{"numero_id": "bm-bmtnaau-1910-10-01", "volume": "bmtnaau_1910-10_01", "ocr_sha256": "22619aba212fd434e659e246309db2101416b4570f8808b89eec21d3813c069d", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1910/10_01/bmtnaau_1910-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1910/10_01/bmtnaau_1910-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01", "articles": [{"article_id": "bm-bmtnaau-1910-10-01-c002", "article_bluemountain": "bmtnaau_1910-10_01#c002", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.2", "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=bmtnaau191010-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 721, "texte": "LITERARY CONTENTS.\nA NOTE ON THE WORK OF E. W. GODWIN by JOHN SEMAR. PROPOSALS OLD AND\nNEW by ALLEN CARRIC. THE GHOSTS IN THE TRAGEDIES OF SHAKESPEARE by\nGORDON CRAIG. 0 A NATIONAL MEMORIAL THEATRE: THE BUILDING by LOUIS MADRID.\nTUITION IN ART by FELIX URBAN, 0 THE PASSION PLAY AT OBERAMMERGAU by\nADOLF FURST. THE THEATRICAL by JOHN BALANCE. THE ARCHITECTURE AND\nCOSTUME OF HENRY VIII by E. W. GODWIN: F. S. A. THE TRAGIC THEATRE by\nW. B. YEATS. & WATTS: DELACROIX: BLAKE. - UNCOMMERCIAL DRAMA by JOHN\nA CHEAP THEATRE by FRANZ MISS HORNIMAN AND HER REPERTORY\nTHEATRE by JOHN SEMAR 0 REALISM IN ART. TOLSTOI. HAMLET, A SUCCESS OR A\nFAILURE ? TWO LETTERS. £> BOOK AND MAGAZINE REVIEWS. 0 FOREIGN NOTES.\nEDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c003", "article_bluemountain": "bmtnaau_1910-10_01#c003", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.3", "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=bmtnaau191010-01.1.2", "debut_caractere": 723, "fin_caractere_exclue": 1086, "texte": "ILLUSTRATIONS.\nFRONTISPIECE. DESIGNS FOR MISS ELLEN TERRY by E. W. GODWiN, F. S. A. FOR\n\" THE CUP \"by LORD TENNYSON. JZ> A FURTHER PAGE OF DESIGNS FOR \" THE CUP\nMADE FOR MISS ELLEN TERRY by E. W. GODWIN. F. S. A. THREE FULL PAGE ILLU-\nSTRATIONS OF JAPANESE DANCERS. £> INITIAL LETTERS, HEAD AND TAIL PIECES\nby E. THESLEFF, CHARLES BORROW, GORDON CRAIG AND OTHERS."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c004", "article_bluemountain": "bmtnaau_1910-10_01#c004", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[52]", "page_fin": "[52]", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.4", "titre_corps": "Designed for Miss Ellen Terry by E. W. Godwin FSA, for \" The Cup \" by Lord Tennyson", "titre_sommaire": "Designed for Miss Ellen Terry by E. W. Godwin FSA, for \" The Cup \" by Lord Tennyson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[52]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 84, "texte": "Designed for Miss Ellen Terry by E. W. Godwin FSA. for \" The Cup \" by Lord Tennyson."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c005", "article_bluemountain": "bmtnaau_1910-10_01#c005", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "53", "page_fin": "56", "image_debut": 5, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.5", "titre_corps": "A NOTE ON THE WORK OF E. W. GODWIN", "titre_sommaire": "A NOTE ON THE WORK OF E. W. GODWIN", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 3286, "texte": "A NOTE ON THE WORK OF E. W. GODWIN,\nby John Semar.\nery often in art, as in life itself, it happens that, while one sows another\nreaps, and that not only the reapers themselves, but those on-lookers who\nsee their well-stored barns, forget the man to whom they owe their harvest,\nwhether of grain or gold.\n& This is especially so In the theatre, which has as short a memory for\nthose who have assisted It in the past as it has short sight for those who are best serving\nit in the present. It accepts and uses the gift.... and forgets the giver. &\n& Every effect, however, has its cause, every supply its source. The identity of each human\nbeing is the outcome of the individual deeds as well as of the racial qualities of unnum-\nbered ancestors; the sum of present-day learning has been accumulated by the studies of\nthousands of forgotten students and a long preparation of the learning, practise and envi-\nronment of many half- or wholly- forgotten artists has preceded the appearance of each work\nof art. In fact the man who succeeds in the eyes of the world is often simply he who best\napplies the talents and learning of his predecessor whose name never came before the public\nat all. It may be trite to repeat that 44 the world knows nothing of its greatest men \" but\nIt is certainly true that the Theatre does not, probably because it has shaped and accepted\nso false an ideal of what qualifies a man as \"great\". jg?\n& It assumes Its greatest men to be the most popular actors, the most successful managers,\nthe most expert financiers, the most brilliant playwrights ; whereas they are rather those\nwho have rendered the most valuable services to the Art of the Theatre as a whole, not\nonly by the talents they have devoted to it, but by the love they have felt for it and the\nconsequent thoroughness with which they studied and performed every smallest detail of\ntheir work.\n& One of the most remarkable among these 44 great men \" of the modern theatre was\nE. W. Godwin. He ft was who, in a sense not as yet fully realised, fathered the new move-\nment in the European Theatre and founded that race of theatrical artists of whom the\nTheatre of the Future shall be born. &\n/\nThg services which he rendered by his earnestness, his thoroughness, by the talents\nwhich he brought to the assistance of the theatre and the learning which he devoted to\nits cause, were incalculable; yet how many workers on the stage today honour, or even\nremember, his name ? how many of those who compare the noble Lyceum productions of\nIrving's day with those of twenty years previously know to whom the new development\nwas due ? and how many of the managers who have profitted financially by the fine pro-\nductions of which Godwin was the initiator have given a thought of gratitude or recognition\nto the man to whom they owed their success ? & <£? •£?\n& It is true that these things happen not only in the theatre. A William Blake has to wait\neighty years for recognition ; a Henry Purcell has to wait longer. 44 Tis true tis pity but\npity tis tis true\" that in beautiful old Conservative England with its fine ideas of nobility\nits steadfast belief in the Royalty of Kings, the King's Men,... that is to say, the Artists\n\nThe ingratitude\nof the Theatre.\nIts Great Men•\nU. W. Godwin.\njSf His services."}, {"page_pdf": 6, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.6", "debut_caractere": 15, "fin_caractere_exclue": 4762, "texte": ".. .(and there 4s no race on earth of more whole-hearted King's men than the artists), should\nbe neglected, forgotten, even allowed to be without the necessaries of life as so many have\nbeen while others are permitted to gather round the throne. Yet surely no one would rank\nthere more fitly than the artist, the champion of pomp and circumstance, who loves the splen-\ndour of processions, who loves romance and hates committees and refuses to work under\nlimited liability companies: who, like the old knights, is ever ready to break his lance for\nthe honour of Royalty and Beauty, and to die for the cause. Such a man was E. W. Godwin.\nThe friend of Whistler, of Burgess the architect, of William Morris and Burne-Jones;\nthe designer of many beautiful buildings, including the Town Hal! at Northampton and the\nWhite House at Chelsea which he built for Whistler, he was a distinguished architect,\ndeeply cultured, a reader of Shakespearean verse who understood in an exceptional degree\nthe value of that verse, a Fellow of the Royal Society, a man possessed of wide learning\nand a keen love of the theatre and its art.\nThe whole story of his life, of his many and varied activities, of the brilliant group of\nwhich he formed a member, is an interesting one, and some day to be written of fully;\nbut the present note can only briefly outline his work for the theatre, the talents which he\ndevoted to it and the great services which he rendered gratuitously to the stage.\nThe question may, of course, be put, Why should an architect, a man who, one thinks,\ncould know nothing of the theatre, concern himself with an art other than his own ? It\nwould seem at first sight something of an intrusion ... one of those intrusions the repulsion\nof which The Mask has always advocated: it would seem rather hasty... as hasty as the\nact of the modern designers who, without any knowledge of the theatre except that which\nthey have borrowed, (as who should say 44 Lend me half-a-crown \"), press forward to the\ndangerous and delightful work.\n& But with E. W. Godwin there was neither haste nor presumption; with him the theatre\nwas the study of a lifetime. Loving it sincerely, he elected, after very many years, to come\nforward and offer it some assistance: the theatre accepted the assistance, and, as I have\nalready said, forgot the giver.\nOliver Wendal Holmes once wrote 44 A man's learning dies with him ; even his virtues\n44 fade out of remembrance; but the dividends on the stocks he bequeathes to his children\n44 keep his memory green\"; but even this was not so in Godwin's case. His theatrical suc-\ncessors have enjoyed the dividends ... and forgotten to whom they were indebted for the\nstocks. In fact Sir Herbert Beerbohm Tree has been, in the long space of time since Godwin's\ndeath, one of the only persons connected with the theatre to pay homage to his memory,\nand he, in a speech in 1900 before the Oxford Debating Society, bore witness how well\nGodwin's methods paid commercially; for, though in his defence of that method he very\nproperly added that he did not set up commercial success as a standard by which artistic\nsuccess may be guaged, he stated as an interesting fact that 242,000 people witnessed his\nown production of 44 Julius Caesar \", 170,000 witnessed 44 King John \" and nearly 220,000\n44 A Midsummer Night's Dream\", and these people were undoubtedly attracted to the theatre\nby Sir Herbert's method of staging Shakespeare in the manner inaugurated by Godwin.\nAs to that method itself, I can here say only a few words.\nHaving in his qualifications to help the theatre something in common with those other\ndistinguished architects, Serlio, Palladio and Inigo Jones, who lent their talents to its\nservice, E. W. Godwin added a wide learning and a keen perception of beauty which aroused\nhim to a wise discontent with the existing conditions of the stage in his day and enlisted\nall his energies for their betterment. & & &\nAs to the theory upon which his practise was based, it seems to be summed up in a\nsentence written by him regarding the pictures of the Royal Academy in 1865 where he\nsays, 44 The accessories in pictures, whether on canvas or on the stage, should be altogether\nwrong or wholly right\". & & & &\nThis suggestion that they may be altogether 44 wrong\", that is to say, incorrect, is very\nilluminating for it shows that he realised that in the art of the theatre accuracy of detail\nis of no importance whatever provided it be entirely inaccurate. But one or the other,\nwholly right or altogether wrong.... he claimed that these accessories should be. Either\nthe producer was to represent that purely imaginative realm of the poetic drama removed\n\nWho and what\nhe was. &\nHis qnalifi=\ncation for the\nwork. <£?\ntheory"}, {"page_pdf": 7, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 4533, "texte": "from all realities, furnished and peopled with purely imaginative forms, or to give a\n1 ofiection of reality as clear as the reflection of Narcissus in the pool: and, whichever\nmethod was adopted. It was to be beautiful.\nBut, although he admitted the two alternatives, Godwin seems to have felt that it was\na safer thing to begin the reform by securing decorative accuracy than by seeking for\nimaginative expression ; and so he concentrated his talents on improving the productions\nof that day and on cultivating the taste of the actors by surrounding them with beautiful\nobjects which had existedgin the past but of which they were evidently in entire ignorance.\nHe doubtless hoped that by placing the actors in a room which should to a great extent\nresemble a beautiful room of the 16th century with all its glamour and romance and en-\nchantment he would attune their ears and open their eyes to some of the Inner beauties\nwhich rested in the mind of Shakespeare, would quicken In them that peculiar temper\nwhich should enable them to apprehend by intuition, to not learn, the beauties of the play.\n0 And he succeeded.\n<0* He succeeded in visualising something of the atmosphere of the play by the beautiful out-\nward form which he gave to the poet's dream, and in transmitting that impression to the\nspectator; he succeeded in training the actors to have more feeling for these beautiful old\nthings; and he succeeded... a vicarious achievement... in filling the pockets of all the thea-\ntrical managers of the last thirty years. & & JS,\n& This success was due not only to his superior talents but to the greater thoroughness\nwhich he devoted to his work. In Godwin we have a man who studied the theatre as did\nno other of his day. He was an idealist who, whatever his dreams for the future, began\nby laying his foundations very sure upon the firm ground of a beautiful scenic accuracy.\nTo this end he searched the museums and libraries, he studied with a loving patience\nthe smallest details not only of the history of the period but of its most minute accessories.\nThoroughness characterised all his work, whether it were the reproduction of the archi-\ntecture of a palace, of the folds of a drapery, the madrigals of Marenzio or the arrange-\nment of a woman's hair. No detail seems to have escaped him and these studies he per-\npetuated In drawings and writings as well as adopting them In his actual productions on\nthe stage.\nas- Some of his writings are already known to readers of The Mask, his valuable series of\narticles upon the '«Architecture and Costume of Shakespeare's Plays» which originally\nappeared In the Architect in ,87s having, after lying forgotten in those dusty thirty-five\nj ear-old pages, been brought within easy reach of the workers In the modern theatre by\nrepublication in this journal; and for the young stage manager, wishing to produce any\not these plays, there could be no better guide.\nThe reprint of this series has, indeed, been one of the special features of The Mask\nsince its commencement, and few parts of our work have given us greater satisfaction\nthan this privilege of reminding the English theatre, by means of these articles, of Godwin's\nservices on its behalf. It Is with additional pleasure therefore that we now find ourselves\nable to reproduce also a series of Godwin's designs for stage costumes and properties, the\nrst three of which appear in the present number of The Mask. The originals are from\nMiss Ellen Terry's collection of theatrical treasures and we publish them with he* kind\npermission. & &\n~ Such drawings, illustrative of details such as the tying of a sTndal, tTe fornTof a faT\n the storehouse of his own learning and from the\ntreasures lying in the museums.... at the disposal of every producer but unheeded by\nthem... what seemed to him of value to the Art he loved. & *7 & &\nOf his actual stage work I can here speak but briefly. He produced « The Merchant of"}, {"page_pdf": 7, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.7", "debut_caractere": 4550, "fin_caractere_exclue": 4633, "texte": "His method of\nreform. & &\nHis success. &\nHis method. &\nHis writings.\nHis designs. &"}, {"page_pdf": 8, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.8", "debut_caractere": 15, "fin_caractere_exclue": 3696, "texte": "Venice\" at the Prince of Wales's Theatre with Sir Squire Bancroft; 44 Glaudian \" at the\nPrincess's Theatre, with Mr Wilson Barrett, and also prepared the famous production\nat Hengler's Circus when a Greek play was given. ■£?\n& For this latter performance Godwin, following in the steps of the great\narchitects of the past, designed and built a theatre inside a theatre,... a Greek theatre\nwith its circular orchestra and its raised platform,. .. upon which Sir Herbert Tree, then\ncomparatively unknown, figured as Paris. A picture, painted by Mr H. M. Paget in 1886,\nshows how this theatre with its chorus of Greek women and its principal characters, scene,\nlight and properties, looked; and, for all its accuracy, the primary impression created is not\nso much of something correct as of something beautiful. The scene and the figures have\nbeautiful proportions and the whole makes a simple appeal. It seems to have unity, ... a\nnatural result of being the work of one artist instead of the joint production of a number\nof incompetent tradesmen.\nAnother production was Mr Wilson Barrett's 44 Hamletand yet another the charming\nopen air performance of 44 As You Like It\" at Coo mbe Wood.\nNow if Godwin had received the support which was delayed until it was too late to be\nof use to him,.... that is to say, if during his lifetime the Theatre had done him\nthe full justice which his work deserved he would have lived to enrich the\nstage with many more such productions, and the stage, in its turn, would have enriched\nhim. He would then have become famous in his own day and it would not be unknown to\nnearly everyone who reads this that he, and no other, was the initiator (1) of that suc»\ncessful movement in the theatre which proved its worth artistically and commercially both\nin the Lyceum productions and In those which have followed them; the inaugurator of a\nmethod which, although it has since in England degenerated into too florid a style, has\nfound its logical sequence in the new movement in the European theatre of today.\nNowadays we are all familiar with those historical productions which are correct and\ncharming in their presentation, and may now expect to pass forward to the next step. Such\nproductions served as the natural link to connect the theatre of forty years ago with its\nplush curtains and its early Victorian costumes, its ugliness as well as its incorrectness,\nwith the theatre of the immediate tomorrow, which is bound to be that theatre in which,\nas Godwin says, 44 the accessories and costumes shall be altogether wrong\",.... that is\nideal creations, fair with that beauty of the 44 Poet's Dream\" which 44 never was on land\nor sea& &\nHis work was the natural realistic link between the unimaginative and the imaginative.\nIn the immediate tomorrow comes the next link in which the accessories shall be not\ncorrect in date but correct in spirit; when we shall not realise but suggest. The day after\nthat we shall move still further forward, from suggestion to symbolism, until in time, by\ntaking step after step, we restore to the Art of the Theatre its liberty and its royalty.\nOn that day there is no doubt we shall remember the debt we owe to E. W. Godwin. &\n\n4? The initiator\nof a new move-\nment. &\nHis work linked\nPast & Future.\n(1) We hope we are doing Sir Squire Bancroft, the late Mr Wilson Barrett and others no wrong in assuming that, though they were instru-\nmental in forwarding the movement inaugurated by E. W. Godwin, they were not the source from which the whole movement sprang. The\nproductions by these gentlemen were often admirable but never achieved the higher level of artistic excellence except when E. W. Godwin\nlent his aid."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c009", "article_bluemountain": "bmtnaau_1910-10_01#c009", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 9, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.6", "titre_corps": "Designed, for Miss Ellen Terry by E. W FSA. for \" The Cup \"by Lord Tennyson", "titre_sommaire": "Designed, for Miss Ellen Terry by E. W FSA. for \" The Cup \"by Lord Tennyson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 76, "texte": "Designed, for Miss Ellen Terry by E. W FSA. for \" The Cup \"by Lord Tennyson."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c010", "article_bluemountain": "bmtnaau_1910-10_01#c010", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "57", "page_fin": "60", "image_debut": 11, "image_fin": 14, "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=bmtnaau191010-01.2.7", "titre_corps": "PROPOSALS OLD AND NEW : A Dialogue between a Theatrical Manager and an Artist of the TheatreFOREWORD", "titre_sommaire": "PROPOSALS OLD AND NEW : A Dialogue between a Theatrical Manager and an Artist of the TheatreFOREWORD", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3802, "texte": "PROPOSALS OLD AND NEW.\nA Dialogue between a Theatrical Manager\nand an Artist of the Theatre\nFORE WORD\nby Allen Carrie.\nn this Dialogue, although the Manager says but little, he condescends to\nsay more than most managers. He echoes those two celebrated if slightly\nworn phrases that \" Art does not pay \" and that 44 We give the Public\nwhat it demands \". He does this more from habit than from belief in their\nworth. JE? & jg? jgp jgp j-p\n& I have purposely kept the Manager from attempting to prove that\nwhat he offers the Public is either original or beautiful, for 1 felt that\nmy readers were tired of hearing the old lie over again. So I have done\nmy best to keep him as quiet as possible for 1 was unwilling that he\nshould destroy any remaining chance of retaining esteem for his methods\nor sympathy for his appalling cause. I hope in this way not to have done him any\ninjustice.\njyjanager. & That Is the finest scene I ever saw. But you can't realise it upon'the stage.\n& Artist. & You are right: I cannot.\n& Manager. & Then why if you cannot reproduce it do you show it to me?\nArtist. & To make an impression on you. Why ask me absurd questions? &\n& Manager. J? Because I wish to be practical ; 1 wish to protect my interests.\n& Artist. & But you are not protecting them ; you are utterly at my mercy and seem\nto be trying to ruin them. &\n& Manag er. & Really you look at things in a strange way. Now come down to earth\nand tell me how we can realise that design upon the stage. &\n& Artist. & We cannot; we cannot. I have told you so repeatedly but you were so quick\nwith your questions you would not let me tell you something which saves the situation.\nThat design, as I have just said, is made to give you a certain impression. When I make the\nsame scene on the stage it is sure to be quite different in form and colour but it will create\nthe same impression on you as this design in front of you now.\nManager. Two things quite different will create the same impression? Are you joking ?\nrtist. No, 1 am not joking, but I will do so if you Insist upon it.\n& Manager. & No, no, proceed! tell me more ; explain what you mean. & &\n& Artist. & Well, a design for a scene on paper is one work of art, a scene on the stage\nis another. The two have no connection with each other. Each depends on a hundred dif-\nferent ways and means of creating the same impression. Try to adapt the one to the other\nand you get at best only a good translation. You do not understand? I know it; but what\nwould you have? You ought to be content not to understand... never to understand; if\nyou could comprehend you would have no need to consult me. & &\nManager. Well, it all sounds very risky. & & & & &\n& Artist. & It is; terribly risky ...for you. That is my point; that is the artist's ever-\nlasting point. He thinks; you risk. If you begin thinking everything is lost. Leave that to\nyour stage manager,... to me. You shall have no other risk but me. Risk me and you stand\nthe chance of gaining all. Avoid that risk, and you run no chance of winning anything.\n& Manager. You terrify me. I think you must be mad. & & &\n& Artist, (continuing) And you have only one thing to be careful about; you must\ntake care to study the difference between the different types of men whom the world calls\n44 artists \". Sort them out, avoid the commercial fellows and search for the 44 mad \" artist.\nIf you can find one I promise you you've found a fortune. Then risk him, play him first on\nthe Red and then on the Black; throw him where you will he's sure to bring you luck. But,\nmy dear Sir, whatever you do pray gamble like a gentlemen; risk enormously, hazard all\non this surety; risk with decency; do not incessantly alter your mind9... and for heaven's\n\nThe difference\nbetween a design\n& a stage scene.\nFind the \"mad\"\naitist. &"}, {"page_pdf": 12, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.12", "debut_caractere": 24, "fin_caractere_exclue": 4517, "texte": "sake don't apologise for your method of play. & & & & j& &\nMa nag e r. &\n& It is false in many ways. You should know quite well that the Public is so vast, is\ncomposed of so many different classes and types, its tastes varying with each type, that it\nis sheer lunacy to assert that there is no public for works of art.\nIt is as much as to say that the public is incapable of appreciation. If this were so how\nwould you explain how it is that the public knows the difference between a good loaf of\nbread and a bad one ? or explain how it is that the public can discern a good day from a\nrainy day,. .. how it knows a good song and a good horse from a bad song and horse? And\nremember that the public knows everything which is good from everything which is bad ;\nin fact the public is as right as rain ; let us hear no more criticisms of it. If you choose to\ncriticise a small section of the public that is another matter, especially if you choose that\nsmall section which grumbles at the nation's best soldiers, sailors, statesmen, judges, doctors,\npriests and artists. Yet, far from criticising this section it is the very section you de-\nliberately cater for in the theatre for those who form it are always tired after their\nday's grumbling and need amusement of the dullest kind. And you call that handful of the\nnation \"the Public\".\nManager & You do not convince me. I am certain that if the Public wanted works of\nart it would create a demand for them. &\nArtist My dear Sir, you encourage me. You say the very thing I wanted you to say.\n\"To create a demand \". You realise that a public demand is created and does not create\nitself. You realise that the Nation entrusts certain of its officers with the different tasks\nof creating this, that and the other, and amongst these other things is the \" creating a\ndemand\". The Public cannot speak for itself; if the whole lot speak at once no one is\nheard ; if one man speaks he is not listened to unless he is elected as spokesman by the\nwhole nation. Now who has the nation elected to speak for it about this matter of\nart? No one. Therefore until it does elect some representative how shall we know its\nwishes ?\njg? Manager But two hundred thousand men and women visited His Majesty's Theatre\nto see \"Julius Caesar\" and thereby acclaim Sir Herbert Tree as their spokesman. j&\n& Artist & Two hundred thousand people are not the Public, and the directors of the\npublic taste in theatrical matters are self=elected. A fine state of affairs indeed. jg?\n& Manager. What would you propose doing to discern the tastes of the Nation ?\nug? Artist. & I should propose that you should try to go to the people. Send companies\nround England for the direct purpose of collecting votes for and against certain types of\nplays and certain ways of producing plays. Let these companies play three plays by\nShakespeare, \"Hamlet,\" the \"Merchant of Venice\" and \"Henry V\" ; three plays by Shaw,\n\"Widower's Houses\", \"Captain Brassbound\" and \"Arms and the Man;\" a play by Sheriden and\none by Ibsen; a play by Goldsmith and one by Galsworthy, a play by Moli&re and a modern\nFrench problem play; a play by Pinero, one by Strindberg, one by Hauptmann and one by Yeats.\nLet these plays be produced very carefully by the different stage managers keen for the\ncompetition. For my part I would sooner stand to win or lose by producing a Shakespeare\nplay with even a scratch company than any on the list. & &\nLet this company call at every city in England, and afterwards at every one of the\nsmaller towns, and let the people record their votes for and against the different pieces.\nOf course the question at issue will have to be laid clearly before them and their serious"}, {"page_pdf": 13, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.13", "debut_caractere": 4454, "fin_caractere_exclue": 4521, "texte": "The \"cieation of\na demand.\"\nA ptoposal. jgr\nVotes to be\nrecorded. &"}, {"page_pdf": 14, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.14", "debut_caractere": 26, "fin_caractere_exclue": 2623, "texte": "consideration of the pieces requested. &\n& The journals all over England would take the matter up and would help to make this\nquestion clear. The best journals would point out to their readers that the question was a\nserious one affecting the national welfare, and a difficult one to answer, and would help\nthe people to see the difference between a healthy and an unhealthy drama; between a\nromantic or poetic treatment and a drab and realistic treatment. The excitement created\nby this tour of Great Britain would in all probability create a new and serious interest\nin the theatre and the whole country would at last be glad to take up the matter of Mu-\nnicipal Theatres.\nSuch a plan as S have sketched out roughly for you is capable of development and Is\njust the kind of thing that would encourage the theatre.<£? &>\n<&■ It would cost money, but the direct advantages to be derived from such a move are\nenormous.\n<£? Here then is an opportunity for a business man of ability to make his mark. After this\ntest you will probably be surprised to find that the Public has all along been opposed to the\nrubbish which It is forced to accept at the theatre in place of good stuff\n<£? Manager & And what do you think the Public wishes for ?\nJ0> Artist <£? All that is good. It wants a good time, good food, good clothes, and it gets\nthem. It wants good statemen and good fighters for an emergency, and it gets them. It\nwants good amusements and good art. The first it gets; the second is witheld from it.\nThe Music Halls and the Circuses provide admirable amusement. The Theatre should provide\nits art. Popular art? Certainly popular art. When certain sections of the Public wish for\nrelaxation they find it in the Music Hall. Excellent! But when another section of the Public\nwants bracing and goes to the more serious place to get it it is disappointed. Think how\nbracing Shakespeare could be to that enormous section of the public who work with their\nbrains all day. Think of the doctors, priests, writers, painters, musicians, architects, city-\nmen, engineers, army and navy men, politicians, secretaries, editors, journalists and other\nsocial men and women to whom a vigorous living theatre might prove refreshing and who\nare today obliged to avoid the place because of Its pretentiousness. jg? jz?\nIt Is utterly impossible to believe that the failure of the theatre today is due to\na low standard of public taste. Public taste was never better than it Is today. Test the\nstatement by the method I have suggested and you will be doing a great thing for the\nNation.\n\nWhat the Public\nwishes for, &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c013", "article_bluemountain": "bmtnaau_1910-10_01#c013", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "61", "page_fin": "66", "image_debut": 15, "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=bmtnaau191010-01.2.8", "titre_corps": "THE GHOSTS IN THE TRAGEDIES OF SHAKESPEARE", "titre_sommaire": "THE GHOSTS IN THE TRAGEDIES OF SHAKESPEARE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4063, "texte": "THE QHOSTS IN THE TRAGEDIES\nOF SHAKESPEARE\nby Gordon Craig.\nvery curious indication as to the way in which the producer\nshould treat the Shakespearean tragedies on the stage lies in\nthe appearance in those tragedies of the ghosts or spirits. &\n& The fact of their presence precludes a realistic treatment\nof the tragedies in which they appear. Shakespeare has mad©\nthem the centre of his vast dreams, and the central point of\na dream,as of a circular geometrical figure, controls and\nconditions every hair's breadth of the circumference. &\n& These spirits set the key to which, as in music, every\nnote of the composition must be harmonised; they are integral,\nnot extraneous parts of the drama; they are the visualised\nsymbols of the supernatural world which enfolds the natural,\nexerting in the action something of that influence which in \"the science of sound\" is exerted\nby those \" partial tones, which are unheard, but which blend with the tones which are\n\" heard and make all the difference between the poorest instrument and the supreme note\n\" of a violin : \" for, as with these, \" so in the science of life, in the crowded street or market\n\" place or theatre, or wherever life is, there are partial tones, there are unseen presences.\n\" Side by side with the human crowd is a crowd of unseen forms ... Principalities and Powers\n\"and Possibilities... These are unseen but not unfelt. They enter into the houses of the\n\" human beings that are seen, and for their coming some of them are swept and garnished\n\" and they abide there and the last state of these human beings is radiant with a divine\n\" light and resonant with an added love; or, on the contrary, it may be that, haunted by\n\"spirits more wicked than themselves, the last state of such beings is worse than before.*\n\" subject to a violence and tyranny abhorrent even to themselves ; impalpable and inevitable\n\"as it would seem, even to the confines of despair.\" (i) .£? & & &\n&> it is by the necromancy of these \" partial tones\", by the introduction of influences felt\neven when unseen, at times impalpable as the \" shadow of a shadow \" yet realised even\nthen as dominant forces, sometimes malefic, sometimes beneficent, that Shakespeare achieves\nresults which surpass those of his contemporaries even when, like Middleton in his \"Witch \"\nthey treat of similar themes.\nFor when Shakespeare wrote, \" enter the ghost of Banquo \" he did not have in his mind\nmerely a player clothed in a piece of gauze. Nor had he done so, had he been preoccupied\nwith gauze and limelight, would he ever have created the ghost in Hamlet; for that ghost\nof Hamlet's father, who moves aside the veils at the beginning of the great play, is not a\njoke; he is not a theatrical gentleman in armour, is not a farce of a figure. He is a mo-\nmentary visualisation of the unseen forces which dominate the action and is a clear command\nfrom Shakespeare that the men of the theatre shall rouse their imagination and let their\nreasonable logic slumber. &&&&& &\njg? For the appearances of all these spirits in the plays are not the inventions of a pan-\ntomime manager; they are the loftiest achievements of a lofty poet, and carry to us the\nclearest statements we can ever receive as to Shakespeare's thoughts about the stage.\n& \" The suggestive shall predominate, for all pictures on the stage pretending to illusio-\n\" nise reality must necessarily fail in their effect or cause a disillusionment. Shakespeare's\n\" dramas are poetic creations and must be presented and treated as such\"; (2) advice which\n\" should be especially borne in mind by all who set themselves to interpret those of the\nplays in which the supernatural element is introduced. & &\n& Thus if a man of the theatre shall produce \"Macbeth\", \"Hamlet\", \"Richard III\",\n\"Julius Caesar,\" \"Antony and Cleopatra,\" \"The Tempest\" or \"A Midsummer Night's\nDream \" as they should be produced, he must first of all woo the spirits in those plays:\n\nThey pieclude\nrealistic tie at«\nmenU &\n\"Paitial tones\"\nHamlet9 s Father.\nShakespeaie as\nScenographer.\n\n(1) Shorthouse.\n(2) Hevesl."}, {"page_pdf": 16, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.16", "debut_caractere": 28, "fin_caractere_exclue": 4667, "texte": "The aupernatu»\ntal element.\n& \" Macbeth \"\n\nfor unless he understand them with his whole being he shall but produce a thing of rags\nand tatters. The moment, however, that he is at one with these spirits, the moment he\nhas seen their proportion and moved to their rhythm, in that moment is he a master of\nthe art of producing a play by Shakespeare. But this the stage manager never seems to\nrealise, for did he do so he would adopt a very different method for the interpretation\nof those scenes in which the ghosts appear. & & & & j£r &\nFor what is it makes the ghosts of Shakespeare, which are so significant and impressive\nwhen we read the plays, appear so weak and unconvincing on the stage ? It is because\nin the latter case the tap is turned on suddenly, the right atmosphere has not been\nprepared.\nEnter a ghost... Sudden panic of all the actors, of all the lime lights, of all the music\nand of the entire audience. Exit the ghost intense relief of the whole theatre. In\nfact with the exit of the ghost on the stage the audience may be said to feel that some=\nthing best not spoken about has been passed over. And so the mighty question, which is\nat the roots of the whole world, of life and death, that fine theme ever productive of so\nmuch beauty and \"from which Shakespeare weaves his veils, is slurred over... avoided as\nwith an apologetic cough. &\nWe are children In such matters. We think a bogie will do. We giggle when we are\nasked to present the idea of something spiritual for we know nothing of spirits, disbelieving\nin them. We giggle like children and wrap ourselves in a table cloth and say 'wow, wow,\nwow'. Yet consider such plays as \"Hamlet, \"Macbeth,\" \"Richard III.\" What is it gives\nthem their supreme mystery and terror, which raises them above mere tragedies of am=\nbition, murder, madness and defeat ? Is it not just that supernatural element which domi-\nnates the action from first to last; that blending of the material and the mystical, that\nsense of waiting figures intangible as death; of mysterious featureless faces of which, sideways,\nwe seem to catch a glimpse although, on turning fully round, we find nothing there? In\n\" Macbeth \" the air is thick with mystery, the whole action ruled by an invisible power,\nand it is just those words which are never heard, just those figures which seldom shape\nthemselves more definitely than a cloud's shadow that give the play its mysterious beauty, its\nsplendour, its depth and immensity, and in which lies its primary tragic element.\nLet the stage manager concentrate his attention and that of his audience on the seen\nthings which are temporal and such a play is robbed of half its majesty and all its signifi-\ncance. But let him introduce, without travesty, the supernatural element; raise the action\nfrom the merely material to the psychological, and render audible to the ears of the soul\nif not of the body \" the solemn uninterrupted whisperings of man and his destiny \", point\nout \" the uncertain dolorous footsteps of the being, as he approaches, or wanders from,\nhis truth, his beauty or his God \", and show how, underlying \" King Lear,\" \"Macbeth\" and\n\"Hamlet\" is, \"the murmur of Eternity on the horizon,\" (i) and he will be fulfilling the\npoet's intention instead of turning his majestic spirits into sepulchral-voiced gentlemen\nwith whitened faces and robes of gauze. &\n& Consider, for instance, more in detail, the play of \"Macbeth,\" in which \"the overwhelming\npressure of preternatural agency urges on the tide of human passion with redoubled force.\" (a)\nThe whole success of its representation depends upon the power of the stage manager to\nsuggest this preternatural agency and on the capacity of the actor to submit to the tide\nof the play, to that mysterious mesmerism which masters Macbeth and his \"troop of friends\".\nd? 1 seem to see him in the first four Acts of the play as a man who is hypnotised, seldom\nmoving, but, when he does so, moving as a sleep walker. Later on in the play the places\nare changed and Lady Macbeth's sleep-walking is like the grim ironical echo of Macbeth's\nwhole life, a sharp shrill echo quickly growing fainter ... fainter ... and gone. & jg?\njg? In the last act Macbeth awakes. It almost seems to be a new role. Instead of a sleep walker\ndragging his feet heavily he becomes an ordinary man startled from a dream to find the\ndream true. He is not the man some actors show him to be, the trapped cowardly villain;\nnor yet is he to my mind the bold courageous villain as other actors play him. He is as a\ndoomed man who has been suddenly awakened on the morning of his execution and, in\n\n(1) Maeterlinck.\n(2) Haslett,"}, {"page_pdf": 17, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4568, "texte": "the sharpness and abruptness of that awakening, understands nothing but the facts before\nhim, and even of these understands the external meaning only. He sees the army in front\nof him; he will fight, and he prepares to do so, puzzling all the time about the meaning\nof his dream. Occasionally he relapses into his state of somnambulism. While his wife lived\nhe was not conscious of his state, he acted the part of her medium perfectly and she in her\nturn acted as medium to the spirits whose duty it ever is to test the strength of men by\nplaying with their force upon the weakness of women.\nNietzsche, writing of Macbeth, sees only the mad ambition of the man,... this human\npassion of ambition ; and he tells us that this sight, instead of irresistibly detracting from\nthe evil ambition in us, rather augments it. Perhaps this is so; but it seems to me that\nbehind all this there is much more than evil ambition and the Idea of the hero and the\nvillain. j0 jzr ' jE/\n£} Behind it all 1 seem to perceive the unseen forces already spoken of;... those spirits that\nShakespeare was always so fond of hinting stood behind all things of this earth, moved\nthem, and moved them apparently to these great deeds for good or &\n& In \" Macbeth \" they are called by the old grandmother's title of the Three Witches,..\nthat elastic name which the public in the theatre may either laugh at or be serious about\nas it wishes.\n0 Now when 1 speak of this hypnotic influence of these spirits as though I were mention-\ning something quite new I am speaking entirely in relation to the interpretation of\nShakespeare on the stage and not merely as his student. I know that the students have\nwritten about these spirits comparing them to certain figures in the Greek tragedy and\nwriting of them far more profoundly than I can do. But their writings are for those who\nread Shakespeare, or who see him acted, not for those who take part in the presentation\nof his plays. Whether the plays were ever intended to be acted or no, whether or not they\ngain by being acted, does not concern me here. But If 1 were asked to present this play,\nof \" Macbeth \" upon the stage, 1 should need to bring to It an understanding different\nentirely from that which the student brings when he has only himself to consider as he\nsits reading It in private. You may feel the presence of these witches as you read the play\nbut which of you has ever felt their presence when you saw the play acted? And therein\nlies the failure of the producer and the actor.\n& In - Macbeth,\" it Is, to my mind, during the hypnotic moments that we should feel\nthe overpowering force of these unseen agencies, and how to make this, felt, how to\nmake it clear and yet not actual, Is the problem of the stage manager. To me it seems\nthat the play has never yet been properly performed because we have never yet felt these\nspirits working through the woman at the man, and to achieve this would be one of the\nmost difficult tasks which could be set the stage manager, though not because of the\ndifficulty of purchasing gauze which should be sufficiently transparent, not because of the\ndifficulty of finding machinery capable of raising the ghosts or any other such reason. The\nchief difficulty lies with the two performers of the roles of Lady Macbeth and Macbeth,\nfor if it is admitted that this spiritual element which Shakespeare called the Witches and\nGhosts Is In any way connected with the pain of these two beings, Macbeth and his Lady,\nthen these two characters must show this to the audience. & j& jp\n0 But, while it rests with the actors of these two parts, it also rests with the actors of\nthe witches, and above all with the stage manager, to bring these spirits and their me-\ndiums into effective harmony. &\nOn the stage the spirits are never seen during the scenes of Lady Macbeth, neither are\nwe conscious of their influence ; yet as we read the play we are not only conscious of the\ninfluence of these \"sightless substances\"; we are somehow conscious of their presence.\nWe feel it as the presence of the French Abb6 was felt in Shorthouse's romance of \"The\nCountess Eve\". -&•\n£> Are there not moments in the play when one of these three spirits seems to have clapped\nits skinny hand upon Lady Macbeth's mouth and answered in her stead ? And who was it,\nIf not one of them, who drew her by the wrist as she passed into the room of the old king\nwith the two daggers in her hand ? Who was it pushed her by the elbow as she smeared\nthe faces of the grooms ? Again, what is this dagger that Macbeth sees in the air ? by what"}, {"page_pdf": 17, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.17", "debut_caractere": 4598, "fin_caractere_exclue": 4680, "texte": "The \"Three\nWitches. \" &\nThe stage mana-\nger's problem. &\n& The chief\ndifficulty. &"}, {"page_pdf": 18, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.18", "debut_caractere": 28, "fin_caractere_exclue": 4178, "texte": "thread of hair does it hang? who dangles it? and whose is the voice heard as he returns from\nthe chamber of the murdered king ?...\nMacb. \" T ve done the deed. Didst thou not hear a noise ?\nLady M. I heard the owl scream and the crickets cry.\nDid not you speak ?\nMacb. When?\nLady M. Now,\nMacb. As I descended ?\nWho is this that was heard to speak as he descended\n& And who are these mysterious three who dance gaily without making any sound around\nthis miserable pair as they talk together in the dark after the dark deed? We know quite\nwell as we read ; we forget altogether when we see the play presented upon the stage.\nThere we see only the weak man being egged on by the ambitious woman who is assuming\nthe manners of what is called the \" Tragedy Queen \"; and in other scenes we see the\nsame man, having found that the same ambitious lady does not assist him, calling upon\nsome bogies and having an interview with them in a cavern. &\nWhat we should see is a man in that hypnotic state which can be both terrible and\nbeautiful to witness. We should realise that this hypnotism is transmitted to him through\nthe medium of his wife, and we should recognise the witches as spirits, more terrible be-\ncause more beautiful than we can conceive except by making them terrible. We should see\nthem, not as Hazlett imagined them, as \" hags of mischief, obscene panders to iniquity,\n\" malicious from their impotence of enjoyment, enamoured of destruction, because they are\n\" themselves unreal, abortive, half-existences; who become sublime from their exemption\n\"from all human sympathies and contempt for all human affairs,\" but rather picture them\nto ourselves as we picture the militant Christ scourging the money lenders, the fools who\ndenied him. Here we have the idea of the supreme God, the supreme Love, and it is that\nwhich has to be brought into \"Macbeth \" on the stage. We see in this instance the God of\nForce as exemplified in these witches, placing these two pieces of mortality upon the anvil\nand crushing them because they were not hard enough to resist; consuming them because they\ncould not stand the fire: offering the woman a crown for her husband, flattering her\nbeyond measure, whispering to her of her superior force, of her superior intellect; whispering\nto him of his bravery.\nSee how persuasively the spirits can work upon the man or the woman when separated\nand alone! listen to the flow of their language; they are drunk with the force of these\nspirits though unaware of their presence. &\nBut note the moment when these two come together. In each other's faces they see, as\nit were, something so strange that they seem to be surprised by a reminiscence.—\" Where\nhave I seen that before or felt that which I now see ? \" each becomes furtive, alert, fearful, on\nthe defensive, and so there is no outpouring of speech here, but their meeting is like the\ncautious approach of two animals.\nWhat is it they see ? the spirit which clings round the feet or hangs upon the neck, or,\nas in the old Durer picture, is whispering in the ear ? Yet why, one wonders, should these\nspirits appear so horrible when a moment ago we were speaking of them as beings so\ndivine as to resemble the militant Christ? and the answer seems obvious. Is it not pos=\nsible that the spirit may take as many forms as the body, as many forms as thought ?\nThese spirits are the many souls of nature,.... inexorable to the weak, obedient to those\nwho obey.\nBut now let us come to the appearance of Banquo at the feast. &\n& The whole play leads up to, and down from, this point. It is here that are pronounced the\nmost terrible words heard during the play, here that is offered the most amazing Impres-\nsion for the eye. And in order to reach this moment decently, intelligently, •. • that is to\nsay, artistically,... the figures must not walk about on the ground for the first two acts\nand suddenly appear on stilts in the third act or line, for then a great truth will appear\nas a great lie,... Banquo's ghost as nothing. & & &\n& We must open this play high up in an atmosphere loftier than that in which we gen-\n\nWhat we should\ns ee . &\nJS? The meeting.\nB an quo ."}, {"page_pdf": 19, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.19", "debut_caractere": 28, "fin_caractere_exclue": 4503, "texte": "& Unweieldy\nmaterial. &\n\nnerally grope and which is a matter=of=fact, put-on-your-boots atmosphere; for this is a\nmatter of fancy, a matter of that strangely despised thing, .*. the imagination; that which\nwe call the spiritual.\nWe should be conscious of the desire of the spirit to see the woman utterly anihilated\nherself rather than submit to the influence which this spirit brings upon the flesh as\na test. W© should see the horror of the spirit on perceiving the triumph of this in-\nfluence.\n& Instead we see of all this nothing on the stage. We do not know why the witches are\nworrying these two people; we feel that it is rather unpleasant. But that is not the feeling\nwhich should be created in us. We see bogies and imps of the cauldron and pitch-forks\nand the little mosquito-like beings of the pantomimes, but we never see the God, the Spirit,\nwhich we ought to see ; that is to say, the beautiful spirit, that patient stern being who\ndemands of a hero at least the heroic. &\nShakespeare's characters are so often but weak beings; Lady Macbeth is perhaps the\nweakest of them all, and if that is the beauty,... and unmistakeably it is a great beauty,...\nit is the beauty of disease and not the supreme beauty, & & J? &\nHaving read of these characters we are left to ourselves and our own contemplation and\neach will add that thought which Shakespeare left to be added by each. There is great\nfreedom permitted to the reader for much has been left unsaid, but so much has also been\nsaid that nearly all is indicated, and to the imaginative brain these spirits are clearly\nimplied and the fruits of the imagination are always welcomed by the unimaginative who\ndevour them as Eve must have devoured the forbidden fruit.\nTherefore when a stage manager happens to have imagination he must also set before\nthe people the fruits of this Imagination. &\nBut look at the unwieldy material which is tossed to him ! What can he do with rub\nbish such as scenery, such as costumes, such as moving figures which he can shove her\nand there and place in this or that light? Is this material for so subtle a thing as imagi-\nnation to work with ? Perhaps it is; perhaps it is no worse than marble or the material\nused for erecting a cathedral; perhaps all depends upon the manner of the use. &\nWell then, admitting this, let the stage manager return to the material and determine\nto shake the dust out of it until he wakens it to real life; that is to say, the life of the\nimagination. For there is only one real life in art and that is this life of Imagination. The\nimaginative, that is the real in art, and in no modern play do we see the truth of this so\ntremendously revealed as in \" Macbeth \" & & & &\nIt is all very well for some people to talk about Shakespeare living in a curiously\nsuperstitious age, or choosing a theme from an age and a country which was soaked in\nsuperstition.\n& Good heavens, is the idea of a ghost, is the idea of a spirit, so strange ? Why, then the\nwhole of Shakespeare is strange and unnatural, and we should hastily burn most of his\nworks, for we want nothing which can be called strange and unnatural in the twentieth\ncentury. We want something we can clearly understand, and, as represented upon the\nstage, these plays are not clear to understand, for the foolish appearance of a spook is no\na very understandable thing, though the reality of the presence of spirits around us\nseems to me to be a thing which all ordinary intelligences should be reminded of.\n& Yet how can we show this thing properly if we take as the main and primary point for\nour consideration Macbeth and his wife, Banquo and his horse, and the thrones and the\ntables, and let these things blind us to the real issues of the drama ? & <£? &\n& Unless we see these spirits before we begin our work we shall never see them later on.\nfor who can see a spirit by looking for it behind an act drop? No, the man who would show\nthese plays as Shakespeare perhaps might wish them to be shewn must invest every particle\nof them with a sense of the spiritual; and to do so he must entirely avoid that which\nis material,... merely rational... or rather, that which exposes only its material shell,\nfor the beholder would then come up against something thick and impenetrable and have\nto return to that swinging rhythm which flows not only in the words of Shakespeare but\nin his very breath, in the sweet aroma which lingers round his plays.\nBut to speak more practically in conclusion. & &"}, {"page_pdf": 20, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.20", "debut_caractere": 28, "fin_caractere_exclue": 1526, "texte": "Had I to teach a young man who would venture to achieve this I would act as follows;\nI would take him through each portion of the play, and from each act, each scene, each\nthought, action, or sound, I would extract some spirit,... the spirit which is there. And\non the faces of the actors, on their costumes, and on the scene, by the light, by line, by\ncolour, by movement, voice and every means at our disposal, I would repeatedly and re-\npeatedly bring upon the stage some reminder of the presence of these spirits, so that\non the arrival of Banquo's ghost at the feast we should not commence to giggle but\nshould find it just and terrible; should be so keenly expectant, so attuned to the mo-\nment of Its coming that we should be conscious of its presence even before we saw it\nthere.