" and includes studies of Sarah\nBernhardt, Eleonora Duse, Yvette Guilbert,\nThe Question of the Censorship, The Speaking\nof Verse, The Sicilian Actors and Technique\nand the Artist.\nBut there are two subjects upon which the\nauthor touches which are of especial interest\nto us, and these are 4 Masks' and 4 Mario-\nnettes '.\nIn relation to the former what he says is\nsuggestive rather than explicit; indeed, we\ndo not think Mr Symons is aware himself to\nwhat extent he is advocating the return of\nthe mask to the theatre when he praises\nthat which, if not a mask, has the qualities\nof a mask, and falls short of perfection only\nin so far as it has not attained to the per-\nfection of the real mask. & &\nThis is what he writes of Coquelin Aine;\n44 In 4Tartuffe' Coquelin stands motionless\n44 for five minutes at a time, without change\n44 of expression, and yet nothing could be\n44 more expressive than his face at those\n44 moments It is that power of\n44 sustaining an expression unchanged, and\n44 yet always full of living significance, that\n441 find in Coquelin.lt is a part of his eco-\n-44 nomy of the artist. The iniproviser disdains\n44 economy as much as the artist cherishes it.\n44 Coquelin has some half-dozen complete va-\n-44 riations of the face he has composed for\n44 Tartuffe; no more than that, with no\n44 insignificance of expression thrown away:\n44 but each variation is a new point of view,\n44 from which we see the whole character. \"\nAnd he traces this same mask-like quality in\nIrving when, describing his representation\nof Coriolanus he writes, 44 Restrained in\n44 scorn, he kept throughout an attitude of\n44 disdainful pride, the face, the eyes, set,\n44 while only his mouth twitched, seeming to\n44 chew his words, with the disgust of one\n44 swallowing a painful morsel.\" And again,\nas Mephistopheles.44The image with its solemn\n44 mask lives in a kind of galvanic life of Its\n44 own, seductively, with some mocking sug-\n-44 gestion of his 4 cousin the snake \": and yet\nonce more relating to a performance of\nMarionettes, he asserts that 44 Losing, as we\n44 do, something of the particularity of these\n44 painted faces, we are able to enjoy all the\n44 better what it is certainly important we\n44 should appreciate, if we are truly to ap=\n44 preciate our puppets. This is nothing less\n44 than a fantastic, yet a direct, return, to\n44 the masks of the Greeks: that learned\n44 artifice by which tragedy and comedy were\n44 assisted in speaking to the world with the\n44 universal voice, by this deliberate genera-\n-44 lislng of emotion. It will be a lesson to\n44 some of our modern notions; and it may be\n44 instructive for us to consider that we could\n44 not give a play of Ibsen's to marionettes,\n44 but that we could give them the 44 Aga-\n-44 memnon\".\n& How interesting it is to find Mr Symons\nexpressing such views as these, and yet more\nso to find him writing as he does in his\n44 Apology for Puppets\" on the subject of the\nmarionette. On the very first page of this\nessay he strikes at the roots of one of the\nworst and most growing evils of the modern\n*\ntheatre, the personality of the actor which\nrenders it impossible to bring a work of art\nupon the stage. JZ? &\n44 After seeing a ballet, a farce, and the\n44 fragment of an opera performed by the"}, {"page_pdf": 43, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 3410, "texte": "at the Costanzi Theatre in\n44 Rome \" he writes, 441 am inclined to ask\nmyself why we require the intervention\n44 of any less perfect medium between the\n44 meaning of a piece, as the author conceived\n44 it, and that other meaning which it derives\n44 from our reception of it. & &\n\" The living actor, even when he conde\n44 cends to subordinate himself to the\n*4 requirements of pantomime, has always\n44 what he is proud to call his tempe*\n44 rament; in other words, so much personal\n44 caprice, which for the most part means\n44 wilful misunderstanding; and in seeing his\n44 acting you have to consider this intrusive\n44 little personality of his as well as the\n44 author's.\" & &\nAs he is painted, so will he smile;\nas the wires lift or lower his hands,\nso will his gestures be; and he will\ndance when his legs are set in motion.\n44 The marionette may be relied upon. He will\n44 respond to an indication without reserve\n44 or revolt; an error on his part (we are all\n44 human) will certainly be the fault of the au-\n-44 thor; he can be trained to perfection... Abo*\n44 all, for we need it above all, let the ma-\n-44 rionettes remind us that the art of the\n44 theatre should be beautiful first, and then\n44 indeed what you will afterwards. Gesture\n44 on the stage is the equivalent of rhythm\n44 in verse, and it can convey, as a perfect\n44 rhythm should, not a little of the inner\n44 meaning of words, a meaning perhaps\n44 more latent in things'\nDoes not gesture indeed make emotion,\n44 more certainly and more immediately than\n44 emotion makes gesture? You may feel that\n„ you may suppress emotion: but assume a\n44 smile, lifted eyebrows, a clenched fist, and\n4' it is impossible for you not to assume\n44 along with the gesture, if but for a mo-\n-44 ment, the emotion to which that gesture\n44 corresponds. & & &\nIn our marionettes, then, we get perso*\n44 nified gesture and the gesture, like all\n44 other forms of emotion, generalised. The\n44 appeal in what seems to you these childish\n44 manoeuvres is to a finer, because to a more\n44 intimately poetic, sense of things than the\n44 merely rationalistic appeal of very modern\n44 plays. If at times we laugh, it is with won*\n44 der at seeing humanity so gay, heroic and\n44 untiring. There is the romantic suggestion\n44 of magic in this beauty. & & JZ?\n44 Maeterlinck wrote on the title=page of one\n44 of his volumes 44 Drames pour marionettes,\"\n44 no doubt to intimate his sense of the sym=>\n* bolic value, in the interpretation of a pror\n*4 found inner meaning of that external nullity\n44 which the marionette by its very nature\n44 emphasises. And so I find my puppets,\n44 where the extremes meet, ready to inter*\n44 pret not only the 4\nIn designing this cover what has Mr.\nGraham Robertson been guilty of ? First he\nmay be said to have filched L. 3.0.0. from the\npocket of a professional book-cover designer\nand perhaps a man of talent, for if Mr.\nRobertson had not been so ready to come\nforward with a pot boiler Mr. the young\nprofessional book-cover designer, would have\nto have made if, and being for Mr. John\nLane, whose book covers were once so\ncharming and distinguished, the designer\nwould have had a chance. & &\n£? Then the second thing that Mr. Graham\nRobertson is guilty of Is actually copying\nthe type of book cover which the other young\nfellow would have been sure to have avoided.\nThe cloth is a sickly kind of bluegreen.\nThe third thing that Mr. Robertson does\nis to forget to apologize for it. He lets the\nawful thing go out to the public without a\nword of regret. &\nHeaven knows how many thousands a\nyear Mr. Graham Robertson is credited with,\nbut it seems hardly any excuse for acting in\nsuch a manner.\nJZ? And he seems to be setting a fashion\nHe recently had a sort of fairy play on in\nLondon In which amateurs were performing\ninstead of professionals. This may be all right\nfor the well established professional actors\nwho can take care of themselves, but it Is a\nvery bad precedent to establish where the\npoorer members are concerned. Thus the ex-\npert is pushed aside and the amateur flouri-\nshes. And the worst of it is that the amate-\nurs are rather proud of themselves for having\nto do this, and if one of them happens to be a\nmillionaire he is immensely proud of himself,\nexpecially, it seems, if he can do somebody\nelse out of a job. & & &\nCan Mr. Robertson be ignorant of the\nfact that what we say is literally the truth I\nCan he be aware that some young fellow to\nwhom L. 3,0.0 is a very Important matter has\nhad that L. 3.0.0 taken away from him by a\nman who has possibly from L. 10,000.0.0. to\nL. 20,000.0.0 a year ? It matters not whether\nRobertson is paid or not:... the other fellow\nisn't."}, {"page_pdf": 45, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 492, "texte": "4* If Mr, Robertson had done an exquisite\ncover all would be well. The author would\nhave been done credit to; the publishers aiso;\nthe public would have had a beautiful design\nfor their money; the young man would have\nhad a high standard to set him an example;\nand Mr. Robertson would have had some\nsatisfaction. As it is everybody is the loser,\nand none loses so much as Mr. Robertson.\n& Mr. Robertson approves of the principle\nof pot boiling and thereby loses the esteem\nof artists. &&&?&£?"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c058", "article_bluemountain": "bmtnaau_1910-04_01#c058", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "183", "image_debut": 45, "image_fin": 45, "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=bmtnaau191004-01.2.22.5", "titre_corps": "THE MAGNIFICENT MUMMER by Horace Wyndham", "titre_sommaire": "THE MAGNIFICENT MUMMER by Horace Wyndham", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.45", "debut_caractere": 494, "fin_caractere_exclue": 2120, "texte": "THE MAGNIFICENT MUMMER by\nHorace Wyndham. F. V. White and Co.\n//- net.\n'Jphis little book of \" Reflections on the\nTwentieth Century Stage \" contains chap-\nters on the Actor-Manager, Theatrical Jour-\nnalism, Theatrical Novelists, Musical Comedy,\nCritics and Criticism, and various other\nsubjects relating to the modern theatre.\nWe have already in earlier numbers of\nThe Mask drawn attention to the absurd and\ntrivial paragraphs of \" uninforming infor-\nmation \" about actors and actresses which\nfill the columns of theatrical and society\npapers and are glad to see Mr Wyndham\nholding this same folly up to ridicule. &\n& We wish that more actors took the\nsensible view which he quotes as expressed\nby Mr H.B. Irving, \"An actor should never\n\" let himself be beguiled into the belief that\n\" society, generally speaking, is seriously\n\" interested In what he does but we fear\nthat the majority hold an entirely opposite\nview &\nThis seems to us a pity, for as in \"Alice\nin Wonderland \" the Duchess ' s baby \" made\na dreadfully ugly child \" but \" a rather\nhandsome pig \", so, vice versa, a very good\nactor may make a rather poor society man.\nIndeed, it was a discriminating member of\nthe theatrical profession who said, \" of late\n\" years it has been the aim and object of cer-\n\" tain actors to get into society..... once let\n\" society get the upper hand, and the actor\n\" develops into a snob of the most pronoun-\n\" ced order.\"\nThe clever actor, however, knows how to\navoid both extremes; he is just as simple as\nany other artist, and wins respect for the art\nwith which he is associated by being entirely\nunassuming off the stage. £? &"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c059", "article_bluemountain": "bmtnaau_1910-04_01#c059", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "183", "image_debut": 45, "image_fin": 45, "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=bmtnaau191004-01.2.22.6", "titre_corps": "A JUSTIFICATION OF THE CENSORSHIP OF PLAYS", "titre_sommaire": "A JUSTIFICATION OF THE CENSORSHIP OF PLAYS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.45", "debut_caractere": 2122, "fin_caractere_exclue": 2967, "texte": "A JUSTIFICATION OF THE\nCENSORSHIP OF PLAYS. Heine-\nmann. 6d\n'Jphis is a poor pamphlet by an anonymous\nwriter but is presented to us by Mr\nGalsworthy in a \" Prefatory Note \" in which\nhe declares it to be so far as he can discern,\n\"flawless in logic\" & &\nWe could point on page 17 to at least one\ngrave flaw in the mental attitude of a writer\nwho can see any analogy between Politics\nand the Drama and can question whether\nthere exist \" essential difference between\nthe Drama and this branch of the public\nservice\". We should have thought was there\nwas no question. &\nHowever, now the Censorship discussion Is\nover, the matter settled, and this pamphlet,\nwith much other similar matter called forth\nby the controversy, will sink into that\nquiet oblivion from which only association\nwith Mr Galsworthy's name lifted it, but\nwhich it well deserves.."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c060", "article_bluemountain": "bmtnaau_1910-04_01#c060", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "183", "image_debut": 45, "image_fin": 45, "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=bmtnaau191004-01.2.22.7", "titre_corps": "MAKESHIFTS and Other Short Plays, by Gertrude Robins", "titre_sommaire": "MAKESHIFTS and Other Short Plays, by Gertrude Robins", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.45", "debut_caractere": 2969, "fin_caractere_exclue": 3441, "texte": "MAKESHIFTS and Other Short Plays, by\nGertrude Robins. Werner Laurie. 2/6 net.\nlittle volume contains five short plays\nsuitable as \" Curtain-raisers \", of which\nthe first, which gives its name to the book,\nhas already been successfully played at the\nCoronet Theatre. Miss Robins displays obser-\nvation, versatility, and humour, and this\ncollection will doubtless be welcomed by\nmany amateurs on the look-out for short\nplays for which not too many actors are\nrequired. & & &"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c061", "article_bluemountain": "bmtnaau_1910-04_01#c061", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "184", "image_debut": 45, "image_fin": 46, "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=bmtnaau191004-01.2.22.8", "titre_corps": "THE VALLEY OF SHADOWS by Francis Grierson", "titre_sommaire": "THE VALLEY OF SHADOWS by Francis Grierson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.45", "debut_caractere": 3443, "fin_caractere_exclue": 4232, "texte": "THE VALLEY OF SHADO WS by Francis\nGrierson. Constable. 6j- net.\njy|r Grierson is already known to us as the\nauthor of \" Modern Mysticism \" and \"The\nCeltic Temperament\" of which latter book\na poet once wrote, \" He has in his better\nmoments that most rare gift of casting cer-\ntain shafts, or a light, simple and decisive,\nupon some of the most difficult, obscure and\nunlooked for points in Art, Morality and\nPsychology, \" adding that Mr Grierson ' s\nessays are among the most subtle and the\nmost substantial known to him.\nJZ? In the present volume the author has\nbroken fresh ground, turning to Illinois in the\ndays of Abraham Lincoln and throwing a new\nlight upon American Puritanism, lending\nromance to It by the charm and distinction\nof his style.\nBut the chapter which stands out for us"}, {"page_pdf": 46, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 1320, "texte": "as the most interesting is that descriptive of\nthe Dance of Death,... one of those strange\nceremonies found among all primitive peoples\nand yet surviving in certain races; ceremonials\nwhich correspond with those religious rites\nin which the theatre in all lands has had\nits origin.\n& 44A11 the preparations\" writes Mr Grierson,\n44 had been made beforehand, and things\n44 went as by clockwork. Far out on the plains\n44 a long row of flickering lights could be seen.\n44 At last the Indians arrived at the dancing\n44 grounds, carrying small torches made of\n44 pine knots, and gathered in a huge circle,\n44 without noise or confusion, as if each Indian\n44 had rehearsed the scene scores of times and\n44 knew the exact position to take.\" Disguised\nas wolves, bears and buffalos, groups of In-\ndians then executed a strange rhythmic dan-\n-4 4 ce, moving in perfect order three steps\nforward, then one step in retreat, repeating\nthis again and again all the animals\nkeeping silence.\" And, he adds, 44 All who\nhad eyes could understand for themselves.\"\nPerfect preparation, perfect order, perfect\nsilence; these threo things characterised the\nperformance,... a performance so direct in\nits appeal,so complete in its symbolism that\nwithout any use of the spoken word 44 all\nwho had eyes could understand for them-\nselves\" . & & &"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c062", "article_bluemountain": "bmtnaau_1910-04_01#c062", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "184", "page_fin": "184", "image_debut": 46, "image_fin": 46, "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=bmtnaau191004-01.2.22.9", "titre_corps": "HISTORY OF THEATRICAL ART by Dr Karl Mantzius", "titre_sommaire": "HISTORY OF THEATRICAL ART by Dr Karl Mantzius", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.46", "debut_caractere": 1322, "fin_caractere_exclue": 3902, "texte": "HISTORY OF THEATRICAL ART by Dr\nKarl Mantzius, Duckworth.\nlatest volume of Karl Mantzius's History\nof Theatrical Art is as good as his first,\nalthough the great actors of the i6th century\nA. D. are hardly so interesting a topic as the\ngreat dramatists of the fourth century B. C.\nThe first part of the book is more or less\nnew to English readers. & &\nIt is a queer story, this of the German\nactors and their travelling companies, and\nthere is something very interesting about It.\n£* Ekhof,.... Schroeder,... Iffland; their\ncareers are undoubtedly of interest, and it is\nonly the quarrels between the actors and\nactresses, of which there are plenty recorded\nin the three lives, which are uninteresting.\nLack of money and conceit seem to have\ngiven rise to most of these quarrels and the\nsame story goes on and on right through the\nhistory of the French and English schools of\nthis period. <&&&<&\n& Adrienne Lecouvre, Betterton, Cibber,\nGarrick, it is the same thing; one long inces-\nsant squabble about nothing. One wonders\nwhether at some later date the record of\nSlenr3' Irving' s period will contain the same\nidiotic history of differences. We hardly think\nso, at least not on the score of money, for\nIrving was shrewder than all these other\nactors in that, before employing anybody, he\nfirst purchased them. The necessity for this\nis not creditable to those who enter the\nprofession but it is none the less horribly\ntrue.\n& There was no training school for the\nactors who wished to enter Irving's theatre\nand therefore any beginner wishing to enter\nIrving's school would have to be prepared to\nput himself entirely at the mercy of Irving's\nmethod and perhaps six out of three hundred\nof those that must have been with Irving\ncould have understood anything of what that\nmethod stood for. &\nMr Granville Barker has been saying lately\nthat Irving left no school of acting behind\nhim. If this is the case it was the fault of\nthe pupils, for Irving' s teaching was purely\nby suggestion and presupposed receptive\nability. Even so, for those who take the\ntrouble to enquire, it can be ascertained that\na school has been created by this actor.\nEkhof, Schroeder and Iffland certainly never\nleft such schools; Betterton, Cibber, Garrick?\nwe doubt if they did either, and this book\nby Dr Mantzius makes it rather plainer. In\nfact they belonged to a school, the old-\nfashioned school, from which they broke away\nnow and then in timid little bursts, whereas\nIrving may one day be recognised as having,\n✓\nby suggestion, been instrumental in founding\nthe great school of acting of the future."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c063", "article_bluemountain": "bmtnaau_1910-04_01#c063", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "184", "page_fin": "185", "image_debut": 46, "image_fin": 47, "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=bmtnaau191004-01.2.22.10", "titre_corps": "WILLIAM SHAKESPEARE by Dr Wallace", "titre_sommaire": "WILLIAM SHAKESPEARE by Dr Wallace", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.46", "debut_caractere": 3904, "fin_caractere_exclue": 4514, "texte": "WILLIAM SHAKESPEARE by\nDr Wallace, Harper's Magazine\nMarch 1910,\nJn our opinion the Shakespeare Discoveries\nmade by Dr Wallace and given to us for\nthe first time In Harper's Monthly Magazine\nare interesting because, as the discoverer\nsays, 44 the documents have lifted the veil\n44 for a moment and shown us a man among\n44 men, whom we call poet and seer and know\n44 as friend \". But at the same time we feel\nthat it needed a poet to make the intro-\nduction, and Dr Wallace Is not even a poet\nin prose.\nThe occasion was worthy of something\nless drily sentimental and more\nWe think that had we been clever enough"}, {"page_pdf": 47, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 1154, "texte": "to have discovered these documents we should\nhave felt impelled before publishing them to\nlay the facts before the first English poet of\nour day as being the man whom it would\nmost delight to get the first glimpse of the\nmaster poet, and as also being the one man\nmost surely entitled to that first glimpse.^?\nImagine the pleasure which Keats or\nSwinburne would have received from such a\nvisit! Either of these poets would have sung\nfor joy, and we should thereby have had the\nnews heralded by the right man in the\nright way. &\nDr Wallace's legal right to introduce the\ndiscovery is indisputable, but the introduction\nis not up to the man whose hand he offers\nus. Only poetry could have done full justice\nto the occasion, and so, alas, the reception\nto which we were invited may be said to have\ngone off with a fizzle.\nIf anyone else discovers anything as inte-\nresting about Shakespeare we hope he\nwill introduce it to the world with just a\nlittle more dash. None the less, Dr Wallace\ncommands our admiration because of his\nextraordinary capacity for taking so much\npains to find these documents, and he can\njustly feel as pleased as Punch about it all."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c064", "article_bluemountain": "bmtnaau_1910-04_01#c064", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "185", "image_debut": 47, "image_fin": 47, "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=bmtnaau191004-01.2.22.11", "titre_corps": "MAURICE MAETERLINCK par Gerard Harry", "titre_sommaire": "MAURICE MAETERLINCK par Gerard Harry", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.47", "debut_caractere": 1156, "fin_caractere_exclue": 2427, "texte": "MAURICE MAETERLINCK par Gerard\nHarry &\nCAMILLE LEMONNIBR par Maurice des\nOmbiaux. Charles Carrington. Brussels.\nFrs 2, 50.\njfyjr Charles Carrington is to be congratula-\nted on his happy idea in Initiating this\nseries of monographs on the French writers\nof Belgium, of which series the above-named\nvolumes are the two first to be published.\nAmong those shortly to follow are studies\nof the life and work of Emile Verhaeren,\nEdmond Pacard, Georges Eckhoud, Albert\nGiraud, and about forty other Belgian writers\nof prose and poetry whom the Editor in his\npreface fells us that he hopes to include in\nthe series. &\n& These monographs will form a valuable\naddition to the libraries of all those interested\nin contemporary European literature, for,\nwith the exception of Maeterlinck, these\nBelgian writers are too little known to\nEnglish readers. Of this last-named writer M.\nGerard Harry gives us an interesting study,\n(i) and both volumes are well printed and il-\nlustrated, and bear the stamp of that affec-\ntionate care and craftsmanship which distin-\nguishes all books issuing from the St. Ca-\ntherine's Press at Bruges and bearing\nMr Carrington's name.\n(1) An article relating to certain passages in this book will be\nfound on pg 178 of the present number of The Mask. Ed:"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c065", "article_bluemountain": "bmtnaau_1910-04_01#c065", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "187", "image_debut": 47, "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=bmtnaau191004-01.2.23", "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": 47, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.47", "debut_caractere": 2429, "fin_caractere_exclue": 4051, "texte": "FOREIGN NOTES\n\nL O N D ON\n''jphere are lots of reports going about here\nconcerning Mr. Frohman's Repertory Thea-\ntre the reports are probably quite untrue;\nstill, they are wonderfully like Mr. Frohman...\nwonderfully. &\n& It is rumoured that Mr. Frohman has\nemployed Messrs. Shaw, Barrie and Barker to\nset the ball arolling, and that his wealth, (of\ncourse we mean the wealth of Mr. Frohman,)\nhas turned, literally turned their heads; they\ndo not know what to do with it, and so they\nhave set themselves to think of every con-\nceivable means by which they can run up the\nexpenses.\n& Report has it that they have hit upon an\nexcellent plan; which is to engage the artists\nwhose prices are prohibitive, and then to give\nthem more or less nothing to do. Report,\nindeed, has it that the men whom they are\nafter are not actors at all; it is said, for in-\nstance, that a very celebrated Actor Manager\nhas been offered a part in one of Mr. Barrie's\nplays, the part of a business man, and that\nthe talented Mr. Wilhelm, whose executed\ndesigns for costumes have won him such\nwell-deserved celebrity, is to be engaged for\nthe part of a shop-walker in a millinery stores.\nYou see the connection, ... millinery .. .\ncostumes ... most realistic!\n& What was the role destined for Mr. Gordon\nCraig has not yet been ascertained, but we\npresume that the offer to him of a part in\nMr. Barker's new play was based on the same\nprinciple.... it must have been the part of\na Stage Manager that he was to have played.\nAnd yet it is quite a curious innovation,\nthis, for we all know that Mr. Craig, although\nhe has been an actor that he might pass"}, {"page_pdf": 48, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 4665, "texte": "from that on to the other side of the theatre,\nhas not acted for ten or twelve years, and\nwe should be as astounded to see him act as\nwe should to see Mr. Wilhelm act, or, let us\nsay, Mr. William Archer or Mr Lloyd George.\nI suppose that this idea is going to be\nthoroughly developed by Messrs. Frohman,\nBarrie, Shaw and Barker. It has undoubted\npossibilities. It may prove the last word in\nRealism, satisfying even those conscientious\nspirits who require that everything should be\nas well as seem to be.\nI suppose that when these gentlemen\nrequire to fill the part of a typist they will\nengage the lady who is writing this paragraph\nfor me. 1 suppose that any one applying\nfor a clerical part will need to satisfy the\nmanagement of his acquaintance with and\nacceptance of the Thirty Nine Articles, and\nthat when a Member of Parliament is to be\nrepresented on the stage they will go to the\nHouse of Commons for one, selecting, for pre-\nference, an Irish Member! I suppose when\na painter is required they will go to Mr.\nJames Pryde, or they may even aim so high\nas to go for a Royal Academician; indeed that\nwould probably be their cheapest way, but\nperhaps for that reason it would hardly suit\nthem, considering they are so keen on\nspending the Frohman money. £/ &\nI hear that the gentlemen are very se-\nrious about this new theatrical move, and\nthat they have taken greatly to heart the\nrefusal of a famous Admiral ( I will not di-\nvulge his name) to undertake the small\npart of Cabin Boy in Mr. Barker's new play.\nReally, they are quite right to take this\nmatter seriously, and it is quite right to be\noffended with the famous Admiral because\nhe does not understand the high honour Mr,\nBarker proposes for him. For what reason does\nthe Navy exist except in order to sup-\nply the stage with walkers-on ? what is the\nHouse of Parliament but a nursery for stage\nsupers ? We all look forward to the day\nwhen the nobility and dignity of the stage\nshall be firmly established, and what\nbetter way to establish it than the .way cho-\nsen by Messrs. Shaw, Barker and Barrie?\nThe Irving idea was an ordinary, poor\none, after all, by the side of such brilliant\nideas as those conceived by these three\nemployees of Mr. Frohman. The Irving idea\nwas merely to found a School of Acting, to\nkeep the theatre in the theatre. The new\nidea is wider in scope; it is to take the thea-\ntre out of the theatre,..,, but who shall say\n44 Lo, behold, the cat is out of the bag \" ?\nA PUPPET PERFORMANCE.\ninteresting revival of the ancient puppet\nperformances, which one trusts will serve\nas the fore-runner of many more, was given\non March 7th and Bth in the quaint little\nold Clifford' s Inn Hall, the piece chosen for\nrepresentation being 44 The Prodigious and\nLamentable History of Dr Johannes Faust.\"\nBefore the performance Mr. Wicksteed\nspoke on the subject of the old German\nstreet plays, tracing their influence upon\nMarlowe in the writing of his 44 Dr Faustus\",\nand showing the reflex influence of this piece\nupon the Germans in inspiring other Faust\nplays, until the legend found its most famous\npoet in Goethe. In fact the present translation\nhad its origin, according to one of those who\nmade it, In the desire to realise the toy\ndrama that Goethe witnessed as a boy, and\nafter seeing which, as he tells us in 44Wahrheit\nund Dichtung\", 4the marionette fable of Faust\nmurmured with many voices in my soul.'\n£? In the 18th and early 19th centuries the\nmarionette theatre was, as is well known,\nan institution in Germany, and 44Faust,\" as\nplayed in it, was a true folk play, largely\nunwritten, varying in form in different\ndistricts, but true in its main lines to a\ncommon type. & &\nOn the present occasion the puppets played\ntheir parts delightfully, and the four hidden\nladies in obedience to whom they moved, Mr\nLeonard Crawshaw who acted as Unseen\nReader, the translators, stage managers and\nall those who assisted In this revival are\nheartily to be congratulated. £/\nOne only wishes that the marionettes,\nhaving 4come to town', had not left again\nquite so quickly, for these wonderful little\npeople are ever welcome, and their stay on\nthis occasion has been all too short. Let us\nat least hope that they will return at an\nearly date. (1)\n\nPARIS\n\njt is announced that M. Rostand has very\nnearly completed a play on the subject of\n44 The Stage \". It is a subject which he will\nbe able to invest with charm, but it is also\na subject for his irony. No one knows what\nthe plot is to be or who will act in it or\n\n(1) In relation to this performance it is interesting to note Mr\nArthur Symons' description of a performance he witnessed in\nRome. See Book Reviews. The Mask, pg 180. Ed."}, {"page_pdf": 49, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 610, "texte": "when it will be produced. One only wonders\nwhy it is that the road from the farm yard\nleads straight through into the theatre. What\nshall we get after dogs and cats, cocks and\nhens?... what Is left?\n\nJ de S.\n\nLONDON.\nR. S.\nMr Bernard Shaw's Debate,\n((Misalliance \".\nrjphis place was reserved for Mr Shaw but he\nwas unable to accept the invitation. It\nwill always be left empty for Mr Shaw In the\nhope that he may feel urged to honour the\nMuse at some future\n& The Art of the Theatre,\no thing has been lately heard of the where-\nabouts of this thing In London. I regret\nbeing unable to send you any better news."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c067", "article_bluemountain": "bmtnaau_1910-04_01#c067", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "186", "image_debut": 47, "image_fin": 48, "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=bmtnaau191004-01.2.23.2", "titre_corps": "L O N D ON", "titre_sommaire": "L O N D ON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.47", "debut_caractere": 2444, "fin_caractere_exclue": 4051, "texte": "L O N D ON\n''jphere are lots of reports going about here\nconcerning Mr. Frohman's Repertory Thea-\ntre the reports are probably quite untrue;\nstill, they are wonderfully like Mr. Frohman...\nwonderfully. &\n& It is rumoured that Mr. Frohman has\nemployed Messrs. Shaw, Barrie and Barker to\nset the ball arolling, and that his wealth, (of\ncourse we mean the wealth of Mr. Frohman,)\nhas turned, literally turned their heads; they\ndo not know what to do with it, and so they\nhave set themselves to think of every con-\nceivable means by which they can run up the\nexpenses.\n& Report has it that they have hit upon an\nexcellent plan; which is to engage the artists\nwhose prices are prohibitive, and then to give\nthem more or less nothing to do. Report,\nindeed, has it that the men whom they are\nafter are not actors at all; it is said, for in-\nstance, that a very celebrated Actor Manager\nhas been offered a part in one of Mr. Barrie's\nplays, the part of a business man, and that\nthe talented Mr. Wilhelm, whose executed\ndesigns for costumes have won him such\nwell-deserved celebrity, is to be engaged for\nthe part of a shop-walker in a millinery stores.\nYou see the connection, ... millinery .. .\ncostumes ... most realistic!\n& What was the role destined for Mr. Gordon\nCraig has not yet been ascertained, but we\npresume that the offer to him of a part in\nMr. Barker's new play was based on the same\nprinciple.... it must have been the part of\na Stage Manager that he was to have played.\nAnd yet it is quite a curious innovation,\nthis, for we all know that Mr. Craig, although\nhe has been an actor that he might pass"}, {"page_pdf": 48, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 4225, "texte": "from that on to the other side of the theatre,\nhas not acted for ten or twelve years, and\nwe should be as astounded to see him act as\nwe should to see Mr. Wilhelm act, or, let us\nsay, Mr. William Archer or Mr Lloyd George.\nI suppose that this idea is going to be\nthoroughly developed by Messrs. Frohman,\nBarrie, Shaw and Barker. It has undoubted\npossibilities. It may prove the last word in\nRealism, satisfying even those conscientious\nspirits who require that everything should be\nas well as seem to be.\nI suppose that when these gentlemen\nrequire to fill the part of a typist they will\nengage the lady who is writing this paragraph\nfor me. 1 suppose that any one applying\nfor a clerical part will need to satisfy the\nmanagement of his acquaintance with and\nacceptance of the Thirty Nine Articles, and\nthat when a Member of Parliament is to be\nrepresented on the stage they will go to the\nHouse of Commons for one, selecting, for pre-\nference, an Irish Member! I suppose when\na painter is required they will go to Mr.\nJames Pryde, or they may even aim so high\nas to go for a Royal Academician; indeed that\nwould probably be their cheapest way, but\nperhaps for that reason it would hardly suit\nthem, considering they are so keen on\nspending the Frohman money. £/ &\nI hear that the gentlemen are very se-\nrious about this new theatrical move, and\nthat they have taken greatly to heart the\nrefusal of a famous Admiral ( I will not di-\nvulge his name) to undertake the small\npart of Cabin Boy in Mr. Barker's new play.\nReally, they are quite right to take this\nmatter seriously, and it is quite right to be\noffended with the famous Admiral because\nhe does not understand the high honour Mr,\nBarker proposes for him. For what reason does\nthe Navy exist except in order to sup-\nply the stage with walkers-on ? what is the\nHouse of Parliament but a nursery for stage\nsupers ? We all look forward to the day\nwhen the nobility and dignity of the stage\nshall be firmly established, and what\nbetter way to establish it than the .way cho-\nsen by Messrs. Shaw, Barker and Barrie?\nThe Irving idea was an ordinary, poor\none, after all, by the side of such brilliant\nideas as those conceived by these three\nemployees of Mr. Frohman. The Irving idea\nwas merely to found a School of Acting, to\nkeep the theatre in the theatre. The new\nidea is wider in scope; it is to take the thea-\ntre out of the theatre,..,, but who shall say\n44 Lo, behold, the cat is out of the bag \" ?