{"numero_id": "bm-bmtnaau-1912-04-01", "volume": "bmtnaau_1912-04_01", "ocr_sha256": "001e3751c725feb18d1aa117577cb3f9fd414ae50669ad9ff7e0de74b2148f75", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1912/04_01/bmtnaau_1912-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1912/04_01/bmtnaau_1912-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01", "articles": [{"article_id": "bm-bmtnaau-1912-04-01-c002", "article_bluemountain": "bmtnaau_1912-04_01#c002", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.2", "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=bmtnaau191204-01.1.2", "debut_caractere": 532, "fin_caractere_exclue": 1480, "texte": "LITERARY CONTENTS.\nEPILOGUE. APRIL 1912 a67*\nTHE SIBYL Percy MacKaye. . . . 269.\nNAKED WOMEN ON THE STAGE 373*\nTHE FUTURISTS * 3?7.\nHENRY IRVING. A Note O. P 281.\nJEZABEL Oscar Wilde . . . , 283.\nTHE ARCHITECTURE AND COSTUME OF\nTWELFTH NIGHT E. W. Godwin . . . 286.\nA WORD ON SHAKESPEARE .... Goethe 289.\nSOME FURTHER DEFINITIONS FROM\nAN 1825 DICTIONARY Pierre Ramds . . . 290.\nA THEATRE HALL Joseph Furtenbach 1663 . 293.\nON COLOUR IN STAGE SCENERY . . . Goethe 298.\nSOME NOTES UPON ANCIENT PUPPETS. . Yorick. , 301.\nA CONFESSION OF FAITH Anatole France . . . 308.\nTHE DRAMA IN JAPAN Sheko Tsubouchi . . . 309.\nA WORD ABOUT ART Victor Hugo .... 320.\nVENETIAN COSTUME Cesare Vecellio. 1589 . • 322\nA DISCOURSE ABOUT RHYTHM 331.\nTHE THREE PRINCES OF SALERNO : A\nScenario ....* 335*\nDOMENICO BIANCOLELLI. A Biographical\nNote . «.....y. ... ... 340.\nA LETTER FROM PARIS ON THE THEATRE . Gordon Craig 352.\nBOOK REVIEWS. FOREIGN NOTES. & EDITORIAL NOTES"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c003", "article_bluemountain": "bmtnaau_1912-04_01#c003", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.3", "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=bmtnaau191204-01.1.2", "debut_caractere": 1482, "fin_caractere_exclue": 1779, "texte": "ILLUSTRATIONS.\nHENRY IRVING AS MEPHISTOPHELES. . Paul Renouard.\nFrontispiece.\nPLAN OF A THEATRE HALL .... Joseph Furtenbach Face 398.\nFOUR VENETIAN COSTUME DESIQNS . . Cesare Vecellio 331,335,337,339.\nDOMENICO BIANCOLELLI Face 340.\nHEAD AND TALE PIECES by Gordon Craig, Oliver, Borrow, and others."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c004", "article_bluemountain": "bmtnaau_1912-04_01#c004", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[266]", "page_fin": "[266]", "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=bmtnaau191204-01.2.4", "titre_corps": "Sir Henry Irving as “Mephistopleles”", "titre_sommaire": "Sir Henry Irving as “Mephistopleles”", "signature_source": "Paul Renouard", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "[266]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 71, "texte": "Sir Henry Irving as “Mephistopleles”, by Paul Renouard. (See page 281.)"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c005", "article_bluemountain": "bmtnaau_1912-04_01#c005", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "267", "page_fin": "268", "image_debut": 7, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.5", "titre_corps": "EPILOGUE : APRIL 1912", "titre_sommaire": "EPILOGUE : APRIL 1912", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 1617, "texte": "EPILOGUE. APRIL 1912.\ne have reached the end of the fourth year of publication.\nAnd we have reached it without compromise. £? &\n£/ The ancient feud between beauty and stupidity has\nbeen refought in our numbers, and, although It is said\nthat against stupidity the very Gods themselves contend\nin vain, we have managed to make some way.£>\n& Some of the managers in London are waking up or are at any\nrate calling out in their sleep. \"One two : why, then 'tis time to\ndo't \". But they do nothing; \"Hell is murky \" they mutter: and so\nlet us leave them to their muttering. How far off it sounds I Why, it\nwas actually so long ago as 1911. How time flies to be sure I & &\n11 fact we are in a new century....... and we advance out of\nhearing of all the mutterings and have done with that dead\nperiod of Dramatic Drollery for ever. We shall in future only\nrefer to it as one refers to the worst period of the Middle\nAges. It was like that period; stocked with the midd!e=aged it\nlumbered along like a tumbril on its way to the gallows. It was a\nwretched time, ....wretches lied from high places in the then theatrical\nworld in order to secure a half full house, while tricksters made\neveryone's life in the Theatre of London unbearable. Here and there\nwere to be found a sprinkling of finer men and women, but their\nweaknesses were their undoing : Friday night undid them. (i).\njg? However, that was long ag0,... in the dark limbo of things forgotten ,\nand as it is so long ago let's hope it wasn't true. £?£*£?\nWe advance into the open air.... breathing at last.... exhilerated to be\n\n(1) Salaries are paid on Friday night."}, {"page_pdf": 8, "page_imprimee": "268", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.8", "debut_caractere": 13, "fin_caractere_exclue": 2324, "texte": "ahead with the times. No longer having to fight anyone hut ourselves,\nno longer doubtful of success since it is won. Fhe new Theatre is esta=\nblished, and nothing but age can overturn it; and as it's foundations\nrest upon the basis of youth and life it is indestructable.\n& The fact that the actor has passed into the museum amongst the\ncuriosities was anticipated by us . some time ago. We even assisted to\npay the carriage of the goods. But that was in the nature of things. He\nhad to go :... he has gone. Bless him.\n& Even so far back as 1911 Reinhardt proved how he could produce the\nmost wonderful drama with but a crowd of untrained supers bald=\nheaded tramps and an incompetent dancer or so and one superb\nand totally inexperienced amateur, the lovely lady VollmßHer &\nAnd at that time the chronicles state that the London committee of the\n\"Actors' League for Protection against Time and the Hour\" were wasting\ntheir minutes protesting secretly against the innovation instead of\nsensibly becoming amateurs themselves at wages of two guineas a week.\nThat was the actor's weakness which drove him to the Museum. In\nfact it was found on opening the case, (just as was found when the\nslightly earlier examples of Babylonian civilization were secured), that\nthe pockets of the poor creature were literally lined with golden coins.\nlt is said that an actor in those days (1911) received as much as an\nArchbishop. Hall states in his \"Actors in Ancient Times \" that one\n♦\nactor, (he calls this histrion an \" actormanger \" but does not explain\nthe meaning of the word), was so well off that he indulged his strange\ntemperament by destroying works of art which he had the good fortune\nto possess for a time. &\n£? Altogether the history of the actor at that period was an interesting\none; and, in fact, Professor Wilkinsan the archeologist, who is at present\nengaged in some excavating on the spot where formerly the old Haymar=\nket joined with Pall Mall, promises the Museum some interesting finds.\n& We are happy In being able to announce that Professor Wilkinsan\nhas promised to inform us of any particularly illuminating proofs in sup=\nport of our doubts as to whether these old actors used hares' feet with\nwhich to put on the rouge, and whether any statue of Heerbolt Dree\nwas erected,., and, if any, where. &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c009", "article_bluemountain": "bmtnaau_1912-04_01#c009", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "269", "page_fin": "271", "image_debut": 9, "image_fin": 11, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.6", "titre_corps": "THE SIBYL : TO EDWARD GORDON CRAIG: \"ON THE ART OF THE THEATRE\"", "titre_sommaire": "THE SIBYL : TO EDWARD GORDON CRAIG: \"ON THE ART OF THE THEATRE\"", "signature_source": "Percy Mackaye", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 689, "texte": "THE SIBYL\nTO EDWARD GORDON CRAIG: \"ON THE ART OF THE THEATRE\".\nby Percy Mackaye.\nvast, the caverned stage\nGlows with twilight,... Where are they :\nRibald love, and conscious rage,\nJoyless banter, captious quibble,\nBrass and bauble of Broadway ?\nWhat are such to her.... the Sibyl,\nWhere she dreams beside her solemn\nSingle column\nIn the quiet ?....\nBats in swoon,\nGnats in riot,\nMidgets swarming 'gainst the moon :\nSuch are they\nBeneath the grace\nAnd the rapture of her face.\nShe will waken. Long she's slumbered\nThrough the noisy years unnumbered,\nSince her radiant limbs withdrew....\nSwift, adept,\nDivinely calm....\nFrom the leering satyrs' view\nTo the vlsioned silences\nWhere she slept,"}, {"page_pdf": 10, "page_imprimee": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.10", "debut_caractere": 11, "fin_caractere_exclue": 956, "texte": "Pillowed In her bended arm\nOn the starred Acropolis.\nShe has wakened! She has smiled\nWith a tender, large delight\nAt the spell-charms of her child,\nHer own spirit's acolyte.\nAt his wand-touch she has risen\nIn the mind of man... her prison\nAnd her temple. Lo,\nSensuous, with form of fable,\nMost divinely reasonable,\nNot the comets through the ether,\nNot the planets in their grooves\nTread a more harmonious measure\nThan she paces, In her pleasure,\nOn the silences beneath her.\nFor the silences are thrumming\nAs with heart-beats at her coming,\nAnd the Passions pause aghast\nAt the glorious decision\nOf her movements, as they mark\nWild vivaces of her vision,\nDeep andantes of her dark ;\nAnd her gestures... as she lifts\nPillared vistas of the past,\nSpacious visions of the marches\nOf To-morrow, gracious arches\nThrough whose rifts\nBeauty beckons,... hold no mirror\nTo the error\nAnd the grossness of the age,\nMimic not\nWhims and gropings of emotion,"}, {"page_pdf": 11, "page_imprimee": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.11", "debut_caractere": 11, "fin_caractere_exclue": 980, "texte": "Atrophies and tricks of thought,\nBut her rapture is the rage\nOf man's spirit in its fullness,\nPurged of accident and dullness ;\nAnd her music, born of motion,\nRecreates the spirit's trance.\nWeaving symphonies of sunlight,\nWaking chorals from the wan light\nOf the Pleiads in their dance.\nThrough her cloudy, caverned stage\nBursts the morning: And she stands\nIn the quiet, by her solemn\nShining column.\nGazing forth, serenely glad,\nOn the roaring, dazzled lands,\nWhere the little children, clad\ni\nIn the garments of her spirit,\nOn enchanted feet come streaming,\nFor she knows they shall inherit\nAll the ages of her dreaming.\nThen the sated ones and blinded,\nAnd the timid, callous minded.\n* , ■ i *: \\ y\nClutch the chlldrens' sleeves, and stare,\n{\nCrying: ** What behold you there ?\nThere is nothing!\"... But the lover,\nAnd the young of soul, his friend,\nAnd the artist, follow after\nThe children in their laughter,\nAnd the daring half discover,\nAnd the happy comprehend."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c011", "article_bluemountain": "bmtnaau_1912-04_01#c011", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "272", "page_fin": "277", "image_debut": 12, "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=bmtnaau191204-01.2.7", "titre_corps": "NAKED WOMEN ON THE STAGE", "titre_sommaire": "NAKED WOMEN ON THE STAGE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 2151, "texte": "NAKED WOMEN ON THE STAGE.\n■yVTe have from time to time in this journal spoken, probably with pre-\njudice, in favour of the use of Masks. As veils for the face, hiding its\nweaknesses and revealing what is In the soul of the poet, masks have\nalways seemed to us a gain. And at the same time we have always\nregretted (probably with prejudice) the gradual unveiling of the bodies\nof persons on the stage, which practise we failed to see brought any\ngain to the Art.\n£> The ladies in pink tights had grown into a convention and suggested\nthe Farce of things, but ladies without them grew objectionable and\nsuggested nothing but the bathroom and \"La Vie Parisienne-', a charm-\ning little journal to be found at the hearth of every cocotte. -<£>\n£? And if the ladies and gentlemen who take off their shirts, stockings,\ntrowsers, und so weiter, for us on the stage gave us frankly to\nunderstand that a new episode in \" La Vie Parislenne \" was about to\nbe revealed to us for our amusement we should be better able to accept\nthe performances. & & &\n#\nBut this is anything but the case. There is much solemnity about\nthese undressings. Gods are evoked, masters of music, painting and\nsculpture are dragged In to perform the parts of high priest, and then\nthe victim sacrifices herself in all the solemn splendour of the cafd\nchantant.\n& And all this is done; it Is said, in the cause of Beauty and Art.\nNow to see what it has led to. I quote from the Daily Mail of March\n9th in full.\nFROM OUR OWN CORRESPONDENT. BERLIN, FRIDAY.\n\" The Parisian dancer Adoree Villany, who dances without clothing, and\n\" who was charged with giving an immoral performance, was prosecuted\n\" by the Munich police in connection with a series of performances given\n\" lust November before an Invited audience of painters, sculptors and\n\" Academicians. The final performance was broken up by the police, who\n\" invaded the theatre and carried off the dancer to the station. 0\n0 \" The case came up for trial yesterday, and ended in the acquittal of\n\" Mile. Villany and her theatrical managers, the co-defendants. The jury\n\" held that Mile. Villany was serving \" the higher interests of art\""}, {"page_pdf": 13, "page_imprimee": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.13", "debut_caractere": 27, "fin_caractere_exclue": 2125, "texte": "44 and the question of an offence against public morais was therefore\n\" irrelevant.\n\" Half a dozen of the most eminent artists of Munich went into the\n44 witness-box to testify to the artistic satisfaction which they derived\n44 from watching Mile. Villany.\n44 Professor Kaulbach, the most celebrated German portrait painter,\n* #\n44 described the dancer's performance as 44 thoroughly artistic and res*\n44 pectable. \" The professor had taken his wife to the performance, and\n44 she, too, found it unobjectionable. Professor Petersen, president of the\n44 Munich Artists' Society, said that he would be happy when such per-\n-4t forniances could be given for the masses, instead of to a select artistic\n44 audience. Such an advance in culture would be a universal blessing,\n44 and public morals would not be jeopardised by giving the public an\n44 opportunity of admiring the beauty of the human figure.\n44 Professor Keller, another Academician, flouted the 44 ignoble conduct\n4< of the police in interfering with 44 so chaste a seance. \" He said that\n44 the action of the police was equivalent to placing artists beyond the\n44 pale of moral society.\n44 The public prosecutor asked the Court to fine the dancer and the\n44 two managers L. 10.0.0 each, and to send them to gaol for twenty days\n44 each, but their acquittal followed after the jury had been out only a\n44 few minutes.\nNow no one upon earth is going to pretend that this sort of thing\nwill benefit Art one scrap, and we are not going into the question as\nto whether it is good for our morals. The whole episode is a re\\elatlon\nof the extent the tremblers will go to for the sake of money and\ncivic pride.\nOn the one hand we have the Dancer, her theatrical managers, and\ntheir witnesses, Professor Kaulbach, and his wife, Professor Petersen\nPresident of the Munich Artists' Society, and Professor Keiler. These are\nout to make money.\nOn the other hand we have the Judge and jury composed of Bavarians\nwild with anger but prepared to go to any length rather than admit\nthat Berlin and the Kaiser were right. & &\nNeither side was out for truth."}, {"page_pdf": 14, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.14", "debut_caractere": 27, "fin_caractere_exclue": 1644, "texte": "And now let us glance at each of these amazing groups piecemeal,\n& (I) Miss Villany Evidently a pretty young woman; evi-\ndently a perfect painter's 41 model \" ;\nevidently quite honest In her desire to\nmake as much splash, noise and money\nas possible without the bore of posing\nto one man.\n&(2) The Theatrical Managers. These business men are not working\nfor Art or Philanthropy. You cannot\nblame them for exhibiting a naked\nwoman. They are at liberty to go even\nfurther In this line if it is not illegal.\nWhy not ? and who is going to find fault\nwith them ? & & &\n*&(3)The Witnesses, Professors In our opinion it is these gentlemen who\nKaulbach, Keller and Petersen, are obviously through and through cul-\npable. To begin with they ought to know\nthat a painting of a naked woman and\nthe exhibition of a naked woman in\npublic are two quite different things;\nbut if they don't know that it is only a\nmatter of ignorance. They ought to know\nthat the masses,.... that even a select\naudience do not understand such\nexhibitions. They ought to know that\nanything so obviously out to make money\nby such means cannot be quite honest.\n& But may be, as I say, these witnesses are ignorant. & &\nIs it from Ignorance that they gave such vile evidence ? Let us look\na little closer into the matter.\nHow do Messrs Kaulbach, Keller, Petersen and Co make their money?\nLet us realise that and we shall find the weak spot at once. j0\nMessrs Kaulbach, Keller and Petersen make money by painting or\ncarving nude figures. Most artists paint or carve nude figures; it is an\nold custom handed down to us from ancient times when men and women"}, {"page_pdf": 15, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.15", "debut_caractere": 27, "fin_caractere_exclue": 2098, "texte": "dressed so that the human form was in part revealed. It is a custom\nutterly out of date and out of place; but no matter; let us accept it as\na custom which has been kept up.\nNow these Munich Professors when called as witnesses were up against\na difficult proposition. If they said that naked ladies should not show\nthemselves in public the jury would ask them why that which could not\nbe shown in Public could be shown when Painted by the said Professors:\nand of course these particular Professors would not know what to answer\nto such a question ; and, though there is an answer, and an entirely\nsatisfying one, had it been given the jury could never have grasped its\nmeaning.\n& The Professors saw this clearly. They had patronized the performance\nof the naked dancer; they must therefore say it was great art or all\nwould be lost commissions reputation life itself.\nSo they swore it was \" thoroughly artistic and respectable \" (respec-\ntable old Munchen kerls); that they had (one of them) taken their\nwives to see the show (for their wives like to live also and like to\ndress prettily (queer) .and entertain ; all this takes money) and that it\nwas '* ignoble \" of the police to interfere with \"so chaste a seance\":\nand the jury opened their mouths and sang of one accord, \"It is in the\nInterests of the Highest Art\". & &\nINTEREST.\nThat's it. Pure per £?\n& And the Judge and jury, ...why did they also sing this tune ? &\n& Well, do you know Germany ? 1 was there the whole of last year and\nfound out one curious thing about it which is not sufficiently realized\nin England. &\nIn Germany there are many states, and two states in particular;\nPrussia and Bavaria. Prussia is in the north, and chilly; Bavaria is in\nthe south, and warm.... (if wet). Yes, Bavaria, Munich in particular, is\nclammy.\nWell, Berliners and Muncheners just hate each other and the Munich\nman loves nothing so well as to jeer at the Berlin man's exaggerated\n\" morality \", at his lack of ** temperament \", at his ignorance of what\nis Art. So whenever he can he tells the whole of Germany what Art Is"}, {"page_pdf": 16, "page_imprimee": "276", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.16", "debut_caractere": 29, "fin_caractere_exclue": 2155, "texte": "and how it is not the \" proper \" thing that Berlin and the German Kaiser\nwould have it.\nj-je may be right.... or wrong. That is not the point here. But he has\nmade iVXunich the Paris of Germany and he has to thinK like a Parisian...\neven if inspired by the Caf They fall into the trap more easily. \" Has Professor lent his\nname to it ? then certainly so will 1 \". Five or six names are collected ;\nthe performance is announced ; the reporters are seen again ; are told\nwhat the Professors have said ; all goes well; the town is caught. The\nperformance takes place; the police come in; the Professors are\nindignant; the impresario chuckles; the girl is enjoying the luxury of\nsuccess. 4/ 4/ 4? jg?\n4? But this is not Art: this is smart business at the expense of\npublic, artists and art alike. This is one of the most monstrous tyrannies\nwe are obliged to put up with because Professors have forgotten that\nArt is not nature nor nature Art and that what is seemly here is out\nof place there. 4?4?4?4?jZ?4?4?4?\n4? But it is a good thing that the Daily Mail brought up the matter,\nfor the methods employed by these travelling performers who traffic\nin nudity under the guise of it being Fine Art needed being revealed."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c013", "article_bluemountain": "bmtnaau_1912-04_01#c013", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "277", "page_fin": "281", "image_debut": 17, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.8", "titre_corps": "THE FUTURISTS", "titre_sommaire": "THE FUTURISTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "277", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.17", "debut_caractere": 985, "fin_caractere_exclue": 2120, "texte": "THE FUTURISTS.\n\"And when I love thee not, chaos is come again \". [Shakespeare.\n————i—i—»m—ruriir—t—wmrr——— n—nm»n—rmni«ii»»i JIMI iwmm w MI ■ ■ «nin■ iimn —n —■i■■ m■ miww—\n\\yhat is a Futurist ? Who knows and who can explain without making\nus angry or without sending us to sleep ? I for one cannot, of that\n1 feel sure. Because I think I can explain the phenomenon of the Futu-\nrists, and I think my explanation will convict more than a hemisphere of\npeople, and that is bound to make some people angry and weary others.\nThe history of this group of poets and painters and others is unknown\nto us. We know that a certain young man, Signor Marlnetti, is their\nleader. Who inspired Signor Marinetti is at present a secret: it is often\nthat we only find the original man, back of the leader, about fifteen years\nlater in the game. 4? 4/ 4? 4? 4? 4? 4?\n& Of Signor Marlnetti much is obscure. He is a wealthy young man who\nhas not had too much responsability and therefore Is inexperienced in\nsome of the simplest things,... no doubt to his regret. He has published\na quantity of literature,... poems, prose poems, essays, and has probably"}, {"page_pdf": 18, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.18", "debut_caractere": 16, "fin_caractere_exclue": 2060, "texte": "been able to pay well lor the verses and prose submitted to him by the\nyounger Italian writers.\n& This seems to me to be the first point In favour of Signor Marinetti.\nIt is pleasant to know that with the birth of Futurism at least twenty\nor thirty more living writers are in a position to pay for their clothes\nand food.\nThe question of money Is not usually reckoned into the account,\nbut that is because reckless people like Lord Rosebery are reported to\ngo about preaching that penury produces the, best poems and prose.\nOh, my Lord ! for shame *\n& And possibly Signor Marinetti's gold is badly spent; probably the work\nof the Futurists is abominable art.\nThat may be or may not be. A fairly rich man can be just as good an\nartist as one who Is harrassed to find two pounds to get along with for\nthe coming fortnight But let us get on.\nSignor Marlnetti having published much literature goes further and\nexhibits a number of paintings. These have been lately seen in\n& Everyone thought that the previous group called the \" Post Impres-\nsionists\" had given the \"world of art\" (by the bye» who coined this title?)\na shock which was to last a long time. But the appearance of the Futurists\nhas staggered them all far more. & &\n4? At Bernheim's in Paris Signor Marinetti was good enough to speak\nbefore an assembly of selected Parisians who, as we all know, are the\nkindest of people and interest themselves in all sorts of difficult co-\nnundrums. £>\nAfter Signor Marinetti had spoken saying that all the pictures and\nthe other miracles of genius at the Louvre ought to be burnt because\nthey were bad, an amiable gentleman rose and asked Signor Marinetti\nwhether he had ever examined the works at the Louvre. On this it ap-\npears that Signor Marinetti kicked him. There was an uproar, the police\nwere called In and the room cleared. & & ■£? &\nNow all this agrees admirably with what I am sure is the exact\nexplanation of this extraordinary uprising known as Futurism. Most of\nthose who speak or write about this newest group of Artists search for"}, {"page_pdf": 19, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.19", "debut_caractere": 16, "fin_caractere_exclue": 2365, "texte": "some complicated explanation. They get no nearer to truth. AH of them\nconnect the phenomenon with Art; whereas it has no connection\nwith Art. /Z? /ft /zt\nThis is not written in any antagonistic spirit whatever. There has\nbeen a positive need for the Futurists ever since the first ass wagged\nits tail before the portrait of a carrot. /& JZ?\nThe name Futurist is a mask under which the most up to date refor-\nmers approach their prelude of destruction. He who laughs at them laughs\nat the whole farcical fabric of modern life. He who criticises them must\nfirst criticise modern civilization : in short if the Futurists are dam-\n\"V\nnable,.... and they are.... then modern life is damnable. JZ?\nHow paradoxical you people are. (i) How gullible you are, how weak\nand how comic 1... . Now watch yourselves. /Z? /Z? JZ? *z?\nJS? YOU dress in the silliest of costumes,... uncomfortable, stiff, unpre-\npossessing, (except to the handsomest of people, and they'd look lovely in\nanything). You are not obliged to dress in that way and you don't to it\nbecause you want to. You do it because \" everyone \" does it. Who is\neveryone ? what is everyone ? Heavens, what an awful question to an-\nswer! After you have dressed yourselves up like monkeys you catch hold\nof someone,... a man, or a woman, or a child.... and you drag them out\ninto the street with you. You do this in a civilized way and it looks easy\nand natural. The tyranny of dependence is never natural. JZ/ ZZ?\nJZ? When you get out into the street what do you do ? Do you burst out\nlaughing ? Do you run terrified into the house again ? ...Or do you lose\nyour reason and become mad ? No, you swim there like ducks.\nOn every side of you shrill noises like the horns of Hell and a murmur\nlike a Satanic choir. Around you the flashing by of objects lawfully let\nloose to damn the day or to make night hideous. High up in the sky\nsweet things concerning Pills and Milk, and beyond them the little flying\nships of the true Futurists parodying the birds.\n& And you get into a brutality called a Taximeter and you say \" Drive\nto Bernheim's. You shout at each other all the way so as to be heard,\nand on arriving at the picture gallery you get out and if you re great\nswells you haggle with the driver over twopence. You probably have him\n\n(1) Artists, you need read no further: the rest does not concern you*"}, {"page_pdf": 20, "page_imprimee": "280", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.20", "debut_caractere": 16, "fin_caractere_exclue": 2216, "texte": "arrested by a policeman on account of this twopence and then you enter\nthe Gallery.\n£/ At sight of the first picture you burst out laughing ; at the second you\nalmost run terrified away, and at the third you nearly lose your reason.\nThe Futurists have shown you the external world you live in and\nyou hate them for it Naturally.\n& But why didn't you think of that before? Why didn't you protest\nagainst your world being cut up into noises, jerks and squirms?\n& You didn't notice it, you say? I know, that's exactly what I'm getting\nat. You have been cheated slowly day after day for centuries : cheated\nby a great fool (2) who had a knack for saving you trouble. We call him\nthe business man. You'll do anything to save yourself trouble and so\nyou' 11 overlook the gradual catastrophe which is creeping upon you.\nIt is only when you get a picture of it that you revolt. The nerve has\nbeen touched at last.\n& Poor dear people, thinking all the while of yourselves instead of all\nthe time of the others, you have become self-sufficient; just that and no\nmore, and a very little mentality is sufficient for your self. All the Fu=\nturists together make up one modern Rabelais What a monster they\nhave given birth to ! -*£>■\nrt still lives.... walking in the shadow it passes unharmed for all the\nbubble and the trouble brewing in the abyss of Life,., brewed by the\nMaterialist-Fool. Art still lives on as it flourished once.... in the\nIdealists. In an earlier age it was they who made Life look aud sound like\nwhat it was and it ever will be.... beautiful. They did this because they\nloved the earth and you but you slowly tired of the truth and asked\nfor different things ; you asked for lies. You have them now: they will\nsober you to a certainty, but it is you who will have to pay for them.\nSo, all the King in man is gone, all his royalty gone. Like the poor\nLear he has divided his kingdom and given it away to his Daughters.\nBlow, winds, and crack your cheeks! rage! blow !\nYou cataracts, and hurricanoes spout,\nTill you have drench'd our steeples, drown'd the cocks!\nYou sulph'rous and thought-executing fires,\n\n(2) \" The fool hath said in his heart, 'there is no God That is the fool alluded to."}, {"page_pdf": 21, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.21", "debut_caractere": 16, "fin_caractere_exclue": 677, "texte": "Vaunt-couriers of oak-cleaving thunder-bolts,\nSinge niy white head ! And thou all-shaking thunder,\nStrike flat the thick rotundity o' th' world !\nCrack nature's moulds, all germens spill at once,\nThat makes ungrateful man 1\nRumble thy bellyful i Spit, Fire 1 spout, Rain !\nNor Rain, Wind, Thunder, Fire, are my daughters:\nI tax you not, you Elements, with unkindness ;\nI never gave you Kingdom, call'd you Children,\nYou owe me no subscription. Then, let fall\nYour horrible pleasure. Here 1 stand, your slave,\nA poor, infirm, weak, and despis'd old man;....\n£? On this spectacle of today's misery, seen by a Prophet from afar, let\nus quietly lower the curtain. &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c015", "article_bluemountain": "bmtnaau_1912-04_01#c015", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "281", "page_fin": "282", "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=bmtnaau191204-01.2.9", "titre_corps": "HENRY IRVING : A Note", "titre_sommaire": "HENRY IRVING : A Note", "signature_source": "O. P.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.21", "debut_caractere": 679, "fin_caractere_exclue": 1776, "texte": "HENRY IRVING. A Note.\n\nOur Frontispiece this quarter is a reproduction from a Collec-\ntion in our possession of a series of drawings of Sir Henry Irving\nmade by M. Paul Renouard, who drew them on the Lyceum stage\nor in Sir Henry Irving's dressing room at the time of the first\nproduction of the piece. The collection of Af. drawings\nincludes several of Sir George Alexander. & & &\nChe told me he was quite a wonderful man....but she couldn't say how\nor why he was so wonderful. \" This to me from a friend today.\nWe were speaking of Miss Ruth St Denis and her apprenticeship\nunder this wonderful man \".... a foreign stage manager. And 1 replied\nthat I believed these stage managers had away of walking on to the\nstage at the rehearsal and seeming to remould the world ; and that it\nwas this which made them seem so wonderful.\nAt their appearance the whole staff awakens to attention, and tnis\nit Is which makes us say, \" what a wonderful man \". If he were boss\nof some factory it would not be the same. Here in a theatre he is sur-\nrounded by such a glamour, and he faces the stage, his back turned"}, {"page_pdf": 22, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.22", "debut_caractere": 19, "fin_caractere_exclue": 1146, "texte": "O. p.\n\n............. ■\n».,„r»«\nrir-r... ;r'\"? ~ \"™\"\"\"\ni •vtxr triflstcri ir o\nthe appearance y clearly why or how he was\n„ Like Miss St Denis . rea.ly cannot c.ear.y\nso extraordinary ; so that I am iar which is published now\nnote to accompany the ver,, inter s „g -\nfor the first time. And though the of a|,\nof Irving it Is hardly that stage phase which ..\not irving l. ai| the weakness of humanity\nthen his face became like a waxen the\nseemed banished. & man.(.er even the actor-ma-\n& This little sketch gives us the sag ' ..that would\n« ctive The soul of the man is not here,\nnager, off the stag . Rast|en Lepage portrait It is absent,\nbe too much to ask; even in wav which\nbut in both we have a certain Hkenessj>f the man;\n'1 qulU a llttfc collecUon of drawings by the same artist of\n* TISC 4 . rever yet been published and which ought\nthis amazing actor which the mQSt part represent\nto be preserved by some museum. y t||e knl([ht\nIrving as -ph,stopbe.es an o« .«\nT* Tn rrtTress and v'ery charming he iooks. . am toid that it is\n• <• wt re*nf sir Henrv in this particular role,\nthe only drawing in existence of Sir Henry in"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c017", "article_bluemountain": "bmtnaau_1912-04_01#c017", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "283", "page_fin": "285", "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=bmtnaau191204-01.2.10", "titre_corps": "JEZABEL : An Unpublished Story", "titre_sommaire": "JEZABEL : 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": 23, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2189, "texte": "JEZABEL. An Unpublished Stony\nby Oscar Wilde.\n& This story was told by Wilde to Miss Aimee Lowiher when a\nchild and wi itien GUL by her. A Tew copies were privately ,\nbut this is the first time it has been given to the public. &\n& Another story of the same series appeared in the January num-\nhor of 7*Zfe Afas/c; und others will he given in subsequent numbers.\nhe queen stood on her marble terrace gazing on the fair lands\nwhich lay far and wide around her palace. Her blood-red hair\nhung in thick braids on each side of her white face. She was\nwrapped from head to foot in a robe of woven gold, and long strands of\nemeralds coiled about her, flashing and glinting in the twilight like green\nsnakes at play. Her long pale hands were circled with gems, and she\nlooked like some marvellous idol in her gorgeous and deadly beauty.\n& She sighed a deep and heavy sigh, and Ahab the king said to her:,..\n& \" Wherefore slghest thou, oh Queen of Beauty, is there ought on\nheaven or on earth, which lacking, thy heart doth desire ? Hast thou\nnot all that gold can buy and that men can make with the labour of\ntheir hands? But if there be ought else that thy soul desireth, am I not\nhere to give It thee; for am I not thy slave, though I be the King of\nSyria? \" &•&&&&&&&\n& And the queen answered, and with slow and languid accents did she\nspeak, as one who is wearied with a great weariness and stricken unto\ndeath with the satiety of fulfilled desires. us?\n& ... Tis true, oh king! that I have all that the earth can give, gems,\nand gold, and garments of tyrian purple and woven silver, and marble\npalaces filled with slaves and with dancing girls; all these are mine.\nAlso have I rose gardens, and palm trees, and orange groves, where the\nscent lies heavy at noon. JS?^\n& And the camels with their swinging tread ceaselessly do cross the\ngreat desert heavy laden with perfumes and treasures for my delight.\nAnd every man is my slave, for 1 am almighty in my beauty. Even thou,\noh king, dost bow before me unto the dust, and thou art Ahab, the\nking of Syria.\nBut at my palace gate there is a vineyard, the grass is green, and\nthe doves fly there, and it belongs to another; therefore do 1 sigh. &"}, {"page_pdf": 24, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.24", "debut_caractere": 10, "fin_caractere_exclue": 2056, "texte": "And Ahab said: \"Sigh not, oh Isabel, for most surely shalt thou\nhave the vineyard, where the grass is green, and the doves do fly. It is\nthe field of Naboth, my standard=bearer, and the friend of my bosom,\nfor he hath twice saved my life in battle. &\n& Then sent he for Naboth the Syrian.\nNow Naboth was a youth of twenty years, and good to look upon, as\nhe stood before the king in all his strength and stature. &\n& And the king said : \" The queen doth desire thy vineyard. I will\ntherefore cover it with gold pieces, and with precious gems, which thou\nshalt take in the place of the land, or whatsoever else thou shalt appoint\neither in honours or in treasure, that shalt thou have, for the queen\ndoth desire thy vineyard. \"\n& But Naboth said : 44 Nay, king, my vineyard was the vineyard of my\nfathers. Their heritage to me, all I have, and I may not part with it;\nnay, not for all the treasure upon the earth\nThen Isabel, the queen, spake, and her voice was low and soft, like\nunto the summer breeze at evening: \"Do not trouble him, the vineyard\nis his, and should not be taken from him, suffer him to go in peace. \"\n£? And Ahab went forth, and likewise Naboth.^\n& But later on that day Isabel did call for Naboth, and he stood\nbefore her. & &\nThen said she unto him,: \"Come hither, and seat thyself beside me\non this throne of ivory and gold. \" & &\njC? But Naboth said : \" Nay, queen, that may I not do, for the throne of\nivory and gold is the throne of Ahab, the king of Syria, and on it may\nno man sit beside thee, save only the king. \" & &\nBut the queen answered: 44 1 am Isabel, the Queen, and 1 command\nthee to be seated ' . JZ? & & &\nAnd he sat beside her on the throne of ivory and gold. &\nj&> Then the queen said to Naboth: 44 Here is a drinking cup carven from\na single amethyst, drink from it.\" JZ?\nBut Naboth said: 44 Nay, for It is the drinking cup of Ahab, the king\nof Syria, and from it should no man drink save the king alone. \" &\nzz?But the queen answered: 441 am Isabel, the queen, and 1 command\nyou to drink from it\".& JZ? &"}, {"page_pdf": 25, "page_imprimee": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.25", "debut_caractere": 10, "fin_caractere_exclue": 1676, "texte": "£? And he drank from the drinking cup that was carved from a single\namethyst. £?\nZ? Then the queen said to Naboth: \" I am very fair. There is none other\nso fair on ail the earth. Kiss me S\" zz/ £? &\n& But Naboth said : \" Thou art the wife of Ahab, the king of Syria ; no\nman may kiss thee but the king.\" & & & & &\nAnd the queen said: \"I am Isabel, the queen, and thou shalt kiss me\".\nu&> And she twined her ivory arms around his neck, so that he could\nnot go. And then she cried with a loud voice, saying: \"Ahab! Ahab!\"\n£? And the king did hear her, and coming, did see her lips on the lips\nof Naboth, and her ivory arms twined around his neck. JZ?\nAnd mad with blind wroth, he ran his spear through the body\nof Naboth, the Syrian, who died, and fell in his blood upon the marble\nfloor.\nThen when the king saw the friend of his bosom lying in his blood,\nkilled by his hand, his wrath left him and his heart was filled with\nremorse and his soul with anguish. JZ> JZ? JZ>\n&\" oh Naboth! my standard-bearer and friend of my bosom, who\ntwice didst save my life in battle, have I with these hands indeed killed\nthee, and is the blood upon them indeed thy young heart's blood?\nWould that it were mine own, and that I were lying in mine own blood\nwhere thou art now 1 \"\nAnd his grief eat into his very soul, and his lamentations filled the air.\nBut Isabel, the Queen, smiled a'strange sweet smile, and said, with\nher voice which was like the sighing of the summer breeze at evening,\nso low and soft \" Nay king, thy lamentations are foolish and thy tears\nare vain: rather sbould'st thou laugh, for now the vineyard where the\ngrass is green and where the doves fly is mine & &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c020", "article_bluemountain": "bmtnaau_1912-04_01#c020", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "286", "page_fin": "288", "image_debut": 26, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.11", "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": 26, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 2043, "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS\nTWELFTH NIGHT.\nby E.W. Godwin. 1875.\nIthough the action of 44 What You Will\" Is directed or\ndescribed as taking place in a city of \" Illyrla \" there\nare but few words in the text which give anything like\na Dalmation complexion. If we accept \" Illyria\" we\nhave a city or seaport of the Venetian Republic under\nthe local government of a duke, or, more correctly, a\ncount, this last being the title given him by the law officer who arrests\nAntonio. TSvo passages... one referring to this arrest, the other to the\nCount's galleys and a sea-fight in which they were engaged... are almost\nthe only things, apart from the proper names, which could interfere with\nthe action if we preferred to remove it to England, for the spirit of this\nplay as compared with the other Italian plays is thoroughly English.\nAlthough, however, the contrast between the Earl of Southampton and\na boozing English knight might be really as great as that between the\npolished Italian noble and Sir Toby Belch, yet the apparent contrast is\nno doubt greater in the latter by virtue of the difference of nationality.\n& The time of the action is that of the production of the work, which\nmust have been between 1598 and February, 1602. & &\nThere are in ali eighteen scenes, including four in Olivia's garden and\ntwo at the sea-coast; this reduces the architectural scenes to twelve,\nfrom which, setting aside the repetitions, we have\n1. An inferior in the Count's palace.\n1* An Interior In Olivia's house.\n3* A street before Olivia's house*\n4. Another street.\nIt Is quite possible to treat this play for the modern stage as i have\nalready treated some others... that is to say, dividing It into acts, each\ncontaining one set scene, as thus.... &\nAct 1. Olivia's house.... an interior. (Act i. Sc. 3 and 5 ; Act ii. Sc. 3.)\nAct 11. The Count Orslno's palace... an interior. (Act ii. Sc. 2 and 4.)\nAct ill. Olivia's house... exterior and garden, with a garden-house,\n(Act ii. Sc. 5 5 Act iii. Sc. 1, 2, and 4 ; Act iv. Sc. 2.)"}, {"page_pdf": 27, "page_imprimee": "287", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.27", "debut_caractere": 17, "fin_caractere_exclue": 2524, "texte": "Act VI. The street before Olivia's house. (Act iv. Sc. i and 3; Act v.)\nThe sea-coast scenes and those in the Count's palace, not here included,\nmay be described, so far as they relate to the plot, either by the charac-\nters or in a prologue, or the coast scenes may be retained in their en-\ntirety where there is a good proscenium, and acted before the curtain or\nact-drop, which should then of course be painted for the purpose. uZr\n£? The architecture of the palace of Orsino and of the Lady Olivia's\nhouse may be Renaissance or Gothic or both. We have no special locality\nor town to consider, and, therefore, we cannot strictly follow any old\nexamples. Our business in Twelfth Night is to compose or design the\narchitecture in harmony with that which obtained in Venetian towns on\nthe Eastern coast of the Adriatic about the year 1600. This is the work\nof an architect as well as of an antiquary, and there are various ways of\ndoing it; but there is more than this, for in planning the scenes It is\nnecessary that the architect should understand some thing of the require-\nments of the stage, and of the business of the action, or the best\n%\ndesign in the world may result in failure. Stage management, or the\n\" business, \" as it is technically called, is one of the colours on which\nthe dramatic picture depends; scenery is another; costume another; and\nthe choicest tints, the high lights, the jewels of the picture are to be\nfound... or should be found... in the expression of the actor's voice, face,\nand figure. But the whole batch of colours and tints must be as one in\ntheir treatment if we wish to see a play rendered fitly. For one man to\ndesign an interior for Olivia's house with no control of or understanding\nas to the stage management; another to arrange the business of the\naction in total ignorance of the inner arrangement of an Italian mansion,\nor of the uses of its several parts ; for one to paint the walls knowing\nnothing of the colours of the costume ; another to design the dresses\nutterly indifferent to the colours of his background ; are the happy-go-\nlucky processes usually employed on the English stage, and any success\nthat may result from the adoption of such ways and means must neces-\nsarily be of the nature of a fluke. If we really want to progress in those\nmatters, the first step is to accept the dictum of Macready... \"No actor\nshould be a manager\". This strikes at the very root of the compound\nsystem of ignorance, mystery, envy, and egotism under which the dra-"}, {"page_pdf": 28, "page_imprimee": "288", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.28", "debut_caractere": 16, "fin_caractere_exclue": 1736, "texte": "matic and histrionic arts languish, flickering up now and then by the\nspecial help of some exceptional individual with, 1 will not say false, but\nmisleading brightness. & & &\nThe costume need not detain us long. Vecellio will still be a faithful\nservant to us here as before if we only treat him properly. The text, too.\nrefers to a number of interesting details. We are told that Sir Toby\nBelch Is dressed in a rough country style; having on his feet strapped\nboots, and Sir Andrew Ague-cheek has a weakness for dark crimson\n(damask) stockings. In the sth Scene of the first Act we see one of the\nuses of the lady's veil that occurs so frequently in the illustrations of\nVecellio. The steward Malvolio has a gold or silver-gilt chain, a \"branched\nvelvet gown\", i.e., one with a broad branch pattern, a watch, rich jewels\nand yellow stockings cross gartered, although in the beginning of the\naction his stockings, trunk hose, and doublet would probably have been\nblack. Besides this we have a doublet of changeable tafata, cheveril or\nkid gloves, and miniature portraits worn as jewels. There is a special\nreference to the great bed of Ware ; mention also is made of the extra-\nvagant!} carved chests of the time... \"trunks o'erflourish'd by the devil,\"\nthe relics of the town, its \"memorials and things of fame\" are recorded\nas worthy examination, and there is just one touch on architecture in\nthe Scene where Malvolio, locked in the inner room, complains of its\nhideous darkness, and the clown replies \" why It hath bay windows,\ntransparent as barricades, and the clear-stories towardes the south-north\nare as lustrous as ebony.\" &\n✓\n(1) Many costume designs by Vecellio have appeared in previous numbers of The Mask."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c023", "article_bluemountain": "bmtnaau_1912-04_01#c023", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "289", "page_fin": "289", "image_debut": 29, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.12", "titre_corps": "A WORD ON SHAKESPEARE : Translated from the Conversations of Goethe as recorded by Eckermann, 1822-1833", "titre_sommaire": "A WORD ON SHAKESPEARE : Translated from the Conversations of Goethe as recorded by Eckermann, 1822-1833", "signature_source": "Eckermann", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "289", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 2077, "texte": "A WORD ON SHAKESPEARE, Translated from\nthe Conversations of Goethe as recorded\nby Eckermann, 1822-1833,\nQoethe then showed me a remarkable English work which reproduces\nall Shakespeare in engravings. Each page comprised one play in six\nlittle designs under each of which were written some verses, so that the\neyes perceived immediately the principal thought and the most interes-\ntwig situations. All these immortal tragedies and comedies thus passed\nbefore the mind like a procession of masques.\nOne is astounded when one sees all these vignettes, said Goethe. One\nperceives then the infinite richness and the infinite greatness of Shakes-\npeare ! There is not a single situation of human life which he has not\npainted and expressed I And with what facility, what freedom 1\n£? it is impossible to speak of Shakespeare, everything is inadequate.\nIn my \" Wilhelm Meister \" I have moved around him trying to touch\nhim here and there but what I have said has no great significance. &\n%\n£? He is not a dramatic poet; he never thought of the stage. It was\nmuch too narrow for his great spirit: the whole visible world was itself\ntoo narrow for him. In him there is really too much richness and power!\nA creative mind ought not to read each year more than one of his plays\nif it does not want to find in him its ruin.\nShakespeare presents us with apples of gold in cups of silver. In\nstudying his plays we know well how to take from him his silver cups,\nbut we only know how to put into them apples of earth (potatoes);\nthat is the misfortune !\n& i consider \"Macbeth\" as the best play of Shakespeare for the theatre ;\nit is there that be has best understood the exigencies of the stage. But\nif you want to understand the freedom of his spirit, read \" Troilus and\nCressida \" where he has treated in his own way the subject of the Iliad.\nIn the poet and in the artist there is the infinite. It is this ingredient,\nthe infinite, which gives to this kind of genius the irreducible grandeur.\nVictor Hugo. \" William Shakespeare. \"\n0) A play on the words \" Pomme d'or \" and \" Pomme de terre"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c024", "article_bluemountain": "bmtnaau_1912-04_01#c024", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "290", "page_fin": "292", "image_debut": 30, "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=bmtnaau191204-01.2.13", "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": 30, "page_imprimee": "290", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 2141, "texte": "SOME FURTHER DEFINITIONS FROM AN 1825\nDICTIONARY\nTranslated by Pierre Ramés.