\n& It would be the natural climax, the natural conclusion ; and from that point until the\nend of the play I would remove spirit by spirit from the faces, from the dresses, from the\nscenes, until nothing lay upon the stage but the body of Macbeth, a handful of ashes left\nafter the passage of a devouring fire. &\nBy this means the scorn which the appearance of a spirit arouses in us would be averted;\nand before the public was aware of it, a spirit-world would once more become a possibility,\nour minds would again open to receive the revelation of the unseen ; and we should feel\nthe truth of Hamlet's words, \" There are snore things in Heaven and Earth, Horatio, than\nare dreamed of in your philosophy\". jgr &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c015", "article_bluemountain": "bmtnaau_1910-10_01#c015", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "66", "page_fin": "67", "image_debut": 20, "image_fin": 21, "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=bmtnaau191010-01.2.9", "titre_corps": "A NATIONAL MEMORIAL THEATRE: THE BUILDING", "titre_sommaire": "A NATIONAL MEMORIAL THEATRE: THE BUILDING", "signature_source": "Louis Madrid", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.20", "debut_caractere": 1528, "fin_caractere_exclue": 4022, "texte": "A NATIONAL MEMORIAL THEATRE:\nTHE BUILDING\nby Louis Madrid.\now that we are going to have a National Memorial Theatre let us deter-\nmine to have a noble one and take our measurements accordingly.\n& The Drama we have already Shakespeare and the Elisabethans;\nwe can train the performers, and a miracle may bring us the right\ndirectors.\nBut it will not need a miracle to make sure of a noble building, and\nthough timidity may at first prevent us from seeing our way to it, we\nmust undoubtedly make the effort to erect a nobler building than any to\nbe seen today in London. jZ? &\n& How I s this to be done? How shall we set about the work?\ni\n& Well, first of all we must remember that no such building can be completed in less than\nfifteen years although It may possibly be used while still uncompleted and before it is\nformally opened. Next we have to find our master-architect and our assistant architects.\nThirdly we have to learn to obey our master; and in order to feel like obeying we shall\nhave to put aside our conceit and consider the matter seriously and with sincerity. &\nAs I write this a great cathedral ...Westminster,... has just been consecrated. That\ncathedral has not been built in a year or even in two; it has taken at least ten years\nto build, probably longer; yet it has been open for six or seven years: and so it was with\nthe great cathedrals of the Midde Ages save that many more than ten or twice ten years went\nto their completion.\nTherefore when we decide to build our Memorial Theatre let us think of it as though\nwe were entering upon a task as great as the building of a cathedral, for unless we do so\nwe shall only succeed in erecting one more wedding-cake affair. That we may not fall into\nthis latter error let us take warning from the timidity of the Parisians who built an Opera\nHouse which is a blemish to a fair city, and if we are unconscious that it is an error let\nus visit Vienna, Munich, Berlin, Budapest, St Petersberg, and Moscow and see for ourselves\nwhat comes of compromise, conceit and insincerity.\nIntriguing and conceited Builders may have put those terrible State Opera Houses and\nTheatres in their place and may have put them there securely, but assuredly no Master\nArchitect was there to control them ... and let us not forget that without a great architect at\nthe head of affairs we, like those other cities, shall certainly make a muddle.\nNaturally no such building as I have in mind in writing this,... one worthy of comparison\n\nA great task."}, {"page_pdf": 21, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 3717, "texte": "with a great cathedral,... can be completed without considerable difficulty, nor without\npanic nor yet without regrets; but let us be wise enough to avoid falling into the error\nof thinking that it Is the Architect who creates this panic, this difficulty and these re-\ngrets. On the contrary, the Architect is the only man who can steer us through them to\nsuccess.\nThe story of the building of the great dome over the cathedral in Florence is so full\nof this same panic and regret that, seeing how, and in spite of, these it was triumphantly\naccomplished by its architect we can take courage and show as much pluck as did the\nFlorentines when they finally accepted Brunelleschi's designs, and so faced the difficult instead\nof the easy way.\njgr For BruneileschFs project was ridiculed at the outset. In fact, when called before the\ncommittee to explain his design he was laughed at to such an extent, was so exasperated\nby delays and distrust of his powers that, in an access of fury, he had to be carried kicking\nfrom the room. Even after his plans had been accepted his progress was retarded by every\nconceivable means so that the work took twenty five years to accomplish ; and yet today\nwe forget all this as we point to it, and flatter ourselves that it all happened like a miracle\nand find it really the best dome ever built.\nAnd what of Brunelleschi himself? Was he one of those \"old school'' fellows who can\ndo no wrong, who never get in a temper, who are amiable and agree with every whipper-\nsnapper on the Florentine Committee ? On looking at the dome we form the impression that\nhe must have been a grave calm man who commanded everyone's respect and to whose\nopinion everyone bowed down. But was that so ? Not a bit of it. Read the story of his life (i)\nand you will see that every step of his way was obstructed by intrigue and nonsense,\nfor the Florentines of the fifteenth century were no different iu this from the Londoners\nof today. In one respect, however, they differed, and that made and still makes all the\n& & & & & <£? &\n& They valued their artists ... they would no more have dreamt of asking a mere builder\nto put up a cathedral than of asking a wine seller to say mass; and it is due to this intel-\nligent virtue that Italy looks as it does today.\n& If we bear this in mind we shall then in our turn be wise and select as architect the\nman who can design for us the noblest building,... for it is certain in the end to prove also\nthe most practical.\nOf course we are sure not to treat our architect any better than did the Florentines,\nBrunelleschi, for we know nothing about architecture and yet are sure to interfere. But let\nthat be as it may; let us at least prelude all our mistakes-to-be by one splendid action,...\nthe choice of the finest architect, the acceptance of his plans. And in the choice of this\narchitect let more than a committee of theatrical men be consulted. We should take council\nwith artists of every branch of art avoiding if possible the Royal Academy as a whole; the\ndesigns should be publicly exhibited as they were formerly in Florence and all London\nallowed to see them before any decision is & &\nIt would not be unjust previously to throw out all the florid \" wedding-cake \" designs\nas unworthy to set before the citizens of London, but every so-called \" queer\" design\nshould have its chance. Why, Brunelleschi's design for the dome was considered so \" queer \"\nthat the authorities locked him up in prison for making it, probably thinking such an\nidea could be born only in the brain of a madman, and he was rescued with considerable\ndifficulty ; so let us in our turn beware of rejecting a thing as \"queer\" only because we have\nnever seen its like before.-^"}, {"page_pdf": 21, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.21", "debut_caractere": 3749, "fin_caractere_exclue": 4027, "texte": "Biunelleschi.\nRespect for the\nartist. &\nA council\nto choose the\narchitect.\n(1) In \"Filippodi Ser Brunellesco\" by Leader i'cott, (George Bell and Son.) you get a very good idea of the amazing story, and members\nof the National Memorial Theatre Committee would do well to read it."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c018", "article_bluemountain": "bmtnaau_1910-10_01#c018", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "68", "page_fin": "70", "image_debut": 22, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.10", "titre_corps": "TUITION IN ART : A NOTE TO THE YOUNGER GENERATION OF THEATRICAL STUDENTS", "titre_sommaire": "TUITION IN ART : A NOTE TO THE YOUNGER GENERATION OF THEATRICAL STUDENTS", "signature_source": "Felix Urban", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 4597, "texte": "TUITION IN ART\nA NOTE TO THE YOUNGER GENERATION OF THEATRICAL STUDENTS.\nby Felix Urban.\nwhen masters of Theatrical Art are rare we must learn as best we can. 'The\nManagers are too busy to help us and the Actors and Actresses have lost the knack of\nInstructing. Many a student, either too poor or too intelligent to go to one of the Schools\nof Dramatic Art, has to be his own master; and, with care and plenty of self criticism, he\ncan have no more faithful tutor. &&? &&&&&<&\n& Yet there are masters willing to help the student of our Art and to do so for next to\nnothing; and, even if not strictly speaking dramatic tutors, these masters come very near\nthe mark and in some respects are better than the professional teachers. I allude to the old\nmasters of painting whose works we can study when and where we will.\n& But no, not quite where we will, for most of the works of the old Italian, Dutch, and\nSpanish masters are to be seen only abroad, though we can go to the National Gallery in\nTrafalgar Square and study some of them if we will, and reproductions of the schools of Italy,\nHolland and Spain can be had at prices within the reach of all.\n& And what, you ask, can w© learn from these masters ? 1 will tell you.\nYou can derive many wonderful things and learn many useful things; though surely no\none who looks at these works needs to be told what can be derived by studying them. As\nfor learning from them, you can do so by studying in them movement, dramatic movement\nfacial expression, the values of light and shadow, historical and fanciful costume, and some\nof the significance of a pictorial scene. &\n& If you visit the National Gallery continually, and if you are able to be undisturbed while\nstudying the wonderful collection which the Nation has to offer you, you will receive a\nfuller impression than if you study reproductions in black and white : but even these can\nbe of very great value to you and I will tell you how to get them in a way easily within\nyour reach. And consider what a great advantage it will be to have in your own room a set\nof pictures full of such things as i have enumerated, for you can study so much better in\nprivate, and a Public Gallery cannot offer you sufficient privacy for your work. <£?\nA publisher (i) has for some years been issuing small volumes literally packed with\ngood reproductions of all the best works of the Masters of Italy, Holland, Spain and other\ncountries. You can have the masterpieces of Giotto, Carpaccio, Durer, Tintoretto, Fra An=\ngelico, Veronese, Holbein, Velasquez, Teniers,.... the list is too long to complete it here,\nand you can get a volume containing sixty of these reproductions for sixpence. &\nAnd from every picture there is something to be derived or learned. & & &\nThat possibly never before occurred to you, but it may interest you to learn that it oc»\ncurred to men and women in your calling whose names and work you hold in great esteem.\nMiss Ellen Terry, for example, owes much to the masters of painting; Forbes Robertson\nmuch ; Madame Bernhardt and Madame Duse and Salvini all have studied under them ;\nHenry Irving very often betook himself to them although, possibly owing to his early\ntraining, he was fond of selecting as guide the more flamboyant rather that the more restful\nmasters: he preferred Rubens and Vandyke to Giotto and Masolino, yet, strange to say, his\nmovements were the movements which Giotto teaches and not those of Rubens.\nYou must not be put out by 44 advisers \" who tell you that you have nothing to learn\nfrom Giotto, for example. You may be quite a different person from the 44 adviser ... that\nindividual who has so little to do that he advises everyone else to do as little... and you\nwill do well not to trouble about people who tell you that movement is not to be learned\nfrom studying movement in pictures. It is so to be learned, and In schools of the Dance the\npupils,... nay, even the masters,... give much time to the study of the movement in designs\nupon Greek vases, In sculpture and in early painting.\n& But be careful to select for your study none but the best masters. The best masters of\nDramatic movement are Giotto, Masolino, Michel Angelo and Rembrandt, though the two\nfirst are finer than the two last,... finer because more restful, having brought movement\ndown to a state of repose. The other two may be said to 44work it up\" more, although at\ntimes Rembrandt is very restrained, while he can be the most poignant of all. &\n\nThe old Masters.\nTheit value.\nHow to study\nthem.\nSelect the best\nmasters. &\n\n(1) Uowang and Grey, 5 Robert St, Adelphie, London."}, {"page_pdf": 23, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.23", "debut_caractere": 17, "fin_caractere_exclue": 4511, "texte": "For facial expression also these four will still serve you as very noble tutors, though\nFra Angelico, Franz Hals, Teniers and Hogarth enter more into this subject, and Giotto\neven here is the finest master of all, but very, very difficult to understand. You must not\nthink, however, that facial expression is \"making faces.\" You probably do not think so, but\ndo not forget it. &\nFor costume and scene, including light and shadow, all the masters are very valuable and\nthough I still put Giotto first you will do well to study Fra Angelico a great deal. Michael\nAngelo is of little use to you here. & & & & & &\nBeware of the \" superb \" masters. The Theatre has followed all these men a little too\nmuch hoping to be able to reproduce their \" superbness \" and has utterly failed. These\n\" superb \" fellows are Titian, Tintoretto and Veronese.\n& When a stage manager turns to an old master to help him in his need for such plays\nas the \"Merchant of Venice\" or \"Much Ado About Nothing\" he too often seeks out Paolo Vero-\nnese and Tintoretto. He would do better to learn from Carpaccio who, in movement, costume\nand scene is quiet without being austere like many Italians, yet who avoids being over-rich\nand noisy like Veronese.\nYou are not to think I am finding fault with a master; I only wish to point to one who\nI consider better fitted to instruct you. Carpaccio is the golden mean between the very calm\nchurch painters and the very swagger city painters,.... the balance between the sacred\nand profane.\nFor nearly all the Shakespearean plays of which the scenes are laid in Italy Carpaccio\nis an admirable master. He lived between 1478 and 1522. His scenes and costumes are\nmostly Venetian,... and these of course will not do for \"Romeo and Juliet\" if you wish to be\ncorrect in detail. But do you wish to be correct in detail or correct in spirit? If the latter,\nthen study Carpaccio without fear. &\nI have forgotten to mention the two Bellinis for our publisher has not as yet favoured\nus with a book of their pictures; possibly he may do so before long.\nHe has issued very many volumes of interest besides these that I have mentioned, amongst\nthem being four volumes of the Drawings of Old Masters, (each sixpence) and a little work\non Fossil Plants which will be very useful to you as a help in studying patterns. Then there\nare a couple of volumes of \" The Masterpieces of Sculpture \". & £?\n& Dancers and Actors have often availed themselves of the sculpture of the masters, but\nexcept in one or two instances have benefitted very little. There is something too cold, too\nperfect, about sculpture to serve the actor, and the only pieces of sculpture which I should\nadvise you to trouble about are the bas-reliefs. The \" all-round \" sculpture curiously enough\nbaulks more often than It assists. &&&&&&&\nI have not gone much into detail In this short article but if you wish I will do so another *\ntime, for there is plenty to be said on the subject and I shall be glad to return to it.\nMeantime I may as well tell you which masters you need not trouble to study at all; they\nare Reynolds, Murillo, Raeburn, Del Sarto, Correggio, Poussin, Gainsborough, Luini and\nGreuze.\nBy the way, you ought to write to the publisher whose address I have given you and\nask him when he will publish a volume of Leonardo's pictures and some volumes of Leo-\nnardo's drawings. These you should secure as soon as you get the chance,.... and carry\non you wherever you go, for he is the masters of masters for everything.\n£Jn looking back at what I have written I seem to have been talking a great deal and\nabout something I don't entirely believe in. Who wants to be studying from pictures ?\nWhat worth as models have they beside the body of a man or a woman ? Who was this\nGiotto and who these dandies Carpaccio and Angelico,... city dandy and holy dandy? And\nwhat was I thinking about when I advised you to take dead men as your tutors, to look\nbehind you when walking forwards ? And now if I tell you to study nothing but nature\nwhat do you care for my advice? You will say I tell you one thing today and another to-\nmorrow ; you can find a better counsellor for your money. &\nWell, do as you will. Look for good counsel; try and discover it in the north or in\nthe south, at night or by day; and when you have found it try to secure it in a box or\nin a sentence; do not foe cheated of a certainty. If you do this, if you search for a certainty,\n\nThe \"superb\"\nmasters.\nCatpaccio. j&\nSculptilie.\n.\nArt or Nature ?"}, {"page_pdf": 24, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.24", "debut_caractere": 17, "fin_caractere_exclue": 1132, "texte": "you will find yourself turning round and round without stopping and you will possibly\nget giddy. But should you care to hear me to the end I am quite willing and it will save\nyou from chasing after phantoms. & & &\n& Many artists tell us that Nature is the greatest teacher. M. Rodin never ceases tell-\ning us so and what he says brings us nearer the truth. But it is not the whole truth.\nNature may be the best teacher for certain artists but is assuredly the hardest, and\nstudents have much to learn before passing into that class presided over by the great\nhead-master. Conceive the helplessness of a student of divinity on being told that his\nbest master is God! It Is the truth, but it is also true that the best masters for begin-\nners are the prophets.\n& Therefore go to the Masters first and then go to Nature. Each explains, while appearing\nto contradict, the other. But because the paradox seems puzzling do not take refuge under\nthe modern cloak of inane repetition of modern formulas. Avoid facility.... and this you\nwill do if you keep your eye upon Nature and the Old Masters.\n\n& Both Ati and\nNature. &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c019", "article_bluemountain": "bmtnaau_1910-10_01#c019", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "70", "page_fin": "71", "image_debut": 24, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.11", "titre_corps": "THE PASSION PLAY AT OBERAMMERGAU", "titre_sommaire": "THE PASSION PLAY AT OBERAMMERGAU", "signature_source": "Adolf Furst", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.24", "debut_caractere": 1134, "fin_caractere_exclue": 4069, "texte": "THE PASSION PLAY AT OBE RAMMERQAU\nby Adolf Furst.\nhe Passion Play is over but the enthusiasm for it will probably not die\nout till it is played again in 1920. £?\n& The enthusiasm is respectable and righteous though not religious.\nThe production is a poor piece of work if it represents as it claims to\ndo the thought and labour of three centuries of artists.\nThe bloom of the first performance in 1634 may have been more\ndelicate ; we have no means of judging, though we should be inclined\nto think that when the Austrian army destroyed part of the village of Oberammergau in\n1809 many of the older traditions disappeared. & & & &\n& \"It is almost blasphemy\" writes Miss J. Helena Short, \"to call it acting\", and I am\ninclined to think she has not overstated the case, for as a work of art the performance\nrejoices in all the worst faults of theatricality;... stage, scene, actors, facial expression,\nmovement, costume, all is as stagy as the most ignorant public could desire. Artistically it\nis most profane, yet in spite of this the old story is as triumphant as ever, and creates in\nsome of us a profound impression. Therefore I cannot see why I should have had to travel\nall the way to Oberammergau when 1 ought to be able to claim from my own country the\nright to witness a performance of this drama at home. &\n& Yet I should be sorry to see such a performance in England. I should be sorry to think\nthat English peasants under the direction of English artists could not do better in three\nmonths than the folk above Ammergau have done in three centuries. & &\n& Well performed, beautifully as well as earnestly presented, free seats to all, and I cannot\nthink of any pleasure which the English Nation would enjoy more than to witness each year\nthe representation of this noble drama. & & <0\nOf course the danger of such a performance is that it might become theatrical or righteous\nand so miss the point, which is to be beautiful and religious.\nAt Oberammergau we have seen how the whole thing has failed as a work of art. How\nelse could it have appealed to the American vaudeville manager Mr Martin Beck ? He sees\na pretty penny in it and has therefore arranged that some of the peasant players shall visit\nAmerica and see if a replica of the performance can be faked up in one of the United States\nwherein Mr Elbert Hubbard dwells. &\n& There is no doubt that the thing is possible ; it will not cost anything to transport\nthe hypocritical part of the business, colossal as it is, and that after all Is its greatest\nappeal.\nthemes have always been dear to the artist, and though the theatrical artist is\nnot permitted to use them today he once upon a time made good use of them.\nThat was before he made money out of them and before actors painted their faces,\nor made speeches outside their theatre, which in that day was the church itself.\n\n& The first per-\nformance.\nPerformance.\nin England. &\nThe danger.\nJ2> Religious\nthemes."}, {"page_pdf": 25, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 2036, "texte": "Before written had crept into the theatre, before Realism had come to fill up a stage empty\no# intelligence. That was in the days when architecture was held to be the only fit back-\nground for Drama and when daylight was considered a finer illumant than artificial light;\nwhen the false was considered as vile as it is,.... false colours, false diamonds, false hair\nand noses. &\n& In those days the dramatic artist had the same privilege as the painter, sculptor or\npoet. He might make use of a religious theme for the purposes of his art,.... Or rather, his\nart was considered exquisite enough to touch religious themes with.\nToday this privilege is no longer his. & & &\nWhile poets may sing of Calvary and painters and sculptors may show us the Entomb,\nment and the Resurrection, we may not lift the veil which hangs between the visions of\nthe life and death of Christ because we have lost the right to do so ... lost it through\nbeing in love with powder and patches, artifice and vulgarity and worthless things instead\nof being in love with the lovelier things.^\n& Well, it was our own choice and we cannot grumble. But if we ever think It worth\nwhile to enter our names for the old privilege of exercising our art on religious themes we\nmust first prepare ourselves and our theatre. &&&&£>&\nFor ourselves, I suppose we players are no better, no worse than the rest of the world,\nbut our theatre is certainly far worse than any other artistic medium or instrument,..,.\nfar worse because so much less sincere, so far more artificial. & & &\n& And people will always prefer insincerity to sincerity... artificiality to nature, if they\nare allowed the choice. & &\n& The mistake is to give them the option in matters of Art, for people are as children and\nknow no better, neither has there been a time when they knew any better. & &\n& Tyrants are no longer of the picturesque quality or the world would again look and\nsound more enchanting. We must patiently await the return of the older Tyranny:... Art\nwill then flourish. &&&&&&& & & &"}, {"page_pdf": 25, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.25", "debut_caractere": 2059, "fin_caractere_exclue": 2103, "texte": "A lost privilege.\n& The return of\nTyranny. &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c022", "article_bluemountain": "bmtnaau_1910-10_01#c022", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "72", "page_fin": "72", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.12", "titre_corps": "THE THEATRICAL", "titre_sommaire": "THE THEATRICAL", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3281, "texte": "THE THEATRICAL\nby John Balance.\n'\"piiere is something about the Theatre which annoys the critical. It cannot be defined by\nthem but it is easily felt. These critical will assert that they detect definite faults in\nperformances, but when brought to task can seldom define exactly what those faults are nor\nlogically prove that anything should have been &\nThey have been irritated, and it is for us to remove the cause of irritation.\nWe produce an old opera, for instance, of 1650. We stage it as pleases us,\ncarefully, in taste, and without display and without pedantry.\nWe do this, and send the critical-minded into a rage. We were too modern.\nYet had we staged it as nearly as possible as it was staged in 1630 should we have\npleased the critical any better? Not a whit. They would then have accused us of being\nprecious antiquarians. & &\nNow what is it that annoys the critical ? It is The Theatre, and The Theatrical;\nnothing more and nothing less.\n& The Atmosphere of the Theatre annoys them* They prefer the Atmosphere of books and\nan occasional day in the country. I know them well, these same criticals, and I like them\nand their disapproval and intend to profit by it if I can. & &\nThere is a peculiar dryness in the Book Atmosphere which is delicious. AH other\natmospheres appear coarse after it,.... murky, muggy, foggy, foul. There is a certain in-\nfluence In the staid black and white of books which refines the eye without It's knowing\nit. The uniformity of the type increases this, and everything is clinched by a binding delicate\nto the touch. jg/ & & &\n/s/ A bookish person is one to be reckoned with. His refinement is natural after ten or\nfifteen years in this Book Atmosphere and it is very powerful. & £? &\nThe Theatre is not refining in the same way. It lacks this calmness of tone, this grey\nproduced by black and white. It lacks the uniformity; it lacks this vellum or morocco exterior.\nIts appeal to the senses of sight, touch, hearing is not subtle or delicate. We as audience\nare regular galley slaves chained together. The Theatre orders us here and there. We must\nsit down, remain quiet,.... often be uncomfortable,.... and we may not think. As for\npondering anything it is forbidden. We must sit up, open our eyes and ears and receive\nwithout comment all that is poured through them into the receptical of our already outraged\nbrain. The brain of course has closed most of its private doors; only the postern from the\nsenses to the lower apartments remains open. & &\n& Then all the silliest stuff in the world is let loose upon us, embellished with as much\nmagnetism or mesmerism as the actors can add to it. & £? & &\n& This cannot be right. It is most certainly to be altered. The critical detest it. The cri-\ntical are part of the Public. They begin to avoid the Theatre. &\n& This will not do. It is obvious that there is no way out of it but to change something\nand it is we, not they, who must change. We must create a new atmosphere. Not\nmerely the atmosphere of the play, the scene, the actors, but the whole atmosphere\nof the Play-house.\n& «« God bless mel\" cries the contented critic, \" but why ? why change anything ? \"\n& Why ? Because the critical disapprove... a good reason.\nThe Atmosphere\nof the Theatre.\n& A new\nA tmosphere\nto be created."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c024", "article_bluemountain": "bmtnaau_1910-10_01#c024", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "73", "page_fin": "76", "image_debut": 27, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.13", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS : KING HENRY VIII", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS : KING HENRY VIII", "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": 27, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 3468, "texte": "THE ARCHITECTURE AND COSTUME\nOF SHAKESPEARE'S PLAYS\nKINO HENRY\nby\nE. W. Godwin. P. R. S.\nere we have the last of what are called \"the historical plays\".(i)\nWith the death of Richard III. we saw the end of the conse-\ncutive series which, beginning with Richard II., carried us\nthrough six reigns to within three years of a century. A.D. 1485\nwas the last date we had before us. We pass by Henry VII.,\nthe wickedest as certainly as he was the richest prince in\nEurope, and we do not take up the chronicle again until twelve\nyears have passed over the crowned head of that coarsest of\nEnglish princes, whose chief boast is said to have been that\nhe \" never spared a woman in his lust, or a man in his an-\nger.\" The sequence of events as related in the drama begins in the spring of 1521 with\nthe arrest of the Duke of Buckingham, and ends with the birth of Elizabeth, which took\nplace in the autumn of IS33, the year before that important one in the history of England\nwhen the exercise of the power of the Papal Court in this land was formally declared by\nAct of Parliament to be illegal. To show how far Shakspere has followed the real history\nof these twelve years, I give here a brief record of the time, as I have done in my notes\non the other historical plays :—\n1521. The Duke of Buckingham arrested. Tried by the Peers May, 13, and\nexecuted May 17.\nBuckingham was charged with having entertained designs on the\nCrown as early as 1511, with having had his horoscope cast by the\nZadkiel of the period, one Nicholas Hopkins, a Carthusian monk, and\nwith plotting the death of the King, Wolsey, and others.\n1528. Oct. 7. Cardinal Campegius arrives in England from Rome with a commission\nto try, conjointly with Cardinal Wolsey, the question of the King's\nmarriage with his brother's widow, Katherlne. The two Cardinals\nwait on the Queen.\n1529. May 7. The Cardinals open their commission at the Monastery of Back Friars.\nWitnesses, including the King and Queen, are summoned, and the\nreal business commences June 18, on which day the Queen enters a\nprotest against the Cardinals as judges. She appears before the Court\nagain June 21, and this time in the presence of the King, but will\nnot admit the legality of the tribunal, leaves the Court, and is held\ncontumacious. On July 30 the Cardinals adjourn to October 1, secretly\naware that the Pope had, on July, 18, allowed the cause to be tried\nat Rome.\n1529. Aug. The King takes his autumn tour with the light graceful-mannered\nAnne Boleyn; receives the legates at Grafton, dismisses them, and\nnever sees Wolsey again.\n1529. Oct. 9. Cardinal Wolsey takes his seat in the Lord Chancellor's Court, and\nthe Attorney-General indicts him in the Court of King's Bench for\nacting contrary to the Statute of Provisors (25th Edward III.).\n1529. Oct. 17. The Great Seal taken from Wolsey and given to Sir Thomas More.\n1529. Oct. 28. The judgment of the Court of King's Bench is pronounced, and the\nCardinal receives sentence of imprisonment and forfeiture of goods.\n1530. Feb. 12. Wolsey, weak and ill, Is pardoned by the King, who sends him money\nand plate, and grants him the revenues of his archbishopric. He re-\n\njg? Date of the\naction. & *£?\n& The real\nhis tory.\n\n(1) We have reprinted this article out of its regular order, believing ihat it will have particular interest at the present time in view of\nthe revival of the play by Sir Herbert Tree. The articles on the other historical plays will appear in due course. J. S."}, {"page_pdf": 28, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.28", "debut_caractere": 13, "fin_caractere_exclue": 3877, "texte": "tires to York, and lives in the exercise of his church duties through\nthe spring, summer, and early autumn ; but on November 4 he is\narrested at his palace of Cawood for high treason by the Earl of\nNorthumberland, is taken towards London, falls seriously ill on the\nroad, and dies at Leicester November 29.\n1532. May 16. Sir Thomas More resigns the office of Lord Chancellor.\n*533* Feh. 21. Cranmer appointed Archbishop of Canterbury.\n1533- May 23=28. Cranmer, at his court held at Dunstable, decrees the marriage of the\nKing to his brother's widow to have been invalid, and his union with\nAnne Boleyn lawful. A few days after, Katherine—who was still\n\" contumacious \" enough to dispute Cranmer's right to judge, and\ntoo old-fashioned and obstinate to see the beauty of separation by\nmutual consent—was removed (some say by force) from Ampthill to\nKimbolton, where she died, January 7, 1536.\n1533* Sept. 7. Anne Boleyn gives birth to the \"princess\" Elizabeth at the royal\nmanor or palaco, Greenwich.\n& The clamour against Wolsey for illegal exactions and unjust taxation did not arise until\nsome years after Buckingham's death, and to restore himself to the King's favour Wolsey\npresented his sovereign with his newly-built palace of Hampton Court. With this exception,\nthe first Act is a thoroughly consistent historical picture of the early days of the month\nof May 1521. &&&>&£/&?\nThe second Act begins in the afternoon of the day of the trial \" of the great Duke of\nBuckingham,\" May 13, 1321, but before the first scene closes we hear the news that u Car-\ndinal Campeius is arriv'd \" from Rome, and the second scene confirms the report by the\npresentation of the Cardinal to the King, which, as we have above seen, would not be earlier\nthan October 7, 1528. In the third scene, \"Anne Bullen\" is created Marchioness of Pembroke,\nan event which really happened in September 1552, and then we go back to 1529 for the\nnext scene—The trial of Queen Katherine. Act III. begins by reversing history, and making\nthe visit of the Cardinals to Katherine to follow instead of to precede the trial, and the\nrest of the Act is devoted to an entirely mythical account of the fall of Wolsey, made at\nthe end worse than mythical by Cromwell's very premature announcements concerning\nCranmer and the Lady Anne. The fourth Act begins and ends in June 1533, but Griffith's\nnews about Wolsey's death is just as tardy as Cromwell's news in the last Act was prema-\nture. The fifth Act occupies three days in September 1533, but the Lord Chancellor, Sir\nThomas More, had resigned long before Cranmer had been made Archbishop, and the insults\noffered by Gardiner and others to the latter at the Council board did not occur till some\ntime after the birth of Elizabeth.\nThe scenery throughout the play is architectural, and is laid in London and Westminster,\nwith the ecxeption of an interior in Kimbolton Castle (Act iv. Sc. 2), and the last act, which\ntakes place at Greenwich. If, further, we deduct the fourth scene of the second Act and\nthe two streets in Westminster, we shall find nothing else but palaces to deal with; so that\nwe may arrange our list of scenery as follows:—\nStreets. Two in Westminster. (Act ii. Sc. 1; Act iv. Sc. 1.)\nCastle. Kimbolton. (Act iv. Sc. 2.)\nMonastery. Blackfriars, London. (Act ii. Sc. 4.)\nPalaces. Westminster. (Act i. Sc. 1, 2, 3 , Act ii. Sc. 2, 3.)\nBridewell. (Act Hi.)\n/\nGreenwich. (Act v.)\nYork Place. (Act i. Sc. Iv.)\nThe first street scene (Act ii. Sc. 1.) is fixed by the text, and must lead from Westminster\nHall to the Palace Stairs or landing place, for Sir Thomas Lovell, who is the officer in\ncharge of Buckingham, as he leaves the Hall, says;—\nTo the water-side I must conduct your grace:\nThen give my charge up to Sir Nicholas Vaux,\nWho undertakes you to your end.\nOn which Vaux immediately calls out:—\n\nThe five Acts.\nThe scenery."}, {"page_pdf": 29, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4711, "texte": "Prepare there,\nThe duke is coming; see the barge be ready ;\nAnd fit it with such furniture as suits\nThe greatness of his person.\nWhether the direction of the river be across the stage or up the stage, or diagonal to\nit, matters very little. Such a scene, managed with a little care, cannot fail to be highly\neffective. We see the old timber houses of Lancastrian and Plantagenet reigns crowding\ntheir gabies one against another. We see the water-gate, the beginning of the steps, and\nthe bargemen waiting for their orders; there, too, is the rabble many who in all times\nhave liked to look on the interesting spectacle of a man burdened with a huge weight of\ntrouble; there are the tipstaves, the halberdiers, and the officers; there are merchants*\ngentlemen, and some foreigners, too, who have come up from the city to see the trial of\nthe \" bounteous Buckingham, the mirror of all courtesy,\" and who, like gentlemen, \"stand\nclose \"—that is, retired and as privately as may be, that the condemned may not see them.\nOver all, while the sparrows are twittering on the roof, and the pigeons cooing on the\npenthouse, the afternoon sun of a bright May day throws long shadows on the ground, and\nmakes, by contrast, a very horror of the sorrow. It is a month later and twelve years after\nthis sad scene that we find ourselves again in a street at Westminster. Two of our old\nfriends, who stood close in private talk to see the last of Buckingham, are here to see the\nfirst of the new Queen as she comes in state from her coronation to the palace of Whitehall\nor York Place. It is a broiling sunny day in June, both sides of the street are in sunlight,\nbut there are deep shadows under the many projections of the overhanging storeys, and\nstrong shade on all the jutting angles. At the far end of the street rises cool and grey the\nnorth transept of the Abbey, with the wear and tear of three centuries upon it, but other-\nwise unchanged since its erection in the time of the third Henry. By no means built in\na straight line is it, this street which leads from the Abbey to Whitehall; there are also\ncross=lanes or streets, and the narrow thoroughfare widens out as it reaches the boundary-\nwall of Wolsey's garden, so that here again we see how great is the opportunity for stage\neffect, if our scenic artists will but follow the truth so far as it can be ascertained.\nOf Kimbolton Castle I know nothing. & &\nThe Monastery or Priory of Blackfriars or Dominicans was founded in 1275 by Robert\nKilwardby, Archbishop of Canterbury, under license from the Crown, on a site adjoining\nand including the site of a portion of the city wall and one of the towers thereof. The old\nmaterials of the fortification were used in constructing the Priory, and a new city wall\nwas ordered to be erected on a line going westward from Ludgate behind the houses to\nthe river Fleet, and then southward to the Thames. A new tower for the King's reception\nwas also ordered to be built at the head of the wall, \"within the water of the Thames\nthere wherein the King might be received and tarry with honour to his ease and satisfaction\nin his comings there. \" The style of architecture for this great scene might very justly be\nthat which prevailed in the time of Edward I.—in other words the style of the North Walk\nof the Cloisters at Westminster. The interior, up to a certain height, would be covered up\nby the fittings of the Court, which were prepared with all deliberation, and to produce an\nimposing and solemn dramatic effect. Indeed all the externals of the reign of Henry VIII.\n—the ceremonies of state, the masques, the feasts, the public business, the public pleasures\nand amusements—seem to have been disignedly conducted in a dramatic, and sometimes\neven a stagey, manner. The arrangement of the royal throne under its \" cloth of state \" or\ndais, of the judges' bench below it, and of the peers' seats each side, of the tables, the\nposition of the clerks, &c., are all well indicated or suggested by the stage directions in\nthe play. The general plan would be much the same as that we see in the arrangement of\nthe present House of Lords. But as the fittings were all set up for the occasion, they were\nnecessarily in great part of a temporary character, concealed by hangings, dossels, cushions,\nand covers of sundry kinds. Below the cardinals sat the officers of the court (the chief clerk\nand the apparitor), and on the other side of the table, facing the officers, the Cardinals,\nand the King, sat the Archbishop and Bishops; on one side of the table was ranged the\nstrong array of the counsel for the King, and on the opposite side the five counsel for the\nQueen, who sat near them, but at some distance from the throne."}, {"page_pdf": 29, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.29", "debut_caractere": 4726, "fin_caractere_exclue": 4779, "texte": "London Street\nscenes. &\nBlackftiars.\nThe court Scene."}, {"page_pdf": 30, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.30", "debut_caractere": 13, "fin_caractere_exclue": 2695, "texte": "Of the four royal palaces of Westminister, Whitehall, Bridewell, and Greenwich, nothing\nis left to us except the great hall of that at Westminster. Bridewell was an old fortified\nplace, and was rebuilt by Henry VIII. for the reception of the Emperor's retinue on the\noccasion of his visit in 1522. Whitehall, or York Place, was built by Hubert de Burgh, Earl\nof Kent. It was afterwards bought by Walter de Gray, Archbishop of York, 12x6-1255. On\nthe fall of the Cardinal of S. Cecilia it came into the possession of the Crown, and was the\nchief residence of the Court from 1530 to 2697, when the old buildings were destroyed by\na fire. York House was in great part rebuilt by the Cardinal, whose lavish expenditure, on\na very doubful kind of art, was only exceeded by the King, of whom it is recordod that he\nexpended on his now walnut-tree bedstead for Whitehall no less than 86/. 3s. 10d. (old value)\nirrespective of the fees due to one Master William, who devised the work and instructed\nthe workmen. The palace or manor at Greenwich was a fifteenth century structure, con-\nsiderably altered and rebuilt by Henry VIII. &\nThe palatial scenes in this play must therefore be constructed (1) on such evidence as\nwe can obtain from documentary authorities, and (2) on the evidence of contemporary\nbuildings which yet exist. &&&&&&&&&\n& Foremost among these are the accounts of the Surveyor-General in the MS. Additional\n10, 109, and Wolsey's Palace, Hampton Court. The unfortunate Buckingham was rebuilding\nhis palace at Thornbury when he was arrested (the work was begun in isn)> and the exten-\nsive remains of this mansion, as well as the 44 Boke of the Surveye,\" are invaluable autho-\nrities for the scene painter, if used with judgment. In 44 Examples of Gothic Architecture,\"\nby the late A. W. Pugin, are a large number of engravings from measured drawings of\nThornbury, and in Parker's 44 Domestic Architecture of the Middle Ages,\" the 44 Boke of\nthe Surveye \" Is largely quoted. Wolsey's work at Hampton Court was finished in 1526. The\ndate of the chapel and dinlng-chamber would appear to be later, as we find in these rooms\nHenry's initial, bound by a love-knot, to that of Jane Seymour, who became his queen in\n1536 and died in 1537. Of the style of the different scenes in these four palaces I have not\nspace enough now to speak; but of their elaborately carved forniture, of the marvellously\nrich hangings, u wroght with gold as thyk as cowd be\" of the 44 chambres of Pleasance,\"\nwith their white silk and linen hangings, rich carpets, and bright matting, the 3rd vol. of\nParker's 44 Domestic Architecture \" will afford abundant information. & &\n\nSources of\ninformation. &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c027", "article_bluemountain": "bmtnaau_1910-10_01#c027", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.14", "titre_corps": "BENKEI ON THE BRIDGE (Nò DANCE)", "titre_sommaire": "BENKEI ON THE BRIDGE (Nò DANCE)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 83, "texte": "BENKEI ON THE BRIDGE (Nò DANCE)\nThe giant Benhei fighting Yosliitsune, the boy hero"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c028", "article_bluemountain": "bmtnaau_1910-10_01#c028", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 33, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.15", "titre_corps": "SAMBASO DANCER", "titre_sommaire": "SAMBASO DANCER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 74, "texte": "SAMBASO DANCER\nSambaso is the prelude to other plays in the KabuKi theatre"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c029", "article_bluemountain": "bmtnaau_1910-10_01#c029", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "81", "image_debut": 35, "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=bmtnaau191010-01.2.16", "titre_corps": "THE TRAGIC THEATRE", "titre_sommaire": "THE TRAGIC THEATRE", "signature_source": "W. B. Yeats", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4612, "texte": "THE TRAGIC THEATRE\nby\nW. B. Yeats.\nnoticed in all but all the printed criticisms of Synge's 44Deirdre of the Sorrows\"\nthat none of the things that made certain moments seem to me the noblest\ntragedy were written of, but that the play was judged by things that seemed to me\nbut wheels and pulleys necessary to the effect, but in themselves nothing.\nUpon the other hand, those who spoke to me of the play never spoke of these\nwheels and pulleys, but if they cared at all for the play, cared for the things I cared for.\nOne's own world of painters, of poets, of good talkers, of ladies who delight in Ricard's por®\ntraits or Debussey's music, all those whose senses feel instantly every change in imagination,\nin our mother the moon, saw the stage in one way; and those others who look at plays\nevery night, who tell the general playgoer whether this play or that play is to his taste,\nsaw it in a way so different that there is certainly some body of dogma whether in the\ninstincts or in the memory, pushing the ways apart. A printed criticism for instance found\nbut one dramatic moment, that when Deirdre in the second act overhears her lover say that\nhe may grow weary of her; and not one, if I remember rightly, chose for praise or explanation\nthe third act which alone had satisfied the author, or contained in any abundance those\nsentences that were quoted at the fall of the curtain and for days after. & &\n& Deirdre and her lover, as Synge tells the tale, returned to Ireland though it was\nnearly certain they would die there, because death was better than broken love, and at\nthe side of the open grave that had been dug for one and would serve for both, quarreled,\nlosing all they had given their life to keep. 44 Is it not a hard thing that we should miss\nthe safety of the grave and we trampling its edge?\" That is Deirdre's cry at the outset of\na reverie of passion that mounts and mounts till grief itself has carried her beyond grief\ninto pure contemplation. Up to this the play had been a Master's unfinished work, mono®\ntonous and melancholy, ill arranged, little more than a sketch of what it would have grown\nto, but now I listened breathless to sentences that may never pass away, and as they\nfilled or dwindled in their civility of sorrow, the player, whose art had seemed\nclumsy and incomplete, like the writing itself, ascended into that tragic ecstacy which\nis the best that art perhaps that life can give. At last when Deirdre, in the\nparoxysm before she took her life, touched with compassionate fingers him that had killed\nher lover, we knew that the player had become, if but for a moment, the creature of\nthat noble mind which had gathered its art in waste islands, and we too were carried\nbeyond time and persons to where passion living through its thousand purgatorial years,\nas In the wink of an eye, becomes wisdom; and it was as though we too had touched and\nfelt and seen a disembodied thing. & &\ndogma of the printed criticism is that if a piay does not contain definite character, its\nconstitution is not strong enough for the stage, and that the dramatic moment is always\nthe contest of character with character. In poetical drama there is, it is held, an antithesis\nbetween character and lyric poetry, for lyric poetry however beautiful when read out of a\nbook can but, as these critics think, encumber the action. Yet when we go back a few\ncenturies and enter the great periods of drama, character grows less and sometimes disap®\npears, and there is much lyric feeling, and at times a lyric measure will be wrought\ninto the dialogue, a flowing measure that had well befitted music, or that laboured one of the\nsonnet. Suddenly it strikes us that character is continuously present in comedy alone, and that\nthere is much tragedy, that of Corneille, that of Racine, that of Greece and Rome, where\nits place is taken by passions and motives, one person being jealous, another full *of love\nor remorse or pride or anger. In writers of tragicomedy (and Shakespeare is always a\nwriter of tragi® comedy) there is indeed character, but one notices that it is in the mo=\nments of comedy that character is defined, in Hamlet's gaiety let us say; but that in the\ngreat moments, when Timon orders his tomb, when Hamlet cries to Horatio 44 absent thee\nfrom felicity awhile \", when Cleopatra names 44 Of many thousand kisses the poor last''\nall Is lyricism, unmixed passion, 4 the integrity of fire Nor does character ever attain to\ncomplete definition in these lamps ready for the taper, no matter how circumstantial and\n\nDeirdre and her\nlover. <£?\n4Z? One dogma\nof printed critic\ncism. &"}, {"page_pdf": 36, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.36", "debut_caractere": 23, "fin_caractere_exclue": 4922, "texte": "gradual the opening of events, as it does in Falstaff who has no passionate purpose to\nfulfils, or as it does in Henry the Fifth whose poetry, never touched by lyric heat, is ora-\ntorical like a speech at a general election, like an article in some daily paper; nor when the\ntragic reverie is at its height do we say \" How well that man is realised, I should know\nhim were I to meet him in the street\", for it is always ourselves that we see upon the\nstage, and should it be a tragedy of love we renew, it may be, some loyalty of our youth,\nand go from the theatre with our eyes dim for an old love's sake. &\nJ think it was while rehearsing a translation of \"Les Fourberies de Scapin\" in Dublin, and\nnoticing how passionless it all was, that I saw what should have been plain from the\nfirst line I had written, that tragedy must always be a drowning and breaking of the dykes that\nseparate man from man, and that it is upon these dykes comedy keeps house. But i was\nnot certain of the site; (one always doubts when one knows no testimony but one's own);\ntill somebody told me of a certain letter of Congreves'. He describes the external and su-\nperficial expressions of \"humour\" on which farce is founded and then defines \"humour\"\nitself, the foundation of comedy, as \" a singular and unavoidable way of doing anything\npeculiar to one man only, by which his speech and actions are distinguished from all other\nmen \" and adds to it that \" passions are too powerful in the sex to let humour have its\ncourse \", or as 1 would rather put it, that you can find but little of what we call character\nin unspoiled youth, whatever be the sex, for as he indeed shows in another sentence, it\ngrows with time like the ash of a burning stick, and strengthens towards middle life till\nthere is little else at seventy years. & jg? &\nSince then I have discovered an antagonism between all the old art and our new art\nof comedy and understand why I hated at nineteen years Tbackery's novels and the new French\npainting. A big picture of cocottes sitting at little tables outside a Cafe, by some follower\nof Manet's, was exhibited at The Royal Hibernian Academy while I was a student at a\nlife class there, and I was miserable for days. 1 found no desirable place, no man I could\nhave wished to be, no woman I could have loved, no Golden Age, no lure for secret hope,\nno adventure with myself for theme out of that endless tale I told myself all day long. Years\nafter i saw the Olympia of Manet at the Luxembourg and watched it without hostility indeed,\nbut as one might some incomparable talker whose precision of gesture gave one pleasure,\nthough one did not understand his language. I returned to it again and again at intervals\nof years, saying to myself \"some day I will understand\" and yet it was not until Sir Hugh\nLane brought the Eva Gonzales to Dublin, and I had said to myself\" How perfectly that\nwoman is realized as distinct from all other women that have lived or shall live \" that 1\nunderstood I was carrying on in my own mind that quarrel between a tragedian and\na comedian which the Devil on Two Sticks showed to the young man who was climbing\nthrough the window.\nThere is an art of the flood, the art of Titian when his Ariosto and his Bacchus and\nAriadne gave new images to the dreams of youth, and of Shakespeare when he shows us\nHamlet broken away from life by the passionate hesitations of his reverie. And we call this\nart poetical, because we must bring more to it than our daily mood if we would take\nour pleasure ; and because it delights In picturing the moment of exaltation, of excite-\nment, of dreaming(or in the capacity for it, as in that still face of Ariosto's that is like\nsome vessel soon be full of wine). And there is an art that we call real, because character\ncan only express itself perfectly in a real world, being that world's creature, and because\nwe understand it best through a delicate discrimination of the senses, which is but entire\nwakefulness, the daily mood grown cold and crystalline.\nWe may not find either mood in its purity, but in mainly tragic art one distinguishes\ndevices to exclude or lessen character, to diminish the power of that daily mood, to cheat\nor blind its too clear perception. If the real world is not altogether rejected it is but touched\nhere and there, and into the places we have left empty we summon rhythm, balance, pattern,\nimages that remind us of vast passions, the vagueness of past times, all the chimeras that\nhaunt the edge of trance ; and if we are painters, we shall express personal emotion through\nideal form, a symbolism handled by the generations, a mask from whose eyes the disem-\nbodied looks, a style that remembers many masters, that it may escape contemporary sug-\ngestion; or we shall leave out some element of reality as in Byzantine painting, where\n\nTragedy and\nComedy. &\nThe old & new-\nart of Comedy.