{"numero_id": "bm-bmtnaau-1911-07-01", "volume": "bmtnaau_1911-07_01", "ocr_sha256": "ecbb422f9ed39ad6c1ca134722f3573358ff7800706912e06c98fd980d939569", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1911/07_01/bmtnaau_1911-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1911/07_01/bmtnaau_1911-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01", "articles": [{"article_id": "bm-bmtnaau-1911-07-01-c002", "article_bluemountain": "bmtnaau_1911-07_01#c002", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.2", "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=bmtnaau191107-01.1.2", "debut_caractere": 531, "fin_caractere_exclue": 1737, "texte": "LITERARY CONTENTS.\nTWO POEMS Walt Whitman. . : . . • *•\nTO SAVE THE THEATRE John Semar . 4.\nTHE OPEN AIR.- Edward Edwardovitch. . r 8.\nBRIEUX AND BERNARD SHAW . . . Louis Madrid . . . . >3-\nTHE COURAGE OF THE IMPRESARIO . . Adolf Furst. . . • • >7-\nFIDDLE DE DEE. Allen Carrie. . . • >9-\nIN DEFENCE OF THE ARTIST. . . . John Balance 22.\nWONDERFUL ABOMINABLE AMERICANS. . John Semar. . . . . 25.\nTHE TUSCAN \" MAGGI \" Pierre Ram6s. ; 28.\nARTISTIC DEBAUCHERY An Extract from the writings\nof George Moore with a Note\nby J. 34«\nA HISTORICAL PAGEANT IN KYOTO. . . Lafcadio Hearn. ... 37-\nDOES THE REAL ENGLISHMAN GO\nTO THE THEATRE ? A Note by . . Gordon Craig .... 37.\nA WORD ABOUT APPLAUSE. . . . Goethe 39-\nCAMBRIDGE UNIVERSITY AND ITS BAN ON\nACTRESSES . C. G. Smith 4>.\nETERNITY AND SOAP BUBBLES . . - . J.van Holt 43-\nMORE CIRCUS CLASSICS. . Adolf Furst .... 45.\nITALIAN WOODCUTS. A Note upon their\nUse to the Modern Scene Designer. . Felix Urban 47*\nLETTERS TO THE EDITOR 57-\n& BOOK REVIEWS. FOREIGN NOTES. £> EDITORIAL NOTES.\nShort Extracts from the Words or Writings of Madame Eleonora Duse, Garibaldi,\nRuskin, R. L. Stevensen, La Bruyere, Nietzsche, Walt Whitman, Oscar Wilde,\nPages 3, 7. 16, 21, 24, 27."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c003", "article_bluemountain": "bmtnaau_1911-07_01#c003", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.3", "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=bmtnaau191107-01.1.2", "debut_caractere": 1739, "fin_caractere_exclue": 2195, "texte": "ILLUSTRATIONS.\nWALT WHITMAN. (Frontispiece). . . . Gordon Craig. (1898) . Face 1.\nA MASK FROM THE JAVANESE. . . . Julius Oliver. , . 11.\nPROFESSOR BRANDER MATTHEWS. . . From \" New York Review \" . 21.\nMONTH OF MAY FESTIVAL. ... Old Florentine. . . „ 32.\nCOMPANY OF THE MANTELACCIO. . . „ „ . 48.\nSACRE RAPPRESENTAZION1 . . . „ following ,, 48.\nFOUR SCENES FROM OLD STORIES. . . „ „ . „ 57. 58.\nHEAD AND TALE PIECES by Oliver, Borrow: and others. 49, 51, 55."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c004", "article_bluemountain": "bmtnaau_1911-07_01#c004", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.4", "titre_corps": "Portrait or Wait Whitman Frsm \"The Page\" 1893", "titre_sommaire": "Portrait or Wait Whitman Frsm \"The Page\" 1893", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 84, "texte": "Portrait or Wait Whitman Frsm \"The Page\" 1893. Designed and Engraved by Gordon Craig"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c005", "article_bluemountain": "bmtnaau_1911-07_01#c005", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "3", "image_debut": 5, "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=bmtnaau191107-01.2.5", "titre_corps": "TWO POEMS : REPRINTED HERE BY PERMISSION OF HIS LITERARY EXECUTORS", "titre_sommaire": "TWO POEMS : REPRINTED HERE BY PERMISSION OF HIS LITERARY EXECUTORS", "signature_source": "WALT WHITMAN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1240, "texte": "TWO POEMS\nREPRINTED HERE BY PERMISSION OF HIS LITERARY EXECUTORS\nBY WALT WHITMAN\nTO A FOIL'D EUROPEAN REVOLUTIONAIRE\nourage yet, my brother or my sister !\nKeep on.....Liberty is to be subserv'd whatever occurs ;\nThat is nothing that is quell'd by one or two failures, or\nany number of failures, %\nOr by the indifference or ingratitude of the people, or by any unfaithfulness,\nOr the show of the tushes of power, soldiers, cannon, penal statutes.\nWhat we believe In waits latent forever through all the continents,\nInvites no one, promises nothing, sits in calmness and light, is positive\nand composed, knows no discouragement,\nWaiting patiently, waiting its time.\n(Not songs of loyalty alone are these,\nBut songs of insurrection also,\nFor 1 am the sworn poet of every dauntless rebel the world over,\nAnd he going with me leaves peace and routine behind him,\nAnd stakes his life to be lost at any moment.)\nThe battle rages with many a loud alarm and frequent advance and\nretreat,\nThe infidel triumphs, or supposes he triumphs, *\nThe prison, scaffold, garrotl, handcuffs, iron necklace and lead-balls do\ntheir work,\nThe named and unnamed heroes pass to other spheres,\nThe great speakers and writers are exiled, they lie sick in distant lands,"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.6", "debut_caractere": 27, "fin_caractere_exclue": 1375, "texte": "The cause is asleep, the strongest throats are choked with their own\nbiood,\nThe young men droop their] eyelashes toward the ground when they\nmeet ;\nBut for ail this Liberty has not gone out of the place, nor the infidel\nenter'd into full possession.\nWhen liberty goes out of a place it is not the first to go, nor the\nsecond or third to go,\nIt waits for ail the rest to go, it is the last.\nWhen there are no more memories of heroes and martyrs,\nAnd when all life and ail the souls of men and women are discharged\nfrom any part of the earth,\nThen only shall liberty or the idea of liberty be discharged from that\npart of the earth,\nAnd the infidel come into full possession.\nThen courage European revolter, revoltress !\nFor till all ceases neither must you cease.\nI do not know what you are for, (I do not know what I am for myself,\nnor what any thing is for,)\nBut I will search carefully for it even in being foil'd,\nIn defeat, poverty, misconception, imprisonment...for they too are great.\nDid we think victory great ?\nSo it is...but now it seems to me, when it cannot be help'd, that defeat\nis great,\nAnd that death and dismay are great.\nWHEN I HEARD THE LEARNED ASTRONOMER.\nI heard the learn'd astronomer,\nWhen the proofs, the figures, were ranged in columns before me,\nWhen I was shown the charts and diagrams, to add, divide, and\nmeasure them,"}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.7", "debut_caractere": 27, "fin_caractere_exclue": 323, "texte": "When I sitting heard the astronomer where he lectured with much ap-\nplause in the lecture-room,\nHow soon unaccountable I became tired and sick,\nTill rising and gilding out I wander'd off by myself,\n/n the mystical moist night-air, and from time to time,\nLook'd up in perfect silence at the stars."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c009", "article_bluemountain": "bmtnaau_1911-07_01#c009", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "3", "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=bmtnaau191107-01.2.6", "titre_corps": "AN INVITATION", "titre_sommaire": "AN INVITATION", "signature_source": "Giuseppe Garibaldi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.7", "debut_caractere": 325, "fin_caractere_exclue": 894, "texte": "AN INVITATION.\nGiuseppe Garibaldi. July 2nd 1849.\nwho betrays us today, will smile on us tomorrow. I am going\n\" out from Rome. Let those who wish to continue the war against the\n\" stranger, come with me. I offer neither pay, nor quarters, nor provi-\n\" sions; 1 offer hunger, thirst, forced marches, battles and death. Let him\n44 who loves his country in his heart and not with his lips only, follow\n** me.\nTO SAVE THE THEATRE MUST BE DESTROYED; THE ACTORS\nAND ACTRESSES MUST ALL DIE OP THE PLAQUE.... THEY\nPOISON THE AIR, THEY MAKE ART IMPOSSIBLE.\nMadame Eieonora Duse."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c011", "article_bluemountain": "bmtnaau_1911-07_01#c011", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "4", "page_fin": "7", "image_debut": 8, "image_fin": 11, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.7", "titre_corps": "\"TO SAVE THE THEATRE OF ENGLAND\"", "titre_sommaire": "\"TO SAVE THE THEATRE OF ENGLAND\"", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 2120, "texte": "\"TO SA VE THE THE A TRE OF ENGLAND\"\nby John Semar.\n\" TO SAVE THE THEATRE THE THEATRE MUST BE DESTROYED ; THE\nACTORS AND ACTRESSES MUST ALL DIE OF THE PLAQUE. THEY POISON\nTHE AIR, THEY MAKE ART IMPOSSIBLE\". Madame Eleonora Duse.\nHphat is to say, Art Is made impossible in the Theatre of England by\nSir Herbert Tree, Mr George Alexander, Sir Charles Wyndham, Mr\nFred Terry, Mr Oscar Asche, Mr Lewis Waller, Mr Arthur Bouchier,\nand by their leading ladies and companies of players ; and that which\nstands for Art at His Majesty's Theatre, at the St James's, the Garrlck,\nthe Haymarket, must be destroyed in order to save the Theatre of England.\nIt is not often that there comes so clear and direct a statement from\na ruler.... and Madame Duse can be looked on as Ruler by Divine Right\nover the actors.\nThis statement by the world's foremost actress will be found again\nseveral times in the pages of this number of Mask. It is the only\nsentence possible to be passed upon the success of vulgarity.\nThe statement needs no explanation. It is clear. Had it been uttered\nby anyone who was using the theatre as a means to pursue some par-\nticular selfish intrigue for fame or money we might look upon it with\nsuspicion. But Madame Duse has never been self-seeking, and cares not\nwhom she pleases or offends in following steadfastly the ideals she has\nset up to be followed ; and it is to her incorruptable conscience that we\nshould all do reverence. & J\n& The theatrical world is without a conscience. It will sell its soul for a\nsuccess, for a high salary, for good terms,.... in short, for twopence.\nNearly everyone in the theatre works from self-interest, not for the\ntriumph of the Art nor even for a lesser ideal.\nThis cannot be said of the Literary world, nor of the Painters nor\nthe Musicians.\nNow it will instantly be said by those belonging to the modern theatre\nthat The Mask, being a theatrical journal, is a traitor to the Theatre.\nIf so they accuse Madame Duse of being the same.\nBut it is because we love the Theatre,.... and Madame Duse is a child\nof the Theatre.... and hate this parody of a Theatre which England"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.9", "debut_caractere": 36, "fin_caractere_exclue": 2281, "texte": "offers us in place of a true one that we have always attacked and will\nalways attack it. &\n& Sir Herbert Beerbohm Tree, for example, has lowered the Theatre\nfrom what it rose to be In the time of Sir Henry Irving.... and yet he\nclaims to be looking after its interests.\n£? He no doubt attends to many matters connected with the affairs of\nthe technical profession, and spends his time and strength generously in\ncombatting the Music Halls or Mr Seymour Hicks or some other imagi-\nnary gigantic foe. But none of his energy or his time is spent in fighting\nthe real foe,... himself and his appalling unconsclenciousness. & &\nFor he is the worst enemy of the English Theatre today. Under the\nguise of friendship he undermines its very existence. When he should be\nfeeling, thinking and acting as an artist feels, thinks, and acts, he Is in-\nstead performing like a shopkeeper.\nAn artist has no time to spend away from his Art, and If Sir Herbert\nTree takes himself to be an artist he should act like one. But he does\nnothing of the kind. &\nCompare, for example, Sir Herbert Tree with M. Rodin. Both have\ncompanies of craftsmen to direct, expenses to meet, the responsabilities\nattached to big undertakings to fulfil; both have at their disposal the\nmaterial required for the expression of their own art, both have to show\ntheir work to tbe public: but whereas the one, M. Rodin, produces\nmasterpieces of the art of sculpture, the other, Sir Herbert Tree, while\nclaiming to be an artist of the theatre, produces but .... himself.\n& And as Madame Duse \" handled the little piece of clay in which\n\" two figures, suggested not expressed, embrace passionately, in a\n\" tightening quiver of the whole body, which seems to thrill under one's\n'* eyesight, it seemed as if force drank in force until the soul of the woman\n*' passed into the clay, and the soul of the clay passed into the\n'• woman ■£? & &\nThis is how Madame Duse is moved when she looks upon the art of\nRodin : and when thinking of the work of Sir Herbert Beerbohm Tree\nand his fellow-actors she cries out, \" They make art impossible \".\nSuch a state of things ought no longer to continue.\n\n(I) My quotations are from 44 Studies in Seven Arts 99 f one of the finest of Mr Arthur Symon's works."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.10", "debut_caractere": 30, "fin_caractere_exclue": 2261, "texte": "4? Let something be done this year to correct all this.... What?\nLet there be schools for the art established and let them be controlled\nby the few artists who have been born to the art of the theatre and let\na search be made for men whose conscience in this important matter of\ntheir art is clear, and let these control our schools.\nit will be argued that there already are such schools. This is\nfalse. There are no such schools, if is necessary that such schools should\nbe established because the theatre can become part of the nation only\nthrough its educational function.\nNot that I mean to suggest that the theatre educates la the dry sense\nof the word. Not that at all. What 1 and many others Insist on is that\nthe theatre itself needs education. Those who would work in it should\nbe required first to qualify themselves. No one, not even a super, should\nbe allowed into the theatre until he had passed some examination. If\nthis were possible, (and it Is easily possible), it would not be long before\nthe whole theatrical world would be as well as seem a very different\nplace.\nSalaries also would undergo an extraordinary transformation ; prices\nfor scenery and lighting would alter; a production would cost two\nthousand pounds where formerly It had cost five thousand.\n& And why ? For the reason that distinction and taste would be brought\nInto the theatre with the entrance into the theatre of trained minds,\nand taste, which is independent of material, knows how to adorn\nwithout cost, and distinction of mind knows how and where to econo-\nmize in everything but brains. To realize this we have only to turn from\nthe West to the East, from England to Japan, where all classes display a\ntaste and distinction, a capacity for achieving the maximum of beauty\nwith the minimum of expense which is undreamed of among the English,\nwho, inversely, succeed in obtaining only a minimum of beauty with a\nmaximum of cost. &\nBut such taste and distinction are the outcome of the long training\nand severe discipline enforced among, and submitted to unquestioningly\nby the Japanese in every department and activity of life : and until we\nIn England are ready to submit to the same discipline we cannot hope\nto obtain the same results. &"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.11", "debut_caractere": 40, "fin_caractere_exclue": 814, "texte": "JS? This is especially the case with the theatre. Nowhere is training and\ndiscipline more sternly needed. But for such discipline and training\nwe need a school, a college, in which shall be developed fine=cut incisive\nbrains and beings to produce the ideal.& &\n£? Only in such a school do 1 see a hope, for only then do I see the pos=\nsibility of the development of new minds which shall mould the little\nworks of art or the great works, or any kind of works; touching ail, small\nor great, with the distinction inherent in themselves. Only a school,\nand even then only a very serious and difficult school can\nachieve this for the theatre; for the function of such schools will be to\n44 produce great persons \" who shall destroy the theatre that the theatre\nmay be saved. J£?"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c012", "article_bluemountain": "bmtnaau_1911-07_01#c012", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "7", "page_fin": "7", "image_debut": 11, "image_fin": 11, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.8", "titre_corps": "THE LAW OF HARMONY", "titre_sommaire": "THE LAW OF HARMONY", "signature_source": "Walter Pater", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.11", "debut_caractere": 816, "fin_caractere_exclue": 1440, "texte": "THE LAW OF HARMONY.\nWalter Pater, Plato and Platonism.\nare t° become....like little pieces in a machine, you may complain...\nNo, like performers rather, individually, it may be, of more or less\nimportance, but each with a necessary and inalienable part, in a perfect\ncT*.\nmusical exercise which is well worth while, or in some sacred liturgy;\nor like soldiers in an invincible army, invincible because it moves as one\nman. We are to find, or be put into, and keep, every one his natural\nplace; to cultivate those qualities which secure mastery over ourselves,\nthe subordination of the parts to the whole, musical proportion."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c013", "article_bluemountain": "bmtnaau_1911-07_01#c013", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "7", "page_fin": "7", "image_debut": 11, "image_fin": 11, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.9", "titre_corps": "THE INDEPENDENCE OF IMAGINATION", "titre_sommaire": "THE INDEPENDENCE OF IMAGINATION", "signature_source": "John Ruskin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.11", "debut_caractere": 1442, "fin_caractere_exclue": 1708, "texte": "THE INDEPENDENCE IMAGINATION\nJohn Ruskin. Modern Painters. Vol. 2. III.\nA\" egotism is destructive of imagination, whose play and power depends\naltogether on our being able to forget ourselves.... Imagination has no\nrespect for saying or opinions : it is independent."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c015", "article_bluemountain": "bmtnaau_1911-07_01#c015", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "8", "page_fin": "10", "image_debut": 12, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.10", "titre_corps": "THE OPEN AIR : Some Unanswered Questions by Edward Edwardowitch", "titre_sommaire": "THE OPEN AIR : Some Unanswered Questions by Edward Edwardowitch", "signature_source": "Edward Edwardowitch", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 1957, "texte": "THE OPEN AIR. Som Unanswered\nQuestions\nby Edward Ed war dowitch.\n\"WE SHOULD RETURN TO THE GREEKS... PLAY IN THE OPEN AIR\".\nMadame Eleonora Duse.\nhat does Madame Duse mean ? Many there are who\n\" return to the Greeks \". What do they do ?\n0 They dress like Greeks, In London or the capitals of\nthe Continent; they talk of Athens; they study Greek\nvases and buy imitation terracottas from the dealers;\nthey do all this and attain to the level of Canova and that false clas-\nsicism which he and his times revelled in. Sandals are not classic nor\nis the bare arm or leg a scrap more Greek than Ethiopian. So that\nif, as the great Italian actress says, we must \" return to the Greeks\nshe means something different from what we have done up to the present.\n& she adds that we must \" play in the open air 0\n40 Those Canovaites have always played by candlelight, by gaslight or\nby aid of that greater light, the arc=!amp, and generally in a closed\ntheatre. But the ordinary light of day seems inadequate for them,... it\nis too natural; not \" classic \" enougn. 0\n0 Obviously we should not interpret Madam Duse s order in the way\nthe followers of Canova interpret it. We must avoid sandals, Greek\nrobes, Greek masks, Greek theatres, Greek dancing, Greek vases, and\nalso, it almost goes without saying, steer clear of that anything but\nGreek fire, the artificial light of a modern theatre. 0 0 0\n0 Thus we are left with the daylight and the open air, and the use of\nit when we know how to make use of it: with Tragedy and Comedy, two old\nfriends, the Drama; with a covering for the body called costume, and a\nbackground known as 00000\n40 Well but, we say, we already have drama, costume and scenery, and\nwe can if we will turn on the light of day; it is cheap enough. 0\n40 But we cannot. To turn the light of day on to our modern scenery,\ncostume, actors and dramas would be to cheapen them at the same\n\n(1) Arthur Symons. \" Studies in Seven Arts \"; Constable ; page 336"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.13", "debut_caractere": 15, "fin_caractere_exclue": 2186, "texte": "time. Daylight is only for works of art: humbug works by artificial\nlight. & & & ' &\nTherefore what Madame Duse means is that we should drop tlie\nhumbug, go into the open, and become Greeks in so far as the Greeks made\nno use of trickery in their art and also by following the same principles\nwhich lie at the roots of the art of the theatre.\nThus we see that Madame Duse has said a very wise and truthful\nthing.\nAnd now 1 ask you is all that possible, until you know what the princi-\nples of the Greek theatre were ? I do not here speak of Greek dramatic\nliterature but of the Greek theatre of Interpretation.\nHow did the Greeks interpret their dramas ? How did they train\ntheir chorus, their actors ? How many colours were allowed to be used\nin their scenery, how many in their costumes? Were the arms of their\ndancers always kept waving, or was there any rule about this? And what\nof the voices in Greece ? What laws controlled the voice there ? Might\n#\nthe voice take liberties as it does in speech or was it confined to certain\nnotes as though it were the instrument of music?\nAll this must first be satisfactorily answered by those who hold with\nMadame Duse that we must play in the open air once more. For If it is\nright to say we must do this it is not easy to say How to do it.\nThe open air is at once the most lawful and the most illegal place in\ncreation. All is allowed there except the unnatural. And what is that?\nThat too will have to be settled before we can begin. For what is natural\nin the open air is held to be most unnatural in a drawing-room, and\nvice-versa. And we who are listening to Madame Duse's order belong to\ndrawing-rooms or libraries or some closed=in box of a place built by the\nbrain of modern civilization.\nAnd our audience is a regular tea-table fringe of humanity. Their\n\" naturalness \" is certainly not Greek, although the Canovaites, by\ngoing in much for afternoon teas and \" high society \", attempt to edu-\ncate the poor things. J£/\nThus we see that we are all of us unable to play in the open air\nbecause we cannot return to the Greek spirit nor achieve the Greek\ntechnique. And yet we could do this and more, could out-Greek the"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.14", "debut_caractere": 15, "fin_caractere_exclue": 1458, "texte": "most classic period of Greek art, could turn the very word \" Classic\"\ninto a little neighbour=word to \" Romantic \" if we could only be content\nto begin at the beginning and develop strongly and steadfastly the love\nthat is in the English nature. 3ut we should want a little collaboration.\nLove always demands that. The collaboration of our country, and a\nlittle less cheap criticism from our country, and especially from its\nwomen ; for indeed while a nation delegates to its women folk the task\nof lowering the standard of art it can be sure that the standard will\ntrail on the ground,\nJZ? Yet it is a woman, you say, who proposes for us all the new standard\nin theatrical art\nYes; and there her task ends :.... to encourage us by pointing the\nway, by suggesting a new way, for the right way is everlastingly new\neven after two thousand years. To taunt us , that indeed is\nin woman's province, her right and our privilege; and only a few women\nare able to avail themselves of the right, the majority having bartered\nit away for the privilege of appearing silly, at the expense of all the\nwonderful things in art and nature.\nAnd what then ? What is the next step to realizing this ?\nThe next step is to\nNow who is reading this ? It all depends upon that. I am ready to\ntell two kinds of people the answer ; princes or millionaires: for the\nartists already know, and except for these three whom else does it concern\nuntil it is accomplished ? &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c018", "article_bluemountain": "bmtnaau_1911-07_01#c018", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "11", "page_fin": "11", "image_debut": 15, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.11", "titre_corps": "Design for a Mask", "titre_sommaire": "Design for a Mask", "signature_source": "Johns Oliver", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 63, "texte": "Design for a Mask; from the Javanese. Engraving by Johns Oliver"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c019", "article_bluemountain": "bmtnaau_1911-07_01#c019", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "13", "page_fin": "16", "image_debut": 17, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.12", "titre_corps": "BRIEUX AND BERNARD SHAW : A Note on Two Social Reformers", "titre_sommaire": "BRIEUX AND BERNARD SHAW : A Note on Two Social Reformers", "signature_source": "Louis Madrid", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 2087, "texte": "BRIEUX AND BERNARD SHAW. A Note on\nTwo Social Reformers\nby Louis Madrid.\nT4ie Englishman is furious about Brieux and about Shaw, and now\nthat the two have come together in a volume of plays issued by\nPifield of Clifford's Inn who publishes most of the works on Socialism\nand the Pabian Society, the Englishman has just gone mad with rage\nand drawl for the moment. Later on he will come to his senses. He will\ndiscern, select, accept and refuse and put the two authors in their\nplace.\nFor my part I am happy to see Mr Shaw in his role of Social Reformer\nwhen his face is so free from smiles as in the Preface to M. Brleux's\nplays. As a social reformer surely we have no one in England to equal\nhim. We of the theatre dislike Mr Shaw only when he brings his social\npropaganda on to the stage, for it explains too nicely how little Mr\nShaw understands the nature of the Theatre, and it is hardly necessary\nto repeat here that the Theatre is a temple or house for Art, and Art has\nnever flourished when in connection with Social or Political reform\n*\nit having nothing in common with either, (i.)\nMr Shaw in his Preface says that M. Brieux has written fifteen plays\nand that it is high time for us to begin to read him.\nOne feels Mr Shaw is right in this. Is there anyone who thinks other-\n*\nwise? Ah yes, unfortunately there are the millions, the thousands and\nthere are the hundreds.\nIt is the hundreds who count for these are the few who lead public\nopinion. They profess never to have heard of M. Brieux.\n& This pretended ignorance is the Englishman's sole refuge on the day\nwhen some other highly-strung but drawling-voiced Britisher asks him\nif he has heard of, seen or read such and such a book, person or idea.\nIt is as if some one had asked him if he has seen, heard or spoken with\nthe devil.\nThis is the worst thing that can be said about our Englishman. When\nhe puts that right he will be what he now believes himself to be,....\nthe first European.\n\n(1) By the bye, is it to Sir Herbert Beerbohm Tree's credit as a theatre director that he had the courage to\nproduce one of them ?"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.18", "debut_caractere": 25, "fin_caractere_exclue": 1959, "texte": "& So one finds according to Mr. Shaw that English people have not\nread M. Brieux. Mr A. C. Flfield makes It now possible for them to do\nso and M. Brieux Is instantly at a disadvantage. For when the English-\nman has read these plays he will wonder what the devil Brieux is doing\nin that galley.\n& 2V|. Brieux is like Mr Shaw a social reformer and both are assuredly\ndestined to make names as such. As artists, as creators who fly with\nthe angels, they will be unheard of. They have joined Issue with the\nbrave and stubborn angel of whom Milton wrote:\nhis pride\nHad cast him out from heav'n, with all his host\nOf rebel-angels; by whose aid aspiring\nTo set himself in glory 'bove his peers,\nHe trusted to have equalled the Most High,\nIf he opposed ; and with ambitious aim\nAgainst the throne and monarchy of God,\nRais'd impious war in heaven, and battle proud,\nWith vain attempt.\nWe artists do not much care about those who revolt against the\nprinciples governing their home. We love those who revolt against the\ndestruction of those principles.^\nMr Shaw and M. Brieux are enemies of humanity because, being\nwriters, they have failed to understand the constructive part which art\nand artists play in the world-Drama by the incessant production of\nthings of beauty. And we are-all old enough and and wise enough, I\nthink, to realise now that by beauty we mean things not only externally\nbeautiful but beautiful in spirit. Thus things become beautiful in\nhands that know what beauty of touch is and all things are beautiful\nas they pass through the thoughts of a really human being...and great\nartists are more human than M. Brieux or Mr Shaw.\nIt is only when we become inhuman and unnatural that ugliness\nenters into us and we are permitted to see ugliness for the first time\nand punished by being permitted to have our own way. For to realize\nugliness Is to suffer. &\nWhat M. Brieux writes about in his works a're sad things and terrible"}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.19", "debut_caractere": 20, "fin_caractere_exclue": 2131, "texte": "things. He writes of the triumph of evil. But because they are sad and\nterrible they are not necessarily unbeautiful. He makes them ugly\nbecause he puts them before us with his arms crossed on his breast and\nall his conceit blinding him and appalling us.\n■£> M. Brleux thinks he can right the world with his arms crossed. Let\nhim but once perceive that things are not so easily set right, let him\nonce be startled into recognising that only by loosening those hands of\nhis which he hides under each armpit, by giving those stiff arms which\nhe contracts, and then his whole person to the world can he achieve that\nwhich iiis instinct so far has rightly told him he ought to attempt.\n%\nBoth M. Brieux and Mr Shaw have brains; both of them obviously\nhave the noblest of intentions; both of them are courageous, and for\nthis one admires them unreservedly. But neither of them is human,\nneither of them can win humanity to do as he wants. They are\nwithout the milk of human kindness which after all has helped and ruled\nthe world since the first man-child was suckled by a loving woman.\nI look for a place in my shelves for this book by Shaw and Brieux.\nWhere can it go ? By the side of the sensitive Shelley?... poor Shelley I\nno, I must find same other companion for it. Perhaps near Rabelais ?\nNo, the room would be incessantly filled with the new-born peals of his\nterrific and baffling laughter. It shall, go then between the two works\nof Whitman, 44 Leaves of Grass \" on one side, \" Specimen Days \" on the \"\nother. So will it lie pressed like a somewhat soiled handkerchief between\ntwo sachets of sweetest lavender:...\n1 hear it was charged against me that I sought to destroy institutions,\nBut really I am neither for nor against institutions,\n(What indeed have I in common with them? or what with the destruc-\ntion of them ?)\nOnly I will establish in the Mannahatta and In every city of these States\nInland and seaboard,\nAnd in the fields and woods, and above every keel little or large that\ndents the water,\nWithout edifies or rules or trustees or any argument,\nThe institution of the dear love of comrades."}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.20", "debut_caractere": 27, "fin_caractere_exclue": 213, "texte": "& At last M. Brleux and Mr Shaw have found a companion who will\nnot deny them his whole sympathy and respect, but who will,.... who\nknows... perhaps \" filter and fiber \" their blood. & &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c020", "article_bluemountain": "bmtnaau_1911-07_01#c020", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.13", "titre_corps": "THE UGLY IN ART", "titre_sommaire": "THE UGLY IN ART", "signature_source": "R. L. Stevenson", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.20", "debut_caractere": 215, "fin_caractere_exclue": 965, "texte": "THE UGLY IN ART\nExtract from a letter from R. L. Stevenson\nto W. E. Henley. 1883, from Hyères.\nYour remarks about the ugly are my eye. Ugliness is only the prose\nof horror. It Is when you are not able to write Macbeth \" that you\nwrite \" Therese Ruquln.\" &\n& Fashions are external: the essence of art only varies in so far as\nfashion widens the field of its application ; art is a mill whose thirlage,\nin different ages, widens and contracts ; but in any case and under any\nfashion, the great man produces beauty, terror and mirth, and the little\nman produces cleverness, (personalities, psychology) Instead of beauty,\nugliness instead of terror, and jokes instead of mirth.\nArt was in the beginning, is now and ever .shall be world without\nend. Amen."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c022", "article_bluemountain": "bmtnaau_1911-07_01#c022", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "19", "image_debut": 21, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.14", "titre_corps": "THE COURAGE OF THE IMPRESARIO : An Appreciation by Adolf Furst", "titre_sommaire": "THE COURAGE OF THE IMPRESARIO : An Appreciation by Adolf Furst", "signature_source": "Adolf Furst", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 2135, "texte": "THE COURAGE OF THE IMPRESARIO. An\nAppreciation\nby Adolf Furst.\nhere is something positively reckless about the daring of the\nImpresario. His noble courage is so exceptional that it is sur-\nprising that he is so little known. When Signora Duse or Signor\nGrasso performs on the stage who Is It gets the credit for their perfor-\nmance ?.... Why, Signora Duse and Signor Grasso. Who should get the\ncredit ? why, who but Signor the Impresario! For after all, who and what\nis the performer? A name. And with whom lies the credit of having made\nthat name ? The Impresario. Who watched the tender steps of the infant\nprodigy ? The Impresario. Who ran to catch him when he fell ? The Im-\npresario. Oh noble man, oh beautiful figure in the dark annals of the\ntheatre. Oh benign unselfish creature, more than a father!\nBut it is not only the gentle side of the Impresario's character which\ncauses the flush of pleasure to spring to our cheeks: it is above all else\nhis reckless moral courage.\n£? Bring that man an assured success, give him a round sum to back it.\nmake a contract with him so that he has all rights over you for all lands,\nand what is there he will not do to you ? £/ &\nBut take him something which is not an assured success, something\nwhich may be wonderful, most beautiful, most original, and you will\nnot ever find that man so reckless, so rash, so foolish, so eccentric as\nto attempt anything with it. No, that man's courage is not the ordinary\ncourage. & Mark you, strange as it may seem,., and 1 am not afraid of\nseeming to be paradoxical, so much do I believe in the man,.... mark\nyou, that courage almost reaches an altitude when It may be called\ndownright timidity. For what is courage, but caution, what caution\nbut care, what care but has in it a sense of danger, what is a sense of\ndanger but a feeling of timidity ? In short, as for exceptional creatures\nexceptional laws are made, so for the Impresario, I say, some words can\nmean other than what they originally meant. & & &\nWe are not to judge this man by usual standards. The dictionary\nloses its significance in his presence. Thus, as I say, (< courage \" becomes"}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.22", "debut_caractere": 31, "fin_caractere_exclue": 2152, "texte": "\" timidity \" honesty \" becomes \" knavery \" and mark me, I am\nnot offering any excuses for the subject of my paper. \" Knavery \" you\nmay say, Is a bad thing; but judged as part and parcel of this man's\nstupendous individuality knavery loses its ancient] and dishonourable\nsense.\nThe Knave of Hearts stole some tarts,.. yes, Sirs, and 1am not going\nto deny it; but I defy you to convict him until you have told me the\nreason WHY he stole those tarts. JE? <£/ £/\nAnd it is for the same reason that I refuse to look upon the knavery\nof the Impresario in the same light as I should look upon the knavery of\nan ordinaiy man.\nCan you tell me WHY the Impresario is a knave ? Why he manages\nblackmail so delicately, and intrigue so incessantly ? and can you, with\nthe consciousness that you are speaking the truth, tell me that he is so\nfar guilty, that he should be carefully watched by the authorities?\n1 have every reason to speak of him as an exceptional man,.... a man\nnoble but mean, an honest man but a rogue, a man who has not yet\nreaped the full reward of his honourable yet dishonest services; a man\nwho is supposed to be \" well-known but even here you cannot tell\nme WHY. JE>J£?JE?JE>JE>J&J&J&\nOnly the other day I saw in the Daily Mail that \" the well-known\nImpresario M. Gabriel Astruc \" had arranged something or other,.... 1\nthink It was the daring experiment of bringing Mr George Edwards'\nsuperb Musical Comedy Company to Paris.\nJE> Well now, why is M. Astruc \" well-known \" ? Who is it that knows\nhim well ? No, no, Sirs, depend upon it he is too little known and should\nhe be known would be known to be a greater man than he appears to\nbe by the chance and prejudiced paragraphs which are put in the Daily\nPress\n& Then there Is the well-known Impresario Charles Prohman. In spite\nof The Mask and' its prejudice against \" Sir Charles \" I cannot but\nthink that we know too little of this noble being. And at the risk of\nbeing thought to be what 1 am,... an enthusiastic admirer,... I ask Who\nmade Maude Adams ? Who made Ellen Terry ?: and Who made Mrs\nKendal ? and the reply is a direct one..., \"Mr Charles Prohman"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.23", "debut_caractere": 31, "fin_caractere_exclue": 644, "texte": "por what would Mrs Kendal have been without Sir Charles ? What\nMiss Ellen Terry ? What Miss Maude Adams ? & & & &\n& Then again, who was it proved that the Repertory Theatre could\nsucceed in London ? Why, Mr Frohman. & &\nTherefore 1 say that the Impresario must not be judged by us as or-\ndinary people are judged, for he is an exceptional being. & &\nBut for all that, the sooner the authorities get hold of him and help\nhim and every one of his kind to understand that there is not room\nenough for men to be so great and so exceptional as the Impresario is,\nthe better for the public, the theatre and the art. & &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c025", "article_bluemountain": "bmtnaau_1911-07_01#c025", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "19", "page_fin": "21", "image_debut": 23, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.15", "titre_corps": "FIDDLE-DE-DEE : Or, Professor Brander Matthew's infallible receipt for making an omelette without eggs", "titre_sommaire": "FIDDLE-DE-DEE : Or, Professor Brander Matthew's infallible receipt for making an omelette without eggs", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.23", "debut_caractere": 646, "fin_caractere_exclue": 1551, "texte": "FIDDLE-DE-DEE\nOr, Professor Brander Matthew's infallible\nreceipt for making an omelette without eggs,\nby Allen Carric.\njprofessor Brander Matthews who occupies the chair of Dramatic Litera-\nture at Columbia University, stands for all that is unpractical, unori-\nginal and Impotent in America. He is said to be American, yet nearly\nevery thought he utters Is the faint meaningless echo of something said\nor written by some European. His own original Ideas come out rather\n>\nstronger, but then these are so banal or so vicious that it were better\nhe had not uttered them. America ought to have no room for such\nfellOWS.\nFor a really vicious statement listen to the following. He tells the\nPublic that the way for a young playwright to know how to create a\ndrama is 44 by going to the theatre where a successful play is running and\n44 watching the audience as well as the play \"«44 1 would suggest\", he says,"}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.24", "debut_caractere": 16, "fin_caractere_exclue": 2388, "texte": "\" that the young man who is thinking of writing plays should go and see\n44 every successful play produced during the season at least ten times, until\n44 he notes the effect of every line and every bit of action upon the au=\n44 dience. There is no other way of learning how to write plays\nHe then proceeds to assert that Shakespeare and [Molifcre worked by\nthis rule of the Professor of Dramatic Literature of Columbia University.\nNow this kind of teaching is not dangerous. America will survive it\nand centuries more of its kind ; but isn't it tiresome to think that such\nthings are allowed to be let loose in such a wonderful country ?It was\nto destroy such teaching and such men that America gave birth to Its\ngreat literary men; amongst others to Walt Whitman. He taught that art\nliterature, drama and all that is strong and beautiful is not to be created\nin America by looking backward, or by any trick or according to any\ndry rule or system but only by absorbing nature.... the nature of America :\nby feeding not upon the dry bones of things from the European desert\nbut by drinking the intoxicating juices of American fruit.\nIn a recent Interview Professor B. Matthews was asked 44 May the true\nliterary value of a drama be measured by the box office receipts ? \"\nAnd the stupendous reply was, \" That is as good a way of estimating\nthe literary value of a play as any other \".\nAgain,... 44 Do you think that our playwrights are better than the\npresent generation of English dramatists ? \" \" Even if 1 thought so \"\nfaltered the Professor, 441 would not say so\"...\nHow proud America must be of so courageous a son I jgr\nOnce more:.... 44 Has commercialism had an evil influence in your\nopinion on dramatic art in this country ? \" asked the Interviewer.\n44 Drama has always been commercial\" answered Professor B.\nMatthews blandly44 The keener the managers are to make money the better\nshould be the output of the dramatist\".\n& 44 I do not think that the public has ever refused to patronize a good\n44 play at any time in the history of the theatre\", &\n& All this and more appeared in an American Review upon April 1st 1911.\n\n(I) The writer remembers playing 44 Cassio \" in Shakespeare's 44 Othello \" to a theatre containing exactly\neighteen shilling's worth of patrons for the said 44 good play This was in England, and the actors were\n•4sober, clean and word-perfect\"."}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.25", "debut_caractere": 16, "fin_caractere_exclue": 715, "texte": "The date is ominous. Yet even if it is all a\njoke, what right has an American Professor\nto fool the United States in this way ?If it\nis all serious is there no one else to be found\nIn the whole of America to fill that chair\nIn Columbia University? For this kind of\ntrash brings discredit on the whole faculty.\nAnd Professor B. Matthews has been at the\ngame for years now. It is such a pity...\nsuch a grievous pity... that an old fellow\nlike this Professor is allowed to chatter\non pompously about what he never has\nunderstood and what he thinks is so easy\nto explain.^\n& And this is what he looks like, Reader.\n1 leave you together. jZ? jz?\n\n(1) We reproduce this drawing from the 41 New York Review"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c027", "article_bluemountain": "bmtnaau_1911-07_01#c027", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.16", "titre_corps": "CONNOISSEURS", "titre_sommaire": "CONNOISSEURS", "signature_source": "La Bruyere", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.25", "debut_caractere": 717, "fin_caractere_exclue": 1424, "texte": "CONNOISSEURS.\nLa Bruyere\nor those who consider themselves such, assume the power\nof giving an opinion for or against all public productions. Dividing\nthemselves into cliques, they are swayed by anything but public interest\nor fairness; they admire a certain poem or a certain musical composition\nand condemn all others. Their partisanship is so hot that they cannot\nproperly defend their opinions, and so injure the reputations of their\nfavourites. They discourage poets and musicians by their Inconsistencies\nand contradictions, and retard the progress of science and art by with-\ndrawing the stimulus of emulation from those masters who, according\nto their different talents, could produce excellent work."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c029", "article_bluemountain": "bmtnaau_1911-07_01#c029", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "24", "image_debut": 26, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.17", "titre_corps": "IN DEFENCE OF THE ARTIST : A Word or two by John Balance", "titre_sommaire": "IN DEFENCE OF THE ARTIST : A Word or two by John Balance", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 1881, "texte": "IN DEFENCE OF THE ARTIST.\nA Word or two\nby John Balance.\nhe Artist is incomprehensible only because his thoughts\nand actions are natural. The popular conception of the\nArtist is always a wrong one. &\nj0 Art may not be for Art's sake, but the Artist is\ncertainly for the Artist's sake. That is to say. he is sel-\nfish to the core. &\nHe seeks for happiness and finds it. Can this be said of any\nother man\nHe works for happiness, and when he sees that happiness is no longer\nIn the work he ceases from it and passes on to a new work.\nThere might have been other reasons for the Artist to labour but these\nwere found unsatisfactory. J&\n& He might have laboured because of Duty.... the soldier's reason ; or\nfrom piety,.... the churchman's way. Or he might have been as the man\nin Wall Street and doneJt for money, or for fame... the fool's wage:...\nor for adventure.... the woman's way; or to be knighted, or to carry\non a tradition, to make a little name so as to help the historian, or to\nmake a great name and so baffle the historian, or from sheer folly,\nor for fun.\n& But the artist Is neither so wise, so great nor so foolish as all that.\nHe is only quite different. He works for happiness. Experiencing nothing\nbut sorrow in his life he is incessantly searching for happiness In his\nwork,,.. and he finds It. Day after day it comes to him. He is sorrowful\nthat all the nobler virtues which are possessed by the lords and ladies\nof the land cannot be his. When he realises that it is this greater nobil-\nity, this finer sense of honour, this purer purity, this Christ-like unsel-\nfishness which has raised them to what they are, has given them what\nthey have, has taught them what and how to give, then must he\nbecome more sorrowful than all other men, and having nothing but his\nwork, his art, he turns to that as to a friend,.... and lo, happiness Is\ninstantly his. & & & jg? &"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.27", "debut_caractere": 26, "fin_caractere_exclue": 2342, "texte": "j& He cannot share his happiness with others and therein is he selfish.\nHe cannot share it for it is nothing materialit is Freedom. &\n<£/ Do you not believe what I say ? Do you think I am pretending ? If so\nyou must forgive me for having fooled you.\nBut it is true what I say; the artist is Incomprehensible oniy because\nhis thoughts and actions are natural. It Is neither great nor petty to be\nincomprehensible. It is merely a vast sorrow, and without the true hap*\npiness for which the Artist labours that sorrow would be the master.\nWe will hope that there are only a very few Artists alive and at\nthe same time we will not envy them, for they are neither great nor\nsmall, have nothing we can filch quicker than they will offer it to us;\nthey are only part and parcel of nature, and we know how common she is.\nThe rich man and the beggar can both sit in the sun ; priest and soldier\nare free to destroy the silence if they choose; the woman or the fool\nmay play havoc with the blossoms on a rose tree or the wings of birds;\nand may not all men therefore praise or pick to pieces that which the\nartist creates ? If he were part of civilization instead of part of nature\nitself this privilege to pet or destroy his works could not be permitted\nby cautious legislators.^\ni\nuS? At the same time it is because he is part of Nature that he never\nimitates Nature. Why should he ? Whatever he creates will be natural:\nhe of all men has no need to copy.\nSee how the Artist resembles all other things in nature except\nman... man who has risen far above nature's gross and delicate ways.\nHow perverse is the Artist, how wilful. Why, he is never twice alike;\nhe is inconsistency itself; he Is as inconstant as the moon... and as much\nloved by lovers; as unruly and yet as calm as the sea,... that sea which\nyou praise so highly. Why do you praise it? What is there you can\nguarantee about it ? £/ & & & &\n& Can you bind down the sea by a contract? Neither can you bind the\nArtist by one. Has the sea any reason for creeping stealthily or boun-\nding suddenly upon the shore ? neither has the Artist any reason for\nseeking happiness in play. Is the sun turning or is it standing still ?\ndoes anybody know ? And tell me, does it turn for money or is it posing\nfor fame ? And moon and stars, what are they doing and what sense is"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.28", "debut_caractere": 27, "fin_caractere_exclue": 1045, "texte": "in their acts ? Can anyone tell ? May it be from piety or for love of\nadventure? It can't be that they are going on in that way just because\nthey have to, because it is natural to do so. If so, then nature is ugliness\nitself, for can a servile obedience be beautiful ? Can uselessness be of\nany value ? and yet the moon and stars are beautiful.\n& How Incomprehensible all this is; how natural. This is the only de>\nfence nature can put forward against all the accusations mankind has for\never brought against her... against all those Ignorant and vain enquiries\ninto a mystery so great, a problem so simple that there is no answer to\nIt because none is needed.\nAnd this is the only defence the Artist shall bring; that he is part\nof nature; that he obeys the laws of nature, and stands or falls with\nnature and that if mankind is an enemy to nature, if mankind has con*\nquered nature through virtues which are greater than the virtues of the\nsun, the sea and the four winds, then mankind has also conquered the\nArtist."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c032", "article_bluemountain": "bmtnaau_1911-07_01#c032", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "24", "page_fin": "24", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.18", "titre_corps": "A WORD FROM NIETZSCHE", "titre_sommaire": "A WORD FROM NIETZSCHE", "signature_source": "NIETZSCHE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.28", "debut_caractere": 1047, "fin_caractere_exclue": 1291, "texte": "A WORD FROM NIETZSCHE\nRoving Expeditions of an Inopportune Philosopher.