\nP. R.\nhese Definitions, like those in the two preceding numbers\nof The Mask, are taken from that French Theatrical\nDictionary or Book of \"Twelve hundred and thirty three\n\" truths about the Directors, Regisseurs, Actors, Actres-\n\" ses, and Employes of the Various Theatres, with Con-\n44 fidences upon the Production of Illusion, Examination of the Dramatic\ntc Vocabulary. A Qlanco at the Material and Morals of the Performances,\n44 etc, etc,99 which was compiled nearly a century ago by an anonymous\nwriter, whose intelligent outlook on the situation may be fairly guaged\nby even so isolated an example as his protest against Footlights as a system\nof lighting which gave the impression that 44 the earth Is luminous .\nFor the rest, the intrigues and caprices, the mechanical tricks and\nartifices which he describes have hitherto found so safe a shelter in the\nTheatre that the modern Manager and Actor seem, if they have changed\nat all, to have changed merely in so far as they have learned to 44Commit\nthe oldest sins the newest kind of way \" and there is unfortunately but\ntoo little that Is out of date in these Definitions of a hundred years\nago.\nACCIDENTS. A long chapter In the history of the Theatre. & 0\nAPPLICATIONS. (Personal). & \" Have I not acted my part well?\" \"You\nare a man of talent much above the average \". \" You are a charming\nwoman\", etc, These are little formulas which an author should not ne-\nglect to place in all his works. They are directed towards the leader\nof the party responsible for stirring up enthusiasm, and eacli of them is\ngreeted with a long burst of applause. This kind of little cabal is very\nf e\ninnocent; it greatly pleases the actor, whose seif=love it flatters, and it\nprocures for the author a few more performances. &\nBOX OFFICE, A place where tickets are sold every evening to that\nportion of the public which has neither entrance by right nor entrance\nby favour nor entrance on suffrance, nor tickets from the management\nnor police tickets, nor author's tickets bought at half price or gratui»\ntously conceded. j£? &"}, {"page_pdf": 31, "page_imprimee": "291", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.31", "debut_caractere": 26, "fin_caractere_exclue": 2260, "texte": "CAPRICES. & The actors have few of them; the actresses have none ! 1\nEDUCATION. In the greater number of the actors whose memory has\nbeen preserved in theatrical annals a happy instinct supplied the place\nof the education which they lacked. Some comedians of our own day\nbring forward this fact in reply to the reproach brought against them\nof being, not merely little learned, but downright ignorant. The argu-\nment would be excellent if these comedians had the instinct and talent\nof their predecessors. JS/ &\nFOOTLIGHTS. They light the proscenium and so distribute their light\nthat the face of the actor is shadowed from the bottom to the top which\ngreatly spoils the appearance at the same time as it sins against truth.\nThe Opera, which seeks all means of perfecting theatrical illusion, should\noccupy itself first with getting rid of the footlights and replacing them,...\nfaith ! I don't know by what, but by some sort of artificial sun which\ndoes not project upon the person moving on the stage rays of such a kind\nas to give the impression that the earth is luminous.\nLIGHTING. The system is very faulty: it calls for a perfection wthout\nwhich the illusion will always be imperfect. The disposition of the footlights\nand their opposition to the upper and side lamps puts the actor and the\nscene between two equally false lights. &\nLIGHTNING. The wave in the distance heaves; the north winds, let loose,\nannounce a violent storm. Iphigenia hastens to re-enter the temple of\nDiana. The tempest Is about to burst. The stage hand upon whom the\noffice of Jupiter has in part devolved waves in the upper arch a torch\nfed by spirits-of-wine upon which is burnt, with much flashing, the lyco=\npodium which is projected upon the flame by a pair of bellows made\nfor that purpose. The air is rent by the fugitive brlliance of this dust,\nand the priestess, who is in the secret of the pyrotechnist, comes to the\nfront of the stage to tel! us a great lie and talk to us of lightning and\nthunder k propos of a fusee and a pinch of black resin.^\nNIGHT. A half turn to the tap of the gas=pipe; a twist to the lamps\n\n(i) Lycopodium. The club-moss: a yellow powder in the spores which burns with a bright flash. Nuttall's Stan-\ndard Dictionary."}, {"page_pdf": 32, "page_imprimee": "292", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.32", "debut_caractere": 24, "fin_caractere_exclue": 2222, "texte": "in the wings ; a veil of blue muslin in front of the footlights ; coloured\nglasses on the lamps, mutes on all the string instruments in the\norchestra, play of harps, tenor violins and vlolincellos; upon the stage a\nsolemn'silence, and in the boxes conversations in keeping with the mys-\nterious light in which the hall is wrapped ; such are the means, the\nindications and the consequences of night upon the stage. &\nRAIN. You hear the thunder rumble, and the sound of the rain strikes\nyou at the same time. You ask the secret of this somewhat ingenious\nimitation: follow me behind the scenes. Do you see those two workmen\nmoving alternately those long oblong boxes? Well, those boxes contain\nscraps of old iron and crockery. All this debris, in falling from one end\nof the box to the other, passes over a certain number of gratings, and\nit is the cascade-like sound which these broken fragments make in falling\nfrom grating to grating, which simulates rain and which has given you\nfor an instant the illusion. & JZ? &\nSPIRIT OF INTRIGUE. The spirit of intrigue is the familiar spirit of\nthe theatre: party spirit reigns there as a tyrant and recognises as its\nministers the business spirit and the spirit of association. & £/\nSTORM. JZ? A noise which arises in the pit at the performance of a bad\nplay, at the debut of a bad actor, or at the unforeseen change of the\npiece. The applause of the claquers provokes it; the admonishments of the\ncommissary of police make it break out; the presence of the police never\ncalms it; the fall of the curtain quiets It.\nThat is the storm in the auditorium ; now let us see it on the stage.\nThe light of the chandelier and of the argand lamps visibly decreases ;\nthe strips of painted cloth which represent the sea rock; blackened\ngauzes rise and fall on all sides; the lycopodium flashes on spirits of\nwine; the machinist makes the thunder roll on its moveable plank, the\nfiddles grow excited in the orchestra, supers cross the stage, running\nquickly and with their hands protecting their heads which no rain threa-\ntens; the lighted fuse runs across the stage following the prepared train;\nsome explosions are heard and the thunder bolt strikes its victim. &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c026", "article_bluemountain": "bmtnaau_1912-04_01#c026", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "293", "page_fin": "298", "image_debut": 33, "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=bmtnaau191204-01.2.14", "titre_corps": "A THEATRE HALL", "titre_sommaire": "A THEATRE HALL", "signature_source": "Joseph Furtenbach", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "293", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 2079, "texte": "A THEATRE HALL, Described\nby Joseph\nFurtenbach, 1663, With a Biographical Note\nupon the Author.\ne take the following account of an ingenious method for\npresenting to an audience four scenes upon four succes«\nsive stages from an old German book published in 1663\nand compiled by the architect Joseph Furtenbach, or\nFurttenbach, as the name is sometimes written.\nBorn in 1591 at Leutkirch in Svevia where his father had a seat in the\nmagistracy, the boy went at the age of fifteen to Milan to learn the Ita-\nlian language and spent nearly twenty years In Italy before returning\nhome. During this time he occupied himself principally with architecture,\nfrequenting the company of the most celebrated architects of the day.\nOn his return to Germany he settled in Ulm, where he obtained the\nposition of city architect, subsequently holding many other offices of\nimportance until his death on January 17, 1667, and leaving to the city\nmany buildings which were constructed according to his designs and\nunder his direction.\nA lover of the curious as well as of the beautiful, he possessed a vast\ncollection of all kinds of curiosities besides works of art, and an illu-\nstrated catalogue of these was published in 1660.\nA description of his own house in Ulm, which was published in 1641,\ngives proof of his ability and good taste, and to the same work he added\na chapter of instruction as to how to polish mother-of-pearl, shells and\ncoral and how to employ these in the construction of grottos.\nAmong his many works are Treatises on civil, naval, military and\nprivate architecture, the construction of churches, peasants' houses,\ngarden pavilions; a \"New Voyage in Italy \" and many interesting in-\nstructions for the Invention and manipulation of mechanical devices for\ntheatrical performances, (1) a subject upon which it seems not unlikely\nthat his interest had been quickened during his stay in Italy, of which\ncountry the \" Festival Artists \" had long been and still were deservedly\nfamous for their achievements.\n\n(1) Some of these will be published in future numbers oi The Mask."}, {"page_pdf": 34, "page_imprimee": "294", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.34", "debut_caractere": 19, "fin_caractere_exclue": 2187, "texte": "The two plans which accompany the text of the following article were\ndesigned by Furtenbach himself and etched by his son Joseph, who de-\nvoted his life to studies similar to those which occupied his father, and\nwho died on March 8, 1655. jzr &\nDESCRIPTION OF THE THEATRE HALL.\nrriie inner hall represented in the drawing by the figures 69 to m. and\nx to b has a measurement of 75 feet, and in this space there is a\nhanging stage with pillars so arranged that they do not stand in the\nlight of, or obstruct the view of, the spectators. '1 his eight cornered, or\noctagonal building is denoted by the figures, /, p, r, v, 8, x, s, t. £>\n& At points FFFFFFFF there are high windows, like those of a church.\nFigure A represents the principal entrance, leading by a broad stairway\nto the hall above, and figure w the exit, where there is a corresponding\nflight of steps. This theatre hall may be made available for various\npurposes, such as tournaments, fencing displays, dancing, assemblies,\nmarriage celebrations, banquets and the like, and for such events the\ntwo wings marked y and p can be used as buffets, something after the\nmanner described in the drawing No. 19 1° my \"Architectura Recreationis\nand fully explained on page 58 thereof. Above this buffet there is a\ngallery for musicians and singers.\n& With regard first to the buffet marked yit has two doors, which,\nwhen opened, disclose the various viands and other dishes provided for\nthe entertainment, and these can be readily carried to the guest table\nwithout any one being aware from whence they have come. An inner\ndividing wall or partition marked II has also two doors, which may be\nopened, and the additional space on the other side \"be used for\nservice. zZ? jZ? &\n& At the point marked K there is a table, or sideboard, whereon to\nplace dishes of food and to keep them warm and ready till required.\nThis provision room, or larder, is of the utmost convenience because by\na stairway marked k the dining hall can be reached from the kitchen,\nwhich is below and is so constructed that the hall is kept free from\nsmoke, steam and risk of fire.\nWhat has now been said with respect to the buffet on the right"}, {"page_pdf": 35, "page_imprimee": "295", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.35", "debut_caractere": 19, "fin_caractere_exclue": 2329, "texte": "applies equally to the one on the left, marked p and above this second\nbuffet there is another gallery, such as has been already described, for\nthe accomodation of trumpeters, cornet players, trombone players,\norganists, and instrumentalists generally, as well as of singers, who have\nthere every opportunity of making music. And, as in the case of the\nbuffet, the two doors h marked can be thrown open and everything\nneedful be brought in and placed on the banqueting table and afterwards\nbe taken back to the kitchen by the stairway /.\nIn this manner, and by means of these two appliances, the buffet and\nthe larder, refreshments of every kind can be easily and noiselessly\nserved and be fust as easily and conveniently removed. The buffet should\nbe covered with a suitable cloth and all drinking vessels and glass as\nwell as silver should be placed thereon and be so arranged as to produce\nthe best effect.\n£? At the spot denoted by the figure u there must be a round table for\nguests, as will hereafter be explained with more besides, and on this\ntable the feast is to be served. On the occasion of a marriage celebration\nthe table may be put on one side after the feast or banquet, and the\nopen space be utilised for dancing. &\nShould the building be required for theatrical plays, a part, or corner\nof it only need be opened, namely from to V and from rto I and from\nV to I on the east side. Between r and V is the gallery; letters a and\nb define the front pit and letters b to f show the first scene, or stage,\nwhich is 28 feet deep and 33 feet wide, with three movable scenes on\neach side, marked C. E and O, which can be turned or changed according\nto the necessities of the play that is being presented.\n& Between the letters f and f is the apparatus whereby the scenery\ncan be moved and adjusted to suit circumstances. The line marked g\ndenotes the back screen, behind which the actors are able to move freely\nwithout being seen and at h h, by means of steps, a lower floor can be\nreached where they can put on and take off their dresses and then\nre-ascend for the purposes of their business.\n£7 At n n n n on both sides are windows, but in what manner a\nmay be lighted with lamps, the scenery be changed and actions by water\nand land be presented is clearly set forth in the copperplate impressions"}, {"page_pdf": 36, "page_imprimee": "296", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.36", "debut_caractere": 15, "fin_caractere_exclue": 2295, "texte": "and descriptions Nos. 11, II ip, 12 and 13, to which, in all respects, 1\nwould refer all those who are interested in such things. (1) £/ &\n& The theatre hall being now arranged for the production of plays,\nand the necessary seats having been placed in position, many hundreds\nmay find accomodation in the space between r and / and between V and\nX without inconvenience and enjoy with the keenest pleasure not alone\nthe acting, but also tho music proceeding from the galleries over the\nbuffets or refreshment department. On the occasion of some princely or\nspecially distinguished banquet, at which also the performance of some\nplay is to take place, four theatres may be arranged, the first towards\nthe east representing the air A, The second towards the south, fire B. a\nthird towards the west, water C. and a fourth towards the north the\nearth Z>. all being set out in every respect like the first. £/\njg? These four theatres must at first be closed, that is to say the Hanging\ncurtains in front of them, namely r to V, 8 to X, s to t and /' to /?,\nmust be drawn together so that prior to the commencement of the p«ay,\nno one may know what is hidden behind them.\nNow that the four theatres are furnished, a round table must be\nplaced in the middle of the hall, in size so that twelve persons can sit\nat it. -S?\n& This round table, together with the seats, must rest upon a revolving\ncircular platform, 13 feet in diameter, which, by the action of mechanical\nappliances below, can be gently turned without the motion being noticed.\n&At this table twelve persons, as already said, can be comfortably\nseated, but If it were desired to entertain persons of specially high\nrank on the occasion of some great feast or festival, the half only of\nthe table may be used, thus presenting the appearance of a crescent or\nhalf moon, and in that case six only of such distinguished guests\nshould be seated there, care being taken so to place them they all\nfaced, and had a clear view of, the theatre without any intervening\nobstruction.\nThese persons would thus have their faces directed towards the main\nentrance 4 and be sitting with a buffet both to their right and left, and\nhaving above them in the clouds, or galleries, trumpeters, trombone\n\n(1) These will be given in a future number."}, {"page_pdf": 37, "page_imprimee": "297", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.37", "debut_caractere": 19, "fin_caractere_exclue": 2388, "texte": "players, kettle drummers, cornet instrumentalists and singers, none of\nwhom should be seen during the banquet, but only their music be heard,\nuntil the time arrived for the actors to perform their parts. &\nIn the course of the repast many unexpected things would happen,\nas for example the curtain between r and V would be suddenly drawn\nback and disclose to view the east or first scene A with lights or invisible\noil lamps, throwing a great light like unto that of day in the direction\nof the hall and this should be accompanied by a cool, refreshing air as\nthough coming from the Orient, rosy tipped clouds would be floating\nabove and many birds be seen flying around, and then the curtains would\nbe dropped and the whole scene be hidden from view. &\nAnd now, so quietly as to be almost imperceptible, the table u with\nthe guests is, by means of the mechanism below, already described,\nturned slowly round towards the south, so that the guests are brought\nin face of another stage, marked m, the curtains in front of which from\n8 to X are presently drawn aside to disclose the second scene, which Is\nthat of Mount Etna or Volcano, with such other objects as are incidental\nto southern or tropical countries, natives of the land in their native\npicturesque dresses, animals of different kinds, fruit trees and so forth.\nOn the completion of this picture or panorama the curtains are closed\nagain as before.\nThe platform with its table and guests is now revolved again until\nthe faces of the company are turned to the west and towards a third\ntheatre, with a view, when the curtains between t and s are drawn back,\nof a sea, calm at first and then stormy with huge waves, some of the\nrenowned western mariners being seen in their ships and here and there\ngreat fishes such as whales. Later the sea becomes calm again. Finally\ntwo ships are shown in naval combat and therewith the scene comes to\nan end by the closing of curtains as before.\nThe table, or rather the platform, now revolves for the fourth time\ntowards the north. The curtains in front of the stage or theatre at\nthat point, namely from / to p are treated as in the other cases and the\nlast scene is presented of a fruitful land with corn fields, trees and\nshady woods. Peasantry are tilling the soil, the gardener is planting trees,\nthe huntsman is following the chase and other occupations usual in nor-"}, {"page_pdf": 38, "page_imprimee": "298", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.38", "debut_caractere": 21, "fin_caractere_exclue": 377, "texte": "them countries are being actively carried on, when the curtains fall\nagain, hiding everything from sight and restoring the hall to its first\ncondition, without either scenery or actors. & & & &\nThe entertainment being now concluded, a tournament, fencing display\nor a dance may be given according to the wishes and pleasure of the\nassembled guests, (i) •£?"}, {"page_pdf": 38, "page_imprimee": "298", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.38", "debut_caractere": 1712, "fin_caractere_exclue": 1791, "texte": "(1) On the following page is given the plan of the Theatre Hall here described."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c029", "article_bluemountain": "bmtnaau_1912-04_01#c029", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "298", "page_fin": "298", "image_debut": 38, "image_fin": 38, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.15", "titre_corps": "ON COLOUR IN STAGE SCENERY", "titre_sommaire": "ON COLOUR IN STAGE SCENERY", "signature_source": "Goethe", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "298", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.38", "debut_caractere": 379, "fin_caractere_exclue": 1710, "texte": "ON COLOUR IN STAGE SCENERY.\nGoethe.\nFrom the \"Conversations\nwith Hckermann.\" 1822=1832.\nwe spoke of scenery and costumes for the theatre. These were the\nconclusions of our conversation : &\n« In general scenery ought to be of a tint favourable to the costumes\nwhich move before it as the scenery of Beutlier, which always tends\nmore or less to dun colour and lets the stuffs of the dresses stand out\nin all their freshness. £? ■£? &&&&■&\n£? if the scene painter is obliged to forsake this indefinite and veryfa=\nvourable tone, if it is necessary for him to paint a hall red or yellow,\nor a tent white or a garden green, the actors ought in this case to take\nthe precaution to avoid these colours in their costumes. If an actor with\na red coat and green trousers walks across a red room, the upper part\nof his body disappears, and one only sees his legs ; if he walks in the same\ncostume in a green garden, it is his legs which disappear, only the upper\npart of his body remains. I have seen an actor in a white coat and very\ndark trousers who thus disappeared half way in standing against a white\ntent or a dark background. And even when the scene painter represents\na red or yellow room, or grass, he ought always to keep his tints rather\nlow and aerial, so that the costumes can harmonise v/ith them and pro*\nduce their effect. *&"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c031", "article_bluemountain": "bmtnaau_1912-04_01#c031", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "301", "page_fin": "308", "image_debut": 41, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.17", "titre_corps": "SOME NOTES UPON ANCIENT PUPPETS", "titre_sommaire": "SOME NOTES UPON ANCIENT PUPPETS", "signature_source": "Yorick", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "301", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 2178, "texte": "SOME NOTES UPON ANCIENT PUPPETS,\nby “Yorick” with art Introductory Word\nby the Translator\nnown underj his nom de plume of \"Yorick\" the late P.\nFerrignl, for many years the dramatic critic of the Flo-\n• {\nrentine Nazione, has been called the \"Gautier of Italy\".\n>\nSo keen was his love of the theatre, so earnest and\nenthusiastic was he in his writings about It that a con-\ntemporary journal, the Ri vista Europea, published In 1880 its opinion\nthat, if an Editor should set himself to collect in a single volume the\n44 amazing series \" of dramatic essays and criticisms which had been for\nso long appearing in the Nazione, he would be raising a splendid mo-\nnument to the history of the Italian Theatre. Steps were taken to put\nthis proposal into effect, a long series of volumes being planned, of\nwhich at least one saw the light successfully,.... the 44 Storia dei Burat-\ntini\", the History of Marionettes.\nAnd no more interesting volume by the writer could perhaps have\nbeen Issued, since here, if ever, he was in love with his subject.\nHis own words, descriptive of his long and earnest studies, of the way\nin which he devoted his spare hours and moments to his researches,\ntestify to this. With a lofty conception of the greatness of his subject\nand a modest estimate of himself he sets to his work; with a little fear,\nhowever, that having enumerated the names of his predecessors in the\n>»\nsame study, having pointed out the historical importance of the puppets\nand their many vicissitudes in many lands, he may have induced in the\nreader the impression that the subject is too serious for treatment by a\n44 scrittorello \", a 44 little writer\" like himself. But he consoles himself\nwith the hope that the lovers of puppets may extend their indul-\ngence even to the historian of the puppets, and declares it his aim to\n44 precede in his researches and to conduct his narrative with so much\n44 simplicity of ideas, with such sincerity of purpose, such ingenuousness\n44 of form and with such great and full good faith \" that 44 in the end\n44 the courteous reader may take me, too, for a puppet \" and 44 applaud\nmy History as he applauded the last performance of marionettes I"}, {"page_pdf": 42, "page_imprimee": "302", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.42", "debut_caractere": 26, "fin_caractere_exclue": 2296, "texte": "& That he has brought thoroughness and earnestness to his work is\nproved by his own account of the researches which have carried him to\nail the sources, both the great rivers of knowledge and the little streams;\nthe books and monographs and manuscripts and journals he has exami-\nned ; the \" chllometers of dust \" he has swallowed in the libraries in\nhis desire to see all, arrange all in right order, verify all references,\nall examples, all quotations. 44 You cannot imagine \" he writes in his\nPreface, 44 the enormous mass of printed or written paper that I have\ngone over, that I have turned the leaves of, page by page; that I have\ncut up Into notes, entries, extracts, schedules, catalogues, to glean all\nthat was possible upon the subject of puppets\".\nHe then goes on to enumerate some of the authorities which he has\nconsulted, and whose names are given here for the assistance of other\nstudents.\n& Magnin's learned work, serving as a general example and guide, served\nhim also in particular for information relative to the French marionettes\nof other periods and to those of Italy.\nFor the puppets of the ancients, the Egyptians, Greeks and Romans\nhe turned to Plato, Aristotle, Junius Senafonte, Girolamo Cardano,\nAdriano Turneo, Dlodoro Siculo, Carlo d'Aquino, Horace, Plutarch,\nAteneo, Callistratus. Father Kircher, Father Anton Maria Lupi, Ignazlo\nPaterno Castello, Ottofredo Muller and hundreds of others whom for very\nbrevity's sake he omits to name. &\n& The Spanish puppets obliged him to resort to Covarruvlas, to Strada,\nto Polo de Medina, to Figuerroa, to Cervantes, to Francesco de Übeda.\nFor the English puppets he turned to Shakespeare, Addison, Hawkins,\nWhalley, Payne-ColHer, Ned Ward, Drake, Wright, Gifford, Chalmer, and\nto all the reviews from the Cornhill Magazine of London to Liplncott's\nMagazine of Philadelphia. & &\nHoffman, Grimm, Abraham, Santa Clara, Graff, Casparson, Von der\nHagen, Prutz, Bruckmann, Martin Luther, Leutvecher, Hormayr, Frlsch,\nFioegel, Leitner, Schlager, Schutze revealed to him \"many hidden things\nabout the German marionettes\", while for the Italian he gleaned a little in\nall directions, since everywhere, In all the theatres of all the nations,\nwere to be recognised some traces of the puppets and puppet-showmen"}, {"page_pdf": 43, "page_imprimee": "303", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.43", "debut_caractere": 28, "fin_caractere_exclue": 2280, "texte": "of 1ta1y,... that is, the Italy of the ancient times and of the middle\nages and, for the subject of puppets in general to add yet a few more\nfrom the list of those who have occupied themselves with these little\npeople, Marcus Aurelius, Qalen, Apuleus, Tertullian, Sinesio, Albertus\nMagnus, St Thomas Aquinas, Cervantes, Ben Jonson, MoliSre, Hamilton,\nPope, Swift, Fielding, Voltaire, Goethe, Byron, B3ranger.\nAll this material, he tells us, he has studied and sifted, gathering\ntogether the most and the best that he could within the compass of his\nlittle book, and always studying to correct errors, to fill up blanks, to\nrectify dates, to straighten out wrong judgements, and, aiding himself by\nthe work of his predecessors, to raise his edifice upon the base of his own\nInvestigations, his own criteria, his own observations and his own ideas.\n] cannot, he declares, ** invent facts, for ge dates, play at ball with\nnames, falsify testimonies, create quotations, invoke miracles, silence the\nliving and make the dead speak. I study the History of the Puppets. I\nam by no means writing the History of the Popes \" I &\nAnd this history of puppets which he studies is inseparable from the\nhistory of the theatre.\n& This being so It is of their life in the theatre rather than in the\ntomb or the temple that he writes chiefly, although in the extracts here\ngiven from the opening chapters of his book it is of the great images\nwhich took their part In the solemn religious ceremonies of Egypt, those\ndivine ancestors of the modern marionette of whom Mr Gordon Craig\nand Mr Adolf Furst have already written in Mask, that he speaks.\nIn future numbers of the journal will be given further and more detai*\nled essays on the Marionettes of England, Italy, Spain and other coun=\ntries by the same writer, but here is merely added, to the many already\ngiven, one more testimony to the lofty origin of the puppets, \" the\ndescendants of a great and noble family of Images, Images which were\nmade in the likeness of God\". &&&■&&&\nTHE LINEAGE OF THE PUPPET.\n'Thirty centuries of public life, three thousand years of uninterrupted\ntradition; do these suffice to prove the nobility of lineage in the\nfamily of the Marionettes? How many are the illustrious houses, the"}, {"page_pdf": 44, "page_imprimee": "304", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.44", "debut_caractere": 26, "fin_caractere_exclue": 2376, "texte": "princely families which have a right to a place in the Almanach of Gotha,\nwhich can boast a genealogical tree planted in the soil of history so long\nas thirty centuries ago ? &\nBut what am I saying ? thirty centuries ? Have we not all read, In the\neighteenth canto of Homer's Iliad, the description of the golden tripods\nconstructed by Vulcan, which went of themselves to the assembly of the\nGods and of themselves returned to take their place in the caverns of\ntheir native mountain ? Have we not all found, in the first book of the\n\" Politica \" of Aristotle, the mention of the famous statues of Dedolus\n(of which Diodoro Siculo, Suida and Callistratus also spoke), real puppets\nof wood with articulated members, capable of moving themselves, of\nwalking at a sign from the great artificer before the astonished eyes of\nthe profane ? The Jupiter Ammon, the Apollo of Heliopolis, the Theban\n*\nVenus, the Twin Fortunes of Anzlo, were not these perhaps hierarchical\npuppets, moved by strings and caused to speak with the voice of the\npriest hidden within the hollow breast of the image «<£? &\nIn Etruria and Lazium, where priestly cunning studied the art of\nmiracle with the aim of obtaining dominion, the moving figures of the\nGods filled the temples and gave a mysteriously religious character to\nthe pomp of the public festivals. Yet this was no longer a novelty. The\nexample had come from Egypt, where the assembled mummies and the\nidols of Thebes and Memphis had inaugurated, many centuries before,\nthe religious custom of articulated puppets.\nAnd had the Egyptians perhaps themselves invented, at an already\nfar advanced period of civilization, those little figures of bone, of wood,\nof potter's earth, clumsily modelled, which the wise researches and dili-\ngent excavations of Champolllon, of Rosellini, of Mariette have once more\nbrought forth to the light of the sun ?\n& Were they then a truly indiglnous product, a first manifestation of\nlocal art, those formless, roughly shaped models, those splinters of gra-\nnite and jade, those wooden pegs scarcely fashioned at all, which\npoorly imitate, by means of four marks laboriously engraved, the material\naspect and the uncertain outline of a beast or of a man ?\nthe actual state of our knowledge relative to the history of the\nhuman race we are inclined to believe in the Egyptian origin simply"}, {"page_pdf": 45, "page_imprimee": "305", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.45", "debut_caractere": 26, "fin_caractere_exclue": 2279, "texte": "because we are not able to trace further back than Egypt in the inter-\nminable course of centuries. & &\n& But if our supposition were in accordance with the truth, if the first\nreligious idol, the first hieratic image, so simple, so rude, so clumsy,\nwere indeed to be attributed to the aborigines of the valley of the Nile,\nto what epoch, I ask, would it be fitting to make the first appearance of\nthe sacred puppets on the face of the earth date back ? &\nLet us make a few calculations if you have no objection. &\n& Manete, the warrior king, the wise legislator, who founded the city\nof Memphis and raised the first temple to the God Pta, lived, according\nto the most probably exact calculations, five thousand eight hundred\nyears before the Christian era. But at that time Egyptian art had already\nattained to a marvellous\nThe temple, erected by the head of the first Dynasty, attested to the\ndegree of perfection attained by the architecture of the country. The\nstatue of the God, an enormous monolith, fashioned not without majesty\nand grace, furnishes a very high criterion of the progress of sculpture\nat that period. & jZ? & &\n& Add to that the fact that Manete was the reformer of customs, the\ngreat innovator who liberated the peoples of the Delta from the yoke of\nthe sacerdotal caste. How many years could one not therefore count in\ntracing backward from the great statue of Fta to the first Egyptian idol\nfashioned by the hand of man ? or, rather, to the first religious puppet\nmodelled by the Industrious fingers of some neophyte and set up by the\ncunning of a priest for the adoration of the ingenuous and fearful\nmultitude\n& Nor must it be said that, by making calculations in this way, 1 deli-\nberately confound the puppets with the idols, while the two things are,\nin reality, very different the one from the other. The latter, compact,\nmassive, all in one piece, all of one material; more like statues destined\nto remain perpetually in the same place and in the same attitude . the\nformer flexible, articulated, formed of pieces ingeniously fashioned and\njoined together, and so arranged as to produce the illusion of gesture,\nof action, of vital movement. & jz? zz?\n& It win be subsequently seen that such a confusion, merely apparent"}, {"page_pdf": 46, "page_imprimee": "306", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.46", "debut_caractere": 26, "fin_caractere_exclue": 2407, "texte": "oa my part, Is not in any sense my work, and you will quickly realise\nthat this answers perfectly to historical truth and to the logic of fact\nand Ideas.\n& The ancient idols, the visible images of the mysterious, superhuman\nforces and powers, controllers of worldly phenomena, had not always, in\nfact had not for a long time, immobility and stability as their characteristic\nsign; above all among ignorant peoples, among whom the knowledge of\nphysical laws and the practise ®f mechanical artifices constituted, for\nthe sacerdotal caste, one of the best preserved secrets, one of the most\nefficacious and most certain means of dominion.\nThe fearful and colossal figures of the gods with animal's heads, with\nhuge limbs; with a hundred monstrous arms armed with instru°\nments of destruction, would not have inculcated such great terror into\nthe minds of the first believers nor inspired such admiration in the fierce\nand restless multitudes of the first centres of habitation if they had\ncontinued to remain motionless on their pedestal, inert and cumbersome\nmasses against which every lack of respect, every violence, every over-\nbearing act could flatter itself that it was directed with impunity. &\nThe idea of supernatural power must not in that epoch have always\nremained disassociated from the idea of action, of movement, of loco-\nmotion, of material force, and the pontiffs, the priests, the founders of\nthe most ancient theocracies, were too wise not to understand and\ntoo cunning not to turn to advantage the tendency of the multitudes\ntowards the marvellous, the strange, and the inexplicable. & £>\n& And thus it came about that, in Egypt, from the times anterior to\nthe first dynasty of the Pharoahs, all that had any relation, either closely\nor distantly, with the State religion, grew rapidly, and attained to ithe\nmost unlimited proportions; all took a grave, enigmatic, mysterious\ncharacter, and among the silent shadows of the temples, under the re-\nsounding vaults of the granite catacombs, in the subterranean galleries\nof the pyramids, in the uncertain and smoky light of the torches, the\nstatues of the Gods, moved by mysterious contrivances of levers and\nchains, by hidden combinations of wheels and pulleys, moved their heads,\nopened their eyes, opened their mouths, raised their arms and spread\nout menacing hands above the heads of the awestruck believers. &"}, {"page_pdf": 47, "page_imprimee": "307", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.47", "debut_caractere": 26, "fin_caractere_exclue": 2472, "texte": "They were enormous puppets, created to inculcate a salutary fear ;\nbut they were always puppets, induced to play a part in the great human\ncomedy, manipulated by knowing men who held their strings and regu-\nlated their movements, to master the natures, set free the Instincts, fire\nthe enthusiasms, and strengthen the passions of a people greedy for\nspectacles and delighting in stately ceremonies,\n& Later, when religion ceased to be at one with the government of the\npeoples, when learning was no longer the privilege of a dominant class,\nwhen the Gods of Greece and Rome mingled with the divinities of Egypt\nall to be presently precipitated together into the great conflagration of\nall the ancient cosmogonies ; when the mystery was revealed, when the\nsecret was uncovered ; when, beside the temple, arose the theatre ; when\nsatirical chatter succeeded to silent fear, when the audacious hand of\nAristophanes dragged the Gods on to the stage and the timele; when for\nthe shapeless and fearful colossi were substituted the divinely beautiful\n«\nstatues of Phidias and Praxitlles, animated by the creative and vivifying\nbreath of art and no longer by the scientific hoards of internal mecha-\nnism ; when form triumphed and fear was held back by 10ve,... then the\nshattered idols let issue forth from their huge broken bodies the myriad\nof useless and creaking parts, the colossi dwindled miserably, and the\nmonstrous divinities transformed themselves into caricatures and into\nplaythings to amuse children and to delight the common people, &\nFrom these begins the new life and the new history of the puppets,\nwhich over-spread all the world, penetrated into every most remote\nangle of the earth, dispersed themselves among the houses, gathered\ntogether in the sepulchres, mounted upon the stage, descended into the\npublic squares, occupied markets and fairs, constructed for themselves a\nstage of their own, had a special repertory, and, in short, exercised an\ninfluence very different from, but in no wise less than, formerly.\nWere they born from the dramatic form or was the dramatic. form\nborn from them ? In other words, did the flesh and blood actors precede\nthe puppets or did the puppets precede the flesh and blood actors on\nthe stage ? An insoluble problem 1 This only can we assert with certainty:\nthat both the one and the other lived contemporaneously; that in the\nsame time and often in the same place, and before the same spectators"}, {"page_pdf": 48, "page_imprimee": "308", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.48", "debut_caractere": 26, "fin_caractere_exclue": 461, "texte": "the marionettes performed tragedy, comedy and farce, daring to stir up\nthe same most grave social questions, seeking the solution of the same\nproblems of morality, of politics, of legislation ; lauding to the skies or\nturning into ridicule the same persons 5 arousing, like the real actors,\nterror, pity, indignation, laughter, applause; and stirring up, and controll-\ning by their talent, the expression of all the human sentiments. &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c034", "article_bluemountain": "bmtnaau_1912-04_01#c034", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "308", "page_fin": "308", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.18", "titre_corps": "A CONFESSION OF FAITH", "titre_sommaire": "A CONFESSION OF FAITH", "signature_source": "Anatole France", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "308", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.48", "debut_caractere": 463, "fin_caractere_exclue": 2030, "texte": "A CONFESSION OF FAITH\nby Anatole France.\n“La Vie Littéraire.\"\nI do not fear, for my part, to formulate my creed. I believe in the\nimmortal soul of Polichlnelle. I believe in the majesty of marionettes\nand dolls. Doubtless there Is nothing human according to the flesh in\nthese little personnages of wood or cardboard; but there is in them\nsomething of the divine, however little it.may be. They do not live like\nourselves, yet they do live. They live with the life of the immortal gods.\n& If I were a savant I should endeavour to assign a place to their\nsymbols as Guigniaut attempted, after Creutzer, the symbol of the divl-\nnities of ancient Greece. &\n£? Assuredly the dolls and marionettes are very little gods, but still they\nare gods. See also: they resemble the small idols of antiquity. They\nresemble yet more the rude figures by which the savages assayed to\nshow the invisible. And to what are they like if not to idols since they\nare themselves idols? Their function is absolutely religious. They bring\n%\nto little children the only vision of the divine which is Intelligible to\nthem. They represent all the religion accessible to the most tender age*\nThey are the cause of our first dreams. They inspire our first fears and\nour first hopes. Pierrot and Pollchinelle contain as much divine anthro-\npomorphism as brains scarcely formed and already terribly active can\nconceive of. They are the Hermes and the Zeus of our babies. And every\ndoll is yet a Proserpine, a Cora for our little girls. 1 would wish these\nwords to be taken in their most literal sense."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c035", "article_bluemountain": "bmtnaau_1912-04_01#c035", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "309", "page_fin": "320", "image_debut": 49, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.19", "titre_corps": "THE DRAMA IN JAPAN", "titre_sommaire": "THE DRAMA IN JAPAN", "signature_source": "Sheko Tsubouchi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "309", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 2271, "texte": "THE DRAMA IN JAPAN\nby Sheko Tsubouchi.\nt is gratifying for us Japanese to know that you wester-\nners entertain such a kind respect for the Japanese arts.\nBut I fear that our arts do noLalways deserve your respect.\nTime has changed, and we can no longer feel the same\ncharm and dignity that our forefathers felt, towards our\npast arts. And when you admire them, it appears to us as\nthough you are admiring their ghosts, the empty shadows\nof what, for us, have been dead long since. Many pictures\nand statues of the past are before us unmodified ; and\neven In drama, we can sometimes see old plays played as\nthey were played in the past. But we feel that they are things of the\npast, that they are not what we want for the modernized Japan, that\nthey are the old bottles into which new wine cannot be put.\n& I was repeatedly asked by would-be admirers of the Japanese arts,\nwhy do we study and imitate the western arts while we have the admi-\nrable arts of our own ? The question is impertinent. We cannot, nor do\nwe want to reproduce the western arts in the country of a very different\nculture. But, on the other hand, we cannot remain the slaves of our\npast. We cannot produce arts that satisfy our new demands by patching\nup the lifeless remnants of the past arts. I might as well ask these\nadmirers to rebuild the Black-Friar and the Globe of the Elizabethan\nage in the midst of the city of London, in order to keep the beauty of\nthe Shakespearian drama living in your brilliant twenty century society.\nIs it not better that the past should die its life without influencing us,\nthan it should stifle our fresh spirit. If the past is to influence us at all\nit must first be Influenced by the spirit of the new age. It is for this\nreason that we study and imitate your arts, Our demand is different\nfrom yours. And so, we draw inspiration from your arts, while you draw\ninspiration from ours.\n/f> To be sure, we do not mean to abandon our past arts. We are stri-\nving to assimilate them to the new spirit. You see that our problem is\ntwo-fold. We have first to assimilate your arts to our national taste,\nand then turn back to our past arts with a fresh spirit and from a new\npoint of view, and make them influence us in turn. Only thus can a\nnew national art be created."}, {"page_pdf": 50, "page_imprimee": "310", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.50", "debut_caractere": 20, "fin_caractere_exclue": 2453, "texte": "As a matter of fact, we have not yet assimilated either the western\narts to our national taste, or our own past arts to our new demand.\nThese two heterogeneous arts are merely juxtaposed. In painting, in\nsculpture, and in literature, the modern Japan has nothing but the\njuxtaposition of these two elements. And this juxtaposition is most mar«\nked in drama. Our most ancient and sacred drama is played side by side\nwith the plays of Ibsen. 44 No \" drama, the most characteristically Japa°\nnese and medieval, and of which I am going to speak presently at length,\nis played in the one corner of a street; and in the other, you see Shaw's\nplays reproduced without any modifications at all. We are looking for a\ngenius who can assimilate these two heterogeneous elements into one\nnew art that will be our national art. & &\nI need not explain to you how we have tried, and still are trying, to\nreproduce plays of Ibsen and Shaw and other German and Russian plays,\nwithout much success. In order to reproduce these plays, our actors have\nfirst to become westernized, before they can impersonate the characters\nof the plays. This is almost an impossible task, and it is no wonder that\nthe original charm and dignity of these plays that we get by reading\nthem, are lost when they are reproduced on the Japanese stage. Thus\n44 Hamlet \", 44 Merchant of Venice \", \" Doll's House \", and 44 Lonely\nLives\" were reproduced and ended in failure. One way that has been\nsuggested to reproduce western plays on our stage is to translate the\ncharacters and the situations of these plays Into the corresponding Ja»\npanese characters and situations. But when we try to do this, we soon\nfind that many customs and sentiments and even key phrases of the\noriginals, are incompatible with our mode of life. When we eliminate these\nincompatibilities and reproduce the original plots in new Japanese set*\ntings, we scon find that, Instead of reproducing them, we are writing\nnew plays. Nothing short of this will succeed. 44 Hamlet 44 Othello \"\nand 44Monna Vanna \" were presented with Japanese characters and in\nJapanese settings, but they failed, because the contents of the plays\nthemselves were not modified at all. You see how it is Impossible to\nreproduce your plays on our stages successfully. The only things that\nwe can learn from your drama, I think, are its technique and principle.\nAnd even the technique and principle of your drama must be carefully"}, {"page_pdf": 51, "page_imprimee": "311", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.51", "debut_caractere": 20, "fin_caractere_exclue": 2449, "texte": "compared with those of our drama, before they can be successfully\nadopted for our purpose to render the new passions and the new situa-\ntions of our special life in the dramatic form.\n& While some are thus striving to express the fresh pulsation of our\nsocial life by the technique and the principle of your drama, the old\nJapanese drama is still worthily represented by others and appeals to\nour deep-rooted national sentiments. Whether it will remain as an in-\ndependent national art for a long future, or will be assimilated into the\nnew dramatic form, it is an 'element that no successful Japanese play-\nwright of the future can afford to ignore. Let me explain to you in broad\noutlines, what this old drama is.\n& The origin of Japan can be traced as far back as three thousand years.\nAnd In our earliest records, we read frequently about 44 Mai44 Mai \"\nmeans dance. These dances were, for the most part, played before the\npatriarchal fathers, to soften their sorrows or to celebrate their good\nfortunes, especially after a triumphal battle. They were merely a part of\nthe entertainment of these occasions and have nothing to do with the\nJapanese drama that developed later in our history. About two thousand\nyears ago, Japan began to communicate with China through Korea.\nThis intercommunication, as it became more frequent and active, brought\nto us the civilizations of India, China and Korea, their arts and religions.\nTheir religions were, of course, Buddhism, different in some details, but\nthe same in their main spirits. Their arts were more varied ; but the\none that suited most to our national taste and is still preserved is\n44 Bugaku \". 