\nPoetical art. &"}, {"page_pdf": 37, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.37", "debut_caractere": 24, "fin_caractere_exclue": 4686, "texte": "there is no mass, nothing in relief, and so It is that in the supreme moment of tragic art\nthere comes upon one that strange sensation as though the hair of one's head stood up.\nAnd when we Jove, if it be in the excitement of youth, do we not also, that the flood may\nfind no wall to narrow, no stone to convulse it, exclude character or the signs of it by\nchoosing that beauty which seems unearthly because the individual woman is lost amid\nthe labyrinth of its lines as though life were trembling Into stillness and silence, or at\nlast folding itself away ? Some little irrelevance of line, some promise of character to\ncome, may indeed put us at our ease, 'give more interest' as the humour of the o!d man\nwith the basket does to Cleopatra's dying. But should it come as we had dreamed in love's\nfrenzy to our dying for that woman's sake, we would find that the discord had its value\nfrom the tune,\n& Nor have we chosen illusion in choosing the outward sign of that moral genius that\nlives among the subtlety of the passions, and can for her moment make her of the one\nmind with great artists and poets. In the studio we may indeed say to one another\n\"character is the only beauty\" but when we go to the gymnasium to be shaped for\nwoman's eyes, as when we choose a wife, we remember academic form, even though we\nenlarge a little the point of interest and choose \"a painter's beauty\", finding it the more\neasy to believe in the fire because it lias made ashes. & <£?\nhen we look at the faces of the old tragic paintings, whether it is in Titian or in some\npainter oi medieval China, we find there sadness and gravity, a certain emptiness even\nas of a mind that waited the supreme crisis (and indeed it seems at times as if the graphic\nart, unlike poetry which sings the crisis itself, were the celebration of waiting). Whereas in\nmodern art, whether in Japan or in Europe, 'vitality' (Is not that the great word of the\nstudios?) the energy that is to say that is under the command of our common moments,\nsings, laughs, chatters or looks Its busy thoughts.\n& Have we not here then the Tree of Life and that of the knowledge of Good and Evil\nwhich is rooted in our interests, and if we have forgotten the differing forms of leaf and\nfruit, it is surely because we have taken delight in a confusion of crossing branches. Tragic\nart, passionate art, the drowner of dykes, the compounder of understanding, moves us by\nsetting us to reverie, by alluring us almost to the intensity of trance. The persons upon the\nstage, let us say, greaten till they are humanity itself. We feel our minds expand convul-\nsively or spread out slowly like some moon-brightened image crowded sea. That which is\nbefore our eyes perpetually vanishes and returns again in the midst of the excitement it\ncreates, and the more enthralling it is the more do we forget it. When I am watching my\nown Deirdre I am content with the players and myself, when I am moved for a while not\nby the contrasted sorrows of Deirdre and Naoise, but because the words have called up before\nme the image of the sea-born woman so distinctly, that her unshaken eyelids that had not\nthe sea's cold blood seem by contrast what I had wished her to seem, a wild bird in a\ncage.\n& It was only by watching my own plays upon the stage that I came to understand that\nthis reverie, this twilight between sleep and waking, this bout of fencing ,alike on the stage\nand in the mind, between man and phantoms, this perilous path as on the edge of a\nsword, is the condition of tragic pleasure, and to understand why itis so rare and so brief.\nIf an actor becomes over emphatic, picking out what he believes to be the important words\nwith violence, and running up and down the scale, or if he stresses his lines In wrong\nplaces, or even If an electric lamp that should have cast but a reflected light from sky\nor sea, shows from behind the post of a door, I discover at once the proud fragility of\ndreams.\n& At first I was driven into teaching too statuesque a pose, too monotonous a delivery,\nthat I might not put \"vitality\" in the place of the sleep walking of passion in these things,\nand for the rest became a little deaf and blind. & &\nBut alas! it Is often my own words that break the dream. Then I take the play from the stage\nand write it over again, perhaps many times. At first I always believed it must be some-\nthing in the management of events, in all that is the same in prose or verse, that was wrong,\nbut after I had reconstructed a scene with the messenger in Deirdre in many ways,\nI discovered that our language must keep at all times a certain even richness. I had used\n\nThe old tragic\npainting.\nTragic art."}, {"page_pdf": 38, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.38", "debut_caractere": 23, "fin_caractere_exclue": 4649, "texte": "\" traitor \", s< sword \" suborned \" words in a too traditional usage, without plunging them\ninto personal thought and metaphor, and I had forgotten in a moment of melodrama that\ntragic drama must be carved oat of speech as a statue is out of stone. &\n& It is certain therefore that should suggestion run thin, should some one move violently\nshould there be a sudden noise, any one out of a thousand accidents that would hardly\ntrouble the robust pleasure of comedy, the climbing shoulders will come from under the\nstone. Perhaps there is in tragic art something womanish come from the continual presence\nof the Muses who have given Comedy a later and a slighter love, and we know that men\ncan have their days work amid the abrupt, the common, the foolish even without utter loss,\nbut that women cannot keep their fineness lacking a fine company.\ngq»ut train our players and our mechanists as we will and if we have not thought out the\nart of stage decoration afresh every brush stroke of our scene painters will mix into\nthe reverie the monotonous or the irrelevant. We will hire some Journeyman to accompany\nthe poet's description with a painted landscape which, because it must give all to the first\nglance and yet copy nature, will alone copy what is obvious, and which even if it could\nkeep the attention and give It pleasure could but keep it to the poet's loss:—\n\" A vapour, sometime, like a bear, or lion,\nA tower'd citadel, a pendant rock,\nA forked mountain, or blue promontory\nWith trees upon't that nod unto the world.\nAnd mock our eyes with air. \"\n& I have heard Anthony speak those lines before a painted cloth that, though it could not\nmake them nothing, left In the memory the sensation of something childish, theatrical as\nwe say. Words as solemn, and having more for the mind's eye than those of the Book of\nCommon Prayer must be spoken where no reformer has cast out the idolatrous mummery\nand no tradition sanctified.\nIn no art can we do well unless we keep to those effects that are peculiar to it or that\nit can show better than the other arts. We no longer paint wood with a grain that is not\nits own, but are content that it should display itself or be covered with paint that pretends\nto be but paint, and if we paint a design upon a vase or a plate, we are careful not to\nattempt something that can be better done ill easel painting. But in the art of the theatre\nwe imitate easel painting, even though we ignore or mar for its sake the elements we\nshould have worked In, the characteristics of the stage, light and shadow, speech, the\nmovement of the players. Our tree=wings.... Set us say.... can only be given mass and\ndetail by painted light and shadow and these will contradict, or be in no relation to the\nreal light, and this real light will be so cut up and cut off by wings and borders arranged\nfor effects of painting that we shall be content to use it in but a few obvious ways. Then\ntoo our background will be full of forms and colours, instead of showing an even or almost\neven surface whereon the players are outlined clearly that we may see their movements'\nand feel their importance; and all the while the background, even if it were fine painting\nand had no false light and shadow and did not reduce the players to a picturesque group\nin the foreground of a water colour painting by my grandmother, could but insist on the\nunreality we are anxious to forget, for every time a player stood close to that garden\nscene we would but feel over again on how fiat a surface they had painted that long garden\nwalk dwindling away into the distance.\n|f we would give our theatre the dignity of a church, of a Greek open air theatre, of an\nElizabethan platform stage, and cannot be content with any of these we must have a\nscene where there is no painted light and shade, and that is but another way of saying,\nno realism, no objects represented in mass unless they can be copied exactly as we can\ncopy an Interior, and the mechanism of this scene must as little as possible prevent the free\nand delicate use of light and shadow. &\nWhen we have made this change in obedience to a logic which has been displayed in\nthe historical development of all the other arts, we shall have created a theatre that will\nplease the poet and the player and the painter. An old quarrel will be ended, the stage\nwill be beautifully decorated, every change will be full of meaning and yet ■it will never\ncreate a competing interest, or set bounds to the suggestions of speech and motion, and\n\nStage Decora-\ntion.\nBach ait has its\nown peculiar\neffects.\nYet we imitate\neasel painting.\nHow to give\ndignity to the\nscene."}, {"page_pdf": 39, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 1679, "texte": "liberated from the necessity of an always complete realization, the producer, recovering\ncaprice, will be as free as a modern painter, as Sign or Mancini let us say, to give himself\nup to an eliptical imagination. G!osier will be able to fall but from his own height and\nthink that he has fallen from Dover cliff, and Richard's and Richmond's tents can face one\nanother again. We shall have made possible once more a noble, capricious, extravagant,\nresonant, fantastic art. & <£9 jg? & . £9 &\nAll summer I have been playing with a little model, where there is a scene capable of\nendless transformation, of the expression of every mood that does not require a photographic\nreality. Mr. Craig.... who has invented all this,... has permitted me to set up upon the stage\nof the Abbey another scene that corresponds to this, in the scale of a foot for an inch and\nhenceforth 1 shall be able, by means so simple that one laughs, to lay the events of my\nplays amid a grandeur like that of Babylon, and where there is neither complexity nor\ncompromise nothing need go wrong, no lamps become suddenly unmasked, no ill«painted\ncorner come suddenly into sight. Henceforth I can all but produce my play as 1 write it,\nmoving hither and thither little figures of cardboard through gay or solemn light and shade,\nallowing the scene to give the words and the words the scene. I am very grateful for he\nhas banished a whole world that wearied me and was undignified and given me forms and\nlights upon which I can play as upon some stringed instrument. &\nThis essay is an introduction to a volume oi Mr Yeats' plays which is in preparation and which will contain stage designs by Mr\nGordon Craig."}, {"page_pdf": 39, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.39", "debut_caractere": 1702, "fin_caractere_exclue": 1740, "texte": "The solution of\nall scenic pro-\nblems."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c031", "article_bluemountain": "bmtnaau_1910-10_01#c031", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau191010-01.2.17", "titre_corps": "WATTS: DELACROIX: BLAKE", "titre_sommaire": "WATTS: DELACROIX: BLAKE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.39", "debut_caractere": 1742, "fin_caractere_exclue": 4201, "texte": "WATTS: DELACROIX: BLAKE.\n\nHALF THE TRUTH\nWatts.\ngeauty is the language of art, and with this at command thoughts as they arise take\nvisible form perhaps almost without effort, or (certain technical difficulties overcome)\nwith little more than is required in writing this not absolving the artist or the poet\nfrom earnest thought and severe study, JZ? & jg? jg?\n& In many respects the present age is far more advanced than preceding times, incomparably\nmore full of knowledge; but the language of great art is dead, for general, noble beauty,\npevardes life no more. jg? jg? &\n& The artist is obliged to return to extinct forms of speech if he would speak\nas the great ones have spoken. Nothing beautiful is seen around him, excepting always\nsky and trees and sea; these, as he is mainly a dweller in cities, he cannot live enough\nwith. But it is, perhaps, in the real estimation in which art is held that we shall find the\nreason for failure. If the world cared for her language, art could not help speaking, the\nutterance being, perhaps, simply beautiful. But even In these days when we have ceased\nto prize this, if it were demanded that art should take its place beside the great intellect\ntual outflow of the time, the response would hardly be doubtful. jgr\n\nTHE OTHER HALF TRUTH.\nDelacroix.\nJt is absolutely necessary that at some moment or another in one's career one should\nreach the point, not of despising all that Is outside oneself ,but of abandoning for ever\nthat almost blind fanaticism which impels us all to imitate the great masters, and to\nswear only by their works. It is necessary to say to oneself, that is good for Rubens, this\nfor Raphael, Titian ojr Michael Angelo. What they have done is their own business; I am not\nbound to this master or to that. St is necessary to learn to make what one has found one's own:\na pinch of personal inspiration is worth everything else.\n\nTHE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH.\nWilliam Blake.\n| know that this world Is a world of imagination and vision. I see everything 1 paint in this\nworld, but everybody does not see alike. To the eyes of a miser a guinea is far more\nbeautiful than the sun, and a bag worn with the use of money has more beautiful proportions\nthan a vine filled with grapes. The tree which moves some to tears of joy, is in the eyes of\nothers only a green thing which stands in the way.... To the eye of the man of imagination\nNature is Imagination itself. & & & & &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c032", "article_bluemountain": "bmtnaau_1910-10_01#c032", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau191010-01.2.17.1", "titre_corps": "HALF THE TRUTH", "titre_sommaire": "HALF THE TRUTH", "signature_source": "Watts", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.39", "debut_caractere": 1768, "fin_caractere_exclue": 3002, "texte": "HALF THE TRUTH\nWatts.\ngeauty is the language of art, and with this at command thoughts as they arise take\nvisible form perhaps almost without effort, or (certain technical difficulties overcome)\nwith little more than is required in writing this not absolving the artist or the poet\nfrom earnest thought and severe study, JZ? & jg? jg?\n& In many respects the present age is far more advanced than preceding times, incomparably\nmore full of knowledge; but the language of great art is dead, for general, noble beauty,\npevardes life no more. jg? jg? &\n& The artist is obliged to return to extinct forms of speech if he would speak\nas the great ones have spoken. Nothing beautiful is seen around him, excepting always\nsky and trees and sea; these, as he is mainly a dweller in cities, he cannot live enough\nwith. But it is, perhaps, in the real estimation in which art is held that we shall find the\nreason for failure. If the world cared for her language, art could not help speaking, the\nutterance being, perhaps, simply beautiful. But even In these days when we have ceased\nto prize this, if it were demanded that art should take its place beside the great intellect\ntual outflow of the time, the response would hardly be doubtful. jgr"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c033", "article_bluemountain": "bmtnaau_1910-10_01#c033", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau191010-01.2.17.2", "titre_corps": "THE OTHER HALF TRUTH", "titre_sommaire": "THE OTHER HALF TRUTH", "signature_source": "Delacroix", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.39", "debut_caractere": 3004, "fin_caractere_exclue": 3635, "texte": "THE OTHER HALF TRUTH.\nDelacroix.\nJt is absolutely necessary that at some moment or another in one's career one should\nreach the point, not of despising all that Is outside oneself ,but of abandoning for ever\nthat almost blind fanaticism which impels us all to imitate the great masters, and to\nswear only by their works. It is necessary to say to oneself, that is good for Rubens, this\nfor Raphael, Titian ojr Michael Angelo. What they have done is their own business; I am not\nbound to this master or to that. St is necessary to learn to make what one has found one's own:\na pinch of personal inspiration is worth everything else."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c034", "article_bluemountain": "bmtnaau_1910-10_01#c034", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "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=bmtnaau191010-01.2.17.3", "titre_corps": "THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH", "titre_sommaire": "THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH", "signature_source": "William Blake", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.39", "debut_caractere": 3637, "fin_caractere_exclue": 4201, "texte": "THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH.\nWilliam Blake.\n| know that this world Is a world of imagination and vision. I see everything 1 paint in this\nworld, but everybody does not see alike. To the eyes of a miser a guinea is far more\nbeautiful than the sun, and a bag worn with the use of money has more beautiful proportions\nthan a vine filled with grapes. The tree which moves some to tears of joy, is in the eyes of\nothers only a green thing which stands in the way.... To the eye of the man of imagination\nNature is Imagination itself. & & & & &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c035", "article_bluemountain": "bmtnaau_1910-10_01#c035", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "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=bmtnaau191010-01.2.18", "titre_corps": "UNCOMMERCIAL DRAMA", "titre_sommaire": "UNCOMMERCIAL DRAMA", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 3695, "texte": "UNCOMMERCIAL DRAMA.\nJ. S.\n'\"jplie Era is one of the best of English theatrical journals; it is all the more unfortunate\nto find it talking of the New York Millionaire Theatre as though that experiment were\nfinished.\n& \"The experiment of the Millionaire's Theatre in New York can neither be said to have\n\" entirely succeeded nor entirely failed,\" says our contemporary; adding, \"The experiment\n\" was worth trying because for a long time past it has been asked why in England some\n\" rich man or men do not come forward and endow a theatre to be devoted to uncom*\n\" mercial art\".\nThis New York Theatre is by no means devoted to art though it may be non-commercial.\nHow many times must one point out that art does not pop up the moment a management\ntakes an oath to be uncommercial.\nArt rather likes commerce,.... but it likes it good. If the idiots who misunderstand\neverything about art are not prevented from confusing the public by this lie that good art\nand good commerce are opposed to each other a little harm will be done. <£? &\n& Art can get along all right without the assistance of those tenth-rate commercial men\nwho, having failed to traffic honestly in butter or cheese or some other useful commodity,\nturn to the stage and think they can traffic in Drama. But, when a gentleman gifted with\nfirstclass business capacity turns his attention to the stage, the stage has never refused to\nbe up to the mark for him, and, though it can never pay like soap or pills, it can be made\nto succeed commercially within limits.\nPeople too often forget that the stage, no less than the army and navy, is a branch\nof public service. What would the public do without its stage ? We hardly want govern-\nment support when we have the support of the nation, or at anyrate of a large part\nof it.\n& What I am sure everyone must be agreed upon is that we want better men in the\ntheatre, .... better artists, men of better stamina, to bring the stage into the desired\nposition. Today any one can pass on to the stage.\nTalent and taste are not the first requirements, intelligence and study not of much account.\nSuch a pity, this I What barrier is there to prevent noodles, (female as well as male), from\ngoing on to the boards? None. What is there to prevent every young energetic man without\nthe necessary talent or training from bouncing the stage and its crew ? Nothing. Of course\nenergy is valuable,... Mr Seymour Hicks has energy... and it sets a good example ; but\nwhat the stage wants is energy behind talent, behind taste, and behind genius if it is lucky\nin claiming a genius.\n& In England we are, or should one say were, prejudiced against the word Art. We think\nlike yokels about the artist; we ask him what he does for a living, and if he never does\nany work. We forget that Art is as much a labour as anything else and for a man to excel\nin this calling he must have laboured exceedingly hard.... quite as hard as a carpenter\nat his bench.\nThe artist has a natural (If somewhat affected) aristocratic dislike for the sounds and\nsmells and sights of mere labour as labour. Surely you will not blame him for this ? But\nEnglishmen must remember that the artist can stick to his guns by the side of the best\nsoldier of the realm.\nTake off your caps then to the stage artist who does stick to his guns. Be proud of him\nbecause he is an artist, not because he isn't a Don or a Jockey; and what is more to the\npoint, see to it that he gets fair play, see to it that the nation reckons him amongst\nher best sons,.... that the nation knows how to value and develop that which he has to\noffer.\nThe relation of\nArt and com-\nmerce. &\nWe need better\nmen in the thea-\ntre.\nThe English\nptejudice\nagainst Art. &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c037", "article_bluemountain": "bmtnaau_1910-10_01#c037", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "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=bmtnaau191010-01.2.19", "titre_corps": "A CHEAP THEATRE", "titre_sommaire": "A CHEAP THEATRE", "signature_source": "Franz Hoffer ; J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 3544, "texte": "A CHEAP THEATRE\nby Franz Hoffer.\nJ. S\nreading Mr Granville Barker' lecture \" The Theatre; The Next Phase\" delivered in\nLondon on June 9, 1910 one is left wondering whether London likes that sort of thing.\nMr Barker claims that the striking development of the Theatre which has been evident for\nsome years in Germany, Russia, France, and Scandinavia (he says nothing of Poland, Hungary\nor Holland) is becoming evident in England. But he fails to show us clearly any such striking\ndevelopment as those lands have to show us, so, I repeat, 1 wonder if London likes that\nsort of thing. & It is the cheap theatre he has to offer\n& His lecture-essay is very full of words many of which are not at all clear to me.\n& Nowhere except when speaking of the Speaker of the House of Commons or of men of\nquality does he give offence. He is as careful to avoid treading on the corns of the crowd\nas though he feared retaliation of some sort. &\nWith a shopkeeper's twang he talks of his \" trade \" and proceeds to show how bad an\naccountant he would make, asserting that \" a few thousands a year \", and later on \" five\nthousand pounds \", is enough to spend on a Free National Theatre,.... not merely a Na-\ntional Theatre but one free like the National Gallery. As twenty five thousand pounds\nwould be too little it is strange that Mr Barker, who claims to know about the Theatre,\ndoes not know this. &\n& But then as I have said before he Is thinking of a cheap theatre.\n& Where Mr Barker speaks well is where he echoes Mr Bernard Shaw. Thus his passage\nabout Puritan Art and Repertory Theatres not paying is good because the ideas come from\nShaw. Mr Barker does not acknowledge this. A passage surely quite original, (though of\nthis I am not certain), is the following: \"A play is anything that can be made effective\nupon the stage of a theatre by human agency \" .... A very cheap proposition.\nOne is left dazzled by this class of originalitj'. One is not used to it on the Continent\nand one is left wondering how Albion likes it, and what punishment she is contempla-\nting for these who poke such fun at her. It certainly is not Normal,.... I like it the\nbetter for that, but what is it? What is Mr Barker anyhow? I sit wondering. Some one should\nadvise him to trot around a bit and pick up a few ideas abroad. He need not go further\nthan Boulogne to be thoroughly startled.\n& \" And what do you make of it? \" I asked a shrewd American after he had read Mr\nBarker's article;\" Don't yoii think the man who wrote that would be the safe head of a\ntheatre? \"\n& He answered, \" Sir, it strikes me as written by a man that's dead and doesn't know it;\nand if your theatres aint mighty strong they'll die of association with such timidity and\nconventionality.\" & <£? & JSP & & &\nThe following passages are taken from Mr Barker's lecture and are here offered for the\nconsideration of readers of The Mask.\nhave but lately begun to feel our way in England to a method of establishing and\n\" promoting the Arts and Sciences in a democratic state \".\nreason in the past why nothing was done to organise the Theatre was that the powers\n\"that be were ashamed of its existence; and a difficulty in the present is that they have\n\" fallen out of their desparate clinging to a Censorship.\"^\ngy cultivating an artistic as well as a moral conscience a clean palate good taste\n\"in fact, one can distinguish soon enough between a normal work of art and an abnormal.\"\nMr Barker's\ncaution.\n& He echoes Mr\nBernaid Shaw.\n& An American\nverdict on Mr\nBarker. &\n£? Some\noc Mi Barker's\nSayings."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c039", "article_bluemountain": "bmtnaau_1910-10_01#c039", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "image_debut": 42, "image_fin": 42, "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=bmtnaau191010-01.2.20", "titre_corps": "MISS HORNIMAN AND HER REPERTORY THEATRE", "titre_sommaire": "MISS HORNIMAN AND HER REPERTORY THEATRE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 4338, "texte": "MISS HORNIMAN AND HER\nREPERTORY THEATRE\nJ. S.\n(not to say everyone), had always thought of Miss Horniman as being evidently a\nvery kindly lady charitably giving her money to forward the plans of capable artists.\nEven as Whistler always dreamed of Romeike and Curtice the press agents as being the\nname of some charming myth, so has one been used to thinking of Miss Horniman.\n& One imagined a graceful young woman of about twenty eight years of age, moved to\ngracious deeds and words through a knowledge beyond her years, saying little and doing\nmuch ; almost an ideal of womanhood ; a fairy, touching the little Irish group of artists\nwith her golden wand and making many of their dreams possible; passing on to Manchester\nto enact a like miracle,... doing it all for love of the deed. Sweetness seemed hers.\nIt was a dream. The illusion is shattered once and for ever, and it is a great pity.\nMiss Horniman has spoken to the representative of the Referee and her wings have drop*\nped away; the sweetness on which she leaned has given place to a stick,... \"the big stick\"\nof another fable, (we hope only a fable,.... a monstrous fable of caves and dragons)....\nand she stands revealed before us in her true colours, white, purpie and green,.... the\ncolours of the suffragettes.\n& And, Jupiter, how she speaks! Alone I did it, she cries; I,... 1, Miss Horniman, founded\nthe National Irish Theatre; and mark me, there is no man behind me, The Irish are a\nset of ungrateful wretches and I'm going to give 'em a lesson by asking a thousand pounds\nrent for my little theatre of their's. Once I gave it them rent free... but not now;... no,\nno ! Shall I tell you why I won't give it them free ? Because 1 want to prove conclusively\nthat there's no man behind me, I am fifty years old,... you dare to contradict me! and\nat fifty a young girl's fancy lightly turns to thoughts of art. & & &\nThis is the gist, if not the exact words, of Miss Horniman's statement. But this is not\nall. She can't let the wonderful little group in Ireland alone. She tells Lady Gregory flat\nthat the Irish dislike everything that's English. This is all the more curious because only\njust lately the Irish Theatre has welcomed and accepted an Englishman's work, and any one\nwho could appreciate what Yeats and his followers have done for the Art of the Theatre\nwould be sure of a welcome by the Irish people; but to expect an enthusiastic greeting from\na nation after having admitted antipathy to it, as Miss Horniman has done, is expecting\ntoo much. & & & & *& & &\nYet it is only natural that Suffragettes should be over=sanguine. They are making a\nsplendid fight of it, losing to win, and those who lose most are the noisy ones who, like\nMiss Horniman, prefer to be ungracious rather than gracious.\n& \"Would you be gracious,\" they cry, \"in the face of such oppression and insult?\" \"Certainly\nnot, unless I couldn't help it \" I answer. And here is the gist of the matter.\nThis ungraciousness of Miss Horniman and her sisters is not forced,.... they cannot\nhelp it. Like art, it happens. But unlike art it happens by accident not from design.\nHence the accidental talk in the Referee,... that trip over the carpet when speaking of\nIbsen whom Miss Horniman says is \"morbid\". Ibsen, the high priest of woman's suffrage!!!!\n& The Rashness, however, is rather pleasant (if only a few more stage ladies would be\njust as rash); but the accidents, the blunders, the ungraciousness to Ireland and to mere\nman, are deplorable/and one can only beg the insensate lady to get a man,... a strong\nman ... behind her as soon as possible. jg?\nRosa Bonheur was a bad painter, George Eliot and George Sand disgraceful writers,\nand Catherine of Russia a disgusting queen. If she wishes to rule let Miss Horniman\nemulate our loved queen, Victoria, that true Englishwoman; and let her learn that woman\nis nothing but a selfish accident drifting aimlessly or to the bad without the guiding in*\nfluence of a man. & & & & &\n(*)\nThe charming\nmyth. &\n& The leality.\nMiss Horniman\nand the Irish. &\n& A deplorable\nattitude jg?\n(1) Speaking oi Suffragettes to a Cabinet Minister Sir Herbert Tree remarked, A propos of the attitude these fanatical ladies adopt; \"You\ncan't knock off a man's hat and then expect him to take it off\".\n\" Artists and Artistes Harry Furness. Strand Magazine July 1910."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c040", "article_bluemountain": "bmtnaau_1910-10_01#c040", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "image_debut": 43, "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=bmtnaau191010-01.2.21", "titre_corps": "REALISM IN ART", "titre_sommaire": "REALISM IN ART", "signature_source": "Tolstoi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 930, "texte": "REALISM IN ART\nWhat is Art. Tolstoi,\nJgqually little can Imitation, realism, serve, as many people think, as a measure of the\nquality of art. Imitation cannot be such a measure, for the chief characteristic of art is\nthe infection of others with the feelings the artist has experienced, and infection with a\nfeeling is not only identical with description of the accessories of what is transmitted,,\nbut is usually hindered by superfluous details. The attention of the receiver of the artistic\nimpression is diverted by all these well-observed details, and they hinder the trasmission\nof feeling even when it exists.\nTo value a work of art by the degree of its realism, by the accuracy of the details re«\nproduced, is as strange as to judge of the nutritive quality of food by its external appea«\nranee. When we praise a work according to its realism, we only show that we are talking,\nnot of a work of art; but of its counterfeit."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c042", "article_bluemountain": "bmtnaau_1910-10_01#c042", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "image_debut": 43, "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=bmtnaau191010-01.2.22", "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": 43, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.43", "debut_caractere": 932, "fin_caractere_exclue": 2434, "texte": "HAMLET: A SUCCESS OR A FAILURE?\nA. F\nSir,\n\" In one of your recent issues you had a short note on \" Hamlet \". I have not the copy\n\"by me, but if I recollect rightly the substance of it was to the effect that the traditional\n\" method of explaining \" Hamlet\" as irresolute was erroneous and that he was really a\n\" man of strong will, and, moveover, that this conception had never been shown on the\n\" stage.\n\" May I remind you that this was the point of view taken by Mme. Sarah Bernhardt\n\" although it was not on all sides recognised,.... I suppose owing to strongly preconceived\n\" ideas. I think I am right also in saying that this is the view of one or two German critics,....\n\"Fischer and Werder, for I am, Sir, faithfully yours.\nWilton Cole,\n'jphe above letter refers to a note which appeared upon page 162 of our second volume.\nThe letter was handed on to the writer of this note who replies as follows:\nWhen\nwriting I was thinking of the male impersonations of the Prince of Denmark. I\nthink it is quite likely that Madame Sarah Bernhardt may have takent he same point\nof view but the performance suggested something quite different to me. &\nThis is Vischer's view of the matter:.... \"Passion, specially considered, Hamlet does\n\" not lack, but it is force in the core of his being that is wanting\". He considers Hamlet's\n\" delays as the result of irresolution. & & &\n\" Concerning Werder's point of view Mr Cole is correct and it is a great pity that actors\n«•seem unable to grasp this point of view."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c044", "article_bluemountain": "bmtnaau_1910-10_01#c044", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "94", "image_debut": 44, "image_fin": 54, "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=bmtnaau191010-01.2.23", "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": 44, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 4054, "texte": "BOOK REVIEWS\n\nART AND PROGRESS, Monthly, Wash-\nington. U. S. A.\nprom America comes a very important new\nJournal, Art and Progress. It is published\nby the American Federation of Art,\nWashington, and John Alexander is one of its\nVicepresidents, A. J. Parsons its acting\nTreasurer, F. D. Millet its Secretary. Other\nnames less well known in Europe help to\nmake an important show. &\n& It is a little journal with some good re-\nproductions of paintings... (one by Hornel is\nespecially good), architecture, furniture and\nstage scenery, and some careful articles upon\nall branches of art.\n& The one article which stands out from\nthe others in the June number which we\nhave just received is entitled \"Stage Scenery\nas an Art\".\n& The article is a good one, for the writer,\nbreaking an infamous rule, considers stage\nscenery from the stage manager's point of\nview... that is to say, as stage scenery and\nnot as picture. But he selects very poor\nexamples of stage scene to illustrate his\nmeaning, and unfortunately tells us that\nthey are \" the best that has been accomplish-\ned in the scenic art during the present\nseason in America\". It is a pity their best\nis so bad. If this is really the best scenery\nthe new Millionaire's Theatre in New York\ncan produce then New York is getting behind\nthe times and accepts any old warmed-up\ndish for its fare. & &\njg? The best of the four designs reproduced\nis that designed by Mr Jules Guerin. It has\nwhat looks like an admirable backcloth but\nthe pillars and steps and chairs and bits\nof drapery in the foreground are so utterly\nconventional, dragged as they are out of the\nEnglish Theatre of forty years ago, that all\nGu£rin's talent goes for nothing. We have\nno doubt that Guerin was displeased,....\nbut then he has but himself to blame for\nit, not being a professional stage worker. &\nMr Hamilton, the writer of the article,\nfinds fault with the design but seems to find\nfaults which are not obvious to us. These are\nthe two faults he finds: \"First, the\n\" insistence upon vertical lines in the tall\nu gigantic pillars tends to dwarf the stature\n\" of the actors; and second, the rectilinear\n\" design does not admit a convergence of\n\" lines upon any point of the stage which\n\" will cast into relief the action which is\n\" carried on within it. \"\nBut Mr Hamilton must know that these\ndifficulties have been surmounted in Europe\nfor some time. When America lags behind\nthe world is in a bad way\njg? The second scene reproduced is that of\na very conventional stage college garden. We\nfirst saw it about thirty years ago when Sir\nJohn Hare produced the \"Vicar of Wake-\nfield \". Miss Ellen Terry was the sweetest\nflower in that garden and the whole picture\nwas as pretty as it could be, thirty\nyears ago. But for New York dodderingly to\nrepeat what London did in the eighties is\nmatter for the directors of the New Theatre\nto enquire into. &\nThe third design is that of a formal in-\nterior and is supposed to be a chaste and\ndignified example of the architecture of a\nSouthern State. There is something good\nabout it but there is no charm. The interiors\nof that period were delicious and the sun\ncame through the windows in those days\nand not through the &\n<<& The fourth design, (by courtesy of David\nBelasco), is bad. It looks like the kind of\nscene one would expect for a play called \"The\nLily'\". One sees Liiy sitting pale and downcast\non those terribly theatrical ruins and looking\nquite in the picture. & &\nNo ! America must wake up in this branch\nof the theatrical business (for art as yet it\nis not), and must enquire more carefully\nwhat is being done in Europe and who is\ndoing it. JZ? &\n\nTHE PLAYS OF AESCHYLUS, Transla-\nted from a revised Text by Walter Head-\nlam, Litt. D. and C. E. S. Head lam M. A.\n| ewis Campbell's translation of these plays\nis still in many ways the best because the\nmost readable. The translators of the version\nlately published by George Bell and Sons\nmake no pretensions to any artistic form ;\nthey desire only \" to enable those who know\nsome Greek to read the Greek of Aeschylus\ncorrectly &"}, {"page_pdf": 45, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 4432, "texte": "44 Prose has a proper function of its\nown \" they say in their preface,... but what\nfunction is so useful that all sense of style\ncan be disregarded ?& &\nIn the 44 Prometheus Bound \" the trans-\nlators give us the following 44 correct \"\nAeschylus\n& Hephaestus.44 Ah me* Prometheus, I sigh\nfor thy pains !\"\nPower. 44 There thou art, shrinking again\nand sighing for the enemies of Zeus I \"\n£? Surely such scholars as Walter Headlam\nand C. E. S. Headlam could find it possible\neven in prose to add a certain grace or power\nby the choice of righter words than these;\nthe phrase smacks of the housewife of the\nfarces, 44 There you are, at it again I\" And\nto tell us that this is correct makes us\nwonder what Aeschylus would have thought\nof English 44 correctness \". 46 Translation is\nalways a treason\" as a Ming author observes,\n44 and can at its best be as the reverse\n44 side of a brocade; all the threads are there,\n44 but not the subtlety of colour or design, (i)\nThen let the treason be at any rate as trea-\nsonable as can be; let us be cheated Into\nthinking Iago really honest. jS?\nCampbell is more acceptable for this\nreason, and Murray, in his really \"treasonable\"\ntranslation of Euripides, performs his task so\ndeftly, so gracefully, that we cannot see how\nit is done and do not suspect any legerde-\nmain.\njgt In this edition the Headlams have been\npleased to add stage directions to Aeschylus.\nThis is a great pity; and as it is also\nhardly 44 correct\" it reduces the value of\ntheir protestations in their preface. The book\nis full of useful notes and therefore one more,\ninforming us that there is only one stage\ndirection to be found in all Aeschylus, would\nnot have been amiss. & &\nNowadays when nearly every playwright,\nmeddling with matters which concern only\nthe stage direction, inserts into his work a\nquantity of 44 stage directions \"to bolster up\na weak text, it is well to be reminded that\nthis custom found no more favour with the\nGreek masters than with Shakespeare.\nPlaywrights should avoid this as a breach\nof good manners even if they do not do so\nfor the better reason that they are quite\nignorant of what a stage direction consists.\n& A play with many stage directions is a\nbad work of art. jb?\n(1) Gkakura-knkuyo.\n\nMAURICE MAETERLINCK by\nGerard Harry, translated by Alfred\nAllinson. Geo: Allen & Sons. 3/6 net. &\n'Jphe original French edition of this book\nhaving been reviewed in the April number\nof The Mask we have only to add that Mr\nAllinson has performed his work as translator\nskilfully and sympathetically, and that the\nformat of the volume is as pleasing as expe-\nrience has led one to expect in any volume\nwhich issues from the Ruskln House. &\n\nGUIDE TO THE LIBRARIES OF\nLONDON by Reginald Rye. University\nof London Press. 2j6 net. & &\n\"fhis book will be of valuable assistance to\nstudents, enabling them, by a reference\nto its index, to find in which of all London's\nLibraries they will best find what is suited\nto their requirements and under what con=«\nditions that which they need may be obtained.\nAS the author states in his Preface, his\nobject is 44 to make known to bookmen in\n44 general, and to the Students of the\n44 versity of London in particular, the charac-\n44 ters of the numerous libraries in London,\n44 and the facilities which they offer to rea=\n44 ders.\" &\nBut while Mr Rye, in compiling his volume,\nhad in mind chiefly the students of that\nUniversity where he acts as Goldsmith's Li =\nbrarian, we would heartily recommend it to\nall students of the theatre and to those young\nactors and actresses who are sufficiently in\nearnest over their work to wish seriously to\nstudy all which can aid them in its fuller\nunderstanding and better performance, it\nshould be of service also to students living\nout of England and desiring to commission\nothers to make researches for them on par=\nticular subjects in the London libraries.\nThe book is illustrated and is well printed\nand strongly bound. &\n\nTHE STORY OF OPERA by Markham\nLee. Walter Scott Co. Price 3/6 net.\n'Jphis book shows careful research, 5s well\nillustrated and supplied with a chronolo-\ngical list of composers, great singers, con-\nductors. So far so good.\n& But all that Mr Lee writes proves ever\nmore clearly that Opera has nothing to do\nwith the Art of the Theatre, that the Musi-\ncian is an invader in the Theatre and that\nhe is doing himself and his own art a great\ndeal of harm when he allows himself to be\ntempted in. & &"}, {"page_pdf": 46, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 4294, "texte": "Surely Mr Lee's definition of Opera,....\n\" A play designed for the stage, with scenery,\n\" costumes and action used as accessories as\n\"in all stage plays, but with the additional\n\" use of music to intensify the meanings of\n\"the lines which are uttered by the eharac-\n\" ters, to generally heighten the effect pro-\n\" duced by the other combined arts, and\n\" to add an emotional element that might\n\" otherwise be lacking,\" is sufficient to dis-\ngust all the musicians, painters and poets\nalike with the idea of Opera for evermore,\nsince in Opera the work of each of these\nartists is to be only the \" accessary \" of the\nwork of someone else. & &\nFor while co-operation is probably an\nexcellent thing among individuals it is pro-\nductive of anything but good results among\nthe arts, and the spectacle of the musician\naccomodating himself to form part of a co-\noperative society of carefully balanced inte-\nrests is about as incongruous as the idea of\nPegasus harnessed to a plough.\n\nAN APPROACH TO WALT WHITMAN\nby Carleton Noyes. Houghton, Mifflin\nCo, Cambridge. Mass, Dollars 1,25 net.\nWALT WHITMAN, the Man and the\nPoet by James Thomson. Bertram Dobell, London. //-.\nA. C.\nNoyes has not done his best in\nhis book on Walt Whitman, for he values\nhis poet but seems unable to do him justice\njust because of his admiration.\n& Many writers have failed here. It is not\n& j£> &\n& Dr Bucke's book still remains the best\nwhich I have as yet read. &\n& Perhaps if Edward Carpenter's little work\nbe placed close to Bucke's book it will add\na lustre to it, but the Doctor's book is still\nthe best.. Carpenter never wrote anything so\nadmirable, and it is a pity that Carleton Noyes\ndid not make the effort necessary to go fur-\nther than these two. & &\n& Traubel's works on Whitman I do not\nknow. I am told they are extraordinary. Bucke\nis so admirable because he is not carried\naway by his subject, and Carpenter surprising\nbecause for the first time he stands firm and\nresists the attraction of writing a second\n\" Specimen Days\".\nNoyes must try again. He could have\ncondensed what he had to say into twenty\nfive & &\n& The get-up and printing of the book Is\nexcellent, as is usually the case with volumes\nbearing the name of the Houghton and\nMiflin Co. & & &\n'phis book by James Thomson is a much\nfiner thing. Written in 1874 and 1882 the\ntwo articles which make up the volume ap-\npeared in magazines of the period. j@>\n& The present reprint has an interesting\nIntroduction by Thomson's old friend and\npublisher Bertram &\nI like the whole book, and although it can\ntell nothing new about Whitman it retells\nthe old story very well, and is valuable be-\ncause written by a writer of poems,... the\nwriter of \" The City of Dreadful Night\" and\n\" The Hound of Heaven \". & &\nOne day another American poet will ven-\nture a song. In that song one verse at least\nwill carol to his predecessor. Then for the\nfirst time shall people understand the true\nworth of this forerunner of American power\nand beauty,... for that time is not yet ar-\nrived.\n\nSIX MASTERS IN DISILLUSION by Algar\nThorold. Constable 61-\nA. C.\n|—| ere Is someone who knows how to write\nEnglish. You may take the book up, you\nmay open it at any page and whatever passage\nyou light upon is an enjoyment to read. Thus\nyou have something like the true creation.\nYou take It for what it is, not for what it\nmeans, for to know what It means would\nbe as impossible as to know what the earth\nmeans.\nThe \"Six Masters\" selected for criticism\nare Fontenelle, Prosper Merim£e, Ferdinand\nFabre, Joris-Karl Huysmans, Maeterlinck and\nAnatole France. & & &\nIn reading the essays you receive the\nillusion of disillusion, the disillusion of illu-\nsion. It is what the author intends you to\nreceive ; therefore the author has triumphed.\n& Black is white to him, only.... precisely\nthe opposite. & &\nThe truth of this is one of the most dif-\nficult things to convey and that the author\nshould have succeeded in doing it places him\nalmost in a place apart. & &\nMr Thorold's aim being objective criticism\nhis personal opinions are sedulously concealed.\nHis sympathies are perhaps with Maeterlinck\nand Anatole France,... though, indeed, they\nare bestowed upon all the others as well. He\nis far from adopting the vitalist re-action of\nsuperstition against the dissolving effect of"}, {"page_pdf": 47, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 4584, "texte": "intelligence analysed in the epilogue; he\nmerely indicates it as what he believes it to\nbe, i. e. a logically possible position and one\nvery likely to be popular.\n\nGARIBALDI AND THE THOUSAND by\nGeorge Maculay Trevelyan. Longman's,\nGreen & Co t8[-\nnot favoured with a review copy\nwe cannot let this book pass unreviewed.\nYet fancy reviewing Garibaldi and his Thou-\nsand and One, (the one being the brilliant\nauthor) I\nWhat's to be done then ? ... how get out\nof it now we are in for it ? We hear the\nsplendid sounds of the Garibaldi march and\nthe procession goes by; we can only salute.\nThe whole pageant of heroism and sweetness\nis too overwhelming to say much about; one\nfeels one is still on the mountain side at the\nGibilrossa Pass. The divine troops wind down\nthe steep path, phantoms; and behind them\nmarches,... our author: no phantom, and\nno less one of them because of the\nEveryone in the Theatre must love this\nbook if he read it. Not an actor but should\nbe stirred profoundly as he reads of this\nstupendous 44 impossible \" attempt proved by\nsacrifice to be the easiest thing in the world.\nHow this great fight for the freedom of\nItaly resembles the fight which must come\nfor the freedom of our Art!\n& Listen I... 441 offer neither pay, nor quar-\nters, nor provisions; I offer hunger, thirst,\n44 forced marches, battles and death. Let\n44 him who loves his country in his heart\n44 and not with his lips only, follow me.\"\nAgain and again this is Garibaldi's offer.\nThe old offer and none other awaits any\nof us who love the freedom of that which\nwe profess to love before all &\nLet anyone who professes to love the\nTheatre read both books by Mr Trevelyan.\nWe promise him something exceptional, we\npromise him warmth, the glow of renewed\nvitality, a thrill which will last him to the\nend of his days and never grow less.\n\nVENICE IN THE EIGHTEENTH\nCENTURY. PhilippeMonnier. Chatto\nand WIndus. 7/6 net.\n\\yhat a charming book! How delightfully\nit is translated. One reads it with as\nmuch ease as that with which it appears to\nhave been written. Full of gaiety, colour,\npoetry, what a charming book! &\nAnd for us who labour among the ruins\nof a dead Theatre how full of promise is this\nbook. Actors especially owe Monsieur Monnier\na debt they will find it hard to repay. For,\nif he speaks well of the playwrights Goldoni\nand Qozzi, if the painter Tiepolo floats once\nmore as Jupiter upon one of his ceilings, if\nthe Doges and the Dukes appear and attract\nus the actors literally come to life again and,\nwith their overpowering attraction, compel\nour admiration. &\nThey are the foremost figures in the book.\nNothing can stand beside them. Monsieur\nMonnier speaks of them on the first page, in\nthe very first line, and his eighth chapter is\nthe most beautiful one in the book.\nTherein he writes better of the theatre\nthan anyone has written of late years, and\nshows a picture which ravishes us. To say\nmore would be to spoil the treat in store\nfor the reader of this famous book,... famous\nnot only because it has received the honour\nof being 44 crowned \" by the French Academy.\n& Books about the Theatre are dull reading\nas a rule; this one is as entertaining as a\nfirst class theatrical performance. The actors\nappear, we see them at their work. By their\nside Casanova's exploits seem dull,.... and\nwe know how lively they were; Monsieur\nMonnier re-tells us some of them.\nIn the third chapter he tells us about the\nFestivals, Carnivals and the Villeggiatura. &\n& 44 The Carnival of Venice ! The words have\n44 lost none of their ancient power. The veil of\n44 our eyes is rent as we utter them. Even\n44 as we smile, merry phantoms seem to\n44 beckon us; exqusite dead graces push away\n44 their coffin lids; the diaphanous air throbs\n44 with light laughter; quavers and semi-qua-\n44 vers gambol in the stave. & &\n44 Six months of the year it lasts, from\n44 October to Christmas, from Twelfth Night\n44 to Lent; on Ascension Day it starts again\n44 for two weeks; and again upon St Mark's\n44 Day, and whenever a Procurator is chosen,\n44 on the least occasion always, on the slight-\n44 est pretext. As long as it endures all the\n44 people go about in masks all the people,\n44 from Doge to kitchen-maid. In masks men\n44 and women do business and buy fish, write\n44 their letters, pay their visits, and plead\n44 their causes in the courts. With a mask\n44 over his face a man may say and do as he\n44 pleases; for the State hath sanctioned his\n44 mask, and will protect it. In his mask he\n44 seeks admittance to drawing-rooms,\n44 churches, convents, to the ball, the Palace,\n44 the Ridotto. & &"}, {"page_pdf": 48, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 4733, "texte": "44 There he may take his ease, he may\n44 read in his armchair, but he must not for-\n44 get the law of Carnival: barriers hold,\n44 authority avails, and dignity exists no\n44 more; there are no more lordlings now, nor\n44 beggars kissing their Jong sleeves; no more\n44 is heard of spy or nun, of sbirro or zentil-\n44 donna, rope-walker or inquisitor, poor man\n44 or alien; there is but one rank and one\n44 character, Sior Maschera; but one costume\n44 and one free people, garmented, steeped,\n44 confounded in delight. A scrap of white\n44 satin on the face, a black silk hood upon\n44 the shoulders; and by virtue of this comic\n44 livery, the aristocratic city becomes a de-\n44 mocracy; and the loose garb of Laughter\n44 levels all her sons.\n44 Truly the Mask is more than a disguise:\n44 lis an incognito.\n& And again 44 the Mask drives away diffi-\n44 dence, covers all shame, and keeps all\n44 blushes hid, emboldens intercourse, and\n44 prompts adventure; better than bolts and\n44 bars, better than snug retreats, to guard\n44 the manifold meshes of intrigue \"\nHow charming all this is! And what you\nwill read about the actors is no less char-\nming and far more important. &\n& Every English actor must read the book\nnow that it has been translated.\n\nTHE JAPANESE DANCE by Marcelle\nAzra Hinckes. W. Heinemann. 5/- net.\n'\"phis Brochure, for all its brevity, shows no\nlittle learning and treats of a subject very\ninteresting to those who would know some-\nthing of the Theatrical Art of the Japanese,\nsince, although the modern drama has now\n44 become entirely separated from dancing \"\nit was from this source that it sprang ori-\nginally, and the fine influence is yet traceable\nin the fact that 44 on the Japanese stage the\nmimetic art is as important as the spoken\nword\nFrom a remote period the Dance In Japan\nhas been of paramount importance histori-\ncally as well as esthetlcally, and ever closely\nassociated with the religion of the country.\nIn fact in a land where 44 the very gods\ndanced, before ever mortal feet had learned\nto tread a measure \" it was inevitably woven\nclosely into the fabric of the nation's reli-\ngious, artistic and daily life, and to it the\ncountry owes its finest dramatic literature,\nthe 44 preservation of the classical Japanese\n44 language in the poems written several\n44 hundred years ago to accompany the No\n44 dances \", its masks, its stage, the construe-\ntion of its theatre and the birth of those\nwonderful No plays which are supreme exam-\nples of brevity and fine tradition in dramatic\nart. & &\n& It should not be forgotten, however, that\nthe so-called 44 Dance \" of Japan is a thing\nwidely differing from that exercise which\nEuropeans understand by the word,,... an\nexercise which the Japanese would call gym-\nnastics and class with Ju-jutsu or the ancient\nacrobatic 44 Vengakuo\".