{"numero_id": "bm-bmtnaau-1911-01-01", "volume": "bmtnaau_1911-01_01", "ocr_sha256": "4cf7b1b1b9e2a80b9f89e7e01f7c2a79f78c019c45459a84b3185233b14310c0", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1911/01_01/bmtnaau_1911-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1911/01_01/bmtnaau_1911-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01", "articles": [{"article_id": "bm-bmtnaau-1911-01-01-c002", "article_bluemountain": "bmtnaau_1911-01_01#c002", "volume": "bmtnaau_1911-01_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=bmtnaau191101-01.2.2", "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=bmtnaau191101-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 415, "texte": "LITERARY CONTENTS.\nTHE VENETIAN THEATRE AND THE ITALIAN COMEDY IN THE EIGHTEENTH CENTURY\nby PHILLIPPE MONNIER. THE COMMEDIA DELL'ARTE by Dr MICHELE SCHERILLO.\n& BIOGRAPHICAL NOTES TO THE PRECEDING ESSAY. CARLO GOZZI AND HIS PLAYS\nby JOSEPH BARETTI. 1768. \" A SURVIVAL OF THE COMMEDIA \" ; AN EXTRACT\nFROM \"STUDIES OF THE EIGHTEENTH CENTURY IN ITALY\" by VERNON LEE. BOOK\nREVIEWS, FOREIGN NOTES. EDITORIAL NOTES, jg> &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c003", "article_bluemountain": "bmtnaau_1911-01_01#c003", "volume": "bmtnaau_1911-01_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=bmtnaau191101-01.2.3", "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=bmtnaau191101-01.1.2", "debut_caractere": 417, "fin_caractere_exclue": 891, "texte": "ILLUSTRATIONS.\nFRONTISPIECE: A GROTESQUE. ARTIST UNKNOWN. & GIACINTO CATTOLI AS ARLEC-\nCHINO by GIULIANO ROST. FOUR MOODS OF ARLECCHINO by CLAUDE GILLOT.\nSIX ILLUSTRATIONS FROM THE \" BALLI DI SFESSANIA \" by GIACOMO CALLOT.\nFIGURE OF PANTALONE by GIACOMO CALLOT. jg? A COSTUME FOR PANTALONE OF\nEARLIER DATE. ROMAGNESI AS SCARAMOUCHE MEDICIN. jg? HEAD AND TALE PIECES\nAND INITIAL LETTERS FROM OLD DESIGNS AND DESIGNS BY GORDON CRAIG, CHARLES\nBORROW AND OTHERS. jg/ jg? jg/ jg?"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c004", "article_bluemountain": "bmtnaau_1911-01_01#c004", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[100]", "page_fin": "[100]", "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=bmtnaau191101-01.2.4", "titre_corps": "A GROTESQUE", "titre_sommaire": "A GROTESQUE", "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": "[100]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 27, "texte": "A GROTESQUE\nArtist unknown."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c005", "article_bluemountain": "bmtnaau_1911-01_01#c005", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "101", "page_fin": "107", "image_debut": 5, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.5", "titre_corps": "THE VENETIAN THEATRE AND ITALIAN COMEDY IN THE EIGHTEENTH CENTURY", "titre_sommaire": "THE VENETIAN THEATRE AND ITALIAN COMEDY IN THE EIGHTEENTH CENTURY", "signature_source": "Philippe Monnier", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 4444, "texte": "THE VENETIAN THEATRE AND ITALIAN\nCOMEDY IN THE EIGHTEENTH CENTURY\nby Philippe Monnier.\n\nhe Venetians with their poetic, pleasure-loving character could hardly\nhave existed without the charm and glamour of fiction. It is true that\nfootlights, curtains, and a double bass were sufficient to create the\nworld of wonders which they loved. But they would have died if alto-\ngether deprived of their theatrical illusions. In the eighteenth century,\nParis had three theatres. Omitting occasional theatres, stages in palaces,\nopen air theatres in the piazza, and travelling theatres for marionettes,\nVenice had seven, all permanent and all bearing the names of their parish saints, all open\nduring the whole season of masquerades, and giving performances every single evening.\nTake, for instance, the evening of January 21, 1765. \"Oidone abbandonata\" was performed\nat the S. Benedetto, 44 L'Amor in ballo\" at the S. Mos£, \"11 RScco insidiato\" at the\nS. Salvadore, 44 Semiramide \" at the S. Casslano, 46 Brighella disertore disperato sequace della\nMagia d'Archelausse \" at the S. Crisostomo, 44 La Favola dell'Uccellm belverde \" at the\nS. Angelo, and at the S. Samuele that beautiful and amusing comedy the 44 Cavalier© di Ri-\npafratta, o sia il Marchese di ForlinpopoliThey let no grass grow in these shrines of\nfrivolity; they almost lived in them, so that nearly every house was to let. From the red-\ncapped boatman, who prided himself on his taste In comedy, to the patrician in his toga,\nwhose hobby was the management of theatres, all found their way In. They were at home\nthere, even more than in church. They were hardly inside before they seemed to be in pos-\nsession of the place. They enjoyed being together, after the solitary business of the day.\nIn the absense of known events, they filled the silences of history with imaginary inven-\ntions of their poets, they gave their whole hearts to the play of imaginary emotions; they\nfilled the empty spaces of their souls and lives with happy illusions; they liked the frenzy\nwhich was aroused in them by the roulades of a singer, the contortions of an acrobat,\nthe pleasantries of a buffoon. They found the door of a theatre as irresistible as a cafe.\n& Drama is the literature of those who do not read. It was pre-eminently the literature\nof Venice, to whose spirit it was most akin. It was her glory, her national mode of expres-\nsion, her standard of literary Judgement. From Ruzzante to Goldoni it spread her fame\nthroughout Italy. A too stern reality wearied the old artistic race; the drama was their\nliberating dream, their Indigenous diversion. It was the prevailing genre ; everyone attempted\nIt, every one was familiar with it, the most humble critic formed a theory of it and sup-\nported an opinion. The name alone of an actress could draw sparks and flame from a\nlanguishing conversation. A new play was a public event; its echoes spread even to the\nferries. The engagement of a dancing-girl was an affair of State ; It filled the portfolios of\nthe Council of Ten, and embarassed a number of embassies. Any plots or factions that\ndisturbed the State were purely theatrical. The rivalry of the priest Chiara and the lawyer\nGoldoni gave birth to two parties, divided the city into two camps, 44 armed one against\nanother, lords and ladles, citizens and their wives, the poor, the artisans, the gondoliers,\nthe cultured courtesans.\" No literary polemic ever raised a greater stir, or wasted more\nmoney. & & & & & Je?\n42? The horizon of the Venetians seemed to be bounded by footlights; stage scenery, and a\nprompter's box. The air of deserted passages was heavy with the damp odour of worn velvet\nand orange-peel, exhaled from theatre halls. The atmosphere was mingled with the bitter\nfloating dust which rose from their 44 boards \" and 44 burnt and killed like gunpowder\".\nOf all this busy hurrying population there was scarcely a person who had not some con-\nnection with the stage, as lamp-lighter or ticket-collector, as box-attendant or copyist of\nmusic, as chorus girl or her dressmaker, her music-master, her stage-manager, her glover,\nher hosier, her confessor, her hairdresser, her protector. They were poets or prompters,\n44 crowds \" or machinists, pages or painters or first haut boys. They sang in Italian opera\nor acted in pantomime, or played the Wit, the Moor, the late Roman, or the capricious\n\nSeven theatres\nin Venice.\nDrama the lite*\nrature of those\nwho do not read."}, {"page_pdf": 6, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.6", "debut_caractere": 23, "fin_caractere_exclue": 4962, "texte": "courtier in a ballet. Take, for instance, a comedienne; she knows more about love than\nOvid ever wrote. Take her mother or her brother. He Is paid sixpence a day to do the police-\nman, or the robber, or the devil, and to carry a lantern in front of the princess, his sister,\nwhen she returns from the \"wings\" to the kitchen to change her clothes. The chariot of\nComedy had stopped for good at Venice; the shafts rose empty in the air. <£?\n& At every corner of this fantastic city there stood out a group of wandering comedians.\nAt one a poet reads his compositions to some actresses; they knit stockings while they listen.\nAt another some singers 101 l about on chairs and fan themselves with their music, while\nthey practise their songs. Elsewhere an artiste converses with her patron, while her hair-\ndresser plays the spy; her husband has gone shopping with a basket on his arm. The Se-\nnator Malipiero surprises Teresa Imer and Casanova in too intimate conversation, and\nrains showers of blows upon them. Carlo Gozzi is on his way to Teresa Ricci to present\nthe homage of a poet; her husband, with holes in his stockings, sleeps peacefully through\nthe long discourse. A girl of eighteen is practising her dance on the Piazza in clear moon-\nlight. A boat-load of comedians bears the young Goldoni over the blue waters of the Adriatic.\nA troupe of opera singers is waiting on the quay at S. Mos6 to embark at break of day.\nThe mother of a singer is drawing the lottery, which she has organised to meet the needs\nof her daughter. All things.... past, present, and future.... were exploited for the drama.\nThey ransacked the antiquities of Greece and Rome, myth and legend, the East, the dwel-\nlings of the fairies, the 44 cloak and sword \" drama of Spain, contemporary stories of adven-\nture, even old and innocent nursery tales. Fielding's 44 Tom Jones \" and Marivaux's 44 Ma-\nrianne \", Moliere's 44 Bourgeois Gentilhomme \" and Ovid's \"Metamorphoses\", \"The Peruvian\nLetters \" of Madame du Boccage, Richardson's 44 Pamela \" and Le Sage's 44 Gil Bias \", Fieux\nde Monhy's 44 Paysanne Parvenue \" and Virgil's 44 Aeneid \".... all transported to the stage.\nFrom the 44 Aeneid\" alone Abbd Chiari drew three plays. They made Aeneas a Captain\nFracasse, Menelaus an amorous Pantaloon, Helen a Venetian gossip. They showed Cupid\nscattering flowers upon the tables, Aphrodite in her chariot of clouds, peasant's raids,\npitched battles, ships burning, gods flying, stars shooting, children hidden in a tomb, the\nshades of the dead, and even the whole kingdom of the shades. Everything from Tirso de\nMolina to Boursault, to Regnard, to Klopstock, was marked down, copied, stolen, adapted,\nor simply translated. With this material they manufactured indifferently the libretti of\nOp&rsi-bouffe and of Grand Opera, masques and comedies of character, tragedies and\ntragi-comedies, fairy-plays, ballets and melodrama. Novelty was the essential thing. Hence\nCount Alessandro Pepoli composed a 44 Ladislas \", which was neither comedy nor tragedy\nbut a 44 physedy \" or song of nature, with sun-rises and moon-rises, with lofty towers,\nprecipitous mountains, battles, and habitable caves. The second essential was to pro-\nduce something full of marvels. They wanted men carried on devil-back through the\nair, set-pieces of fireworks, pilgrims' staves, daggers, poisons, prisons, slaughtered bears,\nlofty pavilions, earthquakes. According to Marcello a dramatic poet was dressed in\ncork, adorned with metaphors, translations and hyperboles, and a sword In a bearskin\nsheath.\n»\nAt Venice the end of the eighteenth century was marked by the triumph of Italian\nComedy. Its birthplace is unknown, and its origin is shrouded perhaps in the mists of\nprehistoric times. Its torch may have been kindled at the fires of the ancient Oscan civi-\nlization ; or it may have been handed down from the culture of Magna Graecia or from\nsome other old uncertain source. Oscan games and Atellan farce were perhaps its cradle,\nPolichinello the ancient Maccus, the Zannis nothing but the Latin Sanniones. Its flowing\nrobes and living outlines may be directly derived from the pantomimists and ballet-dancers,\nactors and clowns, whom lust and license created to amuse the cross-roads with their\nwine-stained cheeks and strange grimaces. But in the midst of so great obscurity, this\nmuch at least is certain. The Italian Comedy 44 dell'arte \", the Italian Comedy of impro-\nvisation, of masks, of plots and incidents, developed along parallel lines with the Italian\nComedy written in the study. It died with the ancien regime. If the written comedy pre-\nsupposes an environment of cultured ease, a villa garden or a palace court, the comedy\nwhich is Italian Comedy par excellence is the spontaneous growth of the Piazza. In fact,\nto set it in its proper frame, we must reconstruct for ourselves an Italian fair with all its\n\nComedians at\nevery corner. &\nThe triumph of\nItalian Comedy."}, {"page_pdf": 9, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 4686, "texte": "wild excitement, such as Callot loved to paint. &\n& A gibbit was outlined against the sky. Strings of onions hung from pedlars' stalls. Boys\nand dogs and hedge-priests, servants and wandering merchants mixed upon the stage.\nCripples of every kind drawled out their prayers. Men in plumed hats stood, hand in pocket,\nspitting upon the ground ; few had the good taste to step aside. There were vendors of rat\npoison, men who sold mirrors to light fires with from the sun, showmen of strange ter-\nrifying monsters, men who ate cloth, or vomited fire, or bathed their faces in molten lead.\nThere were conjurers who pretended to cut off noses with a knife or extracted ten yards\nof rope from their own mouths, or caused cards to be found in other people's hands. There\nwere men who blew Into boxes till their faces were the colours of some brigand's, and\nothers made them eat dung disguised as dainties. In the glare and hubbub of these orgies,\nto the accompaniment of blows given by insulted serving-girls, amid cries and stinks, among\ncheats and swindlers, that strange, monstrous, savage growth burst forth, with the gestures\nof an artist, and the soul of a child.\nStarting from some such fair of the Impruneta, Italian Comedy spread through all the\nSand. A yoke of oxen dragged round its chariot with its canvas awning. Beneath the canvas\nIsabella suckled her child. At each rise in the road the actors got down and pushed against\nthe wheels. They knew chance resting-places and strange hostelries, all the hazards of the\ngreat roads. They forded rivers and climbed mountains • they slept in barns or with the\nstars for their roof. They saw the sky blaze at midnight with arquebus-shots and the\nvillage children run after them with shouts. They passed from hamlet to hamlet, from\nexperience to experience, from success to success. And then the poor rope-dancers of\nyore, the thin vagabonds with the disjointed bodies, the wasted, wandering sons of mud\nand night, who wiped their noses with their fingers and knelt in the dust of the road\nat the tinkling of the Angelus, found the great gates of palaces opened to them, and\nentered in. For did not Catherine de Medici laugh at their farces with all her soult\nlike any common woman ? Were not diplomatic negotiations commenced to obtain a\nScaramouche or a Lelia ? Princes and princesses, even kings, gave them rides in their\ncarriages. Marie de Medici held Harlequin's son at the font. Tasso sat beside Isabella\nat the table of Cardinal Aldobrandini. Louis XIII. appointed Beltrami to his guard of\nhonour. The King of Poland made Mezzetino keeper of his privy purse, and the Empe-\nror Matthias made Fritelino a noble. The cities of Italy pealed their bells and proclaim-\ned tournaments In honour of Vincenza Armani of Venice. The magistrates of Lyon\nsent their mace-bearers and their banners to the funeral of Isabella Andreini of Padua.\nTogether with his dog, his cat, his monkey and his parrot, Scaramouche had the entree\nto the Louvre. One day he found the Dauphin in tears, and amused him so well with\nhis grimaces that the Roi-Soleil in swaddling clothes suffered himself to be nursed by his\nvisitor. jgr jg?\n& We gather up all that remains of this spectacle. We turn over the compliments of\npoets and the notices of journalists. We read the biographies of these illustrious come-\ndians. We consult the poor scenarios, thin and fragile as the skeletons of leaves. We\nlook at Callot's flying company of dancers or at Watteau's masquerades. And we try to\npicture to ourselves this mad, enthralling thing, which was born, and mounted to the\nskies, ravished a whole world and charmed a whole era, which is dead now... so definitely\ndead, that it has left no memorial of itself but the reflection of its brilliance and the echo\nof its fame. dc?\n& First and foremost we find the two old men, Pantaloon of Venice and the Doctor of\nBologna, two toothless, doddering old misers, who sneezed and spat and belched, and In\nspite of their baldness, catarrh, and crutches, were always rubbing young men up the wrong\nway. Next came the two servants of Bologna, Harlequin and Brighella, with their arms\nround each other's necks, the incarnations of two ideals of domestic life ; the one a knave\nand light of wit, the other a heavy simpleton ; the one keen-eyed as a hawk, the other\nperpetually moon-struck. Brighella was always letting plates fall, knocking himself against\nwalls, falling flat on his back on the stairs. Harlequin was as sharp as steel, all knavery,\ncraftiness, elasticity. Then, In the train of these four original types, come various imita-\ntions of them, degenerate copies and stupid grafts on the old trunk...,, valets; peasants,"}, {"page_pdf": 9, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.9", "debut_caractere": 4715, "fin_caractere_exclue": 4783, "texte": "Starting from a\nfair.\njg? We gather up\nwhat remains.\nThe Characters."}, {"page_pdf": 10, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.10", "debut_caractere": 24, "fin_caractere_exclue": 4962, "texte": "sharpers, pedants, cowards, wastrels of a!§ sorts, idiots oi every kind, gluttons and simple*\ntons, monsters and masqueraders. There were Mezzetioo and Trufaldino, Trivitino and\nScaramouche, Paillasse and Cavicchio, Burattino and Pasquariello, Pierrot all in white,\nScaramouch© all in black, Tartaglia the stammerer, Francafcrippa the glutton, Coviello\nwho was leaps and jests and songs and nothing more. Naples produced Polichinello and\nSiena produced Cassandro, Niccolo Barblerl invented Beltrami, Tiberio Furelli Scararnouche,\nGiuseppe Giaratone Pierrot, and Domenico Biancolelll turned the dull farm-boy of Bergamo\ninto Harlequin; \" that sort of half finished man \" that great child with the agility\nand gentleness of a kitten \", 44 that mixture of ignorance, naivete, wit, stupidity and\ngrace \" which Marmontel admired. Each had his own character and his own costume, his\ndialect and his country, his special attributes and disfigurations. Each was sculptured\nlarge as life on the subject-matter of Laughter. With them were the lovers with their\ntenderness and youth and beauty, who talked Tuscan and copied the latest manners. Ho-\nrace and Coraline, Isabella and Leander, Cintio and Flaminia, Lelio and the exquisite\nSylvia, all were there. And after them came the clever resourceful host of soubrettes\nZerbinetta, Francesquina, Diamantina, and Columbine. And threading his way through\nthem all, erect to his full height, his moustache-ends turned up, his great plume waving\nin the air, and his hand on the handle of a rapier, on which a spider's web lay rotting,\nthere was Captain Spavento alias Aspramonte, Rinoceronte, Furibiitibornbo, Leonontrone\nArcitonotonantre Sbaronne, Escarabomburdon de la Papirotonda. He could not wear a\nshirt because his hair bristled so with rage, and would have made it as full of holes as a\nsieve. He could only eat three meats, Jews and Turks and Lutherans. He had sent his valet\nto pay his compliments to the grand Sophti. He had saved the world from the Deluge, he\nhad fought against the stars, he had lain with Death in the nether world, and had made\ntwo hundred girls mothers in one night. But if Pantaloon but put his hand to his pistol,\nthe Captain took to his legs as fast as he could ; and on lonely roads at night he almost\nfrightened himself to death. &\nSuch were comic, delightful characters that appeared against the scenery of painted canvas.\nTorn ruffs and mantles mingled with white cloaks and jackets, with jewels and ribands; the\nCaptain's sword with Harlequin's club, the woollen cap of Pantaloon with the red-plumed\nbonnet of Coviello, Pierrot in his moon-white suit, Horace in his petticoat of gold, Scara-\nrnouche and his guitar, the Doctor and his wine-stains, Tartaglia in his spectacles, all were\nthere, strange, adorable turns in the old rambling & &\nThey were all as chock-full of malice as of wit. Mimes, acrobats, dancers, musicians,\ncomedians, all at once, they were also poets, and composed their own piece. They strained\ntheir fancy to the utmost in inventing it, and Improvised it on the spot as their turn came\nand the inspiration took them. They were not willing, like silly school-boys, to recite only\nwhat they had learnt from a master, nor to be mere echoes, unable to speak for themselves\nwithout another having spoken before them. They did not draw themselves up in a line\nbefore the footlights, five or six In a row, like figures in a bas-relief, and wait their turn\nto present their tricks. Rather they were full of impatience, imagination, devilry. They\nwere the great artists of Laughter, the sowers of the golden grain of Gaiety, the servants\nof the Unforeseen, the kings of Inspiration. They had only to receive a scenario, which\nsome one had scribbled on his knee, to meet their stage manager in the morning to ar-\nrange the outlines of the plot, and to hang the paper within easy reach of the wings; the\nrest they could invent themselves. Familiarity with the stage and their profession and their\nart had taught them a whole bundle of tricks and quips. They had a store of proverbs,\nsallies, charades, riddles, recitations, cock-and-bull stories, and songs jumbled together in\ntheir heads. They knew all sorts of metaphors, similes, repetitions, antitheses, cacophonies,\nhyperboles, tropes, and pleasant figures; and besides they had volumes of tirades, which\nthey had learnt by heart, of soliloquies, exclamations of despair, sallies, conceits of happy\nlove, or Jealousy, or prayer, or contempt, or friendship, or admiration, always on the tips\nof their tongues, ready to utter when they were out of breath. They raised their scaffol-\nding high into the air, and then gave themselves up to their own fertile genius and their\namazing caprice. They obeyed all the Intemperance and extravagance of their humours.\nThey became nothing but retorts, sallies, conceits, paradoxes, witticisms, mental somersaults.\n\nThe lovers.\nMalice and wit.\nTheir tesources."}, {"page_pdf": 11, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4921, "texte": "They seised opportunity by the forelock, and turned the least accident to profit. They drew\ninspiration from the time, the place, the colour of the sky, or the topic of the day, and\nestablished a current between their audience and themselves out of which the mad farce\narose, the joint product of them all. It varied at each representation, seemed different\nevery evening, with all the spirit and warmth and alertness of spontaneous creation, a\nbrilliant ephemeral creature born of the moment and for the moment.\nThe pieces went with the speed of lightning and the noise of Pandemonium. The house\nwas consumed with shrieks of laughter, like the tumult of a whirlwind. It was all lover's\nintrigue, complicated by disguises, kidnappings, unexpected returns, impersonations and\nsupposititious infants. Retorts, misunderstandings, character-sketches, jests, caricatures,\nblows and kicks were their stock-in-trade. They groped about in the dark and ran into one\nanother and fell down. They mutilated words. They put out their tongues, rolled their eyes,\nmade grimaces. They boxed their ears with their feet. They sang songs and recited, and\npoured forth proverbs, quotations, precedents. There were scenes of tumult and uproar\nand inexpressible confusion, in which they were knocked down and got up again, supporting\nthemselves as they could, tripped each other up, got in each other's way, and ran off in the\nmidst of the clatter. &\n& They passed the word round, for instance, to make Pantaloon believe that his breath\nsmelt. Pantaloon blows his horn from the window to proclaim the opening of the chase.\nGratiano appears holding a cock, Burattino with a monkey on a chain, and a child on the\nback of a bear is leading a lion. Harlequin, armed with a blacksmith's tools, draws four\nof Pantaloon's soundest teeth. He waits on Don Juan at table and wipes the plates on the\nseat of his breeches before he hands them, or produces his cap, full of cherries, from the\nsame place, and cracks the stones with his teeth and pretends to spit them on the ground.\nHe keeps hissing some tune through his lips or pursues a fly in the air and catches it. He\ncounts his coat-buttons, saying, \"She loves me, she loves me not, she loves me\". There\nis only one plate of macaroni between three of them, and they eat it in floods of tears.\nBurattino sits on the ground with a basket of provisions. Two robbers come up and instal\nthemselves, one on each side of him. The first tells him that he comes from the land of\nCockaigne, and warns him that it is a nest of thieves, while the second is vigorously at-\ntacking the basket. Then they go off, after many bows, and Burattino sets about opening\nhis basket and he finds nothing in it, and bursts into sobs. In the middle of a ffcte Pan-\ntaloon's young wife, Isabella, whispers a word or two into his ear. He escorts her with every\nsort of attention to the gardener's lodge. He waits at the door and keeps watch, drives\naway the passers-by, or stops the way and signs to them to keep silent. At last Isabella\ncomes out again, a little out of breath. Pantaloon congratulates her, and wipes her forehead\nwith his handkerchief, and begs her always to rely on him in similar circumstances. A few\nscenes later he hears that Horace was concealed in the lodge and that the gardener found\nhis bed in disorder. Tartaglia hides in a truss of hay when he hears a cock crow. Wood\nand fire, a cauldron and some swaddling clothes, are brought on to help a woman in child-\nbirth. Mistresses come to blows, and servants tear their hair out. Pandolph throws a\nsaucepan at Valerio's head. Ghosts appear, and princesses, bound naked to a rock. Serenaders\nplay their guitars beneath the balconies. With no properties at all, or with a few, such as\na stick, a live cat, or a cock, two fires and their smoke, four costumes for wits, a dirty\nshirt for the Captain, a plate of figs, plenty of lanterns, a big tree to sit in, a fine ship\nand beautiful nymphs' costumes, a chamber-pot full of wine, or even an earth-quake, they\nopened the golden gates of Fantasy. Dreams were grafted on mistakes, marvels on absur-\ndities. Pirouettes, repartees, music, dances, jests, acrobatic feats, grimaces and dumb-show,\npantomime and drama, peals of laughter and peals of thunder followed in quick succession.\nThey ran, jumped, turned somersaults, and kicked up their heels, and the piece went like\nlightning... crackled, and sparkled, and glowed, and blazed, and then died away and disap-\npeared. Their whole bodies moved at once. Their hands and fingers, their gestures, almost\nseemed to speak. Their extravagant fancy broke loose before an audience and burst Into\nfire and soared into the sky, a marvel of balance. Explosions of wild laughter followed, and\nwild confusion, and a medley of caricatures, dreams, buffooneries, scurrility, poetry and\nlove. But the fireworks gave way to the darkness of the night. They had climbed up to"}, {"page_pdf": 11, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.11", "debut_caractere": 4947, "fin_caractere_exclue": 5012, "texte": "The speed of\nthe pieces. &\nThe plays.\nThe vitality of\nthe actors."}, {"page_pdf": 12, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.12", "debut_caractere": 26, "fin_caractere_exclue": 4882, "texte": "heaven and built their palaces of light, and filled its expanse with rockets and stars and\nrays. Of all their fairy splendour nothing remained but the pitiful carcass, a few smouldering\nsticks and a few scraps of paper with blackened wire. \"Look\", said Garrick, the English\nactor, \"look at the character and expression in Carlino's back \". But Carlino is dead, and\nwe shall nevermore see his back.\n& Italian Comedy was a strictly national product, the brilliant natural flower of the Italian\ngenius. Unequalled and unsurpassed, it fell by a strange fate. It was already full-grown\nwhen elsewhere Comedy was still prattling like a child. Later, when a comic art arose\nwith fixed and academic rules, Italian Comedy remained pure fancy unrestrained. It seemed\nwhat in truth it was... something unique in the world. Hence in the sixteenth century we\nfind that Drusiano took it to the England of Elizabeth, Ganassa to the Spain of Philip 11.,\nthe companies of Gelosi and Fedeli to the France of Charles IX. In the seventeenth century\nit filled the high roads of Europe with its caravans. It roused laughter amid the din of\nwars, and avenged Italy on her oppressors by the bragging of the Captain. In the eigh-\nteenth century, from 1716 onwards, it was established permanently at Paris, possessing a\nhouse and clients and patrons of Its own. Together with Italian music it was henceforth\nthe ornament of every Court, the mainstay of every f§te, the classic diversion of the old\nregime. But Venice had been the birthplace of Pantaloon, and the home of that incredible\nAndrea Calmo, who numbered Tintoretto and Aretino and Michael Angelo among his friends.\nShe had shunned tragedy as the plague, and disregarded the written comedy with its odour\nof the lamp and its reminiscences of Latin. She had considered the theatre neither as a school\nfor teachers nor as a lecture room for reformers, but as a place of amusement. Therefore\nit was at Venice that Italian comedy triumphed. It was seen there in its most lively and\nexhilerating moods, and won there its most unrestrained applause, and at the end of the\neighteenth century, with Carlo Gozzi and with Darb&s, Zacchi, Fiorilli, and Zannoni, the\nincomparable four, it was there that it uttered its latest joke. & &\n& The shadow of death hung over Italian Comedy. Reduced to a few traditional and un-\n*\nchanging characters, it revolved around two or three persons as conventional and artifi-\ncial and effete as their prototypes, the Senes or Servi or Miles Gloriosus of the ancient\ndrama. It had renounced its excursions into the world of marvels, [and confined itself to\nthe Piazza and Its everlasting arcades and windows and houses. Lover's intrigue was its\nstaple. Manners and characters were alike neglected. It intruded into men's souls as little\nas into their houses, and utterly ignored all the multiplicity and diversity and instability\nof life.\n& Besides, it depended entirely upon the labours of its actors. There were prodigies among\nthem, without doubt, true sons of Italy, where, if Cyrano de Bergerac was right, all were\nborn actors. There had been men of fancy and inspiration, as lively as quicksilver, all ges-\nture and caprice. But, unluckily, they were dead.^\n& \"An Italian actor \", wrote the flute-player Evariste Gherardl, \"is a man of character,\n\"with more imagination than memory. He can compose his part on the spot, and play up\n\"to another on the stage. He accommodates his words and actions so well to his comrades\n\"and performs so unhesitatingly whatever the other desires, that everyone thinks it was\n\" all arranged before \". This \" naturae laborantis opus \", as Columbine expressed it in the\nChinois of Regnard and Dufresny, was sometimes accomplished. More often no miracle was\nneeded to attain the result. For every four or five excellent actors there was a whole host\nof spouting nonentities, and ill - acted parts, inexperienced boys and girls, old men and\nwomen only fit to beg at street corners, dunces who could neither read nor write. Casa-\nnova's Harlequin was dead, and Francesco Andreini, who knew six languages, and Domenico,\nwhom the President du Harlay met in St Victor's library at Paris, and found so full of\nmodesty and learning that he could not help embracing him on the spot. Gone, too, were\nScaramouche, the master of Moliere and the pupil of Nature; Carlino, praised by Grimm\nfor his agility and grace; Smeraldina, whom Goethe admired for the liveliness, good-humour,\nand intelligence of his face; Carolina, brought to Paris by Jean-Jacques; and Sylvia. \"Of\nten who try to act\", said Niccolo Barbieri, \"nine are failures\", and on these nine, who\ncomposed rather than interpreted it, the success of the piece depended. Since they could\nnot pretend to the highest comedy, they had fallen to the lowest. Unequal to flights of\n\nA National\nproduct,\nThe Italian\nactor, &"}, {"page_pdf": 15, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 2482, "texte": "fancy, they crawled along the gutter, and tried to make up for their lack of intelligence\nby the foolishness of their actions. They returned with a rush to the rope-dancing of their\nprototypes, and brought back to the stage all the buffoonery and clownish tricks and trivial\namusements of the fairs from which they sprang. Thanks to them, Italian Comedy lost its\npre-eminence, and became every day more childishly extravagant and unreal. It traded on\nfive or six situations, already worn to death, and depended for its humour on a few score\nwitticisms which had passed from almanack to almanack. 44 Before Harlequin had opened\nhis mouth you knew what he was going to say & & & &\n& At last people began to grow tired of these quips and jests and anecdotes. Besides, the\nanecdotes were not always seasoned with Attic salt, and some of the jests left a bad taste\nin the mouth. Women discussed their love affairs, and girls begged their lovers to marry\nthem, as their child might be born at any moment. Flavio and Isabella were not ashamed\nto appear in their night-gowns. Burattino came on with a chamber-pot in his hand. Har-\nlequin was sick on the stage. They even performed mock circumcisions. 44 I can safely\nassert\", said Des Lauriers, the actor, 44 that the most chaste Italian comedy is a hundred\ntimes more dissolute in word and action than any of our own.\" 44 AH the comedies I saw\nacted at Venice, \" wrote Addison, 44 were poor and low and crude, and much more dissolute\neven than our own.\" The English traveller, Maihows, said he had never heard such disgus-\nting nonsense in his life. Likewise Moratin; 44 Their farces are incredibly scandalous.\nNothing like them appears in any other European theatre.\" President de Brosses had seen\nmany of their performances during his tour in Italy, and retained a lively impression of\n44 their pointless buffoonery and license.\" 44 They have neither head nor tail, neither\nmanners nor character, nor truth to life\". &\n& In the eighteenth century, 300 years after its first appearance, the sources of Italian\ncomedy seemed to have run dry. It needed the infusion of fresh blood in its veins, if it\nwas to prolong its existence. It had survived in France because it had undergone a complete\nchange, equivalent to a new birth. It had been purified by men of art and genius, from\nMarivaux to Regnard. Similarly in Italy, it could only avoid extinction by being born\nagain. jg/\nug? It was at this moment that Goldoni appeared upon the scene."}, {"page_pdf": 15, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.15", "debut_caractere": 2508, "fin_caractere_exclue": 2568, "texte": "Some contempo-\nrary criticisms.\nThe appearance\nof Goldoni. &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c007", "article_bluemountain": "bmtnaau_1911-01_01#c007", "volume": "bmtnaau_1911-01_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": 7, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.5.2", "titre_corps": "GIACINTO CATTOLI AS ARLECCHINO", "titre_sommaire": "GIACINTO CATTOLI AS ARLECCHINO", "signature_source": "GIULIANO ROST", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 58, "texte": "GIACINTO CATTOLI AS ARLECCHINO. DESIGNED BY GIULIANO ROST."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c008", "article_bluemountain": "bmtnaau_1911-01_01#c008", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.5.3", "titre_corps": "FOUR MOODS OF ARLECCHINO", "titre_sommaire": "FOUR MOODS OF ARLECCHINO", "signature_source": "CLAUDE GILLOT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 50, "texte": "FOUR MOODS OF ARLECCHINO. CLAUDE GILLOT.1673-1722."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c010", "article_bluemountain": "bmtnaau_1911-01_01#c010", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "108", "page_fin": "126", "image_debut": 16, "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=bmtnaau191101-01.2.6", "titre_corps": "THE COMMEDIA DELL' ARTE", "titre_sommaire": "THE COMMEDIA DELL' ARTE", "signature_source": "Dr Michele Scherillo ; Walt Whitman", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 4090, "texte": "THE COMMEDIA DELL' ARTE\nby Dr Michele Scherillo.\n\nraong the very few Italians who in the sixteenth century had a clear and\nconcrete idea as to what dramatic form was and should be was that fan-\ntastical Florentine il Lasca. Not that he himself succeeded in writing vital\nplays, but that, although having written neither a 44 Drammaturgla \" nor\na 44 Nathan the Wise \", he had in him something of Lessing: that Is, a rare\npoetic vein and an acute critical vision cleared of the blighting and deadly\nprejudices of classical imitation, and it was a new loss for our art that the gleams of light\nemanating from the prologues of his comedies or from the burlesque poems did not serve\nto restrain some of our numerous playwrights from advancing upon that fruitless path of\nthe imitation of Plautus and Terence. & & &\nFor I must tell you at once that we owe it especially to these two past glories of ours\nif we are today without a real national theatre. As we were the last to allow a new idiom\nto take the place of that language with which our forefathers had governed the world, so\nalso we did not know how to detach ourselves in time from those literary traditions which\nthe world yet venerated and envied in us.\n& And while a new generation, free from traditions, was getting the upper hand, we, re-\nstrained by our prejudices as heirs of a noble race, clung to the past and persuaded ourselves\nthat in dramatic poetry it was necessary to take as model the plays of the ancients rather\nthan nature or the life which was agitating around us. & uz/\n& When we hear it said by a poet like Ariosto in the prologue of his 44 Supposit!44 The\nauthor confesses to you having in this work followed Plautus and Terence, since not\n\" only in the style but also in the subject of the tales he strives with all his power\n44 to imitate the ancient and celebrated poets ; and as they in their Latin plays fol-\n-44 lowed Menander and Apollodorus and the other Greeks, he also, in his Italian plays\n44 will not refuse to follow the way and method of the Latin writers ...when, I say, we hear\nthis statement made by a poet who, with a smile half cynical, half good-natured, revived\nthe already worn-out romantic subjects, setting in relief its comic side without relapsing\ninto caricature,... by a virtuoso of form who illuminated with the light of the renaissance\na uniform and chaotic world which had sprung up from the mediaeval fantasies, it wrings\nour hearts and there rises to our lips the anguished exclamation of the Dantesque falconer,\n46 Ohime, tu cali! \" ....Alas ! thou art falling. & & JZ? & & &>\n& And Ariosto was falling indeed, for in the prologue of his first play, the 44 Cassaria \", he\nhad boldly spread his wings and courageously faced those prejudices to which now he\nclings. 4? &\nNova commedia v'appresento, piena Quel che 11 antiqui han detto esser perfetto.\nDi varii giochi, che ne mai latine Ever che ne volgar prosa ne rim a\nNe greche lingue recitarno in scena. Ha paragon con prose antique o versi,\nParmi veder che la piu parte incline Ne pari e Teloquentia a quella prima ;\nA riprenderla, subito ch'ho detto Ma gP.ingegni non son pero dlversi\nNova, senza ascoltarne mezzo o fine ; Da quel che fftr, ch'ancor per quelTartista\nCh& tale impresa non Ii par suggetto Fans!, per cui nel tempo addietro fersi! (i)\nDelll modern! ingegnl, e solo stima\n\n& Plautus &\nTerence.\n& Ariosto.\nThe \"Cass aria\n\nNOTES AND TRANSLATIONS.\n(i) I present to you here a new comedy full of varied Jests, such as never did Latin or\nGreek actors perform upon the stage. It seems to me that the majority inclines to raise\nthe objection, so soon as I have said New, (without listening to either my method or my\naim), that such an enterprise does not seem to them adapted for modern talents, and that\nthey esteem only as perfect the work of the ancient writers. & & &\n& It Is true that neither Italian prose nor rhyme is equal in value to the ancient prose or\nverse, nor is it so eloquent. Still, talents are not different from what they were, and are\nready to serve artists who possess them as they did formerly. & &"}, {"page_pdf": 19, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 4010, "texte": "Alas, he was later on to set his hand once more to this same 44 Cassaria \" and, to render\nit the more in accordance with classical ideals, deprive it of its native freshness and\nof that bloom which had caused Machiavelli (an exacting and competent critic)......\nto call it 44 una gentil composizione \", even translating its dialogue into those wearisome\n44 versi sdruccloli \" which were to have enlivened his iambics ! The public was but little\ngrateful to the poet for these new exertions of his and IS Lasca found the public to be right.\nIn fino ad oggi non s'e recitata\nCom media in versi mai che sia piaciuta ;\nE la Cassaria, in versi tramutata,\nNei recitarsi non fu conosciuta. (1)\nBut Ariosto had too aristocratic a conception of dramatic poetry to concern himself\nwith the opinion of an audience not fully qualified to estimate the subtle and exquisite skill\nwith which he had transplanted it into Italian soil from the flourishing gardens of the\nclassic world.\nThe Duke of Mantua, to celebrate the second descent into Italy of Charles V, asked the\nFerrarese Homer for some new play and he hastened to send four, excusing himself that\nhis occupations did not allow him to correct in them 44 the errors of language \". But all\nfour were returned to him accompanied by a letter from the Duke iii which he declared\nthat, 44 although the plots of all inay be fine, and excellently written, none the less it\n44 does not please me to have them acted In verse \"; and he added, 64 if you have the last two\n44 written in prose, and also the 44 Cassaria \", ( which you have now patched and changed\n44 in to verse,) I shall be pleased for you to make me a copy and will add this new obSi=\n44 gation to the one I am already under to you for having sent the present versions which\n44 are truly more artistic and learned but do not seem so successful as when performed in\n44 prose& jg?\n& Ariosto must have been mortified. However, he contented himself, by replying to the\nduke with a curtness which 111 concealed his scorn, 44it seemed to me that they were better\nthus than In prose; but opinions differ\". This time, however, the opinion of the Duke had\nthe support of the majority, and, this time at least, common sense was equivalent to good\nsense!\now wearisome must have been those rechauffes of the august classical re=\nperfcory I For one would make a great mistake in arguing from the crowds\nwhich gathered to them that they amused many people. To those pleasure\nlovers, our great grandparents, greedy of spectacles as they were, liberty of\nchoice was not conceded. And, in fact, it was certainly not the play which\nattracted them but the magnificence and costliness of the scenic decoration, the pomp\nof the Sadies and cavaliers who were present the fantastic pantomimes and graceful\ndances which were intermingled with the recitation. That this recitation in the majority\nof cases was wearisome people did not dare to say, whether from fear of being taken\nfor ignorant and stupid, or so as not to appear ungrateful towards the splendid lord who\nhad given the festival. AH the same, in the privacy of their houses how they yawned !\n& in 1502 the Marchioness of Mantua had returned to the paternal house at Ferrara to attend\nthe marriage of her brother with Lucrezia Borgia, and, having been present at a performance\nof the 44 Bacchide \" of Plautus she wrote to her husband that 44 it was so Song and tedious\n44 and without dances in the interludes that many times 1 wished myself at Mantua It is\npresumable that she derived no more pleasure from the other four plays, also by Plautus*\n> * ich were recited on this occasion, and which, it appears only served as pretext to the\nDuke of Ferrara for Increasing his magnificent wardrobe. & &\n& \"After dinner\" relates Isabella Gonzaga, 44 we conducted the bride from her room and\n44 went to the Sala Grande, where there was so great an assembly of people that there was no\n44 room to dance. Still, we danced as best we couid. Then my lord father exhibited all the cos-"}, {"page_pdf": 19, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.19", "debut_caractere": 4038, "fin_caractere_exclue": 4278, "texte": "jg? The Duke\nof Mantua and\nAliosto. JS? &\nPerformances\nat Ferrara. &\n\nNOTES AND TRANSLATIONS.\nTill today there never was recited any play In verse which satisfied; and \"Cassaria\", tran=\nlated into verse was not recognised, when recited. & &"}, {"page_pdf": 20, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.20", "debut_caractere": 26, "fin_caractere_exclue": 4138, "texte": "<stumes for the five Plays so that it should be known that the dresses were made on pur-\npose and that those worn In one play had not to serve for the others. They are in all as\nhundred and ten, between men's and women's: the dresses are some of cendale (a fine silk)\n** and some of camlet a la moresca. First came one in the guise of Plautus who recited the\n** arguments of all the plays, of which the first was 44 Epidico, \" the second the 4< Bachide, \"\n** the third the 44 Miles gloriosus \" the fourth the 44 Asinaria and the fifth the 44 Casina \"•\n44 After this we went into another hall and about six oclock the Epidico began which, so far\n44 as the voices and verses went was not very good but the Moresche dances which were\n44 given between the acts were very well performed and with great spirit\nThe Moresche were in fact the dances and pantomimes entirely extraneous to the\ndrama, and the Marchioness lingers long over their description as the part most enjoyed. If\nit pleases you to have an idea of them listen to yet another fragment of one of these letters\nIsabella speaks of the two Moresche interposed in the Bacchide: one of which was of ten\nmen, represented as naked, with a scarf across them, their heads couvered with hair made\nof tin foil, with cornucopias in their hands, with four tapers lighted inside, full of varnish\nwhich in the movement of the horns ignited. Before this had come forth a maiden who\npassed in terror, without any sound, and went to the back of the stage. Then issued forth\na dragon and went to devour her, but near her was a warrior on foot who defended her,\nand, fighting with the dragon, captured him, leading him away bound, while the maiden,\narm in arm with a youth, followed him, and round about them went those naked men,\ntossing flames in the air.\nThe second was of madmen wearing shirts and stockings, on their heads paper fools\ncaps, having In fheir hands vesica sgonfia (bladders) with which, beating each other they\nmade a sad spectacle.\nn Florence, where such profuse expenditure was not possible, the Dramatic Art,\nhaving to rely upon its own resources, was obliged to compromise if it was\nto live. And it turned, with filial confidence, to the most noted comic\nauthor that our literature has ever had, and found in the \" Cento Novelle\"\nabundance of subjects, plots, scenes, characters, caricatures, types, jests and\nrepartees. The mould into which the actors cast this new material was always the Plau-\ntinian or Terenzian, but the ancient monotony was at last broken. Thus, the \"Calandria\" (i)\nif on the one hand it is but a patched-up version of the very popular 44 Menechmi on the\nother is all decked out with episodes taken from the \"Decameron\"; and the \"Mandragola\" (2)\n(certainly the finest of our ancient plays) although it really only reanimates and sets\nupon the stage plots and personages created or coloured by our great fourteenth century\nParisian, (whom admiration for Dante and Petrarch rebaptised Italian), does not in its\nscenic art depart from the Latin models. Says the poet in the prologue.\n44 Un amante meschlno,\nUn Dottor poco astuto,\nUn Frate mal vissuto,\nUn Parasslto dl maiizia il cucco,\nFien questo giorno 11 vostro badalucco.\nHowever, we need not think that there were lacking in Florence pedants who\nlooked askance at every smallest concession towards the new tastes. Varchi, (who was\nVarchi), In the prologue of his 44 Suocera \" even dared to say that his play was\n44 neither wholly ancient nor wholly modern, but partly modern and partly ancient \" ; and\nadded, 44 although it is in the Florentine toiigue it is adapted to a great extent from\nthe Latin ; adapted from, 1 say, and not translated, unless in the same sense as the Latins\ntranslated from the Greeks And Salviati,... (who was not Varchi)... declaimed In the\n\n& Dramatic Art\nin Florence.\nThe attitude of\nthe pedants.\n\nNOTES AND TRANSLATIONS.\n(i) A play by Bibiena.\n(a) J& A play by Machlavelli. J& J& J& & J& J& J&\n(3) An unhappy Lover, a Doctor who is a simpleton, a dissolute Friar, a Sychophant\nwho Is the very essence of cunning, provide your pastime for today, &"}, {"page_pdf": 21, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.21", "debut_caractere": 26, "fin_caractere_exclue": 3717, "texte": "What the people\nwished to see.\n\nprologue of the 44 Granchio \" Nuova\nDunque e questa Commedia, e a tutto\nPotere di colui che l'ha fatta,\nFatta a imitazione delle antiche;\nDl quelle antiche pero che gli antichi\nChiamavan nuove, adunque non in prosa,\nMa in versi (1)\nImagine the fury of those who, having come to amuse themselves, had, instead, to put\nup with these insipid or pretentious rigmaroles I Even in those days, however, the public\nknew how to make its rights respected, and, il Lasca informs us,\n44 Lionardo Salviati muor di duolo\nPerche il suo Granchio fu tanto schernito ! \" (2)\njg? People wished to see in the theatre a reproduction of the contemporary life and even\nthe squares and streets of their own city ; they were weary of witnessing plots contrived\nby astute servants against stupid masters, the amours of vain-glorious soldiers and the\nnauseating boastings of parasites (3); performances which, even when they were true in the\nabstract were yet far removed from real life; and they applauded Gelli who, in the pro-\nlogue of the 44 Sportabreaking away from tradition and following in the footsteps of\nMacchiavelli said, 44 The play, not being other than a mirror of customs in private and\n44 civic life, treats, under a semblance of truth, only of such things as happen every day\n44 of our life. The place wherein the action moves is your Florence ; and this the author\n44 has selected for two reasons: the first because it would not be possible for him to choose\n44 a place that, both to you and to him, should be more acceptable, the other, because the\n44 greater number of the events that you will see have in their time taken place, and perhaps\n44 still take place, in Florence, and, should it prove necessary, he would be able tq tell you\n44 to whom and how.\" And welcome was given to another shoe-maker actor\n(Apollo vuol che sempre un calzaiuolo\nPer lui tenga in Firenze il principato,\nE sia nel far commedie unico e solo, (4)\nobserved il Lasca), to Lotto,\nCh'Ulisse e Turno da pprte lasciando,\nDimostra solo a questa eta presente\nRuggier, Gradasso, Marfisa ed Orlando;\nE Menandro e Terenzio ha per niente,\nMa sol Giovan Boccaccio va imitando;\nOnde moderne fa con gran ragione\nCommedie che non hanno paragone. (5)\nAnd the fertile Cecchi was lauded to the skies, especially when with the 44 Assiuolo \"\nhe presented a play which, if not entirely free from the influence of Boccaccio, he yet\naffirmed to be \"perfectly new\" and \"not derived from either Terence or Plautus, but from\n44 a thing recently befallen In Pisa between certain young students and certain ladies \"....\n\nNOTES AND TRANSLATIONS.\n(1) & This Comedy Is new, and is, to the best of the author's ability, composed in imitation\nof the ancient comedies; of those ancient comedies, however, which the ancients them-\nselves called new; that is to say, written in verse not in prose. & & &\n(2) And Lionardo Salviati dies of grief because his 44 Granchio \" was so much ridiculed.\n(3) This does not however mean that the Commedla dell'Arte did not use these same\nsubjects, presenting them under the 44 maschere \" which had become so popular, and, when\nmasked as Pedrolino, Captain Spavento, etc, the good public gladly accepted the 44 Miles\nGloriosus \", and 44 servo \" of the Plautinian and Terezian Comedies.\n(4) & Apollo always wishes that a shoemaker should hold pre-eminence for him in Florence,\nand, be unique in the composition of plays. & &\n(5) & Who, leaving aside Ulysses and Turnus shows to this present age only Ruggier, Gradasso\nMarfisa and Orlando ; and lightly esteeming Menander and Terence, imitates Giovanni\nBoccaccio; thus with great good sense composing in modern form unequalled comedies. &"}, {"page_pdf": 22, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.22", "debut_caractere": 26, "fin_caractere_exclue": 3990, "texte": "A giudizfo del popolo fiorentino\nE delle donne,f che piu pesa e grava,\n11 Cecchi ha visit© e superato il Cino\nChe prima era un poeta e scaccafava. (1)\neantime, whilst this heated dispute was going 011 between the Florentine\n44 Letteratithere appeared on the scene a company of actors, and the people\nran in crowds to the 44 Stanza'% (for so their little theatre was called),\nabandoning Cecchi and Lotto and Cino and Bunanni, who looked very blank\nwhen these strolling players were allowed to inaugurate the new 44 Salone\ndella Com media II Lasca rubs hisfhands and laughs behind their backs. &\nTutti i comic! nostri fiorentini Si che chi n'Sia compost© ne dia loro,\nSon per questa cagione addolorati: Pregando che le vogliono accettare ;\nPrima 11 Buonanni e la casa de? Cini Pol che ne fanno tanto buon lavoro,\nSi favoriti e tanto adoperati; Ch'ogni cosuzza una gran cosa pare.\nE Lotto e 11 Cecchi alfin, piccin piccini, La voce, gli atti e I gesti di costoro\nCon tutti gli altri dotti, son restati, Si graziosi fan maravigSiare\nParendo questa sorta loro arcigna, La gente alfin ffuor d'ogni umana g'ulsa,\nE IS Lasca chiude Focchiolino a ghigna. E quasi quasi crepar delle risa.\nPensando il primo ognuno essere richiesto, NOll credo mai che gF istron passatl,\nLa sua commedia aveva apparecchlato : Volete in Roma o volete in Atene,\nChi Faveva mostra a quello e chi a questo, Si capricciosi giuochi esi garbati\nSperando d'ora in ora essere chiamato ; Rappresentasser nell'antiche scene.\nMa il popol poi weggendo manifesto Sei quei fur buon, questi son vantaggiatl,\nL'otsor del Zanssi in fino al cielo alzato, Questi fan meglio se quei fecer bene ;\nSenza piu altro intendere o sapere, Onde assai piu di lor fieno I Gelosi\nAltre commedie non vuol piu vedere. Nei secoli avvenir sempre famosi. (2)\n& There had in fact arrived in Florence nothing: less than the Company of 44 / Gelosi. 99\nTo many of you this name is meaningless and will perhaps appear even ridiculous ;\nyet this was the most famous of all the Companies which during two centuries per=\nformed in Italy and abroad the Commedia delPArte, and it had as its ensign a twofaced\nJanus with the motto which gave rise to its name:\n44 Virtu, fama ed onor ne fer Gelosi99 (3)\n& 44 Trappola mio I \" (4) exclaimed in one of his dialogues he who was for many years its\n\nA most famous\nCompany.\nThe arrival of\n441 Gelosi » &\n\nNOTES AND TRANSLATIONS.\n(1) jg? In the opinion of the Florentine people and, what is yet more important, in that of\nthe women, Cecchi has conquered and surpassed Cino who was rather a poeta a scacca=\nfar a. &\n(Scaccafava; a name given to a kind of slipper. Ed:)\n(2) All our Florentine playwrights are in distress on this account. Buonanni and the\nfamily of Cini, so popular and so successful; then Lotto and Cecchi, and other learned men,\nhave lost courage, this being a bitter pill for them, while il Lasca winks and grins.\nEach expecting to be the first called for, had prepared his play; some had shown their\nwork to this one, others to that one, hoping from hour to hour to be summoned ; but\nthe people, seeing the glory of the Zanni rise to the very skies, without wanting to hear\nor know any thing further, refuse to see any other plays. So let anyone who has composed\none give it to these actors, begging them to accept it; and they will act It so well that\nthe smallest trifle will appear a fine piece of work. The voices, actions and gestures of\nthese players are so charming that they amaze the people and make them almost split their\nsides with laughter. I do not believe that any actors of the past, whether in Rome or in\nAthens, ever performed so charmingly and gracefully on the ancient stage. If those were\ngood these have yet the advantage; these do better what the others did well; Hence, even\nmore than they shall the Gelosi be honoured in future centuries. & &\n(3) They were jealous for the attainment of virtue, fame and honour.\n(4) Name of the servant in the piece. & & &"}, {"page_pdf": 23, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4152, "texte": "leader 44 no longer are such Companies to be found ; and this may be confidantly asserted\n44 respecting those that have but three or four good actors, their others being of little\n44 use and not equal to the chief actors of that famous Company where every role was\n44 remarkable. So fine was it in fact, that in the dramatic art it set a standard beyond\n44 which no company of actors could go and set an example for future actors as to how best\n44 to compose and interpret comedies, tragicomedies, tragedies, pastorals, Interludes and other\n44 performances such as are generally seen upon the stage\".\nHow sadly ephemeral is the glory of the actor who once touched our hearts or gladdened\nour life, recreating an imaginary life upon the stage and giving form and substance to\nphantoms which appeared but faint in the pages of the poets ! What survives even of that\nart by which Gustavo Modena delighted and intoxicated our fathers ? and it must be re-\nmembered thai the 44Gelosf\" left in history an even deeper mark than did this great actor\nof our own times for the reason that, while Modena's Company always resembled an\nabsolute monarchy that of the \"Gelosi\" was like a company of monarchs. Poor Andreini I\nWhat a bitter disillusionment would await him if he could raise his head from his Man-\nto van tomb,... he who in his emphatic style, (a sincere expression, however, of his enthusiasm),\nhad prophesied that the the 44 GelosS \" would never have seen 44 the last night\".\nnfortunately there has come down to us only the echo of the applause, for\nthe best part of the Commedia deli'Arte,.,, that which really delighted the\naudience, has drifted away like clouds before a gust of wind. &\n& Of a drama only the outline or 44 Scenario \" was traced, the rest being\nentrusted to the improvisation of the actors. And that rest was everything, (i)\nplots were for the most part taken from novels or from regular plays or even\nfrom the classics and the dialogue was improvised afresh each time by the actors, there\ntore each performance of the same play necessarily differed from the others. A word, an\naccent, a gesture of the actor could suggest a repartee or a new and unexpected issue;\nan event of the day, the presence in the theatre of a gentleman friend or of a lady\n....who was not a lady.... could inspire them then and there with a piquant allusion;\nthe fact of being In a good or bad temper could Sight or quench in the actor the poetic\nfire. Every actor was an extemporary poet, and, as the actor Beltrame, (known* in ordi-\nnary life as Niccolo Barbieri) declared, ,4 the Italian actors have something in them of both\n44 the composer and the performer, for they invent fables and then adorn them with dis-\ncourses born of their own fancy\".\nFor this reason the Commedia dell'Arte was not possible except in Italy, and was, In\nfact, not called 44 dell'Arte \" to signify that it was the perfection among plays, the nec\nplus ultra of the art as Maurice Sand affirmed, but rather because, in distinction to\nthe written comedies, it was not and could not be performed except by professional actors.\nhere remain to us only the 44 Scenarios\", the skeleton of it; 44 the most divine part\nflies away! \" and before those silent lists of actors, those meagre indications of an action\nwhich entangles and disentangles itself we experience that sense of melancholy which\ncaused the poet, in contemplating the sepulchral effigy of a beautiful woman to exclaim &\n44 Tal fosti; or qui sotterra\nPolve e scheletro sei ! (2)\n& Listen, for example, fco the first act of one of the best scenarios from the repertory of\nthe 44Gelosi\". It is entitled 44The Dentist\". Act one. Scene 1. Here Pantalone tells Pedrolino\n(servant) of the Sove he feels for the widow Isabella, that he suspects that Oratio his son\nis already his rival, and that, fearing this, he has decided to send him away to college.\nPedrolino reproves him, taking the part of Oratio ; they attack each other with words and\nblows. Pantalone beats Pedrolino and bites his arm, showing that he has bitten it badly.\nPantalone, threatening, goes away saying he will speak of him to Franceschina (maid\nservant),"}, {"page_pdf": 23, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.23", "debut_caractere": 4180, "fin_caractere_exclue": 4455, "texte": "Imp rov is at ion.\nlively actor an\nextern p or a ry\npoet.\n& The dentist. A\nScenario. j®\n\nNOTES AND TRANSLA TIO NS .\n(i) <£? 44 The words of my book nothing:, the drift of it everything \". Whitman. (Ed.) &\n(a) Such thou wert, now here beneath dust and skeleton thou art. & & &"}, {"page_pdf": 24, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.24", "debut_caractere": 26, "fin_caractere_exclue": 4963, "texte": "Goes off. (i) Pedrolhio plans to revenge himself for the bite that Pantalone has given him.\nScene 2. Here Franceschina searching for Oratio by order of her mistress, sees Pe-\ndrolino and learns from him the reason of the pain in his arm ; they agree in revenge to\npretend that Pantalone's breath smells bad. Franceschina goes into the house; Pedrolino\nremains. Scene 3. Here Flavio, (brother of Isabella) confessing his love affair to Pedro-\nlino knocks against his arm. Pedrolino cries out; then they agree to pretend that Panta-\none's breath smells bad. Flavio goes out, Pedrolino remains. Scene 4. Here the Doctor,\nto whom Pantalone owes 25 ducats, takes Pedrolino by the arm, who cries out, and makes\nwith him the same agreement about the smelling breath, promising to get him his 2s\nducats. Doctor goes out, Pedrolino goes to find Oratio. Scene 5. Here enters Captain\nSpavento, boasts of his love for Isabella and his bravery. Here Harlequin the servant of\nIsabella acts a comic scene and goes in to bring Isabella out. Captain waits. Flaminia\ndaughter of Pantalone, who from the window has seen the Captain whom she loves begs\nor his love. In this Isabella comes out expecting to find Oratio. Captain begs her love ;\nshe drives him away and he does the same with Flaminia, making a triangular duel. In the\nend Isabella goes into the house repulsing the Captain. He does the same with Flaminia\nand goes away. She remains disconsolate Scene 6. Here Pedrolino, who has secretly\nheard all, threatens to tell her father; then they agree about the matter of her father's\nbreath. She goes in. Pedrolino, whose arm hurts him more than ever although he has had\nit attended to, wants to revenge himself at all costs. & Scene 7. Here Arlecchino arrives.\nPedrolino bribes him with money to pretend to be a dentist, he sends him to disguise\nhimself; Arlecchino goes out; Pedrolino remains. Scene 8. In this Oratio understands\nfrom Pedrolino of his father Pantalone's rivalry for the love of Isabella and that he intends to\nsend him away to College; Oratio, sorrowful at the bad news, appeals to Pedrolino who\npromises help and they agree about the matter of the breath. Oratio wishes to talk with\nIsabella. Pedrolino calls her. Isabella learns of his love and ofjhis coming departure. She is\ndistressed by it. Enter Pantalone talking loudly. Isabella hearing him goes in. Pedrolino\nscorns Oratio because he does not want to go to Perugia. Pantalone sees his son, whom\nhe orders to go and get ready immediately because he wishes him to go to Perugia. Oratio,\nvery timidly, goes in to get ready giving a look to Pedrolino. Pantalone is hearing from\nPedrolino how he has spoken with Franceschina, when Pedrolino says, \"ohibo, master, your\nbreath smells outrageously!\" Pantalone laughs at him. Then Franceschina does the same,\nsaying that if his breath had not smelt Isabella would love him, aad she goes in. Pantalone-\nwonders. Then Flavio passes and, at a sign from Pedrolino, acts in the same way to Pan-\ntalone and goes off. Pantalone is surprised. In this scene the Doctor arrives. Pedrolino makes\na sign to him about the breath. The Doctor does the same as the others and goes off. Pan-\ntaione wants to ask his daughter if it is true about this. He calls her. Flaminia confesses\nto her father that his breath smells outrageously and goes in. They (Pantalone and Pedro-\nlino) remain. Scene 9. Oratio, from the house, confirms the same thing, then returns\ninto the house. Pantalone resolves to have out the tooth which causes the bad smell. He\norders Pedrolino to bring him a dentist and goes in. Pedrolino remains. &\n<£? Arlecchino dressed as a dentist. Pedrolino orders Arlecchino to pull out all Pantalone's\nteeth, telling him that they are decayed. Goes out. Arlecchino under the window cries\n44 Who has decayed teeth ?\" At that Pantalone calls him from the window. Then comes\nout. Arlecchino pulls out his instruments, which are all smith's irons, naming them ridicu-\nlously. He makes him sit down and with the pincers pulls him out four good tefeth. Pan-\ntalone owing to the pain, catches hold of the dentist's beard which, being false, remains\nin his hand. Arlecchino runs away. Pantalone throws the chairafter him. Then, bemoaning\nhimself with pain goes into the house. And here the first act finishes. &\nSunt lacrimoe rerum ! This is but the plot, the web of an embroidery that, by those who\nsaw it we hear extolled for the exquisite variety, vividness and contrast of its colours; it is\nbut the dregs of an intoxicating wine from which the spirit has evaporated ; it is but the\ntopographical plan of a city celebrated In history, now in ruins. In fact a scenario in com-\nparison with the performance of it is something less than modern Pompei as compared\nwith the delightful city which once fascinated, confident in Its pleasures, at the feet of the\ntreacherous Vesuvius.