44 Bugaku \" is not a kind of drama, It is a kind of dance. It\nis our oldest theatrical art. I think that it originated in India, but before\nit was introduced to us through China and Korea, it must have been\nmodified to a great extent. And after it was introduced to us it suffered\na still greater modification according to our national taste. It was refi-\nned and became the most favourite court dance. I think that it is not\ntoo much to say that, when it was at its best, it was the most delicate\nart that the world has seen. There are about two hundred dances of this\nkind. One represents eight white storks alighting on a sacred mountain\nof India. Another represents an old Chinese patriarch dancing alone\ncarried by the spirit of wine. Another is the dance of four Japanese"}, {"page_pdf": 52, "page_imprimee": "312", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.52", "debut_caractere": 20, "fin_caractere_exclue": 2412, "texte": "courtesans in the garden of Spring under cherry trees* Another is the\ndance in which appear four triumphant*soldiers in succession and finally\ndance together a dance of swords. The music that accompanies these\ndances Is produced by such simple instruments as flute, harp, and kinko,\nand by songs, the tune of which mostly consists of prolonged weak vowel\nsounds. Simple as its music and its action are, this art is infinitely de=\nlicate. In some of these dances, dancers wore masks. Often, the expres-\nsions of these masks are very poetical, and surpass in their symbolic\nexpressiveness those of Greek masks and our later \"No\" masks. As these\ndances were played in the shrine before the altar, no special background\nwas used. 1 said that they were the most favourite court dances. Soon\nthey became the sacred dances played only as a ceremony to our ancestral\nspirits in their shrines. In other words, Bugaku became a sacred art. The\nvulgar could not see it easily, and it was utterly Impossible for them to\nlearn it. It is so even now. Considered from the point of view of our\ndrama, this is, indeed, unfortunate; but it is owing to this sacred\ncharacter of this art that It has been preserved intact to this day. And\nwhen we think that even now we can see it, though very rarely, we\nought to be grateful for our unchanged imperial dynasty that has\npreserved it.\n& \"Bugaku\" is as 1 said, the oldest Japanese theatrical art preserved to\nthis day. From it we ought to learn the delicacy and freedom of action\nana the symbolic beauty of its masks and dresses. Two other arts that\nare much more dramatic than \"Bugaku\" have developed in our later history.\nThey are \"No\" drama and \"Kabuki\" drama. The periods in which these\ntwo arts developed and the present period in which the influence of the\nwestern drama is predominant may be considered as the three main pe-\nriods in the development of our drama. jg?\n\"No \" is our next oldest theatrical art. Compared with \" Bugaku \"\nwhich is nothing but a kind of dance, \" No \" is much more dramatic. It\ncan be called drama. It originated in the.age of Hojo Shogunate, in the\nfourteenth century. After \" Bugaku \" became the sacred art of the Courtf\nsomewhat similar but less dignified art that had been practised in local\nshrines was developing in its own independent way. As Buddhism that\nwas introduced to us almost together with \" Bugaku \", began to gain"}, {"page_pdf": 53, "page_imprimee": "313", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.53", "debut_caractere": 20, "fin_caractere_exclue": 2492, "texte": "Infuence upon Japan life, it made use of this local art and finally deve-\nloped it into 44 No The writers of 44 No \" drama were, therefore, all\nBuddhists. In the age of Hojo and Ashikaga, Japan was ruled not by\nemperors or by courtesans, but by warriors, by so-called Shoguns and\ntheir followers. The lives of the warriors of this age were especially\nhazardous and uncertain. The friends of yesterday became the enemies\nof today. They were never certain what the fortunes of tomorrow would\n■turn out to be. Their lives were in constant danger. Living under such\ncircumstances, they were naturally attracted by the religion that taught\nthat life is a dream and deed is vanity; that salvation consists in freeing\nyour soul from the chain of existence. It is also natural that they found\nKatharsls of their motions in \" No\" drama that was based upon the\nteaching of Buddhism. Take any of three hundred \" No \" plays, and you\nfind in It Invariably ghosts or lost souls or souls that have attained\nNirvana. Its dialogue, if there is any, is invariably about the chain of\nexistence or the attainment of Arahatship. As Buddhism no longer ap-\npeals to our spiritual life, so 44 No \" drama no longer satisfies our emo-\ntional demand. You see that we cannot revive this drama, the tone of\nwhich is pessimistic through and through. Moreover, this pessimistic\ndrama is monotonous. The same plot and the same thought run through\nits three hundred plays. Further, its dialogue consists of old Chinese and\nJapanese sayings patched up hap-hazard. & &\n%\n£/ Though the works of these 44 No \" writers are not very valuable for\nus, the ways in which these plays are presented are very instructive. At\npresent, they are often played in the evening on a stage lighted by gas\nor electricity. But until several years ago, they were played only in day\ntime. Having developed out of a kind of 44 Bugaku \" that was played in\nthe shrines, 44 No \" drama, like Bugaku is presented on a stage that has\nno background and no curtain. There is in the back of the stage a plank-\nwall, on which are painted large pine trees. This may be called the\nbackground of the stage, but this background is never changed, no matter\nwhat play may be presented before it. It is, therefore, rather a part of\nthe permanent decoration of the stage. Ihe floor of the stage and its\nsurrounding walls are made of planks of Hinoki tree. The stage is rec- ,\ntangular, and at its four corners stand four posts. These four posts are"}, {"page_pdf": 54, "page_imprimee": "314", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.54", "debut_caractere": 20, "fin_caractere_exclue": 2405, "texte": "regarded as the symbols of the four corners of the earth, and stage\nitself as a small world. Under the floor are buried four or five large\nempty vases, which serve as a sort of resonater to the sound of the\nfootsteps, and of the harps and the flutes that are played on the stage.\nTowards the left of the stage is what is called Hashigakari. This is a\nnarrow path leading from the dressing room to the stage. It is made o\nplanks and is really a part of the stage. 44 No » actors play on it as they\nco through it to the stage. Between the stage and the seat of the spec-\ntators lies an unoccupied space covered with sand. This space is meant\nto mark the separation of the sacred stage from the vulgar seat of e\nspectators. It is a kind of proscenium, but its meaning is more religious,\nm this sandy space, along the Hashigakari, are planted three pine trees.\n1 am not sure what they mean : but 1 think that both they and the pine\ntrees painted on the back wall symbolise purity and piety or some such\nreligious virtues. &\n& The music of 44 No \" drama, like the music of 44 Bugaku \" is very\nsimple. In the front of the back wall sit five persons leaving an interval\nof about one foot and a half between them. One is a flute-player, three\nare hand-drum players (that Is, the drum played with hands), and the\nremaining one is stick-drum player (that is, the drum played with sticks).\nOn the right side of the stage sit several singers who make no gesture\nwhatever, turning their backs to the spectators of the right side of the\nstage, and their left shoulders to the spectators of the front of the stage.\nThe number of these singers are usually eight, though it is not inva-\nriable. These singers make the chorus of 44 No\" drama, and the four\npersons in the front of the back wall make the orchestra of this drama.\nThe duty of the orchestra is to guide the singing of the chorus and\nthe players. The song of the chorus sometimes expresses the emotions\nof the chief character, and sometimes the criticism of the spectators.\nOccasionally, it explains what the players are doing. When too heavy a\ntask in acting falls on a player, the chorus sing for him what otherwise\nhe himself would sing. This is what we do not notice in the chorus of\nthe Greek theatre, which has often been compared with the chorus of\n«* No \" drama.\n& It takes about one hour to play one play of 44 No\" drama and usually"}, {"page_pdf": 55, "page_imprimee": "315", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.55", "debut_caractere": 24, "fin_caractere_exclue": 2396, "texte": "from three to five plays are presented in one day. In the interval is\ninvariably inserted a short farce called \" Kyogen This farce gives\nrelief to the emotion of the spectator that is apt to be heightened or\ndepressed too much by the sublime tone of \" No \" drama. The players of\nit were always men of the second rate. JZ? &\n£? Not all players of 44 No \" drama wear masks. Masks are worn only\nby the players playing the part of a ghost or a woman or a monster.\nThese masks resemble to the Greek masks, very much more so than do\nthe masks of 44 Bugaku \". Good masks are valued very highly by the\nconnoisseur of 44 No \" drama. We hear very often the stories of mask-\nmakers who abandoned their families and spent several years of privation\nand hardship, in order to make one good mask. Such men were not rare\nin the past. Not only mask-makers but also players regarded their art\nwith a sort of religious reverence. And when the occasion came to exhibit\ntheir art before the Shogon, the head of the warriors and ruler .of the\nage... they devoted seven days for preparation, taking cold baths every\nday, and choosing their food with the utmost care, and purifying their\nsouls with right words and actions. They were prepared to commit the\nso-called Harakiri, if they failed in the day of the solemn trial. The\nstories are reported of players who, on such occasions, prepared and\nworked on such a high pitch of tension that, as soon as they came back\nto their private rooms from the stage, they died from hemorrhage of\nthe heart. The first rate \"No\" players did not play more than twice In\na month ; but when they played, they played with such sublime deter-\nmination. Most of the spectators were warriors, and while the play was\nbeing played, not a sound, even of a sigh, was heard from the spectators.\nAnd when it came to the end, they showed their approval, not by the\nclapping of hands, but by silence. In silence they returned to their\nhomes. & & &\n& Most of the works of the writers of 44 No \" drama are preserved, and\nsome of them are played even to-day. But both the players and the\nspectators of to-day have almost nothing of this sublimity of the past.\n44 No\" drama, as it is presented to-day, is a mere shadow of the past.\nFor the players and the spectators, whose lives are no longer influenced\nby the teaching of Buddhism, this decadence is, indeed, inevitable. But"}, {"page_pdf": 56, "page_imprimee": "316", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.56", "debut_caractere": 20, "fin_caractere_exclue": 2461, "texte": "at the same time, we cannot help admiring the sublime attitude of the\npast players and spectators. &\nBefore I turn to the next subject, let me add a few remarks about\nthe dresses and other small furnitures used in this drama. Everything\nthat we see in this drama is touched with masculine dignity, which may\nbe called the pervasive quality of \"No Women are not fit to take part\nIn It. Female characters of the play were, and even now are, played by\nmen. Men playing the part of women wear masks of women and imitate\nfemale attitude, especially in the way of walking. But they do not imi=\ntate female voice. You see that this art, though pessimistic, as are all\narts influenced by Buddhism, is an art especially designed for warriors,\nand its masculine character not only excluded women from taking part\nin it, but also suffused dresses and other small furnitures with masculine\ncolour. The colour of dresses is sometimes gold or even red ; but its red\nand gold are not feminine. Their brilliancy is subdued by the so-called\nNo\" tone, and kept within masculine dignity. The same subdued tone\nthat appears in the colour appears also in characters of plays, who laugh\nbefore death, and do not show tears when they weep. This is the cha-\nracteristic tone of the mediaeval Japan. Another masculine quality is\nsimplicity. This quality appears especially in the furnitures of the stage,\nand aided by the natural pre=direction of the Japanese aesthetic mind\ntowards symbolism, gives a peculiar charm to them. A boat is repre-\nsented by bamboo arranged to show its mere outline. A high tower is\nrepresented also by bamboo-work, the height of which scarcely reaches\nto the waist of the player. The cottage of the fisherman is nothing but\nfour bamboo pillars planted on a square base, and a piece of cloth stret-\nched round them. These furnitures are carried to the stage through\n\" Hashigakari \" by two men, after the orchestra and the chorus have\ntaken their seats. You may laugh at the simplicity and childishness of\nail these, but they are surely more artistic than the stage of the Eliza-\nbethan age, where a battlefield was indicated by a placard on which one\nread: \"This is the battlefield of so and so\". To say the least, these\nsymbols of \" No \" drama are suggestive, they leave room for the play of\nimagination. It is not impossible to enjoy these symbols even after seeing\ngorgeously furnished modern stages, where our imagination is choked by"}, {"page_pdf": 57, "page_imprimee": "317", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.57", "debut_caractere": 20, "fin_caractere_exclue": 2434, "texte": "the fulness of details, JZ? JZ? £?\n& At present, everybody can see \"No \" plays; but until thirty years\nago the vulgar were not permitted to see them. \"No\", then, was the\nart exclusively for warriors. \" Bugaku \" having become the sacred art\nof the court and 44 No \" having been appropriated by the warriors, the\nvulgar turned to a new art, which has developed since the seventeenth\ncentury, about three centuries after the rise of 44 No \" art. This new art\nis 44 Kabuki \" drama. On the history of its development as well as In its\ncontent as an art, this new drama is much more complex than \"Bugaku\"\nand \" No \". But having spent more pages for \" No \" art than I intended,\n1 have to be very brief in the treatment of this subject.\njZ? As you remember, there was a close relation between \" Bugaku \" and\n'• No \" arts ; but \" Kabuki\" has no relation at all with 44 Bugaku \". Its\nrelation with 44 No \", is, however, very close. Early 4* Kabuki \" plays\nwere played on the stage that was almost the same as the stage of 44N0\ndrama. The plays themselves were similar to the \"Kyogen\". But to these\n44 Kyogen's \" were added local dances which were played with the music\nof 44 Samisen \", the Japanized instrument of the Chinese Dablsen imported\nat that time. 44 Kabuki \", then was something of the nature of your\nmusical comedy. By the way, a very interesting fact is that the author\nof 44 Kyogen \", the prototype of 44 Kabuki \", was a woman called Okuni.\nBefore her, many women, no doubt, danced and sang in private banquets\nbut Okuni was the first woman who, assisted by her followers, exhibited\nher art before public. There was no ballet-girl :n 44 Bugaku , and No\ndid not permit women to take part. After Okuni, many actresses ap-\npeared and exhibited their arts in this new drama. There were many\nstar actresses. But at that time, the rulers of the country were Puritans.\nThe influence of female players was not considered wholesome. Accor-\ndingly, about two hundred years ago, after some agitation on both sides,\nwomen were prohibited to play. Since then, the art of impersonating\nfemale characters by male players has been studied with the care that\nwould astonish you. At present, we have many actresses; and the go-\nvernment does not show the least intention of interfering with them.\nBut even to-day, male players of female characters are very often\npreferred to female players, for the reason of their superior art."}, {"page_pdf": 58, "page_imprimee": "318", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.58", "debut_caractere": 22, "fin_caractere_exclue": 2438, "texte": "\" Kabuki \" drama has, also, a very close relation with the puppet\nshow that was the most popular entertainment of the people of the\nlower class. When the famous singer of the puppet show, called Qidayu,\nand our greatest playwright called Chicamatsu, worked together, \"Kabuki\"\ndrama reached the highest stage of its development. This great play-\nwright lived in the eighteenth century, he is sometimes called the\nShakespeare of the East. He had Shakespeare's gift of wide sympathy, of\nthorough acquaintance with all phases of the human passion, and his\nability to render what he felt into poetic phrases. He wrote first for the\npuppet show, but afterwards for \" Kabuki Those \" Kabuki \" plays of\nhis in which he depicted contemporary events and passions, are called *\n\" Sewamono It is in these \" Sewamono \" that his delicate sympathy\nwith human passions is shown. He also wrote many historical plays, but\nthey are less successful. He lacked Shakespeare's gift of appropriating\nhistorical situations for the purpose of depicting universal human pas-\nsions, Not only his historical plays alone, but almost all historical plays\nof \" Kabuki \" are failures. &\n£? The stage of the earl} \" Kabuki \" drama was, as I have already re-\nmarked, very similar to the stage of \"No \" drama. But as this drama\ndeveloped more and more, aided by the genius of Chicamatso and others,\nits stage also developed into something very different from the stage of\n44 No \" drama. In the later Kabuki-stage, there is no sandy place. The\nsize of the stage Itself became twice or three times as large as that of\nthe 44 No \" stage. 44 Hashigakari \" alone remains under a different name,\nHanamichi (flower path). The earlier flower path led from the stage\nthrough the middle of the seats of the spectators into their back, which\nis very similar to the back of the pit of the English theatre. It is just\nlike what Prof. Reinhardt tried in 44 Sumurun \". The later flower path\nhowever, leads through somewhat left of the middle line, and in many\ntheatres, there is another narrower flower path leading through the seats\nof the spectators, some distance to the right of the middle line. The nar-\nrower flower path is rarely used, except when two players coming from\ndifferent roads happen to meet on the stage.\n& The seats of the spectators extend only to the front of the stage, they\ndo not surround the three sides of the stage, as in the \"No \" theatre."}, {"page_pdf": 59, "page_imprimee": "319", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.59", "debut_caractere": 20, "fin_caractere_exclue": 2448, "texte": "Therefore, the curtain can be used, (the curtain of the ,4Kabuki\" theatre\nwas used to be drawn from the left to the right or from the right to\nthe left by a man. At present they are using the western curtain, but\nin the past, the curtain that Is drawn up and down was considered fit\nonly for the second and the third rate theatres. When the curtain is\ndrawn, the flower path is the only stage left; and we often see a player\nmarching through it towards the back, after the curtain was drawn. The\nflower path is used not merely to go to or from the stage, but sometimes\na very serious action is performed on it, and sometimes key passages of\nthe whole play are uttered on it. &\n£? Another characteristic feature of the \" Kabuki \" stage is the rotating\nfloor. When the illumination of the stage was not developed as it is now,\nand other stage arrangements were awkward, this rotating floor was a\nvery valuable and necessary arrangement. The middle part of the stage\nfloor is cut into a large circle; while a scene Is being played in the front\nsemi=circle of this circular floor, another scene, or even two, are ar-\nranged in the back of it. And when the time comes, they are turned to\nthe front by rotating this large circular floor from underneath the floor.\n1 think that this arrangement with some improvement may be used for\nthe theatre of the future.\n£? The stage of \"Kabuki\" drama is more realistic. It has a proper back-\nground. Other furnitures are made to look like real things. This reali-\nstic arrangement of the stage is necessary to satisfy the demand of the\nunimaginative people of the lower class. It is not to be credited to the\ndevelopment of our stagecraft; this is shown by the fact that the face\nof the player playing the part of a good historical character is always\npainted white, while that of the player playing the part of a bad cha-\nracter is invariably painted red, in order to help the understanding of\nignorant spectators. The stage was lighted by candlesticks. The spec-\ntators sit before such a stage from ten o'clock in the morning or earlier,\nuntil evening, eating and drinking, some lying on laps of women, all\nshowing their approval and disapproval of the players in noisy and di-\nsorderly manner. During this long time, from three to five plays are\nplayed. First, a historical play that takes four or five hours, is played ;\nthen a short piece is played for half an hour or so ; then comes a so-"}, {"page_pdf": 60, "page_imprimee": "320", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.60", "debut_caractere": 20, "fin_caractere_exclue": 1111, "texte": "called \"Sewamono\" play. The day's programme may end here, or a short,\ndance may be added. The players of those days played many parts during\na day. One man frequently played the parts of a hero, a heroine, and a\nghost, and even danced, during one day. We wonder at both the energy\nof these players and the patience of tnese spectators.\nThere are many interesting things to say about the ballet of \"kabuki\"\nbut it requires another article to treat it adequately. Though this is a\nsubject In which I have a special interest I must put it off to some other\noccasion. jg? j0\nThe plays of the modern \" Kabuki \" are not different from tiiose of\nthe age of Chicamatsu, but the mode of playing and the arrangement of\nthe stage of the modern \" Kabuki \" are very different from those of the\npast. We have at present two or three \"Kabuki\" theatres as large as the\nNew Theatre of New York, and built in the European style. & &\n& « Bugaku \", \" No \" and \" Kabuki \" are three old Japanese theatrical\narts. Whatever our future drama is going to be, these are the funds\nupon which we ought to build .«£?■ & &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c038", "article_bluemountain": "bmtnaau_1912-04_01#c038", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "320", "page_fin": "321", "image_debut": 60, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.20", "titre_corps": "A WORD ABOUT ART", "titre_sommaire": "A WORD ABOUT ART", "signature_source": "Victor Hugo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "320", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.60", "debut_caractere": 1113, "fin_caractere_exclue": 2008, "texte": "A WORD ABOUT ART\nby Victor Hugo.\ntaken as Art, and in itself, goes neither forwards nor backwards.\nThe transformations of poetry are but the undulations of the Beautiful,\nuseful to human movement. Art is not susceptible of intrinsic progress.\nFrom Phidias to Rembrandt there is onward movement, but not progress.\nneither decline, nor revival, nor plagiary, nor repetition, nor\nimitation. Identity of heart, difference of mind : that is all. Each great\nartist (we have said so already) takes, stamps art anew after his own\nimage, Hamlet is Orestes after the effigy of Shakespeare. Figaro is Scapin,\nwith the effigy of Beaumarchais. Grangousier is Silenus, after the effigy\nof Rabelais.\n& Everything re-begins with the new poet, and at the same time no-\nthing is interrupted. Each new genius is abyss, yet there is tradition.\nTradition from abyss to abyss, such is, in art as in the firmament, the"}, {"page_pdf": 61, "page_imprimee": "321", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.61", "debut_caractere": 18, "fin_caractere_exclue": 1735, "texte": "mystery; and men of genius communicate by their effluvia, like the\nstars. What have they in common? Nothing. Everything.\nFrom that pit that is called Ezekiel to that precipice that is called\nJuvenal, there Is no solution of continuity for the thinker. Lean over\nthis anathema, or over that satire, and the same vertigo is whirling\naround both. The Apocalypse reverberates on the polar sea of ice, and\nyou have that aurora borealis, the N The Edda replies to\nthe Vedas. &\nHence this, our starting-point, to which we are returning: art is not\nperfectible. «Z/ JZ? ZZ? z? & &\nZ7 No possible decline for poetry, no possible improvement. We lose our\ntime when we say, nescio quid majus nascitur \" Art is sub-\nject neither to diminution nor enlarging. Art has its seasons, its\nclouds, its eclipses, even its stains, which are splendours, perhaps its\ninterpositions of sudden opacity for which it is not responsible ; but, at\nthe end, it is always with the same intensity that ,it brings light into\nthe human soul. It remains the same furnace giving the same brilliancy.\nHomer does not grow cold.\njg? Let us insist, moreover, on this inasmuch as the emulation of minds\nis the life of the beautiful, O poets, the first rank is ever free. Let us\nremove everything which may disconcert daring minds and break their\nwings: art is a species of valour. To deny that men of genius yet to\ncome may be peers with men of genius of the past would be to deny the\never-working power of God. z? z? Z? z? Z? Z?\n& Yes, and often do we return, and shall return again, to this necessary\nencouragement. Emulation is almost creation. Yes, ,those men or genius\nthat cannot be suppassed may be equalled.\nZ? How ?By being different. Z? Z? Z* Z? Z?"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c040", "article_bluemountain": "bmtnaau_1912-04_01#c040", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "322", "page_fin": "324", "image_debut": 62, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.21", "titre_corps": "VENETIAN COSTUME : Translated from the Book of Cesare Vecellio. 1589.", "titre_sommaire": "VENETIAN COSTUME : Translated from the Book of Cesare Vecellio. 1589.", "signature_source": "D. Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "322", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 2198, "texte": "VENETIAN COSTUME Translated from the\nBook of Cesare Vecellio. 1589.\nby D. Nevile Lees.\n& & FOREIGN PRINCES AND BARONS IN VENICE. £/ . &\n'\"po the most illustrious city of Venice there usually come in various\nseasons of the year many Princes, who for their amusement, and to\nsee the great splendours and notable things of this marvellous city, re-\nsort there from various countries, both near and distant, and who wear\ndresses of great value.\n& The costumes of those Princes or Barons is, on the head a cap of velvet\nadorned with some rich jewel or medal, and a doublet of satin or silk\nbuttoned with most beautiful gold buttons, and adorned with beautiful\nlace likewise of gold, with chains around their neck made of enamelled\ngold, finely worked and enriched with costly jewels. & &\n& They wear a kind of trousers or breeches of velvet, very fashionable,\nand most richly embroidered, the linings of which, as also of the doublets,\nare of cloth of gold or brocade, which is seen through slashes which are,\nwith wonderful skill, made in both breeches and doublet. Their stockings\nare of the finest silk, elaborately embroidered and usually black or\nsilver, and on their feet they wear shoes of blacK leather. Over this\ndress they put cloaks of silk, brocade or other stuff, and also of black\nFlorentine serge of the finest quality. And this costume is used, with\nlittle difference, all over Italy by Nobles and other wealthy persons of\nposition.\n| n winter the ladies in many houses in the city use long furs In the\nRoman style, which are very convenient, and leave the body free for\nevery kind of work. Many of them wear satin, watered silk and other\nstuffs, with linings of martin, and other costly furs.\nJZ? Some wear these robes over their shifts, and under them a kind of\npetticoat of coloured silk, also lined with fur, and the opening, which is\nin front, laced together with fine cords or fastened with buttons. These\npetticoats are usually striped with various colours, the elaborate em-\nbroideries which formerly adorned them having been given up. &\nBut to return to the robe. It has long narrow sleeves reaching to the\nground, and they gird themselves with that network of silk called posts"}, {"page_pdf": 63, "page_imprimee": "323", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.63", "debut_caractere": 18, "fin_caractere_exclue": 2329, "texte": "or else with a silken girdle which at the ends has two buttons or two\nbows. JE/\n& And, even more than among other women this dress is In use among\nthe Courtesans, who also have their petticoats more elaborately adorned\nthan others. It is forbidden these women to wear pearls in the house,\nand none the less they wear them, It is said, with bracelets and costly\npendants at their ears, and they continually stand at the windows to\nmake love with this one and with that one according to their custom:\nand, with astute cunning, if for a time they have relations with some\nVenetian Noble, they usurp the surname of his house, which is the\nreason that many Foreigners are deceived and believe that they are Ve=\nnetian gentlewomen : and the bawds also strengthen this belief yet\nmore, for when they have on their hands some Foreigner who desires a\nwoman to amuse himself with, they take one from the public places, and,\nhaving decked her out magnificently, they lead her to a secret place,\nand cause it to be believed that she is a Gentlewoman. Thus it comes\nabout that the Foreigners, not perceiving the deception, boast of that\nwhich Is very far from the truth, the Venetian Gentlewomen being as\na rule most jealous of their honour, and mirrors of honesty and modesty.\n£> & HOUSE-COSTUME OF WOMEN OF RANK. & &\nof rank, while in the house, usually wear different coloured\nsilks and brocades made in various fashions. They are also in the\nhabit of decking themselves with pearls, bracelets, rings and other or-\nnaments. But the Courtesans show themselves about the house much\nmore dressed up and more magnificent.\n& These latter, to increase the charm of their faces, assist it by the\nartifice of cosmetics and various waters and bleaches. It is easy to reco-\ngnise this proceeding, because both in the house and out they show\nthemselves most bold, by displaying not only their faces but a large part\nof the breast, whitened and painted, and also a part of the embroidered\nstockings which cover their legs. But between these and the honourable\nwomen one sees, as in manners, so in adornments, much .difference, it\nnot being permitted to them by the well ordered laws of the City of\nVenice to wear ornaments of pearls like honest womeu : although some\nof them under some pretext wear them, and they generally wear this"}, {"page_pdf": 64, "page_imprimee": "324", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.64", "debut_caractere": 18, "fin_caractere_exclue": 1960, "texte": "present costume, and adopt it like any respectable women of good fa-\nmily.\n& RECTOR OP THE UNIVERSITY OF SCHOLARS OF PADUA. u£?\nA 11 the great Universities have the custom of electing a head who is\ncalled the Rector, and who is much esteemed and honoured by the\nscholars and by others ; and the one of Padua, of whom I now intend to\nspeak, holds the rank of Cavalier and Venetian Nobie so long as he re-\ntains that position, and at his solemn installation many triumphs and\nfestivals are held, such as throwing money to the people, banquetting\nand like things, with a great clamour of voices crying \"viva, viva il\nRettore!\" and calling him by the name of his own country. & 0\nThis Rector covers his head with a cap of black tvelvet, made with\npoints similar to that of priests, and a little wider behind. His gown is\nof gold brocade, with a hood, which goes over the shoulders and is lined\nwith marten's fur. Beneath this he wears a doublet of satin or other\ncrimson silk with gold embroidery, and braid or lace also of gold. He has\nbreeches to match, and crimson stockings of embroidered silk worked\nwith the needle; he wears red shoes, and when he goes out he is accom-\npanied by a great number of scholars.\n& He often dresses entirely in crimson ; either in velvet, damask or\nsatin, with great pomp. &\nI will not stop to tell of the custom of his coming to Venice to pre-\nsent himself to the most Serene Prince, with the Signoria; when, with\nmany ceremonies, he is made Cavalier. The prince presents him with\nthe sword and his Cavalier puts on his golden spurs, and the Rector,\nhaving asked.his Serenity to confirm him In the usual privileges and other\nthings pertaining to his rank; returns to his appartment with the sound\nof trumpets, accompanied by the followers of his Serenity and by his\nown with a great concourse of people following after. And for the Rector\nof the law students as for those of the Arts it is done as here related."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c046", "article_bluemountain": "bmtnaau_1912-04_01#c046", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "331", "page_fin": "334", "image_debut": 73, "image_fin": 76, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.26", "titre_corps": "A DISCOURSE UPON RHYTHM", "titre_sommaire": "A DISCOURSE UPON RHYTHM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 73, "page_imprimee": "331", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.73", "debut_caractere": 0, "fin_caractere_exclue": 1469, "texte": "A DISCOURSE UPON RHYTHM.\n'The following Essay upon Rhythm is taken from a little French\nbook published anonymously in Amsterdam in 1777 with the title,\n\" Discourses on the subject and Condition of Grecian Music towards the\nMiddle of the Fourth Century before the Common Era JZ? JZ?\nThe Author writes his book in the form of Dialogues which are sup~\nposed to be held between a stranger arriving in Athens about 360 B. C.\nand an Athenian disciple of Plato on the subject of music, he having, for\nthe accomplishment of his purpose made, he tells us, a careful study of\nthe works of that period and also of those which treat of the same period\nthough written at a later date. JZ? JZ?\nJ3hythm, in general, is a movement, successive and subject to certain\nproportions. You can distinguish it in the flight of a bird, in the\npulsations of an artery, in the steps of a dancer and in the periods or\npauses of a speech. In poetry it is the relative duration of the instants\ntaken in pronouncing the syllables of a verse, and in music, the relative\nduration of the various sounds that enter into the composition of a song.\nOriginally the rhythm of music was modeled exactly on that of poetry.\nYou know that In our language every syllable is either long or short.\nIt takes an instant for the pronunciation of a short syllable and two for\nthat of a long one. The conjunction of several syllables, long and short,\nforms the beat, or time, and the union of a number of beats, the mea-"}, {"page_pdf": 74, "page_imprimee": "332", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.74", "debut_caractere": 26, "fin_caractere_exclue": 2403, "texte": "sure or metre of the verse. Every beat has a motion, a rhythm, divided\nInto two periods, the one for the rise and the other for the fall. Homer\nand the poets, who were his contemporaries, adopted, generally, the\nheroic style of verse, of which six beats or steps formed the compass, or\nlength, each of them consisting of two long, or one long and two short\nsyllables. Thus four syllabilical instants constitute the duration of each\nbeat, and twenty four of these instants the time of the\ntoo uniform, that many expressive and sonorous words were excluded\nbecause they could not be subject to it and that others, in order to be\nrepresented, had to depend upon an adjacent word. An effort, was there-\nfore, made to introduce new rhythms in poetry.\nThe number has been considerably increased since that time, owing\nchiefly to the attention bestowed upon the subject by Archilochus, Al-\n|,V.* , . > . J\ncaeus, Sappho and other poets. They are classed to-day under three main\nheads. In the first the rise is equal to the fall. That is the two-time\nmetre. In the second the duration of the rise is double that of the fail.\nThat Is described as the unequal two time metre, or the equal three\ntime. In the third the rise is, in its relation to the fall, as 3 is to 2; in\nother words, supposing the notes to be equal, there would be 3 for\nthe one time and 2 for the other.' A fourth system is known, in which\nthe relation of the time is as 3 to 4, but very little use Is made of it.\n& Besides this difference of system, there is a still more important one,\narising from the number of syllables affected by each time, or period,\nof rhythm. Thus in the first system the rise and fall may each be formed\nof one syllabilic instant, or by one short syllable, but this can also happen\nJr «• A\nwith 2. 4. 6, and even 8 syllabilic instants, and the effect Is to give\nsometimes to the complete metre a combination of long and short syl-\nlables equivalent to 16 syllabilic instants. In the second system this\ncombination may even provide 18 of these instants. In the third one\n*'. A 5/ ,r\nof the periods may receive from 3 shorts up to is, and the others from\n* f ' *\nI short up to 10, or their equivalents, so that the whole measure, com-\nprising 25 syllabilic instants, exceeds, by one of these instants, the\ncompass, or range, of epic verse, and may include up to 18 long or short\nsyllables. 0"}, {"page_pdf": 75, "page_imprimee": "333", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.75", "debut_caractere": 26, "fin_caractere_exclue": 2408, "texte": "j& If to the variety that this more or less rapid flow of instants gives\nto rhythm, you add that which arises from the mingling and Interlacing\nof rhythms, and that which springs from the musician's caprice, when,\naccording to the nature of the passions he desires to express, he either\nraises or drops the metre, without in the least altering the proportions,\nyou will readily understand that, in a concert, our ears must be un-\n'' \" V*.\nceasingly agitated by the movements submitted, which both excite and\n■V, ' > - '\nastonish us. Lines placed at the head of a piece of music indicate its\nrhythm, and the Leader, or Conductor, announces it from an elevated\nposition in the Orchestra to the musicians and dancers, who are conti-\nnually watching his actions. & & &\n& I have observed, I remarked, that Choirmasters beat time, sometimes\nwith the hand and at others with the foot. I have even seen one of\nthem, whose shoes were soled with iron, and 1 can avouch that, in his\ncase, the beating of time by the feet, and the noise that it made, con-\nsiderably interfered with my attention and pleasure.\nPhilotime smiled and continued.\nPlato compares poetry when separated from song, to a face, that loses\nits beauty when it loses the flower of its youth. I should compare song\nwithout rhythm to regular features without soul and without expres-\nsion. It is, above all, in this way that music excites the emotions we all\nexperience. The musician has, so to speak, nothing more than the merit\nof choice; all rhythms have inherent and distinct properties. Let the\ntrumpet sound a loud and lively and impetuous rhythm, and you can\nfancy that you hear the cries of the combatants and conquerors. You\nwill have noticed this in our valiant songs and warlike dances. Again*\nlet a number of voices transmit to your ear, In a simple modulation,\nsounds following slowly one upon another, and you will fall, naturally,\ninto meditation. Should these songs Include the praise of the Gods, you\nwill be impressed with the feeling of respect, which their presence in-\nspires ; it is that which guides the rhythm, and which, in our religious\nceremonies, directs both hymns and dance. & &\n& The character of rhythm is determined in that the transposition of a\nsingle syllable is sufficient to change it. We often, in versification, admit\ntwo fundamentals, the \" iambus\" and the ''trochee\", both equally com-"}, {"page_pdf": 76, "page_imprimee": "334", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.76", "debut_caractere": 20, "fin_caractere_exclue": 1090, "texte": "posed of one long and one short syllable, with this difference, that the\n« iambus \" begins with a short and the 44 trochee \" with a long one. The\none suits the gravity of a rustic dance, the other the warmth of an ani-\nmated discussion. As at every step, the 44 iambus \" seems to redouble its\nardour, and the 44 trochee\" to lose it, it is with the first that satyric\nwriters pursue their enemies, and with the second that dramatists\nsometimes excite and stir up choirs of aged men on the\nThere is no motion, whether In nature or In our passion, that does\nnot find, in the diverse kinds of rhythm, movements that correspond\nwith them, and become their image, or counterpart. These relations are\nso fixed that a song loses all Its charm if the time is confused, and if\nour minds do not receive, in accordance with well understood conditions,\na periodical succession or sequence, or sensations that they expect. Thus\nthe directors of our plays and of our festivals are never weary in train-\ning different actors and others, to whose skill and care they entrust\ntheir glory."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c049", "article_bluemountain": "bmtnaau_1912-04_01#c049", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "335", "page_fin": "339", "image_debut": 77, "image_fin": 81, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.27", "titre_corps": "THE THREE PRINCES OF SALERNO : A Scenario(1) of the Commedia dell'Arte", "titre_sommaire": "THE THREE PRINCES OF SALERNO : A Scenario(1) of the Commedia dell'Arte", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "335", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.77", "debut_caractere": 0, "fin_caractere_exclue": 1103, "texte": "THE THREE PRINCES OF SALERNO. A Scenario(1)\nof the Commedia dell'Arte.\n& CHARACTERS.\nOronte. Captain and soldiers.\nFabio Brothers. Cola, servant to Lionello.\nLeonello. Stoppino.\nBriseida, Oronte's wife. Ghost of Brlseida.\nRosetta servant. Ghost of Leonello.\nPandolfo. Ghost of Rosetta.\nÜbaldo. Counsellors.\nDottore.\nThe scene takes place In Salerno.\n& ACT 1. SCENE 1. &\nOronte and Counsellors.\nOronte discourses about the revolted city of Says that the army is\nready ; asks counsel as to whether he should go himself or send one\nof his brothers. The counsellors exhort him to go himself. He consents,\nand in this & &\nSCENE 2. &\nFabio and the aforesaid.\n& He (Pablo) tells Oronte that he has thought to march against the\nrebels. Oronte wishes to go himself and that Fabio remain to govern.\nGives him orders as to the administration, and all go out.\nSCENE 3.\nRosetta and Cola.\n& Act a love scene. Speak of going to the war. Cola does not want to\ngo. Afterwards they plight their faith as sposi. & & &\n\n(I) For some directions as to the method of staging a Scenario see \" The Mask \" October 1911, page 113."}, {"page_pdf": 78, "page_imprimee": "336", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.78", "debut_caractere": 30, "fin_caractere_exclue": 1643, "texte": "0 SCENE\n0 Fabio and Übaldo. A Room.\nHe desires her and orders Übaldo to go and speak to her and within\ntwo hours to conduct her to his rooms i and says that if he does not do\nso he will be punished with death. Übaldo goes out troubled. a\n0 SCENE 0\nLeonello and Cola•\nThey act a scene about the war and that Cola is to hold himself in\nreadiness to go with his master under pain of death because Leonello\nwants to follow Oronte; He goes off and Cola remains. & &\n0 SCENE 6. 0\nUbaldo and Cola.\n0 Übaldo acts a scene about the two hours ; declaims against the Prince.\nIn this Cola acts a scene at cross purposes. Übaldo about having to\npersuade Briseida, Cola about the war. In the end they understand each\nother. Übaldo begs Cola that he say nothing to anyone. He promises not\nto speak. Goes away to tell his master. Übaldo remains, and in this\n0 SCENE 7. 0\n0 Übaldo and Fabio.\n0 Fabio asks Übaldo if he has spoken to Briseida. Says that letters have\ncome to Fabio from her husband; that she must therefore go to fetch\nthem. Calls, and in this 0 0 0 0 & *\n0 SCENE 8. 0\n0 Rosetta, Briseida, and Übaldo and .\n0 Rosetta acts a scene with Übaldo; afterwards calls Briseida. Übaldo\nsays that letters have arrived from her husband ; therefore she must go\nto Fabio. She goes out gaily and all go off. 0 0 & &\n0 SCENE 9. 0\n0 Leonello and Cola.\n0 Leonello asks if he has prepared himself to go to the war. Cola tells\nabout Fabio and Briseida. Leonello goes fout indignant. *\n0 SCENE 10. 0\n0 Fabio and then Leonello and Cola and Briseida. Room and Bed.\n0 Fabio reveals his love to Briseida. She is unwilling. He acts with vio-"}, {"page_pdf": 79, "page_imprimee": "337", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.79", "debut_caractere": 31, "fin_caractere_exclue": 1722, "texte": "lence. In this Leonello prevents him. Pablo goes out angry saying that\nhe who treats him so may take the consequences. Briseida goes off ;\nthanks Leonello, who has no fear.\n& END OF ACT 1. &\nACT 2. SCENE 1. &\nFabio, Pandolfo, Übaldo, and Cola at the side.\nPablo declares that whoever shall kill Leonello shall have a hundred\nthousand scudos as reward and that this be proclaimed. They protest\nagainst the cruelty of Pablo and all go out.\n& SCENE 2.\n& Leonello, Rosetta,Cola and Briseida.\nLeonello speaks about his brother's cruelty. Cola says that there is\nthe reward of a hundred thousand scudos. He laments. Knocks at Bri-\nseida's house. Rosetta comes. Lazzi with Cola. Calls Briseida. Leonello\nsays that for her safety and her honour it is necessary that she go to\nher husband's camp. She must therefore dress herself as a man and go\nout through the garden door so as not to be seen. They agree. Rosetta\ndoes the same with Cola, and all go out.\n• SCENE 3.\nStoppino, Fabio,Captain and two others.\nPablo proclaims the price set on Leonello's life and orders these two\nunknown men to kill Briseida, Rosetta, Leonello and Cola and not to\ndoubt that he will protect them; goes out. they to take their\nplaces in the garden and all about •&'\nSCENE 4.\n& Briseida, Rosetta and aforesaid.\n<£> They (the men) see these two coming; believe them to be Leonello\nand Cola. Slay them. Afterwards see them to be Briseida and Rosetta. Go\noff to meet Fabio. £?&&&£>&£>\nSCENE 5.\n& Pandolfo and Leonello.\nLeonello says that he does not know how to escape from his brother's\nwrath. Wants to take refuge in Pandolfo's house, he (Pandolfo) says that\nto do so would ruin him. He enters by force. Pandolfo remains."}, {"page_pdf": 80, "page_imprimee": "338", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.80", "debut_caractere": 31, "fin_caractere_exclue": 1894, "texte": "SCENE\nCola, Fabio, Captain and others and Pandolfo.\n£/ Cola relates how he has been pursued so as to be killed. Seeks his\nmaster. In this he sees Fabio and runs away. Fabio says that he has\nsearched for his brother; has suspected that he may be in Pandolio's\nhouse. Questions him (Pandolfo). He denies. Fabio wants to clear the\nmatter up. Sends the Captain Into the house, he goes in and then comes\nout frightened because Leonello has beaten him. Fabio goes in because\nhe wants to kill him (Leonello) with his own hands. They presently come\nout quarrelling. Leonello falls. They go away. Leonello iying on the ground\nenlarges on his brother's cruelty. In this\nSCENE 7.\n& Cola and the aforesaid.\nSees his master who is dying, his lazzi. He (Leonello) asks for writing\nmaterials. Cola brings everything. He writes to Oronte with his blood ;\ngives the letter to Cola to deliver and dies. Cola goes off, and in this\nSCENE 8. uzz\n& Fabio, Captain, and soldiers and afterwards Cola.\n& Fabio desires the death of Cola so that he may not bear the news to\nOronte. In this they see him (Cola). Want to kill him. He defends himself\nwith a whip and other means. & &\n& END OF ACT 2. &\n& ACT 3. SCENE 1. &\nFabio and three Counsellors.\nFabio has news that his brother Oronte is returning victorious from\nthe rebellious city and is already at hand. Therefore it is time they as-\nsist him. He orders that at a distance of two miles they prepare sump-\ntuous refreshments and wants them to mix a strong poison with all the\nfood so that his brother and the others may die and says that he, re-\nmaining lielr to the State, will reward them; Goes to get the poison.\nThey remain. They want to promise all and to reveal the treachery to\nOronte. &\n& SCENE 2. &\nOronte and Court. Afterwards the ghost of Briseida. A wood.\nIt seems to him (Oronte) a thousand years until he can see his wife"}, {"page_pdf": 81, "page_imprimee": "339", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.81", "debut_caractere": 31, "fin_caractere_exclue": 1550, "texte": "and brothers. He feels tired ; sits down ; falls asleep. The ghost of Bri=\nseida comes: says \" Vengeance, vengeance, beloved husband, if you desire\nmy rest In this & & & &\nSCENE 3.\nGhost of Leonello,ghost of Roseiih, aforesaid.\n& Leonello's ghost says, \" Vengeance, vengeance, beloved brother, if you\ndesire that Leonello may restln this comes the ghost of Rosetta; says\n\" vengeance, so that Rosetta may rest\". In this Oronte awakens trembling.\nSees no one. Asks the Captain if he has seen anyone. He says no. In\nthis j0 &\nSCENE 4.\nCola dressed in mourning. (ridiculous), and the aforesaid.\nCola gives news of all that has happened: delivers the letter. Oronte\nreads it: expatiates. They go to the city.\n& SCENE 5. ss>\nFabio and Pandolfo.\nActs a scene ; believes that Oronte is dead. In this Pandolfo gives\nnews of Oronte's arrival. Pabio laments, but is not afraid because he\nintends to deny all; and go out.\n& SCENE 6. &\n& Pandolfo, Übaldo, Oronte and Fabio.\nOronte questions the counsellors who recount all. He mourns. In this\ncomes Pabio; wants to salute his brother who gives him a blow: reproa-\nches him ; sentences him to be executed with his accomplices. Pabio is\nled away. Oronte withdraws and all go off. &\n& FINAL SCENE &\nCola acts as he likes, (a suo modo). goes off. Pablo expatiates : puts\nhis neck under the axe. His head is shown to the people and the play\nends. & & & & &\nProperties required. £?\nCloaks for the ghosts.\nAxe and prison.\n& Black hangings.\n& Letter written In blood.\n*&■ Mourning for Cola."