\n& The Japanese dance, like the ancient Greek\nas we imagine it, is entirely of a pantomimic\nnature and 44 strives to represent in gesture\n44 an historical incident, some mythical legend\n44 or a scene from folk-lore.\" & &\nBy symbolical gesture and a rythmic,\nhighly-conventionalised, regulated movement\nit suggests, gives visible expression to, ideas\nand emotions, but in so delicate and distant\na manner as to require, not only for its ap-\npreciation, but almost, one may say, as a\ncondition of its existence, a particular temper\nand mental attitude on the part of the\nspectators, a unity between actors and au-\ndience; and the need of this preparedness on\nthe part of the onlookers can be the better\nunderstood if it be remembered during the\n44 apparently meaningless gestures and sleeve-\nwaving and fan-waving and stamping of feet,,\nthat 44 every movement, every turn or twist\n44 of the hand, the arm or the body has some\n44 significance as clear to the Japanese as\n44 spoken words and that the subtlety of the\n44 Eastern mind detects various shades and\n44 degrees of emotions In dance movements\n44 which we neither look for nor understand. \"\nThe bare-legged dancer,... the lady whose\nsuccess lies largely in the scantiness of her\ncostume, is unknown among the dance-artists\nof Japan, where even the feet are little seen,\ntaking, especially in the religious dances, but\nslight part in the action ; and formalised\ngesture, rigidly prescribed postures, dignity,\nperfect control of movement attained to by\nrigorous physical training, smoothness and\nthat appearance of ease which is the outcome\nof long discipline, are salient characteristics.\n£/ The fact that the body itself is never seen\nand that Japanese dancing is yet so fine a\nthing as it is and was dispels once and for\nall the illusion that it is necessary to the\ndance for the movement of the natural body\nto be seen. & & & & &\nThe European dance may affect us, give"}, {"page_pdf": 51, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 4670, "texte": "us the same pleasure, as the graceful spon-\ntaneous movements of lambs in a meadow,\nof children running on the seashore, of young\nleaves waving in the wind ; but the Japanese,\nwith its strict ritual, its noble conservatism\nwhich still preserves traditional postures\nwithout change or modification, its obedience\nto a fine tradition, its perfect control of its\nmaterial,.... that is, the human body, ap-\nproaches more nearly to the stately and\nsplendid ceremonies of the past, of which,\namong us, some trace yet lingers in the\nsymbolic gestures of the priests celebrating\nmass, and it thus partakes more nearly of\nthe nature of an art.\nMiss Hincks discusses her subject under\nthree headings, Religious, Classical and Po-\npular. &\nUnder the first of these are included the\nreligious temple dances originally introduced\nfrom China, and of which the most interes-\nting and important was that of the Shinto\nShrines, the 44 Kagura \" whose strains were\nsupposed to be those which, according to\nlegend, lured the Sun-goddess from the cave\nand originated all the dances of succeeding\ncenturies. &\n& For the performance of this 44 Kagura\"\nstages were erected at all the principal\nShinto temples, each temple having its staff\nof dancers; and on these stages and from\nthese dances, to which marionette shows\nwere later added, was developed the modern\nJapanese Theatre,... a theatre born of the\nactor, not the poet, of movement, not the\nspoken word.\nPassing on to the Classic dances we find\ntheir origin is neither as mythological nor\nas remote as that of the religious. They seem\nto have developed under the influence of the\nBuddhist priests, who, finding the love of\nmusic and dancing too deeply rooted in the\nJapanese nature to be eradicated, turned\nthem to good purpose by wedding them to\nreligious poems teaching 44 the instability of\nlife, the vanity of all things human \" until\nthere finally emerged those No dramas which\nshow a marked affinity with the Greek, and\nwhich, to the cultured Japanese, are so sa-\ncred, so jealously guarded from the invasion\nof the modern and realistic spirit which is\nfast dominating every department of the\nnational life. & & &\n. These dramas, in which 44 nothing of a\ncommonplace or frivollous nature is ever\nrepresented\" are acted on a stage and 44are\n44 partly sung, partly recited, and performed\n44 by dancers, or what in Europe might be\n44 called actors, were it not that their gestures\n44 are to a certain extent rhythmical and\n44 conventional, and by a chorus which sits\n44 on one side and sings and recites but takes\n44 no part in the proceedings\", while the\nhero 44dances or strikes appropriate attitudes,\nboth his paces and postures being slow and\nsolemn\". &\n& Only men are permitted to act in the No\ndramas and the scenery is scanty and simple,\n...merely a suggestion; but the costumes are\nrich and stately and masks are always worn.\nThe No drama is, in fact, with its beau-\ntiful monotony, its freedom from violent\npassion or play of emotion, its simplicity,\nsymbolism and spiritual suggestion, a highly\nconventionalised form of art, a relic of that\nwhich was finest in ancient Japan, the lan-\nguage, costumes and postures being still those\nof eight hundred years ago. &\nOf the three classes of Dances the most\nancient and primitive is, however, the Po-\npular dance, since, before arts, civilisation\nor even formalised religion spring up in a\ncountry, it is the instinct of primitive peoples\nto express their emotions by dances* and the\n44 bon \" dances, varying in detail but uniform\nin their main features, are danced in con-\nformity to the Shinto cult in August, to\nwelcome the departed spirits which are sup-\nposed at that season to revisit the earth.\nIn these dances 44 the peasants form a\n44 great circle, a living wheel, which revolves\n44 now slowly, now swiftly, whilst they pos-\n4 &\n& Dr Bucke's book still remains the best\nwhich I have as yet read. &\n& Perhaps if Edward Carpenter's little work\nbe placed close to Bucke's book it will add\na lustre to it, but the Doctor's book is still\nthe best.. Carpenter never wrote anything so\nadmirable, and it is a pity that Carleton Noyes\ndid not make the effort necessary to go fur-\nther than these two. & &\n& Traubel's works on Whitman I do not\nknow. I am told they are extraordinary. Bucke\nis so admirable because he is not carried\naway by his subject, and Carpenter surprising\nbecause for the first time he stands firm and\nresists the attraction of writing a second\n\" Specimen Days\".\nNoyes must try again. He could have\ncondensed what he had to say into twenty\nfive & &\n& The get-up and printing of the book Is\nexcellent, as is usually the case with volumes\nbearing the name of the Houghton and\nMiflin Co. & & &\n'phis book by James Thomson is a much\nfiner thing. Written in 1874 and 1882 the\ntwo articles which make up the volume ap-\npeared in magazines of the period. j@>\n& The present reprint has an interesting\nIntroduction by Thomson's old friend and\npublisher Bertram &\nI like the whole book, and although it can\ntell nothing new about Whitman it retells\nthe old story very well, and is valuable be-\ncause written by a writer of poems,... the\nwriter of \" The City of Dreadful Night\" and\n\" The Hound of Heaven \". & &\nOne day another American poet will ven-\nture a song. In that song one verse at least\nwill carol to his predecessor. Then for the\nfirst time shall people understand the true\nworth of this forerunner of American power\nand beauty,... for that time is not yet ar-\nrived."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c052", "article_bluemountain": "bmtnaau_1910-10_01#c052", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "89", "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=bmtnaau191010-01.2.23.8", "titre_corps": "SIX MASTERS IN DISILLUSION by Algar Thorold", "titre_sommaire": "SIX MASTERS IN DISILLUSION by Algar Thorold", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.46", "debut_caractere": 3017, "fin_caractere_exclue": 4294, "texte": "SIX MASTERS IN DISILLUSION by Algar\nThorold. Constable 61-\nA. C.\n|—| ere Is someone who knows how to write\nEnglish. You may take the book up, you\nmay open it at any page and whatever passage\nyou light upon is an enjoyment to read. Thus\nyou have something like the true creation.\nYou take It for what it is, not for what it\nmeans, for to know what It means would\nbe as impossible as to know what the earth\nmeans.\nThe \"Six Masters\" selected for criticism\nare Fontenelle, Prosper Merim£e, Ferdinand\nFabre, Joris-Karl Huysmans, Maeterlinck and\nAnatole France. & & &\nIn reading the essays you receive the\nillusion of disillusion, the disillusion of illu-\nsion. It is what the author intends you to\nreceive ; therefore the author has triumphed.\n& Black is white to him, only.... precisely\nthe opposite. & &\nThe truth of this is one of the most dif-\nficult things to convey and that the author\nshould have succeeded in doing it places him\nalmost in a place apart. & &\nMr Thorold's aim being objective criticism\nhis personal opinions are sedulously concealed.\nHis sympathies are perhaps with Maeterlinck\nand Anatole France,... though, indeed, they\nare bestowed upon all the others as well. He\nis far from adopting the vitalist re-action of\nsuperstition against the dissolving effect of"}, {"page_pdf": 47, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 162, "texte": "intelligence analysed in the epilogue; he\nmerely indicates it as what he believes it to\nbe, i. e. a logically possible position and one\nvery likely to be popular."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c054", "article_bluemountain": "bmtnaau_1910-10_01#c054", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "89", "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=bmtnaau191010-01.2.23.9", "titre_corps": "GARIBALDI AND THE THOUSAND by George Macaulay Trevelyan", "titre_sommaire": "GARIBALDI AND THE THOUSAND by George Macaulay Trevelyan", "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": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.47", "debut_caractere": 164, "fin_caractere_exclue": 1826, "texte": "GARIBALDI AND THE THOUSAND by\nGeorge Maculay Trevelyan. Longman's,\nGreen & Co t8[-\nnot favoured with a review copy\nwe cannot let this book pass unreviewed.\nYet fancy reviewing Garibaldi and his Thou-\nsand and One, (the one being the brilliant\nauthor) I\nWhat's to be done then ? ... how get out\nof it now we are in for it ? We hear the\nsplendid sounds of the Garibaldi march and\nthe procession goes by; we can only salute.\nThe whole pageant of heroism and sweetness\nis too overwhelming to say much about; one\nfeels one is still on the mountain side at the\nGibilrossa Pass. The divine troops wind down\nthe steep path, phantoms; and behind them\nmarches,... our author: no phantom, and\nno less one of them because of the\nEveryone in the Theatre must love this\nbook if he read it. Not an actor but should\nbe stirred profoundly as he reads of this\nstupendous 44 impossible \" attempt proved by\nsacrifice to be the easiest thing in the world.\nHow this great fight for the freedom of\nItaly resembles the fight which must come\nfor the freedom of our Art!\n& Listen I... 441 offer neither pay, nor quar-\nters, nor provisions; I offer hunger, thirst,\n44 forced marches, battles and death. Let\n44 him who loves his country in his heart\n44 and not with his lips only, follow me.\"\nAgain and again this is Garibaldi's offer.\nThe old offer and none other awaits any\nof us who love the freedom of that which\nwe profess to love before all &\nLet anyone who professes to love the\nTheatre read both books by Mr Trevelyan.\nWe promise him something exceptional, we\npromise him warmth, the glow of renewed\nvitality, a thrill which will last him to the\nend of his days and never grow less."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c055", "article_bluemountain": "bmtnaau_1910-10_01#c055", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "90", "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=bmtnaau191010-01.2.23.10", "titre_corps": "VENICE IN THE EIGHTEENTH CENTURY", "titre_sommaire": "VENICE IN THE EIGHTEENTH CENTURY", "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": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.47", "debut_caractere": 1828, "fin_caractere_exclue": 4584, "texte": "VENICE IN THE EIGHTEENTH\nCENTURY. PhilippeMonnier. Chatto\nand WIndus. 7/6 net.\n\\yhat a charming book! How delightfully\nit is translated. One reads it with as\nmuch ease as that with which it appears to\nhave been written. Full of gaiety, colour,\npoetry, what a charming book! &\nAnd for us who labour among the ruins\nof a dead Theatre how full of promise is this\nbook. Actors especially owe Monsieur Monnier\na debt they will find it hard to repay. For,\nif he speaks well of the playwrights Goldoni\nand Qozzi, if the painter Tiepolo floats once\nmore as Jupiter upon one of his ceilings, if\nthe Doges and the Dukes appear and attract\nus the actors literally come to life again and,\nwith their overpowering attraction, compel\nour admiration. &\nThey are the foremost figures in the book.\nNothing can stand beside them. Monsieur\nMonnier speaks of them on the first page, in\nthe very first line, and his eighth chapter is\nthe most beautiful one in the book.\nTherein he writes better of the theatre\nthan anyone has written of late years, and\nshows a picture which ravishes us. To say\nmore would be to spoil the treat in store\nfor the reader of this famous book,... famous\nnot only because it has received the honour\nof being 44 crowned \" by the French Academy.\n& Books about the Theatre are dull reading\nas a rule; this one is as entertaining as a\nfirst class theatrical performance. The actors\nappear, we see them at their work. By their\nside Casanova's exploits seem dull,.... and\nwe know how lively they were; Monsieur\nMonnier re-tells us some of them.\nIn the third chapter he tells us about the\nFestivals, Carnivals and the Villeggiatura. &\n& 44 The Carnival of Venice ! The words have\n44 lost none of their ancient power. The veil of\n44 our eyes is rent as we utter them. Even\n44 as we smile, merry phantoms seem to\n44 beckon us; exqusite dead graces push away\n44 their coffin lids; the diaphanous air throbs\n44 with light laughter; quavers and semi-qua-\n44 vers gambol in the stave. & &\n44 Six months of the year it lasts, from\n44 October to Christmas, from Twelfth Night\n44 to Lent; on Ascension Day it starts again\n44 for two weeks; and again upon St Mark's\n44 Day, and whenever a Procurator is chosen,\n44 on the least occasion always, on the slight-\n44 est pretext. As long as it endures all the\n44 people go about in masks all the people,\n44 from Doge to kitchen-maid. In masks men\n44 and women do business and buy fish, write\n44 their letters, pay their visits, and plead\n44 their causes in the courts. With a mask\n44 over his face a man may say and do as he\n44 pleases; for the State hath sanctioned his\n44 mask, and will protect it. In his mask he\n44 seeks admittance to drawing-rooms,\n44 churches, convents, to the ball, the Palace,\n44 the Ridotto. & &"}, {"page_pdf": 48, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 1242, "texte": "44 There he may take his ease, he may\n44 read in his armchair, but he must not for-\n44 get the law of Carnival: barriers hold,\n44 authority avails, and dignity exists no\n44 more; there are no more lordlings now, nor\n44 beggars kissing their Jong sleeves; no more\n44 is heard of spy or nun, of sbirro or zentil-\n44 donna, rope-walker or inquisitor, poor man\n44 or alien; there is but one rank and one\n44 character, Sior Maschera; but one costume\n44 and one free people, garmented, steeped,\n44 confounded in delight. A scrap of white\n44 satin on the face, a black silk hood upon\n44 the shoulders; and by virtue of this comic\n44 livery, the aristocratic city becomes a de-\n44 mocracy; and the loose garb of Laughter\n44 levels all her sons.\n44 Truly the Mask is more than a disguise:\n44 lis an incognito.\n& And again 44 the Mask drives away diffi-\n44 dence, covers all shame, and keeps all\n44 blushes hid, emboldens intercourse, and\n44 prompts adventure; better than bolts and\n44 bars, better than snug retreats, to guard\n44 the manifold meshes of intrigue \"\nHow charming all this is! And what you\nwill read about the actors is no less char-\nming and far more important. &\n& Every English actor must read the book\nnow that it has been translated."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c056", "article_bluemountain": "bmtnaau_1910-10_01#c056", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "91", "image_debut": 48, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.23.11", "titre_corps": "THE JAPANESE DANCE by Marcelle Azra Hinckes", "titre_sommaire": "THE JAPANESE DANCE by Marcelle Azra Hinckes", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.48", "debut_caractere": 1244, "fin_caractere_exclue": 4733, "texte": "THE JAPANESE DANCE by Marcelle\nAzra Hinckes. W. Heinemann. 5/- net.\n'\"phis Brochure, for all its brevity, shows no\nlittle learning and treats of a subject very\ninteresting to those who would know some-\nthing of the Theatrical Art of the Japanese,\nsince, although the modern drama has now\n44 become entirely separated from dancing \"\nit was from this source that it sprang ori-\nginally, and the fine influence is yet traceable\nin the fact that 44 on the Japanese stage the\nmimetic art is as important as the spoken\nword\nFrom a remote period the Dance In Japan\nhas been of paramount importance histori-\ncally as well as esthetlcally, and ever closely\nassociated with the religion of the country.\nIn fact in a land where 44 the very gods\ndanced, before ever mortal feet had learned\nto tread a measure \" it was inevitably woven\nclosely into the fabric of the nation's reli-\ngious, artistic and daily life, and to it the\ncountry owes its finest dramatic literature,\nthe 44 preservation of the classical Japanese\n44 language in the poems written several\n44 hundred years ago to accompany the No\n44 dances \", its masks, its stage, the construe-\ntion of its theatre and the birth of those\nwonderful No plays which are supreme exam-\nples of brevity and fine tradition in dramatic\nart. & &\n& It should not be forgotten, however, that\nthe so-called 44 Dance \" of Japan is a thing\nwidely differing from that exercise which\nEuropeans understand by the word,,... an\nexercise which the Japanese would call gym-\nnastics and class with Ju-jutsu or the ancient\nacrobatic 44 Vengakuo\".\n& The Japanese dance, like the ancient Greek\nas we imagine it, is entirely of a pantomimic\nnature and 44 strives to represent in gesture\n44 an historical incident, some mythical legend\n44 or a scene from folk-lore.\" & &\nBy symbolical gesture and a rythmic,\nhighly-conventionalised, regulated movement\nit suggests, gives visible expression to, ideas\nand emotions, but in so delicate and distant\na manner as to require, not only for its ap-\npreciation, but almost, one may say, as a\ncondition of its existence, a particular temper\nand mental attitude on the part of the\nspectators, a unity between actors and au-\ndience; and the need of this preparedness on\nthe part of the onlookers can be the better\nunderstood if it be remembered during the\n44 apparently meaningless gestures and sleeve-\nwaving and fan-waving and stamping of feet,,\nthat 44 every movement, every turn or twist\n44 of the hand, the arm or the body has some\n44 significance as clear to the Japanese as\n44 spoken words and that the subtlety of the\n44 Eastern mind detects various shades and\n44 degrees of emotions In dance movements\n44 which we neither look for nor understand. \"\nThe bare-legged dancer,... the lady whose\nsuccess lies largely in the scantiness of her\ncostume, is unknown among the dance-artists\nof Japan, where even the feet are little seen,\ntaking, especially in the religious dances, but\nslight part in the action ; and formalised\ngesture, rigidly prescribed postures, dignity,\nperfect control of movement attained to by\nrigorous physical training, smoothness and\nthat appearance of ease which is the outcome\nof long discipline, are salient characteristics.\n£/ The fact that the body itself is never seen\nand that Japanese dancing is yet so fine a\nthing as it is and was dispels once and for\nall the illusion that it is necessary to the\ndance for the movement of the natural body\nto be seen. & & & & &\nThe European dance may affect us, give"}, {"page_pdf": 51, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 4670, "texte": "us the same pleasure, as the graceful spon-\ntaneous movements of lambs in a meadow,\nof children running on the seashore, of young\nleaves waving in the wind ; but the Japanese,\nwith its strict ritual, its noble conservatism\nwhich still preserves traditional postures\nwithout change or modification, its obedience\nto a fine tradition, its perfect control of its\nmaterial,.... that is, the human body, ap-\nproaches more nearly to the stately and\nsplendid ceremonies of the past, of which,\namong us, some trace yet lingers in the\nsymbolic gestures of the priests celebrating\nmass, and it thus partakes more nearly of\nthe nature of an art.\nMiss Hincks discusses her subject under\nthree headings, Religious, Classical and Po-\npular. &\nUnder the first of these are included the\nreligious temple dances originally introduced\nfrom China, and of which the most interes-\nting and important was that of the Shinto\nShrines, the 44 Kagura \" whose strains were\nsupposed to be those which, according to\nlegend, lured the Sun-goddess from the cave\nand originated all the dances of succeeding\ncenturies. &\n& For the performance of this 44 Kagura\"\nstages were erected at all the principal\nShinto temples, each temple having its staff\nof dancers; and on these stages and from\nthese dances, to which marionette shows\nwere later added, was developed the modern\nJapanese Theatre,... a theatre born of the\nactor, not the poet, of movement, not the\nspoken word.\nPassing on to the Classic dances we find\ntheir origin is neither as mythological nor\nas remote as that of the religious. They seem\nto have developed under the influence of the\nBuddhist priests, who, finding the love of\nmusic and dancing too deeply rooted in the\nJapanese nature to be eradicated, turned\nthem to good purpose by wedding them to\nreligious poems teaching 44 the instability of\nlife, the vanity of all things human \" until\nthere finally emerged those No dramas which\nshow a marked affinity with the Greek, and\nwhich, to the cultured Japanese, are so sa-\ncred, so jealously guarded from the invasion\nof the modern and realistic spirit which is\nfast dominating every department of the\nnational life. & & &\n. These dramas, in which 44 nothing of a\ncommonplace or frivollous nature is ever\nrepresented\" are acted on a stage and 44are\n44 partly sung, partly recited, and performed\n44 by dancers, or what in Europe might be\n44 called actors, were it not that their gestures\n44 are to a certain extent rhythmical and\n44 conventional, and by a chorus which sits\n44 on one side and sings and recites but takes\n44 no part in the proceedings\", while the\nhero 44dances or strikes appropriate attitudes,\nboth his paces and postures being slow and\nsolemn\". &\n& Only men are permitted to act in the No\ndramas and the scenery is scanty and simple,\n...merely a suggestion; but the costumes are\nrich and stately and masks are always worn.\nThe No drama is, in fact, with its beau-\ntiful monotony, its freedom from violent\npassion or play of emotion, its simplicity,\nsymbolism and spiritual suggestion, a highly\nconventionalised form of art, a relic of that\nwhich was finest in ancient Japan, the lan-\nguage, costumes and postures being still those\nof eight hundred years ago. &\nOf the three classes of Dances the most\nancient and primitive is, however, the Po-\npular dance, since, before arts, civilisation\nor even formalised religion spring up in a\ncountry, it is the instinct of primitive peoples\nto express their emotions by dances* and the\n44 bon \" dances, varying in detail but uniform\nin their main features, are danced in con-\nformity to the Shinto cult in August, to\nwelcome the departed spirits which are sup-\nposed at that season to revisit the earth.\nIn these dances 44 the peasants form a\n44 great circle, a living wheel, which revolves\n44 now slowly, now swiftly, whilst they pos-\n4 Sir Herbert Tree's productions of Shake-\nspeare are not without their faults, but Sir\nHerbert is a man without pretensions,\nand how pleasant that is. He has made himself\na hard straightforward worker in spite of all\nthe obstacles which beset his position. On\nthe other hand Mr Trench, who follows in\nhis footsteps in every other respect, is very\npretentious and how disagreeable that\nis. His production of the \"Blue Bird\" was mo-\ndelled upon the very lines of His Majesty's\nTheatre. It was not a beautiful production\nand artistically it compared unfavourably\nwith the fairy play which was running at that\ntime at Sir Herbert's theatre opposite.\nMr Trench has good theories but unfor-\ntunately he fails to realise them.\n\" The glorious blue\" which Mr Trench\nthinks he invented comes somewhere from\nNature and was first used to its full advantage\nby Mr Gordon Craig in his production \"of Dido\nand Aeneas \" In 1900. Mr Trench was not\nplaying at theatres then. & &\nWhen Sir Herbert Tree heard of this cu-\nrious article in the Saturday Review he\nexpressed surprise. Mr Trench instantly des-\ncended from his \"built up\" pedestal, (which\nwill no doubt cost him a \"fabulous sum\")\nand sent Sir Herbert the following telegram :\n(quite Imperial to telegraph when a little\nvisit would have been entirely in goodtastel)\n\"Quite amazed you should take first paragraph\n\"in Saturday Review article as referring to\n\"your production of which I know nothing\n\"and hope everything \" ,.. or, as Dan Leno\nwould say, \"If the cap fits,.... bon voyage\".\nThe unpleasant part of it all is that Mr\nTrench cannot be \" amazed \" and to pretend\nto be so is a little queer.\nBut the Public will not be deceived. They\nknow Tree and admire him for what he is.\nThey can never know Trench, for he hides,...\npeep-bo. The English Public likes a fighter\nas well, or better, than anyone, and if Trench\nhad fought Tree in the open instead of throw-\ning stones from a glass house and had stuck\nto his guns when challenged there would\nhave been cheers for the two of them. As\nit is Tree easily captures the whole position.\n& I notice that The Mask has its knife into\nTree as a producer, but I also notice, and\nothers have no doubt done so too, that The\nMask sticks to its guns and isn't \"amazed\"\nthat its opponent sticks to his.\nThis is a properer method than the one\nMr Trench would inaugurate, which resem-\nbles more nearly than anything else the\nwhite-flag methods of the Boer war. G. H.\nMr Bernard Shaw & Mr Granvitle Barker.\nNew York Review which I read every\nweek with great interest always brings\nme the news of our own theatres before the\nLondon papers have got hold of it. Thus the\nnews that Mr Barrie had supported the Re-\npertory Theatre with sixteen thousand pounds\ncame first from America.\n& Now comes a second piece of news in a\nbig headline saying:\nBERNARD SHAW GROSSLY OFFENDS HIS\nFRIEND GRANVILLE BARKER,\nand, as a sub-heading\nRedoubtable \" G. B. S. \" Said He Had\nto Go to See One of Barker's\nPlays Half a Dozen Times\nBefore He Could Comprehend It.\n& This strikes one as rather ridiculous. One\nwill next be hearing of a father \"grossly of-\nfending\" his infant son; but surely a good"}, {"page_pdf": 56, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4378, "texte": "lecture and a sound trouncing is the privilege\nany son may claim. &\nMr Frohman and his &( Proposals \"\nCharles Frohman says 44 he hasn't got\nL. io,ooo,o.o. \" but adds he 44 would like\ndo for the Theatre what the Bail Maily\ndoes for airmanship.\" Daily Mail.& &\nWe may expect something like the follow\ning shortly; & & &\n44 Mr William Brown the celebrated me-\n44 chanic who rolls the curtain up and down at\n04 the Theatre Royal told a representative of\n44 the Court Circular yesterday that he would\n44 like to do for the Theatre what his Majesty\n44 the King is doing for the Empire. He regrets\n44 that at present he only has L. 7.10.0 in the\n44 savings bank but points to the Frohman-\n44 Daily Mail precedent, saying that the wish\n44 is everything And so say all of us I\" as\nCarados would say. <£? R. S.\nMr Justice Darling.\nJustice Darling has lately re-stated the\nfact that the Drama is not a thing to\ntalk about but to see.\nIt Is the business of a good Judge to dis-\ncern the false from the true and Mr Justice\nDarling is wise to discern that Drama is a\nthing which makes its primary appeal\nthrough the eye and not through the ear.\n\nJ.B.\n\nPARIS.\nJ. de S.\nPel/eas and Melisande. & j&\nJt is not a very serious offence that Madame\nGeorgette Leblanc has committed In pro-\nducing this play in one of her houses, the\nAbbey of St Wandrille, but neither is it very\nserious as an artistic event. The example she\nsets is,vhowever, a bad one. To the gentle-\nman who attended the performance on behalf\nof the Daily Mail she confessed laughingly\nthat it is not everybody who is so happily\nsituated as to have an 44 ancient Abbey and\npark in which to produce artistic piays \",...\nand the world is to be congratulated on the\nfact. & & & &\nA more vital reason is necessary for the\nproduction of a work of art. Even the pos-\nsession of a theatre is not excuse enough for\nrushing into theatricals. & &\n& Following the example set by Madame\nLeblanc the good householder may expect\nany morning to look out of his back window\nand find them playing at \" As you Like it\"\non the lawn, or, on calling to see an old\nfriend, to find him in his library in the midst\nof a performance of 44 Faust\" with the do-\nmestics seated around as audience ; or, if\nacquainted with anyone living in the\n\"Quarter\" to find them at any moment of the\nday engaged in a performance of a table-\nau d-ch air drama by Bernard Shaw. &\nThe excuse they could put forward would\nbe quite as good as that given by Madame\nLeblanc. &\n\nJAPAN: TOKIO\n\nWomen in the Theatre.\nstill seems to find the old way of\ncreating things the best. She produces\nresults by precisely the same methods she\nemployed millions of years ago. Her moun-\ntains, flowers, moons and men are probably\nall of them different from what they were\nonce upon a time ; but In producing them\nshe has not flirted with new mediums.\n& The artist who follows this law of nature\ndoes not go far wrong. We search back for\nthe origin of things not to copy them but\nto learn by which method and in what ma-\nterial they were made.\n& For centuries we understood in the East\nthat only the masculine temperament was\nfitted for stage performances. The actor had\nlearnt his lesson thoroughly and was content\nto hide his person and personality under the\nmask and the robe and had learnt to value\nthe result. He was following in the footsteps\nof nature where the creator is always hidden.\n& Today in Japan everything is being chan-\nged, and many of the changes are both ne-\ncessary and good. It would be ridiculous to\ngo to war with a western power in the\nancient junks; it would be folly to oppose\nthe old double-handled sword to the Maxim\ngun. In daily life also much has been altered,\nand altered for the better. &\nBut although all these things may be\nimprovements it by no means follows that\nour art can be improved by changing the\nmethods and materials which have been\nemployed with so great success in the past.\njg? Madame Sada Yacco was the first lady to\ngo upon the stage in Japan. The innovation\nwas a pity. She then went to Europe to study\nthe modern theatres there, and more espe-\ncially the Opera House in Paris, intending to\nintroduce such a theatre into Japan,... it is\nto be presumed with the idea of advancing\nthe art of the Japanese theatre.\n& There can be no hesitation in saying that\nshe is doing both the country and its theatre\na grievous wrong. Art can never find a new"}, {"page_pdf": 57, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 1391, "texte": "way of creating better than the primitive\nway which the nation learned as children\nfrom Nature.\nThe introduction of women upon the stage\nis held by some to have caused the downfall of\nthe European theatre, and it is to be feared\nthat it is destined to bring the same disas-\nter to Japan since it is announced that\nMadame Yacco intends not only to use ac-\ntresses for the female roles but to introduce\nother occidental customs upon her new stage.\nIt must not for a moment be supposed\nthat the introduction of women on to the\nstage proceeds entirely from motives of im-\nproving the art. History shows there to have\nbeen always motives of economy behind the\ninnovation. &\n& Women are always glad to appear before an\naudience for next to nothing and managers of\nall periods have proved themselves glad to\navail themselves of this feminine weakness.\nWhen ever the swing of the pendulum brings\nround an age of increased commercialism it is\nto be noticed that the wives and daughters are\nalways selected to do the work previously\ndone by men, and that this, beginning by\ndrawing them out of their own sphere, ends\nby forcing them out of it, since, while women\nare working for lower wages than those for-\nmerly paid to men, the men, on their part,\nare without employment and are thus no\nlonger able to support the women. The result\nis therefore disastrous economically as well\nas artistically.\n\nTao."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c062", "article_bluemountain": "bmtnaau_1910-10_01#c062", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "96", "image_debut": 55, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.24.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.55", "debut_caractere": 15, "fin_caractere_exclue": 4161, "texte": "LONDON.\n\nSir Herbert Tree and Mr Herbert Trench.\n'Jphese two old friends should not fall out.\nYet their doing so seems likely, for Sir\nHerbert has been hurt by Mr Trench's remarks\nin the Saturday Re vie w about \"Shakespea-\nrean upholstery \" and \" built up palaces and\nchapels\" and \" coronations modelled upon\nfancy balls\" which will cost \"fabulous sums\".\nThe phrase about the lace and velvet robes\nof the cardinals which will \" later furnish\nforth valuable dining-room curtains for il-\nlustrious actor-managers \" seems also to have\ntouched the quick. Why, heaven only knows.\nOf course Mr Trench has since denied\nthat in writing he had any thought of Sir\nHerbert in his mind, but it is certainly a\ncoincidence more than strange that he should\nhave aired these opinions in the Saturday\nReview within three weeks of the date when\na Shakespearean play calling for built-up pa-\nlaces and coronations and cardinal's robes\ncosting fabulous sums was announced to be\npresented at His Majesty's Theatre.\n> Sir Herbert Tree's productions of Shake-\nspeare are not without their faults, but Sir\nHerbert is a man without pretensions,\nand how pleasant that is. He has made himself\na hard straightforward worker in spite of all\nthe obstacles which beset his position. On\nthe other hand Mr Trench, who follows in\nhis footsteps in every other respect, is very\npretentious and how disagreeable that\nis. His production of the \"Blue Bird\" was mo-\ndelled upon the very lines of His Majesty's\nTheatre. It was not a beautiful production\nand artistically it compared unfavourably\nwith the fairy play which was running at that\ntime at Sir Herbert's theatre opposite.\nMr Trench has good theories but unfor-\ntunately he fails to realise them.\n\" The glorious blue\" which Mr Trench\nthinks he invented comes somewhere from\nNature and was first used to its full advantage\nby Mr Gordon Craig in his production \"of Dido\nand Aeneas \" In 1900. Mr Trench was not\nplaying at theatres then. & &\nWhen Sir Herbert Tree heard of this cu-\nrious article in the Saturday Review he\nexpressed surprise. Mr Trench instantly des-\ncended from his \"built up\" pedestal, (which\nwill no doubt cost him a \"fabulous sum\")\nand sent Sir Herbert the following telegram :\n(quite Imperial to telegraph when a little\nvisit would have been entirely in goodtastel)\n\"Quite amazed you should take first paragraph\n\"in Saturday Review article as referring to\n\"your production of which I know nothing\n\"and hope everything \" ,.. or, as Dan Leno\nwould say, \"If the cap fits,.... bon voyage\".\nThe unpleasant part of it all is that Mr\nTrench cannot be \" amazed \" and to pretend\nto be so is a little queer.\nBut the Public will not be deceived. They\nknow Tree and admire him for what he is.\nThey can never know Trench, for he hides,...\npeep-bo. The English Public likes a fighter\nas well, or better, than anyone, and if Trench\nhad fought Tree in the open instead of throw-\ning stones from a glass house and had stuck\nto his guns when challenged there would\nhave been cheers for the two of them. As\nit is Tree easily captures the whole position.\n& I notice that The Mask has its knife into\nTree as a producer, but I also notice, and\nothers have no doubt done so too, that The\nMask sticks to its guns and isn't \"amazed\"\nthat its opponent sticks to his.\nThis is a properer method than the one\nMr Trench would inaugurate, which resem-\nbles more nearly than anything else the\nwhite-flag methods of the Boer war. G. H.\nMr Bernard Shaw & Mr Granvitle Barker.\nNew York Review which I read every\nweek with great interest always brings\nme the news of our own theatres before the\nLondon papers have got hold of it. Thus the\nnews that Mr Barrie had supported the Re-\npertory Theatre with sixteen thousand pounds\ncame first from America.\n& Now comes a second piece of news in a\nbig headline saying:\nBERNARD SHAW GROSSLY OFFENDS HIS\nFRIEND GRANVILLE BARKER,\nand, as a sub-heading\nRedoubtable \" G. B. S. \" Said He Had\nto Go to See One of Barker's\nPlays Half a Dozen Times\nBefore He Could Comprehend It.\n& This strikes one as rather ridiculous. One\nwill next be hearing of a father \"grossly of-\nfending\" his infant son; but surely a good"}, {"page_pdf": 56, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 1136, "texte": "lecture and a sound trouncing is the privilege\nany son may claim. &\nMr Frohman and his &( Proposals \"\nCharles Frohman says 44 he hasn't got\nL. io,ooo,o.o. \" but adds he 44 would like\ndo for the Theatre what the Bail Maily\ndoes for airmanship.\" Daily Mail.& &\nWe may expect something like the follow\ning shortly; & & &\n44 Mr William Brown the celebrated me-\n44 chanic who rolls the curtain up and down at\n04 the Theatre Royal told a representative of\n44 the Court Circular yesterday that he would\n44 like to do for the Theatre what his Majesty\n44 the King is doing for the Empire. He regrets\n44 that at present he only has L. 7.10.0 in the\n44 savings bank but points to the Frohman-\n44 Daily Mail precedent, saying that the wish\n44 is everything And so say all of us I\" as\nCarados would say. <£? R. S.\nMr Justice Darling.\nJustice Darling has lately re-stated the\nfact that the Drama is not a thing to\ntalk about but to see.\nIt Is the business of a good Judge to dis-\ncern the false from the true and Mr Justice\nDarling is wise to discern that Drama is a\nthing which makes its primary appeal\nthrough the eye and not through the ear.\n\nJ.B."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c063", "article_bluemountain": "bmtnaau_1910-10_01#c063", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "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=bmtnaau191010-01.2.24.3", "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": 56, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.56", "debut_caractere": 1138, "fin_caractere_exclue": 2473, "texte": "PARIS.\nJ. de S.\nPel/eas and Melisande. & j&\nJt is not a very serious offence that Madame\nGeorgette Leblanc has committed In pro-\nducing this play in one of her houses, the\nAbbey of St Wandrille, but neither is it very\nserious as an artistic event. The example she\nsets is,vhowever, a bad one. To the gentle-\nman who attended the performance on behalf\nof the Daily Mail she confessed laughingly\nthat it is not everybody who is so happily\nsituated as to have an 44 ancient Abbey and\npark in which to produce artistic piays \",...\nand the world is to be congratulated on the\nfact. & & & &\nA more vital reason is necessary for the\nproduction of a work of art. Even the pos-\nsession of a theatre is not excuse enough for\nrushing into theatricals. & &\n& Following the example set by Madame\nLeblanc the good householder may expect\nany morning to look out of his back window\nand find them playing at \" As you Like it\"\non the lawn, or, on calling to see an old\nfriend, to find him in his library in the midst\nof a performance of 44 Faust\" with the do-\nmestics seated around as audience ; or, if\nacquainted with anyone living in the\n\"Quarter\" to find them at any moment of the\nday engaged in a performance of a table-\nau d-ch air drama by Bernard Shaw. &\nThe excuse they could put forward would\nbe quite as good as that given by Madame\nLeblanc. &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c064", "article_bluemountain": "bmtnaau_1910-10_01#c064", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "97", "image_debut": 56, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.24.4", "titre_corps": "JAPAN: TOKIO", "titre_sommaire": "JAPAN: TOKIO", "signature_source": "Tao", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.56", "debut_caractere": 2475, "fin_caractere_exclue": 4378, "texte": "JAPAN: TOKIO\n\nWomen in the Theatre.\nstill seems to find the old way of\ncreating things the best. She produces\nresults by precisely the same methods she\nemployed millions of years ago. Her moun-\ntains, flowers, moons and men are probably\nall of them different from what they were\nonce upon a time ; but In producing them\nshe has not flirted with new mediums.\n& The artist who follows this law of nature\ndoes not go far wrong. We search back for\nthe origin of things not to copy them but\nto learn by which method and in what ma-\nterial they were made.\n& For centuries we understood in the East\nthat only the masculine temperament was\nfitted for stage performances. The actor had\nlearnt his lesson thoroughly and was content\nto hide his person and personality under the\nmask and the robe and had learnt to value\nthe result. He was following in the footsteps\nof nature where the creator is always hidden.\n& Today in Japan everything is being chan-\nged, and many of the changes are both ne-\ncessary and good. It would be ridiculous to\ngo to war with a western power in the\nancient junks; it would be folly to oppose\nthe old double-handled sword to the Maxim\ngun. In daily life also much has been altered,\nand altered for the better. &\nBut although all these things may be\nimprovements it by no means follows that\nour art can be improved by changing the\nmethods and materials which have been\nemployed with so great success in the past.\njg? Madame Sada Yacco was the first lady to\ngo upon the stage in Japan. The innovation\nwas a pity. She then went to Europe to study\nthe modern theatres there, and more espe-\ncially the Opera House in Paris, intending to\nintroduce such a theatre into Japan,... it is\nto be presumed with the idea of advancing\nthe art of the Japanese theatre.\n& There can be no hesitation in saying that\nshe is doing both the country and its theatre\na grievous wrong. Art can never find a new"}, {"page_pdf": 57, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 1391, "texte": "way of creating better than the primitive\nway which the nation learned as children\nfrom Nature.\nThe introduction of women upon the stage\nis held by some to have caused the downfall of\nthe European theatre, and it is to be feared\nthat it is destined to bring the same disas-\nter to Japan since it is announced that\nMadame Yacco intends not only to use ac-\ntresses for the female roles but to introduce\nother occidental customs upon her new stage.\nIt must not for a moment be supposed\nthat the introduction of women on to the\nstage proceeds entirely from motives of im-\nproving the art. History shows there to have\nbeen always motives of economy behind the\ninnovation. &\n& Women are always glad to appear before an\naudience for next to nothing and managers of\nall periods have proved themselves glad to\navail themselves of this feminine weakness.\nWhen ever the swing of the pendulum brings\nround an age of increased commercialism it is\nto be noticed that the wives and daughters are\nalways selected to do the work previously\ndone by men, and that this, beginning by\ndrawing them out of their own sphere, ends\nby forcing them out of it, since, while women\nare working for lower wages than those for-\nmerly paid to men, the men, on their part,\nare without employment and are thus no\nlonger able to support the women. The result\nis therefore disastrous economically as well\nas artistically.\n\nTao."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c065", "article_bluemountain": "bmtnaau_1910-10_01#c065", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "100", "image_debut": 57, "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=bmtnaau191010-01.2.25", "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": 57, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.57", "debut_caractere": 1393, "fin_caractere_exclue": 3901, "texte": "EDITORIAL NOTES\n\nof the things which surprised an Ame-\nrican actor who lately spent some weeks\nin England was that \" The English actors\n\"are still using old methods that we, (the\n\"Americans) left behind long ago.... England\n\" has learnt all she can about the theatre and\n\" that is not a good sign\n& The New York Dramatic Mirror, the\nleading American stage journal, gives pro-\nminence to this statement.\n& What is it worth ? we think it is worth\ncareful consideration. Americans are quite\npractical, and certainly wish their English\nconfreres well. & &\nIt is very unfortunate to think that\npeople outside England notice that she re-\nfuses to learn any more about the theatre.\nYet this is not entirely true. She has been\nlearning lately quite a number of new things,\nthough quite against her will.\nShe has learned from the younger school of\ntheatrical artists. The only pity is that she\ndoes not make more use of these younger\nmen before they turn into old men.\n\nDICKENS COPYRIGHT FUND.\ngomebody has suggested a very fine idea\nto the Strand Magazine, and the journal\nhas risen to the occasion in fine style.\nIt appears that the descendants of Charles\nDickens are poor owing to the disgraceful\ncondition of the copyright law. The Strand\nMagazine's scheme is to attempt to restore\nto them a portion of their property in the\nfollowing way: \" It is estimated that there\nare twenty four million copies of Dickens\nworks extant, allowing for loss through wear\nand tear. Were it conceivable that every\npossessor of one of those volumes were to\npay one penny in super-royalty it needs\nlittle knowledge of arithmetic to arrive at\nthe sum of one hundred thousand pounds. But\nthis is inconceivable Were a quarter of\nthe number to consent that each volume\nshould bear a Dickens stamp certifying that a\n\" deferred royalty \" of one penny had been\npaid, a very large sum might be realised,\n\" without expense, and without prejudice. \"\nThis is the scheme, and a deuced fine\nscheme say all of us on the staff of The Mask.\nWe personally hope that the Walter Crane\npenny stamp will be the one chosen, but there\nmight be other stamps besides penny ones.\nWhy not have six different priced stamps,\n....one for a penny, one for a pound, and\nothers for sixpence, a shilling, half a crown\nand half a sovereign? The premises of Messrs\nChapman and Hail could surely never acco-\nmodate the packet of penny stamps which\nthey would be in honour bound to purchase,\nwhereas a couple o f thousand pound\nstamps could be easily put into a drawer.^"}, {"page_pdf": 58, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 4219, "texte": "& It seems that everyone is excited by the\nscheme and we hope the action of the Strand\nMagazine will draw the attention of the\nauthorities to the terrible and wholesale\nrobbery which goes on today,.... a robbery\nwhich it is in their power to cop© with if\nthey would. &\n& But let them not overlook other branches\nof art where such robbery leaves families\ndestitute. & &\nFor example, a painter of great genius\ndies. After two or three years his pictures,\nhitherto laughed at or disregarded, are sold\nfor low sums by the dealers. Let us say\nthat the family of the painter gets a cou-\nple of thousand pounds, generally it is\nnearer a couple of hundred.\n& Well then? In a few years when the dea-\nler has 44 worked up \" the reputation of these\npictures we hear of them changing hands\nagain; this time perhaps the pictures fetch\nan average price of two thousand pounds\napiece. & &\nIt seemes to us that whenever a work of\nart changes hands (except in the case of a\nbook or a piece of music or a print unless it\nbe the original book, song or print), the\nheirs of the artist are justly entitled to a\npercentage of all profits exceeding the ori-\nginal price paid for the work.\nIf this matter were attended to by the\nauthorities we should hear less about artists\nleaving their families unprovided for.\n\nTHE IRISH THEATRE.\nIrish Literary Theatre was planned in\n1901 by W. B. Yeats, Edward Martyn and\nLady Gregory. These artists some years later\ndeveloped their idea, changing the name of\nit to \"The Irish National Theatre Society\".\nLater on, (in 1904) Miss Horniman generously\ngave them a little Theatre in Dublin. Others\ngave their works of art,.... plays, designs for\nscenes and costumes, their services as actors\nand so forth.\nMiss Horniman has lately turned her gift\ninto a loan. The theatre now costs the little\ngroup a thousand pounds per annum.\nThe Irish Theatre will win through and\nthrough. Its creators have nothing to lose\nexcept their lives ;... they will win. Listen\nto the rhythm of their power:\n44 I am Raftery the poet\nFull of hope and love;\nWith eyes without light;\nWith gentleness without misery.\nGoing west on my journey\nWith the light of my heart;\nWeak and tired\nTo the end of my road.\nI am now\nAnd my back to a wall,\nPlaying music\nTo empty pockets.\"\nDelicious 1... Indomitable...!\n\nSENS A TI ON A LIS M.\n'Jphe Bishop of Carlisle preaching a short\nwhile ago in Carlisle Cathedral inveighed\nagainst modern showy sensationalism, lie\nregretted the money wasted by sightseers\nwho found pleasure in witnessing men flying\nin the air and other men and women who\npaint their face and appear on the stage.\n\" People go to the theatre \" he said, *' to see\n•' overdressed bedizened people in bad paint,\n\" but they never stop to look at a daffodil\n\"in the valley\".\nWe like and dislike this. Of course people\nstop and look long at all beautiful flowers;\nNature is the Qod of thousands, perhaps more\nfirmly than ever before ; we might if we so\nchose have a word to say on this score to the\ngeod Bishop of Carlisle; ....but we like his\nneed, we like his intolerance. It helps to wake\npeople up. &\n& There are times when we feel drawn to-\nwards every one of these ill-painted and\nbedizened creatures in every theatre, booth\nor music hall in the wide world, for as men\nand women they are perhaps without excep-\ntion the most charitable and most courageous\nupon earth. Bnt there are other times when\nwe are very much in sympathy with the re-\nverent Bishop, and then we want to flay all\nthese same bedizened creatures alive. For\ngoodness we know none to surpass them ;\nbut for downright stupidity they deserve all\nthey get. They are impossible. They allow\ngood Bishops to make rude but true remarks\nabout them and take no pains to make such\ncriticism impossible. They remain gaudy,\npainted, theatrical in the bad sense of the\nword. &\nOf course the turn of the tide is coming,\nand when the flow commences the Bishops\nand other churchmen will have to put their\nhouse in order, and if their house be a spi-\nritual one all will be well; but let them see\nto it that they innure themselves to discom-\nfort, for the ways of fate are strange, and\ntoday's ocean may be tomorrow's mountain\nrange, today's theatre may be tomorrow's\nchurch. j&>"}, {"page_pdf": 59, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4568, "texte": "But to rise up from such a depth as that\nin which the theatre people are today sunken\nwill demand no little disinterestedness.\nLose no time then. Begin by giving up\nyour paint,... or rather, your 44 bad paint\"\nas the Bishop calls it. First oi all the Bishop\ndoesn't like it, secondly no one else likes it;\nthirdly you don't need it. & JZ?\nGet to your masks, quickly, When you\nlearn their use, and their invincible po=\nwer, you will be better fitted to ascend.\nTo offer you the Church of the Future as\nyour prize would be out of place, but you\nneed never forget that you once possessed\nthe Church of the Past. & &\nThis all comes from reading a paragraph\nabout a Bishop of England and his true but\nunkind remark about our painted faces:....\nhow sensitive we are, to be sure!...\n\nTHE THEATRICAL YEAR.\nJ. Waters's annual article, The Thea-\ntrical Year in London,\" composed of\nfacts and figures only, avoiding all theory,\nis as interesting as ever. JZ?\nIt proves that of all the plays produced this\nyear the most popular were 44 Arsene Lupin \",\n44 Dear Little Denmark\", 44 The Brass Bottle\",\n44 Smith \", 44 Don \", 44 Sir Walter Raleigh \" ,\n44 The Little Damosel \", 44 The Blue Bird \",\n44 Aladdin \", 44 The House of Temperley \",\n44 Dame Nature \", 44 The Balkan Princess \",\n44 Alias Jimmy Valentine \", 44 The Islander \",\nof these 44 The Brass Bottle \", 44 Don \" and\n44 The Blue Bird \" passed their two hundred\nnights, 44 Arsdne Lupin \" falling short of the\ntwo hundred by one night. & JZ>\nOf revivals 44The Scarlet Pimpernel\" (New\nTheatre) and 44 When Knights were Bold \"\n(Criterian) both ran for over one hundred\nnights. 44 The Importance of being Earnest\"\nof course has run without a break for much\nlonger, but as the run has not yet termina-\nted it is not included in the list. & JZ?\nJZ? There are a few other plays whose runs\nhave not terminated, 44 The Whip \", 44 The\nDollar Princess \", 44 The Bad Girl of the Fa-\nmily \", 44 Tantalising Tommy \", 44 The Naked\nTruth\", 44 The Speckled Band\", The Girl\nin the Train \" and 44 Priscilla runs away \";\nso we see that 44 The Blue Bird \" leads easily\nwith two hundred and seventy four nights.