\nA PUPPET PERFORMANCE.\ninteresting revival of the ancient puppet\nperformances, which one trusts will serve\nas the fore-runner of many more, was given\non March 7th and Bth in the quaint little\nold Clifford' s Inn Hall, the piece chosen for\nrepresentation being 44 The Prodigious and\nLamentable History of Dr Johannes Faust.\"\nBefore the performance Mr. Wicksteed\nspoke on the subject of the old German\nstreet plays, tracing their influence upon\nMarlowe in the writing of his 44 Dr Faustus\",\nand showing the reflex influence of this piece\nupon the Germans in inspiring other Faust\nplays, until the legend found its most famous\npoet in Goethe. In fact the present translation\nhad its origin, according to one of those who\nmade it, In the desire to realise the toy\ndrama that Goethe witnessed as a boy, and\nafter seeing which, as he tells us in 44Wahrheit\nund Dichtung\", 4the marionette fable of Faust\nmurmured with many voices in my soul.'\n£? In the 18th and early 19th centuries the\nmarionette theatre was, as is well known,\nan institution in Germany, and 44Faust,\" as\nplayed in it, was a true folk play, largely\nunwritten, varying in form in different\ndistricts, but true in its main lines to a\ncommon type. & &\nOn the present occasion the puppets played\ntheir parts delightfully, and the four hidden\nladies in obedience to whom they moved, Mr\nLeonard Crawshaw who acted as Unseen\nReader, the translators, stage managers and\nall those who assisted In this revival are\nheartily to be congratulated. £/\nOne only wishes that the marionettes,\nhaving 4come to town', had not left again\nquite so quickly, for these wonderful little\npeople are ever welcome, and their stay on\nthis occasion has been all too short. Let us\nat least hope that they will return at an\nearly date. (1)"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c068", "article_bluemountain": "bmtnaau_1910-04_01#c068", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "186", "page_fin": "187", "image_debut": 48, "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=bmtnaau191004-01.2.23.3", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "J de S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.48", "debut_caractere": 4227, "fin_caractere_exclue": 4665, "texte": "PARIS\n\njt is announced that M. Rostand has very\nnearly completed a play on the subject of\n44 The Stage \". It is a subject which he will\nbe able to invest with charm, but it is also\na subject for his irony. No one knows what\nthe plot is to be or who will act in it or\n\n(1) In relation to this performance it is interesting to note Mr\nArthur Symons' description of a performance he witnessed in\nRome. See Book Reviews. The Mask, pg 180. Ed."}, {"page_pdf": 49, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 207, "texte": "when it will be produced. One only wonders\nwhy it is that the road from the farm yard\nleads straight through into the theatre. What\nshall we get after dogs and cats, cocks and\nhens?... what Is left?\n\nJ de S."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c069", "article_bluemountain": "bmtnaau_1910-04_01#c069", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "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=bmtnaau191004-01.2.23.4", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.49", "debut_caractere": 209, "fin_caractere_exclue": 610, "texte": "LONDON.\nR. S.\nMr Bernard Shaw's Debate,\n((Misalliance \".\nrjphis place was reserved for Mr Shaw but he\nwas unable to accept the invitation. It\nwill always be left empty for Mr Shaw In the\nhope that he may feel urged to honour the\nMuse at some future\n& The Art of the Theatre,\no thing has been lately heard of the where-\nabouts of this thing In London. I regret\nbeing unable to send you any better news."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c071", "article_bluemountain": "bmtnaau_1910-04_01#c071", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "194", "image_debut": 49, "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=bmtnaau191004-01.2.24", "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": 49, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.49", "debut_caractere": 612, "fin_caractere_exclue": 3503, "texte": "EDITORIAL NOTES\n\nHp he re are those who are In sympathy with\nthe movement which <4The Mask\" has set\non foot to create a new theatre, there are\nothers who are entirely out of sympathy\nwith it. Those who are out of sympathy will\nin time learn to come round to a more\nsympathetic point of view. These are by no\nmeans the worst enemies to the new theatre.\nIt Is the others, the sympathisers, who can\neither prove a help or a hindrance to the\nmovement by getting their minds a little\nclearer and more confident as to our methods.\nThe other day in London one of the\nleaders of this movement was a little surprised\nto find a very sympathetic supporter asking\na strange question. He had taken a piece of\nwork to show which was part and parcel of\nthe body of this new theatre, and after\nhaving shown it the conversation sprang\nupon the road of theory; questions were\npoured In upon him, questions which needed\nfacts to answer them properly. There he was\ndisplaying a very modest piece of work (but\ncertainly an actual piece of work; no theory\nbut a thing accomplished), and the dear\ndelightful unpractical person kept urging\nhim into the unknown. & & &\nNOW this is very strange, for all the time\nevery question was punctuated by another\nquestion, 44 tell me practicallyßut there\nis no such thing as telling a person practically\nof a thing which does not exist and it is\nquite impossible to put into practise a hun-\ndred things in the space of an hour.\nOn thinking it over one comes to the\nconclusion that the questioner was the\nunpractical person and the other the practical,\nfor there was the artist trying by the aid of\nhis little piece of work to prove that until\nthe next step could be taken it would be\nimpossible to prove the practicality of that\nstep. But, he said, he had full belief that the\ndirection he was taking was the right direc-\ntion because all the tests practised led up\nto that conclusion.\nThe final question of the charming and un»\npractical one was, 44 after you have got your\ntheatre what are you going to put into it ?\nYou speak of a new material, of a new scene\nof a new kind of acting, of a new kind of\nactor and a new kind of drama; what is going\nto be in that drama ?\" & &\nThere is obviously no reply to such a\nquestion as this. Possibly the Creator of the\nworld knew exactly to a T what the nineteenth\ncentury would produce, but there are people\nwho doubt that he knew anything of the\nkind. There are people who believe that these\nthings grow, and that they grow in the like-\nness of the Creator. &\n& If this is so then our theatre will grow in\nthe likeness of its creator and will begin to\nshow some definite form so soon as the\nmaterials necessary to its creation begin to\nadhere one to another. &\nNow probably we shall not be wrong in\nsaying that it takes some time to discover\nnew material and to unite that material; and\nto fill it with the divine spirit is either a"}, {"page_pdf": 50, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 4827, "texte": "monstrously difficult thing or as easy as\nthrowing up a ball, but such a thing as\nthat must be left to the will of the divine;\nso far as we know it has never yet failed to\nmake its appearance in due time, and it is\ncurious that age after age when it has ap-\npeared people have failed to be aware of It\nuntil it had been with them quite a while.\n<£? It would be so easy to gull the sympathetic\npublic and to amaze the unsympathetic, by\nproducing a new drama within a year. The\nworld is in just the state to receive such a\nfraud and it is for this reason that we do\nnot intend to humour the world. <£? £?\nLet the others amuse themselves at that\nprofitable game. They will be found out in\ntime. Doubtless within the next ten years we\nshall have a new folk-drama, manufactured\nin London, derived from Berlin, Moscow,\nKrakow and New York: or we shall have a\nnew dumb show, faked in precisely the same\nway: or we shall have a religious drama, so\nappetising, so indigestible.\nBut you who are sympathetic towards us\nmust not assist this forward by hastily\nrushing at our pupils and ourselves and\ndemanding what this new drama is going to\nbe. Nobody on earth can know until it is here.\nHardly anybody can be aware when it is\ncoming or how it has come. It will be there\nin the midst of us before you are aware and\nwhen you least expect it and it will come\nthrough practical technical knowledge of the\ntheatre. All theories will be burnt up by its\npresence, all \"wise men\" will be confounded\nby its irrefutable 10gic,... and you know\nwhat we mean by its \"irrefutable logic\"; we\nmean its beauty. &\nThen what possible use is it to continue\nto ask us any further questions about so great\na wonder which grows out of nothing and\ncomes from nowhere? &\npollowing upon the successes of \"Julia's\nBureau \" comes a useful innovation in the\nestablishment of 44 Pecunia ' s Bureau \" for\ncalling up the spirits of dead authors to give\njudgement upon the dramatisation of their\nb00k5,.... an innovation interesting for\nus and doubtless of immense relief to a\ndefunct writer who is burning to find some\nmedium through which to transmit his views\nupon the liberties taken with his works.\n<£? Indeed, it was quite an enterprising move\non the part of the Editor of the \"New Age\"\n(3) to send his 'Mystherynstead' to interview,\nnot Mr Comyns Carr or Mr 11. B. Irving, but\nthe spirit of Robert Louis Stevenson upon\nthe recent production of 44 Dr Jekyl and Mr\nHyde.\" jgr &\nFor, after all, who should have a right to\nexpress an opinion if not the author with\nwhose work an unpardonable liberty has\nbeen taken after his own bodily presence\nwith its capacity for sturdy resistence has\nbeen removed ?We do not wonder that R. L.\nS. was 44 hostile to the play from his first\nmention of it\", and we welcome another\nsupporter, whether in or out of the body, of\nour conviction that works of literature have\nno place upon the stage. jg?\nIt is really not to be wondered at that the\npassion of the author, who had no body of his\nown through which to manifest his feelings,\n\"violently agitated\" that of the medium while\ntransmitting the story of his wrongs; for is\nnot anyone justified in feeling outraged when\nsome busy-body takes upon himself to provide\none's bachelor hero with a blind wife, to\nintroduce a comic charwoman into the story,\nto corrupt the morals of an \" aged and\nbeautiful gentlemen \", a 44 beloved character\n44 who in one's own hands had seemed to\n44 breathe such an innocent and old-world\n44 kindness of disposition, yet with something\n44 high, too, as of a well-founded content \" ?\n& Think of finding this blameless person\nrepresented as a \"double-lived, dirty repro-\nbate of a diplomat married to an unfaithful\nwife \" ! Even spirits will turn if provoked too\nfar; and now that Bureaus are being opened\nto enable them to communicate their opinions\nto the Press, we would counsel Mr Comyns\nCarr and those guilty of similar indiscre-\ntions to walk warily and not rush in where\nthe angelic creators themselves feared, or\ndid not wish... to tread. & &\n& R. L. S. strikes us as having expressed\nhimself very sensibly on the matter when,\nreferring to his book, he said, 441 do not\n44 think that it can ever be dramatised satis-\n-44 factoriiy. The story relies on the reader's\n44 imagination for its effect: the sense of\n44 mystery is awakened and its curiosity sus-\n-44 tallied by the fact that the identity of Jekyl\n\" and Hyde is not established until nearly the\n44 end of the book. A performance, no matter\n\" how clever, leaves nothing to the imagina-\n-44 tion; it is a literal rendering of the physical\n44 facts; and it is impossible to pile mystery\n44 on mystery when both characters are visible\n44 in one person. The secret is kept in the\n44 book, but it cannot be kept in the play. \"\nWe hope R. L. S, will often revisit\n\n(1) The New Age. Feb. 10. 1910,"}, {"page_pdf": 51, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 4759, "texte": "\"Pecunia's bureau\" if he comes to express\nhimself so sapiently. Those words, \"A perfor-\nmance, no matter how clever, leaves nothing\nto the imagination; it is a literal rendering\nof the physical facts \", sum up very clearly\none of the principal objections to the Intro-\nduction of masterpieces of literature upon\nthe stage.\n& The literary artist expresses himself\nthrough one medium, the theatrical through\nanother. Each has his own material and his\nown technique. The atmosphere, the sense of\nmystery, of strange, dim, beautiful and subtle\nthings which the poet can create by his loving\nand joyous use of the words which are his\nInstrument cannot be translated on to the\nstage by limelight, canvas and paint. &\nMystery broods within the covers of a book,\nlurks between the lines; some magic seems\nto pass through our eyes to our brain from\nthe strange pattern woven on the white paper\nby those little hieroglyphs which are the\nsilent symbols of the poet' s thought; but\nall this is lost when those dim mysterious sug-\ngestions, that sympathy of the heart of the\nreader with the heart of the poet, are\nexchanged for a \" literal rendering of physi-\ncal facts \".^\nMr Arthur Symons draws attention to\njust this same loss when writing about a\nperformance of Ibsen's \"Lady from the\nSea\": & &\n\" The sea calls to the blood of this woman,\n\"who has married into an inland home; and\n\" the sea-cry, which is the desire of more\n\" abundant life, of unlimited freedom, of an\n\" unknown ecstasy, takes form in a vague\n\" Stranger, who has talked to her of the sea-\n\" birds in a voice like their own, and whose\n\" eyes seem to her to have the green changes\n\" of the sea.\n\" It is an admirable symbol, but when a\n\" bearded gentleman with a knapsack on his\n\" back climbs over the garden wall and says,\n\" I have come for you; are you coming?\" and\n\" then tells the woman that he has read of\n\" her marriage in the newspaper, It seemed\n\" as If the symbol had lost a good deal of\n\" its meaning in the gross act of taking\n\"flesh.\"\nSome day the literary men will realise\nthis and will keep out of the theatre, content\nto wander in their own ample fields: at pre-\nsent it is for them a kind of Tom Tiddler's\nground where they are all hustling for\nhalfpence. jg?\nIt is undoubtedly to their loss and to the\nloss of their work; but, after all, they are\nalive and able to take care of themselves;\nwhereas In the case of a dead author, who\nhas been dragged In against his will while\nother hands gather up the percentages won\nby his creation,.... material gains which his\nspirit fingers can no longer hold,\nwell, all our sympathy is with R. L. S. &\nMR FROHMAN'S NEW VENTURE\nmust reserve expression of any opinion\nas to this new venture until we see\nwhether those connected with it are in ear-\nnest or not about that which they have\nundertaken. If they are there can fee nothing\nbut praise for them and our gratitude will\nknow how to express itself. jg?\nThere seems to be 110 reason why Mr\nFrohman, (given one more chance), should\nnot prove himself to be capable of mastering\nhis masters. If he remains loyal to Mr Shaw,\nMr Barrie and Messrs Barker and Co and\nbrings his unruly sub-directors to heel,...\nthose sub-directors whose names seem only\nto be known to the \" New York Dramatic\nMirror \"... he will have proved himself a fine\nfellow and the little indiscretions of his\nmiddle age will be passd over as though\nthey belonged to his youthful period.\nAnd if Mr Shaw, Mr Barrie, and Messrs\nBarker and Co act loyally towards Mr Froh-\nman by heroically attempting to bring a\nbreath of fresh poetry Into the play-house\nand by barricading the doors against that\nancient and commonplace fraud. Realism,\nthey will have proved themselves to be men\nof sense,... fine sense.... and their efforts after\nabout ten years more will begin to tell.\njg? We are able to congratulate Mr Shaw on\na pretty considerable success already, for\nhas he not achieved something of his desire\nin becoming liberated from \"the solitary\ndespotism of his own temperament\" ?(i). By\nuniting with Mr Frohman, Mr Barrie and\nMessrs Barker and Co he can become less of\nan idiot (vide Mr Shaw's article in \" The\nMask Volume 2,Page 84) less what Moliere\nbecame when the Comedie came\ninto being, less isolated; less what Schiller\nand Goethe became when they Isolated them-\nselves from the \"discipline of committees\".\n\n(1) As it is far from our intention to offend we make use of\nMr Shaw's own words and use them in the same connection as\ndid Mr Shaw himself in The Mask, October 1909. And though\nwe congratulate Mr Shaw as we should congratulate any man\nwho gets his own way we cannot congratulate any one else; for\nMr Shaw was something while he was isolated, whereas he is so-\nmething else now that he is under the thumb of a committee."}, {"page_pdf": 52, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 4709, "texte": "wish to draw attention to an adver-\ntisement appearing on the outside cover\nof this number, in the hope that it may bring\nus some copies of the book advertised for.\nThe book was issued in 1905 and the entire\ntwo editions were soon sold out. No single\ncopy is able to be obtained from the Publishers\nand in spite of an advertisement which has\nappeared in the Publishers' Circular for over\na year no copy has been secured.^\nThis fact somewhat does away with the\nbelief that books on the theatre have no sale.\nWe have often seen it stated by Publishers\nthat, except for Biographies of Actors, books\non the Theatre are a drug in the market,...\nthat there is no Public for them. We cannot\nmake this statement agree with the facts of\nthis particular case and we are inclined to\nthink that the publishers might do worse\nthan to reconsider the matter. For our own\npart we believe that serious works on the\nTheatre are more and more in demand. We\nare on the eve of the most remarkable deve-\nlopment of the Art of the Theatre that has\ntaken place since its inception, and those\npublishers who do not realise this should give\nthe matter their careful consideration.\nAlready a few very important works have\nappeared. & & & &\n& One of the most important is \" The\nMediaeval Stage \" by E. K. Chambers; a most\nthorough book published in 1903 at the\nClarendon Press, Oxford. Another interesting\nif less scholarly work is Dr Karl Manzius' s\nHistory of Theatrical Art\", the fifth volume\nof which has lately appeared and is reviewed\nelsewhere in our &\n#\n-eg? \"The Play House and the Play\" by Percy\nMackaye, published by Messrs Macmillan, and\ndealing with the modern Theatre is another\nvaluable book, (1) for it puts so many ques-\ntions to us which, if not new, have certainly\nnever before been put so tersely and which\nhave never yet been satisfactorily answered.\nMr Arthur Symons's works, \"Plays, Acting\nand Music\", (a reprint of which is reviewed\nin this number), and \" Studies in Seven\nArts \" (Constable) have an importance which\nwill some day be better understood. <£?\nj? Still, there Is room for many more books\n©ll this difficult subject, and it must be placed\nto the credit of Germany that the \"foolish\"\nbooksellers step in and publish many more\nworks on the Theatre than their \"angelic\"\nbrothers do in England. A new book 011 any\nserious subject relating to the Theatre is in\n(1) Reviewed in The Mask. Oct 1909.\nGermany welcomed by the public with eager-\nness; in fact the German publishers are\nentirely awake to the presence of the near\nfuture, and English publishers would do well\nto study, not their methods but their\nmadness, which is balanced by plenty of\nmethod. &\nWe have often heard it asserted that the\nPublic Is to blame, that the Public Is asleep,\nand that in consequence the publishers\nhave to supply It with trash. St does not\nseem to be realised that the publishers are\na part of the Public, that they are at once\nits servants and its masters and that their\nduty is to act as such. &\njg? As it is some of them look on the Public\nas their paying guest and study how to make\nit pay for trash. St is a bad method. Surely\nno man in his senses becomes a publisher to\nmake money. If he has sense he makes money\nby some money-making trade, but the pub-\nlishing of books is not considered a trade by\nthe strict business man .. It Is an Interesting\nand most honourable way of assisting in the\nGovernment of the Nation. &\nThe publishers have the choice of poisoning\nor refreshing the minds of thousands of readers\nand there are a few publishers who make the\nnobler choice. & & &\nBut for the most part after a few years\nof following what they think is an ideal they\ndescend to meaner methods and put all\nthe blame on \" The Public\n& It Is most extraordinary that men, (espe-\ncially Englishmen) should get tired of working\nfor an ideal in their daily labours. This is a\nvery serious fault, this growing tired of\nfighting for an ideal standard in the work to\nwhich one has devoted one's life. It is tanta-\nmount to admitting that one's life is a\nvalueless thing. The Germans are far less\ncontent to give way an inch in such matters\nthan we are to give way a mile. We have\nseen this too clearly with our own eyes to\ndoubt it, and are of the opinion that this\nIdealism of the Germans is going to tell against\nus as a nation,.... that it is already telling\nagainst us.\nWe are perhaps doing our best, but our\nbest has become poorer, has lost its old\nposition, since other peoples can find a\nbetter best. & & &\n''jphere have been always men who have con-\nsidered that Shakespeare's plays were not\nfor the stage. Goethe thought so; and in our\nown day those more closely connected with\nthe stage think the same. Thus, four years"}, {"page_pdf": 53, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 4655, "texte": "ago, in \" The Art of the Theatre \" Mr. Gordon\nCraig wrote, \"'Hamlet7 has not the nature\n\"of a stage representation. 'Hamlet' and\n\"the other plays of Shakespeare have so vast\n\" and so complete a form when read, that\n\" they can but lose heavily when presented\n\" to us after having undergone stage treat-\n\" ment. &\nThat they were acted in Shakespeare's\n\" day proves nothing. Had these plays\n\" been made to be acted we should find them\n\" incomplete when we read them. Now, no\n\" one will say that they find 'Hamlet' dull\n\" or incomplete when they read it, yet there\n\" are many who will feel sorry after witnes-\n\" sing a performance of the play; saying 'No,\n\" that is not Shakespeare's Hamlet'. When\n\" no further addition can be made so as to\n\" better a work of art, it can be spoken of\n\" as ' finished it is complete. ' Hamlet' was\n\" finished, was complete, when Shakespeare\n\" wrote the last word of his blank verse,\n\" and for us to add to it by gesture, scene,\n\" costume or dance is to hint that it is\n\" incomplete and therefore needs these addi-\n\" tions.... What then, you ask, should 'Hamlet\n\" never be performed? To what purpose\n\" would it be if I replied, ' Yes'? Hamlet will\n\" go on being performed for some time yet,\n\" and the duty of the interpreters is to put\n\" their best work at its service But\n\" the theatre must not for ever rely upon\n\" having a play to perform, but must in time\n\" perform pieces of its own art. \"\n& This opinion expressed by Mr Craig four\nyears ago he has since repeated many times\nin his writings in \" The Mask \", and it Is\ngood now to see Mr Laurence Irving coming\nto the same conclusion and expressing such\nviews as he has lately done in Apierica on\nthe subject.\nIt is true that Laurence Irving, Gordon\nCraig and Goethe look at the matter from\ndifferent points of view, but they all three\ncome to the same conclusion. Goethe finds the\nplays ruined by the theatre; Irving finds the\ntheatre ruined by the plays; and Craig finds\nboth play and theatre ruined each by the\nother.\nIf, as The Mask has often suggested, it\nwere to be proposed that all plays were\ndetrimental to the theatre and its art, and\nthe theatre very detrimental to all plays,\nwhat an outcry there would be. Yet sooner\nor later this must be the verdict passed upon\nthe absurd traffic between playwright and\nstage manager. & & &\n&By \" sooner or later\" we really mean\nlater; for it is not to be supposed that in\na couple of years or in a score of years any\nsuch verdict can be arrived at. &\nThe worst of The Mask is, (and here we\nconfess it with the deepest regret), that\nsome youngsters reading its columns and\nimagining that they are heaven- sent genius-\nes, and fooling themselves that genius drops\ndown from heaven instead of being built up\nslowly on earth, will rush into this danger\nof haste and so exterminate themselves and\nbring discredit to the art which they are sup-\nposed to respect. They will make rash inno-\nvations, building upon the old artificiality\nwithout foundations and without form. Yet\nit is better to run even this risk than sit\nsilently and in idleness leaving present things\nto take their course. & &\nThe public is, after all, a discerning mon-\nster, and may be left to forward in its own\nparticular way the Renaissance when the\ndue time for it is come. JZ? JZ?\n& \" How long do you think it will take? \"\nasked an enquirer the other day of one of\nthe leaders of the movement, who replied\nthat he thought about two hundred years.\n\"So long as that\"? We are inclined to\nthink quite as long, only we do not mea-\nsure time in precisely the same way as\nothers. Indeed, the measurement of time must\nalways be a relative thing, for to people of one\ntemperament a year would be the equivalent\nof twenty years while to others twenty years\nwould be as long as a hundred. &\nTherefore, to curb rashness yet prevent\ndespair we would urge those who are opti-\nmistic and think the trick can be done in a\ntwinkling of an eye to allow thirty or forty\nyears for the miracle; those who are despai-\nring and pessimistic to allow it five years,\nand perhaps by this means some better sense\nof perspective and some juster sense of pro-\nportion will come to rule. & &\nFrederick Whelen is one of the excep-\ntional business men who for some\nreason or other quite unknown to everyone\nconnects himself with the theatre and lends\ndistinction to a hitherto very undistinguished\nbranch of the stage... .the business side. He\nhas never yet had his opportunity to show\nhis capacity although he has originated or\nbeen connected with many interesting move-\nments in the London theatre. <£?\n& There was the Stage Society, once upon\na time, and to those who know the difflcul-"}, {"page_pdf": 54, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4749, "texte": "ties attached to such an enterprise it has been\nclear all along that of those associated with\nthe work, whether as dramatist, actor or\nmember of the committee, the most valuable\nwas Mr Whelen. One felt that if only there\nhad been any one man of taste, rich enough\nin ideas, whether he had been dramatist, actor\nor stage manager, connected with the Stage\nSociety, and with a definite plan in his head,\nMr Whelen was the man of sense, (common\nsense in distinction to the finer senses) who\ncould see to it that there should be no failure\nof public acceptance. But as that man did\nnot appear the Stage Society is what it is\nand Mr Whelen has won some experience\nbut nothing else. & & &\nAnd now the Opera Society has been formed,\na new Society to provide an organisation\ncapable of dealing with any opportunities that\nmay present themselves or be created, for the\nproduction in London of (i) original English\nOperas, (2) Foreign Operas of distinction (3)\nOperas refused by the censor but which in the\njudgement of the committee should not to be\nprohibited on the English stage, jg/ &\nThis sounds very admirable, all except the\npassage about the Censor, which seems to\nsome of us ridiculous, However, that does not\nconcern us for the moment though the com-\nmittee expresses a hope that Strauss'banned\nOpera, \"Salome,\" will be the first production\nunder the Aegis of the Society. <£?\nWhy the committee puts as the Society's\nfirst reason for existence the production of\noriginal English opera and then hopes that\nthe first production will be \" Salome\" is\nrather difficult to understand. On studying\nthe announcement one sees the same hesita-\ntion which branded the Stage Society. They\nhave no programme, they have no singleness\nof idea.\n& How will they get certain masters of\nEnglish music to connect their names and\ntheir work with a society which starts off\nwith the nonsensical \"Salome\" by Dr Richard\nStrauss? The committees of such societies in\nEngland always labour under a grave misap-\nprehension, which is that artists will associate\nthemselves with any society provided it will\nbring them into public notice: that they will\ndo anything to get their works heard or seen.\n& If this committe, which met at Lord\nHoward de Walden's house in Belgravia, had\nannounced the names of a few English\ncomposers and had also announced the inten-\ntion of producing nothing but English works,\neven as in Germany with some wealthy young\nman's assistance societies are formed to\nproduce nothing but German works, it would\nhave been more politic and more\nus? A German society which proposed to inau-\ngurate its programme by giving a foreign\nwork would be laughed out of existence and\ndoomed to oblivion from the day the announ-\ncement was made. What is it which makes\nus in England so unfortunate in this respect?\nHowever, things are improving in London\nand there is a large section of the English\nnation today that expresses*itself quite plainly\non the principle of foisting on them bad work\nunder a pretentious name.\nFor example, to judge from some of the\njournals and a certain sleepy section of the\npublic, one would imagine that the \" Blue\nBird\" was a great success. It was not. It was\na great failure, a very great failure indeed.\nYou have only to speak of it to the poets, pain-\nters, and best known critics and leading men\nIn other branches of art and science for them\nto express in very definite terms their abhor-\nrence of the whole production. •£?\nIt was an artistic failure. Commercially it\nmay be a great success, but this has yet to\nbe\nThe general feeling is, what can a man\nlike Mr Trench do who, at the commence-\nment, cripples his resources by having to pay\nannually a rent L. 10,000.0.0 especially for his\ntheatre? The taking of the Haymarket is a\nconcession to snobbery. He buys the golden\ncage and then looks for the Blue Bird, and\nas he knows the \" Blue Bird \" he ought to\nknow that only black birds, brown birds and\nother birds can be found. As to the real\nBlue Bird, no amount of golden cages will\nprove a lure. There again, in producing the\n\"Blue Bird\" in the first year of his manage-\nment, this manager who is supposed to stand\nfor the advancement of the stage proves the\nweakness of his programme. &\n<£* Is not Mr Yeats alive, and are not all the\nfairies his friends ? Is not Mr Binyon alive\nand Mr Barrie ?\nIt is always the same with these societies\nor new movements. They protest they are\n*\nfounded in the cause of Art and they are\nfounded in the cause of something else,\neither for commerce or for social reform or\nthrough the vanity of some seeker for public\nnotice. And so, alas, they can do no good\nwhatever. They only make it more difficult\nfor the public to discern real from false\ndiamonds. & &\n& But perhaps some day Mr Whelen will"}, {"page_pdf": 55, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4658, "texte": "wake up more thoroughly to the situation,\navoiding the amateurishness of societies on\nthe one hand and the snobbishness of profes-\nsionalism on the other, allying his capabilities\nas managing director to something more\nworthy of his metal, to something a little less\ncheap. & &\nHis association with Sir Herbert Tree is\nanother matter. The Head of a profession is\nalways a thing apart. Like the President of\nthe Royal Academy Sir Herbert Tree acts upon\na higher and more wonderful stage than any\nof those made of mere boards and trestles.\n& This last passage in a flawless Editorial\nNote is both its weakest and its strongest!\neverybody will feel this. . . But what\ncan we do when we have no desire to give\noffence .... ? £?\n|n the last number of The Mask it was sta-\nted that this number would contain fur-\nther information about Mr Gordon Craig's\nScene for the Poetic Drama which will be\nused in his forthcoming production of\n44 Hamlet\" in Moscow and which Miss Ellen\nTerry and the Directors of the Irish National\nTheatre are also preparing to use for va-\nrious pieces. & & &\nThe material relating to this Scene has,\nhowever, proved so abundant and so Inte-\nresting that, rather than treat of it briefly\nand insuffiently in this number, we have\nwished to defer writing about it further\nuntil we can do so more fully. Indeed, a book\nupon this subject is now in preparation and\nfurther details about this will be given\nin an early number of The Mask. & &\nJn addition to this book about Mr Craig's\ninvention, ail students of the Art of the\nTheatre will be interested to learn that two\nbooks by himself are to be published this\nyear In St Petersberg, one of which will be\nan edition of 44 Hamlet \" illustrated and an-\nnotated by Mr Craig.\nThis volume, which will be superbly printed,\nwill appear next autumn simultaneously with\nhis production of the play at the Moscow\nArt Theatre, and cannot but be of the greatest\nvalue to all stage managers, actors and\ntheatrical students as setting forth, by means\nof both designs and notes, Mr Craig's\nmethods in the interpretation of a Shakes-\npearean play. & & &\none ever realises the value of criticism\nuntil he begins to criticise; then it is too\nlate to reform. &\nIf at the tender age of two or four we could\nunderstand what on earth our elders, betters,\nwlsers, and all the bigger folk are talking to\nus about, and why on earth they are talking\nso much, we should act far better than by\nsquealing, upsetting the soup and the house,\nand turning the world Into a joke.\nIf only we could do it! 44 We will be good!\n(squeak,) we won't never do it again, (howl)\nN0... no, (whine), Yessss (yelp) Ohhhhh!!!\"\nand all without having understood where\nin we have erred and without the advantage\nof yet knowing that apt quotation, 44 To err\nis human, to forgive divine \". & &\n■£? We think that seldom have we risen to\nheights of fancy as in what we have just\nwritten! We are tempted to continue the\nstrain, fading at last to something concer-\nning the connection of married persons with\nthe Art of the Theatre. But then we should\nbe misunderstood, and we have no desire to\nbe so great as that. & &\n& Our wish is merely to acknowledge that\nwe are aware of the value of criticism,\ntheoretically it is priceless, practically it is\nnot worth a farthing. & &\nWe often fall into criticism ourselves. Of what\nvalue is It ? None. The bright boys whom we\nlash with the tongue angelic are utterly in-\ncapable of understanding what we mean. They\n44 will be good \" they promise, but they can't\nbe good, so the promise is worthless. &\n& But, as we have said, we wish to acknow-\nledge that we understand that theoretically\ncriticism is of great value, and to propose\nthat we should make a trial on ourselves to\nsee whether it cannot also become practical.