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c051", "article_bluemountain": "bmtnaau_1912-04_01#c051", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "340", "page_fin": "341", "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=bmtnaau191204-01.2.28", "titre_corps": "DOMENICO BIANCOLELLI : A Biographical Note", "titre_sommaire": "DOMENICO BIANCOLELLI : A Biographical Note", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 82, "page_imprimee": "340", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.82", "debut_caractere": 0, "fin_caractere_exclue": 2262, "texte": "DOMENICO BIANCOLELLI. A Biographical\nNote.\n\n(1)\np|omenlco BlancoleLi, whose portrait is given in the present number\nof The Mask, was one of the prominent figures of that Commedia\ndell'Arte which held the Italian stage [for two centuries [and included\nsuch great actors as Andrelni, Riccoboni, Fiorelli, Ganassa, Costantino,\nMartinelli and Sacco, those 44 masked giants \" who carried their art of\nImprovisation into many lands besides their own, who 44 strode across\n44 the centuries for a while, helping Shakespeare, suckling Moli&re, crea-\n-44 ting Goldoni, and being driven away from the haunts of men by the\n44 ungrateful children they had reared & & & &\nHe was born according to Jal and others at Bologna in 1646, but Carlo\nCanth, his step-father, gives the date as between 1637 and 1638. It is\nCanth who also gives his second name as Giuseppe, though other bio-\ngraphers make no mention of this second name nor have documents been\nfound signed with any but the first, 44 Domenico which he always\nused, becoming famous afterwards in France as a comedian under this\nname alone.\n& When he was still but a child his mother, Isabella Biancolelli-Franchini,\nknown on the stage as 44Columbine\", married again, her second husband\nbeing Carlo Canth, a most expert Zanni whose professional name was\n44 Buffetto \", and who seems to have given the boy his first education\nand probably Instilled Into him the fundamental idea of that type which\nhe was to render supremely famous in later years.\nDomenico, one of a family of actors, seems, while still a youth, to\nhave acted in the company of the celebrated Tabarini at Vienna before,\nby invitation of Louis XIV in a letter of July sth <661 to the Duke of\nParma, he was sent to Paris. &\nIt appears that this was not his first visit but that he had previously\nbeen in Paris towards the end of 1645 when 44 Buffetto \" was called there\nto act, Buffetto himelf relating how, after having presented bimself and\nbeing received with every honour by the sovereigns and by Cardinal\nMazarin, a present of money and a 44 most beautiful suit\" were given\nto 44 Menghlno In any case, whether this previous visit be fact or not,\n\n(1) We are indebted for much information relative to this actor to the 44 Comlci Italiani \" by Luigl Rasl."}, {"page_pdf": 85, "page_imprimee": "341", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.85", "debut_caractere": 25, "fin_caractere_exclue": 1773, "texte": "he went there to act under good auspices since his parents had performed\nsuccessfully in Paris years before.\n& At the time when he joined the Italian Company the first Zanni was\nLocatelli, known as \"Trivelino Biancoielli became the second until, on\nthe death of Triveilino in 1671, he took his place, retaining the mask of\nHarlequin and shortly becoming the idol of the company.\nOn April 22nd, 1663 he married Orsola Cortesi, known as \"Eularia\",\nby whom he had eight children, three of these, two boys and a girl, fol-\nlowing their parents upon the stage.\nin April 1680 he became a naturalized Frenchman, together with his\nwife, and throughout his life in France he received many honours, (the\nking himself standing godfather to his eldest son), and also many sub-\nstiantal proofs of recognition, as is witnessed by the fact that on his\ndeath he left a sum amounting to 100,000 scudi to his heirs.\n& He died on August 3nd, 1688, it may almost be said of devotion to\nthe king, having over-heated himself in the performance of a dance in\nwhich Louis took especial delight. The Comddie Itafien remained closed\nfor nearly a month in sign of mourning, and on the day when It reopened\na placard was affixed to the wails of Paris setting forth the loss which\nhad been sustained and the sorrow which It caused. His place as Har-\nlequin was taken by Evaristo Gherardi. (il\nBiancoielli originated many pieces for the both alone and\ntogether with Du Fresny. and although it is not certain if he had much\nactual learning, It is very sure that he possessed that which supplied its\nplace,.,, the gift of improvisation, the technical knowledge of the stage\nwhich led to his being acclaimed as one of the greatest actors of his time.\n\n(1) See The Mask. April 1911."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c052", "article_bluemountain": "bmtnaau_1912-04_01#c052", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191204-01.2.28.1", "titre_corps": "The Actor, Domenico Biancolelli", "titre_sommaire": "The Actor, Domenico Biancolelli", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.83", "debut_caractere": 0, "fin_caractere_exclue": 32, "texte": "The Actor, Domenico Biancolelli."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c054", "article_bluemountain": "bmtnaau_1912-04_01#c054", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "342", "page_fin": "351", "image_debut": 86, "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=bmtnaau191204-01.2.29", "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": 86, "page_imprimee": "342", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.86", "debut_caractere": 0, "fin_caractere_exclue": 1578, "texte": "BOOK REVIEWS.\n\nPLA YS FOR AN IRISH THE A TRE\nby W. B. Yeats. With Designs by\nGordon Craig. A. H. Bullen.\nPrice eight shillings and six-\npence.\njy|r Yeats Is a great play-writer,\nand without question the great-\nest of the Irish play-writers. I so\noften hear people talking of Synge\nand so seldom of Yeats. They seem\nto have been touched by Synge's\nforce,.but that in all probability\nis because they have read his plays.\n& it is different when you come\n....or they come.... to Yeats. There\nthey are not touched, not having\nread his plays. But whoever can\nread \"On Baile's Strand\" or \"Cath=\nieen ni Houlihan\" and not be thrilled\nwith the excitement of great things\nhappening has no blood in his body,\nno life in his heart. £? &\n& The dramatic power of \" On\nBaile's Strand \" is of the very finest\nquality. The whole play is alive\nwithout any doubt; It moves, it\nmoans, it cries.... it reaches out its\nhands to you; and, when the tragedy\nhas been enacted and the doors have\nclosed, the voices wail behind the\ndoors and, like the waves and wind\nrise, fall and break their soul upon\nthe barriers; they reach through\nto one's heart, they pierce the\nwalls and drown us in a spiritual\necstasy.\nMr Yeats has struggled with the\nstage. He has altered his verse and\nhis dramas to fit the stage. He has\ndone wrong. His dramas are not for\nthe stage because the stage Is a\nlawless place where no kind of le=\ngality is valued. His plays as they\nwere at first are as well fitted for\nthe modern stage as are Shake*\nspeare's plays,... that is to say, not\nat all. & &\n& But no amount of altering will"}, {"page_pdf": 87, "page_imprimee": "343", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.87", "debut_caractere": 15, "fin_caractere_exclue": 2368, "texte": "make them fit better, A proper\nhandling of them by a stage manager\nof power would make people think\nthey fitted perfectly, would fool\nthem, fbr people are such dunder-\nheads when they come to the thea-\ntre. They only want to be taken In.\nArt does not take people In.\nDante takes nobody in, and Bach\ndoes not deceive you. The builder\nof the Parthenon had no ambition\nto get the best of his audience and\nGiotto was not concerned with\ncheating. Yet it is still held that we\nhave to consider the audience in a\ntheatre and carry them away because\nthey come there, (so it is still said)\nto be fooled.\n& Well then, any trick can do that\ntrick. Imitation flames thirty feet\nhigh will thrill idiots because flames\nare the last things we expect to see\non the stage. A crowd of girls with\nbare backs and legs wriggling suf-\nficiently in half lights will do it\nequally well because we are not yet\nused to bare backs and legs galore\non the stage. But turn up the lights,\nmake everything honest, work like\nan artist and not like a conjurer,\nand no one will care about it.\nIn short, unless people are shocked,\nand deceived, in a theatre they are\ndisappointed.\nOh wonderful Idiots! Oh won-\nderful Theatre! how honestly you\nhave sold yourself soul and body to\nevery man you have met.jg?\nCongratulations ! ...but you have\nnoticed what Is coming, 1 suppose ?\nYou have seen and heard of Motion\nPictures ? I think I hear you al=\nready packing your trunks. The old\ndays were joyous ones to what the\nnew ones will be. You are now to\nexperience the bitterness of having\nbeen treacherous to yourself. After=\nwards you will respect the Poet and\nyourself ...nor lie to hini ever again.\n\nSHAKESPEARE. A STUDY, by\nD arret I Figgis. Dent. Five Shil-\nlings net.\njyir Figgis evidently possesses the\ngift of assimilation. He has as~\nsimilated the works of Professor\nAllbright, Mr Frank Harris and many\nothers, ....indeed, one feels he must\nhave read and digested most of the\nbooks ever written about\npeare,.. and he has produced a study\nwhich, with the exception of some\nfew passages, anyone might read\nwith protit. Perhaps one must admit\nwith profit rather than pleasure, for\nthere is more hardness than charm\nin Mr Figgis's efficient handling of\nall this material, which is dlsappoin=\nting, for something more beautiful\nwas to be expected from one who\nclaims kinship with the poets. &"}, {"page_pdf": 88, "page_imprimee": "344", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 2376, "texte": "Still, his capacity for taking pains 1\ncommands admiration, and the two 1\nchapters on Shakespeare's Life and I\nStage are excellent summaries. & 1\n& The chapters on the \" Art\n44 Craft\" and \"Thought\" of Shake-\nspeare are less happy. They manifest,\nfor instance, a grave misunderstan-\nding, common to many literary men,\nof the very meaning of the word\n44 Drama \" In such passages as the\nfollowing:\n44 This question of Diction in\n\" Drama Is the prime matter of all\n44 interest, since it is words and\n\" words alone, that form the ex-\n-44 pression of Drama \". 44 Only by\n44 dramatic speech can dramatic\n44 thoughts or emotions be concei-\n-44 ved \". 44 The Art of all Drama is\n44 to express each emotion in its\n44 natural and apt diction \", \"Speech\n44 being the only agency of drama\".\n& If Mr Figgis would but refer to\nthe derivation of the word Drama\nas given by Professor Skeat (i) he\nwould find it to be Action and not\nthe Word, and one feels justified in\nconsidering that anyone who has so\nclouded an idea on such a funda-\nmental matter is hardly very well\nqualified to teach others. £?\nOn some other subjects also Mr\nFiggis's thought seems to be con-\nfused, as when, in writing of Sym-\nbolism, he stigmatizes it as \" gene-\nrally a confession of failure on the\npart of the artist, as though he had\nnot enough emotional power to give\nus actuality\", and in the following\npassage, though perhaps his meaning\nis clear as plate-glass to himself, it\nmust be admitted to be a little\nclouded to the reader, who is told\nthat: 44 the husband that slew his\nwife when wild with liquor, is\nRealism : the splendour of first love\nbringing thoughts of divinity, is\nReality. \" &\nit Is, in short, a disappointment\nthat one who can at times speak so\nwell should at other times speak\nso ill, and it would be quite unne-\ncessary ever to do so if Mr Figgis\nwould but get his mind clear as to\nwhat Drama really is before he\nnext sits down to write about it.\nWhen the premises are right it is\nso much more probable that the\nconclusions will work out right also.\nThe book, which is well printed\nby Mr Dent, contains two plans of\nthe 44 Globe \" stage. & &\n(1) See \" The Mask\" July 1908.\n\n. AN ACTOR'S NOTE BOOKS\nI Frank Archer. Stanley Paul. Price\n' seven shillings and six pence nett\n• 'T'hree hundred and twenty five\npages of letters, talk and anecdote\nabout well-known people on, or con-"}, {"page_pdf": 89, "page_imprimee": "345", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2314, "texte": "nected with, the stage in \nstrations, chiefly portraits. jg?\n\nTHE FLIGHT OF THE DRAGON\nby Laurence Binyon. John Mur-\nray• Price two shillings net. jz?\nEverything that comes from Mr\nBinyon is wei! done, and wel=\ncome. This latest book is quite the\nbest in the interesting series known\nas \" The Wisdom of the East\nSeries. \" g? & & &\ntitle, though, reads like the\ntitle of some romance. One also\nthinks about a certain Duchess who\nflew. But this Dragon in flight is a\nfine sight. He is so coy, this Dragon,\nthat one is compelled to chase him.\nWhen chasing take the very largest\nnet with the very finest mesh : even\nthen he'll escape you. But the chase\nis the main thing; you feel better\nafter the exercise. &\n& Mr Binyon translates for us again\nthe six Canons of Painting laid down\nfor the Chinese in the sixth century\nby Hsieh Ho, and his translation is\nclearer and better than those of\nGiles, Hirth or Petrucci. He then\ngoes into the jaws of the terrible\nsix and takes us in after him. That's\nhow I chased the Dragon... inside.\nBut that's only because words are\nalways the most unfriendly things\nto me and I to the iti» j£?\nYet his whole chapter on Rhythm\nand its magic is almost clear to me,\nand here and there I understand\nmany other passages; but like all\ngood things this Dragon got away....\nwithout me. &\nThere is one interesting note\nabout a Sung artist Tuang Ch'i, which\nshows us what a Futurist wants to\nbe and do; It is about suggestion.\nThis artist, it is said, painted a\npicture called \" Wind, Mist and About\nto Rain \" and it was \"so full of\ndepth, and caused the beholder to\ncall up images out of its indefinite-\nness, now appearing, now vanish\"\ning, without end \" ; and I suppose\nthat if ever a Futurist should become\nprofound, modest, courageous and\nobedient even as was the old Chinese\nmaster, then he would also be able\nto \" cause the beholder\" to do just\nas the spirit prompted him to\naesire.\nThere is so much in this little\nbook that I would like to quote that\nI could easily cover ten pages of\nthis magazine if I were allowed to.\nBut 1 must quote a few of the old\nChinese sayings which Mr Binyon\nloves to repeat. jgf\n■£? \" Painting and writing are one\n\" and the same art; whoever knew\n\" a good writer begin by making a\n*' sketch ? \" & &"}, {"page_pdf": 90, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.90", "debut_caractere": 15, "fin_caractere_exclue": 2407, "texte": "i suppose he meaqs a calligiapner,\nnot a literary gent. &\njg. Again, when the artist-emperor\n(oh for an artist-emperor in England!)\nHui-Tsung established his academy,\n(prick up your ears, oh R. A's), and\ncompetitions for places in it were\nheld, the successful painters were\nthose who most triumphantly used\nthe principle of suggestion. 44 Thus\n44 one of the subjects given was an\n44 illustration of a line of poetry,\n44 4Thehoofof his steed comes back\n44 heavily charged with the scent of\n44 the trampled flowers'. The success-\n-44 ful artist was one who painted a\n44 rider with a cluster of butterflies\n44 following at the horse's heels. \"\n& And lastly a fine quiet passage by\nMr Blnyon wherein he reminds us\nthat even 44 in Europe, artists have\never been jealous of their freedom\nand have insisted on their indepen-\ndence with even greater pride, be-\ncause, with so many of them, their art\nwas not a profession but a passion. \"\nI like that very much* How does\nthe profession like it ?\nYou wicked old humbugs, what\nhave you done with your art ?\n\nJAMES MCNEILL WHISTLER\nby Frank Rutter. Grant Richards.\nPrice one shilling. £?\nIt seems at first sight rather super-\nfluous that any other book should\nhave been published for a while with\nthe great Pennell work in everyone's\nhand, but this little book by Mr\nRutter has a number of good things\nin it. There are some passages by\nMr Walter Sickert, too, which of\ncourse lend a particular interest. &\n& Then we have the second famous\ntrial retold here, the result of which\nwas, as Mr Rutter tersely puts it,\n44 the establishing the right of an\n44 artist to control his own work and\n44 the precedent that a work of art,\n44 whether commissioned or not, was\n*4 the property of the artist till it\n44 passed out of his possession. \" &\nThis result should be better\nknown; it would prevent the tyranny\nwhich knaves are allowed to exert\neverv day over the artists of London.\n& The illustrations in the booklet\nare good considering how great is\ntheir reduction. There are twenty\nfour of them.\n\nON THE ART OF THE THEATRE\nhy Gordon Craig. Heinemann.\nPrice six shillings net. & &\nIn this volume the soul of the\ntheatre is articulate. At last an\nartist of the theatre has spoken as\nthe authentic critic of its art.... a\ncreator of it. Por too long the thea-\ntre's art has been interpreted only\nfrom outside, by its commentators\nand purveyors; for the first time,"}, {"page_pdf": 91, "page_imprimee": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.91", "debut_caractere": 19, "fin_caractere_exclue": 2344, "texte": "In the fullness of modern expe-\nJ\nrience and prophecy, it is revealed\nfrom within, by its artist-expert,\nGordon Craig, *' On the Art of the\nTheatre.\" In this astonishing volume\nhe pulls the shrill and tawdry play-\nhouses of two hemispheres clatte-\nm\nring about our ears in dust heaps,\nand from this revolution he rebuilds\nserene and joyous temples for the\naspiring mind. Perhaps no task\ncould be more nobly imaginative\nand difficult than his :....• to make\nclear and comprehensible the out-\nlines of a beauty yet-to-be.\nBut this task he has well-nigh\naccomplished in a style so simple,\nconfiding and undismayed, that the\nreader soon feels himself borne\nonward, as friend with friend, in\ncharmed conversation. This style,\nwhich grants fellowship with such\nlargess, is itself a sign of the seeking,\nf\ncreative spirit which imbues the\nwhole work. Whether we agree with\nits author in whole, or only in part,\nor not at all, one startling convic-\ntion abides from the reading of this\nbook: that, because of it, never\nagain can we think of the theatre\nas before.\n& Here in this volume its art is\nreborn in creative beauty. Gordon\nCraig, who conceived this regenera-\ntion, is himself a worker in the thea-\ntre: that is welcome proof that vision\nis at work there. jZ? Percy Mackaye.\n\nMOVING P I C T U RE S, by\nFrederick A. Talbot. William\nHeinemann. Eight shillings. &\nis one of the most remarkable\nbooks for the student of the\nTheatre and explains a number of\nmysteries. It explains in particular\nthat mystic marriage in England of\nTheatre and Music Hall. It explains\nwhy half the theatres in London are\ndying, and it explains the actor out\nof existence.\njg? it does all this by relentlessly\nrelating facts, and facts are still as\nstubborn things as ever they were.\n& This book will be often referred\nto in our columns.... it is a fund of\ninformation; and there are hundreds\nof interesting, amusing and instruc-\ntive pictures.\n\nTWO PLAYS BY\nTranslated with Notes, etc-, by\nGeorge Calderon, Grant Richards.\nThree\" shillings and sixpence net.\nnpo Mr George Calderon everyone\nowes a debt of gratitude for taking\nthe trouble to give us even two of\nthese plays. Let us hope we may get\nthe other three \" important plays \"\nnext, and after that the Farces in\none Act apiece. &\nAs one of the European Family\nthe Englishman ought to be able to"}, {"page_pdf": 92, "page_imprimee": "348", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.92", "debut_caractere": 22, "fin_caractere_exclue": 2414, "texte": "know how his Russian cousins write\nand so gain some slight idea how\nRussians do not think. For a great\nauthor does not reflect the life of\nhis period; he creates a new life\nwhich veils the actual one.\nThis is what Tchekof does,... and\nthe crowd are again cheated,\nBut we rather deplore the second\nparagraph in this charming collabo-\nration by Tchekof and Calderon. It\nis there stated that while our\n\" new Drama\" (in England,) \"is still\n44 in its plastic age, still capable of\n44 new impressions... It is good for all\n44 who cherish it, playwrights, critics\n44 and spectators, to keep the best\n44 foreign models before their eyes \".\nThat seems particularly weak. &\n£? Omit the word 44 playwrights \"\nand all would be harmless enough,\nbut to suggest as a remedy for\nEnglish sloth and timidity a dose of\nRussian art is altogether meaningless.\nIf Synge, our Irishman, had 44 cher-\nished \" Tchekof and in his 44 plastic \"\nperiod had received a Russian 44 im-\npression \" would it have done him\na scrap of good ? For the Russian\ndramatic literature is not schooled ;\nit has not built upon principles as\nold as they are sound ; it is full of\nattractive pitfalls for the impressio-\nnable playwright.\n& Tchekof is often quoted in the\nPreface ; in a letter to Shtcheglof\nhe wrote: \" Be objective; look at\neverything with your customary\nkind eyes; sit down and write us a\nstory or play of Russian life, not a\ncriticism of Russian life, but the\njoyful song of a goldfinch about\nRussian life and human life in gene-\nral, life which is given us but once\nand which it is foolish to waste on\nexposing the wickedness of \" so\nand so.\n\"The joyful song of a goldfinch\"\nis good; that is something worth\ncreating. And to do that the study\nof Tchekof is unnecessary.\n\nTHE S/INIT Y OF ART by Bernard\nShaw. Constable.One shilling net.\n'X'he Sanity of Art \" is one of Mr\nShaw's latest and earliest books.\nIt has the subtitle of \"An Exposure\nof the Current Nonsense about Ar=\ntists being Degenerate \". &\nj£? It was originally published in 1895\nas a magazine article to vanquish\nDr Max Nordau who had just suc-\nceeded in an attack against nearly\nall the artists of the Nineteenth\ncentury based on an accusation that\nthey were more or less idiots. It\nwas republished as a booklet last\nyear to vanquish... himself, who,\nas Mr Bernard Shaw the familiar\nfriend of the Art of the Theatre, had\nin 1909 made the same assertion as"}, {"page_pdf": 93, "page_imprimee": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.93", "debut_caractere": 15, "fin_caractere_exclue": 2163, "texte": "Dr Nordau.\nHere are his own words: \" The\n\" reason that all artists become\n\" more or less idiots (In the strict\n\" sense of the word) is that they so\n\" seldom get that discipline in con-\n-44 vincing and considering other\n44 people that a committee affords\".\nTherefore we see that familiarity\nwith all the arts in 1895 and there-\nabouts bred in Mr Shaw his contempt\nfor the artists in 1909,\nWell, that is all I have to say\nabout the book. It is a mistake to\nattack or defend Artists on their\nArt, and Mr Shaw having done both\nmerely renders to himself that to\nwhich he is entitled But what\nan awful waste of time and energy\nin so capable a citizen as our first\nSocialist.\n\nBOUGHT BOOKS.\nn/tany of the books which the\nEditor handles are really not\nworth reviewing, for seldom can\none urge the reader of The Mask\nto buy the book; they are not worth\nbuying. Still, there are many books\nnot sent to us for review which\ncertainly are worth buying, and it\nhas been decided that The Mask\nshall take the unusual course of pur-\nchasing books and reviewing under\nthe separate heading of \" Bought\nBooks \" even those books published\nquite a while ago And may it\ngive confidence to the reader of\nthese Reviews.\n\nA DIGIT OF THE MOON. Price\nthree shillings and sixpence. £*\nA HEIFER OF THE DA WN. Price\ntwo shillings and sixpence by F.\nW. Bain. Methuen. &\nTP hese two little books are so well\nknown that to those who have\nread them this note will seem su=\nperil uous.\nPublished somewhere about 1904,\nthey came out on the huge tidal\nwave of the publishing season and\nfloated off like two rose leaves and\nnobody marked them, for not more\nthan five or ten thousand copies\nwere struck off, therefore only a\nfew people possessed these master-\npieces of perfect loveliness.\nThey are so divinely made that\nthey stand apart from all other\nbooks known to me. £?\nDO you know what happiness is?\nLet me tell you that happiness is\nwithin the covers of these two books,\nfor therein dwells the essence of\nlife and love: therein is whispered\nthe loveliest of tales; therein are\npressed the two hemispheres of\nbeauty, the earth's sweetness and\ngrandeur can be upon you in an\ninstant."}, {"page_pdf": 94, "page_imprimee": "350", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.94", "debut_caractere": 15, "fin_caractere_exclue": 2308, "texte": "What do you know of the love\nof a woman which is at once au s=\nterely noble and delicately sweet ?\nHere it Is for you within these\nbooks. There she walks, turns, runs,\nsmiles, \" where the blue lakes are\n\" filled with rows of silver swans,\n\" and where, on steps of lapis-Iazulij\n\" the peacocks dance in agitation at\n44 the murmur of the thunder In the\n44 hills Where the stars and the\nsky are shown to be as great an\nillusion as are their reflection in\nthe seas, but where the little lamp\nlighted by a woman whose faith was\nstrong and sent floating on the\nbroad Ganges is shown to be a rea-\nlity which is indestructable.\n& But I am only thinking of one\nof the two books, the 44 Heifer of\nthe Dawn \", for 1 read it last. It Is\n4k\nthe greater of the two marvels for\n1 read it second, and all great works\nof art have the unique power of\ndestroying for the time the remem-\nbrance of all other works of art,'\neven the most perfect. &\n\nZULE1KA DOBSON by Max\nBeerbohm.\nA fine example of fine art. Mr\nMax Beerbohm was born an artist\nand he has not wasted his time.\nHaving first of all played with\npeople on paper, becoming the first\ncaricaturist of the Victorian era, he\npassed on to the writing of short\nand perfect essays. And now in this\nremarkable novel about a Miss\nZuleika Dobson Mr Beerbohm takes\nhis third step. The book is just as\ndeliberate, just as cautious as has\nbeen Mr Beerbohm's advance. It Is\nthe work of a master who walks\nalong the really difficult and dange-\nrous path and all along the way\nplays with this and with that\nemotion and thought as though the\nwhole thing were just a game\nthat can be played any day and by\nanyone.\n9\nNot only is there not a dull page\nIn the book; .... there is not a page\nwhich is not profound. The imagi-\nnation is touched. When at the\nbeginning 1 saw the train comlmg\ninto the Oxford station 1 was just\nkeen to see all the doors swing\nopen, and I was wild with joy when\nthe first one let Zuleika escape from\nit. 1 once saw a girl come in through\nthe door of a picture gallery; It\nwas just like that I felt when Mr\nBeerbohn opened thedoorofZuleika's\ncoupe.\nBut when I followed her past\nthose statues, those emperors whose\nsilences become appalling In their\nagony, and saw her sitting amidst\nher gorgeous library of books;\nwhen I heard her slightly weary"}, {"page_pdf": 95, "page_imprimee": "351", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.95", "debut_caractere": 15, "fin_caractere_exclue": 2214, "texte": "voice calling to Melisande to undress\nher, and watched her silently\npondering over her amazing adven-\nture with the canister and the fish\nof gold, then all my excitement\nfor her left me and I regarded her\nas one of the few marionettes of\ngreat import in the hands of a genius\nwho cares only for his inspiration\nbecause, with it, he can calculate a\nwork of art into being. &\nJZ? Such genius Is only very rare,\nand have we a doubt that this is\nthe rarest kind ? Is not the creator\nof Zuleika still unfamiliar to us ?\nHas he stepped before the curtain ?\nDo we ever even see his hands as\nthey manipulate the strings ? While\nwatching this figure of a doll which\nhe allows to swing out, sometimes\nas palpitating as a real woman yet\nalways swathed and incased as in\nivory or marble, we applaud with\nour customary unnecessary enthu-\nsiasm in the hope that we may lure\nthe magician from his high place that\nhe may reveal himself and his secret\nand bob to our insulting approval.\nYet he does not answer.... nor appear.\nHe makes no sign. He is twice pres-\nsed, for while we cannot derive any\npublic pleasure from this artist, we\nhave the great happiness of feeling\nthat there are no limitations to his\nart, except those he sternly sets to it.\n\nA HISTORY OF PANTOMIME\nby R. J. Broadbent 1901. Simpkitt\nMarshall and Co.\nnphe price of this Interesting little\nbook I know not, for it was bought\nby a friend and given to me. But\nit is worthy of a nice long notice\nif only the space permitted. It is\ncuriously inaccurate and yet full of\ninformation which is often accurate\nenough. It is quite the best book\nupon the subject that I know of in\nthe English language. And it is\nthe only book I know of which\nmentions a work by Rich the great\nLondon Harlequin.\nThis book, says Mr Broadbent, is\ncalled \" Companion to the Latin\nDictionary \" and 1 suppose is concer-\nned with Dumb Show words.\nIt is evident that the author loved\nand loves his subject for it looks as\nif he had issued the book at his own\nexpense. He is a Liverpool man, and\nthe only one in England who seems\nto realize passionately that Drama\nis all a matter of Gesture.^\nBravo, Mr Broadbent 1 6We raise\nour glass of Italian Chianti and we\nlooks towards you."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c056", "article_bluemountain": "bmtnaau_1912-04_01#c056", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "342", "page_fin": "343", "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=bmtnaau191204-01.2.29.2", "titre_corps": "PLAYS FOR AN IRISH THEATRE by W.B. Yeats", "titre_sommaire": "PLAYS FOR AN IRISH THEATRE by W.B. Yeats", "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": "342", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.86", "debut_caractere": 15, "fin_caractere_exclue": 1578, "texte": "PLA YS FOR AN IRISH THE A TRE\nby W. B. Yeats. With Designs by\nGordon Craig. A. H. Bullen.\nPrice eight shillings and six-\npence.\njy|r Yeats Is a great play-writer,\nand without question the great-\nest of the Irish play-writers. I so\noften hear people talking of Synge\nand so seldom of Yeats. They seem\nto have been touched by Synge's\nforce,.but that in all probability\nis because they have read his plays.\n& it is different when you come\n....or they come.... to Yeats. There\nthey are not touched, not having\nread his plays. But whoever can\nread \"On Baile's Strand\" or \"Cath=\nieen ni Houlihan\" and not be thrilled\nwith the excitement of great things\nhappening has no blood in his body,\nno life in his heart. £? &\n& The dramatic power of \" On\nBaile's Strand \" is of the very finest\nquality. The whole play is alive\nwithout any doubt; It moves, it\nmoans, it cries.... it reaches out its\nhands to you; and, when the tragedy\nhas been enacted and the doors have\nclosed, the voices wail behind the\ndoors and, like the waves and wind\nrise, fall and break their soul upon\nthe barriers; they reach through\nto one's heart, they pierce the\nwalls and drown us in a spiritual\necstasy.\nMr Yeats has struggled with the\nstage. He has altered his verse and\nhis dramas to fit the stage. He has\ndone wrong. His dramas are not for\nthe stage because the stage Is a\nlawless place where no kind of le=\ngality is valued. His plays as they\nwere at first are as well fitted for\nthe modern stage as are Shake*\nspeare's plays,... that is to say, not\nat all. & &\n& But no amount of altering will"}, {"page_pdf": 87, "page_imprimee": "343", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.87", "debut_caractere": 15, "fin_caractere_exclue": 1673, "texte": "make them fit better, A proper\nhandling of them by a stage manager\nof power would make people think\nthey fitted perfectly, would fool\nthem, fbr people are such dunder-\nheads when they come to the thea-\ntre. They only want to be taken In.\nArt does not take people In.\nDante takes nobody in, and Bach\ndoes not deceive you. The builder\nof the Parthenon had no ambition\nto get the best of his audience and\nGiotto was not concerned with\ncheating. Yet it is still held that we\nhave to consider the audience in a\ntheatre and carry them away because\nthey come there, (so it is still said)\nto be fooled.\n& Well then, any trick can do that\ntrick. Imitation flames thirty feet\nhigh will thrill idiots because flames\nare the last things we expect to see\non the stage. A crowd of girls with\nbare backs and legs wriggling suf-\nficiently in half lights will do it\nequally well because we are not yet\nused to bare backs and legs galore\non the stage. But turn up the lights,\nmake everything honest, work like\nan artist and not like a conjurer,\nand no one will care about it.\nIn short, unless people are shocked,\nand deceived, in a theatre they are\ndisappointed.\nOh wonderful Idiots! Oh won-\nderful Theatre! how honestly you\nhave sold yourself soul and body to\nevery man you have met.jg?\nCongratulations ! ...but you have\nnoticed what Is coming, 1 suppose ?\nYou have seen and heard of Motion\nPictures ? I think I hear you al=\nready packing your trunks. The old\ndays were joyous ones to what the\nnew ones will be. You are now to\nexperience the bitterness of having\nbeen treacherous to yourself. After=\nwards you will respect the Poet and\nyourself ...nor lie to hini ever again."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c057", "article_bluemountain": "bmtnaau_1912-04_01#c057", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "343", "page_fin": "344", "image_debut": 87, "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=bmtnaau191204-01.2.29.3", "titre_corps": "SHAKESPEARE. A STUDY by Darrell Figgis", "titre_sommaire": "SHAKESPEARE. A STUDY by Darrell Figgis", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "343", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.87", "debut_caractere": 1675, "fin_caractere_exclue": 2368, "texte": "SHAKESPEARE. A STUDY, by\nD arret I Figgis. Dent. Five Shil-\nlings net.\njyir Figgis evidently possesses the\ngift of assimilation. He has as~\nsimilated the works of Professor\nAllbright, Mr Frank Harris and many\nothers, ....indeed, one feels he must\nhave read and digested most of the\nbooks ever written about\npeare,.. and he has produced a study\nwhich, with the exception of some\nfew passages, anyone might read\nwith protit. Perhaps one must admit\nwith profit rather than pleasure, for\nthere is more hardness than charm\nin Mr Figgis's efficient handling of\nall this material, which is dlsappoin=\nting, for something more beautiful\nwas to be expected from one who\nclaims kinship with the poets. &"}, {"page_pdf": 88, "page_imprimee": "344", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 2172, "texte": "Still, his capacity for taking pains 1\ncommands admiration, and the two 1\nchapters on Shakespeare's Life and I\nStage are excellent summaries. & 1\n& The chapters on the \" Art\n44 Craft\" and \"Thought\" of Shake-\nspeare are less happy. They manifest,\nfor instance, a grave misunderstan-\nding, common to many literary men,\nof the very meaning of the word\n44 Drama \" In such passages as the\nfollowing:\n44 This question of Diction in\n\" Drama Is the prime matter of all\n44 interest, since it is words and\n\" words alone, that form the ex-\n-44 pression of Drama \". 44 Only by\n44 dramatic speech can dramatic\n44 thoughts or emotions be concei-\n-44 ved \". 44 The Art of all Drama is\n44 to express each emotion in its\n44 natural and apt diction \", \"Speech\n44 being the only agency of drama\".\n& If Mr Figgis would but refer to\nthe derivation of the word Drama\nas given by Professor Skeat (i) he\nwould find it to be Action and not\nthe Word, and one feels justified in\nconsidering that anyone who has so\nclouded an idea on such a funda-\nmental matter is hardly very well\nqualified to teach others. £?\nOn some other subjects also Mr\nFiggis's thought seems to be con-\nfused, as when, in writing of Sym-\nbolism, he stigmatizes it as \" gene-\nrally a confession of failure on the\npart of the artist, as though he had\nnot enough emotional power to give\nus actuality\", and in the following\npassage, though perhaps his meaning\nis clear as plate-glass to himself, it\nmust be admitted to be a little\nclouded to the reader, who is told\nthat: 44 the husband that slew his\nwife when wild with liquor, is\nRealism : the splendour of first love\nbringing thoughts of divinity, is\nReality. \" &\nit Is, in short, a disappointment\nthat one who can at times speak so\nwell should at other times speak\nso ill, and it would be quite unne-\ncessary ever to do so if Mr Figgis\nwould but get his mind clear as to\nwhat Drama really is before he\nnext sits down to write about it.\nWhen the premises are right it is\nso much more probable that the\nconclusions will work out right also.\nThe book, which is well printed\nby Mr Dent, contains two plans of\nthe 44 Globe \" stage. & &\n(1) See \" The Mask\" July 1908."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c058", "article_bluemountain": "bmtnaau_1912-04_01#c058", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "344", "page_fin": "345", "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=bmtnaau191204-01.2.29.4", "titre_corps": "AN ACTOR'S NOTE BOOKS by Frank Archer", "titre_sommaire": "AN ACTOR'S NOTE BOOKS by Frank Archer", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "344", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.88", "debut_caractere": 2174, "fin_caractere_exclue": 2376, "texte": ". AN ACTOR'S NOTE BOOKS\nI Frank Archer. Stanley Paul. Price\n' seven shillings and six pence nett\n• 'T'hree hundred and twenty five\npages of letters, talk and anecdote\nabout well-known people on, or con-"}, {"page_pdf": 89, "page_imprimee": "345", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 120, "texte": "nected with, the stage in \nstrations, chiefly portraits. jg?"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c059", "article_bluemountain": "bmtnaau_1912-04_01#c059", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "345", "page_fin": "346", "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=bmtnaau191204-01.2.29.5", "titre_corps": "THE FLIGHT OF THE DRAGON by Laurence Binyon", "titre_sommaire": "THE FLIGHT OF THE DRAGON by Laurence Binyon", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 89, "page_imprimee": "345", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.89", "debut_caractere": 122, "fin_caractere_exclue": 2314, "texte": "THE FLIGHT OF THE DRAGON\nby Laurence Binyon. John Mur-\nray• Price two shillings net. jz?\nEverything that comes from Mr\nBinyon is wei! done, and wel=\ncome. This latest book is quite the\nbest in the interesting series known\nas \" The Wisdom of the East\nSeries. \" g? & & &\ntitle, though, reads like the\ntitle of some romance. One also\nthinks about a certain Duchess who\nflew. But this Dragon in flight is a\nfine sight. He is so coy, this Dragon,\nthat one is compelled to chase him.\nWhen chasing take the very largest\nnet with the very finest mesh : even\nthen he'll escape you. But the chase\nis the main thing; you feel better\nafter the exercise. &\n& Mr Binyon translates for us again\nthe six Canons of Painting laid down\nfor the Chinese in the sixth century\nby Hsieh Ho, and his translation is\nclearer and better than those of\nGiles, Hirth or Petrucci. He then\ngoes into the jaws of the terrible\nsix and takes us in after him. That's\nhow I chased the Dragon... inside.\nBut that's only because words are\nalways the most unfriendly things\nto me and I to the iti» j£?\nYet his whole chapter on Rhythm\nand its magic is almost clear to me,\nand here and there I understand\nmany other passages; but like all\ngood things this Dragon got away....\nwithout me. &\nThere is one interesting note\nabout a Sung artist Tuang Ch'i, which\nshows us what a Futurist wants to\nbe and do; It is about suggestion.\nThis artist, it is said, painted a\npicture called \" Wind, Mist and About\nto Rain \" and it was \"so full of\ndepth, and caused the beholder to\ncall up images out of its indefinite-\nness, now appearing, now vanish\"\ning, without end \" ; and I suppose\nthat if ever a Futurist should become\nprofound, modest, courageous and\nobedient even as was the old Chinese\nmaster, then he would also be able\nto \" cause the beholder\" to do just\nas the spirit prompted him to\naesire.\nThere is so much in this little\nbook that I would like to quote that\nI could easily cover ten pages of\nthis magazine if I were allowed to.\nBut 1 must quote a few of the old\nChinese sayings which Mr Binyon\nloves to repeat. jgf\n■£? \" Painting and writing are one\n\" and the same art; whoever knew\n\" a good writer begin by making a\n*' sketch ? \" & &"}, {"page_pdf": 90, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.90", "debut_caractere": 15, "fin_caractere_exclue": 1060, "texte": "i suppose he meaqs a calligiapner,\nnot a literary gent. &\njg. Again, when the artist-emperor\n(oh for an artist-emperor in England!)\nHui-Tsung established his academy,\n(prick up your ears, oh R. A's), and\ncompetitions for places in it were\nheld, the successful painters were\nthose who most triumphantly used\nthe principle of suggestion. 44 Thus\n44 one of the subjects given was an\n44 illustration of a line of poetry,\n44 4Thehoofof his steed comes back\n44 heavily charged with the scent of\n44 the trampled flowers'. The success-\n-44 ful artist was one who painted a\n44 rider with a cluster of butterflies\n44 following at the horse's heels. \"\n& And lastly a fine quiet passage by\nMr Blnyon wherein he reminds us\nthat even 44 in Europe, artists have\never been jealous of their freedom\nand have insisted on their indepen-\ndence with even greater pride, be-\ncause, with so many of them, their art\nwas not a profession but a passion. \"\nI like that very much* How does\nthe profession like it ?\nYou wicked old humbugs, what\nhave you done with your art ?"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c060", "article_bluemountain": "bmtnaau_1912-04_01#c060", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "346", "page_fin": "346", "image_debut": 90, "image_fin": 90, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.29.6", "titre_corps": "JAMES MCNEILL WHISTLER by Frank Rutter", "titre_sommaire": "JAMES MCNEILL WHISTLER by Frank Rutter", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.90", "debut_caractere": 1062, "fin_caractere_exclue": 2041, "texte": "JAMES MCNEILL WHISTLER\nby Frank Rutter. Grant Richards.\nPrice one shilling. £?\nIt seems at first sight rather super-\nfluous that any other book should\nhave been published for a while with\nthe great Pennell work in everyone's\nhand, but this little book by Mr\nRutter has a number of good things\nin it. There are some passages by\nMr Walter Sickert, too, which of\ncourse lend a particular interest. &\n& Then we have the second famous\ntrial retold here, the result of which\nwas, as Mr Rutter tersely puts it,\n44 the establishing the right of an\n44 artist to control his own work and\n44 the precedent that a work of art,\n44 whether commissioned or not, was\n*4 the property of the artist till it\n44 passed out of his possession. \" &\nThis result should be better\nknown; it would prevent the tyranny\nwhich knaves are allowed to exert\neverv day over the artists of London.\n& The illustrations in the booklet\nare good considering how great is\ntheir reduction. There are twenty\nfour of them."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c061", "article_bluemountain": "bmtnaau_1912-04_01#c061", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "346", "page_fin": "347", "image_debut": 90, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.29.7", "titre_corps": "ON THE ART OF THE THEATRE by Gordon Craig", "titre_sommaire": "ON THE ART OF THE THEATRE by Gordon Craig", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.90", "debut_caractere": 2043, "fin_caractere_exclue": 2407, "texte": "ON THE ART OF THE THEATRE\nhy Gordon Craig. Heinemann.\nPrice six shillings net. & &\nIn this volume the soul of the\ntheatre is articulate. At last an\nartist of the theatre has spoken as\nthe authentic critic of its art.... a\ncreator of it. Por too long the thea-\ntre's art has been interpreted only\nfrom outside, by its commentators\nand purveyors; for the first time,"}, {"page_pdf": 91, "page_imprimee": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.91", "debut_caractere": 19, "fin_caractere_exclue": 1292, "texte": "In the fullness of modern expe-\nJ\nrience and prophecy, it is revealed\nfrom within, by its artist-expert,\nGordon Craig, *' On the Art of the\nTheatre.\" In this astonishing volume\nhe pulls the shrill and tawdry play-\nhouses of two hemispheres clatte-\nm\nring about our ears in dust heaps,\nand from this revolution he rebuilds\nserene and joyous temples for the\naspiring mind. Perhaps no task\ncould be more nobly imaginative\nand difficult than his :....• to make\nclear and comprehensible the out-\nlines of a beauty yet-to-be.\nBut this task he has well-nigh\naccomplished in a style so simple,\nconfiding and undismayed, that the\nreader soon feels himself borne\nonward, as friend with friend, in\ncharmed conversation. This style,\nwhich grants fellowship with such\nlargess, is itself a sign of the seeking,\nf\ncreative spirit which imbues the\nwhole work. Whether we agree with\nits author in whole, or only in part,\nor not at all, one startling convic-\ntion abides from the reading of this\nbook: that, because of it, never\nagain can we think of the theatre\nas before.\n& Here in this volume its art is\nreborn in creative beauty. Gordon\nCraig, who conceived this regenera-\ntion, is himself a worker in the thea-\ntre: that is welcome proof that vision\nis at work there. jZ? Percy Mackaye."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c062", "article_bluemountain": "bmtnaau_1912-04_01#c062", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "347", "page_fin": "347", "image_debut": 91, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.29.8", "titre_corps": "MOVING PICTURES by Frederick A Talbot", "titre_sommaire": "MOVING PICTURES by Frederick A Talbot", "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": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.91", "debut_caractere": 1294, "fin_caractere_exclue": 1937, "texte": "MOVING P I C T U RE S, by\nFrederick A. Talbot. William\nHeinemann. Eight shillings. &\nis one of the most remarkable\nbooks for the student of the\nTheatre and explains a number of\nmysteries. It explains in particular\nthat mystic marriage in England of\nTheatre and Music Hall. It explains\nwhy half the theatres in London are\ndying, and it explains the actor out\nof existence.\njg? it does all this by relentlessly\nrelating facts, and facts are still as\nstubborn things as ever they were.\n& This book will be often referred\nto in our columns.... it is a fund of\ninformation; and there are hundreds\nof interesting, amusing and instruc-\ntive pictures."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c062a", "article_bluemountain": "bmtnaau_1912-04_01#c062a", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "347", "page_fin": "348", "image_debut": 91, "image_fin": 92, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.29.9", "titre_corps": "TWO PLAYS BY TCHEKOF", "titre_sommaire": "TWO PLAYS BY TCHEKOF", "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": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.91", "debut_caractere": 1939, "fin_caractere_exclue": 2344, "texte": "TWO PLAYS BY\nTranslated with Notes, etc-, by\nGeorge Calderon, Grant Richards.\nThree\" shillings and sixpence net.\nnpo Mr George Calderon everyone\nowes a debt of gratitude for taking\nthe trouble to give us even two of\nthese plays. Let us hope we may get\nthe other three \" important plays \"\nnext, and after that the Farces in\none Act apiece. &\nAs one of the European Family\nthe Englishman ought to be able to"}, {"page_pdf": 92, "page_imprimee": "348", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.92", "debut_caractere": 22, "fin_caractere_exclue": 1763, "texte": "know how his Russian cousins write\nand so gain some slight idea how\nRussians do not think. For a great\nauthor does not reflect the life of\nhis period; he creates a new life\nwhich veils the actual one.\nThis is what Tchekof does,... and\nthe crowd are again cheated,\nBut we rather deplore the second\nparagraph in this charming collabo-\nration by Tchekof and Calderon. It\nis there stated that while our\n\" new Drama\" (in England,) \"is still\n44 in its plastic age, still capable of\n44 new impressions... It is good for all\n44 who cherish it, playwrights, critics\n44 and spectators, to keep the best\n44 foreign models before their eyes \".\nThat seems particularly weak. &\n£? Omit the word 44 playwrights \"\nand all would be harmless enough,\nbut to suggest as a remedy for\nEnglish sloth and timidity a dose of\nRussian art is altogether meaningless.\nIf Synge, our Irishman, had 44 cher-\nished \" Tchekof and in his 44 plastic \"\nperiod had received a Russian 44 im-\npression \" would it have done him\na scrap of good ? For the Russian\ndramatic literature is not schooled ;\nit has not built upon principles as\nold as they are sound ; it is full of\nattractive pitfalls for the impressio-\nnable playwright.\n& Tchekof is often quoted in the\nPreface ; in a letter to Shtcheglof\nhe wrote: \" Be objective; look at\neverything with your customary\nkind eyes; sit down and write us a\nstory or play of Russian life, not a\ncriticism of Russian life, but the\njoyful song of a goldfinch about\nRussian life and human life in gene-\nral, life which is given us but once\nand which it is foolish to waste on\nexposing the wickedness of \" so\nand so.\n\"The joyful song of a goldfinch\"\nis good; that is something worth\ncreating. And to do that the study\nof Tchekof is unnecessary."