\nFollowing Mr Waters's example we shall\nnot suggest why this leads, but at the same\ntime we can draw attention to the fact that\nthe London Theatre in the season just ended\nalthough it had performed twelve of Shakes-\npeare's works has only given In all one hun-\ndred and forty performances, averaging\nabout eleven to each play. & JZ? &\n& 44 The Blue Bird \" was imported from\nFrance. <&> & JZ? &\n& Mr Waters allows himself only one com=\nment in which he suggests that 44 The pro-\n44 mise of happiness in a play is worth more\n44 money to an anthor than the unpalatable\n44 truth of life, so we can assume that our\n44 public goes to the theatre in search of\n44 the promises. \"\nThis sounds like the unpalatable truth.\nBut would the public have gone to 44 The\nBlue Bird \" in search of the promise of hap-\npiness therein if they had not had a guaran-\ntee of any kind of spectacular display?.... of\nan 44 avalanche of \" (semi-) 44 Shakespearean\n44 upholstery, a promise of blazing electric\n44 light so fierce as to extinguish more than\n44 the facial play of the actors, enough in\n<4 fact to obliterate the whole expression of\n44 poetry\" & & JZ? &\nYet for all this the play was a success\nwhich only proves that such plays can be a\nsuccess in spite of having 44wasted money on\nthe material, the earthy and the expensive \"\nand stinted it on 44 rare human instruments\n44 of expression who are harder to get but\n44 easier to buy\", (ahem,.... Trench) £/\n\nTHE DEAD AND THE LIVING.\nLaurence Irving is of the opinion that\nEugene Brieux the French Academician\nis scarcely surpassed by Moliere. Bernard\nShaw believes that in tragicomedy 44 he is\nincomparably the greatest writer France has\nproduced since Moliere\n& How often people compare the living with\nthe dead,. . . how seldom with the living.\n\nA WORD ABOUT REFORM.\nsphere are reformers in the Theatre who\nactually believe that the first reform ne-\ncessary is that of the Public.... 44 The people\n44 are awful ; they won't come and see my\n46 works ; their taste needs reforming &\nThese gentlemen forget that if the people\nare not coming to see them they certainly\nwon't come any quicker just to be reformed.\nIn fact it will be harder to get at them\nthan ever ,..., so give it up, Gentlemen,\nadmit to yourselves that it is yourselves\nand your art which need reform and all will\nbe well. And then turn to with a will and\ngive yourselves a twenty year's chance. At\nthe end of that time, but not before, you"}, {"page_pdf": 60, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4348, "texte": "will be better able to know whether you or\nyour public Is to blame. But don't let there\nbe the ghost of a doubt. That would surely\nkill you No ? !... Why, then you're dead\nalready. &\n\nSYMBOLISM IN THE THEATRE.\n-p, Referee is much elated that Sir Her-\nbert Tree has chosen to make sport of\nSymbolism in the Theatre, and remarks that\nit is out of place there. It is, today; and as\nmuch out of place there as the time was out\nof joint in Denmark where corrupt conditions\nprevailed. But one can always put these\nthings right. & & & &\n& The Referee is a well-informed paper as\na rule and takes care to be in the right as\noften as possible, and so we hold it fit that\nwe shake hands and part; and, that The\nReferee shall not be again in the wrong upon\nthis particular subject, Symbolism in the\nTheatre, we would refer the genial paper to\nsome rather weighty books upon Religious\nDrama, amongst others Chambers's u Media-\neval Stage\", a masterly work, (to the dry\nall things are dry), and to Frazers's 44 Golden\nBough If the Referee turns to these for\ninformation he will be agreeably surprised\nto learn that Symbolism is to the Theatre\nwhat life is to the body.\n& To admit that Symbolism is out of place\nin the modern Theatre in England is quite\na different thing, and this is not the first\ntime we have pointed out that English jour-\nnalists should observe the difference.\nThe Theatre, the Modern European The-\natre and the Theatre of England, are never\nto be confounded the one with the other;\nand there are even further divisions which\nshould be observed. These Theatres all differ\nessentially one from another. Thus it can be\nclearly seen that Symbolism is out of place\nin the English Theatre, is sought for by the\nadvancing European Theatre, and is the very\nessence of the living Theatre as it is of all\nArt.\nThe English Theatre today lays itself out\nto appease the middle class. Shakespeare is\never ready to oblige. The aristocracy who do\nnot care to see this parody of their estate\navoid the playhouse, and the people are no\nless fastidious on this point. They also keep\naway; they feel that they are as out of place\nin the modern theatre as that same Symbo-\nlism which avoids exhibiting itself to the\nbourgeoisie. None but the middle class affects\nthe theatre of today, 44 There is something\nin this more than natural, if philosophy\ncould find it out & &\n\nTHE COMMEDIA DELVARTE.\nQur statement in the last number of The\nMask that 44 Molidre's whole fabric was\n44 built of the stones stolen from the ruins of\n44 this most stupendous Palace, (the Commedia\ndell'Arte)\" has brought upon us an avalanche\nof enquiries as to whether we know what\nwe are talking about.\n& We believe we do. We thought it was one\nof those things that everybody knows but\nrefrains from mentioning,...for reasons. (Mark\nTwain's 44 silent lie\" again).\n& We also thought we had been rather con-\nsiderate to Moliere, omitting, as we did, to\nrecall to our readers that Moliere also bor-\nrowed pieces in whole or in part from Plautus\nand Terence. For 44Les Fourberies de Scapin\"\nhe took the whole plot from Terence (Pho-\nrurio). As this is one of his latest works it\nproves that the borrowing had become a\nhabit. In 44 L'Avare \" he takes a few scenes\nand jokes from Plautus; .....the plot deals\nwith Theft. For 44 Amphitryon\" the whole\ndesign of the Latin original is retained.\nWe have not that same veneration for\nthe great masters of the written drama that\n*\nwe ought to have, but we know too much\nabout their methods of obtaining renown to\nbe very enthusiastic about them. When the\ntrue theatre receives the acknowledgement\ndue to it, when actors shall have come to\ntheir senses after learning that they have\nbeen bought by these same methods of the\ndramatic writers, when theatres shall be\nerected to harbour the true theatrical ex-\npression, then we shall not be unmindful of\nthe value these writers of drama have been\nto us; but till then we look upon them one\nand all as intruders, who have proved dan-\ngerous to the very life of the stage and\nwho have brought it to the lowest level of\ndependence that independence dare ever\nsink to.\nhas made so much use of the Ita-\nlian comic writers, that, were we to take\n\"from him all that he has taken from others\n\"the volumes of his comedies would be very\n\"much reduced in bulk.\" &\nTiraboschi, 44 Storia della\nLetteratura ltaliana \"."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c067", "article_bluemountain": "bmtnaau_1910-10_01#c067", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "97", "image_debut": 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=bmtnaau191010-01.2.25.2", "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": 57, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.57", "debut_caractere": 1410, "fin_caractere_exclue": 2352, "texte": "of the things which surprised an Ame-\nrican actor who lately spent some weeks\nin England was that \" The English actors\n\"are still using old methods that we, (the\n\"Americans) left behind long ago.... England\n\" has learnt all she can about the theatre and\n\" that is not a good sign\n& The New York Dramatic Mirror, the\nleading American stage journal, gives pro-\nminence to this statement.\n& What is it worth ? we think it is worth\ncareful consideration. Americans are quite\npractical, and certainly wish their English\nconfreres well. & &\nIt is very unfortunate to think that\npeople outside England notice that she re-\nfuses to learn any more about the theatre.\nYet this is not entirely true. She has been\nlearning lately quite a number of new things,\nthough quite against her will.\nShe has learned from the younger school of\ntheatrical artists. The only pity is that she\ndoes not make more use of these younger\nmen before they turn into old men."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c068", "article_bluemountain": "bmtnaau_1910-10_01#c068", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "98", "image_debut": 57, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.25.3", "titre_corps": "DICKENS COPYRIGHT FUND", "titre_sommaire": "DICKENS COPYRIGHT FUND", "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": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.57", "debut_caractere": 2354, "fin_caractere_exclue": 3901, "texte": "DICKENS COPYRIGHT FUND.\ngomebody has suggested a very fine idea\nto the Strand Magazine, and the journal\nhas risen to the occasion in fine style.\nIt appears that the descendants of Charles\nDickens are poor owing to the disgraceful\ncondition of the copyright law. The Strand\nMagazine's scheme is to attempt to restore\nto them a portion of their property in the\nfollowing way: \" It is estimated that there\nare twenty four million copies of Dickens\nworks extant, allowing for loss through wear\nand tear. Were it conceivable that every\npossessor of one of those volumes were to\npay one penny in super-royalty it needs\nlittle knowledge of arithmetic to arrive at\nthe sum of one hundred thousand pounds. But\nthis is inconceivable Were a quarter of\nthe number to consent that each volume\nshould bear a Dickens stamp certifying that a\n\" deferred royalty \" of one penny had been\npaid, a very large sum might be realised,\n\" without expense, and without prejudice. \"\nThis is the scheme, and a deuced fine\nscheme say all of us on the staff of The Mask.\nWe personally hope that the Walter Crane\npenny stamp will be the one chosen, but there\nmight be other stamps besides penny ones.\nWhy not have six different priced stamps,\n....one for a penny, one for a pound, and\nothers for sixpence, a shilling, half a crown\nand half a sovereign? The premises of Messrs\nChapman and Hail could surely never acco-\nmodate the packet of penny stamps which\nthey would be in honour bound to purchase,\nwhereas a couple o f thousand pound\nstamps could be easily put into a drawer.^"}, {"page_pdf": 58, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 1289, "texte": "& It seems that everyone is excited by the\nscheme and we hope the action of the Strand\nMagazine will draw the attention of the\nauthorities to the terrible and wholesale\nrobbery which goes on today,.... a robbery\nwhich it is in their power to cop© with if\nthey would. &\n& But let them not overlook other branches\nof art where such robbery leaves families\ndestitute. & &\nFor example, a painter of great genius\ndies. After two or three years his pictures,\nhitherto laughed at or disregarded, are sold\nfor low sums by the dealers. Let us say\nthat the family of the painter gets a cou-\nple of thousand pounds, generally it is\nnearer a couple of hundred.\n& Well then? In a few years when the dea-\nler has 44 worked up \" the reputation of these\npictures we hear of them changing hands\nagain; this time perhaps the pictures fetch\nan average price of two thousand pounds\napiece. & &\nIt seemes to us that whenever a work of\nart changes hands (except in the case of a\nbook or a piece of music or a print unless it\nbe the original book, song or print), the\nheirs of the artist are justly entitled to a\npercentage of all profits exceeding the ori-\nginal price paid for the work.\nIf this matter were attended to by the\nauthorities we should hear less about artists\nleaving their families unprovided for."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c069", "article_bluemountain": "bmtnaau_1910-10_01#c069", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "98", "page_fin": "98", "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=bmtnaau191010-01.2.25.4", "titre_corps": "THE IRISH THEATRE", "titre_sommaire": "THE IRISH THEATRE", "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": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.58", "debut_caractere": 1291, "fin_caractere_exclue": 2288, "texte": "THE IRISH THEATRE.\nIrish Literary Theatre was planned in\n1901 by W. B. Yeats, Edward Martyn and\nLady Gregory. These artists some years later\ndeveloped their idea, changing the name of\nit to \"The Irish National Theatre Society\".\nLater on, (in 1904) Miss Horniman generously\ngave them a little Theatre in Dublin. Others\ngave their works of art,.... plays, designs for\nscenes and costumes, their services as actors\nand so forth.\nMiss Horniman has lately turned her gift\ninto a loan. The theatre now costs the little\ngroup a thousand pounds per annum.\nThe Irish Theatre will win through and\nthrough. Its creators have nothing to lose\nexcept their lives ;... they will win. Listen\nto the rhythm of their power:\n44 I am Raftery the poet\nFull of hope and love;\nWith eyes without light;\nWith gentleness without misery.\nGoing west on my journey\nWith the light of my heart;\nWeak and tired\nTo the end of my road.\nI am now\nAnd my back to a wall,\nPlaying music\nTo empty pockets.\"\nDelicious 1... Indomitable...!"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c070", "article_bluemountain": "bmtnaau_1910-10_01#c070", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "98", "page_fin": "99", "image_debut": 58, "image_fin": 59, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.25.5", "titre_corps": "SENSATIONALISM", "titre_sommaire": "SENSATIONALISM", "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": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.58", "debut_caractere": 2290, "fin_caractere_exclue": 4219, "texte": "SENS A TI ON A LIS M.\n'Jphe Bishop of Carlisle preaching a short\nwhile ago in Carlisle Cathedral inveighed\nagainst modern showy sensationalism, lie\nregretted the money wasted by sightseers\nwho found pleasure in witnessing men flying\nin the air and other men and women who\npaint their face and appear on the stage.\n\" People go to the theatre \" he said, *' to see\n•' overdressed bedizened people in bad paint,\n\" but they never stop to look at a daffodil\n\"in the valley\".\nWe like and dislike this. Of course people\nstop and look long at all beautiful flowers;\nNature is the Qod of thousands, perhaps more\nfirmly than ever before ; we might if we so\nchose have a word to say on this score to the\ngeod Bishop of Carlisle; ....but we like his\nneed, we like his intolerance. It helps to wake\npeople up. &\n& There are times when we feel drawn to-\nwards every one of these ill-painted and\nbedizened creatures in every theatre, booth\nor music hall in the wide world, for as men\nand women they are perhaps without excep-\ntion the most charitable and most courageous\nupon earth. Bnt there are other times when\nwe are very much in sympathy with the re-\nverent Bishop, and then we want to flay all\nthese same bedizened creatures alive. For\ngoodness we know none to surpass them ;\nbut for downright stupidity they deserve all\nthey get. They are impossible. They allow\ngood Bishops to make rude but true remarks\nabout them and take no pains to make such\ncriticism impossible. They remain gaudy,\npainted, theatrical in the bad sense of the\nword. &\nOf course the turn of the tide is coming,\nand when the flow commences the Bishops\nand other churchmen will have to put their\nhouse in order, and if their house be a spi-\nritual one all will be well; but let them see\nto it that they innure themselves to discom-\nfort, for the ways of fate are strange, and\ntoday's ocean may be tomorrow's mountain\nrange, today's theatre may be tomorrow's\nchurch. j&>"}, {"page_pdf": 59, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 775, "texte": "But to rise up from such a depth as that\nin which the theatre people are today sunken\nwill demand no little disinterestedness.\nLose no time then. Begin by giving up\nyour paint,... or rather, your 44 bad paint\"\nas the Bishop calls it. First oi all the Bishop\ndoesn't like it, secondly no one else likes it;\nthirdly you don't need it. & JZ?\nGet to your masks, quickly, When you\nlearn their use, and their invincible po=\nwer, you will be better fitted to ascend.\nTo offer you the Church of the Future as\nyour prize would be out of place, but you\nneed never forget that you once possessed\nthe Church of the Past. & &\nThis all comes from reading a paragraph\nabout a Bishop of England and his true but\nunkind remark about our painted faces:....\nhow sensitive we are, to be sure!..."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c071", "article_bluemountain": "bmtnaau_1910-10_01#c071", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "99", "image_debut": 59, "image_fin": 59, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.25.6", "titre_corps": "THE THEATRICAL YEAR", "titre_sommaire": "THE THEATRICAL YEAR", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.59", "debut_caractere": 777, "fin_caractere_exclue": 3568, "texte": "THE THEATRICAL YEAR.\nJ. Waters's annual article, The Thea-\ntrical Year in London,\" composed of\nfacts and figures only, avoiding all theory,\nis as interesting as ever. JZ?\nIt proves that of all the plays produced this\nyear the most popular were 44 Arsene Lupin \",\n44 Dear Little Denmark\", 44 The Brass Bottle\",\n44 Smith \", 44 Don \", 44 Sir Walter Raleigh \" ,\n44 The Little Damosel \", 44 The Blue Bird \",\n44 Aladdin \", 44 The House of Temperley \",\n44 Dame Nature \", 44 The Balkan Princess \",\n44 Alias Jimmy Valentine \", 44 The Islander \",\nof these 44 The Brass Bottle \", 44 Don \" and\n44 The Blue Bird \" passed their two hundred\nnights, 44 Arsdne Lupin \" falling short of the\ntwo hundred by one night. & JZ>\nOf revivals 44The Scarlet Pimpernel\" (New\nTheatre) and 44 When Knights were Bold \"\n(Criterian) both ran for over one hundred\nnights. 44 The Importance of being Earnest\"\nof course has run without a break for much\nlonger, but as the run has not yet termina-\nted it is not included in the list. & JZ?\nJZ? There are a few other plays whose runs\nhave not terminated, 44 The Whip \", 44 The\nDollar Princess \", 44 The Bad Girl of the Fa-\nmily \", 44 Tantalising Tommy \", 44 The Naked\nTruth\", 44 The Speckled Band\", The Girl\nin the Train \" and 44 Priscilla runs away \";\nso we see that 44 The Blue Bird \" leads easily\nwith two hundred and seventy four nights.\nFollowing Mr Waters's example we shall\nnot suggest why this leads, but at the same\ntime we can draw attention to the fact that\nthe London Theatre in the season just ended\nalthough it had performed twelve of Shakes-\npeare's works has only given In all one hun-\ndred and forty performances, averaging\nabout eleven to each play. & JZ? &\n& 44 The Blue Bird \" was imported from\nFrance. <&> & JZ? &\n& Mr Waters allows himself only one com=\nment in which he suggests that 44 The pro-\n44 mise of happiness in a play is worth more\n44 money to an anthor than the unpalatable\n44 truth of life, so we can assume that our\n44 public goes to the theatre in search of\n44 the promises. \"\nThis sounds like the unpalatable truth.\nBut would the public have gone to 44 The\nBlue Bird \" in search of the promise of hap-\npiness therein if they had not had a guaran-\ntee of any kind of spectacular display?.... of\nan 44 avalanche of \" (semi-) 44 Shakespearean\n44 upholstery, a promise of blazing electric\n44 light so fierce as to extinguish more than\n44 the facial play of the actors, enough in\n<4 fact to obliterate the whole expression of\n44 poetry\" & & JZ? &\nYet for all this the play was a success\nwhich only proves that such plays can be a\nsuccess in spite of having 44wasted money on\nthe material, the earthy and the expensive \"\nand stinted it on 44 rare human instruments\n44 of expression who are harder to get but\n44 easier to buy\", (ahem,.... Trench) £/"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c072", "article_bluemountain": "bmtnaau_1910-10_01#c072", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "99", "image_debut": 59, "image_fin": 59, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.25.7", "titre_corps": "THE DEAD AND THE LIVING", "titre_sommaire": "THE DEAD AND THE LIVING", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.59", "debut_caractere": 3570, "fin_caractere_exclue": 3908, "texte": "THE DEAD AND THE LIVING.\nLaurence Irving is of the opinion that\nEugene Brieux the French Academician\nis scarcely surpassed by Moliere. Bernard\nShaw believes that in tragicomedy 44 he is\nincomparably the greatest writer France has\nproduced since Moliere\n& How often people compare the living with\nthe dead,. . . how seldom with the living."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c073", "article_bluemountain": "bmtnaau_1910-10_01#c073", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "100", "image_debut": 59, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.25.8", "titre_corps": "A WORD ABOUT REFORM", "titre_sommaire": "A WORD ABOUT REFORM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.59", "debut_caractere": 3910, "fin_caractere_exclue": 4568, "texte": "A WORD ABOUT REFORM.\nsphere are reformers in the Theatre who\nactually believe that the first reform ne-\ncessary is that of the Public.... 44 The people\n44 are awful ; they won't come and see my\n46 works ; their taste needs reforming &\nThese gentlemen forget that if the people\nare not coming to see them they certainly\nwon't come any quicker just to be reformed.\nIn fact it will be harder to get at them\nthan ever ,..., so give it up, Gentlemen,\nadmit to yourselves that it is yourselves\nand your art which need reform and all will\nbe well. And then turn to with a will and\ngive yourselves a twenty year's chance. At\nthe end of that time, but not before, you"}, {"page_pdf": 60, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 182, "texte": "will be better able to know whether you or\nyour public Is to blame. But don't let there\nbe the ghost of a doubt. That would surely\nkill you No ? !... Why, then you're dead\nalready. &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c074", "article_bluemountain": "bmtnaau_1910-10_01#c074", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "100", "page_fin": "100", "image_debut": 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=bmtnaau191010-01.2.25.9", "titre_corps": "SYMBOLISM IN THE THEATRE", "titre_sommaire": "SYMBOLISM IN THE THEATRE", "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": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.60", "debut_caractere": 184, "fin_caractere_exclue": 2356, "texte": "SYMBOLISM IN THE THEATRE.\n-p, Referee is much elated that Sir Her-\nbert Tree has chosen to make sport of\nSymbolism in the Theatre, and remarks that\nit is out of place there. It is, today; and as\nmuch out of place there as the time was out\nof joint in Denmark where corrupt conditions\nprevailed. But one can always put these\nthings right. & & & &\n& The Referee is a well-informed paper as\na rule and takes care to be in the right as\noften as possible, and so we hold it fit that\nwe shake hands and part; and, that The\nReferee shall not be again in the wrong upon\nthis particular subject, Symbolism in the\nTheatre, we would refer the genial paper to\nsome rather weighty books upon Religious\nDrama, amongst others Chambers's u Media-\neval Stage\", a masterly work, (to the dry\nall things are dry), and to Frazers's 44 Golden\nBough If the Referee turns to these for\ninformation he will be agreeably surprised\nto learn that Symbolism is to the Theatre\nwhat life is to the body.\n& To admit that Symbolism is out of place\nin the modern Theatre in England is quite\na different thing, and this is not the first\ntime we have pointed out that English jour-\nnalists should observe the difference.\nThe Theatre, the Modern European The-\natre and the Theatre of England, are never\nto be confounded the one with the other;\nand there are even further divisions which\nshould be observed. These Theatres all differ\nessentially one from another. Thus it can be\nclearly seen that Symbolism is out of place\nin the English Theatre, is sought for by the\nadvancing European Theatre, and is the very\nessence of the living Theatre as it is of all\nArt.\nThe English Theatre today lays itself out\nto appease the middle class. Shakespeare is\never ready to oblige. The aristocracy who do\nnot care to see this parody of their estate\navoid the playhouse, and the people are no\nless fastidious on this point. They also keep\naway; they feel that they are as out of place\nin the modern theatre as that same Symbo-\nlism which avoids exhibiting itself to the\nbourgeoisie. None but the middle class affects\nthe theatre of today, 44 There is something\nin this more than natural, if philosophy\ncould find it out & &"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c075", "article_bluemountain": "bmtnaau_1910-10_01#c075", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "100", "page_fin": "100", "image_debut": 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=bmtnaau191010-01.2.25.10", "titre_corps": "THE COMMEDIA DELL'ARTE", "titre_sommaire": "THE COMMEDIA DELL'ARTE", "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": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.60", "debut_caractere": 2358, "fin_caractere_exclue": 4348, "texte": "THE COMMEDIA DELVARTE.\nQur statement in the last number of The\nMask that 44 Molidre's whole fabric was\n44 built of the stones stolen from the ruins of\n44 this most stupendous Palace, (the Commedia\ndell'Arte)\" has brought upon us an avalanche\nof enquiries as to whether we know what\nwe are talking about.\n& We believe we do. We thought it was one\nof those things that everybody knows but\nrefrains from mentioning,...for reasons. (Mark\nTwain's 44 silent lie\" again).\n& We also thought we had been rather con-\nsiderate to Moliere, omitting, as we did, to\nrecall to our readers that Moliere also bor-\nrowed pieces in whole or in part from Plautus\nand Terence. For 44Les Fourberies de Scapin\"\nhe took the whole plot from Terence (Pho-\nrurio). As this is one of his latest works it\nproves that the borrowing had become a\nhabit. In 44 L'Avare \" he takes a few scenes\nand jokes from Plautus; .....the plot deals\nwith Theft. For 44 Amphitryon\" the whole\ndesign of the Latin original is retained.\nWe have not that same veneration for\nthe great masters of the written drama that\n*\nwe ought to have, but we know too much\nabout their methods of obtaining renown to\nbe very enthusiastic about them. When the\ntrue theatre receives the acknowledgement\ndue to it, when actors shall have come to\ntheir senses after learning that they have\nbeen bought by these same methods of the\ndramatic writers, when theatres shall be\nerected to harbour the true theatrical ex-\npression, then we shall not be unmindful of\nthe value these writers of drama have been\nto us; but till then we look upon them one\nand all as intruders, who have proved dan-\ngerous to the very life of the stage and\nwho have brought it to the lowest level of\ndependence that independence dare ever\nsink to.\nhas made so much use of the Ita-\nlian comic writers, that, were we to take\n\"from him all that he has taken from others\n\"the volumes of his comedies would be very\n\"much reduced in bulk.\" &\nTiraboschi, 44 Storia della\nLetteratura ltaliana \"."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c076", "article_bluemountain": "bmtnaau_1910-10_01#c076", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.26", "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=bmtnaau191010-01.1.2", "debut_caractere": 1088, "fin_caractere_exclue": 1926, "texte": "THE MOSHER BOOKS\nA VISION OF GIORGIONE\nThree Variations on Venetian Themes\nBY GORDON BOTTOMLEY\n'jphree dramatic scenes in 'the life of\nGiorgione,of whom Vasari tells us that\nthis great artist of the Renaissance \"took\nno small delight in love passages, and in\nthe sound of the lute, to which he was so\ncordially devoted, and which he practised\nso constantly, that he played and sang\nwith the most exquisite perfection;\" and\nagain, \"at this time he fell in love with\na lady, who returned his affection with\nequal warmth; and they were immeasu-\nrably devoted to each other.\" &\n500 copies, fcap 4to, hand-made paper, dene up in old rose\nPabriano hoards, with a designed label, and initials in color\nS. 1.50 net. 50 copies on Japan Vellum, S. 3.00 net.\nAll Books Sent Postpaid on Receipt of Net Price\nTHOMAS\nPORTLAND,\nB. MOSHER\nMAINE, U. S. A*"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c077", "article_bluemountain": "bmtnaau_1910-10_01#c077", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.27", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.2", "debut_caractere": 1928, "fin_caractere_exclue": 2850, "texte": "NEW SHAKESPEAREAN A\nA Quarterly Record of Shakespearean\nScholarship and study, and Content-\nporary and current Review of their\nLiterature. Conducted by the New\nYork Shakespeare Society, whose\nmembership includes every distin-\nguished Shakespeare Scholar in Eu-\nrope and America. & &\nImperial 8vo. Illustrated. 75c the copy, S2.50 the year,in advance.\nSHAKESPEAREANA is the only\nmagazine devoted to its exclusive field\npublished in English, and one of the\nonly two such periodicals published\nin the world, the other being the\n\" Jahrbuch, \" of the German Shakes-\npeare Society, issued annually. N o\nsample copies are furnished. &\nZooming from so dignified and notable\na source as The New York Shakespeare\nSociety, \" New Shakespeareana \" is of\ncourse scholarly in tone, dignified in\npurpose and artistic in form. \"— New\nYork Dramatic Mirror, October 12,1910\nTHE SHAKESPEARE PRESS,\nWESTF1ELD, UNION COUNTY\nNEW JERSEY, U. S. A."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c078", "article_bluemountain": "bmtnaau_1910-10_01#c078", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.28", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.2", "debut_caractere": 2852, "fin_caractere_exclue": 3223, "texte": "THE BOOK NEWS MONTHLY 0\n& Its mission is to save you from reading a poor or a disappointing book, or from\nexperiencing the chagrin that accompanies \" Un-informedness.\"\n& THE BOOK NEWS MONTHLY is as up to date In book matters as a newspaper and....\nJUST AS NEWSY. Its address is Philadelphia, U. S. A. & &\n& DoIr 1,00 a year, 10 cts: a copy. Sample copies sent on request."}]}, {"article_id": "bm-bmtnaau-1910-10-01-c079", "article_bluemountain": "bmtnaau_1910-10_01#c079", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "102", "page_fin": "102", "image_debut": 62, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.29", "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": 62, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.62", "debut_caractere": 149, "fin_caractere_exclue": 602, "texte": "ANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES 4® 4®\nr\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:\nj® J® j® j® J® J® J® J® J®\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n19 04\nFLORENCE\nVia dei Fossi 4\n0 (ESTABLISHED i860) &\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS"}]}, {"article_id": "bm-bmtnaau-1910-10-01-c080", "article_bluemountain": "bmtnaau_1910-10_01#c080", "volume": "bmtnaau_1910-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "102", "page_fin": "102", "image_debut": 62, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.2.30", "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": 62, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.62", "debut_caractere": 604, "fin_caractere_exclue": 1308, "texte": "Fine Illustrated Edition of\nOSCAR WILDE'S\nThe Picture of Dorian Orey.\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. (Letter, 9th July,1890).\nSm. 4to Vol. Pages VI. & 312. Hf. bd. gilt top, with Seven\nfuiLpaged Wood Engravings by PAUL THIRIAT(of Paris)\nPrice 12.s 6d. Net.\nALSO A POPULAR EDITION\nPages VI. &316. Sm. 8vo. (not illustrated), neat cloth\nbinding. Price 2s. 6d. Net.\n& FURTHER, AN EDITION &\n(Pages YII. & 353)\nUniform in Stle and Binding with Messrs. Methuen's\nFive Shilling Edition of «« OSCAR WILDE'S WORKS. \"\nPrice 5s. Net.\nPublished by Charles Carrington,\n10. Rue de la Tribune, Brussels, Belgium."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.1", "texte": "0 IF THE \"MASK\" IS FRACTIOUS. IT IS ALSO LOVE ABLE. &\n\"NEW AGE\" AUGUST 25, 1910.\n, --Ti-nmr-iwrwmTnmimi iiiiiiiwiiinwnwfwm-iimimTriinri»T«p»nnniTirT i nun in niiiTiaiitMfflriiitwi»iiiMriHwniBiffnirrimnTOW«niMirni«Mimiwiro^\nVol. 3 N.\"14-6 OCTOBER & i 9 1 o|\nTHE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nARENA GOLDONI\nFLORENCE\nITALY\n& YEARLY SUBSCRIPTION 0 FIFTEEN SHILLINGS. POST FREE"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.2", "texte": "LITERARY CONTENTS.\nA NOTE ON THE WORK OF E. W. GODWIN by JOHN SEMAR. PROPOSALS OLD AND\nNEW by ALLEN CARRIC. THE GHOSTS IN THE TRAGEDIES OF SHAKESPEARE by\nGORDON CRAIG. 0 A NATIONAL MEMORIAL THEATRE: THE BUILDING by LOUIS MADRID.\nTUITION IN ART by FELIX URBAN, 0 THE PASSION PLAY AT OBERAMMERGAU by\nADOLF FURST. THE THEATRICAL by JOHN BALANCE. THE ARCHITECTURE AND\nCOSTUME OF HENRY VIII by E. W. GODWIN: F. S. A. THE TRAGIC THEATRE by\nW. B. YEATS. & WATTS: DELACROIX: BLAKE. - UNCOMMERCIAL DRAMA by JOHN\nA CHEAP THEATRE by FRANZ MISS HORNIMAN AND HER REPERTORY\nTHEATRE by JOHN SEMAR 0 REALISM IN ART. TOLSTOI. HAMLET, A SUCCESS OR A\nFAILURE ? TWO LETTERS. £> BOOK AND MAGAZINE REVIEWS. 0 FOREIGN NOTES.\nEDITORIAL NOTES.\n\nILLUSTRATIONS.\nFRONTISPIECE. DESIGNS FOR MISS ELLEN TERRY by E. W. GODWiN, F. S. A. FOR\n\" THE CUP \"by LORD TENNYSON. JZ> A FURTHER PAGE OF DESIGNS FOR \" THE CUP\nMADE FOR MISS ELLEN TERRY by E. W. GODWIN. F. S. A. THREE FULL PAGE ILLU-\nSTRATIONS OF JAPANESE DANCERS. £> INITIAL LETTERS, HEAD AND TAIL PIECES\nby E. THESLEFF, CHARLES BORROW, GORDON CRAIG AND OTHERS.\n\nTHE MOSHER BOOKS\nA VISION OF GIORGIONE\nThree Variations on Venetian Themes\nBY GORDON BOTTOMLEY\n'jphree dramatic scenes in 'the life of\nGiorgione,of whom Vasari tells us that\nthis great artist of the Renaissance \"took\nno small delight in love passages, and in\nthe sound of the lute, to which he was so\ncordially devoted, and which he practised\nso constantly, that he played and sang\nwith the most exquisite perfection;\" and\nagain, \"at this time he fell in love with\na lady, who returned his affection with\nequal warmth; and they were immeasu-\nrably devoted to each other.\" &\n500 copies, fcap 4to, hand-made paper, dene up in old rose\nPabriano hoards, with a designed label, and initials in color\nS. 1.50 net. 50 copies on Japan Vellum, S. 3.00 net.\nAll Books Sent Postpaid on Receipt of Net Price\nTHOMAS\nPORTLAND,\nB. MOSHER\nMAINE, U. S. A*\n\nNEW SHAKESPEAREAN A\nA Quarterly Record of Shakespearean\nScholarship and study, and Content-\nporary and current Review of their\nLiterature. Conducted by the New\nYork Shakespeare Society, whose\nmembership includes every distin-\nguished Shakespeare Scholar in Eu-\nrope and America. & &\nImperial 8vo. Illustrated. 75c the copy, S2.50 the year,in advance.\nSHAKESPEAREANA is the only\nmagazine devoted to its exclusive field\npublished in English, and one of the\nonly two such periodicals published\nin the world, the other being the\n\" Jahrbuch, \" of the German Shakes-\npeare Society, issued annually. N o\nsample copies are furnished. &\nZooming from so dignified and notable\na source as The New York Shakespeare\nSociety, \" New Shakespeareana \" is of\ncourse scholarly in tone, dignified in\npurpose and artistic in form. \"— New\nYork Dramatic Mirror, October 12,1910\nTHE SHAKESPEARE PRESS,\nWESTF1ELD, UNION COUNTY\nNEW JERSEY, U. S. A.\n\nTHE BOOK NEWS MONTHLY 0\n& Its mission is to save you from reading a poor or a disappointing book, or from\nexperiencing the chagrin that accompanies \" Un-informedness.\"\n& THE BOOK NEWS MONTHLY is as up to date In book matters as a newspaper and....\nJUST AS NEWSY. Its address is Philadelphia, U. S. A. & &\n& DoIr 1,00 a year, 10 cts: a copy. Sample copies sent on request."}, {"page_pdf": 4, "page_imprimee": "[52]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.4", "texte": "Designed for Miss Ellen Terry by E. W. Godwin FSA. for \" The Cup \" by Lord Tennyson.\n\nTHE MAS K.\nOctober i 9 1 0."}, {"page_pdf": 5, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.5", "texte": "A NOTE ON THE WORK OF E. W. GODWIN,\nby John Semar.\nery often in art, as in life itself, it happens that, while one sows another\nreaps, and that not only the reapers themselves, but those on-lookers who\nsee their well-stored barns, forget the man to whom they owe their harvest,\nwhether of grain or gold.\n& This is especially so In the theatre, which has as short a memory for\nthose who have assisted It in the past as it has short sight for those who are best serving\nit in the present. It accepts and uses the gift.... and forgets the giver. &\n& Every effect, however, has its cause, every supply its source. The identity of each human\nbeing is the outcome of the individual deeds as well as of the racial qualities of unnum-\nbered ancestors; the sum of present-day learning has been accumulated by the studies of\nthousands of forgotten students and a long preparation of the learning, practise and envi-\nronment of many half- or wholly- forgotten artists has preceded the appearance of each work\nof art. In fact the man who succeeds in the eyes of the world is often simply he who best\napplies the talents and learning of his predecessor whose name never came before the public\nat all. It may be trite to repeat that 44 the world knows nothing of its greatest men \" but\nIt is certainly true that the Theatre does not, probably because it has shaped and accepted\nso false an ideal of what qualifies a man as \"great\". jg?\n& It assumes Its greatest men to be the most popular actors, the most successful managers,\nthe most expert financiers, the most brilliant playwrights ; whereas they are rather those\nwho have rendered the most valuable services to the Art of the Theatre as a whole, not\nonly by the talents they have devoted to it, but by the love they have felt for it and the\nconsequent thoroughness with which they studied and performed every smallest detail of\ntheir work.\n& One of the most remarkable among these 44 great men \" of the modern theatre was\nE. W. Godwin. He ft was who, in a sense not as yet fully realised, fathered the new move-\nment in the European Theatre and founded that race of theatrical artists of whom the\nTheatre of the Future shall be born. &\n/\nThg services which he rendered by his earnestness, his thoroughness, by the talents\nwhich he brought to the assistance of the theatre and the learning which he devoted to\nits cause, were incalculable; yet how many workers on the stage today honour, or even\nremember, his name ? how many of those who compare the noble Lyceum productions of\nIrving's day with those of twenty years previously know to whom the new development\nwas due ? and how many of the managers who have profitted financially by the fine pro-\nductions of which Godwin was the initiator have given a thought of gratitude or recognition\nto the man to whom they owed their success ? & <£? •£?\n& It is true that these things happen not only in the theatre. A William Blake has to wait\neighty years for recognition ; a Henry Purcell has to wait longer. 44 Tis true tis pity but\npity tis tis true\" that in beautiful old Conservative England with its fine ideas of nobility\nits steadfast belief in the Royalty of Kings, the King's Men,... that is to say, the Artists\n\nThe ingratitude\nof the Theatre.\nIts Great Men•\nU. W. Godwin.\njSf His services."}, {"page_pdf": 6, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.6", "texte": "E. W. GODWIN.\n\n.. .(and there 4s no race on earth of more whole-hearted King's men than the artists), should\nbe neglected, forgotten, even allowed to be without the necessaries of life as so many have\nbeen while others are permitted to gather round the throne. Yet surely no one would rank\nthere more fitly than the artist, the champion of pomp and circumstance, who loves the splen-\ndour of processions, who loves romance and hates committees and refuses to work under\nlimited liability companies: who, like the old knights, is ever ready to break his lance for\nthe honour of Royalty and Beauty, and to die for the cause. Such a man was E. W. Godwin.\nThe friend of Whistler, of Burgess the architect, of William Morris and Burne-Jones;\nthe designer of many beautiful buildings, including the Town Hal! at Northampton and the\nWhite House at Chelsea which he built for Whistler, he was a distinguished architect,\ndeeply cultured, a reader of Shakespearean verse who understood in an exceptional degree\nthe value of that verse, a Fellow of the Royal Society, a man possessed of wide learning\nand a keen love of the theatre and its art.\nThe whole story of his life, of his many and varied activities, of the brilliant group of\nwhich he formed a member, is an interesting one, and some day to be written of fully;\nbut the present note can only briefly outline his work for the theatre, the talents which he\ndevoted to it and the great services which he rendered gratuitously to the stage.\nThe question may, of course, be put, Why should an architect, a man who, one thinks,\ncould know nothing of the theatre, concern himself with an art other than his own ? It\nwould seem at first sight something of an intrusion ... one of those intrusions the repulsion\nof which The Mask has always advocated: it would seem rather hasty... as hasty as the\nact of the modern designers who, without any knowledge of the theatre except that which\nthey have borrowed, (as who should say 44 Lend me half-a-crown \"), press forward to the\ndangerous and delightful work.\n& But with E. W. Godwin there was neither haste nor presumption; with him the theatre\nwas the study of a lifetime. Loving it sincerely, he elected, after very many years, to come\nforward and offer it some assistance: the theatre accepted the assistance, and, as I have\nalready said, forgot the giver.\nOliver Wendal Holmes once wrote 44 A man's learning dies with him ; even his virtues\n44 fade out of remembrance; but the dividends on the stocks he bequeathes to his children\n44 keep his memory green\"; but even this was not so in Godwin's case. His theatrical suc-\ncessors have enjoyed the dividends ... and forgotten to whom they were indebted for the\nstocks. In fact Sir Herbert Beerbohm Tree has been, in the long space of time since Godwin's\ndeath, one of the only persons connected with the theatre to pay homage to his memory,\nand he, in a speech in 1900 before the Oxford Debating Society, bore witness how well\nGodwin's methods paid commercially; for, though in his defence of that method he very\nproperly added that he did not set up commercial success as a standard by which artistic\nsuccess may be guaged, he stated as an interesting fact that 242,000 people witnessed his\nown production of 44 Julius Caesar \", 170,000 witnessed 44 King John \" and nearly 220,000\n44 A Midsummer Night's Dream\", and these people were undoubtedly attracted to the theatre\nby Sir Herbert's method of staging Shakespeare in the manner inaugurated by Godwin.\nAs to that method itself, I can here say only a few words.\nHaving in his qualifications to help the theatre something in common with those other\ndistinguished architects, Serlio, Palladio and Inigo Jones, who lent their talents to its\nservice, E. W. Godwin added a wide learning and a keen perception of beauty which aroused\nhim to a wise discontent with the existing conditions of the stage in his day and enlisted\nall his energies for their betterment. & & &\nAs to the theory upon which his practise was based, it seems to be summed up in a\nsentence written by him regarding the pictures of the Royal Academy in 1865 where he\nsays, 44 The accessories in pictures, whether on canvas or on the stage, should be altogether\nwrong or wholly right\". & & & &\nThis suggestion that they may be altogether 44 wrong\", that is to say, incorrect, is very\nilluminating for it shows that he realised that in the art of the theatre accuracy of detail\nis of no importance whatever provided it be entirely inaccurate. But one or the other,\nwholly right or altogether wrong.... he claimed that these accessories should be. Either\nthe producer was to represent that purely imaginative realm of the poetic drama removed\n\nWho and what\nhe was. &\nHis qnalifi=\ncation for the\nwork. <£?\ntheory"}, {"page_pdf": 7, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.7", "texte": "from all realities, furnished and peopled with purely imaginative forms, or to give a\n1 ofiection of reality as clear as the reflection of Narcissus in the pool: and, whichever\nmethod was adopted. It was to be beautiful.\nBut, although he admitted the two alternatives, Godwin seems to have felt that it was\na safer thing to begin the reform by securing decorative accuracy than by seeking for\nimaginative expression ; and so he concentrated his talents on improving the productions\nof that day and on cultivating the taste of the actors by surrounding them with beautiful\nobjects which had existedgin the past but of which they were evidently in entire ignorance.\nHe doubtless hoped that by placing the actors in a room which should to a great extent\nresemble a beautiful room of the 16th century with all its glamour and romance and en-\nchantment he would attune their ears and open their eyes to some of the Inner beauties\nwhich rested in the mind of Shakespeare, would quicken In them that peculiar temper\nwhich should enable them to apprehend by intuition, to not learn, the beauties of the play.\n0 And he succeeded.\n<0* He succeeded in visualising something of the atmosphere of the play by the beautiful out-\nward form which he gave to the poet's dream, and in transmitting that impression to the\nspectator; he succeeded in training the actors to have more feeling for these beautiful old\nthings; and he succeeded... a vicarious achievement... in filling the pockets of all the thea-\ntrical managers of the last thirty years. & & JS,\n& This success was due not only to his superior talents but to the greater thoroughness\nwhich he devoted to his work. In Godwin we have a man who studied the theatre as did\nno other of his day. He was an idealist who, whatever his dreams for the future, began\nby laying his foundations very sure upon the firm ground of a beautiful scenic accuracy.\nTo this end he searched the museums and libraries, he studied with a loving patience\nthe smallest details not only of the history of the period but of its most minute accessories.\nThoroughness characterised all his work, whether it were the reproduction of the archi-\ntecture of a palace, of the folds of a drapery, the madrigals of Marenzio or the arrange-\nment of a woman's hair. No detail seems to have escaped him and these studies he per-\npetuated In drawings and writings as well as adopting them In his actual productions on\nthe stage.\nas- Some of his writings are already known to readers of The Mask, his valuable series of\narticles upon the '«Architecture and Costume of Shakespeare's Plays» which originally\nappeared In the Architect in ,87s having, after lying forgotten in those dusty thirty-five\nj ear-old pages, been brought within easy reach of the workers In the modern theatre by\nrepublication in this journal; and for the young stage manager, wishing to produce any\not these plays, there could be no better guide.\nThe reprint of this series has, indeed, been one of the special features of The Mask\nsince its commencement, and few parts of our work have given us greater satisfaction\nthan this privilege of reminding the English theatre, by means of these articles, of Godwin's\nservices on its behalf. It Is with additional pleasure therefore that we now find ourselves\nable to reproduce also a series of Godwin's designs for stage costumes and properties, the\nrst three of which appear in the present number of The Mask. The originals are from\nMiss Ellen Terry's collection of theatrical treasures and we publish them with he* kind\npermission. & &\n~ Such drawings, illustrative of details such as the tying of a sTndal, tTe fornTof a faT\n the storehouse of his own learning and from the\ntreasures lying in the museums.... at the disposal of every producer but unheeded by\nthem... what seemed to him of value to the Art he loved. & *7 & &\nOf his actual stage work I can here speak but briefly. He produced « The Merchant of\n\nE. W. GODWIN.\n\nHis method of\nreform. & &\nHis success. &\nHis method. &\nHis writings.\nHis designs. &"}, {"page_pdf": 8, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.8", "texte": "E. W. GODWIN.\n\nVenice\" at the Prince of Wales's Theatre with Sir Squire Bancroft; 44 Glaudian \" at the\nPrincess's Theatre, with Mr Wilson Barrett, and also prepared the famous production\nat Hengler's Circus when a Greek play was given. ■£?\n& For this latter performance Godwin, following in the steps of the great\narchitects of the past, designed and built a theatre inside a theatre,... a Greek theatre\nwith its circular orchestra and its raised platform,. .. upon which Sir Herbert Tree, then\ncomparatively unknown, figured as Paris. A picture, painted by Mr H. M. Paget in 1886,\nshows how this theatre with its chorus of Greek women and its principal characters, scene,\nlight and properties, looked; and, for all its accuracy, the primary impression created is not\nso much of something correct as of something beautiful. The scene and the figures have\nbeautiful proportions and the whole makes a simple appeal. It seems to have unity, ... a\nnatural result of being the work of one artist instead of the joint production of a number\nof incompetent tradesmen.\nAnother production was Mr Wilson Barrett's 44 Hamletand yet another the charming\nopen air performance of 44 As You Like It\" at Coo mbe Wood.\nNow if Godwin had received the support which was delayed until it was too late to be\nof use to him,.... that is to say, if during his lifetime the Theatre had done him\nthe full justice which his work deserved he would have lived to enrich the\nstage with many more such productions, and the stage, in its turn, would have enriched\nhim. He would then have become famous in his own day and it would not be unknown to\nnearly everyone who reads this that he, and no other, was the initiator (1) of that suc»\ncessful movement in the theatre which proved its worth artistically and commercially both\nin the Lyceum productions and In those which have followed them; the inaugurator of a\nmethod which, although it has since in England degenerated into too florid a style, has\nfound its logical sequence in the new movement in the European theatre of today.\nNowadays we are all familiar with those historical productions which are correct and\ncharming in their presentation, and may now expect to pass forward to the next step. Such\nproductions served as the natural link to connect the theatre of forty years ago with its\nplush curtains and its early Victorian costumes, its ugliness as well as its incorrectness,\nwith the theatre of the immediate tomorrow, which is bound to be that theatre in which,\nas Godwin says, 44 the accessories and costumes shall be altogether wrong\",.... that is\nideal creations, fair with that beauty of the 44 Poet's Dream\" which 44 never was on land\nor sea& &\nHis work was the natural realistic link between the unimaginative and the imaginative.\nIn the immediate tomorrow comes the next link in which the accessories shall be not\ncorrect in date but correct in spirit; when we shall not realise but suggest. The day after\nthat we shall move still further forward, from suggestion to symbolism, until in time, by\ntaking step after step, we restore to the Art of the Theatre its liberty and its royalty.\nOn that day there is no doubt we shall remember the debt we owe to E. W. Godwin. &\n\n4? The initiator\nof a new move-\nment. &\nHis work linked\nPast & Future.\n(1) We hope we are doing Sir Squire Bancroft, the late Mr Wilson Barrett and others no wrong in assuming that, though they were instru-\nmental in forwarding the movement inaugurated by E. W. Godwin, they were not the source from which the whole movement sprang. The\nproductions by these gentlemen were often admirable but never achieved the higher level of artistic excellence except when E. W. Godwin\nlent his aid."}, {"page_pdf": 9, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.9", "texte": "Designed, for Miss Ellen Terry by E. W FSA. for \" The Cup \"by Lord Tennyson.\n\nTHE MASK.\nOctober i 9 l 0."}, {"page_pdf": 11, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.11", "texte": "PROPOSALS OLD AND NEW.\nA Dialogue between a Theatrical Manager\nand an Artist of the Theatre\nFORE WORD\nby Allen Carrie.\nn this Dialogue, although the Manager says but little, he condescends to\nsay more than most managers. He echoes those two celebrated if slightly\nworn phrases that \" Art does not pay \" and that 44 We give the Public\nwhat it demands \". He does this more from habit than from belief in their\nworth. JE? & jg? jgp jgp j-p\n& I have purposely kept the Manager from attempting to prove that\nwhat he offers the Public is either original or beautiful, for 1 felt that\nmy readers were tired of hearing the old lie over again. So I have done\nmy best to keep him as quiet as possible for 1 was unwilling that he\nshould destroy any remaining chance of retaining esteem for his methods\nor sympathy for his appalling cause. I hope in this way not to have done him any\ninjustice.\njyjanager. & That Is the finest scene I ever saw. But you can't realise it upon'the stage.\n& Artist. & You are right: I cannot.\n& Manager. & Then why if you cannot reproduce it do you show it to me?\nArtist. & To make an impression on you. Why ask me absurd questions? &\n& Manager. J? Because I wish to be practical ; 1 wish to protect my interests.\n& Artist. & But you are not protecting them ; you are utterly at my mercy and seem\nto be trying to ruin them. &\n& Manag er. & Really you look at things in a strange way. Now come down to earth\nand tell me how we can realise that design upon the stage. &\n& Artist. & We cannot; we cannot. I have told you so repeatedly but you were so quick\nwith your questions you would not let me tell you something which saves the situation.\nThat design, as I have just said, is made to give you a certain impression. When I make the\nsame scene on the stage it is sure to be quite different in form and colour but it will create\nthe same impression on you as this design in front of you now.\nManager. Two things quite different will create the same impression? Are you joking ?\nrtist. No, 1 am not joking, but I will do so if you Insist upon it.\n& Manager. & No, no, proceed! tell me more ; explain what you mean. & &\n& Artist. & Well, a design for a scene on paper is one work of art, a scene on the stage\nis another. The two have no connection with each other. Each depends on a hundred dif-\nferent ways and means of creating the same impression. Try to adapt the one to the other\nand you get at best only a good translation. You do not understand? I know it; but what\nwould you have? You ought to be content not to understand... never to understand; if\nyou could comprehend you would have no need to consult me. & &\nManager. Well, it all sounds very risky. & & & & &\n& Artist. & It is; terribly risky ...for you. That is my point; that is the artist's ever-\nlasting point. He thinks; you risk. If you begin thinking everything is lost. Leave that to\nyour stage manager,... to me. You shall have no other risk but me. Risk me and you stand\nthe chance of gaining all. Avoid that risk, and you run no chance of winning anything.