\n'jpo the existence of art, to the existence of any aesthetic activity or\nperception whatsoever, a preliminary psychological condition is indl=\nspensable, namely, ecstasy. &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c034", "article_bluemountain": "bmtnaau_1911-07_01#c034", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "27", "image_debut": 29, "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=bmtnaau191107-01.2.19", "titre_corps": "WONDERFUL ABOMINABLE AMERICANS : Or The Amateur Advertisers", "titre_sommaire": "WONDERFUL ABOMINABLE AMERICANS : Or The Amateur Advertisers", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 1927, "texte": "WONDERFUL ABOMINABLE AMERICANS.\nOr The Amateur Advertisers\nby John Semar.\now are the Americans wonderful ? How abominable ?\nWell, to me it seems that they are more alive and\ntherefore more capable than any race on earth ; they have\nonly to learn one or two things, whilst we have to unlearn\nabout a thousand. They are ready to learn forwards, and\nyet they are in such a hurry that they deliberately learn backwards.\nAnd that's why they are abominable.\n&In the theatre this haste of theirs is startlingly evidenced.\nA good example offers itself as illustration of what 1 mean in the\nnew \" Playhouse \" built for Mr William. A. Brady of New York City.\nI have seen pictures of the exterior of the building and have read\nseveral reports of the interior. Let me write of the part I have seen,. .«\nthe exterior. There's much that's good in it and only a very little that's\nbad. But the bad is so abominably bad that it ruins the splendour of\nthe whole effort.\n& Mr Brady invites Mr Charles A. Rich to design and build him a new\nTheatre. Mr Rich does so. He goes ahead with good red brick and white\nstone and makes a very pretty looking little place,... a decidedly better\nthing than either of the Opera Houses in Paris or Berlin. That doesn't\nsay much for it but it says enough. & &\njg? There is nothing wrong about Mr Rich's admirable little design, which\nlooks quite like an ordinary respectable house of colonial times instead\nof a naughty wicked modern Theatre.\nAnd what does Mr Brady then do ? Mr Brady begins advertising\nAn admirable art In its own way, but, wedded to architecture, the\nresults are appalling. And Mr Brady's advertising is worthy of an amateur\nadvertiser, not of the professional. He has fixed up two of the commonest\ntype of electric advertising frames at each side of this beautiful new place,\nand one over the entrance door. And they ruin the whole effect; they ruin\n, *\nMr Rich's work; they ruin everything."}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.30", "debut_caractere": 33, "fin_caractere_exclue": 2326, "texte": "& Do they enrich Mr Brady ? That Is the question. I think that they\ndo not. Would not some mode of advertising his theatre, other than\nmaking it into a guy, have worked equally well ? Electricity is not\nugly, nor is iron-work; it is only the vulgar every-day theatrical shape\nand style of his electric poster which damns this new home of his.\n& It was so wonderful of Mr Brady to have had the wit to see that a\nbeautiful building was better than an ugly one,... therefore it is impossible\nto believe that Mr Brady, whose invention and wit are so alive, cannot\nfind any other way out of the difficulty when it comes to advertising\nthe place. Surely this old trick of thirty years ago, this large letter pla-\ncard on the face of a fine building, is a bit too old for an American to\npractically admit that it cannot be beaten?\nser It Is a continual source of astonishment that Americans, who one\nknows hate nothing more than to be beaten, are so often floored by little\nproblems such as the one mentioned above.\nOur suggestion is this: Study what belongs to the art of the Theatre\nand what belongs to the trade of the Theatre, but never mix the two.\nIt is because Mr Brady has mixed his advertisement in with his artistic\nbuilding that the effect is lamentable. &\nBut, right away from Mr Brady, American advertisement seems to be\nabout as amateurish as anything can be. Reticence is the first principle\nof Reclame. Noise and vulgarity destroy all the illusion of pure adver-\ntisement, for advertising is an art second only to life itself. JS>\nIt is for this reason that I have always been curious to know just\nexactly why the classical dancers, (who at best attain to the false classi-\ncism of Canova while avoindig the true intention of the masters,) take\noff their clothes when they dance. The Japanese dancers, the Indian\ndancers, the Siamese dancers and the Greek dancers do and did quite\ndifferently. &\n&To hide is to advertise; to display is to disillusion us. The cat in the\nbag Is ten times more mysterious and attractive than when she Jumps\nout. 1 take the well-known cat as an instance, for poor puss is the com-\nmonest thing on earth, and It is the common things in which we traffic.\nWell then, let them be well wrapped up lest they disillusion us when\nIn the light of day. & & & & & &"}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.31", "debut_caractere": 33, "fin_caractere_exclue": 439, "texte": "And besides, Is it not an act of folly to waste so much money upon\nadvertising these every-day cats and things ? Think how much money\nwould be needed to attract people to an a ordinary tabby ;.... yet\nput her in the bag.... and how wonderful she then becomes !\n& When Americans know how to advertise without spending money\nthey will have mastered the art. At present one can only consider them\nas amateurs."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c037", "article_bluemountain": "bmtnaau_1911-07_01#c037", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "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=bmtnaau191107-01.2.20", "titre_corps": "DRAMA IN AMERICA", "titre_sommaire": "DRAMA IN AMERICA", "signature_source": "Walt Whitman", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.31", "debut_caractere": 441, "fin_caractere_exclue": 827, "texte": "DRAMA IN AMERICA.\nDemocratic Vistas. Walt Whitman. 1870.\nOf what is called drama, or dramatic presentation In the United States,\nas now put forth at the theatres, I should say It deserves to be treated\nwith the same gravity, and on a par with the questions of ornamental\nconfectionary at public dinners, or the arrangement of curtains and\nhangings in a ball-room, nor more nor less. JS?"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c038", "article_bluemountain": "bmtnaau_1911-07_01#c038", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "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=bmtnaau191107-01.2.21", "titre_corps": "AN ANECDOTE OF OSCAR WILDE", "titre_sommaire": "AN ANECDOTE OF OSCAR WILDE", "signature_source": "OSCAR WILDE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.31", "debut_caractere": 829, "fin_caractere_exclue": 1291, "texte": "AN ANECDOTE OF OSCAR WILDE.\n& Oscar Wilde once said in that grave way ofhis to a friend :\n44 There are three maxims which are sufficient to guide any man\nthrough life successfully. \" & & & & &\n44 And what is the first of these ? \" asked his friend. J£/\n44 Well, the first is 44 never go to see a play by Henry Arthur Jones \".\n44 And the other two ? \" queried his friend. &\n&44Oh \" replied Wilde, 44«lf you remember this first maxim, the other\ntwo do not matter.\""}]}, {"article_id": "bm-bmtnaau-1911-07-01-c040", "article_bluemountain": "bmtnaau_1911-07_01#c040", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "33", "image_debut": 32, "image_fin": 39, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.22", "titre_corps": "THE TUSCAN \"MAGGI\" OR MONTH OF MAY PLAYS", "titre_sommaire": "THE TUSCAN \"MAGGI\" OR MONTH OF MAY PLAYS", "signature_source": "Pierre Rames", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 1291, "texte": "THE TUSCAN \"MAGGI\" OR MONTH OF MAY PLAYS\nby Pierre Rames.\n\n(0.\nn many parts of Tuscany, and especially about Pisa,\nLucca, Monte Amiata and Versiliano, there exists a form\nof drama which presents in a primitive form certain\nqualities entirely lacking in the European Theatre, such\nas freedom from restraint by the literary playwright,\nlove of the work for its own sake and enthusiasm in Its\nexecution, and an appeal by suggestion and symbol to\nthe imagination existent in the spectators rather than\nthe realistic presentation of fact.\nThese plays are usually known as the \" Maggl \" or\nmonth of May Plays and are written, produced and acted by the country\nfolk themselves.\nIn some districts where, owing to the fact that the men of the\ncommunity, whose custom it is to work In the Maremma and low lands\nduring the winter season, have not returned to their villages by May,\nthe plays are given later in the year and known by some other name\nsuch as \" Giostre\nSometimes they are organised by one man, the \" Capo-Magglo who\n\n]• For much interesting information respecting the \" Maggi\" Iam indebted to Professor D'Aocona's valuable\nstudy of the subject in his \" Origin! del Teat o Italiano and also to an interesting illustrated article in\n\"La Lettura May 1911 by Signor Roberto Palmarocchi. P. R."}, {"page_pdf": 33, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.33", "debut_caractere": 18, "fin_caractere_exclue": 2254, "texte": "acts as general director, selects play and players, direct rehearsals, pays\nexpenses and plans the transport of his company from village to village,\nrefunding himself from the receipts which, though the spectators usually,\npay but a penny a head, amply suffice. Sometimes a group of peasants\ninitiate the performance for their own village only, assuming the full\nresponsability, (no light matter, since much labour and study is involved\nand the rehearsals for a single Magglo often last a good two months),\nfor no reward save the delighting of the audience and the pleasure the,\nwork itself affords.\n& The actors are chosen from those skilled in improvisation. Women\nrarely take part, a nice custom forbidding such exhibition of themselves\non the stage, and female parts are usually acted by boys. 4%,\nThe company organized, the next step is to select the subject for\ntheir performance,... a matter of little difficulty since the range of choice\nis a wide one.\nAs in the fifteenth century the scenario writers of the Commedia dell\nArte drew their material from all sources, adapting it to their own,\nuse, so do the local peasants and artisans who are the usual composers,\nof the Maggi shape their play on some old romance. &\nSome of the oldest Maggi are printed, but many are merely written\nin copy-books together with stage directions, and passed from hand\n> * *-\nto hand.\n& The origin of the Maggi is uncertain, but they are known to have,\nmore than a century of life and D'Ancona believes while the custom of\ngiving them in the Maytlme is probably a survival of the old May songs\nand celebrations, they are in their form closely allied to, if not actually\ndescended from, the Sacre Rappresentazioni which they resemble in many\npoints; such, for instance, as the custom at times adopted of dividing\nthe stage into several parts representing different scenes with the actors\nready in each to move and speak as their turn came round: a custom\nin which we see, if I understand aright, the application of a principle,\nand an important one, of stage scenery which Mr Gordon Craig has\nunearthed once more and introduced into his Scene with its many fol-\nding screens.\n& The general denomination of \"Maggi\" allows of sub-divisions, different"}, {"page_pdf": 34, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.34", "debut_caractere": 18, "fin_caractere_exclue": 2180, "texte": "types being known by different names, such as a \" Vita \", a ** Narrazlone \"\n,a \" Canto \", a \" Rappresentanza \" or a \" Storia Singolare \"; but all\nadhere to a strictly conventional form, being composed in strophes of a\nparticular metre, a short line of eight syllables, and Intoned in a kind of\nrecitative to one unvarying chant.\nThus we see that the Directors of the Dublin Theatre do not do wrong\nwhen insisting upon their actors chanting instead of merely talking\nverse, as though verse were the ordinary and everyday method for the\ncommunication of material ideas.\n& The \" Maggianti \" usually chant without accompaniment though in\nsome places there is an Intermezzo of violins; but the little tune or\ncantilena is always adhered to, whether the words be love or sorrow,\nprayer or curse, and is remembered by the oldest peasants from their\nyouth. No variation is permitted, since the people are tenacious of the\ntraditional forms and would resent it if, instead of declaiming in con-\nventional manner, the paladins and saints of their Maggi spoke as they\nthemselves do about their affairs; and the old men discourage any in-\nnovations on the part of the younger such as modern dances, as detracting\nfrom the dignity of the old and seasoned form. & & &\nThis chanting to one invariable tune is another characteristic shared\nin common with the Sacre Rappresentazioni, and D'Ancona deduces from\nit that the two forms dated from the same period, but that when\nthe new fashion of speaking the parts became popular in the city and\nled to the modern style of recitation, the hill folk clung tenaciously to\ntheir ancient forms which perhaps they will never relinquish. The only\nvariation from the established air is In certain Maggi where verses of\nthe poet from whom the subject is derived are introduced and these,\nhaving another metre, are sung to another tune. & &\n& In some Maggi we find the chorus, which takes almost the part of\nthe Greek chorus, not sharing in the action but making prayer in rela-\ntion to that action. The figures represented by the chorus vary according\nto the piece, being nymphs, peasants, angels or whatever Is in keeping\nwith the subject."}, {"page_pdf": 35, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.35", "debut_caractere": 18, "fin_caractere_exclue": 2293, "texte": "<£> A Maggio commences with a Prologue chanted by a child who Is\nknown in different districts under varied titles such as Princlpiante,\nPaggio, Corriere, Interpretere, Introduttore, or Servo.\nThe arguments are usually derived from the Biblet the Lives of the\nSaints or some historical or poetic romance such as those of Tasso,\nShakespeare, Metastasio, the Arthurian cycle, or the exploits of Charle-\nmagne, for the Imagination of the peasant delights in and feeds con-\ntinually upon legends of paladins, knights errant, saints and martyrs,\nand these are what he likes to see in his theatre, caring little, with\nfew exceptions, for Maggl based upon Greek or Roman history or on\nmodern life. He delights In the spectacular and the marvellous, in feats\nof valour, celestial visitations, shipwrecks and battles, the marches,\ncountermarches and hand to hand fights In these latter being carefully\nrehearsed.\nBut whatever be the subject of the Maggio the author always treats\nIt in heroic and idealistic fashion as did Shakespeare himself, and the\n%\nmost classic theme becomes romantic in the hands of the Maggianti, all\nheroes and events being transported into the same epoch, and Hamlet,\nTancred and Louis XVI represented in identical style and spirit, as\nheroes of the same time and place:... But that place Is ever the ideal\nregion of the imagination, that time the time which never was, yet\nalways is. (i) & & &\nThe rural playwright handles his material very freely, adding at will\nto the events of the recognised version, as when, in the Maggio of Hamlet,\nvarious scenes prior to the death of Hamlet's father are introduced ; a\nliberty which would appal Mr William Archer and charm Mr Allen\nCarrie.\" js?\nWhen the play Is ready all the village gathers to witness it, the favourite\ntime being on Sunday after vespers.\n& Of recent years the custom of building regular theatres has been\ngrowing, and curtains and scenery have consequently come into use, but\noriginally the pieces were played in the open air in the village piazza\nor in some open space among the chestnuts or olives, the audience\n\n1. Folk plays and Puppet plays are alike in this. The Heroic still appeals to the People it no longer to those\nwho, as Madame Duse says, \"go to the theatre to digest their dinner Ed."}, {"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.36", "debut_caractere": 18, "fin_caractere_exclue": 2375, "texte": "forming a ring about the actors, and the scenic decoration being of the\nscantiest kind.\nThis does not mean that they would not have been delighted\nto get beautiful scenery and costumes but that they were net prepared\nto pay large sums for these nor for actors. All must cost very little, said\nthe Public,... and still says so, however little they are usually heeded.\nAnd I allude here to the world-Public, not to the clique of two\nhundred thousand beings which a London theatre manager deludes himself\ninto mistaking for the world.\nBut however scanty it was sufficient for the people. A placard displayed\nat the beginning of each scene sufficed to show where the action was\ntaking place; two thrones on opposite sides to indicate two kingdoms;\na tree to suggest a forest and a couple of men fighting, a pitched battle.\nThe imagination of the audience supplemented and remedied all deficien-\ncies In the setting and the player served as a kind of peg upon which\nto hang a preconceived ideal; and, no matter how simple the contri-\nvances adopted for scenery and costumes, the players could yet hold the\nspectators silent, and thrill them with emotion, doubtless because the\ncharacters represented were already dear and familiar figures visualised\nso often as to be well-nigh as real as the inhabitants of the next farm.\n& But not for this reason only. An even more important one is to be\nfound in the fact that the player and the audience are of the same estate\nHere is no fashionable actor, rich in furs and motor-cars, a stranger\nexcept for a nod from an enigmatical head furnished with drooping\neyelids and actorish mouth. Here is a man well known for what he does\nto gain a living away from his art, and acting for the people something\nthey all believe in hotly,.... and that something is Heroism, Idealism.\nThe modern stage actor acts something, everything,.... and believes in\nnothing. Most of the theatres today make a jest of the heroic and are\nashamed of the very word Ideal. Their influence is as vicious as the\ninfluence of these genuine folk-players is pure.\nIn the Maggi performance it is quite otherwise, and thus, as has been\nsaid, although the costumes might be of the simplest, the stage setting\nalmost non-existent, the profound earnestness alike of actors and audience\ncould create and complete the circle of dramatic and imaginative inten®"}, {"page_pdf": 39, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.39", "debut_caractere": 21, "fin_caractere_exclue": 1418, "texte": "sity which manifested itself in the spectators in profound silence, no\napplause being given however deeply they were -<£•\nJZ? But, although the Maggi yet retain their conventional form of chant\nand metre in its purity, those who produce them are conscious that their\nstage setting has lost something of its value, and village now competes\nwith village for the possession of a real theatre with its broad raised\nplatform on which to do more justice to their scenes.\nMany have built little theatres with stone stage, curtain and scenery,\nand wooden benches or stone seats for the audience ranged in the form\nof an amphitheatre, an awning being extended overhead as protection\nfrom the sun. Less favoured villages content themselves with adapting\nsome barn or stable to their use during the Maggio season, while others\nyet give their plays in the woods or village square. &\nJZ? But, however presented, the love of the Maggi is deep=rooted in the\nhearts of the people, and even in these days, although they may take a\ntinge of colour from recent and revolutionary events, may occupy theun«=\nselves with some modern fact from a newspaper as well as with the legen»\ndary figures of old romance, they yet retain their essential characterise\ntics, and their ancient chant and metre. &\nTHE DRAMA DIES OF STALLS AND EVENING DRESS AND PEOPLE\nWHO GO TO THE THEATRE TO DIGEST THEIR DINNER.\nMadame Eleonora Duse"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c043", "article_bluemountain": "bmtnaau_1911-07_01#c043", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191107-01.2.22.3", "titre_corps": "A May-time Festival in Florence", "titre_sommaire": "A May-time Festival in Florence", "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=bmtnaau191107-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 113, "texte": "A May-time Festival in Florence, (see p 29) outside the Medici Palace, with Lorenzo do! Medici\nIn the foreground,"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c045", "article_bluemountain": "bmtnaau_1911-07_01#c045", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "36", "image_debut": 40, "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=bmtnaau191107-01.2.23", "titre_corps": "ARTISTIC DEBAUCHERY : An Extract from the Writing's of George Moore with a Note by the Editor", "titre_sommaire": "ARTISTIC DEBAUCHERY : An Extract from the Writing's of George Moore with a Note by the Editor", "signature_source": "George Moore ; Editor ; J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 2236, "texte": "ARTISTIC DEBAUCHERY. An Extract from\nthe Writing's of George Moore with a Note\nby The Editor.\nJ. S.\n| n relation to what M. Rames tells of the idealism and romanticism with\nwhich the Tuscan \" Maggi \", for all their simplicity, are charged, and\nthe contrast which they thus afford to the modern European theatre, it\nis interesting to read the following indictment of the \"artistic debauchery\"\nof a London theatre from Mr George Moore's \" Confessions of a Young\nMan \" and to note how he longs for some of those very things which the\nsimple hill-folk, by a faultless intuition of true values, have preserved in\ntheir theatre: \"a simple stage\", \"a few simple indications\", \"the\nsimple recitation of a story \", \" a youth cunningly disguised \"to play\nthe woman's part. And, if Mr Moore finds it \" difficult to imagine Eliza-\nbethan audiences as not more intelligent\" than those that applauded Mr\nPettit's plays years ago, we, on our part, have no doubt whatever that\nthose who listen in silence to the \" Maggi \" are intelligent in a truer and\nfar more vital sense than those who applaud the modern lecture plays.\n& We reprint Mr Moore's words below. JZ?\nHPhe power of the villa residence is supreme : art, science, politics, religion,\nit has transformed to suit its requirements. The villa goes to the\ntheatre, and therefore the art of to-day Is mildly realistic; not the great\nrealism of idea, but the puny reality of materialism ; not the deep poetry of\na Peter de Hogue, but the meanness of a Frith...not the winged realism\nof a Balzac, but the degrading naturalism of a coloured photograph.\nA\nj0 To my mind there is no sadder spectacle of artistic debauchery than\na London theatre; the overfed inhabitants of the villa in the stalls hoping\nfor gross excitement to assist them through their hesitating digestions'\nan ignorant mob in the pit and gallery forgetting the miseries of life In\nimbecile stories reeking of the sentimentality of the back stairs. &\nWere other ages as coarse and common as ours ? It is difficult to\nimagine Elizabethan audiences as not more intelligent than those that\napplaud Mr Pettit's plays. Impossible that an audience that could sit out\nEdward II. could find any pleasure in such sinks of literary infamies as"}, {"page_pdf": 41, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.41", "debut_caractere": 22, "fin_caractere_exclue": 2293, "texte": "In the Ranks and Harbour Lights. Artistic atrophy is benumbing us,\nwe are losing our liner feeling for beauty, the rose is back to the\nbriar. 1 will not speak of the fine old crusted stories, ever the same, on\n%\nwhich every drama is based, nor yet of the musty characters with which\nthey are peopled...the miser in the old castle counting his gold by night,\nthe dishevelled woman whom he keeps for ambiguous reasons confined\nin a cellar.\nLet ail this be waived. We must not quarrel with the ingredients.\nThe miser and the old castle are as true, and not one jot more true, than\nthe million events wiiich go to make up the phenomena of human exis-\ntence. Not at these things considered separately do 1 take umbrage, but\nat the miserable use that is made of them, the vulgarity of the compli-\ncations evolved from them, and the poverty of beauty in the dialogue.\nNot the thing itself, but the idea of the thing evokes the idea.\nSchopenhauer was right; we do not want the thing, but the idea of the\nthing. The thing itself is worthless ; and the moral writers who embellish\nit with pious ornamentation are just as reprehensible as Zola, who em-\n%\nbelltshes it with erotic arabesques. You want the idea drawn out of obscur-\ning matter, and this can best be done by the symbol. The symbol or the\nthing itself, that is the great artistic question. In earlier ages it was the\nsymbol; a name, a plume, sufficed to evoke the idea, now we evoke nothing,\nfor we give everything, the imagination of the spectator is no longer\ncalled into play.\nIn Shakespeare's days to create wealth in a theatre it was only ne-\ncessary to write upon a board, 44 A magnificent apartment in a palace. \"\nThis was no doubt primitive and not a little barbarous, but it was better\nby far than by dint of anxious archaeology to construct the Doge's palace\nupon the stage. By one rich pillar, by some projecting balustrade taken\nin conjunction with a moored gondola, we should strive to evoke the\nsoul of the city of Veronese: by the magical and unequalled selection\nof a subtle and unexpected feature of a thought or aspect of a landscape,\nand not by the up-piling of extraneous detail, are all great poetic effects\nachieved.\n44 By the tideless dolorous inland sea,\nIn a land of sand, of ruin, and gold. '4"}, {"page_pdf": 42, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.42", "debut_caractere": 26, "fin_caractere_exclue": 1707, "texte": "And, better example still,\n\" Dleu que le son du cor est triste au fond des bois, \"\nthat impeccable, that only line of real poetry Alfred de Vigny ever wrote.\nBeing a great poet Shakespeare consciously or unconsciously observed\nmore faithfully than any other poet these principles of art; and, as is\ncharacteristic of the present day, nowhere do we find these principles so\n»\ngrossly violated as in the representation of his plays. &\nl had painful proof of this some few nights after my arrival in Lon-\ndon. I had never seen Shakespeare acted, and 1 went to the Lyceum and\nthere 1 saw that exquisite love-song for Romeo and Juliet is no more\nthan a love song in dialogue...tricked out in silks and carpets and illumina-\nted building, a vulgar bawd suited to the gross passion of an ignorant\npublic.\n1 hated all that with the hatred of a passionate heart, and 1 longed\nfor a simple stage, a few simple indications, and the simple recitation\nof that story of the sacrifice of the two white souls for the reconciliation\nof two great families. My hatred did not reach to the age of the man\nwho played the boy-lover, but to the offensiveness with which he thrust\nhis individuality upon me, longing to realise the poet's divine imagination :\nand the woman, too, 1 wished with my whole soul away, subtle and\nstrange though she was, and 1 yearned for her part to be played by a\nyouth as in old time; a youth cunningly disguised, would be a symbol;\nand my mind would be free to Imagine the divine Juliet of the poet,\nwhereas 1 could but dream of the bright eyes and delicate mien and\nmotion of the woman who had thrust herself between me and it.\nGeorge Moore. \" Confessions of a Young Man. \""}]}, {"article_id": "bm-bmtnaau-1911-07-01-c047", "article_bluemountain": "bmtnaau_1911-07_01#c047", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "37", "image_debut": 43, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.24", "titre_corps": "A HISTORICAL PAGEANT IN KYOTO : Described by Lafcadio Hearn", "titre_sommaire": "A HISTORICAL PAGEANT IN KYOTO : Described by Lafcadio Hearn", "signature_source": "Lafcadioe Hearn", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 1474, "texte": "A HISTORICAL PAGEANT IN KYOTO\nDescribed\nby Lafcadioe Hearn.\nGleanings in Buddhah Fields.\nthese visions of dead centuries were passing by, the people kept\nperfectly sllent,...wh'?h fact, strange as the statement may seem to\nwestern readers, indi- a«.ed extreme pleasure. It is not really in accordance\nwith national sentiment to express applause by noisy demonstration,...by\nshouting and clapping of hands, for example. Even the military cheer is an\nimportation; and the tendency to boisterous demonstrativeness in Tokyo\nis probably as factitious as it is jg?\n1 remember two impressive silences in Kobe during 1895. The first\nwas on the occasion of an imperial visit. There was a vast crowd ; the\nforemost ranks knelt down as the Emperor passed ; but there was not\neven a whisper. The second remarkable silence was on the return of the\nvictorious troops from China, who marched under the triumphal arches\nerected to welcome them without hearing a syllable from the people. 1\nasked why, and was answered, \" We Japanese think we can better express\nour feelings by\n1 may here observe, also, that the sinister silence of the Japanese\narmies before some of the late engagements terrified the clamorous\nChinese much more than the first opening of the batteries.\nDespite exceptions, it may be stated as a general truth that the deeper\nthe emotion, whether of pleasure or of pain, and the more solemn or\nheroic the occasion, in Japan, the more natnrally silent those who feel\nor act."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c048", "article_bluemountain": "bmtnaau_1911-07_01#c048", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "39", "image_debut": 43, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.25", "titre_corps": "DOES THE REAL ENGLISHMAN GO TO THE THEATRE? DOES HE ACT IN IT? : A Note on the Above Paragraph", "titre_sommaire": "DOES THE REAL ENGLISHMAN GO TO THE THEATRE? DOES HE ACT IN IT? : A Note on the Above Paragraph", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.43", "debut_caractere": 1476, "fin_caractere_exclue": 1929, "texte": "DOES THE REAL ENGLISHMAN GO TO THE THEATRE? DOES\nHE ACT IN IT? A Note on the Above Paragraph\nby Gordon Craig.\nQentlemen: ... May 1 suggest that the exact depth of the emotion,\nwhether it be in Kyoto or London, is always guaged by the noise or\nthe silence of those who are moved by that emotion ? May 1 suggest\nthat the noisy actors tell us exactly how shallow Is their emotion, and\nthe noisy audience exactly how little they h<ive felt or understood it;"}, {"page_pdf": 44, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.44", "debut_caractere": 45, "fin_caractere_exclue": 2298, "texte": "that both are noisy because they need encouragement. & &\nAs an actor it was Sir Henry Irving who felt deeply although 1 have\nseen It stated that he was not capable of emotion. He was never noisy.\n& Again, the success or failure of a performance in London depends today\nupon applause. If the audience are silent the cri-r 3,... most of the critics\n.... assert that the play has been a failure. It is no excuse to say\nthat it is the western way to applaud and the eastern way to remain\nsilent. To say this is merely to damn the west wholesale and proclaims\nit incapable of deep feeling. It Is curious though that the English who\nare so phlegmatic, who really can feel very acutely and who in moments\nof great danger can be and generally are as cool and quiet as Japanese\nare so appallingly boisterous at the theatre. &\nAll this leads some to believe that, broadly speaking, the representa=\ntlve Englishman seldom goes to a theatre, and I believe the theatre\nis very shortsighted in not doing more to attract the true Englishman\nto Its performances.\nWhen an English gentleman is seen in the stalls or pit how quietly\nhe sits there ; how little he says; how quiet are his hands. At the end\nhe goes out and perhaps expresses himself in half a dozen words on\nthe performance.\n& And what would happen supposing an English artist could draw a\nfull house of English gentlemen to his theatre ? A delightful evening would\npass in silence. It would be quite sensible for once, but the actors would\nbe alarmed and believe that the audience had felt nothing, the critics\ncocksure that the actors were unpopular, and the wlg=makers would\nspread the report that the play was a dismal failure. Then no one would\ngo, not even the rest of the English gentlemen, and art and good taste\nand deep emotion would be damned.\n& This state of things is to be regretted. The remedy is to get out of\nthe mind of the critic, the actors and the general deadhead public\nthat applause and noise indicate that the deep emotions have been\ntouched ; and it should be clearly shown that on the contrary only the\nshallow emotions have been touched. JS?\nThat I believe is the first step towards improving all things in the\nmodern theatre, though I by no means imagine for one moment that such"}, {"page_pdf": 45, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.45", "debut_caractere": 47, "fin_caractere_exclue": 329, "texte": "a step, small though It be, will commend itself to anyone in the theatre.\nRather do 1 believe with Madame Duse that \" TO SAVE IHE 1HEATRE\nTHE THEATRE MUST BE DESTROYED : THE ACTORS AND ACTRESSES\nMUST ALL DIE OF THE PLAQUE \" for.... \" THEY POISON THE AIR,\nTHEY MAKE ART IMPOSSIBLE. \""}]}, {"article_id": "bm-bmtnaau-1911-07-01-c050", "article_bluemountain": "bmtnaau_1911-07_01#c050", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "40", "image_debut": 45, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.26", "titre_corps": "A WORD ABOUT APPLAUSE", "titre_sommaire": "A WORD ABOUT APPLAUSE", "signature_source": "Goethe ; Carlyle", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.45", "debut_caractere": 331, "fin_caractere_exclue": 1776, "texte": "A WORD ABOUT APPLAUSE.\n\nAh ! I too was in that happy case, when 1 first betrod the stage, with\nthe loftiest opinion of myself and of my nation. What a people, in\nmy fancy, were the Germans ; what a people might they yet become! 1\naddressed this people; raised above them by a little joinery, separated\nfrom them by a row of lamps, whose glancing and vapour threw an\nindistinctness over everything before me. How welcome was the tumult\nof applause, which sounded to me from the crowd ; how gratefully did 1\naccept the present, offered me unanimously by so many hands! For a\ntime 1 rocked myself in these ideas; I affected the multitude, and was\nagain affected by them. With my public 1 was on the fairest footing ; 1\nimagined that 1 felt a perfect harmony betwixt us, and that on each\noccasion I beheld before me the best and noblest of the land.\n\" Unhappily it was not the actress alone that inspired these friends of\nthe stage with interest: they likewise made pretensions to the young and\nlively girl. They gave me to understand, in terms distinct enough, that\nmy duty was not only to excite emotion in them ; but to share it with\nthem personally; j£? jg?\nj0 \" This unluckily was not my business: 1 wished to elevate their minds ;\nbut to what they called their hearts 1 had not the slightest claim.\nYet now men of all ranks, ages and characters, by turns afflicted me with\ntheir addresses; and it did seem hard that I could not, like an honest"}, {"page_pdf": 46, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.46", "debut_caractere": 31, "fin_caractere_exclue": 1588, "texte": "young woman, shut my door and spare myself such a quantity of\nlabour.\n\" The men appeared, for the most part, much the same as 1 had been\naccustomed to about my aunt; and here again I should have felt disgusted\nwith them, had not their peculiarities and insipidities amused me.\nAs 1 was compelled to see them in the theatre, in open places, in\nmy house, I formed the project of spying out their follies; and my\nbrother helped me with alacrity to execute it. And If you reflect that, up\nfrom the whisking shopman and the conceited merci?ant's son, to the\npolished calculating man of the world, the bold soldier and the irapet-\ntuous prince, all in succession passed in review before me, each in his\nway endeavouring to found his small romance, you will pardon me\nif 1 conceived that 1 had gained some acquaintance with my nation. £?\n\" The fastastlcally dlzened student; the awkward, humbly-proud man\nof letters; the sleek-fed gouty canon; the solemn heedful man of office ;\nthe heavy country-baron ; the young erring parson ; the cool, as well as\nthe quick and sharply-speculating merchant; all these 1 have seen in\nmotion ; and 1 swear to you there were few among them fitted to inspire\n%\nme even with a sentiment of toleration . On the contrary, 1 felt It alto-\ngether irksome to collect, with tedium and annoyance, the suffrages of\nfools; to pocket those applauses in detail, which in their accumulated\nstate had so delighted me, which In the gross 1 had appropriated with\nsuch pleasure. js/\n\nGoethe. Wilhelm Meister. Bk IV. Chap YV\nTranslation by Carlyie."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c052", "article_bluemountain": "bmtnaau_1911-07_01#c052", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "42", "image_debut": 47, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.27", "titre_corps": "CAMBRIDGE UNIVERSITY AND ITS BAN ON ACTRESSES", "titre_sommaire": "CAMBRIDGE UNIVERSITY AND ITS BAN ON ACTRESSES", "signature_source": "C. G. Smith", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 2170, "texte": "CAMBRIDGE UNIVERSITY AND\nITS BAN ON A CTRESSES\nby C. G. Smith.\nrjphings begin to move, and this time forwards instead of backwards.\nBy order of the Proctors the undergraduates at Cambridge are\nforbidden to take part in dramatic performances in which professional!\nactresses appear, (i) & jg?\nThe Proctors of Cambridge University have decided wisely. In acting\nthus they do but follow the legislators of Athens in one of the most\nperfect periods of civilization, and they also revive the rule of the\nElizabethan age.\nis interesting to note the vitality, the inherent recuperative force*\nof fine traditions. The Greeks excluded women from their stage in 300\nB C. They found such exclusion essential to their art. The Elizabethans\nnineteen hundred years later again perceived the value which lay in\nthe replacing£of women by men in female roles; and now, as proof\nthat\" age cannot wither \" nor \" custom stale \" a fine tradition we find a\ngroup of thoughtful and scholarly men deciding, after due consideration\nand experience, to banish women from so much of the theatre as is\nwithin their own control. & Ji? & & &\nIt is to be hoped that this excellent example set by the Cambridge\nProctors will be pondered, understood and imitated, for how deep a\nwisdom lies at the roots of this old 'prohibition of women from appearing\non the stage is obvious to all who seriously consider the question.\n& The advantage is two-fold. jg?\nA/ 1-irst, to the women themselves it Is a gain to be saved, even against\ntheir will, from making this public display of their persons and their\nemotions which serves to foster all their latent folly and conceit, since\nwhat a woman may gain upon the stage is but little compared with\nwhat she loses.\nSecondly, it is an incalculable gain to the art in that it replaces a\na personally by a symbol. For men, when they act female roles, do not\nparody womankind as do women themselves when they let loose their\nsilliness and vanity on the stage as representative of the beauty of the\nfemale sex. Nor do men representing women pretend to be women or\nto create an illusion. Rather do they present an Idea, interpret the\n\n(1) See 44 Daily Mail \" May 16. 1911"}, {"page_pdf": 48, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.48", "debut_caractere": 47, "fin_caractere_exclue": 2190, "texte": "spirit of womanhood ; and the power of that spirit is the more deeply\nfelt by the audience in that it is unallied to any counter attraction of\nthe flesh. In fact a man, in playing a woman's part, may be said to\nmake himself sexless to the end that he may reveal what is most ideal\nin the sex he represents.\n& The following extract from.the \" Journal de C0II6, 1734 «s interesting\nas emphasizing this view of the matter: &\n\"On the 19th of this month there was played in the little house of\nM. le Compte de Ciermont, rue de la Roquette, on a small, very passable\n\" stage, which he had had erected there, the vaudeville farce of the\n44 Disguised Lovers \", a little piece in my own style.\n44 I had thought that it could not fail to succeed, and, at the perfor=\n\" mance, I was quite astonished to be the first to condemn it. It seemed\n\" to me disgusting. js?\n44 There was a pregnant girl in it, and it was a woman who played\n44 the part; that revolts and only gives disagreable and ugty thoughts\n44 instead of a comic effect. 1 see now what had deceived me; If on the\n44 occasions when 1 introduced pregnant women on the stage it always\n44 caused much laughter it was because a man then played the part; 1\n\" had not foreseen that it would cause an entirely contrary effect when\n44 a woman was charged with the acting of this role and, in fact, the\n44 truth of the tableau is revolting, even disgusting; that is the\n44 term. \" j£> .-e?\nIn fact it is in the banishing of the personal by the impersonal, the\nreplacing by suggestion and symbol of that realism and robust emotion\nwhich, as Professor Raleigh so wisely says 44 obscure the sheer practical\n44 value of the author's conception \" that the value of the custom lies,\nand, as the same author continues female parts, by being entrusted\nto boy actors, 44 may well have been rendered with a clarity and simplicity\n44 which served as a transparent medium for the author'swit and pathos \".\nFor 44 poetry, like religion, is outraged when it is made a platform for\nthe exhibition of their own talent and passion by those who are its\nv.\n44 ministers \". (1).\n\n(1) Professor Walter Raleigh. \" Shakespea e"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c053", "article_bluemountain": "bmtnaau_1911-07_01#c053", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "45", "image_debut": 49, "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=bmtnaau191107-01.2.28", "titre_corps": "ETERNITY AND SOAP BUBBLES", "titre_sommaire": "ETERNITY AND SOAP BUBBLES", "signature_source": "J. Van Holt", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 2149, "texte": "ETERNITY AND SOAP BUBBLES\nby J. Van Holt\nadame Ida Rubenstein Is ambitious. She seems to have\nthe ambition to become eternal through blowing soap-\nbubbles. It is decidedly original. &\njg/ Madame Rubenstein having by some great magic,\n(probably that magic of personality about which we hear\nso much), procured large sums of money, goes to Paris, takes a quantity\nof D'Annunzio, mixes it with some Debussy, Bakst and Hahn, and begins\nblowing the bubbles. The first bursts in Paris, the second in London.^?\nIn the first bubble, which was called \" The Martyrdom of Saint Se-\nbastian \" but was really a chapter from the martyrdom of Art, Madame\nRubenstein figured as a saint. In the second, called \" The Blue God \"\nMadame Rubenstein figured as a goddess. Blue being too ordinary a\npigment, the lady had herself gilded. One has heard of gilding the pill\nbefore now.\nThe Daily Mail has provided most of the air for the bubble experi-\nments and some of this is very refined. & & &\n& Concerning \" The Blue God \" Mr Hahn said, \" our ballet is to be of\n\" the Impressionist school. We want to show London what can be done\n\" away from the senseless traditions of the ballet skirt with its anti=\n\" quated poses and gesture\". & jg? & &\n(Mr Hahn here strikes one as a little late, for the senseless traditions\nwere done away with quite five or six years ago. Possibly Mr Hahn\ndoesn't know of this. Ecco! the comic side of the bubble I)\n\" Some quite extraordinary experiments \", he goes on, \" are to be\n\" tried with regard to the principle characters. Madame Rubenstein, who\n\"is to represent a Hindu goddess, will probably be entirely gilded. Mi\n\" Mijinsky the great solo dancer will dye his face, hands and legs bright\n\" blue. The feature of the ballet will be when Madame Rubenstein,\n\" wearing her diamonds over the gilding, emerges from a huge lotus\n44 flower, etc, etc, etc \".g? &\nThese certainly are very extraordinary experiments, but why not make\nthem and keep theni in the bathroom ? Or if Madame Rubenstein, in gilt\nand diamonds, went out to tea to the Countess of Winkleboro and M.\nNijinsky, dyed blue, could be persuaded to take black coffee at the Reform"}, {"page_pdf": 50, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.50", "debut_caractere": 27, "fin_caractere_exclue": 2228, "texte": "Club, might not nearly as great a sensation be produced ?\nWhy drag in the Theatre ? The answer is all too easy:... because the\ntheatre is sufficiently low to oblige willingly when such a proposal is\nmade to It and a cheque offered. The theatre is indeed becoming what\nthe manager in Zola's 44 Nana \" held it to be. The theatre is so low that\nit cannot protect itself. Any vulgar woman or man can make it serve\ntheir sensational purpose. js> &\n& Again and again 1 give praise that the Censor rules over the London\nstage preventing further vulgarities In the name of Art. My only regret\nis that he is not ten times as strict as he is: that he passes these ex-\nhibitions of the nude on the stage; that he lets much that Is vulgar\npass on the Music Hall stage.\nWe all know perfectly well that eccentric comedians can keep the\nhouse in a roar of laughter without resorting to vulgarities. Dan Leno\nwas the most successful English comedian of his day, and avoided all\nvulgarity. We also know that perfect dancing is possible without a\ndisplay of naked or semi-naked limbs. Sada Yacco was perhaps the most\nperfect dancer of her day, and she avoided all such display. &\n.<2/ All these liberties taken upon the stage are ruining the stage. Let\nthe Censor act twice as stringently as before. Let his office be invested\nwith new powers, and let the modern theatre-music-hall have a chance to\ndevelop its strength. & & &\nIf the Censor postpones action any longer the matter will be out of\nhis hands, and the public will have to step in.... Then look out for dis-\nturbances 1 For there is a very large section of the public which realizes\nthat such licence as is allowed today in the music hall is dangerous to\nthe nation. & &\nThe Church knows this only too well and deplores the matter.\n& The Archbishop of Paris protested, and rightly, against the production\nof 44 Saint Sebastian \". Others have supported that protest. They have\nbeen keen-witted enough to perceive the vast gulf which separates this\nconfuseed, decadent and hysterical spectacle from those grave and\nsincere 44 Mysteries\" of the middle ages whose title it presumes to\nadopt.\n& They feel the impropriety, the bad taste, of the person of the saint"}, {"page_pdf": 51, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.51", "debut_caractere": 27, "fin_caractere_exclue": 892, "texte": "being played by an actress; they resent the lowering of moral standards,\nthe lessening of reverence towards fine traditions, which such licence\nencourages.\nThe function of a church is to protect and strengthen the noblest\nideals of a people, and these ideals are perpetually outraged, belittled\nand ridiculed in the theatre; thus moral sense becomes confused.\n& The church does well to condemn the evil; but it should not stop\nthere. It should not only protest, and far more strongly, against the\nevil in the theatre but it should cooperate strongly and vigorously in the\nefforts being made for the reform of that evil. It should give its wary\nmest support to those artists and workers who are endeavouring to\ndrive out of the theatre that which is harmful to the nation and\nto introduce in its place that which shall be for the nation's moral\nJ&J&JZ?JZ?JZ?JZ/JZ/J&"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c055", "article_bluemountain": "bmtnaau_1911-07_01#c055", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "46", "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=bmtnaau191107-01.2.29", "titre_corps": "MORE CIRCUS CLASSICS", "titre_sommaire": "MORE CIRCUS CLASSICS", "signature_source": "Adolf Furst", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.51", "debut_caractere": 894, "fin_caractere_exclue": 1856, "texte": "MORE CIRCUS CLASSICS\nby Adolf Furst.\npirst it was Reinhardt with his troupe. Dishonour to whom dishonour\nis due. Now it is Bonn.\nJ& The style of Direktor Bonn's production of Richard III was really no\ndifferent from that of Direktor Reinhardt except that it was a trifle\nless \" artistic\" and more frankly of the ring. In fact the cultured\nBerliners were asking each other why Reinhardt had not mounted\n\" Edipus \" and citizens on horseback. Obviously a grave omission. Direk-\ntor Brahm would never have forgotten it.\nBy the way the old cry of Brahm versus Reinhardt \"is still heard\nnow and again in the suburbs of Berlin.\nBrahm was before Reinhardt arrived. In Berlin these directors are all\nallowed an innings of about six to ten years and then they have to\nmake room for some one with a fresher idea of what clap-trap is. «£?\nBrahm was an uninteresting producer of plays just as Reinhardt is\nuninteresting : ... but Reinhardt was young, and they prefer young to"}, {"page_pdf": 52, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.52", "debut_caractere": 23, "fin_caractere_exclue": 1618, "texte": "old men here In Germany. But to suggest that we Germans have taken\neither of these men seriously would be a grave error, for neither of\nthem has done anything worthy of the serious consideration oi\nthe age.\nReinhardt is a good actor: that much has to be admitted; but there\nhis personal talent ends. He is a man without Ideas, without imagination ;\nhe does not create, he. gets ideas from a group of playwrlters, painters,\narchitects and dilettanti whom he invites to Ills theatre as guests.\nBrahm did differently. He was content to get all his Ideas from his\nexperience as journalist, as the reader and writer of much that was\ntalked about when Ibsen first gave theatrical journalism new things to\nthink about.\nBrahm was dull but never vulgar. Reinhardt adds this second quality\nto the first. I have heard so much about him lately that 1 was once more\nconstrained to visit his theatre and see whether the reports were true.