\n\nCaptain\n& pa v e 11 to.\nArlecchino,\nThis is but the\nplot, & &"}, {"page_pdf": 25, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 4744, "texte": "& Where, for example, it simply says, \"Captain Spavento, boasts of his love for Isabella and\nhis own bravery Francesco Andreini in his performance broke forth into one of those\nmonologues which were of themselves enough to secure the success of the play and which\nthe skilful actor developed in writing and gave to posterity under the title of \"Le Bravure?\ndi Capitano Spavento dlvise in molti ragionamenti in forma di dialogo\" (Venice 1624).\nThese \"Bravure\" are extravagances, exaggerations, blunders devised and fitted together by a\nboaster who is terribly afraid and who, while he boasts of having knocked the bottom out\nof Hell, submits to a beating from Arlecchino. Reading them today they no longer make us\nlaugh; for instance it almost annoys us that it should ever have been possible to laugh at\nhearing this order of the Captain to the paper merchant: \" for a sheet of paper send me\n44 the skin of the dragon Hesperio'; for a pen the horn of the rhinoceros; for ink the tears\n44 of the crocodile; for sand, the desert; for wax the foam of Cerberus and for seal the\n44 petrifying head of Medusa\". But it must not be forgotten that our literary tastes are\nmuch changed and that certain allusions either escape us or reach us cold, and that, above\nall, we are not able to hear that nonsense from the lips, and accompanied by the movements\nand tricks of those players who were masters of acting. One can in any case guess how\nthoroughly an audience at the end of the fifteenth century would appreciate the order of\nthe Captain to the cook that he should prepare for dinner three dishes of meat; \"let the\nfirst be of Jew's flesh, the second of Turk's flesh and the third of the flesh of Lutherans\";\nor the story that, as often as 44 he had dined and supped with Pluto the king of Hell, so\noften had it befallen him to eat a some roasted Lutheran or ragout of Calvinlst\". ■£?\nThe Commedia dell'Arte Is above all the work of actors who were the creators and In-\nterpreters of their own parts. They selected that role for which they felt themselves to\nbe best suited and Identified themselves with it in such away that the drama had to\nadapt itself to them and not they to the drama. They retained the names with which they\nhad for the first time won the approval of the public, and in the scenario that we have\nhere copied, as in all the other Scenarios of the Gelosi, 44 Flavio \" stands for Flaminio Scala\n\"Captain Spavento\" for Francesco Andreini, 44 Orazio \" for Orazio Noblli (1) and \"Isabella\"\nfor Isabella Andreini, since often the stage name chosen was the christian name of the\nactor. When it was said therefore that Flavio or Isabella would take part in the play ft not\nonly meant that there would be those characters but those very actors. Even in private\nlife and in their correspondance with princes and with secretaries they came to use the\nstage name, sometimes alone, sometimes adding their own family name to it. And, in fact,\neven now everyone knows the stage name of Moliere but perhaps all do not know his\nfamily name.\nWhen the part assumed had nothing markedly characteristic, as that of the lover, who\nmight be either coy or ardent or chivalrous, the stage name died with the actor and there\nhas been but one Flavio, one Orazio, one Isabella. But often the actor succeeded in hitting\noff a local caricature or a type of a certain kind of person and then the character outlived\nthe actor and the first stage name was perpetuated. And whoever afterwards should wish\nto represent the old Venetian, or the Bergamese servant, or the Bolognese pedant, or the\nNeapolitan peasant was obliged to call himself Pantalone, Brighella or Arlecchino, Doctor\nGraziano or Pulcinella and to dress himself in traditional style, to speak that particular\ndialect with certain special inflections of the voice, and even to utter certain sayings and\nmake certain movements and certain grimaces. & & &\n& Thus the Commedia dell'Arte came to lack variety and the actors degenerated into ma=>\nrlonettes. One fine day in fact the actors of flesh and blood no longer seemed necessary\nand puppets were substituted. You know this, and that it is In the booth of the puppets that\nnow languishes the glorious Commedia which should have rendered inmortal the name of\nthe jg? &\net us go back to happier times. When in 1578 the celebrated Company came to\nFlorence to the delight of il Lasca and the annoyance of the other playwrights\nit was returning from France where it had won many laurels. It had been invited\nthere by an Italian queen, Catherine del Medici, who had introduced into the\nFrench court her tastes and culture as a Florentine lady of the Renaissance. JS?\n& We were respected as sovereigns In the realm of art even then when we were regarded"}, {"page_pdf": 25, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.25", "debut_caractere": 4772, "fin_caractere_exclue": 4911, "texte": "Z,e Btavnre\ncl i Capitano\nS pave 11 to, &\nThe Actors weic\nthe creators.\nTheir names.\n& These were\nin some cas s\nperpetuated.\nHappier times."}, {"page_pdf": 26, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.26", "debut_caractere": 27, "fin_caractere_exclue": 4528, "texte": "as so low politically; and whoever beyond the mountains and the sea had 44 cuore gen-\ntile \" learned our language with that of our forefathers so as to be able to enjoy the\nharmony of Boccaccio's and Macchiavelli's periods, the soave melody of the sonnets of\nPetrarch and Bembo, the subtle and melancholy cadence of the octaves of Ariosto and, a\nlittle later, of Tasso. How great was the wonder of that nation which today seems to ar-\nrogate to itself the monopoly of everything referring to the theatre, when in 1548, it\nwitnessed the performance of the \" Calandria \" which the \" Florentine nation \" caused\nto be given at Lyons by the best living Italian actors who had been brought there\nat great expense to honour the royal 44 concittadina Brantdme who witnessed It declares\nthe performance to have been a thing 4(5 que I'on n'avoit encores veu, et rare en France,\n44 car paradvaist on n© parloit que des farceurs, des connardz de Ron an, des joueurs de la\n44 Basoche, et autres sortes de badins et jouers de badinages, farces mommeries et sotieries\".\nHow charmed they must have been with those decorations and those views of Florence pain-\nted by the Florentine Nannocchio, and how they must have marvelled at those actors, and\nespecially those actresses, 44 qui estoient tres-beSSes, parloient tres-bien et de fort bonne\ngrace \" I jgr & jg? *£? & & &\n<£? After that year, in 1555, there were performed at court by some gentlemen the 44 Lu-\ncidi \" of Firenzuola and the 49 Flora \" of Alamanni, and In 2560 the 44Sofonisba\" translated\nby Saint-Gelais was performed by the king's daughters and by other ladies and young\ngirls. The queen considered that this tragedy 44iiad brought evil to the affairs of the .kingdom\"\nand would have nothing more to do with tragedies though 44 ouy Men des comedies et\n44 tragicomedies, et mesnies celles de Zanni et Pantalons, y prenant grand plaisir, et y rioit\n44 son saoul comme tine autre, car elle rioit volontiers \". & & & &\n& It was during the year 1571 that this first 44 principle \" company of 44 comic! d'arte \"\nfor there was another company before them) of arrived in France, summoned there on the\noccasion of the rejoicings for the entry into Paris of King Charles IX with his bride. The\nvivacity and gaiety of the new actors, the facility and spontaneousness of their improvi-\nsation, the coaxing ways of the servant girls and the virtuous galanteries of the leading\nladies won the hearts of aB, princes and courtiers, and the English ambassador hastened\nto give an account of them In an official despatch to his Queen, who among her subjects\nalready counted the youth Shakespeare. 4? & & & &\n4? In France, however, theatrical performances were objectionable to certain religious\norders, and these, profiiting by the absence of the King, complained to the magistrates\nwho, being too timid of conscience to share the admiration of their sovereigns for the\nultramontane actors, were glad to sentence them to fines and banishment and the royal\nprotection scarcely served to save these unfortunate people from the fines.\n4/ All the same they reappeared at Paris the following year to enliven the nuptials of\nthe King of Navarre with one of the king's sisters. The Company, which seems already\nat that time to have had Its title of 4Gelosi% was led by a Bergamese, Alberto, celebra-\nted under his stage name of Ganassa, to whom, above all others, is perhaps due the\ninvention of the role and name of the second Zanni, that is, of Harlequin. At Mantova,\nbefore crossing the Alps, he had been obliged, by the Duke's wish, to join his old company\nto the other ied by Pantaleone ; hence Brantdme referred to their plays as 44Celles de Zanni\net Pantalons \" and a certain Monsieur De !a Fresnaye VauqueSin imortalised in his verse,\n44 Ou Se bon Pantalou, ou %auy dont Ganasse\nNous a represents la et la grace. (1)\nIt creates a tragi-conilc impression to read, under a date anterior but a few days to the\nterrible tragedy of St Bartholemew, a note of the payment by the Court Treasurer 44 a\n44 Albert Ganasse, joueur de commedies,.. taut a luy que a ses compaignonse en considera-\ntion du plaisir qu'Hz out donne a Sa Majeste... en plusieurs commedies qu'ilz out re-\n-44 presentees par di verses fois devanfc sa dicte Majeste\".\n\nA Performance\nat Lyons.\nThe first visit\nto France. &\nThe opposition\nof the religious\norders. & &\n\nNOTES AND TRANSLATIONS.\n(i) Either the good Pantaloon, or Zany, whose manners and grace Ganasga has repre-\nsented for us. & && && && <&*&&"}, {"page_pdf": 29, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4618, "texte": "&In October the Company was still at Paris; then It seems that it r © turned Into Italy,\nfor In 1572 we hear of the \"ados!\" at Genoa and In 1574 at Venice, while in the meantime\nGanassa was gone to seek his fortune beyond the Pyranees. He who had made the French\nlaugh so heartily by mimicking a haughty Spanish gentleman under the name of Baron de\nGuenesche, in whose mouth he put a mixture of Bergamese and Spanish, was now going to\nthe court of Philip II to set laughing, if not the king himself (who it is said, never laughed),\nthose very \" valamedios \" barons themselves ! For some years a mysterious drama had been\nhushed up at that Court. The firstborn of Catherine dei Medici, affianced to the Prince, Don\nCarlos, but afterwards married by King Philip had died of a mysterious malady at the early\nage of twenty three, and, with her, her princely lover. Isabella, or Elisabetta, of France had\ntaken part both as spectator and actress in the performances given in the French court,\nand in Spain, during those years she spent there, perhaps awoke the smiles of those Muses\nwho had sprung into so fair a renewed life in her mother's beautiful native city.\nCertainly the company \" des comediantes Italianos, cuya cabeza y autor era Alberto\nGanassa \" received a warm welcome there. It performed \" comedias italianas, mimlcas for\n\"la mayor parte y bufonescas de asuntos triviales y populares\" in which figured \"las\n\" personas de Arlequin, del Pantalon, del Dotore, etc\" and a contemporary assures us that\neven if Ganassa was not \"well and perfectly understood\" there, \"none the less, with\n\"that little which was understood he made the assembly laugh, and he made much money\n\"in those cities and from him the Spaniards learned to make plays in Spanish fashion\n\"which they had not previously done \".\nIt must not be thought that this is empty boasting. The popular Italian comedy had\nthere the effect of a gust of wind sweeping away the mist of prejudice, and it was perhaps\nnot without credit to Ganassa that Lope de Vega, (who at the time of this visit was about\ntwelve years old,) could say, \" When I set out to write a play I lock up the rules under\n\" ten keys and banish Plautus and Terence from my room for fear that they should murmur\n\" against me. I write following the style of those who seek the applause of the public,\n\" since after all, seeing that it is the public which pays, it seems to me only just to speak\n\" to it, even in an illiterate manner, but always so as to amuse \".\nenice in the Carnival of 1574 saw a performance of these companions of Ga=\nnassa who had not followed him beyond the Pyranees and In the spring they\ntransported their trappings to Milan where they co-operated in the festivals\nwhich the city celebrated in honour of Don Giovanni of Austria, the hero of\nLepanto. In July however they were recalled to the Lagoons. &\n*£? The second son of Catherine dei Medici, Henry king of Poland, who, on the death of\nhis brother Charles, was hastening to occupy the hereditary throne, was to pass through\nVenice. The \" Serenissima\" exerted himself to the utmost to receive him in a fitting\nmanner, and, among other things he sent to the frontier four noblemen to learn from\nthe lips of the king himself what amusements were most to his taste. And that prince,\nwho had fied by night through a little secret door from the kingdom of Versovia (thus\nfalling In his regal obligations towards that generous people which had elected him as\nits sovereign,); that prince whom his mother enjoined to hasten his coming to take pos-\nsession of the most dreaded crown in Europe, found time amid the cares and anxieties\nof a perilous journey to make known to the government of tbe Republic that he had an\nardent desire to witness a performance by the actors who had been at Venice in the winter,\nespecially the prima donna whose fame had reached him ; ....surely a detail worthy of the\nfantasy of Shakespeare! And how comical is that futile bustle of the republican ambassador\nso that the desired lady should not be lacking to the amusement of the most Christian\nking, and of the Milanese resident that the actors should be ready at Venice for the day\nof his arrival! & & & & &\nThere was only time to perform two improvised comedies and one \" molto grata et\ngratiosa \" tragi-coinedy, which latter is also said to have given \" mirabil piacere \" to that\ntragi-comic king. It does not seem however that he was much pleased with the lady.\nAnd yet how perfect she was, that \" Signora Vittoria \" ! \" Divina Vittoria \", exclaims\na contemporary \" who metamorphosises herself on the stage ; beautiful magician of love"}, {"page_pdf": 29, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.29", "debut_caractere": 4645, "fin_caractere_exclue": 4715, "texte": "& Ganassa in\nSpain. &\nI,ope de Vega.\nGanassa*s\nCompanions.\n& Vittoria."}, {"page_pdf": 30, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.30", "debut_caractere": 25, "fin_caractere_exclue": 4625, "texte": "\" who wins the hearts of a thousand lovers with her words ; sweet siren who takes pri-\n-44 soner with sweet sounds the souls of her devout audience and who undoubtedly deserves\n\"to be cited as a compendium of the art, having proportioned gestures, harmonious and\n44 becoming movements, majestic and graceful action ; words sweet and affable, sighs\n44 delicate and subtle, laughter agreable and charming, comportment lofty and noble, and\n44 showing in her whole person a perfect decorum such as belongs to, and is becoming\n44 to, a perfect actress.\" And another contemporary who acted as chronicler of these\nfestivals, Thomaso Porcacchi, described her as 44 Unica \". All the same king Henrv, when,\nafter some years, he had adjusted the affairs of state and could think once more of the\ngay days passed at Venice, no longer asked after her with the old enthusiasm; he wrote\ninstead with his own hand the following fetter to the French ambassador at Venice;\n44 Now that peace is made in my kingdom I wish to have here the 44 Magnifique \"\n44 the one who came to me at Venice on my return from Poland, with all the actors of the\n46 company of tne 44 Qelosi\". I beg you to seek out the said 44 Magnifique \" and tell him\n44 to come to me according to the letter I write him and which you will deliver to him.\n44 You will also furnish him with the money necessary for his journey, letting me know\n44 what you have given him. I will order those who attend to my finances that it be re-\n-44 turned to you soon. Henry\".\nGiulio Pasquati was, in truth, a 44 Magnifico \" not only in name. The chronicler had\nalready declared himself undecided whether in his manner of acting 44 la gratia o I'acutezza\nde capricci spiegati a tempo et sententiosamente \" predominated. For the moment, how-\never, he was not to be had; he was delighting another monarch, the Emperor of Austria,\nand it was necessary to wait until his engagements there were ended. However on\nJanuary 25th of the year 1577 he, together with the \"Gelosi\". was at Blois where King\nHenry had convoked the States General, and that same evening they performed before the\nfinest flower of the French aristocracy and in the same hall, gorgeously decorated with\ntapestries worked in gold thread, where the representatives of the nation met. They arri-\nved a iittle late because on the way, in the neighbourhood of Charite sur Loire, they had\nfallen into the hands of the Huguenots, who had claimed and obtained from the king a\nconsiderable ransom ; but they were yet in time to turn the heads of those busy idlers ;\nand it did not suffice that an ardent court preacher carried his intrepidity to\nthe point of blaming in the presence of the king himself whoever should be present at\nthose profane and scandalous spectacles, because that very day the Sovereigns and the Court\nbetook themselves to the play I The leader of the Company seems to have been Flaminio\nScala, noted, as his biographer tells us, for being the first who gave to the improvised\nCommedia dell'Arte 44 a definite form with all good rule, \" and for having invented many\nscenarios. The scenario of the 44 Dentist\", of which I have already quoted a part, is his\nand so are the other forty nine which, all together, make up the 44 teatro delle favoie rap-\npresentative overo la ricreatlone comic aboscareccia e tragica divisa in cinquanta giornate \"(1)\nwhich is the most ancient collection of scenarios and the very cream of the repertory of\nthe \"Gelosi\". The States General having been dismissed on March 7, Scala, before returning\nto Italy, gave some performances at Paris in that hall of the Petit-Bourbon where,\nsome years later, In 1614, were to be held the last assemblies of the States General of\nmonarchical France before the eighty-nine, and where in less than a century the son of\nthe upholsterer Poquelin was to inaugurate the real modern comedy, cementing the loose\nstones of our Commedia dell'Arte.^\nBut this Company also drew down upon Itself the wrath of the confraternities and the\nmagistrates, and this time with greater reason, because the actors attracted to their per-\nformances a larger crowd that the united congregations of the four best preachers in\nParis! The King, however, made his voice heard and his protection felt, and the grumbling\nmagistracy took note that 44 the corruption of those times was such that players in farces,\nbuffoons, favourites (4< mignons \") all found favour with the king.\" & £? &\n\nGiulio Pasquati\nFlaminio Scala\n\nNOTES AND TRANSLATIONS.\n(i) Teatro delle favoie rappreseetative, or, comic, pastoral and tragic recreation divided\ninto fifty days."}, {"page_pdf": 33, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 2373, "texte": "t was this very company which in the beginning of 2578 came to Florence\nto make trouble among those rival playwrights. IS Lasca composed a kind\nof Poster announcing their arrival and in derision of his presumptuous\ncoiieagues:\nFacendo il Bergamesco e' 1 Venezlano,\nN'andiamo in ogni parte,\nE' 1 recitar commedie e la nostr'arte ....\nQuesti vostri dappochi commediai\nCerte lor filastroccole vi fanno,\nLunghe e piene di guai,\nChe rider poco e manco piacer danno;\nTanto che per Faffanno,\nNon solamente agli uomini e alle donne,\nMa verrebbero a noia alle colonne. (1)\nAnd he repeatedly invited the citizens to come\n.... alia Stanza ad udir Zanni,\nLa Nespola, ii Magnifico e' I Graziano,\nE Francatrippa che vale un tesoro,\nE gli altri dicitor di mano in mano,\nChe tutti fanno bene gli atti loro! (2)\nThe 44 Magnifico Pantalone\" was still the same who had aroused the admiration of\nHenry 111. Graziano,.... that is to say, the Bolognese pedant, was Ludovico de' Bianchi, the\nmost famous interpreter, (though not the creator), of that type since the time when he\nacted with Ganassa a 44 Lus Burchiello Gratia \". II Lasca describes the way in which he took\noff his cap :\nChe gentilmente la piglia con mano,\nPoi la scuote e dimena con gran fretta;\nE quando Tusa piu di dimenare\nPiu vuol amico o signore onorare. (3)\n& Francatrippa who spoke the Bolognese dialect mixed with some Tuscanisms, was\nGabriello Panzanini, and another Bolognese, Simone, acted as Harlequin and we find him\ndistinguished as an observer of the 44 vero dicoro \" of the Bergamese tongue. Nor was there\nlacking a local caricature, 44 Zanobio da Piombino \" entrusted to Girolamo Salimbeni.\nThe leader of all this fine company was the Pistoiese, Francesco Andreini, 44 Captain\nSpavento \".\nJZ? Although but thirty years old he had lived those years to the full, having embarked at\na very early age on the Tuscan galleys and fallen into the hands of the Turks whence he\nhad only succeeded in escaping after eight years of slavery. Thanks to his culture and talent\nhe had received a warm welcome in Scala's company. He first played the part of the Inna-\nmorato, but afterwards showed yet greater talent in acting the role of 44 Captain Spa-\nvento da ValPinferna\", (Valdinferna is a city which one finds named in the chivalric\nromances); and at times he tried to invent others also. At Milan, for instance, he relates"}, {"page_pdf": 33, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.33", "debut_caractere": 2399, "fin_caractere_exclue": 3190, "texte": "Graziano,\nBra noes co\nAndreini, &\n\nNOTES AND TRANSLATIONS.\n(1) Acting the Bergamesque and the Venetian we roam the whole world over, and the\nperforming of comedies is our trade. & JSZ &\nThese silly comedians of yours act for you certain foolish plays of theirs, which, long\nand tedious, give little amusement and less pleasure ; so tiresome are they, in fact, that\nthey bore not only men and women but even the Pillars. &\n(2) ... To the Stanza to hear Zanni, La Nespola, il Magnifico and Graziano, and Fran-\ncatrippa who is a treasure in himself, and the other actors, one after another, who all\nperform their parts well.\n(3) Which he gracefully takes with his hand; then shakes it and twists it in great haste;\nand the more he wishes to honour friend or signor, the more he twists it round."}, {"page_pdf": 34, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.34", "debut_caractere": 25, "fin_caractere_exclue": 4671, "texte": "that lie played \"the part of a Sicilian Doctor, very comic\" and that of \"a wizard named\n\" Falsirone, most remarkable for the number of tongues which he spoke, such as French,\nSpanish, Slav, Greek, Turkish\"; and then \" marvellously the part of a shepherd named\n\"Corinto in the pastorals, playing many and varied wind instruments made up of many\n\"flutes, singing rural verses in imitation of Sannazaro \".\nAt Florence, in the early months of this year 1578, he had the good fortune to marry\nthe artiste who has left the most illustrious name in the history of our theatre,.... that\nwonderful Isabella, \" beautiful in name, beautiful in body and most beautiful in spirit\"\n(this is certified by her husband, who ought to know !) \" queen of beautiful and virtuous\nwomen,\" who used \"as distaff the book, as spindle the pen and as needle the style \".\n& She was at that time sixteen, having been born in Padua in 1562; and I would not have\nyou think that in the words of her actor-husband there was any exaggeration. Tommaso\nGarzoni, the panegyrist of the \" Divina Vittoria \" (who seems to have been a specialist in\nsinging the praises of 'prime donne') declared her to be \"an adornment of the scene, an\n\"ornament of the theatre, a superb spectacle of virtue no less than of beauty\", and pre-\ndicted that \" while the world lasts, while the centuries endure, while times and seasons\n\"shall continue, every voice, every tongue, every cry will repeat the celebrated name of\n\" Isabella \". Bayle tells us that she \" sang well and played admirably on instruments \" ;\nDelia Chiesa, that she \"wrote very well in Latin, Spanish and French and had no small\nknowledge of philosophy \". Quadrio, that to her art, \" universally reputed dangerous to\nthe honour of women, she knew how to add supreme modesty and perfect innocency of\nmorals\"; Chiabrera sang her praises in her life time after hearing her recite at Savona in 1584\nand Marino sang them after her death. And if all this seems to you little you must know\nthat she stirred even the muse of Tasso who, at a banquet given in her honour by the\nCardinal Aldobrandini to which were also invited six other cardinals, Antonio Ongaro and\n\" altri poeti chiarissimi\", sat beside her and addressed to her a sonnet breathing forth the\nmost delicate gallantry.\nhatever had become in the meantime of the Signora Vittoria ? It does not\nseem that she went to France with the \" Gelosi \" nor that she came to\nFlorence, so that it almost appears as if she were no longer with them, for\nthe presence of so radiant a star could not have remained unnoted. In\n1590 we find her again at Mantua as leader of a Company which she called\n\" dei Confldenti\" but which the public knew better under the name of the Company of\nthe Signora Vittoria, and apparently enjoying the full favour of the Duke, who, owing to\nthat blessed mania of rearranging and handling the Companies which all his family had to\na certain extent, caused in that year some distress to the Diva. We too are moved by the\nletter written to him on June 22 by the compassionate secretary, who refers in it to a\ncertain lady,... perhaps a member of the Company of Pedrolino... at whom it seems that\nthe Duke had begun to cast sheep's eyes.^\n\" I went to Signora Vittoria to wish her good day and I found her in such distress that\n\"she almost made me weep, telling me that your serene Highness has said that some of\n\" her Company, under pain of your displeasure, are to go into the company of that woman\n\" (perhaps not over-healthy from what I hear), the said lady lamenting and declaring that\n\"she does not know why the most Serene Prince should wish to do her this injury of break-\n\" ing up her Company, she having never ceased to serve him, neither by day nor by night\n\" at all hours ; and why as reward for all this she should deserve such an injury.\nThe Duke, fortunately, had not a heart of stone, and those sweet recollections, and\nperhaps also the clever insinuation that Vittoria's rival was not \" over-healthy \" disposed\nhim to more humane counsels, and, in December of the same year, on the occasion of his\nson's wedding, he requested that the Signora Vittoria, who with her Company had under-\ntaken a tour of the various cities, should come to Mantua for the Carnival. &\nBut the real artistic rival of the Signora Vittoria was Isabella, and in May 1589, for the\nmarriage of Ferdinand de' Medici with Cristina of Lorraine, we find the two, by the will\nof the Grand Duke, face to face at Florence. Vittoria, who \"at that time was the miracle\nof the stage\" as Baldinucci attests, performed in her favourite play, \"La Zingana\" on\n\nIsabella.\n& Vittoria.\nRival Acttesses"}, {"page_pdf": 35, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 4607, "texte": "May 6th, while on the 13th Isabella astounded everyone with her \" valore ed eloquenza \"\nacting a piece of her own invention, \"La Pazzla After this each one went her way, the\nSignora Vittoria with the \" Confidenti \" and the \" Uniti Isabella with the \" Gelosi \".\nIt would be neither easy nor interesting to follow these companies in all their hazardous\nwanderings and adventures. It will suffice to say that, after leaving Florence in the first\ndays of 1579 the \"Gelosi\" went to Venice at Carnival time, where for several evenings Prince\nFerdinand of Bavaria was among the spectators. This prince was an old admirer of the\nItalian Commedia who already in 1565, during the festivities for the wedding of Francesco\nde' Medici with Giovanna of Austria, had enjoyed, at Verona the performance of a Zauny,\nat Mantila of a play, at Florence a splendid production with a prologue delivered by a\ndoctor mounted upon a donkey, and at Verona on his return another very amusing and\nenjoyable comedy.^\n& The \"Gelosi\" afterwards took their way to Mantua which, thanks to the protection of its\nDukes, was then literally the head quarters of all actors. But alas! their reception there\nwas not pleasant i A ducal decree dated May sth ordered \" that there be quickly driven\n\"away from the City and State of Mantua the actors known as the \"Gelosi\" who are lodged\n\"at the Sign of the Bissone, and likewise Signor Simone who plays the part of a Bergamese,\n\"and Signor Orazio, and Signor Adriano who plays the lovers' parts (parte amantiorum) and\n\"their friend Gabriele known as \" dalle Haste \". Fortunately the decree does not mention\nthe Andrelni and I could not tell you what the others can have done to deserve such ri-\ngorous treatment on the part of a prince who always lived in the midst of actors who\nwere not exactly saints!\n& We next find them in July at Genoa; from here they went on to Milan. In May 1580\nthey were again at Milan furnished with a licence from the Governor; but in July they\nwere forbidden to act there any more. They had in that city a formidable enemy, no less\na person than the Cardinal Borromeo, who would have liked to see them exterminated. But\nthey managed so well and were so diplomatic that the Governor gave them permission to\nresume their performances \" from the beginning of September \".\nDuring the carnival of 1581 they were at Venice whither they returned once more in\nthe April of 1583. In 1586 they were at Mantua, and Prince Vincenzo favoured Isabella with\nthe unusual honour and most marked favour of accepting Lavinia her daughter as \" his\nmost humble servant,....\" that is, of acting as her godfather. &\n& In the following January we find them at Florence where Isabella, who was as prolific\nas she was gifted, had the opportunity of asking the Grand Duke to accord her\nthe same favour on behalf of another daughter as that which had already been granted to\nher by his princely son-in-law. Better fortune befell the Company towards the end of 1602.\nThe new queen of France, Marie, who was also of the House of Medici, sent the \"Gelosi\" a\nflattering invitation to go to the French court, and to what extent Isabella made the grand-\nfathers of Moliere lose their heads is sufficiently demonstrated in these halting verses which\nshe inspired a certain Isaac du Ruyer to write:\nJe ne crois point qu' Isabelle Qui s'est deguise en femme\nSoit une femme mortelle ; Afin de nous ravir Fame\nC'est plutot qu' un des dieux Par I'oreille et par les yeux.\n& In April 1604 they asked and obtained a licence from the king, and the graceful queen\nwished to provide an honourable certificate for the no less graceful actress, \" being able\nto assure you\" as she wrote to the Duchess of Mantua, \"that during the time she has\n\" dwelt here both she and her company have given full satisfaction to my Lord the King\n\" and to me \". But on the way back, at Lyons, Isabella was taken seriously ill, and a few\ndays afterwards, on June 10th, died, or, if you like it better, her spirit \"parted company\n\"with the body which it left on earth that it might fly away to heaven, neither the\n\"prayers nor tears of those who had admired her being able to hold her back\", as the\nmost authoritive historian of those times tells us. Then, and for about two centurier af-\nterwards burial in consecrated ground was not in France accorded to actors, but Isabella's\ndeath so touched the parish priest that he wrote as follows in his registers: \"She is\n\" deceased with the universal reputation of being one of the most rare women in the world\n\" for learning as well as for speaking in many languages\". She was carried to the"}, {"page_pdf": 35, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.35", "debut_caractere": 4633, "fin_caractere_exclue": 4687, "texte": "The travels of\nThe Gelosi\n& The Gelosi in\nFrance. & £>"}, {"page_pdf": 36, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.36", "debut_caractere": 25, "fin_caractere_exclue": 4278, "texte": "grave with all honours, 44 favoured \" as Beltrame attests, 44 by the Community of Lyons \"\nwith banners and mace=bearers and torches accompanied by the 44 Signori Mercanti,\" and\n44 she had a most beautiful epitaph written in bronze for an everlasting memorial\".\n& Francesco Andreini, having lost his beloved companion, disbanded his Company and\nfrom that day attended only to the publication of his works in verse and prose, all, more\nor less directly, devoted to the memory of this adored woman.\nBut for her own glory and for the honour of that art which she had so much adorned\nIsabella had herself provided even better, not only by her plays and poems but by bringing\ninto the world at Florence, towards the end of that same year 1578 when il Lasca had so\njoyously hailed the arrival of the \"Gelosi\", her first born son, Giambattista. The heir of his\nmother's virtue and talent, this son corresponds in respect to his father to the poet of\nthe 44 Aminta \" in respect to that of the 44 Amadigi \". On the stage he was called Lelio,\nand was for a long time at the head of the Company of the \"Fedeli\" which in or about 1604\nwas made up in great part of the actors of the disbanded Company of the 44Gelosi\". In 1601\nhe married at Milan the eighteen=year=o!d Virginia Ramponi, who, aided by the intelligent\ndirection of her husband, was, under the name of Florinda, to make it seem that the loss\nof her mother=in=law was not entirely irreparable. This was affirmed to the sorrowing son\nby one of those many rhymesters who let their tears flow over Isabella's tomb:\nVive la madre tua ne la tua sposa\nCh& de lo suo divin dandole parte,\nIn Virginia respira e in lei si cole. (1)\nAnd it was repeated with yet greater emphasis by events. In the spring of 1608 when\nthe nuptials of the prince Francesco were being celebrated in Mantua with Margherita of\nSavoy, daughter of Charles Emanuel I, one of the young Romans, Caterinuccia Martinelli,\nwas to sing in 44 Arianna\", an Opera by Ottavio Rinuccini with airs by Monteverdi and re«\ncitatives by Peri. In the first days of March, struck down by smallpox, the singer died.\nWhere and how were they to find in so short a time anyone to take her place ? Why, 10,\nthere presents herself Virginia Andreini! Antonio Costantini, Tasso's friend, wrote from\nthere on March 18th: 44 God inspired them to try if 44 Florinda \" should show talent in this\n44 part, and in six days she has got it perfectly by heart and sings it with so much grace\n44 and feeling that she has astonished Madama, Signor Rinuccini and all the gentlefolk who\n44 have heard her \". Among these last there was perhaps also Marino, who, in the 44Adone\"\n(VII. 68), speaking of the performance left it on record,\n44 E in tal guisa Florinda udisti, o Manto,\nLa nei teatri de' tuoi regi tetti,\nD'Arianna spiegar gli aspri martiri,\nE trar da mille cor mille sospiri. (2)\nTo Florinda was due a great part of the triumphs of the 44 Fedeli \" in Italy and in France,\nuntil, in 1627, she I 4 left the stage of this world \". The faithless head of the 44 Fedeli \" did\nnot, however, imitate the paternal example, and continued to direct the Company until\n1652 when, an old man of seventy, remarried to the actress Lidia, he finally retired from\nthe theatre.\nHe left behind him a great collection of lyric and heroic poems, comedies, sacred and\nprofane tragedies, tragicomedies, pastorals, sonnets, dialogues, and visions: and, if he lacked\ncertain numbers to make him a great poet certainly one of these was not the number of\nhis productions! Something, however, has survived him, and the curious eyes of students\nand dilettanti are yet turned upon that 44 sacra rappresentazione \" Adam which certainly\nseems to have served as Scenario for the 44 Paradise Lost\". & & & &\n4411 y a souvent\" says Voltaire, 4# dans les choses ou tout parait ridicule ou vulgaire,\n\n& Giamhattista\nAndreini. &\nHis wife\nFlo r in d a\nHis literaly\nworks.\n\nNOTES AND TRANSLATIONS.\n(1) Your mother lives in your wife to whom she gives semething of her own divinity.\nIn Virginia she breathes again and is worshipped once more.\n(2) And you heard Florinda, Oh Mantuan, In the theatre of your palace, interpreting\nthe bitter sufferings of Arianna, drawing from a thousand hearts a thousand sighs. &"}, {"page_pdf": 39, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.39", "debut_caractere": 24, "fin_caractere_exclue": 3669, "texte": "Un coin de grandeur qui ne se fait apercevoir qu'aux hommes de genie; and Milton\n\" decouvrit, a travers I'absurdite de I'ouvrage, la sublimits cachee du sujet\nhe Commedia dell'Arte was not a monopoly of the Andreini's nor did it\nend with them, and I ought to speak of distinguished actors such as the\nRiccobonis, Fiorillo, Domenico Biancolelli, Tommaso Visentino known as\n\" Tommasino Carlo Bertinazzi known as \" Carlino of celebrated wo-\nmen such as Maria Malloni known as \" Ceiia \" (of whom Marino wrote as\nfollows:\nCelia s'appella, e ben del Clel nel volto\nPorta la luce e la belt& celeste ;\nEd oltre ancor, che come 11 Cielo e bella\nE ha Tarmonia del Clel nell favella. (1)\nand of Flaminia Riccoboni and Aurelia Bianchi; of dilettanti like Salvator Rosa, of whom\nLippi wrote\n\" Plttor, passa chiunque tele imbiacca,\nTratta d'ogni scienza ut ex professo,\n*\nE in palco fa si ben Coviel Patacca,\nChe, sempre ch'ei si muove o ch'ei favella\nFa proprio sgangherarti le mascella\", (2)\nand also of Evangelista Torricelli, Viviani and Bernini; but,\n\"....son giunto a quel segno, 11 qual s'io passo,\nVi potria la mia istoria esser molesta. (3)\nI must however add that, in literature, our Commedia bore more enduring fruits beyond\nthe limits of its native land. There came about for it the opposite of that which had hap=»\npened in the case of the chilvaric poems, and the Ariosto who elaborated, far away from\nItaly, that comic material created by our improvisors was, as you know, Moliere. \"We\n\"must never forget that the priority of this ingenious and piquant imitation of nature\n\" belongs to Italy, and that, without that rich and interesting precedent, Moliere would\n\" never have created the real French comedy \" says George Sand, and there have not been\nlacking Rajnas to search into the reliquaries of the Commedia delTArte and to find there\nsketches for plots, scenes, episodes, types, characters, which, in the hand of the genial\nplaywright, became Tartuffe, the \" Malade imaginaire \", f« George Dandin \", \" Trissotin\n\" Sganarelle \", \" Scapin \". &\nThe great artist has added the colours to the outline drawn in charcoal, so that their\nvitality is thus no longer perishable. Certainly, the theatre of Moliere was the most\nexquisite fruit of the Commedia delTArte, which had found almost a second home in France.\nBut it can boast of yet other honours and other services. &\n& I have already referred to Spain and to Lope de Vega. A little before his time, in 1568,\na certain Giovanni Tabarino had carried our Commedia to Linz on the Danube, whence he\npassed to Vienna in the official quality of comedian to his Majesty. He seems to have\nremained there until 1574» making a little trip to France in the February of 1571, but\nthis more ancient Tabarino must not be confused with the famous buffoon of the same\nname who was the fashion in Paris from 1618 to 1630. And during the time that he spent\nat Vienna there chanced to come also the Florentines Antonio Soldino (returning from\nFrance), and Orazio; and then Giulio, Giovanni the Venetian, Giovan Maria the Roman,\n\n& It ite ta ry\nfruits. &\nTab a rino.\n\nNOTES AND TRANSLATIONS.\n(1) Celia she is called; and truly she bears in her face something of the Celestial light\nand beauty; besides which she is fair as the celestial region and has its music on her\nlipS.\n(2) A Painter who, no matter who may pass by, daubs at his canvases, treats of every\nscience ut ex professo, and on the stage acts so well the part of Coviel Patacca that, whenever\nhe moves or speaks, he makes you split your very sides. &\n(3) I have reached that point beyond which, should I pass, my story might become vexatious\nto you."}, {"page_pdf": 40, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.40", "debut_caractere": 24, "fin_caractere_exclue": 4771, "texte": "and the two Travisans, Silvestro and that Battista who acted as \" Franceschina \" ; and,\nlater, Pier Maria Cecchini, who was a poet and essayist as well as an actor under the\nname of Fritellino, and whom the Emperor Mathias \" ennobled, habituating him to every\n\" chilvaric exercise, rendering him worthy of all that is conceded to every gentleman of\nquality. & &&?&&&&\njg? An example of the pleasures of the Commedia dell'Arte had been given some years\nbefore 1568 in the Bavarian Court by a Flemish musician who had lived for a long time\namong us, Orlando di Lasso, and by a Neapoiltan musician, Massimo Trojano, who gives us\nan account of it. The wedding of the Duke, William IV with Renata di Lorena, was being\ncelebrated and one fine day the Duke took it into his head to have a play performed the\nnext night. He asked one of Maestro Orlando who in his turn asked his colleague Trojano\nto help him. No sooner said than done. They devised the \" dilettevole soggetto.' and per-\nformed on the following evening an improvised comedy in Italian in presence of all the\n\" most serene ladies \", and, although the majority did not understand what was said, the\n\" Magnifico Veneziano \" Messer Orlando di Lasso with his \" Zanne \" succeeded so well as\nto convulse them all with laughter. & &\nThe parts were distributed as follows: Messer Orlando himself was \" the Magnificent\nMesser Pantalone di Bisognosi\"; M. Gio. Battista Scolari da Trento was the Zanne; Mas-\nsimo Trojano took three parts, the prologue as a stupid peasant (\"a peasant, alia cavajola\nso queerly dressed that he seemed the very Ambassador of laughter\") Polidoro the Inamo-\nrato, and the Spanish dispetato under the name of Don Diego di Mendozza. The servant\nof Polidoro was Don Carlo Livizzano; the servant of the Spaniard was Giorgio Dori da\nTrento; the courtesan, Polidoro's lover, called Camilla, was the Marchese di Malaspina ;\nher servant, Ercole Terzo ; there was also a French servant. To enliven the performance\nyet more the play was varied by interludes and musical madrigals by Lasso. & •£?\n& In Germany it cannot be said that the seeds of the Commedia dell'Arte fell upon\nfruitful ground. On the other hand in 1527 there crossed to England a company led by a\nMantuan Harlequin, Drusiano Martinelli, brother of a yet more celebrated Harlequin who\ncalled himself \" Dominus Arlecchinorum \" and, owing to the queen of France having acted\nas Godmother to a daughter of his, called her \" commare \" and signed himself\n\"Arlecchino compadre christianissimo \". At the court of Elizabeth it is probable that the\ntwo rival buffoons Tarleton and Wilton learned from him to improvise on mere '♦scenarios\"\nand to compose these. & a& &\nShakespeare did not came to London until about eight years later. It is known how\nfamiliar he was with our novelists and playwrights and how he drew from that source\nplots, scenes and situations. The \" Comedy of Errors \" is derived from the \" Menechmi\"\nthrough the medium of an Italian imitation; the \"Taming of the Shrew\" is in great part\nbased on the \" Suppositi\" of Ariosto, and even \"Romeo and Juliet\" recalls in more than\none place (in one's zeal to appear discreet one must not be unjust 1) the 'Hadriana' of\nLuigi Groto. & jz? <£? .g?\nNor are traces of this imitation of our popular Commedia rare or obscure in his works.\nIn fact when, in \" Othello \" (1-2) lago calls Brabanzio \" il Magnifico \" it seems to me that\nhe wishes to treat him as Pantaloon rather than simply, as commentators interpret it,\nto indicate by that title his senatorial dignity. But there is yet a better example. Captain\nParolles in the comedy \"All's well that Ends Well\" who carries \"the whole theorick of\nwar In the knot of his scarf, and the practise in the chape of his dagger,\" is no other\nthan our Captain Spavento, and one would say that the scene in which, having out of\ncowardice fallen into the hands of his own soldiers who have frightened him and who affect\na barbarous language, is dragged with a bandage across his eyes in front of his own ge-\nneral whom he believes to be that of the enemy, and gives away the secrets of the camp\nand slanders his colleagues was taken direct from a scenario. So also we find our \"Spanish\nCaptain\" in that boastful and gallant Spaniard in \"Love's Labour Lost.\" It is enough to hear\nhow he gives an account of his love to his valet. \" I will hereupon confess I am in love;\n\" and as it is base for a soldier to love, so am I in love with a base wench. If drawing my\n\" sword against the humour off affection would deliver me from the reprobate thought of\n\"it, I would take desire prisoner, and reasom him to any French courtier for a new devised\n\n& In Bavaiia,\nIn Germany.\nAnd England\n& Shakespeare\nand the C online-\ndia delVArte, &"}, {"page_pdf": 41, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 4221, "texte": "44 courtesy. 1 think scorn to sigh: methinks I should outswear Cupid. Comfort me, boy ;\n44 what great men have been In love ? \" & & &\nThe pedant Holofernes in the same comedy is exactly like our Graziano and it is curious\nthat he cites with melancholy admiration the beginning of a Latin eclogue by an obscure\nMantuan which he follows up in Italian by two lines of a little song; 44Ah, good old Mantuan!\nI may speak of thee as the traveller doth of Venice,\nVenezia, Venezia,\nChi non te vede, non ti pregia.\n\" Old Mantuan! Who understandeth thee not, loves thee not\".\n& Then in the \"Taming of the Shrew,\" as well as the many Italian words which occur there\nis even a scrap of dialogue ; 44 Con tutto il cuore ben trovato \" says one friend to another;\nand this last replies, 44 Alia nostra casa ben venuto, molto honorato signor mio Petruchio.\"\nand, as well as a certain Pedagogue who has nothing of our Commedia but his pusillanimity\nand unreadiness, there is also a scene in which nothing of the Commedia dell'Arte is lack-\ning,... . not even the name of one of its most characteristic figures. A young man has\ndisguised himself as a master of grammar so as to declare his love to the girl he is in\nlove with. There is present an old gallant; he, too, in love.\nEianca. Where left we last ?\nBucenzio. Here, madam :\nHac ibat Simois; hie est Sigeia tellus,\nHie steterat Priami regia celsa senis.\nBiauca. Construe them.\nEucenzio. Hac ibat, as I told you before. Simois, I am Lucentio.... hie est, son unto Vin-\ncentio of Pisa.... Sigeia tellus, disguised thus to get your 10ve,.... hie steterat, and that\nLucentio that comes a wooing,... Priami, is my man Tranio... regia, bearing my p0rt,....\ncelsa senis, that we might, beguile the old Pantaloon.\nBi aiica. Now let me see if I can construe it: Hac ibat Simois, I know you not... hie est\nSigeia tellus, I trust you n0t.... Hie steterat Priami, take heed he hear us not ;.... regia,\npresume not;... celsa senis, dispair not.\nJZ? And also in the \"Merry Wives of Windsor,\" that French physician who lards his discourse\nwith phrases and words of his own language, and that parish priest who prattles his En-\nglish like a good Welshman, and that silly fellow who always speaks 44in punta di forchetta\",\nall these have their prototypes in our improvised Commedia, in common with which\nShakespeare had also some defects. £? & & J£? & &\n& Beltrame, to exalt his colleagues, declared in the first decades of the Sixteenth century\nthat they 44 study and furnish their minds with a great medley of things, such as sen-\ntences, witticisms, love discourses, scoldings, outbursts of despair and deliriums, so as to\nhave them ready on occasion \" ; and from this resulted their highly coloured style, and\nperhaps also, at least in part, the emphatic and bombastic style which the great drama-\ntist always puts in the mouth of his Italian characters. It certainly was not in our novel-\nlists that he found the model for those caricatures.\nBut we must not lay to the account of our poor comedians, already so heavy, the\ngrossness which soils the first works of the leading English Comedian. The buffoons of\nElizabeth, in the matter of coarse and outspoken jests, had no need of instructors. And\nwho knows If to them do not belong in great part those which have been smuggled through\nto .posterity in the rich trunks of the supreme poet, who must certainly have left the\nbuffoons to play the,fool at their ease in certain scenes to please the coarse public, always\ngreedy for those highly spiced sallies which went on being repeated even years after, just\nas the predecessors of Rossini abandoned the trills and flourishes to the virtuosity of the\nsingers. Later on those trivialities must have been transcribed on the copies and the whole\nlabelled as the work of the playwright. Having increased in authority, and learned wisdom\nby experience, he, as Rossini with the trills, must have kept under discipline these buffoon\nscenes so that they should not disturb the action of the drama, and so that they should\nat least have that flavour,... something Ariostescan and Rabelaisian.... which they have,\nfor example, in \"Othello\" and \"Hamlet\". Remember the instructions given by the Danish Prince"}, {"page_pdf": 41, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.41", "debut_caractere": 4247, "fin_caractere_exclue": 4334, "texte": "The Taming of\nthe Shrew. z?\nThe Merry\nWives of Wind-\nsot \". &\nThe Elizabethan\nbuffoons."}, {"page_pdf": 42, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.42", "debut_caractere": 25, "fin_caractere_exclue": 1313, "texte": "to the Players: 44 Let those that play your clowns, speak no more than is set down for\niS them : for there be of them that will themselves laugh, to set on some quality of barren\n44 spectators to laugh too; though in the meantime some necessary question of the play be\n44 then to be considered : that's villainous, and shows a most pitiful ambition in the fool\n44 that uses it. \"\nThese were abuses to which certainly our Commedia dell'Arte also tended, since any\nliberty must degenerate Into license when it is conceded to those who do not possess the\nnecessary restraint, either by nature or by cultivation. But one must not, because of the\nevil effects of license, underestimate the incalculable benefits of Liberty. In the midst of\nthe obsequious servility of our literature to an irrevocable past those comedians of ours\nwent as apostles through the world preaching and practising liberty: humble but loud-\nvoiced and effectual pioneers upon that way along which were to travel triumphantly\nLope de Vega, Shakespeare and Moliere.\nBUT FOR ALL THIS LIBERTY HAS NOT GONE OUT OF PLACE, NOR THE INFIDEL EN-\nTERED INTO FULL POSSESSION.\nWHEN LIBERTY GOES OUT OF A PLACE IT IS NOT THE FIRST TO GO, NOR THE SECOND\nOR THIRD TO GO.\nJT WAITS FOR ALL THE REST TO GO, IT IS THE LAST.\n\nWalt Whitman."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c012", "article_bluemountain": "bmtnaau_1911-01_01#c012", "volume": "bmtnaau_1911-01_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": 17, "image_fin": 17, "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=bmtnaau191101-01.2.6.2", "titre_corps": "FROM THE BALLI DI SFESSANIA. 1622", "titre_sommaire": "FROM THE BALLI DI SFESSANIA. 1622", "signature_source": "GIACOMO CALLOT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 60, "texte": "FROM THE BALLI DI SFESSANIA. 1622. GIACOMO CALLOT. 1593-1635"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c018", "article_bluemountain": "bmtnaau_1911-01_01#c018", "volume": "bmtnaau_1911-01_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": 27, "image_fin": 27, "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=bmtnaau191101-01.2.6.8", "titre_corps": "FROM THE BALLI DI SFESSANIA. 1622", "titre_sommaire": "FROM THE BALLI DI SFESSANIA. 1622", "signature_source": "GIACOMO CALLOT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 60, "texte": "FROM THE BALLI DI SFESSANIA. 1622; GIACOMO CALLOT. 1593-1635"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c020", "article_bluemountain": "bmtnaau_1911-01_01#c020", "volume": "bmtnaau_1911-01_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=bmtnaau191101-01.2.6.10", "titre_corps": "PANTALONE", "titre_sommaire": "PANTALONE", "signature_source": "G. CALLOT", "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=bmtnaau191101-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 21, "texte": "PANTALONE. G. CALLOT."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c023", "article_bluemountain": "bmtnaau_1911-01_01#c023", "volume": "bmtnaau_1911-01_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": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.6.13", "titre_corps": "COSTUME FOR PANTALONE: OF EARLIER DATE", "titre_sommaire": "COSTUME FOR PANTALONE: OF EARLIER DATE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 39, "texte": "COSTUME FOR PANTALONE: OF EARLIER DATE."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c027", "article_bluemountain": "bmtnaau_1911-01_01#c027", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "127", "image_debut": 42, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.7", "titre_corps": "BIOGRAPHICAL NOTES TO THE ABOVE ESSAY", "titre_sommaire": "BIOGRAPHICAL NOTES TO THE ABOVE ESSAY", "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": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.42", "debut_caractere": 1315, "fin_caractere_exclue": 3497, "texte": "BIOGRAPHICAL NOTES TO THE ABOVE ESSAY.\n\n<•»\nLodovico. Born (Reggio) 1474. Died 1533. One of the great writers for the stage\nwhose works the actors of the Commedia dell'Arte forced back again into the study on\naccount of their lack of vitality when acted.\ngELTRAME. (Niccolo Barbierl). An actor. Died about 1640. Me invented the characters\n44 Scapino \" and 44 Beltrame \" assuming the name of this latter as his own. Me\nwrote Scenarios, his best play being, according to Mantzius, \"1' Inavvertito. overo Scapino\ndisturbato e Mezzetino travagliato,\" which he wrote and published with dialogue complete,\nthough it was originally acted as an improvised play. It is the prototype of Moliere's\n44 r Etourdl ou les Contretemps \", and he published the play to prevent it from being lost\nor spoiled by bad acting and by any improvisation inferior to that of the 44 Geiosi \" and\nthe 44 Fedeli \" companies. He also wrote 44 La Supplica \", published in Bologna, 1836. It is\na kind of Apologia for the stage of his time &\n£ECCHI, Giovanni. Bom 1518. Died 1587. Playwright. He wrote 44 La Romanesca \" In 1585,\nand in the prologue to this play he extols the 44 Farsa \" and pleads the cause of the\nRomantic Drama against the canons of Aristotle. A translation of this will be found in\n44 Shakespeare's Predecessors \" by J. Addington Symonds. Page 208. & &\npERRARA, Duke of, Ercole I. Born 1431. Died 1505. It was in Ferrara, under his rule, that\nthe splendour of the ancient Italian dramatic performances was revived, and, beginning\nwith a representation in i486 of the 44 Menecmi \", performances were given at his court,\nwith the co-operation of Ariosto, Boiardo, Strozzi and many others, of most of the plays of\nTerence and Plautus as well as of more modern works.\nSome idea of the richness of the scenery and costumes is conveyed in the letters of\nErcole' s daughter, Isabella d'Este , (wife of the Duke Francesco of Mantua), written from\nher father's court at Ferrara to her husband on the occasion of her brother's marriage with\nLucrezia Borgia.\n\n(1) Further details of the lives of some of the actors referred to in Slgnor Scherillo's Essay will be given in the next two numbers of\n'The Mask.\""}, {"page_pdf": 43, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 3808, "texte": "pIRENZUOLA, Agnolo. Born 1493* Died 1545- A Florentine Dramatist who entered the Church\nand became Abbot of Prato. As a writer he was distinguished for his purity of style and\nimpurity of sentiment.\nQELLI, Giovanni Battista. Born, 1498, Died 1563. An Italian writer, the son of a tailor.\nHe became the president of a literary Academy which he founded in Florence. His chief\nworks are 44 I Capricci del Bottaja \" and 44 La Circe \". &\n|L LASCA. (Antonio Francesco Grazzlni). Poet. Born 1503. Died 1583. He took the name\n\" II Lasca \", (The Roach) in 1539 when he founded the Accademia degii Umidi. In 1555\nhe founded the Accademia della Crusca. He was the author of Commedie, (1582), Cena, and\nSonnetti; (published after his death). &\njfy|A CCHIAVELL I, Niccolo di Bernardo dei. Born 1469. Died 1527. In addition to his\npolitical and historical work he was a dramatic author. The finest of his plays is the\n\"Mandragola\" which he wrote in 1504. Concerning this play J. A. Symonds wrote, 441t stands\nforth by itself, a sole inimitable monument of genius; peculiar and personal; accomplished\nby one single act of vigorous expression. \" And Macaulay estimated it as superior to the\nfinest works of Goldoni.\nDukes of. The Court of Mantua was hardly second even to that of Ferrara In\nthe magnificence of its theatrical productions, and its Dukes, the Gonzagas, were famous\nfor their liberality to actors and for the Companies of these which they organized and\nmaintained.\njfyjODENA, Gustavo. Actor and reformer of the Italian Theatre. Born, (Venice) 1803. Died,\n(Turin) 1861. The son of Giacomo Modena, an actor. In his youth he meddled in politics,\nand, putting the theatre to its wrong use, created a revolution in Bologna. For this he was\nexiled. He went abroad, visited England, and there recited Dante's 44 Dlvina Commedia \".\nOn his return to Italy he effected an entire revolution in the theatre, and founded a\nmodel company, but once more meddled in politics in 1848 and was condemned by the\nGrand=Ducal judges of Tuscany to work in the galleys for a term of twenty years. He managed,\nhowever, to escape and was welcomed by the Piedmontese. He then devoted himself entirely\nto the Theatre. Amongst the young actors whom he gathered round him were Salvini, Vestris,\nRossi and Sadoski.\ngALVIATI, Leonardo. Born (Florence) 1540. Died 1589. He studied under Varchi and acquired\nfame as an orator. He 46 Edited \" Boccaccio's Decamerone, taking audacious liberties with\nthe text. He was a violent opponent of Tasso. As well as poems and works 011 philosophy\nand diction he wrote two plays, 44 II Granchio \" and 44 La Spina\ngAND, Maurice. Son of George Sand. Born 1823, Died 1889. Author and Illustrator of 44Masques\net Bouffons \", (Paris, 1862 ;) a work giving some idea of the figures of the Commedia\ndelFArte. The illustrations, giving only his own idea of these figures of the Commedia,\ncaptivate everybody except those who know the original sources from which he drew them.\ngCALA, Flaminio, Actor and Stage Manager. The dates of his birth and death are unknown.\nHe was director of the company of 44 I Gelosi \" for some years. He published in 1611,\n(Venice) the first collection of 44 Scenarios \" consisting of fifty pieces,.... tragedies,\ncomedies and pastorals. The name of 44 Pulcinella \" is not to be found in any of these\nScenarios.\ny ARCHI, Benedetto. Born (Florence) 1502. Died there 1565. He was commissioned by the House\nof Medici to write the history of his times which he did, covering the period from 1527\nto 1538. Having studied Law and Philosophy in his youth he became a priest at the age\nof sixty two. His most important work is his History of Florence, but he also wrote\na play called 44 La Suocera\", an imitation of the 44 Ecira \" of Terence, as well as other\npoetical and philosophical works. &"}, {"page_pdf": 43, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.43", "debut_caractere": 3831, "fin_caractere_exclue": 3835, "texte": "J S."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c029", "article_bluemountain": "bmtnaau_1911-01_01#c029", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "129", "image_debut": 44, "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=bmtnaau191101-01.2.8", "titre_corps": "CARLO GOZZI AND HIS PLAYS : An Extract from the \"Manners and Customes of Italy\"", "titre_sommaire": "CARLO GOZZI AND HIS PLAYS : An Extract from the \"Manners and Customes of Italy\"", "signature_source": "Joseph Baretti", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 4109, "texte": "CARLO GOZZI AND HIS PLAYS: An\nExtract from the \"Manners and Customes\nof Italy\"\nby Joseph Baretti. 1768.\n\nt happened one day, that Carlo Gozzi met with Goldoni in a book-\nseller's shop. They exchanged sharp words ; and in the heat of the\naltercation Goldoni told his merciless critic, that it was an easy talk\nto find fault with a play; but desired him to observe, that to write\na play was a very difficult one. replied, that to find fault\n<■\nwith a play was really easy ; but that it was still easier to write\nsuch plays as would please so thoughtless a nation as the Venetians ;\nadding with a tone of contempt that he had a good mind to make\nall Venice run to see 44 The Tale of the Three Oranges \" formed\ninto a comedy.... Goldoni, with some of his partizans then in the\nshop, challenged Gozzi to do it if he could : and the critic, thus\npiqued, engaged to produce such a comedy within a few days, „<g> & &\n& Who could ever have thought that to this trifling and casual dispute Italy should owe\nthe greatest dramatic writer that it ever had ! Gozzi quickly wrote a comedy in five acts,\nintitled \" I tre Aranci, The three Oranges \", formed out of an old woman's tale, with which\n%\nthe Venetian children are much entertained by their nurses. The comedy was acted, and\nthe three beautiful princesses born of the three enchanted oranges made all Venice crowd\nto the theatre of St. Angelo.-\n4\nIt may easily be imagined, that Goldoni and Chiari were not spared in the \" Tre Aranci \".\nGozzi found means to introduce in it a good many of their theatrical absurdities, and\nexposed them to public derision. The Venetians, like all other Italians, do not greatly\ncare for the labour of searching after truth, and their imagination runs too often away\nwith them, while their judgement lies dormant. But point out sense to them, and they\nwill instantly seize it. This was remarkably the case on the first night that the comedy\nof the Three Oranges was acted. The fickle Venetians forgot instantly the loud accla-\nmations with which they had received the greatest part of Goldoni's and Chiari's plays,\nlaughed obstreperously at them both, and applauded the Three Oranges in a most frantic\nmanner.\nThis good success encouraged Gozzi to write more ; and his new plays changed in a\nlittle time so entirely the taste of the Venetian audiences, that in about two seasons Gol-\ndoni was utterly stripped of his theatrical honours, and poor Chiari totally anihilated.\nGoldoni quitted Italy and went to France, confiding much in Mr Voltaire's interest and\nrecommendations which, as I have heard, procured him the place of Italian master to one\nof the princesses at Versailles, and Chiari retired to a country-house in the neighbourhood\nof Brescia.^\nIn the years 1754 and 1755 I have seen acted in Venice ten or twelve of Gozzi's plays,\nand had even the perusal of one or two of them in manuscript; and no works of this kind\never pleased me so much: so that, when I saw Mr Garrick there, I lamented that he did\nnot come in carnival-time, that he might have seen some of them acted ; and I am con-\nfident he would have admired the originality of Gozzi's genius, the most wonderful, in my\nopinion, next Shakespeare, that ever any age or country produced. The cast of Gozzi's\nmind leads him to strike out many characters and beings not to be found in nature, like\nthat of Caliban in the Tempest; and yet most natural and true like Caliban's.\nTo his astonishing powers of Invention, so rare amongst modern poets, Gozzi joins\ngreat purity and force of language, harmony of versification, intricacy of plot, multiplicity\nof incidents, probability of catastrophe, variety of decoration, and many other excellencies\nexpected in the modern drama. It is a pity that this author could never be prevailed\nupon to publish his plays. He has resisted the strongest solicitation of his friends, without\ngiving any satisfactory reason for his aversion to such a publication. Some attribute it to\nhis partiality for an actress, to whom lie leaves the profits arising from their exhibition ;\n\nHis first comedy\nIts success.\nThe result.\nGozzi's genius."}, {"page_pdf": 47, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.47", "debut_caractere": 26, "fin_caractere_exclue": 2811, "texte": "but this I can scarcely believe, as her profits from such a publication would be much more\nconsiderable than those which she reaps by her acting*. I rather think that having no great,\nvalue for his audience, Gozzi sets likewise but little value on the things that; please them\nand perhaps it was a similar reason, that kept Shakespeare from publishing a correct and\ncomplete edition of his plays while he lived. May the good genius of the Italian stage\nbefriend Gozzi's compositions, and not suffer it to be robbed of them. I hope they will\nmeet with a better fate than Shakespeare's and that future commentators will not be put\nto the trouble of restoring his passages, rectifying his sentences, explaining his obscurities\nand adjusting his orthography.\n\nCARLO GOZZI ON IMPROVISED COMEDY.