\n& Manager. You terrify me. I think you must be mad. & & &\n& Artist, (continuing) And you have only one thing to be careful about; you must\ntake care to study the difference between the different types of men whom the world calls\n44 artists \". Sort them out, avoid the commercial fellows and search for the 44 mad \" artist.\nIf you can find one I promise you you've found a fortune. Then risk him, play him first on\nthe Red and then on the Black; throw him where you will he's sure to bring you luck. But,\nmy dear Sir, whatever you do pray gamble like a gentlemen; risk enormously, hazard all\non this surety; risk with decency; do not incessantly alter your mind9... and for heaven's\n\nThe difference\nbetween a design\n& a stage scene.\nFind the \"mad\"\naitist. &"}, {"page_pdf": 12, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.12", "texte": "PROPOSALS OLD\nAND NEW.\n\nsake don't apologise for your method of play. & & & & j& &\nMa nag e r. &\n& It is false in many ways. You should know quite well that the Public is so vast, is\ncomposed of so many different classes and types, its tastes varying with each type, that it\nis sheer lunacy to assert that there is no public for works of art.\nIt is as much as to say that the public is incapable of appreciation. If this were so how\nwould you explain how it is that the public knows the difference between a good loaf of\nbread and a bad one ? or explain how it is that the public can discern a good day from a\nrainy day,. .. how it knows a good song and a good horse from a bad song and horse? And\nremember that the public knows everything which is good from everything which is bad ;\nin fact the public is as right as rain ; let us hear no more criticisms of it. If you choose to\ncriticise a small section of the public that is another matter, especially if you choose that\nsmall section which grumbles at the nation's best soldiers, sailors, statesmen, judges, doctors,\npriests and artists. Yet, far from criticising this section it is the very section you de-\nliberately cater for in the theatre for those who form it are always tired after their\nday's grumbling and need amusement of the dullest kind. And you call that handful of the\nnation \"the Public\".\nManager & You do not convince me. I am certain that if the Public wanted works of\nart it would create a demand for them. &\nArtist My dear Sir, you encourage me. You say the very thing I wanted you to say.\n\"To create a demand \". You realise that a public demand is created and does not create\nitself. You realise that the Nation entrusts certain of its officers with the different tasks\nof creating this, that and the other, and amongst these other things is the \" creating a\ndemand\". The Public cannot speak for itself; if the whole lot speak at once no one is\nheard ; if one man speaks he is not listened to unless he is elected as spokesman by the\nwhole nation. Now who has the nation elected to speak for it about this matter of\nart? No one. Therefore until it does elect some representative how shall we know its\nwishes ?\njg? Manager But two hundred thousand men and women visited His Majesty's Theatre\nto see \"Julius Caesar\" and thereby acclaim Sir Herbert Tree as their spokesman. j&\n& Artist & Two hundred thousand people are not the Public, and the directors of the\npublic taste in theatrical matters are self=elected. A fine state of affairs indeed. jg?\n& Manager. What would you propose doing to discern the tastes of the Nation ?\nug? Artist. & I should propose that you should try to go to the people. Send companies\nround England for the direct purpose of collecting votes for and against certain types of\nplays and certain ways of producing plays. Let these companies play three plays by\nShakespeare, \"Hamlet,\" the \"Merchant of Venice\" and \"Henry V\" ; three plays by Shaw,\n\"Widower's Houses\", \"Captain Brassbound\" and \"Arms and the Man;\" a play by Sheriden and\none by Ibsen; a play by Goldsmith and one by Galsworthy, a play by Moli&re and a modern\nFrench problem play; a play by Pinero, one by Strindberg, one by Hauptmann and one by Yeats.\nLet these plays be produced very carefully by the different stage managers keen for the\ncompetition. For my part I would sooner stand to win or lose by producing a Shakespeare\nplay with even a scratch company than any on the list. & &\nLet this company call at every city in England, and afterwards at every one of the\nsmaller towns, and let the people record their votes for and against the different pieces.\nOf course the question at issue will have to be laid clearly before them and their serious\n\nPROPOSALS OLD\nAND NEW.\n\nThe \"cieation of\na demand.\"\nA ptoposal. jgr\nVotes to be\nrecorded. &"}, {"page_pdf": 14, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.14", "texte": "PROPOSALS OLD\nAND NEW. &\n\nconsideration of the pieces requested. &\n& The journals all over England would take the matter up and would help to make this\nquestion clear. The best journals would point out to their readers that the question was a\nserious one affecting the national welfare, and a difficult one to answer, and would help\nthe people to see the difference between a healthy and an unhealthy drama; between a\nromantic or poetic treatment and a drab and realistic treatment. The excitement created\nby this tour of Great Britain would in all probability create a new and serious interest\nin the theatre and the whole country would at last be glad to take up the matter of Mu-\nnicipal Theatres.\nSuch a plan as S have sketched out roughly for you is capable of development and Is\njust the kind of thing that would encourage the theatre.<£? &>\n<&■ It would cost money, but the direct advantages to be derived from such a move are\nenormous.\n<£? Here then is an opportunity for a business man of ability to make his mark. After this\ntest you will probably be surprised to find that the Public has all along been opposed to the\nrubbish which It is forced to accept at the theatre in place of good stuff\n<£? Manager & And what do you think the Public wishes for ?\nJ0> Artist <£? All that is good. It wants a good time, good food, good clothes, and it gets\nthem. It wants good statemen and good fighters for an emergency, and it gets them. It\nwants good amusements and good art. The first it gets; the second is witheld from it.\nThe Music Halls and the Circuses provide admirable amusement. The Theatre should provide\nits art. Popular art? Certainly popular art. When certain sections of the Public wish for\nrelaxation they find it in the Music Hall. Excellent! But when another section of the Public\nwants bracing and goes to the more serious place to get it it is disappointed. Think how\nbracing Shakespeare could be to that enormous section of the public who work with their\nbrains all day. Think of the doctors, priests, writers, painters, musicians, architects, city-\nmen, engineers, army and navy men, politicians, secretaries, editors, journalists and other\nsocial men and women to whom a vigorous living theatre might prove refreshing and who\nare today obliged to avoid the place because of Its pretentiousness. jg? jz?\nIt Is utterly impossible to believe that the failure of the theatre today is due to\na low standard of public taste. Public taste was never better than it Is today. Test the\nstatement by the method I have suggested and you will be doing a great thing for the\nNation.\n\nWhat the Public\nwishes for, &"}, {"page_pdf": 15, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.15", "texte": "THE QHOSTS IN THE TRAGEDIES\nOF SHAKESPEARE\nby Gordon Craig.\nvery curious indication as to the way in which the producer\nshould treat the Shakespearean tragedies on the stage lies in\nthe appearance in those tragedies of the ghosts or spirits. &\n& The fact of their presence precludes a realistic treatment\nof the tragedies in which they appear. Shakespeare has mad©\nthem the centre of his vast dreams, and the central point of\na dream,as of a circular geometrical figure, controls and\nconditions every hair's breadth of the circumference. &\n& These spirits set the key to which, as in music, every\nnote of the composition must be harmonised; they are integral,\nnot extraneous parts of the drama; they are the visualised\nsymbols of the supernatural world which enfolds the natural,\nexerting in the action something of that influence which in \"the science of sound\" is exerted\nby those \" partial tones, which are unheard, but which blend with the tones which are\n\" heard and make all the difference between the poorest instrument and the supreme note\n\" of a violin : \" for, as with these, \" so in the science of life, in the crowded street or market\n\" place or theatre, or wherever life is, there are partial tones, there are unseen presences.\n\" Side by side with the human crowd is a crowd of unseen forms ... Principalities and Powers\n\"and Possibilities... These are unseen but not unfelt. They enter into the houses of the\n\" human beings that are seen, and for their coming some of them are swept and garnished\n\" and they abide there and the last state of these human beings is radiant with a divine\n\" light and resonant with an added love; or, on the contrary, it may be that, haunted by\n\"spirits more wicked than themselves, the last state of such beings is worse than before.*\n\" subject to a violence and tyranny abhorrent even to themselves ; impalpable and inevitable\n\"as it would seem, even to the confines of despair.\" (i) .£? & & &\n&> it is by the necromancy of these \" partial tones\", by the introduction of influences felt\neven when unseen, at times impalpable as the \" shadow of a shadow \" yet realised even\nthen as dominant forces, sometimes malefic, sometimes beneficent, that Shakespeare achieves\nresults which surpass those of his contemporaries even when, like Middleton in his \"Witch \"\nthey treat of similar themes.\nFor when Shakespeare wrote, \" enter the ghost of Banquo \" he did not have in his mind\nmerely a player clothed in a piece of gauze. Nor had he done so, had he been preoccupied\nwith gauze and limelight, would he ever have created the ghost in Hamlet; for that ghost\nof Hamlet's father, who moves aside the veils at the beginning of the great play, is not a\njoke; he is not a theatrical gentleman in armour, is not a farce of a figure. He is a mo-\nmentary visualisation of the unseen forces which dominate the action and is a clear command\nfrom Shakespeare that the men of the theatre shall rouse their imagination and let their\nreasonable logic slumber. &&&&& &\njg? For the appearances of all these spirits in the plays are not the inventions of a pan-\ntomime manager; they are the loftiest achievements of a lofty poet, and carry to us the\nclearest statements we can ever receive as to Shakespeare's thoughts about the stage.\n& \" The suggestive shall predominate, for all pictures on the stage pretending to illusio-\n\" nise reality must necessarily fail in their effect or cause a disillusionment. Shakespeare's\n\" dramas are poetic creations and must be presented and treated as such\"; (2) advice which\n\" should be especially borne in mind by all who set themselves to interpret those of the\nplays in which the supernatural element is introduced. & &\n& Thus if a man of the theatre shall produce \"Macbeth\", \"Hamlet\", \"Richard III\",\n\"Julius Caesar,\" \"Antony and Cleopatra,\" \"The Tempest\" or \"A Midsummer Night's\nDream \" as they should be produced, he must first of all woo the spirits in those plays:\n\nThey pieclude\nrealistic tie at«\nmenU &\n\"Paitial tones\"\nHamlet9 s Father.\nShakespeaie as\nScenographer.\n\n(1) Shorthouse.\n(2) Hevesl."}, {"page_pdf": 16, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.16", "texte": "THE GHOSTS IN\nSHAKESPEARE.\n\nThe aupernatu»\ntal element.\n& \" Macbeth \"\n\nfor unless he understand them with his whole being he shall but produce a thing of rags\nand tatters. The moment, however, that he is at one with these spirits, the moment he\nhas seen their proportion and moved to their rhythm, in that moment is he a master of\nthe art of producing a play by Shakespeare. But this the stage manager never seems to\nrealise, for did he do so he would adopt a very different method for the interpretation\nof those scenes in which the ghosts appear. & & & & j£r &\nFor what is it makes the ghosts of Shakespeare, which are so significant and impressive\nwhen we read the plays, appear so weak and unconvincing on the stage ? It is because\nin the latter case the tap is turned on suddenly, the right atmosphere has not been\nprepared.\nEnter a ghost... Sudden panic of all the actors, of all the lime lights, of all the music\nand of the entire audience. Exit the ghost intense relief of the whole theatre. In\nfact with the exit of the ghost on the stage the audience may be said to feel that some=\nthing best not spoken about has been passed over. And so the mighty question, which is\nat the roots of the whole world, of life and death, that fine theme ever productive of so\nmuch beauty and \"from which Shakespeare weaves his veils, is slurred over... avoided as\nwith an apologetic cough. &\nWe are children In such matters. We think a bogie will do. We giggle when we are\nasked to present the idea of something spiritual for we know nothing of spirits, disbelieving\nin them. We giggle like children and wrap ourselves in a table cloth and say 'wow, wow,\nwow'. Yet consider such plays as \"Hamlet, \"Macbeth,\" \"Richard III.\" What is it gives\nthem their supreme mystery and terror, which raises them above mere tragedies of am=\nbition, murder, madness and defeat ? Is it not just that supernatural element which domi-\nnates the action from first to last; that blending of the material and the mystical, that\nsense of waiting figures intangible as death; of mysterious featureless faces of which, sideways,\nwe seem to catch a glimpse although, on turning fully round, we find nothing there? In\n\" Macbeth \" the air is thick with mystery, the whole action ruled by an invisible power,\nand it is just those words which are never heard, just those figures which seldom shape\nthemselves more definitely than a cloud's shadow that give the play its mysterious beauty, its\nsplendour, its depth and immensity, and in which lies its primary tragic element.\nLet the stage manager concentrate his attention and that of his audience on the seen\nthings which are temporal and such a play is robbed of half its majesty and all its signifi-\ncance. But let him introduce, without travesty, the supernatural element; raise the action\nfrom the merely material to the psychological, and render audible to the ears of the soul\nif not of the body \" the solemn uninterrupted whisperings of man and his destiny \", point\nout \" the uncertain dolorous footsteps of the being, as he approaches, or wanders from,\nhis truth, his beauty or his God \", and show how, underlying \" King Lear,\" \"Macbeth\" and\n\"Hamlet\" is, \"the murmur of Eternity on the horizon,\" (i) and he will be fulfilling the\npoet's intention instead of turning his majestic spirits into sepulchral-voiced gentlemen\nwith whitened faces and robes of gauze. &\n& Consider, for instance, more in detail, the play of \"Macbeth,\" in which \"the overwhelming\npressure of preternatural agency urges on the tide of human passion with redoubled force.\" (a)\nThe whole success of its representation depends upon the power of the stage manager to\nsuggest this preternatural agency and on the capacity of the actor to submit to the tide\nof the play, to that mysterious mesmerism which masters Macbeth and his \"troop of friends\".\nd? 1 seem to see him in the first four Acts of the play as a man who is hypnotised, seldom\nmoving, but, when he does so, moving as a sleep walker. Later on in the play the places\nare changed and Lady Macbeth's sleep-walking is like the grim ironical echo of Macbeth's\nwhole life, a sharp shrill echo quickly growing fainter ... fainter ... and gone. & jg?\njg? In the last act Macbeth awakes. It almost seems to be a new role. Instead of a sleep walker\ndragging his feet heavily he becomes an ordinary man startled from a dream to find the\ndream true. He is not the man some actors show him to be, the trapped cowardly villain;\nnor yet is he to my mind the bold courageous villain as other actors play him. He is as a\ndoomed man who has been suddenly awakened on the morning of his execution and, in\n\n(1) Maeterlinck.\n(2) Haslett,"}, {"page_pdf": 17, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.17", "texte": "the sharpness and abruptness of that awakening, understands nothing but the facts before\nhim, and even of these understands the external meaning only. He sees the army in front\nof him; he will fight, and he prepares to do so, puzzling all the time about the meaning\nof his dream. Occasionally he relapses into his state of somnambulism. While his wife lived\nhe was not conscious of his state, he acted the part of her medium perfectly and she in her\nturn acted as medium to the spirits whose duty it ever is to test the strength of men by\nplaying with their force upon the weakness of women.\nNietzsche, writing of Macbeth, sees only the mad ambition of the man,... this human\npassion of ambition ; and he tells us that this sight, instead of irresistibly detracting from\nthe evil ambition in us, rather augments it. Perhaps this is so; but it seems to me that\nbehind all this there is much more than evil ambition and the Idea of the hero and the\nvillain. j0 jzr ' jE/\n£} Behind it all 1 seem to perceive the unseen forces already spoken of;... those spirits that\nShakespeare was always so fond of hinting stood behind all things of this earth, moved\nthem, and moved them apparently to these great deeds for good or &\n& In \" Macbeth \" they are called by the old grandmother's title of the Three Witches,..\nthat elastic name which the public in the theatre may either laugh at or be serious about\nas it wishes.\n0 Now when 1 speak of this hypnotic influence of these spirits as though I were mention-\ning something quite new I am speaking entirely in relation to the interpretation of\nShakespeare on the stage and not merely as his student. I know that the students have\nwritten about these spirits comparing them to certain figures in the Greek tragedy and\nwriting of them far more profoundly than I can do. But their writings are for those who\nread Shakespeare, or who see him acted, not for those who take part in the presentation\nof his plays. Whether the plays were ever intended to be acted or no, whether or not they\ngain by being acted, does not concern me here. But If 1 were asked to present this play,\nof \" Macbeth \" upon the stage, 1 should need to bring to It an understanding different\nentirely from that which the student brings when he has only himself to consider as he\nsits reading It in private. You may feel the presence of these witches as you read the play\nbut which of you has ever felt their presence when you saw the play acted? And therein\nlies the failure of the producer and the actor.\n& In - Macbeth,\" it Is, to my mind, during the hypnotic moments that we should feel\nthe overpowering force of these unseen agencies, and how to make this, felt, how to\nmake it clear and yet not actual, Is the problem of the stage manager. To me it seems\nthat the play has never yet been properly performed because we have never yet felt these\nspirits working through the woman at the man, and to achieve this would be one of the\nmost difficult tasks which could be set the stage manager, though not because of the\ndifficulty of purchasing gauze which should be sufficiently transparent, not because of the\ndifficulty of finding machinery capable of raising the ghosts or any other such reason. The\nchief difficulty lies with the two performers of the roles of Lady Macbeth and Macbeth,\nfor if it is admitted that this spiritual element which Shakespeare called the Witches and\nGhosts Is In any way connected with the pain of these two beings, Macbeth and his Lady,\nthen these two characters must show this to the audience. & j& jp\n0 But, while it rests with the actors of these two parts, it also rests with the actors of\nthe witches, and above all with the stage manager, to bring these spirits and their me-\ndiums into effective harmony. &\nOn the stage the spirits are never seen during the scenes of Lady Macbeth, neither are\nwe conscious of their influence ; yet as we read the play we are not only conscious of the\ninfluence of these \"sightless substances\"; we are somehow conscious of their presence.\nWe feel it as the presence of the French Abb6 was felt in Shorthouse's romance of \"The\nCountess Eve\". -&•\n£> Are there not moments in the play when one of these three spirits seems to have clapped\nits skinny hand upon Lady Macbeth's mouth and answered in her stead ? And who was it,\nIf not one of them, who drew her by the wrist as she passed into the room of the old king\nwith the two daggers in her hand ? Who was it pushed her by the elbow as she smeared\nthe faces of the grooms ? Again, what is this dagger that Macbeth sees in the air ? by what\n\nTHE GHOSTS IN\nSHAKESPEARE.\n\nThe \"Three\nWitches. \" &\nThe stage mana-\nger's problem. &\n& The chief\ndifficulty. &"}, {"page_pdf": 18, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.18", "texte": "THE GHOSTS IN\nSHAKESPEARE,\n\nthread of hair does it hang? who dangles it? and whose is the voice heard as he returns from\nthe chamber of the murdered king ?...\nMacb. \" T ve done the deed. Didst thou not hear a noise ?\nLady M. I heard the owl scream and the crickets cry.\nDid not you speak ?\nMacb. When?\nLady M. Now,\nMacb. As I descended ?\nWho is this that was heard to speak as he descended\n& And who are these mysterious three who dance gaily without making any sound around\nthis miserable pair as they talk together in the dark after the dark deed? We know quite\nwell as we read ; we forget altogether when we see the play presented upon the stage.\nThere we see only the weak man being egged on by the ambitious woman who is assuming\nthe manners of what is called the \" Tragedy Queen \"; and in other scenes we see the\nsame man, having found that the same ambitious lady does not assist him, calling upon\nsome bogies and having an interview with them in a cavern. &\nWhat we should see is a man in that hypnotic state which can be both terrible and\nbeautiful to witness. We should realise that this hypnotism is transmitted to him through\nthe medium of his wife, and we should recognise the witches as spirits, more terrible be-\ncause more beautiful than we can conceive except by making them terrible. We should see\nthem, not as Hazlett imagined them, as \" hags of mischief, obscene panders to iniquity,\n\" malicious from their impotence of enjoyment, enamoured of destruction, because they are\n\" themselves unreal, abortive, half-existences; who become sublime from their exemption\n\"from all human sympathies and contempt for all human affairs,\" but rather picture them\nto ourselves as we picture the militant Christ scourging the money lenders, the fools who\ndenied him. Here we have the idea of the supreme God, the supreme Love, and it is that\nwhich has to be brought into \"Macbeth \" on the stage. We see in this instance the God of\nForce as exemplified in these witches, placing these two pieces of mortality upon the anvil\nand crushing them because they were not hard enough to resist; consuming them because they\ncould not stand the fire: offering the woman a crown for her husband, flattering her\nbeyond measure, whispering to her of her superior force, of her superior intellect; whispering\nto him of his bravery.\nSee how persuasively the spirits can work upon the man or the woman when separated\nand alone! listen to the flow of their language; they are drunk with the force of these\nspirits though unaware of their presence. &\nBut note the moment when these two come together. In each other's faces they see, as\nit were, something so strange that they seem to be surprised by a reminiscence.—\" Where\nhave I seen that before or felt that which I now see ? \" each becomes furtive, alert, fearful, on\nthe defensive, and so there is no outpouring of speech here, but their meeting is like the\ncautious approach of two animals.\nWhat is it they see ? the spirit which clings round the feet or hangs upon the neck, or,\nas in the old Durer picture, is whispering in the ear ? Yet why, one wonders, should these\nspirits appear so horrible when a moment ago we were speaking of them as beings so\ndivine as to resemble the militant Christ? and the answer seems obvious. Is it not pos=\nsible that the spirit may take as many forms as the body, as many forms as thought ?\nThese spirits are the many souls of nature,.... inexorable to the weak, obedient to those\nwho obey.\nBut now let us come to the appearance of Banquo at the feast. &\n& The whole play leads up to, and down from, this point. It is here that are pronounced the\nmost terrible words heard during the play, here that is offered the most amazing Impres-\nsion for the eye. And in order to reach this moment decently, intelligently, •. • that is to\nsay, artistically,... the figures must not walk about on the ground for the first two acts\nand suddenly appear on stilts in the third act or line, for then a great truth will appear\nas a great lie,... Banquo's ghost as nothing. & & &\n& We must open this play high up in an atmosphere loftier than that in which we gen-\n\nWhat we should\ns ee . &\nJS? The meeting.\nB an quo ."}, {"page_pdf": 19, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.19", "texte": "THE GHOSTS IN\nSHAKESPEARE.\n\n& Unweieldy\nmaterial. &\n\nnerally grope and which is a matter=of=fact, put-on-your-boots atmosphere; for this is a\nmatter of fancy, a matter of that strangely despised thing, .*. the imagination; that which\nwe call the spiritual.\nWe should be conscious of the desire of the spirit to see the woman utterly anihilated\nherself rather than submit to the influence which this spirit brings upon the flesh as\na test. W© should see the horror of the spirit on perceiving the triumph of this in-\nfluence.\n& Instead we see of all this nothing on the stage. We do not know why the witches are\nworrying these two people; we feel that it is rather unpleasant. But that is not the feeling\nwhich should be created in us. We see bogies and imps of the cauldron and pitch-forks\nand the little mosquito-like beings of the pantomimes, but we never see the God, the Spirit,\nwhich we ought to see ; that is to say, the beautiful spirit, that patient stern being who\ndemands of a hero at least the heroic. &\nShakespeare's characters are so often but weak beings; Lady Macbeth is perhaps the\nweakest of them all, and if that is the beauty,... and unmistakeably it is a great beauty,...\nit is the beauty of disease and not the supreme beauty, & & J? &\nHaving read of these characters we are left to ourselves and our own contemplation and\neach will add that thought which Shakespeare left to be added by each. There is great\nfreedom permitted to the reader for much has been left unsaid, but so much has also been\nsaid that nearly all is indicated, and to the imaginative brain these spirits are clearly\nimplied and the fruits of the imagination are always welcomed by the unimaginative who\ndevour them as Eve must have devoured the forbidden fruit.\nTherefore when a stage manager happens to have imagination he must also set before\nthe people the fruits of this Imagination. &\nBut look at the unwieldy material which is tossed to him ! What can he do with rub\nbish such as scenery, such as costumes, such as moving figures which he can shove her\nand there and place in this or that light? Is this material for so subtle a thing as imagi-\nnation to work with ? Perhaps it is; perhaps it is no worse than marble or the material\nused for erecting a cathedral; perhaps all depends upon the manner of the use. &\nWell then, admitting this, let the stage manager return to the material and determine\nto shake the dust out of it until he wakens it to real life; that is to say, the life of the\nimagination. For there is only one real life in art and that is this life of Imagination. The\nimaginative, that is the real in art, and in no modern play do we see the truth of this so\ntremendously revealed as in \" Macbeth \" & & & &\nIt is all very well for some people to talk about Shakespeare living in a curiously\nsuperstitious age, or choosing a theme from an age and a country which was soaked in\nsuperstition.\n& Good heavens, is the idea of a ghost, is the idea of a spirit, so strange ? Why, then the\nwhole of Shakespeare is strange and unnatural, and we should hastily burn most of his\nworks, for we want nothing which can be called strange and unnatural in the twentieth\ncentury. We want something we can clearly understand, and, as represented upon the\nstage, these plays are not clear to understand, for the foolish appearance of a spook is no\na very understandable thing, though the reality of the presence of spirits around us\nseems to me to be a thing which all ordinary intelligences should be reminded of.\n& Yet how can we show this thing properly if we take as the main and primary point for\nour consideration Macbeth and his wife, Banquo and his horse, and the thrones and the\ntables, and let these things blind us to the real issues of the drama ? & <£? &\n& Unless we see these spirits before we begin our work we shall never see them later on.\nfor who can see a spirit by looking for it behind an act drop? No, the man who would show\nthese plays as Shakespeare perhaps might wish them to be shewn must invest every particle\nof them with a sense of the spiritual; and to do so he must entirely avoid that which\nis material,... merely rational... or rather, that which exposes only its material shell,\nfor the beholder would then come up against something thick and impenetrable and have\nto return to that swinging rhythm which flows not only in the words of Shakespeare but\nin his very breath, in the sweet aroma which lingers round his plays.\nBut to speak more practically in conclusion. & &"}, {"page_pdf": 20, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.20", "texte": "THE GHOSTS IN\nSHAKESPEARE.\n\nHad I to teach a young man who would venture to achieve this I would act as follows;\nI would take him through each portion of the play, and from each act, each scene, each\nthought, action, or sound, I would extract some spirit,... the spirit which is there. And\non the faces of the actors, on their costumes, and on the scene, by the light, by line, by\ncolour, by movement, voice and every means at our disposal, I would repeatedly and re-\npeatedly bring upon the stage some reminder of the presence of these spirits, so that\non the arrival of Banquo's ghost at the feast we should not commence to giggle but\nshould find it just and terrible; should be so keenly expectant, so attuned to the mo-\nment of Its coming that we should be conscious of its presence even before we saw it\nthere.\n& It would be the natural climax, the natural conclusion ; and from that point until the\nend of the play I would remove spirit by spirit from the faces, from the dresses, from the\nscenes, until nothing lay upon the stage but the body of Macbeth, a handful of ashes left\nafter the passage of a devouring fire. &\nBy this means the scorn which the appearance of a spirit arouses in us would be averted;\nand before the public was aware of it, a spirit-world would once more become a possibility,\nour minds would again open to receive the revelation of the unseen ; and we should feel\nthe truth of Hamlet's words, \" There are snore things in Heaven and Earth, Horatio, than\nare dreamed of in your philosophy\". jgr &\n\nA NATIONAL MEMORIAL THEATRE:\nTHE BUILDING\nby Louis Madrid.\now that we are going to have a National Memorial Theatre let us deter-\nmine to have a noble one and take our measurements accordingly.\n& The Drama we have already Shakespeare and the Elisabethans;\nwe can train the performers, and a miracle may bring us the right\ndirectors.\nBut it will not need a miracle to make sure of a noble building, and\nthough timidity may at first prevent us from seeing our way to it, we\nmust undoubtedly make the effort to erect a nobler building than any to\nbe seen today in London. jZ? &\n& How I s this to be done? How shall we set about the work?\ni\n& Well, first of all we must remember that no such building can be completed in less than\nfifteen years although It may possibly be used while still uncompleted and before it is\nformally opened. Next we have to find our master-architect and our assistant architects.\nThirdly we have to learn to obey our master; and in order to feel like obeying we shall\nhave to put aside our conceit and consider the matter seriously and with sincerity. &\nAs I write this a great cathedral ...Westminster,... has just been consecrated. That\ncathedral has not been built in a year or even in two; it has taken at least ten years\nto build, probably longer; yet it has been open for six or seven years: and so it was with\nthe great cathedrals of the Midde Ages save that many more than ten or twice ten years went\nto their completion.\nTherefore when we decide to build our Memorial Theatre let us think of it as though\nwe were entering upon a task as great as the building of a cathedral, for unless we do so\nwe shall only succeed in erecting one more wedding-cake affair. That we may not fall into\nthis latter error let us take warning from the timidity of the Parisians who built an Opera\nHouse which is a blemish to a fair city, and if we are unconscious that it is an error let\nus visit Vienna, Munich, Berlin, Budapest, St Petersberg, and Moscow and see for ourselves\nwhat comes of compromise, conceit and insincerity.\nIntriguing and conceited Builders may have put those terrible State Opera Houses and\nTheatres in their place and may have put them there securely, but assuredly no Master\nArchitect was there to control them ... and let us not forget that without a great architect at\nthe head of affairs we, like those other cities, shall certainly make a muddle.\nNaturally no such building as I have in mind in writing this,... one worthy of comparison\n\nA great task."}, {"page_pdf": 21, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.21", "texte": "with a great cathedral,... can be completed without considerable difficulty, nor without\npanic nor yet without regrets; but let us be wise enough to avoid falling into the error\nof thinking that it Is the Architect who creates this panic, this difficulty and these re-\ngrets. On the contrary, the Architect is the only man who can steer us through them to\nsuccess.\nThe story of the building of the great dome over the cathedral in Florence is so full\nof this same panic and regret that, seeing how, and in spite of, these it was triumphantly\naccomplished by its architect we can take courage and show as much pluck as did the\nFlorentines when they finally accepted Brunelleschi's designs, and so faced the difficult instead\nof the easy way.\njgr For BruneileschFs project was ridiculed at the outset. In fact, when called before the\ncommittee to explain his design he was laughed at to such an extent, was so exasperated\nby delays and distrust of his powers that, in an access of fury, he had to be carried kicking\nfrom the room. Even after his plans had been accepted his progress was retarded by every\nconceivable means so that the work took twenty five years to accomplish ; and yet today\nwe forget all this as we point to it, and flatter ourselves that it all happened like a miracle\nand find it really the best dome ever built.\nAnd what of Brunelleschi himself? Was he one of those \"old school'' fellows who can\ndo no wrong, who never get in a temper, who are amiable and agree with every whipper-\nsnapper on the Florentine Committee ? On looking at the dome we form the impression that\nhe must have been a grave calm man who commanded everyone's respect and to whose\nopinion everyone bowed down. But was that so ? Not a bit of it. Read the story of his life (i)\nand you will see that every step of his way was obstructed by intrigue and nonsense,\nfor the Florentines of the fifteenth century were no different iu this from the Londoners\nof today. In one respect, however, they differed, and that made and still makes all the\n& & & & & <£? &\n& They valued their artists ... they would no more have dreamt of asking a mere builder\nto put up a cathedral than of asking a wine seller to say mass; and it is due to this intel-\nligent virtue that Italy looks as it does today.\n& If we bear this in mind we shall then in our turn be wise and select as architect the\nman who can design for us the noblest building,... for it is certain in the end to prove also\nthe most practical.\nOf course we are sure not to treat our architect any better than did the Florentines,\nBrunelleschi, for we know nothing about architecture and yet are sure to interfere. But let\nthat be as it may; let us at least prelude all our mistakes-to-be by one splendid action,...\nthe choice of the finest architect, the acceptance of his plans. And in the choice of this\narchitect let more than a committee of theatrical men be consulted. We should take council\nwith artists of every branch of art avoiding if possible the Royal Academy as a whole; the\ndesigns should be publicly exhibited as they were formerly in Florence and all London\nallowed to see them before any decision is & &\nIt would not be unjust previously to throw out all the florid \" wedding-cake \" designs\nas unworthy to set before the citizens of London, but every so-called \" queer\" design\nshould have its chance. Why, Brunelleschi's design for the dome was considered so \" queer \"\nthat the authorities locked him up in prison for making it, probably thinking such an\nidea could be born only in the brain of a madman, and he was rescued with considerable\ndifficulty ; so let us in our turn beware of rejecting a thing as \"queer\" only because we have\nnever seen its like before.-^\n\nA NATIONAL\nMEMORIAL\nTHEATRE.\n\nBiunelleschi.\nRespect for the\nartist. &\nA council\nto choose the\narchitect.\n(1) In \"Filippodi Ser Brunellesco\" by Leader i'cott, (George Bell and Son.) you get a very good idea of the amazing story, and members\nof the National Memorial Theatre Committee would do well to read it."}, {"page_pdf": 22, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.22", "texte": "TUITION IN ART\nA NOTE TO THE YOUNGER GENERATION OF THEATRICAL STUDENTS.\nby Felix Urban.\nwhen masters of Theatrical Art are rare we must learn as best we can. 'The\nManagers are too busy to help us and the Actors and Actresses have lost the knack of\nInstructing. Many a student, either too poor or too intelligent to go to one of the Schools\nof Dramatic Art, has to be his own master; and, with care and plenty of self criticism, he\ncan have no more faithful tutor. &&? &&&&&<&\n& Yet there are masters willing to help the student of our Art and to do so for next to\nnothing; and, even if not strictly speaking dramatic tutors, these masters come very near\nthe mark and in some respects are better than the professional teachers. I allude to the old\nmasters of painting whose works we can study when and where we will.\n& But no, not quite where we will, for most of the works of the old Italian, Dutch, and\nSpanish masters are to be seen only abroad, though we can go to the National Gallery in\nTrafalgar Square and study some of them if we will, and reproductions of the schools of Italy,\nHolland and Spain can be had at prices within the reach of all.\n& And what, you ask, can w© learn from these masters ? 1 will tell you.\nYou can derive many wonderful things and learn many useful things; though surely no\none who looks at these works needs to be told what can be derived by studying them. As\nfor learning from them, you can do so by studying in them movement, dramatic movement\nfacial expression, the values of light and shadow, historical and fanciful costume, and some\nof the significance of a pictorial scene. &\n& If you visit the National Gallery continually, and if you are able to be undisturbed while\nstudying the wonderful collection which the Nation has to offer you, you will receive a\nfuller impression than if you study reproductions in black and white : but even these can\nbe of very great value to you and I will tell you how to get them in a way easily within\nyour reach. And consider what a great advantage it will be to have in your own room a set\nof pictures full of such things as i have enumerated, for you can study so much better in\nprivate, and a Public Gallery cannot offer you sufficient privacy for your work. <£?\nA publisher (i) has for some years been issuing small volumes literally packed with\ngood reproductions of all the best works of the Masters of Italy, Holland, Spain and other\ncountries. You can have the masterpieces of Giotto, Carpaccio, Durer, Tintoretto, Fra An=\ngelico, Veronese, Holbein, Velasquez, Teniers,.... the list is too long to complete it here,\nand you can get a volume containing sixty of these reproductions for sixpence. &\nAnd from every picture there is something to be derived or learned. & & &\nThat possibly never before occurred to you, but it may interest you to learn that it oc»\ncurred to men and women in your calling whose names and work you hold in great esteem.\nMiss Ellen Terry, for example, owes much to the masters of painting; Forbes Robertson\nmuch ; Madame Bernhardt and Madame Duse and Salvini all have studied under them ;\nHenry Irving very often betook himself to them although, possibly owing to his early\ntraining, he was fond of selecting as guide the more flamboyant rather that the more restful\nmasters: he preferred Rubens and Vandyke to Giotto and Masolino, yet, strange to say, his\nmovements were the movements which Giotto teaches and not those of Rubens.\nYou must not be put out by 44 advisers \" who tell you that you have nothing to learn\nfrom Giotto, for example. You may be quite a different person from the 44 adviser ... that\nindividual who has so little to do that he advises everyone else to do as little... and you\nwill do well not to trouble about people who tell you that movement is not to be learned\nfrom studying movement in pictures. It is so to be learned, and In schools of the Dance the\npupils,... nay, even the masters,... give much time to the study of the movement in designs\nupon Greek vases, In sculpture and in early painting.\n& But be careful to select for your study none but the best masters. The best masters of\nDramatic movement are Giotto, Masolino, Michel Angelo and Rembrandt, though the two\nfirst are finer than the two last,... finer because more restful, having brought movement\ndown to a state of repose. The other two may be said to 44work it up\" more, although at\ntimes Rembrandt is very restrained, while he can be the most poignant of all. &\n\nThe old Masters.\nTheit value.\nHow to study\nthem.\nSelect the best\nmasters. &\n\n(1) Uowang and Grey, 5 Robert St, Adelphie, London."}, {"page_pdf": 23, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.23", "texte": "TUITION IN ART.\n\nFor facial expression also these four will still serve you as very noble tutors, though\nFra Angelico, Franz Hals, Teniers and Hogarth enter more into this subject, and Giotto\neven here is the finest master of all, but very, very difficult to understand. You must not\nthink, however, that facial expression is \"making faces.\" You probably do not think so, but\ndo not forget it. &\nFor costume and scene, including light and shadow, all the masters are very valuable and\nthough I still put Giotto first you will do well to study Fra Angelico a great deal. Michael\nAngelo is of little use to you here. & & & & & &\nBeware of the \" superb \" masters. The Theatre has followed all these men a little too\nmuch hoping to be able to reproduce their \" superbness \" and has utterly failed. These\n\" superb \" fellows are Titian, Tintoretto and Veronese.\n& When a stage manager turns to an old master to help him in his need for such plays\nas the \"Merchant of Venice\" or \"Much Ado About Nothing\" he too often seeks out Paolo Vero-\nnese and Tintoretto. He would do better to learn from Carpaccio who, in movement, costume\nand scene is quiet without being austere like many Italians, yet who avoids being over-rich\nand noisy like Veronese.\nYou are not to think I am finding fault with a master; I only wish to point to one who\nI consider better fitted to instruct you. Carpaccio is the golden mean between the very calm\nchurch painters and the very swagger city painters,.... the balance between the sacred\nand profane.\nFor nearly all the Shakespearean plays of which the scenes are laid in Italy Carpaccio\nis an admirable master. He lived between 1478 and 1522. His scenes and costumes are\nmostly Venetian,... and these of course will not do for \"Romeo and Juliet\" if you wish to be\ncorrect in detail. But do you wish to be correct in detail or correct in spirit? If the latter,\nthen study Carpaccio without fear. &\nI have forgotten to mention the two Bellinis for our publisher has not as yet favoured\nus with a book of their pictures; possibly he may do so before long.\nHe has issued very many volumes of interest besides these that I have mentioned, amongst\nthem being four volumes of the Drawings of Old Masters, (each sixpence) and a little work\non Fossil Plants which will be very useful to you as a help in studying patterns. Then there\nare a couple of volumes of \" The Masterpieces of Sculpture \". & £?\n& Dancers and Actors have often availed themselves of the sculpture of the masters, but\nexcept in one or two instances have benefitted very little. There is something too cold, too\nperfect, about sculpture to serve the actor, and the only pieces of sculpture which I should\nadvise you to trouble about are the bas-reliefs. The \" all-round \" sculpture curiously enough\nbaulks more often than It assists. &&&&&&&\nI have not gone much into detail In this short article but if you wish I will do so another *\ntime, for there is plenty to be said on the subject and I shall be glad to return to it.\nMeantime I may as well tell you which masters you need not trouble to study at all; they\nare Reynolds, Murillo, Raeburn, Del Sarto, Correggio, Poussin, Gainsborough, Luini and\nGreuze.\nBy the way, you ought to write to the publisher whose address I have given you and\nask him when he will publish a volume of Leonardo's pictures and some volumes of Leo-\nnardo's drawings. These you should secure as soon as you get the chance,.... and carry\non you wherever you go, for he is the masters of masters for everything.\n£Jn looking back at what I have written I seem to have been talking a great deal and\nabout something I don't entirely believe in. Who wants to be studying from pictures ?\nWhat worth as models have they beside the body of a man or a woman ? Who was this\nGiotto and who these dandies Carpaccio and Angelico,... city dandy and holy dandy? And\nwhat was I thinking about when I advised you to take dead men as your tutors, to look\nbehind you when walking forwards ? And now if I tell you to study nothing but nature\nwhat do you care for my advice? You will say I tell you one thing today and another to-\nmorrow ; you can find a better counsellor for your money. &\nWell, do as you will. Look for good counsel; try and discover it in the north or in\nthe south, at night or by day; and when you have found it try to secure it in a box or\nin a sentence; do not foe cheated of a certainty. If you do this, if you search for a certainty,\n\nThe \"superb\"\nmasters.\nCatpaccio. j&\nSculptilie.\n.\nArt or Nature ?"}, {"page_pdf": 24, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.24", "texte": "TUITION IN ART,\n\nyou will find yourself turning round and round without stopping and you will possibly\nget giddy. But should you care to hear me to the end I am quite willing and it will save\nyou from chasing after phantoms. & & &\n& Many artists tell us that Nature is the greatest teacher. M. Rodin never ceases tell-\ning us so and what he says brings us nearer the truth. But it is not the whole truth.\nNature may be the best teacher for certain artists but is assuredly the hardest, and\nstudents have much to learn before passing into that class presided over by the great\nhead-master. Conceive the helplessness of a student of divinity on being told that his\nbest master is God! It Is the truth, but it is also true that the best masters for begin-\nners are the prophets.\n& Therefore go to the Masters first and then go to Nature. Each explains, while appearing\nto contradict, the other. But because the paradox seems puzzling do not take refuge under\nthe modern cloak of inane repetition of modern formulas. Avoid facility.... and this you\nwill do if you keep your eye upon Nature and the Old Masters.\n\n& Both Ati and\nNature. &\n\nTHE PASSION PLAY AT OBE RAMMERQAU\nby Adolf Furst.\nhe Passion Play is over but the enthusiasm for it will probably not die\nout till it is played again in 1920. £?\n& The enthusiasm is respectable and righteous though not religious.\nThe production is a poor piece of work if it represents as it claims to\ndo the thought and labour of three centuries of artists.\nThe bloom of the first performance in 1634 may have been more\ndelicate ; we have no means of judging, though we should be inclined\nto think that when the Austrian army destroyed part of the village of Oberammergau in\n1809 many of the older traditions disappeared. & & & &\n& \"It is almost blasphemy\" writes Miss J. Helena Short, \"to call it acting\", and I am\ninclined to think she has not overstated the case, for as a work of art the performance\nrejoices in all the worst faults of theatricality;... stage, scene, actors, facial expression,\nmovement, costume, all is as stagy as the most ignorant public could desire. Artistically it\nis most profane, yet in spite of this the old story is as triumphant as ever, and creates in\nsome of us a profound impression. Therefore I cannot see why I should have had to travel\nall the way to Oberammergau when 1 ought to be able to claim from my own country the\nright to witness a performance of this drama at home. &\n& Yet I should be sorry to see such a performance in England. I should be sorry to think\nthat English peasants under the direction of English artists could not do better in three\nmonths than the folk above Ammergau have done in three centuries. & &\n& Well performed, beautifully as well as earnestly presented, free seats to all, and I cannot\nthink of any pleasure which the English Nation would enjoy more than to witness each year\nthe representation of this noble drama. & & <0\nOf course the danger of such a performance is that it might become theatrical or righteous\nand so miss the point, which is to be beautiful and religious.\nAt Oberammergau we have seen how the whole thing has failed as a work of art. How\nelse could it have appealed to the American vaudeville manager Mr Martin Beck ? He sees\na pretty penny in it and has therefore arranged that some of the peasant players shall visit\nAmerica and see if a replica of the performance can be faked up in one of the United States\nwherein Mr Elbert Hubbard dwells. &\n& There is no doubt that the thing is possible ; it will not cost anything to transport\nthe hypocritical part of the business, colossal as it is, and that after all Is its greatest\nappeal.\nthemes have always been dear to the artist, and though the theatrical artist is\nnot permitted to use them today he once upon a time made good use of them.\nThat was before he made money out of them and before actors painted their faces,\nor made speeches outside their theatre, which in that day was the church itself.\n\n& The first per-\nformance.\nPerformance.\nin England. &\nThe danger.\nJ2> Religious\nthemes."}, {"page_pdf": 25, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.25", "texte": "Before written had crept into the theatre, before Realism had come to fill up a stage empty\no# intelligence. That was in the days when architecture was held to be the only fit back-\nground for Drama and when daylight was considered a finer illumant than artificial light;\nwhen the false was considered as vile as it is,.... false colours, false diamonds, false hair\nand noses. &\n& In those days the dramatic artist had the same privilege as the painter, sculptor or\npoet. He might make use of a religious theme for the purposes of his art,.... Or rather, his\nart was considered exquisite enough to touch religious themes with.\nToday this privilege is no longer his. & & &\nWhile poets may sing of Calvary and painters and sculptors may show us the Entomb,\nment and the Resurrection, we may not lift the veil which hangs between the visions of\nthe life and death of Christ because we have lost the right to do so ... lost it through\nbeing in love with powder and patches, artifice and vulgarity and worthless things instead\nof being in love with the lovelier things.^\n& Well, it was our own choice and we cannot grumble. But if we ever think It worth\nwhile to enter our names for the old privilege of exercising our art on religious themes we\nmust first prepare ourselves and our theatre. &&&&£>&\nFor ourselves, I suppose we players are no better, no worse than the rest of the world,\nbut our theatre is certainly far worse than any other artistic medium or instrument,..,.\nfar worse because so much less sincere, so far more artificial. & & &\n& And people will always prefer insincerity to sincerity... artificiality to nature, if they\nare allowed the choice. & &\n& The mistake is to give them the option in matters of Art, for people are as children and\nknow no better, neither has there been a time when they knew any better. & &\n& Tyrants are no longer of the picturesque quality or the world would again look and\nsound more enchanting. We must patiently await the return of the older Tyranny:... Art\nwill then flourish. &&&&&&& & & &\n\n& THE PASSION\nPLAY,\n\nA lost privilege.\n& The return of\nTyranny. &"}, {"page_pdf": 26, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.26", "texte": "THE THEATRICAL\nby John Balance.\n'\"piiere is something about the Theatre which annoys the critical. It cannot be defined by\nthem but it is easily felt. These critical will assert that they detect definite faults in\nperformances, but when brought to task can seldom define exactly what those faults are nor\nlogically prove that anything should have been &\nThey have been irritated, and it is for us to remove the cause of irritation.\nWe produce an old opera, for instance, of 1650. We stage it as pleases us,\ncarefully, in taste, and without display and without pedantry.\nWe do this, and send the critical-minded into a rage. We were too modern.\nYet had we staged it as nearly as possible as it was staged in 1630 should we have\npleased the critical any better? Not a whit. They would then have accused us of being\nprecious antiquarians. & &\nNow what is it that annoys the critical ? It is The Theatre, and The Theatrical;\nnothing more and nothing less.