\n& We have been criticised, and we want to\nunderstand, and then to do better next time.\nThe Pall Mall Gazette has taken us to task\nand we will submit ourselves (as befits our\nyears,...our two years) to the superior intel-\nligence of our tutor.\n& This sounds just a little too humble, but\nafter all It is the best mood to be in! We could\nbrazen it out, you know. We could, for\ninstance, refer our tutor the 44Pa11 Mall\" to\nthe 44 Westminster Gazette, \" which says we\nare a vastly entertaining youngster; or we\nmight even turn to an earlier number of the\nPall Mall itself and quote its own words, which\nrun exactly like this: 44There is not a page in\nit which is not interesting and stimulating\nin a fine way.\" & & &\n& Or we might say peevishly that we don't\nvalue London criticism, and that the Floren-\ntine criticism in \"The Herald\" is good enough\nfor us, especially when the writer is so"}, {"page_pdf": 56, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 3703, "texte": "talented a man as its Editor, Mr AlgarThorold.\nJo? However we are not dealing with unique\ncriticism but only with ordinary criticism,\nand it is the ordinary switch that tells .. Some\nday the distinguished Editor of the \"Florence\nHerald \" will sink into the chair of some or-\ndinary rag like 44 The Times .... we mean\nno offence, we only wish to draw a distinction\n... .and then we shall be without pleasurable\ncriticism.\n& But to the point. &\n& We have had a smart rap over the knuckles\nfrom H. M. W., our tutor on the \"Pall Mall\nGazette\". & & & &\n& We thought we were doing rather well,\nbut he tells us we are doing very ill. He says\nthat we are \"far too much occupied with old\nmatter or dull matter\"; that the old matter\nby Schlegel, Godwin, Gilbert h\nBecket and Vecellio is far too old or not old\nenough,.... (we are a little vague which he\nmeans, for Vecellio is s6th century, Schlegel\nlate ißth century and the rest 19th century.)\nHe then tells us that the Gordon Craig Dia-\nlogue is \"du11\"... \"appallingly dull\" he says,\nbless him. 45? &\njp Nov/ we had thought over this matter of\nreprinting old matter for quite a long time and\nw© also considered as long as possible whether\nMrGordon Craig was to be relied upon to write\nfor us anything at all likely to be appreciated\nby our readers. And we decided that both\nthe old masters and the new masters were\nvastly better worth listening to than any\nnumber of those 44 able men and women\"\nwho have mastered nothing but the ears of\na few editors. But it appears we were wrong.\nThe age of our journal is but two brief and\nhappy years and it is quite likely that we arc\nwrong. Mr H. M. W. of the Pall Mall suggests\nthe remedy; he tells us that as 44 the aims and\ntemper of The Mask are so fine\" (we rather\nlike that passage) 44 there must be scores of\nable men and women who would be only too\nhappy\" (a heavenly passage!) 44 to write for\nit honoris causa\" &\nThis is certainly a happy idea: a score (we\ndo not look for scores) of able men and women\nready to write brilliantly upon the Art of the\nTheatre so that our tutor may smile. &\nWe turn to our pages of contents and we\nfind, ah?... exactly a score! Mr John Balance,\nMr Jan van Holt, Mr Allen Carrie, Mr Alex-\nander Hevesi, Mr Schildenfeld Schiller, Mr\nGunnar Castren, Mr Furst; Mr Graham\nRobertson, Sir H. Beerbohm Tree, Signer\nSalvini, Mr Willem Rooyards, Mr Klaassen,\nMr Percy Mackaye, Mr Bernard Shaw, Mr\nMartin Harvey, Mr E. F. Spence, Mr Herbert\nTrench, Mr W. Pritchard Eaton, Miss D. Nevil©\nLees, Miss Ellen Terry, Mr Edward Hutton,\nMr George Norman, Mr Paul Cooper, (alas,\nwe are running into two score!) Mr Sidney\nGrundy, M. Antoine, Mr Arthur Symons, Miss\nLoie Fuller, M. Andr6 Beaunier, Mr Haldane\nMacfall, Madame Yvette Guilbert, M. Duques-\nnel, Mr Horace Wyndham, Herr Hugo von\nHofmannsthal, Mr Gordon Craig and the pre-\nsent writer,... very nearly two score. Is it\npossible? We did not realise that we had so\nmany friends.\n& What are we to say to our tutor? Let us\nbehave ourselves, and let us ask him for\nanother score. That, and that only, is our\nanswer.\nNow, have we taken his lecture in the\nright way ? Don ' t you think there is hope\nfor us ? Say you are pleased with us, Mr H.\nMo W., and send, oh send, the names of one\nscore of \"able men and women\" without delay!\nAnd next time attack Mr Allen Carrie, Mr\nJohn Balance, Mr Adolf Furst or even the\noccupant of the editorial chair; but don't,\ndon't say that Mr Gordon Craig's essays are\n64 appallingly dull\"! For he it is who has\nprevailed over us to treat our good, our\nlearned tutor with tolerance; he it is who\nagrees with you though in vain you attempt\nto disagree with him, and ...... all this makes\nsuch a difference you know. &"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c073", "article_bluemountain": "bmtnaau_1910-04_01#c073", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "194", "image_debut": 49, "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=bmtnaau191004-01.2.24.2", "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": 49, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.49", "debut_caractere": 629, "fin_caractere_exclue": 3503, "texte": "Hp he re are those who are In sympathy with\nthe movement which <4The Mask\" has set\non foot to create a new theatre, there are\nothers who are entirely out of sympathy\nwith it. Those who are out of sympathy will\nin time learn to come round to a more\nsympathetic point of view. These are by no\nmeans the worst enemies to the new theatre.\nIt Is the others, the sympathisers, who can\neither prove a help or a hindrance to the\nmovement by getting their minds a little\nclearer and more confident as to our methods.\nThe other day in London one of the\nleaders of this movement was a little surprised\nto find a very sympathetic supporter asking\na strange question. He had taken a piece of\nwork to show which was part and parcel of\nthe body of this new theatre, and after\nhaving shown it the conversation sprang\nupon the road of theory; questions were\npoured In upon him, questions which needed\nfacts to answer them properly. There he was\ndisplaying a very modest piece of work (but\ncertainly an actual piece of work; no theory\nbut a thing accomplished), and the dear\ndelightful unpractical person kept urging\nhim into the unknown. & & &\nNOW this is very strange, for all the time\nevery question was punctuated by another\nquestion, 44 tell me practicallyßut there\nis no such thing as telling a person practically\nof a thing which does not exist and it is\nquite impossible to put into practise a hun-\ndred things in the space of an hour.\nOn thinking it over one comes to the\nconclusion that the questioner was the\nunpractical person and the other the practical,\nfor there was the artist trying by the aid of\nhis little piece of work to prove that until\nthe next step could be taken it would be\nimpossible to prove the practicality of that\nstep. But, he said, he had full belief that the\ndirection he was taking was the right direc-\ntion because all the tests practised led up\nto that conclusion.\nThe final question of the charming and un»\npractical one was, 44 after you have got your\ntheatre what are you going to put into it ?\nYou speak of a new material, of a new scene\nof a new kind of acting, of a new kind of\nactor and a new kind of drama; what is going\nto be in that drama ?\" & &\nThere is obviously no reply to such a\nquestion as this. Possibly the Creator of the\nworld knew exactly to a T what the nineteenth\ncentury would produce, but there are people\nwho doubt that he knew anything of the\nkind. There are people who believe that these\nthings grow, and that they grow in the like-\nness of the Creator. &\n& If this is so then our theatre will grow in\nthe likeness of its creator and will begin to\nshow some definite form so soon as the\nmaterials necessary to its creation begin to\nadhere one to another. &\nNow probably we shall not be wrong in\nsaying that it takes some time to discover\nnew material and to unite that material; and\nto fill it with the divine spirit is either a"}, {"page_pdf": 50, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 4827, "texte": "monstrously difficult thing or as easy as\nthrowing up a ball, but such a thing as\nthat must be left to the will of the divine;\nso far as we know it has never yet failed to\nmake its appearance in due time, and it is\ncurious that age after age when it has ap-\npeared people have failed to be aware of It\nuntil it had been with them quite a while.\n<£? It would be so easy to gull the sympathetic\npublic and to amaze the unsympathetic, by\nproducing a new drama within a year. The\nworld is in just the state to receive such a\nfraud and it is for this reason that we do\nnot intend to humour the world. <£? £?\nLet the others amuse themselves at that\nprofitable game. They will be found out in\ntime. Doubtless within the next ten years we\nshall have a new folk-drama, manufactured\nin London, derived from Berlin, Moscow,\nKrakow and New York: or we shall have a\nnew dumb show, faked in precisely the same\nway: or we shall have a religious drama, so\nappetising, so indigestible.\nBut you who are sympathetic towards us\nmust not assist this forward by hastily\nrushing at our pupils and ourselves and\ndemanding what this new drama is going to\nbe. Nobody on earth can know until it is here.\nHardly anybody can be aware when it is\ncoming or how it has come. It will be there\nin the midst of us before you are aware and\nwhen you least expect it and it will come\nthrough practical technical knowledge of the\ntheatre. All theories will be burnt up by its\npresence, all \"wise men\" will be confounded\nby its irrefutable 10gic,... and you know\nwhat we mean by its \"irrefutable logic\"; we\nmean its beauty. &\nThen what possible use is it to continue\nto ask us any further questions about so great\na wonder which grows out of nothing and\ncomes from nowhere? &\npollowing upon the successes of \"Julia's\nBureau \" comes a useful innovation in the\nestablishment of 44 Pecunia ' s Bureau \" for\ncalling up the spirits of dead authors to give\njudgement upon the dramatisation of their\nb00k5,.... an innovation interesting for\nus and doubtless of immense relief to a\ndefunct writer who is burning to find some\nmedium through which to transmit his views\nupon the liberties taken with his works.\n<£? Indeed, it was quite an enterprising move\non the part of the Editor of the \"New Age\"\n(3) to send his 'Mystherynstead' to interview,\nnot Mr Comyns Carr or Mr 11. B. Irving, but\nthe spirit of Robert Louis Stevenson upon\nthe recent production of 44 Dr Jekyl and Mr\nHyde.\" jgr &\nFor, after all, who should have a right to\nexpress an opinion if not the author with\nwhose work an unpardonable liberty has\nbeen taken after his own bodily presence\nwith its capacity for sturdy resistence has\nbeen removed ?We do not wonder that R. L.\nS. was 44 hostile to the play from his first\nmention of it\", and we welcome another\nsupporter, whether in or out of the body, of\nour conviction that works of literature have\nno place upon the stage. jg?\nIt is really not to be wondered at that the\npassion of the author, who had no body of his\nown through which to manifest his feelings,\n\"violently agitated\" that of the medium while\ntransmitting the story of his wrongs; for is\nnot anyone justified in feeling outraged when\nsome busy-body takes upon himself to provide\none's bachelor hero with a blind wife, to\nintroduce a comic charwoman into the story,\nto corrupt the morals of an \" aged and\nbeautiful gentlemen \", a 44 beloved character\n44 who in one's own hands had seemed to\n44 breathe such an innocent and old-world\n44 kindness of disposition, yet with something\n44 high, too, as of a well-founded content \" ?\n& Think of finding this blameless person\nrepresented as a \"double-lived, dirty repro-\nbate of a diplomat married to an unfaithful\nwife \" ! Even spirits will turn if provoked too\nfar; and now that Bureaus are being opened\nto enable them to communicate their opinions\nto the Press, we would counsel Mr Comyns\nCarr and those guilty of similar indiscre-\ntions to walk warily and not rush in where\nthe angelic creators themselves feared, or\ndid not wish... to tread. & &\n& R. L. S. strikes us as having expressed\nhimself very sensibly on the matter when,\nreferring to his book, he said, 441 do not\n44 think that it can ever be dramatised satis-\n-44 factoriiy. The story relies on the reader's\n44 imagination for its effect: the sense of\n44 mystery is awakened and its curiosity sus-\n-44 tallied by the fact that the identity of Jekyl\n\" and Hyde is not established until nearly the\n44 end of the book. A performance, no matter\n\" how clever, leaves nothing to the imagina-\n-44 tion; it is a literal rendering of the physical\n44 facts; and it is impossible to pile mystery\n44 on mystery when both characters are visible\n44 in one person. The secret is kept in the\n44 book, but it cannot be kept in the play. \"\nWe hope R. L. S, will often revisit\n\n(1) The New Age. Feb. 10. 1910,"}, {"page_pdf": 51, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 4759, "texte": "\"Pecunia's bureau\" if he comes to express\nhimself so sapiently. Those words, \"A perfor-\nmance, no matter how clever, leaves nothing\nto the imagination; it is a literal rendering\nof the physical facts \", sum up very clearly\none of the principal objections to the Intro-\nduction of masterpieces of literature upon\nthe stage.\n& The literary artist expresses himself\nthrough one medium, the theatrical through\nanother. Each has his own material and his\nown technique. The atmosphere, the sense of\nmystery, of strange, dim, beautiful and subtle\nthings which the poet can create by his loving\nand joyous use of the words which are his\nInstrument cannot be translated on to the\nstage by limelight, canvas and paint. &\nMystery broods within the covers of a book,\nlurks between the lines; some magic seems\nto pass through our eyes to our brain from\nthe strange pattern woven on the white paper\nby those little hieroglyphs which are the\nsilent symbols of the poet' s thought; but\nall this is lost when those dim mysterious sug-\ngestions, that sympathy of the heart of the\nreader with the heart of the poet, are\nexchanged for a \" literal rendering of physi-\ncal facts \".^\nMr Arthur Symons draws attention to\njust this same loss when writing about a\nperformance of Ibsen's \"Lady from the\nSea\": & &\n\" The sea calls to the blood of this woman,\n\"who has married into an inland home; and\n\" the sea-cry, which is the desire of more\n\" abundant life, of unlimited freedom, of an\n\" unknown ecstasy, takes form in a vague\n\" Stranger, who has talked to her of the sea-\n\" birds in a voice like their own, and whose\n\" eyes seem to her to have the green changes\n\" of the sea.\n\" It is an admirable symbol, but when a\n\" bearded gentleman with a knapsack on his\n\" back climbs over the garden wall and says,\n\" I have come for you; are you coming?\" and\n\" then tells the woman that he has read of\n\" her marriage in the newspaper, It seemed\n\" as If the symbol had lost a good deal of\n\" its meaning in the gross act of taking\n\"flesh.\"\nSome day the literary men will realise\nthis and will keep out of the theatre, content\nto wander in their own ample fields: at pre-\nsent it is for them a kind of Tom Tiddler's\nground where they are all hustling for\nhalfpence. jg?\nIt is undoubtedly to their loss and to the\nloss of their work; but, after all, they are\nalive and able to take care of themselves;\nwhereas In the case of a dead author, who\nhas been dragged In against his will while\nother hands gather up the percentages won\nby his creation,.... material gains which his\nspirit fingers can no longer hold,\nwell, all our sympathy is with R. L. S. &\nMR FROHMAN'S NEW VENTURE\nmust reserve expression of any opinion\nas to this new venture until we see\nwhether those connected with it are in ear-\nnest or not about that which they have\nundertaken. If they are there can fee nothing\nbut praise for them and our gratitude will\nknow how to express itself. jg?\nThere seems to be 110 reason why Mr\nFrohman, (given one more chance), should\nnot prove himself to be capable of mastering\nhis masters. If he remains loyal to Mr Shaw,\nMr Barrie and Messrs Barker and Co and\nbrings his unruly sub-directors to heel,...\nthose sub-directors whose names seem only\nto be known to the \" New York Dramatic\nMirror \"... he will have proved himself a fine\nfellow and the little indiscretions of his\nmiddle age will be passd over as though\nthey belonged to his youthful period.\nAnd if Mr Shaw, Mr Barrie, and Messrs\nBarker and Co act loyally towards Mr Froh-\nman by heroically attempting to bring a\nbreath of fresh poetry Into the play-house\nand by barricading the doors against that\nancient and commonplace fraud. Realism,\nthey will have proved themselves to be men\nof sense,... fine sense.... and their efforts after\nabout ten years more will begin to tell.\njg? We are able to congratulate Mr Shaw on\na pretty considerable success already, for\nhas he not achieved something of his desire\nin becoming liberated from \"the solitary\ndespotism of his own temperament\" ?(i). By\nuniting with Mr Frohman, Mr Barrie and\nMessrs Barker and Co he can become less of\nan idiot (vide Mr Shaw's article in \" The\nMask Volume 2,Page 84) less what Moliere\nbecame when the Comedie came\ninto being, less isolated; less what Schiller\nand Goethe became when they Isolated them-\nselves from the \"discipline of committees\".\n\n(1) As it is far from our intention to offend we make use of\nMr Shaw's own words and use them in the same connection as\ndid Mr Shaw himself in The Mask, October 1909. And though\nwe congratulate Mr Shaw as we should congratulate any man\nwho gets his own way we cannot congratulate any one else; for\nMr Shaw was something while he was isolated, whereas he is so-\nmething else now that he is under the thumb of a committee."}, {"page_pdf": 52, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 4709, "texte": "wish to draw attention to an adver-\ntisement appearing on the outside cover\nof this number, in the hope that it may bring\nus some copies of the book advertised for.\nThe book was issued in 1905 and the entire\ntwo editions were soon sold out. No single\ncopy is able to be obtained from the Publishers\nand in spite of an advertisement which has\nappeared in the Publishers' Circular for over\na year no copy has been secured.^\nThis fact somewhat does away with the\nbelief that books on the theatre have no sale.\nWe have often seen it stated by Publishers\nthat, except for Biographies of Actors, books\non the Theatre are a drug in the market,...\nthat there is no Public for them. We cannot\nmake this statement agree with the facts of\nthis particular case and we are inclined to\nthink that the publishers might do worse\nthan to reconsider the matter. For our own\npart we believe that serious works on the\nTheatre are more and more in demand. We\nare on the eve of the most remarkable deve-\nlopment of the Art of the Theatre that has\ntaken place since its inception, and those\npublishers who do not realise this should give\nthe matter their careful consideration.\nAlready a few very important works have\nappeared. & & & &\n& One of the most important is \" The\nMediaeval Stage \" by E. K. Chambers; a most\nthorough book published in 1903 at the\nClarendon Press, Oxford. Another interesting\nif less scholarly work is Dr Karl Manzius' s\nHistory of Theatrical Art\", the fifth volume\nof which has lately appeared and is reviewed\nelsewhere in our &\n#\n-eg? \"The Play House and the Play\" by Percy\nMackaye, published by Messrs Macmillan, and\ndealing with the modern Theatre is another\nvaluable book, (1) for it puts so many ques-\ntions to us which, if not new, have certainly\nnever before been put so tersely and which\nhave never yet been satisfactorily answered.\nMr Arthur Symons's works, \"Plays, Acting\nand Music\", (a reprint of which is reviewed\nin this number), and \" Studies in Seven\nArts \" (Constable) have an importance which\nwill some day be better understood. <£?\nj? Still, there Is room for many more books\n©ll this difficult subject, and it must be placed\nto the credit of Germany that the \"foolish\"\nbooksellers step in and publish many more\nworks on the Theatre than their \"angelic\"\nbrothers do in England. A new book 011 any\nserious subject relating to the Theatre is in\n(1) Reviewed in The Mask. Oct 1909.\nGermany welcomed by the public with eager-\nness; in fact the German publishers are\nentirely awake to the presence of the near\nfuture, and English publishers would do well\nto study, not their methods but their\nmadness, which is balanced by plenty of\nmethod. &\nWe have often heard it asserted that the\nPublic Is to blame, that the Public Is asleep,\nand that in consequence the publishers\nhave to supply It with trash. St does not\nseem to be realised that the publishers are\na part of the Public, that they are at once\nits servants and its masters and that their\nduty is to act as such. &\njg? As it is some of them look on the Public\nas their paying guest and study how to make\nit pay for trash. St is a bad method. Surely\nno man in his senses becomes a publisher to\nmake money. If he has sense he makes money\nby some money-making trade, but the pub-\nlishing of books is not considered a trade by\nthe strict business man .. It Is an Interesting\nand most honourable way of assisting in the\nGovernment of the Nation. &\nThe publishers have the choice of poisoning\nor refreshing the minds of thousands of readers\nand there are a few publishers who make the\nnobler choice. & & &\nBut for the most part after a few years\nof following what they think is an ideal they\ndescend to meaner methods and put all\nthe blame on \" The Public\n& It Is most extraordinary that men, (espe-\ncially Englishmen) should get tired of working\nfor an ideal in their daily labours. This is a\nvery serious fault, this growing tired of\nfighting for an ideal standard in the work to\nwhich one has devoted one's life. It is tanta-\nmount to admitting that one's life is a\nvalueless thing. The Germans are far less\ncontent to give way an inch in such matters\nthan we are to give way a mile. We have\nseen this too clearly with our own eyes to\ndoubt it, and are of the opinion that this\nIdealism of the Germans is going to tell against\nus as a nation,.... that it is already telling\nagainst us.\nWe are perhaps doing our best, but our\nbest has become poorer, has lost its old\nposition, since other peoples can find a\nbetter best. & & &\n''jphere have been always men who have con-\nsidered that Shakespeare's plays were not\nfor the stage. Goethe thought so; and in our\nown day those more closely connected with\nthe stage think the same. Thus, four years"}, {"page_pdf": 53, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 4655, "texte": "ago, in \" The Art of the Theatre \" Mr. Gordon\nCraig wrote, \"'Hamlet7 has not the nature\n\"of a stage representation. 'Hamlet' and\n\"the other plays of Shakespeare have so vast\n\" and so complete a form when read, that\n\" they can but lose heavily when presented\n\" to us after having undergone stage treat-\n\" ment. &\nThat they were acted in Shakespeare's\n\" day proves nothing. Had these plays\n\" been made to be acted we should find them\n\" incomplete when we read them. Now, no\n\" one will say that they find 'Hamlet' dull\n\" or incomplete when they read it, yet there\n\" are many who will feel sorry after witnes-\n\" sing a performance of the play; saying 'No,\n\" that is not Shakespeare's Hamlet'. When\n\" no further addition can be made so as to\n\" better a work of art, it can be spoken of\n\" as ' finished it is complete. ' Hamlet' was\n\" finished, was complete, when Shakespeare\n\" wrote the last word of his blank verse,\n\" and for us to add to it by gesture, scene,\n\" costume or dance is to hint that it is\n\" incomplete and therefore needs these addi-\n\" tions.... What then, you ask, should 'Hamlet\n\" never be performed? To what purpose\n\" would it be if I replied, ' Yes'? Hamlet will\n\" go on being performed for some time yet,\n\" and the duty of the interpreters is to put\n\" their best work at its service But\n\" the theatre must not for ever rely upon\n\" having a play to perform, but must in time\n\" perform pieces of its own art. \"\n& This opinion expressed by Mr Craig four\nyears ago he has since repeated many times\nin his writings in \" The Mask \", and it Is\ngood now to see Mr Laurence Irving coming\nto the same conclusion and expressing such\nviews as he has lately done in Apierica on\nthe subject.\nIt is true that Laurence Irving, Gordon\nCraig and Goethe look at the matter from\ndifferent points of view, but they all three\ncome to the same conclusion. Goethe finds the\nplays ruined by the theatre; Irving finds the\ntheatre ruined by the plays; and Craig finds\nboth play and theatre ruined each by the\nother.\nIf, as The Mask has often suggested, it\nwere to be proposed that all plays were\ndetrimental to the theatre and its art, and\nthe theatre very detrimental to all plays,\nwhat an outcry there would be. Yet sooner\nor later this must be the verdict passed upon\nthe absurd traffic between playwright and\nstage manager. & & &\n&By \" sooner or later\" we really mean\nlater; for it is not to be supposed that in\na couple of years or in a score of years any\nsuch verdict can be arrived at. &\nThe worst of The Mask is, (and here we\nconfess it with the deepest regret), that\nsome youngsters reading its columns and\nimagining that they are heaven- sent genius-\nes, and fooling themselves that genius drops\ndown from heaven instead of being built up\nslowly on earth, will rush into this danger\nof haste and so exterminate themselves and\nbring discredit to the art which they are sup-\nposed to respect. They will make rash inno-\nvations, building upon the old artificiality\nwithout foundations and without form. Yet\nit is better to run even this risk than sit\nsilently and in idleness leaving present things\nto take their course. & &\nThe public is, after all, a discerning mon-\nster, and may be left to forward in its own\nparticular way the Renaissance when the\ndue time for it is come. JZ? JZ?\n& \" How long do you think it will take? \"\nasked an enquirer the other day of one of\nthe leaders of the movement, who replied\nthat he thought about two hundred years.\n\"So long as that\"? We are inclined to\nthink quite as long, only we do not mea-\nsure time in precisely the same way as\nothers. Indeed, the measurement of time must\nalways be a relative thing, for to people of one\ntemperament a year would be the equivalent\nof twenty years while to others twenty years\nwould be as long as a hundred. &\nTherefore, to curb rashness yet prevent\ndespair we would urge those who are opti-\nmistic and think the trick can be done in a\ntwinkling of an eye to allow thirty or forty\nyears for the miracle; those who are despai-\nring and pessimistic to allow it five years,\nand perhaps by this means some better sense\nof perspective and some juster sense of pro-\nportion will come to rule. & &\nFrederick Whelen is one of the excep-\ntional business men who for some\nreason or other quite unknown to everyone\nconnects himself with the theatre and lends\ndistinction to a hitherto very undistinguished\nbranch of the stage... .the business side. He\nhas never yet had his opportunity to show\nhis capacity although he has originated or\nbeen connected with many interesting move-\nments in the London theatre. <£?\n& There was the Stage Society, once upon\na time, and to those who know the difflcul-"}, {"page_pdf": 54, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4749, "texte": "ties attached to such an enterprise it has been\nclear all along that of those associated with\nthe work, whether as dramatist, actor or\nmember of the committee, the most valuable\nwas Mr Whelen. One felt that if only there\nhad been any one man of taste, rich enough\nin ideas, whether he had been dramatist, actor\nor stage manager, connected with the Stage\nSociety, and with a definite plan in his head,\nMr Whelen was the man of sense, (common\nsense in distinction to the finer senses) who\ncould see to it that there should be no failure\nof public acceptance. But as that man did\nnot appear the Stage Society is what it is\nand Mr Whelen has won some experience\nbut nothing else. & & &\nAnd now the Opera Society has been formed,\na new Society to provide an organisation\ncapable of dealing with any opportunities that\nmay present themselves or be created, for the\nproduction in London of (i) original English\nOperas, (2) Foreign Operas of distinction (3)\nOperas refused by the censor but which in the\njudgement of the committee should not to be\nprohibited on the English stage, jg/ &\nThis sounds very admirable, all except the\npassage about the Censor, which seems to\nsome of us ridiculous, However, that does not\nconcern us for the moment though the com-\nmittee expresses a hope that Strauss'banned\nOpera, \"Salome,\" will be the first production\nunder the Aegis of the Society. <£?\nWhy the committee puts as the Society's\nfirst reason for existence the production of\noriginal English opera and then hopes that\nthe first production will be \" Salome\" is\nrather difficult to understand. On studying\nthe announcement one sees the same hesita-\ntion which branded the Stage Society. They\nhave no programme, they have no singleness\nof idea.\n& How will they get certain masters of\nEnglish music to connect their names and\ntheir work with a society which starts off\nwith the nonsensical \"Salome\" by Dr Richard\nStrauss? The committees of such societies in\nEngland always labour under a grave misap-\nprehension, which is that artists will associate\nthemselves with any society provided it will\nbring them into public notice: that they will\ndo anything to get their works heard or seen.\n& If this committe, which met at Lord\nHoward de Walden's house in Belgravia, had\nannounced the names of a few English\ncomposers and had also announced the inten-\ntion of producing nothing but English works,\neven as in Germany with some wealthy young\nman's assistance societies are formed to\nproduce nothing but German works, it would\nhave been more politic and more\nus? A German society which proposed to inau-\ngurate its programme by giving a foreign\nwork would be laughed out of existence and\ndoomed to oblivion from the day the announ-\ncement was made. What is it which makes\nus in England so unfortunate in this respect?\nHowever, things are improving in London\nand there is a large section of the English\nnation today that expresses*itself quite plainly\non the principle of foisting on them bad work\nunder a pretentious name.\nFor example, to judge from some of the\njournals and a certain sleepy section of the\npublic, one would imagine that the \" Blue\nBird\" was a great success. It was not. It was\na great failure, a very great failure indeed.\nYou have only to speak of it to the poets, pain-\nters, and best known critics and leading men\nIn other branches of art and science for them\nto express in very definite terms their abhor-\nrence of the whole production. •£?\nIt was an artistic failure. Commercially it\nmay be a great success, but this has yet to\nbe\nThe general feeling is, what can a man\nlike Mr Trench do who, at the commence-\nment, cripples his resources by having to pay\nannually a rent L. 10,000.0.0 especially for his\ntheatre? The taking of the Haymarket is a\nconcession to snobbery. He buys the golden\ncage and then looks for the Blue Bird, and\nas he knows the \" Blue Bird \" he ought to\nknow that only black birds, brown birds and\nother birds can be found. As to the real\nBlue Bird, no amount of golden cages will\nprove a lure. There again, in producing the\n\"Blue Bird\" in the first year of his manage-\nment, this manager who is supposed to stand\nfor the advancement of the stage proves the\nweakness of his programme. &\n<£* Is not Mr Yeats alive, and are not all the\nfairies his friends ? Is not Mr Binyon alive\nand Mr Barrie ?\nIt is always the same with these societies\nor new movements. They protest they are\n*\nfounded in the cause of Art and they are\nfounded in the cause of something else,\neither for commerce or for social reform or\nthrough the vanity of some seeker for public\nnotice. And so, alas, they can do no good\nwhatever. They only make it more difficult\nfor the public to discern real from false\ndiamonds. & &\n& But perhaps some day Mr Whelen will"}, {"page_pdf": 55, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4658, "texte": "wake up more thoroughly to the situation,\navoiding the amateurishness of societies on\nthe one hand and the snobbishness of profes-\nsionalism on the other, allying his capabilities\nas managing director to something more\nworthy of his metal, to something a little less\ncheap. & &\nHis association with Sir Herbert Tree is\nanother matter. The Head of a profession is\nalways a thing apart. Like the President of\nthe Royal Academy Sir Herbert Tree acts upon\na higher and more wonderful stage than any\nof those made of mere boards and trestles.\n& This last passage in a flawless Editorial\nNote is both its weakest and its strongest!\neverybody will feel this. . . But what\ncan we do when we have no desire to give\noffence .... ? £?\n|n the last number of The Mask it was sta-\nted that this number would contain fur-\nther information about Mr Gordon Craig's\nScene for the Poetic Drama which will be\nused in his forthcoming production of\n44 Hamlet\" in Moscow and which Miss Ellen\nTerry and the Directors of the Irish National\nTheatre are also preparing to use for va-\nrious pieces. & & &\nThe material relating to this Scene has,\nhowever, proved so abundant and so Inte-\nresting that, rather than treat of it briefly\nand insuffiently in this number, we have\nwished to defer writing about it further\nuntil we can do so more fully. Indeed, a book\nupon this subject is now in preparation and\nfurther details about this will be given\nin an early number of The Mask. & &\nJn addition to this book about Mr Craig's\ninvention, ail students of the Art of the\nTheatre will be interested to learn that two\nbooks by himself are to be published this\nyear In St Petersberg, one of which will be\nan edition of 44 Hamlet \" illustrated and an-\nnotated by Mr Craig.\nThis volume, which will be superbly printed,\nwill appear next autumn simultaneously with\nhis production of the play at the Moscow\nArt Theatre, and cannot but be of the greatest\nvalue to all stage managers, actors and\ntheatrical students as setting forth, by means\nof both designs and notes, Mr Craig's\nmethods in the interpretation of a Shakes-\npearean play. & & &\none ever realises the value of criticism\nuntil he begins to criticise; then it is too\nlate to reform. &\nIf at the tender age of two or four we could\nunderstand what on earth our elders, betters,\nwlsers, and all the bigger folk are talking to\nus about, and why on earth they are talking\nso much, we should act far better than by\nsquealing, upsetting the soup and the house,\nand turning the world Into a joke.\nIf only we could do it! 44 We will be good!\n(squeak,) we won't never do it again, (howl)\nN0... no, (whine), Yessss (yelp) Ohhhhh!!!