{"numero_id": "bm-bmtnaau-1912-01-01", "volume": "bmtnaau_1912-01_01", "ocr_sha256": "f3de9453a091656cfa70e68448c4c95e4821d19f76a5d8927e42a3af6ae6894d", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1912/01_01/bmtnaau_1912-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1912/01_01/bmtnaau_1912-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01", "articles": [{"article_id": "bm-bmtnaau-1912-01-01-c002", "article_bluemountain": "bmtnaau_1912-01_01#c002", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.2", "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=bmtnaau191201-01.1.2", "debut_caractere": 531, "fin_caractere_exclue": 1763, "texte": "LITERARY CONTENTS.\nTHE THEATRE OF THE SOUL .... Eduard SchurS. ... 7\nTHE ARTIST AND NATURE Goethe\nHISTORY REPEATS ITSELF Allen Carrie. ...\nTHE NEW CENSOR. A Note Jol,n Semar. . • *\nTHE OLD MASTERS. A Dialogue Allen Carrie and Fel x\nUrban I^s\nPANTOMIME AND THE POETIC DRAMA. . . Arthur Symons: with a\nNote by Gordon Cratg. . 107\nTHE POET. An Unpublished Storj. . « « Oscar Wilde. . • • 190\nTHE ARCHITECTURE AND COSTUME OF\nRICHARD 111 E« W- Godwin. ... I 9»\nA WORD ABOUT THE DANCE. J Heinrlch Heine. With a\nNote by A. C. . . . 196\nTHE PUBLIC Victor Hugo. With a Note\nby A. C 197\nTHE CHARACTERS OF THE COMMEDIA\nDELL'ARTE A List compiled by . . Gordon Craig. . . . 199\nA JAPANESE PUPIL. Recollections by. • • Masanobu Otani. . . 203\nJAPANESE DRAMA. An Extract. . . . Lafcadio Hearn . . . 213\nSTAGE TERMINOLOGY John Balance. ... 214\nSOME DEFINITIONS FROM AN OLD\nDICTIONARY Translated by . . • Pierre Ram£s. ... 216\nTHE \" SACRE RAPPRESENTAZIONI \" OF\nFLORENCE Dorothy Nevile Lees. . 219\nTHE CONSTRUCTION OF THE \"NUVOLE\" OR\nCLOUDS. Translated from .... Giorgio Vasari . . , 246\nLETTERS TO THE EDITOR. . 350\nBOOK REVIEWS. & FOREIGN NOTES. EDITORIAL NOTES.\nShort Extracts from the Writings of Oscar Wilde, Heine, William Blake, 181, 182, 184*"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c003", "article_bluemountain": "bmtnaau_1912-01_01#c003", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.3", "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=bmtnaau191201-01.1.2", "debut_caractere": 1765, "fin_caractere_exclue": 2019, "texte": "ILLUSTRATIONS.\nFRONTISPIECE: A DESIGN FOR A STAGE\nCOSTUME E. W. Godwin . Face 171\nNINE OLD ITALIAN DESIGNS OF THE\n\" SACRE RAPPRESENTAZIONI \" 331» 335»\n229, 233.\n235, 239,\n243, 247.\nHEAD AND TALE PIECES From Old Italian designs and by Oliver, Borrow, Etc."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c004", "article_bluemountain": "bmtnaau_1912-01_01#c004", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[170]", "page_fin": "[170]", "image_debut": 6, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.4", "titre_corps": "A Design for a Stage Costume for Miss Ellen Terry", "titre_sommaire": "A Design for a Stage Costume for Miss Ellen Terry", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "[170]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 75, "texte": "A Design for a Stage Costume for Miss Ellen Terry by E. W. Godwin, F. S. A."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c005", "article_bluemountain": "bmtnaau_1912-01_01#c005", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "179", "image_debut": 7, "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=bmtnaau191201-01.2.5", "titre_corps": "THE THEATRE OF THE SOUL", "titre_sommaire": "THE THEATRE OF THE SOUL", "signature_source": "Eduard Schuré", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 1684, "texte": "THE THEATRE OF THE SOUL\nby Eduard Schuré. With an Introductory Note\nby the Translator.\nHphe following essay was written by M. Schure as Foreword to his two\ndramas, \" Les Enfants de Lucifer \" and \" La Soeur Qardienne \" which\nwere published together under the title of \" Le Theatre de l'Ame \".\n& Of these two plays the former, \" Les Enfants de Lucifer \", has been\ntranslated into German and twice performed at Munich by the members\nof the Theosophical Society under the direction of Doctor Rudolf Steiner,\nthe performances taking place In August 1909 and again in the same\nmonth in 1910 at the Maximilian Theatre. Last August M. Schure's recon-\nstruction of the Drama of Eleusis, which is to be found in part in his\nvolume oh \" Les Grands Inities \" and in part in the \"Sanctuaires d'Orlent \"\nwas given by the same Society: and the series of performances will\nprobably be resumed, since Doctor Steiner has the intention of founding\nat Munich a \"Theatre de Mysteres \", giving annual performances in the\nsummer, and is now building a theatre for that purpose.\n£> M. Schure E?as written much about the Theatre, and he has done\nso seriously. Indeed, whether he write, as in the \"Grands Inities\"\nof Rama, Krischna, Hermes, Moses, Orpheus, Pythagoros, Plato, and Jesus,\nor treat of the '' Sanctuaries of the East \", of Egypt, Greece and Palestine :\nwhether he study the history of Musical Drama and Opera, or discuss, as\nin his \" Precurseurs et Revoltes \" such subjects as \"Ibsen and the\nTheatre of Combat\" or \"Maeterlinck and the Theatre of Dream\", one\nfeels that his aim could be really summed up in the words which he\nhimself wrote in hfs Introduction to his \" Histoire du Drame Musical \" :"}, {"page_pdf": 8, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.8", "debut_caractere": 20, "fin_caractere_exclue": 2485, "texte": "44 always immense, for it renders the illusion of life to a degree which\n\" the other arts never attain. Although few people seem to trouble\n44 themselves about so serious a matter it has seemed to me opportune\n44 to search out what have been the conditions of its loftiness in the past,\n44 what they could be again in our civilization. To contemplate face to\n44 face the free creations of the great epochs ; to seize the living link\n44 which unites them one to another across the centuries, to discover\n44 their necessary sequence in the actual development of the human\n44 spirit; to raise us, in short, if that be possible, above the present by\n44 putting together once more that which was greatest iu the past, and\n44 perhaps to open to seeking souis some windows upon a better future.\n44 Such is the thought which presided over this work.\"\nThe present essay is, as so much of M. Schure's work, a vindication of\nthe dignity of the Theatre, of its vital importance in the life of a people,\nits incalculable influence, whether for good or evil, upon the entire\nbeing of man, 44 sense, soul and mind \" : a grave warning that, unless it\nstrive to rise to the best it must sink to the worst; and, if not 44 a\nschool of beputy, of truth and of rebirth\", be inevitably 44 a school of\nugliness, of falsehood and of death J? &\nOne thing which should be borne in mind in reading this essay of M.\nSchure's is that it was written by him eleven years ago. Thus, when he\nwrote that 44 one single man, In this century, has succeeded up to the\npresent time in demonstrating what the theatre of the future may be;\nthat is, Richard Wagner \", he was writing of the nineteenth century\nand before the birth of that new movement in the European Theatre\nin which he would doubtless be among the first to welcome eagerly the\nvery stirring of the wings of that Psyche whom he invokes; of that\nprogressive soul which, although it may look into the past to learn, does\nnot look there to Imitate, and which, Emerson asserts, never, just because\nit Is progressive, 44 quite repeats itself, but in every act attempts the\nproduction of a newer and fairer whole ;\" sinpe, in our fine arts, 44 not\n44 imitation, but creation, is the aim. In landscapes, the painter should\n44 give the suggestion of a fairer creation than we know. The details, the\n44 prose of nature he should omit, and give us only the spirit and splendour.\n44 He should know that the landscape has beauty for his eye, because it"}, {"page_pdf": 9, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.9", "debut_caractere": 25, "fin_caractere_exclue": 2224, "texte": "44 expresses a thought which is to him good ; and this, because the same\n44 power wlfich sees through his eyes is seen in that spectacle; and he\n44 will come to value the expression of nature, and not nature itself, and\n44 so exalt in his copy the features that please him. He will give the gloom,\n44 of gloom, and the sunshine of sunshine & &\nAnd so should it be with the Theatre. Not Life but the Life of Life\nshould be shown there; not the mere veins exhibited but the mystery of\nthe very pulse which beats through them, the secrets of that creative\nand inspiring soul which is behind all life, revealed.\nTHE DIVINE PSYCHE.\n44 THE SOUL IS THE KEY OF THE UNIVERSE \". 44 Les Grands Initios\n\"\"Tiie human Soul, with its most profound mysteries and its most noble\npowers, the divine Psyche, had formerly its temples, its altars and its\ntripods. Today it seems excluded from our public life and driven out of our\ninstitutions. Science waves it aside; the Church oppresses it; the World,\ndrunk with luxury and pleasures, forgets it; Art, having lost its way, no\nlonger affirms it but feebly, and, if it speak of it at all, seems but to\nask pardon for even naming it.\nNevertheless the human soul was never more alive. Despised by the\npowers of the day, she has taken refuge in the profound depths of huma-\nnity. Proscribed by conscience, she reigns in the obscure regions of the\nheart. Everywhere she vibrates, she trembles, she stirs, in the dreams of\nyouth and in its desire for action, in the cry of revolt of the individua-\nlist who wishes to be entirely himself, in the meditation of the solitary\nthinker, who, seized with pity, bends towards human suffering; in the\nsurge of multitudes which swells at the first gleams of truth as the ocean\nat the uprising of the sun.\nIn vain will you try to restrain the human soul or to engulf it in the\nwhirlpools; like a vanished river, it will gush out of the soil by a hundred\nsprings and by a thousand jets of water. The divine Psyche is, in our\nsociety, the dear Absent one always beloved, the beautiful Exile ever\npresent. That great Dead is the great Immortal. Henceforth one can\nforesee that the Soul will be the true Muse of the Twentieth Century. It\n¥"}, {"page_pdf": 10, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.10", "debut_caractere": 25, "fin_caractere_exclue": 2159, "texte": "was she whom Lamartine was already invoking at the beginning of\nour own. •£? &\nMuse des derniers temps, divinite sublime,\nQui des monts fabuleux n'habite plus la cime.\n*\nEt qui n'as pour trepieds, pour temples, pour autels\nQue les seins fremissants des genereux mortels.\nBut, according to the laws of evolution, all that is interior must\ninterpret itself outwardly under the precise forms which correspond to\nthe inmost idea. It is in the thought that are first shaped the ideal\nlines of a world to be made. Later they will take substance in the granite\nor the marble, in the living men or In the fetes of the city. Today the\nnew soul of humanity, whose vibrations have passed over us causing us\nto raise our heads, demands cradles, arenas and temples ; cradles that\nchildhood may grow therein ; arenas, that youth may wrestle there;\ntemples, that genius may take shelter there and there speak to the\npeople.\n& Now, among the temples necessary, there is none that in our day\ncalls by a more imperious desire than the theatre.\nThe theatre, that mirror of life, is a tremendous moulder of the soul\nof the multitude and even of the soul of the elite.\nFor It acts upon the entire human being; sense, soul, mind; and it\nacts by an example, by an eloquent action, as real as, and more intense\nthan, life itself. Its influence is supreme in good as is evil. If it be not\n$\na school of beauty, of truth and of rebirth, it becomes inevitably a school\nof ugliness, of falsehood and of death. &\nLet it be the slave of luxury, of frivolity and of commercial specula-\ntion as in our deluded society, and the theatre will hardly be other than\nthe changing and delusive reflection of the vices, the ignorance and the\nbasenesses of an epoch. But place in its centre the conscious soul with\nall Its powers, make the divine Psyche radiate at its glowing hearth,\nunfurl her wings.... and the theatre will be the mirror of the better life,\nthe educator of the people, the initiator which leads man across the\nforest of life and the mirages of dream to the summets of the highest\ntruths.\nThe existing theatre is the docile and passive image of surrounding"}, {"page_pdf": 11, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.11", "debut_caractere": 27, "fin_caractere_exclue": 2279, "texte": "society. The theatre of the future will remould man and society to its\nown image. For it will be the temple of the ideal, the ardent hearth of\nthe conscious, free and creative Soul;\nThis theatre was that of certain privileged epochs. It will exist again\nt\nmore potently, more consciously in the day when an elite shall understand\nits power and shall know how to put it into practise with the solid\nprotection of principles and of will.\nTHE THREE THEATRES.\nryhe Ideal Theatre, the theatre as educator of man and transfigurer\nof life, Hiave long studied in the past. When I wrote the history of\n44 les Grands Inities\" I saluted its origin In the sacred dances of India\nthrough the legend of Krischna. In writing 44 I'Histoire du Drame musical \"\nI have seen It expand beside the Acropolis in the Tragedy of Athens. In\nvisiting the 44 Sanctuaires de I'Orient \" I have even attempted, in spite\nof the Incredulous smile of the savants, the poetic reconstruction of the\nSacred Drama of Eleusis, religious counterpart and secret key of the\nTragic Drama.\nTo get a glimpse of, to understand, to bring once more to life in us\nthe most sublime dramatic manifestations of the past, is already In itself a\ndifficult matter; but to prophesy, in this age of crisis and unrest, what\nthe future theatre will be, that is far more difficult. &\nWill it be aristocratic or democratic? idealistic or realistic, individual\nor social? Will it be a learned dissection of our moral maladies or a free\nrepresentation of the eternal man? Will It be a pyschologist's surgical\noperation or a poet's ecstasy? To all these questions one can reply by a\nhundred hypotheses the one more ingenious than the other, but they will\nbe only hypotheses. One single man, in this century, has succeeded\nup to the present time in demonstrating what the theatre of the future may\nbe ; that is Richard Wagner. And he has done so not only In theory, but\nfirst in practise, with his sovereign genius of symphonist poet.\nIt is in vain when we talk of the future theatre. Each imagines it in\nhis own way and all these desires are very different one from another.\nNone of them, certainly, embraces the whole future, but it is none the\nless true that that future is bound to be the outcome of the whole sum"}, {"page_pdf": 12, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.12", "debut_caractere": 25, "fin_caractere_exclue": 2247, "texte": "of our divers aspirations and of the profound elaboration of the forces\nwhich move\n& I, for niy part, believe that the theatre of the future will be very\nvaried and very multiple, but that there will be three rprinclple forms\nwhich will be like three degrees of life, of consciousness and of\nbeauty. JZ?\n& There will be first of all the Popular Theatre, rural and provincial,\nwhich, descending towards the common people, will awaken its sleeping\nsoul through its best instincts and its most poetic traditions. That is the\ntheatre desired by Mlchelet; it is that which M. Maurice Pottecher,\nby a very noble initiative, is attempting to create today in the Vosges ;\nthat which Messieurs Le Franz and Le Goffic are attempting to restore\nin Brittany by once more acting in the Celtic language the old Breton\nMystery plays. &\n£? Then there will be the Theatre of the City, which 1 would like to\ncall a Theatre of Combat. It will study contemporary reality with the\npenetrating gaze of a keen observation and a profound sympathy. Of\nthis theatre Ibsen, Tolstoi, Hauptmann, Francois de Curel have already\nfurnished us with striking examples. &\n& Finally there will be that Theatre of the elite which for the sake of\nits essential medium one might call the Theatre of Dream,and which 1 call\nthe Theatre of the Soul on account of its inspiring element. JZ? JZ?\n/Z? It will evoke a superior humanity in the mirror of history, of legend\nand of symbol. That humanity will not be the less palpitating with life\nand truth because it is ideal. Shakespeare has uttered this profound\nword : \" we are such stuff as dreams are made of \". But one can turn his\nidea round and say, \" Our dreams are made of the blood of our life;\nthey are the respiration and the aspiration of our souls.\" &\nThis Theatre of Dream, this Theatre which will relate the supreme\nwork of the Soul in the legend of Humanity, will, I dare to say, be bold*\nly and profoundly religious. For it will attempt to unite the human to\nthe divine, to show in the terrestrial man a reflection and a sanction of\nthat transcendant world, of that Beyond in which we all believe under\ndifferent names, should it be but under the name of infinite sentiments\nand eternal ideas. & JZ? &"}, {"page_pdf": 13, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.13", "debut_caractere": 27, "fin_caractere_exclue": 2275, "texte": "JS? Have I any need to recall that this essentially idealistic theatre has\nbeen that of all the great creative periods? But each period must create\nit afresh according to its own requirements. Thus our unquiet age, with-\nout social ideal, without general faith, without an establlshd elite, as\nyet displays towards it but isolated endeavours, which, however, contain\nfertile seeds. Let us cite among them the \"Axel\" of Villlers del'lsle Adam,\nthe dramas of Josephin Peladan, the plays of Maurice Maeterlinck, of\nGabriel B'Annunzio and of Gabriel Trarieux. In all these men, however\ndiverse may be the nature of their talent, art, nobly human, seeks its\ntemple above the vulgar public, above corrupting fashion and debasing\ncommerce. & £> *& &\nThese lines set forth sufficiently my conception of the Theatre of the\nSoul, the function of psychic initiation and of social collocation that I\nattribute to it. I now come to my personal efforts.\n\"THE CHILDREN OF LUCIFER\" AND \"GUARDIAN SISTER\"\nln the historical setting of the IV century, at that period of the\ngreat struggle of Hellenism and Christianity which, by their impetuosity\nof soul, they burst through and pass beyond, the \" Children of Luci-\nfer \" aspire to an idea! of Man and of Woman which neither History,\nnor Legend nor Poetry has as yet realised.... that of .\nChristian soul, and their fusion Is effected by the miracle of love. That\nwhich brings them together and unites them is perfect love, absolute,\nat the same time human and divine, passionate and spiritual, love the\nfruitful, love the saviour and creator. Each abandons self and each finds\n%\nlife again in the other in such wise that they no longer form but one\nsingle being yvhose power the magnetic poles augment a hundredfold.\nPhosphoros becomes the conscience of Cleonice and Cleonice becomes the\nsoul of Phosphoros. That Is why the free couple is a liberating power.\nThat is why it sheds around it a new life and gives birth, without\nIntending It, to a new religion. The free city is born of Its radiance.\n... But, in the world where it is born, such a couple cannot long triumph.\nIt is destined to succumb in its audacious struggle against Caesar and\nthe Church, it can only confirm its victory by its death. Thus only will"}, {"page_pdf": 14, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.14", "debut_caractere": 25, "fin_caractere_exclue": 2414, "texte": "it bequeath to men the testament of its faith under the sign of Lucifer.\n& Lucifer, genius of Science, of Liberty and of human Individuality, is\nthe implacable enemy of the Church under its present form, but he is\nnot the adversary of Christ, although he develops himself in contrary\ndirection ; he is his complement. For he is a point where the man who\nwishes to become god coincides with the god become man; it is the very\npoint where Science becomes Wisdom bv merging itself in Love.\nIn its Breton frame, 44The Guardian Sister \" attempts an entirely\nmodern personification of the Celtic Soul, keen-sighted and prophetic. It\nappears here at the portentous date of 1789, when the modern man\nissues forth from the man of the ancient regime under the storm of the\nRevolution, with his infinite desire for liberty and for virgin lands to\nconquer. This mysterious and divine sister has a formidable destiny.\nInspiring genius of her brother, she excites in him a fatal passion and\nis only understood by him through her sacrifice and her death.\n-6? I said in the Preface of my 44 Grandes Legendes de France \" : \" The\nCeltic Soul is the inner and profound Soul of France.... Impassioned\nDruidess or sublime seer, it is in our history the glorious vanquished\none who always springs up again from her defeats, the great Sieeper who\nalways reawakens from her century-long sleeps. Crushed by the Latin\ngenius, oppressed by the Frankish power, pierced through and through\nwith irony by the Gaulish wit, the ancient prophetess does not the\nless issue forth from age to age from her resounding forest. She reap-\npears, ever yonng, and crowned with green branches. Her profound\nlethargies announce her most giorious awakenings. For the soul is the\ndivine part, the inspiring centre of man. And, like men, nations have\na soul come from on high. Let it grow dim and die away, the people\ndegenerates and dies; let it brighten and shine with full light, and\nthe nation wii! accomplish its mission In the world. Now, for a man or\na people to fulfil their whole mission it is necessary for their soul to\narrive at the plenitude of its consciousness, at the entire possession\nof itself \". jg?\nThis truth, which dominates our history, manifests itself dramatically\nin the adventure of 44 The Guardian Sister By her love, the clear-sighted\nLuciie awakens In her brother the consciousness of a divine ideal. By ln"}, {"page_pdf": 15, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.15", "debut_caractere": 25, "fin_caractere_exclue": 1983, "texte": "her example arouses in the instinctive and passionate Fulgence a\nwifely soul. By her sacrifice and her voluntary death she puts an end\nto the passionate conflict which tortures them all three. Thus the\nloving spirit which sacrifices itself, gives to the ennobled couple the\nstrength to accomplish their duty of struggle. Double magic, double\nredemption, divine and terrestrial. Lucile draws Maurice to the heights\nof her soul; Maurice draws Fulgence to his intellectual height. The\ncurtain fallen, the dead sister Nvil! continue to hover over the living\nhusband and wife, invisible but every where present, like the fairy\nMorgane over the marvellous fountain.^\n£? Sombre destiny of a soul of light!.... And is our own less so, ail we\nwho seek the Idea! through the Initiating Drama? &\nJ£? At the present time all the truly Idealistic efforts have in them\nsomething tragic. Those who venture them must submit to be branded\nby the ruling Powers with the stigma of reprobation. They will be\nexcommunicated alike by the atheistic materialism and the clerical\nnarrowness. But let us have no anxiety about that. The essential in\nthis world is not to succeed, it is to have a lofty determination. If we\ncannot be joyous reapers, let us be confident and bold £?\n«£? In truth I do not know if the two dramas which I offer to the reader\nas the supreme effort of my thought and of tny art are of a grain\nsufficiently solid and a form sufficiently strong to assist one day in the\nconstruction of this initiating theatre, where the divine Psyche would\nspeak with her human voice, and which I call The Theatre of the Soul.\nHaving fashioned my work with the hands ot a solitary workman, but\nof one faithful to his ideal, 1 simply lay it as a stepping stone on the\nway which we must all tread. As milestone upon the road to a future\ntemple, or freestone to serve in its foundation, ....it matters not ....it is\na duty accomplished and an act of faith in Art, the Liberator.^"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c008", "article_bluemountain": "bmtnaau_1912-01_01#c008", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "181", "image_debut": 16, "image_fin": 17, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.6", "titre_corps": "THE ARTIST AND NATURE : An Extract translated from the Conversations of Goethe as recorded by Eckermann", "titre_sommaire": "THE ARTIST AND NATURE : An Extract translated from the Conversations of Goethe as recorded by Eckermann", "signature_source": "Eckermann", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 2185, "texte": "THE ARTIST AND NATURE, An Extract\ntranslated from the Conversations of Goethe\nas recorded\nby Eckermann. 1822-1832\nTPhe artist stands in a double relationship to nature; he is at the same\ntime her master and her slave. He is her slave in the sense that he\nmust work with earthly means to be understood; he is her master in the\nsense that he submits and subjects these earthly means to his lofty\nintentions. The artist wishes to speak to the world by a complete\nwhole, but this complete whole is not found in nature ; it is the fruit\nof his own spirit, or, if you like, his spirit is fertilized by the inspi*\nration of a divine breath\".\n44 If we only cast a casual glance upon this picture (of Rubens) all\nseems to us so natural that we believe it to be simply copied from\nnature. But it is not so. So beautiful a picture has never been seen in\nnature, any more than has a landscape of Poussin or Claude Lorraine\nwhich seems to us very natural but which we seek in vain In\nreality \".\n44 Are such bold traits of artistic fiction, analogous to this double\nlight of Rubens, found also in literature ? \" I asked. £>\n44 Oh, there is no need to go far \", replied Goethe after a moment's\nthought. 44 1 could show them to you by dozens in Shakespeare. Take\nonly 44 Macbeth \". When Lady Macbeth wishes to rouse her husband to\naction she says, \"I have given suck \". etc. & &\nWhether that be true or not matters little; Lady Macbeth speaks thus\nand ought to speak thus to augment the effect of her speech ; but, in\nthe course of the play, Macduff, when he learns the disaster of his own\nfamily, cries, in his violent fury, 44 he has no children \". These words\nare in contradiction to those of Lady Macbeth. Shakespeare has not\ntroubled himself about it. He seeks but to give to each speech its full\nforce, and just as Lady Macbeth, to give full effect to her words, ought\nto say, 44 1 have given suck to his children \", Macduff for the same\nreason ought to say, 44 he has no children\n& 44 In general it is not with so much precision and minuteness that\n1\none should examine the touches of a painter or the words of a poet; if\nthe work of art is the outcome of a free and bold spirit it is essential"}, {"page_pdf": 17, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.17", "debut_caractere": 23, "fin_caractere_exclue": 1459, "texte": "for it contemplation, for its enjoyment, to have so far as possible a\nspirit equally free and bold. Thus from those words of Macbeth, 44 Bring\nforth men-children only \" it would be foolish to wish to conclude that\nLady Macbeth is a young woman who has not yet had children. And it\nwould be also foolish to wish to go further and require that Lady\nMacbeth should be represented on the stage as a quite young\nperson. ■£?\n\"Shakespeare does not at all put those words in the mouth of Macbeth\nto indicate the youth of Lady Macbeth ; these words, as those of Lady\nMacbeth and Macduff which 1 have already cited, are only there for an\noratorical reason, and they prove nothing unless It be that the poet\nalways causes his characters to say that which, In each situation, is tl\\p\nmost right, the most suitable, and capable of producing the most effect\nwithout worrying himself and calculating whether these words .would\nnot perhaps be a contradiction of some other\n« Moreover Shakespeare hardly thought that each letter of his plays\nwould be one day counted, compared aad set one against each other ;\nwhen he wrote, he had the scene before his eyes, he considered\nhis pieces as works endowed with a movement, and life which pass\nrapidly before the eyes and Into the ears of a spectator placed before a\nscene; works that one cannot stop and measure in detail, and in which\nthe only thing is to produce always a fine effect at the present\nmoment."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c009", "article_bluemountain": "bmtnaau_1912-01_01#c009", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 17, "image_fin": 17, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.7", "titre_corps": "THE ARTIST AND INSPIRATION", "titre_sommaire": "THE ARTIST AND INSPIRATION", "signature_source": "William Blake", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.17", "debut_caractere": 1461, "fin_caractere_exclue": 1757, "texte": "THE ARTIST AND INSPIRATION.\nWilliam Blake\nnphe man who on examining his own mind finds nothing of inspiration\nought not to dare to be an artist: he is a fool, and a cunning knave\nsuited to the purposes of evil demons. The man who never in his mind\nand thought travelled to heaven, is no artist. &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c010", "article_bluemountain": "bmtnaau_1912-01_01#c010", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 17, "image_fin": 17, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.8", "titre_corps": "A WORD ABOUT IMAGINATION", "titre_sommaire": "A WORD ABOUT IMAGINATION", "signature_source": "William Blake", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.17", "debut_caractere": 1759, "fin_caractere_exclue": 1916, "texte": "A WORD ABOUT IMAGINATION.\nWilliam Blake.\nA [J forms are perfect in the poet's mind : but these are not abstracted\nor from nature ; they are from imagination."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c011", "article_bluemountain": "bmtnaau_1912-01_01#c011", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 18, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.9", "titre_corps": "HISTORY REPEATS ITSELF", "titre_sommaire": "HISTORY REPEATS ITSELF", "signature_source": "Allen Carric ; William Blake", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 1841, "texte": "HISTORY REPEATS ITSELF\nby Allen Carrie.\nWilliam Blake.\n'V'Zre lavish praise I have received from all quarters for inven,\n\" Hon and drawing has generally been accompanied by this:' fie\n\" can conceive but he cannot execute'. This absurd assertion has\n\" done, and may still do me, the greatest harm.\nhus wrote William Blake, but we have taken care that the\nabsurd assertion shall do him no harm at zz? £/\nz& What harm could he fear? At the worst it could only prevent\npeople from buying his pictures and engravings. It did that. And now\nyou cannot purchase a picture by William Blake except for what is cal=\nled a fabuious price. zZ? zz? jZ? g?\nThe folly of those who pillory themselves by their own ignorance is one\nwhich it is to be sincerely hoped will never grow less &\nWe cannot destroy the pests;... they must be left to do themselves\nto death in the most ignominious way imaginable. £> jZ?\n& Anyone who says of another that he can conceive but cannot execute\nis an ass, and rather a satanic ass into the bargain.\nz& For an art work is not possible to be conceived unless it be executed\nat the same time. 1 here is no such tiling as succeeding in the conception\nand failing in the execution of a work of art. jZ? <£? j£? zZf\nAnd then remember that what the sllly=billies call \"conception\" is\nabout as unlike the real thing as Is that which they call\nIn both cases they mean something as smug as their own point of view,\nas smooth as their weary conscience and as tidy as their last remains of\nhair. zz? jg? £)\nTWO SAYINGS BY OSCAR WILDE.\nJ ife imitates Art Schopenhauer has analysed the pessimism that\ncharacterises modern thought, but Hamlet invented it. The world has\nbecome sad because a puppet was once melancholy.\" jgr\n''phe man who sees both sides of a question is a man who sees\nabsolutely nothing at all. \" zZ/ & & &\n** Intentions"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c013", "article_bluemountain": "bmtnaau_1912-01_01#c013", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "184", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.10", "titre_corps": "THE NEW CENSOR : A Note", "titre_sommaire": "THE NEW CENSOR : A Note", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 2047, "texte": "THE NEW CENSOR, A Note\nby John Semar.\nt is a good thing that the Censorship has been strengthened\nby adding a new name to the post without removing Mr\nRedford. JZ &&&&■&\nOne supposes that Mr Brookfield will do what Mr\nRedford could hardly attend to alone. JZ JZ\nMr Redford thought that the undressed lady in Mona\nVanna was in doubtful taste and so he stopped the perfor-\nmance. One hopes that Mr Brookfield will stop the other\nundressed advertisements. \" Kismet\" should never have passed the\nCensor till the passage where the nude lady enters the bath was cut\nout. \" Sunmrun \" should have been cut considerably. ....1 presume that\nDumb Show can be cut? \"The Dawn of Love\" should never have been\nshown at all. \" Scheherazade \" should have been kept for harems In the\nEast, where its western licence would have appalled the eastern mind.\nAll these plays, and ballets and wordless spectacles should have been\nruthlessly dealt with by ordering the exclusion of the naughty parts.\nExclude these parts and the plays would in all likelihood have\nto attract. &\n& Nowadays it seems that there is a receipt for making any stage show\na success,.... which is, simply, to take off some clothes. ■£? &\n/? it is quite silly, for the taking off of clothes is not in any way connected\nwith a work of art, nor is it a guarantee of an intelligence which is\neither ordinary or extraordinary. It is just a cheap way of catching a\nsilly public, and it is of considerable harm to that public as well as to\nthe Theatre, and the Censor will be highly reprehensible if he does not\nstop it in future.\nAll good wishes to him and his difficult taste: but tet him act\nquickly and act thoroughly, or his present friends will begin to lose\nfaith in him. &\nJZ? Mr Brookfield, who has joined Mr Redford, has lately written an article\non modern plays which is full of admirable points. Why then does he\nwrite plays which are full of risky ones?\nMr Brookfield is a witty man and a man' of culture, and will possibly\nreply that & little harmless ribaldry is of no account, but that he"}, {"page_pdf": 20, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.20", "debut_caractere": 17, "fin_caractere_exclue": 277, "texte": "objects to serious immorality. Where, then, does he differ from anyone\nelse ? j0 jg? jg/ jg}\n& But whatever we all think, and wherever we differ and however \\Ve\nsquabble, do let these naked ladies and men be covered up,... and then\nlet us get on with our work."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c016", "article_bluemountain": "bmtnaau_1912-01_01#c016", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "184", "page_fin": "184", "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=bmtnaau191201-01.2.11", "titre_corps": "A WORD ABOUT THE STAGE", "titre_sommaire": "A WORD ABOUT THE STAGE", "signature_source": "Heine", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.20", "debut_caractere": 279, "fin_caractere_exclue": 1578, "texte": "A WORD ABOUT THE STAGE.\nHeine, The French Stage.\n'jphe stage certainly is never a commonplace reproduction of life, and it\nshouJd show this in a certain dignified ennobling (of it), manifesting\nitself, if not in the measure of words and of delivery, at least in the\nfundamental tone (Grundton), in the deeply felt solemnity of a piece, (i)\nFor the theatre is another world, apart from our own, as the stage Is\nfrom the pit. Between the theatre and reality lie the orchestra, the music.\nand the dividing line of footlights on the front. Reality, after having\ncrossed the realm of music and the Impressive row of lights, stands before\nus on the stage transfigured and revealed as poetry. The charming euphony\nof the music rings from her in dying echoes, and she is illumined as in\na fairy vision by the mysterious lamps. It is all a magic sound and a\nmagic gleam, which readily seem to a prosaic public to be unnatural;\nand yet are far more natural than ordinary nature, for it is nature ele-\nvated by art to its fairest divinity & js\n(I) \"Feierlichkeit\", though defined as '« solemnity \" does not convey the idea of seriousness allied to melan-\ncholy, but that which is peculiar to celebrations and dignified ceremonies. It rather implies, on the contrary\nan exalted sense of joyousness in festivity,"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c018", "article_bluemountain": "bmtnaau_1912-01_01#c018", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "186", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.12", "titre_corps": "THE OLD MASTERS : A Dialogue (I) between Allen Carric and Felix Urban", "titre_sommaire": "THE OLD MASTERS : A Dialogue (I) between Allen Carric and Felix Urban", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 2150, "texte": "THE OLD MASTERS. A Dialogue (I) between\nAllen Carrie and Felix Urban.\nj& Carrie. £> It would be awful to become too serious about the old\nmasters.\n& Urban. It would; that is just what I always think myself.\nCarrie. & It gives the wrong impression. Don't you think so?\nUrban. Yes, It does indeed.\nCarrie. & Shall we speak gaily about them ? That would better !\nUrban. We will. But to-day I shall leave most of the talking to you !\nCarrie. Right! Then listen to me. The \"old masters \" never were\nold masters because it is Impossible to be a master and to be old at the\nsame time. The Academicians of London may be as old as you like,...even\nyou ,Urban, may be 01d,... how many times have you not been called\n\"dear old Urban\" by your venerable friends?... but masters are masters\nprecisely because they are always very young.\nIt is one of the troublesome things about the Theatre that, save for\nrare exceptions, it always encourages its aged to discreet acts of caution.\nThe Theatre feels that youth is rash and that rashness opens doors which\nlead somewhere, and \"somewhere\" does not interest the Theatre. The\nTheatre and only the Theatre interests the Theatre. As proof of this an\nawful revolution occurs regularly whenever any youthful spirit such as\nMackiln, Talma or Schroeder introduces a more natural mode of speak\ning, moving or costuming. It immediately creates a revolution. &\n& Urban✓lS that.... ? & &\nCarrie. Mackin created such a revolution in 1741. The actors told\nhim he would be hissed off the stage for his impertinent innovation.\nTalma tells us that the actors thought he was \"introducing a red cap \"\nwhen he spoke of \"innovation so necessary to art\", and Schroeder who\nby energy and art insight had, out of his Hamburg actors, created the best\nCompany in Germany, was driven to resign by the opposition and dis-\ncontent and indifference which he met with both among his actors and\nfrom the public.\nAll these men dared to do was to open a casement or two to let in\na little breath of nature. But open a d00r... a whole d00r.... and every\n\n<1) Which, with apologies to Mr Urban, I must con'ess has proved to be almost a monologue! A. C."}, {"page_pdf": 22, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.22", "debut_caractere": 9, "fin_caractere_exclue": 2134, "texte": "one is blown off his feet. Fresh air kills artificiality.\nOr take an actor to the National Gallery or to the Louvre and he is\nbored. Show an actor a book of engravings by the Masters and he turns\nthe pages over rapidly and closes the book. Why ? & &\nUrban. & Why, indeed ? I have often wondered the same thing myself.\n& Carrie. It is because he has no enjoyment of beautiful things, no\npassionate love for the work of the men In the fine arts : because neither\nnature nof art moves him, but only the \" theatrical \" moves him. And he\ndoes not know how much he loses by this apathy. You and I, Urban, have\noften written about the old Engravers and have pointed out how valuable\nthe study of their work is to the Theatre men, haven't we ? &\nUrban. & We have, we.... &\n4? Carrie. Let, me for once interrupt you ; let me show you this new\nbook of engravings, reproductions ; (i) and what reproductions I every line\nsharply defined, it has just come outs and when I received it I longed\nto be rich enough to send a copy to every man In the Theatre of England.\nNot for the sake of the archeological part of it; not for the sake of its\nuse and value as a \" crib but because of the sincerity of tlFe designers,\nbecause of their cunning and because of the beautiful &\nOne thinks at times that if one could show an actor many lovelv\nworks of art he would gradually realise what the aim of those artists\nwas and would commence to ponder the ways and means to a similar aim.\nBut no: William Heinemann has issued this book at two shillings and\nsixpence; has taken the greatest pains to produce a fine piece of work(2)\nfor a mere song, and yet our people refuse to seize the opportunity of\nimproving their sense of perception of what is fine in art, preferring a\ncopy of the Christmas number of some illustrated paper.... Have you\nanything to add ? And do you not agree with me ?\n& Urban. & My dear fellow, nothing to add, and agreement with\nevery word.\n(They go out.)\n\n(I J Anarea Mantegna, One of the \"Great Eng avers series now being published by Mr Heinemaun.\n2) Through the courtesy of Mr Heitiemaun we reproduce two of the engravings."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c019", "article_bluemountain": "bmtnaau_1912-01_01#c019", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "189", "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=bmtnaau191201-01.2.13", "titre_corps": "PANTOMIME AND THE POETIC DRAMA", "titre_sommaire": "PANTOMIME AND THE POETIC DRAMA", "signature_source": "Arthur Symons", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2096, "texte": "PANTOMIME AND THE POETIC DRAMA\nby Arthur Symons with a Note by\nGordon Craig\n(0\nt might be contended that in the art of the theatre an ab-\nsolute criticism can admit nothing between pantomime\nand the poetic drama. In these two extremes, drama in\noutline and drama elaborated to the final point, the\nappeal is to the primary emotions, and with an economy\nand luxuriance of means, each of which is In its own way inimitable. It\nis an error to believe that pantomime is merely away of doing without\nwords, that it is merely the equivalent of words. Pantomime is thinking\n, overheard. It begins and ends before words have formed themselves, in\na deepen consciousness than that of speech. And it addresses itself, by\nthe artful limitations of its craft, to universal human experience,\nknowing that the moment it departs from those broad lines It will\nbecome unintelligible. It risks existence on its own perfection, as the\nrope=dancer does, to whom a false step means downfall. And it appeals,\nperhaps a little too democratically, to people of all nations. Becoming\naristocratic, getting sheer through the accidents of life without staying\nby the way In the manner of the realistic drama, it adds the beauty of\nprimary emotions, and is the poetic drama. Between lie the non-essentials,\na kind of waste. &\nAll drama, until one comes to the poetic drama, is an Imitation of\nlife, as a photograph is an imitation of life ; and for this reason it can\nhave, at the best, but a secondary kind of imaginative existence, the\nappeal of the mere copy. To the poetic drama nature no longer exists ;\nor rather, nature becomes, as it has been truly said nature should become\nto the painter, a dictionary. Here is choice, selection, combination : the\nsupreme interference of beauty. Pantomime, in its limited way, is again\nno mere imitation of nature : it is a transposition, as an etching tran-\nsposes a picture. It observes nature in order that it may create a new\nform for itself, a form which, in its enigmatic silence, appeals straight\n\n(1) Reprinted by permiision of the Author from il Studies in Seven Arts. \""}, {"page_pdf": 24, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.24", "debut_caractere": 32, "fin_caractere_exclue": 2220, "texte": "to the intellect for its comprehension, and, like ballet, to the intellect\nthrough the eyes.\nAnd pantomime has that mystery which Is one of the requirements\nof true art. To watch it Is like dreaming. How silently, in dreams, one\ngathers the unheard sound of words from the lips that do but make\npretence of saying them ! And does not every one know that terrifying\nimpossibility of speaking which fastens one to the ground for the eternity\nof a second, in what is the new, perhaps truer, computation of time in\ndreams ? Something like that sense of suspense seems to hang over the\nsilent actors in pantomime, giving them a nervous exaltation which has\nits subtle, immediate effect upon us, In tragic or comic situation. The\n•\nsilence becomes an atmosphere, and with a very curious power of giving\ndistinction to form and motion. jZ? sZ? *z? z? &\nI do not see why people should ever break silence on the stage except\nto speak poetry. Here, in pantomime, you have a gracious, expressive\nsiSence, beauty of gesture, a perfectly discreet appeal to the emotions, a\ntransposition of the world into an elegant, accepted convention: in a\nword, ali the outlines of the picture. Poetry comes, not only looking\nbeautiful, not only excluding what should not be there, but saying beau-\ntiful things, the only things worth saying when once words begin to be\nused, not for their mere utility (the ordering of dinner, a bargain, the\narrangement of one's affairs), but for their beauty in a form of art.\nHere is the picture completed, awaiting only, for its ideal presentment,\nthe interpretative accompaniment of music, which Wagner will give it,\nin what is so far the most complete form of art yet realised.\nA NOTE ON THE PRECEDING ESSAY.\n11 great Drama moves in silence. Events of the greatest mag-\nnitude and significance pass in silence; there is nothing to\nbe said. JZ? jZ? jZ? jZ? &\nThere were no words wasted in the creation of the universe\nneither can words create so much as a sparrow. 0\n& AH nature is silent when it acts, and speech cannot take the place\nof action. How it is that speech has usurped the place of action i«\nStage-Drama is for the present age to discover, and then it is possible"}, {"page_pdf": 25, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.25", "debut_caractere": 32, "fin_caractere_exclue": 2140, "texte": "that the present age will replace action on its stage-throne and that\nthat throne will be remade and replaced In Its temple. & &\nA mistake is made when it is supposed that action is unable to be\nsignificant unless words (and beautiful words) are added to it.^\nAction by itself is so capable of hinting at the profoundest acts even\nas words are capable of stating them, JZ? £? JO\nBut if words are not used merely to state facts why make use of words\nat all ?\nWould it not be doing better to remain silent and let acts speak for\nthemselves? For acts will never do more than suggest what the actor desires\nand feels, so free are they of all tyranny, and therein is acting a finer\nart,...if art it be,.... than the art of writing; for the word admits of\nargument, and, where argument is possible between the creator, the seer\nand the on=looker, the tyranny of interruption '\"and of broken rhythm\nthreatens us all and the strength of the Oracle is made ridiculous: where-\nas action, though final, is open to such an infinite variety of interpretations\nthat relationship betwixt the interpreters need never be strained nor\nharmony destroyed. &\nPerfect pantomime is therefore in a position of dealing more capably\nwith spiritual moods than can that which today is known as poetic drama,\nfor pantomime makes no statements but those which can be interpreted\naccording to each man's heart's\nThese are a few of the thoughts which Mr Symons's noble essay calls\nforth. It is an essay which in my opinion will do more to help us to\nunderstand the lost art of the stage than that by any writer of modern\ntimes. There are perfect passages in it which should be treasured by each\nactor on the round earth, ...and if words were always Drama \"for\ntheir beauty \" and \" not for their mere utility\" there would be no\nfear that the ugliness of interruption would ever mar or spoil our\nhappiness.\n£? But even with so great a writer as Shakespeare words are used for\ntheir mere utility ;... they aim at teaching us one and all the same lesson;\nand so it must be that ultimately words will be silenced in the purest\nform of Drama.£> &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c022", "article_bluemountain": "bmtnaau_1912-01_01#c022", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "190", "page_fin": "190", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.14", "titre_corps": "THE POET, An Unpublished Story", "titre_sommaire": "THE POET, An Unpublished Story", "signature_source": "Oscar Wilde", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 2179, "texte": "THE POET, An Unpublished Story\nby Oscar Wilde.\nThis story was told by Wilde to Miss Aimee Lowther when a child\nand written out by her. A few copies were privately printed, but\nthis is the first time it has been given to the public. 0 &\nOther stories of the same series will appear in future numbers\nof\" The Mask. '' 0 0 0 0 0\nTphe poet lived in the country amongst the meadows and the woods*\nbut every morning he went into the great city which lay many miles\naway over the hills in the blue mist. And every evening he used to\nreturn. And in the dusky twilight the children and the people would\ngather round him whilst he told them of all the wonderful things that\nhe had seen that day in the woods, and by the river, and on the hill-\ntops. He would tell them of how the little brown fauns peeped out at\nhim from among the green leaves in the woodland. 000\n0 He would tell them of the green-haired nerelds who had risen out\nof the glassy lake, singing to him on their harps. 000\n0 He would tell them also about the great centaur who met him on the\nhill-top, and had gallopped .off laughing in a cloud of dust.\n0 These, and many more wonderful things, did the poet tell the children\nand the people as they clustered round him every evening whilst the\nshadows grew thick and the grey twilight fell. 0 0 0\n0 He told them marvellous tales of the wondrous things which his mind\nhad created, for he was filled with beautiful fancies. 0? 0 0\n0 But one day, the poet returning from the great city through the wood,\nreally did see the little brown fauns peering at him through the green\nleaves. And when he came to the lake the green-haired nereids did\nindeed rise from the glassy water and sang to him on their harps. And\nwhen he reached the hill-top a great centaur went gallopping off in a\ncloud of dust and laughed. 000000\n0 On that evening when the people and the children gathered round\nhim in the dim twilight to hear of all the wonderful things he had seen\nthat day, the poet said to them :.... \" 1 have nothing to tell you to-day,\n1 have seen nothing \" ; for on that day, for the first time in his life, he\nad seen reality, and to a poet, fancy is reality, and reality is nothing."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c023", "article_bluemountain": "bmtnaau_1912-01_01#c023", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "191", "page_fin": "196", "image_debut": 27, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.15", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 2230, "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS\nby E. W. Godw.\nRICHARD \\\\\\. &\n'-p HIS play takes up the history of the House of York in the summer\nof 1471 (the corse of Henry VI. not yet having been Interred) and\nfinishes with the battle of Bosworth, August 22, 1485. Clarence was\nfound dead in the Tower, February JB, 1478, having been committed only\na month (January 16) before this. His brother, the Duke of Gloucester,\nhad quarrelled with him about the Warwick estates as far back as 1473t\nand very much against the wish of Clarence had married the Princess\nAnne, Warwick's second daughter, and sister-in-law to Clarence. Now, in\nthe drama, Clarence is committed to the Tower, follows the\nburial of the late King and the beginning of Richard's \"courtship, and\nthe first Act finishes with the death of Clarence. It is tolerably manifest\nthat the action in this Act was only intended to cover the month which\nelapsed from the committal to the death of Richard's unfortunate brother\nfor these two events meet us, one at the beginning, the other at the\nend, of the Act. In the short interval between them Henry VI. is buried\nand Richard does not marry \" the lady Anne. \" Surely Macbeth is quite\nas good history as this. The second Act begins on or about April 8, and\nends Ma y2 or 3, 1483. The third Act begins May 4» and ends June 26,\n1483. In both Acts the dramatic events are unfolded in true historical\nsequence. The year 1483 still follows us to the end of the first Scene of\nthe fifth Act; then comes a break of nearly two years, and the rest of\nthe Act belongs to the latter end of August 1485. Buckingham was\nbeheaded at Salisbury November 1, 1483. and his ghost is one of the\nparty who disturb Richard on the night before the battle of Bosworth.\nThe taking of Buckingham on the (stage) field of battle, and the\nline\nOff with his head!-So much for Buckingham I\nwhich is always sure to bring down a round of applause, are not\nShakespere's but the invention of later times, when historical blunders\nwere less to, be excused than in Elizabeth's reign. It is hardly necessary\nto add that the character of Richard 111., as exhibited in the play, is as\nfar from the truth as the arrangement of events in the first Act. To an"}, {"page_pdf": 28, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.28", "debut_caractere": 14, "fin_caractere_exclue": 2119, "texte": "unknown writer In the reign of Henry VII., Bacon, More and Shakspere\nwere indebted for their colours, and they certainly were not niggardly\nIn the use of the material so borrowed. As, however, it is no part of my\nprogramme to defend historical characters which have been vilified... a\ntask that happily, owing to modern research, would not be very difficult...