\n& The Atmosphere of the Theatre annoys them* They prefer the Atmosphere of books and\nan occasional day in the country. I know them well, these same criticals, and I like them\nand their disapproval and intend to profit by it if I can. & &\nThere is a peculiar dryness in the Book Atmosphere which is delicious. AH other\natmospheres appear coarse after it,.... murky, muggy, foggy, foul. There is a certain in-\nfluence In the staid black and white of books which refines the eye without It's knowing\nit. The uniformity of the type increases this, and everything is clinched by a binding delicate\nto the touch. jg/ & & &\n/s/ A bookish person is one to be reckoned with. His refinement is natural after ten or\nfifteen years in this Book Atmosphere and it is very powerful. & £? &\nThe Theatre is not refining in the same way. It lacks this calmness of tone, this grey\nproduced by black and white. It lacks the uniformity; it lacks this vellum or morocco exterior.\nIts appeal to the senses of sight, touch, hearing is not subtle or delicate. We as audience\nare regular galley slaves chained together. The Theatre orders us here and there. We must\nsit down, remain quiet,.... often be uncomfortable,.... and we may not think. As for\npondering anything it is forbidden. We must sit up, open our eyes and ears and receive\nwithout comment all that is poured through them into the receptical of our already outraged\nbrain. The brain of course has closed most of its private doors; only the postern from the\nsenses to the lower apartments remains open. & &\n& Then all the silliest stuff in the world is let loose upon us, embellished with as much\nmagnetism or mesmerism as the actors can add to it. & £? & &\n& This cannot be right. It is most certainly to be altered. The critical detest it. The cri-\ntical are part of the Public. They begin to avoid the Theatre. &\n& This will not do. It is obvious that there is no way out of it but to change something\nand it is we, not they, who must change. We must create a new atmosphere. Not\nmerely the atmosphere of the play, the scene, the actors, but the whole atmosphere\nof the Play-house.\n& «« God bless mel\" cries the contented critic, \" but why ? why change anything ? \"\n& Why ? Because the critical disapprove... a good reason.\nThe Atmosphere\nof the Theatre.\n& A new\nA tmosphere\nto be created."}, {"page_pdf": 27, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.27", "texte": "THE ARCHITECTURE AND COSTUME\nOF SHAKESPEARE'S PLAYS\nKINO HENRY\nby\nE. W. Godwin. P. R. S.\nere we have the last of what are called \"the historical plays\".(i)\nWith the death of Richard III. we saw the end of the conse-\ncutive series which, beginning with Richard II., carried us\nthrough six reigns to within three years of a century. A.D. 1485\nwas the last date we had before us. We pass by Henry VII.,\nthe wickedest as certainly as he was the richest prince in\nEurope, and we do not take up the chronicle again until twelve\nyears have passed over the crowned head of that coarsest of\nEnglish princes, whose chief boast is said to have been that\nhe \" never spared a woman in his lust, or a man in his an-\nger.\" The sequence of events as related in the drama begins in the spring of 1521 with\nthe arrest of the Duke of Buckingham, and ends with the birth of Elizabeth, which took\nplace in the autumn of IS33, the year before that important one in the history of England\nwhen the exercise of the power of the Papal Court in this land was formally declared by\nAct of Parliament to be illegal. To show how far Shakspere has followed the real history\nof these twelve years, I give here a brief record of the time, as I have done in my notes\non the other historical plays :—\n1521. The Duke of Buckingham arrested. Tried by the Peers May, 13, and\nexecuted May 17.\nBuckingham was charged with having entertained designs on the\nCrown as early as 1511, with having had his horoscope cast by the\nZadkiel of the period, one Nicholas Hopkins, a Carthusian monk, and\nwith plotting the death of the King, Wolsey, and others.\n1528. Oct. 7. Cardinal Campegius arrives in England from Rome with a commission\nto try, conjointly with Cardinal Wolsey, the question of the King's\nmarriage with his brother's widow, Katherlne. The two Cardinals\nwait on the Queen.\n1529. May 7. The Cardinals open their commission at the Monastery of Back Friars.\nWitnesses, including the King and Queen, are summoned, and the\nreal business commences June 18, on which day the Queen enters a\nprotest against the Cardinals as judges. She appears before the Court\nagain June 21, and this time in the presence of the King, but will\nnot admit the legality of the tribunal, leaves the Court, and is held\ncontumacious. On July 30 the Cardinals adjourn to October 1, secretly\naware that the Pope had, on July, 18, allowed the cause to be tried\nat Rome.\n1529. Aug. The King takes his autumn tour with the light graceful-mannered\nAnne Boleyn; receives the legates at Grafton, dismisses them, and\nnever sees Wolsey again.\n1529. Oct. 9. Cardinal Wolsey takes his seat in the Lord Chancellor's Court, and\nthe Attorney-General indicts him in the Court of King's Bench for\nacting contrary to the Statute of Provisors (25th Edward III.).\n1529. Oct. 17. The Great Seal taken from Wolsey and given to Sir Thomas More.\n1529. Oct. 28. The judgment of the Court of King's Bench is pronounced, and the\nCardinal receives sentence of imprisonment and forfeiture of goods.\n1530. Feb. 12. Wolsey, weak and ill, Is pardoned by the King, who sends him money\nand plate, and grants him the revenues of his archbishopric. He re-\n\njg? Date of the\naction. & *£?\n& The real\nhis tory.\n\n(1) We have reprinted this article out of its regular order, believing ihat it will have particular interest at the present time in view of\nthe revival of the play by Sir Herbert Tree. The articles on the other historical plays will appear in due course. J. S."}, {"page_pdf": 28, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.28", "texte": "HENRY VIII.\n\ntires to York, and lives in the exercise of his church duties through\nthe spring, summer, and early autumn ; but on November 4 he is\narrested at his palace of Cawood for high treason by the Earl of\nNorthumberland, is taken towards London, falls seriously ill on the\nroad, and dies at Leicester November 29.\n1532. May 16. Sir Thomas More resigns the office of Lord Chancellor.\n*533* Feh. 21. Cranmer appointed Archbishop of Canterbury.\n1533- May 23=28. Cranmer, at his court held at Dunstable, decrees the marriage of the\nKing to his brother's widow to have been invalid, and his union with\nAnne Boleyn lawful. A few days after, Katherine—who was still\n\" contumacious \" enough to dispute Cranmer's right to judge, and\ntoo old-fashioned and obstinate to see the beauty of separation by\nmutual consent—was removed (some say by force) from Ampthill to\nKimbolton, where she died, January 7, 1536.\n1533* Sept. 7. Anne Boleyn gives birth to the \"princess\" Elizabeth at the royal\nmanor or palaco, Greenwich.\n& The clamour against Wolsey for illegal exactions and unjust taxation did not arise until\nsome years after Buckingham's death, and to restore himself to the King's favour Wolsey\npresented his sovereign with his newly-built palace of Hampton Court. With this exception,\nthe first Act is a thoroughly consistent historical picture of the early days of the month\nof May 1521. &&&>&£/&?\nThe second Act begins in the afternoon of the day of the trial \" of the great Duke of\nBuckingham,\" May 13, 1321, but before the first scene closes we hear the news that u Car-\ndinal Campeius is arriv'd \" from Rome, and the second scene confirms the report by the\npresentation of the Cardinal to the King, which, as we have above seen, would not be earlier\nthan October 7, 1528. In the third scene, \"Anne Bullen\" is created Marchioness of Pembroke,\nan event which really happened in September 1552, and then we go back to 1529 for the\nnext scene—The trial of Queen Katherine. Act III. begins by reversing history, and making\nthe visit of the Cardinals to Katherine to follow instead of to precede the trial, and the\nrest of the Act is devoted to an entirely mythical account of the fall of Wolsey, made at\nthe end worse than mythical by Cromwell's very premature announcements concerning\nCranmer and the Lady Anne. The fourth Act begins and ends in June 1533, but Griffith's\nnews about Wolsey's death is just as tardy as Cromwell's news in the last Act was prema-\nture. The fifth Act occupies three days in September 1533, but the Lord Chancellor, Sir\nThomas More, had resigned long before Cranmer had been made Archbishop, and the insults\noffered by Gardiner and others to the latter at the Council board did not occur till some\ntime after the birth of Elizabeth.\nThe scenery throughout the play is architectural, and is laid in London and Westminster,\nwith the ecxeption of an interior in Kimbolton Castle (Act iv. Sc. 2), and the last act, which\ntakes place at Greenwich. If, further, we deduct the fourth scene of the second Act and\nthe two streets in Westminster, we shall find nothing else but palaces to deal with; so that\nwe may arrange our list of scenery as follows:—\nStreets. Two in Westminster. (Act ii. Sc. 1; Act iv. Sc. 1.)\nCastle. Kimbolton. (Act iv. Sc. 2.)\nMonastery. Blackfriars, London. (Act ii. Sc. 4.)\nPalaces. Westminster. (Act i. Sc. 1, 2, 3 , Act ii. Sc. 2, 3.)\nBridewell. (Act Hi.)\n/\nGreenwich. (Act v.)\nYork Place. (Act i. Sc. Iv.)\nThe first street scene (Act ii. Sc. 1.) is fixed by the text, and must lead from Westminster\nHall to the Palace Stairs or landing place, for Sir Thomas Lovell, who is the officer in\ncharge of Buckingham, as he leaves the Hall, says;—\nTo the water-side I must conduct your grace:\nThen give my charge up to Sir Nicholas Vaux,\nWho undertakes you to your end.\nOn which Vaux immediately calls out:—\n\nThe five Acts.\nThe scenery."}, {"page_pdf": 29, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.29", "texte": "Prepare there,\nThe duke is coming; see the barge be ready ;\nAnd fit it with such furniture as suits\nThe greatness of his person.\nWhether the direction of the river be across the stage or up the stage, or diagonal to\nit, matters very little. Such a scene, managed with a little care, cannot fail to be highly\neffective. We see the old timber houses of Lancastrian and Plantagenet reigns crowding\ntheir gabies one against another. We see the water-gate, the beginning of the steps, and\nthe bargemen waiting for their orders; there, too, is the rabble many who in all times\nhave liked to look on the interesting spectacle of a man burdened with a huge weight of\ntrouble; there are the tipstaves, the halberdiers, and the officers; there are merchants*\ngentlemen, and some foreigners, too, who have come up from the city to see the trial of\nthe \" bounteous Buckingham, the mirror of all courtesy,\" and who, like gentlemen, \"stand\nclose \"—that is, retired and as privately as may be, that the condemned may not see them.\nOver all, while the sparrows are twittering on the roof, and the pigeons cooing on the\npenthouse, the afternoon sun of a bright May day throws long shadows on the ground, and\nmakes, by contrast, a very horror of the sorrow. It is a month later and twelve years after\nthis sad scene that we find ourselves again in a street at Westminster. Two of our old\nfriends, who stood close in private talk to see the last of Buckingham, are here to see the\nfirst of the new Queen as she comes in state from her coronation to the palace of Whitehall\nor York Place. It is a broiling sunny day in June, both sides of the street are in sunlight,\nbut there are deep shadows under the many projections of the overhanging storeys, and\nstrong shade on all the jutting angles. At the far end of the street rises cool and grey the\nnorth transept of the Abbey, with the wear and tear of three centuries upon it, but other-\nwise unchanged since its erection in the time of the third Henry. By no means built in\na straight line is it, this street which leads from the Abbey to Whitehall; there are also\ncross=lanes or streets, and the narrow thoroughfare widens out as it reaches the boundary-\nwall of Wolsey's garden, so that here again we see how great is the opportunity for stage\neffect, if our scenic artists will but follow the truth so far as it can be ascertained.\nOf Kimbolton Castle I know nothing. & &\nThe Monastery or Priory of Blackfriars or Dominicans was founded in 1275 by Robert\nKilwardby, Archbishop of Canterbury, under license from the Crown, on a site adjoining\nand including the site of a portion of the city wall and one of the towers thereof. The old\nmaterials of the fortification were used in constructing the Priory, and a new city wall\nwas ordered to be erected on a line going westward from Ludgate behind the houses to\nthe river Fleet, and then southward to the Thames. A new tower for the King's reception\nwas also ordered to be built at the head of the wall, \"within the water of the Thames\nthere wherein the King might be received and tarry with honour to his ease and satisfaction\nin his comings there. \" The style of architecture for this great scene might very justly be\nthat which prevailed in the time of Edward I.—in other words the style of the North Walk\nof the Cloisters at Westminster. The interior, up to a certain height, would be covered up\nby the fittings of the Court, which were prepared with all deliberation, and to produce an\nimposing and solemn dramatic effect. Indeed all the externals of the reign of Henry VIII.\n—the ceremonies of state, the masques, the feasts, the public business, the public pleasures\nand amusements—seem to have been disignedly conducted in a dramatic, and sometimes\neven a stagey, manner. The arrangement of the royal throne under its \" cloth of state \" or\ndais, of the judges' bench below it, and of the peers' seats each side, of the tables, the\nposition of the clerks, &c., are all well indicated or suggested by the stage directions in\nthe play. The general plan would be much the same as that we see in the arrangement of\nthe present House of Lords. But as the fittings were all set up for the occasion, they were\nnecessarily in great part of a temporary character, concealed by hangings, dossels, cushions,\nand covers of sundry kinds. Below the cardinals sat the officers of the court (the chief clerk\nand the apparitor), and on the other side of the table, facing the officers, the Cardinals,\nand the King, sat the Archbishop and Bishops; on one side of the table was ranged the\nstrong array of the counsel for the King, and on the opposite side the five counsel for the\nQueen, who sat near them, but at some distance from the throne.\n\nHENRY VIII.\n\nLondon Street\nscenes. &\nBlackftiars.\nThe court Scene."}, {"page_pdf": 30, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.30", "texte": "HENRY VIII.\n\nOf the four royal palaces of Westminister, Whitehall, Bridewell, and Greenwich, nothing\nis left to us except the great hall of that at Westminster. Bridewell was an old fortified\nplace, and was rebuilt by Henry VIII. for the reception of the Emperor's retinue on the\noccasion of his visit in 1522. Whitehall, or York Place, was built by Hubert de Burgh, Earl\nof Kent. It was afterwards bought by Walter de Gray, Archbishop of York, 12x6-1255. On\nthe fall of the Cardinal of S. Cecilia it came into the possession of the Crown, and was the\nchief residence of the Court from 1530 to 2697, when the old buildings were destroyed by\na fire. York House was in great part rebuilt by the Cardinal, whose lavish expenditure, on\na very doubful kind of art, was only exceeded by the King, of whom it is recordod that he\nexpended on his now walnut-tree bedstead for Whitehall no less than 86/. 3s. 10d. (old value)\nirrespective of the fees due to one Master William, who devised the work and instructed\nthe workmen. The palace or manor at Greenwich was a fifteenth century structure, con-\nsiderably altered and rebuilt by Henry VIII. &\nThe palatial scenes in this play must therefore be constructed (1) on such evidence as\nwe can obtain from documentary authorities, and (2) on the evidence of contemporary\nbuildings which yet exist. &&&&&&&&&\n& Foremost among these are the accounts of the Surveyor-General in the MS. Additional\n10, 109, and Wolsey's Palace, Hampton Court. The unfortunate Buckingham was rebuilding\nhis palace at Thornbury when he was arrested (the work was begun in isn)> and the exten-\nsive remains of this mansion, as well as the 44 Boke of the Surveye,\" are invaluable autho-\nrities for the scene painter, if used with judgment. In 44 Examples of Gothic Architecture,\"\nby the late A. W. Pugin, are a large number of engravings from measured drawings of\nThornbury, and in Parker's 44 Domestic Architecture of the Middle Ages,\" the 44 Boke of\nthe Surveye \" Is largely quoted. Wolsey's work at Hampton Court was finished in 1526. The\ndate of the chapel and dinlng-chamber would appear to be later, as we find in these rooms\nHenry's initial, bound by a love-knot, to that of Jane Seymour, who became his queen in\n1536 and died in 1537. Of the style of the different scenes in these four palaces I have not\nspace enough now to speak; but of their elaborately carved forniture, of the marvellously\nrich hangings, u wroght with gold as thyk as cowd be\" of the 44 chambres of Pleasance,\"\nwith their white silk and linen hangings, rich carpets, and bright matting, the 3rd vol. of\nParker's 44 Domestic Architecture \" will afford abundant information. & &\n\nSources of\ninformation. &"}, {"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.31", "texte": "BENKEI ON THE BRIDGE (Nò DANCE)\nThe giant Benhei fighting Yosliitsune, the boy hero\n\nTHE MAS IS.\nOctober i 9 i 0."}, {"page_pdf": 33, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.33", "texte": "SAMBASO DANCER\nSambaso is the prelude to other plays in the KabuKi theatre\n\nTHE MA SK.\nOctober i91 0»"}, {"page_pdf": 35, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.35", "texte": "THE TRAGIC THEATRE\nby\nW. B. Yeats.\nnoticed in all but all the printed criticisms of Synge's 44Deirdre of the Sorrows\"\nthat none of the things that made certain moments seem to me the noblest\ntragedy were written of, but that the play was judged by things that seemed to me\nbut wheels and pulleys necessary to the effect, but in themselves nothing.\nUpon the other hand, those who spoke to me of the play never spoke of these\nwheels and pulleys, but if they cared at all for the play, cared for the things I cared for.\nOne's own world of painters, of poets, of good talkers, of ladies who delight in Ricard's por®\ntraits or Debussey's music, all those whose senses feel instantly every change in imagination,\nin our mother the moon, saw the stage in one way; and those others who look at plays\nevery night, who tell the general playgoer whether this play or that play is to his taste,\nsaw it in a way so different that there is certainly some body of dogma whether in the\ninstincts or in the memory, pushing the ways apart. A printed criticism for instance found\nbut one dramatic moment, that when Deirdre in the second act overhears her lover say that\nhe may grow weary of her; and not one, if I remember rightly, chose for praise or explanation\nthe third act which alone had satisfied the author, or contained in any abundance those\nsentences that were quoted at the fall of the curtain and for days after. & &\n& Deirdre and her lover, as Synge tells the tale, returned to Ireland though it was\nnearly certain they would die there, because death was better than broken love, and at\nthe side of the open grave that had been dug for one and would serve for both, quarreled,\nlosing all they had given their life to keep. 44 Is it not a hard thing that we should miss\nthe safety of the grave and we trampling its edge?\" That is Deirdre's cry at the outset of\na reverie of passion that mounts and mounts till grief itself has carried her beyond grief\ninto pure contemplation. Up to this the play had been a Master's unfinished work, mono®\ntonous and melancholy, ill arranged, little more than a sketch of what it would have grown\nto, but now I listened breathless to sentences that may never pass away, and as they\nfilled or dwindled in their civility of sorrow, the player, whose art had seemed\nclumsy and incomplete, like the writing itself, ascended into that tragic ecstacy which\nis the best that art perhaps that life can give. At last when Deirdre, in the\nparoxysm before she took her life, touched with compassionate fingers him that had killed\nher lover, we knew that the player had become, if but for a moment, the creature of\nthat noble mind which had gathered its art in waste islands, and we too were carried\nbeyond time and persons to where passion living through its thousand purgatorial years,\nas In the wink of an eye, becomes wisdom; and it was as though we too had touched and\nfelt and seen a disembodied thing. & &\ndogma of the printed criticism is that if a piay does not contain definite character, its\nconstitution is not strong enough for the stage, and that the dramatic moment is always\nthe contest of character with character. In poetical drama there is, it is held, an antithesis\nbetween character and lyric poetry, for lyric poetry however beautiful when read out of a\nbook can but, as these critics think, encumber the action. Yet when we go back a few\ncenturies and enter the great periods of drama, character grows less and sometimes disap®\npears, and there is much lyric feeling, and at times a lyric measure will be wrought\ninto the dialogue, a flowing measure that had well befitted music, or that laboured one of the\nsonnet. Suddenly it strikes us that character is continuously present in comedy alone, and that\nthere is much tragedy, that of Corneille, that of Racine, that of Greece and Rome, where\nits place is taken by passions and motives, one person being jealous, another full *of love\nor remorse or pride or anger. In writers of tragicomedy (and Shakespeare is always a\nwriter of tragi® comedy) there is indeed character, but one notices that it is in the mo=\nments of comedy that character is defined, in Hamlet's gaiety let us say; but that in the\ngreat moments, when Timon orders his tomb, when Hamlet cries to Horatio 44 absent thee\nfrom felicity awhile \", when Cleopatra names 44 Of many thousand kisses the poor last''\nall Is lyricism, unmixed passion, 4 the integrity of fire Nor does character ever attain to\ncomplete definition in these lamps ready for the taper, no matter how circumstantial and\n\nDeirdre and her\nlover. <£?\n4Z? One dogma\nof printed critic\ncism. &"}, {"page_pdf": 36, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.36", "texte": "& THE TRAGIC\nTHEATRE.\n\ngradual the opening of events, as it does in Falstaff who has no passionate purpose to\nfulfils, or as it does in Henry the Fifth whose poetry, never touched by lyric heat, is ora-\ntorical like a speech at a general election, like an article in some daily paper; nor when the\ntragic reverie is at its height do we say \" How well that man is realised, I should know\nhim were I to meet him in the street\", for it is always ourselves that we see upon the\nstage, and should it be a tragedy of love we renew, it may be, some loyalty of our youth,\nand go from the theatre with our eyes dim for an old love's sake. &\nJ think it was while rehearsing a translation of \"Les Fourberies de Scapin\" in Dublin, and\nnoticing how passionless it all was, that I saw what should have been plain from the\nfirst line I had written, that tragedy must always be a drowning and breaking of the dykes that\nseparate man from man, and that it is upon these dykes comedy keeps house. But i was\nnot certain of the site; (one always doubts when one knows no testimony but one's own);\ntill somebody told me of a certain letter of Congreves'. He describes the external and su-\nperficial expressions of \"humour\" on which farce is founded and then defines \"humour\"\nitself, the foundation of comedy, as \" a singular and unavoidable way of doing anything\npeculiar to one man only, by which his speech and actions are distinguished from all other\nmen \" and adds to it that \" passions are too powerful in the sex to let humour have its\ncourse \", or as 1 would rather put it, that you can find but little of what we call character\nin unspoiled youth, whatever be the sex, for as he indeed shows in another sentence, it\ngrows with time like the ash of a burning stick, and strengthens towards middle life till\nthere is little else at seventy years. & jg? &\nSince then I have discovered an antagonism between all the old art and our new art\nof comedy and understand why I hated at nineteen years Tbackery's novels and the new French\npainting. A big picture of cocottes sitting at little tables outside a Cafe, by some follower\nof Manet's, was exhibited at The Royal Hibernian Academy while I was a student at a\nlife class there, and I was miserable for days. 1 found no desirable place, no man I could\nhave wished to be, no woman I could have loved, no Golden Age, no lure for secret hope,\nno adventure with myself for theme out of that endless tale I told myself all day long. Years\nafter i saw the Olympia of Manet at the Luxembourg and watched it without hostility indeed,\nbut as one might some incomparable talker whose precision of gesture gave one pleasure,\nthough one did not understand his language. I returned to it again and again at intervals\nof years, saying to myself \"some day I will understand\" and yet it was not until Sir Hugh\nLane brought the Eva Gonzales to Dublin, and I had said to myself\" How perfectly that\nwoman is realized as distinct from all other women that have lived or shall live \" that 1\nunderstood I was carrying on in my own mind that quarrel between a tragedian and\na comedian which the Devil on Two Sticks showed to the young man who was climbing\nthrough the window.\nThere is an art of the flood, the art of Titian when his Ariosto and his Bacchus and\nAriadne gave new images to the dreams of youth, and of Shakespeare when he shows us\nHamlet broken away from life by the passionate hesitations of his reverie. And we call this\nart poetical, because we must bring more to it than our daily mood if we would take\nour pleasure ; and because it delights In picturing the moment of exaltation, of excite-\nment, of dreaming(or in the capacity for it, as in that still face of Ariosto's that is like\nsome vessel soon be full of wine). And there is an art that we call real, because character\ncan only express itself perfectly in a real world, being that world's creature, and because\nwe understand it best through a delicate discrimination of the senses, which is but entire\nwakefulness, the daily mood grown cold and crystalline.\nWe may not find either mood in its purity, but in mainly tragic art one distinguishes\ndevices to exclude or lessen character, to diminish the power of that daily mood, to cheat\nor blind its too clear perception. If the real world is not altogether rejected it is but touched\nhere and there, and into the places we have left empty we summon rhythm, balance, pattern,\nimages that remind us of vast passions, the vagueness of past times, all the chimeras that\nhaunt the edge of trance ; and if we are painters, we shall express personal emotion through\nideal form, a symbolism handled by the generations, a mask from whose eyes the disem-\nbodied looks, a style that remembers many masters, that it may escape contemporary sug-\ngestion; or we shall leave out some element of reality as in Byzantine painting, where\n\nTragedy and\nComedy. &\nThe old & new-\nart of Comedy.\nPoetical art. &"}, {"page_pdf": 37, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.37", "texte": "& THE TRAGIC\nTHEATRE &\n\nthere is no mass, nothing in relief, and so It is that in the supreme moment of tragic art\nthere comes upon one that strange sensation as though the hair of one's head stood up.\nAnd when we Jove, if it be in the excitement of youth, do we not also, that the flood may\nfind no wall to narrow, no stone to convulse it, exclude character or the signs of it by\nchoosing that beauty which seems unearthly because the individual woman is lost amid\nthe labyrinth of its lines as though life were trembling Into stillness and silence, or at\nlast folding itself away ? Some little irrelevance of line, some promise of character to\ncome, may indeed put us at our ease, 'give more interest' as the humour of the o!d man\nwith the basket does to Cleopatra's dying. But should it come as we had dreamed in love's\nfrenzy to our dying for that woman's sake, we would find that the discord had its value\nfrom the tune,\n& Nor have we chosen illusion in choosing the outward sign of that moral genius that\nlives among the subtlety of the passions, and can for her moment make her of the one\nmind with great artists and poets. In the studio we may indeed say to one another\n\"character is the only beauty\" but when we go to the gymnasium to be shaped for\nwoman's eyes, as when we choose a wife, we remember academic form, even though we\nenlarge a little the point of interest and choose \"a painter's beauty\", finding it the more\neasy to believe in the fire because it lias made ashes. & <£?\nhen we look at the faces of the old tragic paintings, whether it is in Titian or in some\npainter oi medieval China, we find there sadness and gravity, a certain emptiness even\nas of a mind that waited the supreme crisis (and indeed it seems at times as if the graphic\nart, unlike poetry which sings the crisis itself, were the celebration of waiting). Whereas in\nmodern art, whether in Japan or in Europe, 'vitality' (Is not that the great word of the\nstudios?) the energy that is to say that is under the command of our common moments,\nsings, laughs, chatters or looks Its busy thoughts.\n& Have we not here then the Tree of Life and that of the knowledge of Good and Evil\nwhich is rooted in our interests, and if we have forgotten the differing forms of leaf and\nfruit, it is surely because we have taken delight in a confusion of crossing branches. Tragic\nart, passionate art, the drowner of dykes, the compounder of understanding, moves us by\nsetting us to reverie, by alluring us almost to the intensity of trance. The persons upon the\nstage, let us say, greaten till they are humanity itself. We feel our minds expand convul-\nsively or spread out slowly like some moon-brightened image crowded sea. That which is\nbefore our eyes perpetually vanishes and returns again in the midst of the excitement it\ncreates, and the more enthralling it is the more do we forget it. When I am watching my\nown Deirdre I am content with the players and myself, when I am moved for a while not\nby the contrasted sorrows of Deirdre and Naoise, but because the words have called up before\nme the image of the sea-born woman so distinctly, that her unshaken eyelids that had not\nthe sea's cold blood seem by contrast what I had wished her to seem, a wild bird in a\ncage.\n& It was only by watching my own plays upon the stage that I came to understand that\nthis reverie, this twilight between sleep and waking, this bout of fencing ,alike on the stage\nand in the mind, between man and phantoms, this perilous path as on the edge of a\nsword, is the condition of tragic pleasure, and to understand why itis so rare and so brief.\nIf an actor becomes over emphatic, picking out what he believes to be the important words\nwith violence, and running up and down the scale, or if he stresses his lines In wrong\nplaces, or even If an electric lamp that should have cast but a reflected light from sky\nor sea, shows from behind the post of a door, I discover at once the proud fragility of\ndreams.\n& At first I was driven into teaching too statuesque a pose, too monotonous a delivery,\nthat I might not put \"vitality\" in the place of the sleep walking of passion in these things,\nand for the rest became a little deaf and blind. & &\nBut alas! it Is often my own words that break the dream. Then I take the play from the stage\nand write it over again, perhaps many times. At first I always believed it must be some-\nthing in the management of events, in all that is the same in prose or verse, that was wrong,\nbut after I had reconstructed a scene with the messenger in Deirdre in many ways,\nI discovered that our language must keep at all times a certain even richness. I had used\n\nThe old tragic\npainting.\nTragic art."}, {"page_pdf": 38, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.38", "texte": "& THE TRAGIC\nTHEATRE.\n\n\" traitor \", s< sword \" suborned \" words in a too traditional usage, without plunging them\ninto personal thought and metaphor, and I had forgotten in a moment of melodrama that\ntragic drama must be carved oat of speech as a statue is out of stone. &\n& It is certain therefore that should suggestion run thin, should some one move violently\nshould there be a sudden noise, any one out of a thousand accidents that would hardly\ntrouble the robust pleasure of comedy, the climbing shoulders will come from under the\nstone. Perhaps there is in tragic art something womanish come from the continual presence\nof the Muses who have given Comedy a later and a slighter love, and we know that men\ncan have their days work amid the abrupt, the common, the foolish even without utter loss,\nbut that women cannot keep their fineness lacking a fine company.\ngq»ut train our players and our mechanists as we will and if we have not thought out the\nart of stage decoration afresh every brush stroke of our scene painters will mix into\nthe reverie the monotonous or the irrelevant. We will hire some Journeyman to accompany\nthe poet's description with a painted landscape which, because it must give all to the first\nglance and yet copy nature, will alone copy what is obvious, and which even if it could\nkeep the attention and give It pleasure could but keep it to the poet's loss:—\n\" A vapour, sometime, like a bear, or lion,\nA tower'd citadel, a pendant rock,\nA forked mountain, or blue promontory\nWith trees upon't that nod unto the world.\nAnd mock our eyes with air. \"\n& I have heard Anthony speak those lines before a painted cloth that, though it could not\nmake them nothing, left In the memory the sensation of something childish, theatrical as\nwe say. Words as solemn, and having more for the mind's eye than those of the Book of\nCommon Prayer must be spoken where no reformer has cast out the idolatrous mummery\nand no tradition sanctified.\nIn no art can we do well unless we keep to those effects that are peculiar to it or that\nit can show better than the other arts. We no longer paint wood with a grain that is not\nits own, but are content that it should display itself or be covered with paint that pretends\nto be but paint, and if we paint a design upon a vase or a plate, we are careful not to\nattempt something that can be better done ill easel painting. But in the art of the theatre\nwe imitate easel painting, even though we ignore or mar for its sake the elements we\nshould have worked In, the characteristics of the stage, light and shadow, speech, the\nmovement of the players. Our tree=wings.... Set us say.... can only be given mass and\ndetail by painted light and shadow and these will contradict, or be in no relation to the\nreal light, and this real light will be so cut up and cut off by wings and borders arranged\nfor effects of painting that we shall be content to use it in but a few obvious ways. Then\ntoo our background will be full of forms and colours, instead of showing an even or almost\neven surface whereon the players are outlined clearly that we may see their movements'\nand feel their importance; and all the while the background, even if it were fine painting\nand had no false light and shadow and did not reduce the players to a picturesque group\nin the foreground of a water colour painting by my grandmother, could but insist on the\nunreality we are anxious to forget, for every time a player stood close to that garden\nscene we would but feel over again on how fiat a surface they had painted that long garden\nwalk dwindling away into the distance.\n|f we would give our theatre the dignity of a church, of a Greek open air theatre, of an\nElizabethan platform stage, and cannot be content with any of these we must have a\nscene where there is no painted light and shade, and that is but another way of saying,\nno realism, no objects represented in mass unless they can be copied exactly as we can\ncopy an Interior, and the mechanism of this scene must as little as possible prevent the free\nand delicate use of light and shadow. &\nWhen we have made this change in obedience to a logic which has been displayed in\nthe historical development of all the other arts, we shall have created a theatre that will\nplease the poet and the player and the painter. An old quarrel will be ended, the stage\nwill be beautifully decorated, every change will be full of meaning and yet ■it will never\ncreate a competing interest, or set bounds to the suggestions of speech and motion, and\n\nStage Decora-\ntion.\nBach ait has its\nown peculiar\neffects.\nYet we imitate\neasel painting.\nHow to give\ndignity to the\nscene."}, {"page_pdf": 39, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.39", "texte": "liberated from the necessity of an always complete realization, the producer, recovering\ncaprice, will be as free as a modern painter, as Sign or Mancini let us say, to give himself\nup to an eliptical imagination. G!osier will be able to fall but from his own height and\nthink that he has fallen from Dover cliff, and Richard's and Richmond's tents can face one\nanother again. We shall have made possible once more a noble, capricious, extravagant,\nresonant, fantastic art. & <£9 jg? & . £9 &\nAll summer I have been playing with a little model, where there is a scene capable of\nendless transformation, of the expression of every mood that does not require a photographic\nreality. Mr. Craig.... who has invented all this,... has permitted me to set up upon the stage\nof the Abbey another scene that corresponds to this, in the scale of a foot for an inch and\nhenceforth 1 shall be able, by means so simple that one laughs, to lay the events of my\nplays amid a grandeur like that of Babylon, and where there is neither complexity nor\ncompromise nothing need go wrong, no lamps become suddenly unmasked, no ill«painted\ncorner come suddenly into sight. Henceforth I can all but produce my play as 1 write it,\nmoving hither and thither little figures of cardboard through gay or solemn light and shade,\nallowing the scene to give the words and the words the scene. I am very grateful for he\nhas banished a whole world that wearied me and was undignified and given me forms and\nlights upon which I can play as upon some stringed instrument. &\nThis essay is an introduction to a volume oi Mr Yeats' plays which is in preparation and which will contain stage designs by Mr\nGordon Craig.\n\nTHE TRAGIC\nTHEATRE.\n\nThe solution of\nall scenic pro-\nblems.\n\nWATTS: DELACROIX: BLAKE.\n\nHALF THE TRUTH\nWatts.\ngeauty is the language of art, and with this at command thoughts as they arise take\nvisible form perhaps almost without effort, or (certain technical difficulties overcome)\nwith little more than is required in writing this not absolving the artist or the poet\nfrom earnest thought and severe study, JZ? & jg? jg?\n& In many respects the present age is far more advanced than preceding times, incomparably\nmore full of knowledge; but the language of great art is dead, for general, noble beauty,\npevardes life no more. jg? jg? &\n& The artist is obliged to return to extinct forms of speech if he would speak\nas the great ones have spoken. Nothing beautiful is seen around him, excepting always\nsky and trees and sea; these, as he is mainly a dweller in cities, he cannot live enough\nwith. But it is, perhaps, in the real estimation in which art is held that we shall find the\nreason for failure. If the world cared for her language, art could not help speaking, the\nutterance being, perhaps, simply beautiful. But even In these days when we have ceased\nto prize this, if it were demanded that art should take its place beside the great intellect\ntual outflow of the time, the response would hardly be doubtful. jgr\n\nTHE OTHER HALF TRUTH.\nDelacroix.\nJt is absolutely necessary that at some moment or another in one's career one should\nreach the point, not of despising all that Is outside oneself ,but of abandoning for ever\nthat almost blind fanaticism which impels us all to imitate the great masters, and to\nswear only by their works. It is necessary to say to oneself, that is good for Rubens, this\nfor Raphael, Titian ojr Michael Angelo. What they have done is their own business; I am not\nbound to this master or to that. St is necessary to learn to make what one has found one's own:\na pinch of personal inspiration is worth everything else.\n\nTHE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH.\nWilliam Blake.\n| know that this world Is a world of imagination and vision. I see everything 1 paint in this\nworld, but everybody does not see alike. To the eyes of a miser a guinea is far more\nbeautiful than the sun, and a bag worn with the use of money has more beautiful proportions\nthan a vine filled with grapes. The tree which moves some to tears of joy, is in the eyes of\nothers only a green thing which stands in the way.... To the eye of the man of imagination\nNature is Imagination itself. & & & & &"}, {"page_pdf": 40, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.40", "texte": "UNCOMMERCIAL DRAMA.\nJ. S.\n'\"jplie Era is one of the best of English theatrical journals; it is all the more unfortunate\nto find it talking of the New York Millionaire Theatre as though that experiment were\nfinished.\n& \"The experiment of the Millionaire's Theatre in New York can neither be said to have\n\" entirely succeeded nor entirely failed,\" says our contemporary; adding, \"The experiment\n\" was worth trying because for a long time past it has been asked why in England some\n\" rich man or men do not come forward and endow a theatre to be devoted to uncom*\n\" mercial art\".\nThis New York Theatre is by no means devoted to art though it may be non-commercial.\nHow many times must one point out that art does not pop up the moment a management\ntakes an oath to be uncommercial.\nArt rather likes commerce,.... but it likes it good. If the idiots who misunderstand\neverything about art are not prevented from confusing the public by this lie that good art\nand good commerce are opposed to each other a little harm will be done. <£? &\n& Art can get along all right without the assistance of those tenth-rate commercial men\nwho, having failed to traffic honestly in butter or cheese or some other useful commodity,\nturn to the stage and think they can traffic in Drama. But, when a gentleman gifted with\nfirstclass business capacity turns his attention to the stage, the stage has never refused to\nbe up to the mark for him, and, though it can never pay like soap or pills, it can be made\nto succeed commercially within limits.\nPeople too often forget that the stage, no less than the army and navy, is a branch\nof public service. What would the public do without its stage ? We hardly want govern-\nment support when we have the support of the nation, or at anyrate of a large part\nof it.\n& What I am sure everyone must be agreed upon is that we want better men in the\ntheatre, .... better artists, men of better stamina, to bring the stage into the desired\nposition. Today any one can pass on to the stage.\nTalent and taste are not the first requirements, intelligence and study not of much account.\nSuch a pity, this I What barrier is there to prevent noodles, (female as well as male), from\ngoing on to the boards? None. What is there to prevent every young energetic man without\nthe necessary talent or training from bouncing the stage and its crew ? Nothing. Of course\nenergy is valuable,... Mr Seymour Hicks has energy... and it sets a good example ; but\nwhat the stage wants is energy behind talent, behind taste, and behind genius if it is lucky\nin claiming a genius.\n& In England we are, or should one say were, prejudiced against the word Art. We think\nlike yokels about the artist; we ask him what he does for a living, and if he never does\nany work. We forget that Art is as much a labour as anything else and for a man to excel\nin this calling he must have laboured exceedingly hard.... quite as hard as a carpenter\nat his bench.\nThe artist has a natural (If somewhat affected) aristocratic dislike for the sounds and\nsmells and sights of mere labour as labour. Surely you will not blame him for this ? But\nEnglishmen must remember that the artist can stick to his guns by the side of the best\nsoldier of the realm.\nTake off your caps then to the stage artist who does stick to his guns. Be proud of him\nbecause he is an artist, not because he isn't a Don or a Jockey; and what is more to the\npoint, see to it that he gets fair play, see to it that the nation reckons him amongst\nher best sons,.... that the nation knows how to value and develop that which he has to\noffer.\nThe relation of\nArt and com-\nmerce. &\nWe need better\nmen in the thea-\ntre.\nThe English\nptejudice\nagainst Art. &"}, {"page_pdf": 41, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.41", "texte": "A CHEAP THEATRE\nby Franz Hoffer.\nJ. S\nreading Mr Granville Barker' lecture \" The Theatre; The Next Phase\" delivered in\nLondon on June 9, 1910 one is left wondering whether London likes that sort of thing.\nMr Barker claims that the striking development of the Theatre which has been evident for\nsome years in Germany, Russia, France, and Scandinavia (he says nothing of Poland, Hungary\nor Holland) is becoming evident in England. But he fails to show us clearly any such striking\ndevelopment as those lands have to show us, so, I repeat, 1 wonder if London likes that\nsort of thing. & It is the cheap theatre he has to offer\n& His lecture-essay is very full of words many of which are not at all clear to me.\n& Nowhere except when speaking of the Speaker of the House of Commons or of men of\nquality does he give offence. He is as careful to avoid treading on the corns of the crowd\nas though he feared retaliation of some sort. &\nWith a shopkeeper's twang he talks of his \" trade \" and proceeds to show how bad an\naccountant he would make, asserting that \" a few thousands a year \", and later on \" five\nthousand pounds \", is enough to spend on a Free National Theatre,.... not merely a Na-\ntional Theatre but one free like the National Gallery. As twenty five thousand pounds\nwould be too little it is strange that Mr Barker, who claims to know about the Theatre,\ndoes not know this. &\n& But then as I have said before he Is thinking of a cheap theatre.\n& Where Mr Barker speaks well is where he echoes Mr Bernard Shaw. Thus his passage\nabout Puritan Art and Repertory Theatres not paying is good because the ideas come from\nShaw. Mr Barker does not acknowledge this. A passage surely quite original, (though of\nthis I am not certain), is the following: \"A play is anything that can be made effective\nupon the stage of a theatre by human agency \" .... A very cheap proposition.\nOne is left dazzled by this class of originalitj'. One is not used to it on the Continent\nand one is left wondering how Albion likes it, and what punishment she is contempla-\nting for these who poke such fun at her. It certainly is not Normal,.... I like it the\nbetter for that, but what is it? What is Mr Barker anyhow? I sit wondering. Some one should\nadvise him to trot around a bit and pick up a few ideas abroad. He need not go further\nthan Boulogne to be thoroughly startled.\n& \" And what do you make of it? \" I asked a shrewd American after he had read Mr\nBarker's article;\" Don't yoii think the man who wrote that would be the safe head of a\ntheatre? \"\n& He answered, \" Sir, it strikes me as written by a man that's dead and doesn't know it;\nand if your theatres aint mighty strong they'll die of association with such timidity and\nconventionality.\" & <£? & JSP & & &\nThe following passages are taken from Mr Barker's lecture and are here offered for the\nconsideration of readers of The Mask.\nhave but lately begun to feel our way in England to a method of establishing and\n\" promoting the Arts and Sciences in a democratic state \".\nreason in the past why nothing was done to organise the Theatre was that the powers\n\"that be were ashamed of its existence; and a difficulty in the present is that they have\n\" fallen out of their desparate clinging to a Censorship.\"^\ngy cultivating an artistic as well as a moral conscience a clean palate good taste\n\"in fact, one can distinguish soon enough between a normal work of art and an abnormal.\"\nMr Barker's\ncaution.\n& He echoes Mr\nBernaid Shaw.\n& An American\nverdict on Mr\nBarker. &\n£? Some\noc Mi Barker's\nSayings."}, {"page_pdf": 42, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.42", "texte": "MISS HORNIMAN AND HER\nREPERTORY THEATRE\nJ. S.\n(not to say everyone), had always thought of Miss Horniman as being evidently a\nvery kindly lady charitably giving her money to forward the plans of capable artists.\nEven as Whistler always dreamed of Romeike and Curtice the press agents as being the\nname of some charming myth, so has one been used to thinking of Miss Horniman.\n& One imagined a graceful young woman of about twenty eight years of age, moved to\ngracious deeds and words through a knowledge beyond her years, saying little and doing\nmuch ; almost an ideal of womanhood ; a fairy, touching the little Irish group of artists\nwith her golden wand and making many of their dreams possible; passing on to Manchester\nto enact a like miracle,... doing it all for love of the deed. Sweetness seemed hers.\nIt was a dream. The illusion is shattered once and for ever, and it is a great pity.\nMiss Horniman has spoken to the representative of the Referee and her wings have drop*\nped away; the sweetness on which she leaned has given place to a stick,... \"the big stick\"\nof another fable, (we hope only a fable,.... a monstrous fable of caves and dragons)....\nand she stands revealed before us in her true colours, white, purpie and green,.... the\ncolours of the suffragettes.\n& And, Jupiter, how she speaks! Alone I did it, she cries; I,... 1, Miss Horniman, founded\nthe National Irish Theatre; and mark me, there is no man behind me, The Irish are a\nset of ungrateful wretches and I'm going to give 'em a lesson by asking a thousand pounds\nrent for my little theatre of their's. Once I gave it them rent free... but not now;... no,\nno ! Shall I tell you why I won't give it them free ? Because 1 want to prove conclusively\nthat there's no man behind me, I am fifty years old,... you dare to contradict me! and\nat fifty a young girl's fancy lightly turns to thoughts of art. & & &\nThis is the gist, if not the exact words, of Miss Horniman's statement. But this is not\nall. She can't let the wonderful little group in Ireland alone. She tells Lady Gregory flat\nthat the Irish dislike everything that's English. This is all the more curious because only\njust lately the Irish Theatre has welcomed and accepted an Englishman's work, and any one\nwho could appreciate what Yeats and his followers have done for the Art of the Theatre\nwould be sure of a welcome by the Irish people; but to expect an enthusiastic greeting from\na nation after having admitted antipathy to it, as Miss Horniman has done, is expecting\ntoo much. & & & & *& & &\nYet it is only natural that Suffragettes should be over=sanguine. They are making a\nsplendid fight of it, losing to win, and those who lose most are the noisy ones who, like\nMiss Horniman, prefer to be ungracious rather than gracious.\n& \"Would you be gracious,\" they cry, \"in the face of such oppression and insult?\" \"Certainly\nnot, unless I couldn't help it \" I answer. And here is the gist of the matter.\nThis ungraciousness of Miss Horniman and her sisters is not forced,.... they cannot\nhelp it. Like art, it happens. But unlike art it happens by accident not from design.\nHence the accidental talk in the Referee,... that trip over the carpet when speaking of\nIbsen whom Miss Horniman says is \"morbid\". Ibsen, the high priest of woman's suffrage!!!!\n& The Rashness, however, is rather pleasant (if only a few more stage ladies would be\njust as rash); but the accidents, the blunders, the ungraciousness to Ireland and to mere\nman, are deplorable/and one can only beg the insensate lady to get a man,... a strong\nman ... behind her as soon as possible. jg?\nRosa Bonheur was a bad painter, George Eliot and George Sand disgraceful writers,\nand Catherine of Russia a disgusting queen. If she wishes to rule let Miss Horniman\nemulate our loved queen, Victoria, that true Englishwoman; and let her learn that woman\nis nothing but a selfish accident drifting aimlessly or to the bad without the guiding in*\nfluence of a man. & & & & &\n(*)\nThe charming\nmyth. &\n& The leality.\nMiss Horniman\nand the Irish. &\n& A deplorable\nattitude jg?\n(1) Speaking oi Suffragettes to a Cabinet Minister Sir Herbert Tree remarked, A propos of the attitude these fanatical ladies adopt; \"You\ncan't knock off a man's hat and then expect him to take it off\".\n\" Artists and Artistes Harry Furness. Strand Magazine July 1910."}, {"page_pdf": 43, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.43", "texte": "REALISM IN ART\nWhat is Art. Tolstoi,\nJgqually little can Imitation, realism, serve, as many people think, as a measure of the\nquality of art. Imitation cannot be such a measure, for the chief characteristic of art is\nthe infection of others with the feelings the artist has experienced, and infection with a\nfeeling is not only identical with description of the accessories of what is transmitted,,\nbut is usually hindered by superfluous details. The attention of the receiver of the artistic\nimpression is diverted by all these well-observed details, and they hinder the trasmission\nof feeling even when it exists.\nTo value a work of art by the degree of its realism, by the accuracy of the details re«\nproduced, is as strange as to judge of the nutritive quality of food by its external appea«\nranee. When we praise a work according to its realism, we only show that we are talking,\nnot of a work of art; but of its counterfeit.\n\nHAMLET: A SUCCESS OR A FAILURE?\nA. F\nSir,\n\" In one of your recent issues you had a short note on \" Hamlet \". I have not the copy\n\"by me, but if I recollect rightly the substance of it was to the effect that the traditional\n\" method of explaining \" Hamlet\" as irresolute was erroneous and that he was really a\n\" man of strong will, and, moveover, that this conception had never been shown on the\n\" stage.\n\" May I remind you that this was the point of view taken by Mme. Sarah Bernhardt\n\" although it was not on all sides recognised,.... I suppose owing to strongly preconceived\n\" ideas. I think I am right also in saying that this is the view of one or two German critics,....\n\"Fischer and Werder, for I am, Sir, faithfully yours.\nWilton Cole,\n'jphe above letter refers to a note which appeared upon page 162 of our second volume.