\ngn its native country the Commedia delPArte was long regarded as the special glory and\nthe unique product of Italian dramatic genius. Gozzi, though he wrote as its apologist\nonly expressed common opinion when he said : 441 reckon improvised comedy among the\n44 particular distinctions of our nation. I look upon it as quite a different species from the\n44 written and premeditated drama ; nor have I the shameless audacity to stigmatise with\n44 the title of an ignorant rabble those noble and cultivated persons whom I see with my\n44 own eyes following and enjoying a play of this description. I esteem the able comedians\n44 who sustain the mask, far higher than those improvisatory poets, who, without uttering\n44 anything to the purpose, excite astonishment in crowds of gaping listeners \".\n\nA SURVIVAL OF THE COMMEDIA.\nperhaps the performance we chanced to witness one autumn evening In a shed behind\nthe cathedral at Perugia was the last real representative of the Commedia delPArte.\nIt was only a company of rough wooden puppets, a couple of feet high, jerking in rectan-\ngular fashion and bobbing with rotatory movement for the amusement of the artisans and\napprentices of Perugia; and very humble, very shabby, and very much humiliated they all\nwere, this Harlequin in his checkered doublet, this Pantaloon in his red [hose and black\nDantesque cap, this swarthy Brighella in loose-girdled garb; but they were the last of a\nlong and mighty line. Their ancestors had amused men and women long before the brazen\ngriffin had first spread his porcupine wings on the front of the grim battlemonted town-\nhouse, long before Augustus had built his gate, perhaps even before the first Etruscan wall\nhad been planted upon the bleak steep of Perugia ; they were as venerable as anything in\nItaly, these poor little wooden mannikins, clacking their legs and bobbing their heads on\ntheir stage of planks, and we looked upon them with reverence.\n\nVernon Lee. Studies of the Eighteenth Century in Italy."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c029a", "article_bluemountain": "bmtnaau_1911-01_01#c029a", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "129", "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=bmtnaau191101-01.2.8.4", "titre_corps": "CARLO GOZZI ON IMPROVISED COMEDY", "titre_sommaire": "CARLO GOZZI ON IMPROVISED COMEDY", "signature_source": "Carlo Gozzi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.47", "debut_caractere": 782, "fin_caractere_exclue": 1608, "texte": "CARLO GOZZI ON IMPROVISED COMEDY.\ngn its native country the Commedia delPArte was long regarded as the special glory and\nthe unique product of Italian dramatic genius. Gozzi, though he wrote as its apologist\nonly expressed common opinion when he said : 441 reckon improvised comedy among the\n44 particular distinctions of our nation. I look upon it as quite a different species from the\n44 written and premeditated drama ; nor have I the shameless audacity to stigmatise with\n44 the title of an ignorant rabble those noble and cultivated persons whom I see with my\n44 own eyes following and enjoying a play of this description. I esteem the able comedians\n44 who sustain the mask, far higher than those improvisatory poets, who, without uttering\n44 anything to the purpose, excite astonishment in crowds of gaping listeners \"."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c029b", "article_bluemountain": "bmtnaau_1911-01_01#c029b", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "129", "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=bmtnaau191101-01.2.8.5", "titre_corps": "A SURVIVAL OF THE COMMEDIA.", "titre_sommaire": "A SURVIVAL OF THE COMMEDIA.", "signature_source": "Vernon Lee", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.47", "debut_caractere": 1610, "fin_caractere_exclue": 2754, "texte": "A SURVIVAL OF THE COMMEDIA.\nperhaps the performance we chanced to witness one autumn evening In a shed behind\nthe cathedral at Perugia was the last real representative of the Commedia delPArte.\nIt was only a company of rough wooden puppets, a couple of feet high, jerking in rectan-\ngular fashion and bobbing with rotatory movement for the amusement of the artisans and\napprentices of Perugia; and very humble, very shabby, and very much humiliated they all\nwere, this Harlequin in his checkered doublet, this Pantaloon in his red [hose and black\nDantesque cap, this swarthy Brighella in loose-girdled garb; but they were the last of a\nlong and mighty line. Their ancestors had amused men and women long before the brazen\ngriffin had first spread his porcupine wings on the front of the grim battlemonted town-\nhouse, long before Augustus had built his gate, perhaps even before the first Etruscan wall\nhad been planted upon the bleak steep of Perugia ; they were as venerable as anything in\nItaly, these poor little wooden mannikins, clacking their legs and bobbing their heads on\ntheir stage of planks, and we looked upon them with reverence."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c033", "article_bluemountain": "bmtnaau_1911-01_01#c033", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "130", "image_debut": 48, "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=bmtnaau191101-01.2.9", "titre_corps": "SYMBOLISM : Symbolism. A Systematic use of symbols. A Symbol. A visible sign of an idea. (Webster.)", "titre_sommaire": "SYMBOLISM : Symbolism. A Systematic use of symbols. A Symbol. A visible sign of an idea. (Webster.)", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 3489, "texte": "SYMBOLISM.\nSymbolism. A Systematic use of symbols.\nA Symbol. A visible sign of an idea. (Webster.)\nGordon Craig.\nymbolism is really quite proper; ... .it is sane, orderly and it is\nuniversally emploj^ed.... it cannot be called theatrical if by thea-\ntrical we mean something flashy, yet it is the very essence jo the\ntheatre if we are to include its art among the fine arts. X? xz\nX? Symbolism is nothing to be afraid 0f... it is delicacy itseif ; it is\nunderstood as easily by the ploughman or sailor as by kings and\nother men in high places. Some there are who are afraid of Symbolism\nbut It is difficult to discover why, and these persons sometimes grow\nvery indignant and insinuate that the reason why they dislike Symbolism is because there\nis something unhealthy and harmful about it. i( We live in a realistic age \" is the excuse\nthey put forward. But they cannot explain how it is that they make use of symbols to tell\nus this, nor how it is that all their lives they have made use of this same thing which they\nfind so xzxzxzxzzxzj&xzxzz\nxz For not only Is Symbolism at the roots of all art; it is at the roots of all life;\nit is only by means of symbols that life becomes possible for us. We employ them all the\ntime.\nx? The letters of the alphabet are symbols, used daily by sociable races. The numerals are\nsymbols and chemistry and mathematics employ them. All the coins of the world are\nsymbols and business men rely upon them. The crown and the sceptre of the kings and the\ntiara of the'popes are symbols. The works of Poets and Painters, of Architects and Sculptors\nare full of symbolism ; Chinese, Egyptian, Greek, Roman, and the modern artists since the\ntime of Constantino have understood and valued the symbol. Music only became intelligible\nthrough the employment of symbols and is symbolic in its essence. All forms of salutation\nand leavetaking are symbolic and employ symbols, and the last act of affection rendered to\nthe dead is to erect a symbol over them, xzz xzz xz xz x& xz\nX? I think there is no one who should quarrel with Symbolism.... nor fear it.\nJt is sometimes necessary to reassert the obvious. X? x? xz X?\nH. Beerbohm Tree- \"Henry VIII and his Court.'* pg, 198.\n[ have always tried not to belittle art for the satisfaction of an isolated personality. x&\nCorrespondance de 0. Flaubert, Sories 1. pg 128*\n'\"jphe habit of symbolic representation is one of the most primitive and persistent tenden-\ncies of human nature. It was present in the first efforts of language, and the highest\nflights of science are still entirely dependent on the development of it; while without the\ndevelopment of it in another direction there could have been no poetry... the primrose\nwould always have been but the yellow primrose: and even no courtesy of manners... every-\nbody would always have called a spade a spade. £? X? X? X? x?\nJ. A. Stewart. M. A. (Oxon) \" The Myths of Plato\".\nJ\nuse of symbols has a certain power of emancipation and exhilaration for all men.\nWe seem to be touched by a wand, which makes us dance and run about happily, like\nchildren. We are like persons who come out of a cave or cellar into the open air. x?\ni\nEmerson. Essay on \"The Poet\".\nJt is in and through Symbols that man, consciously or unconsciously, lives, works and has\nhis being: those ages, moreover, are accounted the noblest which can the best recognise\nsymbolical worth, and prize it highest, X? X? X? X* X? carivie.\n& Nothing to he\nafraid of* &\nAt the loots of\nall Art and T^ife"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c035", "article_bluemountain": "bmtnaau_1911-01_01#c035", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "140", "image_debut": 49, "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=bmtnaau191101-01.2.10", "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": 49, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 3987, "texte": "BOOK REVIEWS\n\nART AND LIFE by T. Sturge Moore. Methuen. 51=\nE. J. S.\nbook, and I would like very well\nto be able to write about it ; but then 1\nam unfortunately one of those people who\ncan only criticise that which they detest.\nAnything which attracts me disarms me. I\nshall keep Mr Sturge Moore's book by me\nand read it during the years, and it will no\ndoubt criticise me but I shall hold my tongue.\n1 shall not read it through;.... I seldom\ncan read a book of this kind straight through:\n1 would as soon look at a rosetree from the\nroots up. In all probability I shall throw the\nvolume to the end of my room some fine\nday when I feel superior, but there is no\ndoubt that when I come to my senses and\nfeel more superior I shall re-read it with a\nslightly troubled conscience and in a state\nof receptive repentance.\nIf it is my business to review all books\nit is my duty to remain silent before some\nof them. Who knows but that I may have\nsomething sensible to say about them after\nten or fifteen years. I drop the hint to my\nfriends that they may do the same. The silent\napproval will not advertise the sale of the\nbook any less than loud talk, and I am not\nblind to the importance of selling for I see\nthe importance of buying certain books.\nI often buy a book. As a reviewer I need\nnot do this, but the pleasure of having paid\nfor a well-written book is one of those wise\nexperiences no one need ever relinquish, JZ?\nA word or two about the externals in this\nbook will not disappoint you. It is well\nprinted, spaced and arranged admirably; the\nillustrations are taken from Blake's best works\nand there is a portrait of Flaubert which\nreminds one of Mr Arthur Symons. The book\nis covered becomingly in green cloth and gold\nornament and I think it will look fresh at the\nend of its twenty years' sojourn with\nThere is only one blemish to the book.\nThese publishers have a habit of ruining the\nappearance of the title page of their hand-\nsome books by a quite unnecessary vulgarity\nin the shape of an indiarubber stamp-mark\nin blue ink placed across the respected name\nof Methuen and Co to say that my copy is a\n\"Presentation Copy\".\n& Now, if I am denied the luxury of buying\na book I am only too glad to have a branded\npresentation copy, but I should so much like\nthe informing mark to give me [pleasure. I\nam a bit of an engraver, and know that\nsuch marks can be made quite delightful and\nI would like to show Messrs Methuen and\nCo the kind of stamp with which to brand\ntheir good books in the future so as to im-\nprove their appearance even if they decrease\ntheir second-hand value. & &\nMy copy of Mr Sturge Moore's work has\nits horrible blue mark no longer. I have co-\nvered it with my pen beneath a woven veil\nof Chinese ink. 1 wish I could do the same\nfor the other branded copies of this beautiful\nbook.\n\nTHE UPPER GARDEN by Robert de la\nCondamine. Methuen. 5j- & JV\nA pretty book. In it \"the author considers\n\" the two mental attitudes of man ...in the\n\"midst of unfettered nature and in the made\ngarden. In wild surroundings man can only\n\"feel himself to be a trivial part of the great\n\"whole which he understands so imperfect-\n\"ly, but in the formal environment of a\n\"garden he need no longer cope with this\n\"difficulty\".\nYet this formal garden, in which Mr Con-\ndamine moves like a still slightly unawakened\nstatue of a late-Victorian Dionysus, is a\nvery elaborate affair; is obviously much more\ncomplicated and of more difficult compre-\nhension than the vast wilderness which he\ntrembles to approach. Yet it is full of pleasant\nways,... many intricate a slightly\nwearisome place too, wherein, alas, sleep is\nimpossible,... for many reasons. And there is\nno well in it. I searched and found nothing\ndeeper than a little unnatural pond fringed\nwith artificial flowers, on which Narcissus,\nlying in everlasting attitude, invited his\nreflection to gaze upon him. JZ?\n& But then it is not everyone who knows\nhow to pose; it is not everyone who owns\na garden in which to do it. & &"}, {"page_pdf": 50, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 4454, "texte": "THE KILTARTAN MOLIERE. The Miset.\nThe Doctor in spite of himself; The Rogueries\nof Scapin; translated by Lady\nGregory. Maunsel and Co. Dublin. 316.\nP. N.\nhere is nothing in this volume to say\nwhether the public can expect any more\ntranslations besides the three just published\nbut we hope we are to have others. This\nfirst volume is admirably done and there is\na word or two at the end of the, volume by\nProfessor Gerothwohl; but, as usual, Moliere's\ncreators, the actors of the Italian improvised\ncomedy, get merely a nod of recognition.\nHow long are we to wait for the generous\nacknowledgement that in \" Scapin in \"Le\nMedecin malgre lui \", and many of his plays\nMoliere is merely acting as stenographer to\nthe comedians? Still, a nod is as good as a wink\nto a blind public, and after all, Molldre is\nMoliere. & & & &\n& The book is well printed excellent in format\nand so tastefully bound that the publisher\nwill not mind being told that the back of\nthe volume is too stiff and prevents an easy\nmanipulation of its leaves.\n\nTill') BZ,UT) BIRD by Maurice Maetei~\nlinck. Translated by A, Teixeira de Mattos.\nMe time n. IJ-\n|t is a pity this libretto has been published\nfor it is a piece written for the stage. The\nauthor cannot put forward the excuse Marston\nhas to offer in his preface to \" Fawne\n** The Blue Bird \" was evidently written for\nperformance on a stage although M. Maeter-\nlinck feels indifferent towards the theatre.\nWhat quarrel the two have is not known,\nbut it is generally supposed that the stage\nhas done M. Maeterlinck some grievous harm\nand that he is unable to forgive. This is a\npity, for M. Maeterlinck in his stage work\nis almost a Gozzi. The English stage owes\nM. Maeterlinck a good deal in that he has\nproved to the people in the theatre that the\n44 impossible \" in stage production is 44 very\neasily possible &\nThe London production of this fantasy\nwas about three years behind that of the\nfirst production which took place in Russia.\nAmerica then tremblingly began to consider\nif it should or should not dare to produce\nthe thing. At last it took the plunge. Now\nParis is preparing to present it.\n& There are plenty of better frameworks\nfor pantomime fairy pieces but few of them\nhave such carefully mapped-out details writ-\nten down for the producer to follow. These\nwould he a stumbling block in the way of a\nproducer of imagination, but the modern\nmanipulator looks on them as a blessing and\nevidently they make his distasteful work easy.\n\nWAGNER AT HOME by Judith Gautiei,\nTranslated by E. D. Massic. Mills and\nBoon. Eondon. ioj6 net.\nW hat mean you by a Poem ? \" asks Ben\nJonson ; and himself replies, 44 A poem is\nnot alone any work, or composition of the poets\nin many or few verses; but even one alone\nverse sometimes makes a perfect poem. As\nwhen /Eneas hangs up and consecrates the\narms of Abas with this inscription: 44\nhoec de Danais vlctoribus arma \" and calls\nit a poem or carmen, Such are those in\nMartial:\n\" Omnia, Castor, emis:\nsic fiet, ut omnia vendas \".\n44 And there are some poems \" adds Vil=\nliers de l'lsle Adam 4<which should have but a\nsingle stanza: this one for example: \"Le lourde\ncle du reve a ma ceinture sonne \". Isn't that\ncomplete enough? Isn't that magnificent?\nWhat could one add to that?\" Ben Jonson and\nVilliers,.. poets with more than two centuries\nto separate them, join issue. It is encouraging.\nBut it is rather disheartening for some people\nto find Rare Ben in agreement with a French\nsymbolist.\nJudith Gautier was a fortunate girl. She\nspent days. ... months.... with Villiers and\ncharms us all now by a delightful sketch of\nhim, putting, as a background to the artist\nVilliers; the celebrated Wagner.\nThe book is cailed 44 Wagner at Home \"\non purpose. Wagner at work would have\nbeen too violent a background for a sketch of\nVilliers. Purposely she shows up the light\nagainst the shadow, the intelligence of genius\nagainst the systematic and the ponderous.\nNothing more subtle has been done for a\nlong time. &\nAnd yet there are people who still believe\nthat a poem must be something more than\na line of six words. Wagner would have surely\nthought so. There are even people who think\na Drama must contain more than ten words.\nThey would call it 44 I'art nouveau \" if you\ntook them to see such a drama. Symbolism\nseems to frighten these peopie to death;\nbeauty paralyses them and sense confounds\ntiiem. It is to put such people in their place\nthat I have quoted Ben Jonson's short note"}, {"page_pdf": 51, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 4248, "texte": "about the Poem. For who am I that I should\nteach my elders that Symbolism is not what\nthey suppose it to be, nor all beauty of the\nbrand 44 Fart nouveau \" ? & jg?\n\nLIFE OF SIR HENRY IRVING by\nAustin Bieieton. Longmans'. Two Vols\nBrereton's book is very good. The\nstory as related by the facts, dates and\nfigures in the book Is a very remarkable one.\nIt is frankly the story of a manager, not of\nan actor, for how can you tell the story of\nan actor keeping solely to facts and relating\nthem in prose ? To do a great actor justice\na poet must sing. This book is written by an\nenthusiastic admirer. jgr\nThere were, and still are, a certain number\nof admirers of Irving;... at a rough guess\none might venture a low estimate of five\nhundred thousand enthusiasts. I think these\nfive hundred thousand ought to have a chance\nto read a good book about Irving's career,\nand it is to be hoped that Mr Brereton and\nhis publishers will soon see their way to\nissuing a Life of Irving at a shilling or even\nless. jgr\n\nTHE REPERTORY THEATRE. An Appreciation\nand a Criticism. by P. P.\nHowe. 216 net\nS.\njfyjr. Howe has written a good book on the\nidea of the Repertory Theatre in gene-\nral and of the few Repertory Theatres which\nrepresent Great Britain. If only they\nsented it better Mr Howe would have had a\nbetter story to jg?\n& He succeeds best when he writes about\nthe Abbey Theatre, Dublin, which at any rate\nrepresents Ireland. But no English Repertory\nTheatre can be considered very seriously\nwhich does not include in its programme at\nleast fifty per cent of the Shakespearean\nplays.\nWhen London gives the Shakespeare drama\na fresh lease of life by inviting Mr Gordon\nCraig, the only one Englishman capable of\ngiving it fresh life, to develop his ideas be-\nfore us in a theatre of his 0wn,... only then\nshall we be able to know how splendid is\nthe drama we already possess and what pos-\nsibilities it holds as our only school for fu-\nture dramatists.\nAs it is, our latest school of dramatists...\nShaw, Barker, Galsworthy and the others, has\nbeen produced by foreign suggestion. These\nplaywrights are of the school of Ibsen, and\nalthough that is a splendid school for Scan-\ndinavia it is a foolish school for England\nwhen our dramatists could, if they were a\nlittle less frightened, study from those far\ngreater English dramatists, the Elizabethans.\nI like Mr Howe's book very much in-\ndeed. Especially do I like his enthusiasm for\nMr Shaw and Mr Barker. But does he not\ndo his friends some injustice when he pro-\nnounces boldly that \" Every art is a trade, and\nevery artist, unless he be himself a trades-\nman, must sell himself to a tradesman \"? jg/\nThis seems unfair because incorrefct.\nTradesmen have proved it to be incorrect.\nArt is, and always has been, a luxury. Is it\nany the worse for that ? jg? jg>\nBut there is another passage that I like\nvery much. Mr Howe writes; 44 Mr Shaw ne-\nver was a realist, and he grows less of a\nrealist with every play he writes \"... That\nis good news indeed \\\nThe book is excellently printed, very well\nbound. That being so it is a pity that the\ntitle page is branded by an ugly scar which\nthe publisher himself has set upon it as\nthough it were a book for a convict library.\nThis scar is purple and says,44 With the Pub-\nlisher's compliments\". It makes one feel as\nif the book had been used as a boot and\nthrown to one through the office window.\n\nTHE MYSTERY OF HA MEET PRINCE\nOF DENMARK by Robert Russell Bene-\ndiet. Eipincott. jgr jg?\nTHE CLASSICAL ELEMENT IN\nSHAKESPEARE'S PRAYS by Wm.\nTheobald. R. Banks and Son. London. jg?\nSHAKESPEARE STUDIES IN BACO-\nNIAN. LIGHT by R. M. Theobald. M.\nA. 49. Miclieldevet Rd. Lee, Kent. 7j- &\nBACON IS SHAKESPEARE by Sir Ed-\nwin Durning-La-wrence Bt. Gay and Han-\ncock. & &\nTWENTY-FOUR YEARS OF AN\nACTOR'S LIFE by Seymour Hicks. Alston\nRivers. 2j6 net. jg? & jg? jg?\nj[y|r Robert Russell Benedict in his book upon\n44 Hamlet \" creates a mystery where none\nexists. £/\nTo make the mystery more profound for\nMr Benedict, Mr Robert Theobald and Mr Wil-\nliam Theobald have each written a book to\nprove that Shakespeare himself is a myth,...\nthat is to say, a greater mystery even than\n44 Hamletjgr jg?\njgr Sir Edwin Durning-Lawrence however\nclears the whole matter up for all by com-"}, {"page_pdf": 52, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 4497, "texte": "posing a book in which the mystery becomes\nclear; \"Bacon is Shakespeare \"is the name\nof the b00k,... and there really doesn't seem\nany reason why he shouldn't be Shakespeare.\nWhen one comes to review all these books\none turns from them with pleasure and is\nforced to admit that \" Twenty Years of an\nActor's Life \" is a very capital book indeed.\n\nHENRY VIII AND HIS COURT by Sit\nH. Beerbohm Tree. Cassell and Co, 11 =\nE. E.\ngir Herbert Beerbohm Tree is unncessarily\nanxious,.... an anxiety bred of enthusiasm,\nabout the \"lines\" on which the National\nTheatre is to be run. He dreads lest it be\n\" run on symbolic lines As he very rightly\nsays in the Apology to his charming booklet\non Henry VIII, \" No 'ism' ever made a great\ncause \".\n& He is thinking of symbolism, and we\nagree with him, thinking of all the 'isms',...\nespecially realism, and more especially com-\nmercialism.\nHe goes on to say that the National\nTheatre will be preserved solely by its ar=\ntists. He cannot, (for reasons), state what is\nin his mind so clearly as he might like to.\nHis theatre faces the Haymarket Theatre.\nOne guesses he means that Mr Trench and\nall such amateurs (we use the word in its\nmost excellent sense), should be guarded\nagainst and that the \"pros\" are all right. We\nagree with him entirely. The Professional,\nraw and brutal as it often becomes, is better\nthan the Amateurish. The Amateur is a real\ndanger. Besides, he is always so behind the\ntimes. The Professional may not be up to\ndate and is seldom in advance of his time\nbut he is the best man to call on when you\nare forming the staff of a National Theatre...\nProvided you don't put amateurs above him\nin the shape of a select committee of time\nwasters. &•\nAs Director for the National Theatre there\nis only one man possible and that is Sir\nHerbert Tree. He lias not come to the po-\nsition of Director of His Majesty's by chance,\nnor, to humour a whim, has he been placed\nthere by any group. Hard work brought him\nthere; not exactly the hard work of a\nminer, but the kind of hard work a Home\nSecretary is allowed to indulge in. We never\nsaw one at work, but one understands that\nas a class they are not exactly idle.\nQuestions of Art are altogether secondary\nwhen you are selecting your Director for a\nNational Theatre. & £? &\n<£? Whistler tells us that \" Art happens \"\nand cannot be either coaxed or intimidated.\nA clever director of a National Theatre is a\nman who allows art to happen therein by\ninviting artists to co-operate with him, and\nby allowing them, as Cicero says, to do their\ndamndest. In short, to misquote Sir Herbert\nby one word, \" to graciously permit others\nto be great is a sign of greatness in a.... di-\nrector \". jg? jg?\nAs for the symbolist, realist, commercial\nlist or plagiarist, what does it matter ? Du-\nmas the plagiarist, Tschekov the realist,\nGarrick the commercialist, Giotto the sym-\nbolist would surely all find a hearty welcome\nfrom any National Theatre manager fortu-\nnate enough to secure their good services.\nBut this must not be forgotten : The dif-\nficulty of such a position is to know how\nto unite all these contending forces, and\nonly a man no longer taking an active part in\nthe work on the stage could possibly achieve\nthis, for he must be purged of all sense\nof personal likes or dislikes, ideals or fads\n(and even great men show faddishness when\nin harness) and must desire only that which\nis vital for his theatre. All that is best, no-\nthing that is merely popular. Surely a dif-\nficult task, but surely also an ideal oppor-\ntunity. & &\n\nTHE RUINS OF MEXICO by Constantino\nGeoige Richards. If. E» Shidmpton. Eon*\ndon. Two Vols. Two Guineas net,& z?\nQnly one volume of this delightful work\nhas as yet appeared, &\nThe author avoids theory. He states a\nfew facts about the works of these amazing\nraces which lived, loved, and created works\nof art in Mexico;., these races which we call\n\" Astecs \" as though they were but one in-\nstead of many... and to these few facts he adds\ntwo hundred and sixty of the best photo-\ngraphs we have seen for a long time.\nHow many books of how many words have\nbeen written upon this thrilling story of the\nearliest known civilization of America, how\nmany people have read all these books; how\nfew have been warmed by the story! But\nlook at these pictures of the mighty works\nof these forgotten races, and they come to\nlife again and excitement follows.\nHow Egyptian much of their work looks;\nhow religious is their sense of time, what a\ntriumph over death are these monuments"}, {"page_pdf": 53, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 4456, "texte": "left by their love.\nIf Mr Rickards has found the way to ap-\npeal to us who know so little of all there\nwonders his book will appeal far more to\nstudents of this subject. & &\nThe work seems to have been produced\nwithout any thought of expense and with\nmuch expenditure of care and taste. Mr H.\nE. Shrimpton is to be congratulated upon\nhaving produced an enchanting and imposing\nvolume upon an absorbing subject at a very\nlow\n\nEOPE DE VEGA AND HIS TIMES by\nHugo Albert Rennert. Ph. D. The Hispa-\nnic Society of America. New York.\nbut thanks can be tendered to M;\nRennert for his admirable book on a sub-\nject about which so little is known in Eng-\nland. These books on the Theatre are of\ncourse not written for the public and are\nreally made for nothing but the love of ma-\nking them. Still, there are a few who can\nclaim to value them highly; we mean that\nsmall group of students and artists who are\nambitious for the Theatre. We count our-\nselves among this number, and recognise how\ngreat a debt we of the Theatre owe to men\nlike Mr Rennert who clear the paths for us.\n\nOUR STAGE AND ITS CRITICS by 44F.\nF. Methuen. sj- net. & &\nputure historians oi the theatre must re-\nmember that what this writer has to say\nis not unimportant. For E. F. S. Is not the\nusual type of London critic but something\nbetter: tolerant, if anything over-cautious\nto be tolerant, writing for the pleasure of\npassing his well-balanced judgement.\nAmong the many miscellaneous subjects\ntreated of in this volume the author devotes\nthree chapters to the qualifications, duties\nand responsabilities of the Dramatic Critic\nwhich are of interest as showing the conclu-\nsions come to by one who in his own dis-\ncharge of that office has ever shown himseif\nboth conscientious and kindly. &\nOne finds, however, some ingenuousness\nin the discussion of the relative values of\nthe work of Actor and Playwright.... notably\nin the chapters on the Sicilian Players and\nMadame Yvette Guilbert.\nThe writer admits in regard to the Sici-\nlians that with 44 a printed 'argument' com-\nprised in 44 about a couple of hundred words \"\nthey achieved 44 a triumph of pure acting \"\nand yet goes on to say that our players 44 can\nlearn comparatively little from them \". And\nagain, in discussing Yvette Gullbert's words:\nin the 44 Figaro \", 44 The true comedian\n44 can do without the dramatic author. He\n44 easily utilzed his own comic and tragic\n\"gifts, as is witnessed in Shakespeare, Moliere,\n44 and a hundred others'.... There have al-\n-44 ways been, since the beginning of the ages,\n44 mimics and improvisators who did without\n44 the text of others\"', he writes. 44 Possibly\n44 this is true, but it does not follow that there\n44 are many players who could hold an au=\n44 dience by their mimicry or improvisation. \"\n& No; there doubtless are not today, but\nthere were thousands yesterday and there\nmay be thousands again tomorrow. And E.\nF. S.'s statement that \"not a few of the\ngreatest actors and actresses might starve\nif they had to rely upon their own ideas \"\nis rather an indictment of the present con-\nditions than an argument against the prin-\nciple of Improvisation. A scientific farmer\nmight starve if deprived of all his machinery\nand metal implements, but that is no argu-\nment against the system of the Tuscan pea-\nsant who, independent of mechanical aids\ncultivates his land with tools which he\nhimself has shaped from limbs of trees. &\nTherefore the independent actor or artist\nwhoever he may be, will not starve either\nnot for long. Independent ? rather should\none say dependent. Is it a paradox ? No: he\nis dependent upon the older and wiser tra-\ndition, not on this modern parody of the\nword.\n\nA STUDY OF THE DRAMA by Brandei\nMatthews. Eongmans, Green and Co. Lon«\ndon. 3j6 net. & & &\nprofessor Brander Matthews is so earnest\na student that one wishes he would de-\nvote himself to more useful work. &\nThis new book of his shows considerable\nlearning, but as the author is a theorist\nand not a practitioner in the study of the\nDrama, it would be well for him to realise\nhis limitations and devote himself to the ex-\ntremely valuable work waiting to be done\nand well within his power... the finding and\nverifying of facts.\n& As it is his new book only proves him to\nhave been a good reader, to have learned\nthe theory of it all. But then who wants that\nrepeated ? an echo only confuses the travel-\nler who follows a difficult road among the\nrocks and the echo is in this case a peculiarly"}, {"page_pdf": 54, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4320, "texte": "evasive one for the book is far too full of\nsuch phrases as 44 probably \" 44 most likely \",\n44 in all probability \" and this vague infor-\nmation is wholly valueless, (1) <£? &\nIf Professor Brander Matthews would\nstrip his book down to the bare facts and\ndates regarding which he has irrefutable\nproof, those facts, though they filled but five\npages, would be of more value than the three\nhundreed which make up the present\nvolume.\nSuch a book of facts is Mr E. K. Chambers's\n44 Mediaeval Stage \". It is a treasure heap of\ngolden grains, and when each grain is in its\npiace we have an ingot of pure gold. &\nProfessor Brander Matthews's error is\nthat he wishes to elaborate and ornament\nhis contribution, to enfold and encumber\nhis few valuable facts in a mass of theory\nand supposition; whereas, the only service\nwhich the literary man can do the man of\nthe theatre is to supply him with facts and\nleave him to decide to what use to put them,\nwhat to deduce from or shape with\nthem.\n& If a man has a passion for building houses\nall he asks is bricks, sufficient bricks,\nwell baked, well shaped, by means of which\nto materialise his idea. He does not want\nhis bricks laid out for him in effective de-\nvices ; he certainly does not want each brick\nwrapped in cotton wool and tissue paper and\ntied with a pink ribbon. No; he wants plain\nbricks, plainly stacked, ready to his hand;\nhe will do the rest. In like manner the cook\nwhose pride is in his omelettes wants eggs\nin plenty but he does not want those who\nsearch for them to lose time on the way\nback in painting pictures on the shells, for\npainted shells, however charming in them-\nvelves, are of no assistance in the making\nof an omelette. & & &\n& If Professor Brander Matthews will\nbring his stores of bricks, the eggs which\nhe knows so well where to find in the nests\nof antiquity, to the door of the theatre and\nleave them at Easter at the disposal of the\nmen within, he will ever be a welcome vi-\nsiter.... and more, he will have done a real\nservice to the art In which he is evidently\nsincerely interested. But so long as he stops\nto colour his eggs with the brush of his\nfancy and to pack his bricks in the deceptive\nwrappings of his theories he is only wasting\nhis own time.... and ours.\n\nTHE THEORY OF THE THEATRE by\nClayton Hamilton. Henry Holt and Co.\nNew York, Geo Bell. Kingsway, Jondon.\n|r Clayton Hamilton's is another lifeless\nbook, it has no more nourishment for\nthe serious student of the theatre than has\nthe rubber 44 comforter \" for the hungry ba«\nloy, who through it, demanding milk, sucks\nin only air. &\nThe author selects as title,... a little ar-\nrogantly.... 44 The Theory of the Theatre\"\nwheneas it is at best only 44 A theory\" ad-\nvanced by one who is not a practitioner and\nwhose opinion is therefore of little weight.\nThe fact that Mr Hamilton is a gentleman\nof intelligence and culture and advances his\ntheories pleasantly and plausibly goes for\nnothing unless he has also some practical\nknowledge.\nNo: the only way in which the literary\nman without practical experience can make\nhimself useful to the theatre is as has been\naid above, by searching out and verifying\nfacts: (2) a name here, a date there, fixed and\ncorroborated beyond further shadow of doubt.\nLet him bring his ingrediants to the door\nof the theatre, making no suggestion as to\nthe use to which they should be put and\nleave the masters of the ceremonies to pre-\npare the banquet. &\n<£? When all is ready they will not forget to\noffer him in return a seat at the table. &\n(i. & 2.) Reasons and opinions concerning\nacts are not history; acts themselves alone\nare history. &\nTell me the Acts, O historian, and leave\nme to reason upon them as I please; away\nwith your reansoning and your rubbish! Ali\nthat is not worth reading. Tell me the What;\nI do not want you to tell me the Why, and\nthe How; 1 can find that out myself, as well\nas you can, and I will not be fooled by you\ninto opinions, that you please to impose, to\ndisbelieve what you think improbable or im-\npossible. Wm. Blake.\n\nI,1 ART THEATRAE MODERNE by\nJacques Rouche. Comely et Cie. Paris.\nPrs 500. & &\nM. Rouchg has written a clever book on\na difficult subject. The modern Theatre\nis a theme fit only for a satirist. With what\npathos would a Voltaire praise the efforts\nof the new theatre Tn Germany, with what"}, {"page_pdf": 55, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4434, "texte": "ironlc devilry would he not attack Stanislaw-\nsky and Craig for their patience and their\ndetermination! how he would shatter the\nidealism of Appia in three words, and For-\ntuny's invention in one. g? g? gr\ng? Yet these are the schools and men whom\nM. Rouch£ selects to do justice to, and that\nhe performs his difficult task so well is mi-\nraculous. S2 g? g? g* g?\ngr lie has nothing to say about the English\nstage but a whole chapter is devoted to the\nwork of Mr Gordon Craig. g? g?\ng? He places a Russian design of a scene in\n44 The Blue Bird \" in juxtaposition to the\nsame scene as produced in England, and\ndraws attention to 44 the exceptional artistic\nquality \" of the Russian. g/ g/\nIndeed, the book is full of good illustra-\ntions and these help M. Rouchd in his self-\nimposed task. Looking at them we see much\nto admire, and much less to censure than\none would suppose. There is much promise\nof reform in many of them, and some ac-\ncomplishment of reform of the scenic art.,\nbut then that is not the Theatre, and to re-\nform the Theatre means that we must reform\nit altogether. & &\ng? But M. Rouche does a kindness to the\npublic in making known to it the preliminary\nsteps which have already been taken towards\nreforming the stage of Europe (he has only\na few words to say about his own country),\nand the examples of work to which he draws\nattention represent well enough to a certain\nextent those preliminaries. & g?\nIt is a book an English edition of which one\nwould strongly recommend some London pub-\nlishers to consider, for it is attractive in\nitself, and would in any case be a revelation\nto the English Theatre of what is actually\ngoing on abroad. g? g? g? g?\n\nTHE ERA SHAKESPEARE. “MACBETH”. T. C. and E. C. Jack. 8d.\nC.\npocket edition well bound in\ncheerful red. The notes in the volume are\ngood, but Dr Hudson does not think much\nof Coleridge,... perhaps the most illuminating\nof all commentators. & gr\ng? Thus, concerning that puzzling yet tre-\nmendous creation, The Porter, with his\n44 Knock, knock, knock! \" Dr Hudson writes,\n44 Coleridge and several others think this\n44 part of the scene could not have been\n44 written by Shakespeare. My thinking is\n44 decidedly different, etc \"• gr g?\n& Coleridge Is obviously right. This stupen-\ndous thing which enters with the Porter and\nwhich drew from De Quincy such a noble\nessay, is nothing less than the entry of another\nworld. The words are obviously improvised ~..\na comedian wants to make the folk laugh.\nWhat comedian ? .... One of the family of\n44 Improvisatori. \" He it is who tells the stage\nmanager he wants a continual knocking to\nbe kept up, ....44 leave the rest to me \".\nShakespeare is full of such passages. jg?\nj£? Wise men were those publishers, (friends of\nShakespeare) to leave in all such improvisation\nwhen they printed his plays Lucky\nShakespeare ! jg? &\nAnd what of the actor who helped in this\ncollaboration, and who has received no share\nin the universal praise ? ... Well, I daresay\nhe is only too glad to have been of any\nservice, and waits for his reward until the\nday when Improvisation shall once more\nelectrify the world.g? &\n\nTHE BREAD of t,IPE» Antonia Williams.\nWerner Jaurie. & & sgr\nthree plays in this book strengthen\nthe reputation for direct and simple li-\nterary style and forceful characterization\nwhich the author won with her earlier work\n\" Three New Plays \". Indeed, the plays are\nso good to read that we hope Mrs Williams\nwill not spoil them by bringing them out of\ntheir right sphere in the library into the\nwrong sphere of the stage. g? &\n\nEOUIS XIV AND MADAME de MAIN-\nTENON by Charlotte Eady Blennerhasset.\nGeo. Allen and Sons. 15\\-net. g? g?\nBlennerhassett has done her work in\na conscientious but somewhat colourless\nmanner, and one reads the book with re-\nspect for the care which has gone to compile\nIt rather than with enjoyment of what it\ncontains. g? g? g? g? g?\ng/ Perhaps Madame de Maintenon's was not\nan easy life to render attractive to Twentieth\ncentury readers. Still, now that the pendulum\nhas swung so far in the other direction and\nthe rights of women are so keenly advocated,\nit is perhaps worth while to read and con-\nsider the life of a woman whose energies\nwere so entirely devoted to the interests of\nothers. *£? g? g?\ng/ For as Lady Blennerhassett writes in con-\nclusion : 44 Her methods have become obso-\n-44 lete; the spirit which inspired them is as\n44 lasting as truth itself. Her message to wo-"}, {"page_pdf": 56, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4236, "texte": "44 manhood is the stern call to duty, to quiet,\n44 unrelenting, self-sacrificing work in the\n44 service of God and of mankind \".... A lit-\ntle old-fashioned, perhaps, but an ideal not\nentirely unworthy of consideration, and one\nventures to suggest that many of the women\nof today might read the book with conside-\nrable benefit to themselves.\nThe volume contains twenty full page il-\nlustrations and is excellently printed and\nbound. <£?\n\nTHE GLASS MLNDLR by Mauiice Baring.\nNisbet:\npairy tales are the only tales really worth\nreading, and I shall probably re-read 44 The\nGlass Mender \" over and over again. It\nmakes me feel that everything is right and\nthat whatever one believes happens.\n44 Blue eyes, Blue eyes, come back to me,\n44 Over the hills and over the sea\n& I have read Rossetti and d'Annunzio, but\nreally I prefer Maurice Baring.\nI think I am right in supposing that the\npictures in colour are also a present from\nthe author. How far more beautiful they are\nthan anything Rossetti painted ! Altogether\nan enchanting book. Parisians should see it...\nWhy Parisians I am not quite sure, but they-\nare supposed to know something about art in\nParis,... and I think they know nothing about\nLove.\nFairy Tales are full of Love, and Mr\nBaring's tales and pictures are made up of it.\n\n44 WISDOM OF THE LAST \" SLRILS.\nThe Sayings of Lao Tzu.\nThe Persian Mystics. JZ?\nThe Master Singers of Japan.\nJohn Murray IJ** each. /z? &\n| ao Tzu is always charming. That he founded\nTaoism in 500 B. C. is appalling. One ought\nnot to be told these things. It makes the\nsternest philosopher tremble, and to teli It\nto 44 The Public \" which only knows how to\ndestroy foundations as waves destroy the\nbase of a cliff,... to tell it to them seems\nlike asking for more. *€?\n& Lao Tzu says somewhere 44 If people of\n44 inferior intelligence hear of the Tao, they\n44 laugh immoderately. It would not be the\n44 Tao unless they laughed at it. \" So it is\nbest not to repeat here what the Tao is. But\ncertainly the English politicians might try\nTao on the British Public, for the first\nEmperor of the later Chin dynasty asked if\nTao was of any use in government and CSiawg\nCh' ien-mung told him that 44 with Tao a\ncorpse could govern an Empire\n& Yet would it work In England ? for Lao\nTzu distinctly says 44 Requite injury with\nkindness \", and, 44 To the not-good I would\nbe good in order to make them good \"; and\nwould England's Chief Justices be able to\nmake head or tail of that ? 44 Judge not that\nye be not judged \" says Christ... But I am\nforgetting, and confounding religions..\nAll these little books issued by Mr Murray\nare valuable, but too cheap. Profound things\nshould be very expensive or cost nothing.\nfi The truest sayings are paradoxical\" says\nLao Tzu &\nIt is not more difficult, one supposes, to\ntranslate the Japanese poems than the Per-\nsian. Hearne and Fitzgerald have shown how\nit was to be done ; and Mr Davis certainly\nsucceeds with his 44 Persian Mystics \" far\nbetter than Miss Walsh with her \"Japanese\nMaster-singers.\" 4P &\nThese translations of hers do not strike\nus as at all happy. Lafcadio Hearne knew so\nwell that one must not employ hackneyed\nfigures of poetic speech to convey the sound-\npicture-movement poems of these masters.\n\" Thy myriad hills \", \" the circling gulls \",\n44 When hand in hand we two did wend\nAdown the paths of Life our way \", are samples\nof Miss Walsh's style. &\nNo, no ; this will not do to express the\nart of Japan.\n\" 813. \" A new Arsene Lupin Adventure\nby Maurice Leblanc. Mills and Boon. 31-\n|n order to hint at all this book contains\nwithout giving a word of it away one\nmust refer you to the word 44 Ambush \" on\npage 158 of Roget's 44 Thesaurus £*\nAmbush; means of concealment; hiding-\nplace ; secret-drawer ; recess, hole, holes and\ncorners, closet, crypt, adytum, abditory, ou-\nbliette. J?\nAm-bush,- buscade ; stalking horse ; lur-\nking-hole, -place; secret path, back-stairs;\nretreat etc. (refuge). &\n& Screen, cover, shade, blinker; veil, cur-\ntain, blind, cloak, cloud. Mask, visor, vizor,\ndisguise, masquerade dress, domino. &\nPitfall, etc. (source of danger), trap, etc.\n(snare). &\nV. iie in ambush, etc. (hide oneself), lie\nin wait for: set a trap for, etc. (deceive).\nThere you have the book."}, {"page_pdf": 57, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 10, "texte": "MAGAZINES."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c037", "article_bluemountain": "bmtnaau_1911-01_01#c037", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 49, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.2", "titre_corps": "ART AND LIFE by T. Sturge Moore", "titre_sommaire": "ART AND LIFE by T. Sturge Moore", "signature_source": "E. J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.49", "debut_caractere": 14, "fin_caractere_exclue": 2810, "texte": "ART AND LIFE by T. Sturge Moore. Methuen. 51=\nE. J. S.\nbook, and I would like very well\nto be able to write about it ; but then 1\nam unfortunately one of those people who\ncan only criticise that which they detest.\nAnything which attracts me disarms me. I\nshall keep Mr Sturge Moore's book by me\nand read it during the years, and it will no\ndoubt criticise me but I shall hold my tongue.\n1 shall not read it through;.... I seldom\ncan read a book of this kind straight through:\n1 would as soon look at a rosetree from the\nroots up. In all probability I shall throw the\nvolume to the end of my room some fine\nday when I feel superior, but there is no\ndoubt that when I come to my senses and\nfeel more superior I shall re-read it with a\nslightly troubled conscience and in a state\nof receptive repentance.\nIf it is my business to review all books\nit is my duty to remain silent before some\nof them. Who knows but that I may have\nsomething sensible to say about them after\nten or fifteen years. I drop the hint to my\nfriends that they may do the same. The silent\napproval will not advertise the sale of the\nbook any less than loud talk, and I am not\nblind to the importance of selling for I see\nthe importance of buying certain books.\nI often buy a book. As a reviewer I need\nnot do this, but the pleasure of having paid\nfor a well-written book is one of those wise\nexperiences no one need ever relinquish, JZ?\nA word or two about the externals in this\nbook will not disappoint you. It is well\nprinted, spaced and arranged admirably; the\nillustrations are taken from Blake's best works\nand there is a portrait of Flaubert which\nreminds one of Mr Arthur Symons. The book\nis covered becomingly in green cloth and gold\nornament and I think it will look fresh at the\nend of its twenty years' sojourn with\nThere is only one blemish to the book.\nThese publishers have a habit of ruining the\nappearance of the title page of their hand-\nsome books by a quite unnecessary vulgarity\nin the shape of an indiarubber stamp-mark\nin blue ink placed across the respected name\nof Methuen and Co to say that my copy is a\n\"Presentation Copy\".\n& Now, if I am denied the luxury of buying\na book I am only too glad to have a branded\npresentation copy, but I should so much like\nthe informing mark to give me [pleasure. I\nam a bit of an engraver, and know that\nsuch marks can be made quite delightful and\nI would like to show Messrs Methuen and\nCo the kind of stamp with which to brand\ntheir good books in the future so as to im-\nprove their appearance even if they decrease\ntheir second-hand value. & &\nMy copy of Mr Sturge Moore's work has\nits horrible blue mark no longer. I have co-\nvered it with my pen beneath a woven veil\nof Chinese ink. 1 wish I could do the same\nfor the other branded copies of this beautiful\nbook."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c038", "article_bluemountain": "bmtnaau_1911-01_01#c038", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 49, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.3", "titre_corps": "THE UPPER GARDEN by Robert de la Condamine", "titre_sommaire": "THE UPPER GARDEN by Robert de la Condamine", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.49", "debut_caractere": 2812, "fin_caractere_exclue": 3987, "texte": "THE UPPER GARDEN by Robert de la\nCondamine. Methuen. 5j- & JV\nA pretty book. In it \"the author considers\n\" the two mental attitudes of man ...in the\n\"midst of unfettered nature and in the made\ngarden. In wild surroundings man can only\n\"feel himself to be a trivial part of the great\n\"whole which he understands so imperfect-\n\"ly, but in the formal environment of a\n\"garden he need no longer cope with this\n\"difficulty\".\nYet this formal garden, in which Mr Con-\ndamine moves like a still slightly unawakened\nstatue of a late-Victorian Dionysus, is a\nvery elaborate affair; is obviously much more\ncomplicated and of more difficult compre-\nhension than the vast wilderness which he\ntrembles to approach. Yet it is full of pleasant\nways,... many intricate a slightly\nwearisome place too, wherein, alas, sleep is\nimpossible,... for many reasons. And there is\nno well in it. I searched and found nothing\ndeeper than a little unnatural pond fringed\nwith artificial flowers, on which Narcissus,\nlying in everlasting attitude, invited his\nreflection to gaze upon him. JZ?\n& But then it is not everyone who knows\nhow to pose; it is not everyone who owns\na garden in which to do it. & &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c039", "article_bluemountain": "bmtnaau_1911-01_01#c039", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 50, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.4", "titre_corps": "THE KILTARTAN MOLIERE. The Miset. The Doctor in spite of himself; The Rogueries of Scapin; translated by Lady Gregory", "titre_sommaire": "THE KILTARTAN MOLIERE. The Miset. The Doctor in spite of himself; The Rogueries of Scapin; translated by Lady Gregory", "signature_source": "P. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 1023, "texte": "THE KILTARTAN MOLIERE. The Miset.\nThe Doctor in spite of himself; The Rogueries\nof Scapin; translated by Lady\nGregory. Maunsel and Co. Dublin. 316.\nP. N.\nhere is nothing in this volume to say\nwhether the public can expect any more\ntranslations besides the three just published\nbut we hope we are to have others. This\nfirst volume is admirably done and there is\na word or two at the end of the, volume by\nProfessor Gerothwohl; but, as usual, Moliere's\ncreators, the actors of the Italian improvised\ncomedy, get merely a nod of recognition.\nHow long are we to wait for the generous\nacknowledgement that in \" Scapin in \"Le\nMedecin malgre lui \", and many of his plays\nMoliere is merely acting as stenographer to\nthe comedians? Still, a nod is as good as a wink\nto a blind public, and after all, Molldre is\nMoliere. & & & &\n& The book is well printed excellent in format\nand so tastefully bound that the publisher\nwill not mind being told that the back of\nthe volume is too stiff and prevents an easy\nmanipulation of its leaves."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c040", "article_bluemountain": "bmtnaau_1911-01_01#c040", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 50, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.5", "titre_corps": "THE BLUE BIRD by Maurice Maeterlinck", "titre_sommaire": "THE BLUE BIRD by Maurice Maeterlinck", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.50", "debut_caractere": 1025, "fin_caractere_exclue": 2469, "texte": "Till') BZ,UT) BIRD by Maurice Maetei~\nlinck. Translated by A, Teixeira de Mattos.\nMe time n. IJ-\n|t is a pity this libretto has been published\nfor it is a piece written for the stage. The\nauthor cannot put forward the excuse Marston\nhas to offer in his preface to \" Fawne\n** The Blue Bird \" was evidently written for\nperformance on a stage although M. Maeter-\nlinck feels indifferent towards the theatre.\nWhat quarrel the two have is not known,\nbut it is generally supposed that the stage\nhas done M. Maeterlinck some grievous harm\nand that he is unable to forgive. This is a\npity, for M. Maeterlinck in his stage work\nis almost a Gozzi. The English stage owes\nM. Maeterlinck a good deal in that he has\nproved to the people in the theatre that the\n44 impossible \" in stage production is 44 very\neasily possible &\nThe London production of this fantasy\nwas about three years behind that of the\nfirst production which took place in Russia.\nAmerica then tremblingly began to consider\nif it should or should not dare to produce\nthe thing. At last it took the plunge. Now\nParis is preparing to present it.\n& There are plenty of better frameworks\nfor pantomime fairy pieces but few of them\nhave such carefully mapped-out details writ-\nten down for the producer to follow. These\nwould he a stumbling block in the way of a\nproducer of imagination, but the modern\nmanipulator looks on them as a blessing and\nevidently they make his distasteful work easy."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c041", "article_bluemountain": "bmtnaau_1911-01_01#c041", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "133", "image_debut": 50, "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=bmtnaau191101-01.2.10.6", "titre_corps": "WAGNER AT HOME by Judith Gautier", "titre_sommaire": "WAGNER AT HOME by Judith Gautier", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.50", "debut_caractere": 2471, "fin_caractere_exclue": 4454, "texte": "WAGNER AT HOME by Judith Gautiei,\nTranslated by E. D. Massic. Mills and\nBoon. Eondon. ioj6 net.\nW hat mean you by a Poem ? \" asks Ben\nJonson ; and himself replies, 44 A poem is\nnot alone any work, or composition of the poets\nin many or few verses; but even one alone\nverse sometimes makes a perfect poem. As\nwhen /Eneas hangs up and consecrates the\narms of Abas with this inscription: 44\nhoec de Danais vlctoribus arma \" and calls\nit a poem or carmen, Such are those in\nMartial:\n\" Omnia, Castor, emis:\nsic fiet, ut omnia vendas \".\n44 And there are some poems \" adds Vil=\nliers de l'lsle Adam 4<which should have but a\nsingle stanza: this one for example: \"Le lourde\ncle du reve a ma ceinture sonne \". Isn't that\ncomplete enough? Isn't that magnificent?\nWhat could one add to that?\" Ben Jonson and\nVilliers,.. poets with more than two centuries\nto separate them, join issue. It is encouraging.\nBut it is rather disheartening for some people\nto find Rare Ben in agreement with a French\nsymbolist.\nJudith Gautier was a fortunate girl. She\nspent days. ... months.... with Villiers and\ncharms us all now by a delightful sketch of\nhim, putting, as a background to the artist\nVilliers; the celebrated Wagner.\nThe book is cailed 44 Wagner at Home \"\non purpose. Wagner at work would have\nbeen too violent a background for a sketch of\nVilliers. Purposely she shows up the light\nagainst the shadow, the intelligence of genius\nagainst the systematic and the ponderous.\nNothing more subtle has been done for a\nlong time. &\nAnd yet there are people who still believe\nthat a poem must be something more than\na line of six words. Wagner would have surely\nthought so. There are even people who think\na Drama must contain more than ten words.\nThey would call it 44 I'art nouveau \" if you\ntook them to see such a drama. Symbolism\nseems to frighten these peopie to death;\nbeauty paralyses them and sense confounds\ntiiem. It is to put such people in their place\nthat I have quoted Ben Jonson's short note"}, {"page_pdf": 51, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 162, "texte": "about the Poem. For who am I that I should\nteach my elders that Symbolism is not what\nthey suppose it to be, nor all beauty of the\nbrand 44 Fart nouveau \" ? & jg?"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c042", "article_bluemountain": "bmtnaau_1911-01_01#c042", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "133", "page_fin": "133", "image_debut": 51, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.7", "titre_corps": "LIFE OF SIR HENRY IRVING by Austin Brereton", "titre_sommaire": "LIFE OF SIR HENRY IRVING by Austin Brereton", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.51", "debut_caractere": 164, "fin_caractere_exclue": 1001, "texte": "LIFE OF SIR HENRY IRVING by\nAustin Bieieton. Longmans'. Two Vols\nBrereton's book is very good. The\nstory as related by the facts, dates and\nfigures in the book Is a very remarkable one.\nIt is frankly the story of a manager, not of\nan actor, for how can you tell the story of\nan actor keeping solely to facts and relating\nthem in prose ? To do a great actor justice\na poet must sing. This book is written by an\nenthusiastic admirer. jgr\nThere were, and still are, a certain number\nof admirers of Irving;... at a rough guess\none might venture a low estimate of five\nhundred thousand enthusiasts. I think these\nfive hundred thousand ought to have a chance\nto read a good book about Irving's career,\nand it is to be hoped that Mr Brereton and\nhis publishers will soon see their way to\nissuing a Life of Irving at a shilling or even\nless. jgr"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c043", "article_bluemountain": "bmtnaau_1911-01_01#c043", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "133", "page_fin": "133", "image_debut": 51, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.8", "titre_corps": "THE REPERTORY THEATRE. An Appreciation and a Criticism. by P. P. Howe", "titre_sommaire": "THE REPERTORY THEATRE. An Appreciation and a Criticism. by P. P. Howe", "signature_source": "S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.51", "debut_caractere": 1003, "fin_caractere_exclue": 3376, "texte": "THE REPERTORY THEATRE. An Appreciation\nand a Criticism. by P. P.\nHowe. 216 net\nS.\njfyjr. Howe has written a good book on the\nidea of the Repertory Theatre in gene-\nral and of the few Repertory Theatres which\nrepresent Great Britain. If only they\nsented it better Mr Howe would have had a\nbetter story to jg?\n& He succeeds best when he writes about\nthe Abbey Theatre, Dublin, which at any rate\nrepresents Ireland. But no English Repertory\nTheatre can be considered very seriously\nwhich does not include in its programme at\nleast fifty per cent of the Shakespearean\nplays.\nWhen London gives the Shakespeare drama\na fresh lease of life by inviting Mr Gordon\nCraig, the only one Englishman capable of\ngiving it fresh life, to develop his ideas be-\nfore us in a theatre of his 0wn,... only then\nshall we be able to know how splendid is\nthe drama we already possess and what pos-\nsibilities it holds as our only school for fu-\nture dramatists.\nAs it is, our latest school of dramatists...\nShaw, Barker, Galsworthy and the others, has\nbeen produced by foreign suggestion. These\nplaywrights are of the school of Ibsen, and\nalthough that is a splendid school for Scan-\ndinavia it is a foolish school for England\nwhen our dramatists could, if they were a\nlittle less frightened, study from those far\ngreater English dramatists, the Elizabethans.\nI like Mr Howe's book very much in-\ndeed. Especially do I like his enthusiasm for\nMr Shaw and Mr Barker. But does he not\ndo his friends some injustice when he pro-\nnounces boldly that \" Every art is a trade, and\nevery artist, unless he be himself a trades-\nman, must sell himself to a tradesman \"? jg/\nThis seems unfair because incorrefct.\nTradesmen have proved it to be incorrect.\nArt is, and always has been, a luxury. Is it\nany the worse for that ? jg? jg>\nBut there is another passage that I like\nvery much. Mr Howe writes; 44 Mr Shaw ne-\nver was a realist, and he grows less of a\nrealist with every play he writes \"... That\nis good news indeed \\\nThe book is excellently printed, very well\nbound. That being so it is a pity that the\ntitle page is branded by an ugly scar which\nthe publisher himself has set upon it as\nthough it were a book for a convict library.\nThis scar is purple and says,44 With the Pub-\nlisher's compliments\". It makes one feel as\nif the book had been used as a boot and\nthrown to one through the office window."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c044", "article_bluemountain": "bmtnaau_1911-01_01#c044", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "133", "page_fin": "134", "image_debut": 51, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.9", "titre_corps": "THE MYSTERY OF HAMLET PRINCE OF DENMARK by Robert Russell BenedictTHE CLASSICAL ELEMENT IN SHAKESPEARE'S PLAYS by Wm. TheobaldSHAKESPEARE STUDIES IN BACONIAN LIGHT by R. M. TheobaldBACON IS SHAKESPEARE by Sir Edwin Durning-LawrenceTWENTY-FOUR YEARS OF AN ACTOR'S LIFE by Seymour Hicks", "titre_sommaire": "THE MYSTERY OF HAMLET PRINCE OF DENMARK by Robert Russell BenedictTHE CLASSICAL ELEMENT IN SHAKESPEARE'S PLAYS by Wm. TheobaldSHAKESPEARE STUDIES IN BACONIAN LIGHT by R. M. TheobaldBACON IS SHAKESPEARE by Sir Edwin Durning-LawrenceTWENTY-FOUR YEARS OF AN ACTOR'S LIFE by Seymour Hicks", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.51", "debut_caractere": 3378, "fin_caractere_exclue": 4248, "texte": "THE MYSTERY OF HA MEET PRINCE\nOF DENMARK by Robert Russell Bene-\ndiet. Eipincott. jgr jg?\nTHE CLASSICAL ELEMENT IN\nSHAKESPEARE'S PRAYS by Wm.\nTheobald. R. Banks and Son. London. jg?\nSHAKESPEARE STUDIES IN BACO-\nNIAN. LIGHT by R. M. Theobald. M.\nA. 49. Miclieldevet Rd. Lee, Kent. 7j- &\nBACON IS SHAKESPEARE by Sir Ed-\nwin Durning-La-wrence Bt. Gay and Han-\ncock. & &\nTWENTY-FOUR YEARS OF AN\nACTOR'S LIFE by Seymour Hicks. Alston\nRivers. 2j6 net. jg? & jg? jg?\nj[y|r Robert Russell Benedict in his book upon\n44 Hamlet \" creates a mystery where none\nexists. £/\nTo make the mystery more profound for\nMr Benedict, Mr Robert Theobald and Mr Wil-\nliam Theobald have each written a book to\nprove that Shakespeare himself is a myth,...\nthat is to say, a greater mystery even than\n44 Hamletjgr jg?\njgr Sir Edwin Durning-Lawrence however\nclears the whole matter up for all by com-"}, {"page_pdf": 52, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 344, "texte": "posing a book in which the mystery becomes\nclear; \"Bacon is Shakespeare \"is the name\nof the b00k,... and there really doesn't seem\nany reason why he shouldn't be Shakespeare.\nWhen one comes to review all these books\none turns from them with pleasure and is\nforced to admit that \" Twenty Years of an\nActor's Life \" is a very capital book indeed."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c045", "article_bluemountain": "bmtnaau_1911-01_01#c045", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "image_debut": 52, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.10", "titre_corps": "HENRY VIII AND HIS COURT by Sit H. Beerbohm Tree", "titre_sommaire": "HENRY VIII AND HIS COURT by Sit H. Beerbohm Tree", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.52", "debut_caractere": 346, "fin_caractere_exclue": 3528, "texte": "HENRY VIII AND HIS COURT by Sit\nH. Beerbohm Tree. Cassell and Co, 11 =\nE. E.\ngir Herbert Beerbohm Tree is unncessarily\nanxious,.... an anxiety bred of enthusiasm,\nabout the \"lines\" on which the National\nTheatre is to be run. He dreads lest it be\n\" run on symbolic lines As he very rightly\nsays in the Apology to his charming booklet\non Henry VIII, \" No 'ism' ever made a great\ncause \".\n& He is thinking of symbolism, and we\nagree with him, thinking of all the 'isms',...\nespecially realism, and more especially com-\nmercialism.\nHe goes on to say that the National\nTheatre will be preserved solely by its ar=\ntists. He cannot, (for reasons), state what is\nin his mind so clearly as he might like to.\nHis theatre faces the Haymarket Theatre.\nOne guesses he means that Mr Trench and\nall such amateurs (we use the word in its\nmost excellent sense), should be guarded\nagainst and that the \"pros\" are all right. We\nagree with him entirely. The Professional,\nraw and brutal as it often becomes, is better\nthan the Amateurish. The Amateur is a real\ndanger. Besides, he is always so behind the\ntimes. The Professional may not be up to\ndate and is seldom in advance of his time\nbut he is the best man to call on when you\nare forming the staff of a National Theatre...\nProvided you don't put amateurs above him\nin the shape of a select committee of time\nwasters. &•\nAs Director for the National Theatre there\nis only one man possible and that is Sir\nHerbert Tree. He lias not come to the po-\nsition of Director of His Majesty's by chance,\nnor, to humour a whim, has he been placed\nthere by any group. Hard work brought him\nthere; not exactly the hard work of a\nminer, but the kind of hard work a Home\nSecretary is allowed to indulge in. We never\nsaw one at work, but one understands that\nas a class they are not exactly idle.\nQuestions of Art are altogether secondary\nwhen you are selecting your Director for a\nNational Theatre. & £? &\n<£? Whistler tells us that \" Art happens \"\nand cannot be either coaxed or intimidated.\nA clever director of a National Theatre is a\nman who allows art to happen therein by\ninviting artists to co-operate with him, and\nby allowing them, as Cicero says, to do their\ndamndest. In short, to misquote Sir Herbert\nby one word, \" to graciously permit others\nto be great is a sign of greatness in a.... di-\nrector \". jg? jg?\nAs for the symbolist, realist, commercial\nlist or plagiarist, what does it matter ? Du-\nmas the plagiarist, Tschekov the realist,\nGarrick the commercialist, Giotto the sym-\nbolist would surely all find a hearty welcome\nfrom any National Theatre manager fortu-\nnate enough to secure their good services.\nBut this must not be forgotten : The dif-\nficulty of such a position is to know how\nto unite all these contending forces, and\nonly a man no longer taking an active part in\nthe work on the stage could possibly achieve\nthis, for he must be purged of all sense\nof personal likes or dislikes, ideals or fads\n(and even great men show faddishness when\nin harness) and must desire only that which\nis vital for his theatre. All that is best, no-\nthing that is merely popular. Surely a dif-\nficult task, but surely also an ideal oppor-\ntunity. & &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c046", "article_bluemountain": "bmtnaau_1911-01_01#c046", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "135", "image_debut": 52, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.11", "titre_corps": "THE RUINS OF MEXICO by Constantine George", "titre_sommaire": "THE RUINS OF MEXICO by Constantine George", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.52", "debut_caractere": 3530, "fin_caractere_exclue": 4497, "texte": "THE RUINS OF MEXICO by Constantino\nGeoige Richards. If. E» Shidmpton. Eon*\ndon. Two Vols. Two Guineas net,& z?