\"\nand all without having understood where\nin we have erred and without the advantage\nof yet knowing that apt quotation, 44 To err\nis human, to forgive divine \". & &\n■£? We think that seldom have we risen to\nheights of fancy as in what we have just\nwritten! We are tempted to continue the\nstrain, fading at last to something concer-\nning the connection of married persons with\nthe Art of the Theatre. But then we should\nbe misunderstood, and we have no desire to\nbe so great as that. & &\n& Our wish is merely to acknowledge that\nwe are aware of the value of criticism,\ntheoretically it is priceless, practically it is\nnot worth a farthing. & &\nWe often fall into criticism ourselves. Of what\nvalue is It ? None. The bright boys whom we\nlash with the tongue angelic are utterly in-\ncapable of understanding what we mean. They\n44 will be good \" they promise, but they can't\nbe good, so the promise is worthless. &\n& But, as we have said, we wish to acknow-\nledge that we understand that theoretically\ncriticism is of great value, and to propose\nthat we should make a trial on ourselves to\nsee whether it cannot also become practical.\n& We have been criticised, and we want to\nunderstand, and then to do better next time.\nThe Pall Mall Gazette has taken us to task\nand we will submit ourselves (as befits our\nyears,...our two years) to the superior intel-\nligence of our tutor.\n& This sounds just a little too humble, but\nafter all It is the best mood to be in! We could\nbrazen it out, you know. We could, for\ninstance, refer our tutor the 44Pa11 Mall\" to\nthe 44 Westminster Gazette, \" which says we\nare a vastly entertaining youngster; or we\nmight even turn to an earlier number of the\nPall Mall itself and quote its own words, which\nrun exactly like this: 44There is not a page in\nit which is not interesting and stimulating\nin a fine way.\" & & &\n& Or we might say peevishly that we don't\nvalue London criticism, and that the Floren-\ntine criticism in \"The Herald\" is good enough\nfor us, especially when the writer is so"}, {"page_pdf": 56, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 3703, "texte": "talented a man as its Editor, Mr AlgarThorold.\nJo? However we are not dealing with unique\ncriticism but only with ordinary criticism,\nand it is the ordinary switch that tells .. Some\nday the distinguished Editor of the \"Florence\nHerald \" will sink into the chair of some or-\ndinary rag like 44 The Times .... we mean\nno offence, we only wish to draw a distinction\n... .and then we shall be without pleasurable\ncriticism.\n& But to the point. &\n& We have had a smart rap over the knuckles\nfrom H. M. W., our tutor on the \"Pall Mall\nGazette\". & & & &\n& We thought we were doing rather well,\nbut he tells us we are doing very ill. He says\nthat we are \"far too much occupied with old\nmatter or dull matter\"; that the old matter\nby Schlegel, Godwin, Gilbert h\nBecket and Vecellio is far too old or not old\nenough,.... (we are a little vague which he\nmeans, for Vecellio is s6th century, Schlegel\nlate ißth century and the rest 19th century.)\nHe then tells us that the Gordon Craig Dia-\nlogue is \"du11\"... \"appallingly dull\" he says,\nbless him. 45? &\njp Nov/ we had thought over this matter of\nreprinting old matter for quite a long time and\nw© also considered as long as possible whether\nMrGordon Craig was to be relied upon to write\nfor us anything at all likely to be appreciated\nby our readers. And we decided that both\nthe old masters and the new masters were\nvastly better worth listening to than any\nnumber of those 44 able men and women\"\nwho have mastered nothing but the ears of\na few editors. But it appears we were wrong.\nThe age of our journal is but two brief and\nhappy years and it is quite likely that we arc\nwrong. Mr H. M. W. of the Pall Mall suggests\nthe remedy; he tells us that as 44 the aims and\ntemper of The Mask are so fine\" (we rather\nlike that passage) 44 there must be scores of\nable men and women who would be only too\nhappy\" (a heavenly passage!) 44 to write for\nit honoris causa\" &\nThis is certainly a happy idea: a score (we\ndo not look for scores) of able men and women\nready to write brilliantly upon the Art of the\nTheatre so that our tutor may smile. &\nWe turn to our pages of contents and we\nfind, ah?... exactly a score! Mr John Balance,\nMr Jan van Holt, Mr Allen Carrie, Mr Alex-\nander Hevesi, Mr Schildenfeld Schiller, Mr\nGunnar Castren, Mr Furst; Mr Graham\nRobertson, Sir H. Beerbohm Tree, Signer\nSalvini, Mr Willem Rooyards, Mr Klaassen,\nMr Percy Mackaye, Mr Bernard Shaw, Mr\nMartin Harvey, Mr E. F. Spence, Mr Herbert\nTrench, Mr W. Pritchard Eaton, Miss D. Nevil©\nLees, Miss Ellen Terry, Mr Edward Hutton,\nMr George Norman, Mr Paul Cooper, (alas,\nwe are running into two score!) Mr Sidney\nGrundy, M. Antoine, Mr Arthur Symons, Miss\nLoie Fuller, M. Andr6 Beaunier, Mr Haldane\nMacfall, Madame Yvette Guilbert, M. Duques-\nnel, Mr Horace Wyndham, Herr Hugo von\nHofmannsthal, Mr Gordon Craig and the pre-\nsent writer,... very nearly two score. Is it\npossible? We did not realise that we had so\nmany friends.\n& What are we to say to our tutor? Let us\nbehave ourselves, and let us ask him for\nanother score. That, and that only, is our\nanswer.\nNow, have we taken his lecture in the\nright way ? Don ' t you think there is hope\nfor us ? Say you are pleased with us, Mr H.\nMo W., and send, oh send, the names of one\nscore of \"able men and women\" without delay!\nAnd next time attack Mr Allen Carrie, Mr\nJohn Balance, Mr Adolf Furst or even the\noccupant of the editorial chair; but don't,\ndon't say that Mr Gordon Craig's essays are\n64 appallingly dull\"! For he it is who has\nprevailed over us to treat our good, our\nlearned tutor with tolerance; he it is who\nagrees with you though in vain you attempt\nto disagree with him, and ...... all this makes\nsuch a difference you know. &"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c074", "article_bluemountain": "bmtnaau_1910-04_01#c074", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "194", "page_fin": "194", "image_debut": 56, "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=bmtnaau191004-01.2.25", "titre_corps": "TO OUR READERS", "titre_sommaire": "TO OUR READERS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.56", "debut_caractere": 3705, "fin_caractere_exclue": 4335, "texte": "TO OUR READERS\nJ. S.\nW«th this number The Mask com-\npletes its second volume,and we are\nhappy to be able to repeat what we sa-\nid at the conclusion of the first,....\nFirst, that whereas most people de-\nclared in the beginning that such a jour-\nnal could not live three months, it has\nnow lived and flourishd for two years,\nand will continue to live as long as we\nwish: second, that another year's expe-\nrience has but proved afresh that The\nMask has many true friends, all of whom\nwe thank from our heart,.... the sub-\nscribers, the contributors and the cri-\ntics, and third, that we shall try to\ndo yot better in the coming year."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c075", "article_bluemountain": "bmtnaau_1910-04_01#c075", "volume": "bmtnaau_1910-04_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=bmtnaau191004-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.2", "debut_caractere": 1472, "fin_caractere_exclue": 2591, "texte": "4\n55\n■3s*\nsra\nr*\nI*\ne\na\nQ\n££\nS£t\nUSE\nA\n»>\nSWAN\nFOUNTAIN\nPEN\nAND DISCARD ALL ANTIQUATED METHODS\nFountain pens are Necessities to modern men and women—Shorthand writers especially-\nwho value their time and comfort and saving of expense. The Best Fountain Pen is a\ngreater necessity than any second best.\nTHE \"SWAN\" FOUNTPEN\nis Best because it has the highest grade gold nib ever put in a fountain pen. It has\na sure feed—by feed we mean an ink conductor and air compensator. Ink is fed to both\nsides of the nib, so that the light writer or the heavy hand has the right supply of ink\nNot these characteristics alone, but—\n\"LE TOUT ENSEMBLE \" makes the PERFECT PEN\nSold by Stationers and Jewellers Everywhere. INSIST ON \"SWAN\" I\nBRANCHES:\n93, Cheapside, E. C ; 95a, Regent Street W.\n3, Exchange Street, Manchester.\n10, Rue Neuve, Brussels.\nBrentano's, 37, Ave, de l'Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nT\nMABIE, TODD & CO.\n(\"SWAN\" Fountpen Makers,)\n79 & 80, HIGH HOLBORN, LONDON, W. C.\nPRICES: English:- 10 | 6 - French Fes• 15.00 - Italian - Eire 15.00 upwards.\nWrite for Catalogue, post free.\nSWAN PEN"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c076", "article_bluemountain": "bmtnaau_1910-04_01#c076", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "195", "page_fin": "195", "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=bmtnaau191004-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 342, "texte": "AL & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\nt\n%\nBB ra 22 /X Wi*. JV H\ndWt,\nV\nJl\nIf k\n.Chintzes, Printed Linens & Printed Cottons, Write for\n, illustrated Booklet 44 M\" with photographs & prices.\n& Son have special materials for Casement\nCurtains. Booklet 44 K\" with small patterns sent postfree.\nTOTTENHAM COURT ROAD, LONDON"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c077", "article_bluemountain": "bmtnaau_1910-04_01#c077", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "196", "page_fin": "196", "image_debut": 58, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 698, "texte": "Fine Illustrated Edition of\n& OSCAR WILDES &\nThe Picture of Dorian Grey.\n\" Each man sees his own sins In Dorian Gray. What Dorian\nGray's sins are no one knows. He who finds them has\nbrought them.\"— OSCAR WILDE. (ILetter, 9th July,lB9o).\nSm. 4to Vol. Pages VI. & 312. Hf. bd. gilt top, with Seven\nfull-paged Wood Engravings by PAUL THIRIAT(of Paris)\nPrice 12.s 6d. Net.\nALSO A POPULAR EDITION\nPages VI. &316. Sm. Bvo. (not illustrated), neat cloth\nbinding. Price 2s. 6d. Net.\nj* FURTHER, AN EDITION &\n(Pages YJL & 353)\nUniform in Style and Binding with Messrs. Methuen's\nFive Shilling Edition of 44 OSCAR WILDE'S WORKS. \"\nPrice ss. Net.\nPublished by Charles\n10. Rue de la Tribune, Brussels, Belgium."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c078", "article_bluemountain": "bmtnaau_1910-04_01#c078", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "196", "page_fin": "196", "image_debut": 58, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.58", "debut_caractere": 700, "fin_caractere_exclue": 1114, "texte": "ANTONIO FRILLI\nPURVEYOR TO ra\nIMPERIAL * ROYAL\nFAMILIES # #\nFLORENCE\nVia dei Fossi 4\n(ESTABLISHED i860) M\nAWARDED PRIZES\nAT 48 NATIONAL *\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST tours MO\nGRAND PRIX\n1904\n1"}]}, {"article_id": "bm-bmtnaau-1910-04-01-c079", "article_bluemountain": "bmtnaau_1910-04_01#c079", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "198", "page_fin": "198", "image_debut": 60, "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=bmtnaau191004-01.2.30", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.60", "debut_caractere": 144, "fin_caractere_exclue": 504, "texte": "TWO YEARS OLD TODAY!\nWith this Number THE MASK\ncompletes its second volume and\nits second year of happy life.\nThose who wish it\nMANY HAPPY RETURNS\ncan do so in no better way than\nby sending us today a post card\nauthorising us to enter their\nnames or the names their\nfriends upon our of\nsubscriber's list\nfor the coming\nyear.\nTURN THE PAGE FOR FULL PARTICULARS."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c080", "article_bluemountain": "bmtnaau_1910-04_01#c080", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "198", "page_fin": "198", "image_debut": 60, "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=bmtnaau191004-01.2.31", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.60", "debut_caractere": 506, "fin_caractere_exclue": 790, "texte": "THE MASK\nBOUND VOLUMES.\n'Jphe first two Volumes of The Mask,\nMarch 1908-February 1909, March 1909\n-April 1910, bound in the best Florentine\nvellum, may be had at twenty shillings,\n(Francs 25,00, Marks 20, Dollars 5.) a\ncopy post free, from this office.\nARENA GOLDONI, FLORENCE.\nITALY."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c081", "article_bluemountain": "bmtnaau_1910-04_01#c081", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "198", "page_fin": "198", "image_debut": 60, "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=bmtnaau191004-01.2.32", "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": 60, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.60", "debut_caractere": 792, "fin_caractere_exclue": 1280, "texte": "& WANTED\n& THE ART OF THE THEATRE.\n(First Dialogue) by Edward Gordon\nCraig. j& j£t &\nPublished by T. N. Foulis & Co, 1905.\nPublishers of The Mask are pre-\npared to purchase any number of co-\npies of the above book which they can ob-\ntain at the original published price. Two\neditions were issued in English. One in\ngrey paper covers with woodcut in co-\nlours price iand one in black buckram\nboards and gold lettering, price 2j6.\nThe Publishers of The Mask.\nArena Goldoni, Florence.\nItaly."}]}, {"article_id": "bm-bmtnaau-1910-04-01-c082", "article_bluemountain": "bmtnaau_1910-04_01#c082", "volume": "bmtnaau_1910-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "198", "page_fin": "198", "image_debut": 60, "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=bmtnaau191004-01.2.33", "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": 60, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.60", "debut_caractere": 1282, "fin_caractere_exclue": 1384, "texte": "TYPEWRITING OFFICE.\nTRANSLATIONS IN ALL LANGUAGE S.\n0 0 FLORENCE - Via Vecchietti 6, - FLORENCE. j£> &"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.1", "texte": "Vol. 2 N.° 10-12 APRIL 1910\nTHE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nARENA GOLDONI\n'\nFLORENCE\nITALY\n& YEARLY SUBSCRIPTION FIFTEEN SHILLINGS, POST FREE. &"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.2", "texte": "LITERARY CONTENTS.\nTHE ANCIENT ENGLISH MORRIS DANCE by FRANCIS DOUCE. 1807. £> ATTENTION,\nCHILDREN I A WORD ON SYMBOLISM. £> THE ENEMIES OF TRADITION, by JAN VAN\nHOLT. & TWO STAGE CHARACTERS by GILBERT k BECKET. uS> THE MANNERS OF THE\nSTAGE. LA BRUYERE. FLAMMARION AND CROCE by ALLEN CARRIC. HAMLET, A\nSUCCESS OR A FAILURE? by A. F. 0A WORD AGAINST FOOTLIGHTS. PSYCHOLOGY\nAND THE DRAMA by JOHN SEMAR. 0 A WORD ON MASKS by NIETZSCHE. THE\nARCHITECTURE AND COSTUME OF OTHELLO AND THE TWO GENTLEMEN OF VERONA\nby E. W. GODWIN. uS> EMOTION IN THE THEATRE. LA BRUYERE. CHANTECLER AND\nTHE RETURN OF THE MASK by J. S. MALLARMIS AND THE NEW DRAMA by ALLEN\nCARRIC A NOTE ON THE ART OF THE THEATRE by G. WOLFE PLANK VENETIAN\nCOSTUMES TRANSLATEDFROMTHE BOOK OF CESARE VECELLIO by D. NEVILE LEES\nA FURTHER NOTE ON CHOPINES THE GERMANS by JOHN BALANCE 0 A NOTE ON\nGREAT MEN by RUDOLF SCHMERZ & ART AND THE JOY OF LIFE by GORDON CRAIG\nBOOK REVIEWS 0 FOREIGN NOTES £> EDITORIAL NOTES\n\nILL USTRATIONS.\nFRONTISPICE. SIX FIGURES OF MORRIS DANCERS FROM THE ENGRAVING by ISRAEL\nVON MECHELN. 1460-1470. FIVE OTHER DESIGNS OF MORRIS DANCFRS AND ONE PIECE\nOF MORRIS MUSIC. J0 TWO ILLUSTRATIONS OF STAGE LOVERS by GEORGE\nCRUICKSHANK. - A MASK DESIGNED by E. THESLEFF AND ENGRAVED by GORDON\nCRAIG. FOUR DESIGNS OF VENETIAN COSTUME FROMTHE BOOK OF CESARE\nVECELLIO &AN ILLUSTRATION OF A CHOPINE. j£f HEAD AND TAIL PIECES\nAND INITIALS FROM DESIGNS BY CHARLES BORROW, JULIUS OLIVER AND GORDON\nCRAIG\n\n4\n55\n■3s*\nsra\nr*\nI*\ne\na\nQ\n££\nS£t\nUSE\nA\n»>\nSWAN\nFOUNTAIN\nPEN\nAND DISCARD ALL ANTIQUATED METHODS\nFountain pens are Necessities to modern men and women—Shorthand writers especially-\nwho value their time and comfort and saving of expense. The Best Fountain Pen is a\ngreater necessity than any second best.\nTHE \"SWAN\" FOUNTPEN\nis Best because it has the highest grade gold nib ever put in a fountain pen. It has\na sure feed—by feed we mean an ink conductor and air compensator. Ink is fed to both\nsides of the nib, so that the light writer or the heavy hand has the right supply of ink\nNot these characteristics alone, but—\n\"LE TOUT ENSEMBLE \" makes the PERFECT PEN\nSold by Stationers and Jewellers Everywhere. INSIST ON \"SWAN\" I\nBRANCHES:\n93, Cheapside, E. C ; 95a, Regent Street W.\n3, Exchange Street, Manchester.\n10, Rue Neuve, Brussels.\nBrentano's, 37, Ave, de l'Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nT\nMABIE, TODD & CO.\n(\"SWAN\" Fountpen Makers,)\n79 & 80, HIGH HOLBORN, LONDON, W. C.\nPRICES: English:- 10 | 6 - French Fes• 15.00 - Italian - Eire 15.00 upwards.\nWrite for Catalogue, post free.\nSWAN PEN"}, {"page_pdf": 3, "page_imprimee": "[147]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.3", "texte": "Six Figures from the engraving by Israel von Mecheln. 1460-1470, See page 153.\n\nThe Mask\nI 9 i o"}, {"page_pdf": 5, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.5", "texte": "THE ANCIENT ENGLISH MORRIS\nDANCE\nby Francis Douce. 1807.\n\nJt is the observation of an elegant writer that disquisitions concerning the manners and\nconduct of our species in early times, or indeed at any time, are always curious at least\nand amusing. An investigation of the subject before us, if completely and successfully\nperformed, would serve to fill up a chasm in the history of our popular antiquities; but\nthis must not be expected. The culpable indifference of historical writers to private man-\nners, and more especially to the recreations and amusements of the common people, has\noccasioned the difficulties that always attend enquiries of this nature, many of which are\ninvolved in impenetrable darkness; whilst others can only receive illustration from detached\nand scattered facts accompanied by judicious inferences and opinions. &\n& It will be necessary in the first place, to attempt some definition of what the morris\ndance originally was: this may be best accomplished by the aid of etymology, which will generally\nbe found a faithful guide, when managed with discretion. It seems, however, on the present\noccasion, to have been too slightly treated in a work of considerable labour and ingenuity,\nthe author of which has expressed an opinion that the Morris dance originated from that\npart of the ancient ceremony of the feast of fools, in which certain persons habited like\nbuffoons, with bells etc, joined in a dance. He then proceeds as follows, \" The word Morris\napplied to the dance is usually derived from Morisco, which in the Spanish language signifies\na Moor, as if the dance had been taken from the Moors; but I cannot help considering\nthis as a mistake, for it appears to me that the Morisce or Moor dance is exceedingly dif-\nferent from the morris-dance formerly practised in this country; it being performed with\nthe castanets or rattles, at the ends of the fingers, and not with bells attached to various\nparts of the dress, (i) I shall not pretend to investigate the derivation of the word Morris,\nthough probably it might be found at home; it seems, however, to have been applied to\nthe dance in modern times, and, I trust, long after the festival to which it originally belonged\nwas done away and had nearly sunk into oblivion.\" (2) & &\nNow if the term in question had been exclusively used in England, there would have\nbeen some weight in these observations; but when we find it adopted by most of the\nEuropean nations to express a dance, the origin of which both English and foreign glos-\nsaries uniformly ascribe to the Moors, we must pause at least before we consent to abandon\nthe only clue that presents itself to assist us. & <&\nThe genuine Moorish or Morisco dance was, no doubt, very different from the English\nmorris; but there is scarcely an instance in which a fashion or amusement that has been\nborrowed from a distant region has not in its progress through other countries undergone\nsuch alterations as have much obscured its origin. This remark may be exemplified in chess\nand cards, which, beyond all doubt, were invented in India or China, and spread, by means\n\nA definition. &\nThe genuine\nMo risco • &\n\nNO T E S.\n(1) This will hereafter appear to be a mistake.\n(2) Strutt's Sports and pastimes of the people of England, p. 171.\n(1) Three Figures from a stained glass window at Betley, Staffordshire; early 16th century. The Background is added from a design\nof the same date."}, {"page_pdf": 6, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.6", "texte": "THE MORRIS\nDANCE. &\n\nIts Origin.\n\nof the Arabians, progressively throughout Spain, Italy, Prance, England, and the North of\nEurope. But the above writer has cited a passage from the play of Variety, 1949, in which\nthe Spanish Morrisco is mentioned; and this not only shows the legitimacy of the term\nmorris, but that the real and uncorrupted Moorish dance was to be found in Spain, where\nit still continues to delight both natives and strangers under the name of the fandango.\nIt may be likewise remarked, that the exquisitely pretty music to this lively dance is\nundoubtedly Moorish. (1) The Spanish morris was also danced at puppet-shows by a person\nhabited like a Moor, with castagnets; and Junius (Du Jon) has informed us that the morris\ndancers usually blackened their faces with soot, that they might the better pass for Moors. (2)\n& Some have sought the origin of the morris in the Pyrrhica saltatio of the ancients, a\nmilitary dance which seems to have been invented by the Greeks, and was afterwards adopted\nby the Salii or priests of Mars. This continued to be practised for many ages, till it became\ncorrupted by figures and gesticulations foreign to its original purpose. Such a dance was\nwell known in France and Italy by the name of the dance of fools or Matachins, who were\nhabited in short jackets with gilt=paper helmets, long streamers tied to their shoulders,\nand bells to their legs. They carried in their hands a sword and buckler, with which they\nmade a clashing noise, and performed various quick and sprightly evolutions. (3) &\n& A species of this sword dance by some means or other got introduced into England,\nwhere it has generally and unaccountably been exhibited by women, whose dexterous feats\nof tumbling and dancing with swords at fairs, and in the minor theatres, are still remem-\nbered by many persons.\nA very learned writer, speaking of the Pyrrhica saltatio, informs us, that \" The common\npeople in many parts of England still practise what they call a Morisco dance, In a wild\nmanner, and as it were in armour, at proper intervals striking upon each other's staves,\netc. \" (5) This might be found on enquiry to differ from the common morris, and to be a\nmixture of the old Pyrrhic and Moorish dances. Such a one may be alluded to in \"The second\npart of King Henry the Sixth,\" Act iii. Sc. I\n\" I have seen him\nCaper upright like a wild Morisco,\nShaking the bloody darts, as he his bells. \"\nBefore we proceed to an examination of the more immediate object of this essay, the\nEnglish morris, it may be as well to lay before the reader a short description of the\nuncorrupted morris dance, as practised in France about the middle of the sixteenth\n\nNOTES.\n(J) Hist, of musick, vol. IV. 388, by Sir John Hawkins, who was clearly of opinion that the\nmorris dance was derived from the Moors.\n(2) Etymologlcum Anglicanum. In further corroboration of this deduction of the morris\ndance, the following words may be adduced; Moresque a kind of grotesque painting,\nsometimes called Arabesque, and used in embroidery and damasking. Moriscle, and Mouricle,\na gold coin used in Spain by the Moors, and called in the barbarous Latin of the fourteenth\ncentury morikinus. See Carpentier, Suppl. and glossar. JDucangian. v. Morikinus.\nMorris wax, called likewise mores wax, In the Garbelling of spices, 1594, 4to. To\nthese the morris-pike may perhaps be added. It is probable that the English terms\nmorris and morice have been corrupted from mores, the older and more genuine\northography.\n(3) Tabourot Orchesographie, 1589, 4*o, p. 97» where the several postures of this dance\nare described and represented. The Pyrrhic dance appears to have travelled from Greece\ninto the North. See Olaus Magnus, De gentibus septentrionaiibus, lib XV. c. 23, 24,\n25, 26, 27.\n(4) It Is remarkable that the same practise should be found in the island of Ceylon. Knox\ntells us that \" A woman takes two naked swords, under each arm one, and another she\nholds in her mouth, then fetcheth a run and turns clean over, and never touches\nthe ground till she lights on her feet again holding all her swords fast.\" Hist, of\nCeylon, p. 99.\n(5) Wise's •• Enquiries concerning the first inhabitants, language, etc. of Europe.\" p. 51."}, {"page_pdf": 7, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.7", "texte": "century. It has been preserved by Tabourot, the oldest and by far the most curious writer\nof any other on the art of dancing. (1) & jg? &\nHe relates that in his youthful days it was the custom in good societies for a boy to\ncome into the hall when supper was finished, with his face blackened, his forehead bound\nwith white or yellow taffeta, and bells tied to his legs. He then proceeded to dance the Morisco\nthe whole length of the hall, backwards and forwards, to the great amusement of the\ncompany. (2) He hints that the bell might have been borrowed from the crotali of the\nancients in the Pyrrhic dance. He then describes the more modern morris dance, which\nwas performed by striking the ground with the forepart of the feet; but, as this was found\nto be too fatiguing, the motion was afterwards confined to the heel, the toes being kept\nfirm, by which means the dancer contrived to rattle his bells with more effect. He adds that\nthis mode of dancing fell into disuse, as it was found to bring on gouty complaints. This\nis the air to which the last-mentioned morris was performed.\nIt has been supposed that the morris dance\nwas first brought into England in the time of\nEdward the Third, when John of Gaunt returned\nfrom Spain; (3) but it is much more probable\nthat we had it from our Gallic neighbours, or\neven from the Flemings. Few if any vestiges\nof it can be traced beyond the reign of Henry the Seventh; about which time, and particu-\nlarly in that of Henry the Eighth, the churchwardens' accounts in several parishes\nafford materials that throw much light on the subject, and show that the morris dance\nmade a very considerable figure in the parochial festivals. & & &\nj£/ A late valuable writer has remarked that in some places the May-games of Robin Hood\nwere nothing more than a morris dance, in which Robin Hood, Little John, Maid Marian,\nand Frier Tuck were the principal personages, the others being a clown or fool, the hobby-\nhorse, the taborer, and the dancers, who were more or less numerous; (4) but this seems\nto be a mistake. The May games of Robin Hood appear to have been principally instituted\nfor the encouragement of archery, and were generally accompanied by morris dancers, who,\nnevertheless, formed but a subordinate part of the ceremony. It is by no means clear that\nat any time Robin Hood and his companions were constituent characters in the morris.\nThere were, besides, May-games of a more simple nature, being merely dances round a\nMay-pole, by the lads and lasses of the village, and the undoubted remains of the Roman\nFloralia. (5)\n\nTHE MORRIS\nDANCE. &\n\nIts introduction\ninto England.\nThe May games.\n\nN*o T E S .\n(1) Jean Tabourot, canon and official of the cathedral of Lengres, published his 44 Qrcheso-\ngraphie et traicte an forme de dialogue par lequel toutes personnes peuvent facilement\napprendre et pratiquer 1' honneste exercise des dances'\" 1589, 4to, under the anagram-\nmatized name of 44 Thoinot Arbeau.\" He died in 1595, at the age of 66. His work is\nequally curious and uncommon.\n(2) But the French morris can be traced to a much earlier period. Among other instances\nof the prodigality of Messire Gilles de Raiz, in 1440, morris dancers are specified.\nLobineau, Hist, de Bretagne, ii. 1069. In the accounts of Olivier de Roux, treasurer to\nArthur 111. duke of Bretagne in 1457* is this article. 44 h certais cempaignons qui avoient\nfait plusiers esbatemens de morisques et eutres jeux devant le due h Tours vi. escus.\"\nId. 1205. At a splendid feast given by Gaston de Foix at Venddme in 1458, 44 foure yong\nladdes and a damosell attired like savages daunced (by good direction) an excellent\nMorisco, before the assembly. \" Favines 44 Theater of honour \" p. 345, and see\nCarpentier, 44 Suppl. ad glossar. Ducangian. v. MorikinusCoquillart, a French poet\nwho wrote about 1470, says that the Swiss danced the Morisco to the beat of the drum,\n44 Oeuvres, p. 127.\n(3) Peck's 44 Memoirs of Milton\", 135. What this writer has added on the subject of the morris\ndance is not very interesting; but he is certainly mistaken In his explanation of five, seven,\nor nine men ' s morris.\n(4) Rltson 's 44 Robin Hood I. cfi.\n(5) See particularly Stubbes 44 Anatomie of abuses p. 109, edit. 1595, 4to."}, {"page_pdf": 8, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.8", "texte": "THEM ORRIS\nDANCE. &\n\nWe find also that other festivals and ceremonies had their morris, as Holy Thursday;\nthe Whitsun-ales; the bride-ales, or weddings, (1) and a sort of play or pageant called the\nlord of misrule. Sheriffs too had their morris dance. (2) The reader may be amused with\nthe following account of the lord of misrule, as it contains a description of an attendant\nmorris. It has been fortunately handed down to us by a puritanical writer of the reign of\nElizabeth, whose loud ravings against the fashionable excesses of his countrymen have\ncontributed to furnish posterity with the completest information respecting a considerable\nportion of the manners and custom of the above period that is any where to be found. These\nare his words:\n£? First, all the wilde heads of the parish, flocking together, chuse them a graund captaine\n\"(of mischiefe) whome they innoble with the title of my Z,ord of misrule, and him they\n44 crowne with great solemnitie, and adopt him for their king. This king annoynted, chooseth\n\"foorth twentie, fourtie, three-score or a hundred lustie guttes like to himselfe to waite\n44 upon his lordly majesty, and to guarde his noble person. Then every one of these his\n44 men, he investeth with his liveries of greene, yellow, or some other light wanton col-\n\" lour. And as though that were not (bawdy) gawdy ynough, I should say, they bedecke\n\"themselves with scarffes, ribbons and laces hanged all over with golde ringes, precious\n\" stones; and other jewels, this done, they tie about either legge twentie or fourtie belles\n44 with rich handkerchiefe in their handes, and sometimes laide a crosse over their shoulders\n44 and neckes, borrowed for the most part of their pretie Mopsies and loving Bessies, for\n44 bussing them in the darke. Thus all things set in order, then have they their hobby-\n•4 horses, their dragons and other antiques, togither with their baudie pipers, and thundering\n44 drummers, to strike up the Devils Daunce withall: then martch this heathen company\n44 towards the church and church-yarde, their pypers pyping, their drummers thundering,\n44 their stumpes dancing, their bells jyngling, their handkercheefes\n44 fluttering about their heades like madde men, their hobble horses,\n44 and other monsters skirmishing amongst the throng: and in this\n44sorte they goe to the church (though the minister be at prayer\n44 or preaching) dauncing and swinging their handkerchiefes over\n44 their heades in the church like Devils incarnate, with such a\n44 confused noise, that no man can heare his owne voice. Then the\n44 foolish people they looke, they stare, they laugh, they fleere, and\n44 mount upon formes and pewes, to see these goodly pageants so®\n44 lemnized in this sort. Then after this about the church they goe\n44 againe, and againe, and so foorth into the church yard, where they\n44 have commonly their sommer haules, their bowers, arbours, and\n44 banquetting houses set up, wherein they feast, banquet, and\n44 daunce all that day, and (peradventure) all that night too. And\n44 thus these terrestrial furies spend the Sabboth day. Another sort\n44 of fantastical! fooles bring to these helhoundes (the Lord of misrule\n44 and his complices) some bread, some good ale, some new cheese, some olde cheese, some\n44 custardes, some cracknels, some cakes, some flaumes, some tartes, some creame, some\n44 meate, some one thing, some another; but if they knewe that as often as they bringe anye\n44 to the maintenance of these execrable pastimes, they offer sacrifice to the Devil and Sa-\n-44 thanas, they would repent and withdrawe their handes, which God graunt they may. (3) &\nAnother declaimer of the like kind, speaking of May games and morris dances, thus holds\nforth; 44 The abuses which are committed in your may-games are infinite. The first whereof\n44 is this, that you doe use to attyre in womans apparrell whom you doe most commonly\n44 call may-marrions, whereby you infringe that straight commaundement whiche is given\n\nThe 140 rd of\nMisrule.\nA protest.\n\nNOTES.\n(1) In Laneham's \"Letter from Kenilworth or Killingworth castle\", a bride-ale is described,\nin which mention is made of \"a lively Moris dauns, according too the aunciant manner:\nsix dauncerz, Mawdmarion, and the fool.\"\n(2) See Stowe' s 44 Survey of London \", 1618, 4to, p. 161.\n(3) Stubbes 's 44 Anatomle of abuses p. 107*"}, {"page_pdf": 9, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.9", "texte": "\"in Deut. XXII 5, that men must not put on womens apparrell for fear of enormities. Nay\n*• I myself have seene in a may game a troupe, the greater part whereof hath been men, and\n&&&&&&&&\nA. Is that so ? Yet brooding and meditation is by no means guaranteed even to bring\noff an accident; rather does it preclude any chance of action of any kind. <£? &\nYou seem to think that Hamlet' s meditations are the meditations of Guildenstern. But if\nyou read carefully you will see that Hamlet\" s meditations are upon justice. Hamlet' s\nresolves are like those of all the rest of the world. He resolves to do evil to achieve good.\nAnd it is only during those meditations at which we are not present that he resolves not\nto do evil, and it is these resolutions which restrain him from hasty action and which\nassist fate, not accident, to guide Fortinbras to Denmark at the psychological moment.\n\nAGAINST FOOT LIGHTS.\nLeonardo da Vinci.\nThe Art of the Theatre. Gordon Craig. 1905.\nall let the figures that you paint have sufficient light and from above, that is,\nall living persons whom you paint, for the people whom you see in the streets are all\nlighted from above; and I would have you know that you have no acquaintance so intimate\nbut that if the light fell on him from below you would find it difficult to recognise him.\n\"And there's a row of lamps, my eye !\n\"How they do blaze .... / wonder why\nfC they keep them on the ground \".\n\"Rejected Addresses.\"\n\" That was in 18121 and we are still wondering\"."}, {"page_pdf": 21, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.21", "texte": "PSYCHOLOGY AND THE DRAMA\nby John Semar.\n\no long as people continue to believe that drama can be revealed\nthrough psychology, so long the theatre will remain where it has\nbeen for the last hundred years. This dependence upon psychology is\ncharacteristic of men who have turned their art Into a business.\nIt shows plainly that they realize the importance of quick returns.