\nwe will pass on to the consideration of the architectural scenes.\nWith the exception of Act 5, and the third Scene of the third Act,\nall the Scenes are laid in London, and more than this, every Scene in the\nplay, with the exception of the last three of the last Act, is architectural.\nTaking the exceptions first, we have\nPomfret. - Before the castle (Act ill. Scene 3).\nSalisbury. - An open place (Act v. Scene 1).\nWe have then left nineteen Scenes in London and Westminster, which\nmay be divided as follows : -\nA street i . 5\nCourtyards or open places . . 5\nInterior of the Palace ... 6\nDitto Tower ... 3\nDitto of Lord Stanley's house . 1\nOf the streets, we may remark that one (Act i. Scene 1) must lead\nto the Tower from Westminster ; another (Act i. Scene 3) from St Paul's\nto Chertsey; another (Act iii. Scene 1) must be in a\ndirection; that which forms the third Scene of the second Act would\nmost naturally be placed in the heart of the city; and the sixth Scene\nof the third Act might be the same, or it might very well come into\nthe seventh Scene, the court of Baynard's castle. The street architecture\nof our English cities in the time of which I write was passing through\nthose later phases that helped to bring about the ruin of northern art.\nHouses were built higher than ever, storey overhung storey until the\ngables were oftentimes within handshake distance; light and air\nwere excluded in a measure we In these days can hardly realise. The\ngrowth of the population, the continued desire men still had to huddle\ntogether within the (doubtful) protection of crenellated walls, the\nlingering faith in city gates-(even yet hanging in rags and tatters about\nTemple Bar)-were the first weaknesses of a transition (and all transitions"}, {"page_pdf": 29, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.29", "debut_caractere": 14, "fin_caractere_exclue": 2333, "texte": "have their special weaknesses) which was to culminate two centuries\nlater in every conceivable plague of which that of the body was probably\nthe least. London of to-day is no place for us to learn of the London of\nthe fifteenth century. To do this we must turn to cities and towns like\nBristol, Chester, and Shrewsbury, and turn there soon, or their con-\nsiderate and learned authorities will have so erased and interlined the\n%\npage that we shall learn nothing.\nThe five courtyards or open places are\ni; Before Lord Hastings' house (Act iii. Sc.\n2. and 3. Before the Tower walis (Act iii. Sc. 5)\n4. Courtyard of Baynard's Castle (Act iii. Sc. 7).\n5. Before the King's Palace (Act iv. Sc. 4).\nOf Lord Hastings' house nothing remains, and no illustration of it\nexists that 1 have yet seen of sufficient authority to guide us.\nThe Tower walls and gateway would be in much the same condition\nas they were in when 1 last referred to them, (1) except that within the\nwalls, and rising above them, might be seen the roofs of a few more\nbuildings, with their picturesque lines of gables framed in wood and\nfilled in with plaster. Baynard's Castle stood in Thames Street, and one\npile of the building stood on the very edge of the river. It was built by\nHumphrey, Duke of Gloucester, and had a half-and-half look about it,\nneither castle nor manor-house, but a look with an air of \" the seven\ngables \" in it, solemnified here and there by a strong turret of castle-\nlike complexion. The main building was four storeys high, and the\nwindows were small enough to show that its builder thought more of\nsafety than of outlook. The fourth Scene of the fourth Act, \" before the\nPalace \", should b4 an outer quadrangle or court-yard of the King's\npalace. The course of the action shows that Richard has joined his train\nin an inner court, from which he passes through a second or outer\ncourt wherein the two Queens and the Duchess of York have met to\nintercept him in his expedition. I take it that this outer palace would\nhave some air of privacy about it, that it would be a quadrangle and\nnot a street, or the Broad Sanctuary even, for it would be scarcely\nprobable that queens and duchesses would sit on the ground of a public\n\n(1). In an article on the play of King Henry VI whiefa will be reprinted in The Mask at a future date."}, {"page_pdf": 30, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.30", "debut_caractere": 14, "fin_caractere_exclue": 2315, "texte": "place or highway. Such a quadrangle would show an archway leading\n(under a low tower, perhaps) to an inner court, whence the sound of\nthe royal trumpet is first heard. The buildings might be in one or more\nstyles provided there was nothing later than 1483. and this gives such\na wide scope to the scenic artist that to go wrong is hardly possible\n*\nexcept of malice aforethought. Of the six scenes devoted to the interior\nof the palace, one is evidently intended to be distinct from the rest. A\nroom of state must be provided for the second Scene of the fourth Act,\nbut the third of the first and fourth, and the first, second, and fourth of\nthe second Acts may be represented by the common hall, or any other\nroom which, like this, would be easy of access to everyone. The stage\ndirection makes the third Scene of the fourth Act 44 the same \" as the\nsecond, but it is scarcely likely that Richard would appoint a meeting\nwith Tyrrel in this room, for here, when the state business was over,\nthe servants would be busied in taking down the dossals and hangings,\nor, in other words, dismantling the chamber until its upholstery was re-\nquired for another ceremony. & JZ?\nOf the two Scenes in the Tower, one must be a hall or council\nchamber, the other a prison, like that 3 have already had occasion to\nnotice. &\nThe room in Lord Stanley's house must be purely conjectural.\nBut of this, as of all other rooms, 1 may remark that in 1483 the latest\nstyle of Mediaeval architecture, which we commonly call Perpendicular,\nhaving been practised for more than a century, men of position, fashion\nor wealth had had plenty of time to reconstruct or add to their houses\nin the style of their age. We are happily still rich in examples of this\nstyle, and to those who cannot afford to examine them for themselves,\nthe late Mr. Pugin's works are full of carefuliy-measured drawings that\nwill supply everything that is necessary in the shape of architectural\ndetail. jg/\nNevertheless, in this play, as in most, the mere archaeologist is\nnot all that is wanted. There must be joined to the antiquarian know-\nledge more or less of the architects' skill in composition or design; for\nalthough every detail of a scene may by itself be correct, it may so\nhappen that in the aggregate the individual bits of even careful"}, {"page_pdf": 31, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.31", "debut_caractere": 14, "fin_caractere_exclue": 2265, "texte": "archaeological research may be dominated by the absurdity of the general\nconstruction.\nAh, cut my lace asunder!\nThat my pent heart may have some scope to beat.\n£? These words at once suggest to us one invention of the reign of\nRichard 111, viz., the laced stomacher worn by men and women. With\nthis exception there was very little change in costume from that described\nin my last article. Armour continued to be exaggerated about the\nshoulders, elbows, and knees, until these jointpieces attained a kind of\n»\nfan-shape, which, combined with the laminated plates, gave to a fashio-\nnably armed knight more the appearance of a double-tailed dragon than\na man. Richard and others at Bosworth wore over their armour the\ntabard of arms mentioned in my last, and the King and Buckingham\nwere at all times finely decked. The embroidered pattern of this time\nwas that composed of what was called 44 the nett and pyne apple, \" a\nvery long-lived one. For the head, men used hats of estate, the rolls\n* T\nbehind and the beeks (peeks) before; little round caps or bonnets\n(bonets), with fur edging and a feather, something like a lady's modern\nporkpie hat; and the cape with its hood. Top-boots, 9 or 10 inches\nhigher than the knee, and very long pointed toes were commonly worn.\nThe doublets and gowns were of satin, velvet, or cloth of gold lined\nwith velvet, many of them being embroidered with personal badges or\nthe fashionable pattern above mentioned. In the ladies' dress we note\n*\nfirst the disappearance of the tall head-gear, and in its place we see a\nreasonable caul or net of gold confining the hair at the back of\nthe head with very fine kerchief, stiffened into shape as in the prece-\nding reign.\nThe dress of Anne on the day before her coronation is described\nas composed of a kirtle and mantle of white cloth of gold, with trim-\nmings of Venice gold and ermine, the mantle being 44 garnished with\nseventy annulets of silver, gilt, and gylt.\" The every-day gown had\ndeep cuffs, turn-down collar, and deep hemplece on the skirt of fur or\nvelvet. On ordinary occasions the hair seems to have been worn loosely\nhanging over the shoulder, au naturel. It requires no wonderful wit to\nrender such a costume eminently pleasing. May I be so bold to commend"}, {"page_pdf": 32, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.32", "debut_caractere": 12, "fin_caractere_exclue": 174, "texte": "it indirectly through my readers to their fair friends, and directly too\nif perchance this journal is fortunate enough to possess any ladies among\nits supporters."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c025", "article_bluemountain": "bmtnaau_1912-01_01#c025", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "196", "page_fin": "196", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.16", "titre_corps": "A WORD ABOUT THE DANCE", "titre_sommaire": "A WORD ABOUT THE DANCE", "signature_source": "Heine", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.32", "debut_caractere": 176, "fin_caractere_exclue": 2065, "texte": "A WORD ABOUT THE DANCE\nby Heine.\nwe reflect more deeply on the dance in the Acad£mie Royale de\nMuslque, it appears as an attempt to christianise to a certain degree\nthis arch-heathen art, and the French ballet has an odour as of the Gal-\nlican Church, if not of Jansenism, as have all the artistic productions of\nthe great age of Louis XIV. &\n& The French ballet is, in this respect, naturally allied to the tragedies\nof Racine and the gardens of Le Notre. There prevails in all the same\nregular cut, the same measure of etiquette, the same court-like coldness,\nthe same ornamental prudishness, the same chastity. In reality, its outer\nform and inner life is chaste, but the eyes of the dancing girls form a\nvery lascivious commentary on the most moral pas or figures, and their\nindecent smiles are in sad contrast with their feet.\n& We find the contrary in national dances, which I prefer a thousand\ntimes to the ballets of the great opera. & &\nThese national dances are often too sensual in form... as, for example,\nthe Indian.... but the holy gravity on the faces of the dancers moralises\nthe dance and raises it to religion (zum Ru/tus). & £>\n& The great Vestris once uttered a saying which caused much laughter\nin Its time. Once he said in his pathetic tone to one of his disciples,\nUn gianddanseur doit etre vertueux, \"... a great dancer should be\nvirtuous. Strangely enough, the great Vestris has now lain forty years In\nhis grave (he could not survive the misfortunes of the House of Bourbon,\nwith which the family of Vestris had ever been intimately allied), and it\nwas only in the last December, when I was present at the opening of the\nChamber of Deputies, and dreamily abandoning myself to my thoughts,\nthat all at once the late Vestris came into my mind, and as if by inspla\nration I suddenly grasped the profound meaning of his words, •' A great\ndancer should be virtuous.\" 0"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c026", "article_bluemountain": "bmtnaau_1912-01_01#c026", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "197", "page_fin": "197", "image_debut": 33, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.17", "titre_corps": "THE RUSSIAN BALLET", "titre_sommaire": "THE RUSSIAN BALLET", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 727, "texte": "THE RUSSIAN BALLET. 1911.\nA. C\nhas the Russian Ballet appealed with such force to modern Paris ?\nHas Paris become a lover of the prudish ? And what has taken\nLondon by storm? Is it the prudery and \"the court-like coldness\" of\nthe whole exhibition ? &\nFor the dancers and painters have given us no new creation.... no\nnew life has been created: an old and dusty wardrobe has been brought\nup from the cellars of the Paris Opera House and the Russian collectors\nof curios have indulged their mania for the old-fashioned and have\ndressed up living dolls with the cast off clothes of a dead age.... an age\nwhich was dead at the time of its birth.\nAnd that is exactly what the discerning Publics of Europe will very\nsoon by saying. &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c028", "article_bluemountain": "bmtnaau_1912-01_01#c028", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "197", "page_fin": "198", "image_debut": 33, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.18", "titre_corps": "THE PUBLIC", "titre_sommaire": "THE PUBLIC", "signature_source": "Victor Hugo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.33", "debut_caractere": 729, "fin_caractere_exclue": 1998, "texte": "THE PUBLIC\nby Victor Hugo.\nknow of nothing too lofty for the people. The people are a great\nsoul. Have you ever gone on a fdte-day to a theatre open gratuitously\nto all ? What do you think of that auditory ? Do you know of any other\nmore spontaneous and intelligent? Do you know, even in the forest, of\na vibration more profound ? The court of Versailles admires like a well-\ndrilled regiment; the people throw themselves passionately into the\nbeautiful. They pack together, crowd, amalgamate, combine, and knead\nthemselves in the theatre ; a living paste that the poet Is about to mould.\nThe powerful thumb of Moliere will presently make Its mark on it; the\nnail of Corneille will scratch this ill-shaped heap. Whence does that\nheap come ? Whence does it proceed ? From the Courtille, from the\nPorcherons, from the Cunette; it is shoeless, with tucked-up sleeves in\nrags. Silence! This is the human block. &\n& The house Is crowded, the vast multitude looks, listens, loves; all\nconsciences, deeply moved, throw off their inner fire, all eyes glisten*\nthe huge beast with a thousand heads is there, the Mob of Burke, the\nPlebs of Titus Livius, the Fex Urbis of Cicero, it caresses the beautiful*\nit smiles at It with the grace of a woman, it is literary in the most re-"}, {"page_pdf": 34, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.34", "debut_caractere": 13, "fin_caractere_exclue": 1846, "texte": "fined sense of the word ; nothing equals the delicacy of this monster.\nThe tumultuous crowd trembles, blushes, palpitates; its modesty is sur-\nprising; the crowd Is a virgin. No prudery however, this brute Is not\nbrutal. Not a sympathy escapes it; it has in itself the whole keyboard,\nfrom passion to irony, from sarcasm to sobbing. Its compassion is more\nthan compassion ; it is real mercy. Qod is felt in it. All at once the su-\nblime passes, and the sombre electricity of the abyss heaves up suddenly\nall this pile of hearts and entrails, the transfiguration of enthusiasm\noperates, and now, is the enemy at the gates, is the country in danger?\nThrow a cry to that populace, It would enact the sublime drama of\nThermopylae. Who has called forth such a metamorphosis ? Poetry. &\nThe multitude, and in this lies their grandeur, are profoundly open\nto the ideal. When they come in contact with lofty art they are pleased,\nthey shudder. Not a detail escapes them. The crowd is one liquid and\nliving expanse capable of vibration. A mass is a sensitive plant. Contact\nwith the beautiful agitates ecstatically the surface of multitudes, sure\nsign that the depth is sounded. A rustling of leaves, a mysterious breath\npasses, the crowd trembles under the sacred insufflation of the abyss.\nAnd there, even where the man of the people is not In a crowd, he is\nyet a good hearer of great things. His Ingenuousness is honest, his cu-\nriosity healthy. Ignorance Ss a longing. His near connexion with nature\nrenders him subject to the holy emotion of the true. He has, towards\npoetry, secret natural desires which he does not suspect himself. All the\nteachings are due to the people. The more divine the light, the more Is\nit made for this simple soul. We would have in the villages a pulpit from\nwhich Homer should be explained to the peasants."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c029", "article_bluemountain": "bmtnaau_1912-01_01#c029", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "198", "page_fin": "198", "image_debut": 34, "image_fin": 34, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.19", "titre_corps": "A WARNING TO AN ACTOR–MANAGER", "titre_sommaire": "A WARNING TO AN ACTOR–MANAGER", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.34", "debut_caractere": 1848, "fin_caractere_exclue": 2411, "texte": "A WARNING TO AN ACTOR - MANAGER.\nA. C.\nipake care how you impress this vast monster of whom Hugo speaks;\nTake care that you do not lower yourself to tickle its fancy Instead\nof arousing its Imagination. Take care that you do not laugh in your\nsleeve at the mob. Take care that you do not flatter it. &\n()1 unless you are sincere, unless you give it your best, appealing\nto its best; unless you believe that It is a thing capable of all the noblest\nthat is in nature you will surely one day be devoured by the monster\nin it; it will assuredly tear you into pieces."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c030", "article_bluemountain": "bmtnaau_1912-01_01#c030", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "199", "page_fin": "202", "image_debut": 35, "image_fin": 38, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.20", "titre_corps": "THE CHARACTERS OF THE DELL'ARTE : A List Compiled by Gordon Craig", "titre_sommaire": "THE CHARACTERS OF THE DELL'ARTE : A List Compiled by Gordon Craig", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 1786, "texte": "THE CHARACTERS OF THE DELL'ARTE; A List Compiled\nby Gordon.\n1 give you a list of the characters of the Commedia deli'Arte, and I think\nI give you a very fairly complete list. I can find no such list either in\nBartoli (i) or elsewhere. Probably no one has thought it worth while\nheaping the names together, but I hold another opinion. &\n1 have arranged the list in alphabetical order. The nine principle\nmasks I have printed in capital letters. Pour of these come from the\nnorth of Italy, four from the south, and as. for the one over, the Captain,\nhalf of him comes from Spain by ship and, arriving at Naples, finds his\nother half already in the Z? jZ> z? Z? jZ?\nZ? 1 have added in brackets the name of the town or province trom\nk\nwhich a mask comes when it was found possible to ascertain this. I have\nalso included in the list names invented by the Germans, English or\nFrench such as Hanswurst (Germany) who is the Harlequin of France,\nthe 44 Arlecchino \" of Italy. z? z? z? z? z? zr\nz? Most of the names are very amusing to the ear, and some of them\nhave queer meanings, such as, for example, 44 Capitano Grillo \". (2)\nThe word Grillo means literally Grasshopper; but a Grillo is also a\nbattering ram and a whim,.... two widely different meanings. Then idio=\nmatically we have it in these senses ; 44 pigliare il grillo \" ; to take pepper\nin the nose or to get in a rage; 44 fare saltare il grillo \" to another\nperson means to provoke them, or, in the English phrase, to 44 get their\nback up \". Z? Z> Z? Z/ Z? z? Zf Z>\nZ? Again, 44 Finocchlo \" means simply Fennel: but the Italians have an\nidiom, 441 want my share up to the finocchio \", which means to the last\n\n(1) Adolfo Bartoli. Scenari inediti della commedia deli'arte.\n(2) See Callot's engraving in \"The Mask January 1911, 108."}, {"page_pdf": 36, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.36", "debut_caractere": 25, "fin_caractere_exclue": 2084, "texte": "farthing. Also, speaking of a fool, they say pityingly, 44 he is like the fi-\nnocchio In a sausage \", the word here standing for a mere cypher,..., a\nnonentity of a lost cat.\nI have not added here all the variations of each name for there is no\nlimit to them. They are as complicated and varied as the emotions. For\ninstance, plain Carlo can be 44 Carlino which is little Carlo; or 44 Car=\nletto \", which is 44 dear little Carlo \", 44 Carlettino \" which might stand\nfor, 44 oh, my dear little Carlo \" : 44 Carluccio \", 44 good old Carlo \" and\n44 Carlaccio \" that devil Carlo. 44 Carlone again, is 44 big Carlo\", and\n44 Carlotto \" might be the gorgeous and splendid or powerful Carlo, and\nwith the addition of those thousand different inflexions possible to men\nwho feel and are not frightened of showing their feelings it is manifest\nthat from the mere name of Carlo a whole drama could be imagined and\nperformed.\nI think it would be useful if we could have a family tree of these\ncharacters and I wish someone would spare the time for the work.\nj£? In my spare moments of the last year I filled a little book with a mass\nof fact relating to the Commedia dell'Arte which I hope shortly to\npublish. 1 felt that such a book had to be made if one wished to get a\nclearer idea of this amazing Drama, because the theatrical historians,\ncarried away by their enthusiam for the subject, have been too liberal\nwith their surmises. 44 Perhaps\" and 44 In my opinion \" and 44 it is likely\nthat \" is charming, but not History. A historian should confine himself\nto facts, cutting ruthlessly away anything which Is surmise, however\nfascinating it may appear But let us to the list I & &\nTHE LIST OP CHARACTERS.\nARLECCHINO. (Bergamo; N.) Ardelia. Argentina. Aurelia, Alison\n{France). J&\n& BRIGHELLA. (Ferrara; N.) Belio=Sguardo. Bagolino. Beltrame.\n♦\nCMilan) Burattino. Bagattino. Buifetto. Bacocco. Blazius. Bertolino.\nBertoldo. £? JZ? JZ?\nCOVIELLO (Calabria; S.) Cucuba. Cucurucu. Corinto. Ciurio.\nCicho Sgarra. Carlino. Cataldo. Ciaudione. Coraiina. Carmosina\nColumblna."}, {"page_pdf": 37, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.37", "debut_caractere": 25, "fin_caractere_exclue": 2155, "texte": "CAPITANO ( Spain and Naples). 11 Capitano Spavento deU'Val'lnferna.\nCapitano Zerbino. Capitano Bombardon della Papirotondo. Capitano\nAspromonte. Capitano Rinoceronte. Capitano Furibimbombo. Capitano\nLeonontrove. Capitano Arcitronotonantre. Capitano Grillo. Capitano\nCardone. Capitano Fracasso. Capitano Fricassa. Capitano Bellerofonte\nMartellione. Capitano Esgangarato. Capitano Cerimonia. Capitano\nCoccodrillo. Capitano Bellavita. Capitano Malagamba. Capitano Babeo.\nCapitano Spezzaferro. Capitano Tempestas. Capitano Spezza Monti.\nCapitano Rodomonte or Rodomondo. Capitano Basllisco. Capitano Sangue\nFuego. Capitano Cuerno de Cornazan. Capitano Matamore (France).\nKapitan Gryphius {Germany). Capitano Horribili-Crlbilifax. {Germany).\nCaptain Ralph Roister Doister. {England). Capitano Giangurgolo. Capitano\ndei Baroni. Capitano Ariararche. Capitano Melampigo. Capitano Leucopigo.\nCapitano Terremoti. Capitano Spacca. Capitano Dia Catolicon. Capitano\nTaglia Canton!. Capitano Trasteverino. Meo Patacco. Capitano Ciullo.\nCapitano Miccopassaro. Capitano Parabola. Capitano Gorgoleone. Ca-\npitano Martibellonio. Capitano Trasiloco. Capitano Meo Squaquara\nCapitano Meo Squamara. Capitano Pasquariello Truono. ■\nDOTTORE. (Bologna.) Dr Graziano. Dr Baloardo. Dr Balazon.\nDr Prudentio. Dr Brantino. Dr Hippograsso. Messer Rovina. Dr Pan-\ncazio. {Naples), Dr Biscagliese (Naples), Dr Cucuzzietto. Dr Cassandro.\nDr Casandrino, Dr Diafoirus. Dr Siciiiano.\n& Diamantina. II Desaredo. (Parma), &\nFrancatrippa. Fritellino. Falsirone. Formica. Fabricio. Frontino.\nFrontin. (Germany). Finocchio. Fantino. Fritata. Fortunato. Don\nFastldlo. Flavlo. Fabio. Franceschina. Fedellndo. Farfanicchio.\nFacanappa (Verona). Florindo. Fiorinetta.\nGian Farina, Gian Fritello. Gian Gurgolo (Calabria). Gradelo.\nGradeliino. Guatsetto. Gelsomino (Rome). Giacinta. Gianduja. (Turin)\nGuindolo. Gilles (France).\n& Harlequin. (England ; France). Hauswurst (Germany). &\n& Isabella. (Padua) (i).\nLeandro. Lelio. Lavinia. Lucretia. Lucia. . Leonora. Lucinda.\n%\n\n<1) The wife ot Francesco Andreini. For details of her life see The Mask, January 1911, pages 120 to 122."}, {"page_pdf": 38, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.38", "debut_caractere": 23, "fin_caractere_exclue": 1144, "texte": "Mezzetino. Metzetin. Mascarlllo. Mestolino. Menego, Meneghlno.\n{Milan). Marinetta. Matacino. & jg>\nNarcisino. {Bologna.) II Notaja. Naccherlno. Nespolino. &\nOrazio. Ottavlo. Ortensia. &\nPANTALONE. {Venice N.) Pantalone de Bisognoso, Pantaloae 31\nMagnifico Babolonio. Übaldo. Cassandro. Lauterini. Oronte, {France).\nGironte. {France). & & & &\nPULCINELLA. {Apulia. S.) Polichinelle, {France). Pulcinelo. {Spain)\nPunch {England) Sia Pasquino. Pedrollno. Pandolpho. Pernovella.\nPasquariello. Pasquella Paillasse. Pagliacclo. Pierrot. {Paris). Phillppin\n{France). Pickle-Herring {Holland). Peppinella. Pesplce. Polpettino,\nPeppe-Nappa.\nRazullo. Ruzzante. Rasta di Boio. Rlcciulina. Rosaura. Rosetta.\nDame Ragonde. Rugantino. {Rome). Rubacorl.\n& SCARAMUCCIA. (S.) Sganarello. Stenterello Scaplno. Scapin\nSylvia. Saporita. Susanna. Smaraolo-Cornuto. Smeraldina. Spllletta.\nStopplno. Salembeni. £>\n£? TARTAGLIA. (S.) Trulfaldino. Taberina. Truono. Temellino. Trac»\ncagnino. Trappola. Trlvetlno. Trastulo. Trivellino. Tabacchino. Tur»\nchetta. Tortellino.\nValerlo.\nZanobio da Piombino. {Florenoe). Zerbinetta. Zanni. Zaccognino. £>"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c033", "article_bluemountain": "bmtnaau_1912-01_01#c033", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "203", "page_fin": "213", "image_debut": 39, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.21", "titre_corps": "A JAPANESE PUPIL : RECOLLECTIONS", "titre_sommaire": "A JAPANESE PUPIL : RECOLLECTIONS", "signature_source": "Masanobu Otani ; J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 1804, "texte": "A JAPANESE PUPIL:\nRECOLLECTIONS\nby Masanobu Otani.\nJ. S.\n| it this essay Mr Otani relates some few facts about his work as literary\nassistant to Lafcadio Hearn. £/\nThe account which he gives is full of distinction. It Is also full of\n10ve,... only too rare a quality in an assistant, but one in which lies\nthe secret of fine work. & & & & &\njSf The whole story is remarkable for the modesty with which it Is told.\nHow elated, how puffed up would a Westerner have been in like circum-\nstances ! how eager to show that, without his assistance, the master\nwould have been nothing! But of such a feeling no trace is to be found\nIn the story of this young Japanese.\nIt is In the hope that pupils of the West may learn from rthls pupil\nof the East the right and beautiful attitude towards their masters,... may\nlearn a like spirit of obedience, thoroughness, reverence, and submission\nto discipline, such a spirit as can alone produce fine results, that we\nprint Mr Otani's words.\n«\nIt was in September, 1896, (Meiji 29th) that we both entered the\nimperial University of Tokyo ; I as a student and Mr. Lafcadio Hearn\nas a lecturer 011 English literature, which study I was going to pursue.\nI was the first caller in his temporary Tokyo house at Tatsuoka Cho of\nHongo district, as he told me when I called on him on the 9th of the\nsame month ; and again I called on him on the 13th, and again on the\n15th when he made me promise to become his literary assistant. (He\nwho hitherto, since a day of September, 1890, had been my beloved\nteacher at Matsue, now became my patron.) 1 did not work much that\nyear, but, if I remember rightly, only one article on \" The Student's\nLife in Tokyo, \" and some translations from the shintaishi (new-styled\npoems) of Professors Toyama, Uyeda, Inouye and others, were my effort."}, {"page_pdf": 40, "page_imprimee": "204", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.40", "debut_caractere": 18, "fin_caractere_exclue": 2330, "texte": "It was decided from January of 1897 that I should present my study on\nthe subject he wished every month; and \" the Japanese Policeman's\nLife \" was the first subject I received. And the subject for February\nwas \" An Essay on the Lives of Priests and Nuns, from the Time of\nChildhood. Suggestions:... Reason of Choice of a Religious Life...First\nDuties...Education...Range of Learning...Daily Duties..Observance of Vows,\netc....Probable Number of Priests and Nuns...Average of Life. &\nHe wrote me under the date Feb. 26th, informing me of the subject\nfor March, which was \"A Collection of Poems of Students...(only Melji of\ncourse)...and especially University Students. \" There were, at that time,\nnot so many students poets of shintais, and as to-day;\nI had no small difficulty in hunting up their works in college publications\nof city and provinces. He used only the seventeen-syllable hokku from\nmy collections for his \" Bits of Poetry \"in \" Ghostly Japan. \" The\nMay subject was announced in a letter again to be \" A Collection of\nJapanese Proverbs containing Allusions to Buddhism. \" As there was no\nsuch work published, 1 made my best effort in the Uyeno and University\nlibraries, and the result was better than I expected at first, and I even\nthought that i had coliected all the proverbs in that line. Mr. Hearn\nwas much pleased, and used the material for Japanese Buddhist\nProverbs \" in his \"In Ghostly Japan.\" The subject for June was\nabout the short popular songs concerning the China-Japan war; but I\ndo not know where he used my collection of those songs. & &\n& 1 returned home to the province of Izumo In July, where he wrote\nme that 1 should devote fully two months to investigating with my\npersonal effort and inquiring of scholars on the following subject:\n\" Inscriptions and Sculptures in Buddhist Cemeteries. &\nI.lnscriptions upon Sutpa. & &\nA list of these inscriptions (1) in Chinese characters, separately; (2)\nIn Romaji under the Chinese characters; (3) in literal English under the\nRomaji; (4) explanatory. (Some reference should be made to sect usage.)\nGroup if possible under respective sects...Shiushiu, Zenshiu, Tendai,\nShingon, etc.) &>&&&&&&\nILlnscriptions upon Haka. Arrange similarly, Group by sects if possible.\n& IH.Sculptures...Carvings of Buddhist Symbols in Use by the Different"}, {"page_pdf": 41, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.41", "debut_caractere": 18, "fin_caractere_exclue": 2380, "texte": "Sects,... Swastika, Lotos, etc., but only Sculptures in Graveyards. 99\n& 1 had read many a book upon the sutpa ; and I made many calls to\nthe priests of each sect; and I went around every graveyard in Matsue\nduring one month. And the result which 1 presented to Mr. Hearn to\n%\nhis delight came to be used as the material for his \" Literature of the\nDead in \" Exotics and Retrospectives* \" The subject for September\nwas the relation of sFuji Mountain and Shintoism; and my essay was\nutilised somewhere in \" Fuji-no-yama \" in the same book. And the\nsubject for October was: 44 Singing-insects That are Kept in Cages.\n(What kind of music they make,...what they feed on,...what beliefs or\ntraditions or poems refer to them,..what their capture and sale signifies\nin the small commerce of Tokyo, etc) \" From newspapers, books and my\npersona! experience 1 gathered all the materials upon those insects;\nwhen my writing was presented to him, his pleasure was great; and he\nused it as the material for his \" Insect-Musicians. \"\n& i\" November my work was to collect old childrens' songs which he\nused for 44 Songs of Japanese Children \" in 44 A Japanese Miscellany. \"\n*' Poems on Cicadas 'and Frogs \" was the subject for December. The\nmaterials for them were considerable, especially for frogs ; I presented\nhim also the translations of 44 Keichu Kushlu \" and 44Zoku Keichu Kushiu\"\nedited by the hokku poet Roseki Mizouchi. He was delighted with my\nwork on the subject; his study on Frogs In his 44 Exotics and\nRetrospectives\" relied on it. & &\nThe subject for January, 189s, was 44 Poems on the Sound of Sea\nand Wind. \" It is strange even to us that we have very few such poems;\nhe was surprised about that, of course, 44 About Incenses, and also the\nPoems on Them \" was my February work which was used for his\n44 incense \"In4< In Ghostly Japan. I was given In March the subject\nof the deities and poems attached to a Japanese ink-stone ( ),\nwhich, however, was a failure as I could find nothing at all about the\ndeities, and the poems, too, were extremely poor. The subject for April\nwas the 44 Buddhistic Conception of Hell \" and chiefly, a description of\nit; and 1 tried my best with it, but he did not make any use of my\neffort which, however, pleased him. He gave me the subject of 44 Kingio \"\n(gold-fish) in May; and my June subject was the Horal (elysium) and its"}, {"page_pdf": 42, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.42", "debut_caractere": 18, "fin_caractere_exclue": 2449, "texte": "traditions and the conceptions of the ancient poets. The subject for July\nand August was 44 Folklore and Mythology of Japanese Plants. \" Chiefly\nhe wanted the fruits which bore Buddhist and Shinto appellations, and\nbesides, he wanted to have the flowers' traditions, also, the animals,\nfishes, and insects which bore Buddhist names. And if I had time enough,\nhe said, I should write an 44 essay on 4 Ma, '...the spirits or goblins who\nare supposed to urge men to accomplish certain actions, etc.\" Relying\non the encyclopedia-dictionaries like 44 Genkai \" and others, 1 worked\nhard during my summer vacation; for his \"Buddhist Names of Plants and\nAnimals\" In 44 A Japanese Miscellany\" he made good utilization of\nmy investigation. 1 received the subject of 44 Footprints of the Buddha \"\nin September; from many Buddhist books, and with the help of two or\nthree priests I could write a good enough article which did for\nhim to write the essay of the same title in 44 In Ghostly Japan. \" &\n& October was spent collecting the Japanese ballads which he used for\n44 Old Japanese Songs \"in Shadowings; about Kanemaki Odori-uta,\n44 Bel !=wrapping-song \" (page 83 of the same book) he wrote: 44 Replying\nto the note accompanying the translation of the ballads, I want to tell\nyou that I found them very interesting. The 4 Bell-wrapping-song '\nis an excellent specimen of a true ballad,...the best I have yet seen,\nwith its curious burden of duplication and onomatopeia . . ;\"\nThe subject for November was poems on death and graveyards ; and\nsongs with refrains were for December. He wrote me: 44 Your collection\nof poems this month interested me a great deal in a new way the\nsongs separately make only a small appeal to the imagination, but the\ntone and feeling of the mass are most remarkable, and give me a\nnumber of new ideas about the character of the 4 folkwork '....\"\n& It was on the 29th of the same mouth that I called on him at Tomihisa\nCho, Ushigome district, and presented him with a gift from my mother,\nfor which he wrote me: 441 think that a better present, or one which\ncould give me sincere pleasure, will never be received. It is a most cu-\nrious thing, that strange texture,... and a most romantic thing also in\nits way,.,, seeing that the black speckling that runs through the whole\nwool is made by characters of letters or poems or other texts, written\nlong ago. And I must assure you that I'll always prize it not only"}, {"page_pdf": 43, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.43", "debut_caractere": 18, "fin_caractere_exclue": 2359, "texte": "because I like it, but particularly because your mother wove it. I am\ngoing to have it made into a winter kimono for my own use, which I\nshall always wear, according to season, in my study room. Surely it is\njust the kind of texture which a man of letters ought to wear . . . . \"\n\" Two most welcome gifts from a young poet of my literary class\"\n(page 157 of \" Shadowings \") meant my mother's present of the piece\nof wool and the collection of poems.\nThe January of 1899 was used to collect more songs with refrains\nand also the popular !ove=songs; and February and March were spent in\ntranslating the Shingaku and Saibaraku, as his desire was chiefly for\nthe ancient poems, except those of Manyo ; and he used them for ** Old\nJapanese Songs \" in his \" Sbadowings, \" I received the subject of\nutai\"drama for April ; presented the translations of Yuya and the half of\nDojoji. He wrote me: \" I had no idea, however, when I suggested the\nuiai, of the enormous labor that would be required for a few of these\nfor Western readers. It will be very hard indeed to do it ;...for the mere\nfact of the translation being done is only the faintest outline of the\nwork. However, later on, I may try one specimen, and when you have\nleisure, I shall be glad to see the rest of the Dojoji piece. That Yuya\nwould require, for an English reader, two pages of clearly printed notes\nto every half page of the text. 1 fear that nobody would care to read\na thing In that shape ; yet, without a knowledge of every Buddhist\nallusion, the poetry of the composition should not be felt. . .\nIt is true that my translation could not succeed in making itself un-\nderstood in spite of the great labor I had undergone. It is sad for liter-\nature, however, that he died without touching his marvellous\nhand to it.\n& I was asked in May to collect the Japanese women's names according\nto their ethical and aesthetic relation. I had the lists of students of\nmany girls' schools; and besides, an essay on that subject was written\nby Mr. Tetsuzo Okada in some philosophical magazine ; with these helps\nI was able to write one article to my satisfaction, and he used the mat-\nerial I offered him for Japanese Female Names, \"in his **Shadowings\nMy writing on Semi (cicada) In June was developed by his magic, and\nhe put it in his \" Shadowings \" also. The month of July was the time"}, {"page_pdf": 44, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.44", "debut_caractere": 18, "fin_caractere_exclue": 2376, "texte": "of my graduation from the University; and then I stopped working for\nhim as his literary assistant. However, I was asked to work 'now and\nthen after that, and I was only too glad to do any service for him. I\n.-•.,1 • . ■\nconfess that it was no easy task to study a new subject for each month,\nand to write it up In English which was far from£ my [command; but\n; 4 - - i *' -*• '\naside from the materia! assistance he gave for my work, without which\nt V CI . t'f ■ • * -*• * *' ;/ •* *\nfact, I am sure I could not have finished my three years at the Univer-\nsity, it was a great education in itself. He wrote me a few days before\nmy graduation &\nt; . . 1 have gone somewhat into particulars, only because I\nwant you to feel that you have really paid for your own education like\na man, and have no obligation of any sort as far as I am concerned.\n• . The work must have sometimes been tiresome. But the results\nto yourself have not been altogether bad.\" & &\nI had numerous occasions to be deeply impressed by his depth of\nsympathy under which 1 always thought he was my spiritual comforter\nand encourager. Here I have a letter written by him when I was confined\nto a sick-bed in my boarding house more than one mouth: in part he said:\n44 .... A little bodily sickness may come to anybody. Many students\ndie, many go mad, many do foolish things and sometimes ruin themselves\nfor life. You are good at your studies, and mentally in sound health, and\nsteady In your habits...three conditions which ought to mean success,\nunless you fail in them. That is not unfortunate. £?\n£? 44 Finally, you have good eyes and a clear brain. How many thousands\nhave to fail for want of these ? You are certainly not unfortunate. &\n44 When I was a boy of sixteen, although my blood-relations were....\nsome of them... very rich no one would pay anything to help me finish\nmy education. I had to become what you never have had to become,....\na servant. I partly lost my sight. 1 had two years of sickness in bed. 1\nI\nhad no one to help me. Yet 1 was brought up in a rich home, surrounded\nwith every luxury of Western life. 4? &\n* f.\n44 So, my dear boy, do not lie there in your bed and fret, and try to\npersuade yourself that you are unfortunate. You are a lucky boy, and a\npet, and likely to succeed in life... \" &\nMy thought of Mr. Hearn carried me back, [at once, to his beloved"}, {"page_pdf": 45, "page_imprimee": "209", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.45", "debut_caractere": 18, "fin_caractere_exclue": 2414, "texte": "Matsue of lzumo where he stepped first some time in the month of August\n1890. It must have been his idea, of course, to begin his study of Japan and\nthe Japanese in her oldest province, and so no hardship of travel daunted\nhim ; he looked forward to Matsue, \" the chief city of the province of\nthe gods \" as he wrote afterward, with delightful anxiety and new hope»\nI do not know when he left Yokohama; but he told me that he\nhad seen a Bon Odori at Shimoichi, following the highway of Tottori\nKaido after leaving Okayama which he reached by a train ; and he took,\nthen, a steamboat from Yoneko of the Hoki province, seeing, at his right,\nthe Mi ho no Seki promontory of the Shimaire peninsula, and, at his left,\nthe lovely view of the Sodeshi ga Ura coast; and when he crossed a\nsort of a sea, he was already in the stream af the Ohashigawa river\nby which Matsue is built. &\nI remember that it was the 2nd of September when he appeared\nfirst in the school; from that day, I had the rare fortune to put\nunder his care as one of the students of the fourth year of the Middle\nSchool of Shimane Ken. lie Impressed us with his earnestness and\nsympathy ; hitherto, we had only a slight acquaintance with a missionary,\nand we found such a pleasing change in him. He was patient to correct\nour English accent carefully; and he went minutely over our compositions,\nand it was our greatest joy that he wrote even a criticism on them. One\nof his earliest writings in my possession is a sort of criticism he wrote\nfor my composition called \" The Book, \" in which I said that there must\nbe a book-maker to produce a book, and also, God to create the world.\nI further said that as the civilized Europeans are Christians, the country\nof non-believers of the Christian faith cannot be called civilized. Here is\nwhat he wrote on my composition: £? & &\nj2? \"(I) This argument (called by Christians Paley's Argument) is absurdly\nfqlse. Because a book is made by a book-maker, or a watch by a watch-\nmaker, it does not follow at all that suns and worlds are made by an\nintelligent designer. We only know of books and watches as human\nproductions. Even the substance of a book or a watch we do not know\nthe nature of. What we do know logically is that Matter Is eternal, and\nalso the Power which shapes It and changes it. (2) Another false argu-\nment. At one time, the Greeks and the Egyptians, both highly civilized"}, {"page_pdf": 46, "page_imprimee": "210", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.46", "debut_caractere": 18, "fin_caractere_exclue": 2434, "texte": "people, believed in different gods. Later, the Romans and the Greeks,\nalthough highly civilized, accepted a foreign belief. Later still, these\ncivilized peoples were conquered by races of a different faith. The\nreligion of Mahomet was at one time that of the highest civilization. At\nanother time the religion of India was the religion of the highest\ncivilization; It is very doubtful whether the civilization of a people\nany connection, whatever, with their religion.,. In Christian countries,\nmoreover, the most learned men do not believe in Christianity ; and the\nChristian religion is divided into countless sects, which detest each\nother. No European scientist of note,... no philosopher of high rank,,...\nno really great man is a Christian in belief. \" £/\nNo other teacher, I am sure, could take such pains for a slip of\ncomposition of a mere boy as I was then ; he was most serious and\npainstaking for anything he undertook as in his literature. I believe\nthat it was from his idea to draw out our thoughts and imaginations\nthat he gave us such composition-subjects as 44 ghost, \" 44 peony, \"• \"fox\",\n44 cuckoo 44 tortoise, \" firefly \", and others. Read page 460 and some=\nwhere of 44 Glimpses of Unfamiliar Japan \" under the title of 44 From\nthe Diary of a Teacher. \" The page 461 is about the conversation which\n1 had with him in the class-room. jZ? .0\nAbout that time, we invited him to a certain Buddhist temple of\nTera Machi (Temple Street) when we had a musical entertainment. 1\ncould then play a Chinese instrument. He sat as we did from two o'clock\nuntil evening attentively; and we were surprised to see him not even\npalsied in his legs as any other foreigner would be after even a half\nhour's experience. 44 Qjo and Batto \" in the pages of 44 From the Diary\nof a Teacher\" were the program of that day. He was a perfectly delight*\nful personality to his friends, at least as a Mr. Hearn at Matsue; he\ntried to absorb, when off duty from his school, everything Japanese and\nstrange ; and he with his student boys made many little excursions almost\neverywhere about the city. And he never failed in attending any meeting\nor dinner party which his fellow-teachers happened to hold. The first\ntwo or three pages of a 44 Dancing girl \" of the same book were from a\npersonal experience he enjoyed on one of those occasions. He made a\nvisit to my house on the Setsubun night of 1891, and saw Oniyarai (Devil"}, {"page_pdf": 47, "page_imprimee": "211", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.47", "debut_caractere": 18, "fin_caractere_exclue": 2406, "texte": "be=»out-Feast) sitting in my study; and he used it for 44 Two Strange\nFestivals.\" He insisted on my accompanying him to his place (he was\nstill staying at one of the Japanese hotels, not being married yet); and\nhe thanked me offering me a glass of whisky.\nAs he wrote on page 443, 1 was collecting at that time varieties of\nmarine plants; it is true that I had no small interest in botany; and\nperhaps that was the reason he advised me to take up science as my\nstudy; or perhaps his sharp eye clearly saw then that I was unfitted to\nfollow literature. However, against his advice, I glided into literature. I\nreceived his letter dated March 3rd 1894. when I was a student at the\nKyoto Higher Middle School: JZ? JZ?\nJZ? \" 1 think you ought not to study what would not be of practical use\nto you in after=life. I am always glad to hear of a student studying en-\ngineering, architecture, medicine (if he has the particular moral character\nwhich medicine requires),... or any branch of applied science. I do not\nlike to see all the fine boys turning to the study of law, Instead of to\nthe study of science or technology. If you were my son, or brother I\nwould say to you, 'Study science... study for a practical profession'.. •\nSuppose you were obliged suddenly to depend entirely on your own\nunassisted power to make money,... would it not then be necessary to\ndo something practical ?... Hundreds of students leave the university\nwithout any real profession, and without any practical ability to make\nthemselves useful. All cannot become teachers, or lawyers, or clerks.\nThey become sosfii, or they become officials, or they do nothing of any\nconsequence. Their whole education has been of no real use to them,\nbecause it has not been practical. Men can succeed in life only by their\nability to do something, and three fourths of the university students\ncan do nothing. Their education has been only ornamental \"\nWhen I informed him afterward that 1 had put my name in the\nliterature department upon removing to the Second Higher Middle School\nat Sendai, he wrote me again under date of March Bth 1895:\n\"... I am really sorry that you should not have taken a scientific\ncourse. Literature is a subject that you can study best outside of schools\nand colleges. But science is not. A scientific profession might enable you\nto do great things for your country, and in any case it would make you"}, {"page_pdf": 48, "page_imprimee": "212", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.48", "debut_caractere": 18, "fin_caractere_exclue": 2358, "texte": "practically Independent. 1 cannot imagine that literature will ever be\nI\nmore than a pleasure to you. Even in England it is extremely difficult\nto live by literature, or to obtain distinction by it ... \" £? &\nAnd I found also the following words in his letter dated June 28th\nof the same year:\n'• Don't forget at least to think about my advice to take a scientific\ncourse, if you can. The future is likely to offer so little to literary\nability of any kind for another half century, that I fear literature cannot\nbe of much use to you. Japan, for at least fifty years to come, must turn\nall her talents to practical matters,... even her arts. It will be like Ame>\nrica before the present century. The practical man... botanist, chemist,\nengineer, architect, will always be £?\nThe 26th of October 1891 was Mr. Hearn's last day of teaching at\nMatsue's Jinjo Chugakko; we had a farewell banquet in his honor in the\nschool hall. 1 read a farewell address in behalf of all the students as it\nwas written in his 44 Sayonara \" of 44 Glimpses of Unfamiliar Japan \".\nAnd every word of •4 Sayonara \" is true; in reading it the old sad day of\nparting with him returns to my mind again. He wrote : 44 And now, as I\nlook at all these pleasant faces about me, I cannot but ask myself the\nquestion: 4 Could 1 have lived in the exercise of the same profession for\nthe same length of time in any other country, and have enjoyed a similar\nunbroken experience of human goodness?' From each and all of these 1\nhave received only kindness and courtesy. Not one has ever, even through\ninadvertence, addressed to me a single ungenerous word. As a teacher\nof more than five hundred boys and men, 1 have never even had my\npatience tried. I wonder if such an experience is possible only in Japan.\"\n& And further he wrote :\n& 44 Magical indeed the charm of this land, as of a land veritably haunted\nby gods: so lovely the spectral delicacy of its c010ur,... so lovely the\nforms of its hills blending with the forms of its clouds... so lovely, above\nall, those long trailings and bandings of mists which make its altitudes\nappear to hang in air. A land where sky and earth so strangely inter=\nmingle that what is reality may not be distinguished from what is illu=\nsion,... that all seems a mirage, about to vanish. For me, alasl it is about\nto vanish forever. \" & & &"}, {"page_pdf": 49, "page_imprimee": "213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.49", "debut_caractere": 18, "fin_caractere_exclue": 250, "texte": "Indeed, when he left Matsue of the Izumo province, the dearest to\nhim.in all Japan, only next to St. Pierre of Martinique as he often re-\nmarked to me afterward, it seems that his paradise was lost never to be\nregained. & && && && &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c036", "article_bluemountain": "bmtnaau_1912-01_01#c036", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "213", "page_fin": "213", "image_debut": 49, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.22", "titre_corps": "JAPANESE DRAMA AND THE \"RELIGION OF LOYALTY”", "titre_sommaire": "JAPANESE DRAMA AND THE \"RELIGION OF LOYALTY”", "signature_source": "Lafcadio Hearn", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.49", "debut_caractere": 252, "fin_caractere_exclue": 1864, "texte": "JAPANESE DRAMA AND THE \"RELIGION OF LOYALTY”\nLafcadio Hearn.\nrF,o kill oneself at command,... a duty which no loyal samurai would have\ndreamed of calling in question... appears to us much less difficult than\nanother duty, also fully accepted : the sacrifice of children, wife, and\nhousehold for the sake of the lord.\nMuch of Japanese popular tragedy is devoted to incidents of such\nsacrifice made by retainers or dependents of daimyd,... men or women\nwho gave their children to death in order to save the children of their\nmasters. Nor have we any reason to suppose that the facts have been\nexaggerated in these dramatic compositions, most of which are based\nupon feudal history. The incidents, of course, have been rearranged and\nexpanded to meet theatrical requirements; but the general pictures thus\ngiven of the ancient society are probably even less, grim than the vani-\nV\nshed reality. £? JZ> &\n-V .**■> .•■'V\nThe people still love these tragedies: and the foreign critic of their\ndramatic literature is wont to point out only the blood-spots, and to\ncomment upon them as evidence of a public for gory spectacles,... as\nproof of some innate ferocity in the race.\nJZ? Rather, I think, is this love of the old tragedy proof of what foreign\ncritics try always to ignore as much as possible,... the deeply religious\ncharacter of the people. These plays continue to give' delight, not\nbecause of their horror, but because of their moral teaching, because\nof their exposition of the duty of sacrifice and courage, the religion of\nloyalty. They represent the martyrdoms of feudal society for its noblest\nideals. &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c038", "article_bluemountain": "bmtnaau_1912-01_01#c038", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "214", "page_fin": "215", "image_debut": 50, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.23", "titre_corps": "STAGE TERMINOLOGY", "titre_sommaire": "STAGE TERMINOLOGY", "signature_source": "John Balance ; H. M. W.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 2096, "texte": "STAGE TERMINOLOGY\nby John Balance.\nH. M. W. in the Pall Mall Gazette.\ne hear a great deal nowadays about \"producers\" of plays.\n\"Indeed, the so-called \"producer\" of a play appears to be\n\" regarded here and there as a far more important person\n\" than the author. For instance, I saw street-posters\n\"announcing \"Bonita\" on which the names of the author\n\" and composer were given in very small type indeed, while that of the\n« \" producer \"... which Is a modern term for stage-manager...was printed\n'« in very large letters. On many of our theatre programmes it is consi-\n*' dered desirable to announce that the play is \"produced\" by So-and-so\n\" meaning that it is stage-managed by So-and-so. Now, the verb \"to\n\"produce\" means to bring forward, to offer to the view or notice, to\n\" exhibit; it also means to make, to bring into being. Obviously, then,\n\" where a play on the stage is concerned, there are only two persons\n\" who can be said to \" produce \" it...the author and the proprietor or\nft\n\"tenant of the theatre who puts the piece upon the stage. It is an abuse\n\"of terms to call a stage-manager a producer, justasitis to describe an\n\"actor who impersonates a given character for the first time as the\n\" \" creator \" of that character. It is curious to observe how the Stage,\n\"Instead of correcting its loose terminology, not only continues to employ\n%\n\" it, but adds to It.