\n& I went to see the second part of \" Faust \". •& & &\n& There Is nothing to be said. It was only what the English call\n\\\n44 Shocking \" .... shocking bad taste, shocking pretension. & &\nj0 Indeed I prefer Brahm. He was only dull. But I think Bonn Is the\nbest of ail for no one can call Bonn dull or pretentious. He only deals\nin the 44 theatrical \", and a bad but frank theatricality is better than the\ndry journalistic seriousness of a Brahm or the pretentious artisticness of\na Reinhardt.\n44 TO SAVE THE THEATRE THE THEATRE MUST BE DESTROYED, THE\n44 ACTORS AND ACTRESSES MUST ALL DIE OF THE PLAQUE: THEY\n44 POISON THE AIR, THEY MAKE ART IMPOSSIBLE.\nMadame Eleanora Duse."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c057", "article_bluemountain": "bmtnaau_1911-07_01#c057", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "n. p.", "image_debut": 53, "image_fin": 69, "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=bmtnaau191107-01.2.30", "titre_corps": "SOME EARLY ITALIAN WOODCUTS : A Note upon their Use to Modern Scene Designers", "titre_sommaire": "SOME EARLY ITALIAN WOODCUTS : A Note upon their Use to Modern Scene Designers", "signature_source": "Felix Urban", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 2044, "texte": "SOME EARLY ITALIAN WOODCUTS.\nA Note upon their Use to Modern Scene\nDesigners\nby Felix Urban.\n\nthink it was Mr Allen Carrie who was the first to bring\nbefore readers of The Mask the Italian woodcut and to\npoint out its value to the modern scene designer. Mr\nOordon Craig has also touched once or twice on this subject.\n1 am therefore to some extent poaching. I hope however both these\nartists will let this acknowledgement stand as my apology, more\nespecially since I practically leave the designs to speak for themselves and\nsav only what is essential. >£? JG/\nI offer eight wood engravings of the fifteenth century for your\nconsideration. &\ng? My reason for selecting these particular cuts is not that they do not\ncontain a line too much or a line too little, for that would be to Judge\nthem as the things they obviously are, that is to say, as wood\ncuts for illustrating some stories. But it may be easily admitted that\ngood things serve more than one purpose, and the settings or backgiounds\nof these wood cuts are good enough to act for me as ideal examples of\nstage scenery, scenery without a thing too much or too little in it.\n1 suggest that nowhere else are such good lessons to be found ;\nand the fact that they do not contain features to be found in modern\nstage scenery in no wise weakens my suggestion. &\n& The first thing which strikes one as absent is detail.\nin the cut facing page 48, for instance, we have a room in which\nseven young men and a dog are gathered. Look at the walls, windows\nand ceiling. The artist was one of those our modern cynics are pleased\nto call 44 post-Impressionists \"or 44 symbolists \"or some such phrase,\nmeaning it as a term of reproach. 1 regret that 1 am obliged to remind\nyou at this moment of the existence of the cynics, but they crop up\ntoday in such numbers and in such unexpected places that we have\nevery reason at all times nowadays to fear their unpleasant suggestions\nand to be prepared for their ungenerous attacks.\n& Anything which takes them off their guard, anything which they cannot"}, {"page_pdf": 54, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.54", "debut_caractere": 30, "fin_caractere_exclue": 2302, "texte": "understand in the works of younger masters of modern art is dubbed bv\nthem \" post impressionistic \" or \" symbolistic \" or \" eccentric \", and\nwhen they have finished with the work of the young masters we mav\nexpect them to attempt to take the side out of the old masters.\n•£> They have before this probably laughed over these my wood engra=\nvings which I bring to your notice. & &\nBut to return to more interesting matters to the wall,\nwindows and ceiling shown in the design on page &\n& There are none of the usual details which attach themselves to walls,\nwindows and ceilings because these usual details are insignificant things\nsuch as cracks in the wall, damp marks, tones of all kinds, reflections,\nand so forth, and are a nuisance. jg? jg?\n& In like manner windows as a rule have gratings or shutters or frames,\nor light comes through them ; but our old artist has refused to trouble\nabout these things, (devilish post-impressionistic, eh ?) and has pleased\nhimself and put in two windows plain and simple, windows for windows'\nsake. What eccentricity» what affectation! & & & &\nThe ceiling is, like all Florentine ceilings, made of small cross beams.\nBut where are the shadows ? Don't you miss them ? Don't you feel you\nare insulted by the artist having omitted all shadows ? How can it be a\nwork of art without proper legal shadows ? & & &\nThere is nothing more to tell you about this design, taken as a scene\ndesign. Alt you have to do is to study it well, noticing what 1 have pointed\nout to you, and try to recreate in your imagination the state of mind\nof the artist. What was he thinking about ? Was he frightened of any-\nthing?.... of the critics, of the purchasers, of what Florentine Smith\nwould say, or even of Florence herself? Do you think he gave a thought\nto the \" Daily Mail \"of the times or dreaded the cynical sneer of the\nBeerbohm Tree of the period ? 1 think not. But do you think he ran\nfoul of his employer ?On the contrary, his employer ordered more\nsuch cuts. & jg>\nLet us turn to l,is next. What is to be said of it ? Well, I cannot\nkeep on repeating myself about simplicity, absense of detail, but I ask\nyou to look at the whole set of woodcuts and see how free from detail\nhow satisfactory they are. That is all there is to say about them."}, {"page_pdf": 65, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.65", "debut_caractere": 30, "fin_caractere_exclue": 2373, "texte": "And can you put these on the stage ?\n& No, hut you can If you study well put a like simplicity there.\nManagers trade in that word 44 simplicity \" and fall in the achievement\nof It, 44 I am going to produce my next play with great simplicity \" is\nthe pathetic announcement of the great man. He knows he can't be\nsimple so he talks about it.\n& Of the origin of the cuts themselves 1 can here give but the\nbriefest notes, interesting though tlje historical study of them\nwould be.\nThat facing page 54 is a scene from one of the44 Sacre Rappresentazlonl \"\n(1) and the following one from the Rappresentazlone of Santa Eufrosin*.\nThat facing page 48 is from Lorenzo de Medici's 44 La Compagnia del\nMantellaccio \" and Is from a book printed about 1500 by Bernardo Zuc-\nchetta, while the one on page 55 Is from Lorenzo's 44 La Nencia da Bar-\nberino Of the two designs on page 51 the one of a man at table and a\nwoman roasting a fowl is from the 44 Contrast between Carnival and\nLent \" while the lower one is from the 44 Fior di Virtu \" (Flower of\nVirtue) printed in 1498 by Francesco Buonacorsi and Antonio Veneziano.\nThe design on page 49 is from the 44 Flores Poetarum, (1492) and the\nfast from the story of Ippolito Buondelmonte and Dianora dei Bardi.\nBut, whatever the subject, the leading characterestic of all these\nengravings Is the same, ..., that simplicity of idea which is the first\ngreat need of scenery. So obvious a need is it that it is strange how\ncontinually it is overlooked by those who design stage scenes. Yet consider\nfor a moment. If you want to tell someone a story you tell it as simply\nas possible. If you want to state a fact in a letter you make it as\ndirect as possible. You confine youself, In fact, to the history you are\nabout to tell or to the fact you have to relate. .If while telling\nthis fact or relating this story you begin to drag in other stories or\nother facts you fall iit your intention which Is to make an impression\nupon your hearer. And so It is with the scenery of a theatre. The scenery\nIs not put there to tell the story but perhaps to fill up the gaps, for It\nis the poet who tells the story and the actors who interpret that story.\nTherefore the scene must not interrupt. And as perfect examples of\n\n(I) Ao Article on these \" Sacre Rappreeentazlonl \" will appear in a future number of \" The Mask Ed."}, {"page_pdf": 66, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.66", "debut_caractere": 30, "fin_caractere_exclue": 2350, "texte": "this 1 can suggest nothing better than the scenes of these old Italian\nengravers, which are certainly not bare uninteresting places but which\nyet act to perfection the part of listener to the tale.\nIf something of the simplicity which characterises all these designs\ncould be regained in the theatre the favourite boast of the Managers\nthat they are going to produce \" with great simplicity \" would no longer\nbe as empty as it is pathetic; but the change will have to be an internal\nnot an external one, be fundamental and not only superficial; for these\nold designers did not sit down saying \" I will produce a simple design\"\nthey merely gave expression to the spirit which was in themselves.\nNor is the importance of this return to simplicity in stage scenery\nconfined to its artistic aspect. It is one of national moment owing to the\nresult exercised on the mind of the spectator by what is set upon the\nstage. Possibly the English gentleman does not often go to the theatre\ntoday, but his wife goes; and he would do well to consider how much\nthe gaudy chattering plays, actors and scenes are responsible for the\ngaudiness of her dress next month, the fussiness of her ways next week\nand the chattering of her tongue next day.\nThe Influence of the theatre is enormous and its influence Is not so\nmuch in the subject treated as in the way that subject is treated. \"Romeo\nand Juliet\" may be either a delightful and refreshing story or it may be\nmade the most rubbishy commonplace sentimental novellette that was\never told. All depends upon the way it is treated,... all. And even if the\nactors are as good as may be wished, if the scenes are fussy and the\ncostumes flimsy a fussy and flimsy atmosphere is created, and that at-\nmosphere absorbed by the audience and carried home and spread all\nround the house. Let the same spectator visit twenty such productions\nand at the end of three or four months the nerves of the household will\nbe all upset... a misfortune which occurs with regularity in very many\nfamilies of today. & J&\n& The English gentleman, with his grand commonsense will do well to\nlook into this matter even as he looks into the matter of the defence of\nhis home and country from invaders ; for what is the good of defending\nEngland if the Beauty and Life of England has already been stolen\naway JZ? J0"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c059", "article_bluemountain": "bmtnaau_1911-07_01#c059", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191107-01.2.30.2", "titre_corps": "“La Compagnla del Mantellacefe”", "titre_sommaire": "“La Compagnla del Mantellacefe”", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 51, "texte": "“La Compagnla del Mantellacefe” Engraved about 1500"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c060", "article_bluemountain": "bmtnaau_1911-07_01#c060", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.30.3", "titre_corps": "From the Sacra Rappresentazione of Sta. Eufrosina", "titre_sommaire": "From the Sacra Rappresentazione of Sta. Eufrosina", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 50, "texte": "Pram the Sacra Rappresentazione of Sta. Eufrosina."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c061", "article_bluemountain": "bmtnaau_1911-07_01#c061", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 59, "image_fin": 59, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.2.30.4", "titre_corps": "A Scene from a “Sacra Rappresentazione”", "titre_sommaire": "A Scene from a “Sacra Rappresentazione”", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 64, "texte": "A Scene from a “Sacra Rappresentazione”. 15th Century Engraving."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c062", "article_bluemountain": "bmtnaau_1911-07_01#c062", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191107-01.2.30.5", "titre_corps": "From The \"Flores Poetarnm”", "titre_sommaire": "From The \"Flores Poetarnm”", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 27, "texte": "Prom The \"Flores Poetarnm”."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c063", "article_bluemountain": "bmtnaau_1911-07_01#c063", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191107-01.2.30.6", "titre_corps": "From the \"Contrasto di Carnevale e Quaresima\"", "titre_sommaire": "From the \"Contrasto di Carnevale e Quaresima\"", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 46, "texte": "Prom the \"Contrasto di Carnevale e Quaresima\"."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c064", "article_bluemountain": "bmtnaau_1911-07_01#c064", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191107-01.2.30.7", "titre_corps": "From the “Fior di Virtù” 1498", "titre_sommaire": "From the “Fior di Virtù” 1498", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.63", "debut_caractere": 48, "fin_caractere_exclue": 78, "texte": "From the “Fior di Virtù” 1498."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c065", "article_bluemountain": "bmtnaau_1911-07_01#c065", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 67, "image_fin": 67, "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=bmtnaau191107-01.2.30.8", "titre_corps": "From Lorenzo del Medici's “La Nencia da Barbarino”", "titre_sommaire": "From Lorenzo del Medici's “La Nencia da Barbarino”", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 67, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 51, "texte": "Prem Lorenzo del Medici's “La Nencia da Barbarino”."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c066", "article_bluemountain": "bmtnaau_1911-07_01#c066", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 69, "image_fin": 69, "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=bmtnaau191107-01.2.30.9", "titre_corps": "A Florentine Engraving from the story of Ippolito Buon delmonte and Dianora da Bardi", "titre_sommaire": "A Florentine Engraving from the story of Ippolito Buon delmonte and Dianora da Bardi", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 85, "texte": "A Florentine Engraving from the story of Ippolito Boon delmooto and Dianora da\nBardi,"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c067", "article_bluemountain": "bmtnaau_1911-07_01#c067", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 71, "image_fin": 71, "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=bmtnaau191107-01.2.31", "titre_corps": "LETTERS TO THE EDITOR", "titre_sommaire": "LETTERS TO THE EDITOR", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 1999, "texte": "LETTERS TO THE EDITOR.\nSir.\nJn your last number you touched upon the performance of \"Salome\" by\nthe New Players' Society at the Court Theatre \"in defiance of the Censor\".\nT*1® cho'ce of the play was curiously ingenuous, for \" Salome \" herself\nis the symbol of all those who cry aloud for the removal of the Censor. &\nThe play has been acted many times in Germany, Hungary, Russia\nand elsewhere and has had a regrettable influence on the period. &\n& The play also acts as a flaming poster for drawing the attention of the\nPublic to the inadvisability of permitting women to parade their frailties\non the stage under the guise of High Art, a practise which is regrettably\nupon the increase and is finding its climax in the nude dances and \" bath\nroom ' scenes so popular upon the stage todays\ncheap trash must flourish and increase so long as the Censor's\nhands are tied and that they are so is obvious, or how could these\nAmateur Societies « defy\" with Impunity an authority so important to\nour well-being as a nation ? Faithfully\nEdwin J. Burin\nSir.\nI think that perhaps the following extract from the dark archives of\n\" the Green Room Book \" will interest your readers: *\n& \" TREE, Herbert Beerbohm, actor manager ; was born London,\n<< Dec. 17,1853. second son of Julius Beerbohm a London merchant\n\" and Constantia Draper (grandson of Herr Ernst Beerbohm, landed\n\" Proprietor and timber merchant of Bernsteinbruch, on the Baltic;\n\" and ncphew of Qeneral von Unruh) etc, etc. Joined the Irrationals\n\" Amateur Dramatic Society \"• &\n& It is therefore a German gentleman who is President of the Theatrical\nManagers' Association of Great Britain.\n& This should be a source of pleasure and encouragement to «• us Ger-\nmans\", and a guarantee of future success to the English stage: and although\nThe Mask is anti-German in its tendency it will perhaps admit that what\nSir Herbert Beerbohm Tree has done for the English stage has been done\nwith true German sincerity. Yours faithfully\nHeinrich Klinkenstein."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c068", "article_bluemountain": "bmtnaau_1911-07_01#c068", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "67", "image_debut": 72, "image_fin": 81, "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=bmtnaau191107-01.2.32", "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": 72, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.72", "debut_caractere": 0, "fin_caractere_exclue": 1659, "texte": "BOOK REVIEWS.\n\nLAFCADIO HEARN IN JAPAN:\nby Yone Noguchi: El kin Matthews. London.\n\njfy|r Noguchi has sent me a book\nwhich 1 shall very often remem-\nber to take down from its shelf. Just\nto hold it in the hand is pleasant,\nso light it is, so cool its lemon\nyellow cover to the eye, and as one\nswiftly turns all the leaves by one\nthumb movement, one is reminded\nof the waves which roll upon the\nshore at Yaldzu.\n£? What is the word which best\ndescribes this little book ? I think\nit is \" distinction and It is distinc-\ntion which we pride ourselves In\nEngland on possessing. Ours is so\ndifferent though. Ours is a distingui-\nshed lacquer rather than something\nfrom under that which is under the\nskin. Ours is so rude that we drive a\nLafcadlo fleam or a Shelley into\nremote lands where true natural\ndistinction waits to welcome them.\nif after we have killed them we\nwrite about them we are particular\nto prove how undistinguished we are.\n\" It is perfectly appalling to\n44 observe In the Western countries\n44 that when anyone dies his friends\n44 have to rush to print his private\n44 letters and even an unexpected\n44 person volunteers to speak as\n44 his best friend and presumes to\n44 write his biography. \" & &\nMr Noguchi might have said\nmore. He tells us that in the\nEast 44 personality is not talked\n44 about so much, and gossip is only\n44 a little short of crime, and\n44 silence is poetry and virtue, (We\n44 never talk of Hearn's personality\n44 here; it Is enough to have his\n44 books). \" & &\n1 like very much the chapter\nin which Mr Otani, Hearn's literary\nassistant for a short while, sets\ndown a few facts relating to his\nservice to his master. It has Jus*"}, {"page_pdf": 73, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.73", "debut_caractere": 15, "fin_caractere_exclue": 2310, "texte": "that same distinction as the rest of\nthe book,... is full of love.... a rare\nquality In an assistant. How puffed\nup a Westerner would have\nhow he would have ruffled his\nfeathers to show that, without his\nassistance, the master would have\nbeen nothing! Pupils of Europe,\ntake a lesson from Mr Otani! At\nsome future date 1 hope to have\nthe privilege of reprinting Mr\nOtani's words.\nThen there is a delightful chapter\nby Mrs liearn. But I think the best\n/\nof the book is somewhere between\npages 8o and 104, wherein the\nwriter tells us of Mr liearn at Yaidzu\nby the sea, of his great swimming\nand how the one thousand five\nhundred fisherman wondered: of\nthe life led by the Fuji mountain\nworshippers, of their grief when\nHearn died, of how the Idol without\nhead or arms was to have both\nagain, and of how the law of Mama\nSan was obeyed in silence by all.\n\nJ. S.\n\nMASKS AND MINSTRELS OF\nNEW GERMANY, by\nPollard. John Luce. Boston U.S.A.\n'\"phis book is all about those fearful\nlabourers of Art, the Germans. It\nis a very full book and Mr Pollard\nis enthusiastic about his subject which\nhe has obviously studied only too well.\nMr Arthur Symons has written\nabout German Art and we think\neveryone will be the wiser for\nstudying carefully what he says.\nJZ? \"Strauss is the on!y decadent in\n\" music, and he has tried to debauch\n\" music, as Stuck has tried to de-\n\" bauch painting, and as Klinger has\n\" tried to debauch sculpture, for the\n\"satisfaction of a craving which is not\n\" simple, sensuous, and passionate',\n\" but elaborate, intellectual and\n44 frigid. The whole tendency of\n44 modern German art is summed up\n44 in his tone=poems, and it is a\n44 tendency towards an orgy of the\n\" brain, at once idealistic and gross,\n44 a perversity which proceeds from\n<4 impotence, and culminates in that\n44 emphasis which is worse than vice\n4 because it is vulgar. \" &\nAnyone who likes vulgarity will\nget it in Mr Pollard's book. This is\nnot Mr Pollard's fault but his\nmisfortune. Germany attracted him.\nIt does not attract us. J&\nMr Pollard only needs a more\ndistinguished subject and he will\nwrite a famous book. As it is he\nwrites with vigour and that is the\nfirst and best quality. After that\nperhaps comes distinction. But who\nis there who could write of Bierbaum\nwith Distinction ? This is Bierbaum's\nstyle:"}, {"page_pdf": 74, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.74", "debut_caractere": 14, "fin_caractere_exclue": 2288, "texte": "'* 1' ve been appointed \", he\ndeclared, \" to amuse Berlin Into\n44 artistic life, but not to bore it\n44 with literature. The object of our\n\" Hall Is to do away with the last\n44 vestiges of interest in all this\n44 literature of yours. We want to\n44 make the people of Berlin truly\n44 aesthetic. There are still people\n44 here who read books. That's got\n44 tO Stop. j£>\n& 44 There's more of the lyric\n44 in the lace drawers of my sou-\n44 brettes than In all your printed\n44 works; and when once the time\n44 is come that I can let them dance\n44 without any drawers at all, even\n44 you will realize that it is superflu-\n44 ous to write any other verses than\n44 those sung on our stage. Beautiful\n44 clothes, beautiful arms, busts,\n44 legs, gestures, those are what\n44 count. Evolve dances for me;\n44 create pantomime; solve me the\n44 problem of emancipation from\n44 tights.... those are the things I\n44 need.\n44 And if you absolutely have\n44 to write verses, don't forget they\n44 must be sung by beautiful girls\n44 whose corsets do not embrace the\n44 void \".\nAnd we don't like this style of\nunder-wear,.:. when worn as an\novercoat, &\n\nTHE DRAMATIC AUTHOR'S\nCOMPANION. Mills Boon.\nTwo shillings and sixpence.\nJfyi essrs Mills and Boon have now\ndone for the Dramatic Author\nwhat they had already done for the\nNurse, the Chauffeur, the Gardener,\nLady Motorist, Golfer, Rifleman,\nPoultry-keeper and Bee-keeper: that\nis to say, they have found a Compa-\nnion for him.\n.3? Without all the disappointments\nattendant upon the matrimonial\nagency Messrs Mills and Boon act\nas caterers to the long felt wants\nof the artists in Patients, Pigeons\nand Plays for companions. And surely\ntoday the Dramatic Author must\nfeel his loneliness even more acutely\nthan either the Bee-keeper or the\nkeeper of Poultry, and we may\nsay that the Companion found for\nthe Dramatic Author by Messrs Mills\nand Boon is an ideal person. He is\nwife, counseller, friend, perhaps\nmore than a mother to him. By\nfollowing his advice anyone with\ngenius can add that necessary dash of\ncommonsense which the Companion\nsays is as desirable as it is rare.\nAltogether Messrs Mills and Boon\nhave found the Dramatic Author\nan ideal Companion But I would\nlike just to see all these companions\nof Beekeeper, Nurse, Chauffeur, Gar-"}, {"page_pdf": 75, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.75", "debut_caractere": 16, "fin_caractere_exclue": 2233, "texte": "dener and Pood Reformer gathered\ntogether and hear them all talking\n44 shop \" !\n\nMODERN DRAMATISTS\nAshley Dukes. Frank Palmer.\nHPhe author seems to consider\nconsistency a • great virtue and,\nIn the attempt to be consistent at\nany price, is obliged to sell his\nhouse and all.\n& He writes of the dramatists as\nthough he knew. What the drama-\ntists will say about it heaven\nknows. &\nThese dramatists according to\nMr Dukes are no dramatists at all.\nThey are men who first of all have\nsomething to say against drink,\nprisons, dishonest ship-owners,\nwomen, the aristocracy, etc, and\nto whom it Is quite a secondary\nmatter how they say it. &\nWe had always hoped that dra-\nmatists were to be grouped with\nthe seers, but Mr Dukes shows us\nclearly that these dramatists of his\nare pretty human and fond of no-\nthing so much as a good cackle.\nug? Holding the old theory that the\nTheatre is for a maximum amount\nof action and a minimum of words\nwe think Mr Dukes has demonstrated\nthat these dramatists are certainly\nt\nnot of or for the Theatre.\nWe were quite aware that the\ndramatists were full of faults, espe-\ncially that huge unforgiveable one\nof preaching, but we have seldom\nhad the evidence of this fact so\nwell gathered together and so\nconvincingly stated.\nPor Mr Dukes takes it for gran-\nted from the first that the whole\nsoul of the dramatist is bent on\nteaching:.... not that he praises or\nblames them for this but that he\ntakes It so for granted that his\nreaders will surely believe that the\ngood dramatist must be a teacher\nand a preacher before all things and\nan artist or seer secondarily if at all.\nIt is this conviction which stands\nout in Mr Dukes's work whereas\nwhat the different men are as artists\nis not even suggested. &\nj& The two greatest artists among\nmodern European playwrights are\nYeats and Synge. These he omits\nto mention and the excuse he gives\nthat 44 Relevance may be a greater\nvirtue than completeness \" is quite\ninadequate.\n& Perhaps however he has done well\nto omit these two, for it is obvious\nthat Yeats and Synge would not\nbehave well in company with those\nlong-faced moralists of the Order of\nthe White Tie, with Shaw, Brieux,\nBarker, Heljermanns and Co.\nSynge and Yeats are like two tipsy"}, {"page_pdf": 76, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.76", "debut_caractere": 14, "fin_caractere_exclue": 2284, "texte": "tinkers, drunk with great draughts\nof beauty: the others are like sober\nclergymen with the usual\nwhich clergymen have for the foot-\nlights, sipping thimblefulls of com-\nmonsense, unecstatic. At least this is\nthe impression Mr Dukes's book\nmakes upon us. J\n& And Mr Dukes himself seems like\nsome kindly verger who goes before\nthese staid gentlemen and whispers\ntheir hankering into the ear of the\ndoor-keeper. ■£? •\nThe Theatre is In no hurry to\nfollow false prophets and these\npreaching men are not fond of the\nTheatre as Theatre but merely be-\ncause it provides them with a little\nV\nexcitement.\n£? The Theatre contains the mate-\nrials of an art which is neither lite-\nrary, pictorial nor musical. This\nfact has been stated by Mr Gordon\nCraig who has given his life to the\nstudy: therefore books like this one\nby Mr Ashley Dukes seem quite\nfutile. £?\n■£? Mr Dukes says that he has per-\nceived a real awakening of the Thea-\ntre to be taking place and that he\nhas accordingly brought a few white-\ntied preachers to the stage door in\nthe hope that something may turn\nup for them. The Theatre will of\ncourse handle these gentlemen as it\nhas for centuries handled play-\nwrights ready to make twenty per\ncent out of it but not to lose a penny\nin its rightful cause.\n\nMEMOIRS AND IMPRESSIONS\nOF Mme. MODJESKA, Mac mil-\niars. Price Seventeen shillings net.\nIn this book Madame Modjeska\ntells of her work, her triumphs, her\npublic and private life, and in the\ntelling reveals, perhaps unconscious-\nly, but as does each actress who\ngives us tise Story of her Life, the\ncolossal blunder which has been com-\nmitted in ever permitting women to\nappear upon the stage. We have\nspoken often of the harm done to\nthe art by the practise; here we\nhave proof from an actress's own\nwritings of how great and inevitable\nIs the loss to the woman herself;\n\" No, no, 44wrote Madame Mod-\n\" jeska \" a public life is not fit\n\" for a women! Some one said,\n44 The happiest woman is the one of\n44 whom nothing good and nothing\n44 bad can be said. \" Who knows\n44 how much truth is in these words,\n44 and whether any woman should\n44 seek for happiness outside of her\n44 home, which seems to be the\n44 proper place for her. There she\n44 reigns, Her life Is inaccessible to\n44 human curiosity. But a woman"}, {"page_pdf": 77, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.77", "debut_caractere": 14, "fin_caractere_exclue": 2383, "texte": "44 who has dared to raise her head\n44 above the others, who has exten-\n\" ded her eager hand for laurels,\n44 who has not hesitated to expose\n\" and throw to the crowds all that\n44 her soul possessed of love, despair\n44 and passion, that woman has\n44 given the right to the curious\n44 multitude to interfere in her\n44 private affairs, to rummage in the\n44 most secret recesses of her life,\n44 to count her very heart's pulsa-\n44 tions \", and, she concludes, 44 at\n44 last an invincible horror fills our\n44 soul towards that pillory called the\n44 Stage \", and a great doubt rises\n44 in our mind. Was it worth while\n44 to give all that we had of the\n44 best of ourselves to the world, in\n44 order to obtain as a reward a\n44 momentary applause followed by\n44 a cup of bitterness\nAnd again;\n44 In the old Roman times they\n44 used to throw prisoners to the\n44 lions. I threw all that was best of\n44 me to the hungry crowds, but\n44 they still ask for more, and I am\n*4 so poor, so poor, that there Is not\n44 enough of feeling left IK me to\n44 give me comfort in everyday life.\nThese extracts speak for them-\nselves and we offer them for the\nconsideration especially of the youn-\nger actresses who step forward so\nconfidently and rashly to a work In\nwhich they have much to lose for\nthemselves and nothing of value to\ngain for the art they profess to serve.\n\nINTERPRETERS OF LIFE\nArchibald Henderson Mitchell\nKennerly. New York. Price one\nand a half dollars net. &\nJhe \" Interpreters\" selected by\nMr Henderson for discussion are\nGeorge Meredith, Oscar Wilde,\nMaurice Maeterlinck, Henrik Ibsen\nand George Bernard Shaw, but the\nwhole seems to be too much the\nresult of reading books upon the\nsubject and restating the opinions\nas well as the facts. Mr Henderson\nhas nothing original to give us; he\nmerely dishes up for other cooks.\nAt times his method betrays\n- him, as, for instance, in his obser-\nvations on the work of M. Stani=»\nslawski and Mr Herbert Trench.\nHe appears to have formed his\nopinions in this case fron newspaper\nreports and not to have covered his\ntraces sufficiently carefully, for he\naccords the same meed of praise to\nthe latter as to the former, testing\nboth by their production of the\nsame play. In fact his idea of M.\nStanislawsky, whom he describes as\n\" the greatest of living stage mana-\ngers, \" (this alone proves Mr Hen-\nderson to know little abQut the"}, {"page_pdf": 78, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.78", "debut_caractere": 14, "fin_caractere_exclue": 2173, "texte": "leading men in the European Theatre\nof today), is nicely guaged for us\nwhen we read his' estimate of Mr\nTrench on the following page.\nThe essay on Ibsen is Interesting\nas is some of the information\ngathered together about Wilde who\n'* always affirmed that he respected\n\" life too deeply ever to discuss it\n\" seriously\". &\nBut as we close Mr Henderson's\nvolume we wonder a little how\nmuch of if would have been given\nto us had Mr Henderson locked his\nlibrary, dropped the key down\nthe well, countermanded his daily\npaper, and relied on his own eyes\nand brains, for his ideas. We would\nsuggest the experiment to him in\nwriting his next book. It may be\na tenth the size of this, but. ....\nIt might have ten times the\nweight. jg?\n\nTHE GOLDEN AGE OF EN-\nGRAVING by Frederick Reppel\nBaker Taylor Co:U. S. A. Price\nthree and a half dollars net.\nMl r Keppel has chosen a most in-\nteresting subject for his book\nwhich bears evidence of long study\nand casual research and should prove\nof value to students and collectors\nand to all who appreciate the \" Noble\nhuman labour of the Engraver \" as\ncompared with the mechanical pro-\ncesses of pictorial reproduction of\ntoday.\nThe volume is well bound and\nprinted, and contains two hundred\nand sixty two illustrations showing\nthe progress of the art from the\nyear 1465 to the year 1910.\n\nA HISTORY OF JAPANESE\nCOLOUR PRINTS .\nlitz. & Heinemann, Price twenty\nfive shillings net. &\n'\"Phis book contains many fine\nreproductions of Japanese plates\nand the actors and actresses\nhave much to learn from their\nstudy. &\nWe would draw attention espe-\ncially to those which show actors\nin female parts, since each of these\nfigures is worth any amount of\nargument upon the desirability, the\nabsolute necessity to the art of the\ntheatre, of replacing women by men\nupon the stage. &\njg? There are some people who will\nnever believe until they see. We\nadvise them to study these pictures\nand we feel assured that they will\nthen no longer doubt or question\nthe truth of what has been so many\ntimes repeated in The Mask.... that\nwomen must withdraw from the\nstage and leave it finally and exclu-\nsively to men if the theatre is to be\nsaved. &"}, {"page_pdf": 79, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.79", "debut_caractere": 15, "fin_caractere_exclue": 2370, "texte": "JAPANESE ART by Laurence\nBlnyon. T. Fisher Unwin. Five\nshillings net.\nTrills book has the distinction and\nscholarly tone which we expect\n...and find... in all to which Mr Blnyon\nputs his hand. It includes among its\nmany fine plates some especially inte-\nresting ones of the Japanese Theatre.\n\nSTRUGGLES AND VICTORIES\nby Yvette Guilbert and H.\nSimpson, JS? Mills and Boon.\nPrice ten shillings and sixpence.\nTPhe life of Yvette Guilbert is nei=\nther more nor less extraordinary\nthan that of any woman ot like fibre.\nThe pity is that there are so few.\nWe see them sometimes seated on\nthe throne, sometimes on a doorstep;\nsometimes they pass before us on\nthe stage or in a drawingroom.\nCourage is their prime quality, and\nto that is added grace or distinction,\nbrilliance or strength, never vulga-\nrlty or malice.\nYvette Guilbert Is exactly such a\nwoman ; never vulgar, never mali-\ncious; always striving like fire to be\njust and like fire burning up in the\nflame of this desire all that is not pure\nenough to stand the heat.\nThat she is also a great actress\nIs a detail, and certainly it in no way\ndetracts from her great personal\nverity. This can be said of but few\nwomen. When women become ac=\ntresses they become something false.\n1 have said that Madame Yvette\nGuilbert is a great actress. I said\nso because people tell me so. Every\none tells me so. Some say the grea«\ntest actress. JZ?\nI challenge this. She could not be\npossessed of that flaming desire to\nbe just and sincere and be an actress\nat the same time,... no, not even the\ngreatest actress.\n& I think I would prefer to call her\na poet, and if I may be allowed to\ndo so 1 will. &\nShe creates, and that which she\ncreates is poetry,., a kind of poetry.\nLike Shakespeare and most of the\ngreat dramatists she takes some rag\nof verse or story and emblazons upon\nit the names of many victories won\nby the proud and the brave over the\nmean and the cowardly. This is her\nbanner woven by her own hands.\nShe is certainly a poet,,., a fighting\npoet. She is certainly no actress,....\nactresses never fight for a cause:\nthey squabble for personal fame....\nand hate all causes, all principles.\nAnd they hate their \" Art\". The\nproof of this lies in their taking to\nflight, in their deserting the guns\n«»\nwhen the bullets begin to fly.\nJS/ In this book Madame Yvette Or*\nbert tells the story of her early IIfe;A"}, {"page_pdf": 80, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.80", "debut_caractere": 17, "fin_caractere_exclue": 2361, "texte": "the whole tale is of a long fight and\nshe does not tell how easy it would\nhave been for her to give in and\nwin a different success by using\ndifferent weapons. That remains yet\nfor some one to do. *£?\nIt is Madame Yvette Guilbert's\ndistinction not to have compromised,\nnot to have accepted quarter, not to\nhave acted off the stage, not to have\nacted at ail and yet to be on the\nstage all the time. It is nothing short\nof gigantic in its loveliness.\nThis has been Madame Yvette\nGuilbert's lovely past; we can wit-\nness her present, now for the future.\nWhat is that to be ? She. will\nfight; she must; she will never settle\ndown although happily married to a\nfine man and with all good things\naround her; she is sure to fight. &\n& For this we salute her. She Is all\nwe admire most; she as that which\nfights against all that Is mean, ugly\nand vulgar: against that vast Re-\nbellion of man and woman who sin\nagainst Nature and God ...in being\nsmall. & &\n\nE. E.\n\nA HISTORY OF PAINTING by\nHaldane Mac Fall. Eight Vols:\n1 • G. & E. C. Jack, Price\nseven shillings and sixpence net\nvolume. *& jg?\n' Preface to this 44 History of\niting, of which four volumes\nhave reached us, Mr Brangwyn the\npainter tells us that Mr MacPall\nhas said the right thing about Art\nand Its relation to Life. Mr MacPall\nhimself in his Foreword says \" In\n\" these pages I have simply written\n44 of the greater men of genius who\n\" have contributed to the Art of\n44 painting; and 1 have touched upon\n44 their more famous works rather\n44 than attempted an exhaustive list\n44 of their endeavour, the which has\n44 no value save to the dealer in\n44 antiques. The volumes are an at-\n44 tempt to place before the ordinary\n44 man the chief achievement of the\n44 years in the Art of Painting; and\n44 to hint at something of the real\n44 significance of that achievement\".\nAnd again, 44 I give you no fantastic\n44 pedant's balderdash about 44tactiie\n44 values\" or 44 space composition\";\n44 about your 44 vasamotor system \"\n44 or 44 the materially significant \"\n44 or your 44 ideated sensations \". It\nis, in fact, a book for the\n44 ordinary man \" and he is very\n44 grateful.\nThere are maps and charts in the\nvolumes and many many reproduce\ntlons In colour of the master pieces\nof painting.\nThe author tells us that all Art\nis an 44 overwhelming need, that it\nis no luxury, the need is not allied"}, {"page_pdf": 81, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.81", "debut_caractere": 15, "fin_caractere_exclue": 2188, "texte": "to the other need for diversion \".\nThe moment Art becomes a luxury\nor a mere diversion it is in decay \"\nsays he; which is, as we understand\nit, a great truth, but not the whole\ntruth. It is likely that the whole\ntruth will only be quite evident to\nthe great masters. £?\n£? Mr MacFall has written a book\nwhich for many reasons should be\nvery popular; and belongs by deed\nof gift to \"the ordinary man\" since\nit is with the consciousnes that this\nman is his reader that Mr Macfail\nwrites. J£>\nThis is a good thing to have done;\na bold thing too, for we too often\ntoday give up the \" ordinary man\"\nas hopeless. j\n& Mr MacFall's book is good sense,\nand more, is readable. It is History\nmade romantic; It is the pyramid of\nfacts with the sun on it. Of how\nmany books on the History of Pain-\nting can that be said ? Some only\nwant facts and dates. Blake is\namongst those who are satisfied\nwith Just that; but some want more.\nThey get it from Mr MacFall.\nThe history is an enormous un-\ndertaking and is evidently the work\nof a lifetime, and, though we of The\nMask are all for Dates and Facts,\nand Dates and Facts alone, IF we\nare to have opinions let them be\nof the kind Mr MacFall gives us and\nnot those generally imposed upon us\nin Histories of Art, for his are given\nwith gusto, ...and that's everything.\nThe other Art writers are a bit dry,\nand you know this when you come\nto read Mr MacFall. £?\n\nTHE PLAY BOY OF THE WES-\nTERN WORLD, by J. M. Synge.\nMaunsell. Dublin. Price half a\ncrown net.\nnew Edition, admirable for the\ndistinction of its format and style,\nof Synge's Masterpiece. -2?\n\nSIX SMALL BOOKS OF PLAYS\n*\nfrom Maunsell, Dublin, at One\nshilling or sixpence each.\nthese plays, two \" The Jackdaw''\nand \"The Image\" are by Lady Gre-\ngory. The former especially is admi-\nrable.... simple, most amusing, alto-\ngether charming..\nothers are respectively \"False-\nly True \" by Johanna Redmond;\n\" The Cross Roads \" by S. L. Robin-\nson; \"Birthright\" by T. C. Murray,\nand \" The Troth \" and \"The Drone\"\nby Rutherford Mayne. £?\nAll of these are good, and as we\nknow that Synge's plays are superb\nand Yeats's plays are even finer we\nfeel that the Irish Theatre is safe as\nSt Patrick."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c070", "article_bluemountain": "bmtnaau_1911-07_01#c070", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "59", "image_debut": 72, "image_fin": 73, "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=bmtnaau191107-01.2.32.2", "titre_corps": "LAFCADIO HEARN IN JAPAN by Yone Noguchi", "titre_sommaire": "LAFCADIO HEARN IN JAPAN by Yone Noguchi", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.72", "debut_caractere": 15, "fin_caractere_exclue": 1659, "texte": "LAFCADIO HEARN IN JAPAN:\nby Yone Noguchi: El kin Matthews. London.\n\njfy|r Noguchi has sent me a book\nwhich 1 shall very often remem-\nber to take down from its shelf. Just\nto hold it in the hand is pleasant,\nso light it is, so cool its lemon\nyellow cover to the eye, and as one\nswiftly turns all the leaves by one\nthumb movement, one is reminded\nof the waves which roll upon the\nshore at Yaldzu.\n£? What is the word which best\ndescribes this little book ? I think\nit is \" distinction and It is distinc-\ntion which we pride ourselves In\nEngland on possessing. Ours is so\ndifferent though. Ours is a distingui-\nshed lacquer rather than something\nfrom under that which is under the\nskin. Ours is so rude that we drive a\nLafcadlo fleam or a Shelley into\nremote lands where true natural\ndistinction waits to welcome them.\nif after we have killed them we\nwrite about them we are particular\nto prove how undistinguished we are.\n\" It is perfectly appalling to\n44 observe In the Western countries\n44 that when anyone dies his friends\n44 have to rush to print his private\n44 letters and even an unexpected\n44 person volunteers to speak as\n44 his best friend and presumes to\n44 write his biography. \" & &\nMr Noguchi might have said\nmore. He tells us that in the\nEast 44 personality is not talked\n44 about so much, and gossip is only\n44 a little short of crime, and\n44 silence is poetry and virtue, (We\n44 never talk of Hearn's personality\n44 here; it Is enough to have his\n44 books). \" & &\n1 like very much the chapter\nin which Mr Otani, Hearn's literary\nassistant for a short while, sets\ndown a few facts relating to his\nservice to his master. It has Jus*"}, {"page_pdf": 73, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.73", "debut_caractere": 15, "fin_caractere_exclue": 872, "texte": "that same distinction as the rest of\nthe book,... is full of love.... a rare\nquality In an assistant. How puffed\nup a Westerner would have\nhow he would have ruffled his\nfeathers to show that, without his\nassistance, the master would have\nbeen nothing! Pupils of Europe,\ntake a lesson from Mr Otani! At\nsome future date 1 hope to have\nthe privilege of reprinting Mr\nOtani's words.\nThen there is a delightful chapter\nby Mrs liearn. But I think the best\n/\nof the book is somewhere between\npages 8o and 104, wherein the\nwriter tells us of Mr liearn at Yaidzu\nby the sea, of his great swimming\nand how the one thousand five\nhundred fisherman wondered: of\nthe life led by the Fuji mountain\nworshippers, of their grief when\nHearn died, of how the Idol without\nhead or arms was to have both\nagain, and of how the law of Mama\nSan was obeyed in silence by all.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c071", "article_bluemountain": "bmtnaau_1911-07_01#c071", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "59", "page_fin": "60", "image_debut": 73, "image_fin": 74, "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=bmtnaau191107-01.2.32.3", "titre_corps": "MASKS AND MINSTRELS OF NEW GERMANY by Percival Pollard", "titre_sommaire": "MASKS AND MINSTRELS OF NEW GERMANY by Percival Pollard", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 73, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.73", "debut_caractere": 874, "fin_caractere_exclue": 2310, "texte": "MASKS AND MINSTRELS OF\nNEW GERMANY, by\nPollard. John Luce. Boston U.S.A.\n'\"phis book is all about those fearful\nlabourers of Art, the Germans. It\nis a very full book and Mr Pollard\nis enthusiastic about his subject which\nhe has obviously studied only too well.\nMr Arthur Symons has written\nabout German Art and we think\neveryone will be the wiser for\nstudying carefully what he says.\nJZ? \"Strauss is the on!y decadent in\n\" music, and he has tried to debauch\n\" music, as Stuck has tried to de-\n\" bauch painting, and as Klinger has\n\" tried to debauch sculpture, for the\n\"satisfaction of a craving which is not\n\" simple, sensuous, and passionate',\n\" but elaborate, intellectual and\n44 frigid. The whole tendency of\n44 modern German art is summed up\n44 in his tone=poems, and it is a\n44 tendency towards an orgy of the\n\" brain, at once idealistic and gross,\n44 a perversity which proceeds from\n<4 impotence, and culminates in that\n44 emphasis which is worse than vice\n4 because it is vulgar. \" &\nAnyone who likes vulgarity will\nget it in Mr Pollard's book. This is\nnot Mr Pollard's fault but his\nmisfortune. Germany attracted him.\nIt does not attract us. J&\nMr Pollard only needs a more\ndistinguished subject and he will\nwrite a famous book. As it is he\nwrites with vigour and that is the\nfirst and best quality. After that\nperhaps comes distinction. But who\nis there who could write of Bierbaum\nwith Distinction ? This is Bierbaum's\nstyle:"}, {"page_pdf": 74, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.74", "debut_caractere": 14, "fin_caractere_exclue": 1142, "texte": "'* 1' ve been appointed \", he\ndeclared, \" to amuse Berlin Into\n44 artistic life, but not to bore it\n44 with literature. The object of our\n\" Hall Is to do away with the last\n44 vestiges of interest in all this\n44 literature of yours. We want to\n44 make the people of Berlin truly\n44 aesthetic. There are still people\n44 here who read books. That's got\n44 tO Stop. j£>\n& 44 There's more of the lyric\n44 in the lace drawers of my sou-\n44 brettes than In all your printed\n44 works; and when once the time\n44 is come that I can let them dance\n44 without any drawers at all, even\n44 you will realize that it is superflu-\n44 ous to write any other verses than\n44 those sung on our stage. Beautiful\n44 clothes, beautiful arms, busts,\n44 legs, gestures, those are what\n44 count. Evolve dances for me;\n44 create pantomime; solve me the\n44 problem of emancipation from\n44 tights.... those are the things I\n44 need.\n44 And if you absolutely have\n44 to write verses, don't forget they\n44 must be sung by beautiful girls\n44 whose corsets do not embrace the\n44 void \".\nAnd we don't like this style of\nunder-wear,.:. when worn as an\novercoat, &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c072", "article_bluemountain": "bmtnaau_1911-07_01#c072", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "60", "page_fin": "61", "image_debut": 74, "image_fin": 75, "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=bmtnaau191107-01.2.32.4", "titre_corps": "THE DRAMATIC AUTHOR'S COMPANION", "titre_sommaire": "THE DRAMATIC AUTHOR'S COMPANION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 74, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.74", "debut_caractere": 1144, "fin_caractere_exclue": 2288, "texte": "THE DRAMATIC AUTHOR'S\nCOMPANION. Mills Boon.\nTwo shillings and sixpence.\nJfyi essrs Mills and Boon have now\ndone for the Dramatic Author\nwhat they had already done for the\nNurse, the Chauffeur, the Gardener,\nLady Motorist, Golfer, Rifleman,\nPoultry-keeper and Bee-keeper: that\nis to say, they have found a Compa-\nnion for him.\n.3? Without all the disappointments\nattendant upon the matrimonial\nagency Messrs Mills and Boon act\nas caterers to the long felt wants\nof the artists in Patients, Pigeons\nand Plays for companions. And surely\ntoday the Dramatic Author must\nfeel his loneliness even more acutely\nthan either the Bee-keeper or the\nkeeper of Poultry, and we may\nsay that the Companion found for\nthe Dramatic Author by Messrs Mills\nand Boon is an ideal person. He is\nwife, counseller, friend, perhaps\nmore than a mother to him. By\nfollowing his advice anyone with\ngenius can add that necessary dash of\ncommonsense which the Companion\nsays is as desirable as it is rare.\nAltogether Messrs Mills and Boon\nhave found the Dramatic Author\nan ideal Companion But I would\nlike just to see all these companions\nof Beekeeper, Nurse, Chauffeur, Gar-"}, {"page_pdf": 75, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.75", "debut_caractere": 16, "fin_caractere_exclue": 95, "texte": "dener and Pood Reformer gathered\ntogether and hear them all talking\n44 shop \" !"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c073", "article_bluemountain": "bmtnaau_1911-07_01#c073", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "61", "page_fin": "62", "image_debut": 75, "image_fin": 76, "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=bmtnaau191107-01.2.32.5", "titre_corps": "MODERN DRAMATISTS by Ashley Dukes", "titre_sommaire": "MODERN DRAMATISTS by Ashley Dukes", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 75, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.75", "debut_caractere": 97, "fin_caractere_exclue": 2233, "texte": "MODERN DRAMATISTS\nAshley Dukes. Frank Palmer.\nHPhe author seems to consider\nconsistency a • great virtue and,\nIn the attempt to be consistent at\nany price, is obliged to sell his\nhouse and all.\n& He writes of the dramatists as\nthough he knew. What the drama-\ntists will say about it heaven\nknows. &\nThese dramatists according to\nMr Dukes are no dramatists at all.\nThey are men who first of all have\nsomething to say against drink,\nprisons, dishonest ship-owners,\nwomen, the aristocracy, etc, and\nto whom it Is quite a secondary\nmatter how they say it. &\nWe had always hoped that dra-\nmatists were to be grouped with\nthe seers, but Mr Dukes shows us\nclearly that these dramatists of his\nare pretty human and fond of no-\nthing so much as a good cackle.