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c063", "article_bluemountain": "bmtnaau_1912-04_01#c063", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "348", "page_fin": "349", "image_debut": 92, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.29.10", "titre_corps": "THE SANITY OF ART by Bernard Shaw", "titre_sommaire": "THE SANITY OF ART by Bernard Shaw", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "348", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.92", "debut_caractere": 1765, "fin_caractere_exclue": 2414, "texte": "THE S/INIT Y OF ART by Bernard\nShaw. Constable.One shilling net.\n'X'he Sanity of Art \" is one of Mr\nShaw's latest and earliest books.\nIt has the subtitle of \"An Exposure\nof the Current Nonsense about Ar=\ntists being Degenerate \". &\nj£? It was originally published in 1895\nas a magazine article to vanquish\nDr Max Nordau who had just suc-\nceeded in an attack against nearly\nall the artists of the Nineteenth\ncentury based on an accusation that\nthey were more or less idiots. It\nwas republished as a booklet last\nyear to vanquish... himself, who,\nas Mr Bernard Shaw the familiar\nfriend of the Art of the Theatre, had\nin 1909 made the same assertion as"}, {"page_pdf": 93, "page_imprimee": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.93", "debut_caractere": 15, "fin_caractere_exclue": 683, "texte": "Dr Nordau.\nHere are his own words: \" The\n\" reason that all artists become\n\" more or less idiots (In the strict\n\" sense of the word) is that they so\n\" seldom get that discipline in con-\n-44 vincing and considering other\n44 people that a committee affords\".\nTherefore we see that familiarity\nwith all the arts in 1895 and there-\nabouts bred in Mr Shaw his contempt\nfor the artists in 1909,\nWell, that is all I have to say\nabout the book. It is a mistake to\nattack or defend Artists on their\nArt, and Mr Shaw having done both\nmerely renders to himself that to\nwhich he is entitled But what\nan awful waste of time and energy\nin so capable a citizen as our first\nSocialist."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c064", "article_bluemountain": "bmtnaau_1912-04_01#c064", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "349", "page_fin": "349", "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=bmtnaau191204-01.2.29.11", "titre_corps": "BOUGHT BOOKS", "titre_sommaire": "BOUGHT BOOKS", "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": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.93", "debut_caractere": 685, "fin_caractere_exclue": 1209, "texte": "BOUGHT BOOKS.\nn/tany of the books which the\nEditor handles are really not\nworth reviewing, for seldom can\none urge the reader of The Mask\nto buy the book; they are not worth\nbuying. Still, there are many books\nnot sent to us for review which\ncertainly are worth buying, and it\nhas been decided that The Mask\nshall take the unusual course of pur-\nchasing books and reviewing under\nthe separate heading of \" Bought\nBooks \" even those books published\nquite a while ago And may it\ngive confidence to the reader of\nthese Reviews."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c065", "article_bluemountain": "bmtnaau_1912-04_01#c065", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "349", "page_fin": "350", "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=bmtnaau191204-01.2.29.12", "titre_corps": "A DIGIT OF THE MOON by W. Bain Methuen", "titre_sommaire": "A DIGIT OF THE MOON by W. Bain Methuen", "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": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.93", "debut_caractere": 1211, "fin_caractere_exclue": 2163, "texte": "A DIGIT OF THE MOON. Price\nthree shillings and sixpence. £*\nA HEIFER OF THE DA WN. Price\ntwo shillings and sixpence by F.\nW. Bain. Methuen. &\nTP hese two little books are so well\nknown that to those who have\nread them this note will seem su=\nperil uous.\nPublished somewhere about 1904,\nthey came out on the huge tidal\nwave of the publishing season and\nfloated off like two rose leaves and\nnobody marked them, for not more\nthan five or ten thousand copies\nwere struck off, therefore only a\nfew people possessed these master-\npieces of perfect loveliness.\nThey are so divinely made that\nthey stand apart from all other\nbooks known to me. £?\nDO you know what happiness is?\nLet me tell you that happiness is\nwithin the covers of these two books,\nfor therein dwells the essence of\nlife and love: therein is whispered\nthe loveliest of tales; therein are\npressed the two hemispheres of\nbeauty, the earth's sweetness and\ngrandeur can be upon you in an\ninstant."}, {"page_pdf": 94, "page_imprimee": "350", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.94", "debut_caractere": 15, "fin_caractere_exclue": 942, "texte": "What do you know of the love\nof a woman which is at once au s=\nterely noble and delicately sweet ?\nHere it Is for you within these\nbooks. There she walks, turns, runs,\nsmiles, \" where the blue lakes are\n\" filled with rows of silver swans,\n\" and where, on steps of lapis-Iazulij\n\" the peacocks dance in agitation at\n44 the murmur of the thunder In the\n44 hills Where the stars and the\nsky are shown to be as great an\nillusion as are their reflection in\nthe seas, but where the little lamp\nlighted by a woman whose faith was\nstrong and sent floating on the\nbroad Ganges is shown to be a rea-\nlity which is indestructable.\n& But I am only thinking of one\nof the two books, the 44 Heifer of\nthe Dawn \", for 1 read it last. It Is\n4k\nthe greater of the two marvels for\n1 read it second, and all great works\nof art have the unique power of\ndestroying for the time the remem-\nbrance of all other works of art,'\neven the most perfect. &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c066", "article_bluemountain": "bmtnaau_1912-04_01#c066", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "350", "page_fin": "351", "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=bmtnaau191204-01.2.29.13", "titre_corps": "ZULEIKA DOBSON by Max Beerbohm", "titre_sommaire": "ZULEIKA DOBSON by Max Beerbohm", "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": "350", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.94", "debut_caractere": 944, "fin_caractere_exclue": 2308, "texte": "ZULE1KA DOBSON by Max\nBeerbohm.\nA fine example of fine art. Mr\nMax Beerbohm was born an artist\nand he has not wasted his time.\nHaving first of all played with\npeople on paper, becoming the first\ncaricaturist of the Victorian era, he\npassed on to the writing of short\nand perfect essays. And now in this\nremarkable novel about a Miss\nZuleika Dobson Mr Beerbohm takes\nhis third step. The book is just as\ndeliberate, just as cautious as has\nbeen Mr Beerbohm's advance. It Is\nthe work of a master who walks\nalong the really difficult and dange-\nrous path and all along the way\nplays with this and with that\nemotion and thought as though the\nwhole thing were just a game\nthat can be played any day and by\nanyone.\n9\nNot only is there not a dull page\nIn the book; .... there is not a page\nwhich is not profound. The imagi-\nnation is touched. When at the\nbeginning 1 saw the train comlmg\ninto the Oxford station 1 was just\nkeen to see all the doors swing\nopen, and I was wild with joy when\nthe first one let Zuleika escape from\nit. 1 once saw a girl come in through\nthe door of a picture gallery; It\nwas just like that I felt when Mr\nBeerbohn opened thedoorofZuleika's\ncoupe.\nBut when I followed her past\nthose statues, those emperors whose\nsilences become appalling In their\nagony, and saw her sitting amidst\nher gorgeous library of books;\nwhen I heard her slightly weary"}, {"page_pdf": 95, "page_imprimee": "351", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.95", "debut_caractere": 15, "fin_caractere_exclue": 1246, "texte": "voice calling to Melisande to undress\nher, and watched her silently\npondering over her amazing adven-\nture with the canister and the fish\nof gold, then all my excitement\nfor her left me and I regarded her\nas one of the few marionettes of\ngreat import in the hands of a genius\nwho cares only for his inspiration\nbecause, with it, he can calculate a\nwork of art into being. &\nJZ? Such genius Is only very rare,\nand have we a doubt that this is\nthe rarest kind ? Is not the creator\nof Zuleika still unfamiliar to us ?\nHas he stepped before the curtain ?\nDo we ever even see his hands as\nthey manipulate the strings ? While\nwatching this figure of a doll which\nhe allows to swing out, sometimes\nas palpitating as a real woman yet\nalways swathed and incased as in\nivory or marble, we applaud with\nour customary unnecessary enthu-\nsiasm in the hope that we may lure\nthe magician from his high place that\nhe may reveal himself and his secret\nand bob to our insulting approval.\nYet he does not answer.... nor appear.\nHe makes no sign. He is twice pres-\nsed, for while we cannot derive any\npublic pleasure from this artist, we\nhave the great happiness of feeling\nthat there are no limitations to his\nart, except those he sternly sets to it."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c067", "article_bluemountain": "bmtnaau_1912-04_01#c067", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "351", "page_fin": "351", "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=bmtnaau191204-01.2.29.14", "titre_corps": "A HISTORY OF PANTOMIME by R.J. Broadbent", "titre_sommaire": "A HISTORY OF PANTOMIME by R.J. Broadbent", "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": "351", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.95", "debut_caractere": 1248, "fin_caractere_exclue": 2214, "texte": "A HISTORY OF PANTOMIME\nby R. J. Broadbent 1901. Simpkitt\nMarshall and Co.\nnphe price of this Interesting little\nbook I know not, for it was bought\nby a friend and given to me. But\nit is worthy of a nice long notice\nif only the space permitted. It is\ncuriously inaccurate and yet full of\ninformation which is often accurate\nenough. It is quite the best book\nupon the subject that I know of in\nthe English language. And it is\nthe only book I know of which\nmentions a work by Rich the great\nLondon Harlequin.\nThis book, says Mr Broadbent, is\ncalled \" Companion to the Latin\nDictionary \" and 1 suppose is concer-\nned with Dumb Show words.\nIt is evident that the author loved\nand loves his subject for it looks as\nif he had issued the book at his own\nexpense. He is a Liverpool man, and\nthe only one in England who seems\nto realize passionately that Drama\nis all a matter of Gesture.^\nBravo, Mr Broadbent 1 6We raise\nour glass of Italian Chianti and we\nlooks towards you."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c069", "article_bluemountain": "bmtnaau_1912-04_01#c069", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "352", "page_fin": "3584", "image_debut": 96, "image_fin": 98, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.30", "titre_corps": "THE THEATRE", "titre_sommaire": "THE THEATRE", "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": "352", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.96", "debut_caractere": 0, "fin_caractere_exclue": 1807, "texte": "THE THEATRE.\n\nIN GERMANY, HOLLAND, RUSSIA, ENGLAND AND FRANCE.\nA Series of Letters\nfrom Gordon Craig.\n\ndear Semar..<2? JZ? <£?\n.sS> It is long since I wrote you\na letter from a great city telling\nyou about the theatres there. The\nlast time I wrote to you I was In\nMoscow. There were a number of\ninteresting things to tell you about.\nNow I am in Paris, .. .and there is\nnothing at all to say. After Moscow...\nthe Beresina. & JZ> &\n& I passed that fatal spot safely\nenough but all my remembrances of\nthe Art theatres of Europe were\ndrowned. No more Art Theatres for\nme. This is in no way to be construed\nas suggesting dissatisfaction with the\nTheatre of M. Stanlslawsky. On the\ncontrary my enthusiasm for the\nMoscow Art Theatre is just what it\nwas. There are one or two rats in\nthe building but they don't count;\nas soon as the ship shows the least\nsign of sinking they'll desert, and\nwe shall all see them .... and their\ntads. But after such a theatre other\nArt Theatres are out of the reckon=\ning and other non=art theatres\nnon existent.\njgr But the Art of the Theatre still\ncalls and 1, feeling refreshed after\nmy late experience at Moscow, turn\nto the question of the Art with\nrenewed pleasure and determination.\nWhy, Semar, there are treinen=\ndous things to be done. We haven't\nyet got near the thing; Über=roario=\nnettes and wordless plays and\nactorless dramas arethe more obvious\nsteps to a far deeper mystery. It is\nthat we have to peer into. &\nJZ? I remember years and years ago...\nI think it was ini9ii.... speaking\nwith you almost seriously about the\ndoings of certain dangerous people\nas we used to call them,...\" actor\nmanagers \", 44 English leaders\nLet me tell you, my friend, that when\nI got to London this last autumn\nI was assured on all sides that they\nwere of so little danger, of so little"}, {"page_pdf": 97, "page_imprimee": "353", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.97", "debut_caractere": 22, "fin_caractere_exclue": 2411, "texte": "importance, that serious people\nnever even considered them; that\nthese old fellows whom we used to\ndiscuss, attack, and all the rest of\nIt were all as dead as door nails.\n1 felt quite out of date, i assure you.\nMention T, (whom heaven forbid\nthat I should ever mention again)\nand eyebrows went up and some\nsigns of impatience could be remar-\nked in the listener's manner; then\nas I continued to speak of T. (who,\nsave the mark, shall ne'er again be\nspoken of), i would be told with\nsome visible signs of gentle forbea-\nrance that the old fellow no longer\ncounted. Now that makes me want\nfor the first time to take up arms\nagainst his enemies. Dead, finished?\nwhy, he must be rescued. But I know\nenough of the nervous figure to know\nthat he would even resent that. So\nlet him be where he has fallen\nand let us get on to pleasant things.\nI shall have my school soon and\nmy theatre, and we shall announce\na programme and stick to it,....\na rare thing omitted by most ma-\nnagements.\n& We shall neither play up nor\ndown to the public, (had you there,\nSemar I) but we shall just experiment\nwith fresh things each day, month\nand year, and if anyone likes what\nwe do, all the better ; if they don't\nlike what we do, all the worse. But\nwe shall not change our programme.\n& There will be no need. We shall\nrespect the Censor and be loyal to\nthe King, because neither the Censor\nnor his Majesty ever interferes\nwith straightforward workers in\nany branch of art or science.\nAnd our art we shall try to make\nas scientific as possible, We shall\nmove slowly ; never shall immediate\neffect be sought for nor immediate\nfailure shunned. We shall be in no\nhurry, why should we? Our\nhappiness like that of every norma!\nartist consists in doing our work not\nin results: the day there are no\nmore experiments to test, no more\nbye-paths to adventure on; when\nnothing but the goal is there before\nus to claim and proclaim,.... on that\nday we and the other artists on\nearth can go to sleep; there'll be\nno more use for us. JZ?\nFor all we are crazy about is the\nlimitless. What kind of fool is it who\nonly desires that which is limited by\nhis perceptions ? what kind of Art\nwould that be which had an edge ?\nArt is not here nor there; it is\nthat which lies between this and\nthat. Nor can you pin it down at\nrest. Dependent upon motion itglides\nor careers from now to the hereafter,\nfrom every yesterday to every to-"}, {"page_pdf": 98, "page_imprimee": "3584", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.98", "debut_caractere": 22, "fin_caractere_exclue": 2336, "texte": "morrow: governed by the laws of\nTime and by Number it is yet Indes-\ntructable for no one can touch it as\nit passes.\nCome on, then, Semar I get your\nfleetest steed and join me In the\ngrandest sport that ever an Eng-\n*\nlishman went in for. & &\ngut before starting off 1 mustn't\nforget some of my old friends. The\ncommittee who invited me over to\nLondon last summer, and the\ncommittee who have become the\nprotectors of my school. And I have a\nword to say about some new friends\nFirst Brown and Philips of the\nLeicester Galleries: then William\nHeinemann. These have been to me\nthe best of friends. The first made\nit possible for me to show my Lon-\ndon public some of my designs and\nmodels. What a delightful time I\nhad in that Leicester Gallery! How\ncourteous and friendly to me were\nits directors; how considerate to-\nwards my work. Every day spent as\nguest In their house was enjoyable.\n& And William Heinemann ! 1 had\nalways heard such bogey tales about\npublishers. The bogies may exist, but\nHeinemann is nothing but a good\nfairy full of human kindness, a\nsplendid administrator and a hard\nworker. He attends to everything,\nand with an enthusiasm and care\nwhich to me was a revelation.\nHow ? you ask. Why, it revealed\namongst other things that 1 was not\nsuch an impossible person to deal\nwith as some wretches would make\nout. (1 mean 44 wretches \" in the kin-\ndest sense of the word ; one speaks\nof silly old ladies as wretches \").\nNow what amazed me was this :....\nBrown and Philips and William\nHeinemann, both the heads of their\nparticular vocations, could work\nwith me so agreably, and if I could\nfind no smallest thing to differ with\nthem upon, how was it that when\nit came to managers of theatres the\nthing became impossible on account\nof the disagreableness of the whole\nwork? Semar, there must have been\nsomething rather queer with those\ntheatres.\n& Bye the way, do you remember\nthat book 1 told you I would some\nday prepare,.... 44 Hamlet \"? I have\nbegun it and It will be published in\nEnglish and in German; another\nfriend has made that possible : so\nyou see, as Mr Asquith said,\n44 We're getting on \". & 0\nWhen next 1 write it will be to\ntell you the exact site chosen for\nmy school and my theatre, and you\nknow I never start telling you of\nanything which I do not carry out.\n\nArivederci....! Gordon Craig"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c071", "article_bluemountain": "bmtnaau_1912-04_01#c071", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "352", "page_fin": "3584", "image_debut": 96, "image_fin": 98, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.30.2", "titre_corps": "IN GERMANY, HOLLAND, RUSSIA, ENGLAND AND FRANCE : A Series of Letters from Gordon Craig", "titre_sommaire": "IN GERMANY, HOLLAND, RUSSIA, ENGLAND AND FRANCE : A Series of Letters from 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": 96, "page_imprimee": "352", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.96", "debut_caractere": 14, "fin_caractere_exclue": 1807, "texte": "IN GERMANY, HOLLAND, RUSSIA, ENGLAND AND FRANCE.\nA Series of Letters\nfrom Gordon Craig.\n\ndear Semar..<2? JZ? <£?\n.sS> It is long since I wrote you\na letter from a great city telling\nyou about the theatres there. The\nlast time I wrote to you I was In\nMoscow. There were a number of\ninteresting things to tell you about.\nNow I am in Paris, .. .and there is\nnothing at all to say. After Moscow...\nthe Beresina. & JZ> &\n& I passed that fatal spot safely\nenough but all my remembrances of\nthe Art theatres of Europe were\ndrowned. No more Art Theatres for\nme. This is in no way to be construed\nas suggesting dissatisfaction with the\nTheatre of M. Stanlslawsky. On the\ncontrary my enthusiasm for the\nMoscow Art Theatre is just what it\nwas. There are one or two rats in\nthe building but they don't count;\nas soon as the ship shows the least\nsign of sinking they'll desert, and\nwe shall all see them .... and their\ntads. But after such a theatre other\nArt Theatres are out of the reckon=\ning and other non=art theatres\nnon existent.\njgr But the Art of the Theatre still\ncalls and 1, feeling refreshed after\nmy late experience at Moscow, turn\nto the question of the Art with\nrenewed pleasure and determination.\nWhy, Semar, there are treinen=\ndous things to be done. We haven't\nyet got near the thing; Über=roario=\nnettes and wordless plays and\nactorless dramas arethe more obvious\nsteps to a far deeper mystery. It is\nthat we have to peer into. &\nJZ? I remember years and years ago...\nI think it was ini9ii.... speaking\nwith you almost seriously about the\ndoings of certain dangerous people\nas we used to call them,...\" actor\nmanagers \", 44 English leaders\nLet me tell you, my friend, that when\nI got to London this last autumn\nI was assured on all sides that they\nwere of so little danger, of so little"}, {"page_pdf": 97, "page_imprimee": "353", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.97", "debut_caractere": 22, "fin_caractere_exclue": 2411, "texte": "importance, that serious people\nnever even considered them; that\nthese old fellows whom we used to\ndiscuss, attack, and all the rest of\nIt were all as dead as door nails.\n1 felt quite out of date, i assure you.\nMention T, (whom heaven forbid\nthat I should ever mention again)\nand eyebrows went up and some\nsigns of impatience could be remar-\nked in the listener's manner; then\nas I continued to speak of T. (who,\nsave the mark, shall ne'er again be\nspoken of), i would be told with\nsome visible signs of gentle forbea-\nrance that the old fellow no longer\ncounted. Now that makes me want\nfor the first time to take up arms\nagainst his enemies. Dead, finished?\nwhy, he must be rescued. But I know\nenough of the nervous figure to know\nthat he would even resent that. So\nlet him be where he has fallen\nand let us get on to pleasant things.\nI shall have my school soon and\nmy theatre, and we shall announce\na programme and stick to it,....\na rare thing omitted by most ma-\nnagements.\n& We shall neither play up nor\ndown to the public, (had you there,\nSemar I) but we shall just experiment\nwith fresh things each day, month\nand year, and if anyone likes what\nwe do, all the better ; if they don't\nlike what we do, all the worse. But\nwe shall not change our programme.\n& There will be no need. We shall\nrespect the Censor and be loyal to\nthe King, because neither the Censor\nnor his Majesty ever interferes\nwith straightforward workers in\nany branch of art or science.\nAnd our art we shall try to make\nas scientific as possible, We shall\nmove slowly ; never shall immediate\neffect be sought for nor immediate\nfailure shunned. We shall be in no\nhurry, why should we? Our\nhappiness like that of every norma!\nartist consists in doing our work not\nin results: the day there are no\nmore experiments to test, no more\nbye-paths to adventure on; when\nnothing but the goal is there before\nus to claim and proclaim,.... on that\nday we and the other artists on\nearth can go to sleep; there'll be\nno more use for us. JZ?\nFor all we are crazy about is the\nlimitless. What kind of fool is it who\nonly desires that which is limited by\nhis perceptions ? what kind of Art\nwould that be which had an edge ?\nArt is not here nor there; it is\nthat which lies between this and\nthat. Nor can you pin it down at\nrest. Dependent upon motion itglides\nor careers from now to the hereafter,\nfrom every yesterday to every to-"}, {"page_pdf": 98, "page_imprimee": "3584", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.98", "debut_caractere": 22, "fin_caractere_exclue": 2336, "texte": "morrow: governed by the laws of\nTime and by Number it is yet Indes-\ntructable for no one can touch it as\nit passes.\nCome on, then, Semar I get your\nfleetest steed and join me In the\ngrandest sport that ever an Eng-\n*\nlishman went in for. & &\ngut before starting off 1 mustn't\nforget some of my old friends. The\ncommittee who invited me over to\nLondon last summer, and the\ncommittee who have become the\nprotectors of my school. And I have a\nword to say about some new friends\nFirst Brown and Philips of the\nLeicester Galleries: then William\nHeinemann. These have been to me\nthe best of friends. The first made\nit possible for me to show my Lon-\ndon public some of my designs and\nmodels. What a delightful time I\nhad in that Leicester Gallery! How\ncourteous and friendly to me were\nits directors; how considerate to-\nwards my work. Every day spent as\nguest In their house was enjoyable.\n& And William Heinemann ! 1 had\nalways heard such bogey tales about\npublishers. The bogies may exist, but\nHeinemann is nothing but a good\nfairy full of human kindness, a\nsplendid administrator and a hard\nworker. He attends to everything,\nand with an enthusiasm and care\nwhich to me was a revelation.\nHow ? you ask. Why, it revealed\namongst other things that 1 was not\nsuch an impossible person to deal\nwith as some wretches would make\nout. (1 mean 44 wretches \" in the kin-\ndest sense of the word ; one speaks\nof silly old ladies as wretches \").\nNow what amazed me was this :....\nBrown and Philips and William\nHeinemann, both the heads of their\nparticular vocations, could work\nwith me so agreably, and if I could\nfind no smallest thing to differ with\nthem upon, how was it that when\nit came to managers of theatres the\nthing became impossible on account\nof the disagreableness of the whole\nwork? Semar, there must have been\nsomething rather queer with those\ntheatres.\n& Bye the way, do you remember\nthat book 1 told you I would some\nday prepare,.... 44 Hamlet \"? I have\nbegun it and It will be published in\nEnglish and in German; another\nfriend has made that possible : so\nyou see, as Mr Asquith said,\n44 We're getting on \". & 0\nWhen next 1 write it will be to\ntell you the exact site chosen for\nmy school and my theatre, and you\nknow I never start telling you of\nanything which I do not carry out.\n\nArivederci....! Gordon Craig"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c072", "article_bluemountain": "bmtnaau_1912-04_01#c072", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "355", "page_fin": "356", "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=bmtnaau191204-01.2.31", "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": 99, "page_imprimee": "355", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.99", "debut_caractere": 0, "fin_caractere_exclue": 21, "texte": "FOREIGN NOTES\n\nPARIS."}, {"page_pdf": 100, "page_imprimee": "356", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.100", "debut_caractere": 2131, "fin_caractere_exclue": 2344, "texte": "LONDON\nR. S.\nA Word about the Futurists\n& As Signor Marinetti very rightly\nsays, ' 'The Futurists paint what they\nsee\". And as Mr Whistler as rightly\nsaid, 44 the shock will be when they\nsee what they paint. \" 4St"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c074", "article_bluemountain": "bmtnaau_1912-04_01#c074", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "355", "page_fin": "356", "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=bmtnaau191204-01.2.31.2", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "355", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.99", "debut_caractere": 15, "fin_caractere_exclue": 21, "texte": "PARIS."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c075", "article_bluemountain": "bmtnaau_1912-04_01#c075", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "355", "page_fin": "355", "image_debut": 99, "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=bmtnaau191204-01.2.31.2.1", "titre_corps": "Greekerys of the “Pasters\"", "titre_sommaire": "Greekerys of the “Pasters\"", "signature_source": "J. de S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "355", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.99", "debut_caractere": 23, "fin_caractere_exclue": 1685, "texte": "Greekerys of the “Pasters\nJ. de S.\nJDurope and America are passing\nthrough something of the same\nexternal phase as happened to Europe\nIn the time of Buonaparte. The Greek\nis being put on again;.... other toys\nare quite out of fashion for the\nmoment.\n£/ Sometimes, as, of old, Greek\nmeets Greek, and then true fashion\nand health gets an opening. &\nThe Futurists are a thousand\ntimes preferable to these Pasters.\nThe Pasters are really objectionable\non new fashioned grounds. For if\nthe Futurists remind us of nothing\nthe Pasters make us regret what\nwe have lost. The Futurists are not\npeculiar In their dress and mode of\nlife, whereas the others are conceited\nenough to use their belief as an\nadvertisement and parade Paris in\nGreek dress and bare legs trundling\nmodern perambulators or carrying a\nFrench market bag filled with nice\nmodern vegetables fresh from the\ngreengrocer's.\nJS? Their work is unsatisfactory when\nit is exhibited in modern surroundings\nand one feels how unfit the time\nand place are for such an exhibition.\nIn Greece it might possibly be de-\nlightful; the place If not the time\nwould be in harmony. Though in\nGreece it's ten to one these Pasters\nwould live in a modern hotel and\nbe seen on wet days taking a walk\nin goloshes and with an umbrella. I\nremember seeing one of them thus\nequipped In London.\nThere are clever if not Intelligent\npeople amongst them; why they\nforget the Prophets, who were not\ninsignificant figures in the Past, is\nqueer. One of the Prophets told us\nthat 4* There Is a time for every\npurpose under the heaven \", and\nsurely we ought not to need to\nbe reminded that when a thing is\nout of place it is also out of\ndate."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c076", "article_bluemountain": "bmtnaau_1912-04_01#c076", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "355", "page_fin": "356", "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=bmtnaau191204-01.2.31.2.2", "titre_corps": "Rouge and...... a New Religion", "titre_sommaire": "Rouge and...... a New Religion", "signature_source": "H. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "355", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.99", "debut_caractere": 1687, "fin_caractere_exclue": 1817, "texte": "Rouge and...... a New Religion.\n\nvye have lately had a serious (?)\nannouncement made by a per=\nformer from the boards of a theatre"}, {"page_pdf": 100, "page_imprimee": "356", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.100", "debut_caractere": 15, "fin_caractere_exclue": 2129, "texte": "here to the effect that after a short\nholiday she would return and found\na new Religion.\n& Theatrical people seem always\nto have been without a fitting sense\nof time and place. They fail to see\nthat Artifice and Religion are never\nto be allied ; they seem to think that\nrouge, curls, limelight and Divinity\nare somehow part and parcel of each\nother..... It would be profane if it\nwere not so funrty.\nAnd yet the fun is just a little\ntasteless.\nuS7 What a blessing it is that the\nCensor prohibits the representation\nof royal personnages upon the stage.\nBut it should also be seen to that\nsacred personnages are prohibited.\nJohn the Baptist, for instance, ought\nnever to have been allowed to ap=\npear. There is no limit to what may\nnot be seen and done when the in-\ntroduction of these sacred characters\nIs permitted. s£7\nThe freedom allowed to this kind\nof thing reminds us that once upon\na time Madame Sarah Bernhardt\nIndulged in this theatrical profanity,\nas may be read in the following\nextract from a letter from the first\nEar! of Lytton (Owen Meredith) to\nMr Justice Stephen, Paris, April\nnthiß9o:^\nof farces, Sarah Bern hardt\n44 ... intoxicated with the new Idea\n\" of virginity ever since she acted\n44 Jeanne d'Arc...has been reciting a\n44 French Passion play In the biggest\n44 Circus of Paris, with a Christ\n44 in white tie and tail coat. The\n44 audience got bored, rose in revolt,\n44 screaming out, \"Tu nous ennuies r\n44 assez du Christ. De la Musique, de\n44 ia Musique \" So that, quite unin=\n44 tentionally and unconsciously, the\n44 Chef d'Orchestre played in this\n44 performance the part of Barabbas\n44 (44 Not this man, but the\nother \").\n44 Then the Author of the Play,\n44 white with rage, and tr6s £mu,\n44 began skipping over the benches on\n\" to the stage, shaking his fist at the\n44 audience, and, with copious tears,\n\" kissing first Sarah Bernhardt, then\n44 his Mother, then his Sister, and\n44 then his Mistress. This touched\n44 and partly mollified the public!\n44 What a funny nation we are here,\n44 and yet we are capable of great\n44 things now and then and very\nclever things at all times \".\n\nH. L."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c077", "article_bluemountain": "bmtnaau_1912-04_01#c077", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "356", "page_fin": "356", "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=bmtnaau191204-01.2.31.3", "titre_corps": "LONDON : A Word about the Futurists", "titre_sommaire": "LONDON : A Word about the Futurists", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "356", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.100", "debut_caractere": 2131, "fin_caractere_exclue": 2344, "texte": "LONDON\nR. S.\nA Word about the Futurists\n& As Signor Marinetti very rightly\nsays, ' 'The Futurists paint what they\nsee\". And as Mr Whistler as rightly\nsaid, 44 the shock will be when they\nsee what they paint. \" 4St"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c078", "article_bluemountain": "bmtnaau_1912-04_01#c078", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "357", "page_fin": "358", "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=bmtnaau191204-01.2.32", "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": "357", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 2008, "texte": "EDITORIAL NOTES\n\nFUTURISTS AND OTHERS.\n'\"phe Italian Futurist, Signor Mari-\nnetti, who in Paris assaulted a\nlittle Frenchman who asked him a\nsimple question, has gone to London,\nand is already on the war-path. ■£?\nHe is a strange pleasant young\nman, who, when he meets a D'An-\nnunzio or a Rodin, raises his hat and\ntells him he is a Futurist. If the\ngentleman denies it Signor Marinetti\nsmiles. If the gentleman gets in a\nrage Signor Marinetti goes on smiling\nbut if the gentleman politely asks\nhim a question Signor Capitano Ma-\nrinetti draws his theatrical pistols\nand rolls his eyes. £? JZ?\nThe gentle Signor has a receipt\nfor making Futurist pictures. He\nmerely encourages artists and buys\ntheir pictures. It is a novel idea and\nworthy of the consideration of those\nEnglish gentlemen who visit galleries\nof modern art and hold theories con-\ncerning the work of Messrs Rothen-\nstein, Sickert, John and Pryde and\nthe different schools they represent.\n«£? It is a novel idea, and the only way\nof strengthening our National Art.\nIf our Lords and Ladles now and\nagain purchase a Nicholson or an\nOrpen they do very weil, but they\nneed no particular perception to see\nhow good is the work of these two\nfine English painters; whereas it\ncertainly needs a considerable amount\nof wisdom and wit to realise the\nimportance to English Art and to the\nEnglish nation of the work of William\nRothenstein.\n& There is that in the work of this\npainter and engraver which inspires\nwithout laying claim to having in-\nspired. That is the rarest gift of all.\nAnd Gift is the exact word to use.\nA master is always giving, whereas\nthe so-called masters always ex-\nchange,... and secure the best share/;\nthey secure your liberty.\nThe true master leaves you free.\nHe masters only that in you which\nmust be mastered ; but the door is\nalways open; if you will obey it need\nnever be closed ; if you won't obey\nwhat use to close it ? & &\nAnd while we are speaking about\nthis particular master who of all\nmen today in England influences."}, {"page_pdf": 102, "page_imprimee": "358", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.102", "debut_caractere": 73, "fin_caractere_exclue": 2374, "texte": "people least and things most; who\nin his whole attitude towards art\nrevives the impression of a very\nancient wisdom come amongst us\nonce more to prove how blessed\nit was and ever will be while\nthinking of this can it be of any use\nto thfnk of those other weaker in-\nfluences at work?-<£>\nPerhaps; for those weaker influ-\nences with their immediate effect,\ntheir apparently startling power, can\ndo a certain harm for a short while;\nand so we were best to take heed,\nand, without over-estimating their\ndangerous qualities nor under-sta-\nting their undoubted value, bear\ncontinually in mind that it is only\nby first entering into a state of soul\nthat the perception of what is Art\nbecomes possible; and that it is\nonly by remaining in that state\nand in the silence which reigns\nthere that the creation of a true\nwork of art becomes practical.\nFor \" since it is not possible to\nu know anything rightly while we\n\" are in the body one of two things\n\" must be true; either we shall never\n\" know anything, or we shall have\n\" true knowledge after our death\".\nThus spoke the old and wise\n.Philosopher of Greece..,, lie who in\n:silence was seen \"early in the morn-\n\" lug standing in one place wrapt\n\" in meditation ; and as he seemed\n44 not to be able to unravel the\n44 subjects of his thoughts he still\n44 continued to stand as enquiring\n44 and discussing within himself, and\n44 when noon came, the soldiers bb»\n44 served him and said to one another\n4t4Socrates has been standing there\n44 thinking, ever since morning'. At\n44 last some lonians came to the\n44 spot, and having supped, as it was\n44 summer, bringing their blankets,\n44 they lay down to sleep in the cool;\n44 they observed that Socrates con=\n44 tinued to stand there the whole\n44 night until morning, and that,\n44 when the sun rose, he saluted it\n44 with a prayer and departed. \" &\n\nA THIRD EDITION.\nJ. S.\nOeaders cf The Mask will be espe-\n<;ially pleased to hear that Mr\nHeinemann has reprinted a third\nedition of Mr Gordon Craig's book\nOn the Art of the Theatre\nThe first impression was issued\nDecember 1911; the second January\n1912, and the third in March. &\nYOU who read The Mash can\nclaim some hand in this book, for\nhad you turned up your noses at\nthe journal in 1908 it is doubtful\nwhether this book would ever have\nseen the light in 1911. &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c080", "article_bluemountain": "bmtnaau_1912-04_01#c080", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "357", "page_fin": "358", "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=bmtnaau191204-01.2.32.2", "titre_corps": "FUTURISTS AND OTHERS", "titre_sommaire": "FUTURISTS AND OTHERS", "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": "357", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.101", "debut_caractere": 17, "fin_caractere_exclue": 2008, "texte": "FUTURISTS AND OTHERS.\n'\"phe Italian Futurist, Signor Mari-\nnetti, who in Paris assaulted a\nlittle Frenchman who asked him a\nsimple question, has gone to London,\nand is already on the war-path. ■£?\nHe is a strange pleasant young\nman, who, when he meets a D'An-\nnunzio or a Rodin, raises his hat and\ntells him he is a Futurist. If the\ngentleman denies it Signor Marinetti\nsmiles. If the gentleman gets in a\nrage Signor Marinetti goes on smiling\nbut if the gentleman politely asks\nhim a question Signor Capitano Ma-\nrinetti draws his theatrical pistols\nand rolls his eyes. £? JZ?\nThe gentle Signor has a receipt\nfor making Futurist pictures. He\nmerely encourages artists and buys\ntheir pictures. It is a novel idea and\nworthy of the consideration of those\nEnglish gentlemen who visit galleries\nof modern art and hold theories con-\ncerning the work of Messrs Rothen-\nstein, Sickert, John and Pryde and\nthe different schools they represent.\n«£? It is a novel idea, and the only way\nof strengthening our National Art.\nIf our Lords and Ladles now and\nagain purchase a Nicholson or an\nOrpen they do very weil, but they\nneed no particular perception to see\nhow good is the work of these two\nfine English painters; whereas it\ncertainly needs a considerable amount\nof wisdom and wit to realise the\nimportance to English Art and to the\nEnglish nation of the work of William\nRothenstein.\n& There is that in the work of this\npainter and engraver which inspires\nwithout laying claim to having in-\nspired. That is the rarest gift of all.\nAnd Gift is the exact word to use.\nA master is always giving, whereas\nthe so-called masters always ex-\nchange,... and secure the best share/;\nthey secure your liberty.\nThe true master leaves you free.\nHe masters only that in you which\nmust be mastered ; but the door is\nalways open; if you will obey it need\nnever be closed ; if you won't obey\nwhat use to close it ? & &\nAnd while we are speaking about\nthis particular master who of all\nmen today in England influences."}, {"page_pdf": 102, "page_imprimee": "358", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.102", "debut_caractere": 73, "fin_caractere_exclue": 1907, "texte": "people least and things most; who\nin his whole attitude towards art\nrevives the impression of a very\nancient wisdom come amongst us\nonce more to prove how blessed\nit was and ever will be while\nthinking of this can it be of any use\nto thfnk of those other weaker in-\nfluences at work?-<£>\nPerhaps; for those weaker influ-\nences with their immediate effect,\ntheir apparently startling power, can\ndo a certain harm for a short while;\nand so we were best to take heed,\nand, without over-estimating their\ndangerous qualities nor under-sta-\nting their undoubted value, bear\ncontinually in mind that it is only\nby first entering into a state of soul\nthat the perception of what is Art\nbecomes possible; and that it is\nonly by remaining in that state\nand in the silence which reigns\nthere that the creation of a true\nwork of art becomes practical.\nFor \" since it is not possible to\nu know anything rightly while we\n\" are in the body one of two things\n\" must be true; either we shall never\n\" know anything, or we shall have\n\" true knowledge after our death\".\nThus spoke the old and wise\n.Philosopher of Greece..,, lie who in\n:silence was seen \"early in the morn-\n\" lug standing in one place wrapt\n\" in meditation ; and as he seemed\n44 not to be able to unravel the\n44 subjects of his thoughts he still\n44 continued to stand as enquiring\n44 and discussing within himself, and\n44 when noon came, the soldiers bb»\n44 served him and said to one another\n4t4Socrates has been standing there\n44 thinking, ever since morning'. At\n44 last some lonians came to the\n44 spot, and having supped, as it was\n44 summer, bringing their blankets,\n44 they lay down to sleep in the cool;\n44 they observed that Socrates con=\n44 tinued to stand there the whole\n44 night until morning, and that,\n44 when the sun rose, he saluted it\n44 with a prayer and departed. \" &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c081", "article_bluemountain": "bmtnaau_1912-04_01#c081", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "358", "page_fin": "358", "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=bmtnaau191204-01.2.32.3", "titre_corps": "A THIRD EDITION", "titre_sommaire": "A THIRD EDITION", "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": "358", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.102", "debut_caractere": 1909, "fin_caractere_exclue": 2374, "texte": "A THIRD EDITION.\nJ. S.\nOeaders cf The Mask will be espe-\n<;ially pleased to hear that Mr\nHeinemann has reprinted a third\nedition of Mr Gordon Craig's book\nOn the Art of the Theatre\nThe first impression was issued\nDecember 1911; the second January\n1912, and the third in March. &\nYOU who read The Mash can\nclaim some hand in this book, for\nhad you turned up your noses at\nthe journal in 1908 it is doubtful\nwhether this book would ever have\nseen the light in 1911. &"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c082", "article_bluemountain": "bmtnaau_1912-04_01#c082", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "359", "page_fin": "359", "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=bmtnaau191204-01.2.33", "titre_corps": "WHICH ERA? : An Additional Editorial Note", "titre_sommaire": "WHICH ERA? : An Additional Editorial Note", "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": "359", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.103", "debut_caractere": 0, "fin_caractere_exclue": 2005, "texte": "WHICH ERA ? An Additional Editorial Note.\n\nAN AMAZING STATE OF AFFAIRS\nJ. S.\nTphe Era is justly supposed to be the\nbest informed theatrical newspa-\nper in England. The whole profes-\nsion relies on it for its information.\nThe following letter Is therefore\na very illuminating side light on the\nawful way that the Era is treated\nby its Foreign Correspondants.\nJanHary 29. 1912.\nDear ....\n\" I wrote a correspon-\n\" dant In Moscow to send me\n«full report of Mr Gordon\n44 Craig's 44 Hamlet \" pro-\n44 duction. ■£?\n44The correspondant says\n44 he knows of no Arts Theatre\n44 In the city or of any such\n\" production. £/\n44 Can you tell me if ft\n44 really took place ?\n& 441 am disappointed at\n44 not having a report for\nthe Era.& &\nYour faithful\nFrank Desprez\n(Editor of the Era.)\n& After this one itiay indeed ask...\nwhich Era ? &\n& We think we can safely say we\nhave never met with so amazingly\nstupid a correspondant as that one\nIn Moscow who is supposed to serve\nthe Era reliably, and our sympathy\ngoes out to the Editor of that journal.\nBut how like England not to take\nthe trouble to ascertain where the\nbest theatres of Europe are situated\nand then to employ really first class\ncorrespondants in those cities.\nThere are not more than a round\ndozen of towns in Europe where\nreally interesting things are being\ndone... things which would be bound\nto interest everyone, and these\ntowns are Moscow, St Petersberg,\nBudapest, Paris, Munich, Berlin,\nKrakow, Dublin, and a few Italian\ntowns; but Moscow is easily the\ntown of the very first interest, and\nthe event which took place there\nlast January,.... Mr Gordon Craig's\nproduction of \" Hamlet\" at the Art\nTheatre, (an event which, \" let\nignorance\" (in the person of the\nEra correspondant) \"talk as it will\"\nwe can assure Mr Desprez did take\nplace, and take place triumphantly)\nwas one so Era=marking in the\nhistory of the European Theatre\nthat to find the English Era so far\nbehind the times is ....well, really,\nt\nthe Limit! wake , EngU.lu . it's\nmore than time."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c084", "article_bluemountain": "bmtnaau_1912-04_01#c084", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "359", "page_fin": "359", "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=bmtnaau191204-01.2.33.2", "titre_corps": "AN AMAZING STATE OF AFFAIRS", "titre_sommaire": "AN AMAZING STATE OF AFFAIRS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 103, "page_imprimee": "359", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.103", "debut_caractere": 43, "fin_caractere_exclue": 2005, "texte": "AN AMAZING STATE OF AFFAIRS\nJ. S.\nTphe Era is justly supposed to be the\nbest informed theatrical newspa-\nper in England. The whole profes-\nsion relies on it for its information.\nThe following letter Is therefore\na very illuminating side light on the\nawful way that the Era is treated\nby its Foreign Correspondants.\nJanHary 29. 1912.\nDear ....\n\" I wrote a correspon-\n\" dant In Moscow to send me\n«full report of Mr Gordon\n44 Craig's 44 Hamlet \" pro-\n44 duction. ■£?\n44The correspondant says\n44 he knows of no Arts Theatre\n44 In the city or of any such\n\" production. £/\n44 Can you tell me if ft\n44 really took place ?\n& 441 am disappointed at\n44 not having a report for\nthe Era.& &\nYour faithful\nFrank Desprez\n(Editor of the Era.)\n& After this one itiay indeed ask...\nwhich Era ? &\n& We think we can safely say we\nhave never met with so amazingly\nstupid a correspondant as that one\nIn Moscow who is supposed to serve\nthe Era reliably, and our sympathy\ngoes out to the Editor of that journal.\nBut how like England not to take\nthe trouble to ascertain where the\nbest theatres of Europe are situated\nand then to employ really first class\ncorrespondants in those cities.\nThere are not more than a round\ndozen of towns in Europe where\nreally interesting things are being\ndone... things which would be bound\nto interest everyone, and these\ntowns are Moscow, St Petersberg,\nBudapest, Paris, Munich, Berlin,\nKrakow, Dublin, and a few Italian\ntowns; but Moscow is easily the\ntown of the very first interest, and\nthe event which took place there\nlast January,.... Mr Gordon Craig's\nproduction of \" Hamlet\" at the Art\nTheatre, (an event which, \" let\nignorance\" (in the person of the\nEra correspondant) \"talk as it will\"\nwe can assure Mr Desprez did take\nplace, and take place triumphantly)\nwas one so Era=marking in the\nhistory of the European Theatre\nthat to find the English Era so far\nbehind the times is ....well, really,\nt\nthe Limit! wake , EngU.lu . it's\nmore than time."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c085", "article_bluemountain": "bmtnaau_1912-04_01#c085", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191204-01.2.34", "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=bmtnaau191204-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 624, "texte": "THE POETRY RE V lEW\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 1912.\nWOMEN POETS.\nAMERICAN POETRY.\nFRENCH\nGERMAN POETRY.\nMYSTERY PLAYS.\nITALIAN POETRY.\nTHE CELTIC TWILIGHT.\nTHE FIRST ISSUE WILL APPEAR IN JANUARY 1912\nANNAUL SUBSCRIPTION FIVE SHILLINGS NET-\nSEPARATE COPIES SIXPENCE NET.\nOf all Booksellers, and In Florence of\nSuc c. B. Seeb e r, Via Tornabuoni.\nmoi>dm.wimm in.n iEgaoa^ja^uagi:limftwJlLXJUjagnggEijkua^p«c:\n93 CHANCERY L A N LONDON IV. C\nRrsTTXJKfssaHrcaaßq"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c086", "article_bluemountain": "bmtnaau_1912-04_01#c086", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191204-01.2.35", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.3", "debut_caractere": 626, "fin_caractere_exclue": 800, "texte": "TO THE SHY\nwho would Subscribe to \" The Mask ad if,.... and if.\n\" Come now! Less nonsense and\nout with your money !\n(Collodi's Pinocchio)\nMASK OFFICE. ARENA GOLDONI. FLORENCE"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c087", "article_bluemountain": "bmtnaau_1912-04_01#c087", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191204-01.2.36", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.3", "debut_caractere": 802, "fin_caractere_exclue": 933, "texte": "& EDWARD HILL BRANDON. x?\nFowler Road, Forest Gate, Essex,\n* DESIGNS MENU CARDS, ETC.\nplease send for particulars to above address."