\" jz? & & 0\nven as the English Stage is waking up so is English Dra-\nmatic Criticism rubbing its eyes. What our friend Mr. H.\nM. W. says above is very much to the point; we must\nget our terms in better order. &\nus/ It was doubtless with this in view that has\nfrom time to time defined the meaning of the words \"Drama\", \"Theatre\"\nand so forth, for these words are used very wildly by critics. And now it Is\npointed out that the words \"Producer\" and \"Creator\" are also used\nby the theatre folk in a loose £? 0\nThis is entirely true. The actor is not a \"creator\"; he is an interpreter.\nThe man who directs the stage is seldom the man who, as It were, cooks\nand serves up the play. He merely attends to the many too many cooks"}, {"page_pdf": 51, "page_imprimee": "215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.51", "debut_caractere": 19, "fin_caractere_exclue": 1442, "texte": "who do their worst. This man should always be known as Stage-Director.\nBut we rather believe that he who assists the dramatist by designing\nthe whole appearance of the play, by inventing the scenes, costumes,\ndances, and so forth, can claim to be a *' Producer\", and yet the term\nis still not the right one, and he would do best to make use of the name\nof \"Stage-Director\". We have in music the term \"Musical Director''\nand it is well applied to such men as Nikisch or Sir Henry Wood : it\nwould be wrong to call them musical-producers. & & &\nHowever, there will be a new term found soon for the man who shall\ncreate a drama without assistance from other artists (as for example, the\ndramatist and painter) but who shall employ none but craftsmen. j0\nAt present it Is good to show no haste about the matter. For these\nwordless play manufacturers are no creators; they are merely avid col-\nlectors of other people's suggestions, designs, tricks of colour, texture,\nsound and so forth, and these they shovel on to the stage and call it\nmlmo-drama.\n\"Sumurun \" is a hotch-potch of the kind. \" Rialon \" is another. No-\nthing dazzles the eye like a patchwork quilt, and these so-called Mi mo-\nDram as are dazzling for this reason. It is a cinematograph show long\ndrawn out, and not half so dramatic. Mimo-Drama Is an old thing... and\nmay be a very good thing... but as yet we have no example of a Mimo-\nDrama created by an artist."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c042", "article_bluemountain": "bmtnaau_1912-01_01#c042", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "216", "page_fin": "218", "image_debut": 52, "image_fin": 54, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.24", "titre_corps": "SOME FURTHER DEFINITIONS FROM AN 1825 DICTIONARY", "titre_sommaire": "SOME FURTHER DEFINITIONS FROM AN 1825 DICTIONARY", "signature_source": "Pierre Ramés ; P. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 2182, "texte": "SOME FURTHER DEFINITIONS FROM AN 1825\nDICTIONARY\nTranslated by Pierre Ramés.\nP. R.\nhe French Theatrical Dictionary or Book of \" Twelve\n\"hundred and thirty three truths about the Directors,\n\" Regisseurs, Actors, Actresses and Employes of the va»\n\"rious Theatres, with Confidences upon the production\n\"of Illusion, Examination of the Dramatic Vocabulary, A\n*( Glance at the Material and Morals of the Performances, etc. etc.\" from\nwhich these definitions and those which appeared in the October number\nof The Mask are taken is by an anonymous writer who had evidently\na keen eye for the follies and foibles of the Theatre of his day,\nIt Is regrettable that the flight of time, which sweeps away so many\nthings, has not swept some of these out of the Theatre ; but this little\nbook remains unfortunately remarkably up-to-date and reflects certain\nphases of the Theatre as faithfully in 1911 as It did in 1825,... \" But yet\nthe pity of it, lago, O lago, the pity of it, lago \"I £/\nADAPTER. & If nature, in refusing to your mind all kind of capacity,\nhas yet lodged in your heart the passion for renown ; if you have the\nidea of composing a piece without having an idea for that piece; if you\nfind more complacency in a committee for deciding whether or not a new\nplay be fit for representation than in your imagination, take, instead of\na pen, a pair of scissors, bravely attack a play by Moliere or by Favart,\ntake from the principal situations those developments of which the author\nhas believed them susceptible, shorten the explanation, simplify the\nintrigue, strangle the denouement; your play, composed In less than two\nhours, will be received with acclamation and acted with eagerness. You\nwill get yourself called forward after the performance and you will go\nevery morning to receive from the cashier an author's fee double or\ntreble that which Moliere or Favart received in their life time. &\nASIDE. £? A ridiculous and necessary convention of the dramatic art; a\nlittle monologue pronounced in a low voice ; that is to say, low enough\nfor the public not to hear it and high enough for the interlocutor to\nhear it very well. Tartuffe is perhaps the only important character in"}, {"page_pdf": 53, "page_imprimee": "217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.53", "debut_caractere": 24, "fin_caractere_exclue": 2097, "texte": "our theatre who has not an aside to utter. Moli&re did not think well to\nput the hypocrite in the presence of himself for one single moment: the\nnature of the confidences which he would have had to make to us would\nhave been moreover too odious to be supportable.\nDECEASE. Occasion of noise and scandal. A simple mechanic, a lime=\nlight man, a box=opener passes without difficulty from the theatre to the\ncemetary. Talma, Mile. Mars, Madame Pasta, Mile. George will not enjoy\nthis advantage. The actor Kean will be buried at Westminster beside his\nsovereign.\nDILETTANTE. This is almost a public employment today. A man who\nhas some fortune, and who is neither a bestower of offices, nor a\ncounsellor of state, nor a gentleman of position nor eligible, purchases\nadmission to the \"Bouffes\" and takes the title of Dilettante, tie then counts\namong our aristocracy. He has the right of being cutting and of treating\nas ignoramuses the poor people who only go to the \"Feydeau\" or to the\nOpera. He knows a hundred words of Italian which he introduces every-\nwhere : he says \"la Pasta, la Mombelli: he dreams of nothing but Naples\nand Milan and only speaks French to ask for his slippers.\nDISPUTE. These two enchanting women who bewitch you by the\nelegance of their manners and the propriety of their acting have this\nmorning exchanged in the foyer remarks of which the vocabulary of the\nhails would resent the exaggeration. It had to do with a role of sixty\nlines to which each of these ladies claimed to have exclusive rights. &\nESTIMABLE. & Applied to talent, a synonym for mediocre.\nINTRIGUE. It presides at the reception of performances, at the granting\no'f turns for benefits, at the composition of comic and tragic lines of\nbusiness. Sometimes it deprives a clever comedian of a comedy part to\ngive It to a great tragedian, sometimes forbids Rossini to work for the\nOpera-Comique and gives him the monopoly of the \"Bouffes\" and Grand\nOpera. M. Cheron owes his influence to it, and without it Mme. Fodor\nwould still charm us by the inimitable purity of her delightful song."}, {"page_pdf": 54, "page_imprimee": "218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.54", "debut_caractere": 24, "fin_caractere_exclue": 2111, "texte": "QUEUE. 0 Happy the author and the actor who have a hundred times\nseen their name on the poster attract the public to the theatre and a\nhundred times seen the eager crowd form itself into an elongated queue\nunder the vestibule of the temple of Melpomene or of Thalia! The police\nrestrain the impatient who, weary of having made a queue for several\nhours at the door of the theatre, clamour for the benches of the pit.\nRESIGNATION. Away of asking an increase of salary when one is, or\nwhen one believes oneself to be, indispensable to the prosperity of a\ntheatre. Talma and Mile. Mars have offered their resignation twenty times.\nDevigny never took it into his head. & &\nROLE. Character One must see this only ; the actor himself ought\nalways to disappear. Mile. Mars as Hortense in \" Ecole des Veillards\nTalma, in Manlius, cause themselves to be forgotten by dint of talent.\nThat is tiie acme of art.\nSENSIBILITY. A vulgar merit which one accords as compensation to\nthe actresses destitute of intelligence. It is less trouble to act with one's\nthroat than with one's mind, easier to weep a part than to speak it.\nSNIVELLERS. The mania for snivelling Is familiar to the actresses of\nthe rue de Richelieu. The friends of these ladies say that they have tears\nIn the voice. Talma does not weep : he knows that one moves the spec*\ntator far more surely by a restrained sorrow than by a sorrow displayed.\nSOUL. & Here, what energy ! what sentiment! what depth! what frenzy!\nwhat an ardent and passionate soul ! There, what dryness, what ice !\nwhat sterility! what cold calculations! what an arid soul! or, to put it\nbetter, what absense of soul! And of whom do I speak thus ? whom do\nI designate ? ....\nNo, I designate no one, 1 name no one ; I am not in the mood to make\neither epigrams or madrigals : I cast a glance about me, 1 recall my\nmemories, and I see that ail men who have made a name for themselves\nhad the genius, the inspiration, the obsession, the, I don't know what,\nm short, which one calls soul. Ah yes, without doubt in art and in let=\nters, the soul first, talent after. & &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c044", "article_bluemountain": "bmtnaau_1912-01_01#c044", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "219", "page_fin": "246", "image_debut": 55, "image_fin": 82, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.25", "titre_corps": "THE “SACRE RAPPRESENTAZIONI” OF FLORENCE : Some Notes upon their Origin and Production", "titre_sommaire": "THE “SACRE RAPPRESENTAZIONI” OF FLORENCE : Some Notes upon their Origin and Production", "signature_source": "Dorothy Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "219", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 2074, "texte": "THE “SACRE RAPPRESENTAZIONI” OF\nFLORENCE. Some Notes upon their Origin and\nProduction\nby Dorothy Nevile Lees.\n\nhe sacred drama of the middle ages, that elder of all\n44 the modern theatre, was born in the church and of\n44 the church \". & & &\nj£r These are the opening words of M. Eug&ne\nLintilhac's \"Theatre serieux du Moyen Age\"; while Mr.\nE. K. Chambers writes, 44 The dramatic tendencies of\n44 Christian worship declared themselves at an early\n\"period. At least from the fourth century, the central and most solemn\n44 rite of that worship was the mass, an essentially dramatic commemo=\n44 ration of one of the most critical moments in the life of the Founder\" (i).\nBoth writers then proceed to show how around this central and fun»\ndamentally dramatic point the primitive ritual was elaborated Into those\nearly plays which, even when passing from the altar itseif, and from the\nLatin to the vernacular, yet centred around the death and resurrection\nof Christ as symbolised in the Mass. us?\n& Thus the church was in those days itself the theatre of the people ;\nand. even before it was their theatre, it was their picture book : it was\n*\nwhere they went to see. And their great desire always was to see. They\nwere all eyes and were best appealed to through those eyes. For all life\nwas in those days a gaily=coloured picture and both the civil and eccle=\nsiastical authorities spoke to the people through the eye, to delight or\nto warn, by processions and pageants and jousts and triumphs and public\nexecutions, knowing that clear and simple minds are ever best appealed\nto by such means; that they want the abstract translated into the\nconcrete, the ideal visualised. & & & & &\n& And so all the churches were used as appeals to the eye, as a means\nof instruction through It, and to that end the whole fabric was as an\nilluminated page whereon with brush and chisel the entire religious\nhistory was told. The Gothic facades with their unnumbered statuettes of\nsaints and martyrs; the frescoed walls, the painted windows, the carved\n\n(1) 44 The Mediaeval Stage \" vol : II 3."}, {"page_pdf": 56, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.56", "debut_caractere": 35, "fin_caractere_exclue": 2371, "texte": "stalls, the sculptured columns and pulpets, the doors, the very pave*\nments, (i) displayed pictorially the great truths and the great figures of\nthe faith, and these figures became the continual guests of \"the popular\nimagination, as familiar as the neighbours across the street.\nTherefore on the day when for the first time these grave and beauty\nful figures on the walls and in the windows seemed to descend in very\nflesh to the floor of the church, moving their quiet limbs in human\ngesture, speaking with lips hitherto mute, and mingling the very speech\nof the people with the sacred Latin words, the holy fear and joy which\nprepared men's souls to the essential dqgmatic truths, flooding them with\nthe awe or enchantment of its teaching, were carried to the highest pitch;\nthe effect of the religious play was \"to vivify the symbols and strengthen\nfaith by the unanimous witness of the senses\" and the churches were\nfilled with crowds eager for the emotion and glow of holy things. £>\nAnd all that the liturgical drama needed the church could itself supply.\nIn the actual fabric the religious drama found a theatre, in the painted\nwindows and walls, the gilded altars and carven stalls its scenery and\nstage; in the text of the sacred offices its dramatic scenario; in the\npriests its authors and actors, in their vestments its costume, and In the\npeople, eager to witness with their eyes that which they had heard with\ntheir ears and accepted in their hearts, an ideal public, eager in res=\npOI?S0. J® jg? jg? jg? Jg/ JD\nBut although at first purely religious and marked by a dignified\nsobriety, too soon a secular influence began to make itself felt, until by\nand bye we find the exit of the plays from the churches to the street,\nand by degrees the entire substitution of the Latin by the vernacular.\n%\nThe plays themselves, however, still continued religious in subject,\nalthough later they became profane In that they actualised what had\nbefore been a dream, a vision, and by that actualization ceased to appeal\nto the imagination and appealed only to the common sense. The drama,\nbecoming \"exactly like life\", ceased to be a symbol of Life. It became\nprofane because it profaned humanity, and it profaned humanity in that\nit violated the holiest rights of that Imagination which Is in humanity.\n\n(1) As in the Duomo at Sieaa."}, {"page_pdf": 59, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.59", "debut_caractere": 33, "fin_caractere_exclue": 2297, "texte": "& We find the artificial coming in at the time when the theatre was\ndriven out of the church or revolted from the church, which seems to\nhave been between 1300 and 1400, a period when the sterner nobler\n44 Representation \" of the older religious drama was already being\ncorrupted, and affectations of all kinds were beginning rapidly to\nspread.\nThe church Itself was by that time in its decline, and, whereas the\nearlier plays show talent without vulgarity, this too soon gives place to\nthe reverse. JZ? ■£?\n& The whole church began to perceive that there were little passages\nin the ritual which lent themselves to mockery, and the actors, (the\nvulgar ones), desired to have more scene, more talk, more of everything at\nall costs; greater elaboration and greater artificiality crept in together\nwith licence and vulgarity, and symbolism gave way to an attempted\nrealism, until at last art was poisoned by democracy, and, between 1400\nand 1550 the entire vulgarization of the religious play was the result,\nthe Church losing its Drama and the Theatre its Religion. &\nThis mistaken desire for \" more \" of everything soon influenced every\ndetail of the performances, from the words spoken to the scenery used,\nfrom the costumes to the number of actors employed ; for whereas in\nthe Mass itself, the earliest form of religious drama there had\nbeen but the one symbolic figure, the celebrant, with his attendant\npriests and acolytes, between 1100 and 1300 twenty or thirty actors\nwere usual in a company, while between 1400 and 1500, unable any\nlonger to accomplish their ends with simple means the players increased\nto between three and fine hundred ; in fact, as Magnln says, \" almost\n\" half the inhabitants of a city set themselves to delight and edify the\n\" souls of the other half. \"\n& In Florence this form of pleasure was received enthusiastically. \"If\nthe laud \", writes Philippe Monnier, 44 is a complaint or a cry and if the\n<4 sermon is an emotion, the Sacra Rappresentazione is a fSte \", and\nthere is abundant evidence of the truth of what he says.\nln those early days, however, the plays must not be classified as\namusement In our modern sense of the word, which is usually noise and\nvulgarity. Rather than amusement, the plays gave the audience pleasure;"}, {"page_pdf": 60, "page_imprimee": "224", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.60", "debut_caractere": 14, "fin_caractere_exclue": 2320, "texte": "in fact, as has been aptly said, 44 the medloeval drama made the people\nglow but did not make them guffaw.\nAlthough often grouped together under the comprehensive title of\n\" Sacre Rappresentazloni \", these plays had many other names, each, as\na rule, peculiar to a particular type. Sometimes the performance is called\na 44 Pesta \", sometimes a 44 Storla \", or a 44 Vangelo \", or a 44 Figura \" or\nan 44 Esempioat times, (and especially when the action has a symbolic\nmeaning, it is a 44 Mystery \" ; while those representations which showed\nthe constancy of saints and martyrs were known as 44 Passione\" or\n44 Martlrlo\" or 44 Miracolo,\" &\nThe scenarios were based usually upon the Bible stories or Legends\nof the Saints, and among those who composed the plays or adapted the\nold stories to the stage are to be found all sorts and conditions of people.,,\npoets, priests, pious burghers, devout women: Lorenzo dei Medici himself,\nand Feo Belcari and Castellano Castellani; the Pulci brothers and\nTommaso Bencl and the nun Annalena and many more. By far the\nmajority were, however, anonymous, the writers caring less for their\nauthorship than for the results tojbe obtained ; less that they themselves\nshould reap poetic laurels than that the people should gather therefrom\nspiritual fruit.\n£? And, after all, what else could the people do? 0\n£> Therein they saw things familiar and beloved. They saw the figures\nso long familiar upon cloister walls and in street shrines and in the\ngreat illuminated missals on the church lecterns, but all charged with\nlife and endowed with speech and movement: saw the blonde Madonnas,\nthe slim and nimble angels, the tranquil virgins and magnificent Magi\nmove and walk and eat and go on journeys and laugh and weep and\ndance and marry and have children before their very eyes. &\n& It was as though the pictures of the Nativities and Annunciations and\nAdorations and Lives of the Saints in the frescoes of Qiotto and the\nGaddi, in the panels and predellas of Fra Angelico, in the bronze doors\nof Niccolo Pisano, in the sculptured groups of the tabernacle of Orcagna\nand around the base of Giotto's tower had come to life; and, gazing on\nthem and loving them, seeing goodness so rewarded and wickedness\ncondemned, the people 44 filled its eyes, its ears, its memory, Its mind,"}, {"page_pdf": 63, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.63", "debut_caractere": 32, "fin_caractere_exclue": 2353, "texte": "\" its heart, with noble lessons, with pure forms, with tender examples-,\n\" with memories of piety, of goodness, of consoling fervour. \" and, 44 At\n44 the same time at the theatre and at church, \" 44 it is at once edified\n\"and amused; it takes pleasure in accomplishing a pious exercise; it\n\" delights in working for its salvation.\" (i) &\nzz? The usual place for the representation was a church, the audience\nbeing assembled in the nave and a stage erected along the screen which\ndivides that part of the building from the choir and transepts; but at\ntimes they were held in a convent refectory, on a public piazza, or in\nsome field belonging to the Confraternity by which the piece was\nplayed.\nPerformed only upon Feast days or to celebrate the visit of some\nillustrious guest, the hour was generally between vespers and dark, as\nis indicated by such words as 44 No more, for night comes on \" which\nare found in the epilogues of many of the plays ; and the day-light\nperformances (which we know sometimes extended to several days), in\narenas and open places were of later date. (2)\nThe time being come, the people assembled, and when, as Abraham\nBishop of Souzdal, who visited Italy in 1439, describes, \" a great silence\nreigned in the crowded church\", the play began with an \" Annunciation \"\nspoken by an angel and setting forth the subject in simple words. Sometimes,\nas in the 44 Invention of the Cross \", this is developed into a Dialogue,\nwhile in the 44 Miracle of Mary Magdalene \" two youths, 44 the devout\nMark \" and 44 the dissolute Thomas \", not only speak together at the\nbeginning and end of the play but also in the Intervals, taking the part\nof a Greek Chorus and expressing the sentiments which the action\nproduces in them. The performance usually ended with a Tedeum or a\nLaud, 44 which was almost like the final seal which confirmed the devout\n44 character of the spectacle and supported the idea that pleasure was not\n44 legitimate unless accompanied by sentiments of piety \".\n& The actors were youths, generally belonging to one of the confrater-\nnities, evidence of their youth being found in the Prologues of many of\n\n(1) Philippe Monnie\\ 14 Le Quattrocento. \" Vol; II page 217.\n(2) D'Ancona. •• Origini del Teatro Italia no \" A most valuable work upon the whole subject, to which 1 am\nmuch indebted."}, {"page_pdf": 64, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.64", "debut_caractere": 32, "fin_caractere_exclue": 2336, "texte": "the plays, such as \" St John and St Paul \", where the announcing angel\nsays: **We are but boys, therefore excuse our tender age \". They were\nknown as the \" Voices\" and were under the absolute control of a\n\" Festaiuolo \" or Stage Director.\n& At that time no women took part in the performances, the actor\nChecchinl noting in 1621 that it was since \"scarcely fifty years\" that women\nhad appeared on the stage. Indeed, in the \" Sacre Rappresentazloni \" it\nwould have been considered the greatest scandal to mix youths and girls\n%\ntogether, and all women's parts were taken by boys, who, \" dressed in\nrich female robes \" \" resembled very well to the Virgin Mary or to\nany other virgin.... or matron.... required. & & &\nAs for the characters we find represented, they are infinitely varied,\nfor since the action Includes all earth and hell and heaven, so the\npersonalities of all three are introduced. The Three Persons of the\nTrinity and the hierarchy of heaven are revealed to the delighted won-\ndering eyes of the spectators, as are archangels and angels and martyrs\nand virgins and prophets and saints. JZ? ■ JZ? &\n& God the Father is, it is true, more often represented by a mysterious\nvoice from above than visibly revealed, though at times he is shown as\n\" a great king, who sits upon a most excellent throne, with a benign,\ncompassionate and patient face \". On these latter occasions he is gene-\nrally a silent vision, proving how wisely \" the authors of the sacred\ndrama preferred a majestic silence to words which must always be\n\" inadequate JZ? &\nHis Son, on the other hand, appears frequently, and takes more\nintimate part in the action and dialogue, as does the Virgin Mary,\nwhile angels are busy most of the time executing divine errands, whether\nit be accompanying Tobit on his journey, or announcing the birth of\nChrist, or descending to Jacob in a dream, or bringing to St Agnese,\nstripped naked by the executioner, 45 a white dress painted with suns\nor restoring to St Uliva the two little white hands which, because their\nbeauty excited the desire of her father the Emperor, she has voluntarily\n...and miraculously herself cut off. JZ? JZ? JZ? &\n& The Devil also appears frequently, but takes many forms, the better\nto deceive; presenting himself to St Eufrasia In the image of her husband,"}, {"page_pdf": 67, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.67", "debut_caractere": 31, "fin_caractere_exclue": 2301, "texte": "to St Agnese as a negro, to St Margaret as a dragon and to St Onofrio\nas a hermit.\n& Besides these supreme figures there are all the human characters*\ncrowding the stage with every type of contemporary life and with any\nfigure, legendary or historical, from the creation of Adam onwards, which\nhappens to appeal to the author's taste. & & &\n£/ There are all the beautiful and tender or heroic figures of the saint-\nly legends ; benevolent and gracious and courtly and civil, full of faith\nand works; a worthy example to set before the folk. JZ?\njZ? There is Madonna Uliva sewing and singing in her chamber surrounded\nby her maidens; there is St. Barbara who, shut up in her tower with\nbut two windows, pierces a third in honour of the Holy Trinity; there\nis St Margaret the pagan, so eager for baptism that it seems to her a\nthousand years until she may obtain this boon, and exclaiming later,\nin the flames of martyrdom, \"Now become I of better condition as gold\nwhich, in the fire, is made more perfect\". There Is St George slaying\nthe dragon and St Christopher bending his great strength to the service\nof a little child, and Abraham, rising in haste and without staying to\nargue, to slay his only son. & •£? & & &\n£? They are all gracious and polite and quickly obedient and all utter\nsuch sweet and courteous and burning words as are the natural fruit of\nreligion and inspire the people to like words and acts.^\n£? Then there are the more earthly folk, drawn from every nation and\nfrom every walk of \\\\IQ.JZ?\n£/ There are Hebrews or Asyrians or Egyptians or Romans or Floren-\ntines. There are Popes and Cardinals and Bishops and priests and\nfriars. There are Emperors and Kings and courtiers and courtesans and\njudges and patriarchs and great ladies and astrologers; There are doctors*\nwhose practices are made the occasion for many a jest, and soldiers,\ndrunken, blustering, boastful, having already something of the bravado\nwhich is to characterise the \" Capitano \" of a later date. There are\ncavaliers and citizens and merchants and couriers and heralds and\nexecutioners and robbers and dwarfs and midwives and nurses and\nnotaries. There are the shepherds with their poor gifts for the little\nJesus,... six apples and some cheese; and inn-keepers and weavers and"}, {"page_pdf": 68, "page_imprimee": "232", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.68", "debut_caractere": 33, "fin_caractere_exclue": 2243, "texte": "peasants to the life, just as they sweat in the fields and shout in the\nmarket-place, it being as a rule on these humbler folk, on their\nquarrels and brawls and rough jests • • ••• that the comic element of the\nplays depends.\n& No anachronisms trouble either playwrights or actors. All kinds of\npeople are crowded together on the stage. Donateilo excuses himself to\nthe messenger of Nebuchadnezzar and regrets that he cannot oblige him\nwith a golden statue, being too much occupied upon the Prato pulpet,\nand Pharoah swears by the gods of Greece, and the heroes of the Old\nTestament show themselves well acquainted with the most popular\nFlorentine Inns. & £f\n& As for the costumes worn, these would be in the earliest times the\nvestments of the officiating priests as they moved about the altar, „..the\nalbs of fine linen, the copes worked in silk and gold, the jewelled stoles.\nLater on they doubtless displayed that mixture of the contemporary and\nthe imaginative which is seen in the paintings of Fra Angelico and the\nother artists of the day.\n£/ Indeed, again and again in the descriptions of eye witnesses occur\nsuch phrases as: \"the apostles go barefoot as they are seen in holy\npictures \" ; or \" the angel is a beautiful youth, dressed in a robe white as\nsnow, adorned with gold, exactly as are seen painted the angels of\nheaven \".\nIn some cases details of the costumes are given, as when It is stated\nthat Jacob is seen 44 asleep on certain stones, dressed in costly furs slung\nacross his shoulder, with a thin shirt of fine linen ; beneath, cloth-of-\nsilver stockings, and fair buskins on his feet, and in his hand a gilt\nwand \": or when it is directed that the Prophets wear 44 long beards\nand disordered hair, with little circlets of gold upon their headsand\n44 are dressed simply in long shirts, full and white, with a belt, and a\nscarlet band from the right shoulder to the left thigh : \" or that the\nangel be clothed 44 in fair white linen painted with suns \" or, (as in a\nStage Direction in 4' Santa Uliva\",) that there 44 appear many naked\nwomen, (or rather clothed In flesh-coloured linen), \" although evidence\nis not lacking that actual nakedness was at times admitted on the\nstage. j£r jg? &"}, {"page_pdf": 73, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.73", "debut_caractere": 37, "fin_caractere_exclue": 2385, "texte": "AS has been said, the characters included any or all the inhabitants\nof earth and hell and heaven, and In like manner the Scene in which\nthey played their parts was made to represent all three. It was Italy or\nEngland or Palestine or Egypt. It showed Pharoah on his throne or\nLazarus on his doorstep; it was the lake where St George slew the dra-\ngon or it was the sea laden with the ships in which St Ursula and her\nten thousand virgins sailed to Rome. It was Santa Rosana's garden or\nSanta Barbara's tower. It was a forest or a desert or a battle-field or\n«\nan inn. There were rivers and bridges and palaces and prisons and bed\nchambers and courts of justice and farmyards and streets. Sometimes\nheaven opened in a blaze of glory; sometimes hell opened in a belch of\n*\nflame and smoke. Certainly, no one had a moment in which to be bored.\nu® As for the structure and technical arrangement of the stage, a good\nidea of it is conveyed in such old pictures as Jean Fouquet's \"Martyrdom\nof St Apollonia\" and in the many little compartments of the old\nreredoses. (1) J® J® J® J® J® J® J® J®\nJ® Built up like shelves at the back, each scene was set in a small compart-\nment of its own, and when Joseph's brothers arose in one compartment\nand expressed their intention of going down into Egypt, the imagination\nof the audience, and usually a musical interlude, supplied the just inter-\nval before they appeared in another compartment and were met by\nJoseph at their journey's end. j® j®\nj® The flat platform in front was common ground where the greater\npart of the action and dialogue took place; above was heaven, and beneath\nthe infernal regions communicated with by trap-doors. J® J®\nj® The characters, when not actively employed, usually remained seated\nin their compartments, and on entering generally took a seat before\nthey spoke, since speaking immediately upon entry was employed to\nconvey an impression of haste, as in the case of the Announcing Angel.\nThey usually, however, rose from their seats before speaking, to speak\nseated being a sign of dignity reserved for great personnages. j®\nJ® In many cases the directions given in the play books are most precise,\nas when the executioner, having cut off the head of John the Baptist\nand put it in a basin, is instructed to \" wait while the soul passes into\n\n(I) See The Mask. Vol. 111. pg. 1-4"}, {"page_pdf": 74, "page_imprimee": "238", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.74", "debut_caractere": 34, "fin_caractere_exclue": 2388, "texte": "Limbo and recites a stanza \"; but sometimes it is left to the discretion\nof the actor to improvise for himself 44 such honourable and holy acts as\nshall be fitting to such a part & &\njgr when it came to the properties and stage machines, no difficulties\ndisconcerted those 44 festival artists\" of Florence, who included such\nmen as il Cecca and Filippo Brunelleschi himself,\nThe plays were full of action, full of things to see, and all descriptions\ngo to prove that the spectacle was the principle part and that \" the\nwords only served to determine the historical significance , Indeed,\nstage directions and old chronicles and the diaries of eye witnesses alike\ntestify to the marvels to be seen. &\nTheir variety is infinite; their ingenuity amazing, JZ? &\n& There are celestial visitations. Thunder Is heard, the heaven opens,\nand 44 one sees the celestial Father suspended in the air in miraculous\n44 manner, surrounded by a dazzling light which is diffused by innume-\n-44 rable lights. \" He 44 descends upon a Nuvola, (i), very beautiful, and\nIngeniously made, with attendant angels, \" and the souls of the righteous,\nJohn the Baptist and St Ursula with her virgin companions and those other\nblessed ones, ascend in their turn. The wicked go down quick into a\nflaming mouth of hell. There are Nativities garlanded with singing angels\nwhich rotate on metal discs ; there are Transfigurations, when \"Jesus shall\nbe upon the mountain \", and \" let there be a clean basin, that causes\n««the splendour of the sun that shines in the basin to come on Jesus\n44 and his disciples. And then let Jesus let fall his vermilion robe and\n44 remain in a white vestment. And if the sun should not be shining\n44 have some torch or other light. \"\nThere are angels despatched on messages from God, dressed in snow=\nwhite robes adorned with gold, who 44 descend, singing softly and holding\nin the hand a little branch\", having behind them 44 two pulleys, invisible\n44 from beneath because of the distance, and two ropes run upon these\n44 wheels, while some unseen persons who are above, by means of a very\n44 thin rope, make the angel to descend and reascend. \" £7 <0\n& There are descents of the Holy Ghost and there are Last Judgements,\nfor the scenic setting of which we perhaps get some Idea from Fra\n\n(1) See the description of a \" Nuvola ' at the end of this article."}, {"page_pdf": 77, "page_imprimee": "241", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.77", "debut_caractere": 37, "fin_caractere_exclue": 2256, "texte": "Angelico's trap=door=like little tombs from which the dead arise.\n0 Then besides these supernatural scenes there are the more worldly\nones.\nThere are joustings and street triumphs and banquets. 44 if you\nwish \" says a stage direction relative to the marriage feast in 44 Santa\nUliva a play which lasted two days, \"to beguile the weariness caused\n44 by the length of the show, then you shall give them (the audience) a\n44 share in these bridals by providing a general banquet; but If you\n44 misllke the expense, then entertain the players only \". & 0\n0 There are battles. In Judith 44 The Assyrians make a great charge\n44 against those of the city with bows and arrows and arquebuses, and\n44 the Hebrews defend themselves manfully, and, the battle ended, each\n44 retifrns to his pavilion&\nThere are mechanical animals, not merely constructed for show but\nmade to act and move. ■£/£/\nIn 44Santa Cristina\" two large serpents which a charmer incites against\nher approach and 44 lick her, almost adoring her \"; then turning upon\nthe magician himself, bite him so that he fails screaming to the ground.\nIn St George, the Dragon is 44 Beside a lake, and from its mouth belches\n44 fire and sulpher, and it carries away children and sheep and devours\n44 them Then 44 It comes forth little by little, and St George, setting\n44 his lance in rest, suddenly spurs his horse and wounds the dragon. \"\nIn 44 St Ignazlo \" two lions 44 rush upon him and choke him \". San Rossore\nis thrown 44 into the den of lions and leopards and bears, who all lick\nhim \", while in 44 St Onofrio \" come two Hons which first \"dig a grave\",\nand then 44 take that body, one by the head and the other by the feet\nand 44 bury it In that grave \". 0\nThere was music, too, to be arranged for, and singing, and dancing,\nall dear to the people's\nIn 44 Santa Cristina \" 44 some maidens go by singing a pretty laud \".\nIn 44 Jacob \" we learn that 44 while he slept heaven opened and seven\nangels appeared, seated upon clouds \" and 44 making a most pleasant\nnoise with horns, greater and lesser viols, lutes and organs , and there\nare not lacking 44 children with flutes, citherns and bells. 0 0\n& In 44 Santa Uliva \" it is with music that they fill up the Intervals"}, {"page_pdf": 78, "page_imprimee": "242", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.78", "debut_caractere": 36, "fin_caractere_exclue": 2309, "texte": "necessary for the scenic arrangement of a joust, for a cavalier to make\na long journey, for a lengthy auricular confession to be concluded and\nfor the heroine to be richly adorned. In 44 Abraham and Isaac \" 44they\ndance, singing a laud \", and in \" San Rossore \" \" a banquet is given and\nthey dance and sing and play&\n& They sing not only Latin psalms or lauds in the vulgar tongue, but\neven profane songs,.... hunting songs and love songs and beggars' songs\nand soldiers' songs, the choice being sometimes left to the actor himself,\nwith merely the caution that it be 44 a proposito\" to the scene and\nsense. & jg?\nbesides the gay scenes there are the terrible ones: the casting\ninto hell of the lost souls, the martyrdoms of the gallant youths, the\nlittle flower-like virgins, who go to their death so serenely, passing\nthrough fire and water and tortures inconceivable until at last, under\nthe executioner's sword, their souls, as new born babes, are carried up\nupon a 44 Nuvola \" into the opened heaven. &\nAnd lf the mere reading of such things in the Lives of the Saints,\nor hearing them from the lips of the 44 cantastoria \" was enough to stir\nthe hearts of the people, what must have been the impression caused\nwhen, with ail accuracy and circumstantial detail, the preparations\nand the pangs of martyrdom were set before their eyes and all the\nvarious modes of torture carefully represented ? &\n& For in these oid plays nothing is spared the audience, eager for emotions.\nIn fact the martyrdom of St Ippolito, tortured in a hundred ways, is the\nonly one which we are told 44 is not seen \" upon the stage. All the rest\nare shown to the last detail. St Agnes, cast into the flames, remains\nunharmed 44 like a salamander \" and dies only when her throat is cut. St\nApollonia has her teeth broken and is beheaded. St Catherine is tormented\nbetween two wheels. St Cristina, torn with sharp hooks and thrown into\na burning cauldron, yet survives ; they put a stone round her neck and\nLing her into the water but she is again miraculously saved ; so they\ntorture her yet more horribly, and at last, of a final knife thrust,\nshe dies.\n& It is all very wonderful, but the Stage Directions of the old play books\ngive some idea as to how all may have been accomplished and an im="}, {"page_pdf": 81, "page_imprimee": "245", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.81", "debut_caractere": 32, "fin_caractere_exclue": 2348, "texte": "pressive result obtained at very little pains.\n& For the final decapitations puppets were substituted for the living\npersonnages, as can be deduced for all similar cases from the Stage\nDirection in \" Santa Cristina \" where, after the executioner has ordered\nher to bend her head \" one must change to the counterfeitand from\nthat in \"Sant'Apollonia\" which says \" Several women weep over\n\" Sant'Apollonia, and one of them takes her under her mantle, another\n\" puts there a counterfeit which resembles Sant'Apollonia and the\n\" executioner cuts off its head \": and another writer, (i) drawing the\nsame conclusions, declares that he holds it permissible to believe \"that\n\"St Agatha, St Cristina, St Ippolito, St Lorenzo and the rest of the\n\" most glorious martyrs and confessors were wonderful puppets and\n\" marionettes, substituted in that moment for the actors, and so truth-\n\" fully simulating the human effigy as to arouse the universal terror,\n\"and emotion.\" and elsewhere he adds, \"I believe that many of the\n\" personnages set in the highest compartments, and especially those\n\" elevated up there as visions and in no way participators in the action,\n\" were only figures of people, puppets constructed with great skill in\n\" some less heavy material, and so constructed and posed as to produce\n\" the most perfect illusions \". As for the cases such as flagellations, where\nthe parts were really played by flesh-and-blood actors, we know,\nfrom the Umbrian \" Devotion \" of Good Friday that it was enough to\nstrike\" a little devoutly\", trusting that the imagination of the audience\nwould magnify that little and Imagine something far more violent, while\nas for blood, It was easily simulated, and flames either painted, or real\nones mixed discreetly with the false.\nSuch, then, were a few of the wonders which the \"Festaiuolo\" or stage\nmagician caused to appear before the people's eyes, though, as can be\nimagined, with all the life of earth and heaven to draw from, all the\nGospel story and Lives of the Saints and legends of heroes, the varie-\nty was infinite ; there was never a dull moment from first to last.\nsusceptible to all beauty, glowed with fervour and devotion. They adored\nthe baby Jesus and his mother, they were awed by the appearances of\n\n(i) Yorick, (P. Ferrifni) \" Storia dei Burattiai Florence 1884,"}, {"page_pdf": 82, "page_imprimee": "246", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.82", "debut_caractere": 33, "fin_caractere_exclue": 1423, "texte": "God the Father; they wept with pity and admiration over the sufferings\nof the martyrs ; they were moved to an infinite tenderness for all the\nlittle virgins: for, whatever the Humanistic influence might have been\nupon the scholars, the soul of the populace itself remained as naieve as\na spring morning, full of freshness and fervour, eager and credulous and\ndevout.\nAnd all these beautiful sights, these courageous examples, these\nvisions of a spiritual world, do not, when set before an audience, only\nentertain; they educate; they do not merely delight the senses; they\nedify the soul.\nIn this the twentieth century may be at one with the fifteenth, and\nthough in actual form the Sacre Rappresentazioni were peculiar to their\nown age, that spirit which vlvfied them may be renewed in any age....\nan eager spirit which reaches out from the material towards the ideal,\nand dies only when the ideal is vulgarized, forgotten, and crushed beneath\nthe weight of the real. J£/\n\" Too much matter \" wrote Victor Hugo, \" is the evil of our day \".\nHe might well have added 44 and is the evil of our theatre \" Hence \", he\n44 continues, 44 a certain dulness. It is necessary to restore some ideal in\n44 the human mind For, 44 by that means, while curing the illness for\n44 the moment, you will establish for ever the health of the human\n44 mind. You will cure the middle class and found the people. \""}]}, {"article_id": "bm-bmtnaau-1912-01-01-c046", "article_bluemountain": "bmtnaau_1912-01_01#c046", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "221", "page_fin": "221", "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=bmtnaau191201-01.2.25.2", "titre_corps": "From the Storia of Santa Margherita", "titre_sommaire": "From the Storia of Santa Margherita", "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": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 36, "texte": "From the Storia of Santa Margherita."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c047", "article_bluemountain": "bmtnaau_1912-01_01#c047", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "225", "page_fin": "225", "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=bmtnaau191201-01.2.25.3", "titre_corps": "From the Rappresentazione of Ottaviano", "titre_sommaire": "From the Rappresentazione of Ottaviano", "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": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 39, "texte": "From the Rappresentazione of Ottaviano."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c048", "article_bluemountain": "bmtnaau_1912-01_01#c048", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "229", "page_fin": "229", "image_debut": 65, "image_fin": 65, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.25.4", "titre_corps": "From the Rappresentazione of the Judgement of Solomon", "titre_sommaire": "From the Rappresentazione of the Judgement of Solomon", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 54, "texte": "From the Rappresentazione of the Judgement of Solomon."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c049", "article_bluemountain": "bmtnaau_1912-01_01#c049", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "233", "page_fin": "233", "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=bmtnaau191201-01.2.25.5", "titre_corps": "From the Rappresentazione of St John the Baptist", "titre_sommaire": "From the Rappresentazione of St John the Baptist", "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": "233", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 49, "texte": "From the Rappresentazione of St John the Baptist."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c050", "article_bluemountain": "bmtnaau_1912-01_01#c050", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "235", "page_fin": "235", "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=bmtnaau191201-01.2.25.6", "titre_corps": "From the Rappresentazione of St. Ursula", "titre_sommaire": "From the Rappresentazione of St. Ursula", "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": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 40, "texte": "From the Rappresentazione of St. Ursula."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c051", "article_bluemountain": "bmtnaau_1912-01_01#c051", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "239", "page_fin": "239", "image_debut": 75, "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=bmtnaau191201-01.2.25.7", "titre_corps": "From the Rappresentazione of Saata Rosana", "titre_sommaire": "From the Rappresentazione of Saata Rosana", "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": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.75", "debut_caractere": 0, "fin_caractere_exclue": 42, "texte": "From the Rappresentazione of Saata Rosana."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c052", "article_bluemountain": "bmtnaau_1912-01_01#c052", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "239", "page_fin": "239", "image_debut": 75, "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=bmtnaau191201-01.2.25.8", "titre_corps": "From the Storia of Lazarus, Martha and Mary", "titre_sommaire": "From the Storia of Lazarus, Martha and Mary", "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": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.75", "debut_caractere": 44, "fin_caractere_exclue": 87, "texte": "From the Storia of Lazarus, Martha and Mary"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c053", "article_bluemountain": "bmtnaau_1912-01_01#c053", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "243", "page_fin": "243", "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=bmtnaau191201-01.2.25.9", "titre_corps": "From the Rappresentazione of St George", "titre_sommaire": "From the Rappresentazione of St George", "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": "243", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.79", "debut_caractere": 0, "fin_caractere_exclue": 39, "texte": "From the Rapprtsentazione of St George."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c054", "article_bluemountain": "bmtnaau_1912-01_01#c054", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "246", "page_fin": "249", "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=bmtnaau191201-01.2.26", "titre_corps": "THE \"NUVOLE\" OR CLOUDS : An Extract from the Life of Il Cecca", "titre_sommaire": "THE \"NUVOLE\" OR CLOUDS : An Extract from the Life of Il Cecca", "signature_source": "Giorgio Vasari", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 82, "page_imprimee": "246", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.82", "debut_caractere": 1425, "fin_caractere_exclue": 1999, "texte": "THE \"NUVOLE\" OR CLOUDS. An Extract from\nthe Life of If Cecca\nby Giorgio Vasari.\n\nespecting the Clouds, which were made of various kinds\nand with different inventions by the several Brotherhoods,\nthey were generally managed in the following manner:\njZ? A square frame was made of planks about two bracci\nhigh, with four strong legs at the angles, which were\nbound fast together beneath after the manner of trestles; across this\n\\\nframe were laid two planks, each one braccia wide, and having an ope-\nning in the centre, half a braccia in diameter, from which arose an upright"}, {"page_pdf": 85, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.85", "debut_caractere": 34, "fin_caractere_exclue": 1570, "texte": "pole supporting a Mandorla, or Glory, entirely covered with cotton\nwool, amidst which were angels, lights and other ornaments. In this there\nwas an iron fixed across, whereon was placed, seated or standing, as was\ndesired, a person who represented that saint whom the Brotherhood\nIn question principally honoured as their advocate and protector; whether\nit were the Saviour, the Madonna, St John, or any other Saint, the vest-\nments of the figure concealing the iron in such sort that it was not seen.\nTo the pole which supported the Mandorla were fastened four or\nmore iron bars, serving in the manner of branches to a tree; they were\nfixed around and beneath the Mandorla, and to these irons were secured\nlittle children clothed to represent angels, who were free to move at_\ntheir pleasure on the bracket supporting their feet, which was formed\nwith hinges in a manner suited to that end. &\nBy means of such branches three or four circles of angels or of saints\naccording to the subject represented, were occasionally exhibited. &\nThe whole of this structure, which sometimes represented a Lily, som=\n%\ntimes a Tree, but most frequently a Cloud or something similar, was con-\ncealed by the cotton wool, and was occupied, as we have before seen, by\ncherubim, seraphim, etc, or covered with gold stars and other ornaments,\n& The stairs for ascending these structures and every other part being\ncovered, as we have said above, with cotton-wool, a very good effect was\nproduced, and all these contrivances were called \"Nuvole\". (Clouds)."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c056", "article_bluemountain": "bmtnaau_1912-01_01#c056", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "247", "page_fin": "247", "image_debut": 83, "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=bmtnaau191201-01.2.26.2", "titre_corps": "From the Rappresentazione of the Annunciation", "titre_sommaire": "From the Rappresentazione of the Annunciation", "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": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.83", "debut_caractere": 0, "fin_caractere_exclue": 46, "texte": "From the Rappresentazione of the Annunciation."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c058", "article_bluemountain": "bmtnaau_1912-01_01#c058", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "250", "page_fin": "254", "image_debut": 86, "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=bmtnaau191201-01.2.27", "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": 86, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.86", "debut_caractere": 0, "fin_caractere_exclue": 2102, "texte": "LETTERS TO THE EDITOR.\n\nFOLK ART IN ENGLAND.\n\nSir,\nnpo the October number of The Mask Mr Felix Urban contributed an\narticle based on a portion of •• The [Shakespeare Revival a book\nwhich was noticed briefly in the [same issue. The writers of the book\nwere accused of \" faking \" the national art. The word \" fake \" is an\ninelegant term, and the nature of the deed was set out bj Mr Urban as\na propaganda of \" sociologists \" and wealthy patrons, resulting in Lthe\nmore or less dutiful dancing of the Morris, the Country Dance, and the\nSword Dance before a crowd of admiring mediocrities who, presumably\nwould exclaim: \" The dear creatures! Are they not quaint ? Won't\nthe vicar be delighted ? \" & & & & &\n& Unhappily Mr Felix Urban had not spent much time in the parks\nand c!ub=rooms of Northern England, or, say, at Earsdon where the\npitmen dance or at Flamborough where the .fishermen look upon this\nkind of work as Expression. & £>\n& Indeed Mr Urban not only denies that [we, the abettors of these\npractices, know anything about the Folk, but asserts that we do not\nknow the secret of this energetic procedure. The secret, Mr Urban, is\nquite open, and I thought universally accepted. Rhythm, colour, sex,\nare the three words which I should say lie behind all Art that is not a\n....\" fake \", shall we say r?\nIn the case of the Northern Sword Dances... not Scottish variety...\nthere comes the sacrificial element, and its absence, (today I admit,)\ntends to limit this particular form to \"athletics\". Perhaps with Mr Urban's\nhelp we can free the people a little more from the qualities of modern\nlife which lie heavily upon our limbs.\nIn that sense we are \" sociologists \", though a sociologist proper is\nnot a dancing animal. Let the dancers once more take their proper place,\nnot only Dance but the larger Dance that is the Drama will grow. The\nmodern soil is not contaminated by industrialism. Indeed I should say\nthat bad art, rather than crude industrialism, is responsible for the\nabsurd necessity of fighting about such matters. &\n\" Ireland is more fortunate,\" says Mr Urban. In so far as Mr Urban"}, {"page_pdf": 87, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.87", "debut_caractere": 23, "fin_caractere_exclue": 2244, "texte": "understands Ireiand this is true. And It may be through my own\nwriting that he has so misunderstood Miss Neal's contribution to the\nvolume. I have said several nasty things about modern civilised\nlife.