\nug? Holding the old theory that the\nTheatre is for a maximum amount\nof action and a minimum of words\nwe think Mr Dukes has demonstrated\nthat these dramatists are certainly\nt\nnot of or for the Theatre.\nWe were quite aware that the\ndramatists were full of faults, espe-\ncially that huge unforgiveable one\nof preaching, but we have seldom\nhad the evidence of this fact so\nwell gathered together and so\nconvincingly stated.\nPor Mr Dukes takes it for gran-\nted from the first that the whole\nsoul of the dramatist is bent on\nteaching:.... not that he praises or\nblames them for this but that he\ntakes It so for granted that his\nreaders will surely believe that the\ngood dramatist must be a teacher\nand a preacher before all things and\nan artist or seer secondarily if at all.\nIt is this conviction which stands\nout in Mr Dukes's work whereas\nwhat the different men are as artists\nis not even suggested. &\nj& The two greatest artists among\nmodern European playwrights are\nYeats and Synge. These he omits\nto mention and the excuse he gives\nthat 44 Relevance may be a greater\nvirtue than completeness \" is quite\ninadequate.\n& Perhaps however he has done well\nto omit these two, for it is obvious\nthat Yeats and Synge would not\nbehave well in company with those\nlong-faced moralists of the Order of\nthe White Tie, with Shaw, Brieux,\nBarker, Heljermanns and Co.\nSynge and Yeats are like two tipsy"}, {"page_pdf": 76, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.76", "debut_caractere": 14, "fin_caractere_exclue": 1273, "texte": "tinkers, drunk with great draughts\nof beauty: the others are like sober\nclergymen with the usual\nwhich clergymen have for the foot-\nlights, sipping thimblefulls of com-\nmonsense, unecstatic. At least this is\nthe impression Mr Dukes's book\nmakes upon us. J\n& And Mr Dukes himself seems like\nsome kindly verger who goes before\nthese staid gentlemen and whispers\ntheir hankering into the ear of the\ndoor-keeper. ■£? •\nThe Theatre is In no hurry to\nfollow false prophets and these\npreaching men are not fond of the\nTheatre as Theatre but merely be-\ncause it provides them with a little\nV\nexcitement.\n£? The Theatre contains the mate-\nrials of an art which is neither lite-\nrary, pictorial nor musical. This\nfact has been stated by Mr Gordon\nCraig who has given his life to the\nstudy: therefore books like this one\nby Mr Ashley Dukes seem quite\nfutile. £?\n■£? Mr Dukes says that he has per-\nceived a real awakening of the Thea-\ntre to be taking place and that he\nhas accordingly brought a few white-\ntied preachers to the stage door in\nthe hope that something may turn\nup for them. The Theatre will of\ncourse handle these gentlemen as it\nhas for centuries handled play-\nwrights ready to make twenty per\ncent out of it but not to lose a penny\nin its rightful cause."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c074", "article_bluemountain": "bmtnaau_1911-07_01#c074", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "62", "page_fin": "63", "image_debut": 76, "image_fin": 77, "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=bmtnaau191107-01.2.32.6", "titre_corps": "MEMOIRS AND IMPRESSIONS OF Mme. MODJESKA", "titre_sommaire": "MEMOIRS AND IMPRESSIONS OF Mme. MODJESKA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 76, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.76", "debut_caractere": 1275, "fin_caractere_exclue": 2284, "texte": "MEMOIRS AND IMPRESSIONS\nOF Mme. MODJESKA, Mac mil-\niars. Price Seventeen shillings net.\nIn this book Madame Modjeska\ntells of her work, her triumphs, her\npublic and private life, and in the\ntelling reveals, perhaps unconscious-\nly, but as does each actress who\ngives us tise Story of her Life, the\ncolossal blunder which has been com-\nmitted in ever permitting women to\nappear upon the stage. We have\nspoken often of the harm done to\nthe art by the practise; here we\nhave proof from an actress's own\nwritings of how great and inevitable\nIs the loss to the woman herself;\n\" No, no, 44wrote Madame Mod-\n\" jeska \" a public life is not fit\n\" for a women! Some one said,\n44 The happiest woman is the one of\n44 whom nothing good and nothing\n44 bad can be said. \" Who knows\n44 how much truth is in these words,\n44 and whether any woman should\n44 seek for happiness outside of her\n44 home, which seems to be the\n44 proper place for her. There she\n44 reigns, Her life Is inaccessible to\n44 human curiosity. But a woman"}, {"page_pdf": 77, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.77", "debut_caractere": 14, "fin_caractere_exclue": 1361, "texte": "44 who has dared to raise her head\n44 above the others, who has exten-\n\" ded her eager hand for laurels,\n44 who has not hesitated to expose\n\" and throw to the crowds all that\n44 her soul possessed of love, despair\n44 and passion, that woman has\n44 given the right to the curious\n44 multitude to interfere in her\n44 private affairs, to rummage in the\n44 most secret recesses of her life,\n44 to count her very heart's pulsa-\n44 tions \", and, she concludes, 44 at\n44 last an invincible horror fills our\n44 soul towards that pillory called the\n44 Stage \", and a great doubt rises\n44 in our mind. Was it worth while\n44 to give all that we had of the\n44 best of ourselves to the world, in\n44 order to obtain as a reward a\n44 momentary applause followed by\n44 a cup of bitterness\nAnd again;\n44 In the old Roman times they\n44 used to throw prisoners to the\n44 lions. I threw all that was best of\n44 me to the hungry crowds, but\n44 they still ask for more, and I am\n*4 so poor, so poor, that there Is not\n44 enough of feeling left IK me to\n44 give me comfort in everyday life.\nThese extracts speak for them-\nselves and we offer them for the\nconsideration especially of the youn-\nger actresses who step forward so\nconfidently and rashly to a work In\nwhich they have much to lose for\nthemselves and nothing of value to\ngain for the art they profess to serve."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c075", "article_bluemountain": "bmtnaau_1911-07_01#c075", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "63", "page_fin": "64", "image_debut": 77, "image_fin": 78, "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=bmtnaau191107-01.2.32.7", "titre_corps": "INTERPRETERS OF LIFE by Archibald Henderson", "titre_sommaire": "INTERPRETERS OF LIFE by Archibald Henderson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.77", "debut_caractere": 1363, "fin_caractere_exclue": 2383, "texte": "INTERPRETERS OF LIFE\nArchibald Henderson Mitchell\nKennerly. New York. Price one\nand a half dollars net. &\nJhe \" Interpreters\" selected by\nMr Henderson for discussion are\nGeorge Meredith, Oscar Wilde,\nMaurice Maeterlinck, Henrik Ibsen\nand George Bernard Shaw, but the\nwhole seems to be too much the\nresult of reading books upon the\nsubject and restating the opinions\nas well as the facts. Mr Henderson\nhas nothing original to give us; he\nmerely dishes up for other cooks.\nAt times his method betrays\n- him, as, for instance, in his obser-\nvations on the work of M. Stani=»\nslawski and Mr Herbert Trench.\nHe appears to have formed his\nopinions in this case fron newspaper\nreports and not to have covered his\ntraces sufficiently carefully, for he\naccords the same meed of praise to\nthe latter as to the former, testing\nboth by their production of the\nsame play. In fact his idea of M.\nStanislawsky, whom he describes as\n\" the greatest of living stage mana-\ngers, \" (this alone proves Mr Hen-\nderson to know little abQut the"}, {"page_pdf": 78, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.78", "debut_caractere": 14, "fin_caractere_exclue": 739, "texte": "leading men in the European Theatre\nof today), is nicely guaged for us\nwhen we read his' estimate of Mr\nTrench on the following page.\nThe essay on Ibsen is Interesting\nas is some of the information\ngathered together about Wilde who\n'* always affirmed that he respected\n\" life too deeply ever to discuss it\n\" seriously\". &\nBut as we close Mr Henderson's\nvolume we wonder a little how\nmuch of if would have been given\nto us had Mr Henderson locked his\nlibrary, dropped the key down\nthe well, countermanded his daily\npaper, and relied on his own eyes\nand brains, for his ideas. We would\nsuggest the experiment to him in\nwriting his next book. It may be\na tenth the size of this, but. ....\nIt might have ten times the\nweight. jg?"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c076", "article_bluemountain": "bmtnaau_1911-07_01#c076", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "64", "page_fin": "64", "image_debut": 78, "image_fin": 78, "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=bmtnaau191107-01.2.32.8", "titre_corps": "THE GOLDEN AGE OF ENGRAVING by Frederick Keppel", "titre_sommaire": "THE GOLDEN AGE OF ENGRAVING by Frederick Keppel", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 78, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.78", "debut_caractere": 741, "fin_caractere_exclue": 1333, "texte": "THE GOLDEN AGE OF EN-\nGRAVING by Frederick Reppel\nBaker Taylor Co:U. S. A. Price\nthree and a half dollars net.\nMl r Keppel has chosen a most in-\nteresting subject for his book\nwhich bears evidence of long study\nand casual research and should prove\nof value to students and collectors\nand to all who appreciate the \" Noble\nhuman labour of the Engraver \" as\ncompared with the mechanical pro-\ncesses of pictorial reproduction of\ntoday.\nThe volume is well bound and\nprinted, and contains two hundred\nand sixty two illustrations showing\nthe progress of the art from the\nyear 1465 to the year 1910."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c077", "article_bluemountain": "bmtnaau_1911-07_01#c077", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "64", "page_fin": "64", "image_debut": 78, "image_fin": 78, "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=bmtnaau191107-01.2.32.9", "titre_corps": "A HISTORY OF JAPANESE COLOUR PRINTS by W. von Seidlitz", "titre_sommaire": "A HISTORY OF JAPANESE COLOUR PRINTS by W. von Seidlitz", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 78, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.78", "debut_caractere": 1335, "fin_caractere_exclue": 2173, "texte": "A HISTORY OF JAPANESE\nCOLOUR PRINTS .\nlitz. & Heinemann, Price twenty\nfive shillings net. &\n'\"Phis book contains many fine\nreproductions of Japanese plates\nand the actors and actresses\nhave much to learn from their\nstudy. &\nWe would draw attention espe-\ncially to those which show actors\nin female parts, since each of these\nfigures is worth any amount of\nargument upon the desirability, the\nabsolute necessity to the art of the\ntheatre, of replacing women by men\nupon the stage. &\njg? There are some people who will\nnever believe until they see. We\nadvise them to study these pictures\nand we feel assured that they will\nthen no longer doubt or question\nthe truth of what has been so many\ntimes repeated in The Mask.... that\nwomen must withdraw from the\nstage and leave it finally and exclu-\nsively to men if the theatre is to be\nsaved. &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c078", "article_bluemountain": "bmtnaau_1911-07_01#c078", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "65", "page_fin": "65", "image_debut": 79, "image_fin": 79, "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=bmtnaau191107-01.2.32.10", "titre_corps": "JAPANESE ART by Laurence Binyon", "titre_sommaire": "JAPANESE ART by Laurence Binyon", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 79, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.79", "debut_caractere": 15, "fin_caractere_exclue": 306, "texte": "JAPANESE ART by Laurence\nBlnyon. T. Fisher Unwin. Five\nshillings net.\nTrills book has the distinction and\nscholarly tone which we expect\n...and find... in all to which Mr Blnyon\nputs his hand. It includes among its\nmany fine plates some especially inte-\nresting ones of the Japanese Theatre."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c078a", "article_bluemountain": "bmtnaau_1911-07_01#c078a", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "65", "page_fin": "66", "image_debut": 79, "image_fin": 80, "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=bmtnaau191107-01.2.32.11", "titre_corps": "STRUGGLES AND VICTORIES by Yvette Guilbert and H. Simpson", "titre_sommaire": "STRUGGLES AND VICTORIES by Yvette Guilbert and H. Simpson", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 79, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.79", "debut_caractere": 308, "fin_caractere_exclue": 2370, "texte": "STRUGGLES AND VICTORIES\nby Yvette Guilbert and H.\nSimpson, JS? Mills and Boon.\nPrice ten shillings and sixpence.\nTPhe life of Yvette Guilbert is nei=\nther more nor less extraordinary\nthan that of any woman ot like fibre.\nThe pity is that there are so few.\nWe see them sometimes seated on\nthe throne, sometimes on a doorstep;\nsometimes they pass before us on\nthe stage or in a drawingroom.\nCourage is their prime quality, and\nto that is added grace or distinction,\nbrilliance or strength, never vulga-\nrlty or malice.\nYvette Guilbert Is exactly such a\nwoman ; never vulgar, never mali-\ncious; always striving like fire to be\njust and like fire burning up in the\nflame of this desire all that is not pure\nenough to stand the heat.\nThat she is also a great actress\nIs a detail, and certainly it in no way\ndetracts from her great personal\nverity. This can be said of but few\nwomen. When women become ac=\ntresses they become something false.\n1 have said that Madame Yvette\nGuilbert is a great actress. I said\nso because people tell me so. Every\none tells me so. Some say the grea«\ntest actress. JZ?\nI challenge this. She could not be\npossessed of that flaming desire to\nbe just and sincere and be an actress\nat the same time,... no, not even the\ngreatest actress.\n& I think I would prefer to call her\na poet, and if I may be allowed to\ndo so 1 will. &\nShe creates, and that which she\ncreates is poetry,., a kind of poetry.\nLike Shakespeare and most of the\ngreat dramatists she takes some rag\nof verse or story and emblazons upon\nit the names of many victories won\nby the proud and the brave over the\nmean and the cowardly. This is her\nbanner woven by her own hands.\nShe is certainly a poet,,., a fighting\npoet. She is certainly no actress,....\nactresses never fight for a cause:\nthey squabble for personal fame....\nand hate all causes, all principles.\nAnd they hate their \" Art\". The\nproof of this lies in their taking to\nflight, in their deserting the guns\n«»\nwhen the bullets begin to fly.\nJS/ In this book Madame Yvette Or*\nbert tells the story of her early IIfe;A"}, {"page_pdf": 80, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.80", "debut_caractere": 17, "fin_caractere_exclue": 970, "texte": "the whole tale is of a long fight and\nshe does not tell how easy it would\nhave been for her to give in and\nwin a different success by using\ndifferent weapons. That remains yet\nfor some one to do. *£?\nIt is Madame Yvette Guilbert's\ndistinction not to have compromised,\nnot to have accepted quarter, not to\nhave acted off the stage, not to have\nacted at ail and yet to be on the\nstage all the time. It is nothing short\nof gigantic in its loveliness.\nThis has been Madame Yvette\nGuilbert's lovely past; we can wit-\nness her present, now for the future.\nWhat is that to be ? She. will\nfight; she must; she will never settle\ndown although happily married to a\nfine man and with all good things\naround her; she is sure to fight. &\n& For this we salute her. She Is all\nwe admire most; she as that which\nfights against all that Is mean, ugly\nand vulgar: against that vast Re-\nbellion of man and woman who sin\nagainst Nature and God ...in being\nsmall. & &\n\nE. E."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c079", "article_bluemountain": "bmtnaau_1911-07_01#c079", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "66", "page_fin": "67", "image_debut": 80, "image_fin": 81, "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=bmtnaau191107-01.2.32.12", "titre_corps": "A HISTORY OF PAINTING by Haldane MacFall", "titre_sommaire": "A HISTORY OF PAINTING by Haldane MacFall", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 80, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.80", "debut_caractere": 972, "fin_caractere_exclue": 2361, "texte": "A HISTORY OF PAINTING by\nHaldane Mac Fall. Eight Vols:\n1 • G. & E. C. Jack, Price\nseven shillings and sixpence net\nvolume. *& jg?\n' Preface to this 44 History of\niting, of which four volumes\nhave reached us, Mr Brangwyn the\npainter tells us that Mr MacPall\nhas said the right thing about Art\nand Its relation to Life. Mr MacPall\nhimself in his Foreword says \" In\n\" these pages I have simply written\n44 of the greater men of genius who\n\" have contributed to the Art of\n44 painting; and 1 have touched upon\n44 their more famous works rather\n44 than attempted an exhaustive list\n44 of their endeavour, the which has\n44 no value save to the dealer in\n44 antiques. The volumes are an at-\n44 tempt to place before the ordinary\n44 man the chief achievement of the\n44 years in the Art of Painting; and\n44 to hint at something of the real\n44 significance of that achievement\".\nAnd again, 44 I give you no fantastic\n44 pedant's balderdash about 44tactiie\n44 values\" or 44 space composition\";\n44 about your 44 vasamotor system \"\n44 or 44 the materially significant \"\n44 or your 44 ideated sensations \". It\nis, in fact, a book for the\n44 ordinary man \" and he is very\n44 grateful.\nThere are maps and charts in the\nvolumes and many many reproduce\ntlons In colour of the master pieces\nof painting.\nThe author tells us that all Art\nis an 44 overwhelming need, that it\nis no luxury, the need is not allied"}, {"page_pdf": 81, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.81", "debut_caractere": 15, "fin_caractere_exclue": 1406, "texte": "to the other need for diversion \".\nThe moment Art becomes a luxury\nor a mere diversion it is in decay \"\nsays he; which is, as we understand\nit, a great truth, but not the whole\ntruth. It is likely that the whole\ntruth will only be quite evident to\nthe great masters. £?\n£? Mr MacFall has written a book\nwhich for many reasons should be\nvery popular; and belongs by deed\nof gift to \"the ordinary man\" since\nit is with the consciousnes that this\nman is his reader that Mr Macfail\nwrites. J£>\nThis is a good thing to have done;\na bold thing too, for we too often\ntoday give up the \" ordinary man\"\nas hopeless. j\n& Mr MacFall's book is good sense,\nand more, is readable. It is History\nmade romantic; It is the pyramid of\nfacts with the sun on it. Of how\nmany books on the History of Pain-\nting can that be said ? Some only\nwant facts and dates. Blake is\namongst those who are satisfied\nwith Just that; but some want more.\nThey get it from Mr MacFall.\nThe history is an enormous un-\ndertaking and is evidently the work\nof a lifetime, and, though we of The\nMask are all for Dates and Facts,\nand Dates and Facts alone, IF we\nare to have opinions let them be\nof the kind Mr MacFall gives us and\nnot those generally imposed upon us\nin Histories of Art, for his are given\nwith gusto, ...and that's everything.\nThe other Art writers are a bit dry,\nand you know this when you come\nto read Mr MacFall. £?"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c080", "article_bluemountain": "bmtnaau_1911-07_01#c080", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "67", "page_fin": "67", "image_debut": 81, "image_fin": 81, "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=bmtnaau191107-01.2.32.13", "titre_corps": "THE PLAY BOY OF THE WESTERN WORLD by J. M. Synge", "titre_sommaire": "THE PLAY BOY OF THE WESTERN WORLD by J. M. Synge", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.81", "debut_caractere": 1408, "fin_caractere_exclue": 1598, "texte": "THE PLAY BOY OF THE WES-\nTERN WORLD, by J. M. Synge.\nMaunsell. Dublin. Price half a\ncrown net.\nnew Edition, admirable for the\ndistinction of its format and style,\nof Synge's Masterpiece. -2?"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c081", "article_bluemountain": "bmtnaau_1911-07_01#c081", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "67", "page_fin": "67", "image_debut": 81, "image_fin": 81, "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=bmtnaau191107-01.2.32.14", "titre_corps": "SIX SMALL BOOKS OF PLAYS from Maunsell", "titre_sommaire": "SIX SMALL BOOKS OF PLAYS from Maunsell", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.81", "debut_caractere": 1600, "fin_caractere_exclue": 2188, "texte": "SIX SMALL BOOKS OF PLAYS\n*\nfrom Maunsell, Dublin, at One\nshilling or sixpence each.\nthese plays, two \" The Jackdaw''\nand \"The Image\" are by Lady Gre-\ngory. The former especially is admi-\nrable.... simple, most amusing, alto-\ngether charming..\nothers are respectively \"False-\nly True \" by Johanna Redmond;\n\" The Cross Roads \" by S. L. Robin-\nson; \"Birthright\" by T. C. Murray,\nand \" The Troth \" and \"The Drone\"\nby Rutherford Mayne. £?\nAll of these are good, and as we\nknow that Synge's plays are superb\nand Yeats's plays are even finer we\nfeel that the Irish Theatre is safe as\nSt Patrick."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c082", "article_bluemountain": "bmtnaau_1911-07_01#c082", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "68", "page_fin": "71", "image_debut": 82, "image_fin": 85, "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=bmtnaau191107-01.2.33", "titre_corps": "MAGAZINE REVIEWS", "titre_sommaire": "MAGAZINE REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 82, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.82", "debut_caractere": 0, "fin_caractere_exclue": 2282, "texte": "MAGAZINE REVIEWS.\n\nT\"*he English Review has one\ngreat good quality,.... courage. Is\nthis enough to justify us in express-\ning admiration for it? It has other\nqualities also, for amongst its writers\nare Joseph Conrad, Yoshio Mashino,\nO. S. Street, Maxim Gorki, Wells,\nand Newbolt. £\n£7 True, every one does not like\nConrad, Wells and the others ; yet\nevery one does like courage and\nwhen criticising a journal are we to\njudge by what everyone likes or by\nwhat the few like ?\n£7 Take, for instance, the Nine-\nteenth Century and After. No one\ncould exactly call it over-bold, and\n%\nsome would not even call it coura-\ngeous. Among its writers we find\nthe names of Andrew Carnegie, Mr\nBram Stoker, the Duchess of Marl-\nborough, Professor E. C. Clark :\nbut then everyone does not like\nthese writers and everyone hates\ncaution which has become timidity.\n£7 Again, there is a new magazine\ncalled The Irish Review with Its\nIrish names lending grace to its\npages. And there is the Conservator\nfrom America. £? £7\n£7 All these journals have a great\ndeal to say about a great many dif-\nferent subjects and one wonders who\ncan be found to have a hot interest\nIn all of these subjects, or even in\nsix of them or four of them, or even\ntwo of them. j\n£7 In many people's opinion the\n\" Conservator\" would seem to do\nbest in keeping to one subject, for\nas these are all very serious journals\nthe idea must be scouted that they\nhave no fixed belief about anything.\nYet 1 felt a suggestion of this the\nother day when giving myself the\nrelaxation of reading the much about\nthe many things these four Journals\ncontained. And 1 could not honestly\nsay with which journal's views 1\nagreed, for, except in the case of\nthe 44 Conservator \", I failed to find\nany unshakeable belief in any of\nthem. £7 £7 £>\n£7 For the rest, the \"English Review\"\nIs very courageous and alive, the\n44 Nineteenth Century \" very timid\nand rather shaky, and the 44 Irish\nReview \" less Irish than one might\nhave hoped.\n£7 Well then, what was left to me\nout of the confusion of tongues ? A\nfew Individuals were left;.. Artists.\nConrad with his genius,... one with\nwhom one likes to be; Lady Paget\nand her graceful young way of\nwriting about old times and old\nfriends; Street and his gaiety... And\nlittle more. And so it comes that, in"}, {"page_pdf": 83, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.83", "debut_caractere": 19, "fin_caractere_exclue": 2315, "texte": "spite of prejudice, 1 find myself\n• l' '•\nhailing the \" Conservator \" as the\n♦\nbest of the bunch because of its\npurpose, its deadly earnestness. £?\nj& I do not care a scrap that it so\noften tries to speak in the manner\npersonal to Walt. Whitman, for the\n44 Nineteenth Century \" writers\nmostly write in a queer style bor-\nrowed from the minority. If Traubel\nof the 44 Conservator \" has no per-\nsonality of his own, no more have\nthese \"Nineteenth Century\" writers,\nand to imitate a god is just as wise\nas to imitate a member of the Re-\nform Club. The first shows courage\nand belief,... and possibly conceit,\nbut the second reveals nothing but\ntimid herd behaviour. So in spite of\neverything, 1 end by finding the\n4' Conservator \" the best, and for\nthat one quality only,... that courage\nof belief. &\nAnd having that, dear 44 Conser-\nvator get all the rest and don't\ndespise them. Cut away from the\noften too exaggerated and meaning-\nless echo of the voice of Walt\nWhitman ; you get nothing from it\nand we lose much. Don't tell us too\nmany times what love Is and that\nyou really do love us and everyone\nand everything because we know\nit; we take it for granted ; but sing\nsometimes so that we feet It. Or\nwrite a word or two instead of a\nthousand in praise of something so\nthat we too may feel like agreeing\nwith you. In short, leave something\nunsaid.... don't say it all, because\nit makes the other people in the\nroom feel such fools, and so out of\nit all.\n& 1 can go to church to hear one\nman talking, but when friends are\ntogether they all talk a little.\nOf course I should not say this\nif you were Euclid or Vitruvius or\nWilbur Wright, because we must\nalways listen to the specialist. But\nyou write about Love, God, Demo-\ncracy, Kings, Struggles and the rest\nand everyone knows as much and\nas little about these things as you\ndo. Then let us all rather say as\nlittle as possible about them until\nwe are specialists.\n\nE. E.\n\nhave received a copy of\nCamera Work, a quarterly\nissued by Alfred Stieglit#, 4 Madi-\nson Avenue, New York, and a very\nremarkable book it must make at\nthe end of a year. &\nThe number we have received\ncontains some good photographs by\nCraig Annan, a fine reproduction of\nan etching by Gordon Craig and two\nremarkable reproductions of draw-\nings by Henri Matisse. The letter"}, {"page_pdf": 84, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.84", "debut_caractere": 23, "fin_caractere_exclue": 2368, "texte": "press is also vivid and independent.\nAlfred Stieglitz in conjunction\nwith his friend Eduard Steichen\nhas given New York a small Art\ndallery. It is said to be second to\nnone in the city. There may be seen\nthe works of Cezanne, Rodin, Mat-\nisse, Picasso, Nadelman, Craig,\nToulouse, Lautrec and others.\nThere Is an Interesting little\nPreface to a catalogue of the works\nof Elie Nadelman which is too good\nnot to reprint: Mr Nadelman writes:\n44 1 am asked to explain my draw-\n44 ings. 1 will try to do so, although\n44 form cannot be described. Modern\n44 artists are ignorant of true\n44 forms of art. They copy nature,\n44 try to imitate it by any possible\n44 means, and their works are\n44 tographic reproductions not\n44 works of art. They are works\n44 without style and wtthout unity.\n44 It is form in itself, not resem-\n44 blance to nature, which gives us\n44 pleasure In a work of art.\n44 But what is this true form of\n44 art ? It is significant and abstract,\n44 i. e., composed of geometrical\n44 elements.\n& \" Here is how I realize it. 1\n44 employ no other line than the\n44 curve, which possesses freshness\n44 and force. 1 compose these curves\n44 so as to bring them in accord or\n\" in opposition to one another* In\n\" that way I obtain the life of\n\" form, 1. e., harmony. In that way\n\" I intend that the life of the work\n\" should come from within itself.\n\" The subject of any work of art is\n\" for me nothing but a pretext for\n\" creating significant form, relations\n\" of forms which create a new\n\" life that has nothing to do with\n\" life in nature, a life from which\n\" art Is born, and fromwhich spring\n\" style and unity. &\n** Prom significant form conies\n\" style, from relations of form, i. e.,\n\" the necessity of playing one form\n*' against another, comes unity. 1\n\" leave it to others to judge of the\n\" importance of so radical a change\n\" in the means used to create a\n\" work of art.\" &\nNadelman repeats what has been\nsaid by the Oods since the year\nOne ; he thinks his statement new,...\nand it is new in so far as the\neternal is never old; and a new\nbelief In eternity is surely original.\nIt is only the incessant expression\nof a disbelief In the eternal truths\nwhich is so tedious and utterly\ndepraved. This belief is uttered\ndally by the heads of Royal Acade-\nmies, the Literary Lions and the\nTheatrical Tabbies. &\nNo less good in another way h"}, {"page_pdf": 85, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.85", "debut_caractere": 18, "fin_caractere_exclue": 2293, "texte": "the article by B. de Casseres on\n\" Decadence and Mediocrity\" in\nwhich he champions and vindicates\nthe artist who \" stalks through the\nworldweaving his filaments of beauty\ninto concrete Images and ideas\"\nand holds up to ridicule the \" Candy\nKids of art and the \" cabals of\nmediocrity\". &\n\n'T'/re Century Magazine continues\nto have lots of good things in it.\nMost interesting of all are Signor\nGuglielmo Ferrero's \" Women of\nthe Caesars \" series.\nThe Mask alone of all Journals\nhas said that woman is a danger to\nthe theatre and that . before the\nstage can lay claim once more to\nits art women will have to leave Its\nboards. Signor Ferrero shows that\nliberty for woman is a danger to the\nstate:\" Although it is a hard, cruel\n\" plainly iniquitous thing to deprive\n\" a woman of liberty and subject\n\" her to a regime of tyranny in order\n\" to constrain her to live for the\n\" race and not for herself, yet when\n\" liberty is granted \"her to live for\n\" herself, to satisfy her personal\n\" desires, she abuses that liberty\n\" more readily than a man does,\n\" and more than a man forgets her\n\" duties towards the race. \"\nWoman looks upon the theatre\nin the same selfish spirit as she\nlooks upon the earth; as a means\nfor satisfying her own personal gra-\ntification.\n& This is well known, and being\nso should be guarded against.\nNor is the spectacle of young\nboys aping the female sex a thing to\nbe desired. Yet at Oxford and Cam-\nbridge and in the American Colleges\nhave such young fools ever been\nfound ? Indeed not; and whenever a\nman has played the role of a woman\nhe has invested it with all the\nqualities which he as man imagines\nwoman to bo possessed of and has\nrobbed it of all its sensuality. If he\ndoes not simulate the heaving bosom\nor the tear-stained visage it Is only\nthat he would have it held untrue\nthat woman is merely a crazy senti-\nmental animal of little moods and\nno aspiration.\n.<£? Primavera, a monthly journal\npublished In Rome, of which we have\nreceived six numbers, Is really rather\ngood, the February number being\ndevoted entirely to the Italian corn-\nmedia and &\n& Another young journal is the\nLicorne which conies from Antwerp.\nA good deal of enthusiasm has\nevidently gone to its making and we\nshall be glad to see It again. Its\naddress is 13 Rue Longue Neuve."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c083", "article_bluemountain": "bmtnaau_1911-07_01#c083", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "68", "page_fin": "69", "image_debut": 82, "image_fin": 83, "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=bmtnaau191107-01.2.33.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 82, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.82", "debut_caractere": 19, "fin_caractere_exclue": 2282, "texte": "T\"*he English Review has one\ngreat good quality,.... courage. Is\nthis enough to justify us in express-\ning admiration for it? It has other\nqualities also, for amongst its writers\nare Joseph Conrad, Yoshio Mashino,\nO. S. Street, Maxim Gorki, Wells,\nand Newbolt. £\n£7 True, every one does not like\nConrad, Wells and the others ; yet\nevery one does like courage and\nwhen criticising a journal are we to\njudge by what everyone likes or by\nwhat the few like ?\n£7 Take, for instance, the Nine-\nteenth Century and After. No one\ncould exactly call it over-bold, and\n%\nsome would not even call it coura-\ngeous. Among its writers we find\nthe names of Andrew Carnegie, Mr\nBram Stoker, the Duchess of Marl-\nborough, Professor E. C. Clark :\nbut then everyone does not like\nthese writers and everyone hates\ncaution which has become timidity.\n£7 Again, there is a new magazine\ncalled The Irish Review with Its\nIrish names lending grace to its\npages. And there is the Conservator\nfrom America. £? £7\n£7 All these journals have a great\ndeal to say about a great many dif-\nferent subjects and one wonders who\ncan be found to have a hot interest\nIn all of these subjects, or even in\nsix of them or four of them, or even\ntwo of them. j\n£7 In many people's opinion the\n\" Conservator\" would seem to do\nbest in keeping to one subject, for\nas these are all very serious journals\nthe idea must be scouted that they\nhave no fixed belief about anything.\nYet 1 felt a suggestion of this the\nother day when giving myself the\nrelaxation of reading the much about\nthe many things these four Journals\ncontained. And 1 could not honestly\nsay with which journal's views 1\nagreed, for, except in the case of\nthe 44 Conservator \", I failed to find\nany unshakeable belief in any of\nthem. £7 £7 £>\n£7 For the rest, the \"English Review\"\nIs very courageous and alive, the\n44 Nineteenth Century \" very timid\nand rather shaky, and the 44 Irish\nReview \" less Irish than one might\nhave hoped.\n£7 Well then, what was left to me\nout of the confusion of tongues ? A\nfew Individuals were left;.. Artists.\nConrad with his genius,... one with\nwhom one likes to be; Lady Paget\nand her graceful young way of\nwriting about old times and old\nfriends; Street and his gaiety... And\nlittle more. And so it comes that, in"}, {"page_pdf": 83, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.83", "debut_caractere": 19, "fin_caractere_exclue": 1942, "texte": "spite of prejudice, 1 find myself\n• l' '•\nhailing the \" Conservator \" as the\n♦\nbest of the bunch because of its\npurpose, its deadly earnestness. £?\nj& I do not care a scrap that it so\noften tries to speak in the manner\npersonal to Walt. Whitman, for the\n44 Nineteenth Century \" writers\nmostly write in a queer style bor-\nrowed from the minority. If Traubel\nof the 44 Conservator \" has no per-\nsonality of his own, no more have\nthese \"Nineteenth Century\" writers,\nand to imitate a god is just as wise\nas to imitate a member of the Re-\nform Club. The first shows courage\nand belief,... and possibly conceit,\nbut the second reveals nothing but\ntimid herd behaviour. So in spite of\neverything, 1 end by finding the\n4' Conservator \" the best, and for\nthat one quality only,... that courage\nof belief. &\nAnd having that, dear 44 Conser-\nvator get all the rest and don't\ndespise them. Cut away from the\noften too exaggerated and meaning-\nless echo of the voice of Walt\nWhitman ; you get nothing from it\nand we lose much. Don't tell us too\nmany times what love Is and that\nyou really do love us and everyone\nand everything because we know\nit; we take it for granted ; but sing\nsometimes so that we feet It. Or\nwrite a word or two instead of a\nthousand in praise of something so\nthat we too may feel like agreeing\nwith you. In short, leave something\nunsaid.... don't say it all, because\nit makes the other people in the\nroom feel such fools, and so out of\nit all.\n& 1 can go to church to hear one\nman talking, but when friends are\ntogether they all talk a little.\nOf course I should not say this\nif you were Euclid or Vitruvius or\nWilbur Wright, because we must\nalways listen to the specialist. But\nyou write about Love, God, Demo-\ncracy, Kings, Struggles and the rest\nand everyone knows as much and\nas little about these things as you\ndo. Then let us all rather say as\nlittle as possible about them until\nwe are specialists.\n\nE. E."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c084", "article_bluemountain": "bmtnaau_1911-07_01#c084", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "69", "page_fin": "71", "image_debut": 83, "image_fin": 85, "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=bmtnaau191107-01.2.33.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 83, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.83", "debut_caractere": 1944, "fin_caractere_exclue": 2315, "texte": "have received a copy of\nCamera Work, a quarterly\nissued by Alfred Stieglit#, 4 Madi-\nson Avenue, New York, and a very\nremarkable book it must make at\nthe end of a year. &\nThe number we have received\ncontains some good photographs by\nCraig Annan, a fine reproduction of\nan etching by Gordon Craig and two\nremarkable reproductions of draw-\nings by Henri Matisse. The letter"}, {"page_pdf": 84, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.84", "debut_caractere": 23, "fin_caractere_exclue": 2368, "texte": "press is also vivid and independent.\nAlfred Stieglitz in conjunction\nwith his friend Eduard Steichen\nhas given New York a small Art\ndallery. It is said to be second to\nnone in the city. There may be seen\nthe works of Cezanne, Rodin, Mat-\nisse, Picasso, Nadelman, Craig,\nToulouse, Lautrec and others.\nThere Is an Interesting little\nPreface to a catalogue of the works\nof Elie Nadelman which is too good\nnot to reprint: Mr Nadelman writes:\n44 1 am asked to explain my draw-\n44 ings. 1 will try to do so, although\n44 form cannot be described. Modern\n44 artists are ignorant of true\n44 forms of art. They copy nature,\n44 try to imitate it by any possible\n44 means, and their works are\n44 tographic reproductions not\n44 works of art. They are works\n44 without style and wtthout unity.\n44 It is form in itself, not resem-\n44 blance to nature, which gives us\n44 pleasure In a work of art.\n44 But what is this true form of\n44 art ? It is significant and abstract,\n44 i. e., composed of geometrical\n44 elements.\n& \" Here is how I realize it. 1\n44 employ no other line than the\n44 curve, which possesses freshness\n44 and force. 1 compose these curves\n44 so as to bring them in accord or\n\" in opposition to one another* In\n\" that way I obtain the life of\n\" form, 1. e., harmony. In that way\n\" I intend that the life of the work\n\" should come from within itself.\n\" The subject of any work of art is\n\" for me nothing but a pretext for\n\" creating significant form, relations\n\" of forms which create a new\n\" life that has nothing to do with\n\" life in nature, a life from which\n\" art Is born, and fromwhich spring\n\" style and unity. &\n** Prom significant form conies\n\" style, from relations of form, i. e.,\n\" the necessity of playing one form\n*' against another, comes unity. 1\n\" leave it to others to judge of the\n\" importance of so radical a change\n\" in the means used to create a\n\" work of art.\" &\nNadelman repeats what has been\nsaid by the Oods since the year\nOne ; he thinks his statement new,...\nand it is new in so far as the\neternal is never old; and a new\nbelief In eternity is surely original.\nIt is only the incessant expression\nof a disbelief In the eternal truths\nwhich is so tedious and utterly\ndepraved. This belief is uttered\ndally by the heads of Royal Acade-\nmies, the Literary Lions and the\nTheatrical Tabbies. &\nNo less good in another way h"}, {"page_pdf": 85, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.85", "debut_caractere": 18, "fin_caractere_exclue": 304, "texte": "the article by B. de Casseres on\n\" Decadence and Mediocrity\" in\nwhich he champions and vindicates\nthe artist who \" stalks through the\nworldweaving his filaments of beauty\ninto concrete Images and ideas\"\nand holds up to ridicule the \" Candy\nKids of art and the \" cabals of\nmediocrity\". &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c085", "article_bluemountain": "bmtnaau_1911-07_01#c085", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "71", "page_fin": "71", "image_debut": 85, "image_fin": 85, "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=bmtnaau191107-01.2.33.3", "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": 85, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.85", "debut_caractere": 306, "fin_caractere_exclue": 2293, "texte": "'T'/re Century Magazine continues\nto have lots of good things in it.\nMost interesting of all are Signor\nGuglielmo Ferrero's \" Women of\nthe Caesars \" series.\nThe Mask alone of all Journals\nhas said that woman is a danger to\nthe theatre and that . before the\nstage can lay claim once more to\nits art women will have to leave Its\nboards. Signor Ferrero shows that\nliberty for woman is a danger to the\nstate:\" Although it is a hard, cruel\n\" plainly iniquitous thing to deprive\n\" a woman of liberty and subject\n\" her to a regime of tyranny in order\n\" to constrain her to live for the\n\" race and not for herself, yet when\n\" liberty is granted \"her to live for\n\" herself, to satisfy her personal\n\" desires, she abuses that liberty\n\" more readily than a man does,\n\" and more than a man forgets her\n\" duties towards the race. \"\nWoman looks upon the theatre\nin the same selfish spirit as she\nlooks upon the earth; as a means\nfor satisfying her own personal gra-\ntification.\n& This is well known, and being\nso should be guarded against.\nNor is the spectacle of young\nboys aping the female sex a thing to\nbe desired. Yet at Oxford and Cam-\nbridge and in the American Colleges\nhave such young fools ever been\nfound ? Indeed not; and whenever a\nman has played the role of a woman\nhe has invested it with all the\nqualities which he as man imagines\nwoman to bo possessed of and has\nrobbed it of all its sensuality. If he\ndoes not simulate the heaving bosom\nor the tear-stained visage it Is only\nthat he would have it held untrue\nthat woman is merely a crazy senti-\nmental animal of little moods and\nno aspiration.\n.<£? Primavera, a monthly journal\npublished In Rome, of which we have\nreceived six numbers, Is really rather\ngood, the February number being\ndevoted entirely to the Italian corn-\nmedia and &\n& Another young journal is the\nLicorne which conies from Antwerp.\nA good deal of enthusiasm has\nevidently gone to its making and we\nshall be glad to see It again. Its\naddress is 13 Rue Longue Neuve."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c086", "article_bluemountain": "bmtnaau_1911-07_01#c086", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "72", "page_fin": "75", "image_debut": 86, "image_fin": 89, "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=bmtnaau191107-01.2.34", "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": 86, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.86", "debut_caractere": 0, "fin_caractere_exclue": 1783, "texte": "FOREIGN NOTES\n\nSTRATFORD ON AVON.\nL. C.\nft is always a pleasure to see\nMiss Ellen Terry here at our poor\nFestival, and when, dressed like a\npilgrim in white, she moved through\nthe streets of our town this spring\nit was like a dream. jgr &\nHer lecture was admirable and\nbeautiful, it Is a pity she did not\ncome here and act all the Shake-\nspeare roles with Irving. We have\nnever had any 'serious Festival here\nand for this reason never a truly\ngay one except from the student's\npoint of view, and a very little\nexcitement makes him intoxicated.\nMr Benson is serious enough but\nin so different a way from what one\ne xpects with Shakespeare as theme.\nShakespeare was neither provin-\ncial nor metropolitan. (How metre-\npolitan Sir Herbert Tree, is to be\nsure!) jgf £?\nOur good Mayor does much to\ngive happiness, and all the dwellers\nin the town, writers, printers,\npainters and even Hotel keepers do\nall they can.\njgr But we want to see the King and\nQueen here. We want to see members\nof the two Houses; we want to see\ngroups of modern artists and poets\nof all lands seated at table together\nand we do not want the whole\nthing quite so actorish or quite so\nprovincial. For after all Shakespeare\nis Shakespeare, you know, and there\nhasn't been such another in Europe\nsince. £/ £* £>\nOur celebration week is nothing\nbut a parody, an advertisement for\na few actors, and there an end.\n\" Wake up, England I\n\nPARIS.\n\nDown to Circus Level.\npor May 3rd and pth were an-\nnounced two Dancing Performan-\nces by Mile. N. TROUHANOWA, the\nlady being in very large letters\npresumably so that we could learn\nto masticate the name correctly.\n& We expected something by Mile,\nTrouhanowa, Instead we had the\nusual collaborated performance by\nMile. Trouhanowa assisted by M.\nPierre Monteux assisted by Mmes."}, {"page_pdf": 87, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.87", "debut_caractere": 16, "fin_caractere_exclue": 2326, "texte": "Rosita Mauri, M. Marlqulta, A.\nGedda and M. N. Clustine and by\nSaracco; assisted by Mme, Muelle\nand M. Pinchon, assisted by M. P.\nPagnereau, and the whole band\nled by the brigand chief M. G.\nAstruc. x? & j\njEf Gluck and Chopin were two of\nthe victims ; I was another. 1 paid\na very high price for my seat. 1 had\nbeen in the morning to the Louvre\nand was allowed to look at one of\nthe world's wonders, the Monna\nLisa of Leonardo, for nothing. The\nroom was quiet and I looked upon\nthe serious work of a man in the\nfield of art. The Theatre is supposed\nto be in that field.\njE? At the Chatelet that afternoon\nwhile watching Mile. Trouhanowa\nassisted by a score of hardworking\nlabourers I felt that the Theatre was\nnot even In the hemisphere of Art,\nfar less in the very field.\n*E? I contrasted the two experiences\nfollowing so quickly one upon the\nother and I, an old theatre goer,\nsuddenly became aware of the awful-\nness of the stuff which the modern\ntheatre offers us under the guise\nof art. If offered to us as a sheer\nexhibition of personal qualities,\nlegs, arms, emotions of ladles and\ngentlemen, It would not be\nopen to this criticism for then no\ncomparison would be invited. jST\nAnd 1 also felt that If Mile.\nTrouhanawa had appeared alone and\nshe had done some wonderful thing\nalone and by her own unaided\nefforts, I could have found cause to\ncongratulate the modern theatre*\nBut the collaboration of this dancer\nwith orchestra, scene-painters, cos-\ntumiers, and other dancers, and the\nawful dragging to the altar of the\nnoble Gluck and the loved Chopin\nall seemed too weak for anything\nbut the feminine applause which\nburst out now and again like an\nattack of measles.^\n\"j& The Theatre is certainly in a\nweak state when such a collaboration\nis possible and approved. jE? je/\nThere is no excuse to be found\nsuch as that a great city produces\nthese eccentricities. The Theatre\nshould be strong enough to refuse\nto play down to the circus public,\nand It should play up to the same\npublic as goes to the Louvre, looks\nat Leonardo's Monna Lisa, probably\ndoes not understand or like it, but\nat all events remains silent before\nit. & je? «\n& My confrere \" Percival \" of the\nReferee, whose witty writings alone\nmake that journal readable and\nwhom the other regular writers on\nthe staff constantly attempt to iml-"}, {"page_pdf": 88, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 2279, "texte": "tate with awful results, had an\nunpleasant experience at the perfor-\nmance for which he thanks M. Astruc\nthe amiable Impresario in the\nfollowing words: \"The other after-\n\"noon M. Astruc sent me tickets for\n\"the first performance of \"Mademo-\n\"iselleski Trouhanowa,\" whose dan-\n\"clng 1 love.When I got to the theatre\n\"I found a wild and angry crowd\nCURSING THE NAME OF ASTRUC,\n\" and if you'll try it you will find\n\" it quite a handy name to curse. M.\n\" Mozzeltov had sent out cards of\n\" Invitation to more people than the\n\" house would hold, and hundreds\n\" of us were unable to get in. Now,\n0\n\" that may be clever advertisement,\n\" because people who have heard\n\" of a crush always want to go to\n\" the theatre. But, Caro Astrucclo,\n\" may 1 point out that journalists\n\" are busy folk, and promise you\n\" with my hand on my heart that\n\" I'll see you in China first before\n\" I accept any other invitation from\n\" you without a numbered seat\n\" attached to it. I've no objection,\n\" Astrucstein, to advertising you,\n\" but I'll be dashed, Hastruck, if\n\" you shall waste more of my time.\"\n& And when I saw \" Percival \" at\nthe doors he looked every scrap of\nthat paragraph .... and a good deal\nmore. .?? &\n\nH. L.\n\nLONDON\nQ. H.\nPatriotism.\nMr Frederick Whelen, after having\nsuggested that we shall go to\nDusseldorf for our ideas of a new\nTheatre school, emphasizes his ten-\ndencies even more clearly by enthu-\nsiastically assisting Professor Rein-\nhardt and his German Imitation\ngoods to obtain a footing in London.\nHowever, 1 suppose its a case of\nanything for a job. its a pity though,\nfor Mr Whelen would have made a\ncapable business man for any of the\ndifferent English personalities who\nare slowly making their way in the\nfore.\n\nThe Shakespeare Ball.\nR. S.\nball was given in aid of the\nShakespeare Memorial National\nTheatre. It would have been better\nif the energy and money spent on\nits preparation had been employed\nIn preparing that which is to go\ninto the said National Theatre. In\nfact it would be altogether better\nto select the artist and to announce\na programme before going to the\ncountry for funds. Those who are\nsubscribing to the National Theatre\nmight keep their money for Monte-\ncarlo or the Derby, for then at least\nthey would have some say in the\nmatter. & &"}, {"page_pdf": 89, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2415, "texte": "A Sign of Awakening.\nTphings here are waking up at last.\nthey are beginning to move and\nwill, no doubt, soon move a good\ndeal more. One sign of this movement\nis before me in an invitation to a\nDinner in honour on Mr Gordon Craig\nto take place of Sunday July 16th\nat the Caf6 Royal, Regent St. This\ndinner has been organized by a\nCommittee of Ladies and Gentlemen\nwith the Duchess of Sutherland at\nthe head. The form of their announce-\nment is one more of those straws\nwhich for some time past have been\nshowing which way the wind was\nsetting. Here it is:.... 