\nPsychology is a beautiful word, and, when applied to the thea-\ntre, confusing enough to baffle the outsider. When the art of tmusic\nhas sunk to its lowest point of development we shall be hearing\nabout the psychology of music. We shall hear about the psychology of everything when\neverything is pointing to decay.\n& What need is there to bring this word \" psychology\" Into this simple and beautiful\nmatter at all ? What has it got to do with it ? We are concerned with an art and a craft.\nOur work is essentially a practical osse. jZ? &\n«£? All art is the result of something Intensely practical, and we are trying to confuse it\nand make it indirect and mysterious by the use of this word psychology. jZ?\n<£? Nothing strikes two or more beholders in the same manner except those very simple\nthings which are most direct in their appeal, Set us almost say the commonplace things.\nThus none of the beholders will see one and the same thing in that which they behold.\njZ? It is never to be forgotten that in the theatre we make our appeal to some thousands\nof different people. Appealing to their minds we shall impress each one differently.\nAppealing to anything but their common sense we shall fall. &\nWe must call a spade a spade, and in two words, not in twenty, and it Is absolutely\nimmaterial to us whether it is explained to us that the spade is rounded or square at the\nedge. It is quite unnecessary whether we are given to understand that there is a little\nmud on the blade which suggests that the spade comes from Wiltshire, or whether there is\na trade mark on the handle which shows that it was made in America. These details explained\nat length with great subtlety will not make us recognize the spade any better, because the\nspecial mud from Wiltshire and the American trade mark convey little; but, if it is a golden\nspade or a silver spade that everybody will recognize, it is unnecessary then to explain it.\nIt has appealed to our common sense; in short it is quit© unnecessary even to call it a\nspade. & zz? zz? & zz? & zz?\n& And so it is with acting. Everything must be direct and simple in its appeal. Whether\nit be in tragedy or comedy, the appeal must be through the senses, not through the\nbrain, for when we begin to think about the tragic or the comic we shall neither weep\nnor laugh.jZ? jz? & & jgr jZ? &\nSo whether we are actors, stage managers or even scene painters, our study must be\nhow to reach everyone in the theatre simultaneously so that they may respond simul-\ntaneously. When we know how to do this we shall know how to deal in essentials and\nnot in details, and the details will be thrown out into the scene dock. For instance let us\ntake a single example. The scene is a large waiting-room in which are seated the near\nfriends and relations of one who is dying in the next room. With the dying man are his\nnearest relations and one friend, a woman. Very soon this woman has to come into the\nroom where the friends and relations are all gathered and convey to them that the man is\ndead. How shall she do this in the most direct way, so that there shall be no mistake, no\noffence? how, in short, shall she call a spade a spade to our satisfaction? You may say there\nare many ways. Can you think of one? If she goes on to the stage and commences to talk\na great deal it is quite likely that many of us may be confused as to what she has to say.\nIf she remains silent we are still left in doubt. In what way can she convey the event to\nus? By an action. But what action? What action shall convey the sorrow of the fact and\nshall be so solemn that it prevents the flood-gates of sentiment breaking loose ? It is to\ncreate such action that the actor has been born; it is to avoid the trouble of it that he\nhas made an alliance with psychology. Psychology will not help him because these things\n\n& A practical\nWOlka\nActing. &\nAn example."}, {"page_pdf": 22, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.22", "texte": "must-be created hot. &\n\" All art continually strives towards the condition of music.\" Think how far from the\ncondition of music our art will go if it is led by psychology ! <£? &\nIt is far better for all the arts, until they arrive at that condition, to travel along alone\nand to concern themselves with nothing but the way their mere bodies are constructed.\nLet them get hold of THAT first. There is plenty of time afterwards for the study of the\nsoul. & &\nThus let the actor study how to walk about on the stage so beautifully that by his\nwalking the feelings of the people shall warm and be set in motion. Let the actor think\nhow he can make the sound of his voice beautiful so that on hearing it people shall want\nto listen to the sound. Let him not think that life can say that which is light or profound\nif his voice is never to float or fall, to glide or to leap, to run and to pull up abruptly.\nThese and thousands of other moods and changes. And let him not think that he can make\ngestures and movements which shall be understood until he can make the movements which\ncan be felt. Let him not concern himself about the meaning; let him only concern himself\nwith the manner. And in order to do this he must feel the earth under his feet. As he\ntreads the stage his whole body must be alive and his feet like those of Mercury. It is all\nthis that made Edmund Kean a greater actor than any other English actor. It was through\nphysical feeling, not by thinking or by reason. & & & &\n& It is only by feeling that you will be able to tell me what movement the woman whom\nI have told you about should make when she comes into the room to tell the others of\ntheir loss. Can anybody tell me what that movement should be ? JZ? & &\nA WORD ON MASKS.\nJgverything that is profound loves the mask; the profoundest things have a hatred even\nof image and likeness. Should not the contrary only be the right disguise for the shame\nof a God to go about in ? A question worthy asking!.... it would be strange if some\nmystic has not already ventured on the same kind of thing. There are proceedings of §uch\na delicate nature that it is well to overwhelm them with coarseness and make them\nunrecognisable; there are actions of love and of an extravagant magnanimity after which\nnothing can be wiser than to take a stick and thrash the witness soundly: one thereby\nobscures his recollection. Many a one is able to obscure and abuse his own memory in\norder at least to have vengeance on this sole party in the secret: shame is inventive.\nThey are not the worst things of which one is most ashamed: there is not only deceit\nbehind a mask.... there is so much goodness in craft. I could imagine that a man with\nsomething fragile and costly to conceal, would roll through life clumsily and rotundly\nlike an old, green, heavily»cooped wine=cask: the refinement of his shame requiring it to be\nso. A man who has depths in his shame meets his destiny and his delicate decisions upon\npaths which few ever reach, and with regard to the existence of which his nearest and\nmost intimate friends may be ignorant; his mortal danger conceals itself from their eyes,\nand equally so his regained security. £/ &\nSuch a hidden nature, which instinctively employs speech for silence and concealment,\nand is inexhaustible in evasion of communication, desires and insists that a mask of himself\nshall occupy his place in the hearts and heads of his friends; and supposing he does not\ndesire it, his eyes will some day be opened to the fact that there is nevertheless a mask\nof him there .... and that it is well to be so.\nEvery profound spirit needs a mask; nay, more, around every profound spirit there\ncontinually grows a mask, owing to the constantly false, that is to say, superficial\ninterpretation of every word he utters, every step he takes, every sign of life he\nmanifests.\nOccasionally folly itself is the mask of an unfortunate over*>assured knowledge.... From\nwhich it follows that it is a part of a more refined humanity to have reverence u for\nthe mask and hot to shake use of psychology and curiosity in the wrong place. &\n\nPSYCHOLOGY\n& THE DRAMA.\n\nWhat to study.\n\nNietzsche. Beyond Good and Evil. Translated by Helen Zimmern. 1907"}, {"page_pdf": 23, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.23", "texte": "THE ARCHITECTURE AND COSTUME\nOF SHAKESPEARE'S PLAYS\nby E. W. Godwin. F. R. S.\nOTHELLO\nJn the Italian Group we find that with two exceptions—Othello and the Two Gentlemen\nof Verona—there is nothing In the text of any of them indicative of time other than\nthat of the period at which Shakespere wrote them. In Othello there is a scene laid in\nCyprus, which is never acted, consisting of these six lines:—\nOthello. These letters give, lago, to the pilot;\nAnd, by him, do my duties to the Senate;\nThat done, I will be walking on the works,—\nRepair there to me.\nlago. Well, my good lord, I'll do't,\nOthello. This fortification, gentlemen, shall we see ' t ?\nGentlemen. We' 11 wait upon your lordship. (Exeunt.)\nThis is alone sufficient to show that Cyprus was not only garrisoned by Venetian troops\nbut that the port where Othello lived was being fortified during the period of the action.\nNow, as Cyprus was taken by the Turks in 1570, and the Venetian garrison was first quartered\nthere in 1471, we must seek between these years the time for Othello' s occupation. &\nFrom 1471 to 1489 the island, although defended by Venetian soldiers, was nominally\nruled by Catherine Cornaro; but in the year last mentioned she resigned all her rights in\nfavour of the Republic, and Venice maintained peaceful possession until the Cyprian wars,\nwhich ended (after Othello's death) with the Turkish victory of May 1570. War, however,\nhas been declared before the play opens, for in the very first scene, lago, speaking of Othello\nsays: s s.. he's embark'd\nWith such loud reason to the Cyprus' wars,\n(Which even now stand in act,)....\nAnd in the third scene we learn that the Turks, with a fleet counting between one and two\nhundred galleys, had been seen \"bearing up to Cyprus,\" but had changed their course\n\" toward the isle of Rhodes, \" and there, Joined by a second fleet of thirty sail, were seen to\n.... restem\nTheir backward course bearing with frank appearance\nTheir purposes towards Cyprus.\njg? This expedition, however, came to grief, for a \" desperate tempest\" scattered the fleet\nand brought it to entire or \" mere perdition,\" as the Venetian Herald calls it. But the\ncourse described in the text exactly tallies with that which was actually pursued in the\nearly part of the year 1570 under the Ottoman leader, Mustapha, who, after weathering\nthe equinoxial gales, made his successful attack on Cyprus in the following May. We may\ntherefore conclude that the play refers us to the Spring of 1570, or thirty=two years before\n\nCyprus."}, {"page_pdf": 24, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.24", "texte": "OTHELLO.\n\nit was first acted. This brings us so near to Shakespere's own day that it is scarcely\nnecessary for us to make any distinction between the costume of this play and that of the\nMerchant of Venice, which I purpose to describe in detail. (1) It may be noted, however,\nthat there are still remains of mediaeval buildings sufficient to show that the town of\nFamagusta.... doubtless the sea«port where Othello lived, and which the Venetians were\nfortifying in 1570.... was a place of Importance In an architectural point of view long\nbefore the Venetian occupation of the island. & & & &\n& The play off Othello contains fifteen scenes, three exhibiting the architecture of Venice\nand the other twelve that of Famagusta. We need only look at them as they are placed\nIn the text to see how easily they may be modified to suit the modern fashion of a set\nscene for nearly each act.\nThe first Act consists of three scenes In Venice.\n1. A street. 2. Another street.\n3. A council chamber: Duke and senators sitting; officers attending.\n•<£? The first street or place is opposite the palace of the Magnifico Brabantio. The second\nis close to the arsenal, the sagittary or sagitarius being a piece of sculpture marking (most\nVenetian houses had their special marks) the entrance to the residences or quarters of the\nsuperior officers. This second street might serve quite well for the first scene if, in cutting\nthe text to prepare it for modern acting, our stage editors would finish the scene at that\nspeech of lago' s beginning with the words,\nCall up her father,\nRouse him: make after him, poison his delight,\nThen exit Roderigo. lago, retiring in an opposite direction, meets Othello, and so returns\nfor the second scene. (2) This scene may be rendered very effective if arranged as shown in\nthe diagram, where A shows the proscenium,\nB the canal, C the court=yard ot the \"sagit«\ntary,\" and D the way to the Duke' s and\nBrabantio * s Palaces, although Cassio or Bra*\nbantio, or both, may be supposed to arrive\nby gondola at the quay E. Boundary walls,\ngateways, and low towers, with a background\nof ships of war, would form the elements\nof this scene, and the style of the buildings\nmay include old brick walls as well as new\nstone work, the latter of course being in the Renaissance style of the Library of St. Mark or\nof the Vandramini, Grimani, or the old Cornaro palaces, built or designed between 1520 and\n2350. A scene set like this would necessitate the fall of the curtain in order to prepare the\nlast and the most sumptuous scene in the whole play; viz, the Council Chamber in the Doge's\npalace. For this, however, I refer my readers to my notes on The Merchant of Venice. For the\nrest of this play we are in Cyprus. In the second Act we have three scenes, but there\nappears to me no reason why one scene should not suffice for all. The text gives\n1. A seaport town in Cyprus.\n2. A street.\n3. A hall in the castle.\nJ? The first direction is very vague, and we must therefore go to the text to seek a definite\nmeaning for it. There we find that the first scene is a kind of open or public courtyard\nto the citadel or castle, that close outside it is the harbour or bay with the quay or landing\"\nplace, and that the castle or the residence of the commander or governor of the island is\non one side of it. Standing in this halfpublic sort of courtyard we hear the shouts of the\npeople who line the brow o' the sea; \"we see the blocks of stone scattered about, and\nthe new works \"in all the usual confusion of builders' mess and muddle. Here, on the\nright, through an archway newly built, with the lion of St. Mark roughed out on its frieze\nwe see the hill that leads to the town on one side of it. At the back of the scene rises the\n\nFifteen scenes.\nA seaport town.\n\n(1) The articles on this play were reprinted in The Mask, May, June and July, 1908.\n(2) lago's last speech in this scene might be joined to that \" Call up her father \" etc."}, {"page_pdf": 25, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.25", "texte": "fifteenth century castle with its broad stairs leading to the great entrance doorway, from\nthe castle to the other side of the scene stretches the sixteenth century fortified wall, half\nbuilt, outside which steps conduct down to the lower line of fortification and the quay\nbeyond; through a tower gateway on the extreme left we get a glimpse of further\nfortifications and the new works thereof, and there, too, is the guard-room with an open\narcade, under which, in the third scene, the drinking party would begin their revels. In\nsuch a scene as this 1 have thus roughly and very imperfectly sketched, if properly set,\ncomposed and painted, the whole of the second and third acts may be represented. I say\nthe third, because the short second scene, which is the only one inside the castle, might\njust as well be before the castle as not. The fourth act contains three scenes:\n1. Before the castle.\n2. A room in the castle.\n3. Another room In the castle.\nThere is no reason that I can discover why there should be two different rooms for the\nsecond and third scenes, nor can I see why the first scene should not be inside instead of\nbefore the castle, except for the presence of Bianca the courtezan, and this may be rendered\nas possible to an interior as to the courtyard if we make the room open through a cloister,\ncorridor, or double arcade to the courtyard at the back. Bianca might then ascend by two\nor three steps just under the arches without in any way violating the probabilities, and\nthus a set scene for the whole of the fourth act could be secured. This interior might be\nGothic or Renaissance; if the first, we must bear in mind the fact that the Gothic of Cyprus\nhad nothing whatever to do with Venetian Gothic, but was more like that of Jerusalem\nand even of Central and Northern France. & & &\n& The fifth act contains two scenes:....\n1. A street. 2. A bedchamber.\nIt is impossible in the last Act to do with less than two scenes. The street here is\nclearly in the town, and so we may indulge our fancy so far as to group together the\nRenaissance of Italy, the Gothic of Syria, the Romanesque of Byzantium, and the ruins of\npre-Christian times.\n& We come now to the last scene. And here we find the text agreeing with\nthe ordinary construction of the bedchamber of the sixteenth century, so that we\nneed not go out of our way to copy the double stage apparatus of the Elizabethan Theatre.\nDesdemona' s bedroom was in plan nothing more nor less than what we still see in many\nmodern houses on the continent, i.e. the bed-place was an alcove or recess, or, if you\nprefer to call it so, a small room with one side open to the chamber proper. Across this\nopen side, which might be arched, curtains were suspended, and the floor or the bed-place\nmight be raised three or four steps above the chamber floor. This apartment would naturally\nbe placed in the best part of the castle, and would therefore be Renaissance work of the\ncharacter already mentioned.\nThe costume of the Venetians in 1570, or twenty years before the date of the Merchant\nof Venice, was so like that I propose to describe when 1 come to treat of this last-mentioned\nplay, that it is unnecessary to dwell on it here. The inhabitants of Cyprus....Othello' s old\nacquaintance of the isle....were more or less men of warlike character, and were habited\nlike Greeks or Persians rather than like western Europeans. The cavalry of the island\nwere really Greek, and were called Stratigari or Estradiots; they wore tall turban-like hats\nwith a feather stuck upright in the front, tight guarded or braided bodies, long loose\nskirts of a different colour, tight under sleevs, a rich sash, and a sabre suspended behind\nby a belt across the right shoulder: one of their sabres may be seen in the collection at\nGoodrich Castle.\nOne word as to the music. Amidst the drinking songs and the old ballad of \" Willow \"\nmay not room be found for those charming compositions of Luca Marenzio (1570) and G*o-\n- (1560) which were known to Shakspere and the Court of Elizabeth of England as\nwell as they were in Florence and Venice? In the intervals of lago' s rough songs It would\nform a pleasing contrast to hear from the castle the distant harmonies of Cynthia thy\nSong, &c.,\" \"So saith my fair and beautiful Lygoris,\" or «« Lady see on every side,\" &c.\n\nOTHELLO#\n\nThe fourth act.\nThe costume.\n& The Music."}, {"page_pdf": 26, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.26", "texte": "TWO GENTLEMEN OF VERONA.\nbe chronologically correct I ought to have placed this play before Othello, for the\ndate of the action must be taken to be prior to 1535, because In that year died Francesco\nSforza, the last Duke who ruled nominally as an independent prince, although really\nunder the Empire. After Francesco's death the Emperors, Charles V. and Francis 1.,\ncarried on their contention for the possession of the Duchy, which, in 1540, Charles\nadded to his other possessions. In 1555 he, however, gave up all to his son Philip, who he\nhad already created Duke of Milan, and the title became from this a mere appanage of the\nImperial Crown. The tone of the play is thoroughly peaceful, and we have to make our\nchoice between the later quiet time of 1529=1535, that is, after the treaty of Cambrai, and\nearlier period of quiet, such as that which followed the battle of Pavia. The references in\nthe text to Shakespeare's own time incline me to adopt the later period. jg?\nThe architectural scenery is divided between Verona and Milan, and may be thus\nsummarised;—\nVerona.—An open place, Act i. Sc. 1; Act ii, Sc. 3.\nJulia's house; exterior, Act i. Sc. 2.\n~ „ interior, Act ii. Sc. 2 and 7.\nAntonio's house; interior, Act i. Sc. 3.\nMilan.— The Duke's Palace. Interiors: Act ii., sc. 1, 4, and 6;\nAct ii!.; Act iv., sc. 2, 3, and 4; Act v., sc. 2.\nAn alley; Act v., sc. 1. A street; Act ii., sc. 5.\nThe three remaining scenes are laid in the forest near Mantua.\nNow, although the Verona of Julia must have been different from the Verona of\nJuliet, yet the difference created in the two centuries, which elapsed between the dates\nof the two stories, was felt, perhaps, as little there as in any town in Italy. The greatest\nchange was due to the fortifications erected from the designs of San Michele, who died\nin 1549, and who was between 40 and 50 years old at the time I have accepted as the period\nof the story of the Two Gentlemen of Verona. But, for a full century before this, the style\nof the Renaissance had been practised at the great architectural centre on the other side\nof the Apennines, for the Riccardi palace at Florence was begun in 1430, and the Pitt!\npalace only five years later. Nearer Julia's home we find that the Vandramini palace at\nVenice was begun before she was able to toddle about alone, whilst at Milan the north\nwing of the great hospital was commenced as early as 1456 by one Filarete, an architect\nof Florence. But whether we \" trudge about through fair Verona \" or peruse the streets of\nMilan, we shall find the builders more or less busy with the fashionable style, pulling down\nold walls of Romanesque and Early Pointed character, and setting up in their places a very\nfree translation of the Classic Orders. & & & &\nThe open place, square, or wide street of the first scene of Act i. and the third scene\nof Act ii., might show, not only the Renaissance, but the other three great phases of\narchitecture through which Verona had passed. One or two new buildings in the Free\nClassic style of the hour would give us, so to speak, the time of day; and the long history\nof the little aristocratic town might be traced through Pointed arch and Romanesque shaft\nup to the pilasters and friezes of the time of Theodoric the Goth, and so to the still\nearlier work of his predecessor. For the general character of these buildings I refer the\nreader to my notes on the play of Romeo and Juliet, in the Architect for November 14,\n1874. (1) The two houses introduced in the first and second acts are, I need hardly say, palatial\nin character, for that Antonio is a nobleman, and Julia the daughter of a nobleman, are\nfacts settled for us by the text. We may perhaps be allowed to go further and say that\nAntonio is an old-fashioned nobleman, for he has kept his son Proteus at home, until\nimportuned to send him away by his brother, the prior probably of that Franciscan house\nwhere our old friend Friar Lawrence once busied himself in toxicology. Antonio's\nservant too is allowed to hold free converse with his 6t lordship,\" and to counsel his master\nin family affairs: from all of which It may not unreasonably be supposed that his palace or\nhouse would be of some age, and if we only give It 200 years we shall find it a fully-\ndeveloped Gothic structure, with 0. G. trefoils to the window-heads, marble balconies, and\n\n& The scenery.\nVerona.\n& The Archi-\ntecture. & £>\n\n(1) This article will be shortly reprinted in \" The Mask \""}, {"page_pdf": 27, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.27", "texte": "TWO GENTLE-\nMEN OF VERONA.\n\nall the other charming detail which Mr. G. E. Street has so well Illustrated in his hook\non 46 The Brick and Marble Architecture of Italy.\" The lady Julia might dwell in a still\nolder house for, unlike the lady of Belmont, she does not appear to have been a very\ndesirable match in a financial point of view, for Proteus feared to show his father Julia's\nletter lest Antonio should take exception to his love. True It is she lias some landed property,\nas well as a house full of goods and chattels, but they are not so great as to prevent her\nleaving them at the complete disposal of her maid Lucetta. & & &\nIn Milan we have a street, an 44 abbey, \" and the ducal palace. The short scene of twelve\nlines which begins the fifth Act might well be transposed, and thus the 44 abbey \" got rid\nof altogether. If St be retained we must remember that It Is a convent of friars, and\nconsequently not an abbey like that of St. Ambrogio, but a priory of one of the four orders,\nDominicans, Franciscans, Carmelites, or Augustinfans. The streets of a place like Milan in\n153S would be brilliant with new cut stone and marble in the style of the Renaissance,\nmany palaces and houses would have already been built, and many others would be in course\nof erection, the place would be quite gay with the fashions of the time, and crowds of new\ndresses would be backed up by crowds of new \nAs Bath is to Wells, or Cheltenham to Gloucester, so Milan was to Verona, and the\nscene painter who omits to show us this distinction is guilty of gross neglect altogether\nunpardonable in days when real fire-engines, broughams, and such like gear are brought\non the stage with a view to completeness In the realisation of a scene in some fleeting\nsensational entertainment. Of the ducal palace, in the rooms and courts of which so much\nof the action of the Two Gentlemen of Verona is carried on, we have no remains to guide\nus, except the tower of the mediaeval palace erected by Azzo Visconti about 1330. Giotto\n(ob. 1336) certainly painted the walls of some of its rooms; and, although portions were\nrebuilt during the fifteenth and sixteenth centuries, the fourteenth century was still strongly\nmarked 011 it up to the time when Gothic and Renaissance together fell before what we\ncall 44 the hand of modern improvement.\" The architecture, therefore, of the Milan Palace\nmay be Gothic of 1330, or Early Renaissance, or both.\n<£? The costume of the youths who attended the Imperial Court, of the Emperor—who\nmight be seen in procession though not found in the dramatis persone—of the Duke of\nMilan, of the lords and ladies of Milan and Verona, of Gentlemen from the courts of\nFrancis or of Henry, of artists from Florence and merchants from Venice—may be sought\nin paintings, contemporary MSS., drawings, engravings, and sculpture. But wherever the\ntheatrical manager may be led to seek for his authorities, it is to be hoped he will be\nconsistent, and not expect Giorgione, who died in 1511, to furnish him with the costume\nof 1530. He must or ought to know that whatever later painters, looking to the past, may\nhave done, it is impossible that painters who died years before the period we attempt to\nillustrate can be fairly regarded as authorities for the fashions of that period. For instance,\nVeronese can scarcely be quoted on the costume of 1530, since he was a tiny boy only\nwhen Proteus married Julia. On the other hand, Tintoretto, who was a young man,\nand Titian, who had reached a ripe age, may be implicitly followed. But Titian is more\nthan an authority for us in this play. As a favourite artist .with the Emperor, he might\nvery possibly have received a summons to attend Charles at Milan, so that we may well\nhave among the figures in our background the great colourist of Venice. The text of the\nTwo Gentlemen of Verona supplies many references to costume, e. g.f Thurior's \"jerking\"\nis a doublet; Thurio's servants have 44 bare liveries;\" Julia's hair is knit up in silken\nstrings with 44 odd-connected true-love knots;\" and the particular cut of her trunk hose is\nspecified. Mention is also made of gloves—then manufactured extensively in Italy—sun-\nexpelling masks, purses, periwigs, high boots, and long cloaks. &\n& The list of moveables includes trenchers, looking-glasses, pictures, salts, a rope ladder\nwith grappling or 44 anchoring\" hooks, tablets (of ivory), and musical] instruments. And\nalthough no doubt the words refer to articles Shakespeare had himself seen, yet there is\nnothing inconsistent with the date I have selected for the action, for although the looking\nglass was not commonly used until after 1664, when the glass mirror makers of Murano\nwere incorporated as a distinct guild, we have it on record that in 1507 two men of Murano\nclaimed before the Council of Ten to have Invented away of making good mirrors of crystal\n\nj& & Milan.\n& Costume.\nThe moveables"}, {"page_pdf": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.28", "texte": "TWO GENTLE-\nMEN OP VERONA.\n\nglass, and had a monopoly granted them for twenty years. The \" bare liveries \" of Thurios'\nservants is explained by this passage in the Merchant of Venice—\" Give him a livery more\nguarded than his fellows, \" the guards being the horizontal bars of lace or braid, as we\nshould now call it, which more or less covered the front of the doublet, and without\nwhich any livery must, by comparison with others, have indeed looked bare. As to the\ngeneral fashion of the costume, I refer the reader to the remarks already made on the\ncostume of this period in my notes on Henry VIII. (1) In our National Gallery we have a portrait\nof a lady of Genoa by Paris Bordone (1500-71) which might be copied for Silvia, although\nthe colour of the hair in the painting is like Jiulia's—\" a perfect yellow.\" Silvia's hair\nwas auburn, and her forehead was low, while Julia's was high, so that we get quite a\ncharming contrast in the two ladies of the play, whose only point of resemblance seems to\nhave been In the eyes, which in both were as \" grey as glass \" (/.e. the glass of Shakespere's\nday). Angelo Bronzino(iso2 -72) has supplied us with more than one portrait of the time,\nand the actress is free to choose between him and Bordone. We have also by Pontorno\n(1494-1556) a life-size full length portrait of a boy in crimson and black, which, merely as a\npiece of colonr, would be invaluable in a stage picture. Then, again, from the hand of\nSebastiano del Piombo (1485-1547) we have a likeness of himself, the Cardinal Ippolito\nde' Medici, and the lady Giulla Gonzaga of Mantua. At the Kensington Museum there\nis also much from which we may derive valuable information in any endeavour to realise\nthe aspect of persons and things In Northern Italy during the period under consideration.\nThere we can find almost everything which was required to furnish a palace—chests-\ncabinets, chairs, tables, hangings, candlesticks, candelabra, brackets for lights, lamps,\nlanterns, chandeliers, caskets, picture-frames, inkstands, books, musical instruments, and-\nirons, fireirons, bellows, mirrors of polished steel, glass, statuary, materials for dress, swords,\nand numerous other examples of the armourer's art, and last, though not least, a fine\ncollection of specimens of the work of the gold and colour still preserved, some wood\ncarving from the panelled ceiling of one of the Renaissance rooms of the Ducal Palace at\nMilan, and even carved columns and pilasters. And yet, with this wealth of authority at\nour very doors, is there one theatrical or stage manager in London who takes sufficient\ninterest in art or education to use even one department of this admirable collection ?\n\nSilvia and Julia\nFurniture.\n\nEMOTION IN THE THEATRE.\nLa Bruyère. 1639-1696.\nls the reason that people laugh so easily, yet are ashamed to weep at a theatre? Is\nnature more easily swayed to mirth than moved to pity ? or Is It the disfigurement of\ntears which keeps them back ? Immoderate laughter is more unseemly than the bitterest\ngrief and we ought to be as much ashamed to let others see us laugh as cry. Are we afraid\nto be thought soft-hearted, or weak-minded, or easily imposed on by unreal things? We\nshall not take into account those strong-minded persons who never give way to either\nexcessive laughter or to tears, but let us consider for what reason we go to listen to a\ntragedy. Is it to laugh? Is truth not as vividly portrayed there as In comedy? Will anything\nbut truth, let it be in comedy or tragedy, move the soul ? Will people be satisfied with\nthe improbable ? Therefore, as it is no unusual thing for a theatre to ring with spontaneous\nlaughter at some amusing hit in a comedy, so also the violent efforts people make to\ncontrol their tears and break into forced laughter at some touch of pathos, clearly prove\nthat giving way to natural emotion should cause no other embarassment than that of drying\nour eyes, and having agreed to indulge our feelings in this way, experience will teach us\nthat there is less fear of being moved to tears at a play than of being made to feel\nashamed.\n\n(1) This article will be shortly reprinted in The Mask."}, {"page_pdf": 29, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.29", "texte": "A MASK DESIGNED BY E. THESLEFF, ENGRAVED BY GORDON CRAIG.\n\nThe Mask\nI O I O"}, {"page_pdf": 31, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.31", "texte": "\"CHANTECLER\" AND THE RETURN\nOF THE MASK.\n\nThe triumph of « Chantecler 7is the triumph of the Mask. Paris, the modern Athens, pronoun-\nces that Rostand, having written a play of animal life, played by actors in animal masks,\nhas made it plausible. Paris is enthusiastic about the masks; even Paris, which could not\nunderstand before, now understands. It understands that, though the mask conceals the face,\nfacial expression has triumphed for the first time since the 16th century, (i) The Mask\nhas pointed out the importance of masks replacing the face of the actor from its com-\nmencement.\nThe fact that ' Chantecler 7 is played with masks and that Paris has accepted them is\nsatisfactory. It is not always the unexpected which happens; it is sometimes the expected.\nWe in the street are amazed at comets, but the astronomers know of these things long before\nthey appear and take their appearance all as a matter of course. Those in the street once\nupon a time believed that the sun moved round the earth, but an eccentric gentleman called\nGalileo knew that the earth went round the sun. So of course, when it was asserted time\nafter time in The Mask that masks were the only fit means of expressing those emotions\nof the sou! which are registered on the face, those who asserted this were put down as lunatics.\nHere again it is the expected that happens. &\nAnd now we are going to take another step forward and you will see that what is predicted\nwill come to pass.\n& Before the art of the stage can revive women must have passed off the boards. No\noriginality is claimed for this idea; it is an idea as old as the hills; it has been tried, and,\nlike the hills, it was never known to fail, whereas the actress, for many reasons, as I hope\nto show in a forthcoming number, has been known to fail lamentably. In saying this I in no\nway imply the failure of woman; it is a failure due to circumstances against which nature and\nother powerful things oppose themselves.\nJS? A section of English women who have banded themselves together are preparing the way\nfor the exodus of the woman from the theatre. These ladies are called the Suffragettes, and\nin doing a little wrong to themselves they are doing a great right to their sisters in the\ntheatre. They are opening hundreds of other doors through which the women will enter,\nand, In entering these, will leave the stage.