\nQnly one volume of this delightful work\nhas as yet appeared, &\nThe author avoids theory. He states a\nfew facts about the works of these amazing\nraces which lived, loved, and created works\nof art in Mexico;., these races which we call\n\" Astecs \" as though they were but one in-\nstead of many... and to these few facts he adds\ntwo hundred and sixty of the best photo-\ngraphs we have seen for a long time.\nHow many books of how many words have\nbeen written upon this thrilling story of the\nearliest known civilization of America, how\nmany people have read all these books; how\nfew have been warmed by the story! But\nlook at these pictures of the mighty works\nof these forgotten races, and they come to\nlife again and excitement follows.\nHow Egyptian much of their work looks;\nhow religious is their sense of time, what a\ntriumph over death are these monuments"}, {"page_pdf": 53, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 423, "texte": "left by their love.\nIf Mr Rickards has found the way to ap-\npeal to us who know so little of all there\nwonders his book will appeal far more to\nstudents of this subject. & &\nThe work seems to have been produced\nwithout any thought of expense and with\nmuch expenditure of care and taste. Mr H.\nE. Shrimpton is to be congratulated upon\nhaving produced an enchanting and imposing\nvolume upon an absorbing subject at a very\nlow"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c047", "article_bluemountain": "bmtnaau_1911-01_01#c047", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.12", "titre_corps": "LOPE DE VEGA AND HIS TIMES by Hugo Albert Rennert", "titre_sommaire": "LOPE DE VEGA AND HIS TIMES by Hugo Albert Rennert", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.53", "debut_caractere": 425, "fin_caractere_exclue": 1069, "texte": "EOPE DE VEGA AND HIS TIMES by\nHugo Albert Rennert. Ph. D. The Hispa-\nnic Society of America. New York.\nbut thanks can be tendered to M;\nRennert for his admirable book on a sub-\nject about which so little is known in Eng-\nland. These books on the Theatre are of\ncourse not written for the public and are\nreally made for nothing but the love of ma-\nking them. Still, there are a few who can\nclaim to value them highly; we mean that\nsmall group of students and artists who are\nambitious for the Theatre. We count our-\nselves among this number, and recognise how\ngreat a debt we of the Theatre owe to men\nlike Mr Rennert who clear the paths for us."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c048", "article_bluemountain": "bmtnaau_1911-01_01#c048", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.13", "titre_corps": "OUR STAGE AND ITS CRITICS by \"E. F. S\"", "titre_sommaire": "OUR STAGE AND ITS CRITICS by \"E. F. S\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.53", "debut_caractere": 1071, "fin_caractere_exclue": 3662, "texte": "OUR STAGE AND ITS CRITICS by 44F.\nF. Methuen. sj- net. & &\nputure historians oi the theatre must re-\nmember that what this writer has to say\nis not unimportant. For E. F. S. Is not the\nusual type of London critic but something\nbetter: tolerant, if anything over-cautious\nto be tolerant, writing for the pleasure of\npassing his well-balanced judgement.\nAmong the many miscellaneous subjects\ntreated of in this volume the author devotes\nthree chapters to the qualifications, duties\nand responsabilities of the Dramatic Critic\nwhich are of interest as showing the conclu-\nsions come to by one who in his own dis-\ncharge of that office has ever shown himseif\nboth conscientious and kindly. &\nOne finds, however, some ingenuousness\nin the discussion of the relative values of\nthe work of Actor and Playwright.... notably\nin the chapters on the Sicilian Players and\nMadame Yvette Guilbert.\nThe writer admits in regard to the Sici-\nlians that with 44 a printed 'argument' com-\nprised in 44 about a couple of hundred words \"\nthey achieved 44 a triumph of pure acting \"\nand yet goes on to say that our players 44 can\nlearn comparatively little from them \". And\nagain, in discussing Yvette Gullbert's words:\nin the 44 Figaro \", 44 The true comedian\n44 can do without the dramatic author. He\n44 easily utilzed his own comic and tragic\n\"gifts, as is witnessed in Shakespeare, Moliere,\n44 and a hundred others'.... There have al-\n-44 ways been, since the beginning of the ages,\n44 mimics and improvisators who did without\n44 the text of others\"', he writes. 44 Possibly\n44 this is true, but it does not follow that there\n44 are many players who could hold an au=\n44 dience by their mimicry or improvisation. \"\n& No; there doubtless are not today, but\nthere were thousands yesterday and there\nmay be thousands again tomorrow. And E.\nF. S.'s statement that \"not a few of the\ngreatest actors and actresses might starve\nif they had to rely upon their own ideas \"\nis rather an indictment of the present con-\nditions than an argument against the prin-\nciple of Improvisation. A scientific farmer\nmight starve if deprived of all his machinery\nand metal implements, but that is no argu-\nment against the system of the Tuscan pea-\nsant who, independent of mechanical aids\ncultivates his land with tools which he\nhimself has shaped from limbs of trees. &\nTherefore the independent actor or artist\nwhoever he may be, will not starve either\nnot for long. Independent ? rather should\none say dependent. Is it a paradox ? No: he\nis dependent upon the older and wiser tra-\ndition, not on this modern parody of the\nword."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c049", "article_bluemountain": "bmtnaau_1911-01_01#c049", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "136", "image_debut": 53, "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=bmtnaau191101-01.2.10.14", "titre_corps": "A STUDY OF THE DRAMA by Branden Matthews", "titre_sommaire": "A STUDY OF THE DRAMA by Branden Matthews", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.53", "debut_caractere": 3664, "fin_caractere_exclue": 4456, "texte": "A STUDY OF THE DRAMA by Brandei\nMatthews. Eongmans, Green and Co. Lon«\ndon. 3j6 net. & & &\nprofessor Brander Matthews is so earnest\na student that one wishes he would de-\nvote himself to more useful work. &\nThis new book of his shows considerable\nlearning, but as the author is a theorist\nand not a practitioner in the study of the\nDrama, it would be well for him to realise\nhis limitations and devote himself to the ex-\ntremely valuable work waiting to be done\nand well within his power... the finding and\nverifying of facts.\n& As it is his new book only proves him to\nhave been a good reader, to have learned\nthe theory of it all. But then who wants that\nrepeated ? an echo only confuses the travel-\nler who follows a difficult road among the\nrocks and the echo is in this case a peculiarly"}, {"page_pdf": 54, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 2246, "texte": "evasive one for the book is far too full of\nsuch phrases as 44 probably \" 44 most likely \",\n44 in all probability \" and this vague infor-\nmation is wholly valueless, (1) <£? &\nIf Professor Brander Matthews would\nstrip his book down to the bare facts and\ndates regarding which he has irrefutable\nproof, those facts, though they filled but five\npages, would be of more value than the three\nhundreed which make up the present\nvolume.\nSuch a book of facts is Mr E. K. Chambers's\n44 Mediaeval Stage \". It is a treasure heap of\ngolden grains, and when each grain is in its\npiace we have an ingot of pure gold. &\nProfessor Brander Matthews's error is\nthat he wishes to elaborate and ornament\nhis contribution, to enfold and encumber\nhis few valuable facts in a mass of theory\nand supposition; whereas, the only service\nwhich the literary man can do the man of\nthe theatre is to supply him with facts and\nleave him to decide to what use to put them,\nwhat to deduce from or shape with\nthem.\n& If a man has a passion for building houses\nall he asks is bricks, sufficient bricks,\nwell baked, well shaped, by means of which\nto materialise his idea. He does not want\nhis bricks laid out for him in effective de-\nvices ; he certainly does not want each brick\nwrapped in cotton wool and tissue paper and\ntied with a pink ribbon. No; he wants plain\nbricks, plainly stacked, ready to his hand;\nhe will do the rest. In like manner the cook\nwhose pride is in his omelettes wants eggs\nin plenty but he does not want those who\nsearch for them to lose time on the way\nback in painting pictures on the shells, for\npainted shells, however charming in them-\nvelves, are of no assistance in the making\nof an omelette. & & &\n& If Professor Brander Matthews will\nbring his stores of bricks, the eggs which\nhe knows so well where to find in the nests\nof antiquity, to the door of the theatre and\nleave them at Easter at the disposal of the\nmen within, he will ever be a welcome vi-\nsiter.... and more, he will have done a real\nservice to the art In which he is evidently\nsincerely interested. But so long as he stops\nto colour his eggs with the brush of his\nfancy and to pack his bricks in the deceptive\nwrappings of his theories he is only wasting\nhis own time.... and ours."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c050", "article_bluemountain": "bmtnaau_1911-01_01#c050", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "136", "image_debut": 54, "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=bmtnaau191101-01.2.10.15", "titre_corps": "THE THEORY OF THE THEATRE by Clayton Hamilton", "titre_sommaire": "THE THEORY OF THE THEATRE by Clayton Hamilton", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.54", "debut_caractere": 2248, "fin_caractere_exclue": 4031, "texte": "THE THEORY OF THE THEATRE by\nClayton Hamilton. Henry Holt and Co.\nNew York, Geo Bell. Kingsway, Jondon.\n|r Clayton Hamilton's is another lifeless\nbook, it has no more nourishment for\nthe serious student of the theatre than has\nthe rubber 44 comforter \" for the hungry ba«\nloy, who through it, demanding milk, sucks\nin only air. &\nThe author selects as title,... a little ar-\nrogantly.... 44 The Theory of the Theatre\"\nwheneas it is at best only 44 A theory\" ad-\nvanced by one who is not a practitioner and\nwhose opinion is therefore of little weight.\nThe fact that Mr Hamilton is a gentleman\nof intelligence and culture and advances his\ntheories pleasantly and plausibly goes for\nnothing unless he has also some practical\nknowledge.\nNo: the only way in which the literary\nman without practical experience can make\nhimself useful to the theatre is as has been\naid above, by searching out and verifying\nfacts: (2) a name here, a date there, fixed and\ncorroborated beyond further shadow of doubt.\nLet him bring his ingrediants to the door\nof the theatre, making no suggestion as to\nthe use to which they should be put and\nleave the masters of the ceremonies to pre-\npare the banquet. &\n<£? When all is ready they will not forget to\noffer him in return a seat at the table. &\n(i. & 2.) Reasons and opinions concerning\nacts are not history; acts themselves alone\nare history. &\nTell me the Acts, O historian, and leave\nme to reason upon them as I please; away\nwith your reansoning and your rubbish! Ali\nthat is not worth reading. Tell me the What;\nI do not want you to tell me the Why, and\nthe How; 1 can find that out myself, as well\nas you can, and I will not be fooled by you\ninto opinions, that you please to impose, to\ndisbelieve what you think improbable or im-\npossible. Wm. Blake."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c051", "article_bluemountain": "bmtnaau_1911-01_01#c051", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "137", "image_debut": 54, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.16", "titre_corps": "L'ART THEATRAE MODERNE by by Jacques Rouché", "titre_sommaire": "L'ART THEATRAE MODERNE by by Jacques Rouché", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.54", "debut_caractere": 4033, "fin_caractere_exclue": 4320, "texte": "I,1 ART THEATRAE MODERNE by\nJacques Rouche. Comely et Cie. Paris.\nPrs 500. & &\nM. Rouchg has written a clever book on\na difficult subject. The modern Theatre\nis a theme fit only for a satirist. With what\npathos would a Voltaire praise the efforts\nof the new theatre Tn Germany, with what"}, {"page_pdf": 55, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 1674, "texte": "ironlc devilry would he not attack Stanislaw-\nsky and Craig for their patience and their\ndetermination! how he would shatter the\nidealism of Appia in three words, and For-\ntuny's invention in one. g? g? gr\ng? Yet these are the schools and men whom\nM. Rouch£ selects to do justice to, and that\nhe performs his difficult task so well is mi-\nraculous. S2 g? g? g* g?\ngr lie has nothing to say about the English\nstage but a whole chapter is devoted to the\nwork of Mr Gordon Craig. g? g?\ng? He places a Russian design of a scene in\n44 The Blue Bird \" in juxtaposition to the\nsame scene as produced in England, and\ndraws attention to 44 the exceptional artistic\nquality \" of the Russian. g/ g/\nIndeed, the book is full of good illustra-\ntions and these help M. Rouchd in his self-\nimposed task. Looking at them we see much\nto admire, and much less to censure than\none would suppose. There is much promise\nof reform in many of them, and some ac-\ncomplishment of reform of the scenic art.,\nbut then that is not the Theatre, and to re-\nform the Theatre means that we must reform\nit altogether. & &\ng? But M. Rouche does a kindness to the\npublic in making known to it the preliminary\nsteps which have already been taken towards\nreforming the stage of Europe (he has only\na few words to say about his own country),\nand the examples of work to which he draws\nattention represent well enough to a certain\nextent those preliminaries. & g?\nIt is a book an English edition of which one\nwould strongly recommend some London pub-\nlishers to consider, for it is attractive in\nitself, and would in any case be a revelation\nto the English Theatre of what is actually\ngoing on abroad. g? g? g? g?"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c052", "article_bluemountain": "bmtnaau_1911-01_01#c052", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "137", "image_debut": 55, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.17", "titre_corps": "THE ERA SHAKESPEARE. “MACBETH”", "titre_sommaire": "THE ERA SHAKESPEARE. “MACBETH”", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.55", "debut_caractere": 1676, "fin_caractere_exclue": 3120, "texte": "THE ERA SHAKESPEARE. “MACBETH”. T. C. and E. C. Jack. 8d.\nC.\npocket edition well bound in\ncheerful red. The notes in the volume are\ngood, but Dr Hudson does not think much\nof Coleridge,... perhaps the most illuminating\nof all commentators. & gr\ng? Thus, concerning that puzzling yet tre-\nmendous creation, The Porter, with his\n44 Knock, knock, knock! \" Dr Hudson writes,\n44 Coleridge and several others think this\n44 part of the scene could not have been\n44 written by Shakespeare. My thinking is\n44 decidedly different, etc \"• gr g?\n& Coleridge Is obviously right. This stupen-\ndous thing which enters with the Porter and\nwhich drew from De Quincy such a noble\nessay, is nothing less than the entry of another\nworld. The words are obviously improvised ~..\na comedian wants to make the folk laugh.\nWhat comedian ? .... One of the family of\n44 Improvisatori. \" He it is who tells the stage\nmanager he wants a continual knocking to\nbe kept up, ....44 leave the rest to me \".\nShakespeare is full of such passages. jg?\nj£? Wise men were those publishers, (friends of\nShakespeare) to leave in all such improvisation\nwhen they printed his plays Lucky\nShakespeare ! jg? &\nAnd what of the actor who helped in this\ncollaboration, and who has received no share\nin the universal praise ? ... Well, I daresay\nhe is only too glad to have been of any\nservice, and waits for his reward until the\nday when Improvisation shall once more\nelectrify the world.g? &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c053", "article_bluemountain": "bmtnaau_1911-01_01#c053", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "137", "image_debut": 55, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.10.18", "titre_corps": "THE BREAD of LIFE Antonia Williams", "titre_sommaire": "THE BREAD of LIFE Antonia Williams", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.55", "debut_caractere": 3122, "fin_caractere_exclue": 3549, "texte": "THE BREAD of t,IPE» Antonia Williams.\nWerner Jaurie. & & sgr\nthree plays in this book strengthen\nthe reputation for direct and simple li-\nterary style and forceful characterization\nwhich the author won with her earlier work\n\" Three New Plays \". Indeed, the plays are\nso good to read that we hope Mrs Williams\nwill not spoil them by bringing them out of\ntheir right sphere in the library into the\nwrong sphere of the stage. g? &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c054", "article_bluemountain": "bmtnaau_1911-01_01#c054", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "138", "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=bmtnaau191101-01.2.10.19", "titre_corps": "LOUIS XIV AND MADAME de MAINTENON by Charlotte Lady Blennerhasset", "titre_sommaire": "LOUIS XIV AND MADAME de MAINTENON by Charlotte Lady Blennerhasset", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.55", "debut_caractere": 3551, "fin_caractere_exclue": 4434, "texte": "EOUIS XIV AND MADAME de MAIN-\nTENON by Charlotte Eady Blennerhasset.\nGeo. Allen and Sons. 15\\-net. g? g?\nBlennerhassett has done her work in\na conscientious but somewhat colourless\nmanner, and one reads the book with re-\nspect for the care which has gone to compile\nIt rather than with enjoyment of what it\ncontains. g? g? g? g? g?\ng/ Perhaps Madame de Maintenon's was not\nan easy life to render attractive to Twentieth\ncentury readers. Still, now that the pendulum\nhas swung so far in the other direction and\nthe rights of women are so keenly advocated,\nit is perhaps worth while to read and con-\nsider the life of a woman whose energies\nwere so entirely devoted to the interests of\nothers. *£? g? g?\ng/ For as Lady Blennerhassett writes in con-\nclusion : 44 Her methods have become obso-\n-44 lete; the spirit which inspired them is as\n44 lasting as truth itself. Her message to wo-"}, {"page_pdf": 56, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 437, "texte": "44 manhood is the stern call to duty, to quiet,\n44 unrelenting, self-sacrificing work in the\n44 service of God and of mankind \".... A lit-\ntle old-fashioned, perhaps, but an ideal not\nentirely unworthy of consideration, and one\nventures to suggest that many of the women\nof today might read the book with conside-\nrable benefit to themselves.\nThe volume contains twenty full page il-\nlustrations and is excellently printed and\nbound. <£?"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c055", "article_bluemountain": "bmtnaau_1911-01_01#c055", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "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=bmtnaau191101-01.2.10.20", "titre_corps": "THE GLASS MENDER by Maurice Baring", "titre_sommaire": "THE GLASS MENDER by Maurice Baring", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.56", "debut_caractere": 439, "fin_caractere_exclue": 1285, "texte": "THE GLASS MLNDLR by Mauiice Baring.\nNisbet:\npairy tales are the only tales really worth\nreading, and I shall probably re-read 44 The\nGlass Mender \" over and over again. It\nmakes me feel that everything is right and\nthat whatever one believes happens.\n44 Blue eyes, Blue eyes, come back to me,\n44 Over the hills and over the sea\n& I have read Rossetti and d'Annunzio, but\nreally I prefer Maurice Baring.\nI think I am right in supposing that the\npictures in colour are also a present from\nthe author. How far more beautiful they are\nthan anything Rossetti painted ! Altogether\nan enchanting book. Parisians should see it...\nWhy Parisians I am not quite sure, but they-\nare supposed to know something about art in\nParis,... and I think they know nothing about\nLove.\nFairy Tales are full of Love, and Mr\nBaring's tales and pictures are made up of it."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c056", "article_bluemountain": "bmtnaau_1911-01_01#c056", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "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=bmtnaau191101-01.2.10.21", "titre_corps": "\"WISDOM OF THE EAST\" SERIES : The Sayings of Lao TzuThe Persian MysticsThe Master Singers of Japan", "titre_sommaire": "\"WISDOM OF THE EAST\" SERIES : The Sayings of Lao TzuThe Persian MysticsThe Master Singers of Japan", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.56", "debut_caractere": 1287, "fin_caractere_exclue": 4236, "texte": "44 WISDOM OF THE LAST \" SLRILS.\nThe Sayings of Lao Tzu.\nThe Persian Mystics. JZ?\nThe Master Singers of Japan.\nJohn Murray IJ** each. /z? &\n| ao Tzu is always charming. That he founded\nTaoism in 500 B. C. is appalling. One ought\nnot to be told these things. It makes the\nsternest philosopher tremble, and to teli It\nto 44 The Public \" which only knows how to\ndestroy foundations as waves destroy the\nbase of a cliff,... to tell it to them seems\nlike asking for more. *€?\n& Lao Tzu says somewhere 44 If people of\n44 inferior intelligence hear of the Tao, they\n44 laugh immoderately. It would not be the\n44 Tao unless they laughed at it. \" So it is\nbest not to repeat here what the Tao is. But\ncertainly the English politicians might try\nTao on the British Public, for the first\nEmperor of the later Chin dynasty asked if\nTao was of any use in government and CSiawg\nCh' ien-mung told him that 44 with Tao a\ncorpse could govern an Empire\n& Yet would it work In England ? for Lao\nTzu distinctly says 44 Requite injury with\nkindness \", and, 44 To the not-good I would\nbe good in order to make them good \"; and\nwould England's Chief Justices be able to\nmake head or tail of that ? 44 Judge not that\nye be not judged \" says Christ... But I am\nforgetting, and confounding religions..\nAll these little books issued by Mr Murray\nare valuable, but too cheap. Profound things\nshould be very expensive or cost nothing.\nfi The truest sayings are paradoxical\" says\nLao Tzu &\nIt is not more difficult, one supposes, to\ntranslate the Japanese poems than the Per-\nsian. Hearne and Fitzgerald have shown how\nit was to be done ; and Mr Davis certainly\nsucceeds with his 44 Persian Mystics \" far\nbetter than Miss Walsh with her \"Japanese\nMaster-singers.\" 4P &\nThese translations of hers do not strike\nus as at all happy. Lafcadio Hearne knew so\nwell that one must not employ hackneyed\nfigures of poetic speech to convey the sound-\npicture-movement poems of these masters.\n\" Thy myriad hills \", \" the circling gulls \",\n44 When hand in hand we two did wend\nAdown the paths of Life our way \", are samples\nof Miss Walsh's style. &\nNo, no ; this will not do to express the\nart of Japan.\n\" 813. \" A new Arsene Lupin Adventure\nby Maurice Leblanc. Mills and Boon. 31-\n|n order to hint at all this book contains\nwithout giving a word of it away one\nmust refer you to the word 44 Ambush \" on\npage 158 of Roget's 44 Thesaurus £*\nAmbush; means of concealment; hiding-\nplace ; secret-drawer ; recess, hole, holes and\ncorners, closet, crypt, adytum, abditory, ou-\nbliette. J?\nAm-bush,- buscade ; stalking horse ; lur-\nking-hole, -place; secret path, back-stairs;\nretreat etc. (refuge). &\n& Screen, cover, shade, blinker; veil, cur-\ntain, blind, cloak, cloud. Mask, visor, vizor,\ndisguise, masquerade dress, domino. &\nPitfall, etc. (source of danger), trap, etc.\n(snare). &\nV. iie in ambush, etc. (hide oneself), lie\nin wait for: set a trap for, etc. (deceive).\nThere you have the book."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c057", "article_bluemountain": "bmtnaau_1911-01_01#c057", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "139", "page_fin": "140", "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=bmtnaau191101-01.2.10.22", "titre_corps": "MAGAZINES", "titre_sommaire": "MAGAZINES", "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": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 10, "texte": "MAGAZINES."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c058", "article_bluemountain": "bmtnaau_1911-01_01#c058", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "139", "page_fin": "140", "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=bmtnaau191101-01.2.10.22.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.57", "debut_caractere": 12, "fin_caractere_exclue": 4411, "texte": "'Jph© New Age, ever interesting, has lately\ncontained some particularly good articles\non Modern Dramatists by Mr Ashley Dukes.\nUninteresting in the Theatre, Dramatists\nare enchanting in the study, and none are\nmore attractive than Tchekhov, Sudermann,\nHofmannsthal, Strindberg, and the few others\nMr Dukes selects to write upon. &\nHe begins his article upon Hugo von Hof-\nmannsthal with these words : 44 Not Song ago\na provincial theatre was opened in Germany\nwith the inscription upon its proscenium ;\n44 Goethe, Hauptmann, Schiller, von Hofmann-\nsthal \". JZ>\n& Some day we stiall be more logical and\nless dependent in the theatre and remove\nthose name to some State Library, inscribing\nin their place the names of 44 Roscius, An-\ndreini, Tarleton, Jodelet\". &\n& When the names of great Philosophers\nare inscribed upon the walls of Hospitals and\nthe names of Poets written upon the walls\nof Churches it will be time enough to consi-\nder the fitness of placing the names of play-\nwriters upon the prosceniums of theatres.\nMr Dukes also quotes the following passage\nfrom Tchekhov: 44 To me the theatre of to-\n-44 day is no more than an antiquated pre-\n-44 judice, a dull routine. When the curtain\n\" rises, and all these accomplished actors,\n44 these priests of a sacred art, attempt to\n44 show, by lamplight, in a room with three\n44 walls, how ordinary people eat, drink, love,\n\" move about the world : when a morality\n44 is preached to us in trivial phrases and\n44 pictures, a vulgar, commonplace morality\n44 convenient for household use : when the\n44 same old story is dished up again and again\n44 in a thousand variations ; then I can do no\n•4 otherwise than flee as Maupassant fled\n44 from the Eiffel Tower, whose triviality\n44 threatened to shatter his soul ! \"\nDramatic Notes in Eife are as serious\nas the rest of the journal is funny. This\nis quite unusual and excellent; for a comic\njournal as a rule thinks it has to be funny\nall the time. There Is more sense in\nthe Dramatic Notes In this first class pa-\nper than we find in most of the weighty vo-\nlumes on Drama which come to us from the\nStates. JS? &\nIn so well illustrated a paper it is diffi-\ncult to select for special reference any one\nartist, but Mr Harrison Eady is unique, and\nMr Young has a delightful touch.\nBut it is the editing which makes the\njournal what It\nJS? Their automobile contest is one of the\nmost exciting and amusing things we have\nseen for a long time. The idea and the way\nit is being carried out shows genius. It is so\neasy to do this kind of thing without being\nat all funny.\nThe great Christmas number of 108 pages\nat twenty five cents, (about one shilling),\nshould be sought for by English people who\nwant to stop worrying for a week or\nt,ife seems to be produced for fun.... and\nwithout effort. &\noch Bild for November 1910 contains an\narticle by Carl Behrenson Open air Theatres\nwith some good illustrations which show clear-\nly that the modern tendency has been to cre-\nate natural and wild open air theatres, the mo-\nderns availing themselves of all the accidents\nof nature, whereas the ancients made use of\nbut two natural aids.... the light and the air.\nArt supplied all the rest. Never was their\nscene a natural one, never the faces or voices\nof their actors natural. Yet there are some\nwriters.... Irving among them, who seem to\nthink that this was an accident which the\nGreeks could not help. £/\nA study off Greek art and Greek character\nshows that accidents of this colossal nature\nwere not permitted.\nrjphe English Review is one of the best of\nEnglish journals. Its form is fine and dig®\nnified and it offers the hospitality of its well\nprinted pages to a more catholic,... or rather,\nmore cosmopolitan,... collection of writings\nthan most of its contemporaries, giving us\nmany good things by European writers who\nare, for the most part, too little known in\nEngland.\n& The November number contains an es-\nsay in French by Camille Mauclair on 44 La\nMusique depuis Berlioz \", a trans-\nlation from Tchekhov, one Act from Mr\nHousman's vetoed play, a study of Alfred de\nMusset and many other interesting and en-\ntertaining essays and notes.\nBook Notices are also included and at-\ntention is drawn to some interesting new\nbooks,\n& The opening words of the review of Mae-\nterlinck's play 44 Mary Magdalene, \" Religious\nsubjects rarely make good plays\" seems,\nhowever, to call for a word of criticism. Our"}, {"page_pdf": 58, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 186, "texte": "answer to the assertion would be, \" No, but\nthey make great drama, as witness the re-\nligious subject upon which the Mass, the\ngreatest and one of the oldest of dramas, was\nbased. & £? &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c059", "article_bluemountain": "bmtnaau_1911-01_01#c059", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "140", "page_fin": "144", "image_debut": 58, "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=bmtnaau191101-01.2.11", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.58", "debut_caractere": 188, "fin_caractere_exclue": 4177, "texte": "FOREIGN NOTES\n\nLONDON\n\n|\"Jueer things have happened lately. All of\nthem very contradictory and giving the\nmost careful observer very little clue as to\nwhat theatrical London wants, or likes.\nThus we have had the Beecham Splash\nOpera, The Trench Splash Drama, Henry VIII,\nThe Departure of Ellen Terry to America,\nThe Opening of The Little Theatre, The Mai®\nled Fist of the Censor, Frohman's Late Re®\npertory Theatre, The Announcement of \" Mac®\nbeth \" with Gordon Craig as stage director\nat His Majesty's, The Strange Story of Conan\nDoyle's experience as Playwright and some\nremarkable and some absurd articles on the\nTheatre in the London journals.\nBeecham's Splash Opera has failed,\nTrench's Splash Drama has succeeded. At\n\\\nleast it appears so. Neither the failure nor\nsuccess has anything to do with the artistic\nworth of either venture. Both were \" splash\"..\n•\nthat is to say, both attempted to rush the si®\ntuation. If both had failed I could have preach®\ned about the short-sightedness of the me®\nthod and have pointed to the wisdom of\ncreeping before running; I could have quoted\nthe example of the Moscow Art Theatre or\neven of Moliere's troupe, both companies\nwhich advanced slowly, slowly. jgr\njg> But in London no rule holds good. All is\na gamble. & & & jg?\njg? That this state of affairs should be put\ndown by the authorities is perfectly obvious,\nbut I am not here concerned with teaching\nmy masters how to manage. jg?\n<£? I may, however, be allowed to suggest\nthat Mr Beecham' s money would not have\nbeen thrown away if instead of advertising\nthe false belief that Opera does not pay and\nthat the Public does not want Opera, the same\nsum had been devoted to making a foundation\nfor good Opera in Leeds, Manchester, Liver®\npool or Bristol. & &\n& It is untrue that the Public does not want\nOpera, but the Public does not want to go\nto fashionable gilt=edged theatres for it. The\nPublic is not a snob.\nYet people go to \" His Majesty's \"to see\nHenry VIII ? Yes, because they always go to\nsee 44 Henry VIII \" and that pageant is al«\nways a safe card to play in London provided\nyou make it swagger enough. Why ?.... Who\nknows. Perhaps a certain public likes to see\na show. Is there any harm in that ? I think\nnot. And a certain public likes to see its fa®\nvourite actors and actresses, for London is\nsociable and pays its regular calls upon Beer®\nbohm Tree just to see how he is looking. &\njg? Then why does Jfallen Terry, who is really\nenshrined in the hearts of her vast public,\nwhy does she go off to America?... and to\nlecture ?It cannot be amusing; it mustf be\nfar more amusing to stay in London and act\nbefore her public. & jg/ &\njg? Yes; but then no one in London knows in\nwhich theatre Ellen Terry is to be found. They\nhave to look it up in the papers. Obviously\nEllen Terry should have had her own theatre\nsome years ago. Why didn't she ? Who knows!\nYet it may not be impertinent to hint that\nthe reason is something to do with the stu®\npidity of English theatrical business men.\nIn Germany or France Ellen Terry would\nhave passed from the Lyceum to a theatre of\nher own backed by all the capital she wished\nf0r,... wished without asking! For has not\nthe charming Miss Kingston found it quite\neasy to obtain capital for her new JL,ittle\nTheatre ? and how easy it would have been\none thinks, for Ellen Terry to have created\na new Great Theatre.\nMiss Kingston is doing everything well in\nher playhouse. It is of course based upon the\nKleines Theater and the Kammerspiel Haus\nof Berlin and we are only exactly ten years\nbehind the Germans in coming to something\nlike the same conclusion. But what of that?\nLondon won't know; how could it? But we\nare not anywhere near the Germans in the way\nwe make advertisement out of the Censor.\nIf Pinero fought the Censor we should be\ndoing just what is done in Germany. As it\n\nLIST OF JOURNALS.\nLondon. The New Age. Weekly 3d. The English Review. Monthly,\nHalf a crown.\nNew York. Life, weekly ten cents,\nStockholm, Ord och Bild, Monthly,"}, {"page_pdf": 59, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4617, "texte": "is Housman puts up a poor kind of fight,...\nas if any Englishman wanted to see kings ri=\ndiculed. It is preposterous, and it is impudent.\nIf Miss Kingston avoids this kind of thing\nfor the future she should be able to keep her\ntheatre alive longer than Mr. Rroliman's\nLate Reperioty Theatre. But that subject\nis, of course, unspeakable. 44 Shaw, Frohman,\nBarker and C 0\",.... unspeakable, and\nlaughable now. It was a strange trio to liar-\nness together. &\nAnd even stranger it seems Is the colla-\nboration of Sir Herbert Tree and Gordon\nCraig for 44 Macbeth For the life of me\nI can* t see how those two will pull together,\nmore especially since I read that Gordon\nCraig drives his own team in Russia and has\nbeen offered a team in Paris. Who is to look\nafter these two, Tree and Craig ? who is to\nreconcile their difference of taste amd me=\nthod ? London is certainly growing bolder\nthan ever, jz? jg? jg?\n<g? And yet here again I am wrong, for Lon=\ndon has lately been very timid in regard to\nConan Doyle. His is indeed a strange story.\njg? Sir Arthur Conan Doyle is an Englishman,\npractical to the backbone,... modest, bluff,\ngood=>tempered,.... and does not seem to be\ntroubled by too much 44 artistic\nment \". He has made a world-wide reputa=\ntion with his pen as and\none of his plays was acted some years ago\nby Sir Henry Irving with splendid results.\nNow comes an amazing statement, He\nwanted to produce three plays, and 44 could\nfind no London manager to accept or pro=\nduce them on his own account,\" These are Sir\nConan Doyle's own words.... He therefore\nproduced all three at his own expense. The\nfirst ran one hundred and twenty nights, the\nsecond one hundred and seventy, the third\nhas run for one hundred and thirty and is\nstill running.\nEnglish managers complain that there are\nno plays to be had for love or money. It is\nan excuse like most of their announcements.\nThe proof of this can be found in Sir Conan\nDoyles's statement.\nI could have understood that no manager\nwould accept or produce let me say, the\n44 Cenci \" if the poet Shelley had brought it to\nhim. Had he done so he would have had the\npublic and the censor against him, for the\npublic is prejudiced against poets, especially\nthe greatest, aad the censor is prejudiced a-\ngainst plays dealing with incest. Added to\nthis the manager would not have been able\nto stand an hour's conversation with Shelley\nnor Shelley have given him an hour.\n& But Sir Arthur Conan Doyle's statement\nproves the London manager to be one who\nis unable to stand anything. <£? jg?\nI have seen Sir Arthur's plays and found\nthem admirable.... especially that excellent\n44 House of Temperley \" with its dashing way\nand fresh interest. Why managers refused\nthat play was that they didn't know how to act\nit, and that is the reason why most piays are\nrefused by actor managers of today. &\nIn an Interview lately given to a London\njournal Sir Arthur told everybody pretty\nclearly that he has experienced strange\nthings in the stage world of London. He said\nvery little and offered no criticism, but the\nfacts he related bring in their own jugdement,\njg? This is all I have to report from London\nA tale about nothing,... and its success. There\nis nothing which guides either playwrights,\nthe public or the managers; nothing which\na critic can criticize but everything that he\ncan regret. Topsy=turvydom.... the reflection\nperhaps of the nation;... leave it to the last\nmoment: all right on the night..;. Stupidity\ntriumphant. jg/ jg? jg?\nWhy does everyone prefer this muddling\nthrough instead of method ? Why ? No one\nknows! But if one should venture to guess\none would answer that it is because all sense\nof patriotism, is absent in us. We all want\nan innings all the time 44 Let me play the\nLion ! \" ....and all the other parts.\njg? I am told this is different in other lands\nand that the best man plays the Lion. Why?\nfor the sake of the game or play. &\n& But then everyone lives in flats on the\ncontinent. On going out a foreigner meets\nhis neighbour on his own doorstep. They greet\neach other. Later on they meet at a Cafe,\nand find Hauptmann there, or Menzel,... or\nIbsen. jg? jg?\njg? And in England the Clubs... Snobs,...\nWhite and Black balls. No Cafes, no great\nartists to be found in them, no independence\nin life as on the Continent., why not?..? B. P.\nThe Dying Theatre &\nThere is a writer upon the Theatre in\nEngiand whose words count. He signs\nhimself G. C... at least he so signed himself\nat the end of an exceptionally good article\nin September 1910 in the Star, and his\nnote seems unfamiliar to me. The article\nwas headed 44 The Dying Theatre4' and those"}, {"page_pdf": 60, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4373, "texte": "who are interested in the welfare of the\nTheatre should try to secure a copy of it. &\nI should be glad to see it reprinted in\nThe Mask, and hope the author will disclose\nhas name to the Editor. & & &\nIt Is quite one of the best things about\nthe Theatre which has appeared in a London\njournal for many years.\n& Upon one point, however, I am not at\npresent fully prepared to agree with the au-\nthor. Although he has nothing good to say\nabout the Modern Theatre in England he\nclaims that the Theatre of today is a higher\nform of art to that of the Music Hall of today,\nand argues that if the Theatre dies the Mu-\nsic Hall will die also, for 44 lower forms of\nart are fed from the higher\nBut does the Theatre contain a higher\nform of theatrical art? Has it ever contained\nit? And has not the conscious erudite Thea-\ntre been everlastingly fed by the unconscious\nilliterate Tneatre?\nMarlowe and Shakespeare are born in\n1546; Ben Jonson in 1574 5 Lope de Vega in\n1562; MoSiere in 2622; These were the cre-\nators of the modern erudite theatre. But\nthey were nourished by the masters of an\nearlier and quite different theatre.... by An-\ngelo Beolchi, actor and author, born in 2502;\nby II Lasca, author, born in 2558; by the\nactors Andreini, Muzio, Pellesini, Martinelli,\nScala and Tarleton, all of whom were born\nbefore 1550, all of whom were improvvisa-\ntors; by Marston, born in 2575, by John\nHeywood born about 2500.\nThis theatre is still with us only it sur-\nvives in a tired-out state... the Music Hall\nstate. ap jpy jgr\nTherefore as the Music Hall was no off-\nshoot from the erudite theatre, some think\nit will not be affected should that theatre\nexpire within the next few years. In fact\nthe renaissance of the art may just as likely\nbe hastened by the decay and death of the\ntheatre proper and the subsequent Increased\njpopularity of the Music Hall. &\nBut who is there to say with certainty ?\nNo two plants grow alike, and no one art\ndevelops along quite the same lines as ano-\nther. The Kings and the Lords are the Priests\nhave had their Theatre ages ago and\nhave closed it. The People have had their\nTheatre and have abused it. What will create\nthe third Theatre\n& That is the question. Not, what will it be\nlike? When we can see out of what the new\nTheatre is to come it will be much easier\nto predict its form. G. C.\nIsaurence living and the Public,\nWlth\n44 The Unwritten Law \" Laurence Ir-\nving has come to London and London\nshould not let him g0.... Or is It, London\nshould try and get away ? I am always sorry\nfor the public when a man makes up his\nmind to master it, and Mr Laurence Irving\nhas evidently that best of intentions in his\nmind at present.\nThat the public will resist him is certain\nbut that it will not exaggerate its pretended\ndesire to escape is to be hoped. <£?\nCheap and Nasty &\n'Jp he London Correspondant of the New\nYork Dramatic Mirror is afraid of the\nexcellent get-up of the plays at the Little\nTheatre in the Adelphi.-\nHe says that they 44 have so much of the\nair of vellum-bound, gilt-lettered, deckle-\n-44 edged brocade-encased editions de luxe that\nyou are afraid of them \". He does not tell\nus why. &\nI have been round to my bookbinder to\ninquire what is wrong with the English\nvellum and brocade but can get no satisfac-\ntory answer. He says it is expensive and that\nsome people prefer a cheaper article...\n\nG.H.\n\nFLORENCE\n\nThe Cinematograph £/ &\nhe Cinematograph is not improving, just\nas the Music Hall is not improving.\nBoth are deteriorating from the same\ncause, the employment of actors.^\nWhereas once upon a time there was an\nespecial kind of actor who performed only\nthings cinematographic, now the ordinary\nactor, fearing to be out-rivalled, has pushed\nhis way into the cinematographic studio.\njzr And on getting there, instead of doing\nsomething quite fresh and original he acts\nas badly as he does on the stage and pre-\ncisely in the same way. Movement by move-\nment, facial expression, al! is the same. We\ndo not hear his voice, but it makes no dif-\nference. The effect is quite as appalling.\nYesterday I was present at a very excellen-\ntly made film, mechanically perfect, artisti-\ncally worthless. It was a Paris fiim by the\nbest firm in Paris. The actors were Mile. J.\nM. Laurent of the Vaudeville, M. Breon of\nthe Theatre Moderne, M. Laumoniere of the\nTheatre Porte S. Martin and M. de Kock of\nthe Theatre Chatelet. & & &"}, {"page_pdf": 61, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 4262, "texte": "I foretold everything that they would do\nafter I had seen the first movement of each\nscene. I had to make no mental effort in\norder to do this, it was as though I had\nmade the thing myself and was the director.\n44 Yes. they are doing it just as I wanted\nthem to do. There, she is putting her arm\nround his neck just as I told her for the\nlast hundred years to do it. There ! just what\nI expected ; he is drawing himself up to his\nfull height \", and so on; &\n& But I am ungrateful, I was forgetting\nthat I got the whole thing for 3d, which is\nabout what it is worth. &\nAnd yet this is not the entire truth. Some\nof the performance is worth much more.\nJapanese Playeis. & 4? &\nJ-Janako has been here with her compa-\nnions. The Florentines were not curious\nabout them. They acted two little dramas by\nLoi-Fu,... (is that short for Loie Fuller?)...\nand acted them very badly for Japan but ad-\nmirably for Europe. &\nThe men were better than the women.\nThey seemed better to understand and do\nmore honour to the centuries behind them;\nthey suggested art,... if they did not perpe-\ntrate it. The ladies, on the other hand,\nkicked over the <£?\n& The thing which most struck me was\ntheir Incessant chatter,... and their long pau-\nses during which nothing was said and much\ndone. I compared it with our methods of\ndrawling all the time and doing very little\nelse. Another thing which pleased me was\ntheir disdain of psychological expression by\nmeans of face or voice. Action was for them\nthe beginning and end of Drama,... as of\ncourse it is.\n\nJ. B.\n\nJ. S.\nMimi Aguglia's New Departure.\nM imi Aguglia has been here again,\nthis time with some modern French\nplays added to her repertoire. A great pity.\nIt is another 44 departure \" of hers; The\nother was when she left the distinguished\nposition of leading lady under Signor\nGrasso.\nIt appears that she does not like being\nealled a Sicilian actress; she wants to be\nmistaken for an Italian actress or even a\nEuropean actress. What the difference is does\nnot seem quite clear. & &\nThese 44 departures \", if natural, are in\nbad taste. Yet they are nothing new in\nthe story of women on the stage. It is piti-\nful to read in the history of the theatre of\nthe wrecks women have made of many good\nmanagereal ships which attempted to reach\nthe Fortunate Islands. &j&\nThe histories of the Restoration stage, of\nGarricks' s theatrical life, of the Comedie\nof the German stage in the Eigh-\nteenth century and of nearly every Theatre\nsince women first tendered their assistance\nin the middle part of the Seventeenth cen-\ntury, contain the records of the methods\nemployed by women to harass the different\nmanagements and the success they achieved.\n<£? Woman, beautiful, noble and unselfish as\nshe often is in daily life, is a continual threat\nto the existence of art in the theatre, and\nalso to the successful (management of the\ntheatre. jg/ j&\nThose who are thought to be the excep-\ntions,... the great names... are, alas, the\nworst offenders. & jg/ &\n& This is not open to argument, for history\ntells us the facts plainly enough. The unsel-\nfish women become the most selfish, the\nmost egotistical under the influence of the\npublic applause.\nThey lose their heads... and such pretty\nheads too. It is a great pity: it is a great\ncalamity for the stage. & &\n& To achieve the reform of the Theatre, to\nbring it into the condition necessary for it to\nbecome a fine art, the women must have\nfirst left its board. I arrive at this conclu-\nsion first through my study of the stage and\nsecondly because of my admiration and know-\nledge of womankind.\n\nE. C.\nEnglish Actors tor Florence.\n''jphe Florentines are not badly disposed\ntowards the proposed visit of an English\ncompany to their city and Mr Collins should\nbe encouraged by this. As for the English\ncolony, it Is playing Bridge. To visit Florence\nin order to make money either at Bridge\nor in Theatricals is certainly an idea, and if\nanyone can achieve success in either venture\nit is the English.\n\nBERLIN\n\nReiuhardt in the Ring. &\nReinhart has, with the aid or se-\nveral other artists, produced a trans-\nlation of the (Bdipus of Sophocles at a\nBerlin Circus.... and everyone who wishes\nthe German Theatre well is disgusted by the\nperformance. & &\n& Whenever the Managers of this German"}, {"page_pdf": 62, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 2842, "texte": "Theatre err they prefer to do so as vulgarly\nas possible. They are without conscience.\nThey talk much about 44 Style \" and present\non their stage bald reproductions of nature.\nThey talk of the 44 soul of the theatre \" and\nprove by their works what kind of soul they\nmean. &&&<&&\nNo one denies that Director Reinhardt\nand his troupe have a touch of genius, but\nthey are without originality and without art.\nThey exhibit to the audience all the eviden-\nces of their hard labour, but beauty stub-\nbornly refuses to come upon their stage.\n& How different with our Southern friends!\nSignor Grasso and his troupe have also a\ntouch of genius, but how delicate is their\nprimitive force; it is of the soil, but how\nsweetly it smells. The German genius reeks\nof the place it has at last captured,.... the\ncheap circus.\nTheir's is the worst influence in the mo-\ndern theatre. They have all the deplorable\nfaults. They are 44 theatrical \" in the mo-\ndern sense of the word ; they have no sense\nof what is distinguished either in movement\ncolour or voice ; they derive their ideas from\nforeign sources, and they push these before\nthe public without knowledge of why or how.\n& They have a grand public ever ready to res-\npond to their best... and they give this public\nwhat we are forced to suppose is their worst,\nthough it seems uncertain whether they\ncould do better even with more time and\nthought for it is in taste that they are de-\nficient. <<s?\n& Their activity is commendable; but to\nallow that activity to degenerate Into the\nmere exhibition of unadorned energy is not\nonly a pity, but is also censured by the best\nschools of the European Theatre as arrogant\nand harmful. &\n\nG,N,\n\nNEW YORK\nP.G\nMr Ft ohm aii Again. & & & &\nFrohman says it is his object \" to offer\nspecial Sunday drama..., plays that expose\n44 the sham and Injustice of contemporary\n44 social and political life \", &\nAs If he were not doing enough in expo-\nsing the sham of his own theatrical career.\nWaste. &\nInhere are supposed to be marvellous light\neffects in the production of \" The Blue\nBird \" at the New Theatre here. There ought\nto be, for it cost the management 250,000\ndollars (50,000 pounds sterling) to instal the\nelectric equipment on the stage. Yet I one-\nmet an artist who showed me the most arnae\nZing light effect with three candles and two\npieces of looking-glass and a linen sheet....\nBut then he was an artist,... and that makes\nsuch a difference.\nForty arc lamps are used for an effect in\nAct 1. of 44 The Blue Bird \". & &\n| received from Russia a post card last\nweek telling me that the same effect was\nobtained there by the use of four arc lamps.\nThe Russian production is acknowledged by\nall artists to contain the perfection of such\nkind of effects, What some of us want to\nknow is, why were thirty-six arc lamps wa-\nsted in the New Theatre's production ?"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c061", "article_bluemountain": "bmtnaau_1911-01_01#c061", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "140", "page_fin": "142", "image_debut": 58, "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=bmtnaau191101-01.2.11.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "G. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.58", "debut_caractere": 203, "fin_caractere_exclue": 4177, "texte": "LONDON\n\n|\"Jueer things have happened lately. All of\nthem very contradictory and giving the\nmost careful observer very little clue as to\nwhat theatrical London wants, or likes.\nThus we have had the Beecham Splash\nOpera, The Trench Splash Drama, Henry VIII,\nThe Departure of Ellen Terry to America,\nThe Opening of The Little Theatre, The Mai®\nled Fist of the Censor, Frohman's Late Re®\npertory Theatre, The Announcement of \" Mac®\nbeth \" with Gordon Craig as stage director\nat His Majesty's, The Strange Story of Conan\nDoyle's experience as Playwright and some\nremarkable and some absurd articles on the\nTheatre in the London journals.\nBeecham's Splash Opera has failed,\nTrench's Splash Drama has succeeded. At\n\\\nleast it appears so. Neither the failure nor\nsuccess has anything to do with the artistic\nworth of either venture. Both were \" splash\"..\n•\nthat is to say, both attempted to rush the si®\ntuation. If both had failed I could have preach®\ned about the short-sightedness of the me®\nthod and have pointed to the wisdom of\ncreeping before running; I could have quoted\nthe example of the Moscow Art Theatre or\neven of Moliere's troupe, both companies\nwhich advanced slowly, slowly. jgr\njg> But in London no rule holds good. All is\na gamble. & & & jg?\njg? That this state of affairs should be put\ndown by the authorities is perfectly obvious,\nbut I am not here concerned with teaching\nmy masters how to manage. jg?\n<£? I may, however, be allowed to suggest\nthat Mr Beecham' s money would not have\nbeen thrown away if instead of advertising\nthe false belief that Opera does not pay and\nthat the Public does not want Opera, the same\nsum had been devoted to making a foundation\nfor good Opera in Leeds, Manchester, Liver®\npool or Bristol. & &\n& It is untrue that the Public does not want\nOpera, but the Public does not want to go\nto fashionable gilt=edged theatres for it. The\nPublic is not a snob.\nYet people go to \" His Majesty's \"to see\nHenry VIII ? Yes, because they always go to\nsee 44 Henry VIII \" and that pageant is al«\nways a safe card to play in London provided\nyou make it swagger enough. Why ?.... Who\nknows. Perhaps a certain public likes to see\na show. Is there any harm in that ? I think\nnot. And a certain public likes to see its fa®\nvourite actors and actresses, for London is\nsociable and pays its regular calls upon Beer®\nbohm Tree just to see how he is looking. &\njg? Then why does Jfallen Terry, who is really\nenshrined in the hearts of her vast public,\nwhy does she go off to America?... and to\nlecture ?It cannot be amusing; it mustf be\nfar more amusing to stay in London and act\nbefore her public. & jg/ &\njg? Yes; but then no one in London knows in\nwhich theatre Ellen Terry is to be found. They\nhave to look it up in the papers. Obviously\nEllen Terry should have had her own theatre\nsome years ago. Why didn't she ? Who knows!\nYet it may not be impertinent to hint that\nthe reason is something to do with the stu®\npidity of English theatrical business men.\nIn Germany or France Ellen Terry would\nhave passed from the Lyceum to a theatre of\nher own backed by all the capital she wished\nf0r,... wished without asking! For has not\nthe charming Miss Kingston found it quite\neasy to obtain capital for her new JL,ittle\nTheatre ? and how easy it would have been\none thinks, for Ellen Terry to have created\na new Great Theatre.\nMiss Kingston is doing everything well in\nher playhouse. It is of course based upon the\nKleines Theater and the Kammerspiel Haus\nof Berlin and we are only exactly ten years\nbehind the Germans in coming to something\nlike the same conclusion. But what of that?\nLondon won't know; how could it? But we\nare not anywhere near the Germans in the way\nwe make advertisement out of the Censor.\nIf Pinero fought the Censor we should be\ndoing just what is done in Germany. As it\n\nLIST OF JOURNALS.\nLondon. The New Age. Weekly 3d. The English Review. Monthly,\nHalf a crown.\nNew York. Life, weekly ten cents,\nStockholm, Ord och Bild, Monthly,"}, {"page_pdf": 59, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4617, "texte": "is Housman puts up a poor kind of fight,...\nas if any Englishman wanted to see kings ri=\ndiculed. It is preposterous, and it is impudent.\nIf Miss Kingston avoids this kind of thing\nfor the future she should be able to keep her\ntheatre alive longer than Mr. Rroliman's\nLate Reperioty Theatre. But that subject\nis, of course, unspeakable. 44 Shaw, Frohman,\nBarker and C 0\",.... unspeakable, and\nlaughable now. It was a strange trio to liar-\nness together. &\nAnd even stranger it seems Is the colla-\nboration of Sir Herbert Tree and Gordon\nCraig for 44 Macbeth For the life of me\nI can* t see how those two will pull together,\nmore especially since I read that Gordon\nCraig drives his own team in Russia and has\nbeen offered a team in Paris. Who is to look\nafter these two, Tree and Craig ? who is to\nreconcile their difference of taste amd me=\nthod ? London is certainly growing bolder\nthan ever, jz? jg? jg?\n<g? And yet here again I am wrong, for Lon=\ndon has lately been very timid in regard to\nConan Doyle. His is indeed a strange story.\njg? Sir Arthur Conan Doyle is an Englishman,\npractical to the backbone,... modest, bluff,\ngood=>tempered,.... and does not seem to be\ntroubled by too much 44 artistic\nment \". He has made a world-wide reputa=\ntion with his pen as and\none of his plays was acted some years ago\nby Sir Henry Irving with splendid results.\nNow comes an amazing statement, He\nwanted to produce three plays, and 44 could\nfind no London manager to accept or pro=\nduce them on his own account,\" These are Sir\nConan Doyle's own words.... He therefore\nproduced all three at his own expense. The\nfirst ran one hundred and twenty nights, the\nsecond one hundred and seventy, the third\nhas run for one hundred and thirty and is\nstill running.\nEnglish managers complain that there are\nno plays to be had for love or money. It is\nan excuse like most of their announcements.\nThe proof of this can be found in Sir Conan\nDoyles's statement.\nI could have understood that no manager\nwould accept or produce let me say, the\n44 Cenci \" if the poet Shelley had brought it to\nhim. Had he done so he would have had the\npublic and the censor against him, for the\npublic is prejudiced against poets, especially\nthe greatest, aad the censor is prejudiced a-\ngainst plays dealing with incest. Added to\nthis the manager would not have been able\nto stand an hour's conversation with Shelley\nnor Shelley have given him an hour.\n& But Sir Arthur Conan Doyle's statement\nproves the London manager to be one who\nis unable to stand anything. <£? jg?\nI have seen Sir Arthur's plays and found\nthem admirable.... especially that excellent\n44 House of Temperley \" with its dashing way\nand fresh interest. Why managers refused\nthat play was that they didn't know how to act\nit, and that is the reason why most piays are\nrefused by actor managers of today. &\nIn an Interview lately given to a London\njournal Sir Arthur told everybody pretty\nclearly that he has experienced strange\nthings in the stage world of London. He said\nvery little and offered no criticism, but the\nfacts he related bring in their own jugdement,\njg? This is all I have to report from London\nA tale about nothing,... and its success. There\nis nothing which guides either playwrights,\nthe public or the managers; nothing which\na critic can criticize but everything that he\ncan regret. Topsy=turvydom.... the reflection\nperhaps of the nation;... leave it to the last\nmoment: all right on the night..;. Stupidity\ntriumphant. jg/ jg? jg?\nWhy does everyone prefer this muddling\nthrough instead of method ? Why ? No one\nknows! But if one should venture to guess\none would answer that it is because all sense\nof patriotism, is absent in us. We all want\nan innings all the time 44 Let me play the\nLion ! \" ....and all the other parts.\njg? I am told this is different in other lands\nand that the best man plays the Lion. Why?\nfor the sake of the game or play. &\n& But then everyone lives in flats on the\ncontinent. On going out a foreigner meets\nhis neighbour on his own doorstep. They greet\neach other. Later on they meet at a Cafe,\nand find Hauptmann there, or Menzel,... or\nIbsen. jg? jg?\njg? And in England the Clubs... Snobs,...\nWhite and Black balls. No Cafes, no great\nartists to be found in them, no independence\nin life as on the Continent., why not?..? B. P.\nThe Dying Theatre &\nThere is a writer upon the Theatre in\nEngiand whose words count. He signs\nhimself G. C... at least he so signed himself\nat the end of an exceptionally good article\nin September 1910 in the Star, and his\nnote seems unfamiliar to me. The article\nwas headed 44 The Dying Theatre4' and those"}, {"page_pdf": 60, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 3349, "texte": "who are interested in the welfare of the\nTheatre should try to secure a copy of it. &\nI should be glad to see it reprinted in\nThe Mask, and hope the author will disclose\nhas name to the Editor. & & &\nIt Is quite one of the best things about\nthe Theatre which has appeared in a London\njournal for many years.\n& Upon one point, however, I am not at\npresent fully prepared to agree with the au-\nthor. Although he has nothing good to say\nabout the Modern Theatre in England he\nclaims that the Theatre of today is a higher\nform of art to that of the Music Hall of today,\nand argues that if the Theatre dies the Mu-\nsic Hall will die also, for 44 lower forms of\nart are fed from the higher\nBut does the Theatre contain a higher\nform of theatrical art? Has it ever contained\nit? And has not the conscious erudite Thea-\ntre been everlastingly fed by the unconscious\nilliterate Tneatre?\nMarlowe and Shakespeare are born in\n1546; Ben Jonson in 1574 5 Lope de Vega in\n1562; MoSiere in 2622; These were the cre-\nators of the modern erudite theatre. But\nthey were nourished by the masters of an\nearlier and quite different theatre.... by An-\ngelo Beolchi, actor and author, born in 2502;\nby II Lasca, author, born in 2558; by the\nactors Andreini, Muzio, Pellesini, Martinelli,\nScala and Tarleton, all of whom were born\nbefore 1550, all of whom were improvvisa-\ntors; by Marston, born in 2575, by John\nHeywood born about 2500.\nThis theatre is still with us only it sur-\nvives in a tired-out state... the Music Hall\nstate. ap jpy jgr\nTherefore as the Music Hall was no off-\nshoot from the erudite theatre, some think\nit will not be affected should that theatre\nexpire within the next few years. In fact\nthe renaissance of the art may just as likely\nbe hastened by the decay and death of the\ntheatre proper and the subsequent Increased\njpopularity of the Music Hall. &\nBut who is there to say with certainty ?\nNo two plants grow alike, and no one art\ndevelops along quite the same lines as ano-\nther. The Kings and the Lords are the Priests\nhave had their Theatre ages ago and\nhave closed it. The People have had their\nTheatre and have abused it. What will create\nthe third Theatre\n& That is the question. Not, what will it be\nlike? When we can see out of what the new\nTheatre is to come it will be much easier\nto predict its form. G. C.\nIsaurence living and the Public,\nWlth\n44 The Unwritten Law \" Laurence Ir-\nving has come to London and London\nshould not let him g0.... Or is It, London\nshould try and get away ? I am always sorry\nfor the public when a man makes up his\nmind to master it, and Mr Laurence Irving\nhas evidently that best of intentions in his\nmind at present.\nThat the public will resist him is certain\nbut that it will not exaggerate its pretended\ndesire to escape is to be hoped. <£?\nCheap and Nasty &\n'Jp he London Correspondant of the New\nYork Dramatic Mirror is afraid of the\nexcellent get-up of the plays at the Little\nTheatre in the Adelphi.-\nHe says that they 44 have so much of the\nair of vellum-bound, gilt-lettered, deckle-\n-44 edged brocade-encased editions de luxe that\nyou are afraid of them \". He does not tell\nus why. &\nI have been round to my bookbinder to\ninquire what is wrong with the English\nvellum and brocade but can get no satisfac-\ntory answer. He says it is expensive and that\nsome people prefer a cheaper article...\n\nG.H."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c062", "article_bluemountain": "bmtnaau_1911-01_01#c062", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "143", "image_debut": 60, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.11.3", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.60", "debut_caractere": 3351, "fin_caractere_exclue": 4373, "texte": "FLORENCE\n\nThe Cinematograph £/ &\nhe Cinematograph is not improving, just\nas the Music Hall is not improving.\nBoth are deteriorating from the same\ncause, the employment of actors.^\nWhereas once upon a time there was an\nespecial kind of actor who performed only\nthings cinematographic, now the ordinary\nactor, fearing to be out-rivalled, has pushed\nhis way into the cinematographic studio.\njzr And on getting there, instead of doing\nsomething quite fresh and original he acts\nas badly as he does on the stage and pre-\ncisely in the same way. Movement by move-\nment, facial expression, al! is the same. We\ndo not hear his voice, but it makes no dif-\nference. The effect is quite as appalling.\nYesterday I was present at a very excellen-\ntly made film, mechanically perfect, artisti-\ncally worthless. It was a Paris fiim by the\nbest firm in Paris. The actors were Mile. J.\nM. Laurent of the Vaudeville, M. Breon of\nthe Theatre Moderne, M. Laumoniere of the\nTheatre Porte S. Martin and M. de Kock of\nthe Theatre Chatelet. & & &"}, {"page_pdf": 61, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 1539, "texte": "I foretold everything that they would do\nafter I had seen the first movement of each\nscene. I had to make no mental effort in\norder to do this, it was as though I had\nmade the thing myself and was the director.\n44 Yes. they are doing it just as I wanted\nthem to do. There, she is putting her arm\nround his neck just as I told her for the\nlast hundred years to do it. There ! just what\nI expected ; he is drawing himself up to his\nfull height \", and so on; &\n& But I am ungrateful, I was forgetting\nthat I got the whole thing for 3d, which is\nabout what it is worth. &\nAnd yet this is not the entire truth. Some\nof the performance is worth much more.\nJapanese Playeis. & 4? &\nJ-Janako has been here with her compa-\nnions. The Florentines were not curious\nabout them. They acted two little dramas by\nLoi-Fu,... (is that short for Loie Fuller?)...\nand acted them very badly for Japan but ad-\nmirably for Europe. &\nThe men were better than the women.\nThey seemed better to understand and do\nmore honour to the centuries behind them;\nthey suggested art,... if they did not perpe-\ntrate it. The ladies, on the other hand,\nkicked over the <£?\n& The thing which most struck me was\ntheir Incessant chatter,... and their long pau-\nses during which nothing was said and much\ndone. I compared it with our methods of\ndrawling all the time and doing very little\nelse. Another thing which pleased me was\ntheir disdain of psychological expression by\nmeans of face or voice. Action was for them\nthe beginning and end of Drama,... as of\ncourse it is.\n\nJ. B."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c063", "article_bluemountain": "bmtnaau_1911-01_01#c063", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "143", "image_debut": 61, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.11.4", "titre_corps": "Mimi Aguglia's New Departure", "titre_sommaire": "Mimi Aguglia's New Departure", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.61", "debut_caractere": 1541, "fin_caractere_exclue": 3569, "texte": "J. S.\nMimi Aguglia's New Departure.\nM imi Aguglia has been here again,\nthis time with some modern French\nplays added to her repertoire. A great pity.\nIt is another 44 departure \" of hers; The\nother was when she left the distinguished\nposition of leading lady under Signor\nGrasso.