0\n44 In 1900 Edward Gordon Craig\n44 began to stage operas and plays\n44 in a new and significant way. Such-\n44 productions as Purcell's 44 Dido\n44 and Aeneas\" and 44 Masque of\n44 Love ,\" Handel's 44 Acls and Gala-\n44 tea \", Ibsen's 44 Vikings, \" Laurence\n44 Housman's \"Bethlehem\" and Shake\n44 speare's 44 Much Ado about No-\n44 thing \", gave a new direction to\n44 the Art of the 0\n0 44 In this way, as well as through\n44 his writings, Gordon Craig held\n44 up an inspiring and dignified vi-\n44 slon of the stage, and his attempts\n44 to recover the canon of theatrical\n44 tradition, led him to make expe-\n\" rlments In the direction of scenic\n44 representation, which have had a\n\" vital influeuce on the Theatre\n\" throughout Europe. <0\n«« It Is well known that the Theatre\n44 in Germany, Austria and Russia\n44 admits its debt to Craig's inspi-\n44 ration: his influence has, indeed,\n44 gone deeper than most people are\n44 aware of, and much that has been\n\" accomplished of late years, owes\n44 Its success to Craig's impulse. It\n44 has been felt among many of those\n44 interested in the dignity of the\n44 Theatre in England, that it would\n44 be a fitting thing that some definite\n44 acknowledgement be made to\n44 Craig for his unfaltering devotion\n44 and high aims through almost in-\n44 superable difficulties ■£?\nThen, after particulars as to the\ntime and place of the dinner, come\nthe following names: 0 &\nMUlicent Sutherland 0 Augusta\nGregory 0 Beatrice Stella Campbell.\nMabel Dearmer 0 May Morris\nAlice Rothensteln Max Beerbohm\nLaurence Binyon George Cal-\nderon 0 Walter Crane Roger\nPry Austin Harrison Martin\nHarvey Augustus John\nHaldane McPall JS/ T. Sturge Moore\n0 James Pryde William\nRothensteln 0 Charles -Shannon\nMartin Shaw 0 William Strang &\nE. P. Spence 0 A. G. Wells\nFrederick Whelen J£> W. B. Yeats.\nYes, things are waking up at last"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c088", "article_bluemountain": "bmtnaau_1911-07_01#c088", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "72", "page_fin": "72", "image_debut": 86, "image_fin": 86, "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=bmtnaau191107-01.2.34.2", "titre_corps": "STRATFORD ON AVON", "titre_sommaire": "STRATFORD ON AVON", "signature_source": "L. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 86, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.86", "debut_caractere": 15, "fin_caractere_exclue": 1397, "texte": "STRATFORD ON AVON.\nL. C.\nft is always a pleasure to see\nMiss Ellen Terry here at our poor\nFestival, and when, dressed like a\npilgrim in white, she moved through\nthe streets of our town this spring\nit was like a dream. jgr &\nHer lecture was admirable and\nbeautiful, it Is a pity she did not\ncome here and act all the Shake-\nspeare roles with Irving. We have\nnever had any 'serious Festival here\nand for this reason never a truly\ngay one except from the student's\npoint of view, and a very little\nexcitement makes him intoxicated.\nMr Benson is serious enough but\nin so different a way from what one\ne xpects with Shakespeare as theme.\nShakespeare was neither provin-\ncial nor metropolitan. (How metre-\npolitan Sir Herbert Tree, is to be\nsure!) jgf £?\nOur good Mayor does much to\ngive happiness, and all the dwellers\nin the town, writers, printers,\npainters and even Hotel keepers do\nall they can.\njgr But we want to see the King and\nQueen here. We want to see members\nof the two Houses; we want to see\ngroups of modern artists and poets\nof all lands seated at table together\nand we do not want the whole\nthing quite so actorish or quite so\nprovincial. For after all Shakespeare\nis Shakespeare, you know, and there\nhasn't been such another in Europe\nsince. £/ £* £>\nOur celebration week is nothing\nbut a parody, an advertisement for\na few actors, and there an end.\n\" Wake up, England I"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c089", "article_bluemountain": "bmtnaau_1911-07_01#c089", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "72", "page_fin": "74", "image_debut": 86, "image_fin": 88, "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=bmtnaau191107-01.2.34.3", "titre_corps": "PARIS : Down to Circus Level", "titre_sommaire": "PARIS : Down to Circus Level", "signature_source": "H. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 86, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.86", "debut_caractere": 1399, "fin_caractere_exclue": 1783, "texte": "PARIS.\n\nDown to Circus Level.\npor May 3rd and pth were an-\nnounced two Dancing Performan-\nces by Mile. N. TROUHANOWA, the\nlady being in very large letters\npresumably so that we could learn\nto masticate the name correctly.\n& We expected something by Mile,\nTrouhanowa, Instead we had the\nusual collaborated performance by\nMile. Trouhanowa assisted by M.\nPierre Monteux assisted by Mmes."}, {"page_pdf": 87, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.87", "debut_caractere": 16, "fin_caractere_exclue": 2326, "texte": "Rosita Mauri, M. Marlqulta, A.\nGedda and M. N. Clustine and by\nSaracco; assisted by Mme, Muelle\nand M. Pinchon, assisted by M. P.\nPagnereau, and the whole band\nled by the brigand chief M. G.\nAstruc. x? & j\njEf Gluck and Chopin were two of\nthe victims ; I was another. 1 paid\na very high price for my seat. 1 had\nbeen in the morning to the Louvre\nand was allowed to look at one of\nthe world's wonders, the Monna\nLisa of Leonardo, for nothing. The\nroom was quiet and I looked upon\nthe serious work of a man in the\nfield of art. The Theatre is supposed\nto be in that field.\njE? At the Chatelet that afternoon\nwhile watching Mile. Trouhanowa\nassisted by a score of hardworking\nlabourers I felt that the Theatre was\nnot even In the hemisphere of Art,\nfar less in the very field.\n*E? I contrasted the two experiences\nfollowing so quickly one upon the\nother and I, an old theatre goer,\nsuddenly became aware of the awful-\nness of the stuff which the modern\ntheatre offers us under the guise\nof art. If offered to us as a sheer\nexhibition of personal qualities,\nlegs, arms, emotions of ladles and\ngentlemen, It would not be\nopen to this criticism for then no\ncomparison would be invited. jST\nAnd 1 also felt that If Mile.\nTrouhanawa had appeared alone and\nshe had done some wonderful thing\nalone and by her own unaided\nefforts, I could have found cause to\ncongratulate the modern theatre*\nBut the collaboration of this dancer\nwith orchestra, scene-painters, cos-\ntumiers, and other dancers, and the\nawful dragging to the altar of the\nnoble Gluck and the loved Chopin\nall seemed too weak for anything\nbut the feminine applause which\nburst out now and again like an\nattack of measles.^\n\"j& The Theatre is certainly in a\nweak state when such a collaboration\nis possible and approved. jE? je/\nThere is no excuse to be found\nsuch as that a great city produces\nthese eccentricities. The Theatre\nshould be strong enough to refuse\nto play down to the circus public,\nand It should play up to the same\npublic as goes to the Louvre, looks\nat Leonardo's Monna Lisa, probably\ndoes not understand or like it, but\nat all events remains silent before\nit. & je? «\n& My confrere \" Percival \" of the\nReferee, whose witty writings alone\nmake that journal readable and\nwhom the other regular writers on\nthe staff constantly attempt to iml-"}, {"page_pdf": 88, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 1213, "texte": "tate with awful results, had an\nunpleasant experience at the perfor-\nmance for which he thanks M. Astruc\nthe amiable Impresario in the\nfollowing words: \"The other after-\n\"noon M. Astruc sent me tickets for\n\"the first performance of \"Mademo-\n\"iselleski Trouhanowa,\" whose dan-\n\"clng 1 love.When I got to the theatre\n\"I found a wild and angry crowd\nCURSING THE NAME OF ASTRUC,\n\" and if you'll try it you will find\n\" it quite a handy name to curse. M.\n\" Mozzeltov had sent out cards of\n\" Invitation to more people than the\n\" house would hold, and hundreds\n\" of us were unable to get in. Now,\n0\n\" that may be clever advertisement,\n\" because people who have heard\n\" of a crush always want to go to\n\" the theatre. But, Caro Astrucclo,\n\" may 1 point out that journalists\n\" are busy folk, and promise you\n\" with my hand on my heart that\n\" I'll see you in China first before\n\" I accept any other invitation from\n\" you without a numbered seat\n\" attached to it. I've no objection,\n\" Astrucstein, to advertising you,\n\" but I'll be dashed, Hastruck, if\n\" you shall waste more of my time.\"\n& And when I saw \" Percival \" at\nthe doors he looked every scrap of\nthat paragraph .... and a good deal\nmore. .?? &\n\nH. L."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c090", "article_bluemountain": "bmtnaau_1911-07_01#c090", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "74", "page_fin": "74", "image_debut": 88, "image_fin": 88, "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=bmtnaau191107-01.2.34.4", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "Q. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.88", "debut_caractere": 1215, "fin_caractere_exclue": 1732, "texte": "LONDON\nQ. H.\nPatriotism.\nMr Frederick Whelen, after having\nsuggested that we shall go to\nDusseldorf for our ideas of a new\nTheatre school, emphasizes his ten-\ndencies even more clearly by enthu-\nsiastically assisting Professor Rein-\nhardt and his German Imitation\ngoods to obtain a footing in London.\nHowever, 1 suppose its a case of\nanything for a job. its a pity though,\nfor Mr Whelen would have made a\ncapable business man for any of the\ndifferent English personalities who\nare slowly making their way in the\nfore."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c091", "article_bluemountain": "bmtnaau_1911-07_01#c091", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "74", "page_fin": "74", "image_debut": 88, "image_fin": 88, "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=bmtnaau191107-01.2.34.5", "titre_corps": "The Shakespeare Ball", "titre_sommaire": "The Shakespeare Ball", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.88", "debut_caractere": 1734, "fin_caractere_exclue": 2279, "texte": "The Shakespeare Ball.\nR. S.\nball was given in aid of the\nShakespeare Memorial National\nTheatre. It would have been better\nif the energy and money spent on\nits preparation had been employed\nIn preparing that which is to go\ninto the said National Theatre. In\nfact it would be altogether better\nto select the artist and to announce\na programme before going to the\ncountry for funds. Those who are\nsubscribing to the National Theatre\nmight keep their money for Monte-\ncarlo or the Derby, for then at least\nthey would have some say in the\nmatter. & &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c092", "article_bluemountain": "bmtnaau_1911-07_01#c092", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "75", "page_fin": "75", "image_debut": 89, "image_fin": 89, "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=bmtnaau191107-01.2.34.6", "titre_corps": "A Sign of Awakening", "titre_sommaire": "A Sign of Awakening", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 89, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2415, "texte": "A Sign of Awakening.\nTphings here are waking up at last.\nthey are beginning to move and\nwill, no doubt, soon move a good\ndeal more. One sign of this movement\nis before me in an invitation to a\nDinner in honour on Mr Gordon Craig\nto take place of Sunday July 16th\nat the Caf6 Royal, Regent St. This\ndinner has been organized by a\nCommittee of Ladies and Gentlemen\nwith the Duchess of Sutherland at\nthe head. The form of their announce-\nment is one more of those straws\nwhich for some time past have been\nshowing which way the wind was\nsetting. Here it is:.... 0\n44 In 1900 Edward Gordon Craig\n44 began to stage operas and plays\n44 in a new and significant way. Such-\n44 productions as Purcell's 44 Dido\n44 and Aeneas\" and 44 Masque of\n44 Love ,\" Handel's 44 Acls and Gala-\n44 tea \", Ibsen's 44 Vikings, \" Laurence\n44 Housman's \"Bethlehem\" and Shake\n44 speare's 44 Much Ado about No-\n44 thing \", gave a new direction to\n44 the Art of the 0\n0 44 In this way, as well as through\n44 his writings, Gordon Craig held\n44 up an inspiring and dignified vi-\n44 slon of the stage, and his attempts\n44 to recover the canon of theatrical\n44 tradition, led him to make expe-\n\" rlments In the direction of scenic\n44 representation, which have had a\n\" vital influeuce on the Theatre\n\" throughout Europe. <0\n«« It Is well known that the Theatre\n44 in Germany, Austria and Russia\n44 admits its debt to Craig's inspi-\n44 ration: his influence has, indeed,\n44 gone deeper than most people are\n44 aware of, and much that has been\n\" accomplished of late years, owes\n44 Its success to Craig's impulse. It\n44 has been felt among many of those\n44 interested in the dignity of the\n44 Theatre in England, that it would\n44 be a fitting thing that some definite\n44 acknowledgement be made to\n44 Craig for his unfaltering devotion\n44 and high aims through almost in-\n44 superable difficulties ■£?\nThen, after particulars as to the\ntime and place of the dinner, come\nthe following names: 0 &\nMUlicent Sutherland 0 Augusta\nGregory 0 Beatrice Stella Campbell.\nMabel Dearmer 0 May Morris\nAlice Rothensteln Max Beerbohm\nLaurence Binyon George Cal-\nderon 0 Walter Crane Roger\nPry Austin Harrison Martin\nHarvey Augustus John\nHaldane McPall JS/ T. Sturge Moore\n0 James Pryde William\nRothensteln 0 Charles -Shannon\nMartin Shaw 0 William Strang &\nE. P. Spence 0 A. G. Wells\nFrederick Whelen J£> W. B. Yeats.\nYes, things are waking up at last"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c093", "article_bluemountain": "bmtnaau_1911-07_01#c093", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "76", "page_fin": "80", "image_debut": 90, "image_fin": 94, "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=bmtnaau191107-01.2.35", "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": 90, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.90", "debut_caractere": 0, "fin_caractere_exclue": 1881, "texte": "EDITORIAL NOTES\n\nROYALTY AT THE THEATRE\nHphe Referee, speaking of the\nCommand Performance at Drury\nLane tells us that there was no en-\nthusiasm,.... because \" Enthusiasm\nwith society people is not the\ncorrect thing \" and It drew atten-\ntion to the fact that \" until the end\nthere was hardly a cheer through\nout the evening \". &\nThis only shows the good effect\nMajesty has upon a crowd. Cheers\nand applause are as out of place in\na theatre as in a church or in a\npicture gallery. With cheers at a\nrace meeting it is different. The\nhorses need it and the animals excite\nus to cheers and the presence of\nRoyalty has never stopped those\ncheers. Curious, how right the In-\nstincts of people are i At Drury Lane\nin the presence of the King they\nbehave; at the Derby in the presence\nof the King they behave also. Instinc-\ntively they do the right thing in\nboth cases, but that which is right\nin the one case is the opposite of\nthat which is right in the other.\nThe Referee is wrong is suppo-\nsing the Drury Lane audience was\nnot enthusiastic; they simply for\nonce behaved and did the right thing\nnot merely the \" correct thing.\n\nIMPERIAL BOUNTY.\nQur Moscow Correspondant tells us\nthat when the Dowager Empress\nvisited a St Petersberg Theatre last\nmonth to witness a performance by\nthe Moscow Art Theatre Company\nshe called two of the actors to her\nbox between the acts and presented\nthem with a purse containing five\nhundred pounds. &\nThis strikes us as delightful,\nquite like the old days. One can\nimagine Queen Elizabeth acting in\nthis way. &\nOf course now that the actor\nopens bazaars and is invited to\ncourt it would hardly do in England.\nIt could be done, but only if the\nactor were willing, and he would\nrather give up the five hundred\npounds nowadays than the position\nof public man. He would even prefer\nto lose the title of artist than\nthat of public man.,... And he has\nlost it."}, {"page_pdf": 91, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.91", "debut_caractere": 17, "fin_caractere_exclue": 2241, "texte": "MORE FREEDOM FOR THE\nCRITICS.\nQur contemporary, The New York\nDramatic Mirror, from time to\ntime shows a real desire to go ahead\nand lead public opinion, and then\nwhen the opportunity comes it\nshirks the privilege and shoulders\nthe heavy responsability of following\nwith the crowd.\nIn 1909 we drew attention to\nthe way in which plays were\nproduced in Europe with too much\nhaste, and in 1910 Mr H. T. Parker\nin the Boston Transcript finds the\nsame fault with the American pro-\nductions, and the New York Dra°>\nmatic Mirror in a leading article\nasks who will deny that this is\ntrue. & & &\n& At the same time and in the same\nnumber the Editor permits long\nand short articles or notices\nto be published about the plays\nin New York without a word being\nsaid against their hasty preparation.\nIn short, the leading editorials\nare often very righteous and right...\nand there an end. We fail to see\nwhat such a publication is driving\nat. To agree in one part of the\njournal that hasty production mars\nthe work of the New York theatres,\nand then to praise up those theatres\nin the other part of the journal is\nrather less courageous than we like\nto take our friends over the water\nto be. We do not wondor when they\noften praise what we deplore, but\nto contradict themselves in so down-\nright a manner as this we mention\nis a pity. &\n& We wonder whether the critics\non the New York Dramatic Mirror\nare allowed to say what they think ?\nOh ! for a little more freedom, for\nthe critics often know so well what\nis the matter with the theatre and\nif they had their lives ensured we\nshould hear the truth.\n\nTHE CHICAGO THEATRE.\nW e are glad to hear that\nChicago remains true to Mr\nDonald Robertson and that the\nmembers of the Chicago Theatre\nSociety have asked him to lead them\nin their next venture.The twenty-five\nthousand pounds subscribed Is a\ngood round sum and in capable\nhands should go far, and last long.\n£? It is too large a sum to be spent\nin one season, yet many will tell\nvou that it needs that amount to\nrun a theatre for so long. JS?\n\nDOES IT?\nTo run anything on old convention\nnal lines costs a fortune, but that is\nbecause brains and taste are then\nleft out of the calculation. And if the\npossession of money rocks the brains"}, {"page_pdf": 92, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.92", "debut_caractere": 17, "fin_caractere_exclue": 2276, "texte": "to sleep in a cradle of conceit, then\nLord Rosebery is right and the\nless money artists have the better.\ng? But the experience of years\nshould have taught Mr Donald Ro-\nbertson that he must exert his\nbrains this time If he is to achieve\nanything and that he must realize\nthat not in the space of one season\ncan any achievement be notice-\nable,\njgt If he is wise Mr Robertson will\ndo everything on a small scale, and\nwill make that twenty-five thousand\npounds spread over several years.\nIf he cannot do that someone\nelse ought to be invited to show\nhim how it can be done.\nThe problem is not easily solved,\nbut there Is a solution. £?\nAnyhow we wish Chicago a real\nand lasting success,.., not a display\nof fireworks for the fun of seeing a\nlot of open mouths. jg?\n\nTHE ANTI-SUFFRAGE LEAGUE.\n•\"jphese very brave and very noisy\nladies are for some strange reason\nenlisting the active co-operation of\nthe ladies of the English stage.\nThese ladies evidently have time\nto spare from their work.\nMiss Ellen Terry is supposed to\nbe a keen Suffragette but there are\nreasons why she is obliged actively\nto espouse the cause. Miss Kate\nTerry (Mrs Lewis) is probably just\nas keenly opposed to the movement\nfor we note that her daughter Miss\nL. Terry-Lewis is the Secretary of\nthe Woman's National Anti-Suffrage\nLeague, and, as we are very much\nanti-Suffrage, we are glad to give\nhere the address of Miss L. Terry-\nLewis:... Caxton House, Tothill\nStreet, Westminster. May success\nattend her.\n\nA SHAKESPEARE MEMORIAL.\nbest Memorial which we can\noffer to Shakespeare is to read\nhis works, and perhaps In time learn\nhow to act them. &\nThat Memorial will not be erected\nfor very many years. &\nGive Ellen Terry a theatre and\nthe Memorial can be erected tomor-\nrow. Give every village a theatre and\nlet the boys and girls have a chance\nof acting and the same Memorial\nmight be up within six years.\nIf this does not commend itself\nto you let us suggest that you support\nthe men who collect and print the all\nbut inaccessible works relating to\nShakespeare, his works and his times.\n«ig? Public subcrlptions are now\nasked for to put the Shakespeare\nHead Press at Stratford-on=Avon on\na permanent basis with its founder\nMr A. H. Bullen at its head.\n& Subscriptions amounting to more"}, {"page_pdf": 93, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.93", "debut_caractere": 19, "fin_caractere_exclue": 2368, "texte": "than one thousand pounds have\nalready been promised.\nj£? We hope this scheme will appeal\nto some of the readers of The Mask\nfor in our opinion it is very worthy\nof solid support.\n\nTHEATRICAL SCHOOLS.\njyir Gerald Du Maurier, speaking\nsome weeks ago at the Royal\nGeneral Fund dinner, said a word\nin favour of training for the actor.\n£? He wished the actors and actresses\nhad to pass certain examinations and\nbe awarded a certificate of merit\nbefore they could apply to a manager\nfor an engagement. &\nHe mentioned several things\nwhich the actor neglected to learn.\nPerhaps Mr Du Maurier will one\nday renounce the stage and teach\nthe Art; He is one of the very few\nmen in England who, we believe,\ncould help to recover for us what\nw© have lost. x?\n\\\nWe have done something towards\npointing out the need of schools for\nthe study of the whole Art of the\nTheatre and we hope to have an\nopportunity of going into the matter\nthoroughly before very long. Mean-\ntime this suggestion from a young\nactor-manager is valuable, for a\nschool for the actor and actress\nseems inevitable if the stage Is not\nto pass entirely into the hands of\nthe amateur. & &\n\nIR VING AND STA GE LIGHTING\nqpo us It seems curious that Mr\nBram Stoker should attempt to\nwrite about \" Irving and Stage\nLighting \" for of all Irving's staff\nMr Stoker must be the one who\nknows least about It. The '« Nine-\nteenth Century \" should have secured\nan article on this subject from Mr\nLoveday, Sir Henry's stage manager,\nbefore it was too late. For after all\none who directs the lighting of the\nstage as did Mr Loveday is more\nlikely to know about it in detail\nthan Mr Stoker who directed the\nbox office.\n& Mr Stoker flounders most distress-\nfully :.... he takes ten pages to\nprove that Irving was very pains-\ntaking,. a thing we all felt must be.\nWhat everyone is not quite clear\nabout Is Ir ving'sfndisputable right\nto be considered the foremost actor\nof his century. We would not com-\npare him with the younger men,\n(some, alas, amateurs), who vainly\nused to compare tiieselves with him\nand who even to this day ask \" Whac\ndo you think of my \" Shylock \" after\nIrving's ? \" but we would compare\nhim to the greatest actors of Europe\nand America, and we would like to\nsee It proved how far greater was\nIrving's mastery of the material\nwhich the actor has to work with.\nOf course Mr Stoker cannot do"}, {"page_pdf": 94, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.94", "debut_caractere": 75, "fin_caractere_exclue": 2379, "texte": "this any more than Whistler's fa-\nmous policeman at the National\nGallery could speak about Art. But\nsome day we may hope that the\nbook on this subject will be written.\nIrving was above all a mysterious\npersonality. Let those who study his\nart remember this and let them try\nto read some of the mysteries which\nvery often he veiled when speaking\nabout the art of the actor or playing\nthe part of public man. What Irving\npreached was something very diffe-\nrent from what he practised. He\nperformed like an artist; he prea-\nched like any orthordox man of the\nmoment. And let those who would\ntell us one of the profoundest secrets\nof the Art of the Theatre remember\nthe face of Irving. His face was a\nmask. ■<&\n\nTWO GERMAN \"COUPS.\"\nJ. s.\n& On July 3rd it was announced\nthat Germany had sent a warship to\nAgadir in order, we suppose, ultima-\ntely to seize Morocco. The same\nday it was also announced that\nProfessor Reinhardt the theatrical\nmanager, assisted by the Polish Pro-\nfessor Ordinsky, assisted by Professor\nSchiller, assisted by other professors,\nhas been invited to enter London in\nbroad daylight and to demonstrate\nat Olympia that the Germans are\nbetter able to move a crowd of\ntwo thousand performers than we\nare able to move a crowd of two\nthousand spectators. & _\nThis will be in December. In\nAugust the German and Polish Pre-\n\\\nfessors assisting each other will\nbring \" Sumurun \" once more to a\nLondon Music Hall. In the autumn\nthese same Professors will beg Mr\nMartin Harvey to assist them still\nsome more in a production of (Edipus.\nSo says the Daily Mail and it seldom\nmakes mistakes.\nThe assistance all round seems\nto us very charmingly international\nand friendly, but isn't It Just a trifle\nincompetent ? When are a few indi-\nvidualities of genius going to appear\nin the [Theatre who shall, instead\nof a patchwork, give us examples of\ntheatrical art woven in one piece?\nIn order to do this the men of\nindividual genius will first have to\nlearn a lesson lost somewhere in\nCrete or China two thousand years\nbefore Christ, a lesson which Flaubert\ntaught the writers in the last century;\n\"...Genius is not rare nowadays, but\n\"what no one any longer has and what\n\"we must strive for is Conscience.\"\n\" 1 have always tried not to belit-\n\" tie art for the satisfaction of an\n\" isolated personality"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c095", "article_bluemountain": "bmtnaau_1911-07_01#c095", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "76", "page_fin": "76", "image_debut": 90, "image_fin": 90, "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=bmtnaau191107-01.2.35.2", "titre_corps": "ROYALTY AT THE THEATRE", "titre_sommaire": "ROYALTY AT THE THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.90", "debut_caractere": 17, "fin_caractere_exclue": 1120, "texte": "ROYALTY AT THE THEATRE\nHphe Referee, speaking of the\nCommand Performance at Drury\nLane tells us that there was no en-\nthusiasm,.... because \" Enthusiasm\nwith society people is not the\ncorrect thing \" and It drew atten-\ntion to the fact that \" until the end\nthere was hardly a cheer through\nout the evening \". &\nThis only shows the good effect\nMajesty has upon a crowd. Cheers\nand applause are as out of place in\na theatre as in a church or in a\npicture gallery. With cheers at a\nrace meeting it is different. The\nhorses need it and the animals excite\nus to cheers and the presence of\nRoyalty has never stopped those\ncheers. Curious, how right the In-\nstincts of people are i At Drury Lane\nin the presence of the King they\nbehave; at the Derby in the presence\nof the King they behave also. Instinc-\ntively they do the right thing in\nboth cases, but that which is right\nin the one case is the opposite of\nthat which is right in the other.\nThe Referee is wrong is suppo-\nsing the Drury Lane audience was\nnot enthusiastic; they simply for\nonce behaved and did the right thing\nnot merely the \" correct thing."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c096", "article_bluemountain": "bmtnaau_1911-07_01#c096", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "76", "page_fin": "76", "image_debut": 90, "image_fin": 90, "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=bmtnaau191107-01.2.35.3", "titre_corps": "IMPERIAL BOUNTY", "titre_sommaire": "IMPERIAL BOUNTY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.90", "debut_caractere": 1122, "fin_caractere_exclue": 1881, "texte": "IMPERIAL BOUNTY.\nQur Moscow Correspondant tells us\nthat when the Dowager Empress\nvisited a St Petersberg Theatre last\nmonth to witness a performance by\nthe Moscow Art Theatre Company\nshe called two of the actors to her\nbox between the acts and presented\nthem with a purse containing five\nhundred pounds. &\nThis strikes us as delightful,\nquite like the old days. One can\nimagine Queen Elizabeth acting in\nthis way. &\nOf course now that the actor\nopens bazaars and is invited to\ncourt it would hardly do in England.\nIt could be done, but only if the\nactor were willing, and he would\nrather give up the five hundred\npounds nowadays than the position\nof public man. He would even prefer\nto lose the title of artist than\nthat of public man.,... And he has\nlost it."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c097", "article_bluemountain": "bmtnaau_1911-07_01#c097", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "77", "image_debut": 91, "image_fin": 91, "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=bmtnaau191107-01.2.35.4", "titre_corps": "MORE FREEDOM FOR THE CRITICS", "titre_sommaire": "MORE FREEDOM FOR THE CRITICS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.91", "debut_caractere": 17, "fin_caractere_exclue": 1604, "texte": "MORE FREEDOM FOR THE\nCRITICS.\nQur contemporary, The New York\nDramatic Mirror, from time to\ntime shows a real desire to go ahead\nand lead public opinion, and then\nwhen the opportunity comes it\nshirks the privilege and shoulders\nthe heavy responsability of following\nwith the crowd.\nIn 1909 we drew attention to\nthe way in which plays were\nproduced in Europe with too much\nhaste, and in 1910 Mr H. T. Parker\nin the Boston Transcript finds the\nsame fault with the American pro-\nductions, and the New York Dra°>\nmatic Mirror in a leading article\nasks who will deny that this is\ntrue. & & &\n& At the same time and in the same\nnumber the Editor permits long\nand short articles or notices\nto be published about the plays\nin New York without a word being\nsaid against their hasty preparation.\nIn short, the leading editorials\nare often very righteous and right...\nand there an end. We fail to see\nwhat such a publication is driving\nat. To agree in one part of the\njournal that hasty production mars\nthe work of the New York theatres,\nand then to praise up those theatres\nin the other part of the journal is\nrather less courageous than we like\nto take our friends over the water\nto be. We do not wondor when they\noften praise what we deplore, but\nto contradict themselves in so down-\nright a manner as this we mention\nis a pity. &\n& We wonder whether the critics\non the New York Dramatic Mirror\nare allowed to say what they think ?\nOh ! for a little more freedom, for\nthe critics often know so well what\nis the matter with the theatre and\nif they had their lives ensured we\nshould hear the truth."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c098", "article_bluemountain": "bmtnaau_1911-07_01#c098", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "77", "image_debut": 91, "image_fin": 91, "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=bmtnaau191107-01.2.35.5", "titre_corps": "THE CHICAGO THEATRE", "titre_sommaire": "THE CHICAGO THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.91", "debut_caractere": 1606, "fin_caractere_exclue": 2047, "texte": "THE CHICAGO THEATRE.\nW e are glad to hear that\nChicago remains true to Mr\nDonald Robertson and that the\nmembers of the Chicago Theatre\nSociety have asked him to lead them\nin their next venture.The twenty-five\nthousand pounds subscribed Is a\ngood round sum and in capable\nhands should go far, and last long.\n£? It is too large a sum to be spent\nin one season, yet many will tell\nvou that it needs that amount to\nrun a theatre for so long. JS?"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c099", "article_bluemountain": "bmtnaau_1911-07_01#c099", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "78", "image_debut": 91, "image_fin": 92, "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=bmtnaau191107-01.2.35.6", "titre_corps": "DOES IT?", "titre_sommaire": "DOES IT?", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.91", "debut_caractere": 2049, "fin_caractere_exclue": 2241, "texte": "DOES IT?\nTo run anything on old convention\nnal lines costs a fortune, but that is\nbecause brains and taste are then\nleft out of the calculation. And if the\npossession of money rocks the brains"}, {"page_pdf": 92, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.92", "debut_caractere": 17, "fin_caractere_exclue": 779, "texte": "to sleep in a cradle of conceit, then\nLord Rosebery is right and the\nless money artists have the better.\ng? But the experience of years\nshould have taught Mr Donald Ro-\nbertson that he must exert his\nbrains this time If he is to achieve\nanything and that he must realize\nthat not in the space of one season\ncan any achievement be notice-\nable,\njgt If he is wise Mr Robertson will\ndo everything on a small scale, and\nwill make that twenty-five thousand\npounds spread over several years.\nIf he cannot do that someone\nelse ought to be invited to show\nhim how it can be done.\nThe problem is not easily solved,\nbut there Is a solution. £?\nAnyhow we wish Chicago a real\nand lasting success,.., not a display\nof fireworks for the fun of seeing a\nlot of open mouths. jg?"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c100", "article_bluemountain": "bmtnaau_1911-07_01#c100", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "78", "page_fin": "78", "image_debut": 92, "image_fin": 92, "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=bmtnaau191107-01.2.35.7", "titre_corps": "THE ANTI-SUFFRAGE LEAGUE", "titre_sommaire": "THE ANTI-SUFFRAGE LEAGUE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.92", "debut_caractere": 781, "fin_caractere_exclue": 1495, "texte": "THE ANTI-SUFFRAGE LEAGUE.\n•\"jphese very brave and very noisy\nladies are for some strange reason\nenlisting the active co-operation of\nthe ladies of the English stage.\nThese ladies evidently have time\nto spare from their work.\nMiss Ellen Terry is supposed to\nbe a keen Suffragette but there are\nreasons why she is obliged actively\nto espouse the cause. Miss Kate\nTerry (Mrs Lewis) is probably just\nas keenly opposed to the movement\nfor we note that her daughter Miss\nL. Terry-Lewis is the Secretary of\nthe Woman's National Anti-Suffrage\nLeague, and, as we are very much\nanti-Suffrage, we are glad to give\nhere the address of Miss L. Terry-\nLewis:... Caxton House, Tothill\nStreet, Westminster. May success\nattend her."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c101", "article_bluemountain": "bmtnaau_1911-07_01#c101", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "78", "page_fin": "79", "image_debut": 92, "image_fin": 93, "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=bmtnaau191107-01.2.35.8", "titre_corps": "A SHAKESPEARE MEMORIAL", "titre_sommaire": "A SHAKESPEARE MEMORIAL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.92", "debut_caractere": 1497, "fin_caractere_exclue": 2276, "texte": "A SHAKESPEARE MEMORIAL.\nbest Memorial which we can\noffer to Shakespeare is to read\nhis works, and perhaps In time learn\nhow to act them. &\nThat Memorial will not be erected\nfor very many years. &\nGive Ellen Terry a theatre and\nthe Memorial can be erected tomor-\nrow. Give every village a theatre and\nlet the boys and girls have a chance\nof acting and the same Memorial\nmight be up within six years.\nIf this does not commend itself\nto you let us suggest that you support\nthe men who collect and print the all\nbut inaccessible works relating to\nShakespeare, his works and his times.\n«ig? Public subcrlptions are now\nasked for to put the Shakespeare\nHead Press at Stratford-on=Avon on\na permanent basis with its founder\nMr A. H. Bullen at its head.\n& Subscriptions amounting to more"}, {"page_pdf": 93, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.93", "debut_caractere": 19, "fin_caractere_exclue": 197, "texte": "than one thousand pounds have\nalready been promised.\nj£? We hope this scheme will appeal\nto some of the readers of The Mask\nfor in our opinion it is very worthy\nof solid support."}]}, {"article_id": "bm-bmtnaau-1911-07-01-c102", "article_bluemountain": "bmtnaau_1911-07_01#c102", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "79", "page_fin": "79", "image_debut": 93, "image_fin": 93, "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=bmtnaau191107-01.2.35.9", "titre_corps": "THEATRICAL SCHOOLS", "titre_sommaire": "THEATRICAL SCHOOLS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.93", "debut_caractere": 199, "fin_caractere_exclue": 1158, "texte": "THEATRICAL SCHOOLS.\njyir Gerald Du Maurier, speaking\nsome weeks ago at the Royal\nGeneral Fund dinner, said a word\nin favour of training for the actor.\n£? He wished the actors and actresses\nhad to pass certain examinations and\nbe awarded a certificate of merit\nbefore they could apply to a manager\nfor an engagement. &\nHe mentioned several things\nwhich the actor neglected to learn.\nPerhaps Mr Du Maurier will one\nday renounce the stage and teach\nthe Art; He is one of the very few\nmen in England who, we believe,\ncould help to recover for us what\nw© have lost. x?\n\\\nWe have done something towards\npointing out the need of schools for\nthe study of the whole Art of the\nTheatre and we hope to have an\nopportunity of going into the matter\nthoroughly before very long. Mean-\ntime this suggestion from a young\nactor-manager is valuable, for a\nschool for the actor and actress\nseems inevitable if the stage Is not\nto pass entirely into the hands of\nthe amateur. & &"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c103", "article_bluemountain": "bmtnaau_1911-07_01#c103", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "79", "page_fin": "80", "image_debut": 93, "image_fin": 94, "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=bmtnaau191107-01.2.35.10", "titre_corps": "IRVING AND STAGE LIGHTING", "titre_sommaire": "IRVING AND STAGE LIGHTING", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.93", "debut_caractere": 1160, "fin_caractere_exclue": 2368, "texte": "IR VING AND STA GE LIGHTING\nqpo us It seems curious that Mr\nBram Stoker should attempt to\nwrite about \" Irving and Stage\nLighting \" for of all Irving's staff\nMr Stoker must be the one who\nknows least about It. The '« Nine-\nteenth Century \" should have secured\nan article on this subject from Mr\nLoveday, Sir Henry's stage manager,\nbefore it was too late. For after all\none who directs the lighting of the\nstage as did Mr Loveday is more\nlikely to know about it in detail\nthan Mr Stoker who directed the\nbox office.\n& Mr Stoker flounders most distress-\nfully :.... he takes ten pages to\nprove that Irving was very pains-\ntaking,. a thing we all felt must be.\nWhat everyone is not quite clear\nabout Is Ir ving'sfndisputable right\nto be considered the foremost actor\nof his century. We would not com-\npare him with the younger men,\n(some, alas, amateurs), who vainly\nused to compare tiieselves with him\nand who even to this day ask \" Whac\ndo you think of my \" Shylock \" after\nIrving's ? \" but we would compare\nhim to the greatest actors of Europe\nand America, and we would like to\nsee It proved how far greater was\nIrving's mastery of the material\nwhich the actor has to work with.\nOf course Mr Stoker cannot do"}, {"page_pdf": 94, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.94", "debut_caractere": 75, "fin_caractere_exclue": 781, "texte": "this any more than Whistler's fa-\nmous policeman at the National\nGallery could speak about Art. But\nsome day we may hope that the\nbook on this subject will be written.\nIrving was above all a mysterious\npersonality. Let those who study his\nart remember this and let them try\nto read some of the mysteries which\nvery often he veiled when speaking\nabout the art of the actor or playing\nthe part of public man. What Irving\npreached was something very diffe-\nrent from what he practised. He\nperformed like an artist; he prea-\nched like any orthordox man of the\nmoment. And let those who would\ntell us one of the profoundest secrets\nof the Art of the Theatre remember\nthe face of Irving. His face was a\nmask. ■<&"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c104", "article_bluemountain": "bmtnaau_1911-07_01#c104", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "image_debut": 94, "image_fin": 94, "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=bmtnaau191107-01.2.35.11", "titre_corps": "TWO GERMAN \"COUPS\"", "titre_sommaire": "TWO GERMAN \"COUPS\"", "signature_source": "J. s", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.94", "debut_caractere": 783, "fin_caractere_exclue": 2379, "texte": "TWO GERMAN \"COUPS.\"\nJ. s.\n& On July 3rd it was announced\nthat Germany had sent a warship to\nAgadir in order, we suppose, ultima-\ntely to seize Morocco. The same\nday it was also announced that\nProfessor Reinhardt the theatrical\nmanager, assisted by the Polish Pro-\nfessor Ordinsky, assisted by Professor\nSchiller, assisted by other professors,\nhas been invited to enter London in\nbroad daylight and to demonstrate\nat Olympia that the Germans are\nbetter able to move a crowd of\ntwo thousand performers than we\nare able to move a crowd of two\nthousand spectators. & _\nThis will be in December. In\nAugust the German and Polish Pre-\n\\\nfessors assisting each other will\nbring \" Sumurun \" once more to a\nLondon Music Hall. In the autumn\nthese same Professors will beg Mr\nMartin Harvey to assist them still\nsome more in a production of (Edipus.\nSo says the Daily Mail and it seldom\nmakes mistakes.\nThe assistance all round seems\nto us very charmingly international\nand friendly, but isn't It Just a trifle\nincompetent ? When are a few indi-\nvidualities of genius going to appear\nin the [Theatre who shall, instead\nof a patchwork, give us examples of\ntheatrical art woven in one piece?\nIn order to do this the men of\nindividual genius will first have to\nlearn a lesson lost somewhere in\nCrete or China two thousand years\nbefore Christ, a lesson which Flaubert\ntaught the writers in the last century;\n\"...Genius is not rare nowadays, but\n\"what no one any longer has and what\n\"we must strive for is Conscience.\"\n\" 1 have always tried not to belit-\n\" tie art for the satisfaction of an\n\" isolated personality"}]}, {"article_id": "bm-bmtnaau-1911-07-01-c106", "article_bluemountain": "bmtnaau_1911-07_01#c106", "volume": "bmtnaau_1911-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 96, "image_fin": 96, "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=bmtnaau191107-01.2.36", "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": 96, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.96", "debut_caractere": 146, "fin_caractere_exclue": 831, "texte": "A LETTER FROM* *\nMADAME YVE TTF\n\" The Mask, that journal created for a\nthoughtful Public enlightens a multitude\nof artists. A vast number of\ninnovatorswho, in the bringing forth\nof their master-pieces have, to inspire\nthem, only their instincts and the School\nof the Great Past which Italy, that nurse\nof Art sets at their service.\nOne journal has devoted itself to this\nsplendid cause. The Mask! and its energetic\ninsistence upon the Great Duty of serving\nBeauty renders it a valuable little organ\nfor artists.\nThis journal is at the same time instructor\nand guide, for while it teaches us of past\nthings, it also directs our future efforts,\nand that is why The Mask is M Y journal. \""}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.1", "texte": "A tLti\"s ti v iJ 1^1*il.« F\nTHE ART OF THE THEATRE\nVolume Four. Number One.\nJU L Y\ni 9 i i\nARENA GOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN S HILLINGS.\n4"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.2", "texte": "THE MASK. JULY 19\"-\n'The Editor will be glad to consider, MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated. ■£?\nAll possible care will be taken, but he cannot hold himself responsible for the\naccidental loss of MSS. These must In every case be accompanied by a stamped and\naddressed envelope as otherwise they cannot be returned.\nCommunications should be addressed to the Arena Goldoni. Florence. Italy.\n\nLITERARY CONTENTS.\nTWO POEMS Walt Whitman. . : . . • *•\nTO SAVE THE THEATRE John Semar . 4.\nTHE OPEN AIR.- Edward Edwardovitch. . r 8.\nBRIEUX AND BERNARD SHAW . . . Louis Madrid . . . . >3-\nTHE COURAGE OF THE IMPRESARIO . . Adolf Furst. . . • • >7-\nFIDDLE DE DEE. Allen Carrie. . . • >9-\nIN DEFENCE OF THE ARTIST. . . . John Balance 22.\nWONDERFUL ABOMINABLE AMERICANS. . John Semar. . . . . 25.\nTHE TUSCAN \" MAGGI \" Pierre Ram6s. ; 28.\nARTISTIC DEBAUCHERY An Extract from the writings\nof George Moore with a Note\nby J. 34«\nA HISTORICAL PAGEANT IN KYOTO. . . Lafcadio Hearn. ... 37-\nDOES THE REAL ENGLISHMAN GO\nTO THE THEATRE ? A Note by . . Gordon Craig .... 37.\nA WORD ABOUT APPLAUSE. . . . Goethe 39-\nCAMBRIDGE UNIVERSITY AND ITS BAN ON\nACTRESSES . C. G. Smith 4>.\nETERNITY AND SOAP BUBBLES . . - . J.van Holt 43-\nMORE CIRCUS CLASSICS. . Adolf Furst .... 45.\nITALIAN WOODCUTS. A Note upon their\nUse to the Modern Scene Designer. . Felix Urban 47*\nLETTERS TO THE EDITOR 57-\n& BOOK REVIEWS. FOREIGN NOTES. £> EDITORIAL NOTES.\nShort Extracts from the Words or Writings of Madame Eleonora Duse, Garibaldi,\nRuskin, R. L. Stevensen, La Bruyere, Nietzsche, Walt Whitman, Oscar Wilde,\nPages 3, 7. 16, 21, 24, 27.\n\nILLUSTRATIONS.\nWALT WHITMAN. (Frontispiece). . . . Gordon Craig. (1898) . Face 1.\nA MASK FROM THE JAVANESE. . . . Julius Oliver. , . 11.\nPROFESSOR BRANDER MATTHEWS. . . From \" New York Review \" . 21.\nMONTH OF MAY FESTIVAL. ... Old Florentine. . . „ 32.\nCOMPANY OF THE MANTELACCIO. . . „ „ . 48.\nSACRE RAPPRESENTAZION1 . . . „ following ,, 48.\nFOUR SCENES FROM OLD STORIES. . . „ „ . „ 57. 58.\nHEAD AND TALE PIECES by Oliver, Borrow: and others. 49, 51, 55."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.4", "texte": "Portrait or Wait Whitman Frsm \"The Page\" 1893. Designed and Engraved by Gordon Craig\n\nTHE MASK.\nJ u I y 19I I."}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.5", "texte": "TWO POEMS\nREPRINTED HERE BY PERMISSION OF HIS LITERARY EXECUTORS\nBY WALT WHITMAN\nTO A FOIL'D EUROPEAN REVOLUTIONAIRE\nourage yet, my brother or my sister !\nKeep on.....Liberty is to be subserv'd whatever occurs ;\nThat is nothing that is quell'd by one or two failures, or\nany number of failures, %\nOr by the indifference or ingratitude of the people, or by any unfaithfulness,\nOr the show of the tushes of power, soldiers, cannon, penal statutes.\nWhat we believe In waits latent forever through all the continents,\nInvites no one, promises nothing, sits in calmness and light, is positive\nand composed, knows no discouragement,\nWaiting patiently, waiting its time.\n(Not songs of loyalty alone are these,\nBut songs of insurrection also,\nFor 1 am the sworn poet of every dauntless rebel the world over,\nAnd he going with me leaves peace and routine behind him,\nAnd stakes his life to be lost at any moment.)\nThe battle rages with many a loud alarm and frequent advance and\nretreat,\nThe infidel triumphs, or supposes he triumphs, *\nThe prison, scaffold, garrotl, handcuffs, iron necklace and lead-balls do\ntheir work,\nThe named and unnamed heroes pass to other spheres,\nThe great speakers and writers are exiled, they lie sick in distant lands,"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.6", "texte": "TWO POEMS BY WALT WHITMAN\n\nThe cause is asleep, the strongest throats are choked with their own\nbiood,\nThe young men droop their] eyelashes toward the ground when they\nmeet ;\nBut for ail this Liberty has not gone out of the place, nor the infidel\nenter'd into full possession.\nWhen liberty goes out of a place it is not the first to go, nor the\nsecond or third to go,\nIt waits for ail the rest to go, it is the last.\nWhen there are no more memories of heroes and martyrs,\nAnd when all life and ail the souls of men and women are discharged\nfrom any part of the earth,\nThen only shall liberty or the idea of liberty be discharged from that\npart of the earth,\nAnd the infidel come into full possession.\nThen courage European revolter, revoltress !\nFor till all ceases neither must you cease.\nI do not know what you are for, (I do not know what I am for myself,\nnor what any thing is for,)\nBut I will search carefully for it even in being foil'd,\nIn defeat, poverty, misconception, imprisonment...for they too are great.\nDid we think victory great ?\nSo it is...but now it seems to me, when it cannot be help'd, that defeat\nis great,\nAnd that death and dismay are great.\nWHEN I HEARD THE LEARNED ASTRONOMER.\nI heard the learn'd astronomer,\nWhen the proofs, the figures, were ranged in columns before me,\nWhen I was shown the charts and diagrams, to add, divide, and\nmeasure them,"}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.7", "texte": "TWO POEMS BY WALT WHITMAN\n\nWhen I sitting heard the astronomer where he lectured with much ap-\nplause in the lecture-room,\nHow soon unaccountable I became tired and sick,\nTill rising and gilding out I wander'd off by myself,\n/n the mystical moist night-air, and from time to time,\nLook'd up in perfect silence at the stars.\n\nAN INVITATION.\nGiuseppe Garibaldi. July 2nd 1849.\nwho betrays us today, will smile on us tomorrow. I am going\n\" out from Rome. Let those who wish to continue the war against the\n\" stranger, come with me. I offer neither pay, nor quarters, nor provi-\n\" sions; 1 offer hunger, thirst, forced marches, battles and death. Let him\n44 who loves his country in his heart and not with his lips only, follow\n** me.\nTO SAVE THE THEATRE MUST BE DESTROYED; THE ACTORS\nAND ACTRESSES MUST ALL DIE OP THE PLAQUE.... THEY\nPOISON THE AIR, THEY MAKE ART IMPOSSIBLE.\nMadame Eieonora Duse."}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.8", "texte": "\"TO SA VE THE THE A TRE OF ENGLAND\"\nby John Semar.\n\" TO SAVE THE THEATRE THE THEATRE MUST BE DESTROYED ; THE\nACTORS AND ACTRESSES MUST ALL DIE OF THE PLAQUE. THEY POISON\nTHE AIR, THEY MAKE ART IMPOSSIBLE\". Madame Eleonora Duse.\nHphat is to say, Art Is made impossible in the Theatre of England by\nSir Herbert Tree, Mr George Alexander, Sir Charles Wyndham, Mr\nFred Terry, Mr Oscar Asche, Mr Lewis Waller, Mr Arthur Bouchier,\nand by their leading ladies and companies of players ; and that which\nstands for Art at His Majesty's Theatre, at the St James's, the Garrlck,\nthe Haymarket, must be destroyed in order to save the Theatre of England.\nIt is not often that there comes so clear and direct a statement from\na ruler.... and Madame Duse can be looked on as Ruler by Divine Right\nover the actors.\nThis statement by the world's foremost actress will be found again\nseveral times in the pages of this number of Mask. It is the only\nsentence possible to be passed upon the success of vulgarity.