\nThousands of women who want something to do go 011 to the stage; thousands of women\nwho want to make a little money go on the stage; but the Suffragettes, by their agitation,\nare going to make it possible for these same women to go somewhere else; they are going\nto train a new kind of woman, and the new kind of woman will not take kindly to painting\nher face since she will have learned by her superior intelligence that paint hurts the skin;\nneither will she know how to play those feminine roles which the poets always choose to\nwrite because these characters will be composed of a mass of things which she is opposed\nto and which will no longer interest her. Instead of pretending to be the stupid Ophelia she\nwill have joined some society for saving those who would have committed suicide by drowning;\na far more useful occupation than imitating a drowned lady, instead of pretending to be a\ngirl who through some spontaneous sweetness of disposition stands up to a Jew in the law\ncourts of Venice she will be far better occupied in the law courts of Fleet Street. In fact,\nwhen woman lives in the real world, she will leave the mimic world. <£?\njg? If it is suggested that men have not done this though men are in the real world, the\nanswer is that men take themselves very seridusly as artists and the mimic world becomes\nfor them the real world. With women it is quite different. And besides, what men and\nwomen do and feel is always different; the two can never be compared. Until I perceived\nall this I had less sympathy with the Suffragettes than I have at present when I see the\ngood they are going to do the theatre, and that these ladies, by doing a little wrong achieve\n\nA step forward,\nWomen & the\nStage.\nThe Suffragettes\nTheir influence.\nAn impossible\ncomparison,\n(1) 01 course it may be said that some of the masks may have been raised and have thereby exposed the faces of the acto.s; but, the play\nhaving been written for masks, this would only p.ove the stupidity of the actors against which the poet had contended in vain. To wear a\nmask and a face at the same time and to wear the first on the top of the head was a triumph even then. It only needs a short slip for\nthe mask to descend and cover that abomination oI the theatre, the expressionless expression of the actor's lace."}, {"page_pdf": 32, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.32", "texte": "\"CHANTECLER.\"\n\nthis great right..... a masculine theatre And then the masks ...! <£?\nDo you see the connection ? The triumplTof 4Chantecler' is the triumph of the Mask.\n\nJ. S.\n\nMALLARMÉ AND THE NEW DRAMA\nby Allen Carric.\n\nQne night I ventured to ask him what new work he was producing. &\nj& \"A drama\", he replied with visible pride.\n& That evening our talk was of the theatre and he reproached Victor Hugo for wishing\nto revive Shakespearean drama in Alexandrine verse.\n\"Then, your play, Is not at all like \"Kernani?\"\n\" Not at all \" he replied with the howl of a dog whose tail has been stepped on.\n\"ln how many acts is your play, Master ? \" \" Three \". \" How many characters ? \"\n\" Two; myself and the wind\".\nTo question the Master about his scenario which, moreover, must have been of the\ngreatest simplicity, would have seemed impolite. I waited for him to speak.\n\"A young man, the last of his race, is dreaming in his ruined castle. Dreams,\n\" dreams ... he dreams of battles, duels, adventures in distant forests .... of Life\n\" itself.... his life.... he makes plan after plan and prays his ancestors to direct his\n\" course. But always it is the wind in the old tower which answers, which tries to answer,\n\" for it is a tribute to the genius of the French language that the wind in an old tower\n\" always desires to whisper the word OU ... I (oui, yes). \" And the dreamer listens\nwithout ever being sure if it is \" yes \" that the wind wishes to say.\nMallarme spoke again and again to me of his play, and when I would ask him where\nhe wished to give it, in what theatre, he would always speak of travelling in a caravan,\nand of himself playing the role of his hero in all the fairs of France. He would grow\nenthusiastic over the idea that the poet should be his own mountebank. &\nis a passage from a charming \" Souvenir sur Mallarme by Qeorge Moore,\na translation of which appeared in the \" Butterfly\" (i) last summer; and after the\nword \" Mountebank \" there is the following footnote: \" J ' emploie le mot saltimbanque\nplutot qu ' interprete, parce que Mallarme airnait ce mot. \" &\n£/ Now, what the truly wise man will ask, even at the risk of being thought dull, what\nhe will whisper to us (2) is, was Mallarme right in speaking of his creation as drama ?\nWas he right in feeling it to be so ? if he was right then may be \" The Mask \" after all\nhas not been not entirely wrong.\n\"In how many acts is your play, Master? \" \" Three \" .... \" How many characters ? ...\n\"Two, myself and the wind\". \"What does the wind say?\" \"It desires to whisper the word,\n\" 0u... i\". Not one single murder, not one intrigue, you see. No actuality, no personality;\nmerely the soul of a man and the soul of the wind. &\nNow, what would Mr William Archer say of this ? He is a professional critic; he Is supposed\nto know his business; he is an expert, which is about the best thing a man can be. And Mr\nMax Beerbohm, what would he say? What would Mr Walkley and what would Mr Spence\nsay? What would Carados say?,... for after all, when all is said and done, this is the important\npoint. All these gentleman stand for the wisdom of the English stage; they are the guiding\nslapping, pinching nurses, prim or jolly, of the English drama.\nWould Sir Oracle weigh the whole matter ? Would Miss Prim pick holes? would Carados\nlaugh the whole thing off as a good joke? Yes, that is just what they would do. And yet\nthere ,is nothing to weigh, there is no hole to pick, there is nothing to laugh about in what\n(1) Published Quarterly, 1136 Walnut St. Philadelphia.\n(2) \" Wisdom, that Immensely complicated thing, cannot be shouted. \" Max Beerbohm. Saturday Review: Vol 180. Page 749.\n\nMallarme\nspeaks. &\nHis idea.\nWas he right ?"}, {"page_pdf": 33, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.33", "texte": "MALLARMg &\nTHE DRAMA.\n\nMallarme says is the essence of the new drama. & &\n& What he proposed to do would have created a new theatre. 44 He would always speak of\ntravelling in a caravan, and of himself playing In the role of his hero in all the fairs of\nFrance. He would grow enthusiastic over the idea that the poet should be his own\nmountebank.\" He is fond of the word mountebank and knows how to pronounce it. Nowadays\nactors shudder when they are called mountebanks, so that we see both the drama and\nthe theatre are reversed today.\nWhich among these critics would accept the travelling caravan with the poet in it\nperforming for an hour ? Which of them would see in that caravan a more honest, a more\nstraight-forward cradle for the drama than the ridiculous theatres in which they waste their\nnights each week ? jg? & &\njg? Alas! Everyone must arrive at the conclusion that these gentlemen are essentially\nunpractical. They know that there are but a few years in a life time, and they waste these\nyears bolstering up that which they do not believe in, enjoying themselves in the most\ndismal fetters. Chained by the waist to journals which gave up the ghost long ago they are\ncontent to exist at the end of a tether which is played out in the evening as far as an\norchestra stall and pulled back in the morning. Truly, gentlemen, 44 your content is your\nbest having. \"&?/z>jg?jg?£?jg?jg>jg?jg?j&\n& I remember asking one of these gentlemen why he did not seize the opportunity of\nwriting in his journal and exposing the whole stupidity of the English theatre; and his\nreply was, \" I think that should be left to somebody younger than myself \". So we must\naccept him at his own estimate: he considers himself an old man. The lines from The\nWasps \" of Aristophanes sing in our ears,\n\" What is the use of old men now ?\nUseless are we, useless are we;\nJeered as we walk along the street,\nSupers are we to every one.\nElderly affidavits, (i)\nMr Bernard Shaw wrote lately in The Mask; \" Anything is better for the artist than the\nsolitary despotism of his own temperament\", and added that it was \" Irving' s isolation,\nhis attempt to live on and by himself alone, that led to the downfall of his theatre. \" I\nshould say that this downfall came about for precisely the opposite reason, and that had\nhe lived as much on himself and by himself as Mallarme his theatre would be a living one\ntoday. I suppose Mallarme is one of those artists whom Mr Bernard Shaw would call \" more\nor less idiots\" and we can safely leave Mallarme and Bernard Shaw to settle this\nsubtle difference between them.\nnphe Art of the Theatre, being, as it is, a child among the arts, has no desire to clothe Itself\nin the rags of the Theatre, nor inhale Its musty odours. It is a grave mistake to consider the\nArt of the Theatre an evolution of the Theatre, for the new Art is striving for an expres-\nsion of new things and not the mere selection of questionable accomplishments. Some day,\nperhaps, the Art will find a name for itself, a name to express its spiritual meaning. We\nare concerned at present with the prelude to the Art, and to understand these intimations\nwe must strip ourselves of all sophistries and regard it with the same unaffected delight\nas the pure music of the shepherd * s pipe.\nJ would see its first steps on some high green hill; see it with clean, fresh, healthy eyes\nunder the most natural conditions and spontaneous impulses. As needs present themselves\nthey will be met from within and not from the poisonous places which have turned us to\nsuch ardent desires. If walls and a roof are needed for the man-grown Art they will\nappear as a part of the Art, not as a cage. Heaven defend us from borrowed artificialities\nwhen those closer ones which shadow us require our eternal vigilance I\n\nThe Critics.\nOld men. er\nMallarme &\nBernard Shaw.\nI) Cambridge 1909.\n\nGeorge Wolfe Plank."}, {"page_pdf": 34, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.34", "texte": "VENETIAN COSTUME\nTRANSLATED FROM THE BOOK OF CESARE VECCELLIO\nby D. Nevile Lees.\n2y|any of the merchants and well»td=do shop keepers of the city of Venice wear the robe\nwith elbow sleeves like the nobles, but the majority adopt the short costume, with the\ncloak of serge, cloth, camlet, silk brocade or other material, heavier or lighter according\nto the season. And they wear the high cap called 44 h tozzo \" some wearing it also 44 a\ntagliare \", with a narrow brim and with a veil round it; but this latter is rather the cap\nfor quiet and mature persons and that other adapted for young men. &\nIn like manner with the elderly persons, though not all, it is customary to wear under\nthe cloak the long robes which are called Romane or Pretine; the former, as has been said\nelsewhere, (i) with the open collar, the latter fastened at the collar as is here seen. And\nmany, whatever the robe may be, make the collar of it project over the cloak or over-\ngarment and gird it with a silken girdle. And their greatest splendour is the most covered,\nbecause their doublets which are usually of satin, are covered by the robe and scarcely\nanything but the sleeves Is seen. And these gowns that we speak of, of camlet, as they\nusually are in summer, in winter are lined with fur of greater or less value according to\nthe wish and wealth of the wearer. & <£?\nIn summer they wear only slippers on their feet, but in winter they add shoes, and on\ntheir legs it is much the custom to wear siik stockings. & &\nIn this costume I have seen at ail times shine most honourably and ornamentally Messer\nPaolo dello Struzzo, a virtuous youth endowed with every rare quality, possessed of the\nfinest talent, who in the profession of pharmacy cedes to no one in keeping choice goods\nand preparing antidotes for poison. Nor will I be silent in regard to Messer Bernardino\nPillotto who, in addition to owning his most famous shop, is a man of the highest good-\nness and courtesy and takes delight in many virtues, and both of these have a great\nnumber of pictures and many other ornaments. £?\ngreat and most note-worthy decorum is the manner of bringing up noble maidens\nIn Venice; for they are so well looked after and guarded in the paternal houses that very\noften not even their closest relatives see them except when they are married, and it is no\nsecret that many of them up to the time of their marriage, conforming with reverent\nobedience to the will of their parents, are without any ornaments at all.\nThese girls, when they begin to grow up, very rarely leave the house, and almost never\nif not to go to Mass and other divine offices In church, and then they wear on the head a\nveil of white silk which they call a fazzwo/o, of ample width, and with this they cover\nthe face and breast. They wear at this time a few ornaments of pearls and some little\nnecklace of gold of small value. & &\n£/ Their are usually of roan or black, of light wool or camlet or other cheap\nmaterial although underneath they are dressed in colours, and they are girded with one\nof those little silken nets which they call poste: but when they are fully grown they go\ndressed in black with a black veil called a cappa of the finest silk, very wide and large,\nfastened and pinned, which is of great value, and thus they cover their faces so that they\nare not seen and yet see others.\n& But the nobles and those of great family rarely go out of the house except on the principle\nfestivals and holy days.\nIt began some time since to be the custom among the brides of Venice that, before the\nassembly for giving the ring or the troth, and while between the bridegroom and bride\nonly visits pass* the bride Is visited one day by all male friends and kinsmen and on\nanother by the women, and then they go out to some amusement, well escorted. &\n& It is the custom then for them to wear a black silken veil called a Cappa, the which\nis very fine and covers the face, but not the breast, and although it is not very closely\nfastened it does not allow of the veiled face being recognised. & &\n\n& Merchants of\nVenice. ZP\nVenetian Girls.\n& Brides before\nMarriage\n\n(1) The Mask Feb: No: 1909."}, {"page_pdf": 35, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.35", "texte": "The Mash\ns s» i a"}, {"page_pdf": 37, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.37", "texte": "& On this occasion they go much adorned with pearls and gold, wearing, in fact, many of\nthose ornaments which they did not wear previous to being promised in marriage. And\nbecause this veil only covers the face they wear the corsage and sleeves of some colour,\nand for the most part of white silk, with the opening of the corsage laced loosely across\nwith a silken cord as is seen in the picture. This opening used to be of gold and embroidered\nin needlework, but now it is simple and without other ornament.\nThey wear perfumed gloves, in winter covering the whole hand, and in summer cut off\nat the middle of the fingers, and they use bracelets and other ornaments and jewels. They\nare girded with a golden jewelled girdle reaching to the ground, and all the rest of the\ndress is black, and long to the ground, with a little train. &\nbrides, after their marriages are made known, and when already the pa.renta.di (as\nthey call in Venice a kind of nuptial ceremony) are being celebrated, are wont for some\ndays to occupy themselves in dancing and in showing themselves and in receiving with cheerful\ncountenance all their relations.\n& And to this end they have Dancing Masters of whom they avail themselves in those\ndays; and these are elderly men, and In the days of the Pareniade both of the men and\nof the women, (which are usually held seperately) they are wont to lead the brides forth\nfrom their chambers into the Portico into the presence of the relatives and of all the rest\nof the gathering who are seated there, and show them how to do reverence to all. And\nthen to the sound of divers instruments they perform some dances and return Into the\ni\nchamber where are many women who robe them, and, often changing their costumes, they\nshow themselves so decked out and well adorned that, these ornaments added to their\nnatural beauties, of which Mother Nature is usually very liberal to them, they appear as\nso many suns.\nJZ? For the actual marriage they go to church with a large company of men and women,\nkinsfolk both of the bridegroom and of the bride, with music before them and torches car-\nried by servants which are lighted while the mass is being said, at which they assist with\nmuch pomp, there being carpets laid down and cushions upon which to lean and kneel. The\nmass over, and having received the blessing of the priests, they (the brides) go away and\nare led to their husband' s house where the feasting Is renewed. & sz?\n& For nearly a year they continue to dress in that fashion, with their hair flowing over\ntheir shoulders, and the golden head-dress, and an ornament on the head like a circle\nladen with jewels of great value; and they all display, some by nature and some by exquisite\ndiligence in art, tresses of the colour of gold with curls according to custom; and wear many\njewels and pendants of great value at their ears, and at the neck strings of pearls instead\nof necklaces, which are a marvel to see. &\n<£? During this time the greater number of them go dressed In white or other silk, according\nto the season, showing their faith, and chastity. In the past they wore simple white\nwithout other trimming, with adornment of curled hair round the forehead; and little frills\non the collars and shoulder pieces and also at the wrist, as is seen in the afore-shown costume.\nBut now for the last six years they have much altered things and in their mode of\ndressing the hair they use horns, skilfully twisted of the hair, wishing to imitate the God-\ndess of Chastity. Their dresses are white, but most finely made and the high upstanding lace\ncollars have the finest net work, as have also the shoulder pieces. And on the bodice they\nuse a stomacher reaching to the extremity of the body, with the usual ornaments, rather\nof greater than of less value, as in the following Illustration may be seen. And when they\ngo out they are accompanied by many matrons of the parentade and by a great number\nof servants, wearing to their dresses a train of no small length.\n\nVENETIAN\nCOSTUME.\n\nBrides after\nmarriage,\nThe Marriage.\nTheir Costume."}, {"page_pdf": 38, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.38", "texte": "A FURTHER NOTE ON CHOPINES.\nThe following reprint from the Illustrations of Shakespeare\nand of Ancient Manneis \" by Francis Douce, will be of\ninterest to our readers, as giving further information about\nthese high-soled boots which, in earlier days, played so impor-\ntant a part in the actor ' s costume. & & &\nFor by the Greek tragedy-actors such shoes were worn to\nadd to the dignity of their presence, and, by increasing their\nheight, to render it proportionate with the large head pieces\nand masks and the padded clothes which they assumed.\nIt is, however, chiefly with the \" chopines \" as worn by\nthe Italian ladies that the following extract is concerned.\nHamlet. \" Your ladyship is nearer to heaven, than when I\nsaw you last, by the altitude of a chopine \". & &\njn Raymond's \"Voyage through Italy,\" 1648, i2mo, a work\nwhich is said to have been partly written by Dr Bargrave,\nprebendary of Canterbury, the following curious account of\nthe chopine occurs. \" This place (Venice) is much frequented\nby the walking may poles, I meane the women. They weare\ntheir coats halfe too long for their bodies, being mounted\non their chippeens, (which are as high as a man's leg) they walk between two handmaids,\nmajestickly deliberating of every step they take. This fashion was invented and appropriated\nto the noble Venetian wives, to bee constant to distinguish them from the courtesans, who\ngoe covered in a vaile of white taffety.\" £?\n■<& James Howell, speaking of the Venetian women, says, \" They are low and of small statures\nfor the most part, which makes them to rayse their bodies upon high shoes called chapins,\nwhich gave one occasion to say that the Venetian ladies were made of three things, one\npart of them was wood, meaning their chapins, another part was their apparell, and the\nthird part was a woman; The Senat hath often endeavoured to take away the wearing of\nthose high shoes, but all women are so passionately delighted with this kind of state that\nno law can weane them from it\nSome have supposed that the jealousy of Italian husbands gave rise to the invention\nof the chopine. Lirnojon de Saint Didier, a lively French writer on the republic of Venice,\nmentions a conversation with some of the Doge ' s counsellors of state on this subject, in\nwhich it was remarked that smaller shoes would certainly be found more convenient; which\ninduced one of the counsellors to say, putting on at the same time a very austere look,\n\" pur troppo commodi, pur troppo.\" (i) The first ladies who rejected the use of the chopine\nwere the daughters of the Doge Dominico Contareno, about the year 1670. It was impossible\nto set one foot before the other without leaning on the shouldets of two waiting women,\nand those who used them must have stalked along like boys on stilts. & & &\nThe choppine or some kind of high shoe was occasionally used in England. Bulwer in his\n\"Artificial changling\" p 550, complains of this fashion as a monstrous affectation, and says\nthat his countrywomen therein imitated the Venetian and Persian ladies. In Sandys' s\ntravels, 1615, there is a figure of a Turkish lady with chopines; and it is not improbable\nthat the Venetians might have borrowed them from the Greek islands in the Archipelago.\nWe know that something similar was in use among the ancient Greeks. Xenophon in\nhis ceconomics, introduced the wife of Ischomachus, as having high shoes for the purpose\nof increasing her stature. They are still worn by the women in many parts of Turkey, but\nmore particularly at Aleppo. As the figure of an object is often better than twenty pages\nof description, one is here given from a real Venetian chopine. & &\nFrancis Douce.\n1807.\nJames Howell.\n(!) Meaning, \"Only too convenient!\""}, {"page_pdf": 39, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.39", "texte": "THE GERMANS\nby John Balance.\n'Jphe Germans are always interesting and I find myself always thinking and writing about\nthem. I know them a little; their energy is superb, their sense of economy first class;\nthey waste neither time, space nor money; they understand these three things. In one\nthing only do they forget to use economy and in that thing they run riot, become spend-\nthrifts and are altogether quite unseemly. This is when they attempt to create works of\nart: then they become really dangerous. Their practical cities that they build can do no\none harm and do themselves much good. In like manner their mighty ships about which\nwe in England pretend to be so frightened; their army,... all these could do no one harm.\nThere is only one point in which the Germans are really dangerous;... that is in their art.\nj5? One of the men that England can most fear is Dr Richard Strauss. 45? 45?\n& Dr Richard Strauss is not an artist; he is a practical German who would have very well\nemployed his energy in making engines for war but who is horribly employed in making\npeaceful music. The reader must correct me if I am wrong in imagining that the Fine Arts\nare created in honour of the Goddess of Peace. Some how or other I remember the phrase,\n44 the Arts of War or Peace?z? &? ?2? & 45? & £? jS?\n45? Now, instead of being of any value to us in a state of peace, Dr Richard Strauss's 44 Elektra\"\nshould be played by the military band when the Germans set out on their next campaign.\nI defy anyone to stand up against it; it would be overwhelming. The good honest European\nor American soldiers would be mowed down by it with more effect than with a thousand\nMaxim guns; even the Asiatic would tremble as once he did before those horrible masks\nwhich the Japanese invented to frighten the enemy; it is just such another thing as those\nhorrible masks. 4s?&?£?4s?jg?&?j&4&<£?j£?\n45? For example, conceive the sound of drums beaten with rods and of triangles hurled at\ngongs. Both these 44 effects\" the German Doctor has introduced into his \" Elektra \". The\nsound of every animal Is also reproduced; the cracking of whips on the backs of slaves, the\nshrieks of the tortured, the blows of a hatchet upon human flesh, all these noises belch\nout from the orchestra, the orchestra of Strauss,.... and cause the beholder at the Opera\nno fear whatever. But think what they might be on the field of battle I jS? 45? j£?\nj£? Of course Strauss believes that his sounds strike terror, but I ask him for one evening,\ninstead of looking at his score, to turn his eyes towards the audience. He will find them\nshivering with pleasure. What a wise man you are, Doctor, not to have anticipated all this\nbefore you began! You tell yourself that you are moving your audience as in the old days\nAeschylus moved his audience, but you forget that the conditions are quite different. All\nyou do is to amaze and to amuse. Nobody was ever anything but amused or amazed by\nthe comic entertainer who gives imitations of natural sounds. I remember a man who used to be\nable to imitate a pig by shutting one eye and blowing out of one nostril. He brought the house\ndown just as you probably will this year at Covent Garden. It is just a trick like anything\nelse, even as all art is a trick or as eating your breakfast is a trick; but a trick should be\ncharmingly done, and should be recognised as a trick, done stylishly. jg? £? 45?\nI could almost swear, judging from 44 Elektra, \" that you bolt your food, Doctor; that\nyou eat alone, that you grumble that the food is cold while worrying about these life\nproblems which really do not concern you and which you are quite unable to solve.\n45? It is only when a man bolts his food that he returns to the Murder of Agamemnon as a\ntheme upon which to write a modern opera. Now what the murder of Agamemnon has to\ndo with you, Doctor, God only knows. You know perfectly well that it has nothing to do\nwith anybody today. I grant you that it is a theme for a military band and it is all the\nmore strange that His Imperial Highness the German Emperor is so critical about your\nmusic, for it seems the very thing for him ! He is the one man on earth who could put it to\nits right use. Perhaps he fears that it would occupy so many fighting men ' s time that\nthere would be none over to do the shooting, but I dare say you could settle that be-\ntween you. 45?jg?jg?4g?£?45?45?jg?4(?j&\njg? By the bye, Doctor, did yqu ever hear about Plain Song jg? 45? j& 45?\n& Di. Richaid\nStrauss.\nSome of his\n\" Effects. \" &\n& The comic\nEntertainei.\nA Question. *£?"}, {"page_pdf": 40, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.40", "texte": "A NOTE ON \"GREAT MEN\"\nby Rudolf Schmerz.\n\\yhat is it which distinguishes a great man ? I am always wanting to see a great man,\nbut somehow very few are to be found. Is a great writer a great man? Can he be a great\nwriter unless he is a great man ? It has never been ciearly stated what constitutes a great man\nand I do not propose to attempt the solution of the problem here. But I have been set\nthinking about all this by reading about M. Maeterlinck. £? & & & &\nHe writes for the theatre, although, so far as I know, he has no special friendship for\nthe theatre I mean this poor old dilapidated modern theatre and I am a little\nbit surprised at this. To embrace the theatre for what it is or to reproach the theatre for\nwhat it is not, either of these attitudes denotes affection for it; but to treat it with indif-\nference seems to me unworthy in a man who uses the theatre for his own purposes.\n& Again, the theatre concerns itself with ceremony. The essence of the theatre is ceremony,\nyet one finds M. Maeterlinck frightened to death of ceremony. He writes to a friend in\nBrussels who has invited him to dinner that he will accept 44 On condition that you receive\nme with absolute simplicity. Every sort of ceremony dismaj s me; I am a peasant\".\nThis is all the more curious because we know that if there is a thing that pleases a\npeasant it is ceremony; if there is a thing which pleases the open=>alr man it is ceremony.\nAs for the theatre, they adore it; so M. Maeterlinck cannot be a peasant because he has\nthe whole country side against him on this score. The peasants are by no means dismayed\nby the theatre or by the village procession or by the courteous and distinguished gathe-\nrings in which they delight. Nothing that I can think of can be more ceremonious and\nshow a better sense of fine ceremony than fie peasant. Thus this claiming to be a peasant on\nM. Maeterlinck's part is a little affectation. Perhaps it is also affectation, this pretended\ndisregard for the theatre.\n& And M. Maeterlinck pretends to hate interviews. Writing to a friend he says, 44 / be~\nseech you in all sincerity, in all sincerity, if you can prevent the interviews of which you\nspeak, for the love of God do it I I begin to be frightfully weary of it all. Yesterday, while\nI was dining, two reporters tumbled into my soup\". & & & & &\nNow for my part I can think of nothing nicer than to spend half an hour conversing with\ntwo gentlemen who have undertaken the very difficult task of writing reviews for a\njournal.... reviews of the great, reviews of the middle sized, and reviews of the small\nand should I happen to be at dinner when an interviewer called on me what could be a\ngreater pleasure for me than to offer him a seat at my table ? There is always something\nto be said to those good fellows and if one does not speak of symbolism to children they\nare none the less welcome at the table. &\n& I wonder If a really great man would have written about ceremony and interviewers as\nM.Maeterlinck has done? I am almost of the opinion that had Socrates let himself get into\nthe position of M. Maeterlinck by writing plays appealing to the public at large he would\nhave received interviewers without grumbling and would have known exactly what to say\nto them. There are many people who object to receiving interviewers, but if it is conside-\nred for a moment, what is there against the interviewer? What awful crime has he com-\nmitted that he is to be treated like an outcast ? On the other hand we find that all the\ngreat men do not treat this excellent servant of the public in this way. For instance there\nis Walt Whitman and there is Mark Twain, and neither has manifested an unhealthy fear\nof the interviewer, and yet I should say that Walt Whitman was far more of a peasant\nthan Maeterlinck, and a real adorer of the theatre & ■£? &\n& Although M. Maeterlinck has set me thinking as to what a great man might be, I cannot\ncome anywhere nearer by thinking of his attitude towards those two things, the theatre\nand ceremony. He does not help me to a conclusion. <& & & &\n& In his writings he aims to be simple; in his life he is affected while he continues to lay\nsuch stress upon being a simple peasant who hates ceremony and Ignores the theatre; for,\nwhile he professes this hatred and this indifference, he yet makes a reputation and a fat\nincome from the theatre, and strives year after year to write more, not less, actable plays.\nM. Maeterlinck.\nHis fear of\nce lemony. &\n& And of\ninietviews.\n& Some\ncomparisons."}, {"page_pdf": 41, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.41", "texte": "ART AND THE JOY OF LIFE\nby Gordon Craig.\nthis heading an excelient article appeared in 44 The Times\" two days after the\nLondon production of Mr Galsworthy's drama 44 Justice The article was shortly followed\nby an admirable note by Sir H. Beerbohm Tree. The writer of the article begs our artists\nto \" give us a touch of the joie de vivre \" and is puzzled to understand how it is that\nthis joie is absent from our art.\nI have read his carefully written article carefully, it is excellently done; it Is very\ntolerantly and very clearly written; he tries to find excuses for the artist, and he finds\nplenty, but they are the wrong ones. In fact excuses are not needed. Explanation he cannot\ngive because he is in a puzzled condition. He cannot understand why the artists of today\navoid the martyrdom which all artists who have expressed true joie de vivre have\nundergone at the hands of the English public and critics and public servants. <£>\nI have not the pleasure of knowing Mr Galsworthy' s work; but that he cautiously avoids\nthe path taken by Shelley, William Blake, Keats, Byron and Chatterton is not surprising. 1\nam not writing a second 44 Book of Martyrs \" or I should complete the list, with full details\nadded of each individual torture, but readers of this note will easily call to mind the\nindignities which these men whom I have named were called upon to suffer in the cause\nof the Joy of Life.^\n& The writer in 44 The Times \" is none the less right when he says that 44 art that does\n44 not express the Joy of Life in some way, with some exultation of laughter or tears, is not\n44 art at all, and in sacrificing everything to truth, tells a lie.\" 3 have noticed that most of\nthe writers in \"The Mask\" have said this again and again. <£?\n& But what would you have in England ? England, the freshest sweetest land\non earth is the victim of Fog. The very buttercups and daisies themselves are dying out,\nfor nobody notices them. Love may only be whispered of In bated breath. God may only\nbe worshipped by white bearded men, and women, in churches; youth may not express\nitself openly until it becomes age; where then can the joie de vivre come from ? £?\nThe Joy of Life has a joyous way of expressing itself, but in England it may only express\nitself one way,.... sadly. 44 The Times \" has helped us into this condition, for it and many\nother journals have sided with the gloomy and the aged, and whenever a rash young lover\nof life has leapt to his feet and begun to dance Bacchic dances 44 The Times \" and the others\nhave instantly plotted to destroy him. & &\nIn London today there are living many artists who are possessed with this Joy of Life\nand whose work is full of it, and yet44 The Times \" seems to be ignorant of the fact. I know\nthe names of these men and will be only too happy to inform \"The Times\" on the point any\ntime it may condescend to enquire.\nThey answer to the description given by the writer of the article; they are not shy, they\nare entirely at their ease, they dislike no one, they are not on their guard. They create\nwonderful works of art and all but a few people detest them heartily for not giving them\nwarning.