\n£? Like every other artist I am a sociologist to the extent of wishing to\ndestroy a great deal which to the bone»headed man is precious.\nBut I protest against the calm assumption that present day city life\nhas killed the Soul of Man. It has not killed mine, and I see the Polk\nunder strange disguises, and regard Civilisation as a pageant, which\nhas been seen rather too many times. From Death comes Resurrection\nin Art as in all else. Despair may lurk in the wan coteries, but we need\nnot tell the Morris Men that'rhythm and colour and sex are there, it\nwould be their turn to keep the fiddler to the tune, and the artist away\nfrom sociology.\n£? Machinery has not killed rhythm, nor has smoke blotted out colour,\nnor is the human race extinct. So there is hope for Art. It is just from\nsome such club as the Esperance Guild that the best pupils of the Craig\nSchool will come. For the general run of town children and young men\ndo not easily mix with the more vital spirits of the age.\nPerhaps the most convincing thing that I can say Is that 1 agree\nwith every word of Mr Urban's article as applied to some dreadful\nphantom of Art in the grips of Learning or some other enemy. But\napplied to the reality of creative and re-creative art in England it Is out\nof relation to fact. JZ? JZ? JZ? JZ? JZ? TZ?\n£? Had those remarks appeared in the daily press 1 should not have\nreplied for, apart from the opinions of a few of the journals, their\nopposition is not a thing of great worth. But an article in The Mask\ncarries a weight which cannot be ignored. I have been condemned as\na 44 sociologist \" conspiring with wealthy patrons to exploit the simple\nrustic. Whereas in truth I am a poet, digging in the field of journalism\nmy colleagues being hardworkers and creators also. I enjoy the fight\nvery much, and, as there is no law of libel against those who laugh at our\nnot wholly pleasant word 44 Revival \", the reader may with your courtesy\nnow judge between two opposed statements of the same facts.\n\nReginald R. Buckley."}, {"page_pdf": 88, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.88", "debut_caractere": 25, "fin_caractere_exclue": 2046, "texte": "Mr. FELIXURBAN'S REPLY\nFelix Urban.\nIn 44 The Shakespeare Revival the book about which I wrote, Mr\nBuckley is unfair to the Folk Art which he tells us is flourishing in\nEngland, for Mr Buckley might have made us feel and so understand\nthat the Folk were really at play once more, whereas he created is us\nentirely the opposite impression. It is not of great importance, but since\nMr Buckley has evidently the best will in the world to make things\nclear, it is a pity that he did not wait for a few more years, before\nproducing a book which could thoroughly represent the movement.\nSuch a book should, as 1 have said, make us feel. Probably some day\nsuch a book will be written, but a poet must be generous to do this.\nMr Buckley tells us he is a poet;.... well then....\n\nTHE RUSSIAN BALLET.\n\nSir,\nIn your article on the Russian Ballet, among many stupid things, there\nis one so overwhelmingly stupid that the rest don't matter : and that\nis the use of the words \" stealing \", \" fraud \", and \" kleptomania \" in\nspeaking of the lessons which the Russian dancers have learnt from\nIsadora Duncan. When the Russians saw that she danced better than\nthemselves, what on earth did you expect them to do ? To go on dancing\nbadly, and not try to improve by the methods she showed them ? Is\nthat what is done in other arts? Is it \" stealing \" if a painter or an\nr -\nauthor pursues a road opened up by his predecessor ? In that case all\nSchools of artists (the history of painting and literature is founded on\nthe assumption of continuous influence) are merely dens of thieves.\nMillais or Holman Hunt or somebody was the only Pre-Raphaelite ; the\nrest were thieves. Oauguin or Matisse or somebody was the only Post-\nimpressionist ; the rest were thieves. Craig is a thief, because he has\ncribbed his lighting from the barn-theatre, where they hang stable-lanterns\non hooks; and all his intending pupils had better go and give themselves\nup to the police at once.\n%\nThis John Balance seems to be a most unbalanced person. (It is plain"}, {"page_pdf": 89, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.89", "debut_caractere": 23, "fin_caractere_exclue": 2138, "texte": "from his article, by the bye, that he has never been to Covent Garden\nat all to see the 44 weary group pf Londoners \" propping their jaded\neyelids open to peer at the dismal old doings on the stage). Does he\nallege that the Russians have mastered the principles of Isadora Duncan's\ndancing, or does he allege that they have merely pinched a wheeze or\ntwo ?In one sentence he says that they have taken 44 a few tricks \"; in\nanother he says that for seven years, since she first danced in St\nPetersberg, they have been studying 44 the weak and tender line won by\nnon-resistance \" (whatever that may mean) which •'the great American \"\nwas the first to demonstrate. A trick or two after seven years was poor\nstealing !\nBut, gracious Nature! (our Mother, as John Balance says), has Isadora\n%\nDuncan a copyright in 44 weak and fender \" lines ? Has she appropriated a\nwhole sphere of attitudes and gestures for her very own? And must they\nperish when she dies, on pain of hue and cry ? or will she leave them\nto someone in her will ? & & & £? & &\nThe Ballet has all human movements for its sphere, Duncan or no\nDuncan, and the first man who jumped in the air or stood on his head\n>s not going to call 'Police!' out of his grave. There never was and never\ncan be 'theft' in gesture. I have never seen Isadora Duncan dance, but\nI'll wager that her range of gesture does not cover one- twentieth part\nof the range of the Russian ballet. What have any of those Egyptian dan-\nces to do with her? Carnaval? Scheherazade? Prince Igor? what would\nshe make of Harlequin, or Pierrot, or a Polovtsian warrior? If she sees\nthe Article, I think she will write herself to say how stupid it is. ,\n\nHeathfield Lodge,\nHampstead Heath, N. W.\nYours faithfully\nGeorge Calderon.\n\nMr JOHN BALANCE REPLY\n\n7y|r George Calderon is an Englishman ; hence his enthusiasm for the\nRussian-Tartar-French dancers who have invaded London lately. He\nis not content with saying that these ladies and gentlemen are magni-\nicent and that the English speaking race are better dancers; he goes\ncrazy with delight rather than enquire. Note what he says; \" 1 have"}, {"page_pdf": 90, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.90", "debut_caractere": 23, "fin_caractere_exclue": 1041, "texte": "never seen Isadora Duncan dance and then with blind Russophobia he\n\" wagers\" that she can't dance.\nWhat can be said in reply to so charmiug, so childish a being ? Merely\nthis: that he is almost as rash and prejudiced as some of our friends\non the staff of The Mask, but that he really need not be careless.\n*\n& For instance when he asks \" what would Miss Duncan make of Har=\nSequin, Pierrot or a Polovtsian warrior we have no reply to make: we\ncan only make a speechless if somewhat tickled appeal to those who are\nstudents of the greatest dancing and we know that their reply will be\nan equally silent one.\nI wonder if Mr Calderon always goes about bumping into people who\nare seriously at work and excusing himself on the ground of his Ignorance ?\nI cannot think that that kind of thing leads anywhere, for there Is so\nmuch to learn for the great artists of today and if some resistance from\nthe enquirer is healthy, a great deal too much of it may easily be\nmistaken for Ignorance and boorishness. £?\n\nJohn Balance."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c059", "article_bluemountain": "bmtnaau_1912-01_01#c059", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "250", "page_fin": "251", "image_debut": 86, "image_fin": 87, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.27.1", "titre_corps": "FOLK ART IN ENGLAND", "titre_sommaire": "FOLK ART IN ENGLAND", "signature_source": "Reginald R. Buckley", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 86, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.86", "debut_caractere": 24, "fin_caractere_exclue": 2102, "texte": "FOLK ART IN ENGLAND.\n\nSir,\nnpo the October number of The Mask Mr Felix Urban contributed an\narticle based on a portion of •• The [Shakespeare Revival a book\nwhich was noticed briefly in the [same issue. The writers of the book\nwere accused of \" faking \" the national art. The word \" fake \" is an\ninelegant term, and the nature of the deed was set out bj Mr Urban as\na propaganda of \" sociologists \" and wealthy patrons, resulting in Lthe\nmore or less dutiful dancing of the Morris, the Country Dance, and the\nSword Dance before a crowd of admiring mediocrities who, presumably\nwould exclaim: \" The dear creatures! Are they not quaint ? Won't\nthe vicar be delighted ? \" & & & & &\n& Unhappily Mr Felix Urban had not spent much time in the parks\nand c!ub=rooms of Northern England, or, say, at Earsdon where the\npitmen dance or at Flamborough where the .fishermen look upon this\nkind of work as Expression. & £>\n& Indeed Mr Urban not only denies that [we, the abettors of these\npractices, know anything about the Folk, but asserts that we do not\nknow the secret of this energetic procedure. The secret, Mr Urban, is\nquite open, and I thought universally accepted. Rhythm, colour, sex,\nare the three words which I should say lie behind all Art that is not a\n....\" fake \", shall we say r?\nIn the case of the Northern Sword Dances... not Scottish variety...\nthere comes the sacrificial element, and its absence, (today I admit,)\ntends to limit this particular form to \"athletics\". Perhaps with Mr Urban's\nhelp we can free the people a little more from the qualities of modern\nlife which lie heavily upon our limbs.\nIn that sense we are \" sociologists \", though a sociologist proper is\nnot a dancing animal. Let the dancers once more take their proper place,\nnot only Dance but the larger Dance that is the Drama will grow. The\nmodern soil is not contaminated by industrialism. Indeed I should say\nthat bad art, rather than crude industrialism, is responsible for the\nabsurd necessity of fighting about such matters. &\n\" Ireland is more fortunate,\" says Mr Urban. In so far as Mr Urban"}, {"page_pdf": 87, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.87", "debut_caractere": 23, "fin_caractere_exclue": 2244, "texte": "understands Ireiand this is true. And It may be through my own\nwriting that he has so misunderstood Miss Neal's contribution to the\nvolume. I have said several nasty things about modern civilised\nlife.\n£? Like every other artist I am a sociologist to the extent of wishing to\ndestroy a great deal which to the bone»headed man is precious.\nBut I protest against the calm assumption that present day city life\nhas killed the Soul of Man. It has not killed mine, and I see the Polk\nunder strange disguises, and regard Civilisation as a pageant, which\nhas been seen rather too many times. From Death comes Resurrection\nin Art as in all else. Despair may lurk in the wan coteries, but we need\nnot tell the Morris Men that'rhythm and colour and sex are there, it\nwould be their turn to keep the fiddler to the tune, and the artist away\nfrom sociology.\n£? Machinery has not killed rhythm, nor has smoke blotted out colour,\nnor is the human race extinct. So there is hope for Art. It is just from\nsome such club as the Esperance Guild that the best pupils of the Craig\nSchool will come. For the general run of town children and young men\ndo not easily mix with the more vital spirits of the age.\nPerhaps the most convincing thing that I can say Is that 1 agree\nwith every word of Mr Urban's article as applied to some dreadful\nphantom of Art in the grips of Learning or some other enemy. But\napplied to the reality of creative and re-creative art in England it Is out\nof relation to fact. JZ? JZ? JZ? JZ? JZ? TZ?\n£? Had those remarks appeared in the daily press 1 should not have\nreplied for, apart from the opinions of a few of the journals, their\nopposition is not a thing of great worth. But an article in The Mask\ncarries a weight which cannot be ignored. I have been condemned as\na 44 sociologist \" conspiring with wealthy patrons to exploit the simple\nrustic. Whereas in truth I am a poet, digging in the field of journalism\nmy colleagues being hardworkers and creators also. I enjoy the fight\nvery much, and, as there is no law of libel against those who laugh at our\nnot wholly pleasant word 44 Revival \", the reader may with your courtesy\nnow judge between two opposed statements of the same facts.\n\nReginald R. Buckley."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c060", "article_bluemountain": "bmtnaau_1912-01_01#c060", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "252", "page_fin": "252", "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=bmtnaau191201-01.2.27.2", "titre_corps": "Mr. FELIX URBAN'S REPLY", "titre_sommaire": "Mr. FELIX URBAN'S REPLY", "signature_source": "Felix Urban", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.88", "debut_caractere": 25, "fin_caractere_exclue": 794, "texte": "Mr. FELIXURBAN'S REPLY\nFelix Urban.\nIn 44 The Shakespeare Revival the book about which I wrote, Mr\nBuckley is unfair to the Folk Art which he tells us is flourishing in\nEngland, for Mr Buckley might have made us feel and so understand\nthat the Folk were really at play once more, whereas he created is us\nentirely the opposite impression. It is not of great importance, but since\nMr Buckley has evidently the best will in the world to make things\nclear, it is a pity that he did not wait for a few more years, before\nproducing a book which could thoroughly represent the movement.\nSuch a book should, as 1 have said, make us feel. Probably some day\nsuch a book will be written, but a poet must be generous to do this.\nMr Buckley tells us he is a poet;.... well then...."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c061", "article_bluemountain": "bmtnaau_1912-01_01#c061", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "252", "page_fin": "253", "image_debut": 88, "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=bmtnaau191201-01.2.27.3", "titre_corps": "THE RUSSIAN BALLET", "titre_sommaire": "THE RUSSIAN BALLET", "signature_source": "George Calderon", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.88", "debut_caractere": 796, "fin_caractere_exclue": 2046, "texte": "THE RUSSIAN BALLET.\n\nSir,\nIn your article on the Russian Ballet, among many stupid things, there\nis one so overwhelmingly stupid that the rest don't matter : and that\nis the use of the words \" stealing \", \" fraud \", and \" kleptomania \" in\nspeaking of the lessons which the Russian dancers have learnt from\nIsadora Duncan. When the Russians saw that she danced better than\nthemselves, what on earth did you expect them to do ? To go on dancing\nbadly, and not try to improve by the methods she showed them ? Is\nthat what is done in other arts? Is it \" stealing \" if a painter or an\nr -\nauthor pursues a road opened up by his predecessor ? In that case all\nSchools of artists (the history of painting and literature is founded on\nthe assumption of continuous influence) are merely dens of thieves.\nMillais or Holman Hunt or somebody was the only Pre-Raphaelite ; the\nrest were thieves. Oauguin or Matisse or somebody was the only Post-\nimpressionist ; the rest were thieves. Craig is a thief, because he has\ncribbed his lighting from the barn-theatre, where they hang stable-lanterns\non hooks; and all his intending pupils had better go and give themselves\nup to the police at once.\n%\nThis John Balance seems to be a most unbalanced person. (It is plain"}, {"page_pdf": 89, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.89", "debut_caractere": 23, "fin_caractere_exclue": 1773, "texte": "from his article, by the bye, that he has never been to Covent Garden\nat all to see the 44 weary group pf Londoners \" propping their jaded\neyelids open to peer at the dismal old doings on the stage). Does he\nallege that the Russians have mastered the principles of Isadora Duncan's\ndancing, or does he allege that they have merely pinched a wheeze or\ntwo ?In one sentence he says that they have taken 44 a few tricks \"; in\nanother he says that for seven years, since she first danced in St\nPetersberg, they have been studying 44 the weak and tender line won by\nnon-resistance \" (whatever that may mean) which •'the great American \"\nwas the first to demonstrate. A trick or two after seven years was poor\nstealing !\nBut, gracious Nature! (our Mother, as John Balance says), has Isadora\n%\nDuncan a copyright in 44 weak and fender \" lines ? Has she appropriated a\nwhole sphere of attitudes and gestures for her very own? And must they\nperish when she dies, on pain of hue and cry ? or will she leave them\nto someone in her will ? & & & £? & &\nThe Ballet has all human movements for its sphere, Duncan or no\nDuncan, and the first man who jumped in the air or stood on his head\n>s not going to call 'Police!' out of his grave. There never was and never\ncan be 'theft' in gesture. I have never seen Isadora Duncan dance, but\nI'll wager that her range of gesture does not cover one- twentieth part\nof the range of the Russian ballet. What have any of those Egyptian dan-\nces to do with her? Carnaval? Scheherazade? Prince Igor? what would\nshe make of Harlequin, or Pierrot, or a Polovtsian warrior? If she sees\nthe Article, I think she will write herself to say how stupid it is. ,\n\nHeathfield Lodge,\nHampstead Heath, N. W.\nYours faithfully\nGeorge Calderon."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c062", "article_bluemountain": "bmtnaau_1912-01_01#c062", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "253", "page_fin": "254", "image_debut": 89, "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=bmtnaau191201-01.2.27.4", "titre_corps": "Mr JOHN BALANCE REPLY", "titre_sommaire": "Mr JOHN BALANCE REPLY", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 89, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.89", "debut_caractere": 1775, "fin_caractere_exclue": 2138, "texte": "Mr JOHN BALANCE REPLY\n\n7y|r George Calderon is an Englishman ; hence his enthusiasm for the\nRussian-Tartar-French dancers who have invaded London lately. He\nis not content with saying that these ladies and gentlemen are magni-\nicent and that the English speaking race are better dancers; he goes\ncrazy with delight rather than enquire. Note what he says; \" 1 have"}, {"page_pdf": 90, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.90", "debut_caractere": 23, "fin_caractere_exclue": 1041, "texte": "never seen Isadora Duncan dance and then with blind Russophobia he\n\" wagers\" that she can't dance.\nWhat can be said in reply to so charmiug, so childish a being ? Merely\nthis: that he is almost as rash and prejudiced as some of our friends\non the staff of The Mask, but that he really need not be careless.\n*\n& For instance when he asks \" what would Miss Duncan make of Har=\nSequin, Pierrot or a Polovtsian warrior we have no reply to make: we\ncan only make a speechless if somewhat tickled appeal to those who are\nstudents of the greatest dancing and we know that their reply will be\nan equally silent one.\nI wonder if Mr Calderon always goes about bumping into people who\nare seriously at work and excusing himself on the ground of his Ignorance ?\nI cannot think that that kind of thing leads anywhere, for there Is so\nmuch to learn for the great artists of today and if some resistance from\nthe enquirer is healthy, a great deal too much of it may easily be\nmistaken for Ignorance and boorishness. £?\n\nJohn Balance."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c064", "article_bluemountain": "bmtnaau_1912-01_01#c064", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "255", "page_fin": "259", "image_debut": 91, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.28", "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": 91, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.91", "debut_caractere": 0, "fin_caractere_exclue": 1631, "texte": "BOOK REVIEWS.\n\nFAMILY LETTERS OF RICHARD\nIVAONER Translated by William\nAshton Ellis. Macmillan. Price\nthree shillings and sixpence, net.\nTwo years ago Mr Ellis translated\nRichard Wagner's letters to his\nfirst wife,\" Minna Now he follows\nthese with letters to his near rela-\ntions and connections written be-\ntween 1832 and 1874. &\nJS? Mr Ellis himself gives preference\nto this latter series in the matter\nof self-portraiture, since, as he says,\nthey display the writer to us \"In\n\"the most levelling of human rela-\n\" lions, that of the member of a\n\" large family conclave, and youngest\nbut one of a numerous middle-class\n\" brood \"; a position effectually\nprohibiting \" attitudinising \" and\nthus the more likely to present \" a\npicture of the naked human spirit\nin the direct and most neutral of\nlights\".\nx? Certainly these Letters do throw\na most interesting light upon the\ncircumstances and environment In\nwhich Wagner made that long\nstruggle which was only towards\nthe end of his life crowned with\nsuccess ; reveal to us much that is\nilluminating relative to the helps\nand hindrances with which he met\nin the intimate relations of his life.\nBut perhaps here as in the Lives\nand Letters of so many great men,...\nIbsen and many others.... there is\nnothing more striking than the\nevidence, again and again repeated,\nof the appalling lack of money which\ncrippled the activities of the artist\nby the necessities of the man, the\namount of force which should, for\nthe sake of the world, have been\neconomised for creative work, which\nis wasted and frittered In the pres-\nsing perplexities as to how to pay\nthe butcher and the baker, how to"}, {"page_pdf": 92, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.92", "debut_caractere": 14, "fin_caractere_exclue": 2348, "texte": "keep a roof overhead and a sole\nunder foot. & & &\nTo give but one or two specimen\npassages: £/\n&In July 1854 Wagner writes;\n«Sundry pressing debts (unpaid\n\" accounts) are now becoming such\na bugbear to me that I'm almost\n44 ashamed to go out. \" He turns to\nfriend after friend for a loan to tide\nhim over his difficulties. One, he\nreports, 44 cannot lay hands on a\nfarthing of cash another, Listz,\n\" who previously helped me from\nwithout, Is in a great quandary\nhimself \". A third 44 has hideously\ndelayed his answer, and writes\nme at last today that he knows\nof none \" who can help.\n& Hear him again, in July of another\nyear, \" prepared to give a grand\nconcert at Leipzig in February \" if\nDr X \" will put an end to my atro=\ncious plight by an immediate advance\nof 1000 thlr. \"\n& \"Tell him\" he writes entreating-\nly to his niece Franzlska Ritter,\n\" what the Rltters did for me for\n44 so long and how sorry you all are\n\" to be unable to do anything more.\n\" In short, don't flinch : he !\n\" Should the height of the sum\n\" prove an obstacle, lower it to 600\n44 thaler if need be.... At the very\n44 worst X must lend me 300 thlr,..\n«4 Now look sharp I I had a sleepless\n44 night, and this solution suddenly\n\" occurred to me as so simple... but\n44you alone can work it. Please\n«' telegraph me the result (discreetly\n44 worded) immediately to Blelrich.\n44 I hope for that despatch, let's say,\n44 tomorrow... Tuesday... noon. \" &\n...And so it goes 0n,... and so it\nstill goes on today. It is all so much\nsheer waste. The artist has to sit\naside, suspend his activity, while\nthe insufficiently developed man-of-\naffairs in him tries to make both\nends meet. Nations have a poor\nsense of values, an extraordinary\nblindness where their best interests\nare concerned. They act as If the\nArtist could create without material.\nThey hamper him for the best part\nof his life instead of husbanding\nevery atom of his strength; they\nexpect Psyche, the creative soul, to\nknit her brows over an account\nbook: they set Pegasus to push the\nplough : they oblige their artist to\noccupy himself with a million petty\ncares and duties which any man in\na million could do as well, ...and his\nown work, which no other in a\nmillion could do, goes undone the\nwhile.\nIt was so in the past; it is so in\nthe present; is it to be so also in\nthe future ? Will England never"}, {"page_pdf": 93, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.93", "debut_caractere": 14, "fin_caractere_exclue": 2301, "texte": "awaken ? While she sleeps she loses,\nfor the artists go their way and the\nworld is left the poorer, since nations,\nlike individuals, do not live by bread\nalone but by that beauty which only\nthe artist creates or reveals.\nSurely then, we are blind If we\nwlthold our little material things from\nthose who give us ideal ones ; if we do\nnot, for our own sake and our own\ninterests if for no other reason, set\nfree from material anxieties those\nwho nourish and delight our souls.\n\nTHE WOMEN OFSHA KESPEA RE\nby Frank Harris- Price\nseven shillings and sixpence net.\nHarris has here once more\nthrown down the gauntlet to the\nprofessional critics.... the \" manda-\nrins \" as he calls them, and has\npursued his quarry, \"The Dark\nLady \", Mary Fitton, through all the\nwritings of Shakespeare from the\nearliest Sonnet to the latest Play.\nIt is not a bad book and as It Is\nft\npleasantly mediocre it is talked of\neverywhere.... In London.\n\nTHE PAINTERS OF THE\nSCHOOL OF FERRARA by\nEdmund Gardner. Duckworth.\nA volume devoted to the work of\nthat famous school of painting\nwhich originated in Ferrara about\nthe middle of the fifteenth century,\nand which.; owing to the wide in=\nfluence of the ruling house of Hste,\nextended not only to the'other cities\nunder their dominion, but spread\nover all the Emilia and Romagna,\nproducing Correggio at Parma, In-\nfluencing the young Raphael at\nUrbino, and making itself felt even\nso far as Bologna through the work\nof Francia and his followers.\nThe book contains nearly forty\nfull page reproductions of pictures\nand is provided with an alphabetical\nlist of the principal works and the\ngalleries in which they are to be\nseen, and also a Bibliography and\nAlphabetical Index.\n\nFOUR PLAYS Published by\nBrown Brothers,\n\" Swan white \", a Fairy Drama.\n44The Creditor\",a Tragic Comedy\nand 44 Motherlove by August\nStrindberg. The Woman and the\nFiddler\" by Arqe Norrevang. &\nessrs Brown Brothers are rende-\nring a useful service in issuing\nthis series of the works of the con-\ntemporary European playwrights,\nincluding alike Russians, Germans\nand Scandinavians, Wedekind,\nAndreiyeff, Strindberg and others of\nthe modern school. & &\nOf Strindberg, especially, too few\nworks have hitherto found their way\ninto English, and the Initiative of\nthese American publishers in issuing"}, {"page_pdf": 94, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.94", "debut_caractere": 14, "fin_caractere_exclue": 2331, "texte": "them in an attractive form and at\npopular prices will doubtless result\nin a keener interest in, and better\nknowledge of, the work of that great\nnorthern genius, who, even before\nthe death of Ibsen, was the chief of\nthe Scandinavians. &\n\nDE PROFUNDIS by Oscar Wilde.\nMethuen. Price one shilling net.\nedition of this touching work.\nPerhaps its scope and intent\nmay be hardly better summed up than\nIn the brief note 1 once came across\nwhich was pencilled by another great\nartist upon the margin of one of\nthe pages: 44 All this is the man\n44 trying to repay in some way, by\n44 means of a little tribute of art, an\n44 infinite goodness received \".\n\nTHE RUSSIAN PEOPLE by\nMaurice Baring. Methuen. Price\nfifteen shillings net. £7\n|\"~£ere *s a book which sets itself to\nsupply in regard to Russia that\nbasis of elementary knowledge which\nall are assumed to possess, yet which\nvery few really do £7\n£7 People who read Mr Baring's book\nwill know more about it than the\nnames of a few of its leading balle-\nrinas, which at present sums up the\nknowledge of the majority, for the\nauthor sets forth clearly the chief\nlandmarks in the history of its\npeople, the origins and characteris-\ntics of the race, the idiosyncrasies\nof the Russian temperament, its\nmanners and customs* £7 &\n\nMA URICE MAETERLINCK\nEdward Thomas. Methuen. Price\nfive shillings net. & £7\nof M. Maeterlinck's friends\nare rather unkind to him ; for\nalthough they assure us that the\npoet is opposed to Interviews, that\nhe 44 barricides himself against all\n44 indiscretion and curiosity, detests\n\" notoriety, Is indifferent to the\n44 representation of his work, avoids\n44 the cackling, the flattery, all the\n44 small change of celebrity \" they\nyet continue to publish books about\nhim,.... and what is the book of\npersonal details about the living\ncelebrity but the 4* Interview In\nexcelsis \" ? £7\nIn fact, between Madame\n* '\nGeorgette Leblanc Maeterlinck,(who,\never assiduous in enlightening the\npublic, has recently been relating to\na New York journal how, before even\nseeing M. Maeterlinck, she had de-\ntermined that he should be her\nhusband), and M. Gerard Harry and\nMr Edward Thomas and the rest of\nthem, there is very little left that\nwe do not know. £7 £7 £7\nWe know tnat he keeps bees\nand teaches a dog to sing that he\nIs 44 a sportsman..... a great drinker"}, {"page_pdf": 95, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.95", "debut_caractere": 14, "fin_caractere_exclue": 2443, "texte": "of ale that he smokes a 44 denico-\ntinised herb \" by means of which he\n4\n44 circumvents his unconquerable\ncraving for tobacco in his hours of\nwork\": we know that he works\n44 always exactly two hours \"; that he\n44 always goes to bed in good time \",\nand much more of the like kind.\nOf course the volume is not solely\noccupied with these trivial personam\nlities, for it treats in considerable\ndetail of M. Maeterlinck's work as\npoet, playwright, and essayist, and\nhere Mr Thomas has done his work\nwell. But one wonders a little why\nsuch books about living celebrities\ncome to be written at all. Their\nonly justification would seem to be\na whole-hearted hero-worship on the\npart of the writer, and this Mr\nThomas does not appear to possess,\nfor he points out, gratuitously, that\nM. Maeterlinck's portraits 44 show us\na thick-lipped, thick-necked man who\nappears to lack nothing of a virile\nequipment unless it be humour \",\nwhich is hardly the description of\nthe hero-worshipper. He speaks of\nhis 44 gaudy and almost tawdry\neloquence \" over the illness in 1901\nof King Edward and is reminded by\nit of the late C. H. Spurgeon : speaks\nof him again as carried away 44 into\na thrilling but ultimately absurd\neloquence \" and sums him up by\nsaying, 44 He has extraordinary faci-\n-44 iity, adroitness, exuberance and\n44 versatility. He is an experimental\n44 botanist, an apiarist of long\n44 standing, an automobilist capable\n44 of driving himself, a mystic mo-\n-44 ralist, a playwright, a critic of\n41 letters, a topical writer \" ....which\nis a fairly heterogeneous list. ■<&\n\nWILLIAM MORRIS TO\nLER by Walter Crane. George\nBell. & Price six shillings net.\nnphis volume of collected 44 Papers\nand Addresses on Art and Craft\nand the Commonweal \" contains\nchapters upon 44 William Morris and\nhis work, \" the 44 English Revival in\nDecorative art\", 44the Socialist Ideal\nas a New Inspiration in Art \", on\n44 Some Arts and Crafts allied to\nArchitecture, \" on the 44 Treatment\nof Animals in Art \", on 44 Early Italian\nGesso Work\", on the \"Apotheosis of\nthe Butterfly \" and other matters\nboth theoretical and practical, which\nare all, in one form or another, to\nsupport the case of beauty against\nmodern social and economic condi-\ntions \".\n& The book is illustrated with many\nreproductions of works of art both\nancient and modern, with portraits\nof Morris and Whistler, and with\npractical diagrams illustrative of\nsome of the handicrafts described."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c066", "article_bluemountain": "bmtnaau_1912-01_01#c066", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "255", "page_fin": "257", "image_debut": 91, "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=bmtnaau191201-01.2.28.2", "titre_corps": "FAMILY LETTERS OF RICHARD WAGNER", "titre_sommaire": "FAMILY LETTERS OF RICHARD WAGNER", "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": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.91", "debut_caractere": 15, "fin_caractere_exclue": 1631, "texte": "FAMILY LETTERS OF RICHARD\nIVAONER Translated by William\nAshton Ellis. Macmillan. Price\nthree shillings and sixpence, net.\nTwo years ago Mr Ellis translated\nRichard Wagner's letters to his\nfirst wife,\" Minna Now he follows\nthese with letters to his near rela-\ntions and connections written be-\ntween 1832 and 1874. &\nJS? Mr Ellis himself gives preference\nto this latter series in the matter\nof self-portraiture, since, as he says,\nthey display the writer to us \"In\n\"the most levelling of human rela-\n\" lions, that of the member of a\n\" large family conclave, and youngest\nbut one of a numerous middle-class\n\" brood \"; a position effectually\nprohibiting \" attitudinising \" and\nthus the more likely to present \" a\npicture of the naked human spirit\nin the direct and most neutral of\nlights\".\nx? Certainly these Letters do throw\na most interesting light upon the\ncircumstances and environment In\nwhich Wagner made that long\nstruggle which was only towards\nthe end of his life crowned with\nsuccess ; reveal to us much that is\nilluminating relative to the helps\nand hindrances with which he met\nin the intimate relations of his life.\nBut perhaps here as in the Lives\nand Letters of so many great men,...\nIbsen and many others.... there is\nnothing more striking than the\nevidence, again and again repeated,\nof the appalling lack of money which\ncrippled the activities of the artist\nby the necessities of the man, the\namount of force which should, for\nthe sake of the world, have been\neconomised for creative work, which\nis wasted and frittered In the pres-\nsing perplexities as to how to pay\nthe butcher and the baker, how to"}, {"page_pdf": 92, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.92", "debut_caractere": 14, "fin_caractere_exclue": 2348, "texte": "keep a roof overhead and a sole\nunder foot. & & &\nTo give but one or two specimen\npassages: £/\n&In July 1854 Wagner writes;\n«Sundry pressing debts (unpaid\n\" accounts) are now becoming such\na bugbear to me that I'm almost\n44 ashamed to go out. \" He turns to\nfriend after friend for a loan to tide\nhim over his difficulties. One, he\nreports, 44 cannot lay hands on a\nfarthing of cash another, Listz,\n\" who previously helped me from\nwithout, Is in a great quandary\nhimself \". A third 44 has hideously\ndelayed his answer, and writes\nme at last today that he knows\nof none \" who can help.\n& Hear him again, in July of another\nyear, \" prepared to give a grand\nconcert at Leipzig in February \" if\nDr X \" will put an end to my atro=\ncious plight by an immediate advance\nof 1000 thlr. \"\n& \"Tell him\" he writes entreating-\nly to his niece Franzlska Ritter,\n\" what the Rltters did for me for\n44 so long and how sorry you all are\n\" to be unable to do anything more.\n\" In short, don't flinch : he !\n\" Should the height of the sum\n\" prove an obstacle, lower it to 600\n44 thaler if need be.... At the very\n44 worst X must lend me 300 thlr,..\n«4 Now look sharp I I had a sleepless\n44 night, and this solution suddenly\n\" occurred to me as so simple... but\n44you alone can work it. Please\n«' telegraph me the result (discreetly\n44 worded) immediately to Blelrich.\n44 I hope for that despatch, let's say,\n44 tomorrow... Tuesday... noon. \" &\n...And so it goes 0n,... and so it\nstill goes on today. It is all so much\nsheer waste. The artist has to sit\naside, suspend his activity, while\nthe insufficiently developed man-of-\naffairs in him tries to make both\nends meet. Nations have a poor\nsense of values, an extraordinary\nblindness where their best interests\nare concerned. They act as If the\nArtist could create without material.\nThey hamper him for the best part\nof his life instead of husbanding\nevery atom of his strength; they\nexpect Psyche, the creative soul, to\nknit her brows over an account\nbook: they set Pegasus to push the\nplough : they oblige their artist to\noccupy himself with a million petty\ncares and duties which any man in\na million could do as well, ...and his\nown work, which no other in a\nmillion could do, goes undone the\nwhile.\nIt was so in the past; it is so in\nthe present; is it to be so also in\nthe future ? Will England never"}, {"page_pdf": 93, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.93", "debut_caractere": 14, "fin_caractere_exclue": 488, "texte": "awaken ? While she sleeps she loses,\nfor the artists go their way and the\nworld is left the poorer, since nations,\nlike individuals, do not live by bread\nalone but by that beauty which only\nthe artist creates or reveals.\nSurely then, we are blind If we\nwlthold our little material things from\nthose who give us ideal ones ; if we do\nnot, for our own sake and our own\ninterests if for no other reason, set\nfree from material anxieties those\nwho nourish and delight our souls."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c067", "article_bluemountain": "bmtnaau_1912-01_01#c067", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "257", "page_fin": "257", "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=bmtnaau191201-01.2.28.3", "titre_corps": "THE WOMEN OF SHAKESPEARE by Frank Harris", "titre_sommaire": "THE WOMEN OF SHAKESPEARE by Frank Harris", "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": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.93", "debut_caractere": 490, "fin_caractere_exclue": 936, "texte": "THE WOMEN OFSHA KESPEA RE\nby Frank Harris- Price\nseven shillings and sixpence net.\nHarris has here once more\nthrown down the gauntlet to the\nprofessional critics.... the \" manda-\nrins \" as he calls them, and has\npursued his quarry, \"The Dark\nLady \", Mary Fitton, through all the\nwritings of Shakespeare from the\nearliest Sonnet to the latest Play.\nIt is not a bad book and as It Is\nft\npleasantly mediocre it is talked of\neverywhere.... In London."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c067a", "article_bluemountain": "bmtnaau_1912-01_01#c067a", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "257", "page_fin": "257", "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=bmtnaau191201-01.2.28.4", "titre_corps": "THE PAINTERS OF THE SCHOOL OF FERRARA by Edmund Gardner", "titre_sommaire": "THE PAINTERS OF THE SCHOOL OF FERRARA by Edmund Gardner", "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": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.93", "debut_caractere": 938, "fin_caractere_exclue": 1708, "texte": "THE PAINTERS OF THE\nSCHOOL OF FERRARA by\nEdmund Gardner. Duckworth.\nA volume devoted to the work of\nthat famous school of painting\nwhich originated in Ferrara about\nthe middle of the fifteenth century,\nand which.; owing to the wide in=\nfluence of the ruling house of Hste,\nextended not only to the'other cities\nunder their dominion, but spread\nover all the Emilia and Romagna,\nproducing Correggio at Parma, In-\nfluencing the young Raphael at\nUrbino, and making itself felt even\nso far as Bologna through the work\nof Francia and his followers.\nThe book contains nearly forty\nfull page reproductions of pictures\nand is provided with an alphabetical\nlist of the principal works and the\ngalleries in which they are to be\nseen, and also a Bibliography and\nAlphabetical Index."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c067b", "article_bluemountain": "bmtnaau_1912-01_01#c067b", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "257", "page_fin": "258", "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=bmtnaau191201-01.2.28.5", "titre_corps": "FOUR PLAYS by Arne Norrevang", "titre_sommaire": "FOUR PLAYS by Arne Norrevang", "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": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.93", "debut_caractere": 1710, "fin_caractere_exclue": 2301, "texte": "FOUR PLAYS Published by\nBrown Brothers,\n\" Swan white \", a Fairy Drama.\n44The Creditor\",a Tragic Comedy\nand 44 Motherlove by August\nStrindberg. The Woman and the\nFiddler\" by Arqe Norrevang. &\nessrs Brown Brothers are rende-\nring a useful service in issuing\nthis series of the works of the con-\ntemporary European playwrights,\nincluding alike Russians, Germans\nand Scandinavians, Wedekind,\nAndreiyeff, Strindberg and others of\nthe modern school. & &\nOf Strindberg, especially, too few\nworks have hitherto found their way\ninto English, and the Initiative of\nthese American publishers in issuing"}, {"page_pdf": 94, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.94", "debut_caractere": 14, "fin_caractere_exclue": 249, "texte": "them in an attractive form and at\npopular prices will doubtless result\nin a keener interest in, and better\nknowledge of, the work of that great\nnorthern genius, who, even before\nthe death of Ibsen, was the chief of\nthe Scandinavians. &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c068", "article_bluemountain": "bmtnaau_1912-01_01#c068", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "258", "page_fin": "258", "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=bmtnaau191201-01.2.28.6", "titre_corps": "DE PROFUNDIS by Oscar Wilde", "titre_sommaire": "DE PROFUNDIS by Oscar Wilde", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.94", "debut_caractere": 251, "fin_caractere_exclue": 657, "texte": "DE PROFUNDIS by Oscar Wilde.\nMethuen. Price one shilling net.\nedition of this touching work.\nPerhaps its scope and intent\nmay be hardly better summed up than\nIn the brief note 1 once came across\nwhich was pencilled by another great\nartist upon the margin of one of\nthe pages: 44 All this is the man\n44 trying to repay in some way, by\n44 means of a little tribute of art, an\n44 infinite goodness received \"."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c068a", "article_bluemountain": "bmtnaau_1912-01_01#c068a", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "258", "page_fin": "258", "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=bmtnaau191201-01.2.28.7", "titre_corps": "THE RUSSIAN PEOPLE by Maurice Baring", "titre_sommaire": "THE RUSSIAN PEOPLE by Maurice Baring", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.94", "debut_caractere": 659, "fin_caractere_exclue": 1281, "texte": "THE RUSSIAN PEOPLE by\nMaurice Baring. Methuen. Price\nfifteen shillings net. £7\n|\"~£ere *s a book which sets itself to\nsupply in regard to Russia that\nbasis of elementary knowledge which\nall are assumed to possess, yet which\nvery few really do £7\n£7 People who read Mr Baring's book\nwill know more about it than the\nnames of a few of its leading balle-\nrinas, which at present sums up the\nknowledge of the majority, for the\nauthor sets forth clearly the chief\nlandmarks in the history of its\npeople, the origins and characteris-\ntics of the race, the idiosyncrasies\nof the Russian temperament, its\nmanners and customs* £7 &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c069", "article_bluemountain": "bmtnaau_1912-01_01#c069", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "258", "page_fin": "259", "image_debut": 94, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.28.8", "titre_corps": "MAURICE MAETERLINCK by Edward Thomas", "titre_sommaire": "MAURICE MAETERLINCK by Edward Thomas", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.94", "debut_caractere": 1283, "fin_caractere_exclue": 2331, "texte": "MA URICE MAETERLINCK\nEdward Thomas. Methuen. Price\nfive shillings net. & £7\nof M. Maeterlinck's friends\nare rather unkind to him ; for\nalthough they assure us that the\npoet is opposed to Interviews, that\nhe 44 barricides himself against all\n44 indiscretion and curiosity, detests\n\" notoriety, Is indifferent to the\n44 representation of his work, avoids\n44 the cackling, the flattery, all the\n44 small change of celebrity \" they\nyet continue to publish books about\nhim,.... and what is the book of\npersonal details about the living\ncelebrity but the 4* Interview In\nexcelsis \" ? £7\nIn fact, between Madame\n* '\nGeorgette Leblanc Maeterlinck,(who,\never assiduous in enlightening the\npublic, has recently been relating to\na New York journal how, before even\nseeing M. Maeterlinck, she had de-\ntermined that he should be her\nhusband), and M. Gerard Harry and\nMr Edward Thomas and the rest of\nthem, there is very little left that\nwe do not know. £7 £7 £7\nWe know tnat he keeps bees\nand teaches a dog to sing that he\nIs 44 a sportsman..... a great drinker"}, {"page_pdf": 95, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.95", "debut_caractere": 14, "fin_caractere_exclue": 1578, "texte": "of ale that he smokes a 44 denico-\ntinised herb \" by means of which he\n4\n44 circumvents his unconquerable\ncraving for tobacco in his hours of\nwork\": we know that he works\n44 always exactly two hours \"; that he\n44 always goes to bed in good time \",\nand much more of the like kind.\nOf course the volume is not solely\noccupied with these trivial personam\nlities, for it treats in considerable\ndetail of M. Maeterlinck's work as\npoet, playwright, and essayist, and\nhere Mr Thomas has done his work\nwell. But one wonders a little why\nsuch books about living celebrities\ncome to be written at all. Their\nonly justification would seem to be\na whole-hearted hero-worship on the\npart of the writer, and this Mr\nThomas does not appear to possess,\nfor he points out, gratuitously, that\nM. Maeterlinck's portraits 44 show us\na thick-lipped, thick-necked man who\nappears to lack nothing of a virile\nequipment unless it be humour \",\nwhich is hardly the description of\nthe hero-worshipper. He speaks of\nhis 44 gaudy and almost tawdry\neloquence \" over the illness in 1901\nof King Edward and is reminded by\nit of the late C. H. Spurgeon : speaks\nof him again as carried away 44 into\na thrilling but ultimately absurd\neloquence \" and sums him up by\nsaying, 44 He has extraordinary faci-\n-44 iity, adroitness, exuberance and\n44 versatility. He is an experimental\n44 botanist, an apiarist of long\n44 standing, an automobilist capable\n44 of driving himself, a mystic mo-\n-44 ralist, a playwright, a critic of\n41 letters, a topical writer \" ....which\nis a fairly heterogeneous list. ■<&"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c070", "article_bluemountain": "bmtnaau_1912-01_01#c070", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "259", "page_fin": "259", "image_debut": 95, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.28.9", "titre_corps": "WILLIAM MORRIS TO WHISTLER by Walter Crane", "titre_sommaire": "WILLIAM MORRIS TO WHISTLER by Walter Crane", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 95, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.95", "debut_caractere": 1580, "fin_caractere_exclue": 2443, "texte": "WILLIAM MORRIS TO\nLER by Walter Crane. George\nBell. & Price six shillings net.\nnphis volume of collected 44 Papers\nand Addresses on Art and Craft\nand the Commonweal \" contains\nchapters upon 44 William Morris and\nhis work, \" the 44 English Revival in\nDecorative art\", 44the Socialist Ideal\nas a New Inspiration in Art \", on\n44 Some Arts and Crafts allied to\nArchitecture, \" on the 44 Treatment\nof Animals in Art \", on 44 Early Italian\nGesso Work\", on the \"Apotheosis of\nthe Butterfly \" and other matters\nboth theoretical and practical, which\nare all, in one form or another, to\nsupport the case of beauty against\nmodern social and economic condi-\ntions \".\n& The book is illustrated with many\nreproductions of works of art both\nancient and modern, with portraits\nof Morris and Whistler, and with\npractical diagrams illustrative of\nsome of the handicrafts described."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c071", "article_bluemountain": "bmtnaau_1912-01_01#c071", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "260", "page_fin": "264", "image_debut": 96, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.29", "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": 96, "page_imprimee": "260", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.96", "debut_caractere": 0, "fin_caractere_exclue": 22, "texte": "FOREIGN NOTES\n\nLONDON."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c073", "article_bluemountain": "bmtnaau_1912-01_01#c073", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "260", "page_fin": "264", "image_debut": 96, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.29.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "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": "260", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.96", "debut_caractere": 15, "fin_caractere_exclue": 22, "texte": "LONDON."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c074", "article_bluemountain": "bmtnaau_1912-01_01#c074", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "260", "page_fin": "261", "image_debut": 96, "image_fin": 97, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.29.2.1", "titre_corps": "The Same as Ever", "titre_sommaire": "The Same as Ever", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 96, "page_imprimee": "260", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.96", "debut_caractere": 24, "fin_caractere_exclue": 1838, "texte": "The Same as Ever\n\nis still in place. The\nKing has majestically left our\nshores for a visit to his little Eas=\ntern seat, there to bestow blessings\nupon his servants. The leader of the\nOpposition, Mr Balfour, has moved\naside and Mr Bonar Law has begun\na new task. The Restaurants close\nas early as usual, and the Theatres\nare as lifeless as ever. £?\nThe people still go to the Public\nHouse and avoid all mention of\nShakespeare. Mr Bernard Shaw Is\nhome from a holiday and Mr Frank\nHarris is in everyone's mouth.\nLondon is therefore as possible\nand as impossible as ever:... water\nstill surrounds England in exagge-\nrated plenitude.\njg? Art is still misunderstood and in\nmany galleries Is mentioned with\nbated breath. Fancy dress balls are\nstill popular and tidyness, (except in\nfancy balls,) is the quality most\nnoticeable in England. The lanes,\nthe fields, the cottages, the houses\nthe men and women, the poetry ana\npainting... All is nicely finished. &\nMr Thomas Quinlan. &\n\"pons and Miles,.. Ten trucks of\nscenery.... Glasgow work:.,, that's\nQuinlan. 44 Where's your Wullie\nShakespere noo\" \\& &\nI had better copy the paragraph\nwhich has been sent round, for it's\nJust fine,... and makes me long to be\nin bonnie Scotland. & &\n& \"Already we have come to recog=\n\" nise in Mr. Thomas Quinlan the\n\" embodiment of enterprise in the\n44 operatic world. It would take a\n44 great deal of further time and\n<4 space to detail the innovations\n\" introduced throughout this enor=\n*' mous enterprise. Some queer facts\n44 regarding it are made known.\nt4 Over seven miles of canvas has\n\" been sewn, and the painting of It\n44 has consumed tons of colouring\n44 matter. With this also, gauze,\n44 netting, and silk have been intro-\n-44 duced in wholesale quantities\n44 About ten railroad trucks of\n44 timber and steel have been brought"}, {"page_pdf": 97, "page_imprimee": "261", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.97", "debut_caractere": 15, "fin_caractere_exclue": 523, "texte": "a into play with absolutely unique\n44 methods of construction. The elec-\n-44 trical effects are a study in them-\n-44 selves.\" Max Reinhardt and Gordon\n44 Craig have experimented with, but\n44 Mr. Quinlan has created the twin\n44 spirits of opera, atmosphere and\n44 realism. It Is worthy of note that\n44 the dresses have been designed\n44 and executed by Smyth,Wareing\n44 & Hal ley, of Glasgow. &\n44 The Quinlan season in Edinburgh\n44 commences on nth December \".\n& ...The Paragraph oft proclaims the\nman.\n\nR. S."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c075", "article_bluemountain": "bmtnaau_1912-01_01#c075", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "261", "page_fin": "263", "image_debut": 97, "image_fin": 99, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.29.2.2", "titre_corps": "The Three Musketeers", "titre_sommaire": "The Three Musketeers", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 97, "page_imprimee": "261", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.97", "debut_caractere": 525, "fin_caractere_exclue": 2356, "texte": "The Three Musketeers.\nI have just come from a performance\nof 44 The Three Musketeers \" at the\nLyceum Theatre where the audience\nwas by no means select, nor abnor-\nmally Intellectual, nor 44 very artis-\ntic \" nor 44 advanced \" ; where the\nperformers were not highly paid,\ncelebrated nor distinguishedly ama-\nteurish, and where the drama was\nnot sentimental like 44 The Twelve\nPound Look nor sensual like\n44 Sumurun\" nor decadent like\n44 Rtalon \" nor disguised like\n44 Macbeth \", and yet all of us, I, as\nwell as everyone in the theatre,\nhave enjoyed ourselves because of\nthe sincerity and directness of the\nstory and the way it was put\nbefore\nI go to the theatre hoping to feel\nthat sincerity which I speak of and\nI am always disappointed, for the\nplays, players and mise en sc&ne are\ninvariably insincere and pretentious.\nIt goes without saying that there\nare one or two plays, a few actors\nand some productions which are\nalways good in their own way, but\nthe large majority of exhibitions on\nthe stage are PRETENTIOUS.\n£? It is not bad art we hate; It is\npretentious tuff which annoys us.\nAt the Lyceum 44 The Three\nMusketeers \" was well done because\neverything was done sincerely. The\nfaults were sincere, open ; no attempt\nwas made to cover up incapacity\nand what was good was very good.\nThe story was good because\nDumas had seen to that. The drama\nwas well put together, and was good\nbecause things were happening all\nthe time. The spirit of the whole\nthing was afoot; we had no time\nto pause to THINK; we were only\nasked to watch, to listen and to\nfeel. There was no sensual rubbish\nmixed up with the thing so everyone\nfelt that here, at any rate, we\nmight be sure of not being insulted.