\nThe statement needs no explanation. It is clear. Had it been uttered\nby anyone who was using the theatre as a means to pursue some par-\nticular selfish intrigue for fame or money we might look upon it with\nsuspicion. But Madame Duse has never been self-seeking, and cares not\nwhom she pleases or offends in following steadfastly the ideals she has\nset up to be followed ; and it is to her incorruptable conscience that we\nshould all do reverence. & J\n& The theatrical world is without a conscience. It will sell its soul for a\nsuccess, for a high salary, for good terms,.... in short, for twopence.\nNearly everyone in the theatre works from self-interest, not for the\ntriumph of the Art nor even for a lesser ideal.\nThis cannot be said of the Literary world, nor of the Painters nor\nthe Musicians.\nNow it will instantly be said by those belonging to the modern theatre\nthat The Mask, being a theatrical journal, is a traitor to the Theatre.\nIf so they accuse Madame Duse of being the same.\nBut it is because we love the Theatre,.... and Madame Duse is a child\nof the Theatre.... and hate this parody of a Theatre which England"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.9", "texte": "\" TO SAVE THE THEATRE OF ENGLAND \"\n\noffers us in place of a true one that we have always attacked and will\nalways attack it. &\n& Sir Herbert Beerbohm Tree, for example, has lowered the Theatre\nfrom what it rose to be In the time of Sir Henry Irving.... and yet he\nclaims to be looking after its interests.\n£? He no doubt attends to many matters connected with the affairs of\nthe technical profession, and spends his time and strength generously in\ncombatting the Music Halls or Mr Seymour Hicks or some other imagi-\nnary gigantic foe. But none of his energy or his time is spent in fighting\nthe real foe,... himself and his appalling unconsclenciousness. & &\nFor he is the worst enemy of the English Theatre today. Under the\nguise of friendship he undermines its very existence. When he should be\nfeeling, thinking and acting as an artist feels, thinks, and acts, he Is in-\nstead performing like a shopkeeper.\nAn artist has no time to spend away from his Art, and If Sir Herbert\nTree takes himself to be an artist he should act like one. But he does\nnothing of the kind. &\nCompare, for example, Sir Herbert Tree with M. Rodin. Both have\ncompanies of craftsmen to direct, expenses to meet, the responsabilities\nattached to big undertakings to fulfil; both have at their disposal the\nmaterial required for the expression of their own art, both have to show\ntheir work to tbe public: but whereas the one, M. Rodin, produces\nmasterpieces of the art of sculpture, the other, Sir Herbert Tree, while\nclaiming to be an artist of the theatre, produces but .... himself.\n& And as Madame Duse \" handled the little piece of clay in which\n\" two figures, suggested not expressed, embrace passionately, in a\n\" tightening quiver of the whole body, which seems to thrill under one's\n'* eyesight, it seemed as if force drank in force until the soul of the woman\n*' passed into the clay, and the soul of the clay passed into the\n'• woman ■£? & &\nThis is how Madame Duse is moved when she looks upon the art of\nRodin : and when thinking of the work of Sir Herbert Beerbohm Tree\nand his fellow-actors she cries out, \" They make art impossible \".\nSuch a state of things ought no longer to continue.\n\n(I) My quotations are from 44 Studies in Seven Arts 99 f one of the finest of Mr Arthur Symon's works."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.10", "texte": "\" TO SAVE THE THEATRE OF \" .\n\n4? Let something be done this year to correct all this.... What?\nLet there be schools for the art established and let them be controlled\nby the few artists who have been born to the art of the theatre and let\na search be made for men whose conscience in this important matter of\ntheir art is clear, and let these control our schools.\nit will be argued that there already are such schools. This is\nfalse. There are no such schools, if is necessary that such schools should\nbe established because the theatre can become part of the nation only\nthrough its educational function.\nNot that I mean to suggest that the theatre educates la the dry sense\nof the word. Not that at all. What 1 and many others Insist on is that\nthe theatre itself needs education. Those who would work in it should\nbe required first to qualify themselves. No one, not even a super, should\nbe allowed into the theatre until he had passed some examination. If\nthis were possible, (and it Is easily possible), it would not be long before\nthe whole theatrical world would be as well as seem a very different\nplace.\nSalaries also would undergo an extraordinary transformation ; prices\nfor scenery and lighting would alter; a production would cost two\nthousand pounds where formerly It had cost five thousand.\n& And why ? For the reason that distinction and taste would be brought\nInto the theatre with the entrance into the theatre of trained minds,\nand taste, which is independent of material, knows how to adorn\nwithout cost, and distinction of mind knows how and where to econo-\nmize in everything but brains. To realize this we have only to turn from\nthe West to the East, from England to Japan, where all classes display a\ntaste and distinction, a capacity for achieving the maximum of beauty\nwith the minimum of expense which is undreamed of among the English,\nwho, inversely, succeed in obtaining only a minimum of beauty with a\nmaximum of cost. &\nBut such taste and distinction are the outcome of the long training\nand severe discipline enforced among, and submitted to unquestioningly\nby the Japanese in every department and activity of life : and until we\nIn England are ready to submit to the same discipline we cannot hope\nto obtain the same results. &"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.11", "texte": "44 TO SA VE THE THE A TRE OF ENGLAND \"\n\nJS? This is especially the case with the theatre. Nowhere is training and\ndiscipline more sternly needed. But for such discipline and training\nwe need a school, a college, in which shall be developed fine=cut incisive\nbrains and beings to produce the ideal.& &\n£? Only in such a school do 1 see a hope, for only then do I see the pos=\nsibility of the development of new minds which shall mould the little\nworks of art or the great works, or any kind of works; touching ail, small\nor great, with the distinction inherent in themselves. Only a school,\nand even then only a very serious and difficult school can\nachieve this for the theatre; for the function of such schools will be to\n44 produce great persons \" who shall destroy the theatre that the theatre\nmay be saved. J£?\n\nTHE LAW OF HARMONY.\nWalter Pater, Plato and Platonism.\nare t° become....like little pieces in a machine, you may complain...\nNo, like performers rather, individually, it may be, of more or less\nimportance, but each with a necessary and inalienable part, in a perfect\ncT*.\nmusical exercise which is well worth while, or in some sacred liturgy;\nor like soldiers in an invincible army, invincible because it moves as one\nman. We are to find, or be put into, and keep, every one his natural\nplace; to cultivate those qualities which secure mastery over ourselves,\nthe subordination of the parts to the whole, musical proportion.\n\nTHE INDEPENDENCE IMAGINATION\nJohn Ruskin. Modern Painters. Vol. 2. III.\nA\" egotism is destructive of imagination, whose play and power depends\naltogether on our being able to forget ourselves.... Imagination has no\nrespect for saying or opinions : it is independent."}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.12", "texte": "THE OPEN AIR. Som Unanswered\nQuestions\nby Edward Ed war dowitch.\n\"WE SHOULD RETURN TO THE GREEKS... PLAY IN THE OPEN AIR\".\nMadame Eleonora Duse.\nhat does Madame Duse mean ? Many there are who\n\" return to the Greeks \". What do they do ?\n0 They dress like Greeks, In London or the capitals of\nthe Continent; they talk of Athens; they study Greek\nvases and buy imitation terracottas from the dealers;\nthey do all this and attain to the level of Canova and that false clas-\nsicism which he and his times revelled in. Sandals are not classic nor\nis the bare arm or leg a scrap more Greek than Ethiopian. So that\nif, as the great Italian actress says, we must \" return to the Greeks\nshe means something different from what we have done up to the present.\n& she adds that we must \" play in the open air 0\n40 Those Canovaites have always played by candlelight, by gaslight or\nby aid of that greater light, the arc=!amp, and generally in a closed\ntheatre. But the ordinary light of day seems inadequate for them,... it\nis too natural; not \" classic \" enougn. 0\n0 Obviously we should not interpret Madam Duse s order in the way\nthe followers of Canova interpret it. We must avoid sandals, Greek\nrobes, Greek masks, Greek theatres, Greek dancing, Greek vases, and\nalso, it almost goes without saying, steer clear of that anything but\nGreek fire, the artificial light of a modern theatre. 0 0 0\n0 Thus we are left with the daylight and the open air, and the use of\nit when we know how to make use of it: with Tragedy and Comedy, two old\nfriends, the Drama; with a covering for the body called costume, and a\nbackground known as 00000\n40 Well but, we say, we already have drama, costume and scenery, and\nwe can if we will turn on the light of day; it is cheap enough. 0\n40 But we cannot. To turn the light of day on to our modern scenery,\ncostume, actors and dramas would be to cheapen them at the same\n\n(1) Arthur Symons. \" Studies in Seven Arts \"; Constable ; page 336"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.13", "texte": "THE OPEN AIR.\n\ntime. Daylight is only for works of art: humbug works by artificial\nlight. & & & ' &\nTherefore what Madame Duse means is that we should drop tlie\nhumbug, go into the open, and become Greeks in so far as the Greeks made\nno use of trickery in their art and also by following the same principles\nwhich lie at the roots of the art of the theatre.\nThus we see that Madame Duse has said a very wise and truthful\nthing.\nAnd now 1 ask you is all that possible, until you know what the princi-\nples of the Greek theatre were ? I do not here speak of Greek dramatic\nliterature but of the Greek theatre of Interpretation.\nHow did the Greeks interpret their dramas ? How did they train\ntheir chorus, their actors ? How many colours were allowed to be used\nin their scenery, how many in their costumes? Were the arms of their\ndancers always kept waving, or was there any rule about this? And what\nof the voices in Greece ? What laws controlled the voice there ? Might\n#\nthe voice take liberties as it does in speech or was it confined to certain\nnotes as though it were the instrument of music?\nAll this must first be satisfactorily answered by those who hold with\nMadame Duse that we must play in the open air once more. For If it is\nright to say we must do this it is not easy to say How to do it.\nThe open air is at once the most lawful and the most illegal place in\ncreation. All is allowed there except the unnatural. And what is that?\nThat too will have to be settled before we can begin. For what is natural\nin the open air is held to be most unnatural in a drawing-room, and\nvice-versa. And we who are listening to Madame Duse's order belong to\ndrawing-rooms or libraries or some closed=in box of a place built by the\nbrain of modern civilization.\nAnd our audience is a regular tea-table fringe of humanity. Their\n\" naturalness \" is certainly not Greek, although the Canovaites, by\ngoing in much for afternoon teas and \" high society \", attempt to edu-\ncate the poor things. J£/\nThus we see that we are all of us unable to play in the open air\nbecause we cannot return to the Greek spirit nor achieve the Greek\ntechnique. And yet we could do this and more, could out-Greek the"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.14", "texte": "THE OPEN AIR.\n\nmost classic period of Greek art, could turn the very word \" Classic\"\ninto a little neighbour=word to \" Romantic \" if we could only be content\nto begin at the beginning and develop strongly and steadfastly the love\nthat is in the English nature. 3ut we should want a little collaboration.\nLove always demands that. The collaboration of our country, and a\nlittle less cheap criticism from our country, and especially from its\nwomen ; for indeed while a nation delegates to its women folk the task\nof lowering the standard of art it can be sure that the standard will\ntrail on the ground,\nJZ? Yet it is a woman, you say, who proposes for us all the new standard\nin theatrical art\nYes; and there her task ends :.... to encourage us by pointing the\nway, by suggesting a new way, for the right way is everlastingly new\neven after two thousand years. To taunt us , that indeed is\nin woman's province, her right and our privilege; and only a few women\nare able to avail themselves of the right, the majority having bartered\nit away for the privilege of appearing silly, at the expense of all the\nwonderful things in art and nature.\nAnd what then ? What is the next step to realizing this ?\nThe next step is to\nNow who is reading this ? It all depends upon that. I am ready to\ntell two kinds of people the answer ; princes or millionaires: for the\nartists already know, and except for these three whom else does it concern\nuntil it is accomplished ? &"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.15", "texte": "Design for a Mask; from the Javanese. Engraving by Johns Oliver\n\nTHE MASK\nJuly 1911"}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.17", "texte": "BRIEUX AND BERNARD SHAW. A Note on\nTwo Social Reformers\nby Louis Madrid.\nT4ie Englishman is furious about Brieux and about Shaw, and now\nthat the two have come together in a volume of plays issued by\nPifield of Clifford's Inn who publishes most of the works on Socialism\nand the Pabian Society, the Englishman has just gone mad with rage\nand drawl for the moment. Later on he will come to his senses. He will\ndiscern, select, accept and refuse and put the two authors in their\nplace.\nFor my part I am happy to see Mr Shaw in his role of Social Reformer\nwhen his face is so free from smiles as in the Preface to M. Brleux's\nplays. As a social reformer surely we have no one in England to equal\nhim. We of the theatre dislike Mr Shaw only when he brings his social\npropaganda on to the stage, for it explains too nicely how little Mr\nShaw understands the nature of the Theatre, and it is hardly necessary\nto repeat here that the Theatre is a temple or house for Art, and Art has\nnever flourished when in connection with Social or Political reform\n*\nit having nothing in common with either, (i.)\nMr Shaw in his Preface says that M. Brieux has written fifteen plays\nand that it is high time for us to begin to read him.\nOne feels Mr Shaw is right in this. Is there anyone who thinks other-\n*\nwise? Ah yes, unfortunately there are the millions, the thousands and\nthere are the hundreds.\nIt is the hundreds who count for these are the few who lead public\nopinion. They profess never to have heard of M. Brieux.\n& This pretended ignorance is the Englishman's sole refuge on the day\nwhen some other highly-strung but drawling-voiced Britisher asks him\nif he has heard of, seen or read such and such a book, person or idea.\nIt is as if some one had asked him if he has seen, heard or spoken with\nthe devil.\nThis is the worst thing that can be said about our Englishman. When\nhe puts that right he will be what he now believes himself to be,....\nthe first European.\n\n(1) By the bye, is it to Sir Herbert Beerbohm Tree's credit as a theatre director that he had the courage to\nproduce one of them ?"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.18", "texte": "BRIUX AND BERNARD SHA W\n\n& So one finds according to Mr. Shaw that English people have not\nread M. Brieux. Mr A. C. Flfield makes It now possible for them to do\nso and M. Brieux Is instantly at a disadvantage. For when the English-\nman has read these plays he will wonder what the devil Brieux is doing\nin that galley.\n& 2V|. Brieux is like Mr Shaw a social reformer and both are assuredly\ndestined to make names as such. As artists, as creators who fly with\nthe angels, they will be unheard of. They have joined Issue with the\nbrave and stubborn angel of whom Milton wrote:\nhis pride\nHad cast him out from heav'n, with all his host\nOf rebel-angels; by whose aid aspiring\nTo set himself in glory 'bove his peers,\nHe trusted to have equalled the Most High,\nIf he opposed ; and with ambitious aim\nAgainst the throne and monarchy of God,\nRais'd impious war in heaven, and battle proud,\nWith vain attempt.\nWe artists do not much care about those who revolt against the\nprinciples governing their home. We love those who revolt against the\ndestruction of those principles.^\nMr Shaw and M. Brieux are enemies of humanity because, being\nwriters, they have failed to understand the constructive part which art\nand artists play in the world-Drama by the incessant production of\nthings of beauty. And we are-all old enough and and wise enough, I\nthink, to realise now that by beauty we mean things not only externally\nbeautiful but beautiful in spirit. Thus things become beautiful in\nhands that know what beauty of touch is and all things are beautiful\nas they pass through the thoughts of a really human being...and great\nartists are more human than M. Brieux or Mr Shaw.\nIt is only when we become inhuman and unnatural that ugliness\nenters into us and we are permitted to see ugliness for the first time\nand punished by being permitted to have our own way. For to realize\nugliness Is to suffer. &\nWhat M. Brieux writes about in his works a're sad things and terrible"}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.19", "texte": "BRIEUX AND BER SNA\n\nthings. He writes of the triumph of evil. But because they are sad and\nterrible they are not necessarily unbeautiful. He makes them ugly\nbecause he puts them before us with his arms crossed on his breast and\nall his conceit blinding him and appalling us.\n■£> M. Brleux thinks he can right the world with his arms crossed. Let\nhim but once perceive that things are not so easily set right, let him\nonce be startled into recognising that only by loosening those hands of\nhis which he hides under each armpit, by giving those stiff arms which\nhe contracts, and then his whole person to the world can he achieve that\nwhich iiis instinct so far has rightly told him he ought to attempt.\n%\nBoth M. Brieux and Mr Shaw have brains; both of them obviously\nhave the noblest of intentions; both of them are courageous, and for\nthis one admires them unreservedly. But neither of them is human,\nneither of them can win humanity to do as he wants. They are\nwithout the milk of human kindness which after all has helped and ruled\nthe world since the first man-child was suckled by a loving woman.\nI look for a place in my shelves for this book by Shaw and Brieux.\nWhere can it go ? By the side of the sensitive Shelley?... poor Shelley I\nno, I must find same other companion for it. Perhaps near Rabelais ?\nNo, the room would be incessantly filled with the new-born peals of his\nterrific and baffling laughter. It shall, go then between the two works\nof Whitman, 44 Leaves of Grass \" on one side, \" Specimen Days \" on the \"\nother. So will it lie pressed like a somewhat soiled handkerchief between\ntwo sachets of sweetest lavender:...\n1 hear it was charged against me that I sought to destroy institutions,\nBut really I am neither for nor against institutions,\n(What indeed have I in common with them? or what with the destruc-\ntion of them ?)\nOnly I will establish in the Mannahatta and In every city of these States\nInland and seaboard,\nAnd in the fields and woods, and above every keel little or large that\ndents the water,\nWithout edifies or rules or trustees or any argument,\nThe institution of the dear love of comrades."}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.20", "texte": "BR/EUX AND BERN ARD SNA W\n\n& At last M. Brleux and Mr Shaw have found a companion who will\nnot deny them his whole sympathy and respect, but who will,.... who\nknows... perhaps \" filter and fiber \" their blood. & &\n\nTHE UGLY IN ART\nExtract from a letter from R. L. Stevenson\nto W. E. Henley. 1883, from Hyères.\nYour remarks about the ugly are my eye. Ugliness is only the prose\nof horror. It Is when you are not able to write Macbeth \" that you\nwrite \" Therese Ruquln.\" &\n& Fashions are external: the essence of art only varies in so far as\nfashion widens the field of its application ; art is a mill whose thirlage,\nin different ages, widens and contracts ; but in any case and under any\nfashion, the great man produces beauty, terror and mirth, and the little\nman produces cleverness, (personalities, psychology) Instead of beauty,\nugliness instead of terror, and jokes instead of mirth.\nArt was in the beginning, is now and ever .shall be world without\nend. Amen."}, {"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.21", "texte": "THE COURAGE OF THE IMPRESARIO. An\nAppreciation\nby Adolf Furst.\nhere is something positively reckless about the daring of the\nImpresario. His noble courage is so exceptional that it is sur-\nprising that he is so little known. When Signora Duse or Signor\nGrasso performs on the stage who Is It gets the credit for their perfor-\nmance ?.... Why, Signora Duse and Signor Grasso. Who should get the\ncredit ? why, who but Signor the Impresario! For after all, who and what\nis the performer? A name. And with whom lies the credit of having made\nthat name ? The Impresario. Who watched the tender steps of the infant\nprodigy ? The Impresario. Who ran to catch him when he fell ? The Im-\npresario. Oh noble man, oh beautiful figure in the dark annals of the\ntheatre. Oh benign unselfish creature, more than a father!\nBut it is not only the gentle side of the Impresario's character which\ncauses the flush of pleasure to spring to our cheeks: it is above all else\nhis reckless moral courage.\n£? Bring that man an assured success, give him a round sum to back it.\nmake a contract with him so that he has all rights over you for all lands,\nand what is there he will not do to you ? £/ &\nBut take him something which is not an assured success, something\nwhich may be wonderful, most beautiful, most original, and you will\nnot ever find that man so reckless, so rash, so foolish, so eccentric as\nto attempt anything with it. No, that man's courage is not the ordinary\ncourage. & Mark you, strange as it may seem,., and 1 am not afraid of\nseeming to be paradoxical, so much do I believe in the man,.... mark\nyou, that courage almost reaches an altitude when It may be called\ndownright timidity. For what is courage, but caution, what caution\nbut care, what care but has in it a sense of danger, what is a sense of\ndanger but a feeling of timidity ? In short, as for exceptional creatures\nexceptional laws are made, so for the Impresario, I say, some words can\nmean other than what they originally meant. & & &\nWe are not to judge this man by usual standards. The dictionary\nloses its significance in his presence. Thus, as I say, (< courage \" becomes"}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.22", "texte": "THE COURAGE OF THE IMPRESARIO\n\n\" timidity \" honesty \" becomes \" knavery \" and mark me, I am\nnot offering any excuses for the subject of my paper. \" Knavery \" you\nmay say, Is a bad thing; but judged as part and parcel of this man's\nstupendous individuality knavery loses its ancient] and dishonourable\nsense.\nThe Knave of Hearts stole some tarts,.. yes, Sirs, and 1am not going\nto deny it; but I defy you to convict him until you have told me the\nreason WHY he stole those tarts. JE? <£/ £/\nAnd it is for the same reason that I refuse to look upon the knavery\nof the Impresario in the same light as I should look upon the knavery of\nan ordinaiy man.\nCan you tell me WHY the Impresario is a knave ? Why he manages\nblackmail so delicately, and intrigue so incessantly ? and can you, with\nthe consciousness that you are speaking the truth, tell me that he is so\nfar guilty, that he should be carefully watched by the authorities?\n1 have every reason to speak of him as an exceptional man,.... a man\nnoble but mean, an honest man but a rogue, a man who has not yet\nreaped the full reward of his honourable yet dishonest services; a man\nwho is supposed to be \" well-known but even here you cannot tell\nme WHY. JE>J£?JE?JE>JE>J&J&J&\nOnly the other day I saw in the Daily Mail that \" the well-known\nImpresario M. Gabriel Astruc \" had arranged something or other,.... 1\nthink It was the daring experiment of bringing Mr George Edwards'\nsuperb Musical Comedy Company to Paris.\nJE> Well now, why is M. Astruc \" well-known \" ? Who is it that knows\nhim well ? No, no, Sirs, depend upon it he is too little known and should\nhe be known would be known to be a greater man than he appears to\nbe by the chance and prejudiced paragraphs which are put in the Daily\nPress\n& Then there Is the well-known Impresario Charles Prohman. In spite\nof The Mask and' its prejudice against \" Sir Charles \" I cannot but\nthink that we know too little of this noble being. And at the risk of\nbeing thought to be what 1 am,... an enthusiastic admirer,... I ask Who\nmade Maude Adams ? Who made Ellen Terry ?: and Who made Mrs\nKendal ? and the reply is a direct one..., \"Mr Charles Prohman"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.23", "texte": "THE COURAGE OF THE IMPRESARIO\n\npor what would Mrs Kendal have been without Sir Charles ? What\nMiss Ellen Terry ? What Miss Maude Adams ? & & & &\n& Then again, who was it proved that the Repertory Theatre could\nsucceed in London ? Why, Mr Frohman. & &\nTherefore 1 say that the Impresario must not be judged by us as or-\ndinary people are judged, for he is an exceptional being. & &\nBut for all that, the sooner the authorities get hold of him and help\nhim and every one of his kind to understand that there is not room\nenough for men to be so great and so exceptional as the Impresario is,\nthe better for the public, the theatre and the art. & &\n\nFIDDLE-DE-DEE\nOr, Professor Brander Matthew's infallible\nreceipt for making an omelette without eggs,\nby Allen Carric.\njprofessor Brander Matthews who occupies the chair of Dramatic Litera-\nture at Columbia University, stands for all that is unpractical, unori-\nginal and Impotent in America. He is said to be American, yet nearly\nevery thought he utters Is the faint meaningless echo of something said\nor written by some European. His own original Ideas come out rather\n>\nstronger, but then these are so banal or so vicious that it were better\nhe had not uttered them. America ought to have no room for such\nfellOWS.\nFor a really vicious statement listen to the following. He tells the\nPublic that the way for a young playwright to know how to create a\ndrama is 44 by going to the theatre where a successful play is running and\n44 watching the audience as well as the play \"«44 1 would suggest\", he says,"}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.24", "texte": "FIDDLE-DE-DEE.\n\n\" that the young man who is thinking of writing plays should go and see\n44 every successful play produced during the season at least ten times, until\n44 he notes the effect of every line and every bit of action upon the au=\n44 dience. There is no other way of learning how to write plays\nHe then proceeds to assert that Shakespeare and [Molifcre worked by\nthis rule of the Professor of Dramatic Literature of Columbia University.\nNow this kind of teaching is not dangerous. America will survive it\nand centuries more of its kind ; but isn't it tiresome to think that such\nthings are allowed to be let loose in such a wonderful country ?It was\nto destroy such teaching and such men that America gave birth to Its\ngreat literary men; amongst others to Walt Whitman. He taught that art\nliterature, drama and all that is strong and beautiful is not to be created\nin America by looking backward, or by any trick or according to any\ndry rule or system but only by absorbing nature.... the nature of America :\nby feeding not upon the dry bones of things from the European desert\nbut by drinking the intoxicating juices of American fruit.\nIn a recent Interview Professor B. Matthews was asked 44 May the true\nliterary value of a drama be measured by the box office receipts ? \"\nAnd the stupendous reply was, \" That is as good a way of estimating\nthe literary value of a play as any other \".\nAgain,... 44 Do you think that our playwrights are better than the\npresent generation of English dramatists ? \" \" Even if 1 thought so \"\nfaltered the Professor, 441 would not say so\"...\nHow proud America must be of so courageous a son I jgr\nOnce more:.... 44 Has commercialism had an evil influence in your\nopinion on dramatic art in this country ? \" asked the Interviewer.\n44 Drama has always been commercial\" answered Professor B.\nMatthews blandly44 The keener the managers are to make money the better\nshould be the output of the dramatist\".\n& 44 I do not think that the public has ever refused to patronize a good\n44 play at any time in the history of the theatre\", &\n& All this and more appeared in an American Review upon April 1st 1911.\n\n(I) The writer remembers playing 44 Cassio \" in Shakespeare's 44 Othello \" to a theatre containing exactly\neighteen shilling's worth of patrons for the said 44 good play This was in England, and the actors were\n•4sober, clean and word-perfect\"."}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.25", "texte": "FIDDLE-DE-DEE.\n\nThe date is ominous. Yet even if it is all a\njoke, what right has an American Professor\nto fool the United States in this way ?If it\nis all serious is there no one else to be found\nIn the whole of America to fill that chair\nIn Columbia University? For this kind of\ntrash brings discredit on the whole faculty.\nAnd Professor B. Matthews has been at the\ngame for years now. It is such a pity...\nsuch a grievous pity... that an old fellow\nlike this Professor is allowed to chatter\non pompously about what he never has\nunderstood and what he thinks is so easy\nto explain.^\n& And this is what he looks like, Reader.\n1 leave you together. jZ? jz?\n\n(1) We reproduce this drawing from the 41 New York Review\n\nCONNOISSEURS.\nLa Bruyere\nor those who consider themselves such, assume the power\nof giving an opinion for or against all public productions. Dividing\nthemselves into cliques, they are swayed by anything but public interest\nor fairness; they admire a certain poem or a certain musical composition\nand condemn all others. Their partisanship is so hot that they cannot\nproperly defend their opinions, and so injure the reputations of their\nfavourites. They discourage poets and musicians by their Inconsistencies\nand contradictions, and retard the progress of science and art by with-\ndrawing the stimulus of emulation from those masters who, according\nto their different talents, could produce excellent work."}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.26", "texte": "IN DEFENCE OF THE ARTIST.\nA Word or two\nby John Balance.\nhe Artist is incomprehensible only because his thoughts\nand actions are natural. The popular conception of the\nArtist is always a wrong one. &\nj0 Art may not be for Art's sake, but the Artist is\ncertainly for the Artist's sake. That is to say. he is sel-\nfish to the core. &\nHe seeks for happiness and finds it. Can this be said of any\nother man\nHe works for happiness, and when he sees that happiness is no longer\nIn the work he ceases from it and passes on to a new work.\nThere might have been other reasons for the Artist to labour but these\nwere found unsatisfactory. J&\n& He might have laboured because of Duty.... the soldier's reason ; or\nfrom piety,.... the churchman's way. Or he might have been as the man\nin Wall Street and doneJt for money, or for fame... the fool's wage:...\nor for adventure.... the woman's way; or to be knighted, or to carry\non a tradition, to make a little name so as to help the historian, or to\nmake a great name and so baffle the historian, or from sheer folly,\nor for fun.\n& But the artist Is neither so wise, so great nor so foolish as all that.\nHe is only quite different. He works for happiness. Experiencing nothing\nbut sorrow in his life he is incessantly searching for happiness In his\nwork,,.. and he finds It. Day after day it comes to him. He is sorrowful\nthat all the nobler virtues which are possessed by the lords and ladies\nof the land cannot be his. When he realises that it is this greater nobil-\nity, this finer sense of honour, this purer purity, this Christ-like unsel-\nfishness which has raised them to what they are, has given them what\nthey have, has taught them what and how to give, then must he\nbecome more sorrowful than all other men, and having nothing but his\nwork, his art, he turns to that as to a friend,.... and lo, happiness Is\ninstantly his. & & & jg? &"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.27", "texte": "IN DEFENCE OF THE ARTIST\n\nj& He cannot share his happiness with others and therein is he selfish.\nHe cannot share it for it is nothing materialit is Freedom. &\n<£/ Do you not believe what I say ? Do you think I am pretending ? If so\nyou must forgive me for having fooled you.\nBut it is true what I say; the artist is Incomprehensible oniy because\nhis thoughts and actions are natural. It Is neither great nor petty to be\nincomprehensible. It is merely a vast sorrow, and without the true hap*\npiness for which the Artist labours that sorrow would be the master.\nWe will hope that there are only a very few Artists alive and at\nthe same time we will not envy them, for they are neither great nor\nsmall, have nothing we can filch quicker than they will offer it to us;\nthey are only part and parcel of nature, and we know how common she is.\nThe rich man and the beggar can both sit in the sun ; priest and soldier\nare free to destroy the silence if they choose; the woman or the fool\nmay play havoc with the blossoms on a rose tree or the wings of birds;\nand may not all men therefore praise or pick to pieces that which the\nartist creates ? If he were part of civilization instead of part of nature\nitself this privilege to pet or destroy his works could not be permitted\nby cautious legislators.^\ni\nuS? At the same time it is because he is part of Nature that he never\nimitates Nature. Why should he ? Whatever he creates will be natural:\nhe of all men has no need to copy.\nSee how the Artist resembles all other things in nature except\nman... man who has risen far above nature's gross and delicate ways.\nHow perverse is the Artist, how wilful. Why, he is never twice alike;\nhe is inconsistency itself; he Is as inconstant as the moon... and as much\nloved by lovers; as unruly and yet as calm as the sea,... that sea which\nyou praise so highly. Why do you praise it? What is there you can\nguarantee about it ? £/ & & & &\n& Can you bind down the sea by a contract? Neither can you bind the\nArtist by one. Has the sea any reason for creeping stealthily or boun-\nding suddenly upon the shore ? neither has the Artist any reason for\nseeking happiness in play. Is the sun turning or is it standing still ?\ndoes anybody know ? And tell me, does it turn for money or is it posing\nfor fame ? And moon and stars, what are they doing and what sense is"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.28", "texte": "IN DEFENCE OF THE ARTIST;\n\nin their acts ? Can anyone tell ? May it be from piety or for love of\nadventure? It can't be that they are going on in that way just because\nthey have to, because it is natural to do so. If so, then nature is ugliness\nitself, for can a servile obedience be beautiful ? Can uselessness be of\nany value ? and yet the moon and stars are beautiful.\n& How Incomprehensible all this is; how natural. This is the only de>\nfence nature can put forward against all the accusations mankind has for\never brought against her... against all those Ignorant and vain enquiries\ninto a mystery so great, a problem so simple that there is no answer to\nIt because none is needed.\nAnd this is the only defence the Artist shall bring; that he is part\nof nature; that he obeys the laws of nature, and stands or falls with\nnature and that if mankind is an enemy to nature, if mankind has con*\nquered nature through virtues which are greater than the virtues of the\nsun, the sea and the four winds, then mankind has also conquered the\nArtist.\n\nA WORD FROM NIETZSCHE\nRoving Expeditions of an Inopportune Philosopher.\n'jpo the existence of art, to the existence of any aesthetic activity or\nperception whatsoever, a preliminary psychological condition is indl=\nspensable, namely, ecstasy. &"}, {"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.29", "texte": "WONDERFUL ABOMINABLE AMERICANS.\nOr The Amateur Advertisers\nby John Semar.\now are the Americans wonderful ? How abominable ?\nWell, to me it seems that they are more alive and\ntherefore more capable than any race on earth ; they have\nonly to learn one or two things, whilst we have to unlearn\nabout a thousand. They are ready to learn forwards, and\nyet they are in such a hurry that they deliberately learn backwards.\nAnd that's why they are abominable.\n&In the theatre this haste of theirs is startlingly evidenced.\nA good example offers itself as illustration of what 1 mean in the\nnew \" Playhouse \" built for Mr William. A. Brady of New York City.\nI have seen pictures of the exterior of the building and have read\nseveral reports of the interior. Let me write of the part I have seen,. .«\nthe exterior. There's much that's good in it and only a very little that's\nbad. But the bad is so abominably bad that it ruins the splendour of\nthe whole effort.\n& Mr Brady invites Mr Charles A. Rich to design and build him a new\nTheatre. Mr Rich does so. He goes ahead with good red brick and white\nstone and makes a very pretty looking little place,... a decidedly better\nthing than either of the Opera Houses in Paris or Berlin. That doesn't\nsay much for it but it says enough. & &\njg? There is nothing wrong about Mr Rich's admirable little design, which\nlooks quite like an ordinary respectable house of colonial times instead\nof a naughty wicked modern Theatre.\nAnd what does Mr Brady then do ? Mr Brady begins advertising\nAn admirable art In its own way, but, wedded to architecture, the\nresults are appalling. And Mr Brady's advertising is worthy of an amateur\nadvertiser, not of the professional. He has fixed up two of the commonest\ntype of electric advertising frames at each side of this beautiful new place,\nand one over the entrance door. And they ruin the whole effect; they ruin\n, *\nMr Rich's work; they ruin everything."}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.30", "texte": "WONDEREUL ABOMINABLE AMERICANS.\n\n& Do they enrich Mr Brady ? That Is the question. I think that they\ndo not. Would not some mode of advertising his theatre, other than\nmaking it into a guy, have worked equally well ? Electricity is not\nugly, nor is iron-work; it is only the vulgar every-day theatrical shape\nand style of his electric poster which damns this new home of his.\n& It was so wonderful of Mr Brady to have had the wit to see that a\nbeautiful building was better than an ugly one,... therefore it is impossible\nto believe that Mr Brady, whose invention and wit are so alive, cannot\nfind any other way out of the difficulty when it comes to advertising\nthe place. Surely this old trick of thirty years ago, this large letter pla-\ncard on the face of a fine building, is a bit too old for an American to\npractically admit that it cannot be beaten?\nser It Is a continual source of astonishment that Americans, who one\nknows hate nothing more than to be beaten, are so often floored by little\nproblems such as the one mentioned above.\nOur suggestion is this: Study what belongs to the art of the Theatre\nand what belongs to the trade of the Theatre, but never mix the two.\nIt is because Mr Brady has mixed his advertisement in with his artistic\nbuilding that the effect is lamentable. &\nBut, right away from Mr Brady, American advertisement seems to be\nabout as amateurish as anything can be. Reticence is the first principle\nof Reclame. Noise and vulgarity destroy all the illusion of pure adver-\ntisement, for advertising is an art second only to life itself. JS>\nIt is for this reason that I have always been curious to know just\nexactly why the classical dancers, (who at best attain to the false classi-\ncism of Canova while avoindig the true intention of the masters,) take\noff their clothes when they dance. The Japanese dancers, the Indian\ndancers, the Siamese dancers and the Greek dancers do and did quite\ndifferently. &\n&To hide is to advertise; to display is to disillusion us. The cat in the\nbag Is ten times more mysterious and attractive than when she Jumps\nout. 1 take the well-known cat as an instance, for poor puss is the com-\nmonest thing on earth, and It is the common things in which we traffic.\nWell then, let them be well wrapped up lest they disillusion us when\nIn the light of day. & & & & & &"}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.31", "texte": "WONDERFUL ABOMINABLE AMERICANS.\n\nAnd besides, Is it not an act of folly to waste so much money upon\nadvertising these every-day cats and things ? Think how much money\nwould be needed to attract people to an a ordinary tabby ;.... yet\nput her in the bag.... and how wonderful she then becomes !\n& When Americans know how to advertise without spending money\nthey will have mastered the art. At present one can only consider them\nas amateurs.\n\nDRAMA IN AMERICA.\nDemocratic Vistas. Walt Whitman. 1870.\nOf what is called drama, or dramatic presentation In the United States,\nas now put forth at the theatres, I should say It deserves to be treated\nwith the same gravity, and on a par with the questions of ornamental\nconfectionary at public dinners, or the arrangement of curtains and\nhangings in a ball-room, nor more nor less. JS?\n\nAN ANECDOTE OF OSCAR WILDE.\n& Oscar Wilde once said in that grave way ofhis to a friend :\n44 There are three maxims which are sufficient to guide any man\nthrough life successfully. \" & & & & &\n44 And what is the first of these ? \" asked his friend. J£/\n44 Well, the first is 44 never go to see a play by Henry Arthur Jones \".\n44 And the other two ? \" queried his friend. &\n&44Oh \" replied Wilde, 44«lf you remember this first maxim, the other\ntwo do not matter.\""}, {"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.32", "texte": "THE TUSCAN \"MAGGI\" OR MONTH OF MAY PLAYS\nby Pierre Rames.\n\n(0.\nn many parts of Tuscany, and especially about Pisa,\nLucca, Monte Amiata and Versiliano, there exists a form\nof drama which presents in a primitive form certain\nqualities entirely lacking in the European Theatre, such\nas freedom from restraint by the literary playwright,\nlove of the work for its own sake and enthusiasm in Its\nexecution, and an appeal by suggestion and symbol to\nthe imagination existent in the spectators rather than\nthe realistic presentation of fact.\nThese plays are usually known as the \" Maggl \" or\nmonth of May Plays and are written, produced and acted by the country\nfolk themselves.\nIn some districts where, owing to the fact that the men of the\ncommunity, whose custom it is to work In the Maremma and low lands\nduring the winter season, have not returned to their villages by May,\nthe plays are given later in the year and known by some other name\nsuch as \" Giostre\nSometimes they are organised by one man, the \" Capo-Magglo who\n\n]• For much interesting information respecting the \" Maggi\" Iam indebted to Professor D'Aocona's valuable\nstudy of the subject in his \" Origin! del Teat o Italiano and also to an interesting illustrated article in\n\"La Lettura May 1911 by Signor Roberto Palmarocchi. P. R."}, {"page_pdf": 33, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.33", "texte": "THE TUSCAN MAGGI\n\nacts as general director, selects play and players, direct rehearsals, pays\nexpenses and plans the transport of his company from village to village,\nrefunding himself from the receipts which, though the spectators usually,\npay but a penny a head, amply suffice. Sometimes a group of peasants\ninitiate the performance for their own village only, assuming the full\nresponsability, (no light matter, since much labour and study is involved\nand the rehearsals for a single Magglo often last a good two months),\nfor no reward save the delighting of the audience and the pleasure the,\nwork itself affords.\n& The actors are chosen from those skilled in improvisation. Women\nrarely take part, a nice custom forbidding such exhibition of themselves\non the stage, and female parts are usually acted by boys. 4%,\nThe company organized, the next step is to select the subject for\ntheir performance,... a matter of little difficulty since the range of choice\nis a wide one.\nAs in the fifteenth century the scenario writers of the Commedia dell\nArte drew their material from all sources, adapting it to their own,\nuse, so do the local peasants and artisans who are the usual composers,\nof the Maggi shape their play on some old romance. &\nSome of the oldest Maggi are printed, but many are merely written\nin copy-books together with stage directions, and passed from hand\n> * *-\nto hand.\n& The origin of the Maggi is uncertain, but they are known to have,\nmore than a century of life and D'Ancona believes while the custom of\ngiving them in the Maytlme is probably a survival of the old May songs\nand celebrations, they are in their form closely allied to, if not actually\ndescended from, the Sacre Rappresentazioni which they resemble in many\npoints; such, for instance, as the custom at times adopted of dividing\nthe stage into several parts representing different scenes with the actors\nready in each to move and speak as their turn came round: a custom\nin which we see, if I understand aright, the application of a principle,\nand an important one, of stage scenery which Mr Gordon Craig has\nunearthed once more and introduced into his Scene with its many fol-\nding screens.\n& The general denomination of \"Maggi\" allows of sub-divisions, different"}, {"page_pdf": 34, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.34", "texte": "THE TUSCAN MAGOl\n\ntypes being known by different names, such as a \" Vita \", a ** Narrazlone \"\n,a \" Canto \", a \" Rappresentanza \" or a \" Storia Singolare \"; but all\nadhere to a strictly conventional form, being composed in strophes of a\nparticular metre, a short line of eight syllables, and Intoned in a kind of\nrecitative to one unvarying chant.\nThus we see that the Directors of the Dublin Theatre do not do wrong\nwhen insisting upon their actors chanting instead of merely talking\nverse, as though verse were the ordinary and everyday method for the\ncommunication of material ideas.\n& The \" Maggianti \" usually chant without accompaniment though in\nsome places there is an Intermezzo of violins; but the little tune or\ncantilena is always adhered to, whether the words be love or sorrow,\nprayer or curse, and is remembered by the oldest peasants from their\nyouth. No variation is permitted, since the people are tenacious of the\ntraditional forms and would resent it if, instead of declaiming in con-\nventional manner, the paladins and saints of their Maggi spoke as they\nthemselves do about their affairs; and the old men discourage any in-\nnovations on the part of the younger such as modern dances, as detracting\nfrom the dignity of the old and seasoned form. & & &\nThis chanting to one invariable tune is another characteristic shared\nin common with the Sacre Rappresentazioni, and D'Ancona deduces from\nit that the two forms dated from the same period, but that when\nthe new fashion of speaking the parts became popular in the city and\nled to the modern style of recitation, the hill folk clung tenaciously to\ntheir ancient forms which perhaps they will never relinquish. The only\nvariation from the established air is In certain Maggi where verses of\nthe poet from whom the subject is derived are introduced and these,\nhaving another metre, are sung to another tune. & &\n& In some Maggi we find the chorus, which takes almost the part of\nthe Greek chorus, not sharing in the action but making prayer in rela-\ntion to that action. The figures represented by the chorus vary according\nto the piece, being nymphs, peasants, angels or whatever Is in keeping\nwith the subject."}, {"page_pdf": 35, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.35", "texte": "THE TUSCAN MAGG1\n\n<£> A Maggio commences with a Prologue chanted by a child who Is\nknown in different districts under varied titles such as Princlpiante,\nPaggio, Corriere, Interpretere, Introduttore, or Servo.\nThe arguments are usually derived from the Biblet the Lives of the\nSaints or some historical or poetic romance such as those of Tasso,\nShakespeare, Metastasio, the Arthurian cycle, or the exploits of Charle-\nmagne, for the Imagination of the peasant delights in and feeds con-\ntinually upon legends of paladins, knights errant, saints and martyrs,\nand these are what he likes to see in his theatre, caring little, with\nfew exceptions, for Maggl based upon Greek or Roman history or on\nmodern life. He delights In the spectacular and the marvellous, in feats\nof valour, celestial visitations, shipwrecks and battles, the marches,\ncountermarches and hand to hand fights In these latter being carefully\nrehearsed.\nBut whatever be the subject of the Maggio the author always treats\nIt in heroic and idealistic fashion as did Shakespeare himself, and the\n%\nmost classic theme becomes romantic in the hands of the Maggianti, all\nheroes and events being transported into the same epoch, and Hamlet,\nTancred and Louis XVI represented in identical style and spirit, as\nheroes of the same time and place:... But that place Is ever the ideal\nregion of the imagination, that time the time which never was, yet\nalways is. (i) & & &\nThe rural playwright handles his material very freely, adding at will\nto the events of the recognised version, as when, in the Maggio of Hamlet,\nvarious scenes prior to the death of Hamlet's father are introduced ; a\nliberty which would appal Mr William Archer and charm Mr Allen\nCarrie.\" js?\nWhen the play Is ready all the village gathers to witness it, the favourite\ntime being on Sunday after vespers.\n& Of recent years the custom of building regular theatres has been\ngrowing, and curtains and scenery have consequently come into use, but\noriginally the pieces were played in the open air in the village piazza\nor in some open space among the chestnuts or olives, the audience\n\n1. Folk plays and Puppet plays are alike in this. The Heroic still appeals to the People it no longer to those\nwho, as Madame Duse says, \"go to the theatre to digest their dinner Ed."}, {"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.36", "texte": "THE TUSCAN MAGGI\n\nforming a ring about the actors, and the scenic decoration being of the\nscantiest kind.