\nIt appears that she does not like being\nealled a Sicilian actress; she wants to be\nmistaken for an Italian actress or even a\nEuropean actress. What the difference is does\nnot seem quite clear. & &\nThese 44 departures \", if natural, are in\nbad taste. Yet they are nothing new in\nthe story of women on the stage. It is piti-\nful to read in the history of the theatre of\nthe wrecks women have made of many good\nmanagereal ships which attempted to reach\nthe Fortunate Islands. &j&\nThe histories of the Restoration stage, of\nGarricks' s theatrical life, of the Comedie\nof the German stage in the Eigh-\nteenth century and of nearly every Theatre\nsince women first tendered their assistance\nin the middle part of the Seventeenth cen-\ntury, contain the records of the methods\nemployed by women to harass the different\nmanagements and the success they achieved.\n<£? Woman, beautiful, noble and unselfish as\nshe often is in daily life, is a continual threat\nto the existence of art in the theatre, and\nalso to the successful (management of the\ntheatre. jg/ j&\nThose who are thought to be the excep-\ntions,... the great names... are, alas, the\nworst offenders. & jg/ &\n& This is not open to argument, for history\ntells us the facts plainly enough. The unsel-\nfish women become the most selfish, the\nmost egotistical under the influence of the\npublic applause.\nThey lose their heads... and such pretty\nheads too. It is a great pity: it is a great\ncalamity for the stage. & &\n& To achieve the reform of the Theatre, to\nbring it into the condition necessary for it to\nbecome a fine art, the women must have\nfirst left its board. I arrive at this conclu-\nsion first through my study of the stage and\nsecondly because of my admiration and know-\nledge of womankind."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c064", "article_bluemountain": "bmtnaau_1911-01_01#c064", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "143", "image_debut": 61, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.11.5", "titre_corps": "English Actors for Florence", "titre_sommaire": "English Actors for Florence", "signature_source": "E. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.61", "debut_caractere": 3571, "fin_caractere_exclue": 3973, "texte": "E. C.\nEnglish Actors tor Florence.\n''jphe Florentines are not badly disposed\ntowards the proposed visit of an English\ncompany to their city and Mr Collins should\nbe encouraged by this. As for the English\ncolony, it Is playing Bridge. To visit Florence\nin order to make money either at Bridge\nor in Theatricals is certainly an idea, and if\nanyone can achieve success in either venture\nit is the English."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c065", "article_bluemountain": "bmtnaau_1911-01_01#c065", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "144", "image_debut": 61, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.11.6", "titre_corps": "BERLIN", "titre_sommaire": "BERLIN", "signature_source": "G. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.61", "debut_caractere": 3975, "fin_caractere_exclue": 4262, "texte": "BERLIN\n\nReiuhardt in the Ring. &\nReinhart has, with the aid or se-\nveral other artists, produced a trans-\nlation of the (Bdipus of Sophocles at a\nBerlin Circus.... and everyone who wishes\nthe German Theatre well is disgusted by the\nperformance. & &\n& Whenever the Managers of this German"}, {"page_pdf": 62, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 1675, "texte": "Theatre err they prefer to do so as vulgarly\nas possible. They are without conscience.\nThey talk much about 44 Style \" and present\non their stage bald reproductions of nature.\nThey talk of the 44 soul of the theatre \" and\nprove by their works what kind of soul they\nmean. &&&<&&\nNo one denies that Director Reinhardt\nand his troupe have a touch of genius, but\nthey are without originality and without art.\nThey exhibit to the audience all the eviden-\nces of their hard labour, but beauty stub-\nbornly refuses to come upon their stage.\n& How different with our Southern friends!\nSignor Grasso and his troupe have also a\ntouch of genius, but how delicate is their\nprimitive force; it is of the soil, but how\nsweetly it smells. The German genius reeks\nof the place it has at last captured,.... the\ncheap circus.\nTheir's is the worst influence in the mo-\ndern theatre. They have all the deplorable\nfaults. They are 44 theatrical \" in the mo-\ndern sense of the word ; they have no sense\nof what is distinguished either in movement\ncolour or voice ; they derive their ideas from\nforeign sources, and they push these before\nthe public without knowledge of why or how.\n& They have a grand public ever ready to res-\npond to their best... and they give this public\nwhat we are forced to suppose is their worst,\nthough it seems uncertain whether they\ncould do better even with more time and\nthought for it is in taste that they are de-\nficient. <<s?\n& Their activity is commendable; but to\nallow that activity to degenerate Into the\nmere exhibition of unadorned energy is not\nonly a pity, but is also censured by the best\nschools of the European Theatre as arrogant\nand harmful. &\n\nG,N,"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c066", "article_bluemountain": "bmtnaau_1911-01_01#c066", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "144", "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=bmtnaau191101-01.2.11.7", "titre_corps": "NEW YORK", "titre_sommaire": "NEW YORK", "signature_source": "P. G", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.62", "debut_caractere": 1677, "fin_caractere_exclue": 2842, "texte": "NEW YORK\nP.G\nMr Ft ohm aii Again. & & & &\nFrohman says it is his object \" to offer\nspecial Sunday drama..., plays that expose\n44 the sham and Injustice of contemporary\n44 social and political life \", &\nAs If he were not doing enough in expo-\nsing the sham of his own theatrical career.\nWaste. &\nInhere are supposed to be marvellous light\neffects in the production of \" The Blue\nBird \" at the New Theatre here. There ought\nto be, for it cost the management 250,000\ndollars (50,000 pounds sterling) to instal the\nelectric equipment on the stage. Yet I one-\nmet an artist who showed me the most arnae\nZing light effect with three candles and two\npieces of looking-glass and a linen sheet....\nBut then he was an artist,... and that makes\nsuch a difference.\nForty arc lamps are used for an effect in\nAct 1. of 44 The Blue Bird \". & &\n| received from Russia a post card last\nweek telling me that the same effect was\nobtained there by the use of four arc lamps.\nThe Russian production is acknowledged by\nall artists to contain the perfection of such\nkind of effects, What some of us want to\nknow is, why were thirty-six arc lamps wa-\nsted in the New Theatre's production ?"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c067", "article_bluemountain": "bmtnaau_1911-01_01#c067", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "146", "image_debut": 62, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.62", "debut_caractere": 2844, "fin_caractere_exclue": 3866, "texte": "EDITORIAL NOTES.\n\nMYSTIC HUMBUG\nThere are today many people who dance\nmystic dances, or pose in mystic poses\n(such as those lately Witnessed in the Caxton\nHall in London), but who forget first to be-\ncome mystics in spirit and in their life,\nthinking they have done enough when they\nhave read in Sir Gardner Wilkinson's book\non Egypt that we owe the drama to Egypt,\n44 for in the outer court of the great temples\nthe priests gave to the people 'the mysteries,,\nWe believe no harm is done,... only a little\nfolly perpetrated : and if the public wants to\nbe fooled may be it is best for them.\n\nSCENARIO INVENTERS. & &\ngince the days of Sacco and Gozzi we be-\nlieve the knack, (can it be called an art?\nwe think not), of composing 44 Scenarios \" has\nbeen more or less lost. & &\nDramatists very probably make and\nbuild up their 44 plays \" around them but we\nhave not heard of special 44 Scenario \" con-\nstructors who do this work and nothing\nelse. So it is rather encouraging to read in\nan American Cinematograph adverti semen"}, {"page_pdf": 63, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 4437, "texte": "that amongst the many distinct branches of\nthat busiaess there are special scenario ex-\nperts who invent the action of the dramas\nto be performed and pictured. &\nJZ? Such a man may not be an artist such\nas Pinero, for instance, but he is a man who\nmay at any time develop a mastery of his\nmedium to a point reached by Gozzi, and\nthen.,. JZ? JZ? & JZ?\n\nMADAME BERNHARDT AND VARIETY\nJn appearing in a London Music Hall Ma-\ndame Bernhardt may be said to have re-\nturned to the true Theatre of today. The\ncasual critic condemns what he wrongly\nsupposes to be her 44 desertion of the Thea-\ntre \". But consider for a moment what she\n44 deserts \". &\nShe leaves a worn out artificiality for a\nliving artificiality;... what is her offence? She\nhas been guilty of making one step in the\nright direction.\nThe modern theatre is worn out; it ne-\nver was so worn out as it is today. The\nmusic hall cherishing as it does so much\ncreative talent of a somewhat exaggerated\norder is very much alive. Half, if not more,\nof the music hall 44 turns \" may be called\n'creative'. Madame Yvette Guilbert's perfor-\nmances are the finest examples of the living\nmusic ha 11... Madame Bernhardt does no\ncreative work of this kind, but the fact of\nso celebrated a performer appearing on the\nmusic hall stage must be accepted as the\n44 legitimate \" theatre's recognition of the\nforce of what is known as the 44 variety \"\nstage. JZ? JZ? <£?\njgr This variety stage is the sole remaining\nlink connecting us with that stupendous\nachievement of the sixteenth century known\nas the Com media JZ? &\n•£> It is not the Comrnedia but it has certain\nmarked resemblances to &\nMadame Bernhardt and the 44 legiti-\nmate \" theatre are both to be congratula-\nted on their good sense. JZ/ JZ? JZ?\n\nMERCURY - HARLEQUIN. & &\n''jphe new English coinage designed by Mr\nBertram Mackennal is to show the figure\nof Mercury 44 the god of commerce and pro-\nperty forging the links of the chain which\nbinds the South African States together \".\nIt is pleasant to think that the stage will\nbe so thoroughly represented on this new\ncoinage and that the ancestor of Harlequin\nwill foot it nimbly on the shilling.\n& By the bye, if Lempriere is correot 44 Mer-\n44 cury was also the god of thieves and pick-\n-44 pockets and all dishonest persons. The day\nu after lie was born he gave an early proof\n44 of hiscraftiness and dishonesty in stealing\n44 away the oxen of Admetus which Apollo\n44 tended; he also robbed Neptune of his\n44 trident, Venus of her girdle, Mars of his\n44 sword, Jupiter of his sceptre and Vulcan\n44 of his mechanical instruments JZ?\nHow amusing the English are \\J& &\n\nGAUGIN*S SCHOOL. & &\npaintings ofGaugin, Maurice Denis, La-\nprade, Ceganne, Flandrin, Serusier, Mar-\nquet and Matisse shown at the Grafton Gal-\nlery have been praised in London.... in a\nLondon journal ! &\nGeorge Calderon says that Phiiip Burne-\nJones has written a letter to The Times to\nprotest against Gaugin and his followers and\nthat everyone in London 44 waxes angry and\nindignant\". &\nJZ? This is true. It is exactly what everyone\ndid when Philip Burne-Jones's father was\nexhibiting his best works years ago. It is\nwhat everyone should always be made to do,\nand failing to do it should be imprisoned\nfor contempt of art. The only compliment\nstill remaining for Everyman to offer to fine\nart is to 44 wax angry and indignant\" and\nto protest in The Times.\n\nMASKS IN BERLIN. & & &\njt takes a great artist to materialise an idea\nso as to produce something beautiful. And,\nwhile the idea of the Mask as a means of\nfacial expression is good, the attempts made\nby ignorant enthusiasts to materialise this\nSdea are lamentable.\nThe Germans have begun. They are so\nenergetic that they always begin before any\none else. They have lately used masks on\na serious stage with ridiculous effect\nThe performance took place at the Berlin\nTheatre Exhibition and the play chosen was\n(i QBdipus \". So like the stupid fellows to\nchoose a Greek play;... so like the tasteless\nfellows to make wretched imitations of old\nGreek masks and so like their conceit\nto get photographed in them. Anything exhi-\nbiting less sense and less taste cannot be\neasily conceived than the effect produced\nBut why was the effect so ridiculous ? jg/\nBecause the actors knew neither how to\nhave the masks made, nor how or when to\nuse them. Again so like the Germans to\nrush in where even the Greeks feared to\ntread ! Yet in spite of this first failure the"}, {"page_pdf": 64, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 4282, "texte": "mask still remains, a moans of expression if\nyou have the power to know how to make\nthem speak, jgr <£?\n& Our journal is continually urging men in\nthe theatre to experiment. Need we beg the\nsame men to abstain from experimenting\nbefore an audience, and to study in private\nfor many years how to do what we must\never continue to urge them is the right thing\nto do ? jg? &\n& Even if we could tell them the way to do\neverything we would not: but one of the\nbest ways to do anything is surely to take\ntime. Twenty years is not a long enough time\nin which to study the question of masks\nbefore showing results... unless you are a\ngenius and a genius takes longer. Therefore\nbe warned, you who think it an easy matter\nto make and wear masks on the stage. &\nTreat the matter seriously Be content\nnot to show until you know. You will then\nbe doing the stage some good.\njgt We hear that the managers of the new\nFrankfort Theatre propose to employ masks\nin some of their pieces. & &\n& We counsel them to take\n\nDANGEROUS GROUND.j& &\ngir Herbert Tree does himself an injustice,\nHe writes that he has *' learnt that the\nmost exclusive symbolists when painting a\nmeadow regard purple as symbolical of\nbright green,\n& It seems he learned this at Marienbad\nfor he writes from there. But how should\nso clever a man have been so easily misled\non so simple a matter ? For we know that\nwhen the Symbolists paint a meadow they\npaint it as they wish and it is only the\nspectators whose eyes play them false.\n\nBOOKS ON THE COMMEDIA. &\nhere are a few books dealing with this\nsubject In English and many in Italian.\nOne of the best English sketches is to be\nfound in John Addington Symonds' s transla-\ntion of the Memoirs of Count Carlo Gozzi*\nHis essay upon the Italian Impromptu Co-\nmedy completes, if it qualifies and at some\npoints contradicts his \"Predecessors of Shakes-\npeare. \" & &\nThere is also a delightful chapter In Ver-\nnon Lee' s \" Eighteenth Century Studies \",\nand passages In a book by Joseph Baretti cal-\nled \" Manners and Customes of Italy \", (1718)\nwhich are not without value. jg?\nIn Italian there is one great book on the\nsubject Luigi Rasi's \" I Comici Italian! \" In\nthree volumes, Adolfo Bartolo's \"Scenari\ninedlti \" is also valuable, and Signor Sche-\nrillo's work is already known to readers of\nThe Mask. In fact there is really no end\nto the literature which has grown up around\nthis greatest period of the victor, and we\nhope to give a complete Bibliography in the\nJuly number of The Mask, 1911 jg?\nBut most of these books are very costly,\nwhereas The Mask, which costs less than a\nhalfpenny a day, is within the reach of every\nactor who cares to hear about the greatest\nof all the actors of modern times;... actors\ngreater than Garrick, Kean, Kemble or Ma-\ncready; greater than Le Kain, Baron or Tal-\nma ; greater than Modena or Sc hroder.\nIf they doubt the truth of our assertion\nin regard to the greatness of these actors\nthey will find its proof in the next three\nnumbers, A? gg?\nA Correction.\nof our subscribers are, justly, per-\nturbed by a paragraph Jn our last\nnumber which attributes to the same author\nthe City of Dreadful Night \" and the \" Hound\nof Heaven \". & jg/\njgr This amazing statement sprang full-fled-\nged from the brain of a junior sub-editor\nwho, being left to see the last pages of\nthe journal through the press while his\nseniors were absent in the mountains,\nand finding the copy supplied to him to\nbe in his estimation insufficient in detail,\nedited it in his own manner and perpetrated\nthis glorious blunder. /g? jg?\nWe have fined this zealous youth heavily,\nand we have also raised his salary, as by\nmeans of the expostulatory letters received\nwe have been brought into touch with at\nleast fifty of our subscribers with whom\niu spite of our efforts, we had never before\nsucceeded in establishing any communication.\n\nA WORD OF THANKS.\nJ.S.\npor leave to publish the first article in the\npresent number we tender our thanks to\nMessrs Chatto and Windus. &\ngg/ Our frontispiece, which, if not an actual\nillustration of the Commedia delTArte, ren-\nders in a very striking manner one aspect\nof it, is reproduced from an old engraving\n(one of a set of six) hitherto unpublished,\nin the possession of Signor Villoresi of Flo-\nrence by kind permission of the owner."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c069", "article_bluemountain": "bmtnaau_1911-01_01#c069", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "144", "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=bmtnaau191101-01.2.12.2", "titre_corps": "MYSTIC HUMBUG", "titre_sommaire": "MYSTIC HUMBUG", "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": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.62", "debut_caractere": 2862, "fin_caractere_exclue": 3434, "texte": "MYSTIC HUMBUG\nThere are today many people who dance\nmystic dances, or pose in mystic poses\n(such as those lately Witnessed in the Caxton\nHall in London), but who forget first to be-\ncome mystics in spirit and in their life,\nthinking they have done enough when they\nhave read in Sir Gardner Wilkinson's book\non Egypt that we owe the drama to Egypt,\n44 for in the outer court of the great temples\nthe priests gave to the people 'the mysteries,,\nWe believe no harm is done,... only a little\nfolly perpetrated : and if the public wants to\nbe fooled may be it is best for them."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c070", "article_bluemountain": "bmtnaau_1911-01_01#c070", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "145", "image_debut": 62, "image_fin": 63, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12.3", "titre_corps": "SCENARIO INVENTERS", "titre_sommaire": "SCENARIO INVENTERS", "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": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.62", "debut_caractere": 3436, "fin_caractere_exclue": 3866, "texte": "SCENARIO INVENTERS. & &\ngince the days of Sacco and Gozzi we be-\nlieve the knack, (can it be called an art?\nwe think not), of composing 44 Scenarios \" has\nbeen more or less lost. & &\nDramatists very probably make and\nbuild up their 44 plays \" around them but we\nhave not heard of special 44 Scenario \" con-\nstructors who do this work and nothing\nelse. So it is rather encouraging to read in\nan American Cinematograph adverti semen"}, {"page_pdf": 63, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 350, "texte": "that amongst the many distinct branches of\nthat busiaess there are special scenario ex-\nperts who invent the action of the dramas\nto be performed and pictured. &\nJZ? Such a man may not be an artist such\nas Pinero, for instance, but he is a man who\nmay at any time develop a mastery of his\nmedium to a point reached by Gozzi, and\nthen.,. JZ? JZ? & JZ?"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c071", "article_bluemountain": "bmtnaau_1911-01_01#c071", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 63, "image_fin": 63, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12.4", "titre_corps": "MADAME BERNHARDT AND VARIETY", "titre_sommaire": "MADAME BERNHARDT AND VARIETY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.63", "debut_caractere": 352, "fin_caractere_exclue": 1746, "texte": "MADAME BERNHARDT AND VARIETY\nJn appearing in a London Music Hall Ma-\ndame Bernhardt may be said to have re-\nturned to the true Theatre of today. The\ncasual critic condemns what he wrongly\nsupposes to be her 44 desertion of the Thea-\ntre \". But consider for a moment what she\n44 deserts \". &\nShe leaves a worn out artificiality for a\nliving artificiality;... what is her offence? She\nhas been guilty of making one step in the\nright direction.\nThe modern theatre is worn out; it ne-\nver was so worn out as it is today. The\nmusic hall cherishing as it does so much\ncreative talent of a somewhat exaggerated\norder is very much alive. Half, if not more,\nof the music hall 44 turns \" may be called\n'creative'. Madame Yvette Guilbert's perfor-\nmances are the finest examples of the living\nmusic ha 11... Madame Bernhardt does no\ncreative work of this kind, but the fact of\nso celebrated a performer appearing on the\nmusic hall stage must be accepted as the\n44 legitimate \" theatre's recognition of the\nforce of what is known as the 44 variety \"\nstage. JZ? JZ? <£?\njgr This variety stage is the sole remaining\nlink connecting us with that stupendous\nachievement of the sixteenth century known\nas the Com media JZ? &\n•£> It is not the Comrnedia but it has certain\nmarked resemblances to &\nMadame Bernhardt and the 44 legiti-\nmate \" theatre are both to be congratula-\nted on their good sense. JZ/ JZ? JZ?"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c072", "article_bluemountain": "bmtnaau_1911-01_01#c072", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 63, "image_fin": 63, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12.5", "titre_corps": "MERCURY - HARLEQUIN", "titre_sommaire": "MERCURY - HARLEQUIN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.63", "debut_caractere": 1748, "fin_caractere_exclue": 2620, "texte": "MERCURY - HARLEQUIN. & &\n''jphe new English coinage designed by Mr\nBertram Mackennal is to show the figure\nof Mercury 44 the god of commerce and pro-\nperty forging the links of the chain which\nbinds the South African States together \".\nIt is pleasant to think that the stage will\nbe so thoroughly represented on this new\ncoinage and that the ancestor of Harlequin\nwill foot it nimbly on the shilling.\n& By the bye, if Lempriere is correot 44 Mer-\n44 cury was also the god of thieves and pick-\n-44 pockets and all dishonest persons. The day\nu after lie was born he gave an early proof\n44 of hiscraftiness and dishonesty in stealing\n44 away the oxen of Admetus which Apollo\n44 tended; he also robbed Neptune of his\n44 trident, Venus of her girdle, Mars of his\n44 sword, Jupiter of his sceptre and Vulcan\n44 of his mechanical instruments JZ?\nHow amusing the English are \\J& &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c073", "article_bluemountain": "bmtnaau_1911-01_01#c073", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 63, "image_fin": 63, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12.6", "titre_corps": "GAUGIN'S SCHOOL", "titre_sommaire": "GAUGIN'S SCHOOL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.63", "debut_caractere": 2622, "fin_caractere_exclue": 3380, "texte": "GAUGIN*S SCHOOL. & &\npaintings ofGaugin, Maurice Denis, La-\nprade, Ceganne, Flandrin, Serusier, Mar-\nquet and Matisse shown at the Grafton Gal-\nlery have been praised in London.... in a\nLondon journal ! &\nGeorge Calderon says that Phiiip Burne-\nJones has written a letter to The Times to\nprotest against Gaugin and his followers and\nthat everyone in London 44 waxes angry and\nindignant\". &\nJZ? This is true. It is exactly what everyone\ndid when Philip Burne-Jones's father was\nexhibiting his best works years ago. It is\nwhat everyone should always be made to do,\nand failing to do it should be imprisoned\nfor contempt of art. The only compliment\nstill remaining for Everyman to offer to fine\nart is to 44 wax angry and indignant\" and\nto protest in The Times."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c074", "article_bluemountain": "bmtnaau_1911-01_01#c074", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "146", "image_debut": 63, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12.7", "titre_corps": "MASKS IN BERLIN", "titre_sommaire": "MASKS IN BERLIN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.63", "debut_caractere": 3382, "fin_caractere_exclue": 4437, "texte": "MASKS IN BERLIN. & & &\njt takes a great artist to materialise an idea\nso as to produce something beautiful. And,\nwhile the idea of the Mask as a means of\nfacial expression is good, the attempts made\nby ignorant enthusiasts to materialise this\nSdea are lamentable.\nThe Germans have begun. They are so\nenergetic that they always begin before any\none else. They have lately used masks on\na serious stage with ridiculous effect\nThe performance took place at the Berlin\nTheatre Exhibition and the play chosen was\n(i QBdipus \". So like the stupid fellows to\nchoose a Greek play;... so like the tasteless\nfellows to make wretched imitations of old\nGreek masks and so like their conceit\nto get photographed in them. Anything exhi-\nbiting less sense and less taste cannot be\neasily conceived than the effect produced\nBut why was the effect so ridiculous ? jg/\nBecause the actors knew neither how to\nhave the masks made, nor how or when to\nuse them. Again so like the Germans to\nrush in where even the Greeks feared to\ntread ! Yet in spite of this first failure the"}, {"page_pdf": 64, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 998, "texte": "mask still remains, a moans of expression if\nyou have the power to know how to make\nthem speak, jgr <£?\n& Our journal is continually urging men in\nthe theatre to experiment. Need we beg the\nsame men to abstain from experimenting\nbefore an audience, and to study in private\nfor many years how to do what we must\never continue to urge them is the right thing\nto do ? jg? &\n& Even if we could tell them the way to do\neverything we would not: but one of the\nbest ways to do anything is surely to take\ntime. Twenty years is not a long enough time\nin which to study the question of masks\nbefore showing results... unless you are a\ngenius and a genius takes longer. Therefore\nbe warned, you who think it an easy matter\nto make and wear masks on the stage. &\nTreat the matter seriously Be content\nnot to show until you know. You will then\nbe doing the stage some good.\njgt We hear that the managers of the new\nFrankfort Theatre propose to employ masks\nin some of their pieces. & &\n& We counsel them to take"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c075", "article_bluemountain": "bmtnaau_1911-01_01#c075", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "146", "image_debut": 64, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12.8", "titre_corps": "DANGEROUS GROUND", "titre_sommaire": "DANGEROUS GROUND", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.64", "debut_caractere": 1000, "fin_caractere_exclue": 1485, "texte": "DANGEROUS GROUND.j& &\ngir Herbert Tree does himself an injustice,\nHe writes that he has *' learnt that the\nmost exclusive symbolists when painting a\nmeadow regard purple as symbolical of\nbright green,\n& It seems he learned this at Marienbad\nfor he writes from there. But how should\nso clever a man have been so easily misled\non so simple a matter ? For we know that\nwhen the Symbolists paint a meadow they\npaint it as they wish and it is only the\nspectators whose eyes play them false."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c076", "article_bluemountain": "bmtnaau_1911-01_01#c076", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "146", "image_debut": 64, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12.9", "titre_corps": "BOOKS ON THE COMMEDIA", "titre_sommaire": "BOOKS ON THE COMMEDIA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.64", "debut_caractere": 1487, "fin_caractere_exclue": 3841, "texte": "BOOKS ON THE COMMEDIA. &\nhere are a few books dealing with this\nsubject In English and many in Italian.\nOne of the best English sketches is to be\nfound in John Addington Symonds' s transla-\ntion of the Memoirs of Count Carlo Gozzi*\nHis essay upon the Italian Impromptu Co-\nmedy completes, if it qualifies and at some\npoints contradicts his \"Predecessors of Shakes-\npeare. \" & &\nThere is also a delightful chapter In Ver-\nnon Lee' s \" Eighteenth Century Studies \",\nand passages In a book by Joseph Baretti cal-\nled \" Manners and Customes of Italy \", (1718)\nwhich are not without value. jg?\nIn Italian there is one great book on the\nsubject Luigi Rasi's \" I Comici Italian! \" In\nthree volumes, Adolfo Bartolo's \"Scenari\ninedlti \" is also valuable, and Signor Sche-\nrillo's work is already known to readers of\nThe Mask. In fact there is really no end\nto the literature which has grown up around\nthis greatest period of the victor, and we\nhope to give a complete Bibliography in the\nJuly number of The Mask, 1911 jg?\nBut most of these books are very costly,\nwhereas The Mask, which costs less than a\nhalfpenny a day, is within the reach of every\nactor who cares to hear about the greatest\nof all the actors of modern times;... actors\ngreater than Garrick, Kean, Kemble or Ma-\ncready; greater than Le Kain, Baron or Tal-\nma ; greater than Modena or Sc hroder.\nIf they doubt the truth of our assertion\nin regard to the greatness of these actors\nthey will find its proof in the next three\nnumbers, A? gg?\nA Correction.\nof our subscribers are, justly, per-\nturbed by a paragraph Jn our last\nnumber which attributes to the same author\nthe City of Dreadful Night \" and the \" Hound\nof Heaven \". & jg/\njgr This amazing statement sprang full-fled-\nged from the brain of a junior sub-editor\nwho, being left to see the last pages of\nthe journal through the press while his\nseniors were absent in the mountains,\nand finding the copy supplied to him to\nbe in his estimation insufficient in detail,\nedited it in his own manner and perpetrated\nthis glorious blunder. /g? jg?\nWe have fined this zealous youth heavily,\nand we have also raised his salary, as by\nmeans of the expostulatory letters received\nwe have been brought into touch with at\nleast fifty of our subscribers with whom\niu spite of our efforts, we had never before\nsucceeded in establishing any communication."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c077", "article_bluemountain": "bmtnaau_1911-01_01#c077", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "146", "page_fin": "146", "image_debut": 64, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.2.12.10", "titre_corps": "A WORD OF THANKS", "titre_sommaire": "A WORD OF THANKS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.64", "debut_caractere": 3843, "fin_caractere_exclue": 4282, "texte": "A WORD OF THANKS.\nJ.S.\npor leave to publish the first article in the\npresent number we tender our thanks to\nMessrs Chatto and Windus. &\ngg/ Our frontispiece, which, if not an actual\nillustration of the Commedia delTArte, ren-\nders in a very striking manner one aspect\nof it, is reproduced from an old engraving\n(one of a set of six) hitherto unpublished,\nin the possession of Signor Villoresi of Flo-\nrence by kind permission of the owner."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c078", "article_bluemountain": "bmtnaau_1911-01_01#c078", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "150", "image_debut": 67, "image_fin": 68, "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=bmtnaau191101-01.2.13", "titre_corps": "THE COMMEDIA DELL'ARTE : or PROFESSIONAL COMEDY", "titre_sommaire": "THE COMMEDIA DELL'ARTE : or PROFESSIONAL COMEDY", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 67, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 2566, "texte": "THE COMMEDIA DELL'ARTE or\nPROFESSIONAL COMEDY.\n\n(I)\nThis and the two following numbers of \" The Mask\" are\ndedicated to the Actors and to the Peasant Folk.\n44 PRODUCE GREAT PERSONS, THE REST FOLLOWS WALT WHITMAN.\nistory, to creative minds, is often a drj' dead thing. It is the story of the\nPast. Creators are concerned only with the Present and the Future. Yet there\nare some old stories which seem fresher every time they are told. Tiie story\nof the Commedia dell'Arte is one of them. It concerns our old friends Harlequin,\nPantaloon, Pulcinella or Punch and their companions,... The Doctor, Brighella,\nScaramuccla, Coviello and the Captain. What fun, you think. Yes! what fun,... but what\ngenius also, for the inventors of these figures were men of genius. Whether the inventors\nwere peasants or actors or both is immaterial. The point has not been decided : but it\nhas been very clearly decided and recorded that the inventors were not play<*writers,\nIs it possible ? Can a Drama which holds the stage for two centuries be created without\nthe assistance of the literary man ? It can. Then If it can be created once it can be created\ntwice ? It can.\nYet there are some who still do not comprehend this. Some there are who grow angry if\nyou suggest such a thing. By some process of reasoning, of which they hold the secret,\nthey argue that because actors do not improvise today improvisation must necessarily be a\npoor or affected kind of thing, fit for children to amuse each other with in the nursery\nbut quite beneath the consideration of serious people. They also think that, because this\nDrama depends more upon action than anything else, it must be a crude kind of thing\n(2) and the fact that masks were used is sufficient to convince these gentlemen that\nno seif=respecting actors could have ever employed their time with such kind of Drama.\nThe persons who argue thus have the advantage of not knowing what they are talking\nabout, for if they knew they would be unpleasantly surprised to learn that it was only the\nactors of the highest genius or talent who could Improvise together.\nRiccoboni tells us In his \"Histoire du Theatre Italien\" (1730) that \"The actor who improvises\n\" acts with more animation and more naturally than he who plays a part which he has\n\nThe luveiiters.\n/?icco ho n i .\n\n(1) The expression \" Professional Comedy \" refers to the execution, not to the subject, of the play., Mantzius.\n(2) \"Comedies are written to be spoken not read; rememker the ti'e o\" these things consists in action\", John Marston. 1575-1!),?4 Preface\nto \"Fawne\"."}, {"page_pdf": 68, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.68", "debut_caractere": 25, "fin_caractere_exclue": 4192, "texte": "44 learned by heart. People feel better, and therefore say better, what they invent than\nwhat they borrow from notes and memorise. But for all that they purchase these advantages\n44 at the price of many difficulties; clever actors are required and there must also be actors\n44 of equal talent; for the drawback of Improvisation is, that the art of even the best actor\ndepends so much on that of his fellow actor; if he has to act with a colleague who does\nnot reply exactly at the right moment or who interrupts him in the wrong place, the\n44 words miss part of their effect, or the sense is lost\n& Riccoboni then goes on to say that it is not enough for an improvisator to have a good\nappearance, voice, or even sensibility, but that to make a mark he must possess a fertile\nimagination, a facility of expression and a resourceful tongue.\nRiccoboni is of course talking here of what he studied and witnessed and performed;\nthus naturally he is labouring under a disadvantage. It is so much easier to write on a subject\nabout which one knows nothing. 4& &\n& Still, something must be said for these antagonists of improvisation who dwell in Eng-\nland. They are frightened ; they fear to encourage the principle lest a mere imitation be\noffered the public and accepted as the real article. They dread that something 44 artistic ~\nmight be let loose and they prefer the 44 theatrical So do we all. But what a strange\nplace is England where the good words 44 artistic \" and 44 theatrical \" have become terms\nof derision used by artists and theatrical people. On the continent, thank Heaven, one does\nnot hear any such thing. One dare speak of art with enthusiasm or the theatre without fear,\nfor both art and drama are part of the life of the people.\nAnyhow one is forced to admit that after all England does not count in these matters\nt i\n....because she won't count.\nAnd as there are no frontiers to art all is as it should be. Still, I hope that no one will\ncommence writing plays for Pierrot and Columbine and Puncinella for a written play is\nan absurd thing and a dead thing into the bargain. J2? & jg?\nOne dreads to think what sweet stuff a minor or even a major poet would fashion out\nof these masked giants that strode across the centuries for a while, helping Shakespeare,\nsuckling Moliere, creating Goldonl and being driven away from the haunts of man by the\nungrateful children they had reared. & &\nBut that a closer and more subtle study of the Art of Improvisation should begin is most\ndesirable, and there is no doubt that it has already begun.\nThe Art of Improvisation now and then crops up again in single Instances in the Music\nHall, but groups of Improvisators working together, each one as good as the other and a\nhigh standard for all, are to be found nowhere today. Such groups will never be found until\nyoung men dismiss from their minds that exaggerated fear of everything which appears at\nfirst too difficult to comprehend. Still let them read of these, the greatest actors of mo-\ndern times.... of Andreini, Riccoboni, Pellesini, Fiorelli, Ganassa, Martinelli, Tarleton, Mo-\nliere, Costantino and Sacco, and perhaps they will be better able to understand what a great\npossibility faces them which they can make practical by sympathetic understanding, concen-\ntrated and incessant study, with determination not to retreat an inch, but to advance\nstep by step until the position is captured. & & &\nThis suggestion to the young men in the theatre should not be criticised by them because\nit suggests something strenuous instead of something easy, for though all art appears to\nbe easy and is in actuality created with ease, the preparation for it, as for the creation of\nall living things, must be long and difficult. jgr &\n4? It was long and difficult for those I have named.... for Andreini and his companians, but\ntheir achievement was splendid Sn proportion, they were the wonder of their age and of\ntheir calling: let them but find successors in ours, and then all will be well with the Actor.\nFor these were 44 the Great Persons \".... and the rest followed. &\n\nA written play\nan absurd thing.\nThe Art of\nImprovisation.\nHow to achieve\nit.\n\nJ.S."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c082", "article_bluemountain": "bmtnaau_1911-01_01#c082", "volume": "bmtnaau_1911-01_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=bmtnaau191101-01.2.14", "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=bmtnaau191101-01.1.2", "debut_caractere": 893, "fin_caractere_exclue": 1183, "texte": "NEW YORK\nDRA MA TIC MIRR OR\nEdited by Harrison Fiske\n'\nThe oldest and most reliable Ameri=\ncan theatrical paper, published every\nweek at 921 West 42nd Street, New\nYork, U, S, A.^\nSample copies on request free of\ncharge. Foreign subscriptions 5= Dollars\n,\none year; 1,70 Dollars three month,"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c083", "article_bluemountain": "bmtnaau_1911-01_01#c083", "volume": "bmtnaau_1911-01_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=bmtnaau191101-01.2.15", "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=bmtnaau191101-01.1.2", "debut_caractere": 1185, "fin_caractere_exclue": 1442, "texte": "D1NI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna.\nVia dei Fossi N. i - FLORENCE\nReproduction of sculptures of Old\nand Modern Masters = Statues - Busts\n« Vases => Bas=Reliefs = Fountains -\nDoors, Chimney = pieces ~ Bases etc.\netc. in every style. & &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c084", "article_bluemountain": "bmtnaau_1911-01_01#c084", "volume": "bmtnaau_1911-01_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=bmtnaau191101-01.2.16", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.2", "debut_caractere": 1444, "fin_caractere_exclue": 1888, "texte": "THE MOSHER BOOKS\nj& & MDCCCXCI-MCMXI J& &\nMy new Catalogue is sent free on request to book»lovers anywhere that can be reached\nby Mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks- You are not wearied by\"a jollle good book\" jingle and that sort of thing but\nyou are treated to some very genuine prose & verse not found in every cut-and-\ndecidedly-dried anthology.\nTHOMAS B, MOSHER & PORTLAND. MAINE & U, S, A,"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c085", "article_bluemountain": "bmtnaau_1911-01_01#c085", "volume": "bmtnaau_1911-01_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=bmtnaau191101-01.2.17", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.2", "debut_caractere": 1890, "fin_caractere_exclue": 2252, "texte": "THE BOOK NEWS MONTHLY\nIts mission is to save you from reading a poor or a disappointing book, or from\nexperiencing the chagrin that accompanies •« Un=informedness.\"\nTHE 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& Dol, 1,00 a year, 10 cts: a copy. Sample copies sent on request"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c086", "article_bluemountain": "bmtnaau_1911-01_01#c086", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "147", "image_debut": 65, "image_fin": 65, "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=bmtnaau191101-01.2.18", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 1883, "texte": "mmufcmu'.*nauoiiiMK\nBRITISH BIBLIOPHILES' SOCIETY\n10, Rue de la Tribune, 10\nBrussels (Belgium)\nThe Sword and Womankind\nA Study of the influence of the 44 Queen of Weapons\" upon the Social\nand Historical Status of the Fair Sex. Copper-plate frontispiece by Paul\nAvril. Printed on Simite Japanese paper, and bound in water-coloured\nsilk. Nothing like since Sir Rich. F. Burton's 44 Book of the Sword\nNet ais.\nPassion and Criminality in France\nBy Judge Louis Proal (Puyde Dome). A Study of Jealousy and Crimes\nof Love in France ; over 700 pp., well bound. Translated from the French\nby Alf. Alllnson, M. A. Complete authorised edition. Net 21s.\nThe Sorceress\nA Study of Middle-Age Superstition, Black Mass, and Witchcraft, by\nJules Michelet, with Publisher's Note on the Tribulations of a Bookseller.\nCrown Bvo vol., cloth bound. Net 10s. 6d.\nThe Love-Story of a Spahi\nBy Pierre Loti, translated by A. Allison. Fine Bvo vol. Edition de Euxe,\non hand-made paper, with Seven copper-plate engravings by a French\nNet 10s. 6d.\nThe Welt of Santa Clara\nBy Anatole France (of the French Academy), translated by A. Allinson,\nM. A., (Oxon). Finely printed in two colours on hand-made paper, and\nwith 21 full-paged copper-plate engravings, elegantly bound, gilt top.\nNet 21s.\nThais: The Romance of a Byzantine\nCourtesan (IV. Cent.)\nBy Anatole France. Complete translation by Robert Bruce Douglas.\nWith 21 full-paged copper-plate engravings by Van de Maele. Limited\nEdition on hand-made paper, bound in water-coloured silk, gilttops, &c.\nNet 21s.\nThe Tortures and Torments of the\nChristian Martyrs\nFrom the original Italian and Latin texts of Father Gallonlo, small\n4to vol. on Antique wove, with 46 full-paged illustrations on Excelsior\nArt paper, neatly bound in buckram. Net 21s.\nTranslations of \" The Golden Ass\nThe Satyricon for Students\nii\nDescriptive Circulars of above works on application."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c087", "article_bluemountain": "bmtnaau_1911-01_01#c087", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "148", "page_fin": "148", "image_debut": 66, "image_fin": 66, "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=bmtnaau191101-01.2.19", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 66, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.66", "debut_caractere": 0, "fin_caractere_exclue": 2820, "texte": "A GREAT ITALIAN CLASSIC\n(FIFTEENTH CENTURY)\nThe Most Delectable Nights of\nStraparola\nCOMPLETE TRANSLATION.\nTwo large stout 3vo vols., on Superfine English Paper. About 800\npages, with 50 Coloured Plates and 90 Black Drawings. Price L 4 4s. od.\nReduced to L. 1. 11s. 6d. nett.\nReasons why you should buy this Edition:\nmmmmwmammi ™... rrrxtenMtM* .I.l■, 111 au an -...... —..lmuMaJMu win wmirwuTOamttwaattaajim Mmn memmmmom\n1. BECAUSE the books, in addition to being a durable monument of strong,\nnervous English, ar© illustrated with fifty witty plates in colours...and to-day\nthe rage is all for coloured illustrations...to say nothing of some ninety-seven\npen-and-ink drawings In the text. 44 Gorgeous \" is the only word that can\nadequately describe many of those hand-coloured illustrations.\n2. BECAUSE, in answer to the question, What are Straparola's 44 Nights\"?\nwe reply: They are a collection of bright, rollicking stories in the style of\nBoccaccio...now pathetic, anon brimming over with boisterous fun and Rabe-\nlaisian humour. The laugh rings true, the gallantry is never low-minded, the\nmorality is sometimes indeed high, and In any case there is no canting smirk\nlurking at the corner of the lip: the work reeks with the joy and gaiety\nof life.\n3. BECAUSE the work consists of two stout Bvo volumes of some 800 pages\nin all: and, being a magnificent piece of typography, executed In red and\nblack throughout, will please all who like fine printing. The initial letters\nare in red, the titles of the chapters in red, also the running titles on each\npage ; the paper is fine, and of the best English make and quality.\n4. BECAUSE, further, to add still more to the literary value of the book,\nthe Translator has given an exhaustive Introduction, and been prodigal of\nnotes elucidating names of those persons and places not generally known,\nand drawing attention to analogous stories in Boccaccio, Shakespeare, 44 The\nArabian Nights,\" thus making the work useful to the scholar and student,\nas well as agreeable to the general public who read for the sake of pleasure\nand amusement.\n5. BECAUSE the price is for the moment absurdly low for two such noble\nvolumes, whereof the value will increase in proportion as the books get scarcer,\nlike stocks and shares that fluctuate according to the well-known law of\nsupply and demand.\n6. BECAUSE only a small number of copies have been printed, and when\nthese are sold out, or given away...the terms are nearly convertible in the\npresent case...there will be no more obtainable, as we bind ourselves never\nto reprint the book, however great the demand.\nDetailed Prospectus and two specimen plates\nmay he had for the Asking against sixpence\nto cover Cost of Postage.\n|- U-WJIIILIH.JJIH—II 1 imilWLH.lll —— MBB—\nBRITISH BIBLIOPHLES '\n10 Rue de la Tribune, Brussels, Belgium"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c088", "article_bluemountain": "bmtnaau_1911-01_01#c088", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "image_debut": 70, "image_fin": 70, "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=bmtnaau191101-01.2.20", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.70", "debut_caractere": 148, "fin_caractere_exclue": 563, "texte": "ANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES &\nFLORENCE\nVia dei Fossi 4 &\n£? (ESTABLISHED i860)\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases Fountains Flower=stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n19 04"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c089", "article_bluemountain": "bmtnaau_1911-01_01#c089", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "image_debut": 70, "image_fin": 70, "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=bmtnaau191101-01.2.21", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.70", "debut_caractere": 565, "fin_caractere_exclue": 754, "texte": "/ COMICI IT ALIANI\nby L u i g\n3 Vols: Price Francs 150.00\nAN ILLUSTRATED BIOGRA=\nPHICAL DICTIONARY OF THE\nITALIAN ACTORS,\nF. Lumachi, Florence.\nOr through Brentano's, Fifth Avenue\nNew York."}]}, {"article_id": "bm-bmtnaau-1911-01-01-c090", "article_bluemountain": "bmtnaau_1911-01_01#c090", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "image_debut": 70, "image_fin": 70, "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=bmtnaau191101-01.2.22", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.70", "debut_caractere": 756, "fin_caractere_exclue": 905, "texte": "THE CONSER VA TOR\nEdited & published Monthly by Horace\nTraubel, 1624 Walnut St: Philadelphia,\nU, S, A, Yearly subscription, dollars\n1,25 post free, &"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c091", "article_bluemountain": "bmtnaau_1911-01_01#c091", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "image_debut": 70, "image_fin": 70, "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=bmtnaau191101-01.2.23", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.70", "debut_caractere": 907, "fin_caractere_exclue": 1091, "texte": "BOOK COVERS\n& CHOICE BINDINGS IN FLORENTINE\nVELLUM AND LEATHER &\nALSO CALENDARS CARD CASES &\nMINIATURES: FRAMES : ALBUMS^\nALFONSO DOR I\n& 14-16 Borgo S. S. Apostoli\n£/ FLORENCE - Italy"}]}, {"article_id": "bm-bmtnaau-1911-01-01-c092", "article_bluemountain": "bmtnaau_1911-01_01#c092", "volume": "bmtnaau_1911-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "152", "page_fin": "152", "image_debut": 70, "image_fin": 70, "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=bmtnaau191101-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.70", "debut_caractere": 1093, "fin_caractere_exclue": 1317, "texte": "L'ART THEATRAL\nMODERNE\nby JACQUES\nPrice five francs.\nPROFUSELY ILLUSTRATED.\nTREATING OF THE WORK OF\nSTANISLAWSKY, APPIA, REINHARDT,\nFRITZ ERLER, FORTUNY &\nGORDON CRAIG\n1$ dua r d Coin e 1 y & Ci e\n101 Rue de Vaugirard, Paris"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.1", "texte": "Vol. 3 N.° 7=9 JANUARY. 1911.\nTHE MASK\nA QUARTERLY JOURNAL OF\n\" THE ART OF THE THEATRE \"\nARENA QOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION ■£> FIFTEEN SHILLINGS, POST FREE."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.2", "texte": "LITERARY CONTENTS.\nTHE VENETIAN THEATRE AND THE ITALIAN COMEDY IN THE EIGHTEENTH CENTURY\nby PHILLIPPE MONNIER. THE COMMEDIA DELL'ARTE by Dr MICHELE SCHERILLO.\n& BIOGRAPHICAL NOTES TO THE PRECEDING ESSAY. CARLO GOZZI AND HIS PLAYS\nby JOSEPH BARETTI. 1768. \" A SURVIVAL OF THE COMMEDIA \" ; AN EXTRACT\nFROM \"STUDIES OF THE EIGHTEENTH CENTURY IN ITALY\" by VERNON LEE. BOOK\nREVIEWS, FOREIGN NOTES. EDITORIAL NOTES, jg> &\n\nILLUSTRATIONS.\nFRONTISPIECE: A GROTESQUE. ARTIST UNKNOWN. & GIACINTO CATTOLI AS ARLEC-\nCHINO by GIULIANO ROST. FOUR MOODS OF ARLECCHINO by CLAUDE GILLOT.\nSIX ILLUSTRATIONS FROM THE \" BALLI DI SFESSANIA \" by GIACOMO CALLOT.\nFIGURE OF PANTALONE by GIACOMO CALLOT. jg? A COSTUME FOR PANTALONE OF\nEARLIER DATE. ROMAGNESI AS SCARAMOUCHE MEDICIN. jg? HEAD AND TALE PIECES\nAND INITIAL LETTERS FROM OLD DESIGNS AND DESIGNS BY GORDON CRAIG, CHARLES\nBORROW AND OTHERS. jg/ jg? jg/ jg?\n\nNEW YORK\nDRA MA TIC MIRR OR\nEdited by Harrison Fiske\n'\nThe oldest and most reliable Ameri=\ncan theatrical paper, published every\nweek at 921 West 42nd Street, New\nYork, U, S, A.^\nSample copies on request free of\ncharge. Foreign subscriptions 5= Dollars\n,\none year; 1,70 Dollars three month,\n\nD1NI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna.\nVia dei Fossi N. i - FLORENCE\nReproduction of sculptures of Old\nand Modern Masters = Statues - Busts\n« Vases => Bas=Reliefs = Fountains -\nDoors, Chimney = pieces ~ Bases etc.\netc. in every style. & &\n\nTHE MOSHER BOOKS\nj& & MDCCCXCI-MCMXI J& &\nMy new Catalogue is sent free on request to book»lovers anywhere that can be reached\nby Mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks- You are not wearied by\"a jollle good book\" jingle and that sort of thing but\nyou are treated to some very genuine prose & verse not found in every cut-and-\ndecidedly-dried anthology.\nTHOMAS B, MOSHER & PORTLAND. MAINE & U, S, A,\n\nTHE BOOK NEWS MONTHLY\nIts mission is to save you from reading a poor or a disappointing book, or from\nexperiencing the chagrin that accompanies •« Un=informedness.\"\nTHE 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& Dol, 1,00 a year, 10 cts: a copy. Sample copies sent on request"}, {"page_pdf": 4, "page_imprimee": "[100]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.4", "texte": "A GROTESQUE\nArtist unknown.\n\nTHE MASK\nJanuary li)ii"}, {"page_pdf": 5, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.5", "texte": "THE VENETIAN THEATRE AND ITALIAN\nCOMEDY IN THE EIGHTEENTH CENTURY\nby Philippe Monnier.\n\nhe Venetians with their poetic, pleasure-loving character could hardly\nhave existed without the charm and glamour of fiction. It is true that\nfootlights, curtains, and a double bass were sufficient to create the\nworld of wonders which they loved. But they would have died if alto-\ngether deprived of their theatrical illusions. In the eighteenth century,\nParis had three theatres. Omitting occasional theatres, stages in palaces,\nopen air theatres in the piazza, and travelling theatres for marionettes,\nVenice had seven, all permanent and all bearing the names of their parish saints, all open\nduring the whole season of masquerades, and giving performances every single evening.\nTake, for instance, the evening of January 21, 1765. \"Oidone abbandonata\" was performed\nat the S. Benedetto, 44 L'Amor in ballo\" at the S. Mos£, \"11 RScco insidiato\" at the\nS. Salvadore, 44 Semiramide \" at the S. Casslano, 46 Brighella disertore disperato sequace della\nMagia d'Archelausse \" at the S. Crisostomo, 44 La Favola dell'Uccellm belverde \" at the\nS. Angelo, and at the S. Samuele that beautiful and amusing comedy the 44 Cavalier© di Ri-\npafratta, o sia il Marchese di ForlinpopoliThey let no grass grow in these shrines of\nfrivolity; they almost lived in them, so that nearly every house was to let. From the red-\ncapped boatman, who prided himself on his taste In comedy, to the patrician in his toga,\nwhose hobby was the management of theatres, all found their way In. They were at home\nthere, even more than in church. They were hardly inside before they seemed to be in pos-\nsession of the place. They enjoyed being together, after the solitary business of the day.\nIn the absense of known events, they filled the silences of history with imaginary inven-\ntions of their poets, they gave their whole hearts to the play of imaginary emotions; they\nfilled the empty spaces of their souls and lives with happy illusions; they liked the frenzy\nwhich was aroused in them by the roulades of a singer, the contortions of an acrobat,\nthe pleasantries of a buffoon. They found the door of a theatre as irresistible as a cafe.\n& Drama is the literature of those who do not read. It was pre-eminently the literature\nof Venice, to whose spirit it was most akin. It was her glory, her national mode of expres-\nsion, her standard of literary Judgement. From Ruzzante to Goldoni it spread her fame\nthroughout Italy. A too stern reality wearied the old artistic race; the drama was their\nliberating dream, their Indigenous diversion. It was the prevailing genre ; everyone attempted\nIt, every one was familiar with it, the most humble critic formed a theory of it and sup-\nported an opinion. The name alone of an actress could draw sparks and flame from a\nlanguishing conversation. A new play was a public event; its echoes spread even to the\nferries. The engagement of a dancing-girl was an affair of State ; It filled the portfolios of\nthe Council of Ten, and embarassed a number of embassies. Any plots or factions that\ndisturbed the State were purely theatrical. The rivalry of the priest Chiara and the lawyer\nGoldoni gave birth to two parties, divided the city into two camps, 44 armed one against\nanother, lords and ladles, citizens and their wives, the poor, the artisans, the gondoliers,\nthe cultured courtesans.\" No literary polemic ever raised a greater stir, or wasted more\nmoney. & & & & & Je?\n42? The horizon of the Venetians seemed to be bounded by footlights; stage scenery, and a\nprompter's box. The air of deserted passages was heavy with the damp odour of worn velvet\nand orange-peel, exhaled from theatre halls. The atmosphere was mingled with the bitter\nfloating dust which rose from their 44 boards \" and 44 burnt and killed like gunpowder\".\nOf all this busy hurrying population there was scarcely a person who had not some con-\nnection with the stage, as lamp-lighter or ticket-collector, as box-attendant or copyist of\nmusic, as chorus girl or her dressmaker, her music-master, her stage-manager, her glover,\nher hosier, her confessor, her hairdresser, her protector. They were poets or prompters,\n44 crowds \" or machinists, pages or painters or first haut boys. They sang in Italian opera\nor acted in pantomime, or played the Wit, the Moor, the late Roman, or the capricious\n\nSeven theatres\nin Venice.\nDrama the lite*\nrature of those\nwho do not read."}, {"page_pdf": 6, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.6", "texte": "THE VENETIAN\nTHEATRE.\n\ncourtier in a ballet. Take, for instance, a comedienne; she knows more about love than\nOvid ever wrote. Take her mother or her brother. He Is paid sixpence a day to do the police-\nman, or the robber, or the devil, and to carry a lantern in front of the princess, his sister,\nwhen she returns from the \"wings\" to the kitchen to change her clothes. The chariot of\nComedy had stopped for good at Venice; the shafts rose empty in the air. <£?\n& At every corner of this fantastic city there stood out a group of wandering comedians.\nAt one a poet reads his compositions to some actresses; they knit stockings while they listen.\nAt another some singers 101 l about on chairs and fan themselves with their music, while\nthey practise their songs. Elsewhere an artiste converses with her patron, while her hair-\ndresser plays the spy; her husband has gone shopping with a basket on his arm. The Se-\nnator Malipiero surprises Teresa Imer and Casanova in too intimate conversation, and\nrains showers of blows upon them. Carlo Gozzi is on his way to Teresa Ricci to present\nthe homage of a poet; her husband, with holes in his stockings, sleeps peacefully through\nthe long discourse. A girl of eighteen is practising her dance on the Piazza in clear moon-\nlight. A boat-load of comedians bears the young Goldoni over the blue waters of the Adriatic.\nA troupe of opera singers is waiting on the quay at S. Mos6 to embark at break of day.\nThe mother of a singer is drawing the lottery, which she has organised to meet the needs\nof her daughter. All things.... past, present, and future.... were exploited for the drama.\nThey ransacked the antiquities of Greece and Rome, myth and legend, the East, the dwel-\nlings of the fairies, the 44 cloak and sword \" drama of Spain, contemporary stories of adven-\nture, even old and innocent nursery tales. Fielding's 44 Tom Jones \" and Marivaux's 44 Ma-\nrianne \", Moliere's 44 Bourgeois Gentilhomme \" and Ovid's \"Metamorphoses\", \"The Peruvian\nLetters \" of Madame du Boccage, Richardson's 44 Pamela \" and Le Sage's 44 Gil Bias \", Fieux\nde Monhy's 44 Paysanne Parvenue \" and Virgil's 44 Aeneid \".... all transported to the stage.\nFrom the 44 Aeneid\" alone Abbd Chiari drew three plays. They made Aeneas a Captain\nFracasse, Menelaus an amorous Pantaloon, Helen a Venetian gossip. They showed Cupid\nscattering flowers upon the tables, Aphrodite in her chariot of clouds, peasant's raids,\npitched battles, ships burning, gods flying, stars shooting, children hidden in a tomb, the\nshades of the dead, and even the whole kingdom of the shades. Everything from Tirso de\nMolina to Boursault, to Regnard, to Klopstock, was marked down, copied, stolen, adapted,\nor simply translated. With this material they manufactured indifferently the libretti of\nOp&rsi-bouffe and of Grand Opera, masques and comedies of character, tragedies and\ntragi-comedies, fairy-plays, ballets and melodrama. Novelty was the essential thing. Hence\nCount Alessandro Pepoli composed a 44 Ladislas \", which was neither comedy nor tragedy\nbut a 44 physedy \" or song of nature, with sun-rises and moon-rises, with lofty towers,\nprecipitous mountains, battles, and habitable caves. The second essential was to pro-\nduce something full of marvels. They wanted men carried on devil-back through the\nair, set-pieces of fireworks, pilgrims' staves, daggers, poisons, prisons, slaughtered bears,\nlofty pavilions, earthquakes. According to Marcello a dramatic poet was dressed in\ncork, adorned with metaphors, translations and hyperboles, and a sword In a bearskin\nsheath.\n»\nAt Venice the end of the eighteenth century was marked by the triumph of Italian\nComedy. Its birthplace is unknown, and its origin is shrouded perhaps in the mists of\nprehistoric times. Its torch may have been kindled at the fires of the ancient Oscan civi-\nlization ; or it may have been handed down from the culture of Magna Graecia or from\nsome other old uncertain source. Oscan games and Atellan farce were perhaps its cradle,\nPolichinello the ancient Maccus, the Zannis nothing but the Latin Sanniones. Its flowing\nrobes and living outlines may be directly derived from the pantomimists and ballet-dancers,\nactors and clowns, whom lust and license created to amuse the cross-roads with their\nwine-stained cheeks and strange grimaces. But in the midst of so great obscurity, this\nmuch at least is certain. The Italian Comedy 44 dell'arte \", the Italian Comedy of impro-\nvisation, of masks, of plots and incidents, developed along parallel lines with the Italian\nComedy written in the study. It died with the ancien regime. If the written comedy pre-\nsupposes an environment of cultured ease, a villa garden or a palace court, the comedy\nwhich is Italian Comedy par excellence is the spontaneous growth of the Piazza. In fact,\nto set it in its proper frame, we must reconstruct for ourselves an Italian fair with all its\n\nComedians at\nevery corner. &\nThe triumph of\nItalian Comedy."}, {"page_pdf": 7, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.7", "texte": "GIACINTO CATTOLI AS ARLECCHINO. DESIGNED BY GIULIANO ROST.\n\nTHE mask.\nJanuary 1911."}, {"page_pdf": 9, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.9", "texte": "wild excitement, such as Callot loved to paint. &\n& A gibbit was outlined against the sky. Strings of onions hung from pedlars' stalls. Boys\nand dogs and hedge-priests, servants and wandering merchants mixed upon the stage.\nCripples of every kind drawled out their prayers. Men in plumed hats stood, hand in pocket,\nspitting upon the ground ; few had the good taste to step aside. There were vendors of rat\npoison, men who sold mirrors to light fires with from the sun, showmen of strange ter-\nrifying monsters, men who ate cloth, or vomited fire, or bathed their faces in molten lead.\nThere were conjurers who pretended to cut off noses with a knife or extracted ten yards\nof rope from their own mouths, or caused cards to be found in other people's hands. There\nwere men who blew Into boxes till their faces were the colours of some brigand's, and\nothers made them eat dung disguised as dainties. In the glare and hubbub of these orgies,\nto the accompaniment of blows given by insulted serving-girls, amid cries and stinks, among\ncheats and swindlers, that strange, monstrous, savage growth burst forth, with the gestures\nof an artist, and the soul of a child.\nStarting from some such fair of the Impruneta, Italian Comedy spread through all the\nSand. A yoke of oxen dragged round its chariot with its canvas awning. Beneath the canvas\nIsabella suckled her child. At each rise in the road the actors got down and pushed against\nthe wheels. They knew chance resting-places and strange hostelries, all the hazards of the\ngreat roads. They forded rivers and climbed mountains • they slept in barns or with the\nstars for their roof. They saw the sky blaze at midnight with arquebus-shots and the\nvillage children run after them with shouts. They passed from hamlet to hamlet, from\nexperience to experience, from success to success. And then the poor rope-dancers of\nyore, the thin vagabonds with the disjointed bodies, the wasted, wandering sons of mud\nand night, who wiped their noses with their fingers and knelt in the dust of the road\nat the tinkling of the Angelus, found the great gates of palaces opened to them, and\nentered in. For did not Catherine de Medici laugh at their farces with all her soult\nlike any common woman ? Were not diplomatic negotiations commenced to obtain a\nScaramouche or a Lelia ? Princes and princesses, even kings, gave them rides in their\ncarriages. Marie de Medici held Harlequin's son at the font. Tasso sat beside Isabella\nat the table of Cardinal Aldobrandini. Louis XIII. appointed Beltrami to his guard of\nhonour. The King of Poland made Mezzetino keeper of his privy purse, and the Empe-\nror Matthias made Fritelino a noble. The cities of Italy pealed their bells and proclaim-\ned tournaments In honour of Vincenza Armani of Venice. The magistrates of Lyon\nsent their mace-bearers and their banners to the funeral of Isabella Andreini of Padua.\nTogether with his dog, his cat, his monkey and his parrot, Scaramouche had the entree\nto the Louvre. One day he found the Dauphin in tears, and amused him so well with\nhis grimaces that the Roi-Soleil in swaddling clothes suffered himself to be nursed by his\nvisitor. jgr jg?\n& We gather up all that remains of this spectacle. We turn over the compliments of\npoets and the notices of journalists. We read the biographies of these illustrious come-\ndians. We consult the poor scenarios, thin and fragile as the skeletons of leaves. We\nlook at Callot's flying company of dancers or at Watteau's masquerades. And we try to\npicture to ourselves this mad, enthralling thing, which was born, and mounted to the\nskies, ravished a whole world and charmed a whole era, which is dead now... so definitely\ndead, that it has left no memorial of itself but the reflection of its brilliance and the echo\nof its fame. dc?\n& First and foremost we find the two old men, Pantaloon of Venice and the Doctor of\nBologna, two toothless, doddering old misers, who sneezed and spat and belched, and In\nspite of their baldness, catarrh, and crutches, were always rubbing young men up the wrong\nway. Next came the two servants of Bologna, Harlequin and Brighella, with their arms\nround each other's necks, the incarnations of two ideals of domestic life ; the one a knave\nand light of wit, the other a heavy simpleton ; the one keen-eyed as a hawk, the other\nperpetually moon-struck. Brighella was always letting plates fall, knocking himself against\nwalls, falling flat on his back on the stairs. Harlequin was as sharp as steel, all knavery,\ncraftiness, elasticity. Then, In the train of these four original types, come various imita-\ntions of them, degenerate copies and stupid grafts on the old trunk...,, valets; peasants,\n\nTHE VENETIAN\nTHEATRE. «£>\n\nStarting from a\nfair.