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c088", "article_bluemountain": "bmtnaau_1912-04_01#c088", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191204-01.2.37", "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": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 1870, "texte": "warn\nWHAJLT WHITMAN\nA \"LEAVES OF GRASS\" REPRINT\nI propose to publish in facsimile Wait Whitman's personal copy of Leaves of Grass\nedition of I86O=»I86I, 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 stil|\nexist. The chirographical matter in Whitman's hand will be superimposed. In order tp\nmaintain a strict likeness to the original, in which Whitman used black ink and penc\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.\nj0 The production of this work calls for the finest skill of the photographer, engraver\nand printer. But it wiil 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£7 No steps will be practically taken in this matter until subscriptions sufficient to\ncover the initial expenses are received Send for circular. JZ? HORACE TRAUBEL\n1613 CHESTNUT STREET, PHILADELPHIA. U. S. A."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c089", "article_bluemountain": "bmtnaau_1912-04_01#c089", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191204-01.2.38", "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": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.4", "debut_caractere": 1872, "fin_caractere_exclue": 2081, "texte": "THE MOSHER BOORS\\\nESS'\nThe only style of genuine hand»made\npaper editions at popuiar prices in\nAmerica. &\nThe new catalogue is sent free on\n. \" %\nrequest.\n■ t» I i%<\nThomas. B. Mosher, Portland\nMaine. U. S. A."}]}, {"article_id": "bm-bmtnaau-1912-04-01-c090", "article_bluemountain": "bmtnaau_1912-04_01#c090", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191204-01.2.39", "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": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.4", "debut_caractere": 2083, "fin_caractere_exclue": 2359, "texte": "DI N I & CELLAI\nArtistic & Decorative Terra Cotta of\nSlgna. & &\nVia di Fossi N. 1 - FLORENCE\n—— K32S33——\nReproduction of Sculptures of Old and\nModern Masters = Statues - Busts - Vases\n- Bas = Reliefs ■ Fountains.» Doors,\nChimney - pieces = Bases etc. etc. in\nevery style. £> 0"}]}, {"article_id": "bm-bmtnaau-1912-04-01-c091", "article_bluemountain": "bmtnaau_1912-04_01#c091", "volume": "bmtnaau_1912-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "362", "page_fin": "362", "image_debut": 106, "image_fin": 106, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.2.40", "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": 106, "page_imprimee": "362", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.106", "debut_caractere": 245, "fin_caractere_exclue": 933, "texte": "A LETTER FROM\nMr. PERCY\nThe Mask has \" The rare attraction\n14 of abundant intellectual activity with\n44 aesthetic charm. Its freedom, its courage,\n44 its fecundity of ideasits emphasis of\n44 vital potentialities in the its\n44 ample horizon which aims to review\n44 the centuries as well as the seasons of\n44 theatrical art, its earnest search for\n44 rational criteria, its championship of\n' the poetic and creative in its own field,\n44 these unusual qualities differentiate The\n44 Mask from that large class of art\n44 journals which are mere catalogues\n44 and tend to give it a perennial rather\n44 than a momentary appeal.\nvi,\n& TRADE AGENTS\nSimpkin, Marshall, Hamilton,\nKent & Co. London."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.1", "texte": "THE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nVolume Four. Number Four.\nAPRIL\n1.9 12\nARENA GOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION PIFTEEN •\nSINGLE COPY PRICE FOUR SHILLINGS NET.\nTRADE AGENTS.\nS I MPK I N, MARSHALL, HAMILTON, KENT & CO. LONDON."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.2", "texte": "THE MASK. APRIL 1912.\nTPhe Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated. &\nAll possible care will be taken, but he cannot hold himself responsible for the\naccidental loss of MSS. These must In every case be accompanied by a stamped and\naddressed envelope as otherwise they cannot be returned.\n*\nCommunications should be addressed to the Arena Goldoni. Florence. Italy.\n\nLITERARY CONTENTS.\nEPILOGUE. APRIL 1912 a67*\nTHE SIBYL Percy MacKaye. . . . 269.\nNAKED WOMEN ON THE STAGE 373*\nTHE FUTURISTS * 3?7.\nHENRY IRVING. A Note O. P 281.\nJEZABEL Oscar Wilde . . . , 283.\nTHE ARCHITECTURE AND COSTUME OF\nTWELFTH NIGHT E. W. Godwin . . . 286.\nA WORD ON SHAKESPEARE .... Goethe 289.\nSOME FURTHER DEFINITIONS FROM\nAN 1825 DICTIONARY Pierre Ramds . . . 290.\nA THEATRE HALL Joseph Furtenbach 1663 . 293.\nON COLOUR IN STAGE SCENERY . . . Goethe 298.\nSOME NOTES UPON ANCIENT PUPPETS. . Yorick. , 301.\nA CONFESSION OF FAITH Anatole France . . . 308.\nTHE DRAMA IN JAPAN Sheko Tsubouchi . . . 309.\nA WORD ABOUT ART Victor Hugo .... 320.\nVENETIAN COSTUME Cesare Vecellio. 1589 . • 322\nA DISCOURSE ABOUT RHYTHM 331.\nTHE THREE PRINCES OF SALERNO : A\nScenario ....* 335*\nDOMENICO BIANCOLELLI. A Biographical\nNote . «.....y. ... ... 340.\nA LETTER FROM PARIS ON THE THEATRE . Gordon Craig 352.\nBOOK REVIEWS. FOREIGN NOTES. & EDITORIAL NOTES\n\nILLUSTRATIONS.\nHENRY IRVING AS MEPHISTOPHELES. . Paul Renouard.\nFrontispiece.\nPLAN OF A THEATRE HALL .... Joseph Furtenbach Face 398.\nFOUR VENETIAN COSTUME DESIQNS . . Cesare Vecellio 331,335,337,339.\nDOMENICO BIANCOLELLI Face 340.\nHEAD AND TALE PIECES by Gordon Craig, Oliver, Borrow, and others."}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.3", "texte": "THE POETRY RE V lEW\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 1912.\nWOMEN POETS.\nAMERICAN POETRY.\nFRENCH\nGERMAN POETRY.\nMYSTERY PLAYS.\nITALIAN POETRY.\nTHE CELTIC TWILIGHT.\nTHE FIRST ISSUE WILL APPEAR IN JANUARY 1912\nANNAUL SUBSCRIPTION FIVE SHILLINGS NET-\nSEPARATE COPIES SIXPENCE NET.\nOf all Booksellers, and In Florence of\nSuc c. B. Seeb e r, Via Tornabuoni.\nmoi>dm.wimm in.n iEgaoa^ja^uagi:limftwJlLXJUjagnggEijkua^p«c:\n93 CHANCERY L A N LONDON IV. C\nRrsTTXJKfssaHrcaaßq\n\nTO THE SHY\nwho would Subscribe to \" The Mask ad if,.... and if.\n\" Come now! Less nonsense and\nout with your money !\n(Collodi's Pinocchio)\nMASK OFFICE. ARENA GOLDONI. FLORENCE\n\n& EDWARD HILL BRANDON. x?\nFowler Road, Forest Gate, Essex,\n* DESIGNS MENU CARDS, ETC.\nplease send for particulars to above address."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.4", "texte": "warn\nWHAJLT WHITMAN\nA \"LEAVES OF GRASS\" REPRINT\nI propose to publish in facsimile Wait Whitman's personal copy of Leaves of Grass\nedition of I86O=»I86I, 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 stil|\nexist. The chirographical matter in Whitman's hand will be superimposed. In order tp\nmaintain a strict likeness to the original, in which Whitman used black ink and penc\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.\nj0 The production of this work calls for the finest skill of the photographer, engraver\nand printer. But it wiil 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£7 No steps will be practically taken in this matter until subscriptions sufficient to\ncover the initial expenses are received Send for circular. JZ? HORACE TRAUBEL\n1613 CHESTNUT STREET, PHILADELPHIA. U. S. A.\n\nTHE MOSHER BOORS\\\nESS'\nThe only style of genuine hand»made\npaper editions at popuiar prices in\nAmerica. &\nThe new catalogue is sent free on\n. \" %\nrequest.\n■ t» I i%<\nThomas. B. Mosher, Portland\nMaine. U. S. A.\n\nDI N I & CELLAI\nArtistic & Decorative Terra Cotta of\nSlgna. & &\nVia di Fossi N. 1 - FLORENCE\n—— K32S33——\nReproduction of Sculptures of Old and\nModern Masters = Statues - Busts - Vases\n- Bas = Reliefs ■ Fountains.» Doors,\nChimney - pieces = Bases etc. etc. in\nevery style. £> 0"}, {"page_pdf": 6, "page_imprimee": "[266]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.6", "texte": "Sir Henry Irving as “Mephistopleles”, by Paul Renouard. (See page 281.)\n\nTHE MASK."}, {"page_pdf": 7, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.7", "texte": "EPILOGUE. APRIL 1912.\ne have reached the end of the fourth year of publication.\nAnd we have reached it without compromise. £? &\n£/ The ancient feud between beauty and stupidity has\nbeen refought in our numbers, and, although It is said\nthat against stupidity the very Gods themselves contend\nin vain, we have managed to make some way.£>\n& Some of the managers in London are waking up or are at any\nrate calling out in their sleep. \"One two : why, then 'tis time to\ndo't \". But they do nothing; \"Hell is murky \" they mutter: and so\nlet us leave them to their muttering. How far off it sounds I Why, it\nwas actually so long ago as 1911. How time flies to be sure I & &\n11 fact we are in a new century....... and we advance out of\nhearing of all the mutterings and have done with that dead\nperiod of Dramatic Drollery for ever. We shall in future only\nrefer to it as one refers to the worst period of the Middle\nAges. It was like that period; stocked with the midd!e=aged it\nlumbered along like a tumbril on its way to the gallows. It was a\nwretched time, ....wretches lied from high places in the then theatrical\nworld in order to secure a half full house, while tricksters made\neveryone's life in the Theatre of London unbearable. Here and there\nwere to be found a sprinkling of finer men and women, but their\nweaknesses were their undoing : Friday night undid them. (i).\njg? However, that was long ag0,... in the dark limbo of things forgotten ,\nand as it is so long ago let's hope it wasn't true. £?£*£?\nWe advance into the open air.... breathing at last.... exhilerated to be\n\n(1) Salaries are paid on Friday night."}, {"page_pdf": 8, "page_imprimee": "268", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.8", "texte": "EPILO G UE.\n\nahead with the times. No longer having to fight anyone hut ourselves,\nno longer doubtful of success since it is won. Fhe new Theatre is esta=\nblished, and nothing but age can overturn it; and as it's foundations\nrest upon the basis of youth and life it is indestructable.\n& The fact that the actor has passed into the museum amongst the\ncuriosities was anticipated by us . some time ago. We even assisted to\npay the carriage of the goods. But that was in the nature of things. He\nhad to go :... he has gone. Bless him.\n& Even so far back as 1911 Reinhardt proved how he could produce the\nmost wonderful drama with but a crowd of untrained supers bald=\nheaded tramps and an incompetent dancer or so and one superb\nand totally inexperienced amateur, the lovely lady VollmßHer &\nAnd at that time the chronicles state that the London committee of the\n\"Actors' League for Protection against Time and the Hour\" were wasting\ntheir minutes protesting secretly against the innovation instead of\nsensibly becoming amateurs themselves at wages of two guineas a week.\nThat was the actor's weakness which drove him to the Museum. In\nfact it was found on opening the case, (just as was found when the\nslightly earlier examples of Babylonian civilization were secured), that\nthe pockets of the poor creature were literally lined with golden coins.\nlt is said that an actor in those days (1911) received as much as an\nArchbishop. Hall states in his \"Actors in Ancient Times \" that one\n♦\nactor, (he calls this histrion an \" actormanger \" but does not explain\nthe meaning of the word), was so well off that he indulged his strange\ntemperament by destroying works of art which he had the good fortune\nto possess for a time. &\n£? Altogether the history of the actor at that period was an interesting\none; and, in fact, Professor Wilkinsan the archeologist, who is at present\nengaged in some excavating on the spot where formerly the old Haymar=\nket joined with Pall Mall, promises the Museum some interesting finds.\n& We are happy In being able to announce that Professor Wilkinsan\nhas promised to inform us of any particularly illuminating proofs in sup=\nport of our doubts as to whether these old actors used hares' feet with\nwhich to put on the rouge, and whether any statue of Heerbolt Dree\nwas erected,., and, if any, where. &"}, {"page_pdf": 9, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.9", "texte": "THE SIBYL\nTO EDWARD GORDON CRAIG: \"ON THE ART OF THE THEATRE\".\nby Percy Mackaye.\nvast, the caverned stage\nGlows with twilight,... Where are they :\nRibald love, and conscious rage,\nJoyless banter, captious quibble,\nBrass and bauble of Broadway ?\nWhat are such to her.... the Sibyl,\nWhere she dreams beside her solemn\nSingle column\nIn the quiet ?....\nBats in swoon,\nGnats in riot,\nMidgets swarming 'gainst the moon :\nSuch are they\nBeneath the grace\nAnd the rapture of her face.\nShe will waken. Long she's slumbered\nThrough the noisy years unnumbered,\nSince her radiant limbs withdrew....\nSwift, adept,\nDivinely calm....\nFrom the leering satyrs' view\nTo the vlsioned silences\nWhere she slept,"}, {"page_pdf": 10, "page_imprimee": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.10", "texte": "THE SIBYL\n\nPillowed In her bended arm\nOn the starred Acropolis.\nShe has wakened! She has smiled\nWith a tender, large delight\nAt the spell-charms of her child,\nHer own spirit's acolyte.\nAt his wand-touch she has risen\nIn the mind of man... her prison\nAnd her temple. Lo,\nSensuous, with form of fable,\nMost divinely reasonable,\nNot the comets through the ether,\nNot the planets in their grooves\nTread a more harmonious measure\nThan she paces, In her pleasure,\nOn the silences beneath her.\nFor the silences are thrumming\nAs with heart-beats at her coming,\nAnd the Passions pause aghast\nAt the glorious decision\nOf her movements, as they mark\nWild vivaces of her vision,\nDeep andantes of her dark ;\nAnd her gestures... as she lifts\nPillared vistas of the past,\nSpacious visions of the marches\nOf To-morrow, gracious arches\nThrough whose rifts\nBeauty beckons,... hold no mirror\nTo the error\nAnd the grossness of the age,\nMimic not\nWhims and gropings of emotion,"}, {"page_pdf": 11, "page_imprimee": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.11", "texte": "THE SIBYL\n\nAtrophies and tricks of thought,\nBut her rapture is the rage\nOf man's spirit in its fullness,\nPurged of accident and dullness ;\nAnd her music, born of motion,\nRecreates the spirit's trance.\nWeaving symphonies of sunlight,\nWaking chorals from the wan light\nOf the Pleiads in their dance.\nThrough her cloudy, caverned stage\nBursts the morning: And she stands\nIn the quiet, by her solemn\nShining column.\nGazing forth, serenely glad,\nOn the roaring, dazzled lands,\nWhere the little children, clad\ni\nIn the garments of her spirit,\nOn enchanted feet come streaming,\nFor she knows they shall inherit\nAll the ages of her dreaming.\nThen the sated ones and blinded,\nAnd the timid, callous minded.\n* , ■ i *: \\ y\nClutch the chlldrens' sleeves, and stare,\n{\nCrying: ** What behold you there ?\nThere is nothing!\"... But the lover,\nAnd the young of soul, his friend,\nAnd the artist, follow after\nThe children in their laughter,\nAnd the daring half discover,\nAnd the happy comprehend."}, {"page_pdf": 12, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.12", "texte": "NAKED WOMEN ON THE STAGE.\n■yVTe have from time to time in this journal spoken, probably with pre-\njudice, in favour of the use of Masks. As veils for the face, hiding its\nweaknesses and revealing what is In the soul of the poet, masks have\nalways seemed to us a gain. And at the same time we have always\nregretted (probably with prejudice) the gradual unveiling of the bodies\nof persons on the stage, which practise we failed to see brought any\ngain to the Art.\n£> The ladies in pink tights had grown into a convention and suggested\nthe Farce of things, but ladies without them grew objectionable and\nsuggested nothing but the bathroom and \"La Vie Parisienne-', a charm-\ning little journal to be found at the hearth of every cocotte. -<£>\n£? And if the ladies and gentlemen who take off their shirts, stockings,\ntrowsers, und so weiter, for us on the stage gave us frankly to\nunderstand that a new episode in \" La Vie Parislenne \" was about to\nbe revealed to us for our amusement we should be better able to accept\nthe performances. & & &\n#\nBut this is anything but the case. There is much solemnity about\nthese undressings. Gods are evoked, masters of music, painting and\nsculpture are dragged In to perform the parts of high priest, and then\nthe victim sacrifices herself in all the solemn splendour of the cafd\nchantant.\n& And all this is done; it Is said, in the cause of Beauty and Art.\nNow to see what it has led to. I quote from the Daily Mail of March\n9th in full.\nFROM OUR OWN CORRESPONDENT. BERLIN, FRIDAY.\n\" The Parisian dancer Adoree Villany, who dances without clothing, and\n\" who was charged with giving an immoral performance, was prosecuted\n\" by the Munich police in connection with a series of performances given\n\" lust November before an Invited audience of painters, sculptors and\n\" Academicians. The final performance was broken up by the police, who\n\" invaded the theatre and carried off the dancer to the station. 0\n0 \" The case came up for trial yesterday, and ended in the acquittal of\n\" Mile. Villany and her theatrical managers, the co-defendants. The jury\n\" held that Mile. Villany was serving \" the higher interests of art\""}, {"page_pdf": 13, "page_imprimee": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.13", "texte": "NAKED WOMEN ON THE STAGE.\n\n44 and the question of an offence against public morais was therefore\n\" irrelevant.\n\" Half a dozen of the most eminent artists of Munich went into the\n44 witness-box to testify to the artistic satisfaction which they derived\n44 from watching Mile. Villany.\n44 Professor Kaulbach, the most celebrated German portrait painter,\n* #\n44 described the dancer's performance as 44 thoroughly artistic and res*\n44 pectable. \" The professor had taken his wife to the performance, and\n44 she, too, found it unobjectionable. Professor Petersen, president of the\n44 Munich Artists' Society, said that he would be happy when such per-\n-4t forniances could be given for the masses, instead of to a select artistic\n44 audience. Such an advance in culture would be a universal blessing,\n44 and public morals would not be jeopardised by giving the public an\n44 opportunity of admiring the beauty of the human figure.\n44 Professor Keller, another Academician, flouted the 44 ignoble conduct\n4< of the police in interfering with 44 so chaste a seance. \" He said that\n44 the action of the police was equivalent to placing artists beyond the\n44 pale of moral society.\n44 The public prosecutor asked the Court to fine the dancer and the\n44 two managers L. 10.0.0 each, and to send them to gaol for twenty days\n44 each, but their acquittal followed after the jury had been out only a\n44 few minutes.\nNow no one upon earth is going to pretend that this sort of thing\nwill benefit Art one scrap, and we are not going into the question as\nto whether it is good for our morals. The whole episode is a re\\elatlon\nof the extent the tremblers will go to for the sake of money and\ncivic pride.\nOn the one hand we have the Dancer, her theatrical managers, and\ntheir witnesses, Professor Kaulbach, and his wife, Professor Petersen\nPresident of the Munich Artists' Society, and Professor Keiler. These are\nout to make money.\nOn the other hand we have the Judge and jury composed of Bavarians\nwild with anger but prepared to go to any length rather than admit\nthat Berlin and the Kaiser were right. & &\nNeither side was out for truth."}, {"page_pdf": 14, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.14", "texte": "NAKED WOMEN ON THE STAGE.\n\nAnd now let us glance at each of these amazing groups piecemeal,\n& (I) Miss Villany Evidently a pretty young woman; evi-\ndently a perfect painter's 41 model \" ;\nevidently quite honest In her desire to\nmake as much splash, noise and money\nas possible without the bore of posing\nto one man.\n&(2) The Theatrical Managers. These business men are not working\nfor Art or Philanthropy. You cannot\nblame them for exhibiting a naked\nwoman. They are at liberty to go even\nfurther In this line if it is not illegal.\nWhy not ? and who is going to find fault\nwith them ? & & &\n*&(3)The Witnesses, Professors In our opinion it is these gentlemen who\nKaulbach, Keller and Petersen, are obviously through and through cul-\npable. To begin with they ought to know\nthat a painting of a naked woman and\nthe exhibition of a naked woman in\npublic are two quite different things;\nbut if they don't know that it is only a\nmatter of ignorance. They ought to know\nthat the masses,.... that even a select\naudience do not understand such\nexhibitions. They ought to know that\nanything so obviously out to make money\nby such means cannot be quite honest.\n& But may be, as I say, these witnesses are ignorant. & &\nIs it from Ignorance that they gave such vile evidence ? Let us look\na little closer into the matter.\nHow do Messrs Kaulbach, Keller, Petersen and Co make their money?\nLet us realise that and we shall find the weak spot at once. j0\nMessrs Kaulbach, Keller and Petersen make money by painting or\ncarving nude figures. Most artists paint or carve nude figures; it is an\nold custom handed down to us from ancient times when men and women"}, {"page_pdf": 15, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.15", "texte": "NAKED WOMEN ON THE STAGE.\n\ndressed so that the human form was in part revealed. It is a custom\nutterly out of date and out of place; but no matter; let us accept it as\na custom which has been kept up.\nNow these Munich Professors when called as witnesses were up against\na difficult proposition. If they said that naked ladies should not show\nthemselves in public the jury would ask them why that which could not\nbe shown in Public could be shown when Painted by the said Professors:\nand of course these particular Professors would not know what to answer\nto such a question ; and, though there is an answer, and an entirely\nsatisfying one, had it been given the jury could never have grasped its\nmeaning.\n& The Professors saw this clearly. They had patronized the performance\nof the naked dancer; they must therefore say it was great art or all\nwould be lost commissions reputation life itself.\nSo they swore it was \" thoroughly artistic and respectable \" (respec-\ntable old Munchen kerls); that they had (one of them) taken their\nwives to see the show (for their wives like to live also and like to\ndress prettily (queer) .and entertain ; all this takes money) and that it\nwas '* ignoble \" of the police to interfere with \"so chaste a seance\":\nand the jury opened their mouths and sang of one accord, \"It is in the\nInterests of the Highest Art\". & &\nINTEREST.\nThat's it. Pure per £?\n& And the Judge and jury, ...why did they also sing this tune ? &\n& Well, do you know Germany ? 1 was there the whole of last year and\nfound out one curious thing about it which is not sufficiently realized\nin England. &\nIn Germany there are many states, and two states in particular;\nPrussia and Bavaria. Prussia is in the north, and chilly; Bavaria is in\nthe south, and warm.... (if wet). Yes, Bavaria, Munich in particular, is\nclammy.\nWell, Berliners and Muncheners just hate each other and the Munich\nman loves nothing so well as to jeer at the Berlin man's exaggerated\n\" morality \", at his lack of ** temperament \", at his ignorance of what\nis Art. So whenever he can he tells the whole of Germany what Art Is"}, {"page_pdf": 16, "page_imprimee": "276", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.16", "texte": "& NAKED WOMEN ON THE STAGE.\n\nand how it is not the \" proper \" thing that Berlin and the German Kaiser\nwould have it.\nj-je may be right.... or wrong. That is not the point here. But he has\nmade iVXunich the Paris of Germany and he has to thinK like a Parisian...\neven if inspired by the Caf They fall into the trap more easily. \" Has Professor lent his\nname to it ? then certainly so will 1 \". Five or six names are collected ;\nthe performance is announced ; the reporters are seen again ; are told\nwhat the Professors have said ; all goes well; the town is caught. The\nperformance takes place; the police come in; the Professors are\nindignant; the impresario chuckles; the girl is enjoying the luxury of\nsuccess. 4/ 4/ 4? jg?\n4? But this is not Art: this is smart business at the expense of\npublic, artists and art alike. This is one of the most monstrous tyrannies\nwe are obliged to put up with because Professors have forgotten that\nArt is not nature nor nature Art and that what is seemly here is out\nof place there. 4?4?4?4?jZ?4?4?4?\n4? But it is a good thing that the Daily Mail brought up the matter,\nfor the methods employed by these travelling performers who traffic\nin nudity under the guise of it being Fine Art needed being revealed.\n\nTHE FUTURISTS.\n\"And when I love thee not, chaos is come again \". [Shakespeare.\n————i—i—»m—ruriir—t—wmrr——— n—nm»n—rmni«ii»»i JIMI iwmm w MI ■ ■ «nin■ iimn —n —■i■■ m■ miww—\n\\yhat is a Futurist ? Who knows and who can explain without making\nus angry or without sending us to sleep ? I for one cannot, of that\n1 feel sure. Because I think I can explain the phenomenon of the Futu-\nrists, and I think my explanation will convict more than a hemisphere of\npeople, and that is bound to make some people angry and weary others.\nThe history of this group of poets and painters and others is unknown\nto us. We know that a certain young man, Signor Marlnetti, is their\nleader. Who inspired Signor Marinetti is at present a secret: it is often\nthat we only find the original man, back of the leader, about fifteen years\nlater in the game. 4? 4/ 4? 4? 4? 4? 4?\n& Of Signor Marlnetti much is obscure. He is a wealthy young man who\nhas not had too much responsability and therefore Is inexperienced in\nsome of the simplest things,... no doubt to his regret. He has published\na quantity of literature,... poems, prose poems, essays, and has probably"}, {"page_pdf": 18, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.18", "texte": "THE FUTURISTS.\n\nbeen able to pay well lor the verses and prose submitted to him by the\nyounger Italian writers.\n& This seems to me to be the first point In favour of Signor Marinetti.\nIt is pleasant to know that with the birth of Futurism at least twenty\nor thirty more living writers are in a position to pay for their clothes\nand food.\nThe question of money Is not usually reckoned into the account,\nbut that is because reckless people like Lord Rosebery are reported to\ngo about preaching that penury produces the, best poems and prose.\nOh, my Lord ! for shame *\n& And possibly Signor Marinetti's gold is badly spent; probably the work\nof the Futurists is abominable art.\nThat may be or may not be. A fairly rich man can be just as good an\nartist as one who Is harrassed to find two pounds to get along with for\nthe coming fortnight But let us get on.\nSignor Marlnetti having published much literature goes further and\nexhibits a number of paintings. These have been lately seen in\n& Everyone thought that the previous group called the \" Post Impres-\nsionists\" had given the \"world of art\" (by the bye» who coined this title?)\na shock which was to last a long time. But the appearance of the Futurists\nhas staggered them all far more. & &\n4? At Bernheim's in Paris Signor Marinetti was good enough to speak\nbefore an assembly of selected Parisians who, as we all know, are the\nkindest of people and interest themselves in all sorts of difficult co-\nnundrums. £>\nAfter Signor Marinetti had spoken saying that all the pictures and\nthe other miracles of genius at the Louvre ought to be burnt because\nthey were bad, an amiable gentleman rose and asked Signor Marinetti\nwhether he had ever examined the works at the Louvre. On this it ap-\npears that Signor Marinetti kicked him. There was an uproar, the police\nwere called In and the room cleared. & & ■£? &\nNow all this agrees admirably with what I am sure is the exact\nexplanation of this extraordinary uprising known as Futurism. Most of\nthose who speak or write about this newest group of Artists search for"}, {"page_pdf": 19, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.19", "texte": "THE FUTURISTS.\n\nsome complicated explanation. They get no nearer to truth. AH of them\nconnect the phenomenon with Art; whereas it has no connection\nwith Art. /Z? /ft /zt\nThis is not written in any antagonistic spirit whatever. There has\nbeen a positive need for the Futurists ever since the first ass wagged\nits tail before the portrait of a carrot. /& JZ?\nThe name Futurist is a mask under which the most up to date refor-\nmers approach their prelude of destruction. He who laughs at them laughs\nat the whole farcical fabric of modern life. He who criticises them must\nfirst criticise modern civilization : in short if the Futurists are dam-\n\"V\nnable,.... and they are.... then modern life is damnable. JZ?\nHow paradoxical you people are. (i) How gullible you are, how weak\nand how comic 1... . Now watch yourselves. /Z? /Z? JZ? *z?\nJS? YOU dress in the silliest of costumes,... uncomfortable, stiff, unpre-\npossessing, (except to the handsomest of people, and they'd look lovely in\nanything). You are not obliged to dress in that way and you don't to it\nbecause you want to. You do it because \" everyone \" does it. Who is\neveryone ? what is everyone ? Heavens, what an awful question to an-\nswer! After you have dressed yourselves up like monkeys you catch hold\nof someone,... a man, or a woman, or a child.... and you drag them out\ninto the street with you. You do this in a civilized way and it looks easy\nand natural. The tyranny of dependence is never natural. JZ/ ZZ?\nJZ? When you get out into the street what do you do ? Do you burst out\nlaughing ? Do you run terrified into the house again ? ...Or do you lose\nyour reason and become mad ? No, you swim there like ducks.\nOn every side of you shrill noises like the horns of Hell and a murmur\nlike a Satanic choir. Around you the flashing by of objects lawfully let\nloose to damn the day or to make night hideous. High up in the sky\nsweet things concerning Pills and Milk, and beyond them the little flying\nships of the true Futurists parodying the birds.\n& And you get into a brutality called a Taximeter and you say \" Drive\nto Bernheim's. You shout at each other all the way so as to be heard,\nand on arriving at the picture gallery you get out and if you re great\nswells you haggle with the driver over twopence. You probably have him\n\n(1) Artists, you need read no further: the rest does not concern you*"}, {"page_pdf": 20, "page_imprimee": "280", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.20", "texte": "THE FUTURISTS.\n\narrested by a policeman on account of this twopence and then you enter\nthe Gallery.\n£/ At sight of the first picture you burst out laughing ; at the second you\nalmost run terrified away, and at the third you nearly lose your reason.\nThe Futurists have shown you the external world you live in and\nyou hate them for it Naturally.\n& But why didn't you think of that before? Why didn't you protest\nagainst your world being cut up into noises, jerks and squirms?\n& You didn't notice it, you say? I know, that's exactly what I'm getting\nat. You have been cheated slowly day after day for centuries : cheated\nby a great fool (2) who had a knack for saving you trouble. We call him\nthe business man. You'll do anything to save yourself trouble and so\nyou' 11 overlook the gradual catastrophe which is creeping upon you.\nIt is only when you get a picture of it that you revolt. The nerve has\nbeen touched at last.\n& Poor dear people, thinking all the while of yourselves instead of all\nthe time of the others, you have become self-sufficient; just that and no\nmore, and a very little mentality is sufficient for your self. All the Fu=\nturists together make up one modern Rabelais What a monster they\nhave given birth to ! -*£>■\nrt still lives.... walking in the shadow it passes unharmed for all the\nbubble and the trouble brewing in the abyss of Life,., brewed by the\nMaterialist-Fool. Art still lives on as it flourished once.... in the\nIdealists. In an earlier age it was they who made Life look aud sound like\nwhat it was and it ever will be.... beautiful. They did this because they\nloved the earth and you but you slowly tired of the truth and asked\nfor different things ; you asked for lies. You have them now: they will\nsober you to a certainty, but it is you who will have to pay for them.\nSo, all the King in man is gone, all his royalty gone. Like the poor\nLear he has divided his kingdom and given it away to his Daughters.\nBlow, winds, and crack your cheeks! rage! blow !\nYou cataracts, and hurricanoes spout,\nTill you have drench'd our steeples, drown'd the cocks!\nYou sulph'rous and thought-executing fires,\n\n(2) \" The fool hath said in his heart, 'there is no God That is the fool alluded to."}, {"page_pdf": 21, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.21", "texte": "THE FUTURISTS.\n\nVaunt-couriers of oak-cleaving thunder-bolts,\nSinge niy white head ! And thou all-shaking thunder,\nStrike flat the thick rotundity o' th' world !\nCrack nature's moulds, all germens spill at once,\nThat makes ungrateful man 1\nRumble thy bellyful i Spit, Fire 1 spout, Rain !\nNor Rain, Wind, Thunder, Fire, are my daughters:\nI tax you not, you Elements, with unkindness ;\nI never gave you Kingdom, call'd you Children,\nYou owe me no subscription. Then, let fall\nYour horrible pleasure. Here 1 stand, your slave,\nA poor, infirm, weak, and despis'd old man;....\n£? On this spectacle of today's misery, seen by a Prophet from afar, let\nus quietly lower the curtain. &\n\nHENRY IRVING. A Note.\n\nOur Frontispiece this quarter is a reproduction from a Collec-\ntion in our possession of a series of drawings of Sir Henry Irving\nmade by M. Paul Renouard, who drew them on the Lyceum stage\nor in Sir Henry Irving's dressing room at the time of the first\nproduction of the piece. The collection of Af. drawings\nincludes several of Sir George Alexander. & & &\nChe told me he was quite a wonderful man....but she couldn't say how\nor why he was so wonderful. \" This to me from a friend today.\nWe were speaking of Miss Ruth St Denis and her apprenticeship\nunder this wonderful man \".... a foreign stage manager. And 1 replied\nthat I believed these stage managers had away of walking on to the\nstage at the rehearsal and seeming to remould the world ; and that it\nwas this which made them seem so wonderful.\nAt their appearance the whole staff awakens to attention, and tnis\nit Is which makes us say, \" what a wonderful man \". If he were boss\nof some factory it would not be the same. Here in a theatre he is sur-\nrounded by such a glamour, and he faces the stage, his back turned"}, {"page_pdf": 22, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.22", "texte": "> HENRY IRVING. .\n\nO. p.\n\n............. ■\n».,„r»«\nrir-r... ;r'\"? ~ \"™\"\"\"\ni •vtxr triflstcri ir o\nthe appearance y clearly why or how he was\n„ Like Miss St Denis . rea.ly cannot c.ear.y\nso extraordinary ; so that I am iar which is published now\nnote to accompany the ver,, inter s „g -\nfor the first time. And though the of a|,\nof Irving it Is hardly that stage phase which ..\not irving l. ai| the weakness of humanity\nthen his face became like a waxen the\nseemed banished. & man.(.er even the actor-ma-\n& This little sketch gives us the sag ' ..that would\n« ctive The soul of the man is not here,\nnager, off the stag . Rast|en Lepage portrait It is absent,\nbe too much to ask; even in wav which\nbut in both we have a certain Hkenessj>f the man;\n'1 qulU a llttfc collecUon of drawings by the same artist of\n* TISC 4 . rever yet been published and which ought\nthis amazing actor which the mQSt part represent\nto be preserved by some museum. y t||e knl([ht\nIrving as -ph,stopbe.es an o« .«\nT* Tn rrtTress and v'ery charming he iooks. . am toid that it is\n• <• wt re*nf sir Henrv in this particular role,\nthe only drawing in existence of Sir Henry in"}, {"page_pdf": 23, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.23", "texte": "JEZABEL. An Unpublished Stony\nby Oscar Wilde.\n& This story was told by Wilde to Miss Aimee Lowiher when a\nchild and wi itien GUL by her. A Tew copies were privately ,\nbut this is the first time it has been given to the public. &\n& Another story of the same series appeared in the January num-\nhor of 7*Zfe Afas/c; und others will he given in subsequent numbers.\nhe queen stood on her marble terrace gazing on the fair lands\nwhich lay far and wide around her palace. Her blood-red hair\nhung in thick braids on each side of her white face. She was\nwrapped from head to foot in a robe of woven gold, and long strands of\nemeralds coiled about her, flashing and glinting in the twilight like green\nsnakes at play. Her long pale hands were circled with gems, and she\nlooked like some marvellous idol in her gorgeous and deadly beauty.\n& She sighed a deep and heavy sigh, and Ahab the king said to her:,..\n& \" Wherefore slghest thou, oh Queen of Beauty, is there ought on\nheaven or on earth, which lacking, thy heart doth desire ? Hast thou\nnot all that gold can buy and that men can make with the labour of\ntheir hands? But if there be ought else that thy soul desireth, am I not\nhere to give It thee; for am I not thy slave, though I be the King of\nSyria? \" &•&&&&&&&\n& And the queen answered, and with slow and languid accents did she\nspeak, as one who is wearied with a great weariness and stricken unto\ndeath with the satiety of fulfilled desires. us?\n& ... Tis true, oh king! that I have all that the earth can give, gems,\nand gold, and garments of tyrian purple and woven silver, and marble\npalaces filled with slaves and with dancing girls; all these are mine.\nAlso have I rose gardens, and palm trees, and orange groves, where the\nscent lies heavy at noon. JS?^\n& And the camels with their swinging tread ceaselessly do cross the\ngreat desert heavy laden with perfumes and treasures for my delight.\nAnd every man is my slave, for 1 am almighty in my beauty. Even thou,\noh king, dost bow before me unto the dust, and thou art Ahab, the\nking of Syria.\nBut at my palace gate there is a vineyard, the grass is green, and\nthe doves fly there, and it belongs to another; therefore do 1 sigh. &"}, {"page_pdf": 24, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.24", "texte": "JEZABEL.\n\nAnd Ahab said: \"Sigh not, oh Isabel, for most surely shalt thou\nhave the vineyard, where the grass is green, and the doves do fly. It is\nthe field of Naboth, my standard=bearer, and the friend of my bosom,\nfor he hath twice saved my life in battle. &\n& Then sent he for Naboth the Syrian.\nNow Naboth was a youth of twenty years, and good to look upon, as\nhe stood before the king in all his strength and stature. &\n& And the king said : \" The queen doth desire thy vineyard. I will\ntherefore cover it with gold pieces, and with precious gems, which thou\nshalt take in the place of the land, or whatsoever else thou shalt appoint\neither in honours or in treasure, that shalt thou have, for the queen\ndoth desire thy vineyard. \"\n& But Naboth said : 44 Nay, king, my vineyard was the vineyard of my\nfathers. Their heritage to me, all I have, and I may not part with it;\nnay, not for all the treasure upon the earth\nThen Isabel, the queen, spake, and her voice was low and soft, like\nunto the summer breeze at evening: \"Do not trouble him, the vineyard\nis his, and should not be taken from him, suffer him to go in peace. \"\n£? And Ahab went forth, and likewise Naboth.^\n& But later on that day Isabel did call for Naboth, and he stood\nbefore her. & &\nThen said she unto him,: \"Come hither, and seat thyself beside me\non this throne of ivory and gold. \" & &\njC? But Naboth said : \" Nay, queen, that may I not do, for the throne of\nivory and gold is the throne of Ahab, the king of Syria, and on it may\nno man sit beside thee, save only the king. \" & &\nBut the queen answered: 44 1 am Isabel, the Queen, and 1 command\nthee to be seated ' . JZ? & & &\nAnd he sat beside her on the throne of ivory and gold. &\nj&> Then the queen said to Naboth: 44 Here is a drinking cup carven from\na single amethyst, drink from it.\" JZ?\nBut Naboth said: 44 Nay, for It is the drinking cup of Ahab, the king\nof Syria, and from it should no man drink save the king alone. \" &\nzz?But the queen answered: 441 am Isabel, the queen, and 1 command\nyou to drink from it\".& JZ? &"}, {"page_pdf": 25, "page_imprimee": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.25", "texte": "JEZABEL.\n\n£? And he drank from the drinking cup that was carved from a single\namethyst. £?\nZ? Then the queen said to Naboth: \" I am very fair. There is none other\nso fair on ail the earth. Kiss me S\" zz/ £? &\n& But Naboth said : \" Thou art the wife of Ahab, the king of Syria ; no\nman may kiss thee but the king.\" & & & & &\nAnd the queen said: \"I am Isabel, the queen, and thou shalt kiss me\".\nu&> And she twined her ivory arms around his neck, so that he could\nnot go. And then she cried with a loud voice, saying: \"Ahab! Ahab!\"\n£? And the king did hear her, and coming, did see her lips on the lips\nof Naboth, and her ivory arms twined around his neck. JZ?\nAnd mad with blind wroth, he ran his spear through the body\nof Naboth, the Syrian, who died, and fell in his blood upon the marble\nfloor.\nThen when the king saw the friend of his bosom lying in his blood,\nkilled by his hand, his wrath left him and his heart was filled with\nremorse and his soul with anguish. JZ> JZ? JZ>\n&\" oh Naboth! my standard-bearer and friend of my bosom, who\ntwice didst save my life in battle, have I with these hands indeed killed\nthee, and is the blood upon them indeed thy young heart's blood?\nWould that it were mine own, and that I were lying in mine own blood\nwhere thou art now 1 \"\nAnd his grief eat into his very soul, and his lamentations filled the air.\nBut Isabel, the Queen, smiled a'strange sweet smile, and said, with\nher voice which was like the sighing of the summer breeze at evening,\nso low and soft \" Nay king, thy lamentations are foolish and thy tears\nare vain: rather sbould'st thou laugh, for now the vineyard where the\ngrass is green and where the doves fly is mine & &"}, {"page_pdf": 26, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.26", "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS\nTWELFTH NIGHT.\nby E.W. Godwin. 1875.\nIthough the action of 44 What You Will\" Is directed or\ndescribed as taking place in a city of \" Illyrla \" there\nare but few words in the text which give anything like\na Dalmation complexion. If we accept \" Illyria\" we\nhave a city or seaport of the Venetian Republic under\nthe local government of a duke, or, more correctly, a\ncount, this last being the title given him by the law officer who arrests\nAntonio. TSvo passages... one referring to this arrest, the other to the\nCount's galleys and a sea-fight in which they were engaged... are almost\nthe only things, apart from the proper names, which could interfere with\nthe action if we preferred to remove it to England, for the spirit of this\nplay as compared with the other Italian plays is thoroughly English.\nAlthough, however, the contrast between the Earl of Southampton and\na boozing English knight might be really as great as that between the\npolished Italian noble and Sir Toby Belch, yet the apparent contrast is\nno doubt greater in the latter by virtue of the difference of nationality.\n& The time of the action is that of the production of the work, which\nmust have been between 1598 and February, 1602. & &\nThere are in ali eighteen scenes, including four in Olivia's garden and\ntwo at the sea-coast; this reduces the architectural scenes to twelve,\nfrom which, setting aside the repetitions, we have\n1. An inferior in the Count's palace.\n1* An Interior In Olivia's house.\n3* A street before Olivia's house*\n4. Another street.\nIt Is quite possible to treat this play for the modern stage as i have\nalready treated some others... that is to say, dividing It into acts, each\ncontaining one set scene, as thus.... &\nAct 1. Olivia's house.... an interior. (Act i. Sc. 3 and 5 ; Act ii. Sc. 3.)\nAct 11. The Count Orslno's palace... an interior. (Act ii. Sc. 2 and 4.)\nAct ill. Olivia's house... exterior and garden, with a garden-house,\n(Act ii. Sc. 5 5 Act iii. Sc. 1, 2, and 4 ; Act iv. Sc. 2.)"}, {"page_pdf": 27, "page_imprimee": "287", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.27", "texte": "7 WELFTH NIGHT.\n\nAct VI. The street before Olivia's house. (Act iv. Sc. i and 3; Act v.)\nThe sea-coast scenes and those in the Count's palace, not here included,\nmay be described, so far as they relate to the plot, either by the charac-\nters or in a prologue, or the coast scenes may be retained in their en-\ntirety where there is a good proscenium, and acted before the curtain or\nact-drop, which should then of course be painted for the purpose. uZr\n£? The architecture of the palace of Orsino and of the Lady Olivia's\nhouse may be Renaissance or Gothic or both. We have no special locality\nor town to consider, and, therefore, we cannot strictly follow any old\nexamples. Our business in Twelfth Night is to compose or design the\narchitecture in harmony with that which obtained in Venetian towns on\nthe Eastern coast of the Adriatic about the year 1600. This is the work\nof an architect as well as of an antiquary, and there are various ways of\ndoing it; but there is more than this, for in planning the scenes It is\nnecessary that the architect should understand some thing of the require-\nments of the stage, and of the business of the action, or the best\n%\ndesign in the world may result in failure. Stage management, or the\n\" business, \" as it is technically called, is one of the colours on which\nthe dramatic picture depends; scenery is another; costume another; and\nthe choicest tints, the high lights, the jewels of the picture are to be\nfound... or should be found... in the expression of the actor's voice, face,\nand figure. But the whole batch of colours and tints must be as one in\ntheir treatment if we wish to see a play rendered fitly. For one man to\ndesign an interior for Olivia's house with no control of or understanding\nas to the stage management; another to arrange the business of the\naction in total ignorance of the inner arrangement of an Italian mansion,\nor of the uses of its several parts ; for one to paint the walls knowing\nnothing of the colours of the costume ; another to design the dresses\nutterly indifferent to the colours of his background ; are the happy-go-\nlucky processes usually employed on the English stage, and any success\nthat may result from the adoption of such ways and means must neces-\nsarily be of the nature of a fluke. If we really want to progress in those\nmatters, the first step is to accept the dictum of Macready... \"No actor\nshould be a manager\". This strikes at the very root of the compound\nsystem of ignorance, mystery, envy, and egotism under which the dra-"}, {"page_pdf": 28, "page_imprimee": "288", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.28", "texte": "TWELFTH NIGHT.\n\nmatic and histrionic arts languish, flickering up now and then by the\nspecial help of some exceptional individual with, 1 will not say false, but\nmisleading brightness. & & &\nThe costume need not detain us long. Vecellio will still be a faithful\nservant to us here as before if we only treat him properly. The text, too.\nrefers to a number of interesting details. We are told that Sir Toby\nBelch Is dressed in a rough country style; having on his feet strapped\nboots, and Sir Andrew Ague-cheek has a weakness for dark crimson\n(damask) stockings. In the sth Scene of the first Act we see one of the\nuses of the lady's veil that occurs so frequently in the illustrations of\nVecellio. The steward Malvolio has a gold or silver-gilt chain, a \"branched\nvelvet gown\", i.e., one with a broad branch pattern, a watch, rich jewels\nand yellow stockings cross gartered, although in the beginning of the\naction his stockings, trunk hose, and doublet would probably have been\nblack. Besides this we have a doublet of changeable tafata, cheveril or\nkid gloves, and miniature portraits worn as jewels. There is a special\nreference to the great bed of Ware ; mention also is made of the extra-\nvagant!} carved chests of the time... \"trunks o'erflourish'd by the devil,\"\nthe relics of the town, its \"memorials and things of fame\" are recorded\nas worthy examination, and there is just one touch on architecture in\nthe Scene where Malvolio, locked in the inner room, complains of its\nhideous darkness, and the clown replies \" why It hath bay windows,\ntransparent as barricades, and the clear-stories towardes the south-north\nare as lustrous as ebony.\" &\n✓\n(1) Many costume designs by Vecellio have appeared in previous numbers of The Mask."}, {"page_pdf": 29, "page_imprimee": "289", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.29", "texte": "A WORD ON SHAKESPEARE, Translated from\nthe Conversations of Goethe as recorded\nby Eckermann, 1822-1833,\nQoethe then showed me a remarkable English work which reproduces\nall Shakespeare in engravings. Each page comprised one play in six\nlittle designs under each of which were written some verses, so that the\neyes perceived immediately the principal thought and the most interes-\ntwig situations. All these immortal tragedies and comedies thus passed\nbefore the mind like a procession of masques.\nOne is astounded when one sees all these vignettes, said Goethe. One\nperceives then the infinite richness and the infinite greatness of Shakes-\npeare ! There is not a single situation of human life which he has not\npainted and expressed I And with what facility, what freedom 1\n£? it is impossible to speak of Shakespeare, everything is inadequate.\nIn my \" Wilhelm Meister \" I have moved around him trying to touch\nhim here and there but what I have said has no great significance. &\n%\n£? He is not a dramatic poet; he never thought of the stage. It was\nmuch too narrow for his great spirit: the whole visible world was itself\ntoo narrow for him. In him there is really too much richness and power!\nA creative mind ought not to read each year more than one of his plays\nif it does not want to find in him its ruin.