\nThis does not mean that they would not have been delighted\nto get beautiful scenery and costumes but that they were net prepared\nto pay large sums for these nor for actors. All must cost very little, said\nthe Public,... and still says so, however little they are usually heeded.\nAnd I allude here to the world-Public, not to the clique of two\nhundred thousand beings which a London theatre manager deludes himself\ninto mistaking for the world.\nBut however scanty it was sufficient for the people. A placard displayed\nat the beginning of each scene sufficed to show where the action was\ntaking place; two thrones on opposite sides to indicate two kingdoms;\na tree to suggest a forest and a couple of men fighting, a pitched battle.\nThe imagination of the audience supplemented and remedied all deficien-\ncies In the setting and the player served as a kind of peg upon which\nto hang a preconceived ideal; and, no matter how simple the contri-\nvances adopted for scenery and costumes, the players could yet hold the\nspectators silent, and thrill them with emotion, doubtless because the\ncharacters represented were already dear and familiar figures visualised\nso often as to be well-nigh as real as the inhabitants of the next farm.\n& But not for this reason only. An even more important one is to be\nfound in the fact that the player and the audience are of the same estate\nHere is no fashionable actor, rich in furs and motor-cars, a stranger\nexcept for a nod from an enigmatical head furnished with drooping\neyelids and actorish mouth. Here is a man well known for what he does\nto gain a living away from his art, and acting for the people something\nthey all believe in hotly,.... and that something is Heroism, Idealism.\nThe modern stage actor acts something, everything,.... and believes in\nnothing. Most of the theatres today make a jest of the heroic and are\nashamed of the very word Ideal. Their influence is as vicious as the\ninfluence of these genuine folk-players is pure.\nIn the Maggi performance it is quite otherwise, and thus, as has been\nsaid, although the costumes might be of the simplest, the stage setting\nalmost non-existent, the profound earnestness alike of actors and audience\ncould create and complete the circle of dramatic and imaginative inten®"}, {"page_pdf": 37, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.37", "texte": "A May-time Festival in Florence, (see p 29) outside the Medici Palace, with Lorenzo do! Medici\nIn the foreground,\n\nIBE MASK,\nJ t» I y 1911,"}, {"page_pdf": 39, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.39", "texte": "THE TUSCAN M A GG I\n\nsity which manifested itself in the spectators in profound silence, no\napplause being given however deeply they were -<£•\nJZ? But, although the Maggi yet retain their conventional form of chant\nand metre in its purity, those who produce them are conscious that their\nstage setting has lost something of its value, and village now competes\nwith village for the possession of a real theatre with its broad raised\nplatform on which to do more justice to their scenes.\nMany have built little theatres with stone stage, curtain and scenery,\nand wooden benches or stone seats for the audience ranged in the form\nof an amphitheatre, an awning being extended overhead as protection\nfrom the sun. Less favoured villages content themselves with adapting\nsome barn or stable to their use during the Maggio season, while others\nyet give their plays in the woods or village square. &\nJZ? But, however presented, the love of the Maggi is deep=rooted in the\nhearts of the people, and even in these days, although they may take a\ntinge of colour from recent and revolutionary events, may occupy theun«=\nselves with some modern fact from a newspaper as well as with the legen»\ndary figures of old romance, they yet retain their essential characterise\ntics, and their ancient chant and metre. &\nTHE DRAMA DIES OF STALLS AND EVENING DRESS AND PEOPLE\nWHO GO TO THE THEATRE TO DIGEST THEIR DINNER.\nMadame Eleonora Duse"}, {"page_pdf": 40, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.40", "texte": "ARTISTIC DEBAUCHERY. An Extract from\nthe Writing's of George Moore with a Note\nby The Editor.\nJ. S.\n| n relation to what M. Rames tells of the idealism and romanticism with\nwhich the Tuscan \" Maggi \", for all their simplicity, are charged, and\nthe contrast which they thus afford to the modern European theatre, it\nis interesting to read the following indictment of the \"artistic debauchery\"\nof a London theatre from Mr George Moore's \" Confessions of a Young\nMan \" and to note how he longs for some of those very things which the\nsimple hill-folk, by a faultless intuition of true values, have preserved in\ntheir theatre: \"a simple stage\", \"a few simple indications\", \"the\nsimple recitation of a story \", \" a youth cunningly disguised \"to play\nthe woman's part. And, if Mr Moore finds it \" difficult to imagine Eliza-\nbethan audiences as not more intelligent\" than those that applauded Mr\nPettit's plays years ago, we, on our part, have no doubt whatever that\nthose who listen in silence to the \" Maggi \" are intelligent in a truer and\nfar more vital sense than those who applaud the modern lecture plays.\n& We reprint Mr Moore's words below. JZ?\nHPhe power of the villa residence is supreme : art, science, politics, religion,\nit has transformed to suit its requirements. The villa goes to the\ntheatre, and therefore the art of to-day Is mildly realistic; not the great\nrealism of idea, but the puny reality of materialism ; not the deep poetry of\na Peter de Hogue, but the meanness of a Frith...not the winged realism\nof a Balzac, but the degrading naturalism of a coloured photograph.\nA\nj0 To my mind there is no sadder spectacle of artistic debauchery than\na London theatre; the overfed inhabitants of the villa in the stalls hoping\nfor gross excitement to assist them through their hesitating digestions'\nan ignorant mob in the pit and gallery forgetting the miseries of life In\nimbecile stories reeking of the sentimentality of the back stairs. &\nWere other ages as coarse and common as ours ? It is difficult to\nimagine Elizabethan audiences as not more intelligent than those that\napplaud Mr Pettit's plays. Impossible that an audience that could sit out\nEdward II. could find any pleasure in such sinks of literary infamies as"}, {"page_pdf": 41, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.41", "texte": "ARTISTIC DEBAUCHERY.\n\nIn the Ranks and Harbour Lights. Artistic atrophy is benumbing us,\nwe are losing our liner feeling for beauty, the rose is back to the\nbriar. 1 will not speak of the fine old crusted stories, ever the same, on\n%\nwhich every drama is based, nor yet of the musty characters with which\nthey are peopled...the miser in the old castle counting his gold by night,\nthe dishevelled woman whom he keeps for ambiguous reasons confined\nin a cellar.\nLet ail this be waived. We must not quarrel with the ingredients.\nThe miser and the old castle are as true, and not one jot more true, than\nthe million events wiiich go to make up the phenomena of human exis-\ntence. Not at these things considered separately do 1 take umbrage, but\nat the miserable use that is made of them, the vulgarity of the compli-\ncations evolved from them, and the poverty of beauty in the dialogue.\nNot the thing itself, but the idea of the thing evokes the idea.\nSchopenhauer was right; we do not want the thing, but the idea of the\nthing. The thing itself is worthless ; and the moral writers who embellish\nit with pious ornamentation are just as reprehensible as Zola, who em-\n%\nbelltshes it with erotic arabesques. You want the idea drawn out of obscur-\ning matter, and this can best be done by the symbol. The symbol or the\nthing itself, that is the great artistic question. In earlier ages it was the\nsymbol; a name, a plume, sufficed to evoke the idea, now we evoke nothing,\nfor we give everything, the imagination of the spectator is no longer\ncalled into play.\nIn Shakespeare's days to create wealth in a theatre it was only ne-\ncessary to write upon a board, 44 A magnificent apartment in a palace. \"\nThis was no doubt primitive and not a little barbarous, but it was better\nby far than by dint of anxious archaeology to construct the Doge's palace\nupon the stage. By one rich pillar, by some projecting balustrade taken\nin conjunction with a moored gondola, we should strive to evoke the\nsoul of the city of Veronese: by the magical and unequalled selection\nof a subtle and unexpected feature of a thought or aspect of a landscape,\nand not by the up-piling of extraneous detail, are all great poetic effects\nachieved.\n44 By the tideless dolorous inland sea,\nIn a land of sand, of ruin, and gold. '4"}, {"page_pdf": 42, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.42", "texte": "ARTISTIC DEB A UC HER V.\n\nAnd, better example still,\n\" Dleu que le son du cor est triste au fond des bois, \"\nthat impeccable, that only line of real poetry Alfred de Vigny ever wrote.\nBeing a great poet Shakespeare consciously or unconsciously observed\nmore faithfully than any other poet these principles of art; and, as is\ncharacteristic of the present day, nowhere do we find these principles so\n»\ngrossly violated as in the representation of his plays. &\nl had painful proof of this some few nights after my arrival in Lon-\ndon. I had never seen Shakespeare acted, and 1 went to the Lyceum and\nthere 1 saw that exquisite love-song for Romeo and Juliet is no more\nthan a love song in dialogue...tricked out in silks and carpets and illumina-\nted building, a vulgar bawd suited to the gross passion of an ignorant\npublic.\n1 hated all that with the hatred of a passionate heart, and 1 longed\nfor a simple stage, a few simple indications, and the simple recitation\nof that story of the sacrifice of the two white souls for the reconciliation\nof two great families. My hatred did not reach to the age of the man\nwho played the boy-lover, but to the offensiveness with which he thrust\nhis individuality upon me, longing to realise the poet's divine imagination :\nand the woman, too, 1 wished with my whole soul away, subtle and\nstrange though she was, and 1 yearned for her part to be played by a\nyouth as in old time; a youth cunningly disguised, would be a symbol;\nand my mind would be free to Imagine the divine Juliet of the poet,\nwhereas 1 could but dream of the bright eyes and delicate mien and\nmotion of the woman who had thrust herself between me and it.\nGeorge Moore. \" Confessions of a Young Man. \""}, {"page_pdf": 43, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.43", "texte": "A HISTORICAL PAGEANT IN KYOTO\nDescribed\nby Lafcadioe Hearn.\nGleanings in Buddhah Fields.\nthese visions of dead centuries were passing by, the people kept\nperfectly sllent,...wh'?h fact, strange as the statement may seem to\nwestern readers, indi- a«.ed extreme pleasure. It is not really in accordance\nwith national sentiment to express applause by noisy demonstration,...by\nshouting and clapping of hands, for example. Even the military cheer is an\nimportation; and the tendency to boisterous demonstrativeness in Tokyo\nis probably as factitious as it is jg?\n1 remember two impressive silences in Kobe during 1895. The first\nwas on the occasion of an imperial visit. There was a vast crowd ; the\nforemost ranks knelt down as the Emperor passed ; but there was not\neven a whisper. The second remarkable silence was on the return of the\nvictorious troops from China, who marched under the triumphal arches\nerected to welcome them without hearing a syllable from the people. 1\nasked why, and was answered, \" We Japanese think we can better express\nour feelings by\n1 may here observe, also, that the sinister silence of the Japanese\narmies before some of the late engagements terrified the clamorous\nChinese much more than the first opening of the batteries.\nDespite exceptions, it may be stated as a general truth that the deeper\nthe emotion, whether of pleasure or of pain, and the more solemn or\nheroic the occasion, in Japan, the more natnrally silent those who feel\nor act.\n\nDOES THE REAL ENGLISHMAN GO TO THE THEATRE? DOES\nHE ACT IN IT? A Note on the Above Paragraph\nby Gordon Craig.\nQentlemen: ... May 1 suggest that the exact depth of the emotion,\nwhether it be in Kyoto or London, is always guaged by the noise or\nthe silence of those who are moved by that emotion ? May 1 suggest\nthat the noisy actors tell us exactly how shallow Is their emotion, and\nthe noisy audience exactly how little they h<ive felt or understood it;"}, {"page_pdf": 44, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.44", "texte": "DOES THE REAL ENGLISHMAN GO TO THE THEATRE?\n\nthat both are noisy because they need encouragement. & &\nAs an actor it was Sir Henry Irving who felt deeply although 1 have\nseen It stated that he was not capable of emotion. He was never noisy.\n& Again, the success or failure of a performance in London depends today\nupon applause. If the audience are silent the cri-r 3,... most of the critics\n.... assert that the play has been a failure. It is no excuse to say\nthat it is the western way to applaud and the eastern way to remain\nsilent. To say this is merely to damn the west wholesale and proclaims\nit incapable of deep feeling. It Is curious though that the English who\nare so phlegmatic, who really can feel very acutely and who in moments\nof great danger can be and generally are as cool and quiet as Japanese\nare so appallingly boisterous at the theatre. &\nAll this leads some to believe that, broadly speaking, the representa=\ntlve Englishman seldom goes to a theatre, and I believe the theatre\nis very shortsighted in not doing more to attract the true Englishman\nto Its performances.\nWhen an English gentleman is seen in the stalls or pit how quietly\nhe sits there ; how little he says; how quiet are his hands. At the end\nhe goes out and perhaps expresses himself in half a dozen words on\nthe performance.\n& And what would happen supposing an English artist could draw a\nfull house of English gentlemen to his theatre ? A delightful evening would\npass in silence. It would be quite sensible for once, but the actors would\nbe alarmed and believe that the audience had felt nothing, the critics\ncocksure that the actors were unpopular, and the wlg=makers would\nspread the report that the play was a dismal failure. Then no one would\ngo, not even the rest of the English gentlemen, and art and good taste\nand deep emotion would be damned.\n& This state of things is to be regretted. The remedy is to get out of\nthe mind of the critic, the actors and the general deadhead public\nthat applause and noise indicate that the deep emotions have been\ntouched ; and it should be clearly shown that on the contrary only the\nshallow emotions have been touched. JS?\nThat I believe is the first step towards improving all things in the\nmodern theatre, though I by no means imagine for one moment that such"}, {"page_pdf": 45, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.45", "texte": "DOES THE REAL ENGLISHMAN GO TO THE THEATRE? .\n\na step, small though It be, will commend itself to anyone in the theatre.\nRather do 1 believe with Madame Duse that \" TO SAVE IHE 1HEATRE\nTHE THEATRE MUST BE DESTROYED : THE ACTORS AND ACTRESSES\nMUST ALL DIE OF THE PLAQUE \" for.... \" THEY POISON THE AIR,\nTHEY MAKE ART IMPOSSIBLE. \"\n\nA WORD ABOUT APPLAUSE.\n\nAh ! I too was in that happy case, when 1 first betrod the stage, with\nthe loftiest opinion of myself and of my nation. What a people, in\nmy fancy, were the Germans ; what a people might they yet become! 1\naddressed this people; raised above them by a little joinery, separated\nfrom them by a row of lamps, whose glancing and vapour threw an\nindistinctness over everything before me. How welcome was the tumult\nof applause, which sounded to me from the crowd ; how gratefully did 1\naccept the present, offered me unanimously by so many hands! For a\ntime 1 rocked myself in these ideas; I affected the multitude, and was\nagain affected by them. With my public 1 was on the fairest footing ; 1\nimagined that 1 felt a perfect harmony betwixt us, and that on each\noccasion I beheld before me the best and noblest of the land.\n\" Unhappily it was not the actress alone that inspired these friends of\nthe stage with interest: they likewise made pretensions to the young and\nlively girl. They gave me to understand, in terms distinct enough, that\nmy duty was not only to excite emotion in them ; but to share it with\nthem personally; j£? jg?\nj0 \" This unluckily was not my business: 1 wished to elevate their minds ;\nbut to what they called their hearts 1 had not the slightest claim.\nYet now men of all ranks, ages and characters, by turns afflicted me with\ntheir addresses; and it did seem hard that I could not, like an honest"}, {"page_pdf": 46, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.46", "texte": "A WO R D ABO U T APP L A US E\n\nyoung woman, shut my door and spare myself such a quantity of\nlabour.\n\" The men appeared, for the most part, much the same as 1 had been\naccustomed to about my aunt; and here again I should have felt disgusted\nwith them, had not their peculiarities and insipidities amused me.\nAs 1 was compelled to see them in the theatre, in open places, in\nmy house, I formed the project of spying out their follies; and my\nbrother helped me with alacrity to execute it. And If you reflect that, up\nfrom the whisking shopman and the conceited merci?ant's son, to the\npolished calculating man of the world, the bold soldier and the irapet-\ntuous prince, all in succession passed in review before me, each in his\nway endeavouring to found his small romance, you will pardon me\nif 1 conceived that 1 had gained some acquaintance with my nation. £?\n\" The fastastlcally dlzened student; the awkward, humbly-proud man\nof letters; the sleek-fed gouty canon; the solemn heedful man of office ;\nthe heavy country-baron ; the young erring parson ; the cool, as well as\nthe quick and sharply-speculating merchant; all these 1 have seen in\nmotion ; and 1 swear to you there were few among them fitted to inspire\n%\nme even with a sentiment of toleration . On the contrary, 1 felt It alto-\ngether irksome to collect, with tedium and annoyance, the suffrages of\nfools; to pocket those applauses in detail, which in their accumulated\nstate had so delighted me, which In the gross 1 had appropriated with\nsuch pleasure. js/\n\nGoethe. Wilhelm Meister. Bk IV. Chap YV\nTranslation by Carlyie."}, {"page_pdf": 47, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.47", "texte": "CAMBRIDGE UNIVERSITY AND\nITS BAN ON A CTRESSES\nby C. G. Smith.\nrjphings begin to move, and this time forwards instead of backwards.\nBy order of the Proctors the undergraduates at Cambridge are\nforbidden to take part in dramatic performances in which professional!\nactresses appear, (i) & jg?\nThe Proctors of Cambridge University have decided wisely. In acting\nthus they do but follow the legislators of Athens in one of the most\nperfect periods of civilization, and they also revive the rule of the\nElizabethan age.\nis interesting to note the vitality, the inherent recuperative force*\nof fine traditions. The Greeks excluded women from their stage in 300\nB C. They found such exclusion essential to their art. The Elizabethans\nnineteen hundred years later again perceived the value which lay in\nthe replacing£of women by men in female roles; and now, as proof\nthat\" age cannot wither \" nor \" custom stale \" a fine tradition we find a\ngroup of thoughtful and scholarly men deciding, after due consideration\nand experience, to banish women from so much of the theatre as is\nwithin their own control. & Ji? & & &\nIt is to be hoped that this excellent example set by the Cambridge\nProctors will be pondered, understood and imitated, for how deep a\nwisdom lies at the roots of this old 'prohibition of women from appearing\non the stage is obvious to all who seriously consider the question.\n& The advantage is two-fold. jg?\nA/ 1-irst, to the women themselves it Is a gain to be saved, even against\ntheir will, from making this public display of their persons and their\nemotions which serves to foster all their latent folly and conceit, since\nwhat a woman may gain upon the stage is but little compared with\nwhat she loses.\nSecondly, it is an incalculable gain to the art in that it replaces a\na personally by a symbol. For men, when they act female roles, do not\nparody womankind as do women themselves when they let loose their\nsilliness and vanity on the stage as representative of the beauty of the\nfemale sex. Nor do men representing women pretend to be women or\nto create an illusion. Rather do they present an Idea, interpret the\n\n(1) See 44 Daily Mail \" May 16. 1911"}, {"page_pdf": 48, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.48", "texte": "CAMBRIDGE UNIVERSITY AND ITS BAN ON ACTRESSES\n\nspirit of womanhood ; and the power of that spirit is the more deeply\nfelt by the audience in that it is unallied to any counter attraction of\nthe flesh. In fact a man, in playing a woman's part, may be said to\nmake himself sexless to the end that he may reveal what is most ideal\nin the sex he represents.\n& The following extract from.the \" Journal de C0II6, 1734 «s interesting\nas emphasizing this view of the matter: &\n\"On the 19th of this month there was played in the little house of\nM. le Compte de Ciermont, rue de la Roquette, on a small, very passable\n\" stage, which he had had erected there, the vaudeville farce of the\n44 Disguised Lovers \", a little piece in my own style.\n44 I had thought that it could not fail to succeed, and, at the perfor=\n\" mance, I was quite astonished to be the first to condemn it. It seemed\n\" to me disgusting. js?\n44 There was a pregnant girl in it, and it was a woman who played\n44 the part; that revolts and only gives disagreable and ugty thoughts\n44 instead of a comic effect. 1 see now what had deceived me; If on the\n44 occasions when 1 introduced pregnant women on the stage it always\n44 caused much laughter it was because a man then played the part; 1\n\" had not foreseen that it would cause an entirely contrary effect when\n44 a woman was charged with the acting of this role and, in fact, the\n44 truth of the tableau is revolting, even disgusting; that is the\n44 term. \" j£> .-e?\nIn fact it is in the banishing of the personal by the impersonal, the\nreplacing by suggestion and symbol of that realism and robust emotion\nwhich, as Professor Raleigh so wisely says 44 obscure the sheer practical\n44 value of the author's conception \" that the value of the custom lies,\nand, as the same author continues female parts, by being entrusted\nto boy actors, 44 may well have been rendered with a clarity and simplicity\n44 which served as a transparent medium for the author'swit and pathos \".\nFor 44 poetry, like religion, is outraged when it is made a platform for\nthe exhibition of their own talent and passion by those who are its\nv.\n44 ministers \". (1).\n\n(1) Professor Walter Raleigh. \" Shakespea e"}, {"page_pdf": 49, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.49", "texte": "ETERNITY AND SOAP BUBBLES\nby J. Van Holt\nadame Ida Rubenstein Is ambitious. She seems to have\nthe ambition to become eternal through blowing soap-\nbubbles. It is decidedly original. &\njg/ Madame Rubenstein having by some great magic,\n(probably that magic of personality about which we hear\nso much), procured large sums of money, goes to Paris, takes a quantity\nof D'Annunzio, mixes it with some Debussy, Bakst and Hahn, and begins\nblowing the bubbles. The first bursts in Paris, the second in London.^?\nIn the first bubble, which was called \" The Martyrdom of Saint Se-\nbastian \" but was really a chapter from the martyrdom of Art, Madame\nRubenstein figured as a saint. In the second, called \" The Blue God \"\nMadame Rubenstein figured as a goddess. Blue being too ordinary a\npigment, the lady had herself gilded. One has heard of gilding the pill\nbefore now.\nThe Daily Mail has provided most of the air for the bubble experi-\nments and some of this is very refined. & & &\n& Concerning \" The Blue God \" Mr Hahn said, \" our ballet is to be of\n\" the Impressionist school. We want to show London what can be done\n\" away from the senseless traditions of the ballet skirt with its anti=\n\" quated poses and gesture\". & jg? & &\n(Mr Hahn here strikes one as a little late, for the senseless traditions\nwere done away with quite five or six years ago. Possibly Mr Hahn\ndoesn't know of this. Ecco! the comic side of the bubble I)\n\" Some quite extraordinary experiments \", he goes on, \" are to be\n\" tried with regard to the principle characters. Madame Rubenstein, who\n\"is to represent a Hindu goddess, will probably be entirely gilded. Mi\n\" Mijinsky the great solo dancer will dye his face, hands and legs bright\n\" blue. The feature of the ballet will be when Madame Rubenstein,\n\" wearing her diamonds over the gilding, emerges from a huge lotus\n44 flower, etc, etc, etc \".g? &\nThese certainly are very extraordinary experiments, but why not make\nthem and keep theni in the bathroom ? Or if Madame Rubenstein, in gilt\nand diamonds, went out to tea to the Countess of Winkleboro and M.\nNijinsky, dyed blue, could be persuaded to take black coffee at the Reform"}, {"page_pdf": 50, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.50", "texte": "ETERNITY AND SOAP BUBBLES\n\nClub, might not nearly as great a sensation be produced ?\nWhy drag in the Theatre ? The answer is all too easy:... because the\ntheatre is sufficiently low to oblige willingly when such a proposal is\nmade to It and a cheque offered. The theatre is indeed becoming what\nthe manager in Zola's 44 Nana \" held it to be. The theatre is so low that\nit cannot protect itself. Any vulgar woman or man can make it serve\ntheir sensational purpose. js> &\n& Again and again 1 give praise that the Censor rules over the London\nstage preventing further vulgarities In the name of Art. My only regret\nis that he is not ten times as strict as he is: that he passes these ex-\nhibitions of the nude on the stage; that he lets much that Is vulgar\npass on the Music Hall stage.\nWe all know perfectly well that eccentric comedians can keep the\nhouse in a roar of laughter without resorting to vulgarities. Dan Leno\nwas the most successful English comedian of his day, and avoided all\nvulgarity. We also know that perfect dancing is possible without a\ndisplay of naked or semi-naked limbs. Sada Yacco was perhaps the most\nperfect dancer of her day, and she avoided all such display. &\n.<2/ All these liberties taken upon the stage are ruining the stage. Let\nthe Censor act twice as stringently as before. Let his office be invested\nwith new powers, and let the modern theatre-music-hall have a chance to\ndevelop its strength. & & &\nIf the Censor postpones action any longer the matter will be out of\nhis hands, and the public will have to step in.... Then look out for dis-\nturbances 1 For there is a very large section of the public which realizes\nthat such licence as is allowed today in the music hall is dangerous to\nthe nation. & &\nThe Church knows this only too well and deplores the matter.\n& The Archbishop of Paris protested, and rightly, against the production\nof 44 Saint Sebastian \". Others have supported that protest. They have\nbeen keen-witted enough to perceive the vast gulf which separates this\nconfuseed, decadent and hysterical spectacle from those grave and\nsincere 44 Mysteries\" of the middle ages whose title it presumes to\nadopt.\n& They feel the impropriety, the bad taste, of the person of the saint"}, {"page_pdf": 51, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.51", "texte": "ETERNITY AND SOAP BUBBLES\n\nbeing played by an actress; they resent the lowering of moral standards,\nthe lessening of reverence towards fine traditions, which such licence\nencourages.\nThe function of a church is to protect and strengthen the noblest\nideals of a people, and these ideals are perpetually outraged, belittled\nand ridiculed in the theatre; thus moral sense becomes confused.\n& The church does well to condemn the evil; but it should not stop\nthere. It should not only protest, and far more strongly, against the\nevil in the theatre but it should cooperate strongly and vigorously in the\nefforts being made for the reform of that evil. It should give its wary\nmest support to those artists and workers who are endeavouring to\ndrive out of the theatre that which is harmful to the nation and\nto introduce in its place that which shall be for the nation's moral\nJ&J&JZ?JZ?JZ?JZ/JZ/J&\n\nMORE CIRCUS CLASSICS\nby Adolf Furst.\npirst it was Reinhardt with his troupe. Dishonour to whom dishonour\nis due. Now it is Bonn.\nJ& The style of Direktor Bonn's production of Richard III was really no\ndifferent from that of Direktor Reinhardt except that it was a trifle\nless \" artistic\" and more frankly of the ring. In fact the cultured\nBerliners were asking each other why Reinhardt had not mounted\n\" Edipus \" and citizens on horseback. Obviously a grave omission. Direk-\ntor Brahm would never have forgotten it.\nBy the way the old cry of Brahm versus Reinhardt \"is still heard\nnow and again in the suburbs of Berlin.\nBrahm was before Reinhardt arrived. In Berlin these directors are all\nallowed an innings of about six to ten years and then they have to\nmake room for some one with a fresher idea of what clap-trap is. «£?\nBrahm was an uninteresting producer of plays just as Reinhardt is\nuninteresting : ... but Reinhardt was young, and they prefer young to"}, {"page_pdf": 52, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.52", "texte": "MORE CIRCUS CLASSICS.\n\nold men here In Germany. But to suggest that we Germans have taken\neither of these men seriously would be a grave error, for neither of\nthem has done anything worthy of the serious consideration oi\nthe age.\nReinhardt is a good actor: that much has to be admitted; but there\nhis personal talent ends. He is a man without Ideas, without imagination ;\nhe does not create, he. gets ideas from a group of playwrlters, painters,\narchitects and dilettanti whom he invites to Ills theatre as guests.\nBrahm did differently. He was content to get all his Ideas from his\nexperience as journalist, as the reader and writer of much that was\ntalked about when Ibsen first gave theatrical journalism new things to\nthink about.\nBrahm was dull but never vulgar. Reinhardt adds this second quality\nto the first. I have heard so much about him lately that 1 was once more\nconstrained to visit his theatre and see whether the reports were true.\n& I went to see the second part of \" Faust \". •& & &\n& There Is nothing to be said. It was only what the English call\n\\\n44 Shocking \" .... shocking bad taste, shocking pretension. & &\nj0 Indeed I prefer Brahm. He was only dull. But I think Bonn Is the\nbest of ail for no one can call Bonn dull or pretentious. He only deals\nin the 44 theatrical \", and a bad but frank theatricality is better than the\ndry journalistic seriousness of a Brahm or the pretentious artisticness of\na Reinhardt.\n44 TO SAVE THE THEATRE THE THEATRE MUST BE DESTROYED, THE\n44 ACTORS AND ACTRESSES MUST ALL DIE OF THE PLAQUE: THEY\n44 POISON THE AIR, THEY MAKE ART IMPOSSIBLE.\nMadame Eleanora Duse."}, {"page_pdf": 53, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.53", "texte": "SOME EARLY ITALIAN WOODCUTS.\nA Note upon their Use to Modern Scene\nDesigners\nby Felix Urban.\n\nthink it was Mr Allen Carrie who was the first to bring\nbefore readers of The Mask the Italian woodcut and to\npoint out its value to the modern scene designer. Mr\nOordon Craig has also touched once or twice on this subject.\n1 am therefore to some extent poaching. I hope however both these\nartists will let this acknowledgement stand as my apology, more\nespecially since I practically leave the designs to speak for themselves and\nsav only what is essential. >£? JG/\nI offer eight wood engravings of the fifteenth century for your\nconsideration. &\ng? My reason for selecting these particular cuts is not that they do not\ncontain a line too much or a line too little, for that would be to Judge\nthem as the things they obviously are, that is to say, as wood\ncuts for illustrating some stories. But it may be easily admitted that\ngood things serve more than one purpose, and the settings or backgiounds\nof these wood cuts are good enough to act for me as ideal examples of\nstage scenery, scenery without a thing too much or too little in it.\n1 suggest that nowhere else are such good lessons to be found ;\nand the fact that they do not contain features to be found in modern\nstage scenery in no wise weakens my suggestion. &\n& The first thing which strikes one as absent is detail.\nin the cut facing page 48, for instance, we have a room in which\nseven young men and a dog are gathered. Look at the walls, windows\nand ceiling. The artist was one of those our modern cynics are pleased\nto call 44 post-Impressionists \"or 44 symbolists \"or some such phrase,\nmeaning it as a term of reproach. 1 regret that 1 am obliged to remind\nyou at this moment of the existence of the cynics, but they crop up\ntoday in such numbers and in such unexpected places that we have\nevery reason at all times nowadays to fear their unpleasant suggestions\nand to be prepared for their ungenerous attacks.\n& Anything which takes them off their guard, anything which they cannot"}, {"page_pdf": 54, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.54", "texte": "SOME EARLY ITALIAN WOODCUTS.\n\nunderstand in the works of younger masters of modern art is dubbed bv\nthem \" post impressionistic \" or \" symbolistic \" or \" eccentric \", and\nwhen they have finished with the work of the young masters we mav\nexpect them to attempt to take the side out of the old masters.\n•£> They have before this probably laughed over these my wood engra=\nvings which I bring to your notice. & &\nBut to return to more interesting matters to the wall,\nwindows and ceiling shown in the design on page &\n& There are none of the usual details which attach themselves to walls,\nwindows and ceilings because these usual details are insignificant things\nsuch as cracks in the wall, damp marks, tones of all kinds, reflections,\nand so forth, and are a nuisance. jg? jg?\n& In like manner windows as a rule have gratings or shutters or frames,\nor light comes through them ; but our old artist has refused to trouble\nabout these things, (devilish post-impressionistic, eh ?) and has pleased\nhimself and put in two windows plain and simple, windows for windows'\nsake. What eccentricity» what affectation! & & & &\nThe ceiling is, like all Florentine ceilings, made of small cross beams.\nBut where are the shadows ? Don't you miss them ? Don't you feel you\nare insulted by the artist having omitted all shadows ? How can it be a\nwork of art without proper legal shadows ? & & &\nThere is nothing more to tell you about this design, taken as a scene\ndesign. Alt you have to do is to study it well, noticing what 1 have pointed\nout to you, and try to recreate in your imagination the state of mind\nof the artist. What was he thinking about ? Was he frightened of any-\nthing?.... of the critics, of the purchasers, of what Florentine Smith\nwould say, or even of Florence herself? Do you think he gave a thought\nto the \" Daily Mail \"of the times or dreaded the cynical sneer of the\nBeerbohm Tree of the period ? 1 think not. But do you think he ran\nfoul of his employer ?On the contrary, his employer ordered more\nsuch cuts. & jg>\nLet us turn to l,is next. What is to be said of it ? Well, I cannot\nkeep on repeating myself about simplicity, absense of detail, but I ask\nyou to look at the whole set of woodcuts and see how free from detail\nhow satisfactory they are. That is all there is to say about them."}, {"page_pdf": 55, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.55", "texte": "“La Compagnla del Mantellacefe” Engraved about 1500\n\nTa E MASK.\nJ a I J I'll."}, {"page_pdf": 57, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.57", "texte": "Pram the Sacra Rappresentazione of Sta. Eufrosina.\n\nTil EM ASK .\nJJ« I y 19 11 ."}, {"page_pdf": 59, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.59", "texte": "A Scene from a “Sacra Rappresentazione”. 15th Century Engraving.\n\nTHE MASK\nJuly 1911"}, {"page_pdf": 61, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.61", "texte": "Prom The \"Flores Poetarnm”."}, {"page_pdf": 63, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.63", "texte": "Prom the \"Contrasto di Carnevale e Quaresima\".\n\nFrom the “Fior di Virtù” 1498."}, {"page_pdf": 65, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.65", "texte": "SOME EARLY ITALIAN WOODCUTS.\n\nAnd can you put these on the stage ?\n& No, hut you can If you study well put a like simplicity there.\nManagers trade in that word 44 simplicity \" and fall in the achievement\nof It, 44 I am going to produce my next play with great simplicity \" is\nthe pathetic announcement of the great man. He knows he can't be\nsimple so he talks about it.\n& Of the origin of the cuts themselves 1 can here give but the\nbriefest notes, interesting though tlje historical study of them\nwould be.\nThat facing page 54 is a scene from one of the44 Sacre Rappresentazlonl \"\n(1) and the following one from the Rappresentazlone of Santa Eufrosin*.\nThat facing page 48 is from Lorenzo de Medici's 44 La Compagnia del\nMantellaccio \" and Is from a book printed about 1500 by Bernardo Zuc-\nchetta, while the one on page 55 Is from Lorenzo's 44 La Nencia da Bar-\nberino Of the two designs on page 51 the one of a man at table and a\nwoman roasting a fowl is from the 44 Contrast between Carnival and\nLent \" while the lower one is from the 44 Fior di Virtu \" (Flower of\nVirtue) printed in 1498 by Francesco Buonacorsi and Antonio Veneziano.\nThe design on page 49 is from the 44 Flores Poetarum, (1492) and the\nfast from the story of Ippolito Buondelmonte and Dianora dei Bardi.\nBut, whatever the subject, the leading characterestic of all these\nengravings Is the same, ..., that simplicity of idea which is the first\ngreat need of scenery. So obvious a need is it that it is strange how\ncontinually it is overlooked by those who design stage scenes. Yet consider\nfor a moment. If you want to tell someone a story you tell it as simply\nas possible. If you want to state a fact in a letter you make it as\ndirect as possible. You confine youself, In fact, to the history you are\nabout to tell or to the fact you have to relate. .If while telling\nthis fact or relating this story you begin to drag in other stories or\nother facts you fall iit your intention which Is to make an impression\nupon your hearer. And so It is with the scenery of a theatre. The scenery\nIs not put there to tell the story but perhaps to fill up the gaps, for It\nis the poet who tells the story and the actors who interpret that story.\nTherefore the scene must not interrupt. And as perfect examples of\n\n(I) Ao Article on these \" Sacre Rappreeentazlonl \" will appear in a future number of \" The Mask Ed."}, {"page_pdf": 66, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.66", "texte": "SOME EARLY ITALIAN WOODCUTS.\n\nthis 1 can suggest nothing better than the scenes of these old Italian\nengravers, which are certainly not bare uninteresting places but which\nyet act to perfection the part of listener to the tale.\nIf something of the simplicity which characterises all these designs\ncould be regained in the theatre the favourite boast of the Managers\nthat they are going to produce \" with great simplicity \" would no longer\nbe as empty as it is pathetic; but the change will have to be an internal\nnot an external one, be fundamental and not only superficial; for these\nold designers did not sit down saying \" I will produce a simple design\"\nthey merely gave expression to the spirit which was in themselves.\nNor is the importance of this return to simplicity in stage scenery\nconfined to its artistic aspect. It is one of national moment owing to the\nresult exercised on the mind of the spectator by what is set upon the\nstage. Possibly the English gentleman does not often go to the theatre\ntoday, but his wife goes; and he would do well to consider how much\nthe gaudy chattering plays, actors and scenes are responsible for the\ngaudiness of her dress next month, the fussiness of her ways next week\nand the chattering of her tongue next day.\nThe Influence of the theatre is enormous and its influence Is not so\nmuch in the subject treated as in the way that subject is treated. \"Romeo\nand Juliet\" may be either a delightful and refreshing story or it may be\nmade the most rubbishy commonplace sentimental novellette that was\never told. All depends upon the way it is treated,... all. And even if the\nactors are as good as may be wished, if the scenes are fussy and the\ncostumes flimsy a fussy and flimsy atmosphere is created, and that at-\nmosphere absorbed by the audience and carried home and spread all\nround the house. Let the same spectator visit twenty such productions\nand at the end of three or four months the nerves of the household will\nbe all upset... a misfortune which occurs with regularity in very many\nfamilies of today. & J&\n& The English gentleman, with his grand commonsense will do well to\nlook into this matter even as he looks into the matter of the defence of\nhis home and country from invaders ; for what is the good of defending\nEngland if the Beauty and Life of England has already been stolen\naway JZ? J0"}, {"page_pdf": 67, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.67", "texte": "Prem Lorenzo del Medici's “La Nencia da Barbarino”."}, {"page_pdf": 69, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.69", "texte": "A Florentine Engraving from the story of Ippolito Boon delmooto and Dianora da\nBardi,\n\nTHE MASK,\nJuly 1911,"}, {"page_pdf": 71, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.71", "texte": "LETTERS TO THE EDITOR.\nSir.\nJn your last number you touched upon the performance of \"Salome\" by\nthe New Players' Society at the Court Theatre \"in defiance of the Censor\".\nT*1® cho'ce of the play was curiously ingenuous, for \" Salome \" herself\nis the symbol of all those who cry aloud for the removal of the Censor. &\nThe play has been acted many times in Germany, Hungary, Russia\nand elsewhere and has had a regrettable influence on the period. &\n& The play also acts as a flaming poster for drawing the attention of the\nPublic to the inadvisability of permitting women to parade their frailties\non the stage under the guise of High Art, a practise which is regrettably\nupon the increase and is finding its climax in the nude dances and \" bath\nroom ' scenes so popular upon the stage todays\ncheap trash must flourish and increase so long as the Censor's\nhands are tied and that they are so is obvious, or how could these\nAmateur Societies « defy\" with Impunity an authority so important to\nour well-being as a nation ? Faithfully\nEdwin J. Burin\nSir.\nI think that perhaps the following extract from the dark archives of\n\" the Green Room Book \" will interest your readers: *\n& \" TREE, Herbert Beerbohm, actor manager ; was born London,\n<< Dec. 17,1853. second son of Julius Beerbohm a London merchant\n\" and Constantia Draper (grandson of Herr Ernst Beerbohm, landed\n\" Proprietor and timber merchant of Bernsteinbruch, on the Baltic;\n\" and ncphew of Qeneral von Unruh) etc, etc. Joined the Irrationals\n\" Amateur Dramatic Society \"• &\n& It is therefore a German gentleman who is President of the Theatrical\nManagers' Association of Great Britain.\n& This should be a source of pleasure and encouragement to «• us Ger-\nmans\", and a guarantee of future success to the English stage: and although\nThe Mask is anti-German in its tendency it will perhaps admit that what\nSir Herbert Beerbohm Tree has done for the English stage has been done\nwith true German sincerity. Yours faithfully\nHeinrich Klinkenstein."}, {"page_pdf": 72, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.72", "texte": "BOOK REVIEWS.\n\nLAFCADIO HEARN IN JAPAN:\nby Yone Noguchi: El kin Matthews. London.\n\njfy|r Noguchi has sent me a book\nwhich 1 shall very often remem-\nber to take down from its shelf. Just\nto hold it in the hand is pleasant,\nso light it is, so cool its lemon\nyellow cover to the eye, and as one\nswiftly turns all the leaves by one\nthumb movement, one is reminded\nof the waves which roll upon the\nshore at Yaldzu.\n£? What is the word which best\ndescribes this little book ? I think\nit is \" distinction and It is distinc-\ntion which we pride ourselves In\nEngland on possessing. Ours is so\ndifferent though. Ours is a distingui-\nshed lacquer rather than something\nfrom under that which is under the\nskin. Ours is so rude that we drive a\nLafcadlo fleam or a Shelley into\nremote lands where true natural\ndistinction waits to welcome them.\nif after we have killed them we\nwrite about them we are particular\nto prove how undistinguished we are.\n\" It is perfectly appalling to\n44 observe In the Western countries\n44 that when anyone dies his friends\n44 have to rush to print his private\n44 letters and even an unexpected\n44 person volunteers to speak as\n44 his best friend and presumes to\n44 write his biography. \" & &\nMr Noguchi might have said\nmore. He tells us that in the\nEast 44 personality is not talked\n44 about so much, and gossip is only\n44 a little short of crime, and\n44 silence is poetry and virtue, (We\n44 never talk of Hearn's personality\n44 here; it Is enough to have his\n44 books). \" & &\n1 like very much the chapter\nin which Mr Otani, Hearn's literary\nassistant for a short while, sets\ndown a few facts relating to his\nservice to his master. It has Jus*"}, {"page_pdf": 73, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.73", "texte": "BOOK REVIEWS.\n\nthat same distinction as the rest of\nthe book,... is full of love.... a rare\nquality In an assistant. How puffed\nup a Westerner would have\nhow he would have ruffled his\nfeathers to show that, without his\nassistance, the master would have\nbeen nothing! Pupils of Europe,\ntake a lesson from Mr Otani! At\nsome future date 1 hope to have\nthe privilege of reprinting Mr\nOtani's words.\nThen there is a delightful chapter\nby Mrs liearn. But I think the best\n/\nof the book is somewhere between\npages 8o and 104, wherein the\nwriter tells us of Mr liearn at Yaidzu\nby the sea, of his great swimming\nand how the one thousand five\nhundred fisherman wondered: of\nthe life led by the Fuji mountain\nworshippers, of their grief when\nHearn died, of how the Idol without\nhead or arms was to have both\nagain, and of how the law of Mama\nSan was obeyed in silence by all.\n\nJ. S.\n\nMASKS AND MINSTRELS OF\nNEW GERMANY, by\nPollard. John Luce. Boston U.S.A.\n'\"phis book is all about those fearful\nlabourers of Art, the Germans. It\nis a very full book and Mr Pollard\nis enthusiastic about his subject which\nhe has obviously studied only too well.\nMr Arthur Symons has written\nabout German Art and we think\neveryone will be the wiser for\nstudying carefully what he says.\nJZ? \"Strauss is the on!y decadent in\n\" music, and he has tried to debauch\n\" music, as Stuck has tried to de-\n\" bauch painting, and as Klinger has\n\" tried to debauch sculpture, for the\n\"satisfaction of a craving which is not\n\" simple, sensuous, and passionate',\n\" but elaborate, intellectual and\n44 frigid. The whole tendency of\n44 modern German art is summed up\n44 in his tone=poems, and it is a\n44 tendency towards an orgy of the\n\" brain, at once idealistic and gross,\n44 a perversity which proceeds from\n<4 impotence, and culminates in that\n44 emphasis which is worse than vice\n4 because it is vulgar. \" &\nAnyone who likes vulgarity will\nget it in Mr Pollard's book. This is\nnot Mr Pollard's fault but his\nmisfortune. Germany attracted him.\nIt does not attract us. J&\nMr Pollard only needs a more\ndistinguished subject and he will\nwrite a famous book. As it is he\nwrites with vigour and that is the\nfirst and best quality. After that\nperhaps comes distinction. But who\nis there who could write of Bierbaum\nwith Distinction ? This is Bierbaum's\nstyle:"}, {"page_pdf": 74, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.74", "texte": "BOOK REVIEWS\n\n'* 1' ve been appointed \", he\ndeclared, \" to amuse Berlin Into\n44 artistic life, but not to bore it\n44 with literature. The object of our\n\" Hall Is to do away with the last\n44 vestiges of interest in all this\n44 literature of yours. We want to\n44 make the people of Berlin truly\n44 aesthetic. There are still people\n44 here who read books. That's got\n44 tO Stop. j£>\n& 44 There's more of the lyric\n44 in the lace drawers of my sou-\n44 brettes than In all your printed\n44 works; and when once the time\n44 is come that I can let them dance\n44 without any drawers at all, even\n44 you will realize that it is superflu-\n44 ous to write any other verses than\n44 those sung on our stage. Beautiful\n44 clothes, beautiful arms, busts,\n44 legs, gestures, those are what\n44 count. Evolve dances for me;\n44 create pantomime; solve me the\n44 problem of emancipation from\n44 tights.... those are the things I\n44 need.\n44 And if you absolutely have\n44 to write verses, don't forget they\n44 must be sung by beautiful girls\n44 whose corsets do not embrace the\n44 void \".\nAnd we don't like this style of\nunder-wear,.:. when worn as an\novercoat, &\n\nTHE DRAMATIC AUTHOR'S\nCOMPANION. Mills Boon.\nTwo shillings and sixpence.\nJfyi essrs Mills and Boon have now\ndone for the Dramatic Author\nwhat they had already done for the\nNurse, the Chauffeur, the Gardener,\nLady Motorist, Golfer, Rifleman,\nPoultry-keeper and Bee-keeper: that\nis to say, they have found a Compa-\nnion for him.\n.3? Without all the disappointments\nattendant upon the matrimonial\nagency Messrs Mills and Boon act\nas caterers to the long felt wants\nof the artists in Patients, Pigeons\nand Plays for companions. And surely\ntoday the Dramatic Author must\nfeel his loneliness even more acutely\nthan either the Bee-keeper or the\nkeeper of Poultry, and we may\nsay that the Companion found for\nthe Dramatic Author by Messrs Mills\nand Boon is an ideal person. He is\nwife, counseller, friend, perhaps\nmore than a mother to him. By\nfollowing his advice anyone with\ngenius can add that necessary dash of\ncommonsense which the Companion\nsays is as desirable as it is rare.\nAltogether Messrs Mills and Boon\nhave found the Dramatic Author\nan ideal Companion But I would\nlike just to see all these companions\nof Beekeeper, Nurse, Chauffeur, Gar-"}, {"page_pdf": 75, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.75", "texte": "BOOK REVIEWS .\n\ndener and Pood Reformer gathered\ntogether and hear them all talking\n44 shop \" !\n\nMODERN DRAMATISTS\nAshley Dukes. Frank Palmer.\nHPhe author seems to consider\nconsistency a • great virtue and,\nIn the attempt to be consistent at\nany price, is obliged to sell his\nhouse and all.