\njg? If Shakespeare or Aristophanes were living in London today and were to write \"Measure\nfor Measure \", 44 King Lear \", 44 Othello \", or that famous Greek satire on Votes for Women,\n*\nLondon would manage to be rid of these writers in less than six months. Neither would\nfind a publisher who would dare to print, neither would be able to produce his play except\nat a Sunday evening private performance. &\nI have never been in favour of the removal of the Censor in Modern London because his\nremoval would not remove the prejudice against the beauty of life which London today is\npleased to call the immorality of life. & & & & &\nThere is only one solution to all this if you want the joie de vivre to return in Art. You\nmust accept the young people and you must be glad of their courage and encourage it; you\nmust accept their blunders, their stupidity, their lack of caution, and you must win their\nconfidence by a nobler attitude towards their superb virtues and their lamentable sins; for\nit is only the young men and women who can alter this state of gloom, it is only they who\ncan bring you once more the Joy of Life,\nAn excellent\narticle. &\nThe victim of\nFog.\nSome joyous\naitists. &\nThe solution, jg?"}, {"page_pdf": 42, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.42", "texte": "BOOK REVIEWS\n\nFLA YS, ACTING AND MUSIC by\nArthur Symons. Constable. net.\n'\"phis book of critical essays on Plays, Acting\nand Music contains much which was inclu-\nded in a former volume but also much that\nis new. We welcome it as we ever do Mr\nArthur Symon ' s work, not only for the fine\nand rhythmic prose in which he expresses\nhimself or for the keen delight in beauty\nwith which all his work is charged, but\nbecause he is always the friend of the theatre;\nand, though it is certain that had he had the\nopportunity for closer connection with it he\nwould have come to different conclusions,\nhe is yet often very sweet in his way of\nwriting about it.\nBesides, whether one agrees with all his\nopinions or not one is bound to listen to Mr\nSymon' s criticism because one knows that\nit is a poet who is speaking; and it is this\nfact which differentiates him from some of\nthe famous critics of the day. &\nThe book Is divided into three sections,\non \"Plays and Acting\", on \"Drama\" and on\n44 Music\" and includes studies of Sarah\nBernhardt, Eleonora Duse, Yvette Guilbert,\nThe Question of the Censorship, The Speaking\nof Verse, The Sicilian Actors and Technique\nand the Artist.\nBut there are two subjects upon which the\nauthor touches which are of especial interest\nto us, and these are 4 Masks' and 4 Mario-\nnettes '.\nIn relation to the former what he says is\nsuggestive rather than explicit; indeed, we\ndo not think Mr Symons is aware himself to\nwhat extent he is advocating the return of\nthe mask to the theatre when he praises\nthat which, if not a mask, has the qualities\nof a mask, and falls short of perfection only\nin so far as it has not attained to the per-\nfection of the real mask. & &\nThis is what he writes of Coquelin Aine;\n44 In 4Tartuffe' Coquelin stands motionless\n44 for five minutes at a time, without change\n44 of expression, and yet nothing could be\n44 more expressive than his face at those\n44 moments It is that power of\n44 sustaining an expression unchanged, and\n44 yet always full of living significance, that\n441 find in Coquelin.lt is a part of his eco-\n-44 nomy of the artist. The iniproviser disdains\n44 economy as much as the artist cherishes it.\n44 Coquelin has some half-dozen complete va-\n-44 riations of the face he has composed for\n44 Tartuffe; no more than that, with no\n44 insignificance of expression thrown away:\n44 but each variation is a new point of view,\n44 from which we see the whole character. \"\nAnd he traces this same mask-like quality in\nIrving when, describing his representation\nof Coriolanus he writes, 44 Restrained in\n44 scorn, he kept throughout an attitude of\n44 disdainful pride, the face, the eyes, set,\n44 while only his mouth twitched, seeming to\n44 chew his words, with the disgust of one\n44 swallowing a painful morsel.\" And again,\nas Mephistopheles.44The image with its solemn\n44 mask lives in a kind of galvanic life of Its\n44 own, seductively, with some mocking sug-\n-44 gestion of his 4 cousin the snake \": and yet\nonce more relating to a performance of\nMarionettes, he asserts that 44 Losing, as we\n44 do, something of the particularity of these\n44 painted faces, we are able to enjoy all the\n44 better what it is certainly important we\n44 should appreciate, if we are truly to ap=\n44 preciate our puppets. This is nothing less\n44 than a fantastic, yet a direct, return, to\n44 the masks of the Greeks: that learned\n44 artifice by which tragedy and comedy were\n44 assisted in speaking to the world with the\n44 universal voice, by this deliberate genera-\n-44 lislng of emotion. It will be a lesson to\n44 some of our modern notions; and it may be\n44 instructive for us to consider that we could\n44 not give a play of Ibsen's to marionettes,\n44 but that we could give them the 44 Aga-\n-44 memnon\".\n& How interesting it is to find Mr Symons\nexpressing such views as these, and yet more\nso to find him writing as he does in his\n44 Apology for Puppets\" on the subject of the\nmarionette. On the very first page of this\nessay he strikes at the roots of one of the\nworst and most growing evils of the modern\n*\ntheatre, the personality of the actor which\nrenders it impossible to bring a work of art\nupon the stage. JZ? &\n44 After seeing a ballet, a farce, and the\n44 fragment of an opera performed by the"}, {"page_pdf": 43, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.43", "texte": "at the Costanzi Theatre in\n44 Rome \" he writes, 441 am inclined to ask\nmyself why we require the intervention\n44 of any less perfect medium between the\n44 meaning of a piece, as the author conceived\n44 it, and that other meaning which it derives\n44 from our reception of it. & &\n\" The living actor, even when he conde\n44 cends to subordinate himself to the\n*4 requirements of pantomime, has always\n44 what he is proud to call his tempe*\n44 rament; in other words, so much personal\n44 caprice, which for the most part means\n44 wilful misunderstanding; and in seeing his\n44 acting you have to consider this intrusive\n44 little personality of his as well as the\n44 author's.\" & &\nAs he is painted, so will he smile;\nas the wires lift or lower his hands,\nso will his gestures be; and he will\ndance when his legs are set in motion.\n44 The marionette may be relied upon. He will\n44 respond to an indication without reserve\n44 or revolt; an error on his part (we are all\n44 human) will certainly be the fault of the au-\n-44 thor; he can be trained to perfection... Abo*\n44 all, for we need it above all, let the ma-\n-44 rionettes remind us that the art of the\n44 theatre should be beautiful first, and then\n44 indeed what you will afterwards. Gesture\n44 on the stage is the equivalent of rhythm\n44 in verse, and it can convey, as a perfect\n44 rhythm should, not a little of the inner\n44 meaning of words, a meaning perhaps\n44 more latent in things'\nDoes not gesture indeed make emotion,\n44 more certainly and more immediately than\n44 emotion makes gesture? You may feel that\n„ you may suppress emotion: but assume a\n44 smile, lifted eyebrows, a clenched fist, and\n4' it is impossible for you not to assume\n44 along with the gesture, if but for a mo-\n-44 ment, the emotion to which that gesture\n44 corresponds. & & &\nIn our marionettes, then, we get perso*\n44 nified gesture and the gesture, like all\n44 other forms of emotion, generalised. The\n44 appeal in what seems to you these childish\n44 manoeuvres is to a finer, because to a more\n44 intimately poetic, sense of things than the\n44 merely rationalistic appeal of very modern\n44 plays. If at times we laugh, it is with won*\n44 der at seeing humanity so gay, heroic and\n44 untiring. There is the romantic suggestion\n44 of magic in this beauty. & & JZ?\n44 Maeterlinck wrote on the title=page of one\n44 of his volumes 44 Drames pour marionettes,\"\n44 no doubt to intimate his sense of the sym=>\n* bolic value, in the interpretation of a pror\n*4 found inner meaning of that external nullity\n44 which the marionette by its very nature\n44 emphasises. And so I find my puppets,\n44 where the extremes meet, ready to inter*\n44 pret not only the 4\nIn designing this cover what has Mr.\nGraham Robertson been guilty of ? First he\nmay be said to have filched L. 3.0.0. from the\npocket of a professional book-cover designer\nand perhaps a man of talent, for if Mr.\nRobertson had not been so ready to come\nforward with a pot boiler Mr. the young\nprofessional book-cover designer, would have\nto have made if, and being for Mr. John\nLane, whose book covers were once so\ncharming and distinguished, the designer\nwould have had a chance. & &\n£? Then the second thing that Mr. Graham\nRobertson is guilty of Is actually copying\nthe type of book cover which the other young\nfellow would have been sure to have avoided.\nThe cloth is a sickly kind of bluegreen.\nThe third thing that Mr. Robertson does\nis to forget to apologize for it. He lets the\nawful thing go out to the public without a\nword of regret. &\nHeaven knows how many thousands a\nyear Mr. Graham Robertson is credited with,\nbut it seems hardly any excuse for acting in\nsuch a manner.\nJZ? And he seems to be setting a fashion\nHe recently had a sort of fairy play on in\nLondon In which amateurs were performing\ninstead of professionals. This may be all right\nfor the well established professional actors\nwho can take care of themselves, but it Is a\nvery bad precedent to establish where the\npoorer members are concerned. Thus the ex-\npert is pushed aside and the amateur flouri-\nshes. And the worst of it is that the amate-\nurs are rather proud of themselves for having\nto do this, and if one of them happens to be a\nmillionaire he is immensely proud of himself,\nexpecially, it seems, if he can do somebody\nelse out of a job. & & &\nCan Mr. Robertson be ignorant of the\nfact that what we say is literally the truth I\nCan he be aware that some young fellow to\nwhom L. 3,0.0 is a very Important matter has\nhad that L. 3.0.0 taken away from him by a\nman who has possibly from L. 10,000.0.0. to\nL. 20,000.0.0 a year ? It matters not whether\nRobertson is paid or not:... the other fellow\nisn't."}, {"page_pdf": 45, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.45", "texte": "4* If Mr, Robertson had done an exquisite\ncover all would be well. The author would\nhave been done credit to; the publishers aiso;\nthe public would have had a beautiful design\nfor their money; the young man would have\nhad a high standard to set him an example;\nand Mr. Robertson would have had some\nsatisfaction. As it is everybody is the loser,\nand none loses so much as Mr. Robertson.\n& Mr. Robertson approves of the principle\nof pot boiling and thereby loses the esteem\nof artists. &&&?&£?\n\nTHE MAGNIFICENT MUMMER by\nHorace Wyndham. F. V. White and Co.\n//- net.\n'Jphis little book of \" Reflections on the\nTwentieth Century Stage \" contains chap-\nters on the Actor-Manager, Theatrical Jour-\nnalism, Theatrical Novelists, Musical Comedy,\nCritics and Criticism, and various other\nsubjects relating to the modern theatre.\nWe have already in earlier numbers of\nThe Mask drawn attention to the absurd and\ntrivial paragraphs of \" uninforming infor-\nmation \" about actors and actresses which\nfill the columns of theatrical and society\npapers and are glad to see Mr Wyndham\nholding this same folly up to ridicule. &\n& We wish that more actors took the\nsensible view which he quotes as expressed\nby Mr H.B. Irving, \"An actor should never\n\" let himself be beguiled into the belief that\n\" society, generally speaking, is seriously\n\" interested In what he does but we fear\nthat the majority hold an entirely opposite\nview &\nThis seems to us a pity, for as in \"Alice\nin Wonderland \" the Duchess ' s baby \" made\na dreadfully ugly child \" but \" a rather\nhandsome pig \", so, vice versa, a very good\nactor may make a rather poor society man.\nIndeed, it was a discriminating member of\nthe theatrical profession who said, \" of late\n\" years it has been the aim and object of cer-\n\" tain actors to get into society..... once let\n\" society get the upper hand, and the actor\n\" develops into a snob of the most pronoun-\n\" ced order.\"\nThe clever actor, however, knows how to\navoid both extremes; he is just as simple as\nany other artist, and wins respect for the art\nwith which he is associated by being entirely\nunassuming off the stage. £? &\n\nA JUSTIFICATION OF THE\nCENSORSHIP OF PLAYS. Heine-\nmann. 6d\n'Jphis is a poor pamphlet by an anonymous\nwriter but is presented to us by Mr\nGalsworthy in a \" Prefatory Note \" in which\nhe declares it to be so far as he can discern,\n\"flawless in logic\" & &\nWe could point on page 17 to at least one\ngrave flaw in the mental attitude of a writer\nwho can see any analogy between Politics\nand the Drama and can question whether\nthere exist \" essential difference between\nthe Drama and this branch of the public\nservice\". We should have thought was there\nwas no question. &\nHowever, now the Censorship discussion Is\nover, the matter settled, and this pamphlet,\nwith much other similar matter called forth\nby the controversy, will sink into that\nquiet oblivion from which only association\nwith Mr Galsworthy's name lifted it, but\nwhich it well deserves..\n\nMAKESHIFTS and Other Short Plays, by\nGertrude Robins. Werner Laurie. 2/6 net.\nlittle volume contains five short plays\nsuitable as \" Curtain-raisers \", of which\nthe first, which gives its name to the book,\nhas already been successfully played at the\nCoronet Theatre. Miss Robins displays obser-\nvation, versatility, and humour, and this\ncollection will doubtless be welcomed by\nmany amateurs on the look-out for short\nplays for which not too many actors are\nrequired. & & &\n\nTHE VALLEY OF SHADO WS by Francis\nGrierson. Constable. 6j- net.\njy|r Grierson is already known to us as the\nauthor of \" Modern Mysticism \" and \"The\nCeltic Temperament\" of which latter book\na poet once wrote, \" He has in his better\nmoments that most rare gift of casting cer-\ntain shafts, or a light, simple and decisive,\nupon some of the most difficult, obscure and\nunlooked for points in Art, Morality and\nPsychology, \" adding that Mr Grierson ' s\nessays are among the most subtle and the\nmost substantial known to him.\nJZ? In the present volume the author has\nbroken fresh ground, turning to Illinois in the\ndays of Abraham Lincoln and throwing a new\nlight upon American Puritanism, lending\nromance to It by the charm and distinction\nof his style.\nBut the chapter which stands out for us"}, {"page_pdf": 46, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.46", "texte": "as the most interesting is that descriptive of\nthe Dance of Death,... one of those strange\nceremonies found among all primitive peoples\nand yet surviving in certain races; ceremonials\nwhich correspond with those religious rites\nin which the theatre in all lands has had\nits origin.\n& 44A11 the preparations\" writes Mr Grierson,\n44 had been made beforehand, and things\n44 went as by clockwork. Far out on the plains\n44 a long row of flickering lights could be seen.\n44 At last the Indians arrived at the dancing\n44 grounds, carrying small torches made of\n44 pine knots, and gathered in a huge circle,\n44 without noise or confusion, as if each Indian\n44 had rehearsed the scene scores of times and\n44 knew the exact position to take.\" Disguised\nas wolves, bears and buffalos, groups of In-\ndians then executed a strange rhythmic dan-\n-4 4 ce, moving in perfect order three steps\nforward, then one step in retreat, repeating\nthis again and again all the animals\nkeeping silence.\" And, he adds, 44 All who\nhad eyes could understand for themselves.\"\nPerfect preparation, perfect order, perfect\nsilence; these threo things characterised the\nperformance,... a performance so direct in\nits appeal,so complete in its symbolism that\nwithout any use of the spoken word 44 all\nwho had eyes could understand for them-\nselves\" . & & &\n\nHISTORY OF THEATRICAL ART by Dr\nKarl Mantzius, Duckworth.\nlatest volume of Karl Mantzius's History\nof Theatrical Art is as good as his first,\nalthough the great actors of the i6th century\nA. D. are hardly so interesting a topic as the\ngreat dramatists of the fourth century B. C.\nThe first part of the book is more or less\nnew to English readers. & &\nIt is a queer story, this of the German\nactors and their travelling companies, and\nthere is something very interesting about It.\n£* Ekhof,.... Schroeder,... Iffland; their\ncareers are undoubtedly of interest, and it is\nonly the quarrels between the actors and\nactresses, of which there are plenty recorded\nin the three lives, which are uninteresting.\nLack of money and conceit seem to have\ngiven rise to most of these quarrels and the\nsame story goes on and on right through the\nhistory of the French and English schools of\nthis period. <&&&<&\n& Adrienne Lecouvre, Betterton, Cibber,\nGarrick, it is the same thing; one long inces-\nsant squabble about nothing. One wonders\nwhether at some later date the record of\nSlenr3' Irving' s period will contain the same\nidiotic history of differences. We hardly think\nso, at least not on the score of money, for\nIrving was shrewder than all these other\nactors in that, before employing anybody, he\nfirst purchased them. The necessity for this\nis not creditable to those who enter the\nprofession but it is none the less horribly\ntrue.\n& There was no training school for the\nactors who wished to enter Irving's theatre\nand therefore any beginner wishing to enter\nIrving's school would have to be prepared to\nput himself entirely at the mercy of Irving's\nmethod and perhaps six out of three hundred\nof those that must have been with Irving\ncould have understood anything of what that\nmethod stood for. &\nMr Granville Barker has been saying lately\nthat Irving left no school of acting behind\nhim. If this is the case it was the fault of\nthe pupils, for Irving' s teaching was purely\nby suggestion and presupposed receptive\nability. Even so, for those who take the\ntrouble to enquire, it can be ascertained that\na school has been created by this actor.\nEkhof, Schroeder and Iffland certainly never\nleft such schools; Betterton, Cibber, Garrick?\nwe doubt if they did either, and this book\nby Dr Mantzius makes it rather plainer. In\nfact they belonged to a school, the old-\nfashioned school, from which they broke away\nnow and then in timid little bursts, whereas\nIrving may one day be recognised as having,\n✓\nby suggestion, been instrumental in founding\nthe great school of acting of the future.\n\nWILLIAM SHAKESPEARE by\nDr Wallace, Harper's Magazine\nMarch 1910,\nJn our opinion the Shakespeare Discoveries\nmade by Dr Wallace and given to us for\nthe first time In Harper's Monthly Magazine\nare interesting because, as the discoverer\nsays, 44 the documents have lifted the veil\n44 for a moment and shown us a man among\n44 men, whom we call poet and seer and know\n44 as friend \". But at the same time we feel\nthat it needed a poet to make the intro-\nduction, and Dr Wallace Is not even a poet\nin prose.\nThe occasion was worthy of something\nless drily sentimental and more\nWe think that had we been clever enough"}, {"page_pdf": 47, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.47", "texte": "to have discovered these documents we should\nhave felt impelled before publishing them to\nlay the facts before the first English poet of\nour day as being the man whom it would\nmost delight to get the first glimpse of the\nmaster poet, and as also being the one man\nmost surely entitled to that first glimpse.^?\nImagine the pleasure which Keats or\nSwinburne would have received from such a\nvisit! Either of these poets would have sung\nfor joy, and we should thereby have had the\nnews heralded by the right man in the\nright way. &\nDr Wallace's legal right to introduce the\ndiscovery is indisputable, but the introduction\nis not up to the man whose hand he offers\nus. Only poetry could have done full justice\nto the occasion, and so, alas, the reception\nto which we were invited may be said to have\ngone off with a fizzle.\nIf anyone else discovers anything as inte-\nresting about Shakespeare we hope he\nwill introduce it to the world with just a\nlittle more dash. None the less, Dr Wallace\ncommands our admiration because of his\nextraordinary capacity for taking so much\npains to find these documents, and he can\njustly feel as pleased as Punch about it all.\n\nMAURICE MAETERLINCK par Gerard\nHarry &\nCAMILLE LEMONNIBR par Maurice des\nOmbiaux. Charles Carrington. Brussels.\nFrs 2, 50.\njfyjr Charles Carrington is to be congratula-\nted on his happy idea in Initiating this\nseries of monographs on the French writers\nof Belgium, of which series the above-named\nvolumes are the two first to be published.\nAmong those shortly to follow are studies\nof the life and work of Emile Verhaeren,\nEdmond Pacard, Georges Eckhoud, Albert\nGiraud, and about forty other Belgian writers\nof prose and poetry whom the Editor in his\npreface fells us that he hopes to include in\nthe series. &\n& These monographs will form a valuable\naddition to the libraries of all those interested\nin contemporary European literature, for,\nwith the exception of Maeterlinck, these\nBelgian writers are too little known to\nEnglish readers. Of this last-named writer M.\nGerard Harry gives us an interesting study,\n(i) and both volumes are well printed and il-\nlustrated, and bear the stamp of that affec-\ntionate care and craftsmanship which distin-\nguishes all books issuing from the St. Ca-\ntherine's Press at Bruges and bearing\nMr Carrington's name.\n(1) An article relating to certain passages in this book will be\nfound on pg 178 of the present number of The Mask. Ed:\n\nFOREIGN NOTES\n\nL O N D ON\n''jphere are lots of reports going about here\nconcerning Mr. Frohman's Repertory Thea-\ntre the reports are probably quite untrue;\nstill, they are wonderfully like Mr. Frohman...\nwonderfully. &\n& It is rumoured that Mr. Frohman has\nemployed Messrs. Shaw, Barrie and Barker to\nset the ball arolling, and that his wealth, (of\ncourse we mean the wealth of Mr. Frohman,)\nhas turned, literally turned their heads; they\ndo not know what to do with it, and so they\nhave set themselves to think of every con-\nceivable means by which they can run up the\nexpenses.\n& Report has it that they have hit upon an\nexcellent plan; which is to engage the artists\nwhose prices are prohibitive, and then to give\nthem more or less nothing to do. Report,\nindeed, has it that the men whom they are\nafter are not actors at all; it is said, for in-\nstance, that a very celebrated Actor Manager\nhas been offered a part in one of Mr. Barrie's\nplays, the part of a business man, and that\nthe talented Mr. Wilhelm, whose executed\ndesigns for costumes have won him such\nwell-deserved celebrity, is to be engaged for\nthe part of a shop-walker in a millinery stores.\nYou see the connection, ... millinery .. .\ncostumes ... most realistic!\n& What was the role destined for Mr. Gordon\nCraig has not yet been ascertained, but we\npresume that the offer to him of a part in\nMr. Barker's new play was based on the same\nprinciple.... it must have been the part of\na Stage Manager that he was to have played.\nAnd yet it is quite a curious innovation,\nthis, for we all know that Mr. Craig, although\nhe has been an actor that he might pass"}, {"page_pdf": 48, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.48", "texte": "from that on to the other side of the theatre,\nhas not acted for ten or twelve years, and\nwe should be as astounded to see him act as\nwe should to see Mr. Wilhelm act, or, let us\nsay, Mr. William Archer or Mr Lloyd George.\nI suppose that this idea is going to be\nthoroughly developed by Messrs. Frohman,\nBarrie, Shaw and Barker. It has undoubted\npossibilities. It may prove the last word in\nRealism, satisfying even those conscientious\nspirits who require that everything should be\nas well as seem to be.\nI suppose that when these gentlemen\nrequire to fill the part of a typist they will\nengage the lady who is writing this paragraph\nfor me. 1 suppose that any one applying\nfor a clerical part will need to satisfy the\nmanagement of his acquaintance with and\nacceptance of the Thirty Nine Articles, and\nthat when a Member of Parliament is to be\nrepresented on the stage they will go to the\nHouse of Commons for one, selecting, for pre-\nference, an Irish Member! I suppose when\na painter is required they will go to Mr.\nJames Pryde, or they may even aim so high\nas to go for a Royal Academician; indeed that\nwould probably be their cheapest way, but\nperhaps for that reason it would hardly suit\nthem, considering they are so keen on\nspending the Frohman money. £/ &\nI hear that the gentlemen are very se-\nrious about this new theatrical move, and\nthat they have taken greatly to heart the\nrefusal of a famous Admiral ( I will not di-\nvulge his name) to undertake the small\npart of Cabin Boy in Mr. Barker's new play.\nReally, they are quite right to take this\nmatter seriously, and it is quite right to be\noffended with the famous Admiral because\nhe does not understand the high honour Mr,\nBarker proposes for him. For what reason does\nthe Navy exist except in order to sup-\nply the stage with walkers-on ? what is the\nHouse of Parliament but a nursery for stage\nsupers ? We all look forward to the day\nwhen the nobility and dignity of the stage\nshall be firmly established, and what\nbetter way to establish it than the .way cho-\nsen by Messrs. Shaw, Barker and Barrie?\nThe Irving idea was an ordinary, poor\none, after all, by the side of such brilliant\nideas as those conceived by these three\nemployees of Mr. Frohman. The Irving idea\nwas merely to found a School of Acting, to\nkeep the theatre in the theatre. The new\nidea is wider in scope; it is to take the thea-\ntre out of the theatre,..,, but who shall say\n44 Lo, behold, the cat is out of the bag \" ?\nA PUPPET PERFORMANCE.\ninteresting revival of the ancient puppet\nperformances, which one trusts will serve\nas the fore-runner of many more, was given\non March 7th and Bth in the quaint little\nold Clifford' s Inn Hall, the piece chosen for\nrepresentation being 44 The Prodigious and\nLamentable History of Dr Johannes Faust.\"\nBefore the performance Mr. Wicksteed\nspoke on the subject of the old German\nstreet plays, tracing their influence upon\nMarlowe in the writing of his 44 Dr Faustus\",\nand showing the reflex influence of this piece\nupon the Germans in inspiring other Faust\nplays, until the legend found its most famous\npoet in Goethe. In fact the present translation\nhad its origin, according to one of those who\nmade it, In the desire to realise the toy\ndrama that Goethe witnessed as a boy, and\nafter seeing which, as he tells us in 44Wahrheit\nund Dichtung\", 4the marionette fable of Faust\nmurmured with many voices in my soul.'\n£? In the 18th and early 19th centuries the\nmarionette theatre was, as is well known,\nan institution in Germany, and 44Faust,\" as\nplayed in it, was a true folk play, largely\nunwritten, varying in form in different\ndistricts, but true in its main lines to a\ncommon type. & &\nOn the present occasion the puppets played\ntheir parts delightfully, and the four hidden\nladies in obedience to whom they moved, Mr\nLeonard Crawshaw who acted as Unseen\nReader, the translators, stage managers and\nall those who assisted In this revival are\nheartily to be congratulated. £/\nOne only wishes that the marionettes,\nhaving 4come to town', had not left again\nquite so quickly, for these wonderful little\npeople are ever welcome, and their stay on\nthis occasion has been all too short. Let us\nat least hope that they will return at an\nearly date. (1)\n\nPARIS\n\njt is announced that M. Rostand has very\nnearly completed a play on the subject of\n44 The Stage \". It is a subject which he will\nbe able to invest with charm, but it is also\na subject for his irony. No one knows what\nthe plot is to be or who will act in it or\n\n(1) In relation to this performance it is interesting to note Mr\nArthur Symons' description of a performance he witnessed in\nRome. See Book Reviews. The Mask, pg 180. Ed."}, {"page_pdf": 49, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.49", "texte": "when it will be produced. One only wonders\nwhy it is that the road from the farm yard\nleads straight through into the theatre. What\nshall we get after dogs and cats, cocks and\nhens?... what Is left?\n\nJ de S.\n\nLONDON.\nR. S.\nMr Bernard Shaw's Debate,\n((Misalliance \".\nrjphis place was reserved for Mr Shaw but he\nwas unable to accept the invitation. It\nwill always be left empty for Mr Shaw In the\nhope that he may feel urged to honour the\nMuse at some future\n& The Art of the Theatre,\no thing has been lately heard of the where-\nabouts of this thing In London. I regret\nbeing unable to send you any better news.\n\nEDITORIAL NOTES\n\nHp he re are those who are In sympathy with\nthe movement which <4The Mask\" has set\non foot to create a new theatre, there are\nothers who are entirely out of sympathy\nwith it. Those who are out of sympathy will\nin time learn to come round to a more\nsympathetic point of view. These are by no\nmeans the worst enemies to the new theatre.\nIt Is the others, the sympathisers, who can\neither prove a help or a hindrance to the\nmovement by getting their minds a little\nclearer and more confident as to our methods.\nThe other day in London one of the\nleaders of this movement was a little surprised\nto find a very sympathetic supporter asking\na strange question. He had taken a piece of\nwork to show which was part and parcel of\nthe body of this new theatre, and after\nhaving shown it the conversation sprang\nupon the road of theory; questions were\npoured In upon him, questions which needed\nfacts to answer them properly. There he was\ndisplaying a very modest piece of work (but\ncertainly an actual piece of work; no theory\nbut a thing accomplished), and the dear\ndelightful unpractical person kept urging\nhim into the unknown. & & &\nNOW this is very strange, for all the time\nevery question was punctuated by another\nquestion, 44 tell me practicallyßut there\nis no such thing as telling a person practically\nof a thing which does not exist and it is\nquite impossible to put into practise a hun-\ndred things in the space of an hour.\nOn thinking it over one comes to the\nconclusion that the questioner was the\nunpractical person and the other the practical,\nfor there was the artist trying by the aid of\nhis little piece of work to prove that until\nthe next step could be taken it would be\nimpossible to prove the practicality of that\nstep. But, he said, he had full belief that the\ndirection he was taking was the right direc-\ntion because all the tests practised led up\nto that conclusion.\nThe final question of the charming and un»\npractical one was, 44 after you have got your\ntheatre what are you going to put into it ?\nYou speak of a new material, of a new scene\nof a new kind of acting, of a new kind of\nactor and a new kind of drama; what is going\nto be in that drama ?\" & &\nThere is obviously no reply to such a\nquestion as this. Possibly the Creator of the\nworld knew exactly to a T what the nineteenth\ncentury would produce, but there are people\nwho doubt that he knew anything of the\nkind. There are people who believe that these\nthings grow, and that they grow in the like-\nness of the Creator. &\n& If this is so then our theatre will grow in\nthe likeness of its creator and will begin to\nshow some definite form so soon as the\nmaterials necessary to its creation begin to\nadhere one to another. &\nNow probably we shall not be wrong in\nsaying that it takes some time to discover\nnew material and to unite that material; and\nto fill it with the divine spirit is either a"}, {"page_pdf": 50, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.50", "texte": "monstrously difficult thing or as easy as\nthrowing up a ball, but such a thing as\nthat must be left to the will of the divine;\nso far as we know it has never yet failed to\nmake its appearance in due time, and it is\ncurious that age after age when it has ap-\npeared people have failed to be aware of It\nuntil it had been with them quite a while.\n<£? It would be so easy to gull the sympathetic\npublic and to amaze the unsympathetic, by\nproducing a new drama within a year. The\nworld is in just the state to receive such a\nfraud and it is for this reason that we do\nnot intend to humour the world. <£? £?\nLet the others amuse themselves at that\nprofitable game. They will be found out in\ntime. Doubtless within the next ten years we\nshall have a new folk-drama, manufactured\nin London, derived from Berlin, Moscow,\nKrakow and New York: or we shall have a\nnew dumb show, faked in precisely the same\nway: or we shall have a religious drama, so\nappetising, so indigestible.\nBut you who are sympathetic towards us\nmust not assist this forward by hastily\nrushing at our pupils and ourselves and\ndemanding what this new drama is going to\nbe. Nobody on earth can know until it is here.\nHardly anybody can be aware when it is\ncoming or how it has come. It will be there\nin the midst of us before you are aware and\nwhen you least expect it and it will come\nthrough practical technical knowledge of the\ntheatre. All theories will be burnt up by its\npresence, all \"wise men\" will be confounded\nby its irrefutable 10gic,... and you know\nwhat we mean by its \"irrefutable logic\"; we\nmean its beauty. &\nThen what possible use is it to continue\nto ask us any further questions about so great\na wonder which grows out of nothing and\ncomes from nowhere? &\npollowing upon the successes of \"Julia's\nBureau \" comes a useful innovation in the\nestablishment of 44 Pecunia ' s Bureau \" for\ncalling up the spirits of dead authors to give\njudgement upon the dramatisation of their\nb00k5,.... an innovation interesting for\nus and doubtless of immense relief to a\ndefunct writer who is burning to find some\nmedium through which to transmit his views\nupon the liberties taken with his works.\n<£? Indeed, it was quite an enterprising move\non the part of the Editor of the \"New Age\"\n(3) to send his 'Mystherynstead' to interview,\nnot Mr Comyns Carr or Mr 11. B. Irving, but\nthe spirit of Robert Louis Stevenson upon\nthe recent production of 44 Dr Jekyl and Mr\nHyde.\" jgr &\nFor, after all, who should have a right to\nexpress an opinion if not the author with\nwhose work an unpardonable liberty has\nbeen taken after his own bodily presence\nwith its capacity for sturdy resistence has\nbeen removed ?We do not wonder that R. L.\nS. was 44 hostile to the play from his first\nmention of it\", and we welcome another\nsupporter, whether in or out of the body, of\nour conviction that works of literature have\nno place upon the stage. jg?\nIt is really not to be wondered at that the\npassion of the author, who had no body of his\nown through which to manifest his feelings,\n\"violently agitated\" that of the medium while\ntransmitting the story of his wrongs; for is\nnot anyone justified in feeling outraged when\nsome busy-body takes upon himself to provide\none's bachelor hero with a blind wife, to\nintroduce a comic charwoman into the story,\nto corrupt the morals of an \" aged and\nbeautiful gentlemen \", a 44 beloved character\n44 who in one's own hands had seemed to\n44 breathe such an innocent and old-world\n44 kindness of disposition, yet with something\n44 high, too, as of a well-founded content \" ?