\nShakespeare presents us with apples of gold in cups of silver. In\nstudying his plays we know well how to take from him his silver cups,\nbut we only know how to put into them apples of earth (potatoes);\nthat is the misfortune !\n& i consider \"Macbeth\" as the best play of Shakespeare for the theatre ;\nit is there that be has best understood the exigencies of the stage. But\nif you want to understand the freedom of his spirit, read \" Troilus and\nCressida \" where he has treated in his own way the subject of the Iliad.\nIn the poet and in the artist there is the infinite. It is this ingredient,\nthe infinite, which gives to this kind of genius the irreducible grandeur.\nVictor Hugo. \" William Shakespeare. \"\n0) A play on the words \" Pomme d'or \" and \" Pomme de terre"}, {"page_pdf": 30, "page_imprimee": "290", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.30", "texte": "SOME FURTHER DEFINITIONS FROM AN 1825\nDICTIONARY\nTranslated by Pierre Ramés.\nP. R.\nhese Definitions, like those in the two preceding numbers\nof The Mask, are taken from that French Theatrical\nDictionary or Book of \"Twelve hundred and thirty three\n\" truths about the Directors, Regisseurs, Actors, Actres-\n\" ses, and Employes of the Various Theatres, with Con-\n44 fidences upon the Production of Illusion, Examination of the Dramatic\ntc Vocabulary. A Qlanco at the Material and Morals of the Performances,\n44 etc, etc,99 which was compiled nearly a century ago by an anonymous\nwriter, whose intelligent outlook on the situation may be fairly guaged\nby even so isolated an example as his protest against Footlights as a system\nof lighting which gave the impression that 44 the earth Is luminous .\nFor the rest, the intrigues and caprices, the mechanical tricks and\nartifices which he describes have hitherto found so safe a shelter in the\nTheatre that the modern Manager and Actor seem, if they have changed\nat all, to have changed merely in so far as they have learned to 44Commit\nthe oldest sins the newest kind of way \" and there is unfortunately but\ntoo little that Is out of date in these Definitions of a hundred years\nago.\nACCIDENTS. A long chapter In the history of the Theatre. & 0\nAPPLICATIONS. (Personal). & \" Have I not acted my part well?\" \"You\nare a man of talent much above the average \". \" You are a charming\nwoman\", etc, These are little formulas which an author should not ne-\nglect to place in all his works. They are directed towards the leader\nof the party responsible for stirring up enthusiasm, and eacli of them is\ngreeted with a long burst of applause. This kind of little cabal is very\nf e\ninnocent; it greatly pleases the actor, whose seif=love it flatters, and it\nprocures for the author a few more performances. &\nBOX OFFICE, A place where tickets are sold every evening to that\nportion of the public which has neither entrance by right nor entrance\nby favour nor entrance on suffrance, nor tickets from the management\nnor police tickets, nor author's tickets bought at half price or gratui»\ntously conceded. j£? &"}, {"page_pdf": 31, "page_imprimee": "291", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.31", "texte": "THE A TRICAL DEFINITIONS\n\nCAPRICES. & The actors have few of them; the actresses have none ! 1\nEDUCATION. In the greater number of the actors whose memory has\nbeen preserved in theatrical annals a happy instinct supplied the place\nof the education which they lacked. Some comedians of our own day\nbring forward this fact in reply to the reproach brought against them\nof being, not merely little learned, but downright ignorant. The argu-\nment would be excellent if these comedians had the instinct and talent\nof their predecessors. JS/ &\nFOOTLIGHTS. They light the proscenium and so distribute their light\nthat the face of the actor is shadowed from the bottom to the top which\ngreatly spoils the appearance at the same time as it sins against truth.\nThe Opera, which seeks all means of perfecting theatrical illusion, should\noccupy itself first with getting rid of the footlights and replacing them,...\nfaith ! I don't know by what, but by some sort of artificial sun which\ndoes not project upon the person moving on the stage rays of such a kind\nas to give the impression that the earth is luminous.\nLIGHTING. The system is very faulty: it calls for a perfection wthout\nwhich the illusion will always be imperfect. The disposition of the footlights\nand their opposition to the upper and side lamps puts the actor and the\nscene between two equally false lights. &\nLIGHTNING. The wave in the distance heaves; the north winds, let loose,\nannounce a violent storm. Iphigenia hastens to re-enter the temple of\nDiana. The tempest Is about to burst. The stage hand upon whom the\noffice of Jupiter has in part devolved waves in the upper arch a torch\nfed by spirits-of-wine upon which is burnt, with much flashing, the lyco=\npodium which is projected upon the flame by a pair of bellows made\nfor that purpose. The air is rent by the fugitive brlliance of this dust,\nand the priestess, who is in the secret of the pyrotechnist, comes to the\nfront of the stage to tel! us a great lie and talk to us of lightning and\nthunder k propos of a fusee and a pinch of black resin.^\nNIGHT. A half turn to the tap of the gas=pipe; a twist to the lamps\n\n(i) Lycopodium. The club-moss: a yellow powder in the spores which burns with a bright flash. Nuttall's Stan-\ndard Dictionary."}, {"page_pdf": 32, "page_imprimee": "292", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.32", "texte": "THEATRICAL DEFINITIONS\n\nin the wings ; a veil of blue muslin in front of the footlights ; coloured\nglasses on the lamps, mutes on all the string instruments in the\norchestra, play of harps, tenor violins and vlolincellos; upon the stage a\nsolemn'silence, and in the boxes conversations in keeping with the mys-\nterious light in which the hall is wrapped ; such are the means, the\nindications and the consequences of night upon the stage. &\nRAIN. You hear the thunder rumble, and the sound of the rain strikes\nyou at the same time. You ask the secret of this somewhat ingenious\nimitation: follow me behind the scenes. Do you see those two workmen\nmoving alternately those long oblong boxes? Well, those boxes contain\nscraps of old iron and crockery. All this debris, in falling from one end\nof the box to the other, passes over a certain number of gratings, and\nit is the cascade-like sound which these broken fragments make in falling\nfrom grating to grating, which simulates rain and which has given you\nfor an instant the illusion. & JZ? &\nSPIRIT OF INTRIGUE. The spirit of intrigue is the familiar spirit of\nthe theatre: party spirit reigns there as a tyrant and recognises as its\nministers the business spirit and the spirit of association. & £/\nSTORM. JZ? A noise which arises in the pit at the performance of a bad\nplay, at the debut of a bad actor, or at the unforeseen change of the\npiece. The applause of the claquers provokes it; the admonishments of the\ncommissary of police make it break out; the presence of the police never\ncalms it; the fall of the curtain quiets It.\nThat is the storm in the auditorium ; now let us see it on the stage.\nThe light of the chandelier and of the argand lamps visibly decreases ;\nthe strips of painted cloth which represent the sea rock; blackened\ngauzes rise and fall on all sides; the lycopodium flashes on spirits of\nwine; the machinist makes the thunder roll on its moveable plank, the\nfiddles grow excited in the orchestra, supers cross the stage, running\nquickly and with their hands protecting their heads which no rain threa-\ntens; the lighted fuse runs across the stage following the prepared train;\nsome explosions are heard and the thunder bolt strikes its victim. &"}, {"page_pdf": 33, "page_imprimee": "293", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.33", "texte": "A THEATRE HALL, Described\nby Joseph\nFurtenbach, 1663, With a Biographical Note\nupon the Author.\ne take the following account of an ingenious method for\npresenting to an audience four scenes upon four succes«\nsive stages from an old German book published in 1663\nand compiled by the architect Joseph Furtenbach, or\nFurttenbach, as the name is sometimes written.\nBorn in 1591 at Leutkirch in Svevia where his father had a seat in the\nmagistracy, the boy went at the age of fifteen to Milan to learn the Ita-\nlian language and spent nearly twenty years In Italy before returning\nhome. During this time he occupied himself principally with architecture,\nfrequenting the company of the most celebrated architects of the day.\nOn his return to Germany he settled in Ulm, where he obtained the\nposition of city architect, subsequently holding many other offices of\nimportance until his death on January 17, 1667, and leaving to the city\nmany buildings which were constructed according to his designs and\nunder his direction.\nA lover of the curious as well as of the beautiful, he possessed a vast\ncollection of all kinds of curiosities besides works of art, and an illu-\nstrated catalogue of these was published in 1660.\nA description of his own house in Ulm, which was published in 1641,\ngives proof of his ability and good taste, and to the same work he added\na chapter of instruction as to how to polish mother-of-pearl, shells and\ncoral and how to employ these in the construction of grottos.\nAmong his many works are Treatises on civil, naval, military and\nprivate architecture, the construction of churches, peasants' houses,\ngarden pavilions; a \"New Voyage in Italy \" and many interesting in-\nstructions for the Invention and manipulation of mechanical devices for\ntheatrical performances, (1) a subject upon which it seems not unlikely\nthat his interest had been quickened during his stay in Italy, of which\ncountry the \" Festival Artists \" had long been and still were deservedly\nfamous for their achievements.\n\n(1) Some of these will be published in future numbers oi The Mask."}, {"page_pdf": 34, "page_imprimee": "294", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.34", "texte": "THE THEATRE HALL.\n\nThe two plans which accompany the text of the following article were\ndesigned by Furtenbach himself and etched by his son Joseph, who de-\nvoted his life to studies similar to those which occupied his father, and\nwho died on March 8, 1655. jzr &\nDESCRIPTION OF THE THEATRE HALL.\nrriie inner hall represented in the drawing by the figures 69 to m. and\nx to b has a measurement of 75 feet, and in this space there is a\nhanging stage with pillars so arranged that they do not stand in the\nlight of, or obstruct the view of, the spectators. '1 his eight cornered, or\noctagonal building is denoted by the figures, /, p, r, v, 8, x, s, t. £>\n& At points FFFFFFFF there are high windows, like those of a church.\nFigure A represents the principal entrance, leading by a broad stairway\nto the hall above, and figure w the exit, where there is a corresponding\nflight of steps. This theatre hall may be made available for various\npurposes, such as tournaments, fencing displays, dancing, assemblies,\nmarriage celebrations, banquets and the like, and for such events the\ntwo wings marked y and p can be used as buffets, something after the\nmanner described in the drawing No. 19 1° my \"Architectura Recreationis\nand fully explained on page 58 thereof. Above this buffet there is a\ngallery for musicians and singers.\n& With regard first to the buffet marked yit has two doors, which,\nwhen opened, disclose the various viands and other dishes provided for\nthe entertainment, and these can be readily carried to the guest table\nwithout any one being aware from whence they have come. An inner\ndividing wall or partition marked II has also two doors, which may be\nopened, and the additional space on the other side \"be used for\nservice. zZ? jZ? &\n& At the point marked K there is a table, or sideboard, whereon to\nplace dishes of food and to keep them warm and ready till required.\nThis provision room, or larder, is of the utmost convenience because by\na stairway marked k the dining hall can be reached from the kitchen,\nwhich is below and is so constructed that the hall is kept free from\nsmoke, steam and risk of fire.\nWhat has now been said with respect to the buffet on the right"}, {"page_pdf": 35, "page_imprimee": "295", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.35", "texte": "THE THEATRE HALL.\n\napplies equally to the one on the left, marked p and above this second\nbuffet there is another gallery, such as has been already described, for\nthe accomodation of trumpeters, cornet players, trombone players,\norganists, and instrumentalists generally, as well as of singers, who have\nthere every opportunity of making music. And, as in the case of the\nbuffet, the two doors h marked can be thrown open and everything\nneedful be brought in and placed on the banqueting table and afterwards\nbe taken back to the kitchen by the stairway /.\nIn this manner, and by means of these two appliances, the buffet and\nthe larder, refreshments of every kind can be easily and noiselessly\nserved and be fust as easily and conveniently removed. The buffet should\nbe covered with a suitable cloth and all drinking vessels and glass as\nwell as silver should be placed thereon and be so arranged as to produce\nthe best effect.\n£? At the spot denoted by the figure u there must be a round table for\nguests, as will hereafter be explained with more besides, and on this\ntable the feast is to be served. On the occasion of a marriage celebration\nthe table may be put on one side after the feast or banquet, and the\nopen space be utilised for dancing. &\nShould the building be required for theatrical plays, a part, or corner\nof it only need be opened, namely from to V and from rto I and from\nV to I on the east side. Between r and V is the gallery; letters a and\nb define the front pit and letters b to f show the first scene, or stage,\nwhich is 28 feet deep and 33 feet wide, with three movable scenes on\neach side, marked C. E and O, which can be turned or changed according\nto the necessities of the play that is being presented.\n& Between the letters f and f is the apparatus whereby the scenery\ncan be moved and adjusted to suit circumstances. The line marked g\ndenotes the back screen, behind which the actors are able to move freely\nwithout being seen and at h h, by means of steps, a lower floor can be\nreached where they can put on and take off their dresses and then\nre-ascend for the purposes of their business.\n£7 At n n n n on both sides are windows, but in what manner a\nmay be lighted with lamps, the scenery be changed and actions by water\nand land be presented is clearly set forth in the copperplate impressions"}, {"page_pdf": 36, "page_imprimee": "296", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.36", "texte": "THE THEATRE .\n\nand descriptions Nos. 11, II ip, 12 and 13, to which, in all respects, 1\nwould refer all those who are interested in such things. (1) £/ &\n& The theatre hall being now arranged for the production of plays,\nand the necessary seats having been placed in position, many hundreds\nmay find accomodation in the space between r and / and between V and\nX without inconvenience and enjoy with the keenest pleasure not alone\nthe acting, but also tho music proceeding from the galleries over the\nbuffets or refreshment department. On the occasion of some princely or\nspecially distinguished banquet, at which also the performance of some\nplay is to take place, four theatres may be arranged, the first towards\nthe east representing the air A, The second towards the south, fire B. a\nthird towards the west, water C. and a fourth towards the north the\nearth Z>. all being set out in every respect like the first. £/\njg? These four theatres must at first be closed, that is to say the Hanging\ncurtains in front of them, namely r to V, 8 to X, s to t and /' to /?,\nmust be drawn together so that prior to the commencement of the p«ay,\nno one may know what is hidden behind them.\nNow that the four theatres are furnished, a round table must be\nplaced in the middle of the hall, in size so that twelve persons can sit\nat it. -S?\n& This round table, together with the seats, must rest upon a revolving\ncircular platform, 13 feet in diameter, which, by the action of mechanical\nappliances below, can be gently turned without the motion being noticed.\n&At this table twelve persons, as already said, can be comfortably\nseated, but If it were desired to entertain persons of specially high\nrank on the occasion of some great feast or festival, the half only of\nthe table may be used, thus presenting the appearance of a crescent or\nhalf moon, and in that case six only of such distinguished guests\nshould be seated there, care being taken so to place them they all\nfaced, and had a clear view of, the theatre without any intervening\nobstruction.\nThese persons would thus have their faces directed towards the main\nentrance 4 and be sitting with a buffet both to their right and left, and\nhaving above them in the clouds, or galleries, trumpeters, trombone\n\n(1) These will be given in a future number."}, {"page_pdf": 37, "page_imprimee": "297", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.37", "texte": "THE THEATRE HALL.\n\nplayers, kettle drummers, cornet instrumentalists and singers, none of\nwhom should be seen during the banquet, but only their music be heard,\nuntil the time arrived for the actors to perform their parts. &\nIn the course of the repast many unexpected things would happen,\nas for example the curtain between r and V would be suddenly drawn\nback and disclose to view the east or first scene A with lights or invisible\noil lamps, throwing a great light like unto that of day in the direction\nof the hall and this should be accompanied by a cool, refreshing air as\nthough coming from the Orient, rosy tipped clouds would be floating\nabove and many birds be seen flying around, and then the curtains would\nbe dropped and the whole scene be hidden from view. &\nAnd now, so quietly as to be almost imperceptible, the table u with\nthe guests is, by means of the mechanism below, already described,\nturned slowly round towards the south, so that the guests are brought\nin face of another stage, marked m, the curtains in front of which from\n8 to X are presently drawn aside to disclose the second scene, which Is\nthat of Mount Etna or Volcano, with such other objects as are incidental\nto southern or tropical countries, natives of the land in their native\npicturesque dresses, animals of different kinds, fruit trees and so forth.\nOn the completion of this picture or panorama the curtains are closed\nagain as before.\nThe platform with its table and guests is now revolved again until\nthe faces of the company are turned to the west and towards a third\ntheatre, with a view, when the curtains between t and s are drawn back,\nof a sea, calm at first and then stormy with huge waves, some of the\nrenowned western mariners being seen in their ships and here and there\ngreat fishes such as whales. Later the sea becomes calm again. Finally\ntwo ships are shown in naval combat and therewith the scene comes to\nan end by the closing of curtains as before.\nThe table, or rather the platform, now revolves for the fourth time\ntowards the north. The curtains in front of the stage or theatre at\nthat point, namely from / to p are treated as in the other cases and the\nlast scene is presented of a fruitful land with corn fields, trees and\nshady woods. Peasantry are tilling the soil, the gardener is planting trees,\nthe huntsman is following the chase and other occupations usual in nor-"}, {"page_pdf": 38, "page_imprimee": "298", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.38", "texte": "THE THEATRE HALL. .\n\nthem countries are being actively carried on, when the curtains fall\nagain, hiding everything from sight and restoring the hall to its first\ncondition, without either scenery or actors. & & & &\nThe entertainment being now concluded, a tournament, fencing display\nor a dance may be given according to the wishes and pleasure of the\nassembled guests, (i) •£?\n\nON COLOUR IN STAGE SCENERY.\nGoethe.\nFrom the \"Conversations\nwith Hckermann.\" 1822=1832.\nwe spoke of scenery and costumes for the theatre. These were the\nconclusions of our conversation : &\n« In general scenery ought to be of a tint favourable to the costumes\nwhich move before it as the scenery of Beutlier, which always tends\nmore or less to dun colour and lets the stuffs of the dresses stand out\nin all their freshness. £? ■£? &&&&■&\n£? if the scene painter is obliged to forsake this indefinite and veryfa=\nvourable tone, if it is necessary for him to paint a hall red or yellow,\nor a tent white or a garden green, the actors ought in this case to take\nthe precaution to avoid these colours in their costumes. If an actor with\na red coat and green trousers walks across a red room, the upper part\nof his body disappears, and one only sees his legs ; if he walks in the same\ncostume in a green garden, it is his legs which disappear, only the upper\npart of his body remains. I have seen an actor in a white coat and very\ndark trousers who thus disappeared half way in standing against a white\ntent or a dark background. And even when the scene painter represents\na red or yellow room, or grass, he ought always to keep his tints rather\nlow and aerial, so that the costumes can harmonise v/ith them and pro*\nduce their effect. *&\n\n(1) On the following page is given the plan of the Theatre Hall here described."}, {"page_pdf": 41, "page_imprimee": "301", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.41", "texte": "SOME NOTES UPON ANCIENT PUPPETS,\nby “Yorick” with art Introductory Word\nby the Translator\nnown underj his nom de plume of \"Yorick\" the late P.\nFerrignl, for many years the dramatic critic of the Flo-\n• {\nrentine Nazione, has been called the \"Gautier of Italy\".\n>\nSo keen was his love of the theatre, so earnest and\nenthusiastic was he in his writings about It that a con-\ntemporary journal, the Ri vista Europea, published In 1880 its opinion\nthat, if an Editor should set himself to collect in a single volume the\n44 amazing series \" of dramatic essays and criticisms which had been for\nso long appearing in the Nazione, he would be raising a splendid mo-\nnument to the history of the Italian Theatre. Steps were taken to put\nthis proposal into effect, a long series of volumes being planned, of\nwhich at least one saw the light successfully,.... the 44 Storia dei Burat-\ntini\", the History of Marionettes.\nAnd no more interesting volume by the writer could perhaps have\nbeen Issued, since here, if ever, he was in love with his subject.\nHis own words, descriptive of his long and earnest studies, of the way\nin which he devoted his spare hours and moments to his researches,\ntestify to this. With a lofty conception of the greatness of his subject\nand a modest estimate of himself he sets to his work; with a little fear,\nhowever, that having enumerated the names of his predecessors in the\n>»\nsame study, having pointed out the historical importance of the puppets\nand their many vicissitudes in many lands, he may have induced in the\nreader the impression that the subject is too serious for treatment by a\n44 scrittorello \", a 44 little writer\" like himself. But he consoles himself\nwith the hope that the lovers of puppets may extend their indul-\ngence even to the historian of the puppets, and declares it his aim to\n44 precede in his researches and to conduct his narrative with so much\n44 simplicity of ideas, with such sincerity of purpose, such ingenuousness\n44 of form and with such great and full good faith \" that 44 in the end\n44 the courteous reader may take me, too, for a puppet \" and 44 applaud\nmy History as he applauded the last performance of marionettes I"}, {"page_pdf": 42, "page_imprimee": "302", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.42", "texte": "NOTES ON ANCIENT PUPPETS\n\n& That he has brought thoroughness and earnestness to his work is\nproved by his own account of the researches which have carried him to\nail the sources, both the great rivers of knowledge and the little streams;\nthe books and monographs and manuscripts and journals he has exami-\nned ; the \" chllometers of dust \" he has swallowed in the libraries in\nhis desire to see all, arrange all in right order, verify all references,\nall examples, all quotations. 44 You cannot imagine \" he writes in his\nPreface, 44 the enormous mass of printed or written paper that I have\ngone over, that I have turned the leaves of, page by page; that I have\ncut up Into notes, entries, extracts, schedules, catalogues, to glean all\nthat was possible upon the subject of puppets\".\nHe then goes on to enumerate some of the authorities which he has\nconsulted, and whose names are given here for the assistance of other\nstudents.\n& Magnin's learned work, serving as a general example and guide, served\nhim also in particular for information relative to the French marionettes\nof other periods and to those of Italy.\nFor the puppets of the ancients, the Egyptians, Greeks and Romans\nhe turned to Plato, Aristotle, Junius Senafonte, Girolamo Cardano,\nAdriano Turneo, Dlodoro Siculo, Carlo d'Aquino, Horace, Plutarch,\nAteneo, Callistratus. Father Kircher, Father Anton Maria Lupi, Ignazlo\nPaterno Castello, Ottofredo Muller and hundreds of others whom for very\nbrevity's sake he omits to name. &\n& The Spanish puppets obliged him to resort to Covarruvlas, to Strada,\nto Polo de Medina, to Figuerroa, to Cervantes, to Francesco de Übeda.\nFor the English puppets he turned to Shakespeare, Addison, Hawkins,\nWhalley, Payne-ColHer, Ned Ward, Drake, Wright, Gifford, Chalmer, and\nto all the reviews from the Cornhill Magazine of London to Liplncott's\nMagazine of Philadelphia. & &\nHoffman, Grimm, Abraham, Santa Clara, Graff, Casparson, Von der\nHagen, Prutz, Bruckmann, Martin Luther, Leutvecher, Hormayr, Frlsch,\nFioegel, Leitner, Schlager, Schutze revealed to him \"many hidden things\nabout the German marionettes\", while for the Italian he gleaned a little in\nall directions, since everywhere, In all the theatres of all the nations,\nwere to be recognised some traces of the puppets and puppet-showmen"}, {"page_pdf": 43, "page_imprimee": "303", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.43", "texte": "NOTES ON ANCIENT PUPPETS ,\n\nof 1ta1y,... that is, the Italy of the ancient times and of the middle\nages and, for the subject of puppets in general to add yet a few more\nfrom the list of those who have occupied themselves with these little\npeople, Marcus Aurelius, Qalen, Apuleus, Tertullian, Sinesio, Albertus\nMagnus, St Thomas Aquinas, Cervantes, Ben Jonson, MoliSre, Hamilton,\nPope, Swift, Fielding, Voltaire, Goethe, Byron, B3ranger.\nAll this material, he tells us, he has studied and sifted, gathering\ntogether the most and the best that he could within the compass of his\nlittle book, and always studying to correct errors, to fill up blanks, to\nrectify dates, to straighten out wrong judgements, and, aiding himself by\nthe work of his predecessors, to raise his edifice upon the base of his own\nInvestigations, his own criteria, his own observations and his own ideas.\n] cannot, he declares, ** invent facts, for ge dates, play at ball with\nnames, falsify testimonies, create quotations, invoke miracles, silence the\nliving and make the dead speak. I study the History of the Puppets. I\nam by no means writing the History of the Popes \" I &\nAnd this history of puppets which he studies is inseparable from the\nhistory of the theatre.\n& This being so It is of their life in the theatre rather than in the\ntomb or the temple that he writes chiefly, although in the extracts here\ngiven from the opening chapters of his book it is of the great images\nwhich took their part In the solemn religious ceremonies of Egypt, those\ndivine ancestors of the modern marionette of whom Mr Gordon Craig\nand Mr Adolf Furst have already written in Mask, that he speaks.\nIn future numbers of the journal will be given further and more detai*\nled essays on the Marionettes of England, Italy, Spain and other coun=\ntries by the same writer, but here is merely added, to the many already\ngiven, one more testimony to the lofty origin of the puppets, \" the\ndescendants of a great and noble family of Images, Images which were\nmade in the likeness of God\". &&&■&&&\nTHE LINEAGE OF THE PUPPET.\n'Thirty centuries of public life, three thousand years of uninterrupted\ntradition; do these suffice to prove the nobility of lineage in the\nfamily of the Marionettes? How many are the illustrious houses, the"}, {"page_pdf": 44, "page_imprimee": "304", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.44", "texte": "NOTES ON ANCIENT PUPPETS\n\nprincely families which have a right to a place in the Almanach of Gotha,\nwhich can boast a genealogical tree planted in the soil of history so long\nas thirty centuries ago ? &\nBut what am I saying ? thirty centuries ? Have we not all read, In the\neighteenth canto of Homer's Iliad, the description of the golden tripods\nconstructed by Vulcan, which went of themselves to the assembly of the\nGods and of themselves returned to take their place in the caverns of\ntheir native mountain ? Have we not all found, in the first book of the\n\" Politica \" of Aristotle, the mention of the famous statues of Dedolus\n(of which Diodoro Siculo, Suida and Callistratus also spoke), real puppets\nof wood with articulated members, capable of moving themselves, of\nwalking at a sign from the great artificer before the astonished eyes of\nthe profane ? The Jupiter Ammon, the Apollo of Heliopolis, the Theban\n*\nVenus, the Twin Fortunes of Anzlo, were not these perhaps hierarchical\npuppets, moved by strings and caused to speak with the voice of the\npriest hidden within the hollow breast of the image «<£? &\nIn Etruria and Lazium, where priestly cunning studied the art of\nmiracle with the aim of obtaining dominion, the moving figures of the\nGods filled the temples and gave a mysteriously religious character to\nthe pomp of the public festivals. Yet this was no longer a novelty. The\nexample had come from Egypt, where the assembled mummies and the\nidols of Thebes and Memphis had inaugurated, many centuries before,\nthe religious custom of articulated puppets.\nAnd had the Egyptians perhaps themselves invented, at an already\nfar advanced period of civilization, those little figures of bone, of wood,\nof potter's earth, clumsily modelled, which the wise researches and dili-\ngent excavations of Champolllon, of Rosellini, of Mariette have once more\nbrought forth to the light of the sun ?\n& Were they then a truly indiglnous product, a first manifestation of\nlocal art, those formless, roughly shaped models, those splinters of gra-\nnite and jade, those wooden pegs scarcely fashioned at all, which\npoorly imitate, by means of four marks laboriously engraved, the material\naspect and the uncertain outline of a beast or of a man ?\nthe actual state of our knowledge relative to the history of the\nhuman race we are inclined to believe in the Egyptian origin simply"}, {"page_pdf": 45, "page_imprimee": "305", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.45", "texte": "NOTES ON ANCIENT PUPPETS\n\nbecause we are not able to trace further back than Egypt in the inter-\nminable course of centuries. & &\n& But if our supposition were in accordance with the truth, if the first\nreligious idol, the first hieratic image, so simple, so rude, so clumsy,\nwere indeed to be attributed to the aborigines of the valley of the Nile,\nto what epoch, I ask, would it be fitting to make the first appearance of\nthe sacred puppets on the face of the earth date back ? &\nLet us make a few calculations if you have no objection. &\n& Manete, the warrior king, the wise legislator, who founded the city\nof Memphis and raised the first temple to the God Pta, lived, according\nto the most probably exact calculations, five thousand eight hundred\nyears before the Christian era. But at that time Egyptian art had already\nattained to a marvellous\nThe temple, erected by the head of the first Dynasty, attested to the\ndegree of perfection attained by the architecture of the country. The\nstatue of the God, an enormous monolith, fashioned not without majesty\nand grace, furnishes a very high criterion of the progress of sculpture\nat that period. & jZ? & &\n& Add to that the fact that Manete was the reformer of customs, the\ngreat innovator who liberated the peoples of the Delta from the yoke of\nthe sacerdotal caste. How many years could one not therefore count in\ntracing backward from the great statue of Fta to the first Egyptian idol\nfashioned by the hand of man ? or, rather, to the first religious puppet\nmodelled by the Industrious fingers of some neophyte and set up by the\ncunning of a priest for the adoration of the ingenuous and fearful\nmultitude\n& Nor must it be said that, by making calculations in this way, 1 deli-\nberately confound the puppets with the idols, while the two things are,\nin reality, very different the one from the other. The latter, compact,\nmassive, all in one piece, all of one material; more like statues destined\nto remain perpetually in the same place and in the same attitude . the\nformer flexible, articulated, formed of pieces ingeniously fashioned and\njoined together, and so arranged as to produce the illusion of gesture,\nof action, of vital movement. & jz? zz?\n& It win be subsequently seen that such a confusion, merely apparent"}, {"page_pdf": 46, "page_imprimee": "306", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.46", "texte": "NOTES ON ANCIENT PUPPETS\n\noa my part, Is not in any sense my work, and you will quickly realise\nthat this answers perfectly to historical truth and to the logic of fact\nand Ideas.\n& The ancient idols, the visible images of the mysterious, superhuman\nforces and powers, controllers of worldly phenomena, had not always, in\nfact had not for a long time, immobility and stability as their characteristic\nsign; above all among ignorant peoples, among whom the knowledge of\nphysical laws and the practise ®f mechanical artifices constituted, for\nthe sacerdotal caste, one of the best preserved secrets, one of the most\nefficacious and most certain means of dominion.\nThe fearful and colossal figures of the gods with animal's heads, with\nhuge limbs; with a hundred monstrous arms armed with instru°\nments of destruction, would not have inculcated such great terror into\nthe minds of the first believers nor inspired such admiration in the fierce\nand restless multitudes of the first centres of habitation if they had\ncontinued to remain motionless on their pedestal, inert and cumbersome\nmasses against which every lack of respect, every violence, every over-\nbearing act could flatter itself that it was directed with impunity. &\nThe idea of supernatural power must not in that epoch have always\nremained disassociated from the idea of action, of movement, of loco-\nmotion, of material force, and the pontiffs, the priests, the founders of\nthe most ancient theocracies, were too wise not to understand and\ntoo cunning not to turn to advantage the tendency of the multitudes\ntowards the marvellous, the strange, and the inexplicable. & £>\n& And thus it came about that, in Egypt, from the times anterior to\nthe first dynasty of the Pharoahs, all that had any relation, either closely\nor distantly, with the State religion, grew rapidly, and attained to ithe\nmost unlimited proportions; all took a grave, enigmatic, mysterious\ncharacter, and among the silent shadows of the temples, under the re-\nsounding vaults of the granite catacombs, in the subterranean galleries\nof the pyramids, in the uncertain and smoky light of the torches, the\nstatues of the Gods, moved by mysterious contrivances of levers and\nchains, by hidden combinations of wheels and pulleys, moved their heads,\nopened their eyes, opened their mouths, raised their arms and spread\nout menacing hands above the heads of the awestruck believers. &"}, {"page_pdf": 47, "page_imprimee": "307", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.47", "texte": "NOTES ON ANCIENT PUPPETS\n\nThey were enormous puppets, created to inculcate a salutary fear ;\nbut they were always puppets, induced to play a part in the great human\ncomedy, manipulated by knowing men who held their strings and regu-\nlated their movements, to master the natures, set free the Instincts, fire\nthe enthusiasms, and strengthen the passions of a people greedy for\nspectacles and delighting in stately ceremonies,\n& Later, when religion ceased to be at one with the government of the\npeoples, when learning was no longer the privilege of a dominant class,\nwhen the Gods of Greece and Rome mingled with the divinities of Egypt\nall to be presently precipitated together into the great conflagration of\nall the ancient cosmogonies ; when the mystery was revealed, when the\nsecret was uncovered ; when, beside the temple, arose the theatre ; when\nsatirical chatter succeeded to silent fear, when the audacious hand of\nAristophanes dragged the Gods on to the stage and the timele; when for\nthe shapeless and fearful colossi were substituted the divinely beautiful\n«\nstatues of Phidias and Praxitlles, animated by the creative and vivifying\nbreath of art and no longer by the scientific hoards of internal mecha-\nnism ; when form triumphed and fear was held back by 10ve,... then the\nshattered idols let issue forth from their huge broken bodies the myriad\nof useless and creaking parts, the colossi dwindled miserably, and the\nmonstrous divinities transformed themselves into caricatures and into\nplaythings to amuse children and to delight the common people, &\nFrom these begins the new life and the new history of the puppets,\nwhich over-spread all the world, penetrated into every most remote\nangle of the earth, dispersed themselves among the houses, gathered\ntogether in the sepulchres, mounted upon the stage, descended into the\npublic squares, occupied markets and fairs, constructed for themselves a\nstage of their own, had a special repertory, and, in short, exercised an\ninfluence very different from, but in no wise less than, formerly.\nWere they born from the dramatic form or was the dramatic. form\nborn from them ? In other words, did the flesh and blood actors precede\nthe puppets or did the puppets precede the flesh and blood actors on\nthe stage ? An insoluble problem 1 This only can we assert with certainty:\nthat both the one and the other lived contemporaneously; that in the\nsame time and often in the same place, and before the same spectators"}, {"page_pdf": 48, "page_imprimee": "308", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.48", "texte": "NOTES ON ANCIENT PUPPETS\n\nthe marionettes performed tragedy, comedy and farce, daring to stir up\nthe same most grave social questions, seeking the solution of the same\nproblems of morality, of politics, of legislation ; lauding to the skies or\nturning into ridicule the same persons 5 arousing, like the real actors,\nterror, pity, indignation, laughter, applause; and stirring up, and controll-\ning by their talent, the expression of all the human sentiments. &\n\nA CONFESSION OF FAITH\nby Anatole France.\n“La Vie Littéraire.\"\nI do not fear, for my part, to formulate my creed. I believe in the\nimmortal soul of Polichlnelle. I believe in the majesty of marionettes\nand dolls. Doubtless there Is nothing human according to the flesh in\nthese little personnages of wood or cardboard; but there is in them\nsomething of the divine, however little it.may be. They do not live like\nourselves, yet they do live. They live with the life of the immortal gods.\n& If I were a savant I should endeavour to assign a place to their\nsymbols as Guigniaut attempted, after Creutzer, the symbol of the divl-\nnities of ancient Greece. &\n£? Assuredly the dolls and marionettes are very little gods, but still they\nare gods. See also: they resemble the small idols of antiquity. They\nresemble yet more the rude figures by which the savages assayed to\nshow the invisible. And to what are they like if not to idols since they\nare themselves idols? Their function is absolutely religious. They bring\n%\nto little children the only vision of the divine which is Intelligible to\nthem. They represent all the religion accessible to the most tender age*\nThey are the cause of our first dreams. They inspire our first fears and\nour first hopes. Pierrot and Pollchinelle contain as much divine anthro-\npomorphism as brains scarcely formed and already terribly active can\nconceive of. They are the Hermes and the Zeus of our babies. And every\ndoll is yet a Proserpine, a Cora for our little girls. 1 would wish these\nwords to be taken in their most literal sense."}, {"page_pdf": 49, "page_imprimee": "309", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.49", "texte": "THE DRAMA IN JAPAN\nby Sheko Tsubouchi.\nt is gratifying for us Japanese to know that you wester-\nners entertain such a kind respect for the Japanese arts.\nBut I fear that our arts do noLalways deserve your respect.\nTime has changed, and we can no longer feel the same\ncharm and dignity that our forefathers felt, towards our\npast arts. And when you admire them, it appears to us as\nthough you are admiring their ghosts, the empty shadows\nof what, for us, have been dead long since. Many pictures\nand statues of the past are before us unmodified ; and\neven In drama, we can sometimes see old plays played as\nthey were played in the past. But we feel that they are things of the\npast, that they are not what we want for the modernized Japan, that\nthey are the old bottles into which new wine cannot be put.\n& I was repeatedly asked by would-be admirers of the Japanese arts,\nwhy do we study and imitate the western arts while we have the admi-\nrable arts of our own ? The question is impertinent. We cannot, nor do\nwe want to reproduce the western arts in the country of a very different\nculture. But, on the other hand, we cannot remain the slaves of our\npast. We cannot produce arts that satisfy our new demands by patching\nup the lifeless remnants of the past arts. I might as well ask these\nadmirers to rebuild the Black-Friar and the Globe of the Elizabethan\nage in the midst of the city of London, in order to keep the beauty of\nthe Shakespearian drama living in your brilliant twenty century society.\nIs it not better that the past should die its life without influencing us,\nthan it should stifle our fresh spirit. If the past is to influence us at all\nit must first be Influenced by the spirit of the new age. It is for this\nreason that we study and imitate your arts, Our demand is different\nfrom yours. And so, we draw inspiration from your arts, while you draw\ninspiration from ours.\n/f> To be sure, we do not mean to abandon our past arts. We are stri-\nving to assimilate them to the new spirit. You see that our problem is\ntwo-fold. We have first to assimilate your arts to our national taste,\nand then turn back to our past arts with a fresh spirit and from a new\npoint of view, and make them influence us in turn. Only thus can a\nnew national art be created."}, {"page_pdf": 50, "page_imprimee": "310", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.50", "texte": "THE DRAMA IN JAPAN\n\nAs a matter of fact, we have not yet assimilated either the western\narts to our national taste, or our own past arts to our new demand.\nThese two heterogeneous arts are merely juxtaposed. In painting, in\nsculpture, and in literature, the modern Japan has nothing but the\njuxtaposition of these two elements. And this juxtaposition is most mar«\nked in drama. Our most ancient and sacred drama is played side by side\nwith the plays of Ibsen. 44 No \" drama, the most characteristically Japa°\nnese and medieval, and of which I am going to speak presently at length,\nis played in the one corner of a street; and in the other, you see Shaw's\nplays reproduced without any modifications at all. We are looking for a\ngenius who can assimilate these two heterogeneous elements into one\nnew art that will be our national art. & &\nI need not explain to you how we have tried, and still are trying, to\nreproduce plays of Ibsen and Shaw and other German and Russian plays,\nwithout much success. In order to reproduce these plays, our actors have\nfirst to become westernized, before they can impersonate the characters\nof the plays. This is almost an impossible task, and it is no wonder that\nthe original charm and dignity of these plays that we get by reading\nthem, are lost when they are reproduced on the Japanese stage. Thus\n44 Hamlet \", 44 Merchant of Venice \", \" Doll's House \", and 44 Lonely\nLives\" were reproduced and ended in failure. One way that has been\nsuggested to reproduce western plays on our stage is to translate the\ncharacters and the situations of these plays Into the corresponding Ja»\npanese characters and situations. But when we try to do this, we soon\nfind that many customs and sentiments and even key phrases of the\noriginals, are incompatible with our mode of life. When we eliminate these\nincompatibilities and reproduce the original plots in new Japanese set*\ntings, we scon find that, Instead of reproducing them, we are writing\nnew plays. Nothing short of this will succeed. 44 Hamlet 44 Othello \"\nand 44Monna Vanna \" were presented with Japanese characters and in\nJapanese settings, but they failed, because the contents of the plays\nthemselves were not modified at all. You see how it is Impossible to\nreproduce your plays on our stages successfully. The only things that\nwe can learn from your drama, I think, are its technique and principle.\nAnd even the technique and principle of your drama must be carefully"}, {"page_pdf": 51, "page_imprimee": "311", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.51", "texte": "THE DRAMA IN JAPAN\n\ncompared with those of our drama, before they can be successfully\nadopted for our purpose to render the new passions and the new situa-\ntions of our special life in the dramatic form.\n& While some are thus striving to express the fresh pulsation of our\nsocial life by the technique and the principle of your drama, the old\nJapanese drama is still worthily represented by others and appeals to\nour deep-rooted national sentiments. Whether it will remain as an in-\ndependent national art for a long future, or will be assimilated into the\nnew dramatic form, it is an 'element that no successful Japanese play-\nwright of the future can afford to ignore. Let me explain to you in broad\noutlines, what this old drama is.\n& The origin of Japan can be traced as far back as three thousand years.\nAnd In our earliest records, we read frequently about 44 Mai44 Mai \"\nmeans dance. These dances were, for the most part, played before the\npatriarchal fathers, to soften their sorrows or to celebrate their good\nfortunes, especially after a triumphal battle. They were merely a part of\nthe entertainment of these occasions and have nothing to do with the\nJapanese drama that developed later in our history. About two thousand\nyears ago, Japan began to communicate with China through Korea.\nThis intercommunication, as it became more frequent and active, brought\nto us the civilizations of India, China and Korea, their arts and religions.\nTheir religions were, of course, Buddhism, different in some details, but\nthe same in their main spirits. Their arts were more varied ; but the\none that suited most to our national taste and is still preserved is\n44 Bugaku \". 44 Bugaku \" is not a kind of drama, It is a kind of dance. It\nis our oldest theatrical art. I think that it originated in India, but before\nit was introduced to us through China and Korea, it must have been\nmodified to a great extent. And after it was introduced to us it suffered\na still greater modification according to our national taste. It was refi-\nned and became the most favourite court dance. I think that it is not\ntoo much to say that, when it was at its best, it was the most delicate\nart that the world has seen. There are about two hundred dances of this\nkind. One represents eight white storks alighting on a sacred mountain\nof India. Another represents an old Chinese patriarch dancing alone\ncarried by the spirit of wine. Another is the dance of four Japanese"}, {"page_pdf": 52, "page_imprimee": "312", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.52", "texte": "THE DRAMA IN JAPAN\n\ncourtesans in the garden of Spring under cherry trees* Another is the\ndance in which appear four triumphant*soldiers in succession and finally\ndance together a dance of swords. The music that accompanies these\ndances Is produced by such simple instruments as flute, harp, and kinko,\nand by songs, the tune of which mostly consists of prolonged weak vowel\nsounds. Simple as its music and its action are, this art is infinitely de=\nlicate. In some of these dances, dancers wore masks. Often, the expres-\nsions of these masks are very poetical, and surpass in their symbolic\nexpressiveness those of Greek masks and our later \"No\" masks. As these\ndances were played in the shrine before the altar, no special background\nwas used. 1 said that they were the most favourite court dances. Soon\nthey became the sacred dances played only as a ceremony to our ancestral\nspirits in their shrines. In other words, Bugaku became a sacred art. The\nvulgar could not see it easily, and it was utterly Impossible for them to\nlearn it. It is so even now. Considered from the point of view of our\ndrama, this is, indeed, unfortunate; but it is owing to this sacred\ncharacter of this art that It has been preserved intact to this day. And\nwhen we think that even now we can see it, though very rarely, we\nought to be grateful for our unchanged imperial dynasty that has\npreserved it.\n& \"Bugaku\" is as 1 said, the oldest Japanese theatrical art preserved to\nthis day. From it we ought to learn the delicacy and freedom of action\nana the symbolic beauty of its masks and dresses. Two other arts that\nare much more dramatic than \"Bugaku\" have developed in our later history.\nThey are \"No\" drama and \"Kabuki\" drama. The periods in which these\ntwo arts developed and the present period in which the influence of the\nwestern drama is predominant may be considered as the three main pe-\nriods in the development of our drama. jg?