\njg? We gather up\nwhat remains.\nThe Characters."}, {"page_pdf": 10, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.10", "texte": "THE VENETIAN\nTHEATRE.^\n\nsharpers, pedants, cowards, wastrels of a!§ sorts, idiots oi every kind, gluttons and simple*\ntons, monsters and masqueraders. There were Mezzetioo and Trufaldino, Trivitino and\nScaramouche, Paillasse and Cavicchio, Burattino and Pasquariello, Pierrot all in white,\nScaramouch© all in black, Tartaglia the stammerer, Francafcrippa the glutton, Coviello\nwho was leaps and jests and songs and nothing more. Naples produced Polichinello and\nSiena produced Cassandro, Niccolo Barblerl invented Beltrami, Tiberio Furelli Scararnouche,\nGiuseppe Giaratone Pierrot, and Domenico Biancolelll turned the dull farm-boy of Bergamo\ninto Harlequin; \" that sort of half finished man \" that great child with the agility\nand gentleness of a kitten \", 44 that mixture of ignorance, naivete, wit, stupidity and\ngrace \" which Marmontel admired. Each had his own character and his own costume, his\ndialect and his country, his special attributes and disfigurations. Each was sculptured\nlarge as life on the subject-matter of Laughter. With them were the lovers with their\ntenderness and youth and beauty, who talked Tuscan and copied the latest manners. Ho-\nrace and Coraline, Isabella and Leander, Cintio and Flaminia, Lelio and the exquisite\nSylvia, all were there. And after them came the clever resourceful host of soubrettes\nZerbinetta, Francesquina, Diamantina, and Columbine. And threading his way through\nthem all, erect to his full height, his moustache-ends turned up, his great plume waving\nin the air, and his hand on the handle of a rapier, on which a spider's web lay rotting,\nthere was Captain Spavento alias Aspramonte, Rinoceronte, Furibiitibornbo, Leonontrone\nArcitonotonantre Sbaronne, Escarabomburdon de la Papirotonda. He could not wear a\nshirt because his hair bristled so with rage, and would have made it as full of holes as a\nsieve. He could only eat three meats, Jews and Turks and Lutherans. He had sent his valet\nto pay his compliments to the grand Sophti. He had saved the world from the Deluge, he\nhad fought against the stars, he had lain with Death in the nether world, and had made\ntwo hundred girls mothers in one night. But if Pantaloon but put his hand to his pistol,\nthe Captain took to his legs as fast as he could ; and on lonely roads at night he almost\nfrightened himself to death. &\nSuch were comic, delightful characters that appeared against the scenery of painted canvas.\nTorn ruffs and mantles mingled with white cloaks and jackets, with jewels and ribands; the\nCaptain's sword with Harlequin's club, the woollen cap of Pantaloon with the red-plumed\nbonnet of Coviello, Pierrot in his moon-white suit, Horace in his petticoat of gold, Scara-\nrnouche and his guitar, the Doctor and his wine-stains, Tartaglia in his spectacles, all were\nthere, strange, adorable turns in the old rambling & &\nThey were all as chock-full of malice as of wit. Mimes, acrobats, dancers, musicians,\ncomedians, all at once, they were also poets, and composed their own piece. They strained\ntheir fancy to the utmost in inventing it, and Improvised it on the spot as their turn came\nand the inspiration took them. They were not willing, like silly school-boys, to recite only\nwhat they had learnt from a master, nor to be mere echoes, unable to speak for themselves\nwithout another having spoken before them. They did not draw themselves up in a line\nbefore the footlights, five or six In a row, like figures in a bas-relief, and wait their turn\nto present their tricks. Rather they were full of impatience, imagination, devilry. They\nwere the great artists of Laughter, the sowers of the golden grain of Gaiety, the servants\nof the Unforeseen, the kings of Inspiration. They had only to receive a scenario, which\nsome one had scribbled on his knee, to meet their stage manager in the morning to ar-\nrange the outlines of the plot, and to hang the paper within easy reach of the wings; the\nrest they could invent themselves. Familiarity with the stage and their profession and their\nart had taught them a whole bundle of tricks and quips. They had a store of proverbs,\nsallies, charades, riddles, recitations, cock-and-bull stories, and songs jumbled together in\ntheir heads. They knew all sorts of metaphors, similes, repetitions, antitheses, cacophonies,\nhyperboles, tropes, and pleasant figures; and besides they had volumes of tirades, which\nthey had learnt by heart, of soliloquies, exclamations of despair, sallies, conceits of happy\nlove, or Jealousy, or prayer, or contempt, or friendship, or admiration, always on the tips\nof their tongues, ready to utter when they were out of breath. They raised their scaffol-\nding high into the air, and then gave themselves up to their own fertile genius and their\namazing caprice. They obeyed all the Intemperance and extravagance of their humours.\nThey became nothing but retorts, sallies, conceits, paradoxes, witticisms, mental somersaults.\n\nThe lovers.\nMalice and wit.\nTheir tesources."}, {"page_pdf": 11, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.11", "texte": "They seised opportunity by the forelock, and turned the least accident to profit. They drew\ninspiration from the time, the place, the colour of the sky, or the topic of the day, and\nestablished a current between their audience and themselves out of which the mad farce\narose, the joint product of them all. It varied at each representation, seemed different\nevery evening, with all the spirit and warmth and alertness of spontaneous creation, a\nbrilliant ephemeral creature born of the moment and for the moment.\nThe pieces went with the speed of lightning and the noise of Pandemonium. The house\nwas consumed with shrieks of laughter, like the tumult of a whirlwind. It was all lover's\nintrigue, complicated by disguises, kidnappings, unexpected returns, impersonations and\nsupposititious infants. Retorts, misunderstandings, character-sketches, jests, caricatures,\nblows and kicks were their stock-in-trade. They groped about in the dark and ran into one\nanother and fell down. They mutilated words. They put out their tongues, rolled their eyes,\nmade grimaces. They boxed their ears with their feet. They sang songs and recited, and\npoured forth proverbs, quotations, precedents. There were scenes of tumult and uproar\nand inexpressible confusion, in which they were knocked down and got up again, supporting\nthemselves as they could, tripped each other up, got in each other's way, and ran off in the\nmidst of the clatter. &\n& They passed the word round, for instance, to make Pantaloon believe that his breath\nsmelt. Pantaloon blows his horn from the window to proclaim the opening of the chase.\nGratiano appears holding a cock, Burattino with a monkey on a chain, and a child on the\nback of a bear is leading a lion. Harlequin, armed with a blacksmith's tools, draws four\nof Pantaloon's soundest teeth. He waits on Don Juan at table and wipes the plates on the\nseat of his breeches before he hands them, or produces his cap, full of cherries, from the\nsame place, and cracks the stones with his teeth and pretends to spit them on the ground.\nHe keeps hissing some tune through his lips or pursues a fly in the air and catches it. He\ncounts his coat-buttons, saying, \"She loves me, she loves me not, she loves me\". There\nis only one plate of macaroni between three of them, and they eat it in floods of tears.\nBurattino sits on the ground with a basket of provisions. Two robbers come up and instal\nthemselves, one on each side of him. The first tells him that he comes from the land of\nCockaigne, and warns him that it is a nest of thieves, while the second is vigorously at-\ntacking the basket. Then they go off, after many bows, and Burattino sets about opening\nhis basket and he finds nothing in it, and bursts into sobs. In the middle of a ffcte Pan-\ntaloon's young wife, Isabella, whispers a word or two into his ear. He escorts her with every\nsort of attention to the gardener's lodge. He waits at the door and keeps watch, drives\naway the passers-by, or stops the way and signs to them to keep silent. At last Isabella\ncomes out again, a little out of breath. Pantaloon congratulates her, and wipes her forehead\nwith his handkerchief, and begs her always to rely on him in similar circumstances. A few\nscenes later he hears that Horace was concealed in the lodge and that the gardener found\nhis bed in disorder. Tartaglia hides in a truss of hay when he hears a cock crow. Wood\nand fire, a cauldron and some swaddling clothes, are brought on to help a woman in child-\nbirth. Mistresses come to blows, and servants tear their hair out. Pandolph throws a\nsaucepan at Valerio's head. Ghosts appear, and princesses, bound naked to a rock. Serenaders\nplay their guitars beneath the balconies. With no properties at all, or with a few, such as\na stick, a live cat, or a cock, two fires and their smoke, four costumes for wits, a dirty\nshirt for the Captain, a plate of figs, plenty of lanterns, a big tree to sit in, a fine ship\nand beautiful nymphs' costumes, a chamber-pot full of wine, or even an earth-quake, they\nopened the golden gates of Fantasy. Dreams were grafted on mistakes, marvels on absur-\ndities. Pirouettes, repartees, music, dances, jests, acrobatic feats, grimaces and dumb-show,\npantomime and drama, peals of laughter and peals of thunder followed in quick succession.\nThey ran, jumped, turned somersaults, and kicked up their heels, and the piece went like\nlightning... crackled, and sparkled, and glowed, and blazed, and then died away and disap-\npeared. Their whole bodies moved at once. Their hands and fingers, their gestures, almost\nseemed to speak. Their extravagant fancy broke loose before an audience and burst Into\nfire and soared into the sky, a marvel of balance. Explosions of wild laughter followed, and\nwild confusion, and a medley of caricatures, dreams, buffooneries, scurrility, poetry and\nlove. But the fireworks gave way to the darkness of the night. They had climbed up to\n\nTHE VENETIAN\nTHEATRE.^\n\nThe speed of\nthe pieces. &\nThe plays.\nThe vitality of\nthe actors."}, {"page_pdf": 12, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.12", "texte": "THE VENETIAN\nT HEATRE. &\n\nheaven and built their palaces of light, and filled its expanse with rockets and stars and\nrays. Of all their fairy splendour nothing remained but the pitiful carcass, a few smouldering\nsticks and a few scraps of paper with blackened wire. \"Look\", said Garrick, the English\nactor, \"look at the character and expression in Carlino's back \". But Carlino is dead, and\nwe shall nevermore see his back.\n& Italian Comedy was a strictly national product, the brilliant natural flower of the Italian\ngenius. Unequalled and unsurpassed, it fell by a strange fate. It was already full-grown\nwhen elsewhere Comedy was still prattling like a child. Later, when a comic art arose\nwith fixed and academic rules, Italian Comedy remained pure fancy unrestrained. It seemed\nwhat in truth it was... something unique in the world. Hence in the sixteenth century we\nfind that Drusiano took it to the England of Elizabeth, Ganassa to the Spain of Philip 11.,\nthe companies of Gelosi and Fedeli to the France of Charles IX. In the seventeenth century\nit filled the high roads of Europe with its caravans. It roused laughter amid the din of\nwars, and avenged Italy on her oppressors by the bragging of the Captain. In the eigh-\nteenth century, from 1716 onwards, it was established permanently at Paris, possessing a\nhouse and clients and patrons of Its own. Together with Italian music it was henceforth\nthe ornament of every Court, the mainstay of every f§te, the classic diversion of the old\nregime. But Venice had been the birthplace of Pantaloon, and the home of that incredible\nAndrea Calmo, who numbered Tintoretto and Aretino and Michael Angelo among his friends.\nShe had shunned tragedy as the plague, and disregarded the written comedy with its odour\nof the lamp and its reminiscences of Latin. She had considered the theatre neither as a school\nfor teachers nor as a lecture room for reformers, but as a place of amusement. Therefore\nit was at Venice that Italian comedy triumphed. It was seen there in its most lively and\nexhilerating moods, and won there its most unrestrained applause, and at the end of the\neighteenth century, with Carlo Gozzi and with Darb&s, Zacchi, Fiorilli, and Zannoni, the\nincomparable four, it was there that it uttered its latest joke. & &\n& The shadow of death hung over Italian Comedy. Reduced to a few traditional and un-\n*\nchanging characters, it revolved around two or three persons as conventional and artifi-\ncial and effete as their prototypes, the Senes or Servi or Miles Gloriosus of the ancient\ndrama. It had renounced its excursions into the world of marvels, [and confined itself to\nthe Piazza and Its everlasting arcades and windows and houses. Lover's intrigue was its\nstaple. Manners and characters were alike neglected. It intruded into men's souls as little\nas into their houses, and utterly ignored all the multiplicity and diversity and instability\nof life.\n& Besides, it depended entirely upon the labours of its actors. There were prodigies among\nthem, without doubt, true sons of Italy, where, if Cyrano de Bergerac was right, all were\nborn actors. There had been men of fancy and inspiration, as lively as quicksilver, all ges-\nture and caprice. But, unluckily, they were dead.^\n& \"An Italian actor \", wrote the flute-player Evariste Gherardl, \"is a man of character,\n\"with more imagination than memory. He can compose his part on the spot, and play up\n\"to another on the stage. He accommodates his words and actions so well to his comrades\n\"and performs so unhesitatingly whatever the other desires, that everyone thinks it was\n\" all arranged before \". This \" naturae laborantis opus \", as Columbine expressed it in the\nChinois of Regnard and Dufresny, was sometimes accomplished. More often no miracle was\nneeded to attain the result. For every four or five excellent actors there was a whole host\nof spouting nonentities, and ill - acted parts, inexperienced boys and girls, old men and\nwomen only fit to beg at street corners, dunces who could neither read nor write. Casa-\nnova's Harlequin was dead, and Francesco Andreini, who knew six languages, and Domenico,\nwhom the President du Harlay met in St Victor's library at Paris, and found so full of\nmodesty and learning that he could not help embracing him on the spot. Gone, too, were\nScaramouche, the master of Moliere and the pupil of Nature; Carlino, praised by Grimm\nfor his agility and grace; Smeraldina, whom Goethe admired for the liveliness, good-humour,\nand intelligence of his face; Carolina, brought to Paris by Jean-Jacques; and Sylvia. \"Of\nten who try to act\", said Niccolo Barbieri, \"nine are failures\", and on these nine, who\ncomposed rather than interpreted it, the success of the piece depended. Since they could\nnot pretend to the highest comedy, they had fallen to the lowest. Unequal to flights of\n\nA National\nproduct,\nThe Italian\nactor, &"}, {"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.13", "texte": "FOUR MOODS OF ARLECCHINO. CLAUDE GILLOT.1673-1722.\n\nTHE MASK.\nJanuary 1911."}, {"page_pdf": 15, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.15", "texte": "fancy, they crawled along the gutter, and tried to make up for their lack of intelligence\nby the foolishness of their actions. They returned with a rush to the rope-dancing of their\nprototypes, and brought back to the stage all the buffoonery and clownish tricks and trivial\namusements of the fairs from which they sprang. Thanks to them, Italian Comedy lost its\npre-eminence, and became every day more childishly extravagant and unreal. It traded on\nfive or six situations, already worn to death, and depended for its humour on a few score\nwitticisms which had passed from almanack to almanack. 44 Before Harlequin had opened\nhis mouth you knew what he was going to say & & & &\n& At last people began to grow tired of these quips and jests and anecdotes. Besides, the\nanecdotes were not always seasoned with Attic salt, and some of the jests left a bad taste\nin the mouth. Women discussed their love affairs, and girls begged their lovers to marry\nthem, as their child might be born at any moment. Flavio and Isabella were not ashamed\nto appear in their night-gowns. Burattino came on with a chamber-pot in his hand. Har-\nlequin was sick on the stage. They even performed mock circumcisions. 44 I can safely\nassert\", said Des Lauriers, the actor, 44 that the most chaste Italian comedy is a hundred\ntimes more dissolute in word and action than any of our own.\" 44 AH the comedies I saw\nacted at Venice, \" wrote Addison, 44 were poor and low and crude, and much more dissolute\neven than our own.\" The English traveller, Maihows, said he had never heard such disgus-\nting nonsense in his life. Likewise Moratin; 44 Their farces are incredibly scandalous.\nNothing like them appears in any other European theatre.\" President de Brosses had seen\nmany of their performances during his tour in Italy, and retained a lively impression of\n44 their pointless buffoonery and license.\" 44 They have neither head nor tail, neither\nmanners nor character, nor truth to life\". &\n& In the eighteenth century, 300 years after its first appearance, the sources of Italian\ncomedy seemed to have run dry. It needed the infusion of fresh blood in its veins, if it\nwas to prolong its existence. It had survived in France because it had undergone a complete\nchange, equivalent to a new birth. It had been purified by men of art and genius, from\nMarivaux to Regnard. Similarly in Italy, it could only avoid extinction by being born\nagain. jg/\nug? It was at this moment that Goldoni appeared upon the scene.\n\nTHE VENETIAN\nTH EATRE.\n\nSome contempo-\nrary criticisms.\nThe appearance\nof Goldoni. &"}, {"page_pdf": 16, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.16", "texte": "THE COMMEDIA DELL' ARTE\nby Dr Michele Scherillo.\n\nraong the very few Italians who in the sixteenth century had a clear and\nconcrete idea as to what dramatic form was and should be was that fan-\ntastical Florentine il Lasca. Not that he himself succeeded in writing vital\nplays, but that, although having written neither a 44 Drammaturgla \" nor\na 44 Nathan the Wise \", he had in him something of Lessing: that Is, a rare\npoetic vein and an acute critical vision cleared of the blighting and deadly\nprejudices of classical imitation, and it was a new loss for our art that the gleams of light\nemanating from the prologues of his comedies or from the burlesque poems did not serve\nto restrain some of our numerous playwrights from advancing upon that fruitless path of\nthe imitation of Plautus and Terence. & & &\nFor I must tell you at once that we owe it especially to these two past glories of ours\nif we are today without a real national theatre. As we were the last to allow a new idiom\nto take the place of that language with which our forefathers had governed the world, so\nalso we did not know how to detach ourselves in time from those literary traditions which\nthe world yet venerated and envied in us.\n& And while a new generation, free from traditions, was getting the upper hand, we, re-\nstrained by our prejudices as heirs of a noble race, clung to the past and persuaded ourselves\nthat in dramatic poetry it was necessary to take as model the plays of the ancients rather\nthan nature or the life which was agitating around us. & uz/\n& When we hear it said by a poet like Ariosto in the prologue of his 44 Supposit!44 The\nauthor confesses to you having in this work followed Plautus and Terence, since not\n\" only in the style but also in the subject of the tales he strives with all his power\n44 to imitate the ancient and celebrated poets ; and as they in their Latin plays fol-\n-44 lowed Menander and Apollodorus and the other Greeks, he also, in his Italian plays\n44 will not refuse to follow the way and method of the Latin writers ...when, I say, we hear\nthis statement made by a poet who, with a smile half cynical, half good-natured, revived\nthe already worn-out romantic subjects, setting in relief its comic side without relapsing\ninto caricature,... by a virtuoso of form who illuminated with the light of the renaissance\na uniform and chaotic world which had sprung up from the mediaeval fantasies, it wrings\nour hearts and there rises to our lips the anguished exclamation of the Dantesque falconer,\n46 Ohime, tu cali! \" ....Alas ! thou art falling. & & JZ? & & &>\n& And Ariosto was falling indeed, for in the prologue of his first play, the 44 Cassaria \", he\nhad boldly spread his wings and courageously faced those prejudices to which now he\nclings. 4? &\nNova commedia v'appresento, piena Quel che 11 antiqui han detto esser perfetto.\nDi varii giochi, che ne mai latine Ever che ne volgar prosa ne rim a\nNe greche lingue recitarno in scena. Ha paragon con prose antique o versi,\nParmi veder che la piu parte incline Ne pari e Teloquentia a quella prima ;\nA riprenderla, subito ch'ho detto Ma gP.ingegni non son pero dlversi\nNova, senza ascoltarne mezzo o fine ; Da quel che fftr, ch'ancor per quelTartista\nCh& tale impresa non Ii par suggetto Fans!, per cui nel tempo addietro fersi! (i)\nDelll modern! ingegnl, e solo stima\n\n& Plautus &\nTerence.\n& Ariosto.\nThe \"Cass aria\n\nNOTES AND TRANSLATIONS.\n(i) I present to you here a new comedy full of varied Jests, such as never did Latin or\nGreek actors perform upon the stage. It seems to me that the majority inclines to raise\nthe objection, so soon as I have said New, (without listening to either my method or my\naim), that such an enterprise does not seem to them adapted for modern talents, and that\nthey esteem only as perfect the work of the ancient writers. & & &\n& It Is true that neither Italian prose nor rhyme is equal in value to the ancient prose or\nverse, nor is it so eloquent. Still, talents are not different from what they were, and are\nready to serve artists who possess them as they did formerly. & &"}, {"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.17", "texte": "FROM THE BALLI DI SFESSANIA. 1622. GIACOMO CALLOT. 1593-1635\n\nTHE MASK.\nJanuary 1911"}, {"page_pdf": 19, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.19", "texte": "Alas, he was later on to set his hand once more to this same 44 Cassaria \" and, to render\nit the more in accordance with classical ideals, deprive it of its native freshness and\nof that bloom which had caused Machiavelli (an exacting and competent critic)......\nto call it 44 una gentil composizione \", even translating its dialogue into those wearisome\n44 versi sdruccloli \" which were to have enlivened his iambics ! The public was but little\ngrateful to the poet for these new exertions of his and IS Lasca found the public to be right.\nIn fino ad oggi non s'e recitata\nCom media in versi mai che sia piaciuta ;\nE la Cassaria, in versi tramutata,\nNei recitarsi non fu conosciuta. (1)\nBut Ariosto had too aristocratic a conception of dramatic poetry to concern himself\nwith the opinion of an audience not fully qualified to estimate the subtle and exquisite skill\nwith which he had transplanted it into Italian soil from the flourishing gardens of the\nclassic world.\nThe Duke of Mantua, to celebrate the second descent into Italy of Charles V, asked the\nFerrarese Homer for some new play and he hastened to send four, excusing himself that\nhis occupations did not allow him to correct in them 44 the errors of language \". But all\nfour were returned to him accompanied by a letter from the Duke iii which he declared\nthat, 44 although the plots of all inay be fine, and excellently written, none the less it\n44 does not please me to have them acted In verse \"; and he added, 64 if you have the last two\n44 written in prose, and also the 44 Cassaria \", ( which you have now patched and changed\n44 in to verse,) I shall be pleased for you to make me a copy and will add this new obSi=\n44 gation to the one I am already under to you for having sent the present versions which\n44 are truly more artistic and learned but do not seem so successful as when performed in\n44 prose& jg?\n& Ariosto must have been mortified. However, he contented himself, by replying to the\nduke with a curtness which 111 concealed his scorn, 44it seemed to me that they were better\nthus than In prose; but opinions differ\". This time, however, the opinion of the Duke had\nthe support of the majority, and, this time at least, common sense was equivalent to good\nsense!\now wearisome must have been those rechauffes of the august classical re=\nperfcory I For one would make a great mistake in arguing from the crowds\nwhich gathered to them that they amused many people. To those pleasure\nlovers, our great grandparents, greedy of spectacles as they were, liberty of\nchoice was not conceded. And, in fact, it was certainly not the play which\nattracted them but the magnificence and costliness of the scenic decoration, the pomp\nof the Sadies and cavaliers who were present the fantastic pantomimes and graceful\ndances which were intermingled with the recitation. That this recitation in the majority\nof cases was wearisome people did not dare to say, whether from fear of being taken\nfor ignorant and stupid, or so as not to appear ungrateful towards the splendid lord who\nhad given the festival. AH the same, in the privacy of their houses how they yawned !\n& in 1502 the Marchioness of Mantua had returned to the paternal house at Ferrara to attend\nthe marriage of her brother with Lucrezia Borgia, and, having been present at a performance\nof the 44 Bacchide \" of Plautus she wrote to her husband that 44 it was so Song and tedious\n44 and without dances in the interludes that many times 1 wished myself at Mantua It is\npresumable that she derived no more pleasure from the other four plays, also by Plautus*\n> * ich were recited on this occasion, and which, it appears only served as pretext to the\nDuke of Ferrara for Increasing his magnificent wardrobe. & &\n& \"After dinner\" relates Isabella Gonzaga, 44 we conducted the bride from her room and\n44 went to the Sala Grande, where there was so great an assembly of people that there was no\n44 room to dance. Still, we danced as best we couid. Then my lord father exhibited all the cos-\n\nTHE COMMEDIA\nDELL' ARTE.\n\njg? The Duke\nof Mantua and\nAliosto. JS? &\nPerformances\nat Ferrara. &\n\nNOTES AND TRANSLATIONS.\nTill today there never was recited any play In verse which satisfied; and \"Cassaria\", tran=\nlated into verse was not recognised, when recited. & &"}, {"page_pdf": 20, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.20", "texte": "THE COMMEDIA\nDELL* ARTE.\n\n<stumes for the five Plays so that it should be known that the dresses were made on pur-\npose and that those worn In one play had not to serve for the others. They are in all as\nhundred and ten, between men's and women's: the dresses are some of cendale (a fine silk)\n** and some of camlet a la moresca. First came one in the guise of Plautus who recited the\n** arguments of all the plays, of which the first was 44 Epidico, \" the second the 4< Bachide, \"\n** the third the 44 Miles gloriosus \" the fourth the 44 Asinaria and the fifth the 44 Casina \"•\n44 After this we went into another hall and about six oclock the Epidico began which, so far\n44 as the voices and verses went was not very good but the Moresche dances which were\n44 given between the acts were very well performed and with great spirit\nThe Moresche were in fact the dances and pantomimes entirely extraneous to the\ndrama, and the Marchioness lingers long over their description as the part most enjoyed. If\nit pleases you to have an idea of them listen to yet another fragment of one of these letters\nIsabella speaks of the two Moresche interposed in the Bacchide: one of which was of ten\nmen, represented as naked, with a scarf across them, their heads couvered with hair made\nof tin foil, with cornucopias in their hands, with four tapers lighted inside, full of varnish\nwhich in the movement of the horns ignited. Before this had come forth a maiden who\npassed in terror, without any sound, and went to the back of the stage. Then issued forth\na dragon and went to devour her, but near her was a warrior on foot who defended her,\nand, fighting with the dragon, captured him, leading him away bound, while the maiden,\narm in arm with a youth, followed him, and round about them went those naked men,\ntossing flames in the air.\nThe second was of madmen wearing shirts and stockings, on their heads paper fools\ncaps, having In fheir hands vesica sgonfia (bladders) with which, beating each other they\nmade a sad spectacle.\nn Florence, where such profuse expenditure was not possible, the Dramatic Art,\nhaving to rely upon its own resources, was obliged to compromise if it was\nto live. And it turned, with filial confidence, to the most noted comic\nauthor that our literature has ever had, and found in the \" Cento Novelle\"\nabundance of subjects, plots, scenes, characters, caricatures, types, jests and\nrepartees. The mould into which the actors cast this new material was always the Plau-\ntinian or Terenzian, but the ancient monotony was at last broken. Thus, the \"Calandria\" (i)\nif on the one hand it is but a patched-up version of the very popular 44 Menechmi on the\nother is all decked out with episodes taken from the \"Decameron\"; and the \"Mandragola\" (2)\n(certainly the finest of our ancient plays) although it really only reanimates and sets\nupon the stage plots and personages created or coloured by our great fourteenth century\nParisian, (whom admiration for Dante and Petrarch rebaptised Italian), does not in its\nscenic art depart from the Latin models. Says the poet in the prologue.\n44 Un amante meschlno,\nUn Dottor poco astuto,\nUn Frate mal vissuto,\nUn Parasslto dl maiizia il cucco,\nFien questo giorno 11 vostro badalucco.\nHowever, we need not think that there were lacking in Florence pedants who\nlooked askance at every smallest concession towards the new tastes. Varchi, (who was\nVarchi), In the prologue of his 44 Suocera \" even dared to say that his play was\n44 neither wholly ancient nor wholly modern, but partly modern and partly ancient \" ; and\nadded, 44 although it is in the Florentine toiigue it is adapted to a great extent from\nthe Latin ; adapted from, 1 say, and not translated, unless in the same sense as the Latins\ntranslated from the Greeks And Salviati,... (who was not Varchi)... declaimed In the\n\n& Dramatic Art\nin Florence.\nThe attitude of\nthe pedants.\n\nNOTES AND TRANSLATIONS.\n(i) A play by Bibiena.\n(a) J& A play by Machlavelli. J& J& J& & J& J& J&\n(3) An unhappy Lover, a Doctor who is a simpleton, a dissolute Friar, a Sychophant\nwho Is the very essence of cunning, provide your pastime for today, &"}, {"page_pdf": 21, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.21", "texte": "THE COMMEDIA\nDELL' ARTE.\n\nWhat the people\nwished to see.\n\nprologue of the 44 Granchio \" Nuova\nDunque e questa Commedia, e a tutto\nPotere di colui che l'ha fatta,\nFatta a imitazione delle antiche;\nDl quelle antiche pero che gli antichi\nChiamavan nuove, adunque non in prosa,\nMa in versi (1)\nImagine the fury of those who, having come to amuse themselves, had, instead, to put\nup with these insipid or pretentious rigmaroles I Even in those days, however, the public\nknew how to make its rights respected, and, il Lasca informs us,\n44 Lionardo Salviati muor di duolo\nPerche il suo Granchio fu tanto schernito ! \" (2)\njg? People wished to see in the theatre a reproduction of the contemporary life and even\nthe squares and streets of their own city ; they were weary of witnessing plots contrived\nby astute servants against stupid masters, the amours of vain-glorious soldiers and the\nnauseating boastings of parasites (3); performances which, even when they were true in the\nabstract were yet far removed from real life; and they applauded Gelli who, in the pro-\nlogue of the 44 Sportabreaking away from tradition and following in the footsteps of\nMacchiavelli said, 44 The play, not being other than a mirror of customs in private and\n44 civic life, treats, under a semblance of truth, only of such things as happen every day\n44 of our life. The place wherein the action moves is your Florence ; and this the author\n44 has selected for two reasons: the first because it would not be possible for him to choose\n44 a place that, both to you and to him, should be more acceptable, the other, because the\n44 greater number of the events that you will see have in their time taken place, and perhaps\n44 still take place, in Florence, and, should it prove necessary, he would be able tq tell you\n44 to whom and how.\" And welcome was given to another shoe-maker actor\n(Apollo vuol che sempre un calzaiuolo\nPer lui tenga in Firenze il principato,\nE sia nel far commedie unico e solo, (4)\nobserved il Lasca), to Lotto,\nCh'Ulisse e Turno da pprte lasciando,\nDimostra solo a questa eta presente\nRuggier, Gradasso, Marfisa ed Orlando;\nE Menandro e Terenzio ha per niente,\nMa sol Giovan Boccaccio va imitando;\nOnde moderne fa con gran ragione\nCommedie che non hanno paragone. (5)\nAnd the fertile Cecchi was lauded to the skies, especially when with the 44 Assiuolo \"\nhe presented a play which, if not entirely free from the influence of Boccaccio, he yet\naffirmed to be \"perfectly new\" and \"not derived from either Terence or Plautus, but from\n44 a thing recently befallen In Pisa between certain young students and certain ladies \"....\n\nNOTES AND TRANSLATIONS.\n(1) & This Comedy Is new, and is, to the best of the author's ability, composed in imitation\nof the ancient comedies; of those ancient comedies, however, which the ancients them-\nselves called new; that is to say, written in verse not in prose. & & &\n(2) And Lionardo Salviati dies of grief because his 44 Granchio \" was so much ridiculed.\n(3) This does not however mean that the Commedla dell'Arte did not use these same\nsubjects, presenting them under the 44 maschere \" which had become so popular, and, when\nmasked as Pedrolino, Captain Spavento, etc, the good public gladly accepted the 44 Miles\nGloriosus \", and 44 servo \" of the Plautinian and Terezian Comedies.\n(4) & Apollo always wishes that a shoemaker should hold pre-eminence for him in Florence,\nand, be unique in the composition of plays. & &\n(5) & Who, leaving aside Ulysses and Turnus shows to this present age only Ruggier, Gradasso\nMarfisa and Orlando ; and lightly esteeming Menander and Terence, imitates Giovanni\nBoccaccio; thus with great good sense composing in modern form unequalled comedies. &"}, {"page_pdf": 22, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.22", "texte": "THE COMMEDIA\nDELL' ARTE.\n\nA giudizfo del popolo fiorentino\nE delle donne,f che piu pesa e grava,\n11 Cecchi ha visit© e superato il Cino\nChe prima era un poeta e scaccafava. (1)\neantime, whilst this heated dispute was going 011 between the Florentine\n44 Letteratithere appeared on the scene a company of actors, and the people\nran in crowds to the 44 Stanza'% (for so their little theatre was called),\nabandoning Cecchi and Lotto and Cino and Bunanni, who looked very blank\nwhen these strolling players were allowed to inaugurate the new 44 Salone\ndella Com media II Lasca rubs hisfhands and laughs behind their backs. &\nTutti i comic! nostri fiorentini Si che chi n'Sia compost© ne dia loro,\nSon per questa cagione addolorati: Pregando che le vogliono accettare ;\nPrima 11 Buonanni e la casa de? Cini Pol che ne fanno tanto buon lavoro,\nSi favoriti e tanto adoperati; Ch'ogni cosuzza una gran cosa pare.\nE Lotto e 11 Cecchi alfin, piccin piccini, La voce, gli atti e I gesti di costoro\nCon tutti gli altri dotti, son restati, Si graziosi fan maravigSiare\nParendo questa sorta loro arcigna, La gente alfin ffuor d'ogni umana g'ulsa,\nE IS Lasca chiude Focchiolino a ghigna. E quasi quasi crepar delle risa.\nPensando il primo ognuno essere richiesto, NOll credo mai che gF istron passatl,\nLa sua commedia aveva apparecchlato : Volete in Roma o volete in Atene,\nChi Faveva mostra a quello e chi a questo, Si capricciosi giuochi esi garbati\nSperando d'ora in ora essere chiamato ; Rappresentasser nell'antiche scene.\nMa il popol poi weggendo manifesto Sei quei fur buon, questi son vantaggiatl,\nL'otsor del Zanssi in fino al cielo alzato, Questi fan meglio se quei fecer bene ;\nSenza piu altro intendere o sapere, Onde assai piu di lor fieno I Gelosi\nAltre commedie non vuol piu vedere. Nei secoli avvenir sempre famosi. (2)\n& There had in fact arrived in Florence nothing: less than the Company of 44 / Gelosi. 99\nTo many of you this name is meaningless and will perhaps appear even ridiculous ;\nyet this was the most famous of all the Companies which during two centuries per=\nformed in Italy and abroad the Commedia delPArte, and it had as its ensign a twofaced\nJanus with the motto which gave rise to its name:\n44 Virtu, fama ed onor ne fer Gelosi99 (3)\n& 44 Trappola mio I \" (4) exclaimed in one of his dialogues he who was for many years its\n\nA most famous\nCompany.\nThe arrival of\n441 Gelosi » &\n\nNOTES AND TRANSLATIONS.\n(1) jg? In the opinion of the Florentine people and, what is yet more important, in that of\nthe women, Cecchi has conquered and surpassed Cino who was rather a poeta a scacca=\nfar a. &\n(Scaccafava; a name given to a kind of slipper. Ed:)\n(2) All our Florentine playwrights are in distress on this account. Buonanni and the\nfamily of Cini, so popular and so successful; then Lotto and Cecchi, and other learned men,\nhave lost courage, this being a bitter pill for them, while il Lasca winks and grins.\nEach expecting to be the first called for, had prepared his play; some had shown their\nwork to this one, others to that one, hoping from hour to hour to be summoned ; but\nthe people, seeing the glory of the Zanni rise to the very skies, without wanting to hear\nor know any thing further, refuse to see any other plays. So let anyone who has composed\none give it to these actors, begging them to accept it; and they will act It so well that\nthe smallest trifle will appear a fine piece of work. The voices, actions and gestures of\nthese players are so charming that they amaze the people and make them almost split their\nsides with laughter. I do not believe that any actors of the past, whether in Rome or in\nAthens, ever performed so charmingly and gracefully on the ancient stage. If those were\ngood these have yet the advantage; these do better what the others did well; Hence, even\nmore than they shall the Gelosi be honoured in future centuries. & &\n(3) They were jealous for the attainment of virtue, fame and honour.\n(4) Name of the servant in the piece. & & &"}, {"page_pdf": 23, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.23", "texte": "leader 44 no longer are such Companies to be found ; and this may be confidantly asserted\n44 respecting those that have but three or four good actors, their others being of little\n44 use and not equal to the chief actors of that famous Company where every role was\n44 remarkable. So fine was it in fact, that in the dramatic art it set a standard beyond\n44 which no company of actors could go and set an example for future actors as to how best\n44 to compose and interpret comedies, tragicomedies, tragedies, pastorals, Interludes and other\n44 performances such as are generally seen upon the stage\".\nHow sadly ephemeral is the glory of the actor who once touched our hearts or gladdened\nour life, recreating an imaginary life upon the stage and giving form and substance to\nphantoms which appeared but faint in the pages of the poets ! What survives even of that\nart by which Gustavo Modena delighted and intoxicated our fathers ? and it must be re-\nmembered thai the 44Gelosf\" left in history an even deeper mark than did this great actor\nof our own times for the reason that, while Modena's Company always resembled an\nabsolute monarchy that of the \"Gelosi\" was like a company of monarchs. Poor Andreini I\nWhat a bitter disillusionment would await him if he could raise his head from his Man-\nto van tomb,... he who in his emphatic style, (a sincere expression, however, of his enthusiasm),\nhad prophesied that the the 44 GelosS \" would never have seen 44 the last night\".\nnfortunately there has come down to us only the echo of the applause, for\nthe best part of the Commedia deli'Arte,.,, that which really delighted the\naudience, has drifted away like clouds before a gust of wind. &\n& Of a drama only the outline or 44 Scenario \" was traced, the rest being\nentrusted to the improvisation of the actors. And that rest was everything, (i)\nplots were for the most part taken from novels or from regular plays or even\nfrom the classics and the dialogue was improvised afresh each time by the actors, there\ntore each performance of the same play necessarily differed from the others. A word, an\naccent, a gesture of the actor could suggest a repartee or a new and unexpected issue;\nan event of the day, the presence in the theatre of a gentleman friend or of a lady\n....who was not a lady.... could inspire them then and there with a piquant allusion;\nthe fact of being In a good or bad temper could Sight or quench in the actor the poetic\nfire. Every actor was an extemporary poet, and, as the actor Beltrame, (known* in ordi-\nnary life as Niccolo Barbieri) declared, ,4 the Italian actors have something in them of both\n44 the composer and the performer, for they invent fables and then adorn them with dis-\ncourses born of their own fancy\".\nFor this reason the Commedia dell'Arte was not possible except in Italy, and was, In\nfact, not called 44 dell'Arte \" to signify that it was the perfection among plays, the nec\nplus ultra of the art as Maurice Sand affirmed, but rather because, in distinction to\nthe written comedies, it was not and could not be performed except by professional actors.\nhere remain to us only the 44 Scenarios\", the skeleton of it; 44 the most divine part\nflies away! \" and before those silent lists of actors, those meagre indications of an action\nwhich entangles and disentangles itself we experience that sense of melancholy which\ncaused the poet, in contemplating the sepulchral effigy of a beautiful woman to exclaim &\n44 Tal fosti; or qui sotterra\nPolve e scheletro sei ! (2)\n& Listen, for example, fco the first act of one of the best scenarios from the repertory of\nthe 44Gelosi\". It is entitled 44The Dentist\". Act one. Scene 1. Here Pantalone tells Pedrolino\n(servant) of the Sove he feels for the widow Isabella, that he suspects that Oratio his son\nis already his rival, and that, fearing this, he has decided to send him away to college.\nPedrolino reproves him, taking the part of Oratio ; they attack each other with words and\nblows. Pantalone beats Pedrolino and bites his arm, showing that he has bitten it badly.\nPantalone, threatening, goes away saying he will speak of him to Franceschina (maid\nservant),\n\nTHE COMMEDIA\nDELL' ARTE.\n\nImp rov is at ion.\nlively actor an\nextern p or a ry\npoet.\n& The dentist. A\nScenario. j®\n\nNOTES AND TRANSLA TIO NS .\n(i) <£? 44 The words of my book nothing:, the drift of it everything \". Whitman. (Ed.) &\n(a) Such thou wert, now here beneath dust and skeleton thou art. & & &"}, {"page_pdf": 24, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.24", "texte": "THE COMMEDIA\nDELL' ARTE.\n\nGoes off. (i) Pedrolhio plans to revenge himself for the bite that Pantalone has given him.\nScene 2. Here Franceschina searching for Oratio by order of her mistress, sees Pe-\ndrolino and learns from him the reason of the pain in his arm ; they agree in revenge to\npretend that Pantalone's breath smells bad. Franceschina goes into the house; Pedrolino\nremains. Scene 3. Here Flavio, (brother of Isabella) confessing his love affair to Pedro-\nlino knocks against his arm. Pedrolino cries out; then they agree to pretend that Panta-\none's breath smells bad. Flavio goes out, Pedrolino remains. Scene 4. Here the Doctor,\nto whom Pantalone owes 25 ducats, takes Pedrolino by the arm, who cries out, and makes\nwith him the same agreement about the smelling breath, promising to get him his 2s\nducats. Doctor goes out, Pedrolino goes to find Oratio. Scene 5. Here enters Captain\nSpavento, boasts of his love for Isabella and his bravery. Here Harlequin the servant of\nIsabella acts a comic scene and goes in to bring Isabella out. Captain waits. Flaminia\ndaughter of Pantalone, who from the window has seen the Captain whom she loves begs\nor his love. In this Isabella comes out expecting to find Oratio. Captain begs her love ;\nshe drives him away and he does the same with Flaminia, making a triangular duel. In the\nend Isabella goes into the house repulsing the Captain. He does the same with Flaminia\nand goes away. She remains disconsolate Scene 6. Here Pedrolino, who has secretly\nheard all, threatens to tell her father; then they agree about the matter of her father's\nbreath. She goes in. Pedrolino, whose arm hurts him more than ever although he has had\nit attended to, wants to revenge himself at all costs. & Scene 7. Here Arlecchino arrives.\nPedrolino bribes him with money to pretend to be a dentist, he sends him to disguise\nhimself; Arlecchino goes out; Pedrolino remains. Scene 8. In this Oratio understands\nfrom Pedrolino of his father Pantalone's rivalry for the love of Isabella and that he intends to\nsend him away to College; Oratio, sorrowful at the bad news, appeals to Pedrolino who\npromises help and they agree about the matter of the breath. Oratio wishes to talk with\nIsabella. Pedrolino calls her. Isabella learns of his love and ofjhis coming departure. She is\ndistressed by it. Enter Pantalone talking loudly. Isabella hearing him goes in. Pedrolino\nscorns Oratio because he does not want to go to Perugia. Pantalone sees his son, whom\nhe orders to go and get ready immediately because he wishes him to go to Perugia. Oratio,\nvery timidly, goes in to get ready giving a look to Pedrolino. Pantalone is hearing from\nPedrolino how he has spoken with Franceschina, when Pedrolino says, \"ohibo, master, your\nbreath smells outrageously!\" Pantalone laughs at him. Then Franceschina does the same,\nsaying that if his breath had not smelt Isabella would love him, aad she goes in. Pantalone-\nwonders. Then Flavio passes and, at a sign from Pedrolino, acts in the same way to Pan-\ntalone and goes off. Pantalone is surprised. In this scene the Doctor arrives. Pedrolino makes\na sign to him about the breath. The Doctor does the same as the others and goes off. Pan-\ntaione wants to ask his daughter if it is true about this. He calls her. Flaminia confesses\nto her father that his breath smells outrageously and goes in. They (Pantalone and Pedro-\nlino) remain. Scene 9. Oratio, from the house, confirms the same thing, then returns\ninto the house. Pantalone resolves to have out the tooth which causes the bad smell. He\norders Pedrolino to bring him a dentist and goes in. Pedrolino remains. &\n<£? Arlecchino dressed as a dentist. Pedrolino orders Arlecchino to pull out all Pantalone's\nteeth, telling him that they are decayed. Goes out. Arlecchino under the window cries\n44 Who has decayed teeth ?\" At that Pantalone calls him from the window. Then comes\nout. Arlecchino pulls out his instruments, which are all smith's irons, naming them ridicu-\nlously. He makes him sit down and with the pincers pulls him out four good tefeth. Pan-\ntalone owing to the pain, catches hold of the dentist's beard which, being false, remains\nin his hand. Arlecchino runs away. Pantalone throws the chairafter him. Then, bemoaning\nhimself with pain goes into the house. And here the first act finishes. &\nSunt lacrimoe rerum ! This is but the plot, the web of an embroidery that, by those who\nsaw it we hear extolled for the exquisite variety, vividness and contrast of its colours; it is\nbut the dregs of an intoxicating wine from which the spirit has evaporated ; it is but the\ntopographical plan of a city celebrated In history, now in ruins. In fact a scenario in com-\nparison with the performance of it is something less than modern Pompei as compared\nwith the delightful city which once fascinated, confident in Its pleasures, at the feet of the\ntreacherous Vesuvius.\n\nCaptain\n& pa v e 11 to.\nArlecchino,\nThis is but the\nplot, & &"}, {"page_pdf": 25, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.25", "texte": "& Where, for example, it simply says, \"Captain Spavento, boasts of his love for Isabella and\nhis own bravery Francesco Andreini in his performance broke forth into one of those\nmonologues which were of themselves enough to secure the success of the play and which\nthe skilful actor developed in writing and gave to posterity under the title of \"Le Bravure?\ndi Capitano Spavento dlvise in molti ragionamenti in forma di dialogo\" (Venice 1624).\nThese \"Bravure\" are extravagances, exaggerations, blunders devised and fitted together by a\nboaster who is terribly afraid and who, while he boasts of having knocked the bottom out\nof Hell, submits to a beating from Arlecchino. Reading them today they no longer make us\nlaugh; for instance it almost annoys us that it should ever have been possible to laugh at\nhearing this order of the Captain to the paper merchant: \" for a sheet of paper send me\n44 the skin of the dragon Hesperio'; for a pen the horn of the rhinoceros; for ink the tears\n44 of the crocodile; for sand, the desert; for wax the foam of Cerberus and for seal the\n44 petrifying head of Medusa\". But it must not be forgotten that our literary tastes are\nmuch changed and that certain allusions either escape us or reach us cold, and that, above\nall, we are not able to hear that nonsense from the lips, and accompanied by the movements\nand tricks of those players who were masters of acting. One can in any case guess how\nthoroughly an audience at the end of the fifteenth century would appreciate the order of\nthe Captain to the cook that he should prepare for dinner three dishes of meat; \"let the\nfirst be of Jew's flesh, the second of Turk's flesh and the third of the flesh of Lutherans\";\nor the story that, as often as 44 he had dined and supped with Pluto the king of Hell, so\noften had it befallen him to eat a some roasted Lutheran or ragout of Calvinlst\". ■£?\nThe Commedia dell'Arte Is above all the work of actors who were the creators and In-\nterpreters of their own parts. They selected that role for which they felt themselves to\nbe best suited and Identified themselves with it in such away that the drama had to\nadapt itself to them and not they to the drama. They retained the names with which they\nhad for the first time won the approval of the public, and in the scenario that we have\nhere copied, as in all the other Scenarios of the Gelosi, 44 Flavio \" stands for Flaminio Scala\n\"Captain Spavento\" for Francesco Andreini, 44 Orazio \" for Orazio Noblli (1) and \"Isabella\"\nfor Isabella Andreini, since often the stage name chosen was the christian name of the\nactor. When it was said therefore that Flavio or Isabella would take part in the play ft not\nonly meant that there would be those characters but those very actors. Even in private\nlife and in their correspondance with princes and with secretaries they came to use the\nstage name, sometimes alone, sometimes adding their own family name to it. And, in fact,\neven now everyone knows the stage name of Moliere but perhaps all do not know his\nfamily name.\nWhen the part assumed had nothing markedly characteristic, as that of the lover, who\nmight be either coy or ardent or chivalrous, the stage name died with the actor and there\nhas been but one Flavio, one Orazio, one Isabella. But often the actor succeeded in hitting\noff a local caricature or a type of a certain kind of person and then the character outlived\nthe actor and the first stage name was perpetuated. And whoever afterwards should wish\nto represent the old Venetian, or the Bergamese servant, or the Bolognese pedant, or the\nNeapolitan peasant was obliged to call himself Pantalone, Brighella or Arlecchino, Doctor\nGraziano or Pulcinella and to dress himself in traditional style, to speak that particular\ndialect with certain special inflections of the voice, and even to utter certain sayings and\nmake certain movements and certain grimaces. & & &\n& Thus the Commedia dell'Arte came to lack variety and the actors degenerated into ma=>\nrlonettes. One fine day in fact the actors of flesh and blood no longer seemed necessary\nand puppets were substituted. You know this, and that it is In the booth of the puppets that\nnow languishes the glorious Commedia which should have rendered inmortal the name of\nthe jg? &\net us go back to happier times. When in 1578 the celebrated Company came to\nFlorence to the delight of il Lasca and the annoyance of the other playwrights\nit was returning from France where it had won many laurels. It had been invited\nthere by an Italian queen, Catherine del Medici, who had introduced into the\nFrench court her tastes and culture as a Florentine lady of the Renaissance. JS?\n& We were respected as sovereigns In the realm of art even then when we were regarded\n\nTHE COMMEDIA\nDELL* ARTE.\n\nZ,e Btavnre\ncl i Capitano\nS pave 11 to, &\nThe Actors weic\nthe creators.\nTheir names.\n& These were\nin some cas s\nperpetuated.\nHappier times."}, {"page_pdf": 26, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.26", "texte": "THE COMMEDIA\nD ELL' ARTE.\n\nas so low politically; and whoever beyond the mountains and the sea had 44 cuore gen-\ntile \" learned our language with that of our forefathers so as to be able to enjoy the\nharmony of Boccaccio's and Macchiavelli's periods, the soave melody of the sonnets of\nPetrarch and Bembo, the subtle and melancholy cadence of the octaves of Ariosto and, a\nlittle later, of Tasso. How great was the wonder of that nation which today seems to ar-\nrogate to itself the monopoly of everything referring to the theatre, when in 1548, it\nwitnessed the performance of the \" Calandria \" which the \" Florentine nation \" caused\nto be given at Lyons by the best living Italian actors who had been brought there\nat great expense to honour the royal 44 concittadina Brantdme who witnessed It declares\nthe performance to have been a thing 4(5 que I'on n'avoit encores veu, et rare en France,\n44 car paradvaist on n© parloit que des farceurs, des connardz de Ron an, des joueurs de la\n44 Basoche, et autres sortes de badins et jouers de badinages, farces mommeries et sotieries\".\nHow charmed they must have been with those decorations and those views of Florence pain-\nted by the Florentine Nannocchio, and how they must have marvelled at those actors, and\nespecially those actresses, 44 qui estoient tres-beSSes, parloient tres-bien et de fort bonne\ngrace \" I jgr & jg? *£? & & &\n<£? After that year, in 1555, there were performed at court by some gentlemen the 44 Lu-\ncidi \" of Firenzuola and the 49 Flora \" of Alamanni, and In 2560 the 44Sofonisba\" translated\nby Saint-Gelais was performed by the king's daughters and by other ladies and young\ngirls. The queen considered that this tragedy 44iiad brought evil to the affairs of the .kingdom\"\nand would have nothing more to do with tragedies though 44 ouy Men des comedies et\n44 tragicomedies, et mesnies celles de Zanni et Pantalons, y prenant grand plaisir, et y rioit\n44 son saoul comme tine autre, car elle rioit volontiers \". & & & &\n& It was during the year 1571 that this first 44 principle \" company of 44 comic! d'arte \"\nfor there was another company before them) of arrived in France, summoned there on the\noccasion of the rejoicings for the entry into Paris of King Charles IX with his bride. The\nvivacity and gaiety of the new actors, the facility and spontaneousness of their improvi-\nsation, the coaxing ways of the servant girls and the virtuous galanteries of the leading\nladies won the hearts of aB, princes and courtiers, and the English ambassador hastened\nto give an account of them In an official despatch to his Queen, who among her subjects\nalready counted the youth Shakespeare. 4? & & & &\n4? In France, however, theatrical performances were objectionable to certain religious\norders, and these, profiiting by the absence of the King, complained to the magistrates\nwho, being too timid of conscience to share the admiration of their sovereigns for the\nultramontane actors, were glad to sentence them to fines and banishment and the royal\nprotection scarcely served to save these unfortunate people from the fines.\n4/ All the same they reappeared at Paris the following year to enliven the nuptials of\nthe King of Navarre with one of the king's sisters. The Company, which seems already\nat that time to have had Its title of 4Gelosi% was led by a Bergamese, Alberto, celebra-\nted under his stage name of Ganassa, to whom, above all others, is perhaps due the\ninvention of the role and name of the second Zanni, that is, of Harlequin. At Mantova,\nbefore crossing the Alps, he had been obliged, by the Duke's wish, to join his old company\nto the other ied by Pantaleone ; hence Brantdme referred to their plays as 44Celles de Zanni\net Pantalons \" and a certain Monsieur De !a Fresnaye VauqueSin imortalised in his verse,\n44 Ou Se bon Pantalou, ou %auy dont Ganasse\nNous a represents la et la grace. (1)\nIt creates a tragi-conilc impression to read, under a date anterior but a few days to the\nterrible tragedy of St Bartholemew, a note of the payment by the Court Treasurer 44 a\n44 Albert Ganasse, joueur de commedies,.. taut a luy que a ses compaignonse en considera-\ntion du plaisir qu'Hz out donne a Sa Majeste... en plusieurs commedies qu'ilz out re-\n-44 presentees par di verses fois devanfc sa dicte Majeste\".\n\nA Performance\nat Lyons.\nThe first visit\nto France. &\nThe opposition\nof the religious\norders. & &\n\nNOTES AND TRANSLATIONS.\n(i) Either the good Pantaloon, or Zany, whose manners and grace Ganasga has repre-\nsented for us. & && && && <&*&&"}, {"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.27", "texte": "FROM THE BALLI DI SFESSANIA. 1622; GIACOMO CALLOT. 1593-1635\n\nTHE MASK.\nJanuary 1911"}, {"page_pdf": 29, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.29", "texte": "&In October the Company was still at Paris; then It seems that it r © turned Into Italy,\nfor In 1572 we hear of the \"ados!\" at Genoa and In 1574 at Venice, while in the meantime\nGanassa was gone to seek his fortune beyond the Pyranees. He who had made the French\nlaugh so heartily by mimicking a haughty Spanish gentleman under the name of Baron de\nGuenesche, in whose mouth he put a mixture of Bergamese and Spanish, was now going to\nthe court of Philip II to set laughing, if not the king himself (who it is said, never laughed),\nthose very \" valamedios \" barons themselves ! For some years a mysterious drama had been\nhushed up at that Court. The firstborn of Catherine dei Medici, affianced to the Prince, Don\nCarlos, but afterwards married by King Philip had died of a mysterious malady at the early\nage of twenty three, and, with her, her princely lover. Isabella, or Elisabetta, of France had\ntaken part both as spectator and actress in the performances given in the French court,\nand in Spain, during those years she spent there, perhaps awoke the smiles of those Muses\nwho had sprung into so fair a renewed life in her mother's beautiful native city.\nCertainly the company \" des comediantes Italianos, cuya cabeza y autor era Alberto\nGanassa \" received a warm welcome there. It performed \" comedias italianas, mimlcas for\n\"la mayor parte y bufonescas de asuntos triviales y populares\" in which figured \"las\n\" personas de Arlequin, del Pantalon, del Dotore, etc\" and a contemporary assures us that\neven if Ganassa was not \"well and perfectly understood\" there, \"none the less, with\n\"that little which was understood he made the assembly laugh, and he made much money\n\"in those cities and from him the Spaniards learned to make plays in Spanish fashion\n\"which they had not previously done \".\nIt must not be thought that this is empty boasting. The popular Italian comedy had\nthere the effect of a gust of wind sweeping away the mist of prejudice, and it was perhaps\nnot without credit to Ganassa that Lope de Vega, (who at the time of this visit was about\ntwelve years old,) could say, \" When I set out to write a play I lock up the rules under\n\" ten keys and banish Plautus and Terence from my room for fear that they should murmur\n\" against me. I write following the style of those who seek the applause of the public,\n\" since after all, seeing that it is the public which pays, it seems to me only just to speak\n\" to it, even in an illiterate manner, but always so as to amuse \".\nenice in the Carnival of 1574 saw a performance of these companions of Ga=\nnassa who had not followed him beyond the Pyranees and In the spring they\ntransported their trappings to Milan where they co-operated in the festivals\nwhich the city celebrated in honour of Don Giovanni of Austria, the hero of\nLepanto. In July however they were recalled to the Lagoons. &\n*£? The second son of Catherine dei Medici, Henry king of Poland, who, on the death of\nhis brother Charles, was hastening to occupy the hereditary throne, was to pass through\nVenice. The \" Serenissima\" exerted himself to the utmost to receive him in a fitting\nmanner, and, among other things he sent to the frontier four noblemen to learn from\nthe lips of the king himself what amusements were most to his taste. And that prince,\nwho had fied by night through a little secret door from the kingdom of Versovia (thus\nfalling In his regal obligations towards that generous people which had elected him as\nits sovereign,); that prince whom his mother enjoined to hasten his coming to take pos-\nsession of the most dreaded crown in Europe, found time amid the cares and anxieties\nof a perilous journey to make known to the government of tbe Republic that he had an\nardent desire to witness a performance by the actors who had been at Venice in the winter,\nespecially the prima donna whose fame had reached him ; ....surely a detail worthy of the\nfantasy of Shakespeare! And how comical is that futile bustle of the republican ambassador\nso that the desired lady should not be lacking to the amusement of the most Christian\nking, and of the Milanese resident that the actors should be ready at Venice for the day\nof his arrival! & & & & &\nThere was only time to perform two improvised comedies and one \" molto grata et\ngratiosa \" tragi-coinedy, which latter is also said to have given \" mirabil piacere \" to that\ntragi-comic king. It does not seem however that he was much pleased with the lady.\nAnd yet how perfect she was, that \" Signora Vittoria \" ! \" Divina Vittoria \", exclaims\na contemporary \" who metamorphosises herself on the stage ; beautiful magician of love\n\nTHE COMMEDIA\nDELL* ARTE\n\n& Ganassa in\nSpain. &\nI,ope de Vega.\nGanassa*s\nCompanions.\n& Vittoria."}, {"page_pdf": 30, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.30", "texte": "THE COMMEDIA\nDELL' ARTE\n\n\" who wins the hearts of a thousand lovers with her words ; sweet siren who takes pri-\n-44 soner with sweet sounds the souls of her devout audience and who undoubtedly deserves\n\"to be cited as a compendium of the art, having proportioned gestures, harmonious and\n44 becoming movements, majestic and graceful action ; words sweet and affable, sighs\n44 delicate and subtle, laughter agreable and charming, comportment lofty and noble, and\n44 showing in her whole person a perfect decorum such as belongs to, and is becoming\n44 to, a perfect actress.\" And another contemporary who acted as chronicler of these\nfestivals, Thomaso Porcacchi, described her as 44 Unica \". All the same king Henrv, when,\nafter some years, he had adjusted the affairs of state and could think once more of the\ngay days passed at Venice, no longer asked after her with the old enthusiasm; he wrote\ninstead with his own hand the following fetter to the French ambassador at Venice;\n44 Now that peace is made in my kingdom I wish to have here the 44 Magnifique \"\n44 the one who came to me at Venice on my return from Poland, with all the actors of the\n46 company of tne 44 Qelosi\". I beg you to seek out the said 44 Magnifique \" and tell him\n44 to come to me according to the letter I write him and which you will deliver to him.\n44 You will also furnish him with the money necessary for his journey, letting me know\n44 what you have given him. I will order those who attend to my finances that it be re-\n-44 turned to you soon. Henry\".\nGiulio Pasquati was, in truth, a 44 Magnifico \" not only in name. The chronicler had\nalready declared himself undecided whether in his manner of acting 44 la gratia o I'acutezza\nde capricci spiegati a tempo et sententiosamente \" predominated. For the moment, how-\never, he was not to be had; he was delighting another monarch, the Emperor of Austria,\nand it was necessary to wait until his engagements there were ended. However on\nJanuary 25th of the year 1577 he, together with the \"Gelosi\". was at Blois where King\nHenry had convoked the States General, and that same evening they performed before the\nfinest flower of the French aristocracy and in the same hall, gorgeously decorated with\ntapestries worked in gold thread, where the representatives of the nation met. They arri-\nved a iittle late because on the way, in the neighbourhood of Charite sur Loire, they had\nfallen into the hands of the Huguenots, who had claimed and obtained from the king a\nconsiderable ransom ; but they were yet in time to turn the heads of those busy idlers ;\nand it did not suffice that an ardent court preacher carried his intrepidity to\nthe point of blaming in the presence of the king himself whoever should be present at\nthose profane and scandalous spectacles, because that very day the Sovereigns and the Court\nbetook themselves to the play I The leader of the Company seems to have been Flaminio\nScala, noted, as his biographer tells us, for being the first who gave to the improvised\nCommedia dell'Arte 44 a definite form with all good rule, \" and for having invented many\nscenarios. The scenario of the 44 Dentist\", of which I have already quoted a part, is his\nand so are the other forty nine which, all together, make up the 44 teatro delle favoie rap-\npresentative overo la ricreatlone comic aboscareccia e tragica divisa in cinquanta giornate \"(1)\nwhich is the most ancient collection of scenarios and the very cream of the repertory of\nthe \"Gelosi\". The States General having been dismissed on March 7, Scala, before returning\nto Italy, gave some performances at Paris in that hall of the Petit-Bourbon where,\nsome years later, In 1614, were to be held the last assemblies of the States General of\nmonarchical France before the eighty-nine, and where in less than a century the son of\nthe upholsterer Poquelin was to inaugurate the real modern comedy, cementing the loose\nstones of our Commedia dell'Arte.