\nWhen I say 44 no sensual rubbish \"\n1 mean no naked men or women. A\nwonderful and rare innovation much\nto the credit of the managers of the"}, {"page_pdf": 98, "page_imprimee": "262", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.98", "debut_caractere": 15, "fin_caractere_exclue": 2312, "texte": "Lyceum. How easy It would have J\nbeen for these managers to have\noveremphasized the \" Milady in=\ncident and to have shown us the\npoor lady in bed, and so on. So\nmany of the other theatres would\nhave done it for the edification of\nthe thing which calls itself London\nSociety: and most other theatre\nmanagers would have used a version\nof the play with which the Censor\nwould have been obliged to have\ndifficulties. & & &\n& London Is obsessed with this\nidea of the Censor, and Mr Brookfield,\nwho has been well chosen to help\nMr Redford, comes in for a lot of\nutterly nonsensical abuse. London\nobviously doesn't care a hang about\nthese plays which are risky such as\n44 Kismet \" with its bath incident,\n44 Sumuriin \" and its harem, and the\nmany naked sketches at the Halls ;\nLondon likes its domestic dramas as\nit ever did, and it likes its swash-\nbuckler romantic plays, and it likes\nShakespeare, and it likes poetry and\nmusic, but above all it likes the\nUNPRETENTIOUS. &\nBut to return to my enjoyable\nevening at the old Lyceum.\n& The scenery demands special\nnotice. It was all painted in the\ntheatre and excellently well painted,\nWhat it wanted to be it was: and\njust because of this there were to\nbe found in it many touches of pure\npoetry... There was a front scene\nrepresenting the port of Calais\nwhich contained something better\nthan anything to be seen in 44 Mac-\nbeth \", which pretends to the\nvery best of scenery. &\ni select this scene for special\nmention, but it must not be thought\nthat the other scenes were any less\nadmirable.^\nThe acting was spontaneous and\nrapid. Every word could be heard ;\nevery point was made clear. The\nactors came on and went off with\niess subtlety than we expect as a\nrule ; the characterization was less\nprofound than it might have been;\nthe grace of the performance was\nless polished than it should have\nbeen ; but it all had a peculiar grace\nof its 0wn,..., the grace of the\ngenuine. & &\n& It was this which appealed to\neveryone, and, as it is the first and\nmost precious quality that a work\nof Art can possess, it placed the\nLyceum performance high up ; and,\nin that it was appreciated by those\npresent, it at the same time placed\nthe taste-standard of an ordinary\nLondon public higher. &\n& I, like The Mask, have always\nheld that the largest London public,..."}, {"page_pdf": 99, "page_imprimee": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.99", "debut_caractere": 15, "fin_caractere_exclue": 453, "texte": "the millions, are absolutely first class\njudges of what is good in Art, and\nthis performance justifies the\nbelief. & &\n£/ The production is an object lesson\nto the managers of London ; but as\nthese good men are blind they will\nnot be able to perceive how and\nwhere the thing teaches, though\nits lesson is just this: & &\n& Be simple, be yourselves, each\nof you, and the theatre in England\nwill once more become fresh and\nflourishing. uz> &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c076", "article_bluemountain": "bmtnaau_1912-01_01#c076", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "263", "page_fin": "264", "image_debut": 99, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.29.2.3", "titre_corps": "The \"Wordless Play\"", "titre_sommaire": "The \"Wordless Play\"", "signature_source": "G.H.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.99", "debut_caractere": 455, "fin_caractere_exclue": 2328, "texte": "The \"Wordless Play zz?\nTphe Music Hall continues to encou-\nrage the wordless play.\nJZZ \"Rialon\" is one of the latest*\n'' The Strange Qirl\" is another. Mr\nStoll is rather amusing, and certain-\nly quite truthful when he says:\n\" These wordless plays must make\nactors act.\" It is one of the most\ndelightful revelations of Mr Stoll's\ninnermost thoughts that we can\nrecall. & &\n£> Mr Stoll can, however, be equally\nuntruthful when it serves his purpose,\nso he states that \" It was the artists\nof Munich and South Germany who\ninspired the Reinhardt method of\nproducing and stage lighting \". £?\n& WAS it....! Well it can easily be\nunderstood that the Reinhardt m e=\nthod was inspired by Munich artists,\nRussian acrobats, Italian organ-grin-\nders,.... in fact by anything except\nthe Reinhardt imagination, which\nreally seems to be nil. Anyhow, he\nis paving the way.... laying down a\nconvenient * blumen-weg' or path of\nflowers,... and the artists, when they\narrive, will surely not forget him.\nAs for \"Rialon\" itself, this \"Mimo-\ndrama \" which the energy of the\nGermans has shot like a sack of coals\ninto London, it purposes, as the\nannouncement tells us, to show \" a\nnew and curious staging\" and to\nbe \" inspired by the impressionist\nschool of art which has its centre\nin Munich \". & &\n& That it may hail from Munich no\none can doubt, but that it is at all\ninspired or is in any way inspiring\nis incorrect.\nIt is common. It would be held\nas common even in Berlin or Frank-\nfurt. It is not new; ....one has seen\nthis kind of thing far better done\nin Paris. £> & JSZ\n& It is wrong to compare it with\n\" Sumurun \" where an attempt was\nmade to achieve a certain sense of\nbeauty.... and though this failed, a\nsense of the picturesque was ob-\ntained. \" Rialon \" is a lifeless thing.\nThe night I went to see it I also\ncame in for the masterly theatrical\neffort of Sarah Bernhardt in an act"}, {"page_pdf": 100, "page_imprimee": "264", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.100", "debut_caractere": 15, "fin_caractere_exclue": 1742, "texte": "of Jeanne d'Arc.\nHere there was something which\ndealt grandly with the stage. To see\nher placed on a table and prepared\nfor torture is to understand how the\nhorrible can be dealt with on the\nmodern stage and heroic proportions\nachieved. There was no ugliness, no\nmean horror. All was simple, truthfuj\nand unrealistic. We had the idea\nsuggested to us but all detail was\nwithheld.\nin this act a young actor, Lou\nvan Felligen, showed proof that there\nis still one young man on the Euro-\npean stage who Is possessed of genius\nas an actor, and who, in spite of\nthat burden, can yet take infinite\npains. & & Q. H.\nReinhardt's Return. 0>\nprofessor Reinhardt is being wel-\ncomed in London, so they say, by\na titled Committee, .....a welcome\nnever extended to Signor Grasso or\nto Madame DuSe. 0 0 0\n0 He brings to London various\nimitations of the work of an Eng-\nlishman, a Russian, an Italian and a\nHottentot. Carlvle has a word to say\nin his \" Sartor Resartus\" upon the\nlicence a gentleman of delicate taste\nmay not permit himself ...But then\nwhat can Carlyle possibly know\nabout it ? 0\n0 By the way, we read in a London\npaper that Professor Relnhardt\ncracked the same old joke about the\nwork of Mr Gordon Craig that nearly\nevery other borrower from Mr Craig\nhas done for years. He said, \"What\na genius...;, but how unpractical\nIt is curious to note that if the\ndesigned ideas of Mr Craig are un-\npractical on paper they become\namazingly practical when lifted (i)\nfrom the paper and put upon Pro-\nfessor Reinhardt's stage. There is\nsomething really quite amusing when\none meditates upon this Eh\nWhat ?\n(1) Lifted. To a German translator. There is a double\nmeaning in this. Burglers lt lift \" jewelry when not\nsecured in a patent safe."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c077", "article_bluemountain": "bmtnaau_1912-01_01#c077", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "264", "page_fin": "264", "image_debut": 100, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.29.2.4", "titre_corps": "Sudden Thought", "titre_sommaire": "Sudden Thought", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "264", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.100", "debut_caractere": 1744, "fin_caractere_exclue": 2265, "texte": "Sudden Thought\nJ. B.\nJ>y the way, has anyone ever SEEN\nProfessor Reinhardt produce a\nplay ? Has anyone ever seen his\ndesigns ? Has anyone ever seen the\npeople who produce his plays for\nhim, and design his scenes for him\nand arrange his dances and bring\nhim his ideas? 0\n£? The Professor is, we are told, a\nvery capable actor, but as for Design-\ner, originator of ideas, director of\na theatre,... in all these he is mere-\nly a Professor. 0/ 0? 0\n0/ In short, others do his work\nfor him. Practical, very, for a\nshort while."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c078", "article_bluemountain": "bmtnaau_1912-01_01#c078", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "265", "page_fin": "266", "image_debut": 101, "image_fin": 102, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.30", "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": 101, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 1973, "texte": "EDITORIAL NOTES.\n\n& NONSENSE... OR SENSE ? JS>\nQur good friend The New York\nDramatic Mirror,... or rathe r\nits Usher... became excessively cross\na week or so ago over Mr Gordon\nCraig's statement that Art was a\nreligious thing. Ushers have always\nbeen held to be \"melancholy men'',\nbut this particular Usher is..! (Again\npraise Heaven for the Censor, vide.\nThe Mask.... October 1909..) &\n& This Usher says that Mr Craig's\nstatement 44 is iittle short of arrant\nnonsense.\" This is the third gentle-\nman who has used the same phrase.\nSydney Grundy and Arthur Collins\nwere the others. A refined company\nand long life to them. But how angry\nthey grow! how offended they seem.\nWhy?.. Can it be that Mr Craig has\nsaid something true ? &\n\nGERMAN DELICACIES. &\nHphe wondrous Professor Singer of\nGermany has lately declared that\nEmil Orlik the German artist 44\nthe art of woodcut in Germany\non a new basis\" after his 44fourteen\nmonths sojourn In Japan\". Isn't that\ndelicious ? zz? ■<&\nAnother delicacy ! The same\nwriter finds that the work of Klenim\nthe wood engraver 44 savoured of\nOrlik's style to a certain degree ''\nbut that he freed himself from\nOrlik's influence and 44 made one\nmore detour, becoming quite\nhimself '. 44 This consisted of a\nthorough study of Original Japa-\nnese wood-cuts, and a serious\nattempt at imitating some of\n*\nHiroshige's prints \".\nCriticism is speechless before\nsuch bewildering gymnastics. What\nis one to think of Orlik, of Klemm,\nof German Art and of Professor\nSinger? £/ JZ? *\n& To begin with, Orlik never put\nanything on any basis. He Is a\ncopyist, and a bad one into the\nbargain. Klemm is another and\nSinger is original. &\nThat is woeful enough, but to\nthink that the English Studio prints\nsuch strange stuff by foreigners when\nIt has English writers galore at Its\nservice leads one to suppose that the\nGermans are cheaper. Klemm is as\nclever as mechanical skill and fairly\ngood taste can make him, but he has\nnot mastered the first principles of"}, {"page_pdf": 102, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.102", "debut_caractere": 72, "fin_caractere_exclue": 2040, "texte": "art. On the edge of one of those\nprinciples it is written, \" The artist\nis never permitted to be clever \".\nWhen will it be properly under-\nstood that art has little to do with\nhand and brain but for ever with\nthe soul ? How can it be understood\nwhile mankind stands in ' doubt as\nto the existence of such a thing as\na soul?\n\nWORDLESS PLAYS &\nCumurun began it or rather\n\" I'Enfant Prodlgue \" began it;\nor rather, it was begun some cen-\nturies ago, and now even writers\nhave caught it.\nHugo von Hofmannsthal has suc-\ncombed. The Poet of the perfect\nverse and prose has written a \"word-\nless play\". It was acted in London.\nFig-trees are bearing thistles. We\nmay shortly expect visualized music\nfrom De Bussy and speaking pictures\nwhich are invisible from Matisse. Or\nrather, it is unlikely, for neither of\nthese artists is a German or an En\"\ngiishman.\n\nSCENIC SIMPLICITY. & &\n7yir Thomas Hardy has lately pub-\nlicly said that Mr Gordon Craig\nis quite right In advocating simpli-\ncity in stage setting. This was said\nafter a visit to \"Macbeth\" at His\nMajesty's J£?\n\nTHE RUSSSIANS. & &\n''jphe visit of the Russian Ballet to\nCovent Garden has proved a grand\nfailure. Over three hundred pounds\nsterling was lost each week. &\nIt would be curious to know when\nEnglishmen will be willing to achieve\none such grand defeat rather than\nsurvive the many ignominious sue-\ncesses they always manage to\nmanipulate. &\n\nTHE ENGLISH.\nJ. S.\njpnglishmen are generally telling\neach other (and incidentally the\nForeigners)that fine English Dancing\ncan only be born by asking a Russian\nBallet master to come over and train\nour feet. Isn't it stupendous!!!!!\nModern Patriotism. £f\n\" Down with England, long\nlive the Tartars I \" & &\nburning question in London cir=\ncles Should rouge be put on\nthe face with a Hare's Foot or not?\nAnother burning question. ...Can\nEnglishmen who rave over the Ex=\nported art from Germany and Russia\nafford to stop and parley about how\nto raise an imitation blush ?"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c080", "article_bluemountain": "bmtnaau_1912-01_01#c080", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "265", "page_fin": "265", "image_debut": 101, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.30.2", "titre_corps": "NONSENSE... OR SENSE?", "titre_sommaire": "NONSENSE... OR SENSE?", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.101", "debut_caractere": 18, "fin_caractere_exclue": 729, "texte": "& NONSENSE... OR SENSE ? JS>\nQur good friend The New York\nDramatic Mirror,... or rathe r\nits Usher... became excessively cross\na week or so ago over Mr Gordon\nCraig's statement that Art was a\nreligious thing. Ushers have always\nbeen held to be \"melancholy men'',\nbut this particular Usher is..! (Again\npraise Heaven for the Censor, vide.\nThe Mask.... October 1909..) &\n& This Usher says that Mr Craig's\nstatement 44 is iittle short of arrant\nnonsense.\" This is the third gentle-\nman who has used the same phrase.\nSydney Grundy and Arthur Collins\nwere the others. A refined company\nand long life to them. But how angry\nthey grow! how offended they seem.\nWhy?.. Can it be that Mr Craig has\nsaid something true ? &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c081", "article_bluemountain": "bmtnaau_1912-01_01#c081", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "265", "page_fin": "266", "image_debut": 101, "image_fin": 102, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.30.3", "titre_corps": "GERMAN DELICACIES", "titre_sommaire": "GERMAN DELICACIES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.101", "debut_caractere": 731, "fin_caractere_exclue": 1973, "texte": "GERMAN DELICACIES. &\nHphe wondrous Professor Singer of\nGermany has lately declared that\nEmil Orlik the German artist 44\nthe art of woodcut in Germany\non a new basis\" after his 44fourteen\nmonths sojourn In Japan\". Isn't that\ndelicious ? zz? ■<&\nAnother delicacy ! The same\nwriter finds that the work of Klenim\nthe wood engraver 44 savoured of\nOrlik's style to a certain degree ''\nbut that he freed himself from\nOrlik's influence and 44 made one\nmore detour, becoming quite\nhimself '. 44 This consisted of a\nthorough study of Original Japa-\nnese wood-cuts, and a serious\nattempt at imitating some of\n*\nHiroshige's prints \".\nCriticism is speechless before\nsuch bewildering gymnastics. What\nis one to think of Orlik, of Klemm,\nof German Art and of Professor\nSinger? £/ JZ? *\n& To begin with, Orlik never put\nanything on any basis. He Is a\ncopyist, and a bad one into the\nbargain. Klemm is another and\nSinger is original. &\nThat is woeful enough, but to\nthink that the English Studio prints\nsuch strange stuff by foreigners when\nIt has English writers galore at Its\nservice leads one to suppose that the\nGermans are cheaper. Klemm is as\nclever as mechanical skill and fairly\ngood taste can make him, but he has\nnot mastered the first principles of"}, {"page_pdf": 102, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.102", "debut_caractere": 72, "fin_caractere_exclue": 395, "texte": "art. On the edge of one of those\nprinciples it is written, \" The artist\nis never permitted to be clever \".\nWhen will it be properly under-\nstood that art has little to do with\nhand and brain but for ever with\nthe soul ? How can it be understood\nwhile mankind stands in ' doubt as\nto the existence of such a thing as\na soul?"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c082", "article_bluemountain": "bmtnaau_1912-01_01#c082", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "266", "page_fin": "266", "image_debut": 102, "image_fin": 102, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.30.4", "titre_corps": "WORDLESS PLAYS", "titre_sommaire": "WORDLESS PLAYS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.102", "debut_caractere": 397, "fin_caractere_exclue": 920, "texte": "WORDLESS PLAYS &\nCumurun began it or rather\n\" I'Enfant Prodlgue \" began it;\nor rather, it was begun some cen-\nturies ago, and now even writers\nhave caught it.\nHugo von Hofmannsthal has suc-\ncombed. The Poet of the perfect\nverse and prose has written a \"word-\nless play\". It was acted in London.\nFig-trees are bearing thistles. We\nmay shortly expect visualized music\nfrom De Bussy and speaking pictures\nwhich are invisible from Matisse. Or\nrather, it is unlikely, for neither of\nthese artists is a German or an En\"\ngiishman."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c083", "article_bluemountain": "bmtnaau_1912-01_01#c083", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "266", "page_fin": "266", "image_debut": 102, "image_fin": 102, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.30.5", "titre_corps": "SCENIC SIMPLICITY", "titre_sommaire": "SCENIC SIMPLICITY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.102", "debut_caractere": 922, "fin_caractere_exclue": 1132, "texte": "SCENIC SIMPLICITY. & &\n7yir Thomas Hardy has lately pub-\nlicly said that Mr Gordon Craig\nis quite right In advocating simpli-\ncity in stage setting. This was said\nafter a visit to \"Macbeth\" at His\nMajesty's J£?"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c084", "article_bluemountain": "bmtnaau_1912-01_01#c084", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "266", "page_fin": "266", "image_debut": 102, "image_fin": 102, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.30.6", "titre_corps": "THE RUSSSIANS", "titre_sommaire": "THE RUSSSIANS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.102", "debut_caractere": 1134, "fin_caractere_exclue": 1471, "texte": "THE RUSSSIANS. & &\n''jphe visit of the Russian Ballet to\nCovent Garden has proved a grand\nfailure. Over three hundred pounds\nsterling was lost each week. &\nIt would be curious to know when\nEnglishmen will be willing to achieve\none such grand defeat rather than\nsurvive the many ignominious sue-\ncesses they always manage to\nmanipulate. &"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c085", "article_bluemountain": "bmtnaau_1912-01_01#c085", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "266", "page_fin": "266", "image_debut": 102, "image_fin": 102, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.30.7", "titre_corps": "THE ENGLISH", "titre_sommaire": "THE ENGLISH", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.102", "debut_caractere": 1473, "fin_caractere_exclue": 2040, "texte": "THE ENGLISH.\nJ. S.\njpnglishmen are generally telling\neach other (and incidentally the\nForeigners)that fine English Dancing\ncan only be born by asking a Russian\nBallet master to come over and train\nour feet. Isn't it stupendous!!!!!\nModern Patriotism. £f\n\" Down with England, long\nlive the Tartars I \" & &\nburning question in London cir=\ncles Should rouge be put on\nthe face with a Hare's Foot or not?\nAnother burning question. ...Can\nEnglishmen who rave over the Ex=\nported art from Germany and Russia\nafford to stop and parley about how\nto raise an imitation blush ?"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c086", "article_bluemountain": "bmtnaau_1912-01_01#c086", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.31", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 822, "texte": "THE WORLD'S\nWORK.\nPUBLISHED BY\n& WILLIAM\nHEINEMANN.\n21 Bedford Street\nStrand. London.\nTWELVE SHILLINGS FOR\nTHIRTEEN ISSUES.\nFIFTEEN SHILLINGS ABROAD £/\ni or*;\nIT WAS PERHAP NEVER\nK9iWKMS\nso indispensable as af the present time for a magazine\nto provide cultured men and women,... the thinkers....\nwith the latest expressions of earnest writers, toge-\nther with illustrations, on the world's daily work.\n<* & The World's Work \"magazine is a monthly of\nintense interest.\n* \\\nit tells you about the newest work in Science, Politics\nArt, Literature and Commercial circles, and every article\nis worth reading, remembering and keeping.\n& The foregoing are a few pertinent facts. We suggest\nthey are sufficiently strong for the moment to warrent\n& you remitting.\nONE SHILLING for CURRENT ISSUE.\nDECEMBER ISSUE.\n\"AN INDIAN NUMBER\""}]}, {"article_id": "bm-bmtnaau-1912-01-01-c087", "article_bluemountain": "bmtnaau_1912-01_01#c087", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191201-01.2.32", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 568, "texte": "THE POETRY REVIEW\nA new Monthly Periodical devoted to the Study and\nAppreciation of Modern Poetry of all countries.\nA SPECIAL SUBJECT WILL BE DEALT WITH IN EACH ISSUE.\nTHE FOLLOWING ARE AMONG THOSE SELECTED FOR 19*2.\nDRAMA TIC POETRY.\nWOMEN POETS.\nAMERICAN POETRY.\nFRENCH POETRY.\nGERM A NPOETRY.\nMYSTERY PLAYS.\nITALIAN POETRY.\nTHE CELTIC TWILIGHT.\nTHE FIRST ISSUE WILL APPEAR IN JANUARY 1912 1\nANNUAL SUBSCRIPTION FIVE SHILLINGS NET-\nSEPERATE COPIES SIXPENCE NET.\nOf all Booksellers, and in Florence of\nSuc c. B. Seeb e r, Via Tornabuoni.\n93 CHANCERY LANE, LONDON W. C"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c088", "article_bluemountain": "bmtnaau_1912-01_01#c088", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191201-01.2.33", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.4", "debut_caractere": 570, "fin_caractere_exclue": 764, "texte": "TO THE SHY\n4\n& who would Subscribe to \" The Mask \" if,.... and if,.... and if. &\n\" Come now! Less nonsense and\nout with your money\n(Collodi's Pinocchlo)\nTHE MASK OFFICES. ARENA GOLDONI. FLORENCE"}]}, {"article_id": "bm-bmtnaau-1912-01-01-c090", "article_bluemountain": "bmtnaau_1912-01_01#c090", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "267", "page_fin": "267", "image_debut": 103, "image_fin": 103, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.35", "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": 103, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.103", "debut_caractere": 0, "fin_caractere_exclue": 160, "texte": "Cor the Designs by Mantegna announced on page 186\nthe Publishers have substituted a design by the late\nMr E. W. Godwin for a Stage Costume for Miss Ellen\nTerry."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c091", "article_bluemountain": "bmtnaau_1912-01_01#c091", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "269", "page_fin": "269", "image_debut": 105, "image_fin": 105, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.36", "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": 105, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.105", "debut_caractere": 0, "fin_caractere_exclue": 1857, "texte": "WALT WHITMAN.\nA \"LEAVES OF GRASS\" REPRINT.\nJ propose to publish In fac-simile Wait Whitman's personal copy of Leaves of Grass,\nedition of 1860=1861, in which he did much of the work of revision for the edition\nthat followed five years later.\nThis copy of Leaves of Grass is historic. It is the volume abstracted by Secretary\nHarlan from Whitman's desk in the Interior Department and made the basis for\nWhitman's discharge from that branch of the service. An account of this incident,\nwritten by Whitman himself, will be photographically reproduced and\nincluded. The edition will be limited to five hundred copies. The price fixed\nten dollars for each copy. No books will be sent to editors for review and no\nrebates or discounts will be allowed to collectors or booksellers.\nThe text matter of this book will be printed from the original plates, which still\nexist. The chirographical matter in Whitman's hand will be superimposed. In order to\nmaintain a strict likeness to the original, in which Whitman used black ink and pen-\ncils of several colors, it will be necessary for each sheet to go through the press from\nthree to five times. This is a costly process.\nThe production of this work calls for the finest skill of the photographer, engraver\nand printer. But it will be faithfully supervised to the remotest particulars.\nEach volume will be authenticated by a number and my signature. Subscriptions\nwill be filled in the order they are received.\nTo persons who have a special Interest in Whitman, as well as to students and\nlibraries (particularly to the libraries of schools and colleges), this remarkable reprint\nmust have unusual significance.\n&No steps will be practically taken in this matter until subscriptions sufficient to\ncover the Initial expenses are received Send for circular. HORACE TRAUBEL\n1613 CHESTNUT STREET, PHILADELPHIA. U. S. A."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c092", "article_bluemountain": "bmtnaau_1912-01_01#c092", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "269", "page_fin": "269", "image_debut": 105, "image_fin": 105, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.37", "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": 105, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.105", "debut_caractere": 1859, "fin_caractere_exclue": 2078, "texte": "ihimmMvnutmmmmmmrnmnmnmn i\nTHE MOSHER BOORS*\n- ma\nThe only style of genuine hand=made\npaper editions at popular prices In\nAmerica.\nThe new catalogue is sent free on\nrequest. &\nThomas. B. Mosher, Portland\nMaine. U. S. A."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c093", "article_bluemountain": "bmtnaau_1912-01_01#c093", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "269", "page_fin": "269", "image_debut": 105, "image_fin": 105, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.38", "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": 105, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.105", "debut_caractere": 2080, "fin_caractere_exclue": 2358, "texte": "DI NI & CELLA!\nArtistic & Decorative Terra Cotta of\nSigna. £> JZ? £/ £?\nVia di Fossi N. 1 - FLORENCE\n- ESSBCTI\nReproduction of Sculptures of Old and\nModern Masters - Statues - Busts - Vases\n= Bas ■ Reliefs - Fountains - Doors\n9\nChimney - pieces - Bases etc. etc. in\nevery style."}]}, {"article_id": "bm-bmtnaau-1912-01-01-c094", "article_bluemountain": "bmtnaau_1912-01_01#c094", "volume": "bmtnaau_1912-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "272", "page_fin": "272", "image_debut": 108, "image_fin": 108, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.2.39", "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": 108, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.108", "debut_caractere": 143, "fin_caractere_exclue": 528, "texte": "A LETTER FROM *\n* Mr. W. B. YEATS. &\n\" The Mask always inspires me,.... it\n\" creates a vague vision of a new sort\n\" of joyous, over flowing dramatic art. No\n'■ sort of criticism is any use to an artist\n\" but technical criticism.*., criticism at\n\" once technical and philosophical, and\n** that is what The Mask gives one. \"\nTRADE AGENTS\nSimpkin, Marshall, Hamilton,\n& Kent & Co. London."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.1", "texte": "THE M ASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nnnnßiiMmiiii imrfi urn M uinm '■ mnu lIMIIIII HI 1\nVolume Four. Number Three.\nJANUARY\nI p 12\nARENA fIOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS'\n& SINGLE COPY PRICE FOUR shillings NET, &\nTRADE AGENTS.\nS IMPK I N, MARSHALL, HAMILTON, KENT & CO. LONDON."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.2", "texte": "THE MASK. JANUARY 1912.\nThe 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.\n& All 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.\nTHE THEATRE OF THE SOUL .... Eduard SchurS. ... 7\nTHE ARTIST AND NATURE Goethe\nHISTORY REPEATS ITSELF Allen Carrie. ...\nTHE NEW CENSOR. A Note Jol,n Semar. . • *\nTHE OLD MASTERS. A Dialogue Allen Carrie and Fel x\nUrban I^s\nPANTOMIME AND THE POETIC DRAMA. . . Arthur Symons: with a\nNote by Gordon Cratg. . 107\nTHE POET. An Unpublished Storj. . « « Oscar Wilde. . • • 190\nTHE ARCHITECTURE AND COSTUME OF\nRICHARD 111 E« W- Godwin. ... I 9»\nA WORD ABOUT THE DANCE. J Heinrlch Heine. With a\nNote by A. C. . . . 196\nTHE PUBLIC Victor Hugo. With a Note\nby A. C 197\nTHE CHARACTERS OF THE COMMEDIA\nDELL'ARTE A List compiled by . . Gordon Craig. . . . 199\nA JAPANESE PUPIL. Recollections by. • • Masanobu Otani. . . 203\nJAPANESE DRAMA. An Extract. . . . Lafcadio Hearn . . . 213\nSTAGE TERMINOLOGY John Balance. ... 214\nSOME DEFINITIONS FROM AN OLD\nDICTIONARY Translated by . . • Pierre Ram£s. ... 216\nTHE \" SACRE RAPPRESENTAZIONI \" OF\nFLORENCE Dorothy Nevile Lees. . 219\nTHE CONSTRUCTION OF THE \"NUVOLE\" OR\nCLOUDS. Translated from .... Giorgio Vasari . . , 246\nLETTERS TO THE EDITOR. . 350\nBOOK REVIEWS. & FOREIGN NOTES. EDITORIAL NOTES.\nShort Extracts from the Writings of Oscar Wilde, Heine, William Blake, 181, 182, 184*\n\nILLUSTRATIONS.\nFRONTISPIECE: A DESIGN FOR A STAGE\nCOSTUME E. W. Godwin . Face 171\nNINE OLD ITALIAN DESIGNS OF THE\n\" SACRE RAPPRESENTAZIONI \" 331» 335»\n229, 233.\n235, 239,\n243, 247.\nHEAD AND TALE PIECES From Old Italian designs and by Oliver, Borrow, Etc."}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.3", "texte": "THE WORLD'S\nWORK.\nPUBLISHED BY\n& WILLIAM\nHEINEMANN.\n21 Bedford Street\nStrand. London.\nTWELVE SHILLINGS FOR\nTHIRTEEN ISSUES.\nFIFTEEN SHILLINGS ABROAD £/\ni or*;\nIT WAS PERHAP NEVER\nK9iWKMS\nso indispensable as af the present time for a magazine\nto provide cultured men and women,... the thinkers....\nwith the latest expressions of earnest writers, toge-\nther with illustrations, on the world's daily work.\n<* & The World's Work \"magazine is a monthly of\nintense interest.\n* \\\nit tells you about the newest work in Science, Politics\nArt, Literature and Commercial circles, and every article\nis worth reading, remembering and keeping.\n& The foregoing are a few pertinent facts. We suggest\nthey are sufficiently strong for the moment to warrent\n& you remitting.\nONE SHILLING for CURRENT ISSUE.\nDECEMBER ISSUE.\n\"AN INDIAN NUMBER\""}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.4", "texte": "THE POETRY REVIEW\nA new Monthly Periodical devoted to the Study and\nAppreciation of Modern Poetry of all countries.\nA SPECIAL SUBJECT WILL BE DEALT WITH IN EACH ISSUE.\nTHE FOLLOWING ARE AMONG THOSE SELECTED FOR 19*2.\nDRAMA TIC POETRY.\nWOMEN POETS.\nAMERICAN POETRY.\nFRENCH POETRY.\nGERM A NPOETRY.\nMYSTERY PLAYS.\nITALIAN POETRY.\nTHE CELTIC TWILIGHT.\nTHE FIRST ISSUE WILL APPEAR IN JANUARY 1912 1\nANNUAL SUBSCRIPTION FIVE SHILLINGS NET-\nSEPERATE COPIES SIXPENCE NET.\nOf all Booksellers, and in Florence of\nSuc c. B. Seeb e r, Via Tornabuoni.\n93 CHANCERY LANE, LONDON W. C\n\nTO THE SHY\n4\n& who would Subscribe to \" The Mask \" if,.... and if,.... and if. &\n\" Come now! Less nonsense and\nout with your money\n(Collodi's Pinocchlo)\nTHE MASK OFFICES. ARENA GOLDONI. FLORENCE"}, {"page_pdf": 6, "page_imprimee": "[170]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.6", "texte": "A Design for a Stage Costume for Miss Ellen Terry by E. W. Godwin, F. S. A.\n\nTHE MASK.\nJanuary 1912."}, {"page_pdf": 7, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.7", "texte": "THE THEATRE OF THE SOUL\nby Eduard Schuré. With an Introductory Note\nby the Translator.\nHphe following essay was written by M. Schure as Foreword to his two\ndramas, \" Les Enfants de Lucifer \" and \" La Soeur Qardienne \" which\nwere published together under the title of \" Le Theatre de l'Ame \".\n& Of these two plays the former, \" Les Enfants de Lucifer \", has been\ntranslated into German and twice performed at Munich by the members\nof the Theosophical Society under the direction of Doctor Rudolf Steiner,\nthe performances taking place In August 1909 and again in the same\nmonth in 1910 at the Maximilian Theatre. Last August M. Schure's recon-\nstruction of the Drama of Eleusis, which is to be found in part in his\nvolume oh \" Les Grands Inities \" and in part in the \"Sanctuaires d'Orlent \"\nwas given by the same Society: and the series of performances will\nprobably be resumed, since Doctor Steiner has the intention of founding\nat Munich a \"Theatre de Mysteres \", giving annual performances in the\nsummer, and is now building a theatre for that purpose.\n£> M. Schure E?as written much about the Theatre, and he has done\nso seriously. Indeed, whether he write, as in the \"Grands Inities\"\nof Rama, Krischna, Hermes, Moses, Orpheus, Pythagoros, Plato, and Jesus,\nor treat of the '' Sanctuaries of the East \", of Egypt, Greece and Palestine :\nwhether he study the history of Musical Drama and Opera, or discuss, as\nin his \" Precurseurs et Revoltes \" such subjects as \"Ibsen and the\nTheatre of Combat\" or \"Maeterlinck and the Theatre of Dream\", one\nfeels that his aim could be really summed up in the words which he\nhimself wrote in hfs Introduction to his \" Histoire du Drame Musical \" :"}, {"page_pdf": 8, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.8", "texte": "THE THEATRE OF THE\n\n44 always immense, for it renders the illusion of life to a degree which\n\" the other arts never attain. Although few people seem to trouble\n44 themselves about so serious a matter it has seemed to me opportune\n44 to search out what have been the conditions of its loftiness in the past,\n44 what they could be again in our civilization. To contemplate face to\n44 face the free creations of the great epochs ; to seize the living link\n44 which unites them one to another across the centuries, to discover\n44 their necessary sequence in the actual development of the human\n44 spirit; to raise us, in short, if that be possible, above the present by\n44 putting together once more that which was greatest iu the past, and\n44 perhaps to open to seeking souis some windows upon a better future.\n44 Such is the thought which presided over this work.\"\nThe present essay is, as so much of M. Schure's work, a vindication of\nthe dignity of the Theatre, of its vital importance in the life of a people,\nits incalculable influence, whether for good or evil, upon the entire\nbeing of man, 44 sense, soul and mind \" : a grave warning that, unless it\nstrive to rise to the best it must sink to the worst; and, if not 44 a\nschool of beputy, of truth and of rebirth\", be inevitably 44 a school of\nugliness, of falsehood and of death J? &\nOne thing which should be borne in mind in reading this essay of M.\nSchure's is that it was written by him eleven years ago. Thus, when he\nwrote that 44 one single man, In this century, has succeeded up to the\npresent time in demonstrating what the theatre of the future may be;\nthat is, Richard Wagner \", he was writing of the nineteenth century\nand before the birth of that new movement in the European Theatre\nin which he would doubtless be among the first to welcome eagerly the\nvery stirring of the wings of that Psyche whom he invokes; of that\nprogressive soul which, although it may look into the past to learn, does\nnot look there to Imitate, and which, Emerson asserts, never, just because\nit Is progressive, 44 quite repeats itself, but in every act attempts the\nproduction of a newer and fairer whole ;\" sinpe, in our fine arts, 44 not\n44 imitation, but creation, is the aim. In landscapes, the painter should\n44 give the suggestion of a fairer creation than we know. The details, the\n44 prose of nature he should omit, and give us only the spirit and splendour.\n44 He should know that the landscape has beauty for his eye, because it"}, {"page_pdf": 9, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.9", "texte": "THE THEATRE OF THE SOUL\n\n44 expresses a thought which is to him good ; and this, because the same\n44 power wlfich sees through his eyes is seen in that spectacle; and he\n44 will come to value the expression of nature, and not nature itself, and\n44 so exalt in his copy the features that please him. He will give the gloom,\n44 of gloom, and the sunshine of sunshine & &\nAnd so should it be with the Theatre. Not Life but the Life of Life\nshould be shown there; not the mere veins exhibited but the mystery of\nthe very pulse which beats through them, the secrets of that creative\nand inspiring soul which is behind all life, revealed.\nTHE DIVINE PSYCHE.\n44 THE SOUL IS THE KEY OF THE UNIVERSE \". 44 Les Grands Initios\n\"\"Tiie human Soul, with its most profound mysteries and its most noble\npowers, the divine Psyche, had formerly its temples, its altars and its\ntripods. Today it seems excluded from our public life and driven out of our\ninstitutions. Science waves it aside; the Church oppresses it; the World,\ndrunk with luxury and pleasures, forgets it; Art, having lost its way, no\nlonger affirms it but feebly, and, if it speak of it at all, seems but to\nask pardon for even naming it.\nNevertheless the human soul was never more alive. Despised by the\npowers of the day, she has taken refuge in the profound depths of huma-\nnity. Proscribed by conscience, she reigns in the obscure regions of the\nheart. Everywhere she vibrates, she trembles, she stirs, in the dreams of\nyouth and in its desire for action, in the cry of revolt of the individua-\nlist who wishes to be entirely himself, in the meditation of the solitary\nthinker, who, seized with pity, bends towards human suffering; in the\nsurge of multitudes which swells at the first gleams of truth as the ocean\nat the uprising of the sun.\nIn vain will you try to restrain the human soul or to engulf it in the\nwhirlpools; like a vanished river, it will gush out of the soil by a hundred\nsprings and by a thousand jets of water. The divine Psyche is, in our\nsociety, the dear Absent one always beloved, the beautiful Exile ever\npresent. That great Dead is the great Immortal. Henceforth one can\nforesee that the Soul will be the true Muse of the Twentieth Century. It\n¥"}, {"page_pdf": 10, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.10", "texte": "THE THEATRE OF THE SOUL\n\nwas she whom Lamartine was already invoking at the beginning of\nour own. •£? &\nMuse des derniers temps, divinite sublime,\nQui des monts fabuleux n'habite plus la cime.\n*\nEt qui n'as pour trepieds, pour temples, pour autels\nQue les seins fremissants des genereux mortels.\nBut, according to the laws of evolution, all that is interior must\ninterpret itself outwardly under the precise forms which correspond to\nthe inmost idea. It is in the thought that are first shaped the ideal\nlines of a world to be made. Later they will take substance in the granite\nor the marble, in the living men or In the fetes of the city. Today the\nnew soul of humanity, whose vibrations have passed over us causing us\nto raise our heads, demands cradles, arenas and temples ; cradles that\nchildhood may grow therein ; arenas, that youth may wrestle there;\ntemples, that genius may take shelter there and there speak to the\npeople.\n& Now, among the temples necessary, there is none that in our day\ncalls by a more imperious desire than the theatre.\nThe theatre, that mirror of life, is a tremendous moulder of the soul\nof the multitude and even of the soul of the elite.\nFor It acts upon the entire human being; sense, soul, mind; and it\nacts by an example, by an eloquent action, as real as, and more intense\nthan, life itself. Its influence is supreme in good as is evil. If it be not\n$\na school of beauty, of truth and of rebirth, it becomes inevitably a school\nof ugliness, of falsehood and of death. &\nLet it be the slave of luxury, of frivolity and of commercial specula-\ntion as in our deluded society, and the theatre will hardly be other than\nthe changing and delusive reflection of the vices, the ignorance and the\nbasenesses of an epoch. But place in its centre the conscious soul with\nall Its powers, make the divine Psyche radiate at its glowing hearth,\nunfurl her wings.... and the theatre will be the mirror of the better life,\nthe educator of the people, the initiator which leads man across the\nforest of life and the mirages of dream to the summets of the highest\ntruths.\nThe existing theatre is the docile and passive image of surrounding"}, {"page_pdf": 11, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.11", "texte": "> THE THEATRE OF THE SOUL\n\nsociety. The theatre of the future will remould man and society to its\nown image. For it will be the temple of the ideal, the ardent hearth of\nthe conscious, free and creative Soul;\nThis theatre was that of certain privileged epochs. It will exist again\nt\nmore potently, more consciously in the day when an elite shall understand\nits power and shall know how to put it into practise with the solid\nprotection of principles and of will.\nTHE THREE THEATRES.\nryhe Ideal Theatre, the theatre as educator of man and transfigurer\nof life, Hiave long studied in the past. When I wrote the history of\n44 les Grands Inities\" I saluted its origin In the sacred dances of India\nthrough the legend of Krischna. In writing 44 I'Histoire du Drame musical \"\nI have seen It expand beside the Acropolis in the Tragedy of Athens. In\nvisiting the 44 Sanctuaires de I'Orient \" I have even attempted, in spite\nof the Incredulous smile of the savants, the poetic reconstruction of the\nSacred Drama of Eleusis, religious counterpart and secret key of the\nTragic Drama.\nTo get a glimpse of, to understand, to bring once more to life in us\nthe most sublime dramatic manifestations of the past, is already In itself a\ndifficult matter; but to prophesy, in this age of crisis and unrest, what\nthe future theatre will be, that is far more difficult. &\nWill it be aristocratic or democratic? idealistic or realistic, individual\nor social? Will it be a learned dissection of our moral maladies or a free\nrepresentation of the eternal man? Will It be a pyschologist's surgical\noperation or a poet's ecstasy? To all these questions one can reply by a\nhundred hypotheses the one more ingenious than the other, but they will\nbe only hypotheses. One single man, in this century, has succeeded\nup to the present time in demonstrating what the theatre of the future may\nbe ; that is Richard Wagner. And he has done so not only In theory, but\nfirst in practise, with his sovereign genius of symphonist poet.\nIt is in vain when we talk of the future theatre. Each imagines it in\nhis own way and all these desires are very different one from another.\nNone of them, certainly, embraces the whole future, but it is none the\nless true that that future is bound to be the outcome of the whole sum"}, {"page_pdf": 12, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.12", "texte": "THE THEATRE OF THE SOUL\n\nof our divers aspirations and of the profound elaboration of the forces\nwhich move\n& I, for niy part, believe that the theatre of the future will be very\nvaried and very multiple, but that there will be three rprinclple forms\nwhich will be like three degrees of life, of consciousness and of\nbeauty. JZ?\n& There will be first of all the Popular Theatre, rural and provincial,\nwhich, descending towards the common people, will awaken its sleeping\nsoul through its best instincts and its most poetic traditions. That is the\ntheatre desired by Mlchelet; it is that which M. Maurice Pottecher,\nby a very noble initiative, is attempting to create today in the Vosges ;\nthat which Messieurs Le Franz and Le Goffic are attempting to restore\nin Brittany by once more acting in the Celtic language the old Breton\nMystery plays. &\n£? Then there will be the Theatre of the City, which 1 would like to\ncall a Theatre of Combat. It will study contemporary reality with the\npenetrating gaze of a keen observation and a profound sympathy. Of\nthis theatre Ibsen, Tolstoi, Hauptmann, Francois de Curel have already\nfurnished us with striking examples. &\n& Finally there will be that Theatre of the elite which for the sake of\nits essential medium one might call the Theatre of Dream,and which 1 call\nthe Theatre of the Soul on account of its inspiring element. JZ? JZ?\n/Z? It will evoke a superior humanity in the mirror of history, of legend\nand of symbol. That humanity will not be the less palpitating with life\nand truth because it is ideal. Shakespeare has uttered this profound\nword : \" we are such stuff as dreams are made of \". But one can turn his\nidea round and say, \" Our dreams are made of the blood of our life;\nthey are the respiration and the aspiration of our souls.\" &\nThis Theatre of Dream, this Theatre which will relate the supreme\nwork of the Soul in the legend of Humanity, will, I dare to say, be bold*\nly and profoundly religious. For it will attempt to unite the human to\nthe divine, to show in the terrestrial man a reflection and a sanction of\nthat transcendant world, of that Beyond in which we all believe under\ndifferent names, should it be but under the name of infinite sentiments\nand eternal ideas. & JZ? &"}, {"page_pdf": 13, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.13", "texte": "THE THEATRE OF THE SOUL .\n\nJS? Have I any need to recall that this essentially idealistic theatre has\nbeen that of all the great creative periods? But each period must create\nit afresh according to its own requirements. Thus our unquiet age, with-\nout social ideal, without general faith, without an establlshd elite, as\nyet displays towards it but isolated endeavours, which, however, contain\nfertile seeds. Let us cite among them the \"Axel\" of Villlers del'lsle Adam,\nthe dramas of Josephin Peladan, the plays of Maurice Maeterlinck, of\nGabriel B'Annunzio and of Gabriel Trarieux. In all these men, however\ndiverse may be the nature of their talent, art, nobly human, seeks its\ntemple above the vulgar public, above corrupting fashion and debasing\ncommerce. & £> *& &\nThese lines set forth sufficiently my conception of the Theatre of the\nSoul, the function of psychic initiation and of social collocation that I\nattribute to it. I now come to my personal efforts.\n\"THE CHILDREN OF LUCIFER\" AND \"GUARDIAN SISTER\"\nln the historical setting of the IV century, at that period of the\ngreat struggle of Hellenism and Christianity which, by their impetuosity\nof soul, they burst through and pass beyond, the \" Children of Luci-\nfer \" aspire to an idea! of Man and of Woman which neither History,\nnor Legend nor Poetry has as yet realised.... that of .\nChristian soul, and their fusion Is effected by the miracle of love. That\nwhich brings them together and unites them is perfect love, absolute,\nat the same time human and divine, passionate and spiritual, love the\nfruitful, love the saviour and creator. Each abandons self and each finds\n%\nlife again in the other in such wise that they no longer form but one\nsingle being yvhose power the magnetic poles augment a hundredfold.\nPhosphoros becomes the conscience of Cleonice and Cleonice becomes the\nsoul of Phosphoros. That Is why the free couple is a liberating power.\nThat is why it sheds around it a new life and gives birth, without\nIntending It, to a new religion. The free city is born of Its radiance.\n... But, in the world where it is born, such a couple cannot long triumph.\nIt is destined to succumb in its audacious struggle against Caesar and\nthe Church, it can only confirm its victory by its death. Thus only will"}, {"page_pdf": 14, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.14", "texte": "THE THEATRE OF THE SOUL\n\nit bequeath to men the testament of its faith under the sign of Lucifer.\n& Lucifer, genius of Science, of Liberty and of human Individuality, is\nthe implacable enemy of the Church under its present form, but he is\nnot the adversary of Christ, although he develops himself in contrary\ndirection ; he is his complement. For he is a point where the man who\nwishes to become god coincides with the god become man; it is the very\npoint where Science becomes Wisdom bv merging itself in Love.\nIn its Breton frame, 44The Guardian Sister \" attempts an entirely\nmodern personification of the Celtic Soul, keen-sighted and prophetic. It\nappears here at the portentous date of 1789, when the modern man\nissues forth from the man of the ancient regime under the storm of the\nRevolution, with his infinite desire for liberty and for virgin lands to\nconquer. This mysterious and divine sister has a formidable destiny.\nInspiring genius of her brother, she excites in him a fatal passion and\nis only understood by him through her sacrifice and her death.\n-6? I said in the Preface of my 44 Grandes Legendes de France \" : \" The\nCeltic Soul is the inner and profound Soul of France.... Impassioned\nDruidess or sublime seer, it is in our history the glorious vanquished\none who always springs up again from her defeats, the great Sieeper who\nalways reawakens from her century-long sleeps. Crushed by the Latin\ngenius, oppressed by the Frankish power, pierced through and through\nwith irony by the Gaulish wit, the ancient prophetess does not the\nless issue forth from age to age from her resounding forest. She reap-\npears, ever yonng, and crowned with green branches. Her profound\nlethargies announce her most giorious awakenings. For the soul is the\ndivine part, the inspiring centre of man. And, like men, nations have\na soul come from on high. Let it grow dim and die away, the people\ndegenerates and dies; let it brighten and shine with full light, and\nthe nation wii! accomplish its mission In the world. Now, for a man or\na people to fulfil their whole mission it is necessary for their soul to\narrive at the plenitude of its consciousness, at the entire possession\nof itself \". jg?\nThis truth, which dominates our history, manifests itself dramatically\nin the adventure of 44 The Guardian Sister By her love, the clear-sighted\nLuciie awakens In her brother the consciousness of a divine ideal. By ln"}, {"page_pdf": 15, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.15", "texte": "THE THEATRE OF THE SOUL\n\nher example arouses in the instinctive and passionate Fulgence a\nwifely soul. By her sacrifice and her voluntary death she puts an end\nto the passionate conflict which tortures them all three. Thus the\nloving spirit which sacrifices itself, gives to the ennobled couple the\nstrength to accomplish their duty of struggle. Double magic, double\nredemption, divine and terrestrial. Lucile draws Maurice to the heights\nof her soul; Maurice draws Fulgence to his intellectual height. The\ncurtain fallen, the dead sister Nvil! continue to hover over the living\nhusband and wife, invisible but every where present, like the fairy\nMorgane over the marvellous fountain.^\n£? Sombre destiny of a soul of light!.... And is our own less so, ail we\nwho seek the Idea! through the Initiating Drama? &\nJ£? At the present time all the truly Idealistic efforts have in them\nsomething tragic. Those who venture them must submit to be branded\nby the ruling Powers with the stigma of reprobation. They will be\nexcommunicated alike by the atheistic materialism and the clerical\nnarrowness. But let us have no anxiety about that. The essential in\nthis world is not to succeed, it is to have a lofty determination. If we\ncannot be joyous reapers, let us be confident and bold £?\n«£? In truth I do not know if the two dramas which I offer to the reader\nas the supreme effort of my thought and of tny art are of a grain\nsufficiently solid and a form sufficiently strong to assist one day in the\nconstruction of this initiating theatre, where the divine Psyche would\nspeak with her human voice, and which I call The Theatre of the Soul.\nHaving fashioned my work with the hands ot a solitary workman, but\nof one faithful to his ideal, 1 simply lay it as a stepping stone on the\nway which we must all tread. As milestone upon the road to a future\ntemple, or freestone to serve in its foundation, ....it matters not ....it is\na duty accomplished and an act of faith in Art, the Liberator.^"}, {"page_pdf": 16, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.16", "texte": "THE ARTIST AND NATURE, An Extract\ntranslated from the Conversations of Goethe\nas recorded\nby Eckermann. 1822-1832\nTPhe artist stands in a double relationship to nature; he is at the same\ntime her master and her slave. He is her slave in the sense that he\nmust work with earthly means to be understood; he is her master in the\nsense that he submits and subjects these earthly means to his lofty\nintentions. The artist wishes to speak to the world by a complete\nwhole, but this complete whole is not found in nature ; it is the fruit\nof his own spirit, or, if you like, his spirit is fertilized by the inspi*\nration of a divine breath\".\n44 If we only cast a casual glance upon this picture (of Rubens) all\nseems to us so natural that we believe it to be simply copied from\nnature. But it is not so. So beautiful a picture has never been seen in\nnature, any more than has a landscape of Poussin or Claude Lorraine\nwhich seems to us very natural but which we seek in vain In\nreality \".\n44 Are such bold traits of artistic fiction, analogous to this double\nlight of Rubens, found also in literature ? \" I asked. £>\n44 Oh, there is no need to go far \", replied Goethe after a moment's\nthought. 44 1 could show them to you by dozens in Shakespeare. Take\nonly 44 Macbeth \". When Lady Macbeth wishes to rouse her husband to\naction she says, \"I have given suck \". etc. & &\nWhether that be true or not matters little; Lady Macbeth speaks thus\nand ought to speak thus to augment the effect of her speech ; but, in\nthe course of the play, Macduff, when he learns the disaster of his own\nfamily, cries, in his violent fury, 44 he has no children \". These words\nare in contradiction to those of Lady Macbeth. Shakespeare has not\ntroubled himself about it. He seeks but to give to each speech its full\nforce, and just as Lady Macbeth, to give full effect to her words, ought\nto say, 44 1 have given suck to his children \", Macduff for the same\nreason ought to say, 44 he has no children\n& 44 In general it is not with so much precision and minuteness that\n1\none should examine the touches of a painter or the words of a poet; if\nthe work of art is the outcome of a free and bold spirit it is essential"}, {"page_pdf": 17, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.17", "texte": "THE ARTIST AND NATURE\n\nfor it contemplation, for its enjoyment, to have so far as possible a\nspirit equally free and bold. Thus from those words of Macbeth, 44 Bring\nforth men-children only \" it would be foolish to wish to conclude that\nLady Macbeth is a young woman who has not yet had children. And it\nwould be also foolish to wish to go further and require that Lady\nMacbeth should be represented on the stage as a quite young\nperson. ■£?