\nThe letter was handed on to the writer of this note who replies as follows:\nWhen\nwriting I was thinking of the male impersonations of the Prince of Denmark. I\nthink it is quite likely that Madame Sarah Bernhardt may have takent he same point\nof view but the performance suggested something quite different to me. &\nThis is Vischer's view of the matter:.... \"Passion, specially considered, Hamlet does\n\" not lack, but it is force in the core of his being that is wanting\". He considers Hamlet's\n\" delays as the result of irresolution. & & &\n\" Concerning Werder's point of view Mr Cole is correct and it is a great pity that actors\n«•seem unable to grasp this point of view."}, {"page_pdf": 44, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.44", "texte": "BOOK REVIEWS\n\nART AND PROGRESS, Monthly, Wash-\nington. U. S. A.\nprom America comes a very important new\nJournal, Art and Progress. It is published\nby the American Federation of Art,\nWashington, and John Alexander is one of its\nVicepresidents, A. J. Parsons its acting\nTreasurer, F. D. Millet its Secretary. Other\nnames less well known in Europe help to\nmake an important show. &\n& It is a little journal with some good re-\nproductions of paintings... (one by Hornel is\nespecially good), architecture, furniture and\nstage scenery, and some careful articles upon\nall branches of art.\n& The one article which stands out from\nthe others in the June number which we\nhave just received is entitled \"Stage Scenery\nas an Art\".\n& The article is a good one, for the writer,\nbreaking an infamous rule, considers stage\nscenery from the stage manager's point of\nview... that is to say, as stage scenery and\nnot as picture. But he selects very poor\nexamples of stage scene to illustrate his\nmeaning, and unfortunately tells us that\nthey are \" the best that has been accomplish-\ned in the scenic art during the present\nseason in America\". It is a pity their best\nis so bad. If this is really the best scenery\nthe new Millionaire's Theatre in New York\ncan produce then New York is getting behind\nthe times and accepts any old warmed-up\ndish for its fare. & &\njg? The best of the four designs reproduced\nis that designed by Mr Jules Guerin. It has\nwhat looks like an admirable backcloth but\nthe pillars and steps and chairs and bits\nof drapery in the foreground are so utterly\nconventional, dragged as they are out of the\nEnglish Theatre of forty years ago, that all\nGu£rin's talent goes for nothing. We have\nno doubt that Guerin was displeased,....\nbut then he has but himself to blame for\nit, not being a professional stage worker. &\nMr Hamilton, the writer of the article,\nfinds fault with the design but seems to find\nfaults which are not obvious to us. These are\nthe two faults he finds: \"First, the\n\" insistence upon vertical lines in the tall\nu gigantic pillars tends to dwarf the stature\n\" of the actors; and second, the rectilinear\n\" design does not admit a convergence of\n\" lines upon any point of the stage which\n\" will cast into relief the action which is\n\" carried on within it. \"\nBut Mr Hamilton must know that these\ndifficulties have been surmounted in Europe\nfor some time. When America lags behind\nthe world is in a bad way\njg? The second scene reproduced is that of\na very conventional stage college garden. We\nfirst saw it about thirty years ago when Sir\nJohn Hare produced the \"Vicar of Wake-\nfield \". Miss Ellen Terry was the sweetest\nflower in that garden and the whole picture\nwas as pretty as it could be, thirty\nyears ago. But for New York dodderingly to\nrepeat what London did in the eighties is\nmatter for the directors of the New Theatre\nto enquire into. &\nThe third design is that of a formal in-\nterior and is supposed to be a chaste and\ndignified example of the architecture of a\nSouthern State. There is something good\nabout it but there is no charm. The interiors\nof that period were delicious and the sun\ncame through the windows in those days\nand not through the &\n<<& The fourth design, (by courtesy of David\nBelasco), is bad. It looks like the kind of\nscene one would expect for a play called \"The\nLily'\". One sees Liiy sitting pale and downcast\non those terribly theatrical ruins and looking\nquite in the picture. & &\nNo ! America must wake up in this branch\nof the theatrical business (for art as yet it\nis not), and must enquire more carefully\nwhat is being done in Europe and who is\ndoing it. JZ? &\n\nTHE PLAYS OF AESCHYLUS, Transla-\nted from a revised Text by Walter Head-\nlam, Litt. D. and C. E. S. Head lam M. A.\n| ewis Campbell's translation of these plays\nis still in many ways the best because the\nmost readable. The translators of the version\nlately published by George Bell and Sons\nmake no pretensions to any artistic form ;\nthey desire only \" to enable those who know\nsome Greek to read the Greek of Aeschylus\ncorrectly &"}, {"page_pdf": 45, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.45", "texte": "44 Prose has a proper function of its\nown \" they say in their preface,... but what\nfunction is so useful that all sense of style\ncan be disregarded ?& &\nIn the 44 Prometheus Bound \" the trans-\nlators give us the following 44 correct \"\nAeschylus\n& Hephaestus.44 Ah me* Prometheus, I sigh\nfor thy pains !\"\nPower. 44 There thou art, shrinking again\nand sighing for the enemies of Zeus I \"\n£? Surely such scholars as Walter Headlam\nand C. E. S. Headlam could find it possible\neven in prose to add a certain grace or power\nby the choice of righter words than these;\nthe phrase smacks of the housewife of the\nfarces, 44 There you are, at it again I\" And\nto tell us that this is correct makes us\nwonder what Aeschylus would have thought\nof English 44 correctness \". 46 Translation is\nalways a treason\" as a Ming author observes,\n44 and can at its best be as the reverse\n44 side of a brocade; all the threads are there,\n44 but not the subtlety of colour or design, (i)\nThen let the treason be at any rate as trea-\nsonable as can be; let us be cheated Into\nthinking Iago really honest. jS?\nCampbell is more acceptable for this\nreason, and Murray, in his really \"treasonable\"\ntranslation of Euripides, performs his task so\ndeftly, so gracefully, that we cannot see how\nit is done and do not suspect any legerde-\nmain.\njgt In this edition the Headlams have been\npleased to add stage directions to Aeschylus.\nThis is a great pity; and as it is also\nhardly 44 correct\" it reduces the value of\ntheir protestations in their preface. The book\nis full of useful notes and therefore one more,\ninforming us that there is only one stage\ndirection to be found in all Aeschylus, would\nnot have been amiss. & &\nNowadays when nearly every playwright,\nmeddling with matters which concern only\nthe stage direction, inserts into his work a\nquantity of 44 stage directions \"to bolster up\na weak text, it is well to be reminded that\nthis custom found no more favour with the\nGreek masters than with Shakespeare.\nPlaywrights should avoid this as a breach\nof good manners even if they do not do so\nfor the better reason that they are quite\nignorant of what a stage direction consists.\n& A play with many stage directions is a\nbad work of art. jb?\n(1) Gkakura-knkuyo.\n\nMAURICE MAETERLINCK by\nGerard Harry, translated by Alfred\nAllinson. Geo: Allen & Sons. 3/6 net. &\n'Jphe original French edition of this book\nhaving been reviewed in the April number\nof The Mask we have only to add that Mr\nAllinson has performed his work as translator\nskilfully and sympathetically, and that the\nformat of the volume is as pleasing as expe-\nrience has led one to expect in any volume\nwhich issues from the Ruskln House. &\n\nGUIDE TO THE LIBRARIES OF\nLONDON by Reginald Rye. University\nof London Press. 2j6 net. & &\n\"fhis book will be of valuable assistance to\nstudents, enabling them, by a reference\nto its index, to find in which of all London's\nLibraries they will best find what is suited\nto their requirements and under what con=«\nditions that which they need may be obtained.\nAS the author states in his Preface, his\nobject is 44 to make known to bookmen in\n44 general, and to the Students of the\n44 versity of London in particular, the charac-\n44 ters of the numerous libraries in London,\n44 and the facilities which they offer to rea=\n44 ders.\" &\nBut while Mr Rye, in compiling his volume,\nhad in mind chiefly the students of that\nUniversity where he acts as Goldsmith's Li =\nbrarian, we would heartily recommend it to\nall students of the theatre and to those young\nactors and actresses who are sufficiently in\nearnest over their work to wish seriously to\nstudy all which can aid them in its fuller\nunderstanding and better performance, it\nshould be of service also to students living\nout of England and desiring to commission\nothers to make researches for them on par=\nticular subjects in the London libraries.\nThe book is illustrated and is well printed\nand strongly bound. &\n\nTHE STORY OF OPERA by Markham\nLee. Walter Scott Co. Price 3/6 net.\n'Jphis book shows careful research, 5s well\nillustrated and supplied with a chronolo-\ngical list of composers, great singers, con-\nductors. So far so good.\n& But all that Mr Lee writes proves ever\nmore clearly that Opera has nothing to do\nwith the Art of the Theatre, that the Musi-\ncian is an invader in the Theatre and that\nhe is doing himself and his own art a great\ndeal of harm when he allows himself to be\ntempted in. & &"}, {"page_pdf": 46, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.46", "texte": "Surely Mr Lee's definition of Opera,....\n\" A play designed for the stage, with scenery,\n\" costumes and action used as accessories as\n\"in all stage plays, but with the additional\n\" use of music to intensify the meanings of\n\"the lines which are uttered by the eharac-\n\" ters, to generally heighten the effect pro-\n\" duced by the other combined arts, and\n\" to add an emotional element that might\n\" otherwise be lacking,\" is sufficient to dis-\ngust all the musicians, painters and poets\nalike with the idea of Opera for evermore,\nsince in Opera the work of each of these\nartists is to be only the \" accessary \" of the\nwork of someone else. & &\nFor while co-operation is probably an\nexcellent thing among individuals it is pro-\nductive of anything but good results among\nthe arts, and the spectacle of the musician\naccomodating himself to form part of a co-\noperative society of carefully balanced inte-\nrests is about as incongruous as the idea of\nPegasus harnessed to a plough.\n\nAN APPROACH TO WALT WHITMAN\nby Carleton Noyes. Houghton, Mifflin\nCo, Cambridge. Mass, Dollars 1,25 net.\nWALT WHITMAN, the Man and the\nPoet by James Thomson. Bertram Dobell, London. //-.\nA. C.\nNoyes has not done his best in\nhis book on Walt Whitman, for he values\nhis poet but seems unable to do him justice\njust because of his admiration.\n& Many writers have failed here. It is not\n& j£> &\n& Dr Bucke's book still remains the best\nwhich I have as yet read. &\n& Perhaps if Edward Carpenter's little work\nbe placed close to Bucke's book it will add\na lustre to it, but the Doctor's book is still\nthe best.. Carpenter never wrote anything so\nadmirable, and it is a pity that Carleton Noyes\ndid not make the effort necessary to go fur-\nther than these two. & &\n& Traubel's works on Whitman I do not\nknow. I am told they are extraordinary. Bucke\nis so admirable because he is not carried\naway by his subject, and Carpenter surprising\nbecause for the first time he stands firm and\nresists the attraction of writing a second\n\" Specimen Days\".\nNoyes must try again. He could have\ncondensed what he had to say into twenty\nfive & &\n& The get-up and printing of the book Is\nexcellent, as is usually the case with volumes\nbearing the name of the Houghton and\nMiflin Co. & & &\n'phis book by James Thomson is a much\nfiner thing. Written in 1874 and 1882 the\ntwo articles which make up the volume ap-\npeared in magazines of the period. j@>\n& The present reprint has an interesting\nIntroduction by Thomson's old friend and\npublisher Bertram &\nI like the whole book, and although it can\ntell nothing new about Whitman it retells\nthe old story very well, and is valuable be-\ncause written by a writer of poems,... the\nwriter of \" The City of Dreadful Night\" and\n\" The Hound of Heaven \". & &\nOne day another American poet will ven-\nture a song. In that song one verse at least\nwill carol to his predecessor. Then for the\nfirst time shall people understand the true\nworth of this forerunner of American power\nand beauty,... for that time is not yet ar-\nrived.\n\nSIX MASTERS IN DISILLUSION by Algar\nThorold. Constable 61-\nA. C.\n|—| ere Is someone who knows how to write\nEnglish. You may take the book up, you\nmay open it at any page and whatever passage\nyou light upon is an enjoyment to read. Thus\nyou have something like the true creation.\nYou take It for what it is, not for what it\nmeans, for to know what It means would\nbe as impossible as to know what the earth\nmeans.\nThe \"Six Masters\" selected for criticism\nare Fontenelle, Prosper Merim£e, Ferdinand\nFabre, Joris-Karl Huysmans, Maeterlinck and\nAnatole France. & & &\nIn reading the essays you receive the\nillusion of disillusion, the disillusion of illu-\nsion. It is what the author intends you to\nreceive ; therefore the author has triumphed.\n& Black is white to him, only.... precisely\nthe opposite. & &\nThe truth of this is one of the most dif-\nficult things to convey and that the author\nshould have succeeded in doing it places him\nalmost in a place apart. & &\nMr Thorold's aim being objective criticism\nhis personal opinions are sedulously concealed.\nHis sympathies are perhaps with Maeterlinck\nand Anatole France,... though, indeed, they\nare bestowed upon all the others as well. He\nis far from adopting the vitalist re-action of\nsuperstition against the dissolving effect of"}, {"page_pdf": 47, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.47", "texte": "intelligence analysed in the epilogue; he\nmerely indicates it as what he believes it to\nbe, i. e. a logically possible position and one\nvery likely to be popular.\n\nGARIBALDI AND THE THOUSAND by\nGeorge Maculay Trevelyan. Longman's,\nGreen & Co t8[-\nnot favoured with a review copy\nwe cannot let this book pass unreviewed.\nYet fancy reviewing Garibaldi and his Thou-\nsand and One, (the one being the brilliant\nauthor) I\nWhat's to be done then ? ... how get out\nof it now we are in for it ? We hear the\nsplendid sounds of the Garibaldi march and\nthe procession goes by; we can only salute.\nThe whole pageant of heroism and sweetness\nis too overwhelming to say much about; one\nfeels one is still on the mountain side at the\nGibilrossa Pass. The divine troops wind down\nthe steep path, phantoms; and behind them\nmarches,... our author: no phantom, and\nno less one of them because of the\nEveryone in the Theatre must love this\nbook if he read it. Not an actor but should\nbe stirred profoundly as he reads of this\nstupendous 44 impossible \" attempt proved by\nsacrifice to be the easiest thing in the world.\nHow this great fight for the freedom of\nItaly resembles the fight which must come\nfor the freedom of our Art!\n& Listen I... 441 offer neither pay, nor quar-\nters, nor provisions; I offer hunger, thirst,\n44 forced marches, battles and death. Let\n44 him who loves his country in his heart\n44 and not with his lips only, follow me.\"\nAgain and again this is Garibaldi's offer.\nThe old offer and none other awaits any\nof us who love the freedom of that which\nwe profess to love before all &\nLet anyone who professes to love the\nTheatre read both books by Mr Trevelyan.\nWe promise him something exceptional, we\npromise him warmth, the glow of renewed\nvitality, a thrill which will last him to the\nend of his days and never grow less.\n\nVENICE IN THE EIGHTEENTH\nCENTURY. PhilippeMonnier. Chatto\nand WIndus. 7/6 net.\n\\yhat a charming book! How delightfully\nit is translated. One reads it with as\nmuch ease as that with which it appears to\nhave been written. Full of gaiety, colour,\npoetry, what a charming book! &\nAnd for us who labour among the ruins\nof a dead Theatre how full of promise is this\nbook. Actors especially owe Monsieur Monnier\na debt they will find it hard to repay. For,\nif he speaks well of the playwrights Goldoni\nand Qozzi, if the painter Tiepolo floats once\nmore as Jupiter upon one of his ceilings, if\nthe Doges and the Dukes appear and attract\nus the actors literally come to life again and,\nwith their overpowering attraction, compel\nour admiration. &\nThey are the foremost figures in the book.\nNothing can stand beside them. Monsieur\nMonnier speaks of them on the first page, in\nthe very first line, and his eighth chapter is\nthe most beautiful one in the book.\nTherein he writes better of the theatre\nthan anyone has written of late years, and\nshows a picture which ravishes us. To say\nmore would be to spoil the treat in store\nfor the reader of this famous book,... famous\nnot only because it has received the honour\nof being 44 crowned \" by the French Academy.\n& Books about the Theatre are dull reading\nas a rule; this one is as entertaining as a\nfirst class theatrical performance. The actors\nappear, we see them at their work. By their\nside Casanova's exploits seem dull,.... and\nwe know how lively they were; Monsieur\nMonnier re-tells us some of them.\nIn the third chapter he tells us about the\nFestivals, Carnivals and the Villeggiatura. &\n& 44 The Carnival of Venice ! The words have\n44 lost none of their ancient power. The veil of\n44 our eyes is rent as we utter them. Even\n44 as we smile, merry phantoms seem to\n44 beckon us; exqusite dead graces push away\n44 their coffin lids; the diaphanous air throbs\n44 with light laughter; quavers and semi-qua-\n44 vers gambol in the stave. & &\n44 Six months of the year it lasts, from\n44 October to Christmas, from Twelfth Night\n44 to Lent; on Ascension Day it starts again\n44 for two weeks; and again upon St Mark's\n44 Day, and whenever a Procurator is chosen,\n44 on the least occasion always, on the slight-\n44 est pretext. As long as it endures all the\n44 people go about in masks all the people,\n44 from Doge to kitchen-maid. In masks men\n44 and women do business and buy fish, write\n44 their letters, pay their visits, and plead\n44 their causes in the courts. With a mask\n44 over his face a man may say and do as he\n44 pleases; for the State hath sanctioned his\n44 mask, and will protect it. In his mask he\n44 seeks admittance to drawing-rooms,\n44 churches, convents, to the ball, the Palace,\n44 the Ridotto. & &"}, {"page_pdf": 48, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.48", "texte": "44 There he may take his ease, he may\n44 read in his armchair, but he must not for-\n44 get the law of Carnival: barriers hold,\n44 authority avails, and dignity exists no\n44 more; there are no more lordlings now, nor\n44 beggars kissing their Jong sleeves; no more\n44 is heard of spy or nun, of sbirro or zentil-\n44 donna, rope-walker or inquisitor, poor man\n44 or alien; there is but one rank and one\n44 character, Sior Maschera; but one costume\n44 and one free people, garmented, steeped,\n44 confounded in delight. A scrap of white\n44 satin on the face, a black silk hood upon\n44 the shoulders; and by virtue of this comic\n44 livery, the aristocratic city becomes a de-\n44 mocracy; and the loose garb of Laughter\n44 levels all her sons.\n44 Truly the Mask is more than a disguise:\n44 lis an incognito.\n& And again 44 the Mask drives away diffi-\n44 dence, covers all shame, and keeps all\n44 blushes hid, emboldens intercourse, and\n44 prompts adventure; better than bolts and\n44 bars, better than snug retreats, to guard\n44 the manifold meshes of intrigue \"\nHow charming all this is! And what you\nwill read about the actors is no less char-\nming and far more important. &\n& Every English actor must read the book\nnow that it has been translated.\n\nTHE JAPANESE DANCE by Marcelle\nAzra Hinckes. W. Heinemann. 5/- net.\n'\"phis Brochure, for all its brevity, shows no\nlittle learning and treats of a subject very\ninteresting to those who would know some-\nthing of the Theatrical Art of the Japanese,\nsince, although the modern drama has now\n44 become entirely separated from dancing \"\nit was from this source that it sprang ori-\nginally, and the fine influence is yet traceable\nin the fact that 44 on the Japanese stage the\nmimetic art is as important as the spoken\nword\nFrom a remote period the Dance In Japan\nhas been of paramount importance histori-\ncally as well as esthetlcally, and ever closely\nassociated with the religion of the country.\nIn fact in a land where 44 the very gods\ndanced, before ever mortal feet had learned\nto tread a measure \" it was inevitably woven\nclosely into the fabric of the nation's reli-\ngious, artistic and daily life, and to it the\ncountry owes its finest dramatic literature,\nthe 44 preservation of the classical Japanese\n44 language in the poems written several\n44 hundred years ago to accompany the No\n44 dances \", its masks, its stage, the construe-\ntion of its theatre and the birth of those\nwonderful No plays which are supreme exam-\nples of brevity and fine tradition in dramatic\nart. & &\n& It should not be forgotten, however, that\nthe so-called 44 Dance \" of Japan is a thing\nwidely differing from that exercise which\nEuropeans understand by the word,,... an\nexercise which the Japanese would call gym-\nnastics and class with Ju-jutsu or the ancient\nacrobatic 44 Vengakuo\".\n& The Japanese dance, like the ancient Greek\nas we imagine it, is entirely of a pantomimic\nnature and 44 strives to represent in gesture\n44 an historical incident, some mythical legend\n44 or a scene from folk-lore.\" & &\nBy symbolical gesture and a rythmic,\nhighly-conventionalised, regulated movement\nit suggests, gives visible expression to, ideas\nand emotions, but in so delicate and distant\na manner as to require, not only for its ap-\npreciation, but almost, one may say, as a\ncondition of its existence, a particular temper\nand mental attitude on the part of the\nspectators, a unity between actors and au-\ndience; and the need of this preparedness on\nthe part of the onlookers can be the better\nunderstood if it be remembered during the\n44 apparently meaningless gestures and sleeve-\nwaving and fan-waving and stamping of feet,,\nthat 44 every movement, every turn or twist\n44 of the hand, the arm or the body has some\n44 significance as clear to the Japanese as\n44 spoken words and that the subtlety of the\n44 Eastern mind detects various shades and\n44 degrees of emotions In dance movements\n44 which we neither look for nor understand. \"\nThe bare-legged dancer,... the lady whose\nsuccess lies largely in the scantiness of her\ncostume, is unknown among the dance-artists\nof Japan, where even the feet are little seen,\ntaking, especially in the religious dances, but\nslight part in the action ; and formalised\ngesture, rigidly prescribed postures, dignity,\nperfect control of movement attained to by\nrigorous physical training, smoothness and\nthat appearance of ease which is the outcome\nof long discipline, are salient characteristics.\n£/ The fact that the body itself is never seen\nand that Japanese dancing is yet so fine a\nthing as it is and was dispels once and for\nall the illusion that it is necessary to the\ndance for the movement of the natural body\nto be seen. & & & & &\nThe European dance may affect us, give"}, {"page_pdf": 49, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.49", "texte": "TSE-ONDO\nGeisha dance in the district of Tse, near the famous Shinto shrine\n\nTHE MA S K\nOctober i 9 i 0"}, {"page_pdf": 51, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.51", "texte": "us the same pleasure, as the graceful spon-\ntaneous movements of lambs in a meadow,\nof children running on the seashore, of young\nleaves waving in the wind ; but the Japanese,\nwith its strict ritual, its noble conservatism\nwhich still preserves traditional postures\nwithout change or modification, its obedience\nto a fine tradition, its perfect control of its\nmaterial,.... that is, the human body, ap-\nproaches more nearly to the stately and\nsplendid ceremonies of the past, of which,\namong us, some trace yet lingers in the\nsymbolic gestures of the priests celebrating\nmass, and it thus partakes more nearly of\nthe nature of an art.\nMiss Hincks discusses her subject under\nthree headings, Religious, Classical and Po-\npular. &\nUnder the first of these are included the\nreligious temple dances originally introduced\nfrom China, and of which the most interes-\nting and important was that of the Shinto\nShrines, the 44 Kagura \" whose strains were\nsupposed to be those which, according to\nlegend, lured the Sun-goddess from the cave\nand originated all the dances of succeeding\ncenturies. &\n& For the performance of this 44 Kagura\"\nstages were erected at all the principal\nShinto temples, each temple having its staff\nof dancers; and on these stages and from\nthese dances, to which marionette shows\nwere later added, was developed the modern\nJapanese Theatre,... a theatre born of the\nactor, not the poet, of movement, not the\nspoken word.\nPassing on to the Classic dances we find\ntheir origin is neither as mythological nor\nas remote as that of the religious. They seem\nto have developed under the influence of the\nBuddhist priests, who, finding the love of\nmusic and dancing too deeply rooted in the\nJapanese nature to be eradicated, turned\nthem to good purpose by wedding them to\nreligious poems teaching 44 the instability of\nlife, the vanity of all things human \" until\nthere finally emerged those No dramas which\nshow a marked affinity with the Greek, and\nwhich, to the cultured Japanese, are so sa-\ncred, so jealously guarded from the invasion\nof the modern and realistic spirit which is\nfast dominating every department of the\nnational life. & & &\n. These dramas, in which 44 nothing of a\ncommonplace or frivollous nature is ever\nrepresented\" are acted on a stage and 44are\n44 partly sung, partly recited, and performed\n44 by dancers, or what in Europe might be\n44 called actors, were it not that their gestures\n44 are to a certain extent rhythmical and\n44 conventional, and by a chorus which sits\n44 on one side and sings and recites but takes\n44 no part in the proceedings\", while the\nhero 44dances or strikes appropriate attitudes,\nboth his paces and postures being slow and\nsolemn\". &\n& Only men are permitted to act in the No\ndramas and the scenery is scanty and simple,\n...merely a suggestion; but the costumes are\nrich and stately and masks are always worn.\nThe No drama is, in fact, with its beau-\ntiful monotony, its freedom from violent\npassion or play of emotion, its simplicity,\nsymbolism and spiritual suggestion, a highly\nconventionalised form of art, a relic of that\nwhich was finest in ancient Japan, the lan-\nguage, costumes and postures being still those\nof eight hundred years ago. &\nOf the three classes of Dances the most\nancient and primitive is, however, the Po-\npular dance, since, before arts, civilisation\nor even formalised religion spring up in a\ncountry, it is the instinct of primitive peoples\nto express their emotions by dances* and the\n44 bon \" dances, varying in detail but uniform\nin their main features, are danced in con-\nformity to the Shinto cult in August, to\nwelcome the departed spirits which are sup-\nposed at that season to revisit the earth.\nIn these dances 44 the peasants form a\n44 great circle, a living wheel, which revolves\n44 now slowly, now swiftly, whilst they pos-\n4 Sir Herbert Tree's productions of Shake-\nspeare are not without their faults, but Sir\nHerbert is a man without pretensions,\nand how pleasant that is. He has made himself\na hard straightforward worker in spite of all\nthe obstacles which beset his position. On\nthe other hand Mr Trench, who follows in\nhis footsteps in every other respect, is very\npretentious and how disagreeable that\nis. His production of the \"Blue Bird\" was mo-\ndelled upon the very lines of His Majesty's\nTheatre. It was not a beautiful production\nand artistically it compared unfavourably\nwith the fairy play which was running at that\ntime at Sir Herbert's theatre opposite.\nMr Trench has good theories but unfor-\ntunately he fails to realise them.\n\" The glorious blue\" which Mr Trench\nthinks he invented comes somewhere from\nNature and was first used to its full advantage\nby Mr Gordon Craig in his production \"of Dido\nand Aeneas \" In 1900. Mr Trench was not\nplaying at theatres then. & &\nWhen Sir Herbert Tree heard of this cu-\nrious article in the Saturday Review he\nexpressed surprise. Mr Trench instantly des-\ncended from his \"built up\" pedestal, (which\nwill no doubt cost him a \"fabulous sum\")\nand sent Sir Herbert the following telegram :\n(quite Imperial to telegraph when a little\nvisit would have been entirely in goodtastel)\n\"Quite amazed you should take first paragraph\n\"in Saturday Review article as referring to\n\"your production of which I know nothing\n\"and hope everything \" ,.. or, as Dan Leno\nwould say, \"If the cap fits,.... bon voyage\".\nThe unpleasant part of it all is that Mr\nTrench cannot be \" amazed \" and to pretend\nto be so is a little queer.\nBut the Public will not be deceived. They\nknow Tree and admire him for what he is.\nThey can never know Trench, for he hides,...\npeep-bo. The English Public likes a fighter\nas well, or better, than anyone, and if Trench\nhad fought Tree in the open instead of throw-\ning stones from a glass house and had stuck\nto his guns when challenged there would\nhave been cheers for the two of them. As\nit is Tree easily captures the whole position.\n& I notice that The Mask has its knife into\nTree as a producer, but I also notice, and\nothers have no doubt done so too, that The\nMask sticks to its guns and isn't \"amazed\"\nthat its opponent sticks to his.\nThis is a properer method than the one\nMr Trench would inaugurate, which resem-\nbles more nearly than anything else the\nwhite-flag methods of the Boer war. G. H.\nMr Bernard Shaw & Mr Granvitle Barker.\nNew York Review which I read every\nweek with great interest always brings\nme the news of our own theatres before the\nLondon papers have got hold of it. Thus the\nnews that Mr Barrie had supported the Re-\npertory Theatre with sixteen thousand pounds\ncame first from America.\n& Now comes a second piece of news in a\nbig headline saying:\nBERNARD SHAW GROSSLY OFFENDS HIS\nFRIEND GRANVILLE BARKER,\nand, as a sub-heading\nRedoubtable \" G. B. S. \" Said He Had\nto Go to See One of Barker's\nPlays Half a Dozen Times\nBefore He Could Comprehend It.\n& This strikes one as rather ridiculous. One\nwill next be hearing of a father \"grossly of-\nfending\" his infant son; but surely a good"}, {"page_pdf": 56, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.56", "texte": "lecture and a sound trouncing is the privilege\nany son may claim. &\nMr Frohman and his &( Proposals \"\nCharles Frohman says 44 he hasn't got\nL. io,ooo,o.o. \" but adds he 44 would like\ndo for the Theatre what the Bail Maily\ndoes for airmanship.\" Daily Mail.& &\nWe may expect something like the follow\ning shortly; & & &\n44 Mr William Brown the celebrated me-\n44 chanic who rolls the curtain up and down at\n04 the Theatre Royal told a representative of\n44 the Court Circular yesterday that he would\n44 like to do for the Theatre what his Majesty\n44 the King is doing for the Empire. He regrets\n44 that at present he only has L. 7.10.0 in the\n44 savings bank but points to the Frohman-\n44 Daily Mail precedent, saying that the wish\n44 is everything And so say all of us I\" as\nCarados would say. <£? R. S.\nMr Justice Darling.\nJustice Darling has lately re-stated the\nfact that the Drama is not a thing to\ntalk about but to see.\nIt Is the business of a good Judge to dis-\ncern the false from the true and Mr Justice\nDarling is wise to discern that Drama is a\nthing which makes its primary appeal\nthrough the eye and not through the ear.\n\nJ.B.\n\nPARIS.\nJ. de S.\nPel/eas and Melisande. & j&\nJt is not a very serious offence that Madame\nGeorgette Leblanc has committed In pro-\nducing this play in one of her houses, the\nAbbey of St Wandrille, but neither is it very\nserious as an artistic event. The example she\nsets is,vhowever, a bad one. To the gentle-\nman who attended the performance on behalf\nof the Daily Mail she confessed laughingly\nthat it is not everybody who is so happily\nsituated as to have an 44 ancient Abbey and\npark in which to produce artistic piays \",...\nand the world is to be congratulated on the\nfact. & & & &\nA more vital reason is necessary for the\nproduction of a work of art. Even the pos-\nsession of a theatre is not excuse enough for\nrushing into theatricals. & &\n& Following the example set by Madame\nLeblanc the good householder may expect\nany morning to look out of his back window\nand find them playing at \" As you Like it\"\non the lawn, or, on calling to see an old\nfriend, to find him in his library in the midst\nof a performance of 44 Faust\" with the do-\nmestics seated around as audience ; or, if\nacquainted with anyone living in the\n\"Quarter\" to find them at any moment of the\nday engaged in a performance of a table-\nau d-ch air drama by Bernard Shaw. &\nThe excuse they could put forward would\nbe quite as good as that given by Madame\nLeblanc. &\n\nJAPAN: TOKIO\n\nWomen in the Theatre.\nstill seems to find the old way of\ncreating things the best. She produces\nresults by precisely the same methods she\nemployed millions of years ago. Her moun-\ntains, flowers, moons and men are probably\nall of them different from what they were\nonce upon a time ; but In producing them\nshe has not flirted with new mediums.\n& The artist who follows this law of nature\ndoes not go far wrong. We search back for\nthe origin of things not to copy them but\nto learn by which method and in what ma-\nterial they were made.\n& For centuries we understood in the East\nthat only the masculine temperament was\nfitted for stage performances. The actor had\nlearnt his lesson thoroughly and was content\nto hide his person and personality under the\nmask and the robe and had learnt to value\nthe result. He was following in the footsteps\nof nature where the creator is always hidden.\n& Today in Japan everything is being chan-\nged, and many of the changes are both ne-\ncessary and good. It would be ridiculous to\ngo to war with a western power in the\nancient junks; it would be folly to oppose\nthe old double-handled sword to the Maxim\ngun. In daily life also much has been altered,\nand altered for the better. &\nBut although all these things may be\nimprovements it by no means follows that\nour art can be improved by changing the\nmethods and materials which have been\nemployed with so great success in the past.\njg? Madame Sada Yacco was the first lady to\ngo upon the stage in Japan. The innovation\nwas a pity. She then went to Europe to study\nthe modern theatres there, and more espe-\ncially the Opera House in Paris, intending to\nintroduce such a theatre into Japan,... it is\nto be presumed with the idea of advancing\nthe art of the Japanese theatre.\n& There can be no hesitation in saying that\nshe is doing both the country and its theatre\na grievous wrong. Art can never find a new"}, {"page_pdf": 57, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.57", "texte": "way of creating better than the primitive\nway which the nation learned as children\nfrom Nature.\nThe introduction of women upon the stage\nis held by some to have caused the downfall of\nthe European theatre, and it is to be feared\nthat it is destined to bring the same disas-\nter to Japan since it is announced that\nMadame Yacco intends not only to use ac-\ntresses for the female roles but to introduce\nother occidental customs upon her new stage.\nIt must not for a moment be supposed\nthat the introduction of women on to the\nstage proceeds entirely from motives of im-\nproving the art. History shows there to have\nbeen always motives of economy behind the\ninnovation. &\n& Women are always glad to appear before an\naudience for next to nothing and managers of\nall periods have proved themselves glad to\navail themselves of this feminine weakness.\nWhen ever the swing of the pendulum brings\nround an age of increased commercialism it is\nto be noticed that the wives and daughters are\nalways selected to do the work previously\ndone by men, and that this, beginning by\ndrawing them out of their own sphere, ends\nby forcing them out of it, since, while women\nare working for lower wages than those for-\nmerly paid to men, the men, on their part,\nare without employment and are thus no\nlonger able to support the women. The result\nis therefore disastrous economically as well\nas artistically.\n\nTao.\n\nEDITORIAL NOTES\n\nof the things which surprised an Ame-\nrican actor who lately spent some weeks\nin England was that \" The English actors\n\"are still using old methods that we, (the\n\"Americans) left behind long ago.... England\n\" has learnt all she can about the theatre and\n\" that is not a good sign\n& The New York Dramatic Mirror, the\nleading American stage journal, gives pro-\nminence to this statement.\n& What is it worth ? we think it is worth\ncareful consideration. Americans are quite\npractical, and certainly wish their English\nconfreres well. & &\nIt is very unfortunate to think that\npeople outside England notice that she re-\nfuses to learn any more about the theatre.\nYet this is not entirely true. She has been\nlearning lately quite a number of new things,\nthough quite against her will.\nShe has learned from the younger school of\ntheatrical artists. The only pity is that she\ndoes not make more use of these younger\nmen before they turn into old men.\n\nDICKENS COPYRIGHT FUND.\ngomebody has suggested a very fine idea\nto the Strand Magazine, and the journal\nhas risen to the occasion in fine style.\nIt appears that the descendants of Charles\nDickens are poor owing to the disgraceful\ncondition of the copyright law. The Strand\nMagazine's scheme is to attempt to restore\nto them a portion of their property in the\nfollowing way: \" It is estimated that there\nare twenty four million copies of Dickens\nworks extant, allowing for loss through wear\nand tear. Were it conceivable that every\npossessor of one of those volumes were to\npay one penny in super-royalty it needs\nlittle knowledge of arithmetic to arrive at\nthe sum of one hundred thousand pounds. But\nthis is inconceivable Were a quarter of\nthe number to consent that each volume\nshould bear a Dickens stamp certifying that a\n\" deferred royalty \" of one penny had been\npaid, a very large sum might be realised,\n\" without expense, and without prejudice. \"\nThis is the scheme, and a deuced fine\nscheme say all of us on the staff of The Mask.\nWe personally hope that the Walter Crane\npenny stamp will be the one chosen, but there\nmight be other stamps besides penny ones.\nWhy not have six different priced stamps,\n....one for a penny, one for a pound, and\nothers for sixpence, a shilling, half a crown\nand half a sovereign? The premises of Messrs\nChapman and Hail could surely never acco-\nmodate the packet of penny stamps which\nthey would be in honour bound to purchase,\nwhereas a couple o f thousand pound\nstamps could be easily put into a drawer.^"}, {"page_pdf": 58, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.58", "texte": "& It seems that everyone is excited by the\nscheme and we hope the action of the Strand\nMagazine will draw the attention of the\nauthorities to the terrible and wholesale\nrobbery which goes on today,.... a robbery\nwhich it is in their power to cop© with if\nthey would. &\n& But let them not overlook other branches\nof art where such robbery leaves families\ndestitute. & &\nFor example, a painter of great genius\ndies. After two or three years his pictures,\nhitherto laughed at or disregarded, are sold\nfor low sums by the dealers. Let us say\nthat the family of the painter gets a cou-\nple of thousand pounds, generally it is\nnearer a couple of hundred.\n& Well then? In a few years when the dea-\nler has 44 worked up \" the reputation of these\npictures we hear of them changing hands\nagain; this time perhaps the pictures fetch\nan average price of two thousand pounds\napiece. & &\nIt seemes to us that whenever a work of\nart changes hands (except in the case of a\nbook or a piece of music or a print unless it\nbe the original book, song or print), the\nheirs of the artist are justly entitled to a\npercentage of all profits exceeding the ori-\nginal price paid for the work.\nIf this matter were attended to by the\nauthorities we should hear less about artists\nleaving their families unprovided for.\n\nTHE IRISH THEATRE.\nIrish Literary Theatre was planned in\n1901 by W. B. Yeats, Edward Martyn and\nLady Gregory. These artists some years later\ndeveloped their idea, changing the name of\nit to \"The Irish National Theatre Society\".\nLater on, (in 1904) Miss Horniman generously\ngave them a little Theatre in Dublin. Others\ngave their works of art,.... plays, designs for\nscenes and costumes, their services as actors\nand so forth.\nMiss Horniman has lately turned her gift\ninto a loan. The theatre now costs the little\ngroup a thousand pounds per annum.\nThe Irish Theatre will win through and\nthrough. Its creators have nothing to lose\nexcept their lives ;... they will win. Listen\nto the rhythm of their power:\n44 I am Raftery the poet\nFull of hope and love;\nWith eyes without light;\nWith gentleness without misery.\nGoing west on my journey\nWith the light of my heart;\nWeak and tired\nTo the end of my road.\nI am now\nAnd my back to a wall,\nPlaying music\nTo empty pockets.\"\nDelicious 1... Indomitable...!\n\nSENS A TI ON A LIS M.\n'Jphe Bishop of Carlisle preaching a short\nwhile ago in Carlisle Cathedral inveighed\nagainst modern showy sensationalism, lie\nregretted the money wasted by sightseers\nwho found pleasure in witnessing men flying\nin the air and other men and women who\npaint their face and appear on the stage.\n\" People go to the theatre \" he said, *' to see\n•' overdressed bedizened people in bad paint,\n\" but they never stop to look at a daffodil\n\"in the valley\".\nWe like and dislike this. Of course people\nstop and look long at all beautiful flowers;\nNature is the Qod of thousands, perhaps more\nfirmly than ever before ; we might if we so\nchose have a word to say on this score to the\ngeod Bishop of Carlisle; ....but we like his\nneed, we like his intolerance. It helps to wake\npeople up. &\n& There are times when we feel drawn to-\nwards every one of these ill-painted and\nbedizened creatures in every theatre, booth\nor music hall in the wide world, for as men\nand women they are perhaps without excep-\ntion the most charitable and most courageous\nupon earth. Bnt there are other times when\nwe are very much in sympathy with the re-\nverent Bishop, and then we want to flay all\nthese same bedizened creatures alive. For\ngoodness we know none to surpass them ;\nbut for downright stupidity they deserve all\nthey get. They are impossible. They allow\ngood Bishops to make rude but true remarks\nabout them and take no pains to make such\ncriticism impossible. They remain gaudy,\npainted, theatrical in the bad sense of the\nword. &\nOf course the turn of the tide is coming,\nand when the flow commences the Bishops\nand other churchmen will have to put their\nhouse in order, and if their house be a spi-\nritual one all will be well; but let them see\nto it that they innure themselves to discom-\nfort, for the ways of fate are strange, and\ntoday's ocean may be tomorrow's mountain\nrange, today's theatre may be tomorrow's\nchurch. j&>"}, {"page_pdf": 59, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.59", "texte": "But to rise up from such a depth as that\nin which the theatre people are today sunken\nwill demand no little disinterestedness.\nLose no time then. Begin by giving up\nyour paint,... or rather, your 44 bad paint\"\nas the Bishop calls it. First oi all the Bishop\ndoesn't like it, secondly no one else likes it;\nthirdly you don't need it. & JZ?\nGet to your masks, quickly, When you\nlearn their use, and their invincible po=\nwer, you will be better fitted to ascend.\nTo offer you the Church of the Future as\nyour prize would be out of place, but you\nneed never forget that you once possessed\nthe Church of the Past. & &\nThis all comes from reading a paragraph\nabout a Bishop of England and his true but\nunkind remark about our painted faces:....\nhow sensitive we are, to be sure!...\n\nTHE THEATRICAL YEAR.\nJ. Waters's annual article, The Thea-\ntrical Year in London,\" composed of\nfacts and figures only, avoiding all theory,\nis as interesting as ever. JZ?\nIt proves that of all the plays produced this\nyear the most popular were 44 Arsene Lupin \",\n44 Dear Little Denmark\", 44 The Brass Bottle\",\n44 Smith \", 44 Don \", 44 Sir Walter Raleigh \" ,\n44 The Little Damosel \", 44 The Blue Bird \",\n44 Aladdin \", 44 The House of Temperley \",\n44 Dame Nature \", 44 The Balkan Princess \",\n44 Alias Jimmy Valentine \", 44 The Islander \",\nof these 44 The Brass Bottle \", 44 Don \" and\n44 The Blue Bird \" passed their two hundred\nnights, 44 Arsdne Lupin \" falling short of the\ntwo hundred by one night. & JZ>\nOf revivals 44The Scarlet Pimpernel\" (New\nTheatre) and 44 When Knights were Bold \"\n(Criterian) both ran for over one hundred\nnights. 44 The Importance of being Earnest\"\nof course has run without a break for much\nlonger, but as the run has not yet termina-\nted it is not included in the list. & JZ?\nJZ? There are a few other plays whose runs\nhave not terminated, 44 The Whip \", 44 The\nDollar Princess \", 44 The Bad Girl of the Fa-\nmily \", 44 Tantalising Tommy \", 44 The Naked\nTruth\", 44 The Speckled Band\", The Girl\nin the Train \" and 44 Priscilla runs away \";\nso we see that 44 The Blue Bird \" leads easily\nwith two hundred and seventy four nights.\nFollowing Mr Waters's example we shall\nnot suggest why this leads, but at the same\ntime we can draw attention to the fact that\nthe London Theatre in the season just ended\nalthough it had performed twelve of Shakes-\npeare's works has only given In all one hun-\ndred and forty performances, averaging\nabout eleven to each play. & JZ? &\n& 44 The Blue Bird \" was imported from\nFrance. <&> & JZ? &\n& Mr Waters allows himself only one com=\nment in which he suggests that 44 The pro-\n44 mise of happiness in a play is worth more\n44 money to an anthor than the unpalatable\n44 truth of life, so we can assume that our\n44 public goes to the theatre in search of\n44 the promises. \"\nThis sounds like the unpalatable truth.\nBut would the public have gone to 44 The\nBlue Bird \" in search of the promise of hap-\npiness therein if they had not had a guaran-\ntee of any kind of spectacular display?.... of\nan 44 avalanche of \" (semi-) 44 Shakespearean\n44 upholstery, a promise of blazing electric\n44 light so fierce as to extinguish more than\n44 the facial play of the actors, enough in\n<4 fact to obliterate the whole expression of\n44 poetry\" & & JZ? &\nYet for all this the play was a success\nwhich only proves that such plays can be a\nsuccess in spite of having 44wasted money on\nthe material, the earthy and the expensive \"\nand stinted it on 44 rare human instruments\n44 of expression who are harder to get but\n44 easier to buy\", (ahem,.... Trench) £/\n\nTHE DEAD AND THE LIVING.\nLaurence Irving is of the opinion that\nEugene Brieux the French Academician\nis scarcely surpassed by Moliere. Bernard\nShaw believes that in tragicomedy 44 he is\nincomparably the greatest writer France has\nproduced since Moliere\n& How often people compare the living with\nthe dead,. . . how seldom with the living.\n\nA WORD ABOUT REFORM.\nsphere are reformers in the Theatre who\nactually believe that the first reform ne-\ncessary is that of the Public.... 44 The people\n44 are awful ; they won't come and see my\n46 works ; their taste needs reforming &\nThese gentlemen forget that if the people\nare not coming to see them they certainly\nwon't come any quicker just to be reformed.\nIn fact it will be harder to get at them\nthan ever ,..., so give it up, Gentlemen,\nadmit to yourselves that it is yourselves\nand your art which need reform and all will\nbe well. And then turn to with a will and\ngive yourselves a twenty year's chance. At\nthe end of that time, but not before, you"}, {"page_pdf": 60, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.60", "texte": "will be better able to know whether you or\nyour public Is to blame. But don't let there\nbe the ghost of a doubt. That would surely\nkill you No ? !... Why, then you're dead\nalready. &\n\nSYMBOLISM IN THE THEATRE.\n-p, Referee is much elated that Sir Her-\nbert Tree has chosen to make sport of\nSymbolism in the Theatre, and remarks that\nit is out of place there. It is, today; and as\nmuch out of place there as the time was out\nof joint in Denmark where corrupt conditions\nprevailed. But one can always put these\nthings right. & & & &\n& The Referee is a well-informed paper as\na rule and takes care to be in the right as\noften as possible, and so we hold it fit that\nwe shake hands and part; and, that The\nReferee shall not be again in the wrong upon\nthis particular subject, Symbolism in the\nTheatre, we would refer the genial paper to\nsome rather weighty books upon Religious\nDrama, amongst others Chambers's u Media-\neval Stage\", a masterly work, (to the dry\nall things are dry), and to Frazers's 44 Golden\nBough If the Referee turns to these for\ninformation he will be agreeably surprised\nto learn that Symbolism is to the Theatre\nwhat life is to the body.\n& To admit that Symbolism is out of place\nin the modern Theatre in England is quite\na different thing, and this is not the first\ntime we have pointed out that English jour-\nnalists should observe the difference.\nThe Theatre, the Modern European The-\natre and the Theatre of England, are never\nto be confounded the one with the other;\nand there are even further divisions which\nshould be observed. These Theatres all differ\nessentially one from another. Thus it can be\nclearly seen that Symbolism is out of place\nin the English Theatre, is sought for by the\nadvancing European Theatre, and is the very\nessence of the living Theatre as it is of all\nArt.\nThe English Theatre today lays itself out\nto appease the middle class. Shakespeare is\never ready to oblige. The aristocracy who do\nnot care to see this parody of their estate\navoid the playhouse, and the people are no\nless fastidious on this point. They also keep\naway; they feel that they are as out of place\nin the modern theatre as that same Symbo-\nlism which avoids exhibiting itself to the\nbourgeoisie. None but the middle class affects\nthe theatre of today, 44 There is something\nin this more than natural, if philosophy\ncould find it out & &\n\nTHE COMMEDIA DELVARTE.\nQur statement in the last number of The\nMask that 44 Molidre's whole fabric was\n44 built of the stones stolen from the ruins of\n44 this most stupendous Palace, (the Commedia\ndell'Arte)\" has brought upon us an avalanche\nof enquiries as to whether we know what\nwe are talking about.\n& We believe we do. We thought it was one\nof those things that everybody knows but\nrefrains from mentioning,...for reasons. (Mark\nTwain's 44 silent lie\" again).\n& We also thought we had been rather con-\nsiderate to Moliere, omitting, as we did, to\nrecall to our readers that Moliere also bor-\nrowed pieces in whole or in part from Plautus\nand Terence. For 44Les Fourberies de Scapin\"\nhe took the whole plot from Terence (Pho-\nrurio). As this is one of his latest works it\nproves that the borrowing had become a\nhabit. In 44 L'Avare \" he takes a few scenes\nand jokes from Plautus; .....the plot deals\nwith Theft. For 44 Amphitryon\" the whole\ndesign of the Latin original is retained.\nWe have not that same veneration for\nthe great masters of the written drama that\n*\nwe ought to have, but we know too much\nabout their methods of obtaining renown to\nbe very enthusiastic about them. When the\ntrue theatre receives the acknowledgement\ndue to it, when actors shall have come to\ntheir senses after learning that they have\nbeen bought by these same methods of the\ndramatic writers, when theatres shall be\nerected to harbour the true theatrical ex-\npression, then we shall not be unmindful of\nthe value these writers of drama have been\nto us; but till then we look upon them one\nand all as intruders, who have proved dan-\ngerous to the very life of the stage and\nwho have brought it to the lowest level of\ndependence that independence dare ever\nsink to.\nhas made so much use of the Ita-\nlian comic writers, that, were we to take\n\"from him all that he has taken from others\n\"the volumes of his comedies would be very\n\"much reduced in bulk.\" &\nTiraboschi, 44 Storia della\nLetteratura ltaliana \".\n\n& & ALL RIGHTS RESERVED\n.Gerente Responsabile, GIULIQ VANZI"}, {"page_pdf": 61, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.61", "texte": "A QUARTERLY JOURNAL OF THE\nART OF THE THEATRE^\n\"The Mask always inspires me,.... it creates a\n\" vague vision of a new sort of joyous, overflowing\n\"dramatic art. No sort of criticism is any use\n\"to an artist but technical criticism... criticism\n\"at once technical and philosophical, and that is\n\" what The Mask gives one.\"\nW.Ii. Yeats. Irish National Theatre.\n\"It is good, in these days of imitation and unifor-\n\"mity, to meet with a sincere and individual en-\n\" thusiasm, and this is to be found within the pages\n\"of The Mask. Never before has the theatre in this\n\"country had so earnest an\nBlack & White.\n\" The Mask\" is the highest compliment paid to the\n\"theatre in our generation.\"\nClifford Greve, Formerly Editor of \" Humanity \"\nNO w 7*o ro tTTe \"mask\\ &\n& Write your name and address on a post card and send it to us today; and then today\nor tomorrow or next week, or when we remind you, send the amount named below\naccording to the country in which you live. &\nCheques and postal orders should be made payable to the Proprietor of The Mask.\n& In 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, FLORENCE."}, {"page_pdf": 62, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191010-01.1.62", "texte": "& Printed for the Proprietor by Tipografia R. Lastrucci, Via dei Serragli, 104 Florence and published at The Office of \" The Mask 11\nArena Goldoni.\n\nANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES 4® 4®\nr\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:\nj® J® j® j® J® J® J® J® J®\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n19 04\nFLORENCE\nVia dei Fossi 4\n0 (ESTABLISHED i860) &\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\n\nFine Illustrated Edition of\nOSCAR WILDE'S\nThe Picture of Dorian Orey.\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. (Letter, 9th July,1890).\nSm. 4to Vol. Pages VI. & 312. Hf. bd. gilt top, with Seven\nfuiLpaged Wood Engravings by PAUL THIRIAT(of Paris)\nPrice 12.s 6d. Net.\nALSO A POPULAR EDITION\nPages VI. &316. Sm. 8vo. (not illustrated), neat cloth\nbinding. Price 2s. 6d. Net.\n& FURTHER, AN EDITION &\n(Pages YII. & 353)\nUniform in Stle and Binding with Messrs. Methuen's\nFive Shilling Edition of «« OSCAR WILDE'S WORKS. \"\nPrice 5s. Net.\nPublished by Charles Carrington,\n10. Rue de la Tribune, Brussels, Belgium."}]}