^\nBut this Company also drew down upon Itself the wrath of the confraternities and the\nmagistrates, and this time with greater reason, because the actors attracted to their per-\nformances a larger crowd that the united congregations of the four best preachers in\nParis! The King, however, made his voice heard and his protection felt, and the grumbling\nmagistracy took note that 44 the corruption of those times was such that players in farces,\nbuffoons, favourites (4< mignons \") all found favour with the king.\" & £? &\n\nGiulio Pasquati\nFlaminio Scala\n\nNOTES AND TRANSLATIONS.\n(i) Teatro delle favoie rappreseetative, or, comic, pastoral and tragic recreation divided\ninto fifty days."}, {"page_pdf": 31, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.31", "texte": "PANTALONE. G. CALLOT.\n\nTHE MASK.\nJanuary 1911."}, {"page_pdf": 33, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.33", "texte": "t was this very company which in the beginning of 2578 came to Florence\nto make trouble among those rival playwrights. IS Lasca composed a kind\nof Poster announcing their arrival and in derision of his presumptuous\ncoiieagues:\nFacendo il Bergamesco e' 1 Venezlano,\nN'andiamo in ogni parte,\nE' 1 recitar commedie e la nostr'arte ....\nQuesti vostri dappochi commediai\nCerte lor filastroccole vi fanno,\nLunghe e piene di guai,\nChe rider poco e manco piacer danno;\nTanto che per Faffanno,\nNon solamente agli uomini e alle donne,\nMa verrebbero a noia alle colonne. (1)\nAnd he repeatedly invited the citizens to come\n.... alia Stanza ad udir Zanni,\nLa Nespola, ii Magnifico e' I Graziano,\nE Francatrippa che vale un tesoro,\nE gli altri dicitor di mano in mano,\nChe tutti fanno bene gli atti loro! (2)\nThe 44 Magnifico Pantalone\" was still the same who had aroused the admiration of\nHenry 111. Graziano,.... that is to say, the Bolognese pedant, was Ludovico de' Bianchi, the\nmost famous interpreter, (though not the creator), of that type since the time when he\nacted with Ganassa a 44 Lus Burchiello Gratia \". II Lasca describes the way in which he took\noff his cap :\nChe gentilmente la piglia con mano,\nPoi la scuote e dimena con gran fretta;\nE quando Tusa piu di dimenare\nPiu vuol amico o signore onorare. (3)\n& Francatrippa who spoke the Bolognese dialect mixed with some Tuscanisms, was\nGabriello Panzanini, and another Bolognese, Simone, acted as Harlequin and we find him\ndistinguished as an observer of the 44 vero dicoro \" of the Bergamese tongue. Nor was there\nlacking a local caricature, 44 Zanobio da Piombino \" entrusted to Girolamo Salimbeni.\nThe leader of all this fine company was the Pistoiese, Francesco Andreini, 44 Captain\nSpavento \".\nJZ? Although but thirty years old he had lived those years to the full, having embarked at\na very early age on the Tuscan galleys and fallen into the hands of the Turks whence he\nhad only succeeded in escaping after eight years of slavery. Thanks to his culture and talent\nhe had received a warm welcome in Scala's company. He first played the part of the Inna-\nmorato, but afterwards showed yet greater talent in acting the role of 44 Captain Spa-\nvento da ValPinferna\", (Valdinferna is a city which one finds named in the chivalric\nromances); and at times he tried to invent others also. At Milan, for instance, he relates\n\nTHE COMMEDIA\nDELL'ARTE\n\nGraziano,\nBra noes co\nAndreini, &\n\nNOTES AND TRANSLATIONS.\n(1) Acting the Bergamesque and the Venetian we roam the whole world over, and the\nperforming of comedies is our trade. & JSZ &\nThese silly comedians of yours act for you certain foolish plays of theirs, which, long\nand tedious, give little amusement and less pleasure ; so tiresome are they, in fact, that\nthey bore not only men and women but even the Pillars. &\n(2) ... To the Stanza to hear Zanni, La Nespola, il Magnifico and Graziano, and Fran-\ncatrippa who is a treasure in himself, and the other actors, one after another, who all\nperform their parts well.\n(3) Which he gracefully takes with his hand; then shakes it and twists it in great haste;\nand the more he wishes to honour friend or signor, the more he twists it round."}, {"page_pdf": 34, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.34", "texte": "THE COMMEDIA\nDELL'ARTE.\n\nthat lie played \"the part of a Sicilian Doctor, very comic\" and that of \"a wizard named\n\" Falsirone, most remarkable for the number of tongues which he spoke, such as French,\nSpanish, Slav, Greek, Turkish\"; and then \" marvellously the part of a shepherd named\n\"Corinto in the pastorals, playing many and varied wind instruments made up of many\n\"flutes, singing rural verses in imitation of Sannazaro \".\nAt Florence, in the early months of this year 1578, he had the good fortune to marry\nthe artiste who has left the most illustrious name in the history of our theatre,.... that\nwonderful Isabella, \" beautiful in name, beautiful in body and most beautiful in spirit\"\n(this is certified by her husband, who ought to know !) \" queen of beautiful and virtuous\nwomen,\" who used \"as distaff the book, as spindle the pen and as needle the style \".\n& She was at that time sixteen, having been born in Padua in 1562; and I would not have\nyou think that in the words of her actor-husband there was any exaggeration. Tommaso\nGarzoni, the panegyrist of the \" Divina Vittoria \" (who seems to have been a specialist in\nsinging the praises of 'prime donne') declared her to be \"an adornment of the scene, an\n\"ornament of the theatre, a superb spectacle of virtue no less than of beauty\", and pre-\ndicted that \" while the world lasts, while the centuries endure, while times and seasons\n\"shall continue, every voice, every tongue, every cry will repeat the celebrated name of\n\" Isabella \". Bayle tells us that she \" sang well and played admirably on instruments \" ;\nDelia Chiesa, that she \"wrote very well in Latin, Spanish and French and had no small\nknowledge of philosophy \". Quadrio, that to her art, \" universally reputed dangerous to\nthe honour of women, she knew how to add supreme modesty and perfect innocency of\nmorals\"; Chiabrera sang her praises in her life time after hearing her recite at Savona in 1584\nand Marino sang them after her death. And if all this seems to you little you must know\nthat she stirred even the muse of Tasso who, at a banquet given in her honour by the\nCardinal Aldobrandini to which were also invited six other cardinals, Antonio Ongaro and\n\" altri poeti chiarissimi\", sat beside her and addressed to her a sonnet breathing forth the\nmost delicate gallantry.\nhatever had become in the meantime of the Signora Vittoria ? It does not\nseem that she went to France with the \" Gelosi \" nor that she came to\nFlorence, so that it almost appears as if she were no longer with them, for\nthe presence of so radiant a star could not have remained unnoted. In\n1590 we find her again at Mantua as leader of a Company which she called\n\" dei Confldenti\" but which the public knew better under the name of the Company of\nthe Signora Vittoria, and apparently enjoying the full favour of the Duke, who, owing to\nthat blessed mania of rearranging and handling the Companies which all his family had to\na certain extent, caused in that year some distress to the Diva. We too are moved by the\nletter written to him on June 22 by the compassionate secretary, who refers in it to a\ncertain lady,... perhaps a member of the Company of Pedrolino... at whom it seems that\nthe Duke had begun to cast sheep's eyes.^\n\" I went to Signora Vittoria to wish her good day and I found her in such distress that\n\"she almost made me weep, telling me that your serene Highness has said that some of\n\" her Company, under pain of your displeasure, are to go into the company of that woman\n\" (perhaps not over-healthy from what I hear), the said lady lamenting and declaring that\n\"she does not know why the most Serene Prince should wish to do her this injury of break-\n\" ing up her Company, she having never ceased to serve him, neither by day nor by night\n\" at all hours ; and why as reward for all this she should deserve such an injury.\nThe Duke, fortunately, had not a heart of stone, and those sweet recollections, and\nperhaps also the clever insinuation that Vittoria's rival was not \" over-healthy \" disposed\nhim to more humane counsels, and, in December of the same year, on the occasion of his\nson's wedding, he requested that the Signora Vittoria, who with her Company had under-\ntaken a tour of the various cities, should come to Mantua for the Carnival. &\nBut the real artistic rival of the Signora Vittoria was Isabella, and in May 1589, for the\nmarriage of Ferdinand de' Medici with Cristina of Lorraine, we find the two, by the will\nof the Grand Duke, face to face at Florence. Vittoria, who \"at that time was the miracle\nof the stage\" as Baldinucci attests, performed in her favourite play, \"La Zingana\" on\n\nIsabella.\n& Vittoria.\nRival Acttesses"}, {"page_pdf": 35, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.35", "texte": "May 6th, while on the 13th Isabella astounded everyone with her \" valore ed eloquenza \"\nacting a piece of her own invention, \"La Pazzla After this each one went her way, the\nSignora Vittoria with the \" Confidenti \" and the \" Uniti Isabella with the \" Gelosi \".\nIt would be neither easy nor interesting to follow these companies in all their hazardous\nwanderings and adventures. It will suffice to say that, after leaving Florence in the first\ndays of 1579 the \"Gelosi\" went to Venice at Carnival time, where for several evenings Prince\nFerdinand of Bavaria was among the spectators. This prince was an old admirer of the\nItalian Commedia who already in 1565, during the festivities for the wedding of Francesco\nde' Medici with Giovanna of Austria, had enjoyed, at Verona the performance of a Zauny,\nat Mantila of a play, at Florence a splendid production with a prologue delivered by a\ndoctor mounted upon a donkey, and at Verona on his return another very amusing and\nenjoyable comedy.^\n& The \"Gelosi\" afterwards took their way to Mantua which, thanks to the protection of its\nDukes, was then literally the head quarters of all actors. But alas! their reception there\nwas not pleasant i A ducal decree dated May sth ordered \" that there be quickly driven\n\"away from the City and State of Mantua the actors known as the \"Gelosi\" who are lodged\n\"at the Sign of the Bissone, and likewise Signor Simone who plays the part of a Bergamese,\n\"and Signor Orazio, and Signor Adriano who plays the lovers' parts (parte amantiorum) and\n\"their friend Gabriele known as \" dalle Haste \". Fortunately the decree does not mention\nthe Andrelni and I could not tell you what the others can have done to deserve such ri-\ngorous treatment on the part of a prince who always lived in the midst of actors who\nwere not exactly saints!\n& We next find them in July at Genoa; from here they went on to Milan. In May 1580\nthey were again at Milan furnished with a licence from the Governor; but in July they\nwere forbidden to act there any more. They had in that city a formidable enemy, no less\na person than the Cardinal Borromeo, who would have liked to see them exterminated. But\nthey managed so well and were so diplomatic that the Governor gave them permission to\nresume their performances \" from the beginning of September \".\nDuring the carnival of 1581 they were at Venice whither they returned once more in\nthe April of 1583. In 1586 they were at Mantua, and Prince Vincenzo favoured Isabella with\nthe unusual honour and most marked favour of accepting Lavinia her daughter as \" his\nmost humble servant,....\" that is, of acting as her godfather. &\n& In the following January we find them at Florence where Isabella, who was as prolific\nas she was gifted, had the opportunity of asking the Grand Duke to accord her\nthe same favour on behalf of another daughter as that which had already been granted to\nher by his princely son-in-law. Better fortune befell the Company towards the end of 1602.\nThe new queen of France, Marie, who was also of the House of Medici, sent the \"Gelosi\" a\nflattering invitation to go to the French court, and to what extent Isabella made the grand-\nfathers of Moliere lose their heads is sufficiently demonstrated in these halting verses which\nshe inspired a certain Isaac du Ruyer to write:\nJe ne crois point qu' Isabelle Qui s'est deguise en femme\nSoit une femme mortelle ; Afin de nous ravir Fame\nC'est plutot qu' un des dieux Par I'oreille et par les yeux.\n& In April 1604 they asked and obtained a licence from the king, and the graceful queen\nwished to provide an honourable certificate for the no less graceful actress, \" being able\nto assure you\" as she wrote to the Duchess of Mantua, \"that during the time she has\n\" dwelt here both she and her company have given full satisfaction to my Lord the King\n\" and to me \". But on the way back, at Lyons, Isabella was taken seriously ill, and a few\ndays afterwards, on June 10th, died, or, if you like it better, her spirit \"parted company\n\"with the body which it left on earth that it might fly away to heaven, neither the\n\"prayers nor tears of those who had admired her being able to hold her back\", as the\nmost authoritive historian of those times tells us. Then, and for about two centurier af-\nterwards burial in consecrated ground was not in France accorded to actors, but Isabella's\ndeath so touched the parish priest that he wrote as follows in his registers: \"She is\n\" deceased with the universal reputation of being one of the most rare women in the world\n\" for learning as well as for speaking in many languages\". She was carried to the\n\nTHE COMMEDIA\nDELL'ARTE\n\nThe travels of\nThe Gelosi\n& The Gelosi in\nFrance. & £>"}, {"page_pdf": 36, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.36", "texte": "THE COMMEDIA\nDELL' ARTE\n\ngrave with all honours, 44 favoured \" as Beltrame attests, 44 by the Community of Lyons \"\nwith banners and mace=bearers and torches accompanied by the 44 Signori Mercanti,\" and\n44 she had a most beautiful epitaph written in bronze for an everlasting memorial\".\n& Francesco Andreini, having lost his beloved companion, disbanded his Company and\nfrom that day attended only to the publication of his works in verse and prose, all, more\nor less directly, devoted to the memory of this adored woman.\nBut for her own glory and for the honour of that art which she had so much adorned\nIsabella had herself provided even better, not only by her plays and poems but by bringing\ninto the world at Florence, towards the end of that same year 1578 when il Lasca had so\njoyously hailed the arrival of the \"Gelosi\", her first born son, Giambattista. The heir of his\nmother's virtue and talent, this son corresponds in respect to his father to the poet of\nthe 44 Aminta \" in respect to that of the 44 Amadigi \". On the stage he was called Lelio,\nand was for a long time at the head of the Company of the \"Fedeli\" which in or about 1604\nwas made up in great part of the actors of the disbanded Company of the 44Gelosi\". In 1601\nhe married at Milan the eighteen=year=o!d Virginia Ramponi, who, aided by the intelligent\ndirection of her husband, was, under the name of Florinda, to make it seem that the loss\nof her mother=in=law was not entirely irreparable. This was affirmed to the sorrowing son\nby one of those many rhymesters who let their tears flow over Isabella's tomb:\nVive la madre tua ne la tua sposa\nCh& de lo suo divin dandole parte,\nIn Virginia respira e in lei si cole. (1)\nAnd it was repeated with yet greater emphasis by events. In the spring of 1608 when\nthe nuptials of the prince Francesco were being celebrated in Mantua with Margherita of\nSavoy, daughter of Charles Emanuel I, one of the young Romans, Caterinuccia Martinelli,\nwas to sing in 44 Arianna\", an Opera by Ottavio Rinuccini with airs by Monteverdi and re«\ncitatives by Peri. In the first days of March, struck down by smallpox, the singer died.\nWhere and how were they to find in so short a time anyone to take her place ? Why, 10,\nthere presents herself Virginia Andreini! Antonio Costantini, Tasso's friend, wrote from\nthere on March 18th: 44 God inspired them to try if 44 Florinda \" should show talent in this\n44 part, and in six days she has got it perfectly by heart and sings it with so much grace\n44 and feeling that she has astonished Madama, Signor Rinuccini and all the gentlefolk who\n44 have heard her \". Among these last there was perhaps also Marino, who, in the 44Adone\"\n(VII. 68), speaking of the performance left it on record,\n44 E in tal guisa Florinda udisti, o Manto,\nLa nei teatri de' tuoi regi tetti,\nD'Arianna spiegar gli aspri martiri,\nE trar da mille cor mille sospiri. (2)\nTo Florinda was due a great part of the triumphs of the 44 Fedeli \" in Italy and in France,\nuntil, in 1627, she I 4 left the stage of this world \". The faithless head of the 44 Fedeli \" did\nnot, however, imitate the paternal example, and continued to direct the Company until\n1652 when, an old man of seventy, remarried to the actress Lidia, he finally retired from\nthe theatre.\nHe left behind him a great collection of lyric and heroic poems, comedies, sacred and\nprofane tragedies, tragicomedies, pastorals, sonnets, dialogues, and visions: and, if he lacked\ncertain numbers to make him a great poet certainly one of these was not the number of\nhis productions! Something, however, has survived him, and the curious eyes of students\nand dilettanti are yet turned upon that 44 sacra rappresentazione \" Adam which certainly\nseems to have served as Scenario for the 44 Paradise Lost\". & & & &\n4411 y a souvent\" says Voltaire, 4# dans les choses ou tout parait ridicule ou vulgaire,\n\n& Giamhattista\nAndreini. &\nHis wife\nFlo r in d a\nHis literaly\nworks.\n\nNOTES AND TRANSLATIONS.\n(1) Your mother lives in your wife to whom she gives semething of her own divinity.\nIn Virginia she breathes again and is worshipped once more.\n(2) And you heard Florinda, Oh Mantuan, In the theatre of your palace, interpreting\nthe bitter sufferings of Arianna, drawing from a thousand hearts a thousand sighs. &"}, {"page_pdf": 37, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.37", "texte": "COSTUME FOR PANTALONE: OF EARLIER DATE.\n\nTHE MASK.\nJanuary 1911,"}, {"page_pdf": 39, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.39", "texte": "THE COMMEDIA\nDELL'ARTE\n\nUn coin de grandeur qui ne se fait apercevoir qu'aux hommes de genie; and Milton\n\" decouvrit, a travers I'absurdite de I'ouvrage, la sublimits cachee du sujet\nhe Commedia dell'Arte was not a monopoly of the Andreini's nor did it\nend with them, and I ought to speak of distinguished actors such as the\nRiccobonis, Fiorillo, Domenico Biancolelli, Tommaso Visentino known as\n\" Tommasino Carlo Bertinazzi known as \" Carlino of celebrated wo-\nmen such as Maria Malloni known as \" Ceiia \" (of whom Marino wrote as\nfollows:\nCelia s'appella, e ben del Clel nel volto\nPorta la luce e la belt& celeste ;\nEd oltre ancor, che come 11 Cielo e bella\nE ha Tarmonia del Clel nell favella. (1)\nand of Flaminia Riccoboni and Aurelia Bianchi; of dilettanti like Salvator Rosa, of whom\nLippi wrote\n\" Plttor, passa chiunque tele imbiacca,\nTratta d'ogni scienza ut ex professo,\n*\nE in palco fa si ben Coviel Patacca,\nChe, sempre ch'ei si muove o ch'ei favella\nFa proprio sgangherarti le mascella\", (2)\nand also of Evangelista Torricelli, Viviani and Bernini; but,\n\"....son giunto a quel segno, 11 qual s'io passo,\nVi potria la mia istoria esser molesta. (3)\nI must however add that, in literature, our Commedia bore more enduring fruits beyond\nthe limits of its native land. There came about for it the opposite of that which had hap=»\npened in the case of the chilvaric poems, and the Ariosto who elaborated, far away from\nItaly, that comic material created by our improvisors was, as you know, Moliere. \"We\n\"must never forget that the priority of this ingenious and piquant imitation of nature\n\" belongs to Italy, and that, without that rich and interesting precedent, Moliere would\n\" never have created the real French comedy \" says George Sand, and there have not been\nlacking Rajnas to search into the reliquaries of the Commedia delTArte and to find there\nsketches for plots, scenes, episodes, types, characters, which, in the hand of the genial\nplaywright, became Tartuffe, the \" Malade imaginaire \", f« George Dandin \", \" Trissotin\n\" Sganarelle \", \" Scapin \". &\nThe great artist has added the colours to the outline drawn in charcoal, so that their\nvitality is thus no longer perishable. Certainly, the theatre of Moliere was the most\nexquisite fruit of the Commedia delTArte, which had found almost a second home in France.\nBut it can boast of yet other honours and other services. &\n& I have already referred to Spain and to Lope de Vega. A little before his time, in 1568,\na certain Giovanni Tabarino had carried our Commedia to Linz on the Danube, whence he\npassed to Vienna in the official quality of comedian to his Majesty. He seems to have\nremained there until 1574» making a little trip to France in the February of 1571, but\nthis more ancient Tabarino must not be confused with the famous buffoon of the same\nname who was the fashion in Paris from 1618 to 1630. And during the time that he spent\nat Vienna there chanced to come also the Florentines Antonio Soldino (returning from\nFrance), and Orazio; and then Giulio, Giovanni the Venetian, Giovan Maria the Roman,\n\n& It ite ta ry\nfruits. &\nTab a rino.\n\nNOTES AND TRANSLATIONS.\n(1) Celia she is called; and truly she bears in her face something of the Celestial light\nand beauty; besides which she is fair as the celestial region and has its music on her\nlipS.\n(2) A Painter who, no matter who may pass by, daubs at his canvases, treats of every\nscience ut ex professo, and on the stage acts so well the part of Coviel Patacca that, whenever\nhe moves or speaks, he makes you split your very sides. &\n(3) I have reached that point beyond which, should I pass, my story might become vexatious\nto you."}, {"page_pdf": 40, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.40", "texte": "THE COMMEDIA\nDELL'ARTE\n\nand the two Travisans, Silvestro and that Battista who acted as \" Franceschina \" ; and,\nlater, Pier Maria Cecchini, who was a poet and essayist as well as an actor under the\nname of Fritellino, and whom the Emperor Mathias \" ennobled, habituating him to every\n\" chilvaric exercise, rendering him worthy of all that is conceded to every gentleman of\nquality. & &&?&&&&\njg? An example of the pleasures of the Commedia dell'Arte had been given some years\nbefore 1568 in the Bavarian Court by a Flemish musician who had lived for a long time\namong us, Orlando di Lasso, and by a Neapoiltan musician, Massimo Trojano, who gives us\nan account of it. The wedding of the Duke, William IV with Renata di Lorena, was being\ncelebrated and one fine day the Duke took it into his head to have a play performed the\nnext night. He asked one of Maestro Orlando who in his turn asked his colleague Trojano\nto help him. No sooner said than done. They devised the \" dilettevole soggetto.' and per-\nformed on the following evening an improvised comedy in Italian in presence of all the\n\" most serene ladies \", and, although the majority did not understand what was said, the\n\" Magnifico Veneziano \" Messer Orlando di Lasso with his \" Zanne \" succeeded so well as\nto convulse them all with laughter. & &\nThe parts were distributed as follows: Messer Orlando himself was \" the Magnificent\nMesser Pantalone di Bisognosi\"; M. Gio. Battista Scolari da Trento was the Zanne; Mas-\nsimo Trojano took three parts, the prologue as a stupid peasant (\"a peasant, alia cavajola\nso queerly dressed that he seemed the very Ambassador of laughter\") Polidoro the Inamo-\nrato, and the Spanish dispetato under the name of Don Diego di Mendozza. The servant\nof Polidoro was Don Carlo Livizzano; the servant of the Spaniard was Giorgio Dori da\nTrento; the courtesan, Polidoro's lover, called Camilla, was the Marchese di Malaspina ;\nher servant, Ercole Terzo ; there was also a French servant. To enliven the performance\nyet more the play was varied by interludes and musical madrigals by Lasso. & •£?\n& In Germany it cannot be said that the seeds of the Commedia dell'Arte fell upon\nfruitful ground. On the other hand in 1527 there crossed to England a company led by a\nMantuan Harlequin, Drusiano Martinelli, brother of a yet more celebrated Harlequin who\ncalled himself \" Dominus Arlecchinorum \" and, owing to the queen of France having acted\nas Godmother to a daughter of his, called her \" commare \" and signed himself\n\"Arlecchino compadre christianissimo \". At the court of Elizabeth it is probable that the\ntwo rival buffoons Tarleton and Wilton learned from him to improvise on mere '♦scenarios\"\nand to compose these. & a& &\nShakespeare did not came to London until about eight years later. It is known how\nfamiliar he was with our novelists and playwrights and how he drew from that source\nplots, scenes and situations. The \" Comedy of Errors \" is derived from the \" Menechmi\"\nthrough the medium of an Italian imitation; the \"Taming of the Shrew\" is in great part\nbased on the \" Suppositi\" of Ariosto, and even \"Romeo and Juliet\" recalls in more than\none place (in one's zeal to appear discreet one must not be unjust 1) the 'Hadriana' of\nLuigi Groto. & jz? <£? .g?\nNor are traces of this imitation of our popular Commedia rare or obscure in his works.\nIn fact when, in \" Othello \" (1-2) lago calls Brabanzio \" il Magnifico \" it seems to me that\nhe wishes to treat him as Pantaloon rather than simply, as commentators interpret it,\nto indicate by that title his senatorial dignity. But there is yet a better example. Captain\nParolles in the comedy \"All's well that Ends Well\" who carries \"the whole theorick of\nwar In the knot of his scarf, and the practise in the chape of his dagger,\" is no other\nthan our Captain Spavento, and one would say that the scene in which, having out of\ncowardice fallen into the hands of his own soldiers who have frightened him and who affect\na barbarous language, is dragged with a bandage across his eyes in front of his own ge-\nneral whom he believes to be that of the enemy, and gives away the secrets of the camp\nand slanders his colleagues was taken direct from a scenario. So also we find our \"Spanish\nCaptain\" in that boastful and gallant Spaniard in \"Love's Labour Lost.\" It is enough to hear\nhow he gives an account of his love to his valet. \" I will hereupon confess I am in love;\n\" and as it is base for a soldier to love, so am I in love with a base wench. If drawing my\n\" sword against the humour off affection would deliver me from the reprobate thought of\n\"it, I would take desire prisoner, and reasom him to any French courtier for a new devised\n\n& In Bavaiia,\nIn Germany.\nAnd England\n& Shakespeare\nand the C online-\ndia delVArte, &"}, {"page_pdf": 41, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.41", "texte": "44 courtesy. 1 think scorn to sigh: methinks I should outswear Cupid. Comfort me, boy ;\n44 what great men have been In love ? \" & & &\nThe pedant Holofernes in the same comedy is exactly like our Graziano and it is curious\nthat he cites with melancholy admiration the beginning of a Latin eclogue by an obscure\nMantuan which he follows up in Italian by two lines of a little song; 44Ah, good old Mantuan!\nI may speak of thee as the traveller doth of Venice,\nVenezia, Venezia,\nChi non te vede, non ti pregia.\n\" Old Mantuan! Who understandeth thee not, loves thee not\".\n& Then in the \"Taming of the Shrew,\" as well as the many Italian words which occur there\nis even a scrap of dialogue ; 44 Con tutto il cuore ben trovato \" says one friend to another;\nand this last replies, 44 Alia nostra casa ben venuto, molto honorato signor mio Petruchio.\"\nand, as well as a certain Pedagogue who has nothing of our Commedia but his pusillanimity\nand unreadiness, there is also a scene in which nothing of the Commedia dell'Arte is lack-\ning,... . not even the name of one of its most characteristic figures. A young man has\ndisguised himself as a master of grammar so as to declare his love to the girl he is in\nlove with. There is present an old gallant; he, too, in love.\nEianca. Where left we last ?\nBucenzio. Here, madam :\nHac ibat Simois; hie est Sigeia tellus,\nHie steterat Priami regia celsa senis.\nBiauca. Construe them.\nEucenzio. Hac ibat, as I told you before. Simois, I am Lucentio.... hie est, son unto Vin-\ncentio of Pisa.... Sigeia tellus, disguised thus to get your 10ve,.... hie steterat, and that\nLucentio that comes a wooing,... Priami, is my man Tranio... regia, bearing my p0rt,....\ncelsa senis, that we might, beguile the old Pantaloon.\nBi aiica. Now let me see if I can construe it: Hac ibat Simois, I know you not... hie est\nSigeia tellus, I trust you n0t.... Hie steterat Priami, take heed he hear us not ;.... regia,\npresume not;... celsa senis, dispair not.\nJZ? And also in the \"Merry Wives of Windsor,\" that French physician who lards his discourse\nwith phrases and words of his own language, and that parish priest who prattles his En-\nglish like a good Welshman, and that silly fellow who always speaks 44in punta di forchetta\",\nall these have their prototypes in our improvised Commedia, in common with which\nShakespeare had also some defects. £? & & J£? & &\n& Beltrame, to exalt his colleagues, declared in the first decades of the Sixteenth century\nthat they 44 study and furnish their minds with a great medley of things, such as sen-\ntences, witticisms, love discourses, scoldings, outbursts of despair and deliriums, so as to\nhave them ready on occasion \" ; and from this resulted their highly coloured style, and\nperhaps also, at least in part, the emphatic and bombastic style which the great drama-\ntist always puts in the mouth of his Italian characters. It certainly was not in our novel-\nlists that he found the model for those caricatures.\nBut we must not lay to the account of our poor comedians, already so heavy, the\ngrossness which soils the first works of the leading English Comedian. The buffoons of\nElizabeth, in the matter of coarse and outspoken jests, had no need of instructors. And\nwho knows If to them do not belong in great part those which have been smuggled through\nto .posterity in the rich trunks of the supreme poet, who must certainly have left the\nbuffoons to play the,fool at their ease in certain scenes to please the coarse public, always\ngreedy for those highly spiced sallies which went on being repeated even years after, just\nas the predecessors of Rossini abandoned the trills and flourishes to the virtuosity of the\nsingers. Later on those trivialities must have been transcribed on the copies and the whole\nlabelled as the work of the playwright. Having increased in authority, and learned wisdom\nby experience, he, as Rossini with the trills, must have kept under discipline these buffoon\nscenes so that they should not disturb the action of the drama, and so that they should\nat least have that flavour,... something Ariostescan and Rabelaisian.... which they have,\nfor example, in \"Othello\" and \"Hamlet\". Remember the instructions given by the Danish Prince\n\nTHE COMMEDIA\nDELL'ARTE\n\nThe Taming of\nthe Shrew. z?\nThe Merry\nWives of Wind-\nsot \". &\nThe Elizabethan\nbuffoons."}, {"page_pdf": 42, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.42", "texte": "THE COMMEDIA\nDELL' ARTE\n\nto the Players: 44 Let those that play your clowns, speak no more than is set down for\niS them : for there be of them that will themselves laugh, to set on some quality of barren\n44 spectators to laugh too; though in the meantime some necessary question of the play be\n44 then to be considered : that's villainous, and shows a most pitiful ambition in the fool\n44 that uses it. \"\nThese were abuses to which certainly our Commedia dell'Arte also tended, since any\nliberty must degenerate Into license when it is conceded to those who do not possess the\nnecessary restraint, either by nature or by cultivation. But one must not, because of the\nevil effects of license, underestimate the incalculable benefits of Liberty. In the midst of\nthe obsequious servility of our literature to an irrevocable past those comedians of ours\nwent as apostles through the world preaching and practising liberty: humble but loud-\nvoiced and effectual pioneers upon that way along which were to travel triumphantly\nLope de Vega, Shakespeare and Moliere.\nBUT FOR ALL THIS LIBERTY HAS NOT GONE OUT OF PLACE, NOR THE INFIDEL EN-\nTERED INTO FULL POSSESSION.\nWHEN LIBERTY GOES OUT OF A PLACE IT IS NOT THE FIRST TO GO, NOR THE SECOND\nOR THIRD TO GO.\nJT WAITS FOR ALL THE REST TO GO, IT IS THE LAST.\n\nWalt Whitman.\n\nBIOGRAPHICAL NOTES TO THE ABOVE ESSAY.\n\n<•»\nLodovico. Born (Reggio) 1474. Died 1533. One of the great writers for the stage\nwhose works the actors of the Commedia dell'Arte forced back again into the study on\naccount of their lack of vitality when acted.\ngELTRAME. (Niccolo Barbierl). An actor. Died about 1640. Me invented the characters\n44 Scapino \" and 44 Beltrame \" assuming the name of this latter as his own. Me\nwrote Scenarios, his best play being, according to Mantzius, \"1' Inavvertito. overo Scapino\ndisturbato e Mezzetino travagliato,\" which he wrote and published with dialogue complete,\nthough it was originally acted as an improvised play. It is the prototype of Moliere's\n44 r Etourdl ou les Contretemps \", and he published the play to prevent it from being lost\nor spoiled by bad acting and by any improvisation inferior to that of the 44 Geiosi \" and\nthe 44 Fedeli \" companies. He also wrote 44 La Supplica \", published in Bologna, 1836. It is\na kind of Apologia for the stage of his time &\n£ECCHI, Giovanni. Bom 1518. Died 1587. Playwright. He wrote 44 La Romanesca \" In 1585,\nand in the prologue to this play he extols the 44 Farsa \" and pleads the cause of the\nRomantic Drama against the canons of Aristotle. A translation of this will be found in\n44 Shakespeare's Predecessors \" by J. Addington Symonds. Page 208. & &\npERRARA, Duke of, Ercole I. Born 1431. Died 1505. It was in Ferrara, under his rule, that\nthe splendour of the ancient Italian dramatic performances was revived, and, beginning\nwith a representation in i486 of the 44 Menecmi \", performances were given at his court,\nwith the co-operation of Ariosto, Boiardo, Strozzi and many others, of most of the plays of\nTerence and Plautus as well as of more modern works.\nSome idea of the richness of the scenery and costumes is conveyed in the letters of\nErcole' s daughter, Isabella d'Este , (wife of the Duke Francesco of Mantua), written from\nher father's court at Ferrara to her husband on the occasion of her brother's marriage with\nLucrezia Borgia.\n\n(1) Further details of the lives of some of the actors referred to in Slgnor Scherillo's Essay will be given in the next two numbers of\n'The Mask.\""}, {"page_pdf": 43, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.43", "texte": "pIRENZUOLA, Agnolo. Born 1493* Died 1545- A Florentine Dramatist who entered the Church\nand became Abbot of Prato. As a writer he was distinguished for his purity of style and\nimpurity of sentiment.\nQELLI, Giovanni Battista. Born, 1498, Died 1563. An Italian writer, the son of a tailor.\nHe became the president of a literary Academy which he founded in Florence. His chief\nworks are 44 I Capricci del Bottaja \" and 44 La Circe \". &\n|L LASCA. (Antonio Francesco Grazzlni). Poet. Born 1503. Died 1583. He took the name\n\" II Lasca \", (The Roach) in 1539 when he founded the Accademia degii Umidi. In 1555\nhe founded the Accademia della Crusca. He was the author of Commedie, (1582), Cena, and\nSonnetti; (published after his death). &\njfy|A CCHIAVELL I, Niccolo di Bernardo dei. Born 1469. Died 1527. In addition to his\npolitical and historical work he was a dramatic author. The finest of his plays is the\n\"Mandragola\" which he wrote in 1504. Concerning this play J. A. Symonds wrote, 441t stands\nforth by itself, a sole inimitable monument of genius; peculiar and personal; accomplished\nby one single act of vigorous expression. \" And Macaulay estimated it as superior to the\nfinest works of Goldoni.\nDukes of. The Court of Mantua was hardly second even to that of Ferrara In\nthe magnificence of its theatrical productions, and its Dukes, the Gonzagas, were famous\nfor their liberality to actors and for the Companies of these which they organized and\nmaintained.\njfyjODENA, Gustavo. Actor and reformer of the Italian Theatre. Born, (Venice) 1803. Died,\n(Turin) 1861. The son of Giacomo Modena, an actor. In his youth he meddled in politics,\nand, putting the theatre to its wrong use, created a revolution in Bologna. For this he was\nexiled. He went abroad, visited England, and there recited Dante's 44 Dlvina Commedia \".\nOn his return to Italy he effected an entire revolution in the theatre, and founded a\nmodel company, but once more meddled in politics in 1848 and was condemned by the\nGrand=Ducal judges of Tuscany to work in the galleys for a term of twenty years. He managed,\nhowever, to escape and was welcomed by the Piedmontese. He then devoted himself entirely\nto the Theatre. Amongst the young actors whom he gathered round him were Salvini, Vestris,\nRossi and Sadoski.\ngALVIATI, Leonardo. Born (Florence) 1540. Died 1589. He studied under Varchi and acquired\nfame as an orator. He 46 Edited \" Boccaccio's Decamerone, taking audacious liberties with\nthe text. He was a violent opponent of Tasso. As well as poems and works 011 philosophy\nand diction he wrote two plays, 44 II Granchio \" and 44 La Spina\ngAND, Maurice. Son of George Sand. Born 1823, Died 1889. Author and Illustrator of 44Masques\net Bouffons \", (Paris, 1862 ;) a work giving some idea of the figures of the Commedia\ndelFArte. The illustrations, giving only his own idea of these figures of the Commedia,\ncaptivate everybody except those who know the original sources from which he drew them.\ngCALA, Flaminio, Actor and Stage Manager. The dates of his birth and death are unknown.\nHe was director of the company of 44 I Gelosi \" for some years. He published in 1611,\n(Venice) the first collection of 44 Scenarios \" consisting of fifty pieces,.... tragedies,\ncomedies and pastorals. The name of 44 Pulcinella \" is not to be found in any of these\nScenarios.\ny ARCHI, Benedetto. Born (Florence) 1502. Died there 1565. He was commissioned by the House\nof Medici to write the history of his times which he did, covering the period from 1527\nto 1538. Having studied Law and Philosophy in his youth he became a priest at the age\nof sixty two. His most important work is his History of Florence, but he also wrote\na play called 44 La Suocera\", an imitation of the 44 Ecira \" of Terence, as well as other\npoetical and philosophical works. &\n\nBIOGRAPHICAL\nNOTES.\n\nJ S."}, {"page_pdf": 44, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.44", "texte": "CARLO GOZZI AND HIS PLAYS: An\nExtract from the \"Manners and Customes\nof Italy\"\nby Joseph Baretti. 1768.\n\nt happened one day, that Carlo Gozzi met with Goldoni in a book-\nseller's shop. They exchanged sharp words ; and in the heat of the\naltercation Goldoni told his merciless critic, that it was an easy talk\nto find fault with a play; but desired him to observe, that to write\na play was a very difficult one. replied, that to find fault\n<■\nwith a play was really easy ; but that it was still easier to write\nsuch plays as would please so thoughtless a nation as the Venetians ;\nadding with a tone of contempt that he had a good mind to make\nall Venice run to see 44 The Tale of the Three Oranges \" formed\ninto a comedy.... Goldoni, with some of his partizans then in the\nshop, challenged Gozzi to do it if he could : and the critic, thus\npiqued, engaged to produce such a comedy within a few days, „<g> & &\n& Who could ever have thought that to this trifling and casual dispute Italy should owe\nthe greatest dramatic writer that it ever had ! Gozzi quickly wrote a comedy in five acts,\nintitled \" I tre Aranci, The three Oranges \", formed out of an old woman's tale, with which\n%\nthe Venetian children are much entertained by their nurses. The comedy was acted, and\nthe three beautiful princesses born of the three enchanted oranges made all Venice crowd\nto the theatre of St. Angelo.-\n4\nIt may easily be imagined, that Goldoni and Chiari were not spared in the \" Tre Aranci \".\nGozzi found means to introduce in it a good many of their theatrical absurdities, and\nexposed them to public derision. The Venetians, like all other Italians, do not greatly\ncare for the labour of searching after truth, and their imagination runs too often away\nwith them, while their judgement lies dormant. But point out sense to them, and they\nwill instantly seize it. This was remarkably the case on the first night that the comedy\nof the Three Oranges was acted. The fickle Venetians forgot instantly the loud accla-\nmations with which they had received the greatest part of Goldoni's and Chiari's plays,\nlaughed obstreperously at them both, and applauded the Three Oranges in a most frantic\nmanner.\nThis good success encouraged Gozzi to write more ; and his new plays changed in a\nlittle time so entirely the taste of the Venetian audiences, that in about two seasons Gol-\ndoni was utterly stripped of his theatrical honours, and poor Chiari totally anihilated.\nGoldoni quitted Italy and went to France, confiding much in Mr Voltaire's interest and\nrecommendations which, as I have heard, procured him the place of Italian master to one\nof the princesses at Versailles, and Chiari retired to a country-house in the neighbourhood\nof Brescia.^\nIn the years 1754 and 1755 I have seen acted in Venice ten or twelve of Gozzi's plays,\nand had even the perusal of one or two of them in manuscript; and no works of this kind\never pleased me so much: so that, when I saw Mr Garrick there, I lamented that he did\nnot come in carnival-time, that he might have seen some of them acted ; and I am con-\nfident he would have admired the originality of Gozzi's genius, the most wonderful, in my\nopinion, next Shakespeare, that ever any age or country produced. The cast of Gozzi's\nmind leads him to strike out many characters and beings not to be found in nature, like\nthat of Caliban in the Tempest; and yet most natural and true like Caliban's.\nTo his astonishing powers of Invention, so rare amongst modern poets, Gozzi joins\ngreat purity and force of language, harmony of versification, intricacy of plot, multiplicity\nof incidents, probability of catastrophe, variety of decoration, and many other excellencies\nexpected in the modern drama. It is a pity that this author could never be prevailed\nupon to publish his plays. He has resisted the strongest solicitation of his friends, without\ngiving any satisfactory reason for his aversion to such a publication. Some attribute it to\nhis partiality for an actress, to whom lie leaves the profits arising from their exhibition ;\n\nHis first comedy\nIts success.\nThe result.\nGozzi's genius."}, {"page_pdf": 47, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.47", "texte": "CARLO GOZZI &\nHIS PLAYS.\n\nbut this I can scarcely believe, as her profits from such a publication would be much more\nconsiderable than those which she reaps by her acting*. I rather think that having no great,\nvalue for his audience, Gozzi sets likewise but little value on the things that; please them\nand perhaps it was a similar reason, that kept Shakespeare from publishing a correct and\ncomplete edition of his plays while he lived. May the good genius of the Italian stage\nbefriend Gozzi's compositions, and not suffer it to be robbed of them. I hope they will\nmeet with a better fate than Shakespeare's and that future commentators will not be put\nto the trouble of restoring his passages, rectifying his sentences, explaining his obscurities\nand adjusting his orthography.\n\nCARLO GOZZI ON IMPROVISED COMEDY.\ngn its native country the Commedia delPArte was long regarded as the special glory and\nthe unique product of Italian dramatic genius. Gozzi, though he wrote as its apologist\nonly expressed common opinion when he said : 441 reckon improvised comedy among the\n44 particular distinctions of our nation. I look upon it as quite a different species from the\n44 written and premeditated drama ; nor have I the shameless audacity to stigmatise with\n44 the title of an ignorant rabble those noble and cultivated persons whom I see with my\n44 own eyes following and enjoying a play of this description. I esteem the able comedians\n44 who sustain the mask, far higher than those improvisatory poets, who, without uttering\n44 anything to the purpose, excite astonishment in crowds of gaping listeners \".\n\nA SURVIVAL OF THE COMMEDIA.\nperhaps the performance we chanced to witness one autumn evening In a shed behind\nthe cathedral at Perugia was the last real representative of the Commedia delPArte.\nIt was only a company of rough wooden puppets, a couple of feet high, jerking in rectan-\ngular fashion and bobbing with rotatory movement for the amusement of the artisans and\napprentices of Perugia; and very humble, very shabby, and very much humiliated they all\nwere, this Harlequin in his checkered doublet, this Pantaloon in his red [hose and black\nDantesque cap, this swarthy Brighella in loose-girdled garb; but they were the last of a\nlong and mighty line. Their ancestors had amused men and women long before the brazen\ngriffin had first spread his porcupine wings on the front of the grim battlemonted town-\nhouse, long before Augustus had built his gate, perhaps even before the first Etruscan wall\nhad been planted upon the bleak steep of Perugia ; they were as venerable as anything in\nItaly, these poor little wooden mannikins, clacking their legs and bobbing their heads on\ntheir stage of planks, and we looked upon them with reverence.\n\nVernon Lee. Studies of the Eighteenth Century in Italy."}, {"page_pdf": 48, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.48", "texte": "SYMBOLISM.\nSymbolism. A Systematic use of symbols.\nA Symbol. A visible sign of an idea. (Webster.)\nGordon Craig.\nymbolism is really quite proper; ... .it is sane, orderly and it is\nuniversally emploj^ed.... it cannot be called theatrical if by thea-\ntrical we mean something flashy, yet it is the very essence jo the\ntheatre if we are to include its art among the fine arts. X? xz\nX? Symbolism is nothing to be afraid 0f... it is delicacy itseif ; it is\nunderstood as easily by the ploughman or sailor as by kings and\nother men in high places. Some there are who are afraid of Symbolism\nbut It is difficult to discover why, and these persons sometimes grow\nvery indignant and insinuate that the reason why they dislike Symbolism is because there\nis something unhealthy and harmful about it. i( We live in a realistic age \" is the excuse\nthey put forward. But they cannot explain how it is that they make use of symbols to tell\nus this, nor how it is that all their lives they have made use of this same thing which they\nfind so xzxzxzxzzxzj&xzxzz\nxz For not only Is Symbolism at the roots of all art; it is at the roots of all life;\nit is only by means of symbols that life becomes possible for us. We employ them all the\ntime.\nx? The letters of the alphabet are symbols, used daily by sociable races. The numerals are\nsymbols and chemistry and mathematics employ them. All the coins of the world are\nsymbols and business men rely upon them. The crown and the sceptre of the kings and the\ntiara of the'popes are symbols. The works of Poets and Painters, of Architects and Sculptors\nare full of symbolism ; Chinese, Egyptian, Greek, Roman, and the modern artists since the\ntime of Constantino have understood and valued the symbol. Music only became intelligible\nthrough the employment of symbols and is symbolic in its essence. All forms of salutation\nand leavetaking are symbolic and employ symbols, and the last act of affection rendered to\nthe dead is to erect a symbol over them, xzz xzz xz xz x& xz\nX? I think there is no one who should quarrel with Symbolism.... nor fear it.\nJt is sometimes necessary to reassert the obvious. X? x? xz X?\nH. Beerbohm Tree- \"Henry VIII and his Court.'* pg, 198.\n[ have always tried not to belittle art for the satisfaction of an isolated personality. x&\nCorrespondance de 0. Flaubert, Sories 1. pg 128*\n'\"jphe habit of symbolic representation is one of the most primitive and persistent tenden-\ncies of human nature. It was present in the first efforts of language, and the highest\nflights of science are still entirely dependent on the development of it; while without the\ndevelopment of it in another direction there could have been no poetry... the primrose\nwould always have been but the yellow primrose: and even no courtesy of manners... every-\nbody would always have called a spade a spade. £? X? X? X? x?\nJ. A. Stewart. M. A. (Oxon) \" The Myths of Plato\".\nJ\nuse of symbols has a certain power of emancipation and exhilaration for all men.\nWe seem to be touched by a wand, which makes us dance and run about happily, like\nchildren. We are like persons who come out of a cave or cellar into the open air. x?\ni\nEmerson. Essay on \"The Poet\".\nJt is in and through Symbols that man, consciously or unconsciously, lives, works and has\nhis being: those ages, moreover, are accounted the noblest which can the best recognise\nsymbolical worth, and prize it highest, X? X? X? X* X? carivie.\n& Nothing to he\nafraid of* &\nAt the loots of\nall Art and T^ife"}, {"page_pdf": 49, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.49", "texte": "BOOK REVIEWS\n\nART AND LIFE by T. Sturge Moore. Methuen. 51=\nE. J. S.\nbook, and I would like very well\nto be able to write about it ; but then 1\nam unfortunately one of those people who\ncan only criticise that which they detest.\nAnything which attracts me disarms me. I\nshall keep Mr Sturge Moore's book by me\nand read it during the years, and it will no\ndoubt criticise me but I shall hold my tongue.\n1 shall not read it through;.... I seldom\ncan read a book of this kind straight through:\n1 would as soon look at a rosetree from the\nroots up. In all probability I shall throw the\nvolume to the end of my room some fine\nday when I feel superior, but there is no\ndoubt that when I come to my senses and\nfeel more superior I shall re-read it with a\nslightly troubled conscience and in a state\nof receptive repentance.\nIf it is my business to review all books\nit is my duty to remain silent before some\nof them. Who knows but that I may have\nsomething sensible to say about them after\nten or fifteen years. I drop the hint to my\nfriends that they may do the same. The silent\napproval will not advertise the sale of the\nbook any less than loud talk, and I am not\nblind to the importance of selling for I see\nthe importance of buying certain books.\nI often buy a book. As a reviewer I need\nnot do this, but the pleasure of having paid\nfor a well-written book is one of those wise\nexperiences no one need ever relinquish, JZ?\nA word or two about the externals in this\nbook will not disappoint you. It is well\nprinted, spaced and arranged admirably; the\nillustrations are taken from Blake's best works\nand there is a portrait of Flaubert which\nreminds one of Mr Arthur Symons. The book\nis covered becomingly in green cloth and gold\nornament and I think it will look fresh at the\nend of its twenty years' sojourn with\nThere is only one blemish to the book.\nThese publishers have a habit of ruining the\nappearance of the title page of their hand-\nsome books by a quite unnecessary vulgarity\nin the shape of an indiarubber stamp-mark\nin blue ink placed across the respected name\nof Methuen and Co to say that my copy is a\n\"Presentation Copy\".\n& Now, if I am denied the luxury of buying\na book I am only too glad to have a branded\npresentation copy, but I should so much like\nthe informing mark to give me [pleasure. I\nam a bit of an engraver, and know that\nsuch marks can be made quite delightful and\nI would like to show Messrs Methuen and\nCo the kind of stamp with which to brand\ntheir good books in the future so as to im-\nprove their appearance even if they decrease\ntheir second-hand value. & &\nMy copy of Mr Sturge Moore's work has\nits horrible blue mark no longer. I have co-\nvered it with my pen beneath a woven veil\nof Chinese ink. 1 wish I could do the same\nfor the other branded copies of this beautiful\nbook.\n\nTHE UPPER GARDEN by Robert de la\nCondamine. Methuen. 5j- & JV\nA pretty book. In it \"the author considers\n\" the two mental attitudes of man ...in the\n\"midst of unfettered nature and in the made\ngarden. In wild surroundings man can only\n\"feel himself to be a trivial part of the great\n\"whole which he understands so imperfect-\n\"ly, but in the formal environment of a\n\"garden he need no longer cope with this\n\"difficulty\".\nYet this formal garden, in which Mr Con-\ndamine moves like a still slightly unawakened\nstatue of a late-Victorian Dionysus, is a\nvery elaborate affair; is obviously much more\ncomplicated and of more difficult compre-\nhension than the vast wilderness which he\ntrembles to approach. Yet it is full of pleasant\nways,... many intricate a slightly\nwearisome place too, wherein, alas, sleep is\nimpossible,... for many reasons. And there is\nno well in it. I searched and found nothing\ndeeper than a little unnatural pond fringed\nwith artificial flowers, on which Narcissus,\nlying in everlasting attitude, invited his\nreflection to gaze upon him. JZ?\n& But then it is not everyone who knows\nhow to pose; it is not everyone who owns\na garden in which to do it. & &"}, {"page_pdf": 50, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.50", "texte": "THE KILTARTAN MOLIERE. The Miset.\nThe Doctor in spite of himself; The Rogueries\nof Scapin; translated by Lady\nGregory. Maunsel and Co. Dublin. 316.\nP. N.\nhere is nothing in this volume to say\nwhether the public can expect any more\ntranslations besides the three just published\nbut we hope we are to have others. This\nfirst volume is admirably done and there is\na word or two at the end of the, volume by\nProfessor Gerothwohl; but, as usual, Moliere's\ncreators, the actors of the Italian improvised\ncomedy, get merely a nod of recognition.\nHow long are we to wait for the generous\nacknowledgement that in \" Scapin in \"Le\nMedecin malgre lui \", and many of his plays\nMoliere is merely acting as stenographer to\nthe comedians? Still, a nod is as good as a wink\nto a blind public, and after all, Molldre is\nMoliere. & & & &\n& The book is well printed excellent in format\nand so tastefully bound that the publisher\nwill not mind being told that the back of\nthe volume is too stiff and prevents an easy\nmanipulation of its leaves.\n\nTill') BZ,UT) BIRD by Maurice Maetei~\nlinck. Translated by A, Teixeira de Mattos.\nMe time n. IJ-\n|t is a pity this libretto has been published\nfor it is a piece written for the stage. The\nauthor cannot put forward the excuse Marston\nhas to offer in his preface to \" Fawne\n** The Blue Bird \" was evidently written for\nperformance on a stage although M. Maeter-\nlinck feels indifferent towards the theatre.\nWhat quarrel the two have is not known,\nbut it is generally supposed that the stage\nhas done M. Maeterlinck some grievous harm\nand that he is unable to forgive. This is a\npity, for M. Maeterlinck in his stage work\nis almost a Gozzi. The English stage owes\nM. Maeterlinck a good deal in that he has\nproved to the people in the theatre that the\n44 impossible \" in stage production is 44 very\neasily possible &\nThe London production of this fantasy\nwas about three years behind that of the\nfirst production which took place in Russia.\nAmerica then tremblingly began to consider\nif it should or should not dare to produce\nthe thing. At last it took the plunge. Now\nParis is preparing to present it.\n& There are plenty of better frameworks\nfor pantomime fairy pieces but few of them\nhave such carefully mapped-out details writ-\nten down for the producer to follow. These\nwould he a stumbling block in the way of a\nproducer of imagination, but the modern\nmanipulator looks on them as a blessing and\nevidently they make his distasteful work easy.\n\nWAGNER AT HOME by Judith Gautiei,\nTranslated by E. D. Massic. Mills and\nBoon. Eondon. ioj6 net.\nW hat mean you by a Poem ? \" asks Ben\nJonson ; and himself replies, 44 A poem is\nnot alone any work, or composition of the poets\nin many or few verses; but even one alone\nverse sometimes makes a perfect poem. As\nwhen /Eneas hangs up and consecrates the\narms of Abas with this inscription: 44\nhoec de Danais vlctoribus arma \" and calls\nit a poem or carmen, Such are those in\nMartial:\n\" Omnia, Castor, emis:\nsic fiet, ut omnia vendas \".\n44 And there are some poems \" adds Vil=\nliers de l'lsle Adam 4<which should have but a\nsingle stanza: this one for example: \"Le lourde\ncle du reve a ma ceinture sonne \". Isn't that\ncomplete enough? Isn't that magnificent?\nWhat could one add to that?\" Ben Jonson and\nVilliers,.. poets with more than two centuries\nto separate them, join issue. It is encouraging.\nBut it is rather disheartening for some people\nto find Rare Ben in agreement with a French\nsymbolist.\nJudith Gautier was a fortunate girl. She\nspent days. ... months.... with Villiers and\ncharms us all now by a delightful sketch of\nhim, putting, as a background to the artist\nVilliers; the celebrated Wagner.\nThe book is cailed 44 Wagner at Home \"\non purpose. Wagner at work would have\nbeen too violent a background for a sketch of\nVilliers. Purposely she shows up the light\nagainst the shadow, the intelligence of genius\nagainst the systematic and the ponderous.\nNothing more subtle has been done for a\nlong time. &\nAnd yet there are people who still believe\nthat a poem must be something more than\na line of six words. Wagner would have surely\nthought so. There are even people who think\na Drama must contain more than ten words.\nThey would call it 44 I'art nouveau \" if you\ntook them to see such a drama. Symbolism\nseems to frighten these peopie to death;\nbeauty paralyses them and sense confounds\ntiiem. It is to put such people in their place\nthat I have quoted Ben Jonson's short note"}, {"page_pdf": 51, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.51", "texte": "about the Poem. For who am I that I should\nteach my elders that Symbolism is not what\nthey suppose it to be, nor all beauty of the\nbrand 44 Fart nouveau \" ? & jg?\n\nLIFE OF SIR HENRY IRVING by\nAustin Bieieton. Longmans'. Two Vols\nBrereton's book is very good. The\nstory as related by the facts, dates and\nfigures in the book Is a very remarkable one.\nIt is frankly the story of a manager, not of\nan actor, for how can you tell the story of\nan actor keeping solely to facts and relating\nthem in prose ? To do a great actor justice\na poet must sing. This book is written by an\nenthusiastic admirer. jgr\nThere were, and still are, a certain number\nof admirers of Irving;... at a rough guess\none might venture a low estimate of five\nhundred thousand enthusiasts. I think these\nfive hundred thousand ought to have a chance\nto read a good book about Irving's career,\nand it is to be hoped that Mr Brereton and\nhis publishers will soon see their way to\nissuing a Life of Irving at a shilling or even\nless. jgr\n\nTHE REPERTORY THEATRE. An Appreciation\nand a Criticism. by P. P.\nHowe. 216 net\nS.\njfyjr. Howe has written a good book on the\nidea of the Repertory Theatre in gene-\nral and of the few Repertory Theatres which\nrepresent Great Britain. If only they\nsented it better Mr Howe would have had a\nbetter story to jg?\n& He succeeds best when he writes about\nthe Abbey Theatre, Dublin, which at any rate\nrepresents Ireland. But no English Repertory\nTheatre can be considered very seriously\nwhich does not include in its programme at\nleast fifty per cent of the Shakespearean\nplays.\nWhen London gives the Shakespeare drama\na fresh lease of life by inviting Mr Gordon\nCraig, the only one Englishman capable of\ngiving it fresh life, to develop his ideas be-\nfore us in a theatre of his 0wn,... only then\nshall we be able to know how splendid is\nthe drama we already possess and what pos-\nsibilities it holds as our only school for fu-\nture dramatists.\nAs it is, our latest school of dramatists...\nShaw, Barker, Galsworthy and the others, has\nbeen produced by foreign suggestion. These\nplaywrights are of the school of Ibsen, and\nalthough that is a splendid school for Scan-\ndinavia it is a foolish school for England\nwhen our dramatists could, if they were a\nlittle less frightened, study from those far\ngreater English dramatists, the Elizabethans.\nI like Mr Howe's book very much in-\ndeed. Especially do I like his enthusiasm for\nMr Shaw and Mr Barker. But does he not\ndo his friends some injustice when he pro-\nnounces boldly that \" Every art is a trade, and\nevery artist, unless he be himself a trades-\nman, must sell himself to a tradesman \"? jg/\nThis seems unfair because incorrefct.\nTradesmen have proved it to be incorrect.\nArt is, and always has been, a luxury. Is it\nany the worse for that ? jg? jg>\nBut there is another passage that I like\nvery much. Mr Howe writes; 44 Mr Shaw ne-\nver was a realist, and he grows less of a\nrealist with every play he writes \"... That\nis good news indeed \\\nThe book is excellently printed, very well\nbound. That being so it is a pity that the\ntitle page is branded by an ugly scar which\nthe publisher himself has set upon it as\nthough it were a book for a convict library.\nThis scar is purple and says,44 With the Pub-\nlisher's compliments\". It makes one feel as\nif the book had been used as a boot and\nthrown to one through the office window.\n\nTHE MYSTERY OF HA MEET PRINCE\nOF DENMARK by Robert Russell Bene-\ndiet. Eipincott. jgr jg?\nTHE CLASSICAL ELEMENT IN\nSHAKESPEARE'S PRAYS by Wm.\nTheobald. R. Banks and Son. London. jg?\nSHAKESPEARE STUDIES IN BACO-\nNIAN. LIGHT by R. M. Theobald. M.\nA. 49. Miclieldevet Rd. Lee, Kent. 7j- &\nBACON IS SHAKESPEARE by Sir Ed-\nwin Durning-La-wrence Bt. Gay and Han-\ncock. & &\nTWENTY-FOUR YEARS OF AN\nACTOR'S LIFE by Seymour Hicks. Alston\nRivers. 2j6 net. jg? & jg? jg?\nj[y|r Robert Russell Benedict in his book upon\n44 Hamlet \" creates a mystery where none\nexists. £/\nTo make the mystery more profound for\nMr Benedict, Mr Robert Theobald and Mr Wil-\nliam Theobald have each written a book to\nprove that Shakespeare himself is a myth,...\nthat is to say, a greater mystery even than\n44 Hamletjgr jg?\njgr Sir Edwin Durning-Lawrence however\nclears the whole matter up for all by com-"}, {"page_pdf": 52, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.52", "texte": "posing a book in which the mystery becomes\nclear; \"Bacon is Shakespeare \"is the name\nof the b00k,... and there really doesn't seem\nany reason why he shouldn't be Shakespeare.\nWhen one comes to review all these books\none turns from them with pleasure and is\nforced to admit that \" Twenty Years of an\nActor's Life \" is a very capital book indeed.\n\nHENRY VIII AND HIS COURT by Sit\nH. Beerbohm Tree. Cassell and Co, 11 =\nE. E.\ngir Herbert Beerbohm Tree is unncessarily\nanxious,.... an anxiety bred of enthusiasm,\nabout the \"lines\" on which the National\nTheatre is to be run. He dreads lest it be\n\" run on symbolic lines As he very rightly\nsays in the Apology to his charming booklet\non Henry VIII, \" No 'ism' ever made a great\ncause \".\n& He is thinking of symbolism, and we\nagree with him, thinking of all the 'isms',...\nespecially realism, and more especially com-\nmercialism.\nHe goes on to say that the National\nTheatre will be preserved solely by its ar=\ntists. He cannot, (for reasons), state what is\nin his mind so clearly as he might like to.\nHis theatre faces the Haymarket Theatre.\nOne guesses he means that Mr Trench and\nall such amateurs (we use the word in its\nmost excellent sense), should be guarded\nagainst and that the \"pros\" are all right. We\nagree with him entirely. The Professional,\nraw and brutal as it often becomes, is better\nthan the Amateurish. The Amateur is a real\ndanger. Besides, he is always so behind the\ntimes. The Professional may not be up to\ndate and is seldom in advance of his time\nbut he is the best man to call on when you\nare forming the staff of a National Theatre...\nProvided you don't put amateurs above him\nin the shape of a select committee of time\nwasters. &•\nAs Director for the National Theatre there\nis only one man possible and that is Sir\nHerbert Tree. He lias not come to the po-\nsition of Director of His Majesty's by chance,\nnor, to humour a whim, has he been placed\nthere by any group. Hard work brought him\nthere; not exactly the hard work of a\nminer, but the kind of hard work a Home\nSecretary is allowed to indulge in. We never\nsaw one at work, but one understands that\nas a class they are not exactly idle.\nQuestions of Art are altogether secondary\nwhen you are selecting your Director for a\nNational Theatre. & £? &\n<£? Whistler tells us that \" Art happens \"\nand cannot be either coaxed or intimidated.\nA clever director of a National Theatre is a\nman who allows art to happen therein by\ninviting artists to co-operate with him, and\nby allowing them, as Cicero says, to do their\ndamndest. In short, to misquote Sir Herbert\nby one word, \" to graciously permit others\nto be great is a sign of greatness in a.... di-\nrector \". jg? jg?\nAs for the symbolist, realist, commercial\nlist or plagiarist, what does it matter ? Du-\nmas the plagiarist, Tschekov the realist,\nGarrick the commercialist, Giotto the sym-\nbolist would surely all find a hearty welcome\nfrom any National Theatre manager fortu-\nnate enough to secure their good services.\nBut this must not be forgotten : The dif-\nficulty of such a position is to know how\nto unite all these contending forces, and\nonly a man no longer taking an active part in\nthe work on the stage could possibly achieve\nthis, for he must be purged of all sense\nof personal likes or dislikes, ideals or fads\n(and even great men show faddishness when\nin harness) and must desire only that which\nis vital for his theatre. All that is best, no-\nthing that is merely popular. Surely a dif-\nficult task, but surely also an ideal oppor-\ntunity. & &\n\nTHE RUINS OF MEXICO by Constantino\nGeoige Richards. If. E» Shidmpton. Eon*\ndon. Two Vols. Two Guineas net,& z?\nQnly one volume of this delightful work\nhas as yet appeared, &\nThe author avoids theory. He states a\nfew facts about the works of these amazing\nraces which lived, loved, and created works\nof art in Mexico;., these races which we call\n\" Astecs \" as though they were but one in-\nstead of many... and to these few facts he adds\ntwo hundred and sixty of the best photo-\ngraphs we have seen for a long time.