\n\"Shakespeare does not at all put those words in the mouth of Macbeth\nto indicate the youth of Lady Macbeth ; these words, as those of Lady\nMacbeth and Macduff which 1 have already cited, are only there for an\noratorical reason, and they prove nothing unless It be that the poet\nalways causes his characters to say that which, In each situation, is tl\\p\nmost right, the most suitable, and capable of producing the most effect\nwithout worrying himself and calculating whether these words .would\nnot perhaps be a contradiction of some other\n« Moreover Shakespeare hardly thought that each letter of his plays\nwould be one day counted, compared aad set one against each other ;\nwhen he wrote, he had the scene before his eyes, he considered\nhis pieces as works endowed with a movement, and life which pass\nrapidly before the eyes and Into the ears of a spectator placed before a\nscene; works that one cannot stop and measure in detail, and in which\nthe only thing is to produce always a fine effect at the present\nmoment.\n\nTHE ARTIST AND INSPIRATION.\nWilliam Blake\nnphe man who on examining his own mind finds nothing of inspiration\nought not to dare to be an artist: he is a fool, and a cunning knave\nsuited to the purposes of evil demons. The man who never in his mind\nand thought travelled to heaven, is no artist. &\n\nA WORD ABOUT IMAGINATION.\nWilliam Blake.\nA [J forms are perfect in the poet's mind : but these are not abstracted\nor from nature ; they are from imagination."}, {"page_pdf": 18, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.18", "texte": "HISTORY REPEATS ITSELF\nby Allen Carrie.\nWilliam Blake.\n'V'Zre lavish praise I have received from all quarters for inven,\n\" Hon and drawing has generally been accompanied by this:' fie\n\" can conceive but he cannot execute'. This absurd assertion has\n\" done, and may still do me, the greatest harm.\nhus wrote William Blake, but we have taken care that the\nabsurd assertion shall do him no harm at zz? £/\nz& What harm could he fear? At the worst it could only prevent\npeople from buying his pictures and engravings. It did that. And now\nyou cannot purchase a picture by William Blake except for what is cal=\nled a fabuious price. zZ? zz? jZ? g?\nThe folly of those who pillory themselves by their own ignorance is one\nwhich it is to be sincerely hoped will never grow less &\nWe cannot destroy the pests;... they must be left to do themselves\nto death in the most ignominious way imaginable. £> jZ?\n& Anyone who says of another that he can conceive but cannot execute\nis an ass, and rather a satanic ass into the bargain.\nz& For an art work is not possible to be conceived unless it be executed\nat the same time. 1 here is no such tiling as succeeding in the conception\nand failing in the execution of a work of art. jZ? <£? j£? zZf\nAnd then remember that what the sllly=billies call \"conception\" is\nabout as unlike the real thing as Is that which they call\nIn both cases they mean something as smug as their own point of view,\nas smooth as their weary conscience and as tidy as their last remains of\nhair. zz? jg? £)\nTWO SAYINGS BY OSCAR WILDE.\nJ ife imitates Art Schopenhauer has analysed the pessimism that\ncharacterises modern thought, but Hamlet invented it. The world has\nbecome sad because a puppet was once melancholy.\" jgr\n''phe man who sees both sides of a question is a man who sees\nabsolutely nothing at all. \" zZ/ & & &\n** Intentions"}, {"page_pdf": 19, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.19", "texte": "THE NEW CENSOR, A Note\nby John Semar.\nt is a good thing that the Censorship has been strengthened\nby adding a new name to the post without removing Mr\nRedford. JZ &&&&■&\nOne supposes that Mr Brookfield will do what Mr\nRedford could hardly attend to alone. JZ JZ\nMr Redford thought that the undressed lady in Mona\nVanna was in doubtful taste and so he stopped the perfor-\nmance. One hopes that Mr Brookfield will stop the other\nundressed advertisements. \" Kismet\" should never have passed the\nCensor till the passage where the nude lady enters the bath was cut\nout. \" Sunmrun \" should have been cut considerably. ....1 presume that\nDumb Show can be cut? \"The Dawn of Love\" should never have been\nshown at all. \" Scheherazade \" should have been kept for harems In the\nEast, where its western licence would have appalled the eastern mind.\nAll these plays, and ballets and wordless spectacles should have been\nruthlessly dealt with by ordering the exclusion of the naughty parts.\nExclude these parts and the plays would in all likelihood have\nto attract. &\n& Nowadays it seems that there is a receipt for making any stage show\na success,.... which is, simply, to take off some clothes. ■£? &\n/? it is quite silly, for the taking off of clothes is not in any way connected\nwith a work of art, nor is it a guarantee of an intelligence which is\neither ordinary or extraordinary. It is just a cheap way of catching a\nsilly public, and it is of considerable harm to that public as well as to\nthe Theatre, and the Censor will be highly reprehensible if he does not\nstop it in future.\nAll good wishes to him and his difficult taste: but tet him act\nquickly and act thoroughly, or his present friends will begin to lose\nfaith in him. &\nJZ? Mr Brookfield, who has joined Mr Redford, has lately written an article\non modern plays which is full of admirable points. Why then does he\nwrite plays which are full of risky ones?\nMr Brookfield is a witty man and a man' of culture, and will possibly\nreply that & little harmless ribaldry is of no account, but that he"}, {"page_pdf": 20, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.20", "texte": "THE NE W CENSOR\n\nobjects to serious immorality. Where, then, does he differ from anyone\nelse ? j0 jg? jg/ jg}\n& But whatever we all think, and wherever we differ and however \\Ve\nsquabble, do let these naked ladies and men be covered up,... and then\nlet us get on with our work.\n\nA WORD ABOUT THE STAGE.\nHeine, The French Stage.\n'jphe stage certainly is never a commonplace reproduction of life, and it\nshouJd show this in a certain dignified ennobling (of it), manifesting\nitself, if not in the measure of words and of delivery, at least in the\nfundamental tone (Grundton), in the deeply felt solemnity of a piece, (i)\nFor the theatre is another world, apart from our own, as the stage Is\nfrom the pit. Between the theatre and reality lie the orchestra, the music.\nand the dividing line of footlights on the front. Reality, after having\ncrossed the realm of music and the Impressive row of lights, stands before\nus on the stage transfigured and revealed as poetry. The charming euphony\nof the music rings from her in dying echoes, and she is illumined as in\na fairy vision by the mysterious lamps. It is all a magic sound and a\nmagic gleam, which readily seem to a prosaic public to be unnatural;\nand yet are far more natural than ordinary nature, for it is nature ele-\nvated by art to its fairest divinity & js\n(I) \"Feierlichkeit\", though defined as '« solemnity \" does not convey the idea of seriousness allied to melan-\ncholy, but that which is peculiar to celebrations and dignified ceremonies. It rather implies, on the contrary\nan exalted sense of joyousness in festivity,"}, {"page_pdf": 21, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.21", "texte": "THE OLD MASTERS. A Dialogue (I) between\nAllen Carrie and Felix Urban.\nj& Carrie. £> It would be awful to become too serious about the old\nmasters.\n& Urban. It would; that is just what I always think myself.\nCarrie. & It gives the wrong impression. Don't you think so?\nUrban. Yes, It does indeed.\nCarrie. & Shall we speak gaily about them ? That would better !\nUrban. We will. But to-day I shall leave most of the talking to you !\nCarrie. Right! Then listen to me. The \"old masters \" never were\nold masters because it is Impossible to be a master and to be old at the\nsame time. The Academicians of London may be as old as you like,...even\nyou ,Urban, may be 01d,... how many times have you not been called\n\"dear old Urban\" by your venerable friends?... but masters are masters\nprecisely because they are always very young.\nIt is one of the troublesome things about the Theatre that, save for\nrare exceptions, it always encourages its aged to discreet acts of caution.\nThe Theatre feels that youth is rash and that rashness opens doors which\nlead somewhere, and \"somewhere\" does not interest the Theatre. The\nTheatre and only the Theatre interests the Theatre. As proof of this an\nawful revolution occurs regularly whenever any youthful spirit such as\nMackiln, Talma or Schroeder introduces a more natural mode of speak\ning, moving or costuming. It immediately creates a revolution. &\n& Urban✓lS that.... ? & &\nCarrie. Mackin created such a revolution in 1741. The actors told\nhim he would be hissed off the stage for his impertinent innovation.\nTalma tells us that the actors thought he was \"introducing a red cap \"\nwhen he spoke of \"innovation so necessary to art\", and Schroeder who\nby energy and art insight had, out of his Hamburg actors, created the best\nCompany in Germany, was driven to resign by the opposition and dis-\ncontent and indifference which he met with both among his actors and\nfrom the public.\nAll these men dared to do was to open a casement or two to let in\na little breath of nature. But open a d00r... a whole d00r.... and every\n\n<1) Which, with apologies to Mr Urban, I must con'ess has proved to be almost a monologue! A. C."}, {"page_pdf": 22, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.22", "texte": "THE OLD\n\none is blown off his feet. Fresh air kills artificiality.\nOr take an actor to the National Gallery or to the Louvre and he is\nbored. Show an actor a book of engravings by the Masters and he turns\nthe pages over rapidly and closes the book. Why ? & &\nUrban. & Why, indeed ? I have often wondered the same thing myself.\n& Carrie. It is because he has no enjoyment of beautiful things, no\npassionate love for the work of the men In the fine arts : because neither\nnature nof art moves him, but only the \" theatrical \" moves him. And he\ndoes not know how much he loses by this apathy. You and I, Urban, have\noften written about the old Engravers and have pointed out how valuable\nthe study of their work is to the Theatre men, haven't we ? &\nUrban. & We have, we.... &\n4? Carrie. Let, me for once interrupt you ; let me show you this new\nbook of engravings, reproductions ; (i) and what reproductions I every line\nsharply defined, it has just come outs and when I received it I longed\nto be rich enough to send a copy to every man In the Theatre of England.\nNot for the sake of the archeological part of it; not for the sake of its\nuse and value as a \" crib but because of the sincerity of tlFe designers,\nbecause of their cunning and because of the beautiful &\nOne thinks at times that if one could show an actor many lovelv\nworks of art he would gradually realise what the aim of those artists\nwas and would commence to ponder the ways and means to a similar aim.\nBut no: William Heinemann has issued this book at two shillings and\nsixpence; has taken the greatest pains to produce a fine piece of work(2)\nfor a mere song, and yet our people refuse to seize the opportunity of\nimproving their sense of perception of what is fine in art, preferring a\ncopy of the Christmas number of some illustrated paper.... Have you\nanything to add ? And do you not agree with me ?\n& Urban. & My dear fellow, nothing to add, and agreement with\nevery word.\n(They go out.)\n\n(I J Anarea Mantegna, One of the \"Great Eng avers series now being published by Mr Heinemaun.\n2) Through the courtesy of Mr Heitiemaun we reproduce two of the engravings."}, {"page_pdf": 23, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.23", "texte": "PANTOMIME AND THE POETIC DRAMA\nby Arthur Symons with a Note by\nGordon Craig\n(0\nt might be contended that in the art of the theatre an ab-\nsolute criticism can admit nothing between pantomime\nand the poetic drama. In these two extremes, drama in\noutline and drama elaborated to the final point, the\nappeal is to the primary emotions, and with an economy\nand luxuriance of means, each of which is In its own way inimitable. It\nis an error to believe that pantomime is merely away of doing without\nwords, that it is merely the equivalent of words. Pantomime is thinking\n, overheard. It begins and ends before words have formed themselves, in\na deepen consciousness than that of speech. And it addresses itself, by\nthe artful limitations of its craft, to universal human experience,\nknowing that the moment it departs from those broad lines It will\nbecome unintelligible. It risks existence on its own perfection, as the\nrope=dancer does, to whom a false step means downfall. And it appeals,\nperhaps a little too democratically, to people of all nations. Becoming\naristocratic, getting sheer through the accidents of life without staying\nby the way In the manner of the realistic drama, it adds the beauty of\nprimary emotions, and is the poetic drama. Between lie the non-essentials,\na kind of waste. &\nAll drama, until one comes to the poetic drama, is an Imitation of\nlife, as a photograph is an imitation of life ; and for this reason it can\nhave, at the best, but a secondary kind of imaginative existence, the\nappeal of the mere copy. To the poetic drama nature no longer exists ;\nor rather, nature becomes, as it has been truly said nature should become\nto the painter, a dictionary. Here is choice, selection, combination : the\nsupreme interference of beauty. Pantomime, in its limited way, is again\nno mere imitation of nature : it is a transposition, as an etching tran-\nsposes a picture. It observes nature in order that it may create a new\nform for itself, a form which, in its enigmatic silence, appeals straight\n\n(1) Reprinted by permiision of the Author from il Studies in Seven Arts. \""}, {"page_pdf": 24, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.24", "texte": "PANTOMIME AND THE POETIC DRAMA\n\nto the intellect for its comprehension, and, like ballet, to the intellect\nthrough the eyes.\nAnd pantomime has that mystery which Is one of the requirements\nof true art. To watch it Is like dreaming. How silently, in dreams, one\ngathers the unheard sound of words from the lips that do but make\npretence of saying them ! And does not every one know that terrifying\nimpossibility of speaking which fastens one to the ground for the eternity\nof a second, in what is the new, perhaps truer, computation of time in\ndreams ? Something like that sense of suspense seems to hang over the\nsilent actors in pantomime, giving them a nervous exaltation which has\nits subtle, immediate effect upon us, In tragic or comic situation. The\n•\nsilence becomes an atmosphere, and with a very curious power of giving\ndistinction to form and motion. jZ? sZ? *z? z? &\nI do not see why people should ever break silence on the stage except\nto speak poetry. Here, in pantomime, you have a gracious, expressive\nsiSence, beauty of gesture, a perfectly discreet appeal to the emotions, a\ntransposition of the world into an elegant, accepted convention: in a\nword, ali the outlines of the picture. Poetry comes, not only looking\nbeautiful, not only excluding what should not be there, but saying beau-\ntiful things, the only things worth saying when once words begin to be\nused, not for their mere utility (the ordering of dinner, a bargain, the\narrangement of one's affairs), but for their beauty in a form of art.\nHere is the picture completed, awaiting only, for its ideal presentment,\nthe interpretative accompaniment of music, which Wagner will give it,\nin what is so far the most complete form of art yet realised.\nA NOTE ON THE PRECEDING ESSAY.\n11 great Drama moves in silence. Events of the greatest mag-\nnitude and significance pass in silence; there is nothing to\nbe said. JZ? jZ? jZ? jZ? &\nThere were no words wasted in the creation of the universe\nneither can words create so much as a sparrow. 0\n& AH nature is silent when it acts, and speech cannot take the place\nof action. How it is that speech has usurped the place of action i«\nStage-Drama is for the present age to discover, and then it is possible"}, {"page_pdf": 25, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.25", "texte": "PANTOMIME AND THE POETIC DRAMA\n\nthat the present age will replace action on its stage-throne and that\nthat throne will be remade and replaced In Its temple. & &\nA mistake is made when it is supposed that action is unable to be\nsignificant unless words (and beautiful words) are added to it.^\nAction by itself is so capable of hinting at the profoundest acts even\nas words are capable of stating them, JZ? £? JO\nBut if words are not used merely to state facts why make use of words\nat all ?\nWould it not be doing better to remain silent and let acts speak for\nthemselves? For acts will never do more than suggest what the actor desires\nand feels, so free are they of all tyranny, and therein is acting a finer\nart,...if art it be,.... than the art of writing; for the word admits of\nargument, and, where argument is possible between the creator, the seer\nand the on=looker, the tyranny of interruption '\"and of broken rhythm\nthreatens us all and the strength of the Oracle is made ridiculous: where-\nas action, though final, is open to such an infinite variety of interpretations\nthat relationship betwixt the interpreters need never be strained nor\nharmony destroyed. &\nPerfect pantomime is therefore in a position of dealing more capably\nwith spiritual moods than can that which today is known as poetic drama,\nfor pantomime makes no statements but those which can be interpreted\naccording to each man's heart's\nThese are a few of the thoughts which Mr Symons's noble essay calls\nforth. It is an essay which in my opinion will do more to help us to\nunderstand the lost art of the stage than that by any writer of modern\ntimes. There are perfect passages in it which should be treasured by each\nactor on the round earth, ...and if words were always Drama \"for\ntheir beauty \" and \" not for their mere utility\" there would be no\nfear that the ugliness of interruption would ever mar or spoil our\nhappiness.\n£? But even with so great a writer as Shakespeare words are used for\ntheir mere utility ;... they aim at teaching us one and all the same lesson;\nand so it must be that ultimately words will be silenced in the purest\nform of Drama.£> &"}, {"page_pdf": 26, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.26", "texte": "THE POET, An Unpublished Story\nby Oscar Wilde.\nThis story was told by Wilde to Miss Aimee Lowther when a child\nand written out by her. A few copies were privately printed, but\nthis is the first time it has been given to the public. 0 &\nOther stories of the same series will appear in future numbers\nof\" The Mask. '' 0 0 0 0 0\nTphe poet lived in the country amongst the meadows and the woods*\nbut every morning he went into the great city which lay many miles\naway over the hills in the blue mist. And every evening he used to\nreturn. And in the dusky twilight the children and the people would\ngather round him whilst he told them of all the wonderful things that\nhe had seen that day in the woods, and by the river, and on the hill-\ntops. He would tell them of how the little brown fauns peeped out at\nhim from among the green leaves in the woodland. 000\n0 He would tell them of the green-haired nerelds who had risen out\nof the glassy lake, singing to him on their harps. 000\n0 He would tell them also about the great centaur who met him on the\nhill-top, and had gallopped .off laughing in a cloud of dust.\n0 These, and many more wonderful things, did the poet tell the children\nand the people as they clustered round him every evening whilst the\nshadows grew thick and the grey twilight fell. 0 0 0\n0 He told them marvellous tales of the wondrous things which his mind\nhad created, for he was filled with beautiful fancies. 0? 0 0\n0 But one day, the poet returning from the great city through the wood,\nreally did see the little brown fauns peering at him through the green\nleaves. And when he came to the lake the green-haired nereids did\nindeed rise from the glassy water and sang to him on their harps. And\nwhen he reached the hill-top a great centaur went gallopping off in a\ncloud of dust and laughed. 000000\n0 On that evening when the people and the children gathered round\nhim in the dim twilight to hear of all the wonderful things he had seen\nthat day, the poet said to them :.... \" 1 have nothing to tell you to-day,\n1 have seen nothing \" ; for on that day, for the first time in his life, he\nad seen reality, and to a poet, fancy is reality, and reality is nothing."}, {"page_pdf": 27, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.27", "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS\nby E. W. Godw.\nRICHARD \\\\\\. &\n'-p HIS play takes up the history of the House of York in the summer\nof 1471 (the corse of Henry VI. not yet having been Interred) and\nfinishes with the battle of Bosworth, August 22, 1485. Clarence was\nfound dead in the Tower, February JB, 1478, having been committed only\na month (January 16) before this. His brother, the Duke of Gloucester,\nhad quarrelled with him about the Warwick estates as far back as 1473t\nand very much against the wish of Clarence had married the Princess\nAnne, Warwick's second daughter, and sister-in-law to Clarence. Now, in\nthe drama, Clarence is committed to the Tower, follows the\nburial of the late King and the beginning of Richard's \"courtship, and\nthe first Act finishes with the death of Clarence. It is tolerably manifest\nthat the action in this Act was only intended to cover the month which\nelapsed from the committal to the death of Richard's unfortunate brother\nfor these two events meet us, one at the beginning, the other at the\nend, of the Act. In the short interval between them Henry VI. is buried\nand Richard does not marry \" the lady Anne. \" Surely Macbeth is quite\nas good history as this. The second Act begins on or about April 8, and\nends Ma y2 or 3, 1483. The third Act begins May 4» and ends June 26,\n1483. In both Acts the dramatic events are unfolded in true historical\nsequence. The year 1483 still follows us to the end of the first Scene of\nthe fifth Act; then comes a break of nearly two years, and the rest of\nthe Act belongs to the latter end of August 1485. Buckingham was\nbeheaded at Salisbury November 1, 1483. and his ghost is one of the\nparty who disturb Richard on the night before the battle of Bosworth.\nThe taking of Buckingham on the (stage) field of battle, and the\nline\nOff with his head!-So much for Buckingham I\nwhich is always sure to bring down a round of applause, are not\nShakespere's but the invention of later times, when historical blunders\nwere less to, be excused than in Elizabeth's reign. It is hardly necessary\nto add that the character of Richard 111., as exhibited in the play, is as\nfar from the truth as the arrangement of events in the first Act. To an"}, {"page_pdf": 28, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.28", "texte": "RICHARD 111.\n\nunknown writer In the reign of Henry VII., Bacon, More and Shakspere\nwere indebted for their colours, and they certainly were not niggardly\nIn the use of the material so borrowed. As, however, it is no part of my\nprogramme to defend historical characters which have been vilified... a\ntask that happily, owing to modern research, would not be very difficult...\nwe will pass on to the consideration of the architectural scenes.\nWith the exception of Act 5, and the third Scene of the third Act,\nall the Scenes are laid in London, and more than this, every Scene in the\nplay, with the exception of the last three of the last Act, is architectural.\nTaking the exceptions first, we have\nPomfret. - Before the castle (Act ill. Scene 3).\nSalisbury. - An open place (Act v. Scene 1).\nWe have then left nineteen Scenes in London and Westminster, which\nmay be divided as follows : -\nA street i . 5\nCourtyards or open places . . 5\nInterior of the Palace ... 6\nDitto Tower ... 3\nDitto of Lord Stanley's house . 1\nOf the streets, we may remark that one (Act i. Scene 1) must lead\nto the Tower from Westminster ; another (Act i. Scene 3) from St Paul's\nto Chertsey; another (Act iii. Scene 1) must be in a\ndirection; that which forms the third Scene of the second Act would\nmost naturally be placed in the heart of the city; and the sixth Scene\nof the third Act might be the same, or it might very well come into\nthe seventh Scene, the court of Baynard's castle. The street architecture\nof our English cities in the time of which I write was passing through\nthose later phases that helped to bring about the ruin of northern art.\nHouses were built higher than ever, storey overhung storey until the\ngables were oftentimes within handshake distance; light and air\nwere excluded in a measure we In these days can hardly realise. The\ngrowth of the population, the continued desire men still had to huddle\ntogether within the (doubtful) protection of crenellated walls, the\nlingering faith in city gates-(even yet hanging in rags and tatters about\nTemple Bar)-were the first weaknesses of a transition (and all transitions"}, {"page_pdf": 29, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.29", "texte": "RICHARD 111.\n\nhave their special weaknesses) which was to culminate two centuries\nlater in every conceivable plague of which that of the body was probably\nthe least. London of to-day is no place for us to learn of the London of\nthe fifteenth century. To do this we must turn to cities and towns like\nBristol, Chester, and Shrewsbury, and turn there soon, or their con-\nsiderate and learned authorities will have so erased and interlined the\n%\npage that we shall learn nothing.\nThe five courtyards or open places are\ni; Before Lord Hastings' house (Act iii. Sc.\n2. and 3. Before the Tower walis (Act iii. Sc. 5)\n4. Courtyard of Baynard's Castle (Act iii. Sc. 7).\n5. Before the King's Palace (Act iv. Sc. 4).\nOf Lord Hastings' house nothing remains, and no illustration of it\nexists that 1 have yet seen of sufficient authority to guide us.\nThe Tower walls and gateway would be in much the same condition\nas they were in when 1 last referred to them, (1) except that within the\nwalls, and rising above them, might be seen the roofs of a few more\nbuildings, with their picturesque lines of gables framed in wood and\nfilled in with plaster. Baynard's Castle stood in Thames Street, and one\npile of the building stood on the very edge of the river. It was built by\nHumphrey, Duke of Gloucester, and had a half-and-half look about it,\nneither castle nor manor-house, but a look with an air of \" the seven\ngables \" in it, solemnified here and there by a strong turret of castle-\nlike complexion. The main building was four storeys high, and the\nwindows were small enough to show that its builder thought more of\nsafety than of outlook. The fourth Scene of the fourth Act, \" before the\nPalace \", should b4 an outer quadrangle or court-yard of the King's\npalace. The course of the action shows that Richard has joined his train\nin an inner court, from which he passes through a second or outer\ncourt wherein the two Queens and the Duchess of York have met to\nintercept him in his expedition. I take it that this outer palace would\nhave some air of privacy about it, that it would be a quadrangle and\nnot a street, or the Broad Sanctuary even, for it would be scarcely\nprobable that queens and duchesses would sit on the ground of a public\n\n(1). In an article on the play of King Henry VI whiefa will be reprinted in The Mask at a future date."}, {"page_pdf": 30, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.30", "texte": "RICHARD 111.\n\nplace or highway. Such a quadrangle would show an archway leading\n(under a low tower, perhaps) to an inner court, whence the sound of\nthe royal trumpet is first heard. The buildings might be in one or more\nstyles provided there was nothing later than 1483. and this gives such\na wide scope to the scenic artist that to go wrong is hardly possible\n*\nexcept of malice aforethought. Of the six scenes devoted to the interior\nof the palace, one is evidently intended to be distinct from the rest. A\nroom of state must be provided for the second Scene of the fourth Act,\nbut the third of the first and fourth, and the first, second, and fourth of\nthe second Acts may be represented by the common hall, or any other\nroom which, like this, would be easy of access to everyone. The stage\ndirection makes the third Scene of the fourth Act 44 the same \" as the\nsecond, but it is scarcely likely that Richard would appoint a meeting\nwith Tyrrel in this room, for here, when the state business was over,\nthe servants would be busied in taking down the dossals and hangings,\nor, in other words, dismantling the chamber until its upholstery was re-\nquired for another ceremony. & JZ?\nOf the two Scenes in the Tower, one must be a hall or council\nchamber, the other a prison, like that 3 have already had occasion to\nnotice. &\nThe room in Lord Stanley's house must be purely conjectural.\nBut of this, as of all other rooms, 1 may remark that in 1483 the latest\nstyle of Mediaeval architecture, which we commonly call Perpendicular,\nhaving been practised for more than a century, men of position, fashion\nor wealth had had plenty of time to reconstruct or add to their houses\nin the style of their age. We are happily still rich in examples of this\nstyle, and to those who cannot afford to examine them for themselves,\nthe late Mr. Pugin's works are full of carefuliy-measured drawings that\nwill supply everything that is necessary in the shape of architectural\ndetail. jg/\nNevertheless, in this play, as in most, the mere archaeologist is\nnot all that is wanted. There must be joined to the antiquarian know-\nledge more or less of the architects' skill in composition or design; for\nalthough every detail of a scene may by itself be correct, it may so\nhappen that in the aggregate the individual bits of even careful"}, {"page_pdf": 31, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.31", "texte": "RICHARD 111.\n\narchaeological research may be dominated by the absurdity of the general\nconstruction.\nAh, cut my lace asunder!\nThat my pent heart may have some scope to beat.\n£? These words at once suggest to us one invention of the reign of\nRichard 111, viz., the laced stomacher worn by men and women. With\nthis exception there was very little change in costume from that described\nin my last article. Armour continued to be exaggerated about the\nshoulders, elbows, and knees, until these jointpieces attained a kind of\n»\nfan-shape, which, combined with the laminated plates, gave to a fashio-\nnably armed knight more the appearance of a double-tailed dragon than\na man. Richard and others at Bosworth wore over their armour the\ntabard of arms mentioned in my last, and the King and Buckingham\nwere at all times finely decked. The embroidered pattern of this time\nwas that composed of what was called 44 the nett and pyne apple, \" a\nvery long-lived one. For the head, men used hats of estate, the rolls\n* T\nbehind and the beeks (peeks) before; little round caps or bonnets\n(bonets), with fur edging and a feather, something like a lady's modern\nporkpie hat; and the cape with its hood. Top-boots, 9 or 10 inches\nhigher than the knee, and very long pointed toes were commonly worn.\nThe doublets and gowns were of satin, velvet, or cloth of gold lined\nwith velvet, many of them being embroidered with personal badges or\nthe fashionable pattern above mentioned. In the ladies' dress we note\n*\nfirst the disappearance of the tall head-gear, and in its place we see a\nreasonable caul or net of gold confining the hair at the back of\nthe head with very fine kerchief, stiffened into shape as in the prece-\nding reign.\nThe dress of Anne on the day before her coronation is described\nas composed of a kirtle and mantle of white cloth of gold, with trim-\nmings of Venice gold and ermine, the mantle being 44 garnished with\nseventy annulets of silver, gilt, and gylt.\" The every-day gown had\ndeep cuffs, turn-down collar, and deep hemplece on the skirt of fur or\nvelvet. On ordinary occasions the hair seems to have been worn loosely\nhanging over the shoulder, au naturel. It requires no wonderful wit to\nrender such a costume eminently pleasing. May I be so bold to commend"}, {"page_pdf": 32, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.32", "texte": "R!CH A R D\n\nit indirectly through my readers to their fair friends, and directly too\nif perchance this journal is fortunate enough to possess any ladies among\nits supporters.\n\nA WORD ABOUT THE DANCE\nby Heine.\nwe reflect more deeply on the dance in the Acad£mie Royale de\nMuslque, it appears as an attempt to christianise to a certain degree\nthis arch-heathen art, and the French ballet has an odour as of the Gal-\nlican Church, if not of Jansenism, as have all the artistic productions of\nthe great age of Louis XIV. &\n& The French ballet is, in this respect, naturally allied to the tragedies\nof Racine and the gardens of Le Notre. There prevails in all the same\nregular cut, the same measure of etiquette, the same court-like coldness,\nthe same ornamental prudishness, the same chastity. In reality, its outer\nform and inner life is chaste, but the eyes of the dancing girls form a\nvery lascivious commentary on the most moral pas or figures, and their\nindecent smiles are in sad contrast with their feet.\n& We find the contrary in national dances, which I prefer a thousand\ntimes to the ballets of the great opera. & &\nThese national dances are often too sensual in form... as, for example,\nthe Indian.... but the holy gravity on the faces of the dancers moralises\nthe dance and raises it to religion (zum Ru/tus). & £>\n& The great Vestris once uttered a saying which caused much laughter\nin Its time. Once he said in his pathetic tone to one of his disciples,\nUn gianddanseur doit etre vertueux, \"... a great dancer should be\nvirtuous. Strangely enough, the great Vestris has now lain forty years In\nhis grave (he could not survive the misfortunes of the House of Bourbon,\nwith which the family of Vestris had ever been intimately allied), and it\nwas only in the last December, when I was present at the opening of the\nChamber of Deputies, and dreamily abandoning myself to my thoughts,\nthat all at once the late Vestris came into my mind, and as if by inspla\nration I suddenly grasped the profound meaning of his words, •' A great\ndancer should be virtuous.\" 0"}, {"page_pdf": 33, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.33", "texte": "THE RUSSIAN BALLET. 1911.\nA. C\nhas the Russian Ballet appealed with such force to modern Paris ?\nHas Paris become a lover of the prudish ? And what has taken\nLondon by storm? Is it the prudery and \"the court-like coldness\" of\nthe whole exhibition ? &\nFor the dancers and painters have given us no new creation.... no\nnew life has been created: an old and dusty wardrobe has been brought\nup from the cellars of the Paris Opera House and the Russian collectors\nof curios have indulged their mania for the old-fashioned and have\ndressed up living dolls with the cast off clothes of a dead age.... an age\nwhich was dead at the time of its birth.\nAnd that is exactly what the discerning Publics of Europe will very\nsoon by saying. &\n\nTHE PUBLIC\nby Victor Hugo.\nknow of nothing too lofty for the people. The people are a great\nsoul. Have you ever gone on a fdte-day to a theatre open gratuitously\nto all ? What do you think of that auditory ? Do you know of any other\nmore spontaneous and intelligent? Do you know, even in the forest, of\na vibration more profound ? The court of Versailles admires like a well-\ndrilled regiment; the people throw themselves passionately into the\nbeautiful. They pack together, crowd, amalgamate, combine, and knead\nthemselves in the theatre ; a living paste that the poet Is about to mould.\nThe powerful thumb of Moliere will presently make Its mark on it; the\nnail of Corneille will scratch this ill-shaped heap. Whence does that\nheap come ? Whence does it proceed ? From the Courtille, from the\nPorcherons, from the Cunette; it is shoeless, with tucked-up sleeves in\nrags. Silence! This is the human block. &\n& The house Is crowded, the vast multitude looks, listens, loves; all\nconsciences, deeply moved, throw off their inner fire, all eyes glisten*\nthe huge beast with a thousand heads is there, the Mob of Burke, the\nPlebs of Titus Livius, the Fex Urbis of Cicero, it caresses the beautiful*\nit smiles at It with the grace of a woman, it is literary in the most re-"}, {"page_pdf": 34, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.34", "texte": "THE PUBLIC.\n\nfined sense of the word ; nothing equals the delicacy of this monster.\nThe tumultuous crowd trembles, blushes, palpitates; its modesty is sur-\nprising; the crowd Is a virgin. No prudery however, this brute Is not\nbrutal. Not a sympathy escapes it; it has in itself the whole keyboard,\nfrom passion to irony, from sarcasm to sobbing. Its compassion is more\nthan compassion ; it is real mercy. Qod is felt in it. All at once the su-\nblime passes, and the sombre electricity of the abyss heaves up suddenly\nall this pile of hearts and entrails, the transfiguration of enthusiasm\noperates, and now, is the enemy at the gates, is the country in danger?\nThrow a cry to that populace, It would enact the sublime drama of\nThermopylae. Who has called forth such a metamorphosis ? Poetry. &\nThe multitude, and in this lies their grandeur, are profoundly open\nto the ideal. When they come in contact with lofty art they are pleased,\nthey shudder. Not a detail escapes them. The crowd is one liquid and\nliving expanse capable of vibration. A mass is a sensitive plant. Contact\nwith the beautiful agitates ecstatically the surface of multitudes, sure\nsign that the depth is sounded. A rustling of leaves, a mysterious breath\npasses, the crowd trembles under the sacred insufflation of the abyss.\nAnd there, even where the man of the people is not In a crowd, he is\nyet a good hearer of great things. His Ingenuousness is honest, his cu-\nriosity healthy. Ignorance Ss a longing. His near connexion with nature\nrenders him subject to the holy emotion of the true. He has, towards\npoetry, secret natural desires which he does not suspect himself. All the\nteachings are due to the people. The more divine the light, the more Is\nit made for this simple soul. We would have in the villages a pulpit from\nwhich Homer should be explained to the peasants.\n\nA WARNING TO AN ACTOR - MANAGER.\nA. C.\nipake care how you impress this vast monster of whom Hugo speaks;\nTake care that you do not lower yourself to tickle its fancy Instead\nof arousing its Imagination. Take care that you do not laugh in your\nsleeve at the mob. Take care that you do not flatter it. &\n()1 unless you are sincere, unless you give it your best, appealing\nto its best; unless you believe that It is a thing capable of all the noblest\nthat is in nature you will surely one day be devoured by the monster\nin it; it will assuredly tear you into pieces."}, {"page_pdf": 35, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.35", "texte": "THE CHARACTERS OF THE DELL'ARTE; A List Compiled\nby Gordon.\n1 give you a list of the characters of the Commedia deli'Arte, and I think\nI give you a very fairly complete list. I can find no such list either in\nBartoli (i) or elsewhere. Probably no one has thought it worth while\nheaping the names together, but I hold another opinion. &\n1 have arranged the list in alphabetical order. The nine principle\nmasks I have printed in capital letters. Pour of these come from the\nnorth of Italy, four from the south, and as. for the one over, the Captain,\nhalf of him comes from Spain by ship and, arriving at Naples, finds his\nother half already in the Z? jZ> z? Z? jZ?\nZ? 1 have added in brackets the name of the town or province trom\nk\nwhich a mask comes when it was found possible to ascertain this. I have\nalso included in the list names invented by the Germans, English or\nFrench such as Hanswurst (Germany) who is the Harlequin of France,\nthe 44 Arlecchino \" of Italy. z? z? z? z? z? zr\nz? Most of the names are very amusing to the ear, and some of them\nhave queer meanings, such as, for example, 44 Capitano Grillo \". (2)\nThe word Grillo means literally Grasshopper; but a Grillo is also a\nbattering ram and a whim,.... two widely different meanings. Then idio=\nmatically we have it in these senses ; 44 pigliare il grillo \" ; to take pepper\nin the nose or to get in a rage; 44 fare saltare il grillo \" to another\nperson means to provoke them, or, in the English phrase, to 44 get their\nback up \". Z? Z> Z? Z/ Z? z? Zf Z>\nZ? Again, 44 Finocchlo \" means simply Fennel: but the Italians have an\nidiom, 441 want my share up to the finocchio \", which means to the last\n\n(1) Adolfo Bartoli. Scenari inediti della commedia deli'arte.\n(2) See Callot's engraving in \"The Mask January 1911, 108."}, {"page_pdf": 36, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.36", "texte": "THE COMMEDIA DELL'ARTE.\n\nfarthing. Also, speaking of a fool, they say pityingly, 44 he is like the fi-\nnocchio In a sausage \", the word here standing for a mere cypher,..., a\nnonentity of a lost cat.\nI have not added here all the variations of each name for there is no\nlimit to them. They are as complicated and varied as the emotions. For\ninstance, plain Carlo can be 44 Carlino which is little Carlo; or 44 Car=\nletto \", which is 44 dear little Carlo \", 44 Carlettino \" which might stand\nfor, 44 oh, my dear little Carlo \" : 44 Carluccio \", 44 good old Carlo \" and\n44 Carlaccio \" that devil Carlo. 44 Carlone again, is 44 big Carlo\", and\n44 Carlotto \" might be the gorgeous and splendid or powerful Carlo, and\nwith the addition of those thousand different inflexions possible to men\nwho feel and are not frightened of showing their feelings it is manifest\nthat from the mere name of Carlo a whole drama could be imagined and\nperformed.\nI think it would be useful if we could have a family tree of these\ncharacters and I wish someone would spare the time for the work.\nj£? In my spare moments of the last year I filled a little book with a mass\nof fact relating to the Commedia dell'Arte which I hope shortly to\npublish. 1 felt that such a book had to be made if one wished to get a\nclearer idea of this amazing Drama, because the theatrical historians,\ncarried away by their enthusiam for the subject, have been too liberal\nwith their surmises. 44 Perhaps\" and 44 In my opinion \" and 44 it is likely\nthat \" is charming, but not History. A historian should confine himself\nto facts, cutting ruthlessly away anything which Is surmise, however\nfascinating it may appear But let us to the list I & &\nTHE LIST OP CHARACTERS.\nARLECCHINO. (Bergamo; N.) Ardelia. Argentina. Aurelia, Alison\n{France). J&\n& BRIGHELLA. (Ferrara; N.) Belio=Sguardo. Bagolino. Beltrame.\n♦\nCMilan) Burattino. Bagattino. Buifetto. Bacocco. Blazius. Bertolino.\nBertoldo. £? JZ? JZ?\nCOVIELLO (Calabria; S.) Cucuba. Cucurucu. Corinto. Ciurio.\nCicho Sgarra. Carlino. Cataldo. Ciaudione. Coraiina. Carmosina\nColumblna."}, {"page_pdf": 37, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.37", "texte": "THE CO MM EDI ADELVARTE\n\nCAPITANO ( Spain and Naples). 11 Capitano Spavento deU'Val'lnferna.\nCapitano Zerbino. Capitano Bombardon della Papirotondo. Capitano\nAspromonte. Capitano Rinoceronte. Capitano Furibimbombo. Capitano\nLeonontrove. Capitano Arcitronotonantre. Capitano Grillo. Capitano\nCardone. Capitano Fracasso. Capitano Fricassa. Capitano Bellerofonte\nMartellione. Capitano Esgangarato. Capitano Cerimonia. Capitano\nCoccodrillo. Capitano Bellavita. Capitano Malagamba. Capitano Babeo.\nCapitano Spezzaferro. Capitano Tempestas. Capitano Spezza Monti.\nCapitano Rodomonte or Rodomondo. Capitano Basllisco. Capitano Sangue\nFuego. Capitano Cuerno de Cornazan. Capitano Matamore (France).\nKapitan Gryphius {Germany). Capitano Horribili-Crlbilifax. {Germany).\nCaptain Ralph Roister Doister. {England). Capitano Giangurgolo. Capitano\ndei Baroni. Capitano Ariararche. Capitano Melampigo. Capitano Leucopigo.\nCapitano Terremoti. Capitano Spacca. Capitano Dia Catolicon. Capitano\nTaglia Canton!. Capitano Trasteverino. Meo Patacco. Capitano Ciullo.\nCapitano Miccopassaro. Capitano Parabola. Capitano Gorgoleone. Ca-\npitano Martibellonio. Capitano Trasiloco. Capitano Meo Squaquara\nCapitano Meo Squamara. Capitano Pasquariello Truono. ■\nDOTTORE. (Bologna.) Dr Graziano. Dr Baloardo. Dr Balazon.\nDr Prudentio. Dr Brantino. Dr Hippograsso. Messer Rovina. Dr Pan-\ncazio. {Naples), Dr Biscagliese (Naples), Dr Cucuzzietto. Dr Cassandro.\nDr Casandrino, Dr Diafoirus. Dr Siciiiano.\n& Diamantina. II Desaredo. (Parma), &\nFrancatrippa. Fritellino. Falsirone. Formica. Fabricio. Frontino.\nFrontin. (Germany). Finocchio. Fantino. Fritata. Fortunato. Don\nFastldlo. Flavlo. Fabio. Franceschina. Fedellndo. Farfanicchio.\nFacanappa (Verona). Florindo. Fiorinetta.\nGian Farina, Gian Fritello. Gian Gurgolo (Calabria). Gradelo.\nGradeliino. Guatsetto. Gelsomino (Rome). Giacinta. Gianduja. (Turin)\nGuindolo. Gilles (France).\n& Harlequin. (England ; France). Hauswurst (Germany). &\n& Isabella. (Padua) (i).\nLeandro. Lelio. Lavinia. Lucretia. Lucia. . Leonora. Lucinda.\n%\n\n<1) The wife ot Francesco Andreini. For details of her life see The Mask, January 1911, pages 120 to 122."}, {"page_pdf": 38, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.38", "texte": "THE COMMEDIA DELUARTE\n\nMezzetino. Metzetin. Mascarlllo. Mestolino. Menego, Meneghlno.\n{Milan). Marinetta. Matacino. & jg>\nNarcisino. {Bologna.) II Notaja. Naccherlno. Nespolino. &\nOrazio. Ottavlo. Ortensia. &\nPANTALONE. {Venice N.) Pantalone de Bisognoso, Pantaloae 31\nMagnifico Babolonio. Übaldo. Cassandro. Lauterini. Oronte, {France).\nGironte. {France). & & & &\nPULCINELLA. {Apulia. S.) Polichinelle, {France). Pulcinelo. {Spain)\nPunch {England) Sia Pasquino. Pedrollno. Pandolpho. Pernovella.\nPasquariello. Pasquella Paillasse. Pagliacclo. Pierrot. {Paris). Phillppin\n{France). Pickle-Herring {Holland). Peppinella. Pesplce. Polpettino,\nPeppe-Nappa.\nRazullo. Ruzzante. Rasta di Boio. Rlcciulina. Rosaura. Rosetta.\nDame Ragonde. Rugantino. {Rome). Rubacorl.\n& SCARAMUCCIA. (S.) Sganarello. Stenterello Scaplno. Scapin\nSylvia. Saporita. Susanna. Smaraolo-Cornuto. Smeraldina. Spllletta.\nStopplno. Salembeni. £>\n£? TARTAGLIA. (S.) Trulfaldino. Taberina. Truono. Temellino. Trac»\ncagnino. Trappola. Trlvetlno. Trastulo. Trivellino. Tabacchino. Tur»\nchetta. Tortellino.\nValerlo.\nZanobio da Piombino. {Florenoe). Zerbinetta. Zanni. Zaccognino. £>"}, {"page_pdf": 39, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.39", "texte": "A JAPANESE PUPIL:\nRECOLLECTIONS\nby Masanobu Otani.\nJ. S.\n| it this essay Mr Otani relates some few facts about his work as literary\nassistant to Lafcadio Hearn. £/\nThe account which he gives is full of distinction. It Is also full of\n10ve,... only too rare a quality in an assistant, but one in which lies\nthe secret of fine work. & & & & &\njSf The whole story is remarkable for the modesty with which it Is told.\nHow elated, how puffed up would a Westerner have been in like circum-\nstances ! how eager to show that, without his assistance, the master\nwould have been nothing! But of such a feeling no trace is to be found\nIn the story of this young Japanese.\nIt is In the hope that pupils of the West may learn from rthls pupil\nof the East the right and beautiful attitude towards their masters,... may\nlearn a like spirit of obedience, thoroughness, reverence, and submission\nto discipline, such a spirit as can alone produce fine results, that we\nprint Mr Otani's words.\n«\nIt was in September, 1896, (Meiji 29th) that we both entered the\nimperial University of Tokyo ; I as a student and Mr. Lafcadio Hearn\nas a lecturer 011 English literature, which study I was going to pursue.\nI was the first caller in his temporary Tokyo house at Tatsuoka Cho of\nHongo district, as he told me when I called on him on the 9th of the\nsame month ; and again I called on him on the 13th, and again on the\n15th when he made me promise to become his literary assistant. (He\nwho hitherto, since a day of September, 1890, had been my beloved\nteacher at Matsue, now became my patron.) 1 did not work much that\nyear, but, if I remember rightly, only one article on \" The Student's\nLife in Tokyo, \" and some translations from the shintaishi (new-styled\npoems) of Professors Toyama, Uyeda, Inouye and others, were my effort."}, {"page_pdf": 40, "page_imprimee": "204", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.40", "texte": "A JAPANESE PUPIL\n\nIt was decided from January of 1897 that I should present my study on\nthe subject he wished every month; and \" the Japanese Policeman's\nLife \" was the first subject I received. And the subject for February\nwas \" An Essay on the Lives of Priests and Nuns, from the Time of\nChildhood. Suggestions:... Reason of Choice of a Religious Life...First\nDuties...Education...Range of Learning...Daily Duties..Observance of Vows,\netc....Probable Number of Priests and Nuns...Average of Life. &\nHe wrote me under the date Feb. 26th, informing me of the subject\nfor March, which was \"A Collection of Poems of Students...(only Melji of\ncourse)...and especially University Students. \" There were, at that time,\nnot so many students poets of shintais, and as to-day;\nI had no small difficulty in hunting up their works in college publications\nof city and provinces. He used only the seventeen-syllable hokku from\nmy collections for his \" Bits of Poetry \"in \" Ghostly Japan. \" The\nMay subject was announced in a letter again to be \" A Collection of\nJapanese Proverbs containing Allusions to Buddhism. \" As there was no\nsuch work published, 1 made my best effort in the Uyeno and University\nlibraries, and the result was better than I expected at first, and I even\nthought that i had coliected all the proverbs in that line. Mr. Hearn\nwas much pleased, and used the material for Japanese Buddhist\nProverbs \" in his \"In Ghostly Japan.\" The subject for June was\nabout the short popular songs concerning the China-Japan war; but I\ndo not know where he used my collection of those songs. & &\n& 1 returned home to the province of Izumo In July, where he wrote\nme that 1 should devote fully two months to investigating with my\npersonal effort and inquiring of scholars on the following subject:\n\" Inscriptions and Sculptures in Buddhist Cemeteries. &\nI.lnscriptions upon Sutpa. & &\nA list of these inscriptions (1) in Chinese characters, separately; (2)\nIn Romaji under the Chinese characters; (3) in literal English under the\nRomaji; (4) explanatory. (Some reference should be made to sect usage.)\nGroup if possible under respective sects...Shiushiu, Zenshiu, Tendai,\nShingon, etc.) &>&&&&&&\nILlnscriptions upon Haka. Arrange similarly, Group by sects if possible.\n& IH.Sculptures...Carvings of Buddhist Symbols in Use by the Different"}, {"page_pdf": 41, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.41", "texte": "A JAPANESE PUPIL\n\nSects,... Swastika, Lotos, etc., but only Sculptures in Graveyards. 99\n& 1 had read many a book upon the sutpa ; and I made many calls to\nthe priests of each sect; and I went around every graveyard in Matsue\nduring one month. And the result which 1 presented to Mr. Hearn to\n%\nhis delight came to be used as the material for his \" Literature of the\nDead in \" Exotics and Retrospectives* \" The subject for September\nwas the relation of sFuji Mountain and Shintoism; and my essay was\nutilised somewhere in \" Fuji-no-yama \" in the same book. And the\nsubject for October was: 44 Singing-insects That are Kept in Cages.\n(What kind of music they make,...what they feed on,...what beliefs or\ntraditions or poems refer to them,..what their capture and sale signifies\nin the small commerce of Tokyo, etc) \" From newspapers, books and my\npersona! experience 1 gathered all the materials upon those insects;\nwhen my writing was presented to him, his pleasure was great; and he\nused it as the material for his \" Insect-Musicians. \"\n& i\" November my work was to collect old childrens' songs which he\nused for 44 Songs of Japanese Children \" in 44 A Japanese Miscellany. \"\n*' Poems on Cicadas 'and Frogs \" was the subject for December. The\nmaterials for them were considerable, especially for frogs ; I presented\nhim also the translations of 44 Keichu Kushlu \" and 44Zoku Keichu Kushiu\"\nedited by the hokku poet Roseki Mizouchi. He was delighted with my\nwork on the subject; his study on Frogs In his 44 Exotics and\nRetrospectives\" relied on it. & &\nThe subject for January, 189s, was 44 Poems on the Sound of Sea\nand Wind. \" It is strange even to us that we have very few such poems;\nhe was surprised about that, of course, 44 About Incenses, and also the\nPoems on Them \" was my February work which was used for his\n44 incense \"In4< In Ghostly Japan. I was given In March the subject\nof the deities and poems attached to a Japanese ink-stone ( ),\nwhich, however, was a failure as I could find nothing at all about the\ndeities, and the poems, too, were extremely poor. The subject for April\nwas the 44 Buddhistic Conception of Hell \" and chiefly, a description of\nit; and 1 tried my best with it, but he did not make any use of my\neffort which, however, pleased him. He gave me the subject of 44 Kingio \"\n(gold-fish) in May; and my June subject was the Horal (elysium) and its"}, {"page_pdf": 42, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.42", "texte": "A JAPANESE PUPIL\n\ntraditions and the conceptions of the ancient poets. The subject for July\nand August was 44 Folklore and Mythology of Japanese Plants. \" Chiefly\nhe wanted the fruits which bore Buddhist and Shinto appellations, and\nbesides, he wanted to have the flowers' traditions, also, the animals,\nfishes, and insects which bore Buddhist names. And if I had time enough,\nhe said, I should write an 44 essay on 4 Ma, '...the spirits or goblins who\nare supposed to urge men to accomplish certain actions, etc.\" Relying\non the encyclopedia-dictionaries like 44 Genkai \" and others, 1 worked\nhard during my summer vacation; for his \"Buddhist Names of Plants and\nAnimals\" In 44 A Japanese Miscellany\" he made good utilization of\nmy investigation. 