\n& He writes of the dramatists as\nthough he knew. What the drama-\ntists will say about it heaven\nknows. &\nThese dramatists according to\nMr Dukes are no dramatists at all.\nThey are men who first of all have\nsomething to say against drink,\nprisons, dishonest ship-owners,\nwomen, the aristocracy, etc, and\nto whom it Is quite a secondary\nmatter how they say it. &\nWe had always hoped that dra-\nmatists were to be grouped with\nthe seers, but Mr Dukes shows us\nclearly that these dramatists of his\nare pretty human and fond of no-\nthing so much as a good cackle.\nug? Holding the old theory that the\nTheatre is for a maximum amount\nof action and a minimum of words\nwe think Mr Dukes has demonstrated\nthat these dramatists are certainly\nt\nnot of or for the Theatre.\nWe were quite aware that the\ndramatists were full of faults, espe-\ncially that huge unforgiveable one\nof preaching, but we have seldom\nhad the evidence of this fact so\nwell gathered together and so\nconvincingly stated.\nPor Mr Dukes takes it for gran-\nted from the first that the whole\nsoul of the dramatist is bent on\nteaching:.... not that he praises or\nblames them for this but that he\ntakes It so for granted that his\nreaders will surely believe that the\ngood dramatist must be a teacher\nand a preacher before all things and\nan artist or seer secondarily if at all.\nIt is this conviction which stands\nout in Mr Dukes's work whereas\nwhat the different men are as artists\nis not even suggested. &\nj& The two greatest artists among\nmodern European playwrights are\nYeats and Synge. These he omits\nto mention and the excuse he gives\nthat 44 Relevance may be a greater\nvirtue than completeness \" is quite\ninadequate.\n& Perhaps however he has done well\nto omit these two, for it is obvious\nthat Yeats and Synge would not\nbehave well in company with those\nlong-faced moralists of the Order of\nthe White Tie, with Shaw, Brieux,\nBarker, Heljermanns and Co.\nSynge and Yeats are like two tipsy"}, {"page_pdf": 76, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.76", "texte": "BOOK REVIEWS\n\ntinkers, drunk with great draughts\nof beauty: the others are like sober\nclergymen with the usual\nwhich clergymen have for the foot-\nlights, sipping thimblefulls of com-\nmonsense, unecstatic. At least this is\nthe impression Mr Dukes's book\nmakes upon us. J\n& And Mr Dukes himself seems like\nsome kindly verger who goes before\nthese staid gentlemen and whispers\ntheir hankering into the ear of the\ndoor-keeper. ■£? •\nThe Theatre is In no hurry to\nfollow false prophets and these\npreaching men are not fond of the\nTheatre as Theatre but merely be-\ncause it provides them with a little\nV\nexcitement.\n£? The Theatre contains the mate-\nrials of an art which is neither lite-\nrary, pictorial nor musical. This\nfact has been stated by Mr Gordon\nCraig who has given his life to the\nstudy: therefore books like this one\nby Mr Ashley Dukes seem quite\nfutile. £?\n■£? Mr Dukes says that he has per-\nceived a real awakening of the Thea-\ntre to be taking place and that he\nhas accordingly brought a few white-\ntied preachers to the stage door in\nthe hope that something may turn\nup for them. The Theatre will of\ncourse handle these gentlemen as it\nhas for centuries handled play-\nwrights ready to make twenty per\ncent out of it but not to lose a penny\nin its rightful cause.\n\nMEMOIRS AND IMPRESSIONS\nOF Mme. MODJESKA, Mac mil-\niars. Price Seventeen shillings net.\nIn this book Madame Modjeska\ntells of her work, her triumphs, her\npublic and private life, and in the\ntelling reveals, perhaps unconscious-\nly, but as does each actress who\ngives us tise Story of her Life, the\ncolossal blunder which has been com-\nmitted in ever permitting women to\nappear upon the stage. We have\nspoken often of the harm done to\nthe art by the practise; here we\nhave proof from an actress's own\nwritings of how great and inevitable\nIs the loss to the woman herself;\n\" No, no, 44wrote Madame Mod-\n\" jeska \" a public life is not fit\n\" for a women! Some one said,\n44 The happiest woman is the one of\n44 whom nothing good and nothing\n44 bad can be said. \" Who knows\n44 how much truth is in these words,\n44 and whether any woman should\n44 seek for happiness outside of her\n44 home, which seems to be the\n44 proper place for her. There she\n44 reigns, Her life Is inaccessible to\n44 human curiosity. But a woman"}, {"page_pdf": 77, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.77", "texte": "BOOK REVIEWS\n\n44 who has dared to raise her head\n44 above the others, who has exten-\n\" ded her eager hand for laurels,\n44 who has not hesitated to expose\n\" and throw to the crowds all that\n44 her soul possessed of love, despair\n44 and passion, that woman has\n44 given the right to the curious\n44 multitude to interfere in her\n44 private affairs, to rummage in the\n44 most secret recesses of her life,\n44 to count her very heart's pulsa-\n44 tions \", and, she concludes, 44 at\n44 last an invincible horror fills our\n44 soul towards that pillory called the\n44 Stage \", and a great doubt rises\n44 in our mind. Was it worth while\n44 to give all that we had of the\n44 best of ourselves to the world, in\n44 order to obtain as a reward a\n44 momentary applause followed by\n44 a cup of bitterness\nAnd again;\n44 In the old Roman times they\n44 used to throw prisoners to the\n44 lions. I threw all that was best of\n44 me to the hungry crowds, but\n44 they still ask for more, and I am\n*4 so poor, so poor, that there Is not\n44 enough of feeling left IK me to\n44 give me comfort in everyday life.\nThese extracts speak for them-\nselves and we offer them for the\nconsideration especially of the youn-\nger actresses who step forward so\nconfidently and rashly to a work In\nwhich they have much to lose for\nthemselves and nothing of value to\ngain for the art they profess to serve.\n\nINTERPRETERS OF LIFE\nArchibald Henderson Mitchell\nKennerly. New York. Price one\nand a half dollars net. &\nJhe \" Interpreters\" selected by\nMr Henderson for discussion are\nGeorge Meredith, Oscar Wilde,\nMaurice Maeterlinck, Henrik Ibsen\nand George Bernard Shaw, but the\nwhole seems to be too much the\nresult of reading books upon the\nsubject and restating the opinions\nas well as the facts. Mr Henderson\nhas nothing original to give us; he\nmerely dishes up for other cooks.\nAt times his method betrays\n- him, as, for instance, in his obser-\nvations on the work of M. Stani=»\nslawski and Mr Herbert Trench.\nHe appears to have formed his\nopinions in this case fron newspaper\nreports and not to have covered his\ntraces sufficiently carefully, for he\naccords the same meed of praise to\nthe latter as to the former, testing\nboth by their production of the\nsame play. In fact his idea of M.\nStanislawsky, whom he describes as\n\" the greatest of living stage mana-\ngers, \" (this alone proves Mr Hen-\nderson to know little abQut the"}, {"page_pdf": 78, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.78", "texte": "BOOK REVIEWS\n\nleading men in the European Theatre\nof today), is nicely guaged for us\nwhen we read his' estimate of Mr\nTrench on the following page.\nThe essay on Ibsen is Interesting\nas is some of the information\ngathered together about Wilde who\n'* always affirmed that he respected\n\" life too deeply ever to discuss it\n\" seriously\". &\nBut as we close Mr Henderson's\nvolume we wonder a little how\nmuch of if would have been given\nto us had Mr Henderson locked his\nlibrary, dropped the key down\nthe well, countermanded his daily\npaper, and relied on his own eyes\nand brains, for his ideas. We would\nsuggest the experiment to him in\nwriting his next book. It may be\na tenth the size of this, but. ....\nIt might have ten times the\nweight. jg?\n\nTHE GOLDEN AGE OF EN-\nGRAVING by Frederick Reppel\nBaker Taylor Co:U. S. A. Price\nthree and a half dollars net.\nMl r Keppel has chosen a most in-\nteresting subject for his book\nwhich bears evidence of long study\nand casual research and should prove\nof value to students and collectors\nand to all who appreciate the \" Noble\nhuman labour of the Engraver \" as\ncompared with the mechanical pro-\ncesses of pictorial reproduction of\ntoday.\nThe volume is well bound and\nprinted, and contains two hundred\nand sixty two illustrations showing\nthe progress of the art from the\nyear 1465 to the year 1910.\n\nA HISTORY OF JAPANESE\nCOLOUR PRINTS .\nlitz. & Heinemann, Price twenty\nfive shillings net. &\n'\"Phis book contains many fine\nreproductions of Japanese plates\nand the actors and actresses\nhave much to learn from their\nstudy. &\nWe would draw attention espe-\ncially to those which show actors\nin female parts, since each of these\nfigures is worth any amount of\nargument upon the desirability, the\nabsolute necessity to the art of the\ntheatre, of replacing women by men\nupon the stage. &\njg? There are some people who will\nnever believe until they see. We\nadvise them to study these pictures\nand we feel assured that they will\nthen no longer doubt or question\nthe truth of what has been so many\ntimes repeated in The Mask.... that\nwomen must withdraw from the\nstage and leave it finally and exclu-\nsively to men if the theatre is to be\nsaved. &"}, {"page_pdf": 79, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.79", "texte": "BOOK REVIEWS.\n\nJAPANESE ART by Laurence\nBlnyon. T. Fisher Unwin. Five\nshillings net.\nTrills book has the distinction and\nscholarly tone which we expect\n...and find... in all to which Mr Blnyon\nputs his hand. It includes among its\nmany fine plates some especially inte-\nresting ones of the Japanese Theatre.\n\nSTRUGGLES AND VICTORIES\nby Yvette Guilbert and H.\nSimpson, JS? Mills and Boon.\nPrice ten shillings and sixpence.\nTPhe life of Yvette Guilbert is nei=\nther more nor less extraordinary\nthan that of any woman ot like fibre.\nThe pity is that there are so few.\nWe see them sometimes seated on\nthe throne, sometimes on a doorstep;\nsometimes they pass before us on\nthe stage or in a drawingroom.\nCourage is their prime quality, and\nto that is added grace or distinction,\nbrilliance or strength, never vulga-\nrlty or malice.\nYvette Guilbert Is exactly such a\nwoman ; never vulgar, never mali-\ncious; always striving like fire to be\njust and like fire burning up in the\nflame of this desire all that is not pure\nenough to stand the heat.\nThat she is also a great actress\nIs a detail, and certainly it in no way\ndetracts from her great personal\nverity. This can be said of but few\nwomen. When women become ac=\ntresses they become something false.\n1 have said that Madame Yvette\nGuilbert is a great actress. I said\nso because people tell me so. Every\none tells me so. Some say the grea«\ntest actress. JZ?\nI challenge this. She could not be\npossessed of that flaming desire to\nbe just and sincere and be an actress\nat the same time,... no, not even the\ngreatest actress.\n& I think I would prefer to call her\na poet, and if I may be allowed to\ndo so 1 will. &\nShe creates, and that which she\ncreates is poetry,., a kind of poetry.\nLike Shakespeare and most of the\ngreat dramatists she takes some rag\nof verse or story and emblazons upon\nit the names of many victories won\nby the proud and the brave over the\nmean and the cowardly. This is her\nbanner woven by her own hands.\nShe is certainly a poet,,., a fighting\npoet. She is certainly no actress,....\nactresses never fight for a cause:\nthey squabble for personal fame....\nand hate all causes, all principles.\nAnd they hate their \" Art\". The\nproof of this lies in their taking to\nflight, in their deserting the guns\n«»\nwhen the bullets begin to fly.\nJS/ In this book Madame Yvette Or*\nbert tells the story of her early IIfe;A"}, {"page_pdf": 80, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.80", "texte": "BOOK REVIEWS. .\n\nthe whole tale is of a long fight and\nshe does not tell how easy it would\nhave been for her to give in and\nwin a different success by using\ndifferent weapons. That remains yet\nfor some one to do. *£?\nIt is Madame Yvette Guilbert's\ndistinction not to have compromised,\nnot to have accepted quarter, not to\nhave acted off the stage, not to have\nacted at ail and yet to be on the\nstage all the time. It is nothing short\nof gigantic in its loveliness.\nThis has been Madame Yvette\nGuilbert's lovely past; we can wit-\nness her present, now for the future.\nWhat is that to be ? She. will\nfight; she must; she will never settle\ndown although happily married to a\nfine man and with all good things\naround her; she is sure to fight. &\n& For this we salute her. She Is all\nwe admire most; she as that which\nfights against all that Is mean, ugly\nand vulgar: against that vast Re-\nbellion of man and woman who sin\nagainst Nature and God ...in being\nsmall. & &\n\nE. E.\n\nA HISTORY OF PAINTING by\nHaldane Mac Fall. Eight Vols:\n1 • G. & E. C. Jack, Price\nseven shillings and sixpence net\nvolume. *& jg?\n' Preface to this 44 History of\niting, of which four volumes\nhave reached us, Mr Brangwyn the\npainter tells us that Mr MacPall\nhas said the right thing about Art\nand Its relation to Life. Mr MacPall\nhimself in his Foreword says \" In\n\" these pages I have simply written\n44 of the greater men of genius who\n\" have contributed to the Art of\n44 painting; and 1 have touched upon\n44 their more famous works rather\n44 than attempted an exhaustive list\n44 of their endeavour, the which has\n44 no value save to the dealer in\n44 antiques. The volumes are an at-\n44 tempt to place before the ordinary\n44 man the chief achievement of the\n44 years in the Art of Painting; and\n44 to hint at something of the real\n44 significance of that achievement\".\nAnd again, 44 I give you no fantastic\n44 pedant's balderdash about 44tactiie\n44 values\" or 44 space composition\";\n44 about your 44 vasamotor system \"\n44 or 44 the materially significant \"\n44 or your 44 ideated sensations \". It\nis, in fact, a book for the\n44 ordinary man \" and he is very\n44 grateful.\nThere are maps and charts in the\nvolumes and many many reproduce\ntlons In colour of the master pieces\nof painting.\nThe author tells us that all Art\nis an 44 overwhelming need, that it\nis no luxury, the need is not allied"}, {"page_pdf": 81, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.81", "texte": "BOOK REVIEWS.\n\nto the other need for diversion \".\nThe moment Art becomes a luxury\nor a mere diversion it is in decay \"\nsays he; which is, as we understand\nit, a great truth, but not the whole\ntruth. It is likely that the whole\ntruth will only be quite evident to\nthe great masters. £?\n£? Mr MacFall has written a book\nwhich for many reasons should be\nvery popular; and belongs by deed\nof gift to \"the ordinary man\" since\nit is with the consciousnes that this\nman is his reader that Mr Macfail\nwrites. J£>\nThis is a good thing to have done;\na bold thing too, for we too often\ntoday give up the \" ordinary man\"\nas hopeless. j\n& Mr MacFall's book is good sense,\nand more, is readable. It is History\nmade romantic; It is the pyramid of\nfacts with the sun on it. Of how\nmany books on the History of Pain-\nting can that be said ? Some only\nwant facts and dates. Blake is\namongst those who are satisfied\nwith Just that; but some want more.\nThey get it from Mr MacFall.\nThe history is an enormous un-\ndertaking and is evidently the work\nof a lifetime, and, though we of The\nMask are all for Dates and Facts,\nand Dates and Facts alone, IF we\nare to have opinions let them be\nof the kind Mr MacFall gives us and\nnot those generally imposed upon us\nin Histories of Art, for his are given\nwith gusto, ...and that's everything.\nThe other Art writers are a bit dry,\nand you know this when you come\nto read Mr MacFall. £?\n\nTHE PLAY BOY OF THE WES-\nTERN WORLD, by J. M. Synge.\nMaunsell. Dublin. Price half a\ncrown net.\nnew Edition, admirable for the\ndistinction of its format and style,\nof Synge's Masterpiece. -2?\n\nSIX SMALL BOOKS OF PLAYS\n*\nfrom Maunsell, Dublin, at One\nshilling or sixpence each.\nthese plays, two \" The Jackdaw''\nand \"The Image\" are by Lady Gre-\ngory. The former especially is admi-\nrable.... simple, most amusing, alto-\ngether charming..\nothers are respectively \"False-\nly True \" by Johanna Redmond;\n\" The Cross Roads \" by S. L. Robin-\nson; \"Birthright\" by T. C. Murray,\nand \" The Troth \" and \"The Drone\"\nby Rutherford Mayne. £?\nAll of these are good, and as we\nknow that Synge's plays are superb\nand Yeats's plays are even finer we\nfeel that the Irish Theatre is safe as\nSt Patrick."}, {"page_pdf": 82, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.82", "texte": "MAGAZINE REVIEWS.\n\nT\"*he English Review has one\ngreat good quality,.... courage. Is\nthis enough to justify us in express-\ning admiration for it? It has other\nqualities also, for amongst its writers\nare Joseph Conrad, Yoshio Mashino,\nO. S. Street, Maxim Gorki, Wells,\nand Newbolt. £\n£7 True, every one does not like\nConrad, Wells and the others ; yet\nevery one does like courage and\nwhen criticising a journal are we to\njudge by what everyone likes or by\nwhat the few like ?\n£7 Take, for instance, the Nine-\nteenth Century and After. No one\ncould exactly call it over-bold, and\n%\nsome would not even call it coura-\ngeous. Among its writers we find\nthe names of Andrew Carnegie, Mr\nBram Stoker, the Duchess of Marl-\nborough, Professor E. C. Clark :\nbut then everyone does not like\nthese writers and everyone hates\ncaution which has become timidity.\n£7 Again, there is a new magazine\ncalled The Irish Review with Its\nIrish names lending grace to its\npages. And there is the Conservator\nfrom America. £? £7\n£7 All these journals have a great\ndeal to say about a great many dif-\nferent subjects and one wonders who\ncan be found to have a hot interest\nIn all of these subjects, or even in\nsix of them or four of them, or even\ntwo of them. j\n£7 In many people's opinion the\n\" Conservator\" would seem to do\nbest in keeping to one subject, for\nas these are all very serious journals\nthe idea must be scouted that they\nhave no fixed belief about anything.\nYet 1 felt a suggestion of this the\nother day when giving myself the\nrelaxation of reading the much about\nthe many things these four Journals\ncontained. And 1 could not honestly\nsay with which journal's views 1\nagreed, for, except in the case of\nthe 44 Conservator \", I failed to find\nany unshakeable belief in any of\nthem. £7 £7 £>\n£7 For the rest, the \"English Review\"\nIs very courageous and alive, the\n44 Nineteenth Century \" very timid\nand rather shaky, and the 44 Irish\nReview \" less Irish than one might\nhave hoped.\n£7 Well then, what was left to me\nout of the confusion of tongues ? A\nfew Individuals were left;.. Artists.\nConrad with his genius,... one with\nwhom one likes to be; Lady Paget\nand her graceful young way of\nwriting about old times and old\nfriends; Street and his gaiety... And\nlittle more. And so it comes that, in"}, {"page_pdf": 83, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.83", "texte": "MAGAZINE REVIEWS.\n\nspite of prejudice, 1 find myself\n• l' '•\nhailing the \" Conservator \" as the\n♦\nbest of the bunch because of its\npurpose, its deadly earnestness. £?\nj& I do not care a scrap that it so\noften tries to speak in the manner\npersonal to Walt. Whitman, for the\n44 Nineteenth Century \" writers\nmostly write in a queer style bor-\nrowed from the minority. If Traubel\nof the 44 Conservator \" has no per-\nsonality of his own, no more have\nthese \"Nineteenth Century\" writers,\nand to imitate a god is just as wise\nas to imitate a member of the Re-\nform Club. The first shows courage\nand belief,... and possibly conceit,\nbut the second reveals nothing but\ntimid herd behaviour. So in spite of\neverything, 1 end by finding the\n4' Conservator \" the best, and for\nthat one quality only,... that courage\nof belief. &\nAnd having that, dear 44 Conser-\nvator get all the rest and don't\ndespise them. Cut away from the\noften too exaggerated and meaning-\nless echo of the voice of Walt\nWhitman ; you get nothing from it\nand we lose much. Don't tell us too\nmany times what love Is and that\nyou really do love us and everyone\nand everything because we know\nit; we take it for granted ; but sing\nsometimes so that we feet It. Or\nwrite a word or two instead of a\nthousand in praise of something so\nthat we too may feel like agreeing\nwith you. In short, leave something\nunsaid.... don't say it all, because\nit makes the other people in the\nroom feel such fools, and so out of\nit all.\n& 1 can go to church to hear one\nman talking, but when friends are\ntogether they all talk a little.\nOf course I should not say this\nif you were Euclid or Vitruvius or\nWilbur Wright, because we must\nalways listen to the specialist. But\nyou write about Love, God, Demo-\ncracy, Kings, Struggles and the rest\nand everyone knows as much and\nas little about these things as you\ndo. Then let us all rather say as\nlittle as possible about them until\nwe are specialists.\n\nE. E.\n\nhave received a copy of\nCamera Work, a quarterly\nissued by Alfred Stieglit#, 4 Madi-\nson Avenue, New York, and a very\nremarkable book it must make at\nthe end of a year. &\nThe number we have received\ncontains some good photographs by\nCraig Annan, a fine reproduction of\nan etching by Gordon Craig and two\nremarkable reproductions of draw-\nings by Henri Matisse. The letter"}, {"page_pdf": 84, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.84", "texte": "• MAGAZINE REVIEWS. .\n\npress is also vivid and independent.\nAlfred Stieglitz in conjunction\nwith his friend Eduard Steichen\nhas given New York a small Art\ndallery. It is said to be second to\nnone in the city. There may be seen\nthe works of Cezanne, Rodin, Mat-\nisse, Picasso, Nadelman, Craig,\nToulouse, Lautrec and others.\nThere Is an Interesting little\nPreface to a catalogue of the works\nof Elie Nadelman which is too good\nnot to reprint: Mr Nadelman writes:\n44 1 am asked to explain my draw-\n44 ings. 1 will try to do so, although\n44 form cannot be described. Modern\n44 artists are ignorant of true\n44 forms of art. They copy nature,\n44 try to imitate it by any possible\n44 means, and their works are\n44 tographic reproductions not\n44 works of art. They are works\n44 without style and wtthout unity.\n44 It is form in itself, not resem-\n44 blance to nature, which gives us\n44 pleasure In a work of art.\n44 But what is this true form of\n44 art ? It is significant and abstract,\n44 i. e., composed of geometrical\n44 elements.\n& \" Here is how I realize it. 1\n44 employ no other line than the\n44 curve, which possesses freshness\n44 and force. 1 compose these curves\n44 so as to bring them in accord or\n\" in opposition to one another* In\n\" that way I obtain the life of\n\" form, 1. e., harmony. In that way\n\" I intend that the life of the work\n\" should come from within itself.\n\" The subject of any work of art is\n\" for me nothing but a pretext for\n\" creating significant form, relations\n\" of forms which create a new\n\" life that has nothing to do with\n\" life in nature, a life from which\n\" art Is born, and fromwhich spring\n\" style and unity. &\n** Prom significant form conies\n\" style, from relations of form, i. e.,\n\" the necessity of playing one form\n*' against another, comes unity. 1\n\" leave it to others to judge of the\n\" importance of so radical a change\n\" in the means used to create a\n\" work of art.\" &\nNadelman repeats what has been\nsaid by the Oods since the year\nOne ; he thinks his statement new,...\nand it is new in so far as the\neternal is never old; and a new\nbelief In eternity is surely original.\nIt is only the incessant expression\nof a disbelief In the eternal truths\nwhich is so tedious and utterly\ndepraved. This belief is uttered\ndally by the heads of Royal Acade-\nmies, the Literary Lions and the\nTheatrical Tabbies. &\nNo less good in another way h"}, {"page_pdf": 85, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.85", "texte": "MAGAZINE REVIEWS\n\nthe article by B. de Casseres on\n\" Decadence and Mediocrity\" in\nwhich he champions and vindicates\nthe artist who \" stalks through the\nworldweaving his filaments of beauty\ninto concrete Images and ideas\"\nand holds up to ridicule the \" Candy\nKids of art and the \" cabals of\nmediocrity\". &\n\n'T'/re Century Magazine continues\nto have lots of good things in it.\nMost interesting of all are Signor\nGuglielmo Ferrero's \" Women of\nthe Caesars \" series.\nThe Mask alone of all Journals\nhas said that woman is a danger to\nthe theatre and that . before the\nstage can lay claim once more to\nits art women will have to leave Its\nboards. Signor Ferrero shows that\nliberty for woman is a danger to the\nstate:\" Although it is a hard, cruel\n\" plainly iniquitous thing to deprive\n\" a woman of liberty and subject\n\" her to a regime of tyranny in order\n\" to constrain her to live for the\n\" race and not for herself, yet when\n\" liberty is granted \"her to live for\n\" herself, to satisfy her personal\n\" desires, she abuses that liberty\n\" more readily than a man does,\n\" and more than a man forgets her\n\" duties towards the race. \"\nWoman looks upon the theatre\nin the same selfish spirit as she\nlooks upon the earth; as a means\nfor satisfying her own personal gra-\ntification.\n& This is well known, and being\nso should be guarded against.\nNor is the spectacle of young\nboys aping the female sex a thing to\nbe desired. Yet at Oxford and Cam-\nbridge and in the American Colleges\nhave such young fools ever been\nfound ? Indeed not; and whenever a\nman has played the role of a woman\nhe has invested it with all the\nqualities which he as man imagines\nwoman to bo possessed of and has\nrobbed it of all its sensuality. If he\ndoes not simulate the heaving bosom\nor the tear-stained visage it Is only\nthat he would have it held untrue\nthat woman is merely a crazy senti-\nmental animal of little moods and\nno aspiration.\n.<£? Primavera, a monthly journal\npublished In Rome, of which we have\nreceived six numbers, Is really rather\ngood, the February number being\ndevoted entirely to the Italian corn-\nmedia and &\n& Another young journal is the\nLicorne which conies from Antwerp.\nA good deal of enthusiasm has\nevidently gone to its making and we\nshall be glad to see It again. Its\naddress is 13 Rue Longue Neuve."}, {"page_pdf": 86, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.86", "texte": "FOREIGN NOTES\n\nSTRATFORD ON AVON.\nL. C.\nft is always a pleasure to see\nMiss Ellen Terry here at our poor\nFestival, and when, dressed like a\npilgrim in white, she moved through\nthe streets of our town this spring\nit was like a dream. jgr &\nHer lecture was admirable and\nbeautiful, it Is a pity she did not\ncome here and act all the Shake-\nspeare roles with Irving. We have\nnever had any 'serious Festival here\nand for this reason never a truly\ngay one except from the student's\npoint of view, and a very little\nexcitement makes him intoxicated.\nMr Benson is serious enough but\nin so different a way from what one\ne xpects with Shakespeare as theme.\nShakespeare was neither provin-\ncial nor metropolitan. (How metre-\npolitan Sir Herbert Tree, is to be\nsure!) jgf £?\nOur good Mayor does much to\ngive happiness, and all the dwellers\nin the town, writers, printers,\npainters and even Hotel keepers do\nall they can.\njgr But we want to see the King and\nQueen here. We want to see members\nof the two Houses; we want to see\ngroups of modern artists and poets\nof all lands seated at table together\nand we do not want the whole\nthing quite so actorish or quite so\nprovincial. For after all Shakespeare\nis Shakespeare, you know, and there\nhasn't been such another in Europe\nsince. £/ £* £>\nOur celebration week is nothing\nbut a parody, an advertisement for\na few actors, and there an end.\n\" Wake up, England I\n\nPARIS.\n\nDown to Circus Level.\npor May 3rd and pth were an-\nnounced two Dancing Performan-\nces by Mile. N. TROUHANOWA, the\nlady being in very large letters\npresumably so that we could learn\nto masticate the name correctly.\n& We expected something by Mile,\nTrouhanowa, Instead we had the\nusual collaborated performance by\nMile. Trouhanowa assisted by M.\nPierre Monteux assisted by Mmes."}, {"page_pdf": 87, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.87", "texte": "FOREIGN NOTES.\n\nRosita Mauri, M. Marlqulta, A.\nGedda and M. N. Clustine and by\nSaracco; assisted by Mme, Muelle\nand M. Pinchon, assisted by M. P.\nPagnereau, and the whole band\nled by the brigand chief M. G.\nAstruc. x? & j\njEf Gluck and Chopin were two of\nthe victims ; I was another. 1 paid\na very high price for my seat. 1 had\nbeen in the morning to the Louvre\nand was allowed to look at one of\nthe world's wonders, the Monna\nLisa of Leonardo, for nothing. The\nroom was quiet and I looked upon\nthe serious work of a man in the\nfield of art. The Theatre is supposed\nto be in that field.\njE? At the Chatelet that afternoon\nwhile watching Mile. Trouhanowa\nassisted by a score of hardworking\nlabourers I felt that the Theatre was\nnot even In the hemisphere of Art,\nfar less in the very field.\n*E? I contrasted the two experiences\nfollowing so quickly one upon the\nother and I, an old theatre goer,\nsuddenly became aware of the awful-\nness of the stuff which the modern\ntheatre offers us under the guise\nof art. If offered to us as a sheer\nexhibition of personal qualities,\nlegs, arms, emotions of ladles and\ngentlemen, It would not be\nopen to this criticism for then no\ncomparison would be invited. jST\nAnd 1 also felt that If Mile.\nTrouhanawa had appeared alone and\nshe had done some wonderful thing\nalone and by her own unaided\nefforts, I could have found cause to\ncongratulate the modern theatre*\nBut the collaboration of this dancer\nwith orchestra, scene-painters, cos-\ntumiers, and other dancers, and the\nawful dragging to the altar of the\nnoble Gluck and the loved Chopin\nall seemed too weak for anything\nbut the feminine applause which\nburst out now and again like an\nattack of measles.^\n\"j& The Theatre is certainly in a\nweak state when such a collaboration\nis possible and approved. jE? je/\nThere is no excuse to be found\nsuch as that a great city produces\nthese eccentricities. The Theatre\nshould be strong enough to refuse\nto play down to the circus public,\nand It should play up to the same\npublic as goes to the Louvre, looks\nat Leonardo's Monna Lisa, probably\ndoes not understand or like it, but\nat all events remains silent before\nit. & je? «\n& My confrere \" Percival \" of the\nReferee, whose witty writings alone\nmake that journal readable and\nwhom the other regular writers on\nthe staff constantly attempt to iml-"}, {"page_pdf": 88, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.88", "texte": "FOREIGN NOTES\n\ntate with awful results, had an\nunpleasant experience at the perfor-\nmance for which he thanks M. Astruc\nthe amiable Impresario in the\nfollowing words: \"The other after-\n\"noon M. Astruc sent me tickets for\n\"the first performance of \"Mademo-\n\"iselleski Trouhanowa,\" whose dan-\n\"clng 1 love.When I got to the theatre\n\"I found a wild and angry crowd\nCURSING THE NAME OF ASTRUC,\n\" and if you'll try it you will find\n\" it quite a handy name to curse. M.\n\" Mozzeltov had sent out cards of\n\" Invitation to more people than the\n\" house would hold, and hundreds\n\" of us were unable to get in. Now,\n0\n\" that may be clever advertisement,\n\" because people who have heard\n\" of a crush always want to go to\n\" the theatre. But, Caro Astrucclo,\n\" may 1 point out that journalists\n\" are busy folk, and promise you\n\" with my hand on my heart that\n\" I'll see you in China first before\n\" I accept any other invitation from\n\" you without a numbered seat\n\" attached to it. I've no objection,\n\" Astrucstein, to advertising you,\n\" but I'll be dashed, Hastruck, if\n\" you shall waste more of my time.\"\n& And when I saw \" Percival \" at\nthe doors he looked every scrap of\nthat paragraph .... and a good deal\nmore. .?? &\n\nH. L.\n\nLONDON\nQ. H.\nPatriotism.\nMr Frederick Whelen, after having\nsuggested that we shall go to\nDusseldorf for our ideas of a new\nTheatre school, emphasizes his ten-\ndencies even more clearly by enthu-\nsiastically assisting Professor Rein-\nhardt and his German Imitation\ngoods to obtain a footing in London.\nHowever, 1 suppose its a case of\nanything for a job. its a pity though,\nfor Mr Whelen would have made a\ncapable business man for any of the\ndifferent English personalities who\nare slowly making their way in the\nfore.\n\nThe Shakespeare Ball.\nR. S.\nball was given in aid of the\nShakespeare Memorial National\nTheatre. It would have been better\nif the energy and money spent on\nits preparation had been employed\nIn preparing that which is to go\ninto the said National Theatre. In\nfact it would be altogether better\nto select the artist and to announce\na programme before going to the\ncountry for funds. Those who are\nsubscribing to the National Theatre\nmight keep their money for Monte-\ncarlo or the Derby, for then at least\nthey would have some say in the\nmatter. & &"}, {"page_pdf": 89, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.89", "texte": "FOREIGN NOTES\n\nA Sign of Awakening.\nTphings here are waking up at last.\nthey are beginning to move and\nwill, no doubt, soon move a good\ndeal more. One sign of this movement\nis before me in an invitation to a\nDinner in honour on Mr Gordon Craig\nto take place of Sunday July 16th\nat the Caf6 Royal, Regent St. This\ndinner has been organized by a\nCommittee of Ladies and Gentlemen\nwith the Duchess of Sutherland at\nthe head. The form of their announce-\nment is one more of those straws\nwhich for some time past have been\nshowing which way the wind was\nsetting. Here it is:.... 0\n44 In 1900 Edward Gordon Craig\n44 began to stage operas and plays\n44 in a new and significant way. Such-\n44 productions as Purcell's 44 Dido\n44 and Aeneas\" and 44 Masque of\n44 Love ,\" Handel's 44 Acls and Gala-\n44 tea \", Ibsen's 44 Vikings, \" Laurence\n44 Housman's \"Bethlehem\" and Shake\n44 speare's 44 Much Ado about No-\n44 thing \", gave a new direction to\n44 the Art of the 0\n0 44 In this way, as well as through\n44 his writings, Gordon Craig held\n44 up an inspiring and dignified vi-\n44 slon of the stage, and his attempts\n44 to recover the canon of theatrical\n44 tradition, led him to make expe-\n\" rlments In the direction of scenic\n44 representation, which have had a\n\" vital influeuce on the Theatre\n\" throughout Europe. <0\n«« It Is well known that the Theatre\n44 in Germany, Austria and Russia\n44 admits its debt to Craig's inspi-\n44 ration: his influence has, indeed,\n44 gone deeper than most people are\n44 aware of, and much that has been\n\" accomplished of late years, owes\n44 Its success to Craig's impulse. It\n44 has been felt among many of those\n44 interested in the dignity of the\n44 Theatre in England, that it would\n44 be a fitting thing that some definite\n44 acknowledgement be made to\n44 Craig for his unfaltering devotion\n44 and high aims through almost in-\n44 superable difficulties ■£?\nThen, after particulars as to the\ntime and place of the dinner, come\nthe following names: 0 &\nMUlicent Sutherland 0 Augusta\nGregory 0 Beatrice Stella Campbell.\nMabel Dearmer 0 May Morris\nAlice Rothensteln Max Beerbohm\nLaurence Binyon George Cal-\nderon 0 Walter Crane Roger\nPry Austin Harrison Martin\nHarvey Augustus John\nHaldane McPall JS/ T. Sturge Moore\n0 James Pryde William\nRothensteln 0 Charles -Shannon\nMartin Shaw 0 William Strang &\nE. P. Spence 0 A. G. Wells\nFrederick Whelen J£> W. B. Yeats.\nYes, things are waking up at last"}, {"page_pdf": 90, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.90", "texte": "EDITORIAL NOTES\n\nROYALTY AT THE THEATRE\nHphe Referee, speaking of the\nCommand Performance at Drury\nLane tells us that there was no en-\nthusiasm,.... because \" Enthusiasm\nwith society people is not the\ncorrect thing \" and It drew atten-\ntion to the fact that \" until the end\nthere was hardly a cheer through\nout the evening \". &\nThis only shows the good effect\nMajesty has upon a crowd. Cheers\nand applause are as out of place in\na theatre as in a church or in a\npicture gallery. With cheers at a\nrace meeting it is different. The\nhorses need it and the animals excite\nus to cheers and the presence of\nRoyalty has never stopped those\ncheers. Curious, how right the In-\nstincts of people are i At Drury Lane\nin the presence of the King they\nbehave; at the Derby in the presence\nof the King they behave also. Instinc-\ntively they do the right thing in\nboth cases, but that which is right\nin the one case is the opposite of\nthat which is right in the other.\nThe Referee is wrong is suppo-\nsing the Drury Lane audience was\nnot enthusiastic; they simply for\nonce behaved and did the right thing\nnot merely the \" correct thing.\n\nIMPERIAL BOUNTY.\nQur Moscow Correspondant tells us\nthat when the Dowager Empress\nvisited a St Petersberg Theatre last\nmonth to witness a performance by\nthe Moscow Art Theatre Company\nshe called two of the actors to her\nbox between the acts and presented\nthem with a purse containing five\nhundred pounds. &\nThis strikes us as delightful,\nquite like the old days. One can\nimagine Queen Elizabeth acting in\nthis way. &\nOf course now that the actor\nopens bazaars and is invited to\ncourt it would hardly do in England.\nIt could be done, but only if the\nactor were willing, and he would\nrather give up the five hundred\npounds nowadays than the position\nof public man. He would even prefer\nto lose the title of artist than\nthat of public man.,... And he has\nlost it."}, {"page_pdf": 91, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.91", "texte": "EDITORIAL NOTES\n\nMORE FREEDOM FOR THE\nCRITICS.\nQur contemporary, The New York\nDramatic Mirror, from time to\ntime shows a real desire to go ahead\nand lead public opinion, and then\nwhen the opportunity comes it\nshirks the privilege and shoulders\nthe heavy responsability of following\nwith the crowd.\nIn 1909 we drew attention to\nthe way in which plays were\nproduced in Europe with too much\nhaste, and in 1910 Mr H. T. Parker\nin the Boston Transcript finds the\nsame fault with the American pro-\nductions, and the New York Dra°>\nmatic Mirror in a leading article\nasks who will deny that this is\ntrue. & & &\n& At the same time and in the same\nnumber the Editor permits long\nand short articles or notices\nto be published about the plays\nin New York without a word being\nsaid against their hasty preparation.\nIn short, the leading editorials\nare often very righteous and right...\nand there an end. We fail to see\nwhat such a publication is driving\nat. To agree in one part of the\njournal that hasty production mars\nthe work of the New York theatres,\nand then to praise up those theatres\nin the other part of the journal is\nrather less courageous than we like\nto take our friends over the water\nto be. We do not wondor when they\noften praise what we deplore, but\nto contradict themselves in so down-\nright a manner as this we mention\nis a pity. &\n& We wonder whether the critics\non the New York Dramatic Mirror\nare allowed to say what they think ?\nOh ! for a little more freedom, for\nthe critics often know so well what\nis the matter with the theatre and\nif they had their lives ensured we\nshould hear the truth.\n\nTHE CHICAGO THEATRE.\nW e are glad to hear that\nChicago remains true to Mr\nDonald Robertson and that the\nmembers of the Chicago Theatre\nSociety have asked him to lead them\nin their next venture.The twenty-five\nthousand pounds subscribed Is a\ngood round sum and in capable\nhands should go far, and last long.\n£? It is too large a sum to be spent\nin one season, yet many will tell\nvou that it needs that amount to\nrun a theatre for so long. JS?\n\nDOES IT?\nTo run anything on old convention\nnal lines costs a fortune, but that is\nbecause brains and taste are then\nleft out of the calculation. And if the\npossession of money rocks the brains"}, {"page_pdf": 92, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.92", "texte": "EDITOR!AL NOTES\n\nto sleep in a cradle of conceit, then\nLord Rosebery is right and the\nless money artists have the better.\ng? But the experience of years\nshould have taught Mr Donald Ro-\nbertson that he must exert his\nbrains this time If he is to achieve\nanything and that he must realize\nthat not in the space of one season\ncan any achievement be notice-\nable,\njgt If he is wise Mr Robertson will\ndo everything on a small scale, and\nwill make that twenty-five thousand\npounds spread over several years.\nIf he cannot do that someone\nelse ought to be invited to show\nhim how it can be done.\nThe problem is not easily solved,\nbut there Is a solution. £?\nAnyhow we wish Chicago a real\nand lasting success,.., not a display\nof fireworks for the fun of seeing a\nlot of open mouths. jg?\n\nTHE ANTI-SUFFRAGE LEAGUE.\n•\"jphese very brave and very noisy\nladies are for some strange reason\nenlisting the active co-operation of\nthe ladies of the English stage.\nThese ladies evidently have time\nto spare from their work.\nMiss Ellen Terry is supposed to\nbe a keen Suffragette but there are\nreasons why she is obliged actively\nto espouse the cause. Miss Kate\nTerry (Mrs Lewis) is probably just\nas keenly opposed to the movement\nfor we note that her daughter Miss\nL. Terry-Lewis is the Secretary of\nthe Woman's National Anti-Suffrage\nLeague, and, as we are very much\nanti-Suffrage, we are glad to give\nhere the address of Miss L. Terry-\nLewis:... Caxton House, Tothill\nStreet, Westminster. May success\nattend her.\n\nA SHAKESPEARE MEMORIAL.\nbest Memorial which we can\noffer to Shakespeare is to read\nhis works, and perhaps In time learn\nhow to act them. &\nThat Memorial will not be erected\nfor very many years. &\nGive Ellen Terry a theatre and\nthe Memorial can be erected tomor-\nrow. Give every village a theatre and\nlet the boys and girls have a chance\nof acting and the same Memorial\nmight be up within six years.\nIf this does not commend itself\nto you let us suggest that you support\nthe men who collect and print the all\nbut inaccessible works relating to\nShakespeare, his works and his times.\n«ig? Public subcrlptions are now\nasked for to put the Shakespeare\nHead Press at Stratford-on=Avon on\na permanent basis with its founder\nMr A. H. Bullen at its head.\n& Subscriptions amounting to more"}, {"page_pdf": 93, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.93", "texte": "EDITORIAL NOTES .\n\nthan one thousand pounds have\nalready been promised.\nj£? We hope this scheme will appeal\nto some of the readers of The Mask\nfor in our opinion it is very worthy\nof solid support.\n\nTHEATRICAL SCHOOLS.\njyir Gerald Du Maurier, speaking\nsome weeks ago at the Royal\nGeneral Fund dinner, said a word\nin favour of training for the actor.\n£? He wished the actors and actresses\nhad to pass certain examinations and\nbe awarded a certificate of merit\nbefore they could apply to a manager\nfor an engagement. &\nHe mentioned several things\nwhich the actor neglected to learn.\nPerhaps Mr Du Maurier will one\nday renounce the stage and teach\nthe Art; He is one of the very few\nmen in England who, we believe,\ncould help to recover for us what\nw© have lost. x?\n\\\nWe have done something towards\npointing out the need of schools for\nthe study of the whole Art of the\nTheatre and we hope to have an\nopportunity of going into the matter\nthoroughly before very long. Mean-\ntime this suggestion from a young\nactor-manager is valuable, for a\nschool for the actor and actress\nseems inevitable if the stage Is not\nto pass entirely into the hands of\nthe amateur. & &\n\nIR VING AND STA GE LIGHTING\nqpo us It seems curious that Mr\nBram Stoker should attempt to\nwrite about \" Irving and Stage\nLighting \" for of all Irving's staff\nMr Stoker must be the one who\nknows least about It. The '« Nine-\nteenth Century \" should have secured\nan article on this subject from Mr\nLoveday, Sir Henry's stage manager,\nbefore it was too late. For after all\none who directs the lighting of the\nstage as did Mr Loveday is more\nlikely to know about it in detail\nthan Mr Stoker who directed the\nbox office.\n& Mr Stoker flounders most distress-\nfully :.... he takes ten pages to\nprove that Irving was very pains-\ntaking,. a thing we all felt must be.\nWhat everyone is not quite clear\nabout Is Ir ving'sfndisputable right\nto be considered the foremost actor\nof his century. We would not com-\npare him with the younger men,\n(some, alas, amateurs), who vainly\nused to compare tiieselves with him\nand who even to this day ask \" Whac\ndo you think of my \" Shylock \" after\nIrving's ? \" but we would compare\nhim to the greatest actors of Europe\nand America, and we would like to\nsee It proved how far greater was\nIrving's mastery of the material\nwhich the actor has to work with.\nOf course Mr Stoker cannot do"}, {"page_pdf": 94, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.94", "texte": "EDITORIAL NOTES\n' ALL RIGHTS RESERVED.\nGerente Responsablle. Qiulio Vanzi\n\nthis any more than Whistler's fa-\nmous policeman at the National\nGallery could speak about Art. But\nsome day we may hope that the\nbook on this subject will be written.\nIrving was above all a mysterious\npersonality. Let those who study his\nart remember this and let them try\nto read some of the mysteries which\nvery often he veiled when speaking\nabout the art of the actor or playing\nthe part of public man. What Irving\npreached was something very diffe-\nrent from what he practised. He\nperformed like an artist; he prea-\nched like any orthordox man of the\nmoment. And let those who would\ntell us one of the profoundest secrets\nof the Art of the Theatre remember\nthe face of Irving. His face was a\nmask. ■<&\n\nTWO GERMAN \"COUPS.\"\nJ. s.\n& On July 3rd it was announced\nthat Germany had sent a warship to\nAgadir in order, we suppose, ultima-\ntely to seize Morocco. The same\nday it was also announced that\nProfessor Reinhardt the theatrical\nmanager, assisted by the Polish Pro-\nfessor Ordinsky, assisted by Professor\nSchiller, assisted by other professors,\nhas been invited to enter London in\nbroad daylight and to demonstrate\nat Olympia that the Germans are\nbetter able to move a crowd of\ntwo thousand performers than we\nare able to move a crowd of two\nthousand spectators. & _\nThis will be in December. In\nAugust the German and Polish Pre-\n\\\nfessors assisting each other will\nbring \" Sumurun \" once more to a\nLondon Music Hall. In the autumn\nthese same Professors will beg Mr\nMartin Harvey to assist them still\nsome more in a production of (Edipus.\nSo says the Daily Mail and it seldom\nmakes mistakes.\nThe assistance all round seems\nto us very charmingly international\nand friendly, but isn't It Just a trifle\nincompetent ? When are a few indi-\nvidualities of genius going to appear\nin the [Theatre who shall, instead\nof a patchwork, give us examples of\ntheatrical art woven in one piece?\nIn order to do this the men of\nindividual genius will first have to\nlearn a lesson lost somewhere in\nCrete or China two thousand years\nbefore Christ, a lesson which Flaubert\ntaught the writers in the last century;\n\"...Genius is not rare nowadays, but\n\"what no one any longer has and what\n\"we must strive for is Conscience.\"\n\" 1 have always tried not to belit-\n\" tie art for the satisfaction of an\n\" isolated personality"}, {"page_pdf": 95, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.95", "texte": "1 ANNOUNCEMENTS FROM « THE MASK PRESS\"\nARENA GOLDONI. FLORE N C E. IT A L Y.\n-\"•rMrriaf*°™\"^ifrrTOitiTm^nriirTMM, mi 11 maim ■wnamimn ■HIM— IMIHH MII—N^—MJIMJJL—IJI—J—MUMUJ\n& THE MASK. NEW SERIES. VOLUME FOUR.\n°f the new Volume, beginning with the present number, Three\nEditions will be published, and the yearly subscriptions, post free,\nto these Editions are respectively as follows. & j& &\nPopular Edition. . . . Shillings 15. Dollars 4.00\nLarge Paper Edition (60 copies.) 20. „ 5.00\n■ Edition de Luxe. (75 copies) 65. „ 16.00\n«T»R.JTRRTNINGBRIT.-»I-TI—N~• ■«...—.^.R LT .|NILL1 -RRNM1 |MLN INMIN BBIUM N ——WIANWI IIIIIIMIILIMIIIUIIUUMAUMMMIJIIIIMUBMIJIJMUMJUIIMIIIJI—\n\"\" THE MASK* OLD SERIES. 1908.... 1909.... 1910....\nUnbound Sets, Vol. 1. Shillings 30. dollars 7.50\n»» ♦» 25, „ ,, 6.50\nVol. 3. ,, „ 20. ,, ., 5.00\n}s>W% Bound in Vellum. Vol. 1. „ „ 35. „„ , 8.50\n%$®m - VoL 2- » \" 30. „ „ 7.50\nJIL 7 Vol. 3. ,, ,, 23. ,, t, 6.50\np u£? A PORTFOLIO OF'- ETCHINGS by GORDON CRAIG.\n'T'hese Etchings were made by the Artist in 1907 at Florence and\nI 'w$yM p represent his most serious work. Connected with his dream of an\nv Ideal Theatre, they have nothing in common with the Modern stage.\n■& Only Thirty Portfolios were issued. Of these a few remain.\nEach contains twelve Designs mounted on grey card, and with\nM I a Preface by the Artist. & £? j& j& £?\n■Mil XR Size ofj Portfolio. 48x30 ctms. Price Sixteen pounds.\n(Dollars 80, Marks 320. Francs 400).\nj&BOOK- PLATES. • j&\nf£> Designed, Engraved and Printed by the Engra=\nvers of San Leonardo: Arena Goldoni, Florence, Italy.\nFrom the first design to the last print the work is executed\na\"d supervised by artists, and therefore Book-lovers may be confi-\ndent that in sending to>us they are ensuring for themselves a\nwork which shall be as careful in its execution as beautiful and\ndistinguished in Its design.\nI 0 HERE IS SOMETHING FOR THE CHILDREN! JR\nJ pictures from Gordon Craig's \" Booh of Penny Toys. \"\nfj& This book of colour drawings of the most representative\nEnglish, Dutch and German wooden toys with accompanying\nverses was published in 1899. and proved so popular that copies\nare rarely to be found.\nA FEW SETS OF THE TWENTY LARGE ILLUSTRATIONS\nI jR Printed on thick art paper are still to be had, price four\nI guineas, (dollars 21. Marks 82.00. Francs 105.00). JR jR &\n\\ I The Mask Publishers, Arena Goldoni. Florence. Italy.\n1— III»■ ■ ■Mil IN WIM— Iiniinw MII IM >II 11 RW—-N NIN—— NM IIMBIII■ IINi nIF '\"IR 'rimri—r-*~\": 1 \"\"\" ' Ma"}, {"page_pdf": 96, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191107-01.1.96", "texte": "Printed for th. Proprietor by Tipogratla R. Laatrueci, Via dot Sorragll, 104 Plorenea and pnbllabod at Jh« Oillro of » Tha Maak » Arana Qoldonl.\n\nA LETTER FROM* *\nMADAME YVE TTF\n\" The Mask, that journal created for a\nthoughtful Public enlightens a multitude\nof artists. A vast number of\ninnovatorswho, in the bringing forth\nof their master-pieces have, to inspire\nthem, only their instincts and the School\nof the Great Past which Italy, that nurse\nof Art sets at their service.\nOne journal has devoted itself to this\nsplendid cause. The Mask! and its energetic\ninsistence upon the Great Duty of serving\nBeauty renders it a valuable little organ\nfor artists.\nThis journal is at the same time instructor\nand guide, for while it teaches us of past\nthings, it also directs our future efforts,\nand that is why The Mask is M Y journal. \""}]}