\nHow many books of how many words have\nbeen written upon this thrilling story of the\nearliest known civilization of America, how\nmany people have read all these books; how\nfew have been warmed by the story! But\nlook at these pictures of the mighty works\nof these forgotten races, and they come to\nlife again and excitement follows.\nHow Egyptian much of their work looks;\nhow religious is their sense of time, what a\ntriumph over death are these monuments"}, {"page_pdf": 53, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.53", "texte": "left by their love.\nIf Mr Rickards has found the way to ap-\npeal to us who know so little of all there\nwonders his book will appeal far more to\nstudents of this subject. & &\nThe work seems to have been produced\nwithout any thought of expense and with\nmuch expenditure of care and taste. Mr H.\nE. Shrimpton is to be congratulated upon\nhaving produced an enchanting and imposing\nvolume upon an absorbing subject at a very\nlow\n\nEOPE DE VEGA AND HIS TIMES by\nHugo Albert Rennert. Ph. D. The Hispa-\nnic Society of America. New York.\nbut thanks can be tendered to M;\nRennert for his admirable book on a sub-\nject about which so little is known in Eng-\nland. These books on the Theatre are of\ncourse not written for the public and are\nreally made for nothing but the love of ma-\nking them. Still, there are a few who can\nclaim to value them highly; we mean that\nsmall group of students and artists who are\nambitious for the Theatre. We count our-\nselves among this number, and recognise how\ngreat a debt we of the Theatre owe to men\nlike Mr Rennert who clear the paths for us.\n\nOUR STAGE AND ITS CRITICS by 44F.\nF. Methuen. sj- net. & &\nputure historians oi the theatre must re-\nmember that what this writer has to say\nis not unimportant. For E. F. S. Is not the\nusual type of London critic but something\nbetter: tolerant, if anything over-cautious\nto be tolerant, writing for the pleasure of\npassing his well-balanced judgement.\nAmong the many miscellaneous subjects\ntreated of in this volume the author devotes\nthree chapters to the qualifications, duties\nand responsabilities of the Dramatic Critic\nwhich are of interest as showing the conclu-\nsions come to by one who in his own dis-\ncharge of that office has ever shown himseif\nboth conscientious and kindly. &\nOne finds, however, some ingenuousness\nin the discussion of the relative values of\nthe work of Actor and Playwright.... notably\nin the chapters on the Sicilian Players and\nMadame Yvette Guilbert.\nThe writer admits in regard to the Sici-\nlians that with 44 a printed 'argument' com-\nprised in 44 about a couple of hundred words \"\nthey achieved 44 a triumph of pure acting \"\nand yet goes on to say that our players 44 can\nlearn comparatively little from them \". And\nagain, in discussing Yvette Gullbert's words:\nin the 44 Figaro \", 44 The true comedian\n44 can do without the dramatic author. He\n44 easily utilzed his own comic and tragic\n\"gifts, as is witnessed in Shakespeare, Moliere,\n44 and a hundred others'.... There have al-\n-44 ways been, since the beginning of the ages,\n44 mimics and improvisators who did without\n44 the text of others\"', he writes. 44 Possibly\n44 this is true, but it does not follow that there\n44 are many players who could hold an au=\n44 dience by their mimicry or improvisation. \"\n& No; there doubtless are not today, but\nthere were thousands yesterday and there\nmay be thousands again tomorrow. And E.\nF. S.'s statement that \"not a few of the\ngreatest actors and actresses might starve\nif they had to rely upon their own ideas \"\nis rather an indictment of the present con-\nditions than an argument against the prin-\nciple of Improvisation. A scientific farmer\nmight starve if deprived of all his machinery\nand metal implements, but that is no argu-\nment against the system of the Tuscan pea-\nsant who, independent of mechanical aids\ncultivates his land with tools which he\nhimself has shaped from limbs of trees. &\nTherefore the independent actor or artist\nwhoever he may be, will not starve either\nnot for long. Independent ? rather should\none say dependent. Is it a paradox ? No: he\nis dependent upon the older and wiser tra-\ndition, not on this modern parody of the\nword.\n\nA STUDY OF THE DRAMA by Brandei\nMatthews. Eongmans, Green and Co. Lon«\ndon. 3j6 net. & & &\nprofessor Brander Matthews is so earnest\na student that one wishes he would de-\nvote himself to more useful work. &\nThis new book of his shows considerable\nlearning, but as the author is a theorist\nand not a practitioner in the study of the\nDrama, it would be well for him to realise\nhis limitations and devote himself to the ex-\ntremely valuable work waiting to be done\nand well within his power... the finding and\nverifying of facts.\n& As it is his new book only proves him to\nhave been a good reader, to have learned\nthe theory of it all. But then who wants that\nrepeated ? an echo only confuses the travel-\nler who follows a difficult road among the\nrocks and the echo is in this case a peculiarly"}, {"page_pdf": 54, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.54", "texte": "evasive one for the book is far too full of\nsuch phrases as 44 probably \" 44 most likely \",\n44 in all probability \" and this vague infor-\nmation is wholly valueless, (1) <£? &\nIf Professor Brander Matthews would\nstrip his book down to the bare facts and\ndates regarding which he has irrefutable\nproof, those facts, though they filled but five\npages, would be of more value than the three\nhundreed which make up the present\nvolume.\nSuch a book of facts is Mr E. K. Chambers's\n44 Mediaeval Stage \". It is a treasure heap of\ngolden grains, and when each grain is in its\npiace we have an ingot of pure gold. &\nProfessor Brander Matthews's error is\nthat he wishes to elaborate and ornament\nhis contribution, to enfold and encumber\nhis few valuable facts in a mass of theory\nand supposition; whereas, the only service\nwhich the literary man can do the man of\nthe theatre is to supply him with facts and\nleave him to decide to what use to put them,\nwhat to deduce from or shape with\nthem.\n& If a man has a passion for building houses\nall he asks is bricks, sufficient bricks,\nwell baked, well shaped, by means of which\nto materialise his idea. He does not want\nhis bricks laid out for him in effective de-\nvices ; he certainly does not want each brick\nwrapped in cotton wool and tissue paper and\ntied with a pink ribbon. No; he wants plain\nbricks, plainly stacked, ready to his hand;\nhe will do the rest. In like manner the cook\nwhose pride is in his omelettes wants eggs\nin plenty but he does not want those who\nsearch for them to lose time on the way\nback in painting pictures on the shells, for\npainted shells, however charming in them-\nvelves, are of no assistance in the making\nof an omelette. & & &\n& If Professor Brander Matthews will\nbring his stores of bricks, the eggs which\nhe knows so well where to find in the nests\nof antiquity, to the door of the theatre and\nleave them at Easter at the disposal of the\nmen within, he will ever be a welcome vi-\nsiter.... and more, he will have done a real\nservice to the art In which he is evidently\nsincerely interested. But so long as he stops\nto colour his eggs with the brush of his\nfancy and to pack his bricks in the deceptive\nwrappings of his theories he is only wasting\nhis own time.... and ours.\n\nTHE THEORY OF THE THEATRE by\nClayton Hamilton. Henry Holt and Co.\nNew York, Geo Bell. Kingsway, Jondon.\n|r Clayton Hamilton's is another lifeless\nbook, it has no more nourishment for\nthe serious student of the theatre than has\nthe rubber 44 comforter \" for the hungry ba«\nloy, who through it, demanding milk, sucks\nin only air. &\nThe author selects as title,... a little ar-\nrogantly.... 44 The Theory of the Theatre\"\nwheneas it is at best only 44 A theory\" ad-\nvanced by one who is not a practitioner and\nwhose opinion is therefore of little weight.\nThe fact that Mr Hamilton is a gentleman\nof intelligence and culture and advances his\ntheories pleasantly and plausibly goes for\nnothing unless he has also some practical\nknowledge.\nNo: the only way in which the literary\nman without practical experience can make\nhimself useful to the theatre is as has been\naid above, by searching out and verifying\nfacts: (2) a name here, a date there, fixed and\ncorroborated beyond further shadow of doubt.\nLet him bring his ingrediants to the door\nof the theatre, making no suggestion as to\nthe use to which they should be put and\nleave the masters of the ceremonies to pre-\npare the banquet. &\n<£? When all is ready they will not forget to\noffer him in return a seat at the table. &\n(i. & 2.) Reasons and opinions concerning\nacts are not history; acts themselves alone\nare history. &\nTell me the Acts, O historian, and leave\nme to reason upon them as I please; away\nwith your reansoning and your rubbish! Ali\nthat is not worth reading. Tell me the What;\nI do not want you to tell me the Why, and\nthe How; 1 can find that out myself, as well\nas you can, and I will not be fooled by you\ninto opinions, that you please to impose, to\ndisbelieve what you think improbable or im-\npossible. Wm. Blake.\n\nI,1 ART THEATRAE MODERNE by\nJacques Rouche. Comely et Cie. Paris.\nPrs 500. & &\nM. Rouchg has written a clever book on\na difficult subject. The modern Theatre\nis a theme fit only for a satirist. With what\npathos would a Voltaire praise the efforts\nof the new theatre Tn Germany, with what"}, {"page_pdf": 55, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.55", "texte": "ironlc devilry would he not attack Stanislaw-\nsky and Craig for their patience and their\ndetermination! how he would shatter the\nidealism of Appia in three words, and For-\ntuny's invention in one. g? g? gr\ng? Yet these are the schools and men whom\nM. Rouch£ selects to do justice to, and that\nhe performs his difficult task so well is mi-\nraculous. S2 g? g? g* g?\ngr lie has nothing to say about the English\nstage but a whole chapter is devoted to the\nwork of Mr Gordon Craig. g? g?\ng? He places a Russian design of a scene in\n44 The Blue Bird \" in juxtaposition to the\nsame scene as produced in England, and\ndraws attention to 44 the exceptional artistic\nquality \" of the Russian. g/ g/\nIndeed, the book is full of good illustra-\ntions and these help M. Rouchd in his self-\nimposed task. Looking at them we see much\nto admire, and much less to censure than\none would suppose. There is much promise\nof reform in many of them, and some ac-\ncomplishment of reform of the scenic art.,\nbut then that is not the Theatre, and to re-\nform the Theatre means that we must reform\nit altogether. & &\ng? But M. Rouche does a kindness to the\npublic in making known to it the preliminary\nsteps which have already been taken towards\nreforming the stage of Europe (he has only\na few words to say about his own country),\nand the examples of work to which he draws\nattention represent well enough to a certain\nextent those preliminaries. & g?\nIt is a book an English edition of which one\nwould strongly recommend some London pub-\nlishers to consider, for it is attractive in\nitself, and would in any case be a revelation\nto the English Theatre of what is actually\ngoing on abroad. g? g? g? g?\n\nTHE ERA SHAKESPEARE. “MACBETH”. T. C. and E. C. Jack. 8d.\nC.\npocket edition well bound in\ncheerful red. The notes in the volume are\ngood, but Dr Hudson does not think much\nof Coleridge,... perhaps the most illuminating\nof all commentators. & gr\ng? Thus, concerning that puzzling yet tre-\nmendous creation, The Porter, with his\n44 Knock, knock, knock! \" Dr Hudson writes,\n44 Coleridge and several others think this\n44 part of the scene could not have been\n44 written by Shakespeare. My thinking is\n44 decidedly different, etc \"• gr g?\n& Coleridge Is obviously right. This stupen-\ndous thing which enters with the Porter and\nwhich drew from De Quincy such a noble\nessay, is nothing less than the entry of another\nworld. The words are obviously improvised ~..\na comedian wants to make the folk laugh.\nWhat comedian ? .... One of the family of\n44 Improvisatori. \" He it is who tells the stage\nmanager he wants a continual knocking to\nbe kept up, ....44 leave the rest to me \".\nShakespeare is full of such passages. jg?\nj£? Wise men were those publishers, (friends of\nShakespeare) to leave in all such improvisation\nwhen they printed his plays Lucky\nShakespeare ! jg? &\nAnd what of the actor who helped in this\ncollaboration, and who has received no share\nin the universal praise ? ... Well, I daresay\nhe is only too glad to have been of any\nservice, and waits for his reward until the\nday when Improvisation shall once more\nelectrify the world.g? &\n\nTHE BREAD of t,IPE» Antonia Williams.\nWerner Jaurie. & & sgr\nthree plays in this book strengthen\nthe reputation for direct and simple li-\nterary style and forceful characterization\nwhich the author won with her earlier work\n\" Three New Plays \". Indeed, the plays are\nso good to read that we hope Mrs Williams\nwill not spoil them by bringing them out of\ntheir right sphere in the library into the\nwrong sphere of the stage. g? &\n\nEOUIS XIV AND MADAME de MAIN-\nTENON by Charlotte Eady Blennerhasset.\nGeo. Allen and Sons. 15\\-net. g? g?\nBlennerhassett has done her work in\na conscientious but somewhat colourless\nmanner, and one reads the book with re-\nspect for the care which has gone to compile\nIt rather than with enjoyment of what it\ncontains. g? g? g? g? g?\ng/ Perhaps Madame de Maintenon's was not\nan easy life to render attractive to Twentieth\ncentury readers. Still, now that the pendulum\nhas swung so far in the other direction and\nthe rights of women are so keenly advocated,\nit is perhaps worth while to read and con-\nsider the life of a woman whose energies\nwere so entirely devoted to the interests of\nothers. *£? g? g?\ng/ For as Lady Blennerhassett writes in con-\nclusion : 44 Her methods have become obso-\n-44 lete; the spirit which inspired them is as\n44 lasting as truth itself. Her message to wo-"}, {"page_pdf": 56, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.56", "texte": "44 manhood is the stern call to duty, to quiet,\n44 unrelenting, self-sacrificing work in the\n44 service of God and of mankind \".... A lit-\ntle old-fashioned, perhaps, but an ideal not\nentirely unworthy of consideration, and one\nventures to suggest that many of the women\nof today might read the book with conside-\nrable benefit to themselves.\nThe volume contains twenty full page il-\nlustrations and is excellently printed and\nbound. <£?\n\nTHE GLASS MLNDLR by Mauiice Baring.\nNisbet:\npairy tales are the only tales really worth\nreading, and I shall probably re-read 44 The\nGlass Mender \" over and over again. It\nmakes me feel that everything is right and\nthat whatever one believes happens.\n44 Blue eyes, Blue eyes, come back to me,\n44 Over the hills and over the sea\n& I have read Rossetti and d'Annunzio, but\nreally I prefer Maurice Baring.\nI think I am right in supposing that the\npictures in colour are also a present from\nthe author. How far more beautiful they are\nthan anything Rossetti painted ! Altogether\nan enchanting book. Parisians should see it...\nWhy Parisians I am not quite sure, but they-\nare supposed to know something about art in\nParis,... and I think they know nothing about\nLove.\nFairy Tales are full of Love, and Mr\nBaring's tales and pictures are made up of it.\n\n44 WISDOM OF THE LAST \" SLRILS.\nThe Sayings of Lao Tzu.\nThe Persian Mystics. JZ?\nThe Master Singers of Japan.\nJohn Murray IJ** each. /z? &\n| ao Tzu is always charming. That he founded\nTaoism in 500 B. C. is appalling. One ought\nnot to be told these things. It makes the\nsternest philosopher tremble, and to teli It\nto 44 The Public \" which only knows how to\ndestroy foundations as waves destroy the\nbase of a cliff,... to tell it to them seems\nlike asking for more. *€?\n& Lao Tzu says somewhere 44 If people of\n44 inferior intelligence hear of the Tao, they\n44 laugh immoderately. It would not be the\n44 Tao unless they laughed at it. \" So it is\nbest not to repeat here what the Tao is. But\ncertainly the English politicians might try\nTao on the British Public, for the first\nEmperor of the later Chin dynasty asked if\nTao was of any use in government and CSiawg\nCh' ien-mung told him that 44 with Tao a\ncorpse could govern an Empire\n& Yet would it work In England ? for Lao\nTzu distinctly says 44 Requite injury with\nkindness \", and, 44 To the not-good I would\nbe good in order to make them good \"; and\nwould England's Chief Justices be able to\nmake head or tail of that ? 44 Judge not that\nye be not judged \" says Christ... But I am\nforgetting, and confounding religions..\nAll these little books issued by Mr Murray\nare valuable, but too cheap. Profound things\nshould be very expensive or cost nothing.\nfi The truest sayings are paradoxical\" says\nLao Tzu &\nIt is not more difficult, one supposes, to\ntranslate the Japanese poems than the Per-\nsian. Hearne and Fitzgerald have shown how\nit was to be done ; and Mr Davis certainly\nsucceeds with his 44 Persian Mystics \" far\nbetter than Miss Walsh with her \"Japanese\nMaster-singers.\" 4P &\nThese translations of hers do not strike\nus as at all happy. Lafcadio Hearne knew so\nwell that one must not employ hackneyed\nfigures of poetic speech to convey the sound-\npicture-movement poems of these masters.\n\" Thy myriad hills \", \" the circling gulls \",\n44 When hand in hand we two did wend\nAdown the paths of Life our way \", are samples\nof Miss Walsh's style. &\nNo, no ; this will not do to express the\nart of Japan.\n\" 813. \" A new Arsene Lupin Adventure\nby Maurice Leblanc. Mills and Boon. 31-\n|n order to hint at all this book contains\nwithout giving a word of it away one\nmust refer you to the word 44 Ambush \" on\npage 158 of Roget's 44 Thesaurus £*\nAmbush; means of concealment; hiding-\nplace ; secret-drawer ; recess, hole, holes and\ncorners, closet, crypt, adytum, abditory, ou-\nbliette. J?\nAm-bush,- buscade ; stalking horse ; lur-\nking-hole, -place; secret path, back-stairs;\nretreat etc. (refuge). &\n& Screen, cover, shade, blinker; veil, cur-\ntain, blind, cloak, cloud. Mask, visor, vizor,\ndisguise, masquerade dress, domino. &\nPitfall, etc. (source of danger), trap, etc.\n(snare). &\nV. iie in ambush, etc. (hide oneself), lie\nin wait for: set a trap for, etc. (deceive).\nThere you have the book."}, {"page_pdf": 57, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.57", "texte": "MAGAZINES.\n\n'Jph© New Age, ever interesting, has lately\ncontained some particularly good articles\non Modern Dramatists by Mr Ashley Dukes.\nUninteresting in the Theatre, Dramatists\nare enchanting in the study, and none are\nmore attractive than Tchekhov, Sudermann,\nHofmannsthal, Strindberg, and the few others\nMr Dukes selects to write upon. &\nHe begins his article upon Hugo von Hof-\nmannsthal with these words : 44 Not Song ago\na provincial theatre was opened in Germany\nwith the inscription upon its proscenium ;\n44 Goethe, Hauptmann, Schiller, von Hofmann-\nsthal \". JZ>\n& Some day we stiall be more logical and\nless dependent in the theatre and remove\nthose name to some State Library, inscribing\nin their place the names of 44 Roscius, An-\ndreini, Tarleton, Jodelet\". &\n& When the names of great Philosophers\nare inscribed upon the walls of Hospitals and\nthe names of Poets written upon the walls\nof Churches it will be time enough to consi-\nder the fitness of placing the names of play-\nwriters upon the prosceniums of theatres.\nMr Dukes also quotes the following passage\nfrom Tchekhov: 44 To me the theatre of to-\n-44 day is no more than an antiquated pre-\n-44 judice, a dull routine. When the curtain\n\" rises, and all these accomplished actors,\n44 these priests of a sacred art, attempt to\n44 show, by lamplight, in a room with three\n44 walls, how ordinary people eat, drink, love,\n\" move about the world : when a morality\n44 is preached to us in trivial phrases and\n44 pictures, a vulgar, commonplace morality\n44 convenient for household use : when the\n44 same old story is dished up again and again\n44 in a thousand variations ; then I can do no\n•4 otherwise than flee as Maupassant fled\n44 from the Eiffel Tower, whose triviality\n44 threatened to shatter his soul ! \"\nDramatic Notes in Eife are as serious\nas the rest of the journal is funny. This\nis quite unusual and excellent; for a comic\njournal as a rule thinks it has to be funny\nall the time. There Is more sense in\nthe Dramatic Notes In this first class pa-\nper than we find in most of the weighty vo-\nlumes on Drama which come to us from the\nStates. JS? &\nIn so well illustrated a paper it is diffi-\ncult to select for special reference any one\nartist, but Mr Harrison Eady is unique, and\nMr Young has a delightful touch.\nBut it is the editing which makes the\njournal what It\nJS? Their automobile contest is one of the\nmost exciting and amusing things we have\nseen for a long time. The idea and the way\nit is being carried out shows genius. It is so\neasy to do this kind of thing without being\nat all funny.\nThe great Christmas number of 108 pages\nat twenty five cents, (about one shilling),\nshould be sought for by English people who\nwant to stop worrying for a week or\nt,ife seems to be produced for fun.... and\nwithout effort. &\noch Bild for November 1910 contains an\narticle by Carl Behrenson Open air Theatres\nwith some good illustrations which show clear-\nly that the modern tendency has been to cre-\nate natural and wild open air theatres, the mo-\nderns availing themselves of all the accidents\nof nature, whereas the ancients made use of\nbut two natural aids.... the light and the air.\nArt supplied all the rest. Never was their\nscene a natural one, never the faces or voices\nof their actors natural. Yet there are some\nwriters.... Irving among them, who seem to\nthink that this was an accident which the\nGreeks could not help. £/\nA study off Greek art and Greek character\nshows that accidents of this colossal nature\nwere not permitted.\nrjphe English Review is one of the best of\nEnglish journals. Its form is fine and dig®\nnified and it offers the hospitality of its well\nprinted pages to a more catholic,... or rather,\nmore cosmopolitan,... collection of writings\nthan most of its contemporaries, giving us\nmany good things by European writers who\nare, for the most part, too little known in\nEngland.\n& The November number contains an es-\nsay in French by Camille Mauclair on 44 La\nMusique depuis Berlioz \", a trans-\nlation from Tchekhov, one Act from Mr\nHousman's vetoed play, a study of Alfred de\nMusset and many other interesting and en-\ntertaining essays and notes.\nBook Notices are also included and at-\ntention is drawn to some interesting new\nbooks,\n& The opening words of the review of Mae-\nterlinck's play 44 Mary Magdalene, \" Religious\nsubjects rarely make good plays\" seems,\nhowever, to call for a word of criticism. Our"}, {"page_pdf": 58, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.58", "texte": "answer to the assertion would be, \" No, but\nthey make great drama, as witness the re-\nligious subject upon which the Mass, the\ngreatest and one of the oldest of dramas, was\nbased. & £? &\n\nFOREIGN NOTES\n\nLONDON\n\n|\"Jueer things have happened lately. All of\nthem very contradictory and giving the\nmost careful observer very little clue as to\nwhat theatrical London wants, or likes.\nThus we have had the Beecham Splash\nOpera, The Trench Splash Drama, Henry VIII,\nThe Departure of Ellen Terry to America,\nThe Opening of The Little Theatre, The Mai®\nled Fist of the Censor, Frohman's Late Re®\npertory Theatre, The Announcement of \" Mac®\nbeth \" with Gordon Craig as stage director\nat His Majesty's, The Strange Story of Conan\nDoyle's experience as Playwright and some\nremarkable and some absurd articles on the\nTheatre in the London journals.\nBeecham's Splash Opera has failed,\nTrench's Splash Drama has succeeded. At\n\\\nleast it appears so. Neither the failure nor\nsuccess has anything to do with the artistic\nworth of either venture. Both were \" splash\"..\n•\nthat is to say, both attempted to rush the si®\ntuation. If both had failed I could have preach®\ned about the short-sightedness of the me®\nthod and have pointed to the wisdom of\ncreeping before running; I could have quoted\nthe example of the Moscow Art Theatre or\neven of Moliere's troupe, both companies\nwhich advanced slowly, slowly. jgr\njg> But in London no rule holds good. All is\na gamble. & & & jg?\njg? That this state of affairs should be put\ndown by the authorities is perfectly obvious,\nbut I am not here concerned with teaching\nmy masters how to manage. jg?\n<£? I may, however, be allowed to suggest\nthat Mr Beecham' s money would not have\nbeen thrown away if instead of advertising\nthe false belief that Opera does not pay and\nthat the Public does not want Opera, the same\nsum had been devoted to making a foundation\nfor good Opera in Leeds, Manchester, Liver®\npool or Bristol. & &\n& It is untrue that the Public does not want\nOpera, but the Public does not want to go\nto fashionable gilt=edged theatres for it. The\nPublic is not a snob.\nYet people go to \" His Majesty's \"to see\nHenry VIII ? Yes, because they always go to\nsee 44 Henry VIII \" and that pageant is al«\nways a safe card to play in London provided\nyou make it swagger enough. Why ?.... Who\nknows. Perhaps a certain public likes to see\na show. Is there any harm in that ? I think\nnot. And a certain public likes to see its fa®\nvourite actors and actresses, for London is\nsociable and pays its regular calls upon Beer®\nbohm Tree just to see how he is looking. &\njg? Then why does Jfallen Terry, who is really\nenshrined in the hearts of her vast public,\nwhy does she go off to America?... and to\nlecture ?It cannot be amusing; it mustf be\nfar more amusing to stay in London and act\nbefore her public. & jg/ &\njg? Yes; but then no one in London knows in\nwhich theatre Ellen Terry is to be found. They\nhave to look it up in the papers. Obviously\nEllen Terry should have had her own theatre\nsome years ago. Why didn't she ? Who knows!\nYet it may not be impertinent to hint that\nthe reason is something to do with the stu®\npidity of English theatrical business men.\nIn Germany or France Ellen Terry would\nhave passed from the Lyceum to a theatre of\nher own backed by all the capital she wished\nf0r,... wished without asking! For has not\nthe charming Miss Kingston found it quite\neasy to obtain capital for her new JL,ittle\nTheatre ? and how easy it would have been\none thinks, for Ellen Terry to have created\na new Great Theatre.\nMiss Kingston is doing everything well in\nher playhouse. It is of course based upon the\nKleines Theater and the Kammerspiel Haus\nof Berlin and we are only exactly ten years\nbehind the Germans in coming to something\nlike the same conclusion. But what of that?\nLondon won't know; how could it? But we\nare not anywhere near the Germans in the way\nwe make advertisement out of the Censor.\nIf Pinero fought the Censor we should be\ndoing just what is done in Germany. As it\n\nLIST OF JOURNALS.\nLondon. The New Age. Weekly 3d. The English Review. Monthly,\nHalf a crown.\nNew York. Life, weekly ten cents,\nStockholm, Ord och Bild, Monthly,"}, {"page_pdf": 59, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.59", "texte": "is Housman puts up a poor kind of fight,...\nas if any Englishman wanted to see kings ri=\ndiculed. It is preposterous, and it is impudent.\nIf Miss Kingston avoids this kind of thing\nfor the future she should be able to keep her\ntheatre alive longer than Mr. Rroliman's\nLate Reperioty Theatre. But that subject\nis, of course, unspeakable. 44 Shaw, Frohman,\nBarker and C 0\",.... unspeakable, and\nlaughable now. It was a strange trio to liar-\nness together. &\nAnd even stranger it seems Is the colla-\nboration of Sir Herbert Tree and Gordon\nCraig for 44 Macbeth For the life of me\nI can* t see how those two will pull together,\nmore especially since I read that Gordon\nCraig drives his own team in Russia and has\nbeen offered a team in Paris. Who is to look\nafter these two, Tree and Craig ? who is to\nreconcile their difference of taste amd me=\nthod ? London is certainly growing bolder\nthan ever, jz? jg? jg?\n<g? And yet here again I am wrong, for Lon=\ndon has lately been very timid in regard to\nConan Doyle. His is indeed a strange story.\njg? Sir Arthur Conan Doyle is an Englishman,\npractical to the backbone,... modest, bluff,\ngood=>tempered,.... and does not seem to be\ntroubled by too much 44 artistic\nment \". He has made a world-wide reputa=\ntion with his pen as and\none of his plays was acted some years ago\nby Sir Henry Irving with splendid results.\nNow comes an amazing statement, He\nwanted to produce three plays, and 44 could\nfind no London manager to accept or pro=\nduce them on his own account,\" These are Sir\nConan Doyle's own words.... He therefore\nproduced all three at his own expense. The\nfirst ran one hundred and twenty nights, the\nsecond one hundred and seventy, the third\nhas run for one hundred and thirty and is\nstill running.\nEnglish managers complain that there are\nno plays to be had for love or money. It is\nan excuse like most of their announcements.\nThe proof of this can be found in Sir Conan\nDoyles's statement.\nI could have understood that no manager\nwould accept or produce let me say, the\n44 Cenci \" if the poet Shelley had brought it to\nhim. Had he done so he would have had the\npublic and the censor against him, for the\npublic is prejudiced against poets, especially\nthe greatest, aad the censor is prejudiced a-\ngainst plays dealing with incest. Added to\nthis the manager would not have been able\nto stand an hour's conversation with Shelley\nnor Shelley have given him an hour.\n& But Sir Arthur Conan Doyle's statement\nproves the London manager to be one who\nis unable to stand anything. <£? jg?\nI have seen Sir Arthur's plays and found\nthem admirable.... especially that excellent\n44 House of Temperley \" with its dashing way\nand fresh interest. Why managers refused\nthat play was that they didn't know how to act\nit, and that is the reason why most piays are\nrefused by actor managers of today. &\nIn an Interview lately given to a London\njournal Sir Arthur told everybody pretty\nclearly that he has experienced strange\nthings in the stage world of London. He said\nvery little and offered no criticism, but the\nfacts he related bring in their own jugdement,\njg? This is all I have to report from London\nA tale about nothing,... and its success. There\nis nothing which guides either playwrights,\nthe public or the managers; nothing which\na critic can criticize but everything that he\ncan regret. Topsy=turvydom.... the reflection\nperhaps of the nation;... leave it to the last\nmoment: all right on the night..;. Stupidity\ntriumphant. jg/ jg? jg?\nWhy does everyone prefer this muddling\nthrough instead of method ? Why ? No one\nknows! But if one should venture to guess\none would answer that it is because all sense\nof patriotism, is absent in us. We all want\nan innings all the time 44 Let me play the\nLion ! \" ....and all the other parts.\njg? I am told this is different in other lands\nand that the best man plays the Lion. Why?\nfor the sake of the game or play. &\n& But then everyone lives in flats on the\ncontinent. On going out a foreigner meets\nhis neighbour on his own doorstep. They greet\neach other. Later on they meet at a Cafe,\nand find Hauptmann there, or Menzel,... or\nIbsen. jg? jg?\njg? And in England the Clubs... Snobs,...\nWhite and Black balls. No Cafes, no great\nartists to be found in them, no independence\nin life as on the Continent., why not?..? B. P.\nThe Dying Theatre &\nThere is a writer upon the Theatre in\nEngiand whose words count. He signs\nhimself G. C... at least he so signed himself\nat the end of an exceptionally good article\nin September 1910 in the Star, and his\nnote seems unfamiliar to me. The article\nwas headed 44 The Dying Theatre4' and those"}, {"page_pdf": 60, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.60", "texte": "who are interested in the welfare of the\nTheatre should try to secure a copy of it. &\nI should be glad to see it reprinted in\nThe Mask, and hope the author will disclose\nhas name to the Editor. & & &\nIt Is quite one of the best things about\nthe Theatre which has appeared in a London\njournal for many years.\n& Upon one point, however, I am not at\npresent fully prepared to agree with the au-\nthor. Although he has nothing good to say\nabout the Modern Theatre in England he\nclaims that the Theatre of today is a higher\nform of art to that of the Music Hall of today,\nand argues that if the Theatre dies the Mu-\nsic Hall will die also, for 44 lower forms of\nart are fed from the higher\nBut does the Theatre contain a higher\nform of theatrical art? Has it ever contained\nit? And has not the conscious erudite Thea-\ntre been everlastingly fed by the unconscious\nilliterate Tneatre?\nMarlowe and Shakespeare are born in\n1546; Ben Jonson in 1574 5 Lope de Vega in\n1562; MoSiere in 2622; These were the cre-\nators of the modern erudite theatre. But\nthey were nourished by the masters of an\nearlier and quite different theatre.... by An-\ngelo Beolchi, actor and author, born in 2502;\nby II Lasca, author, born in 2558; by the\nactors Andreini, Muzio, Pellesini, Martinelli,\nScala and Tarleton, all of whom were born\nbefore 1550, all of whom were improvvisa-\ntors; by Marston, born in 2575, by John\nHeywood born about 2500.\nThis theatre is still with us only it sur-\nvives in a tired-out state... the Music Hall\nstate. ap jpy jgr\nTherefore as the Music Hall was no off-\nshoot from the erudite theatre, some think\nit will not be affected should that theatre\nexpire within the next few years. In fact\nthe renaissance of the art may just as likely\nbe hastened by the decay and death of the\ntheatre proper and the subsequent Increased\njpopularity of the Music Hall. &\nBut who is there to say with certainty ?\nNo two plants grow alike, and no one art\ndevelops along quite the same lines as ano-\nther. The Kings and the Lords are the Priests\nhave had their Theatre ages ago and\nhave closed it. The People have had their\nTheatre and have abused it. What will create\nthe third Theatre\n& That is the question. Not, what will it be\nlike? When we can see out of what the new\nTheatre is to come it will be much easier\nto predict its form. G. C.\nIsaurence living and the Public,\nWlth\n44 The Unwritten Law \" Laurence Ir-\nving has come to London and London\nshould not let him g0.... Or is It, London\nshould try and get away ? I am always sorry\nfor the public when a man makes up his\nmind to master it, and Mr Laurence Irving\nhas evidently that best of intentions in his\nmind at present.\nThat the public will resist him is certain\nbut that it will not exaggerate its pretended\ndesire to escape is to be hoped. <£?\nCheap and Nasty &\n'Jp he London Correspondant of the New\nYork Dramatic Mirror is afraid of the\nexcellent get-up of the plays at the Little\nTheatre in the Adelphi.-\nHe says that they 44 have so much of the\nair of vellum-bound, gilt-lettered, deckle-\n-44 edged brocade-encased editions de luxe that\nyou are afraid of them \". He does not tell\nus why. &\nI have been round to my bookbinder to\ninquire what is wrong with the English\nvellum and brocade but can get no satisfac-\ntory answer. He says it is expensive and that\nsome people prefer a cheaper article...\n\nG.H.\n\nFLORENCE\n\nThe Cinematograph £/ &\nhe Cinematograph is not improving, just\nas the Music Hall is not improving.\nBoth are deteriorating from the same\ncause, the employment of actors.^\nWhereas once upon a time there was an\nespecial kind of actor who performed only\nthings cinematographic, now the ordinary\nactor, fearing to be out-rivalled, has pushed\nhis way into the cinematographic studio.\njzr And on getting there, instead of doing\nsomething quite fresh and original he acts\nas badly as he does on the stage and pre-\ncisely in the same way. Movement by move-\nment, facial expression, al! is the same. We\ndo not hear his voice, but it makes no dif-\nference. The effect is quite as appalling.\nYesterday I was present at a very excellen-\ntly made film, mechanically perfect, artisti-\ncally worthless. It was a Paris fiim by the\nbest firm in Paris. The actors were Mile. J.\nM. Laurent of the Vaudeville, M. Breon of\nthe Theatre Moderne, M. Laumoniere of the\nTheatre Porte S. Martin and M. de Kock of\nthe Theatre Chatelet. & & &"}, {"page_pdf": 61, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.61", "texte": "I foretold everything that they would do\nafter I had seen the first movement of each\nscene. I had to make no mental effort in\norder to do this, it was as though I had\nmade the thing myself and was the director.\n44 Yes. they are doing it just as I wanted\nthem to do. There, she is putting her arm\nround his neck just as I told her for the\nlast hundred years to do it. There ! just what\nI expected ; he is drawing himself up to his\nfull height \", and so on; &\n& But I am ungrateful, I was forgetting\nthat I got the whole thing for 3d, which is\nabout what it is worth. &\nAnd yet this is not the entire truth. Some\nof the performance is worth much more.\nJapanese Playeis. & 4? &\nJ-Janako has been here with her compa-\nnions. The Florentines were not curious\nabout them. They acted two little dramas by\nLoi-Fu,... (is that short for Loie Fuller?)...\nand acted them very badly for Japan but ad-\nmirably for Europe. &\nThe men were better than the women.\nThey seemed better to understand and do\nmore honour to the centuries behind them;\nthey suggested art,... if they did not perpe-\ntrate it. The ladies, on the other hand,\nkicked over the <£?\n& The thing which most struck me was\ntheir Incessant chatter,... and their long pau-\nses during which nothing was said and much\ndone. I compared it with our methods of\ndrawling all the time and doing very little\nelse. Another thing which pleased me was\ntheir disdain of psychological expression by\nmeans of face or voice. Action was for them\nthe beginning and end of Drama,... as of\ncourse it is.\n\nJ. B.\n\nJ. S.\nMimi Aguglia's New Departure.\nM imi Aguglia has been here again,\nthis time with some modern French\nplays added to her repertoire. A great pity.\nIt is another 44 departure \" of hers; The\nother was when she left the distinguished\nposition of leading lady under Signor\nGrasso.\nIt appears that she does not like being\nealled a Sicilian actress; she wants to be\nmistaken for an Italian actress or even a\nEuropean actress. What the difference is does\nnot seem quite clear. & &\nThese 44 departures \", if natural, are in\nbad taste. Yet they are nothing new in\nthe story of women on the stage. It is piti-\nful to read in the history of the theatre of\nthe wrecks women have made of many good\nmanagereal ships which attempted to reach\nthe Fortunate Islands. &j&\nThe histories of the Restoration stage, of\nGarricks' s theatrical life, of the Comedie\nof the German stage in the Eigh-\nteenth century and of nearly every Theatre\nsince women first tendered their assistance\nin the middle part of the Seventeenth cen-\ntury, contain the records of the methods\nemployed by women to harass the different\nmanagements and the success they achieved.\n<£? Woman, beautiful, noble and unselfish as\nshe often is in daily life, is a continual threat\nto the existence of art in the theatre, and\nalso to the successful (management of the\ntheatre. jg/ j&\nThose who are thought to be the excep-\ntions,... the great names... are, alas, the\nworst offenders. & jg/ &\n& This is not open to argument, for history\ntells us the facts plainly enough. The unsel-\nfish women become the most selfish, the\nmost egotistical under the influence of the\npublic applause.\nThey lose their heads... and such pretty\nheads too. It is a great pity: it is a great\ncalamity for the stage. & &\n& To achieve the reform of the Theatre, to\nbring it into the condition necessary for it to\nbecome a fine art, the women must have\nfirst left its board. I arrive at this conclu-\nsion first through my study of the stage and\nsecondly because of my admiration and know-\nledge of womankind.\n\nE. C.\nEnglish Actors tor Florence.\n''jphe Florentines are not badly disposed\ntowards the proposed visit of an English\ncompany to their city and Mr Collins should\nbe encouraged by this. As for the English\ncolony, it Is playing Bridge. To visit Florence\nin order to make money either at Bridge\nor in Theatricals is certainly an idea, and if\nanyone can achieve success in either venture\nit is the English.\n\nBERLIN\n\nReiuhardt in the Ring. &\nReinhart has, with the aid or se-\nveral other artists, produced a trans-\nlation of the (Bdipus of Sophocles at a\nBerlin Circus.... and everyone who wishes\nthe German Theatre well is disgusted by the\nperformance. & &\n& Whenever the Managers of this German"}, {"page_pdf": 62, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.62", "texte": "Theatre err they prefer to do so as vulgarly\nas possible. They are without conscience.\nThey talk much about 44 Style \" and present\non their stage bald reproductions of nature.\nThey talk of the 44 soul of the theatre \" and\nprove by their works what kind of soul they\nmean. &&&<&&\nNo one denies that Director Reinhardt\nand his troupe have a touch of genius, but\nthey are without originality and without art.\nThey exhibit to the audience all the eviden-\nces of their hard labour, but beauty stub-\nbornly refuses to come upon their stage.\n& How different with our Southern friends!\nSignor Grasso and his troupe have also a\ntouch of genius, but how delicate is their\nprimitive force; it is of the soil, but how\nsweetly it smells. The German genius reeks\nof the place it has at last captured,.... the\ncheap circus.\nTheir's is the worst influence in the mo-\ndern theatre. They have all the deplorable\nfaults. They are 44 theatrical \" in the mo-\ndern sense of the word ; they have no sense\nof what is distinguished either in movement\ncolour or voice ; they derive their ideas from\nforeign sources, and they push these before\nthe public without knowledge of why or how.\n& They have a grand public ever ready to res-\npond to their best... and they give this public\nwhat we are forced to suppose is their worst,\nthough it seems uncertain whether they\ncould do better even with more time and\nthought for it is in taste that they are de-\nficient. <<s?\n& Their activity is commendable; but to\nallow that activity to degenerate Into the\nmere exhibition of unadorned energy is not\nonly a pity, but is also censured by the best\nschools of the European Theatre as arrogant\nand harmful. &\n\nG,N,\n\nNEW YORK\nP.G\nMr Ft ohm aii Again. & & & &\nFrohman says it is his object \" to offer\nspecial Sunday drama..., plays that expose\n44 the sham and Injustice of contemporary\n44 social and political life \", &\nAs If he were not doing enough in expo-\nsing the sham of his own theatrical career.\nWaste. &\nInhere are supposed to be marvellous light\neffects in the production of \" The Blue\nBird \" at the New Theatre here. There ought\nto be, for it cost the management 250,000\ndollars (50,000 pounds sterling) to instal the\nelectric equipment on the stage. Yet I one-\nmet an artist who showed me the most arnae\nZing light effect with three candles and two\npieces of looking-glass and a linen sheet....\nBut then he was an artist,... and that makes\nsuch a difference.\nForty arc lamps are used for an effect in\nAct 1. of 44 The Blue Bird \". & &\n| received from Russia a post card last\nweek telling me that the same effect was\nobtained there by the use of four arc lamps.\nThe Russian production is acknowledged by\nall artists to contain the perfection of such\nkind of effects, What some of us want to\nknow is, why were thirty-six arc lamps wa-\nsted in the New Theatre's production ?\n\nEDITORIAL NOTES.\n\nMYSTIC HUMBUG\nThere are today many people who dance\nmystic dances, or pose in mystic poses\n(such as those lately Witnessed in the Caxton\nHall in London), but who forget first to be-\ncome mystics in spirit and in their life,\nthinking they have done enough when they\nhave read in Sir Gardner Wilkinson's book\non Egypt that we owe the drama to Egypt,\n44 for in the outer court of the great temples\nthe priests gave to the people 'the mysteries,,\nWe believe no harm is done,... only a little\nfolly perpetrated : and if the public wants to\nbe fooled may be it is best for them.\n\nSCENARIO INVENTERS. & &\ngince the days of Sacco and Gozzi we be-\nlieve the knack, (can it be called an art?\nwe think not), of composing 44 Scenarios \" has\nbeen more or less lost. & &\nDramatists very probably make and\nbuild up their 44 plays \" around them but we\nhave not heard of special 44 Scenario \" con-\nstructors who do this work and nothing\nelse. So it is rather encouraging to read in\nan American Cinematograph adverti semen"}, {"page_pdf": 63, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.63", "texte": "that amongst the many distinct branches of\nthat busiaess there are special scenario ex-\nperts who invent the action of the dramas\nto be performed and pictured. &\nJZ? Such a man may not be an artist such\nas Pinero, for instance, but he is a man who\nmay at any time develop a mastery of his\nmedium to a point reached by Gozzi, and\nthen.,. JZ? JZ? & JZ?\n\nMADAME BERNHARDT AND VARIETY\nJn appearing in a London Music Hall Ma-\ndame Bernhardt may be said to have re-\nturned to the true Theatre of today. The\ncasual critic condemns what he wrongly\nsupposes to be her 44 desertion of the Thea-\ntre \". But consider for a moment what she\n44 deserts \". &\nShe leaves a worn out artificiality for a\nliving artificiality;... what is her offence? She\nhas been guilty of making one step in the\nright direction.\nThe modern theatre is worn out; it ne-\nver was so worn out as it is today. The\nmusic hall cherishing as it does so much\ncreative talent of a somewhat exaggerated\norder is very much alive. Half, if not more,\nof the music hall 44 turns \" may be called\n'creative'. Madame Yvette Guilbert's perfor-\nmances are the finest examples of the living\nmusic ha 11... Madame Bernhardt does no\ncreative work of this kind, but the fact of\nso celebrated a performer appearing on the\nmusic hall stage must be accepted as the\n44 legitimate \" theatre's recognition of the\nforce of what is known as the 44 variety \"\nstage. JZ? JZ? <£?\njgr This variety stage is the sole remaining\nlink connecting us with that stupendous\nachievement of the sixteenth century known\nas the Com media JZ? &\n•£> It is not the Comrnedia but it has certain\nmarked resemblances to &\nMadame Bernhardt and the 44 legiti-\nmate \" theatre are both to be congratula-\nted on their good sense. JZ/ JZ? JZ?\n\nMERCURY - HARLEQUIN. & &\n''jphe new English coinage designed by Mr\nBertram Mackennal is to show the figure\nof Mercury 44 the god of commerce and pro-\nperty forging the links of the chain which\nbinds the South African States together \".\nIt is pleasant to think that the stage will\nbe so thoroughly represented on this new\ncoinage and that the ancestor of Harlequin\nwill foot it nimbly on the shilling.\n& By the bye, if Lempriere is correot 44 Mer-\n44 cury was also the god of thieves and pick-\n-44 pockets and all dishonest persons. The day\nu after lie was born he gave an early proof\n44 of hiscraftiness and dishonesty in stealing\n44 away the oxen of Admetus which Apollo\n44 tended; he also robbed Neptune of his\n44 trident, Venus of her girdle, Mars of his\n44 sword, Jupiter of his sceptre and Vulcan\n44 of his mechanical instruments JZ?\nHow amusing the English are \\J& &\n\nGAUGIN*S SCHOOL. & &\npaintings ofGaugin, Maurice Denis, La-\nprade, Ceganne, Flandrin, Serusier, Mar-\nquet and Matisse shown at the Grafton Gal-\nlery have been praised in London.... in a\nLondon journal ! &\nGeorge Calderon says that Phiiip Burne-\nJones has written a letter to The Times to\nprotest against Gaugin and his followers and\nthat everyone in London 44 waxes angry and\nindignant\". &\nJZ? This is true. It is exactly what everyone\ndid when Philip Burne-Jones's father was\nexhibiting his best works years ago. It is\nwhat everyone should always be made to do,\nand failing to do it should be imprisoned\nfor contempt of art. The only compliment\nstill remaining for Everyman to offer to fine\nart is to 44 wax angry and indignant\" and\nto protest in The Times.\n\nMASKS IN BERLIN. & & &\njt takes a great artist to materialise an idea\nso as to produce something beautiful. And,\nwhile the idea of the Mask as a means of\nfacial expression is good, the attempts made\nby ignorant enthusiasts to materialise this\nSdea are lamentable.\nThe Germans have begun. They are so\nenergetic that they always begin before any\none else. They have lately used masks on\na serious stage with ridiculous effect\nThe performance took place at the Berlin\nTheatre Exhibition and the play chosen was\n(i QBdipus \". So like the stupid fellows to\nchoose a Greek play;... so like the tasteless\nfellows to make wretched imitations of old\nGreek masks and so like their conceit\nto get photographed in them. Anything exhi-\nbiting less sense and less taste cannot be\neasily conceived than the effect produced\nBut why was the effect so ridiculous ? jg/\nBecause the actors knew neither how to\nhave the masks made, nor how or when to\nuse them. Again so like the Germans to\nrush in where even the Greeks feared to\ntread ! Yet in spite of this first failure the"}, {"page_pdf": 64, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.64", "texte": "mask still remains, a moans of expression if\nyou have the power to know how to make\nthem speak, jgr <£?\n& Our journal is continually urging men in\nthe theatre to experiment. Need we beg the\nsame men to abstain from experimenting\nbefore an audience, and to study in private\nfor many years how to do what we must\never continue to urge them is the right thing\nto do ? jg? &\n& Even if we could tell them the way to do\neverything we would not: but one of the\nbest ways to do anything is surely to take\ntime. Twenty years is not a long enough time\nin which to study the question of masks\nbefore showing results... unless you are a\ngenius and a genius takes longer. Therefore\nbe warned, you who think it an easy matter\nto make and wear masks on the stage. &\nTreat the matter seriously Be content\nnot to show until you know. You will then\nbe doing the stage some good.\njgt We hear that the managers of the new\nFrankfort Theatre propose to employ masks\nin some of their pieces. & &\n& We counsel them to take\n\nDANGEROUS GROUND.j& &\ngir Herbert Tree does himself an injustice,\nHe writes that he has *' learnt that the\nmost exclusive symbolists when painting a\nmeadow regard purple as symbolical of\nbright green,\n& It seems he learned this at Marienbad\nfor he writes from there. But how should\nso clever a man have been so easily misled\non so simple a matter ? For we know that\nwhen the Symbolists paint a meadow they\npaint it as they wish and it is only the\nspectators whose eyes play them false.\n\nBOOKS ON THE COMMEDIA. &\nhere are a few books dealing with this\nsubject In English and many in Italian.\nOne of the best English sketches is to be\nfound in John Addington Symonds' s transla-\ntion of the Memoirs of Count Carlo Gozzi*\nHis essay upon the Italian Impromptu Co-\nmedy completes, if it qualifies and at some\npoints contradicts his \"Predecessors of Shakes-\npeare. \" & &\nThere is also a delightful chapter In Ver-\nnon Lee' s \" Eighteenth Century Studies \",\nand passages In a book by Joseph Baretti cal-\nled \" Manners and Customes of Italy \", (1718)\nwhich are not without value. jg?\nIn Italian there is one great book on the\nsubject Luigi Rasi's \" I Comici Italian! \" In\nthree volumes, Adolfo Bartolo's \"Scenari\ninedlti \" is also valuable, and Signor Sche-\nrillo's work is already known to readers of\nThe Mask. In fact there is really no end\nto the literature which has grown up around\nthis greatest period of the victor, and we\nhope to give a complete Bibliography in the\nJuly number of The Mask, 1911 jg?\nBut most of these books are very costly,\nwhereas The Mask, which costs less than a\nhalfpenny a day, is within the reach of every\nactor who cares to hear about the greatest\nof all the actors of modern times;... actors\ngreater than Garrick, Kean, Kemble or Ma-\ncready; greater than Le Kain, Baron or Tal-\nma ; greater than Modena or Sc hroder.\nIf they doubt the truth of our assertion\nin regard to the greatness of these actors\nthey will find its proof in the next three\nnumbers, A? gg?\nA Correction.\nof our subscribers are, justly, per-\nturbed by a paragraph Jn our last\nnumber which attributes to the same author\nthe City of Dreadful Night \" and the \" Hound\nof Heaven \". & jg/\njgr This amazing statement sprang full-fled-\nged from the brain of a junior sub-editor\nwho, being left to see the last pages of\nthe journal through the press while his\nseniors were absent in the mountains,\nand finding the copy supplied to him to\nbe in his estimation insufficient in detail,\nedited it in his own manner and perpetrated\nthis glorious blunder. /g? jg?\nWe have fined this zealous youth heavily,\nand we have also raised his salary, as by\nmeans of the expostulatory letters received\nwe have been brought into touch with at\nleast fifty of our subscribers with whom\niu spite of our efforts, we had never before\nsucceeded in establishing any communication.\n\nA WORD OF THANKS.\nJ.S.\npor leave to publish the first article in the\npresent number we tender our thanks to\nMessrs Chatto and Windus. &\ngg/ Our frontispiece, which, if not an actual\nillustration of the Commedia delTArte, ren-\nders in a very striking manner one aspect\nof it, is reproduced from an old engraving\n(one of a set of six) hitherto unpublished,\nin the possession of Signor Villoresi of Flo-\nrence by kind permission of the owner.\n\n& ALL RIGHTS RESERVED\n& Gerente Responsabile, GIULIO VANZI"}, {"page_pdf": 65, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.65", "texte": "mmufcmu'.*nauoiiiMK\nBRITISH BIBLIOPHILES' SOCIETY\n10, Rue de la Tribune, 10\nBrussels (Belgium)\nThe Sword and Womankind\nA Study of the influence of the 44 Queen of Weapons\" upon the Social\nand Historical Status of the Fair Sex. Copper-plate frontispiece by Paul\nAvril. Printed on Simite Japanese paper, and bound in water-coloured\nsilk. Nothing like since Sir Rich. F. Burton's 44 Book of the Sword\nNet ais.\nPassion and Criminality in France\nBy Judge Louis Proal (Puyde Dome). A Study of Jealousy and Crimes\nof Love in France ; over 700 pp., well bound. Translated from the French\nby Alf. Alllnson, M. A. Complete authorised edition. Net 21s.\nThe Sorceress\nA Study of Middle-Age Superstition, Black Mass, and Witchcraft, by\nJules Michelet, with Publisher's Note on the Tribulations of a Bookseller.\nCrown Bvo vol., cloth bound. Net 10s. 6d.\nThe Love-Story of a Spahi\nBy Pierre Loti, translated by A. Allison. Fine Bvo vol. Edition de Euxe,\non hand-made paper, with Seven copper-plate engravings by a French\nNet 10s. 6d.\nThe Welt of Santa Clara\nBy Anatole France (of the French Academy), translated by A. Allinson,\nM. A., (Oxon). Finely printed in two colours on hand-made paper, and\nwith 21 full-paged copper-plate engravings, elegantly bound, gilt top.\nNet 21s.\nThais: The Romance of a Byzantine\nCourtesan (IV. Cent.)\nBy Anatole France. Complete translation by Robert Bruce Douglas.\nWith 21 full-paged copper-plate engravings by Van de Maele. Limited\nEdition on hand-made paper, bound in water-coloured silk, gilttops, &c.\nNet 21s.\nThe Tortures and Torments of the\nChristian Martyrs\nFrom the original Italian and Latin texts of Father Gallonlo, small\n4to vol. on Antique wove, with 46 full-paged illustrations on Excelsior\nArt paper, neatly bound in buckram. Net 21s.\nTranslations of \" The Golden Ass\nThe Satyricon for Students\nii\nDescriptive Circulars of above works on application."}, {"page_pdf": 66, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.66", "texte": "A GREAT ITALIAN CLASSIC\n(FIFTEENTH CENTURY)\nThe Most Delectable Nights of\nStraparola\nCOMPLETE TRANSLATION.\nTwo large stout 3vo vols., on Superfine English Paper. About 800\npages, with 50 Coloured Plates and 90 Black Drawings. Price L 4 4s. od.\nReduced to L. 1. 11s. 6d. nett.\nReasons why you should buy this Edition:\nmmmmwmammi ™... rrrxtenMtM* .I.l■, 111 au an -...... —..lmuMaJMu win wmirwuTOamttwaattaajim Mmn memmmmom\n1. BECAUSE the books, in addition to being a durable monument of strong,\nnervous English, ar© illustrated with fifty witty plates in colours...and to-day\nthe rage is all for coloured illustrations...to say nothing of some ninety-seven\npen-and-ink drawings In the text. 44 Gorgeous \" is the only word that can\nadequately describe many of those hand-coloured illustrations.\n2. BECAUSE, in answer to the question, What are Straparola's 44 Nights\"?\nwe reply: They are a collection of bright, rollicking stories in the style of\nBoccaccio...now pathetic, anon brimming over with boisterous fun and Rabe-\nlaisian humour. The laugh rings true, the gallantry is never low-minded, the\nmorality is sometimes indeed high, and In any case there is no canting smirk\nlurking at the corner of the lip: the work reeks with the joy and gaiety\nof life.\n3. BECAUSE the work consists of two stout Bvo volumes of some 800 pages\nin all: and, being a magnificent piece of typography, executed In red and\nblack throughout, will please all who like fine printing. The initial letters\nare in red, the titles of the chapters in red, also the running titles on each\npage ; the paper is fine, and of the best English make and quality.\n4. BECAUSE, further, to add still more to the literary value of the book,\nthe Translator has given an exhaustive Introduction, and been prodigal of\nnotes elucidating names of those persons and places not generally known,\nand drawing attention to analogous stories in Boccaccio, Shakespeare, 44 The\nArabian Nights,\" thus making the work useful to the scholar and student,\nas well as agreeable to the general public who read for the sake of pleasure\nand amusement.\n5. BECAUSE the price is for the moment absurdly low for two such noble\nvolumes, whereof the value will increase in proportion as the books get scarcer,\nlike stocks and shares that fluctuate according to the well-known law of\nsupply and demand.\n6. BECAUSE only a small number of copies have been printed, and when\nthese are sold out, or given away...the terms are nearly convertible in the\npresent case...there will be no more obtainable, as we bind ourselves never\nto reprint the book, however great the demand.\nDetailed Prospectus and two specimen plates\nmay he had for the Asking against sixpence\nto cover Cost of Postage.\n|- U-WJIIILIH.JJIH—II 1 imilWLH.lll —— MBB—\nBRITISH BIBLIOPHLES '\n10 Rue de la Tribune, Brussels, Belgium"}, {"page_pdf": 67, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.67", "texte": "THE COMMEDIA DELL'ARTE or\nPROFESSIONAL COMEDY.\n\n(I)\nThis and the two following numbers of \" The Mask\" are\ndedicated to the Actors and to the Peasant Folk.\n44 PRODUCE GREAT PERSONS, THE REST FOLLOWS WALT WHITMAN.\nistory, to creative minds, is often a drj' dead thing. It is the story of the\nPast. Creators are concerned only with the Present and the Future. Yet there\nare some old stories which seem fresher every time they are told. Tiie story\nof the Commedia dell'Arte is one of them. It concerns our old friends Harlequin,\nPantaloon, Pulcinella or Punch and their companions,... The Doctor, Brighella,\nScaramuccla, Coviello and the Captain. What fun, you think. Yes! what fun,... but what\ngenius also, for the inventors of these figures were men of genius. Whether the inventors\nwere peasants or actors or both is immaterial. The point has not been decided : but it\nhas been very clearly decided and recorded that the inventors were not play<*writers,\nIs it possible ? Can a Drama which holds the stage for two centuries be created without\nthe assistance of the literary man ? It can. Then If it can be created once it can be created\ntwice ? It can.\nYet there are some who still do not comprehend this. Some there are who grow angry if\nyou suggest such a thing. By some process of reasoning, of which they hold the secret,\nthey argue that because actors do not improvise today improvisation must necessarily be a\npoor or affected kind of thing, fit for children to amuse each other with in the nursery\nbut quite beneath the consideration of serious people. They also think that, because this\nDrama depends more upon action than anything else, it must be a crude kind of thing\n(2) and the fact that masks were used is sufficient to convince these gentlemen that\nno seif=respecting actors could have ever employed their time with such kind of Drama.\nThe persons who argue thus have the advantage of not knowing what they are talking\nabout, for if they knew they would be unpleasantly surprised to learn that it was only the\nactors of the highest genius or talent who could Improvise together.\nRiccoboni tells us In his \"Histoire du Theatre Italien\" (1730) that \"The actor who improvises\n\" acts with more animation and more naturally than he who plays a part which he has\n\nThe luveiiters.\n/?icco ho n i .\n\n(1) The expression \" Professional Comedy \" refers to the execution, not to the subject, of the play., Mantzius.\n(2) \"Comedies are written to be spoken not read; rememker the ti'e o\" these things consists in action\", John Marston. 1575-1!),?4 Preface\nto \"Fawne\"."}, {"page_pdf": 68, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.68", "texte": "THE COMMEDIA\nDELL' ARTE\n\n44 learned by heart. People feel better, and therefore say better, what they invent than\nwhat they borrow from notes and memorise. But for all that they purchase these advantages\n44 at the price of many difficulties; clever actors are required and there must also be actors\n44 of equal talent; for the drawback of Improvisation is, that the art of even the best actor\ndepends so much on that of his fellow actor; if he has to act with a colleague who does\nnot reply exactly at the right moment or who interrupts him in the wrong place, the\n44 words miss part of their effect, or the sense is lost\n& Riccoboni then goes on to say that it is not enough for an improvisator to have a good\nappearance, voice, or even sensibility, but that to make a mark he must possess a fertile\nimagination, a facility of expression and a resourceful tongue.\nRiccoboni is of course talking here of what he studied and witnessed and performed;\nthus naturally he is labouring under a disadvantage. It is so much easier to write on a subject\nabout which one knows nothing. 4& &\n& Still, something must be said for these antagonists of improvisation who dwell in Eng-\nland. They are frightened ; they fear to encourage the principle lest a mere imitation be\noffered the public and accepted as the real article. They dread that something 44 artistic ~\nmight be let loose and they prefer the 44 theatrical So do we all. But what a strange\nplace is England where the good words 44 artistic \" and 44 theatrical \" have become terms\nof derision used by artists and theatrical people. On the continent, thank Heaven, one does\nnot hear any such thing. One dare speak of art with enthusiasm or the theatre without fear,\nfor both art and drama are part of the life of the people.\nAnyhow one is forced to admit that after all England does not count in these matters\nt i\n....because she won't count.\nAnd as there are no frontiers to art all is as it should be. Still, I hope that no one will\ncommence writing plays for Pierrot and Columbine and Puncinella for a written play is\nan absurd thing and a dead thing into the bargain. J2? & jg?\nOne dreads to think what sweet stuff a minor or even a major poet would fashion out\nof these masked giants that strode across the centuries for a while, helping Shakespeare,\nsuckling Moliere, creating Goldonl and being driven away from the haunts of man by the\nungrateful children they had reared. & &\nBut that a closer and more subtle study of the Art of Improvisation should begin is most\ndesirable, and there is no doubt that it has already begun.\nThe Art of Improvisation now and then crops up again in single Instances in the Music\nHall, but groups of Improvisators working together, each one as good as the other and a\nhigh standard for all, are to be found nowhere today. Such groups will never be found until\nyoung men dismiss from their minds that exaggerated fear of everything which appears at\nfirst too difficult to comprehend. Still let them read of these, the greatest actors of mo-\ndern times.... of Andreini, Riccoboni, Pellesini, Fiorelli, Ganassa, Martinelli, Tarleton, Mo-\nliere, Costantino and Sacco, and perhaps they will be better able to understand what a great\npossibility faces them which they can make practical by sympathetic understanding, concen-\ntrated and incessant study, with determination not to retreat an inch, but to advance\nstep by step until the position is captured. & & &\nThis suggestion to the young men in the theatre should not be criticised by them because\nit suggests something strenuous instead of something easy, for though all art appears to\nbe easy and is in actuality created with ease, the preparation for it, as for the creation of\nall living things, must be long and difficult. jgr &\n4? It was long and difficult for those I have named.... for Andreini and his companians, but\ntheir achievement was splendid Sn proportion, they were the wonder of their age and of\ntheir calling: let them but find successors in ours, and then all will be well with the Actor.\nFor these were 44 the Great Persons \".... and the rest followed. &\n\nA written play\nan absurd thing.\nThe Art of\nImprovisation.\nHow to achieve\nit.\n\nJ.S."}, {"page_pdf": 69, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191101-01.1.69", "texte": "THE MASK\nA QUARTERLY JOURNAL OF THE\n■& ART OF THE THEATRE\n\"/ read \" The Mask\"... It's excellent... Like fresh\n\"air in a stuffy room, those who live in the\n\"close atmosphere never know how stuffy it is\n\"till the window is opened. What a lot of colds\n\"it must cause, that \"Mask\" of yours with the\n\" fresh air whistling through its eyes and mouth 1\"\nPaul Cooper.\n\" The Mask. A delight to bibliophiles, with its\n\"budget of frank, original notions to most of\n\" which we subscribe willingly.\".\nNew York Dramatic Mirror. Nov 9:1910\n\" The Ghosts in the tragedies of Shakespeare\" by\n\"Mr Gordon Craig is a most suggestive and\n\"profound exposition of the spiritual significance\n\"of \" Macbeth \"\nW. H. Stead. The Review of Reviews. 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