1 received the subject of 44 Footprints of the Buddha \"\nin September; from many Buddhist books, and with the help of two or\nthree priests I could write a good enough article which did for\nhim to write the essay of the same title in 44 In Ghostly Japan. \" &\n& October was spent collecting the Japanese ballads which he used for\n44 Old Japanese Songs \"in Shadowings; about Kanemaki Odori-uta,\n44 Bel !=wrapping-song \" (page 83 of the same book) he wrote: 44 Replying\nto the note accompanying the translation of the ballads, I want to tell\nyou that I found them very interesting. The 4 Bell-wrapping-song '\nis an excellent specimen of a true ballad,...the best I have yet seen,\nwith its curious burden of duplication and onomatopeia . . ;\"\nThe subject for November was poems on death and graveyards ; and\nsongs with refrains were for December. He wrote me: 44 Your collection\nof poems this month interested me a great deal in a new way the\nsongs separately make only a small appeal to the imagination, but the\ntone and feeling of the mass are most remarkable, and give me a\nnumber of new ideas about the character of the 4 folkwork '....\"\n& It was on the 29th of the same mouth that I called on him at Tomihisa\nCho, Ushigome district, and presented him with a gift from my mother,\nfor which he wrote me: 441 think that a better present, or one which\ncould give me sincere pleasure, will never be received. It is a most cu-\nrious thing, that strange texture,... and a most romantic thing also in\nits way,.,, seeing that the black speckling that runs through the whole\nwool is made by characters of letters or poems or other texts, written\nlong ago. And I must assure you that I'll always prize it not only"}, {"page_pdf": 43, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.43", "texte": "A JAPANESE PUPIL\n\nbecause I like it, but particularly because your mother wove it. I am\ngoing to have it made into a winter kimono for my own use, which I\nshall always wear, according to season, in my study room. Surely it is\njust the kind of texture which a man of letters ought to wear . . . . \"\n\" Two most welcome gifts from a young poet of my literary class\"\n(page 157 of \" Shadowings \") meant my mother's present of the piece\nof wool and the collection of poems.\nThe January of 1899 was used to collect more songs with refrains\nand also the popular !ove=songs; and February and March were spent in\ntranslating the Shingaku and Saibaraku, as his desire was chiefly for\nthe ancient poems, except those of Manyo ; and he used them for ** Old\nJapanese Songs \" in his \" Sbadowings, \" I received the subject of\nutai\"drama for April ; presented the translations of Yuya and the half of\nDojoji. He wrote me: \" I had no idea, however, when I suggested the\nuiai, of the enormous labor that would be required for a few of these\nfor Western readers. It will be very hard indeed to do it ;...for the mere\nfact of the translation being done is only the faintest outline of the\nwork. However, later on, I may try one specimen, and when you have\nleisure, I shall be glad to see the rest of the Dojoji piece. That Yuya\nwould require, for an English reader, two pages of clearly printed notes\nto every half page of the text. 1 fear that nobody would care to read\na thing In that shape ; yet, without a knowledge of every Buddhist\nallusion, the poetry of the composition should not be felt. . .\nIt is true that my translation could not succeed in making itself un-\nderstood in spite of the great labor I had undergone. It is sad for liter-\nature, however, that he died without touching his marvellous\nhand to it.\n& I was asked in May to collect the Japanese women's names according\nto their ethical and aesthetic relation. I had the lists of students of\nmany girls' schools; and besides, an essay on that subject was written\nby Mr. Tetsuzo Okada in some philosophical magazine ; with these helps\nI was able to write one article to my satisfaction, and he used the mat-\nerial I offered him for Japanese Female Names, \"in his **Shadowings\nMy writing on Semi (cicada) In June was developed by his magic, and\nhe put it in his \" Shadowings \" also. The month of July was the time"}, {"page_pdf": 44, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.44", "texte": "A JAPANESE PUPIL\n\nof my graduation from the University; and then I stopped working for\nhim as his literary assistant. However, I was asked to work 'now and\nthen after that, and I was only too glad to do any service for him. I\n.-•.,1 • . ■\nconfess that it was no easy task to study a new subject for each month,\nand to write it up In English which was far from£ my [command; but\n; 4 - - i *' -*• '\naside from the materia! assistance he gave for my work, without which\nt V CI . t'f ■ • * -*• * *' ;/ •* *\nfact, I am sure I could not have finished my three years at the Univer-\nsity, it was a great education in itself. He wrote me a few days before\nmy graduation &\nt; . . 1 have gone somewhat into particulars, only because I\nwant you to feel that you have really paid for your own education like\na man, and have no obligation of any sort as far as I am concerned.\n• . The work must have sometimes been tiresome. But the results\nto yourself have not been altogether bad.\" & &\nI had numerous occasions to be deeply impressed by his depth of\nsympathy under which 1 always thought he was my spiritual comforter\nand encourager. Here I have a letter written by him when I was confined\nto a sick-bed in my boarding house more than one mouth: in part he said:\n44 .... A little bodily sickness may come to anybody. Many students\ndie, many go mad, many do foolish things and sometimes ruin themselves\nfor life. You are good at your studies, and mentally in sound health, and\nsteady In your habits...three conditions which ought to mean success,\nunless you fail in them. That is not unfortunate. £?\n£? 44 Finally, you have good eyes and a clear brain. How many thousands\nhave to fail for want of these ? You are certainly not unfortunate. &\n44 When I was a boy of sixteen, although my blood-relations were....\nsome of them... very rich no one would pay anything to help me finish\nmy education. I had to become what you never have had to become,....\na servant. I partly lost my sight. 1 had two years of sickness in bed. 1\nI\nhad no one to help me. Yet 1 was brought up in a rich home, surrounded\nwith every luxury of Western life. 4? &\n* f.\n44 So, my dear boy, do not lie there in your bed and fret, and try to\npersuade yourself that you are unfortunate. You are a lucky boy, and a\npet, and likely to succeed in life... \" &\nMy thought of Mr. Hearn carried me back, [at once, to his beloved"}, {"page_pdf": 45, "page_imprimee": "209", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.45", "texte": "A JAPANESE PUPIL\n\nMatsue of lzumo where he stepped first some time in the month of August\n1890. It must have been his idea, of course, to begin his study of Japan and\nthe Japanese in her oldest province, and so no hardship of travel daunted\nhim ; he looked forward to Matsue, \" the chief city of the province of\nthe gods \" as he wrote afterward, with delightful anxiety and new hope»\nI do not know when he left Yokohama; but he told me that he\nhad seen a Bon Odori at Shimoichi, following the highway of Tottori\nKaido after leaving Okayama which he reached by a train ; and he took,\nthen, a steamboat from Yoneko of the Hoki province, seeing, at his right,\nthe Mi ho no Seki promontory of the Shimaire peninsula, and, at his left,\nthe lovely view of the Sodeshi ga Ura coast; and when he crossed a\nsort of a sea, he was already in the stream af the Ohashigawa river\nby which Matsue is built. &\nI remember that it was the 2nd of September when he appeared\nfirst in the school; from that day, I had the rare fortune to put\nunder his care as one of the students of the fourth year of the Middle\nSchool of Shimane Ken. lie Impressed us with his earnestness and\nsympathy ; hitherto, we had only a slight acquaintance with a missionary,\nand we found such a pleasing change in him. He was patient to correct\nour English accent carefully; and he went minutely over our compositions,\nand it was our greatest joy that he wrote even a criticism on them. One\nof his earliest writings in my possession is a sort of criticism he wrote\nfor my composition called \" The Book, \" in which I said that there must\nbe a book-maker to produce a book, and also, God to create the world.\nI further said that as the civilized Europeans are Christians, the country\nof non-believers of the Christian faith cannot be called civilized. Here is\nwhat he wrote on my composition: £? & &\nj2? \"(I) This argument (called by Christians Paley's Argument) is absurdly\nfqlse. Because a book is made by a book-maker, or a watch by a watch-\nmaker, it does not follow at all that suns and worlds are made by an\nintelligent designer. We only know of books and watches as human\nproductions. Even the substance of a book or a watch we do not know\nthe nature of. What we do know logically is that Matter Is eternal, and\nalso the Power which shapes It and changes it. (2) Another false argu-\nment. At one time, the Greeks and the Egyptians, both highly civilized"}, {"page_pdf": 46, "page_imprimee": "210", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.46", "texte": "A JAPANESE PUPIL\n\npeople, believed in different gods. Later, the Romans and the Greeks,\nalthough highly civilized, accepted a foreign belief. Later still, these\ncivilized peoples were conquered by races of a different faith. The\nreligion of Mahomet was at one time that of the highest civilization. At\nanother time the religion of India was the religion of the highest\ncivilization; It is very doubtful whether the civilization of a people\nany connection, whatever, with their religion.,. In Christian countries,\nmoreover, the most learned men do not believe in Christianity ; and the\nChristian religion is divided into countless sects, which detest each\nother. No European scientist of note,... no philosopher of high rank,,...\nno really great man is a Christian in belief. \" £/\nNo other teacher, I am sure, could take such pains for a slip of\ncomposition of a mere boy as I was then ; he was most serious and\npainstaking for anything he undertook as in his literature. I believe\nthat it was from his idea to draw out our thoughts and imaginations\nthat he gave us such composition-subjects as 44 ghost, \" 44 peony, \"• \"fox\",\n44 cuckoo 44 tortoise, \" firefly \", and others. Read page 460 and some=\nwhere of 44 Glimpses of Unfamiliar Japan \" under the title of 44 From\nthe Diary of a Teacher. \" The page 461 is about the conversation which\n1 had with him in the class-room. jZ? .0\nAbout that time, we invited him to a certain Buddhist temple of\nTera Machi (Temple Street) when we had a musical entertainment. 1\ncould then play a Chinese instrument. He sat as we did from two o'clock\nuntil evening attentively; and we were surprised to see him not even\npalsied in his legs as any other foreigner would be after even a half\nhour's experience. 44 Qjo and Batto \" in the pages of 44 From the Diary\nof a Teacher\" were the program of that day. He was a perfectly delight*\nful personality to his friends, at least as a Mr. Hearn at Matsue; he\ntried to absorb, when off duty from his school, everything Japanese and\nstrange ; and he with his student boys made many little excursions almost\neverywhere about the city. And he never failed in attending any meeting\nor dinner party which his fellow-teachers happened to hold. The first\ntwo or three pages of a 44 Dancing girl \" of the same book were from a\npersonal experience he enjoyed on one of those occasions. He made a\nvisit to my house on the Setsubun night of 1891, and saw Oniyarai (Devil"}, {"page_pdf": 47, "page_imprimee": "211", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.47", "texte": "A JAPANESE PUPIL\n\nbe=»out-Feast) sitting in my study; and he used it for 44 Two Strange\nFestivals.\" He insisted on my accompanying him to his place (he was\nstill staying at one of the Japanese hotels, not being married yet); and\nhe thanked me offering me a glass of whisky.\nAs he wrote on page 443, 1 was collecting at that time varieties of\nmarine plants; it is true that I had no small interest in botany; and\nperhaps that was the reason he advised me to take up science as my\nstudy; or perhaps his sharp eye clearly saw then that I was unfitted to\nfollow literature. However, against his advice, I glided into literature. I\nreceived his letter dated March 3rd 1894. when I was a student at the\nKyoto Higher Middle School: JZ? JZ?\nJZ? \" 1 think you ought not to study what would not be of practical use\nto you in after=life. I am always glad to hear of a student studying en-\ngineering, architecture, medicine (if he has the particular moral character\nwhich medicine requires),... or any branch of applied science. I do not\nlike to see all the fine boys turning to the study of law, Instead of to\nthe study of science or technology. If you were my son, or brother I\nwould say to you, 'Study science... study for a practical profession'.. •\nSuppose you were obliged suddenly to depend entirely on your own\nunassisted power to make money,... would it not then be necessary to\ndo something practical ?... Hundreds of students leave the university\nwithout any real profession, and without any practical ability to make\nthemselves useful. All cannot become teachers, or lawyers, or clerks.\nThey become sosfii, or they become officials, or they do nothing of any\nconsequence. Their whole education has been of no real use to them,\nbecause it has not been practical. Men can succeed in life only by their\nability to do something, and three fourths of the university students\ncan do nothing. Their education has been only ornamental \"\nWhen I informed him afterward that 1 had put my name in the\nliterature department upon removing to the Second Higher Middle School\nat Sendai, he wrote me again under date of March Bth 1895:\n\"... I am really sorry that you should not have taken a scientific\ncourse. Literature is a subject that you can study best outside of schools\nand colleges. But science is not. A scientific profession might enable you\nto do great things for your country, and in any case it would make you"}, {"page_pdf": 48, "page_imprimee": "212", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.48", "texte": "A JAPANESE PUPIL\n\npractically Independent. 1 cannot imagine that literature will ever be\nI\nmore than a pleasure to you. Even in England it is extremely difficult\nto live by literature, or to obtain distinction by it ... \" £? &\nAnd I found also the following words in his letter dated June 28th\nof the same year:\n'• Don't forget at least to think about my advice to take a scientific\ncourse, if you can. The future is likely to offer so little to literary\nability of any kind for another half century, that I fear literature cannot\nbe of much use to you. Japan, for at least fifty years to come, must turn\nall her talents to practical matters,... even her arts. It will be like Ame>\nrica before the present century. The practical man... botanist, chemist,\nengineer, architect, will always be £?\nThe 26th of October 1891 was Mr. Hearn's last day of teaching at\nMatsue's Jinjo Chugakko; we had a farewell banquet in his honor in the\nschool hall. 1 read a farewell address in behalf of all the students as it\nwas written in his 44 Sayonara \" of 44 Glimpses of Unfamiliar Japan \".\nAnd every word of •4 Sayonara \" is true; in reading it the old sad day of\nparting with him returns to my mind again. He wrote : 44 And now, as I\nlook at all these pleasant faces about me, I cannot but ask myself the\nquestion: 4 Could 1 have lived in the exercise of the same profession for\nthe same length of time in any other country, and have enjoyed a similar\nunbroken experience of human goodness?' From each and all of these 1\nhave received only kindness and courtesy. Not one has ever, even through\ninadvertence, addressed to me a single ungenerous word. As a teacher\nof more than five hundred boys and men, 1 have never even had my\npatience tried. I wonder if such an experience is possible only in Japan.\"\n& And further he wrote :\n& 44 Magical indeed the charm of this land, as of a land veritably haunted\nby gods: so lovely the spectral delicacy of its c010ur,... so lovely the\nforms of its hills blending with the forms of its clouds... so lovely, above\nall, those long trailings and bandings of mists which make its altitudes\nappear to hang in air. A land where sky and earth so strangely inter=\nmingle that what is reality may not be distinguished from what is illu=\nsion,... that all seems a mirage, about to vanish. For me, alasl it is about\nto vanish forever. \" & & &"}, {"page_pdf": 49, "page_imprimee": "213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.49", "texte": "A JAPANESE PUPIL\n\nIndeed, when he left Matsue of the Izumo province, the dearest to\nhim.in all Japan, only next to St. Pierre of Martinique as he often re-\nmarked to me afterward, it seems that his paradise was lost never to be\nregained. & && && && &\n\nJAPANESE DRAMA AND THE \"RELIGION OF LOYALTY”\nLafcadio Hearn.\nrF,o kill oneself at command,... a duty which no loyal samurai would have\ndreamed of calling in question... appears to us much less difficult than\nanother duty, also fully accepted : the sacrifice of children, wife, and\nhousehold for the sake of the lord.\nMuch of Japanese popular tragedy is devoted to incidents of such\nsacrifice made by retainers or dependents of daimyd,... men or women\nwho gave their children to death in order to save the children of their\nmasters. Nor have we any reason to suppose that the facts have been\nexaggerated in these dramatic compositions, most of which are based\nupon feudal history. The incidents, of course, have been rearranged and\nexpanded to meet theatrical requirements; but the general pictures thus\ngiven of the ancient society are probably even less, grim than the vani-\nV\nshed reality. £? JZ> &\n-V .**■> .•■'V\nThe people still love these tragedies: and the foreign critic of their\ndramatic literature is wont to point out only the blood-spots, and to\ncomment upon them as evidence of a public for gory spectacles,... as\nproof of some innate ferocity in the race.\nJZ? Rather, I think, is this love of the old tragedy proof of what foreign\ncritics try always to ignore as much as possible,... the deeply religious\ncharacter of the people. These plays continue to give' delight, not\nbecause of their horror, but because of their moral teaching, because\nof their exposition of the duty of sacrifice and courage, the religion of\nloyalty. They represent the martyrdoms of feudal society for its noblest\nideals. &"}, {"page_pdf": 50, "page_imprimee": "214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.50", "texte": "STAGE TERMINOLOGY\nby John Balance.\nH. M. W. in the Pall Mall Gazette.\ne hear a great deal nowadays about \"producers\" of plays.\n\"Indeed, the so-called \"producer\" of a play appears to be\n\" regarded here and there as a far more important person\n\" than the author. For instance, I saw street-posters\n\"announcing \"Bonita\" on which the names of the author\n\" and composer were given in very small type indeed, while that of the\n« \" producer \"... which Is a modern term for stage-manager...was printed\n'« in very large letters. On many of our theatre programmes it is consi-\n*' dered desirable to announce that the play is \"produced\" by So-and-so\n\" meaning that it is stage-managed by So-and-so. Now, the verb \"to\n\"produce\" means to bring forward, to offer to the view or notice, to\n\" exhibit; it also means to make, to bring into being. Obviously, then,\n\" where a play on the stage is concerned, there are only two persons\n\" who can be said to \" produce \" it...the author and the proprietor or\nft\n\"tenant of the theatre who puts the piece upon the stage. It is an abuse\n\"of terms to call a stage-manager a producer, justasitis to describe an\n\"actor who impersonates a given character for the first time as the\n\" \" creator \" of that character. It is curious to observe how the Stage,\n\"Instead of correcting its loose terminology, not only continues to employ\n%\n\" it, but adds to It.\" jz? & & 0\nven as the English Stage is waking up so is English Dra-\nmatic Criticism rubbing its eyes. What our friend Mr. H.\nM. W. says above is very much to the point; we must\nget our terms in better order. &\nus/ It was doubtless with this in view that has\nfrom time to time defined the meaning of the words \"Drama\", \"Theatre\"\nand so forth, for these words are used very wildly by critics. And now it Is\npointed out that the words \"Producer\" and \"Creator\" are also used\nby the theatre folk in a loose £? 0\nThis is entirely true. The actor is not a \"creator\"; he is an interpreter.\nThe man who directs the stage is seldom the man who, as It were, cooks\nand serves up the play. He merely attends to the many too many cooks"}, {"page_pdf": 51, "page_imprimee": "215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.51", "texte": "STAGE TERMINOLOGY\n\nwho do their worst. This man should always be known as Stage-Director.\nBut we rather believe that he who assists the dramatist by designing\nthe whole appearance of the play, by inventing the scenes, costumes,\ndances, and so forth, can claim to be a *' Producer\", and yet the term\nis still not the right one, and he would do best to make use of the name\nof \"Stage-Director\". We have in music the term \"Musical Director''\nand it is well applied to such men as Nikisch or Sir Henry Wood : it\nwould be wrong to call them musical-producers. & & &\nHowever, there will be a new term found soon for the man who shall\ncreate a drama without assistance from other artists (as for example, the\ndramatist and painter) but who shall employ none but craftsmen. j0\nAt present it Is good to show no haste about the matter. For these\nwordless play manufacturers are no creators; they are merely avid col-\nlectors of other people's suggestions, designs, tricks of colour, texture,\nsound and so forth, and these they shovel on to the stage and call it\nmlmo-drama.\n\"Sumurun \" is a hotch-potch of the kind. \" Rialon \" is another. No-\nthing dazzles the eye like a patchwork quilt, and these so-called Mi mo-\nDram as are dazzling for this reason. It is a cinematograph show long\ndrawn out, and not half so dramatic. Mimo-Drama Is an old thing... and\nmay be a very good thing... but as yet we have no example of a Mimo-\nDrama created by an artist."}, {"page_pdf": 52, "page_imprimee": "216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.52", "texte": "SOME FURTHER DEFINITIONS FROM AN 1825\nDICTIONARY\nTranslated by Pierre Ramés.\nP. R.\nhe French Theatrical Dictionary or Book of \" Twelve\n\"hundred and thirty three truths about the Directors,\n\" Regisseurs, Actors, Actresses and Employes of the va»\n\"rious Theatres, with Confidences upon the production\n\"of Illusion, Examination of the Dramatic Vocabulary, A\n*( Glance at the Material and Morals of the Performances, etc. etc.\" from\nwhich these definitions and those which appeared in the October number\nof The Mask are taken is by an anonymous writer who had evidently\na keen eye for the follies and foibles of the Theatre of his day,\nIt Is regrettable that the flight of time, which sweeps away so many\nthings, has not swept some of these out of the Theatre ; but this little\nbook remains unfortunately remarkably up-to-date and reflects certain\nphases of the Theatre as faithfully in 1911 as It did in 1825,... \" But yet\nthe pity of it, lago, O lago, the pity of it, lago \"I £/\nADAPTER. & If nature, in refusing to your mind all kind of capacity,\nhas yet lodged in your heart the passion for renown ; if you have the\nidea of composing a piece without having an idea for that piece; if you\nfind more complacency in a committee for deciding whether or not a new\nplay be fit for representation than in your imagination, take, instead of\na pen, a pair of scissors, bravely attack a play by Moliere or by Favart,\ntake from the principal situations those developments of which the author\nhas believed them susceptible, shorten the explanation, simplify the\nintrigue, strangle the denouement; your play, composed In less than two\nhours, will be received with acclamation and acted with eagerness. You\nwill get yourself called forward after the performance and you will go\nevery morning to receive from the cashier an author's fee double or\ntreble that which Moliere or Favart received in their life time. &\nASIDE. £? A ridiculous and necessary convention of the dramatic art; a\nlittle monologue pronounced in a low voice ; that is to say, low enough\nfor the public not to hear it and high enough for the interlocutor to\nhear it very well. Tartuffe is perhaps the only important character in"}, {"page_pdf": 53, "page_imprimee": "217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.53", "texte": "THEATRICAL DEFINITIONS\n\nour theatre who has not an aside to utter. Moli&re did not think well to\nput the hypocrite in the presence of himself for one single moment: the\nnature of the confidences which he would have had to make to us would\nhave been moreover too odious to be supportable.\nDECEASE. Occasion of noise and scandal. A simple mechanic, a lime=\nlight man, a box=opener passes without difficulty from the theatre to the\ncemetary. Talma, Mile. Mars, Madame Pasta, Mile. George will not enjoy\nthis advantage. The actor Kean will be buried at Westminster beside his\nsovereign.\nDILETTANTE. This is almost a public employment today. A man who\nhas some fortune, and who is neither a bestower of offices, nor a\ncounsellor of state, nor a gentleman of position nor eligible, purchases\nadmission to the \"Bouffes\" and takes the title of Dilettante, tie then counts\namong our aristocracy. He has the right of being cutting and of treating\nas ignoramuses the poor people who only go to the \"Feydeau\" or to the\nOpera. He knows a hundred words of Italian which he introduces every-\nwhere : he says \"la Pasta, la Mombelli: he dreams of nothing but Naples\nand Milan and only speaks French to ask for his slippers.\nDISPUTE. These two enchanting women who bewitch you by the\nelegance of their manners and the propriety of their acting have this\nmorning exchanged in the foyer remarks of which the vocabulary of the\nhails would resent the exaggeration. It had to do with a role of sixty\nlines to which each of these ladies claimed to have exclusive rights. &\nESTIMABLE. & Applied to talent, a synonym for mediocre.\nINTRIGUE. It presides at the reception of performances, at the granting\no'f turns for benefits, at the composition of comic and tragic lines of\nbusiness. Sometimes it deprives a clever comedian of a comedy part to\ngive It to a great tragedian, sometimes forbids Rossini to work for the\nOpera-Comique and gives him the monopoly of the \"Bouffes\" and Grand\nOpera. M. Cheron owes his influence to it, and without it Mme. Fodor\nwould still charm us by the inimitable purity of her delightful song."}, {"page_pdf": 54, "page_imprimee": "218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.54", "texte": "THEATRICAL DEFINITIONS\n\nQUEUE. 0 Happy the author and the actor who have a hundred times\nseen their name on the poster attract the public to the theatre and a\nhundred times seen the eager crowd form itself into an elongated queue\nunder the vestibule of the temple of Melpomene or of Thalia! The police\nrestrain the impatient who, weary of having made a queue for several\nhours at the door of the theatre, clamour for the benches of the pit.\nRESIGNATION. Away of asking an increase of salary when one is, or\nwhen one believes oneself to be, indispensable to the prosperity of a\ntheatre. Talma and Mile. Mars have offered their resignation twenty times.\nDevigny never took it into his head. & &\nROLE. Character One must see this only ; the actor himself ought\nalways to disappear. Mile. Mars as Hortense in \" Ecole des Veillards\nTalma, in Manlius, cause themselves to be forgotten by dint of talent.\nThat is tiie acme of art.\nSENSIBILITY. A vulgar merit which one accords as compensation to\nthe actresses destitute of intelligence. It is less trouble to act with one's\nthroat than with one's mind, easier to weep a part than to speak it.\nSNIVELLERS. The mania for snivelling Is familiar to the actresses of\nthe rue de Richelieu. The friends of these ladies say that they have tears\nIn the voice. Talma does not weep : he knows that one moves the spec*\ntator far more surely by a restrained sorrow than by a sorrow displayed.\nSOUL. & Here, what energy ! what sentiment! what depth! what frenzy!\nwhat an ardent and passionate soul ! There, what dryness, what ice !\nwhat sterility! what cold calculations! what an arid soul! or, to put it\nbetter, what absense of soul! And of whom do I speak thus ? whom do\nI designate ? ....\nNo, I designate no one, 1 name no one ; I am not in the mood to make\neither epigrams or madrigals : I cast a glance about me, 1 recall my\nmemories, and I see that ail men who have made a name for themselves\nhad the genius, the inspiration, the obsession, the, I don't know what,\nm short, which one calls soul. Ah yes, without doubt in art and in let=\nters, the soul first, talent after. & &"}, {"page_pdf": 55, "page_imprimee": "219", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.55", "texte": "THE “SACRE RAPPRESENTAZIONI” OF\nFLORENCE. Some Notes upon their Origin and\nProduction\nby Dorothy Nevile Lees.\n\nhe sacred drama of the middle ages, that elder of all\n44 the modern theatre, was born in the church and of\n44 the church \". & & &\nj£r These are the opening words of M. Eug&ne\nLintilhac's \"Theatre serieux du Moyen Age\"; while Mr.\nE. K. Chambers writes, 44 The dramatic tendencies of\n44 Christian worship declared themselves at an early\n\"period. At least from the fourth century, the central and most solemn\n44 rite of that worship was the mass, an essentially dramatic commemo=\n44 ration of one of the most critical moments in the life of the Founder\" (i).\nBoth writers then proceed to show how around this central and fun»\ndamentally dramatic point the primitive ritual was elaborated Into those\nearly plays which, even when passing from the altar itseif, and from the\nLatin to the vernacular, yet centred around the death and resurrection\nof Christ as symbolised in the Mass. us?\n& Thus the church was in those days itself the theatre of the people ;\nand. even before it was their theatre, it was their picture book : it was\n*\nwhere they went to see. And their great desire always was to see. They\nwere all eyes and were best appealed to through those eyes. For all life\nwas in those days a gaily=coloured picture and both the civil and eccle=\nsiastical authorities spoke to the people through the eye, to delight or\nto warn, by processions and pageants and jousts and triumphs and public\nexecutions, knowing that clear and simple minds are ever best appealed\nto by such means; that they want the abstract translated into the\nconcrete, the ideal visualised. & & & & &\n& And so all the churches were used as appeals to the eye, as a means\nof instruction through It, and to that end the whole fabric was as an\nilluminated page whereon with brush and chisel the entire religious\nhistory was told. The Gothic facades with their unnumbered statuettes of\nsaints and martyrs; the frescoed walls, the painted windows, the carved\n\n(1) 44 The Mediaeval Stage \" vol : II 3."}, {"page_pdf": 56, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.56", "texte": "THE \"SACRE RA PP RESENT AZI ONI \"\n\nstalls, the sculptured columns and pulpets, the doors, the very pave*\nments, (i) displayed pictorially the great truths and the great figures of\nthe faith, and these figures became the continual guests of \"the popular\nimagination, as familiar as the neighbours across the street.\nTherefore on the day when for the first time these grave and beauty\nful figures on the walls and in the windows seemed to descend in very\nflesh to the floor of the church, moving their quiet limbs in human\ngesture, speaking with lips hitherto mute, and mingling the very speech\nof the people with the sacred Latin words, the holy fear and joy which\nprepared men's souls to the essential dqgmatic truths, flooding them with\nthe awe or enchantment of its teaching, were carried to the highest pitch;\nthe effect of the religious play was \"to vivify the symbols and strengthen\nfaith by the unanimous witness of the senses\" and the churches were\nfilled with crowds eager for the emotion and glow of holy things. £>\nAnd all that the liturgical drama needed the church could itself supply.\nIn the actual fabric the religious drama found a theatre, in the painted\nwindows and walls, the gilded altars and carven stalls its scenery and\nstage; in the text of the sacred offices its dramatic scenario; in the\npriests its authors and actors, in their vestments its costume, and In the\npeople, eager to witness with their eyes that which they had heard with\ntheir ears and accepted in their hearts, an ideal public, eager in res=\npOI?S0. J® jg? jg? jg? Jg/ JD\nBut although at first purely religious and marked by a dignified\nsobriety, too soon a secular influence began to make itself felt, until by\nand bye we find the exit of the plays from the churches to the street,\nand by degrees the entire substitution of the Latin by the vernacular.\n%\nThe plays themselves, however, still continued religious in subject,\nalthough later they became profane In that they actualised what had\nbefore been a dream, a vision, and by that actualization ceased to appeal\nto the imagination and appealed only to the common sense. The drama,\nbecoming \"exactly like life\", ceased to be a symbol of Life. It became\nprofane because it profaned humanity, and it profaned humanity in that\nit violated the holiest rights of that Imagination which Is in humanity.\n\n(1) As in the Duomo at Sieaa."}, {"page_pdf": 57, "page_imprimee": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.57", "texte": "From the Storia of Santa Margherita."}, {"page_pdf": 59, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.59", "texte": "THE \" SAC RE RAPPRESENTAZIONI »\n\n& We find the artificial coming in at the time when the theatre was\ndriven out of the church or revolted from the church, which seems to\nhave been between 1300 and 1400, a period when the sterner nobler\n44 Representation \" of the older religious drama was already being\ncorrupted, and affectations of all kinds were beginning rapidly to\nspread.\nThe church Itself was by that time in its decline, and, whereas the\nearlier plays show talent without vulgarity, this too soon gives place to\nthe reverse. JZ? ■£?\n& The whole church began to perceive that there were little passages\nin the ritual which lent themselves to mockery, and the actors, (the\nvulgar ones), desired to have more scene, more talk, more of everything at\nall costs; greater elaboration and greater artificiality crept in together\nwith licence and vulgarity, and symbolism gave way to an attempted\nrealism, until at last art was poisoned by democracy, and, between 1400\nand 1550 the entire vulgarization of the religious play was the result,\nthe Church losing its Drama and the Theatre its Religion. &\nThis mistaken desire for \" more \" of everything soon influenced every\ndetail of the performances, from the words spoken to the scenery used,\nfrom the costumes to the number of actors employed ; for whereas in\nthe Mass itself, the earliest form of religious drama there had\nbeen but the one symbolic figure, the celebrant, with his attendant\npriests and acolytes, between 1100 and 1300 twenty or thirty actors\nwere usual in a company, while between 1400 and 1500, unable any\nlonger to accomplish their ends with simple means the players increased\nto between three and fine hundred ; in fact, as Magnln says, \" almost\n\" half the inhabitants of a city set themselves to delight and edify the\n\" souls of the other half. \"\n& In Florence this form of pleasure was received enthusiastically. \"If\nthe laud \", writes Philippe Monnier, 44 is a complaint or a cry and if the\n<4 sermon is an emotion, the Sacra Rappresentazione is a fSte \", and\nthere is abundant evidence of the truth of what he says.\nln those early days, however, the plays must not be classified as\namusement In our modern sense of the word, which is usually noise and\nvulgarity. Rather than amusement, the plays gave the audience pleasure;"}, {"page_pdf": 60, "page_imprimee": "224", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.60", "texte": "THE 44 SACRE\n\nin fact, as has been aptly said, 44 the medloeval drama made the people\nglow but did not make them guffaw.\nAlthough often grouped together under the comprehensive title of\n\" Sacre Rappresentazloni \", these plays had many other names, each, as\na rule, peculiar to a particular type. Sometimes the performance is called\na 44 Pesta \", sometimes a 44 Storla \", or a 44 Vangelo \", or a 44 Figura \" or\nan 44 Esempioat times, (and especially when the action has a symbolic\nmeaning, it is a 44 Mystery \" ; while those representations which showed\nthe constancy of saints and martyrs were known as 44 Passione\" or\n44 Martlrlo\" or 44 Miracolo,\" &\nThe scenarios were based usually upon the Bible stories or Legends\nof the Saints, and among those who composed the plays or adapted the\nold stories to the stage are to be found all sorts and conditions of people.,,\npoets, priests, pious burghers, devout women: Lorenzo dei Medici himself,\nand Feo Belcari and Castellano Castellani; the Pulci brothers and\nTommaso Bencl and the nun Annalena and many more. By far the\nmajority were, however, anonymous, the writers caring less for their\nauthorship than for the results tojbe obtained ; less that they themselves\nshould reap poetic laurels than that the people should gather therefrom\nspiritual fruit.\n£? And, after all, what else could the people do? 0\n£> Therein they saw things familiar and beloved. They saw the figures\nso long familiar upon cloister walls and in street shrines and in the\ngreat illuminated missals on the church lecterns, but all charged with\nlife and endowed with speech and movement: saw the blonde Madonnas,\nthe slim and nimble angels, the tranquil virgins and magnificent Magi\nmove and walk and eat and go on journeys and laugh and weep and\ndance and marry and have children before their very eyes. &\n& It was as though the pictures of the Nativities and Annunciations and\nAdorations and Lives of the Saints in the frescoes of Qiotto and the\nGaddi, in the panels and predellas of Fra Angelico, in the bronze doors\nof Niccolo Pisano, in the sculptured groups of the tabernacle of Orcagna\nand around the base of Giotto's tower had come to life; and, gazing on\nthem and loving them, seeing goodness so rewarded and wickedness\ncondemned, the people 44 filled its eyes, its ears, its memory, Its mind,"}, {"page_pdf": 61, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.61", "texte": "From the Rappresentazione of Ottaviano."}, {"page_pdf": 63, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.63", "texte": "THE 44 SAC RE RAPPRESENTAZIONI\n\n\" its heart, with noble lessons, with pure forms, with tender examples-,\n\" with memories of piety, of goodness, of consoling fervour. \" and, 44 At\n44 the same time at the theatre and at church, \" 44 it is at once edified\n\"and amused; it takes pleasure in accomplishing a pious exercise; it\n\" delights in working for its salvation.\" (i) &\nzz? The usual place for the representation was a church, the audience\nbeing assembled in the nave and a stage erected along the screen which\ndivides that part of the building from the choir and transepts; but at\ntimes they were held in a convent refectory, on a public piazza, or in\nsome field belonging to the Confraternity by which the piece was\nplayed.\nPerformed only upon Feast days or to celebrate the visit of some\nillustrious guest, the hour was generally between vespers and dark, as\nis indicated by such words as 44 No more, for night comes on \" which\nare found in the epilogues of many of the plays ; and the day-light\nperformances (which we know sometimes extended to several days), in\narenas and open places were of later date. (2)\nThe time being come, the people assembled, and when, as Abraham\nBishop of Souzdal, who visited Italy in 1439, describes, \" a great silence\nreigned in the crowded church\", the play began with an \" Annunciation \"\nspoken by an angel and setting forth the subject in simple words. Sometimes,\nas in the 44 Invention of the Cross \", this is developed into a Dialogue,\nwhile in the 44 Miracle of Mary Magdalene \" two youths, 44 the devout\nMark \" and 44 the dissolute Thomas \", not only speak together at the\nbeginning and end of the play but also in the Intervals, taking the part\nof a Greek Chorus and expressing the sentiments which the action\nproduces in them. The performance usually ended with a Tedeum or a\nLaud, 44 which was almost like the final seal which confirmed the devout\n44 character of the spectacle and supported the idea that pleasure was not\n44 legitimate unless accompanied by sentiments of piety \".\n& The actors were youths, generally belonging to one of the confrater-\nnities, evidence of their youth being found in the Prologues of many of\n\n(1) Philippe Monnie\\ 14 Le Quattrocento. \" Vol; II page 217.\n(2) D'Ancona. •• Origini del Teatro Italia no \" A most valuable work upon the whole subject, to which 1 am\nmuch indebted."}, {"page_pdf": 64, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.64", "texte": "THE \" SACRE RAPPRESENTAZIONI »\n\nthe plays, such as \" St John and St Paul \", where the announcing angel\nsays: **We are but boys, therefore excuse our tender age \". They were\nknown as the \" Voices\" and were under the absolute control of a\n\" Festaiuolo \" or Stage Director.\n& At that time no women took part in the performances, the actor\nChecchinl noting in 1621 that it was since \"scarcely fifty years\" that women\nhad appeared on the stage. Indeed, in the \" Sacre Rappresentazloni \" it\nwould have been considered the greatest scandal to mix youths and girls\n%\ntogether, and all women's parts were taken by boys, who, \" dressed in\nrich female robes \" \" resembled very well to the Virgin Mary or to\nany other virgin.... or matron.... required. & & &\nAs for the characters we find represented, they are infinitely varied,\nfor since the action Includes all earth and hell and heaven, so the\npersonalities of all three are introduced. The Three Persons of the\nTrinity and the hierarchy of heaven are revealed to the delighted won-\ndering eyes of the spectators, as are archangels and angels and martyrs\nand virgins and prophets and saints. JZ? ■ JZ? &\n& God the Father is, it is true, more often represented by a mysterious\nvoice from above than visibly revealed, though at times he is shown as\n\" a great king, who sits upon a most excellent throne, with a benign,\ncompassionate and patient face \". On these latter occasions he is gene-\nrally a silent vision, proving how wisely \" the authors of the sacred\ndrama preferred a majestic silence to words which must always be\n\" inadequate JZ? &\nHis Son, on the other hand, appears frequently, and takes more\nintimate part in the action and dialogue, as does the Virgin Mary,\nwhile angels are busy most of the time executing divine errands, whether\nit be accompanying Tobit on his journey, or announcing the birth of\nChrist, or descending to Jacob in a dream, or bringing to St Agnese,\nstripped naked by the executioner, 45 a white dress painted with suns\nor restoring to St Uliva the two little white hands which, because their\nbeauty excited the desire of her father the Emperor, she has voluntarily\n...and miraculously herself cut off. JZ? JZ? JZ? &\n& The Devil also appears frequently, but takes many forms, the better\nto deceive; presenting himself to St Eufrasia In the image of her husband,"}, {"page_pdf": 65, "page_imprimee": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.65", "texte": "From the Rappresentazione of the Judgement of Solomon."}, {"page_pdf": 67, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.67", "texte": "THE \" SACRERAPPRESENTAZIONI \"\n\nto St Agnese as a negro, to St Margaret as a dragon and to St Onofrio\nas a hermit.\n& Besides these supreme figures there are all the human characters*\ncrowding the stage with every type of contemporary life and with any\nfigure, legendary or historical, from the creation of Adam onwards, which\nhappens to appeal to the author's taste. & & &\n£/ There are all the beautiful and tender or heroic figures of the saint-\nly legends ; benevolent and gracious and courtly and civil, full of faith\nand works; a worthy example to set before the folk. JZ?\njZ? There is Madonna Uliva sewing and singing in her chamber surrounded\nby her maidens; there is St. Barbara who, shut up in her tower with\nbut two windows, pierces a third in honour of the Holy Trinity; there\nis St Margaret the pagan, so eager for baptism that it seems to her a\nthousand years until she may obtain this boon, and exclaiming later,\nin the flames of martyrdom, \"Now become I of better condition as gold\nwhich, in the fire, is made more perfect\". There Is St George slaying\nthe dragon and St Christopher bending his great strength to the service\nof a little child, and Abraham, rising in haste and without staying to\nargue, to slay his only son. & •£? & & &\n£? They are all gracious and polite and quickly obedient and all utter\nsuch sweet and courteous and burning words as are the natural fruit of\nreligion and inspire the people to like words and acts.^\n£? Then there are the more earthly folk, drawn from every nation and\nfrom every walk of \\\\IQ.JZ?\n£/ There are Hebrews or Asyrians or Egyptians or Romans or Floren-\ntines. There are Popes and Cardinals and Bishops and priests and\nfriars. There are Emperors and Kings and courtiers and courtesans and\njudges and patriarchs and great ladies and astrologers; There are doctors*\nwhose practices are made the occasion for many a jest, and soldiers,\ndrunken, blustering, boastful, having already something of the bravado\nwhich is to characterise the \" Capitano \" of a later date. There are\ncavaliers and citizens and merchants and couriers and heralds and\nexecutioners and robbers and dwarfs and midwives and nurses and\nnotaries. There are the shepherds with their poor gifts for the little\nJesus,... six apples and some cheese; and inn-keepers and weavers and"}, {"page_pdf": 68, "page_imprimee": "232", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.68", "texte": "THE 44 SACRE RAPPRESENTAZIONI \"\n\npeasants to the life, just as they sweat in the fields and shout in the\nmarket-place, it being as a rule on these humbler folk, on their\nquarrels and brawls and rough jests • • ••• that the comic element of the\nplays depends.\n& No anachronisms trouble either playwrights or actors. All kinds of\npeople are crowded together on the stage. Donateilo excuses himself to\nthe messenger of Nebuchadnezzar and regrets that he cannot oblige him\nwith a golden statue, being too much occupied upon the Prato pulpet,\nand Pharoah swears by the gods of Greece, and the heroes of the Old\nTestament show themselves well acquainted with the most popular\nFlorentine Inns. & £f\n& As for the costumes worn, these would be in the earliest times the\nvestments of the officiating priests as they moved about the altar, „..the\nalbs of fine linen, the copes worked in silk and gold, the jewelled stoles.\nLater on they doubtless displayed that mixture of the contemporary and\nthe imaginative which is seen in the paintings of Fra Angelico and the\nother artists of the day.\n£/ Indeed, again and again in the descriptions of eye witnesses occur\nsuch phrases as: \"the apostles go barefoot as they are seen in holy\npictures \" ; or \" the angel is a beautiful youth, dressed in a robe white as\nsnow, adorned with gold, exactly as are seen painted the angels of\nheaven \".\nIn some cases details of the costumes are given, as when It is stated\nthat Jacob is seen 44 asleep on certain stones, dressed in costly furs slung\nacross his shoulder, with a thin shirt of fine linen ; beneath, cloth-of-\nsilver stockings, and fair buskins on his feet, and in his hand a gilt\nwand \": or when it is directed that the Prophets wear 44 long beards\nand disordered hair, with little circlets of gold upon their headsand\n44 are dressed simply in long shirts, full and white, with a belt, and a\nscarlet band from the right shoulder to the left thigh : \" or that the\nangel be clothed 44 in fair white linen painted with suns \" or, (as in a\nStage Direction in 4' Santa Uliva\",) that there 44 appear many naked\nwomen, (or rather clothed In flesh-coloured linen), \" although evidence\nis not lacking that actual nakedness was at times admitted on the\nstage. j£r jg? &"}, {"page_pdf": 69, "page_imprimee": "233", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.69", "texte": "From the Rappresentazione of St John the Baptist."}, {"page_pdf": 71, "page_imprimee": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.71", "texte": "From the Rappresentazione of St. Ursula."}, {"page_pdf": 73, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.73", "texte": "THE \" SAC RE RA P PRESENT A ZIONI \"\n\nAS has been said, the characters included any or all the inhabitants\nof earth and hell and heaven, and In like manner the Scene in which\nthey played their parts was made to represent all three. It was Italy or\nEngland or Palestine or Egypt. It showed Pharoah on his throne or\nLazarus on his doorstep; it was the lake where St George slew the dra-\ngon or it was the sea laden with the ships in which St Ursula and her\nten thousand virgins sailed to Rome. It was Santa Rosana's garden or\nSanta Barbara's tower. It was a forest or a desert or a battle-field or\n«\nan inn. There were rivers and bridges and palaces and prisons and bed\nchambers and courts of justice and farmyards and streets. Sometimes\nheaven opened in a blaze of glory; sometimes hell opened in a belch of\n*\nflame and smoke. Certainly, no one had a moment in which to be bored.\nu® As for the structure and technical arrangement of the stage, a good\nidea of it is conveyed in such old pictures as Jean Fouquet's \"Martyrdom\nof St Apollonia\" and in the many little compartments of the old\nreredoses. (1) J® J® J® J® J® J® J® J®\nJ® Built up like shelves at the back, each scene was set in a small compart-\nment of its own, and when Joseph's brothers arose in one compartment\nand expressed their intention of going down into Egypt, the imagination\nof the audience, and usually a musical interlude, supplied the just inter-\nval before they appeared in another compartment and were met by\nJoseph at their journey's end. j® j®\nj® The flat platform in front was common ground where the greater\npart of the action and dialogue took place; above was heaven, and beneath\nthe infernal regions communicated with by trap-doors. J® J®\nj® The characters, when not actively employed, usually remained seated\nin their compartments, and on entering generally took a seat before\nthey spoke, since speaking immediately upon entry was employed to\nconvey an impression of haste, as in the case of the Announcing Angel.\nThey usually, however, rose from their seats before speaking, to speak\nseated being a sign of dignity reserved for great personnages. j®\nJ® In many cases the directions given in the play books are most precise,\nas when the executioner, having cut off the head of John the Baptist\nand put it in a basin, is instructed to \" wait while the soul passes into\n\n(I) See The Mask. Vol. 111. pg. 1-4"}, {"page_pdf": 74, "page_imprimee": "238", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.74", "texte": "THE 44 SAC RE RAPPRESENTAZIONI \"\n\nLimbo and recites a stanza \"; but sometimes it is left to the discretion\nof the actor to improvise for himself 44 such honourable and holy acts as\nshall be fitting to such a part & &\njgr when it came to the properties and stage machines, no difficulties\ndisconcerted those 44 festival artists\" of Florence, who included such\nmen as il Cecca and Filippo Brunelleschi himself,\nThe plays were full of action, full of things to see, and all descriptions\ngo to prove that the spectacle was the principle part and that \" the\nwords only served to determine the historical significance , Indeed,\nstage directions and old chronicles and the diaries of eye witnesses alike\ntestify to the marvels to be seen. &\nTheir variety is infinite; their ingenuity amazing, JZ? &\n& There are celestial visitations. Thunder Is heard, the heaven opens,\nand 44 one sees the celestial Father suspended in the air in miraculous\n44 manner, surrounded by a dazzling light which is diffused by innume-\n-44 rable lights. \" He 44 descends upon a Nuvola, (i), very beautiful, and\nIngeniously made, with attendant angels, \" and the souls of the righteous,\nJohn the Baptist and St Ursula with her virgin companions and those other\nblessed ones, ascend in their turn. The wicked go down quick into a\nflaming mouth of hell. There are Nativities garlanded with singing angels\nwhich rotate on metal discs ; there are Transfigurations, when \"Jesus shall\nbe upon the mountain \", and \" let there be a clean basin, that causes\n««the splendour of the sun that shines in the basin to come on Jesus\n44 and his disciples. And then let Jesus let fall his vermilion robe and\n44 remain in a white vestment. And if the sun should not be shining\n44 have some torch or other light. \"\nThere are angels despatched on messages from God, dressed in snow=\nwhite robes adorned with gold, who 44 descend, singing softly and holding\nin the hand a little branch\", having behind them 44 two pulleys, invisible\n44 from beneath because of the distance, and two ropes run upon these\n44 wheels, while some unseen persons who are above, by means of a very\n44 thin rope, make the angel to descend and reascend. \" £7 <0\n& There are descents of the Holy Ghost and there are Last Judgements,\nfor the scenic setting of which we perhaps get some Idea from Fra\n\n(1) See the description of a \" Nuvola ' at the end of this article."}, {"page_pdf": 75, "page_imprimee": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.75", "texte": "From the Rappresentazione of Saata Rosana.\n\nFrom the Storia of Lazarus, Martha and Mary"}, {"page_pdf": 77, "page_imprimee": "241", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.77", "texte": "THE •' SAC RE RA PPRESEN TA ZIONI \"\n\nAngelico's trap=door=like little tombs from which the dead arise.\n0 Then besides these supernatural scenes there are the more worldly\nones.