\n& Think of finding this blameless person\nrepresented as a \"double-lived, dirty repro-\nbate of a diplomat married to an unfaithful\nwife \" ! Even spirits will turn if provoked too\nfar; and now that Bureaus are being opened\nto enable them to communicate their opinions\nto the Press, we would counsel Mr Comyns\nCarr and those guilty of similar indiscre-\ntions to walk warily and not rush in where\nthe angelic creators themselves feared, or\ndid not wish... to tread. & &\n& R. L. S. strikes us as having expressed\nhimself very sensibly on the matter when,\nreferring to his book, he said, 441 do not\n44 think that it can ever be dramatised satis-\n-44 factoriiy. The story relies on the reader's\n44 imagination for its effect: the sense of\n44 mystery is awakened and its curiosity sus-\n-44 tallied by the fact that the identity of Jekyl\n\" and Hyde is not established until nearly the\n44 end of the book. A performance, no matter\n\" how clever, leaves nothing to the imagina-\n-44 tion; it is a literal rendering of the physical\n44 facts; and it is impossible to pile mystery\n44 on mystery when both characters are visible\n44 in one person. The secret is kept in the\n44 book, but it cannot be kept in the play. \"\nWe hope R. L. S, will often revisit\n\n(1) The New Age. Feb. 10. 1910,"}, {"page_pdf": 51, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.51", "texte": "\"Pecunia's bureau\" if he comes to express\nhimself so sapiently. Those words, \"A perfor-\nmance, no matter how clever, leaves nothing\nto the imagination; it is a literal rendering\nof the physical facts \", sum up very clearly\none of the principal objections to the Intro-\nduction of masterpieces of literature upon\nthe stage.\n& The literary artist expresses himself\nthrough one medium, the theatrical through\nanother. Each has his own material and his\nown technique. The atmosphere, the sense of\nmystery, of strange, dim, beautiful and subtle\nthings which the poet can create by his loving\nand joyous use of the words which are his\nInstrument cannot be translated on to the\nstage by limelight, canvas and paint. &\nMystery broods within the covers of a book,\nlurks between the lines; some magic seems\nto pass through our eyes to our brain from\nthe strange pattern woven on the white paper\nby those little hieroglyphs which are the\nsilent symbols of the poet' s thought; but\nall this is lost when those dim mysterious sug-\ngestions, that sympathy of the heart of the\nreader with the heart of the poet, are\nexchanged for a \" literal rendering of physi-\ncal facts \".^\nMr Arthur Symons draws attention to\njust this same loss when writing about a\nperformance of Ibsen's \"Lady from the\nSea\": & &\n\" The sea calls to the blood of this woman,\n\"who has married into an inland home; and\n\" the sea-cry, which is the desire of more\n\" abundant life, of unlimited freedom, of an\n\" unknown ecstasy, takes form in a vague\n\" Stranger, who has talked to her of the sea-\n\" birds in a voice like their own, and whose\n\" eyes seem to her to have the green changes\n\" of the sea.\n\" It is an admirable symbol, but when a\n\" bearded gentleman with a knapsack on his\n\" back climbs over the garden wall and says,\n\" I have come for you; are you coming?\" and\n\" then tells the woman that he has read of\n\" her marriage in the newspaper, It seemed\n\" as If the symbol had lost a good deal of\n\" its meaning in the gross act of taking\n\"flesh.\"\nSome day the literary men will realise\nthis and will keep out of the theatre, content\nto wander in their own ample fields: at pre-\nsent it is for them a kind of Tom Tiddler's\nground where they are all hustling for\nhalfpence. jg?\nIt is undoubtedly to their loss and to the\nloss of their work; but, after all, they are\nalive and able to take care of themselves;\nwhereas In the case of a dead author, who\nhas been dragged In against his will while\nother hands gather up the percentages won\nby his creation,.... material gains which his\nspirit fingers can no longer hold,\nwell, all our sympathy is with R. L. S. &\nMR FROHMAN'S NEW VENTURE\nmust reserve expression of any opinion\nas to this new venture until we see\nwhether those connected with it are in ear-\nnest or not about that which they have\nundertaken. If they are there can fee nothing\nbut praise for them and our gratitude will\nknow how to express itself. jg?\nThere seems to be 110 reason why Mr\nFrohman, (given one more chance), should\nnot prove himself to be capable of mastering\nhis masters. If he remains loyal to Mr Shaw,\nMr Barrie and Messrs Barker and Co and\nbrings his unruly sub-directors to heel,...\nthose sub-directors whose names seem only\nto be known to the \" New York Dramatic\nMirror \"... he will have proved himself a fine\nfellow and the little indiscretions of his\nmiddle age will be passd over as though\nthey belonged to his youthful period.\nAnd if Mr Shaw, Mr Barrie, and Messrs\nBarker and Co act loyally towards Mr Froh-\nman by heroically attempting to bring a\nbreath of fresh poetry Into the play-house\nand by barricading the doors against that\nancient and commonplace fraud. Realism,\nthey will have proved themselves to be men\nof sense,... fine sense.... and their efforts after\nabout ten years more will begin to tell.\njg? We are able to congratulate Mr Shaw on\na pretty considerable success already, for\nhas he not achieved something of his desire\nin becoming liberated from \"the solitary\ndespotism of his own temperament\" ?(i). By\nuniting with Mr Frohman, Mr Barrie and\nMessrs Barker and Co he can become less of\nan idiot (vide Mr Shaw's article in \" The\nMask Volume 2,Page 84) less what Moliere\nbecame when the Comedie came\ninto being, less isolated; less what Schiller\nand Goethe became when they Isolated them-\nselves from the \"discipline of committees\".\n\n(1) As it is far from our intention to offend we make use of\nMr Shaw's own words and use them in the same connection as\ndid Mr Shaw himself in The Mask, October 1909. And though\nwe congratulate Mr Shaw as we should congratulate any man\nwho gets his own way we cannot congratulate any one else; for\nMr Shaw was something while he was isolated, whereas he is so-\nmething else now that he is under the thumb of a committee."}, {"page_pdf": 52, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.52", "texte": "wish to draw attention to an adver-\ntisement appearing on the outside cover\nof this number, in the hope that it may bring\nus some copies of the book advertised for.\nThe book was issued in 1905 and the entire\ntwo editions were soon sold out. No single\ncopy is able to be obtained from the Publishers\nand in spite of an advertisement which has\nappeared in the Publishers' Circular for over\na year no copy has been secured.^\nThis fact somewhat does away with the\nbelief that books on the theatre have no sale.\nWe have often seen it stated by Publishers\nthat, except for Biographies of Actors, books\non the Theatre are a drug in the market,...\nthat there is no Public for them. We cannot\nmake this statement agree with the facts of\nthis particular case and we are inclined to\nthink that the publishers might do worse\nthan to reconsider the matter. For our own\npart we believe that serious works on the\nTheatre are more and more in demand. We\nare on the eve of the most remarkable deve-\nlopment of the Art of the Theatre that has\ntaken place since its inception, and those\npublishers who do not realise this should give\nthe matter their careful consideration.\nAlready a few very important works have\nappeared. & & & &\n& One of the most important is \" The\nMediaeval Stage \" by E. K. Chambers; a most\nthorough book published in 1903 at the\nClarendon Press, Oxford. Another interesting\nif less scholarly work is Dr Karl Manzius' s\nHistory of Theatrical Art\", the fifth volume\nof which has lately appeared and is reviewed\nelsewhere in our &\n#\n-eg? \"The Play House and the Play\" by Percy\nMackaye, published by Messrs Macmillan, and\ndealing with the modern Theatre is another\nvaluable book, (1) for it puts so many ques-\ntions to us which, if not new, have certainly\nnever before been put so tersely and which\nhave never yet been satisfactorily answered.\nMr Arthur Symons's works, \"Plays, Acting\nand Music\", (a reprint of which is reviewed\nin this number), and \" Studies in Seven\nArts \" (Constable) have an importance which\nwill some day be better understood. <£?\nj? Still, there Is room for many more books\n©ll this difficult subject, and it must be placed\nto the credit of Germany that the \"foolish\"\nbooksellers step in and publish many more\nworks on the Theatre than their \"angelic\"\nbrothers do in England. A new book 011 any\nserious subject relating to the Theatre is in\n(1) Reviewed in The Mask. Oct 1909.\nGermany welcomed by the public with eager-\nness; in fact the German publishers are\nentirely awake to the presence of the near\nfuture, and English publishers would do well\nto study, not their methods but their\nmadness, which is balanced by plenty of\nmethod. &\nWe have often heard it asserted that the\nPublic Is to blame, that the Public Is asleep,\nand that in consequence the publishers\nhave to supply It with trash. St does not\nseem to be realised that the publishers are\na part of the Public, that they are at once\nits servants and its masters and that their\nduty is to act as such. &\njg? As it is some of them look on the Public\nas their paying guest and study how to make\nit pay for trash. St is a bad method. Surely\nno man in his senses becomes a publisher to\nmake money. If he has sense he makes money\nby some money-making trade, but the pub-\nlishing of books is not considered a trade by\nthe strict business man .. It Is an Interesting\nand most honourable way of assisting in the\nGovernment of the Nation. &\nThe publishers have the choice of poisoning\nor refreshing the minds of thousands of readers\nand there are a few publishers who make the\nnobler choice. & & &\nBut for the most part after a few years\nof following what they think is an ideal they\ndescend to meaner methods and put all\nthe blame on \" The Public\n& It Is most extraordinary that men, (espe-\ncially Englishmen) should get tired of working\nfor an ideal in their daily labours. This is a\nvery serious fault, this growing tired of\nfighting for an ideal standard in the work to\nwhich one has devoted one's life. It is tanta-\nmount to admitting that one's life is a\nvalueless thing. The Germans are far less\ncontent to give way an inch in such matters\nthan we are to give way a mile. We have\nseen this too clearly with our own eyes to\ndoubt it, and are of the opinion that this\nIdealism of the Germans is going to tell against\nus as a nation,.... that it is already telling\nagainst us.\nWe are perhaps doing our best, but our\nbest has become poorer, has lost its old\nposition, since other peoples can find a\nbetter best. & & &\n''jphere have been always men who have con-\nsidered that Shakespeare's plays were not\nfor the stage. Goethe thought so; and in our\nown day those more closely connected with\nthe stage think the same. Thus, four years"}, {"page_pdf": 53, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.53", "texte": "ago, in \" The Art of the Theatre \" Mr. Gordon\nCraig wrote, \"'Hamlet7 has not the nature\n\"of a stage representation. 'Hamlet' and\n\"the other plays of Shakespeare have so vast\n\" and so complete a form when read, that\n\" they can but lose heavily when presented\n\" to us after having undergone stage treat-\n\" ment. &\nThat they were acted in Shakespeare's\n\" day proves nothing. Had these plays\n\" been made to be acted we should find them\n\" incomplete when we read them. Now, no\n\" one will say that they find 'Hamlet' dull\n\" or incomplete when they read it, yet there\n\" are many who will feel sorry after witnes-\n\" sing a performance of the play; saying 'No,\n\" that is not Shakespeare's Hamlet'. When\n\" no further addition can be made so as to\n\" better a work of art, it can be spoken of\n\" as ' finished it is complete. ' Hamlet' was\n\" finished, was complete, when Shakespeare\n\" wrote the last word of his blank verse,\n\" and for us to add to it by gesture, scene,\n\" costume or dance is to hint that it is\n\" incomplete and therefore needs these addi-\n\" tions.... What then, you ask, should 'Hamlet\n\" never be performed? To what purpose\n\" would it be if I replied, ' Yes'? Hamlet will\n\" go on being performed for some time yet,\n\" and the duty of the interpreters is to put\n\" their best work at its service But\n\" the theatre must not for ever rely upon\n\" having a play to perform, but must in time\n\" perform pieces of its own art. \"\n& This opinion expressed by Mr Craig four\nyears ago he has since repeated many times\nin his writings in \" The Mask \", and it Is\ngood now to see Mr Laurence Irving coming\nto the same conclusion and expressing such\nviews as he has lately done in Apierica on\nthe subject.\nIt is true that Laurence Irving, Gordon\nCraig and Goethe look at the matter from\ndifferent points of view, but they all three\ncome to the same conclusion. Goethe finds the\nplays ruined by the theatre; Irving finds the\ntheatre ruined by the plays; and Craig finds\nboth play and theatre ruined each by the\nother.\nIf, as The Mask has often suggested, it\nwere to be proposed that all plays were\ndetrimental to the theatre and its art, and\nthe theatre very detrimental to all plays,\nwhat an outcry there would be. Yet sooner\nor later this must be the verdict passed upon\nthe absurd traffic between playwright and\nstage manager. & & &\n&By \" sooner or later\" we really mean\nlater; for it is not to be supposed that in\na couple of years or in a score of years any\nsuch verdict can be arrived at. &\nThe worst of The Mask is, (and here we\nconfess it with the deepest regret), that\nsome youngsters reading its columns and\nimagining that they are heaven- sent genius-\nes, and fooling themselves that genius drops\ndown from heaven instead of being built up\nslowly on earth, will rush into this danger\nof haste and so exterminate themselves and\nbring discredit to the art which they are sup-\nposed to respect. They will make rash inno-\nvations, building upon the old artificiality\nwithout foundations and without form. Yet\nit is better to run even this risk than sit\nsilently and in idleness leaving present things\nto take their course. & &\nThe public is, after all, a discerning mon-\nster, and may be left to forward in its own\nparticular way the Renaissance when the\ndue time for it is come. JZ? JZ?\n& \" How long do you think it will take? \"\nasked an enquirer the other day of one of\nthe leaders of the movement, who replied\nthat he thought about two hundred years.\n\"So long as that\"? We are inclined to\nthink quite as long, only we do not mea-\nsure time in precisely the same way as\nothers. Indeed, the measurement of time must\nalways be a relative thing, for to people of one\ntemperament a year would be the equivalent\nof twenty years while to others twenty years\nwould be as long as a hundred. &\nTherefore, to curb rashness yet prevent\ndespair we would urge those who are opti-\nmistic and think the trick can be done in a\ntwinkling of an eye to allow thirty or forty\nyears for the miracle; those who are despai-\nring and pessimistic to allow it five years,\nand perhaps by this means some better sense\nof perspective and some juster sense of pro-\nportion will come to rule. & &\nFrederick Whelen is one of the excep-\ntional business men who for some\nreason or other quite unknown to everyone\nconnects himself with the theatre and lends\ndistinction to a hitherto very undistinguished\nbranch of the stage... .the business side. He\nhas never yet had his opportunity to show\nhis capacity although he has originated or\nbeen connected with many interesting move-\nments in the London theatre. <£?\n& There was the Stage Society, once upon\na time, and to those who know the difflcul-"}, {"page_pdf": 54, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.54", "texte": "ties attached to such an enterprise it has been\nclear all along that of those associated with\nthe work, whether as dramatist, actor or\nmember of the committee, the most valuable\nwas Mr Whelen. One felt that if only there\nhad been any one man of taste, rich enough\nin ideas, whether he had been dramatist, actor\nor stage manager, connected with the Stage\nSociety, and with a definite plan in his head,\nMr Whelen was the man of sense, (common\nsense in distinction to the finer senses) who\ncould see to it that there should be no failure\nof public acceptance. But as that man did\nnot appear the Stage Society is what it is\nand Mr Whelen has won some experience\nbut nothing else. & & &\nAnd now the Opera Society has been formed,\na new Society to provide an organisation\ncapable of dealing with any opportunities that\nmay present themselves or be created, for the\nproduction in London of (i) original English\nOperas, (2) Foreign Operas of distinction (3)\nOperas refused by the censor but which in the\njudgement of the committee should not to be\nprohibited on the English stage, jg/ &\nThis sounds very admirable, all except the\npassage about the Censor, which seems to\nsome of us ridiculous, However, that does not\nconcern us for the moment though the com-\nmittee expresses a hope that Strauss'banned\nOpera, \"Salome,\" will be the first production\nunder the Aegis of the Society. <£?\nWhy the committee puts as the Society's\nfirst reason for existence the production of\noriginal English opera and then hopes that\nthe first production will be \" Salome\" is\nrather difficult to understand. On studying\nthe announcement one sees the same hesita-\ntion which branded the Stage Society. They\nhave no programme, they have no singleness\nof idea.\n& How will they get certain masters of\nEnglish music to connect their names and\ntheir work with a society which starts off\nwith the nonsensical \"Salome\" by Dr Richard\nStrauss? The committees of such societies in\nEngland always labour under a grave misap-\nprehension, which is that artists will associate\nthemselves with any society provided it will\nbring them into public notice: that they will\ndo anything to get their works heard or seen.\n& If this committe, which met at Lord\nHoward de Walden's house in Belgravia, had\nannounced the names of a few English\ncomposers and had also announced the inten-\ntion of producing nothing but English works,\neven as in Germany with some wealthy young\nman's assistance societies are formed to\nproduce nothing but German works, it would\nhave been more politic and more\nus? A German society which proposed to inau-\ngurate its programme by giving a foreign\nwork would be laughed out of existence and\ndoomed to oblivion from the day the announ-\ncement was made. What is it which makes\nus in England so unfortunate in this respect?\nHowever, things are improving in London\nand there is a large section of the English\nnation today that expresses*itself quite plainly\non the principle of foisting on them bad work\nunder a pretentious name.\nFor example, to judge from some of the\njournals and a certain sleepy section of the\npublic, one would imagine that the \" Blue\nBird\" was a great success. It was not. It was\na great failure, a very great failure indeed.\nYou have only to speak of it to the poets, pain-\nters, and best known critics and leading men\nIn other branches of art and science for them\nto express in very definite terms their abhor-\nrence of the whole production. •£?\nIt was an artistic failure. Commercially it\nmay be a great success, but this has yet to\nbe\nThe general feeling is, what can a man\nlike Mr Trench do who, at the commence-\nment, cripples his resources by having to pay\nannually a rent L. 10,000.0.0 especially for his\ntheatre? The taking of the Haymarket is a\nconcession to snobbery. He buys the golden\ncage and then looks for the Blue Bird, and\nas he knows the \" Blue Bird \" he ought to\nknow that only black birds, brown birds and\nother birds can be found. As to the real\nBlue Bird, no amount of golden cages will\nprove a lure. There again, in producing the\n\"Blue Bird\" in the first year of his manage-\nment, this manager who is supposed to stand\nfor the advancement of the stage proves the\nweakness of his programme. &\n<£* Is not Mr Yeats alive, and are not all the\nfairies his friends ? Is not Mr Binyon alive\nand Mr Barrie ?\nIt is always the same with these societies\nor new movements. They protest they are\n*\nfounded in the cause of Art and they are\nfounded in the cause of something else,\neither for commerce or for social reform or\nthrough the vanity of some seeker for public\nnotice. And so, alas, they can do no good\nwhatever. They only make it more difficult\nfor the public to discern real from false\ndiamonds. & &\n& But perhaps some day Mr Whelen will"}, {"page_pdf": 55, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.55", "texte": "wake up more thoroughly to the situation,\navoiding the amateurishness of societies on\nthe one hand and the snobbishness of profes-\nsionalism on the other, allying his capabilities\nas managing director to something more\nworthy of his metal, to something a little less\ncheap. & &\nHis association with Sir Herbert Tree is\nanother matter. The Head of a profession is\nalways a thing apart. Like the President of\nthe Royal Academy Sir Herbert Tree acts upon\na higher and more wonderful stage than any\nof those made of mere boards and trestles.\n& This last passage in a flawless Editorial\nNote is both its weakest and its strongest!\neverybody will feel this. . . But what\ncan we do when we have no desire to give\noffence .... ? £?\n|n the last number of The Mask it was sta-\nted that this number would contain fur-\nther information about Mr Gordon Craig's\nScene for the Poetic Drama which will be\nused in his forthcoming production of\n44 Hamlet\" in Moscow and which Miss Ellen\nTerry and the Directors of the Irish National\nTheatre are also preparing to use for va-\nrious pieces. & & &\nThe material relating to this Scene has,\nhowever, proved so abundant and so Inte-\nresting that, rather than treat of it briefly\nand insuffiently in this number, we have\nwished to defer writing about it further\nuntil we can do so more fully. Indeed, a book\nupon this subject is now in preparation and\nfurther details about this will be given\nin an early number of The Mask. & &\nJn addition to this book about Mr Craig's\ninvention, ail students of the Art of the\nTheatre will be interested to learn that two\nbooks by himself are to be published this\nyear In St Petersberg, one of which will be\nan edition of 44 Hamlet \" illustrated and an-\nnotated by Mr Craig.\nThis volume, which will be superbly printed,\nwill appear next autumn simultaneously with\nhis production of the play at the Moscow\nArt Theatre, and cannot but be of the greatest\nvalue to all stage managers, actors and\ntheatrical students as setting forth, by means\nof both designs and notes, Mr Craig's\nmethods in the interpretation of a Shakes-\npearean play. & & &\none ever realises the value of criticism\nuntil he begins to criticise; then it is too\nlate to reform. &\nIf at the tender age of two or four we could\nunderstand what on earth our elders, betters,\nwlsers, and all the bigger folk are talking to\nus about, and why on earth they are talking\nso much, we should act far better than by\nsquealing, upsetting the soup and the house,\nand turning the world Into a joke.\nIf only we could do it! 44 We will be good!\n(squeak,) we won't never do it again, (howl)\nN0... no, (whine), Yessss (yelp) Ohhhhh!!!\"\nand all without having understood where\nin we have erred and without the advantage\nof yet knowing that apt quotation, 44 To err\nis human, to forgive divine \". & &\n■£? We think that seldom have we risen to\nheights of fancy as in what we have just\nwritten! We are tempted to continue the\nstrain, fading at last to something concer-\nning the connection of married persons with\nthe Art of the Theatre. But then we should\nbe misunderstood, and we have no desire to\nbe so great as that. & &\n& Our wish is merely to acknowledge that\nwe are aware of the value of criticism,\ntheoretically it is priceless, practically it is\nnot worth a farthing. & &\nWe often fall into criticism ourselves. Of what\nvalue is It ? None. The bright boys whom we\nlash with the tongue angelic are utterly in-\ncapable of understanding what we mean. They\n44 will be good \" they promise, but they can't\nbe good, so the promise is worthless. &\n& But, as we have said, we wish to acknow-\nledge that we understand that theoretically\ncriticism is of great value, and to propose\nthat we should make a trial on ourselves to\nsee whether it cannot also become practical.\n& We have been criticised, and we want to\nunderstand, and then to do better next time.\nThe Pall Mall Gazette has taken us to task\nand we will submit ourselves (as befits our\nyears,...our two years) to the superior intel-\nligence of our tutor.\n& This sounds just a little too humble, but\nafter all It is the best mood to be in! We could\nbrazen it out, you know. We could, for\ninstance, refer our tutor the 44Pa11 Mall\" to\nthe 44 Westminster Gazette, \" which says we\nare a vastly entertaining youngster; or we\nmight even turn to an earlier number of the\nPall Mall itself and quote its own words, which\nrun exactly like this: 44There is not a page in\nit which is not interesting and stimulating\nin a fine way.\" & & &\n& Or we might say peevishly that we don't\nvalue London criticism, and that the Floren-\ntine criticism in \"The Herald\" is good enough\nfor us, especially when the writer is so"}, {"page_pdf": 56, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.56", "texte": "talented a man as its Editor, Mr AlgarThorold.\nJo? However we are not dealing with unique\ncriticism but only with ordinary criticism,\nand it is the ordinary switch that tells .. Some\nday the distinguished Editor of the \"Florence\nHerald \" will sink into the chair of some or-\ndinary rag like 44 The Times .... we mean\nno offence, we only wish to draw a distinction\n... .and then we shall be without pleasurable\ncriticism.\n& But to the point. &\n& We have had a smart rap over the knuckles\nfrom H. M. W., our tutor on the \"Pall Mall\nGazette\". & & & &\n& We thought we were doing rather well,\nbut he tells us we are doing very ill. He says\nthat we are \"far too much occupied with old\nmatter or dull matter\"; that the old matter\nby Schlegel, Godwin, Gilbert h\nBecket and Vecellio is far too old or not old\nenough,.... (we are a little vague which he\nmeans, for Vecellio is s6th century, Schlegel\nlate ißth century and the rest 19th century.)\nHe then tells us that the Gordon Craig Dia-\nlogue is \"du11\"... \"appallingly dull\" he says,\nbless him. 45? &\njp Nov/ we had thought over this matter of\nreprinting old matter for quite a long time and\nw© also considered as long as possible whether\nMrGordon Craig was to be relied upon to write\nfor us anything at all likely to be appreciated\nby our readers. And we decided that both\nthe old masters and the new masters were\nvastly better worth listening to than any\nnumber of those 44 able men and women\"\nwho have mastered nothing but the ears of\na few editors. But it appears we were wrong.\nThe age of our journal is but two brief and\nhappy years and it is quite likely that we arc\nwrong. Mr H. M. W. of the Pall Mall suggests\nthe remedy; he tells us that as 44 the aims and\ntemper of The Mask are so fine\" (we rather\nlike that passage) 44 there must be scores of\nable men and women who would be only too\nhappy\" (a heavenly passage!) 44 to write for\nit honoris causa\" &\nThis is certainly a happy idea: a score (we\ndo not look for scores) of able men and women\nready to write brilliantly upon the Art of the\nTheatre so that our tutor may smile. &\nWe turn to our pages of contents and we\nfind, ah?... exactly a score! Mr John Balance,\nMr Jan van Holt, Mr Allen Carrie, Mr Alex-\nander Hevesi, Mr Schildenfeld Schiller, Mr\nGunnar Castren, Mr Furst; Mr Graham\nRobertson, Sir H. Beerbohm Tree, Signer\nSalvini, Mr Willem Rooyards, Mr Klaassen,\nMr Percy Mackaye, Mr Bernard Shaw, Mr\nMartin Harvey, Mr E. F. Spence, Mr Herbert\nTrench, Mr W. Pritchard Eaton, Miss D. Nevil©\nLees, Miss Ellen Terry, Mr Edward Hutton,\nMr George Norman, Mr Paul Cooper, (alas,\nwe are running into two score!) Mr Sidney\nGrundy, M. Antoine, Mr Arthur Symons, Miss\nLoie Fuller, M. Andr6 Beaunier, Mr Haldane\nMacfall, Madame Yvette Guilbert, M. Duques-\nnel, Mr Horace Wyndham, Herr Hugo von\nHofmannsthal, Mr Gordon Craig and the pre-\nsent writer,... very nearly two score. Is it\npossible? We did not realise that we had so\nmany friends.\n& What are we to say to our tutor? Let us\nbehave ourselves, and let us ask him for\nanother score. That, and that only, is our\nanswer.\nNow, have we taken his lecture in the\nright way ? Don ' t you think there is hope\nfor us ? Say you are pleased with us, Mr H.\nMo W., and send, oh send, the names of one\nscore of \"able men and women\" without delay!\nAnd next time attack Mr Allen Carrie, Mr\nJohn Balance, Mr Adolf Furst or even the\noccupant of the editorial chair; but don't,\ndon't say that Mr Gordon Craig's essays are\n64 appallingly dull\"! For he it is who has\nprevailed over us to treat our good, our\nlearned tutor with tolerance; he it is who\nagrees with you though in vain you attempt\nto disagree with him, and ...... all this makes\nsuch a difference you know. &\n\nTO OUR READERS\nJ. S.\nW«th this number The Mask com-\npletes its second volume,and we are\nhappy to be able to repeat what we sa-\nid at the conclusion of the first,....\nFirst, that whereas most people de-\nclared in the beginning that such a jour-\nnal could not live three months, it has\nnow lived and flourishd for two years,\nand will continue to live as long as we\nwish: second, that another year's expe-\nrience has but proved afresh that The\nMask has many true friends, all of whom\nwe thank from our heart,.... the sub-\nscribers, the contributors and the cri-\ntics, and third, that we shall try to\ndo yot better in the coming year.\n\nALL RIGHTS RESERVED &\nI i iin ii inn I HI II II ii iiiriiini ti—r TTTT i—i—m-mr—TUTI i-'i i -n~M—r——■— rri'IITT-nmmnniiiiM mi HM—IWWN\nGerente responsabile, GIULIO VANZI"}, {"page_pdf": 57, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.57", "texte": "AL & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\nt\n%\nBB ra 22 /X Wi*. JV H\ndWt,\nV\nJl\nIf k\n.Chintzes, Printed Linens & Printed Cottons, Write for\n, illustrated Booklet 44 M\" with photographs & prices.\n& Son have special materials for Casement\nCurtains. Booklet 44 K\" with small patterns sent postfree.\nTOTTENHAM COURT ROAD, LONDON"}, {"page_pdf": 58, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.58", "texte": "Fine Illustrated Edition of\n& OSCAR WILDES &\nThe Picture of Dorian Grey.\n\" Each man sees his own sins In Dorian Gray. What Dorian\nGray's sins are no one knows. He who finds them has\nbrought them.\"— OSCAR WILDE. (ILetter, 9th July,lB9o).\nSm. 4to Vol. Pages VI. & 312. Hf. bd. gilt top, with Seven\nfull-paged Wood Engravings by PAUL THIRIAT(of Paris)\nPrice 12.s 6d. Net.\nALSO A POPULAR EDITION\nPages VI. &316. Sm. Bvo. (not illustrated), neat cloth\nbinding. Price 2s. 6d. Net.\nj* FURTHER, AN EDITION &\n(Pages YJL & 353)\nUniform in Style and Binding with Messrs. Methuen's\nFive Shilling Edition of 44 OSCAR WILDE'S WORKS. \"\nPrice ss. Net.\nPublished by Charles\n10. Rue de la Tribune, Brussels, Belgium.\n\nANTONIO FRILLI\nPURVEYOR TO ra\nIMPERIAL * ROYAL\nFAMILIES # #\nFLORENCE\nVia dei Fossi 4\n(ESTABLISHED i860) M\nAWARDED PRIZES\nAT 48 NATIONAL *\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST tours MO\nGRAND PRIX\n1904\n1"}, {"page_pdf": 59, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.59", "texte": "A QUARTERLY JOURNAL OF THE\nART OF THE THEATRES\nWHY YOU SHOULD SUBSCRIBE TO THE MASK\nBECAUSE IT IS THE SUREST WAY TO RECEIVE IT REGULARLY, AND IT IS WORTH\nWHILE TO RECEIVE IT REGULARLY BECAUSE:\n(1) It Is \" A very amusing and stimulating, as well as a most beautiful magazine\nTHE DAILY TELEGRAPH.\n(2) \" There is not a page in it which is not interesting and stimulating in a fine way. \"\nPALL MALL GAZETTE.\n(3) It is \" A quite remarkable magazine, rich in intelligence. \" WESTMINSTER GAZETTE.\n(4) It is 44 The most beautiful magazine published. \" THE NEW AGE.\n(5) \" By the delicacy of its format, the pleasantness and dignity of its types, the careful\nexcellence with which its illustrations have been reproduced, the character of the illustra-\ntions themselves, and the curious distinction and sincerity of its literary contents, it\nseems to prove that the artistic centre of Europe has once again shifted to Italy. \" &\nLIVERPOOL COURIER.\n(6) It has \" The rare attraction of abundant intellectual activity with aesthetic charm. Its\n44 freedom, its courage, its fecundity of ideas, its emphasis of vital potentialities in the\n\" theatre, its ample horizon which aims to review the centuries as well as the seasons of\n\"theatrical art, its earnest search for rational criteria, its championship of the poetic and\n44 creative in its own field,... these unusual qualities differentiate The Mask from that large\n44 class of art journals which are mere catalogues and tend to give it a perennial rather\n44than a momentary appeal. & & Mr PERCY MACKAYE.\n(7) It is 44 A vital review, the independence and intelligence of which is a rare comfort in\nthese days. & JS> & & Mr WILLIAM ROTHENSTEIN.\nHOW TO SUBSCRIBE TO THE M ASK~~&\n& Write your name and address on the adjoining card and post it to us today ; and then\ntoday or tomorrow or next week, or when we remind you, send the amount named below\naccording to the country in which you live. & & & jm\njr Cheques and postal orders should be made payable to the Proprietor of The Mask.\nIn countries where paper money is in use this may be enclosed in a registered letter.\nYEARLY England, 15 Shillings America, 4 Dollars Russia, 8 Roubles POST\nSUBSCRIPTION Germany, 15 Marks Italy, 15 Lire, France, 20 Francs. FREE\nthe \"mask Offices, \"arena goldoni, Tlorence."}, {"page_pdf": 60, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191004-01.1.60", "texte": "& Printed for the Proprietor by Tipografia R. Lastrucci Yia Serragli, 104 Floreace and published at The Office of \" The Mask *'\nArena Goldoni.\n\nTWO YEARS OLD TODAY!\nWith this Number THE MASK\ncompletes its second volume and\nits second year of happy life.\nThose who wish it\nMANY HAPPY RETURNS\ncan do so in no better way than\nby sending us today a post card\nauthorising us to enter their\nnames or the names their\nfriends upon our of\nsubscriber's list\nfor the coming\nyear.\nTURN THE PAGE FOR FULL PARTICULARS.\n\nTHE MASK\nBOUND VOLUMES.\n'Jphe first two Volumes of The Mask,\nMarch 1908-February 1909, March 1909\n-April 1910, bound in the best Florentine\nvellum, may be had at twenty shillings,\n(Francs 25,00, Marks 20, Dollars 5.) a\ncopy post free, from this office.\nARENA GOLDONI, FLORENCE.\nITALY.\n\n& WANTED\n& THE ART OF THE THEATRE.\n(First Dialogue) by Edward Gordon\nCraig. j& j£t &\nPublished by T. N. Foulis & Co, 1905.\nPublishers of The Mask are pre-\npared to purchase any number of co-\npies of the above book which they can ob-\ntain at the original published price. Two\neditions were issued in English. One in\ngrey paper covers with woodcut in co-\nlours price iand one in black buckram\nboards and gold lettering, price 2j6.\nThe Publishers of The Mask.\nArena Goldoni, Florence.\nItaly.\n\nTYPEWRITING OFFICE.\nTRANSLATIONS IN ALL LANGUAGE S.\n0 0 FLORENCE - Via Vecchietti 6, - FLORENCE. j£> &"}]}