\nThere are joustings and street triumphs and banquets. 44 if you\nwish \" says a stage direction relative to the marriage feast in 44 Santa\nUliva a play which lasted two days, \"to beguile the weariness caused\n44 by the length of the show, then you shall give them (the audience) a\n44 share in these bridals by providing a general banquet; but If you\n44 misllke the expense, then entertain the players only \". & 0\n0 There are battles. In Judith 44 The Assyrians make a great charge\n44 against those of the city with bows and arrows and arquebuses, and\n44 the Hebrews defend themselves manfully, and, the battle ended, each\n44 retifrns to his pavilion&\nThere are mechanical animals, not merely constructed for show but\nmade to act and move. ■£/£/\nIn 44Santa Cristina\" two large serpents which a charmer incites against\nher approach and 44 lick her, almost adoring her \"; then turning upon\nthe magician himself, bite him so that he fails screaming to the ground.\nIn St George, the Dragon is 44 Beside a lake, and from its mouth belches\n44 fire and sulpher, and it carries away children and sheep and devours\n44 them Then 44 It comes forth little by little, and St George, setting\n44 his lance in rest, suddenly spurs his horse and wounds the dragon. \"\nIn 44 St Ignazlo \" two lions 44 rush upon him and choke him \". San Rossore\nis thrown 44 into the den of lions and leopards and bears, who all lick\nhim \", while in 44 St Onofrio \" come two Hons which first \"dig a grave\",\nand then 44 take that body, one by the head and the other by the feet\nand 44 bury it In that grave \". 0\nThere was music, too, to be arranged for, and singing, and dancing,\nall dear to the people's\nIn 44 Santa Cristina \" 44 some maidens go by singing a pretty laud \".\nIn 44 Jacob \" we learn that 44 while he slept heaven opened and seven\nangels appeared, seated upon clouds \" and 44 making a most pleasant\nnoise with horns, greater and lesser viols, lutes and organs , and there\nare not lacking 44 children with flutes, citherns and bells. 0 0\n& In 44 Santa Uliva \" it is with music that they fill up the Intervals"}, {"page_pdf": 78, "page_imprimee": "242", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.78", "texte": "THE 44 SAC RE RA PPRESENTA ZIONI \"\n\nnecessary for the scenic arrangement of a joust, for a cavalier to make\na long journey, for a lengthy auricular confession to be concluded and\nfor the heroine to be richly adorned. In 44 Abraham and Isaac \" 44they\ndance, singing a laud \", and in \" San Rossore \" \" a banquet is given and\nthey dance and sing and play&\n& They sing not only Latin psalms or lauds in the vulgar tongue, but\neven profane songs,.... hunting songs and love songs and beggars' songs\nand soldiers' songs, the choice being sometimes left to the actor himself,\nwith merely the caution that it be 44 a proposito\" to the scene and\nsense. & jg?\nbesides the gay scenes there are the terrible ones: the casting\ninto hell of the lost souls, the martyrdoms of the gallant youths, the\nlittle flower-like virgins, who go to their death so serenely, passing\nthrough fire and water and tortures inconceivable until at last, under\nthe executioner's sword, their souls, as new born babes, are carried up\nupon a 44 Nuvola \" into the opened heaven. &\nAnd lf the mere reading of such things in the Lives of the Saints,\nor hearing them from the lips of the 44 cantastoria \" was enough to stir\nthe hearts of the people, what must have been the impression caused\nwhen, with ail accuracy and circumstantial detail, the preparations\nand the pangs of martyrdom were set before their eyes and all the\nvarious modes of torture carefully represented ? &\n& For in these oid plays nothing is spared the audience, eager for emotions.\nIn fact the martyrdom of St Ippolito, tortured in a hundred ways, is the\nonly one which we are told 44 is not seen \" upon the stage. All the rest\nare shown to the last detail. St Agnes, cast into the flames, remains\nunharmed 44 like a salamander \" and dies only when her throat is cut. St\nApollonia has her teeth broken and is beheaded. St Catherine is tormented\nbetween two wheels. St Cristina, torn with sharp hooks and thrown into\na burning cauldron, yet survives ; they put a stone round her neck and\nLing her into the water but she is again miraculously saved ; so they\ntorture her yet more horribly, and at last, of a final knife thrust,\nshe dies.\n& It is all very wonderful, but the Stage Directions of the old play books\ngive some idea as to how all may have been accomplished and an im="}, {"page_pdf": 79, "page_imprimee": "243", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.79", "texte": "From the Rapprtsentazione of St George."}, {"page_pdf": 81, "page_imprimee": "245", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.81", "texte": "THE « SACRE RAPPRESENTAZJONI \"\n\npressive result obtained at very little pains.\n& For the final decapitations puppets were substituted for the living\npersonnages, as can be deduced for all similar cases from the Stage\nDirection in \" Santa Cristina \" where, after the executioner has ordered\nher to bend her head \" one must change to the counterfeitand from\nthat in \"Sant'Apollonia\" which says \" Several women weep over\n\" Sant'Apollonia, and one of them takes her under her mantle, another\n\" puts there a counterfeit which resembles Sant'Apollonia and the\n\" executioner cuts off its head \": and another writer, (i) drawing the\nsame conclusions, declares that he holds it permissible to believe \"that\n\"St Agatha, St Cristina, St Ippolito, St Lorenzo and the rest of the\n\" most glorious martyrs and confessors were wonderful puppets and\n\" marionettes, substituted in that moment for the actors, and so truth-\n\" fully simulating the human effigy as to arouse the universal terror,\n\"and emotion.\" and elsewhere he adds, \"I believe that many of the\n\" personnages set in the highest compartments, and especially those\n\" elevated up there as visions and in no way participators in the action,\n\" were only figures of people, puppets constructed with great skill in\n\" some less heavy material, and so constructed and posed as to produce\n\" the most perfect illusions \". As for the cases such as flagellations, where\nthe parts were really played by flesh-and-blood actors, we know,\nfrom the Umbrian \" Devotion \" of Good Friday that it was enough to\nstrike\" a little devoutly\", trusting that the imagination of the audience\nwould magnify that little and Imagine something far more violent, while\nas for blood, It was easily simulated, and flames either painted, or real\nones mixed discreetly with the false.\nSuch, then, were a few of the wonders which the \"Festaiuolo\" or stage\nmagician caused to appear before the people's eyes, though, as can be\nimagined, with all the life of earth and heaven to draw from, all the\nGospel story and Lives of the Saints and legends of heroes, the varie-\nty was infinite ; there was never a dull moment from first to last.\nsusceptible to all beauty, glowed with fervour and devotion. They adored\nthe baby Jesus and his mother, they were awed by the appearances of\n\n(i) Yorick, (P. Ferrifni) \" Storia dei Burattiai Florence 1884,"}, {"page_pdf": 82, "page_imprimee": "246", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.82", "texte": "THE 44 SACRE RAPPRESENTAZIONI \"\n\nGod the Father; they wept with pity and admiration over the sufferings\nof the martyrs ; they were moved to an infinite tenderness for all the\nlittle virgins: for, whatever the Humanistic influence might have been\nupon the scholars, the soul of the populace itself remained as naieve as\na spring morning, full of freshness and fervour, eager and credulous and\ndevout.\nAnd all these beautiful sights, these courageous examples, these\nvisions of a spiritual world, do not, when set before an audience, only\nentertain; they educate; they do not merely delight the senses; they\nedify the soul.\nIn this the twentieth century may be at one with the fifteenth, and\nthough in actual form the Sacre Rappresentazioni were peculiar to their\nown age, that spirit which vlvfied them may be renewed in any age....\nan eager spirit which reaches out from the material towards the ideal,\nand dies only when the ideal is vulgarized, forgotten, and crushed beneath\nthe weight of the real. J£/\n\" Too much matter \" wrote Victor Hugo, \" is the evil of our day \".\nHe might well have added 44 and is the evil of our theatre \" Hence \", he\n44 continues, 44 a certain dulness. It is necessary to restore some ideal in\n44 the human mind For, 44 by that means, while curing the illness for\n44 the moment, you will establish for ever the health of the human\n44 mind. You will cure the middle class and found the people. \"\n\nTHE \"NUVOLE\" OR CLOUDS. An Extract from\nthe Life of If Cecca\nby Giorgio Vasari.\n\nespecting the Clouds, which were made of various kinds\nand with different inventions by the several Brotherhoods,\nthey were generally managed in the following manner:\njZ? A square frame was made of planks about two bracci\nhigh, with four strong legs at the angles, which were\nbound fast together beneath after the manner of trestles; across this\n\\\nframe were laid two planks, each one braccia wide, and having an ope-\nning in the centre, half a braccia in diameter, from which arose an upright"}, {"page_pdf": 83, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.83", "texte": "From the Rappresentazione of the Annunciation."}, {"page_pdf": 85, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.85", "texte": "THE \" S,4C/?£ RAPPRESENTAZIONI \"\n\npole supporting a Mandorla, or Glory, entirely covered with cotton\nwool, amidst which were angels, lights and other ornaments. In this there\nwas an iron fixed across, whereon was placed, seated or standing, as was\ndesired, a person who represented that saint whom the Brotherhood\nIn question principally honoured as their advocate and protector; whether\nit were the Saviour, the Madonna, St John, or any other Saint, the vest-\nments of the figure concealing the iron in such sort that it was not seen.\nTo the pole which supported the Mandorla were fastened four or\nmore iron bars, serving in the manner of branches to a tree; they were\nfixed around and beneath the Mandorla, and to these irons were secured\nlittle children clothed to represent angels, who were free to move at_\ntheir pleasure on the bracket supporting their feet, which was formed\nwith hinges in a manner suited to that end. &\nBy means of such branches three or four circles of angels or of saints\naccording to the subject represented, were occasionally exhibited. &\nThe whole of this structure, which sometimes represented a Lily, som=\n%\ntimes a Tree, but most frequently a Cloud or something similar, was con-\ncealed by the cotton wool, and was occupied, as we have before seen, by\ncherubim, seraphim, etc, or covered with gold stars and other ornaments,\n& The stairs for ascending these structures and every other part being\ncovered, as we have said above, with cotton-wool, a very good effect was\nproduced, and all these contrivances were called \"Nuvole\". (Clouds)."}, {"page_pdf": 86, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.86", "texte": "LETTERS TO THE EDITOR.\n\nFOLK ART IN ENGLAND.\n\nSir,\nnpo the October number of The Mask Mr Felix Urban contributed an\narticle based on a portion of •• The [Shakespeare Revival a book\nwhich was noticed briefly in the [same issue. The writers of the book\nwere accused of \" faking \" the national art. The word \" fake \" is an\ninelegant term, and the nature of the deed was set out bj Mr Urban as\na propaganda of \" sociologists \" and wealthy patrons, resulting in Lthe\nmore or less dutiful dancing of the Morris, the Country Dance, and the\nSword Dance before a crowd of admiring mediocrities who, presumably\nwould exclaim: \" The dear creatures! Are they not quaint ? Won't\nthe vicar be delighted ? \" & & & & &\n& Unhappily Mr Felix Urban had not spent much time in the parks\nand c!ub=rooms of Northern England, or, say, at Earsdon where the\npitmen dance or at Flamborough where the .fishermen look upon this\nkind of work as Expression. & £>\n& Indeed Mr Urban not only denies that [we, the abettors of these\npractices, know anything about the Folk, but asserts that we do not\nknow the secret of this energetic procedure. The secret, Mr Urban, is\nquite open, and I thought universally accepted. Rhythm, colour, sex,\nare the three words which I should say lie behind all Art that is not a\n....\" fake \", shall we say r?\nIn the case of the Northern Sword Dances... not Scottish variety...\nthere comes the sacrificial element, and its absence, (today I admit,)\ntends to limit this particular form to \"athletics\". Perhaps with Mr Urban's\nhelp we can free the people a little more from the qualities of modern\nlife which lie heavily upon our limbs.\nIn that sense we are \" sociologists \", though a sociologist proper is\nnot a dancing animal. Let the dancers once more take their proper place,\nnot only Dance but the larger Dance that is the Drama will grow. The\nmodern soil is not contaminated by industrialism. Indeed I should say\nthat bad art, rather than crude industrialism, is responsible for the\nabsurd necessity of fighting about such matters. &\n\" Ireland is more fortunate,\" says Mr Urban. In so far as Mr Urban"}, {"page_pdf": 87, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.87", "texte": "LETTERS TO THE EDITOR\n\nunderstands Ireiand this is true. And It may be through my own\nwriting that he has so misunderstood Miss Neal's contribution to the\nvolume. I have said several nasty things about modern civilised\nlife.\n£? Like every other artist I am a sociologist to the extent of wishing to\ndestroy a great deal which to the bone»headed man is precious.\nBut I protest against the calm assumption that present day city life\nhas killed the Soul of Man. It has not killed mine, and I see the Polk\nunder strange disguises, and regard Civilisation as a pageant, which\nhas been seen rather too many times. From Death comes Resurrection\nin Art as in all else. Despair may lurk in the wan coteries, but we need\nnot tell the Morris Men that'rhythm and colour and sex are there, it\nwould be their turn to keep the fiddler to the tune, and the artist away\nfrom sociology.\n£? Machinery has not killed rhythm, nor has smoke blotted out colour,\nnor is the human race extinct. So there is hope for Art. It is just from\nsome such club as the Esperance Guild that the best pupils of the Craig\nSchool will come. For the general run of town children and young men\ndo not easily mix with the more vital spirits of the age.\nPerhaps the most convincing thing that I can say Is that 1 agree\nwith every word of Mr Urban's article as applied to some dreadful\nphantom of Art in the grips of Learning or some other enemy. But\napplied to the reality of creative and re-creative art in England it Is out\nof relation to fact. JZ? JZ? JZ? JZ? JZ? TZ?\n£? Had those remarks appeared in the daily press 1 should not have\nreplied for, apart from the opinions of a few of the journals, their\nopposition is not a thing of great worth. But an article in The Mask\ncarries a weight which cannot be ignored. I have been condemned as\na 44 sociologist \" conspiring with wealthy patrons to exploit the simple\nrustic. Whereas in truth I am a poet, digging in the field of journalism\nmy colleagues being hardworkers and creators also. I enjoy the fight\nvery much, and, as there is no law of libel against those who laugh at our\nnot wholly pleasant word 44 Revival \", the reader may with your courtesy\nnow judge between two opposed statements of the same facts.\n\nReginald R. Buckley."}, {"page_pdf": 88, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.88", "texte": "LETTERS TO THE EDITOR -\n\nMr. FELIXURBAN'S REPLY\nFelix Urban.\nIn 44 The Shakespeare Revival the book about which I wrote, Mr\nBuckley is unfair to the Folk Art which he tells us is flourishing in\nEngland, for Mr Buckley might have made us feel and so understand\nthat the Folk were really at play once more, whereas he created is us\nentirely the opposite impression. It is not of great importance, but since\nMr Buckley has evidently the best will in the world to make things\nclear, it is a pity that he did not wait for a few more years, before\nproducing a book which could thoroughly represent the movement.\nSuch a book should, as 1 have said, make us feel. Probably some day\nsuch a book will be written, but a poet must be generous to do this.\nMr Buckley tells us he is a poet;.... well then....\n\nTHE RUSSIAN BALLET.\n\nSir,\nIn your article on the Russian Ballet, among many stupid things, there\nis one so overwhelmingly stupid that the rest don't matter : and that\nis the use of the words \" stealing \", \" fraud \", and \" kleptomania \" in\nspeaking of the lessons which the Russian dancers have learnt from\nIsadora Duncan. When the Russians saw that she danced better than\nthemselves, what on earth did you expect them to do ? To go on dancing\nbadly, and not try to improve by the methods she showed them ? Is\nthat what is done in other arts? Is it \" stealing \" if a painter or an\nr -\nauthor pursues a road opened up by his predecessor ? In that case all\nSchools of artists (the history of painting and literature is founded on\nthe assumption of continuous influence) are merely dens of thieves.\nMillais or Holman Hunt or somebody was the only Pre-Raphaelite ; the\nrest were thieves. Oauguin or Matisse or somebody was the only Post-\nimpressionist ; the rest were thieves. Craig is a thief, because he has\ncribbed his lighting from the barn-theatre, where they hang stable-lanterns\non hooks; and all his intending pupils had better go and give themselves\nup to the police at once.\n%\nThis John Balance seems to be a most unbalanced person. (It is plain"}, {"page_pdf": 89, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.89", "texte": "LETTERS TO THE EDITOR\n\nfrom his article, by the bye, that he has never been to Covent Garden\nat all to see the 44 weary group pf Londoners \" propping their jaded\neyelids open to peer at the dismal old doings on the stage). Does he\nallege that the Russians have mastered the principles of Isadora Duncan's\ndancing, or does he allege that they have merely pinched a wheeze or\ntwo ?In one sentence he says that they have taken 44 a few tricks \"; in\nanother he says that for seven years, since she first danced in St\nPetersberg, they have been studying 44 the weak and tender line won by\nnon-resistance \" (whatever that may mean) which •'the great American \"\nwas the first to demonstrate. A trick or two after seven years was poor\nstealing !\nBut, gracious Nature! (our Mother, as John Balance says), has Isadora\n%\nDuncan a copyright in 44 weak and fender \" lines ? Has she appropriated a\nwhole sphere of attitudes and gestures for her very own? And must they\nperish when she dies, on pain of hue and cry ? or will she leave them\nto someone in her will ? & & & £? & &\nThe Ballet has all human movements for its sphere, Duncan or no\nDuncan, and the first man who jumped in the air or stood on his head\n>s not going to call 'Police!' out of his grave. There never was and never\ncan be 'theft' in gesture. I have never seen Isadora Duncan dance, but\nI'll wager that her range of gesture does not cover one- twentieth part\nof the range of the Russian ballet. What have any of those Egyptian dan-\nces to do with her? Carnaval? Scheherazade? Prince Igor? what would\nshe make of Harlequin, or Pierrot, or a Polovtsian warrior? If she sees\nthe Article, I think she will write herself to say how stupid it is. ,\n\nHeathfield Lodge,\nHampstead Heath, N. W.\nYours faithfully\nGeorge Calderon.\n\nMr JOHN BALANCE REPLY\n\n7y|r George Calderon is an Englishman ; hence his enthusiasm for the\nRussian-Tartar-French dancers who have invaded London lately. He\nis not content with saying that these ladies and gentlemen are magni-\nicent and that the English speaking race are better dancers; he goes\ncrazy with delight rather than enquire. Note what he says; \" 1 have"}, {"page_pdf": 90, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.90", "texte": "LETTERS TO THE EDITOR\n\nnever seen Isadora Duncan dance and then with blind Russophobia he\n\" wagers\" that she can't dance.\nWhat can be said in reply to so charmiug, so childish a being ? Merely\nthis: that he is almost as rash and prejudiced as some of our friends\non the staff of The Mask, but that he really need not be careless.\n*\n& For instance when he asks \" what would Miss Duncan make of Har=\nSequin, Pierrot or a Polovtsian warrior we have no reply to make: we\ncan only make a speechless if somewhat tickled appeal to those who are\nstudents of the greatest dancing and we know that their reply will be\nan equally silent one.\nI wonder if Mr Calderon always goes about bumping into people who\nare seriously at work and excusing himself on the ground of his Ignorance ?\nI cannot think that that kind of thing leads anywhere, for there Is so\nmuch to learn for the great artists of today and if some resistance from\nthe enquirer is healthy, a great deal too much of it may easily be\nmistaken for Ignorance and boorishness. £?\n\nJohn Balance."}, {"page_pdf": 91, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.91", "texte": "BOOK REVIEWS.\n\nFAMILY LETTERS OF RICHARD\nIVAONER Translated by William\nAshton Ellis. Macmillan. Price\nthree shillings and sixpence, net.\nTwo years ago Mr Ellis translated\nRichard Wagner's letters to his\nfirst wife,\" Minna Now he follows\nthese with letters to his near rela-\ntions and connections written be-\ntween 1832 and 1874. &\nJS? Mr Ellis himself gives preference\nto this latter series in the matter\nof self-portraiture, since, as he says,\nthey display the writer to us \"In\n\"the most levelling of human rela-\n\" lions, that of the member of a\n\" large family conclave, and youngest\nbut one of a numerous middle-class\n\" brood \"; a position effectually\nprohibiting \" attitudinising \" and\nthus the more likely to present \" a\npicture of the naked human spirit\nin the direct and most neutral of\nlights\".\nx? Certainly these Letters do throw\na most interesting light upon the\ncircumstances and environment In\nwhich Wagner made that long\nstruggle which was only towards\nthe end of his life crowned with\nsuccess ; reveal to us much that is\nilluminating relative to the helps\nand hindrances with which he met\nin the intimate relations of his life.\nBut perhaps here as in the Lives\nand Letters of so many great men,...\nIbsen and many others.... there is\nnothing more striking than the\nevidence, again and again repeated,\nof the appalling lack of money which\ncrippled the activities of the artist\nby the necessities of the man, the\namount of force which should, for\nthe sake of the world, have been\neconomised for creative work, which\nis wasted and frittered In the pres-\nsing perplexities as to how to pay\nthe butcher and the baker, how to"}, {"page_pdf": 92, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.92", "texte": "BOOK REVIEWS\n\nkeep a roof overhead and a sole\nunder foot. & & &\nTo give but one or two specimen\npassages: £/\n&In July 1854 Wagner writes;\n«Sundry pressing debts (unpaid\n\" accounts) are now becoming such\na bugbear to me that I'm almost\n44 ashamed to go out. \" He turns to\nfriend after friend for a loan to tide\nhim over his difficulties. One, he\nreports, 44 cannot lay hands on a\nfarthing of cash another, Listz,\n\" who previously helped me from\nwithout, Is in a great quandary\nhimself \". A third 44 has hideously\ndelayed his answer, and writes\nme at last today that he knows\nof none \" who can help.\n& Hear him again, in July of another\nyear, \" prepared to give a grand\nconcert at Leipzig in February \" if\nDr X \" will put an end to my atro=\ncious plight by an immediate advance\nof 1000 thlr. \"\n& \"Tell him\" he writes entreating-\nly to his niece Franzlska Ritter,\n\" what the Rltters did for me for\n44 so long and how sorry you all are\n\" to be unable to do anything more.\n\" In short, don't flinch : he !\n\" Should the height of the sum\n\" prove an obstacle, lower it to 600\n44 thaler if need be.... At the very\n44 worst X must lend me 300 thlr,..\n«4 Now look sharp I I had a sleepless\n44 night, and this solution suddenly\n\" occurred to me as so simple... but\n44you alone can work it. Please\n«' telegraph me the result (discreetly\n44 worded) immediately to Blelrich.\n44 I hope for that despatch, let's say,\n44 tomorrow... Tuesday... noon. \" &\n...And so it goes 0n,... and so it\nstill goes on today. It is all so much\nsheer waste. The artist has to sit\naside, suspend his activity, while\nthe insufficiently developed man-of-\naffairs in him tries to make both\nends meet. Nations have a poor\nsense of values, an extraordinary\nblindness where their best interests\nare concerned. They act as If the\nArtist could create without material.\nThey hamper him for the best part\nof his life instead of husbanding\nevery atom of his strength; they\nexpect Psyche, the creative soul, to\nknit her brows over an account\nbook: they set Pegasus to push the\nplough : they oblige their artist to\noccupy himself with a million petty\ncares and duties which any man in\na million could do as well, ...and his\nown work, which no other in a\nmillion could do, goes undone the\nwhile.\nIt was so in the past; it is so in\nthe present; is it to be so also in\nthe future ? Will England never"}, {"page_pdf": 93, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.93", "texte": "BOOK REVIEWS\n\nawaken ? While she sleeps she loses,\nfor the artists go their way and the\nworld is left the poorer, since nations,\nlike individuals, do not live by bread\nalone but by that beauty which only\nthe artist creates or reveals.\nSurely then, we are blind If we\nwlthold our little material things from\nthose who give us ideal ones ; if we do\nnot, for our own sake and our own\ninterests if for no other reason, set\nfree from material anxieties those\nwho nourish and delight our souls.\n\nTHE WOMEN OFSHA KESPEA RE\nby Frank Harris- Price\nseven shillings and sixpence net.\nHarris has here once more\nthrown down the gauntlet to the\nprofessional critics.... the \" manda-\nrins \" as he calls them, and has\npursued his quarry, \"The Dark\nLady \", Mary Fitton, through all the\nwritings of Shakespeare from the\nearliest Sonnet to the latest Play.\nIt is not a bad book and as It Is\nft\npleasantly mediocre it is talked of\neverywhere.... In London.\n\nTHE PAINTERS OF THE\nSCHOOL OF FERRARA by\nEdmund Gardner. Duckworth.\nA volume devoted to the work of\nthat famous school of painting\nwhich originated in Ferrara about\nthe middle of the fifteenth century,\nand which.; owing to the wide in=\nfluence of the ruling house of Hste,\nextended not only to the'other cities\nunder their dominion, but spread\nover all the Emilia and Romagna,\nproducing Correggio at Parma, In-\nfluencing the young Raphael at\nUrbino, and making itself felt even\nso far as Bologna through the work\nof Francia and his followers.\nThe book contains nearly forty\nfull page reproductions of pictures\nand is provided with an alphabetical\nlist of the principal works and the\ngalleries in which they are to be\nseen, and also a Bibliography and\nAlphabetical Index.\n\nFOUR PLAYS Published by\nBrown Brothers,\n\" Swan white \", a Fairy Drama.\n44The Creditor\",a Tragic Comedy\nand 44 Motherlove by August\nStrindberg. The Woman and the\nFiddler\" by Arqe Norrevang. &\nessrs Brown Brothers are rende-\nring a useful service in issuing\nthis series of the works of the con-\ntemporary European playwrights,\nincluding alike Russians, Germans\nand Scandinavians, Wedekind,\nAndreiyeff, Strindberg and others of\nthe modern school. & &\nOf Strindberg, especially, too few\nworks have hitherto found their way\ninto English, and the Initiative of\nthese American publishers in issuing"}, {"page_pdf": 94, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.94", "texte": "BOOK REVIEWS\n\nthem in an attractive form and at\npopular prices will doubtless result\nin a keener interest in, and better\nknowledge of, the work of that great\nnorthern genius, who, even before\nthe death of Ibsen, was the chief of\nthe Scandinavians. &\n\nDE PROFUNDIS by Oscar Wilde.\nMethuen. Price one shilling net.\nedition of this touching work.\nPerhaps its scope and intent\nmay be hardly better summed up than\nIn the brief note 1 once came across\nwhich was pencilled by another great\nartist upon the margin of one of\nthe pages: 44 All this is the man\n44 trying to repay in some way, by\n44 means of a little tribute of art, an\n44 infinite goodness received \".\n\nTHE RUSSIAN PEOPLE by\nMaurice Baring. Methuen. Price\nfifteen shillings net. £7\n|\"~£ere *s a book which sets itself to\nsupply in regard to Russia that\nbasis of elementary knowledge which\nall are assumed to possess, yet which\nvery few really do £7\n£7 People who read Mr Baring's book\nwill know more about it than the\nnames of a few of its leading balle-\nrinas, which at present sums up the\nknowledge of the majority, for the\nauthor sets forth clearly the chief\nlandmarks in the history of its\npeople, the origins and characteris-\ntics of the race, the idiosyncrasies\nof the Russian temperament, its\nmanners and customs* £7 &\n\nMA URICE MAETERLINCK\nEdward Thomas. Methuen. Price\nfive shillings net. & £7\nof M. Maeterlinck's friends\nare rather unkind to him ; for\nalthough they assure us that the\npoet is opposed to Interviews, that\nhe 44 barricides himself against all\n44 indiscretion and curiosity, detests\n\" notoriety, Is indifferent to the\n44 representation of his work, avoids\n44 the cackling, the flattery, all the\n44 small change of celebrity \" they\nyet continue to publish books about\nhim,.... and what is the book of\npersonal details about the living\ncelebrity but the 4* Interview In\nexcelsis \" ? £7\nIn fact, between Madame\n* '\nGeorgette Leblanc Maeterlinck,(who,\never assiduous in enlightening the\npublic, has recently been relating to\na New York journal how, before even\nseeing M. Maeterlinck, she had de-\ntermined that he should be her\nhusband), and M. Gerard Harry and\nMr Edward Thomas and the rest of\nthem, there is very little left that\nwe do not know. £7 £7 £7\nWe know tnat he keeps bees\nand teaches a dog to sing that he\nIs 44 a sportsman..... a great drinker"}, {"page_pdf": 95, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.95", "texte": "BOOK REVIEWS\n\nof ale that he smokes a 44 denico-\ntinised herb \" by means of which he\n4\n44 circumvents his unconquerable\ncraving for tobacco in his hours of\nwork\": we know that he works\n44 always exactly two hours \"; that he\n44 always goes to bed in good time \",\nand much more of the like kind.\nOf course the volume is not solely\noccupied with these trivial personam\nlities, for it treats in considerable\ndetail of M. Maeterlinck's work as\npoet, playwright, and essayist, and\nhere Mr Thomas has done his work\nwell. But one wonders a little why\nsuch books about living celebrities\ncome to be written at all. Their\nonly justification would seem to be\na whole-hearted hero-worship on the\npart of the writer, and this Mr\nThomas does not appear to possess,\nfor he points out, gratuitously, that\nM. Maeterlinck's portraits 44 show us\na thick-lipped, thick-necked man who\nappears to lack nothing of a virile\nequipment unless it be humour \",\nwhich is hardly the description of\nthe hero-worshipper. He speaks of\nhis 44 gaudy and almost tawdry\neloquence \" over the illness in 1901\nof King Edward and is reminded by\nit of the late C. H. Spurgeon : speaks\nof him again as carried away 44 into\na thrilling but ultimately absurd\neloquence \" and sums him up by\nsaying, 44 He has extraordinary faci-\n-44 iity, adroitness, exuberance and\n44 versatility. He is an experimental\n44 botanist, an apiarist of long\n44 standing, an automobilist capable\n44 of driving himself, a mystic mo-\n-44 ralist, a playwright, a critic of\n41 letters, a topical writer \" ....which\nis a fairly heterogeneous list. ■<&\n\nWILLIAM MORRIS TO\nLER by Walter Crane. George\nBell. & Price six shillings net.\nnphis volume of collected 44 Papers\nand Addresses on Art and Craft\nand the Commonweal \" contains\nchapters upon 44 William Morris and\nhis work, \" the 44 English Revival in\nDecorative art\", 44the Socialist Ideal\nas a New Inspiration in Art \", on\n44 Some Arts and Crafts allied to\nArchitecture, \" on the 44 Treatment\nof Animals in Art \", on 44 Early Italian\nGesso Work\", on the \"Apotheosis of\nthe Butterfly \" and other matters\nboth theoretical and practical, which\nare all, in one form or another, to\nsupport the case of beauty against\nmodern social and economic condi-\ntions \".\n& The book is illustrated with many\nreproductions of works of art both\nancient and modern, with portraits\nof Morris and Whistler, and with\npractical diagrams illustrative of\nsome of the handicrafts described."}, {"page_pdf": 96, "page_imprimee": "260", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.96", "texte": "FOREIGN NOTES\n\nLONDON.\n\nThe Same as Ever\n\nis still in place. The\nKing has majestically left our\nshores for a visit to his little Eas=\ntern seat, there to bestow blessings\nupon his servants. The leader of the\nOpposition, Mr Balfour, has moved\naside and Mr Bonar Law has begun\na new task. The Restaurants close\nas early as usual, and the Theatres\nare as lifeless as ever. £?\nThe people still go to the Public\nHouse and avoid all mention of\nShakespeare. Mr Bernard Shaw Is\nhome from a holiday and Mr Frank\nHarris is in everyone's mouth.\nLondon is therefore as possible\nand as impossible as ever:... water\nstill surrounds England in exagge-\nrated plenitude.\njg? Art is still misunderstood and in\nmany galleries Is mentioned with\nbated breath. Fancy dress balls are\nstill popular and tidyness, (except in\nfancy balls,) is the quality most\nnoticeable in England. The lanes,\nthe fields, the cottages, the houses\nthe men and women, the poetry ana\npainting... All is nicely finished. &\nMr Thomas Quinlan. &\n\"pons and Miles,.. Ten trucks of\nscenery.... Glasgow work:.,, that's\nQuinlan. 44 Where's your Wullie\nShakespere noo\" \\& &\nI had better copy the paragraph\nwhich has been sent round, for it's\nJust fine,... and makes me long to be\nin bonnie Scotland. & &\n& \"Already we have come to recog=\n\" nise in Mr. Thomas Quinlan the\n\" embodiment of enterprise in the\n44 operatic world. It would take a\n44 great deal of further time and\n<4 space to detail the innovations\n\" introduced throughout this enor=\n*' mous enterprise. Some queer facts\n44 regarding it are made known.\nt4 Over seven miles of canvas has\n\" been sewn, and the painting of It\n44 has consumed tons of colouring\n44 matter. With this also, gauze,\n44 netting, and silk have been intro-\n-44 duced in wholesale quantities\n44 About ten railroad trucks of\n44 timber and steel have been brought"}, {"page_pdf": 97, "page_imprimee": "261", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.97", "texte": "FOREIGN NOTES\n\na into play with absolutely unique\n44 methods of construction. The elec-\n-44 trical effects are a study in them-\n-44 selves.\" Max Reinhardt and Gordon\n44 Craig have experimented with, but\n44 Mr. Quinlan has created the twin\n44 spirits of opera, atmosphere and\n44 realism. It Is worthy of note that\n44 the dresses have been designed\n44 and executed by Smyth,Wareing\n44 & Hal ley, of Glasgow. &\n44 The Quinlan season in Edinburgh\n44 commences on nth December \".\n& ...The Paragraph oft proclaims the\nman.\n\nR. S.\n\nThe Three Musketeers.\nI have just come from a performance\nof 44 The Three Musketeers \" at the\nLyceum Theatre where the audience\nwas by no means select, nor abnor-\nmally Intellectual, nor 44 very artis-\ntic \" nor 44 advanced \" ; where the\nperformers were not highly paid,\ncelebrated nor distinguishedly ama-\nteurish, and where the drama was\nnot sentimental like 44 The Twelve\nPound Look nor sensual like\n44 Sumurun\" nor decadent like\n44 Rtalon \" nor disguised like\n44 Macbeth \", and yet all of us, I, as\nwell as everyone in the theatre,\nhave enjoyed ourselves because of\nthe sincerity and directness of the\nstory and the way it was put\nbefore\nI go to the theatre hoping to feel\nthat sincerity which I speak of and\nI am always disappointed, for the\nplays, players and mise en sc&ne are\ninvariably insincere and pretentious.\nIt goes without saying that there\nare one or two plays, a few actors\nand some productions which are\nalways good in their own way, but\nthe large majority of exhibitions on\nthe stage are PRETENTIOUS.\n£? It is not bad art we hate; It is\npretentious tuff which annoys us.\nAt the Lyceum 44 The Three\nMusketeers \" was well done because\neverything was done sincerely. The\nfaults were sincere, open ; no attempt\nwas made to cover up incapacity\nand what was good was very good.\nThe story was good because\nDumas had seen to that. The drama\nwas well put together, and was good\nbecause things were happening all\nthe time. The spirit of the whole\nthing was afoot; we had no time\nto pause to THINK; we were only\nasked to watch, to listen and to\nfeel. There was no sensual rubbish\nmixed up with the thing so everyone\nfelt that here, at any rate, we\nmight be sure of not being insulted.\nWhen I say 44 no sensual rubbish \"\n1 mean no naked men or women. A\nwonderful and rare innovation much\nto the credit of the managers of the"}, {"page_pdf": 98, "page_imprimee": "262", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.98", "texte": "FOREIGN NOTES\n\nLyceum. How easy It would have J\nbeen for these managers to have\noveremphasized the \" Milady in=\ncident and to have shown us the\npoor lady in bed, and so on. So\nmany of the other theatres would\nhave done it for the edification of\nthe thing which calls itself London\nSociety: and most other theatre\nmanagers would have used a version\nof the play with which the Censor\nwould have been obliged to have\ndifficulties. & & &\n& London Is obsessed with this\nidea of the Censor, and Mr Brookfield,\nwho has been well chosen to help\nMr Redford, comes in for a lot of\nutterly nonsensical abuse. London\nobviously doesn't care a hang about\nthese plays which are risky such as\n44 Kismet \" with its bath incident,\n44 Sumuriin \" and its harem, and the\nmany naked sketches at the Halls ;\nLondon likes its domestic dramas as\nit ever did, and it likes its swash-\nbuckler romantic plays, and it likes\nShakespeare, and it likes poetry and\nmusic, but above all it likes the\nUNPRETENTIOUS. &\nBut to return to my enjoyable\nevening at the old Lyceum.\n& The scenery demands special\nnotice. It was all painted in the\ntheatre and excellently well painted,\nWhat it wanted to be it was: and\njust because of this there were to\nbe found in it many touches of pure\npoetry... There was a front scene\nrepresenting the port of Calais\nwhich contained something better\nthan anything to be seen in 44 Mac-\nbeth \", which pretends to the\nvery best of scenery. &\ni select this scene for special\nmention, but it must not be thought\nthat the other scenes were any less\nadmirable.^\nThe acting was spontaneous and\nrapid. Every word could be heard ;\nevery point was made clear. The\nactors came on and went off with\niess subtlety than we expect as a\nrule ; the characterization was less\nprofound than it might have been;\nthe grace of the performance was\nless polished than it should have\nbeen ; but it all had a peculiar grace\nof its 0wn,..., the grace of the\ngenuine. & &\n& It was this which appealed to\neveryone, and, as it is the first and\nmost precious quality that a work\nof Art can possess, it placed the\nLyceum performance high up ; and,\nin that it was appreciated by those\npresent, it at the same time placed\nthe taste-standard of an ordinary\nLondon public higher. &\n& I, like The Mask, have always\nheld that the largest London public,..."}, {"page_pdf": 99, "page_imprimee": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.99", "texte": "FOREIGN NOTES\n\nthe millions, are absolutely first class\njudges of what is good in Art, and\nthis performance justifies the\nbelief. & &\n£/ The production is an object lesson\nto the managers of London ; but as\nthese good men are blind they will\nnot be able to perceive how and\nwhere the thing teaches, though\nits lesson is just this: & &\n& Be simple, be yourselves, each\nof you, and the theatre in England\nwill once more become fresh and\nflourishing. uz> &\n\nThe \"Wordless Play zz?\nTphe Music Hall continues to encou-\nrage the wordless play.\nJZZ \"Rialon\" is one of the latest*\n'' The Strange Qirl\" is another. Mr\nStoll is rather amusing, and certain-\nly quite truthful when he says:\n\" These wordless plays must make\nactors act.\" It is one of the most\ndelightful revelations of Mr Stoll's\ninnermost thoughts that we can\nrecall. & &\n£> Mr Stoll can, however, be equally\nuntruthful when it serves his purpose,\nso he states that \" It was the artists\nof Munich and South Germany who\ninspired the Reinhardt method of\nproducing and stage lighting \". £?\n& WAS it....! Well it can easily be\nunderstood that the Reinhardt m e=\nthod was inspired by Munich artists,\nRussian acrobats, Italian organ-grin-\nders,.... in fact by anything except\nthe Reinhardt imagination, which\nreally seems to be nil. Anyhow, he\nis paving the way.... laying down a\nconvenient * blumen-weg' or path of\nflowers,... and the artists, when they\narrive, will surely not forget him.\nAs for \"Rialon\" itself, this \"Mimo-\ndrama \" which the energy of the\nGermans has shot like a sack of coals\ninto London, it purposes, as the\nannouncement tells us, to show \" a\nnew and curious staging\" and to\nbe \" inspired by the impressionist\nschool of art which has its centre\nin Munich \". & &\n& That it may hail from Munich no\none can doubt, but that it is at all\ninspired or is in any way inspiring\nis incorrect.\nIt is common. It would be held\nas common even in Berlin or Frank-\nfurt. It is not new; ....one has seen\nthis kind of thing far better done\nin Paris. £> & JSZ\n& It is wrong to compare it with\n\" Sumurun \" where an attempt was\nmade to achieve a certain sense of\nbeauty.... and though this failed, a\nsense of the picturesque was ob-\ntained. \" Rialon \" is a lifeless thing.\nThe night I went to see it I also\ncame in for the masterly theatrical\neffort of Sarah Bernhardt in an act"}, {"page_pdf": 100, "page_imprimee": "264", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.100", "texte": "FOREIGN NOTES\n\nof Jeanne d'Arc.\nHere there was something which\ndealt grandly with the stage. To see\nher placed on a table and prepared\nfor torture is to understand how the\nhorrible can be dealt with on the\nmodern stage and heroic proportions\nachieved. There was no ugliness, no\nmean horror. All was simple, truthfuj\nand unrealistic. We had the idea\nsuggested to us but all detail was\nwithheld.\nin this act a young actor, Lou\nvan Felligen, showed proof that there\nis still one young man on the Euro-\npean stage who Is possessed of genius\nas an actor, and who, in spite of\nthat burden, can yet take infinite\npains. & & Q. H.\nReinhardt's Return. 0>\nprofessor Reinhardt is being wel-\ncomed in London, so they say, by\na titled Committee, .....a welcome\nnever extended to Signor Grasso or\nto Madame DuSe. 0 0 0\n0 He brings to London various\nimitations of the work of an Eng-\nlishman, a Russian, an Italian and a\nHottentot. Carlvle has a word to say\nin his \" Sartor Resartus\" upon the\nlicence a gentleman of delicate taste\nmay not permit himself ...But then\nwhat can Carlyle possibly know\nabout it ? 0\n0 By the way, we read in a London\npaper that Professor Relnhardt\ncracked the same old joke about the\nwork of Mr Gordon Craig that nearly\nevery other borrower from Mr Craig\nhas done for years. He said, \"What\na genius...;, but how unpractical\nIt is curious to note that if the\ndesigned ideas of Mr Craig are un-\npractical on paper they become\namazingly practical when lifted (i)\nfrom the paper and put upon Pro-\nfessor Reinhardt's stage. There is\nsomething really quite amusing when\none meditates upon this Eh\nWhat ?\n(1) Lifted. To a German translator. There is a double\nmeaning in this. Burglers lt lift \" jewelry when not\nsecured in a patent safe.\n\nSudden Thought\nJ. B.\nJ>y the way, has anyone ever SEEN\nProfessor Reinhardt produce a\nplay ? Has anyone ever seen his\ndesigns ? Has anyone ever seen the\npeople who produce his plays for\nhim, and design his scenes for him\nand arrange his dances and bring\nhim his ideas? 0\n£? The Professor is, we are told, a\nvery capable actor, but as for Design-\ner, originator of ideas, director of\na theatre,... in all these he is mere-\nly a Professor. 0/ 0? 0\n0/ In short, others do his work\nfor him. Practical, very, for a\nshort while."}, {"page_pdf": 101, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.101", "texte": "EDITORIAL NOTES.\n\n& NONSENSE... OR SENSE ? JS>\nQur good friend The New York\nDramatic Mirror,... or rathe r\nits Usher... became excessively cross\na week or so ago over Mr Gordon\nCraig's statement that Art was a\nreligious thing. Ushers have always\nbeen held to be \"melancholy men'',\nbut this particular Usher is..! (Again\npraise Heaven for the Censor, vide.\nThe Mask.... October 1909..) &\n& This Usher says that Mr Craig's\nstatement 44 is iittle short of arrant\nnonsense.\" This is the third gentle-\nman who has used the same phrase.\nSydney Grundy and Arthur Collins\nwere the others. A refined company\nand long life to them. But how angry\nthey grow! how offended they seem.\nWhy?.. Can it be that Mr Craig has\nsaid something true ? &\n\nGERMAN DELICACIES. &\nHphe wondrous Professor Singer of\nGermany has lately declared that\nEmil Orlik the German artist 44\nthe art of woodcut in Germany\non a new basis\" after his 44fourteen\nmonths sojourn In Japan\". Isn't that\ndelicious ? zz? ■<&\nAnother delicacy ! The same\nwriter finds that the work of Klenim\nthe wood engraver 44 savoured of\nOrlik's style to a certain degree ''\nbut that he freed himself from\nOrlik's influence and 44 made one\nmore detour, becoming quite\nhimself '. 44 This consisted of a\nthorough study of Original Japa-\nnese wood-cuts, and a serious\nattempt at imitating some of\n*\nHiroshige's prints \".\nCriticism is speechless before\nsuch bewildering gymnastics. What\nis one to think of Orlik, of Klemm,\nof German Art and of Professor\nSinger? £/ JZ? *\n& To begin with, Orlik never put\nanything on any basis. He Is a\ncopyist, and a bad one into the\nbargain. Klemm is another and\nSinger is original. &\nThat is woeful enough, but to\nthink that the English Studio prints\nsuch strange stuff by foreigners when\nIt has English writers galore at Its\nservice leads one to suppose that the\nGermans are cheaper. Klemm is as\nclever as mechanical skill and fairly\ngood taste can make him, but he has\nnot mastered the first principles of"}, {"page_pdf": 102, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.102", "texte": "EDITORIAL NOTES,\nALL RIGHTS RESERVED\nGerente Responsabile GIULIO VANZI\n\nart. On the edge of one of those\nprinciples it is written, \" The artist\nis never permitted to be clever \".\nWhen will it be properly under-\nstood that art has little to do with\nhand and brain but for ever with\nthe soul ? How can it be understood\nwhile mankind stands in ' doubt as\nto the existence of such a thing as\na soul?\n\nWORDLESS PLAYS &\nCumurun began it or rather\n\" I'Enfant Prodlgue \" began it;\nor rather, it was begun some cen-\nturies ago, and now even writers\nhave caught it.\nHugo von Hofmannsthal has suc-\ncombed. The Poet of the perfect\nverse and prose has written a \"word-\nless play\". It was acted in London.\nFig-trees are bearing thistles. We\nmay shortly expect visualized music\nfrom De Bussy and speaking pictures\nwhich are invisible from Matisse. Or\nrather, it is unlikely, for neither of\nthese artists is a German or an En\"\ngiishman.\n\nSCENIC SIMPLICITY. & &\n7yir Thomas Hardy has lately pub-\nlicly said that Mr Gordon Craig\nis quite right In advocating simpli-\ncity in stage setting. This was said\nafter a visit to \"Macbeth\" at His\nMajesty's J£?\n\nTHE RUSSSIANS. & &\n''jphe visit of the Russian Ballet to\nCovent Garden has proved a grand\nfailure. Over three hundred pounds\nsterling was lost each week. &\nIt would be curious to know when\nEnglishmen will be willing to achieve\none such grand defeat rather than\nsurvive the many ignominious sue-\ncesses they always manage to\nmanipulate. &\n\nTHE ENGLISH.\nJ. S.\njpnglishmen are generally telling\neach other (and incidentally the\nForeigners)that fine English Dancing\ncan only be born by asking a Russian\nBallet master to come over and train\nour feet. Isn't it stupendous!!!!!\nModern Patriotism. £f\n\" Down with England, long\nlive the Tartars I \" & &\nburning question in London cir=\ncles Should rouge be put on\nthe face with a Hare's Foot or not?\nAnother burning question. ...Can\nEnglishmen who rave over the Ex=\nported art from Germany and Russia\nafford to stop and parley about how\nto raise an imitation blush ?"}, {"page_pdf": 103, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.103", "texte": "Cor the Designs by Mantegna announced on page 186\nthe Publishers have substituted a design by the late\nMr E. W. Godwin for a Stage Costume for Miss Ellen\nTerry."}, {"page_pdf": 105, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.105", "texte": "WALT WHITMAN.\nA \"LEAVES OF GRASS\" REPRINT.\nJ propose to publish In fac-simile Wait Whitman's personal copy of Leaves of Grass,\nedition of 1860=1861, in which he did much of the work of revision for the edition\nthat followed five years later.\nThis copy of Leaves of Grass is historic. It is the volume abstracted by Secretary\nHarlan from Whitman's desk in the Interior Department and made the basis for\nWhitman's discharge from that branch of the service. An account of this incident,\nwritten by Whitman himself, will be photographically reproduced and\nincluded. The edition will be limited to five hundred copies. The price fixed\nten dollars for each copy. No books will be sent to editors for review and no\nrebates or discounts will be allowed to collectors or booksellers.\nThe text matter of this book will be printed from the original plates, which still\nexist. The chirographical matter in Whitman's hand will be superimposed. In order to\nmaintain a strict likeness to the original, in which Whitman used black ink and pen-\ncils of several colors, it will be necessary for each sheet to go through the press from\nthree to five times. This is a costly process.\nThe production of this work calls for the finest skill of the photographer, engraver\nand printer. But it will be faithfully supervised to the remotest particulars.\nEach volume will be authenticated by a number and my signature. Subscriptions\nwill be filled in the order they are received.\nTo persons who have a special Interest in Whitman, as well as to students and\nlibraries (particularly to the libraries of schools and colleges), this remarkable reprint\nmust have unusual significance.\n&No steps will be practically taken in this matter until subscriptions sufficient to\ncover the Initial expenses are received Send for circular. HORACE TRAUBEL\n1613 CHESTNUT STREET, PHILADELPHIA. U. S. A.\n\nihimmMvnutmmmmmmrnmnmnmn i\nTHE MOSHER BOORS*\n- ma\nThe only style of genuine hand=made\npaper editions at popular prices In\nAmerica.\nThe new catalogue is sent free on\nrequest. &\nThomas. B. Mosher, Portland\nMaine. U. S. A.\n\nDI NI & CELLA!\nArtistic & Decorative Terra Cotta of\nSigna. £> JZ? £/ £?\nVia di Fossi N. 1 - FLORENCE\n- ESSBCTI\nReproduction of Sculptures of Old and\nModern Masters - Statues - Busts - Vases\n= Bas ■ Reliefs - Fountains - Doors\n9\nChimney - pieces - Bases etc. etc. in\nevery style."}, {"page_pdf": 107, "page_imprimee": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.107", "texte": "! ANNOUNCEMENTS; FROM •' THE MASK PRESS\"\nARENA GOLD ON I. FLORENCE ITALY.\nn i ■—nan—ataa— mii.MMaMannMMWMßWWß»>*MnnnßWwnMßnaMwawßjiMMM»aßwwnaa«a»aawawnM«nnM««MMW.\nI | <* the mask, new series. VOLUME POUR.\nthe new Volume, beginning with the present number, Three\nEditions will be published, and the yearly subscriptions, post free*\n*° *\"iese Editions are respectively as follows. j& j&\nPopular Edition. . . . Shillings 15. Dollars 4.00\nIllPyP' I Large aper Edition (60 copies.) „ 20. „ 5.00\n| Edition de Luxe. (15copies.) „ 65, „ 16.00\nn.llil II IB 1111 II llll' M—M——————^————M————\nMASK. OLD SERIES. 1908.... 1909.ee* 1910.... J&\nUnbound Sets, Vol. i. Shillings 30. dollars 7.50\nVol* 2. 99 9» 25. 9t tt 6.50\nVol. 3* tt tt 20. 99 99 s*oo\nBoi/ncf in Vellum. Vol. 1. ,f ,♦ 35* »t »> 8.50\nVol. 2. 99 99 30» 9» 99 7*s®\nVoL 3* ft 99 25* 99 99 6.50\nI | 0 A PORTFOLIO OP ETCHINGS by GORDON CRAIG. s£>\n$Tz%, I These Etchings were made by the Artist in 1907 at Florence and\nI|L|| »\\ I represent his most serious work. Connected with his dream of an\nI Ideal Theatre, they have nothing In common with the Modern stage.\nI & Only Thirty Portfolios were issued. Of these a few remain.\nI I Each contains twelve mounted on grey card, and with\nI W1 i a '>re^ace by the Artist.\nMjf aj& Size of Portfolio. 48x30 ctms. Price Twenty five Guineas.\nI Dollars 13a, Marks 525. Francs 650. <0 & &\nI£> 4R BOOK PLATES. 0\nj& Designed, Engraved and Printed by the Engra-\nslj|||w vers of San Leonardos Arena Goldoni, , •\nFrom the first design to the last print the work is executed\nand 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. *\n' ~HERE IS SOMETHING FOR THE CHILDREN!\n& Pictures from Gordon Craig's \" Book of Penny Toys. \"\n(lips & This book of colour drawings of the most representative\nY&S*, English, Dutch and German wooden toys with accompanying\nverses was published in 1899 and proved so popular that copie\nnrA rarelv to be found.\nA pEW sets of the twenty large illustrations\n\"A 0 Printed on thick art paper are still to be had, price four\n2 guineas, (dollars at. Marks Ba.oo. Francs 105.00)..* * +\nThe Mask Publishers, Arena Goldoni. Florence. Italy."}, {"page_pdf": 108, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191201-01.1.108", "texte": "Printed for the Proprietor by Tipografia R. Ustracci, Via de Ser agli, 104 Florence and published at The Olfice of \" The Mask \" Arena GoldoJt\n\nA LETTER FROM *\n* Mr. W. B. YEATS. &\n\" The Mask always inspires me,.... it\n\" creates a vague vision of a new sort\n\" of joyous, over flowing dramatic art. No\n'■ sort of criticism is any use to an artist\n\" but technical criticism.*., criticism at\n\" once technical and philosophical, and\n** that is what The Mask gives one. \"\nTRADE AGENTS\nSimpkin, Marshall, Hamilton,\n& Kent & Co. London."}]}