\n\"No \" is our next oldest theatrical art. Compared with \" Bugaku \"\nwhich is nothing but a kind of dance, \" No \" is much more dramatic. It\ncan be called drama. It originated in the.age of Hojo Shogunate, in the\nfourteenth century. After \" Bugaku \" became the sacred art of the Courtf\nsomewhat similar but less dignified art that had been practised in local\nshrines was developing in its own independent way. As Buddhism that\nwas introduced to us almost together with \" Bugaku \", began to gain"}, {"page_pdf": 53, "page_imprimee": "313", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.53", "texte": "THE DRAMA IN JAPAN\n\nInfuence upon Japan life, it made use of this local art and finally deve-\nloped it into 44 No The writers of 44 No \" drama were, therefore, all\nBuddhists. In the age of Hojo and Ashikaga, Japan was ruled not by\nemperors or by courtesans, but by warriors, by so-called Shoguns and\ntheir followers. The lives of the warriors of this age were especially\nhazardous and uncertain. The friends of yesterday became the enemies\nof today. They were never certain what the fortunes of tomorrow would\n■turn out to be. Their lives were in constant danger. Living under such\ncircumstances, they were naturally attracted by the religion that taught\nthat life is a dream and deed is vanity; that salvation consists in freeing\nyour soul from the chain of existence. It is also natural that they found\nKatharsls of their motions in \" No\" drama that was based upon the\nteaching of Buddhism. Take any of three hundred \" No \" plays, and you\nfind in It Invariably ghosts or lost souls or souls that have attained\nNirvana. Its dialogue, if there is any, is invariably about the chain of\nexistence or the attainment of Arahatship. As Buddhism no longer ap-\npeals to our spiritual life, so 44 No \" drama no longer satisfies our emo-\ntional demand. You see that we cannot revive this drama, the tone of\nwhich is pessimistic through and through. Moreover, this pessimistic\ndrama is monotonous. The same plot and the same thought run through\nits three hundred plays. Further, its dialogue consists of old Chinese and\nJapanese sayings patched up hap-hazard. & &\n%\n£/ Though the works of these 44 No \" writers are not very valuable for\nus, the ways in which these plays are presented are very instructive. At\npresent, they are often played in the evening on a stage lighted by gas\nor electricity. But until several years ago, they were played only in day\ntime. Having developed out of a kind of 44 Bugaku \" that was played in\nthe shrines, 44 No \" drama, like Bugaku is presented on a stage that has\nno background and no curtain. There is in the back of the stage a plank-\nwall, on which are painted large pine trees. This may be called the\nbackground of the stage, but this background is never changed, no matter\nwhat play may be presented before it. It is, therefore, rather a part of\nthe permanent decoration of the stage. Ihe floor of the stage and its\nsurrounding walls are made of planks of Hinoki tree. The stage is rec- ,\ntangular, and at its four corners stand four posts. These four posts are"}, {"page_pdf": 54, "page_imprimee": "314", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.54", "texte": "THE DRAMA IN JAPAN\n\nregarded as the symbols of the four corners of the earth, and stage\nitself as a small world. Under the floor are buried four or five large\nempty vases, which serve as a sort of resonater to the sound of the\nfootsteps, and of the harps and the flutes that are played on the stage.\nTowards the left of the stage is what is called Hashigakari. This is a\nnarrow path leading from the dressing room to the stage. It is made o\nplanks and is really a part of the stage. 44 No » actors play on it as they\nco through it to the stage. Between the stage and the seat of the spec-\ntators lies an unoccupied space covered with sand. This space is meant\nto mark the separation of the sacred stage from the vulgar seat of e\nspectators. It is a kind of proscenium, but its meaning is more religious,\nm this sandy space, along the Hashigakari, are planted three pine trees.\n1 am not sure what they mean : but 1 think that both they and the pine\ntrees painted on the back wall symbolise purity and piety or some such\nreligious virtues. &\n& The music of 44 No \" drama, like the music of 44 Bugaku \" is very\nsimple. In the front of the back wall sit five persons leaving an interval\nof about one foot and a half between them. One is a flute-player, three\nare hand-drum players (that Is, the drum played with hands), and the\nremaining one is stick-drum player (that is, the drum played with sticks).\nOn the right side of the stage sit several singers who make no gesture\nwhatever, turning their backs to the spectators of the right side of the\nstage, and their left shoulders to the spectators of the front of the stage.\nThe number of these singers are usually eight, though it is not inva-\nriable. These singers make the chorus of 44 No\" drama, and the four\npersons in the front of the back wall make the orchestra of this drama.\nThe duty of the orchestra is to guide the singing of the chorus and\nthe players. The song of the chorus sometimes expresses the emotions\nof the chief character, and sometimes the criticism of the spectators.\nOccasionally, it explains what the players are doing. When too heavy a\ntask in acting falls on a player, the chorus sing for him what otherwise\nhe himself would sing. This is what we do not notice in the chorus of\nthe Greek theatre, which has often been compared with the chorus of\n«* No \" drama.\n& It takes about one hour to play one play of 44 No\" drama and usually"}, {"page_pdf": 55, "page_imprimee": "315", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.55", "texte": "> THE DRAMA IN JAPAN .\n\nfrom three to five plays are presented in one day. In the interval is\ninvariably inserted a short farce called \" Kyogen This farce gives\nrelief to the emotion of the spectator that is apt to be heightened or\ndepressed too much by the sublime tone of \" No \" drama. The players of\nit were always men of the second rate. JZ? &\n£? Not all players of 44 No \" drama wear masks. Masks are worn only\nby the players playing the part of a ghost or a woman or a monster.\nThese masks resemble to the Greek masks, very much more so than do\nthe masks of 44 Bugaku \". Good masks are valued very highly by the\nconnoisseur of 44 No \" drama. We hear very often the stories of mask-\nmakers who abandoned their families and spent several years of privation\nand hardship, in order to make one good mask. Such men were not rare\nin the past. Not only mask-makers but also players regarded their art\nwith a sort of religious reverence. And when the occasion came to exhibit\ntheir art before the Shogon, the head of the warriors and ruler .of the\nage... they devoted seven days for preparation, taking cold baths every\nday, and choosing their food with the utmost care, and purifying their\nsouls with right words and actions. They were prepared to commit the\nso-called Harakiri, if they failed in the day of the solemn trial. The\nstories are reported of players who, on such occasions, prepared and\nworked on such a high pitch of tension that, as soon as they came back\nto their private rooms from the stage, they died from hemorrhage of\nthe heart. The first rate \"No\" players did not play more than twice In\na month ; but when they played, they played with such sublime deter-\nmination. Most of the spectators were warriors, and while the play was\nbeing played, not a sound, even of a sigh, was heard from the spectators.\nAnd when it came to the end, they showed their approval, not by the\nclapping of hands, but by silence. In silence they returned to their\nhomes. & & &\n& Most of the works of the writers of 44 No \" drama are preserved, and\nsome of them are played even to-day. But both the players and the\nspectators of to-day have almost nothing of this sublimity of the past.\n44 No\" drama, as it is presented to-day, is a mere shadow of the past.\nFor the players and the spectators, whose lives are no longer influenced\nby the teaching of Buddhism, this decadence is, indeed, inevitable. But"}, {"page_pdf": 56, "page_imprimee": "316", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.56", "texte": "THE DRAMA IN JAPAN\n\nat the same time, we cannot help admiring the sublime attitude of the\npast players and spectators. &\nBefore I turn to the next subject, let me add a few remarks about\nthe dresses and other small furnitures used in this drama. Everything\nthat we see in this drama is touched with masculine dignity, which may\nbe called the pervasive quality of \"No Women are not fit to take part\nIn It. Female characters of the play were, and even now are, played by\nmen. Men playing the part of women wear masks of women and imitate\nfemale attitude, especially in the way of walking. But they do not imi=\ntate female voice. You see that this art, though pessimistic, as are all\narts influenced by Buddhism, is an art especially designed for warriors,\nand its masculine character not only excluded women from taking part\nin it, but also suffused dresses and other small furnitures with masculine\ncolour. The colour of dresses is sometimes gold or even red ; but its red\nand gold are not feminine. Their brilliancy is subdued by the so-called\nNo\" tone, and kept within masculine dignity. The same subdued tone\nthat appears in the colour appears also in characters of plays, who laugh\nbefore death, and do not show tears when they weep. This is the cha-\nracteristic tone of the mediaeval Japan. Another masculine quality is\nsimplicity. This quality appears especially in the furnitures of the stage,\nand aided by the natural pre=direction of the Japanese aesthetic mind\ntowards symbolism, gives a peculiar charm to them. A boat is repre-\nsented by bamboo arranged to show its mere outline. A high tower is\nrepresented also by bamboo-work, the height of which scarcely reaches\nto the waist of the player. The cottage of the fisherman is nothing but\nfour bamboo pillars planted on a square base, and a piece of cloth stret-\nched round them. These furnitures are carried to the stage through\n\" Hashigakari \" by two men, after the orchestra and the chorus have\ntaken their seats. You may laugh at the simplicity and childishness of\nail these, but they are surely more artistic than the stage of the Eliza-\nbethan age, where a battlefield was indicated by a placard on which one\nread: \"This is the battlefield of so and so\". To say the least, these\nsymbols of \" No \" drama are suggestive, they leave room for the play of\nimagination. It is not impossible to enjoy these symbols even after seeing\ngorgeously furnished modern stages, where our imagination is choked by"}, {"page_pdf": 57, "page_imprimee": "317", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.57", "texte": "THE DRAMA IN JAPAN\n\nthe fulness of details, JZ? JZ? £?\n& At present, everybody can see \"No \" plays; but until thirty years\nago the vulgar were not permitted to see them. \"No\", then, was the\nart exclusively for warriors. \" Bugaku \" having become the sacred art\nof the court and 44 No \" having been appropriated by the warriors, the\nvulgar turned to a new art, which has developed since the seventeenth\ncentury, about three centuries after the rise of 44 No \" art. This new art\nis 44 Kabuki \" drama. On the history of its development as well as In its\ncontent as an art, this new drama is much more complex than \"Bugaku\"\nand \" No \". But having spent more pages for \" No \" art than I intended,\n1 have to be very brief in the treatment of this subject.\njZ? As you remember, there was a close relation between \" Bugaku \" and\n'• No \" arts ; but \" Kabuki\" has no relation at all with 44 Bugaku \". Its\nrelation with 44 No \", is, however, very close. Early 4* Kabuki \" plays\nwere played on the stage that was almost the same as the stage of 44N0\ndrama. The plays themselves were similar to the \"Kyogen\". But to these\n44 Kyogen's \" were added local dances which were played with the music\nof 44 Samisen \", the Japanized instrument of the Chinese Dablsen imported\nat that time. 44 Kabuki \", then was something of the nature of your\nmusical comedy. By the way, a very interesting fact is that the author\nof 44 Kyogen \", the prototype of 44 Kabuki \", was a woman called Okuni.\nBefore her, many women, no doubt, danced and sang in private banquets\nbut Okuni was the first woman who, assisted by her followers, exhibited\nher art before public. There was no ballet-girl :n 44 Bugaku , and No\ndid not permit women to take part. After Okuni, many actresses ap-\npeared and exhibited their arts in this new drama. There were many\nstar actresses. But at that time, the rulers of the country were Puritans.\nThe influence of female players was not considered wholesome. Accor-\ndingly, about two hundred years ago, after some agitation on both sides,\nwomen were prohibited to play. Since then, the art of impersonating\nfemale characters by male players has been studied with the care that\nwould astonish you. At present, we have many actresses; and the go-\nvernment does not show the least intention of interfering with them.\nBut even to-day, male players of female characters are very often\npreferred to female players, for the reason of their superior art."}, {"page_pdf": 58, "page_imprimee": "318", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.58", "texte": "THE DRAMA IN JAPAN .\n\n\" Kabuki \" drama has, also, a very close relation with the puppet\nshow that was the most popular entertainment of the people of the\nlower class. When the famous singer of the puppet show, called Qidayu,\nand our greatest playwright called Chicamatsu, worked together, \"Kabuki\"\ndrama reached the highest stage of its development. This great play-\nwright lived in the eighteenth century, he is sometimes called the\nShakespeare of the East. He had Shakespeare's gift of wide sympathy, of\nthorough acquaintance with all phases of the human passion, and his\nability to render what he felt into poetic phrases. He wrote first for the\npuppet show, but afterwards for \" Kabuki Those \" Kabuki \" plays of\nhis in which he depicted contemporary events and passions, are called *\n\" Sewamono It is in these \" Sewamono \" that his delicate sympathy\nwith human passions is shown. He also wrote many historical plays, but\nthey are less successful. He lacked Shakespeare's gift of appropriating\nhistorical situations for the purpose of depicting universal human pas-\nsions, Not only his historical plays alone, but almost all historical plays\nof \" Kabuki \" are failures. &\n£? The stage of the earl} \" Kabuki \" drama was, as I have already re-\nmarked, very similar to the stage of \"No \" drama. But as this drama\ndeveloped more and more, aided by the genius of Chicamatso and others,\nits stage also developed into something very different from the stage of\n44 No \" drama. In the later Kabuki-stage, there is no sandy place. The\nsize of the stage Itself became twice or three times as large as that of\nthe 44 No \" stage. 44 Hashigakari \" alone remains under a different name,\nHanamichi (flower path). The earlier flower path led from the stage\nthrough the middle of the seats of the spectators into their back, which\nis very similar to the back of the pit of the English theatre. It is just\nlike what Prof. Reinhardt tried in 44 Sumurun \". The later flower path\nhowever, leads through somewhat left of the middle line, and in many\ntheatres, there is another narrower flower path leading through the seats\nof the spectators, some distance to the right of the middle line. The nar-\nrower flower path is rarely used, except when two players coming from\ndifferent roads happen to meet on the stage.\n& The seats of the spectators extend only to the front of the stage, they\ndo not surround the three sides of the stage, as in the \"No \" theatre."}, {"page_pdf": 59, "page_imprimee": "319", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.59", "texte": "THE DRAMA IN JAPAN\n\nTherefore, the curtain can be used, (the curtain of the ,4Kabuki\" theatre\nwas used to be drawn from the left to the right or from the right to\nthe left by a man. At present they are using the western curtain, but\nin the past, the curtain that Is drawn up and down was considered fit\nonly for the second and the third rate theatres. When the curtain is\ndrawn, the flower path is the only stage left; and we often see a player\nmarching through it towards the back, after the curtain was drawn. The\nflower path is used not merely to go to or from the stage, but sometimes\na very serious action is performed on it, and sometimes key passages of\nthe whole play are uttered on it. &\n£? Another characteristic feature of the \" Kabuki \" stage is the rotating\nfloor. When the illumination of the stage was not developed as it is now,\nand other stage arrangements were awkward, this rotating floor was a\nvery valuable and necessary arrangement. The middle part of the stage\nfloor is cut into a large circle; while a scene Is being played in the front\nsemi=circle of this circular floor, another scene, or even two, are ar-\nranged in the back of it. And when the time comes, they are turned to\nthe front by rotating this large circular floor from underneath the floor.\n1 think that this arrangement with some improvement may be used for\nthe theatre of the future.\n£? The stage of \"Kabuki\" drama is more realistic. It has a proper back-\nground. Other furnitures are made to look like real things. This reali-\nstic arrangement of the stage is necessary to satisfy the demand of the\nunimaginative people of the lower class. It is not to be credited to the\ndevelopment of our stagecraft; this is shown by the fact that the face\nof the player playing the part of a good historical character is always\npainted white, while that of the player playing the part of a bad cha-\nracter is invariably painted red, in order to help the understanding of\nignorant spectators. The stage was lighted by candlesticks. The spec-\ntators sit before such a stage from ten o'clock in the morning or earlier,\nuntil evening, eating and drinking, some lying on laps of women, all\nshowing their approval and disapproval of the players in noisy and di-\nsorderly manner. During this long time, from three to five plays are\nplayed. First, a historical play that takes four or five hours, is played ;\nthen a short piece is played for half an hour or so ; then comes a so-"}, {"page_pdf": 60, "page_imprimee": "320", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.60", "texte": "THE DRAMA IN JAPAN\n\ncalled \"Sewamono\" play. The day's programme may end here, or a short,\ndance may be added. The players of those days played many parts during\na day. One man frequently played the parts of a hero, a heroine, and a\nghost, and even danced, during one day. We wonder at both the energy\nof these players and the patience of tnese spectators.\nThere are many interesting things to say about the ballet of \"kabuki\"\nbut it requires another article to treat it adequately. Though this is a\nsubject In which I have a special interest I must put it off to some other\noccasion. jg? j0\nThe plays of the modern \" Kabuki \" are not different from tiiose of\nthe age of Chicamatsu, but the mode of playing and the arrangement of\nthe stage of the modern \" Kabuki \" are very different from those of the\npast. We have at present two or three \"Kabuki\" theatres as large as the\nNew Theatre of New York, and built in the European style. & &\n& « Bugaku \", \" No \" and \" Kabuki \" are three old Japanese theatrical\narts. Whatever our future drama is going to be, these are the funds\nupon which we ought to build .«£?■ & &\n\nA WORD ABOUT ART\nby Victor Hugo.\ntaken as Art, and in itself, goes neither forwards nor backwards.\nThe transformations of poetry are but the undulations of the Beautiful,\nuseful to human movement. Art is not susceptible of intrinsic progress.\nFrom Phidias to Rembrandt there is onward movement, but not progress.\nneither decline, nor revival, nor plagiary, nor repetition, nor\nimitation. Identity of heart, difference of mind : that is all. Each great\nartist (we have said so already) takes, stamps art anew after his own\nimage, Hamlet is Orestes after the effigy of Shakespeare. Figaro is Scapin,\nwith the effigy of Beaumarchais. Grangousier is Silenus, after the effigy\nof Rabelais.\n& Everything re-begins with the new poet, and at the same time no-\nthing is interrupted. Each new genius is abyss, yet there is tradition.\nTradition from abyss to abyss, such is, in art as in the firmament, the"}, {"page_pdf": 61, "page_imprimee": "321", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.61", "texte": "A WORD ABOUT ART\n\nmystery; and men of genius communicate by their effluvia, like the\nstars. What have they in common? Nothing. Everything.\nFrom that pit that is called Ezekiel to that precipice that is called\nJuvenal, there Is no solution of continuity for the thinker. Lean over\nthis anathema, or over that satire, and the same vertigo is whirling\naround both. The Apocalypse reverberates on the polar sea of ice, and\nyou have that aurora borealis, the N The Edda replies to\nthe Vedas. &\nHence this, our starting-point, to which we are returning: art is not\nperfectible. «Z/ JZ? ZZ? z? & &\nZ7 No possible decline for poetry, no possible improvement. We lose our\ntime when we say, nescio quid majus nascitur \" Art is sub-\nject neither to diminution nor enlarging. Art has its seasons, its\nclouds, its eclipses, even its stains, which are splendours, perhaps its\ninterpositions of sudden opacity for which it is not responsible ; but, at\nthe end, it is always with the same intensity that ,it brings light into\nthe human soul. It remains the same furnace giving the same brilliancy.\nHomer does not grow cold.\njg? Let us insist, moreover, on this inasmuch as the emulation of minds\nis the life of the beautiful, O poets, the first rank is ever free. Let us\nremove everything which may disconcert daring minds and break their\nwings: art is a species of valour. To deny that men of genius yet to\ncome may be peers with men of genius of the past would be to deny the\never-working power of God. z? z? Z? z? Z? Z?\n& Yes, and often do we return, and shall return again, to this necessary\nencouragement. Emulation is almost creation. Yes, ,those men or genius\nthat cannot be suppassed may be equalled.\nZ? How ?By being different. Z? Z? Z* Z? Z?"}, {"page_pdf": 62, "page_imprimee": "322", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.62", "texte": "VENETIAN COSTUME Translated from the\nBook of Cesare Vecellio. 1589.\nby D. Nevile Lees.\n& & FOREIGN PRINCES AND BARONS IN VENICE. £/ . &\n'\"po the most illustrious city of Venice there usually come in various\nseasons of the year many Princes, who for their amusement, and to\nsee the great splendours and notable things of this marvellous city, re-\nsort there from various countries, both near and distant, and who wear\ndresses of great value.\n& The costumes of those Princes or Barons is, on the head a cap of velvet\nadorned with some rich jewel or medal, and a doublet of satin or silk\nbuttoned with most beautiful gold buttons, and adorned with beautiful\nlace likewise of gold, with chains around their neck made of enamelled\ngold, finely worked and enriched with costly jewels. & &\n& They wear a kind of trousers or breeches of velvet, very fashionable,\nand most richly embroidered, the linings of which, as also of the doublets,\nare of cloth of gold or brocade, which is seen through slashes which are,\nwith wonderful skill, made in both breeches and doublet. Their stockings\nare of the finest silk, elaborately embroidered and usually black or\nsilver, and on their feet they wear shoes of blacK leather. Over this\ndress they put cloaks of silk, brocade or other stuff, and also of black\nFlorentine serge of the finest quality. And this costume is used, with\nlittle difference, all over Italy by Nobles and other wealthy persons of\nposition.\n| n winter the ladies in many houses in the city use long furs In the\nRoman style, which are very convenient, and leave the body free for\nevery kind of work. Many of them wear satin, watered silk and other\nstuffs, with linings of martin, and other costly furs.\nJZ? Some wear these robes over their shifts, and under them a kind of\npetticoat of coloured silk, also lined with fur, and the opening, which is\nin front, laced together with fine cords or fastened with buttons. These\npetticoats are usually striped with various colours, the elaborate em-\nbroideries which formerly adorned them having been given up. &\nBut to return to the robe. It has long narrow sleeves reaching to the\nground, and they gird themselves with that network of silk called posts"}, {"page_pdf": 63, "page_imprimee": "323", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.63", "texte": "VENETIAN COSTUME\n\nor else with a silken girdle which at the ends has two buttons or two\nbows. JE/\n& And, even more than among other women this dress is In use among\nthe Courtesans, who also have their petticoats more elaborately adorned\nthan others. It is forbidden these women to wear pearls in the house,\nand none the less they wear them, It is said, with bracelets and costly\npendants at their ears, and they continually stand at the windows to\nmake love with this one and with that one according to their custom:\nand, with astute cunning, if for a time they have relations with some\nVenetian Noble, they usurp the surname of his house, which is the\nreason that many Foreigners are deceived and believe that they are Ve=\nnetian gentlewomen : and the bawds also strengthen this belief yet\nmore, for when they have on their hands some Foreigner who desires a\nwoman to amuse himself with, they take one from the public places, and,\nhaving decked her out magnificently, they lead her to a secret place,\nand cause it to be believed that she is a Gentlewoman. Thus it comes\nabout that the Foreigners, not perceiving the deception, boast of that\nwhich Is very far from the truth, the Venetian Gentlewomen being as\na rule most jealous of their honour, and mirrors of honesty and modesty.\n£> & HOUSE-COSTUME OF WOMEN OF RANK. & &\nof rank, while in the house, usually wear different coloured\nsilks and brocades made in various fashions. They are also in the\nhabit of decking themselves with pearls, bracelets, rings and other or-\nnaments. But the Courtesans show themselves about the house much\nmore dressed up and more magnificent.\n& These latter, to increase the charm of their faces, assist it by the\nartifice of cosmetics and various waters and bleaches. It is easy to reco-\ngnise this proceeding, because both in the house and out they show\nthemselves most bold, by displaying not only their faces but a large part\nof the breast, whitened and painted, and also a part of the embroidered\nstockings which cover their legs. But between these and the honourable\nwomen one sees, as in manners, so in adornments, much .difference, it\nnot being permitted to them by the well ordered laws of the City of\nVenice to wear ornaments of pearls like honest womeu : although some\nof them under some pretext wear them, and they generally wear this"}, {"page_pdf": 64, "page_imprimee": "324", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.64", "texte": "VENETIAN COSTUME\n\npresent costume, and adopt it like any respectable women of good fa-\nmily.\n& RECTOR OP THE UNIVERSITY OF SCHOLARS OF PADUA. u£?\nA 11 the great Universities have the custom of electing a head who is\ncalled the Rector, and who is much esteemed and honoured by the\nscholars and by others ; and the one of Padua, of whom I now intend to\nspeak, holds the rank of Cavalier and Venetian Nobie so long as he re-\ntains that position, and at his solemn installation many triumphs and\nfestivals are held, such as throwing money to the people, banquetting\nand like things, with a great clamour of voices crying \"viva, viva il\nRettore!\" and calling him by the name of his own country. & 0\nThis Rector covers his head with a cap of black tvelvet, made with\npoints similar to that of priests, and a little wider behind. His gown is\nof gold brocade, with a hood, which goes over the shoulders and is lined\nwith marten's fur. Beneath this he wears a doublet of satin or other\ncrimson silk with gold embroidery, and braid or lace also of gold. He has\nbreeches to match, and crimson stockings of embroidered silk worked\nwith the needle; he wears red shoes, and when he goes out he is accom-\npanied by a great number of scholars.\n& He often dresses entirely in crimson ; either in velvet, damask or\nsatin, with great pomp. &\nI will not stop to tell of the custom of his coming to Venice to pre-\nsent himself to the most Serene Prince, with the Signoria; when, with\nmany ceremonies, he is made Cavalier. The prince presents him with\nthe sword and his Cavalier puts on his golden spurs, and the Rector,\nhaving asked.his Serenity to confirm him In the usual privileges and other\nthings pertaining to his rank; returns to his appartment with the sound\nof trumpets, accompanied by the followers of his Serenity and by his\nown with a great concourse of people following after. And for the Rector\nof the law students as for those of the Arts it is done as here related."}, {"page_pdf": 73, "page_imprimee": "331", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.73", "texte": "A DISCOURSE UPON RHYTHM.\n'The following Essay upon Rhythm is taken from a little French\nbook published anonymously in Amsterdam in 1777 with the title,\n\" Discourses on the subject and Condition of Grecian Music towards the\nMiddle of the Fourth Century before the Common Era JZ? JZ?\nThe Author writes his book in the form of Dialogues which are sup~\nposed to be held between a stranger arriving in Athens about 360 B. C.\nand an Athenian disciple of Plato on the subject of music, he having, for\nthe accomplishment of his purpose made, he tells us, a careful study of\nthe works of that period and also of those which treat of the same period\nthough written at a later date. JZ? JZ?\nJ3hythm, in general, is a movement, successive and subject to certain\nproportions. You can distinguish it in the flight of a bird, in the\npulsations of an artery, in the steps of a dancer and in the periods or\npauses of a speech. In poetry it is the relative duration of the instants\ntaken in pronouncing the syllables of a verse, and in music, the relative\nduration of the various sounds that enter into the composition of a song.\nOriginally the rhythm of music was modeled exactly on that of poetry.\nYou know that In our language every syllable is either long or short.\nIt takes an instant for the pronunciation of a short syllable and two for\nthat of a long one. The conjunction of several syllables, long and short,\nforms the beat, or time, and the union of a number of beats, the mea-"}, {"page_pdf": 74, "page_imprimee": "332", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.74", "texte": "A DISCOURSE UPON RHYTHM.\n\nsure or metre of the verse. Every beat has a motion, a rhythm, divided\nInto two periods, the one for the rise and the other for the fall. Homer\nand the poets, who were his contemporaries, adopted, generally, the\nheroic style of verse, of which six beats or steps formed the compass, or\nlength, each of them consisting of two long, or one long and two short\nsyllables. Thus four syllabilical instants constitute the duration of each\nbeat, and twenty four of these instants the time of the\ntoo uniform, that many expressive and sonorous words were excluded\nbecause they could not be subject to it and that others, in order to be\nrepresented, had to depend upon an adjacent word. An effort, was there-\nfore, made to introduce new rhythms in poetry.\nThe number has been considerably increased since that time, owing\nchiefly to the attention bestowed upon the subject by Archilochus, Al-\n|,V.* , . > . J\ncaeus, Sappho and other poets. They are classed to-day under three main\nheads. In the first the rise is equal to the fall. That is the two-time\nmetre. In the second the duration of the rise is double that of the fail.\nThat Is described as the unequal two time metre, or the equal three\ntime. In the third the rise is, in its relation to the fall, as 3 is to 2; in\nother words, supposing the notes to be equal, there would be 3 for\nthe one time and 2 for the other.' A fourth system is known, in which\nthe relation of the time is as 3 to 4, but very little use Is made of it.\n& Besides this difference of system, there is a still more important one,\narising from the number of syllables affected by each time, or period,\nof rhythm. Thus in the first system the rise and fall may each be formed\nof one syllabilic instant, or by one short syllable, but this can also happen\nJr «• A\nwith 2. 4. 6, and even 8 syllabilic instants, and the effect Is to give\nsometimes to the complete metre a combination of long and short syl-\nlables equivalent to 16 syllabilic instants. In the second system this\ncombination may even provide 18 of these instants. In the third one\n*'. A 5/ ,r\nof the periods may receive from 3 shorts up to is, and the others from\n* f ' *\nI short up to 10, or their equivalents, so that the whole measure, com-\nprising 25 syllabilic instants, exceeds, by one of these instants, the\ncompass, or range, of epic verse, and may include up to 18 long or short\nsyllables. 0"}, {"page_pdf": 75, "page_imprimee": "333", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.75", "texte": "A DISCOURSE UPON RHYTHM.\n\nj& If to the variety that this more or less rapid flow of instants gives\nto rhythm, you add that which arises from the mingling and Interlacing\nof rhythms, and that which springs from the musician's caprice, when,\naccording to the nature of the passions he desires to express, he either\nraises or drops the metre, without in the least altering the proportions,\nyou will readily understand that, in a concert, our ears must be un-\n'' \" V*.\nceasingly agitated by the movements submitted, which both excite and\n■V, ' > - '\nastonish us. Lines placed at the head of a piece of music indicate its\nrhythm, and the Leader, or Conductor, announces it from an elevated\nposition in the Orchestra to the musicians and dancers, who are conti-\nnually watching his actions. & & &\n& I have observed, I remarked, that Choirmasters beat time, sometimes\nwith the hand and at others with the foot. I have even seen one of\nthem, whose shoes were soled with iron, and 1 can avouch that, in his\ncase, the beating of time by the feet, and the noise that it made, con-\nsiderably interfered with my attention and pleasure.\nPhilotime smiled and continued.\nPlato compares poetry when separated from song, to a face, that loses\nits beauty when it loses the flower of its youth. I should compare song\nwithout rhythm to regular features without soul and without expres-\nsion. It is, above all, in this way that music excites the emotions we all\nexperience. The musician has, so to speak, nothing more than the merit\nof choice; all rhythms have inherent and distinct properties. Let the\ntrumpet sound a loud and lively and impetuous rhythm, and you can\nfancy that you hear the cries of the combatants and conquerors. You\nwill have noticed this in our valiant songs and warlike dances. Again*\nlet a number of voices transmit to your ear, In a simple modulation,\nsounds following slowly one upon another, and you will fall, naturally,\ninto meditation. Should these songs Include the praise of the Gods, you\nwill be impressed with the feeling of respect, which their presence in-\nspires ; it is that which guides the rhythm, and which, in our religious\nceremonies, directs both hymns and dance. & &\n& The character of rhythm is determined in that the transposition of a\nsingle syllable is sufficient to change it. We often, in versification, admit\ntwo fundamentals, the \" iambus\" and the ''trochee\", both equally com-"}, {"page_pdf": 76, "page_imprimee": "334", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.76", "texte": "A DISCOURSE UPON .\n\nposed of one long and one short syllable, with this difference, that the\n« iambus \" begins with a short and the 44 trochee \" with a long one. The\none suits the gravity of a rustic dance, the other the warmth of an ani-\nmated discussion. As at every step, the 44 iambus \" seems to redouble its\nardour, and the 44 trochee\" to lose it, it is with the first that satyric\nwriters pursue their enemies, and with the second that dramatists\nsometimes excite and stir up choirs of aged men on the\nThere is no motion, whether In nature or In our passion, that does\nnot find, in the diverse kinds of rhythm, movements that correspond\nwith them, and become their image, or counterpart. These relations are\nso fixed that a song loses all Its charm if the time is confused, and if\nour minds do not receive, in accordance with well understood conditions,\na periodical succession or sequence, or sensations that they expect. Thus\nthe directors of our plays and of our festivals are never weary in train-\ning different actors and others, to whose skill and care they entrust\ntheir glory."}, {"page_pdf": 77, "page_imprimee": "335", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.77", "texte": "THE THREE PRINCES OF SALERNO. A Scenario(1)\nof the Commedia dell'Arte.\n& CHARACTERS.\nOronte. Captain and soldiers.\nFabio Brothers. Cola, servant to Lionello.\nLeonello. Stoppino.\nBriseida, Oronte's wife. Ghost of Brlseida.\nRosetta servant. Ghost of Leonello.\nPandolfo. Ghost of Rosetta.\nÜbaldo. Counsellors.\nDottore.\nThe scene takes place In Salerno.\n& ACT 1. SCENE 1. &\nOronte and Counsellors.\nOronte discourses about the revolted city of Says that the army is\nready ; asks counsel as to whether he should go himself or send one\nof his brothers. The counsellors exhort him to go himself. He consents,\nand in this & &\nSCENE 2. &\nFabio and the aforesaid.\n& He (Pablo) tells Oronte that he has thought to march against the\nrebels. Oronte wishes to go himself and that Fabio remain to govern.\nGives him orders as to the administration, and all go out.\nSCENE 3.\nRosetta and Cola.\n& Act a love scene. Speak of going to the war. Cola does not want to\ngo. Afterwards they plight their faith as sposi. & & &\n\n(I) For some directions as to the method of staging a Scenario see \" The Mask \" October 1911, page 113."}, {"page_pdf": 78, "page_imprimee": "336", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.78", "texte": "THE THREE PRINCES OF SALERNO\n\n0 SCENE\n0 Fabio and Übaldo. A Room.\nHe desires her and orders Übaldo to go and speak to her and within\ntwo hours to conduct her to his rooms i and says that if he does not do\nso he will be punished with death. Übaldo goes out troubled. a\n0 SCENE 0\nLeonello and Cola•\nThey act a scene about the war and that Cola is to hold himself in\nreadiness to go with his master under pain of death because Leonello\nwants to follow Oronte; He goes off and Cola remains. & &\n0 SCENE 6. 0\nUbaldo and Cola.\n0 Übaldo acts a scene about the two hours ; declaims against the Prince.\nIn this Cola acts a scene at cross purposes. Übaldo about having to\npersuade Briseida, Cola about the war. In the end they understand each\nother. Übaldo begs Cola that he say nothing to anyone. He promises not\nto speak. Goes away to tell his master. Übaldo remains, and in this\n0 SCENE 7. 0\n0 Übaldo and Fabio.\n0 Fabio asks Übaldo if he has spoken to Briseida. Says that letters have\ncome to Fabio from her husband; that she must therefore go to fetch\nthem. Calls, and in this 0 0 0 0 & *\n0 SCENE 8. 0\n0 Rosetta, Briseida, and Übaldo and .\n0 Rosetta acts a scene with Übaldo; afterwards calls Briseida. Übaldo\nsays that letters have arrived from her husband ; therefore she must go\nto Fabio. She goes out gaily and all go off. 0 0 & &\n0 SCENE 9. 0\n0 Leonello and Cola.\n0 Leonello asks if he has prepared himself to go to the war. Cola tells\nabout Fabio and Briseida. Leonello goes fout indignant. *\n0 SCENE 10. 0\n0 Fabio and then Leonello and Cola and Briseida. Room and Bed.\n0 Fabio reveals his love to Briseida. She is unwilling. He acts with vio-"}, {"page_pdf": 79, "page_imprimee": "337", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.79", "texte": "THE THREE PRINCES OF SALERNO.\n\nlence. In this Leonello prevents him. Pablo goes out angry saying that\nhe who treats him so may take the consequences. Briseida goes off ;\nthanks Leonello, who has no fear.\n& END OF ACT 1. &\nACT 2. SCENE 1. &\nFabio, Pandolfo, Übaldo, and Cola at the side.\nPablo declares that whoever shall kill Leonello shall have a hundred\nthousand scudos as reward and that this be proclaimed. They protest\nagainst the cruelty of Pablo and all go out.\n& SCENE 2.\n& Leonello, Rosetta,Cola and Briseida.\nLeonello speaks about his brother's cruelty. Cola says that there is\nthe reward of a hundred thousand scudos. He laments. Knocks at Bri-\nseida's house. Rosetta comes. Lazzi with Cola. Calls Briseida. Leonello\nsays that for her safety and her honour it is necessary that she go to\nher husband's camp. She must therefore dress herself as a man and go\nout through the garden door so as not to be seen. They agree. Rosetta\ndoes the same with Cola, and all go out.\n• SCENE 3.\nStoppino, Fabio,Captain and two others.\nPablo proclaims the price set on Leonello's life and orders these two\nunknown men to kill Briseida, Rosetta, Leonello and Cola and not to\ndoubt that he will protect them; goes out. they to take their\nplaces in the garden and all about •&'\nSCENE 4.\n& Briseida, Rosetta and aforesaid.\n<£> They (the men) see these two coming; believe them to be Leonello\nand Cola. Slay them. Afterwards see them to be Briseida and Rosetta. Go\noff to meet Fabio. £?&&&£>&£>\nSCENE 5.\n& Pandolfo and Leonello.\nLeonello says that he does not know how to escape from his brother's\nwrath. Wants to take refuge in Pandolfo's house, he (Pandolfo) says that\nto do so would ruin him. He enters by force. Pandolfo remains."}, {"page_pdf": 80, "page_imprimee": "338", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.80", "texte": "THE THREE PRINCES OF SALERNO,\n\nSCENE\nCola, Fabio, Captain and others and Pandolfo.\n£/ Cola relates how he has been pursued so as to be killed. Seeks his\nmaster. In this he sees Fabio and runs away. Fabio says that he has\nsearched for his brother; has suspected that he may be in Pandolio's\nhouse. Questions him (Pandolfo). He denies. Fabio wants to clear the\nmatter up. Sends the Captain Into the house, he goes in and then comes\nout frightened because Leonello has beaten him. Fabio goes in because\nhe wants to kill him (Leonello) with his own hands. They presently come\nout quarrelling. Leonello falls. They go away. Leonello iying on the ground\nenlarges on his brother's cruelty. In this\nSCENE 7.\n& Cola and the aforesaid.\nSees his master who is dying, his lazzi. He (Leonello) asks for writing\nmaterials. Cola brings everything. He writes to Oronte with his blood ;\ngives the letter to Cola to deliver and dies. Cola goes off, and in this\nSCENE 8. uzz\n& Fabio, Captain, and soldiers and afterwards Cola.\n& Fabio desires the death of Cola so that he may not bear the news to\nOronte. In this they see him (Cola). Want to kill him. He defends himself\nwith a whip and other means. & &\n& END OF ACT 2. &\n& ACT 3. SCENE 1. &\nFabio and three Counsellors.\nFabio has news that his brother Oronte is returning victorious from\nthe rebellious city and is already at hand. Therefore it is time they as-\nsist him. He orders that at a distance of two miles they prepare sump-\ntuous refreshments and wants them to mix a strong poison with all the\nfood so that his brother and the others may die and says that he, re-\nmaining lielr to the State, will reward them; Goes to get the poison.\nThey remain. They want to promise all and to reveal the treachery to\nOronte. &\n& SCENE 2. &\nOronte and Court. Afterwards the ghost of Briseida. A wood.\nIt seems to him (Oronte) a thousand years until he can see his wife"}, {"page_pdf": 81, "page_imprimee": "339", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.81", "texte": "THE THREE PRINCES OF SALERNO.\n\nand brothers. He feels tired ; sits down ; falls asleep. The ghost of Bri=\nseida comes: says \" Vengeance, vengeance, beloved husband, if you desire\nmy rest In this & & & &\nSCENE 3.\nGhost of Leonello,ghost of Roseiih, aforesaid.\n& Leonello's ghost says, \" Vengeance, vengeance, beloved brother, if you\ndesire that Leonello may restln this comes the ghost of Rosetta; says\n\" vengeance, so that Rosetta may rest\". In this Oronte awakens trembling.\nSees no one. Asks the Captain if he has seen anyone. He says no. In\nthis j0 &\nSCENE 4.\nCola dressed in mourning. (ridiculous), and the aforesaid.\nCola gives news of all that has happened: delivers the letter. Oronte\nreads it: expatiates. They go to the city.\n& SCENE 5. ss>\nFabio and Pandolfo.\nActs a scene ; believes that Oronte is dead. In this Pandolfo gives\nnews of Oronte's arrival. Pabio laments, but is not afraid because he\nintends to deny all; and go out.\n& SCENE 6. &\n& Pandolfo, Übaldo, Oronte and Fabio.\nOronte questions the counsellors who recount all. He mourns. In this\ncomes Pabio; wants to salute his brother who gives him a blow: reproa-\nches him ; sentences him to be executed with his accomplices. Pabio is\nled away. Oronte withdraws and all go off. &\n& FINAL SCENE &\nCola acts as he likes, (a suo modo). goes off. Pablo expatiates : puts\nhis neck under the axe. His head is shown to the people and the play\nends. & & & & &\nProperties required. £?\nCloaks for the ghosts.\nAxe and prison.\n& Black hangings.\n& Letter written In blood.\n*&■ Mourning for Cola."}, {"page_pdf": 82, "page_imprimee": "340", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.82", "texte": "DOMENICO BIANCOLELLI. A Biographical\nNote.\n\n(1)\np|omenlco BlancoleLi, whose portrait is given in the present number\nof The Mask, was one of the prominent figures of that Commedia\ndell'Arte which held the Italian stage [for two centuries [and included\nsuch great actors as Andrelni, Riccoboni, Fiorelli, Ganassa, Costantino,\nMartinelli and Sacco, those 44 masked giants \" who carried their art of\nImprovisation into many lands besides their own, who 44 strode across\n44 the centuries for a while, helping Shakespeare, suckling Moli&re, crea-\n-44 ting Goldoni, and being driven away from the haunts of men by the\n44 ungrateful children they had reared & & & &\nHe was born according to Jal and others at Bologna in 1646, but Carlo\nCanth, his step-father, gives the date as between 1637 and 1638. It is\nCanth who also gives his second name as Giuseppe, though other bio-\ngraphers make no mention of this second name nor have documents been\nfound signed with any but the first, 44 Domenico which he always\nused, becoming famous afterwards in France as a comedian under this\nname alone.\n& When he was still but a child his mother, Isabella Biancolelli-Franchini,\nknown on the stage as 44Columbine\", married again, her second husband\nbeing Carlo Canth, a most expert Zanni whose professional name was\n44 Buffetto \", and who seems to have given the boy his first education\nand probably Instilled Into him the fundamental idea of that type which\nhe was to render supremely famous in later years.\nDomenico, one of a family of actors, seems, while still a youth, to\nhave acted in the company of the celebrated Tabarini at Vienna before,\nby invitation of Louis XIV in a letter of July sth <661 to the Duke of\nParma, he was sent to Paris. &\nIt appears that this was not his first visit but that he had previously\nbeen in Paris towards the end of 1645 when 44 Buffetto \" was called there\nto act, Buffetto himelf relating how, after having presented bimself and\nbeing received with every honour by the sovereigns and by Cardinal\nMazarin, a present of money and a 44 most beautiful suit\" were given\nto 44 Menghlno In any case, whether this previous visit be fact or not,\n\n(1) We are indebted for much information relative to this actor to the 44 Comlci Italiani \" by Luigl Rasl."}, {"page_pdf": 83, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.83", "texte": "The Actor, Domenico Biancolelli.\n\nflt t MASK .\nApril 1912"}, {"page_pdf": 85, "page_imprimee": "341", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.85", "texte": "DO MEN ICO BIA NCOLELLI\n\nhe went there to act under good auspices since his parents had performed\nsuccessfully in Paris years before.\n& At the time when he joined the Italian Company the first Zanni was\nLocatelli, known as \"Trivelino Biancoielli became the second until, on\nthe death of Triveilino in 1671, he took his place, retaining the mask of\nHarlequin and shortly becoming the idol of the company.\nOn April 22nd, 1663 he married Orsola Cortesi, known as \"Eularia\",\nby whom he had eight children, three of these, two boys and a girl, fol-\nlowing their parents upon the stage.\nin April 1680 he became a naturalized Frenchman, together with his\nwife, and throughout his life in France he received many honours, (the\nking himself standing godfather to his eldest son), and also many sub-\nstiantal proofs of recognition, as is witnessed by the fact that on his\ndeath he left a sum amounting to 100,000 scudi to his heirs.\n& He died on August 3nd, 1688, it may almost be said of devotion to\nthe king, having over-heated himself in the performance of a dance in\nwhich Louis took especial delight. The Comddie Itafien remained closed\nfor nearly a month in sign of mourning, and on the day when It reopened\na placard was affixed to the wails of Paris setting forth the loss which\nhad been sustained and the sorrow which It caused. His place as Har-\nlequin was taken by Evaristo Gherardi. (il\nBiancoielli originated many pieces for the both alone and\ntogether with Du Fresny. and although it is not certain if he had much\nactual learning, It is very sure that he possessed that which supplied its\nplace,.,, the gift of improvisation, the technical knowledge of the stage\nwhich led to his being acclaimed as one of the greatest actors of his time.\n\n(1) See The Mask. April 1911."}, {"page_pdf": 86, "page_imprimee": "342", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.86", "texte": "BOOK REVIEWS.\n\nPLA YS FOR AN IRISH THE A TRE\nby W. B. Yeats. With Designs by\nGordon Craig. A. H. Bullen.\nPrice eight shillings and six-\npence.\njy|r Yeats Is a great play-writer,\nand without question the great-\nest of the Irish play-writers. I so\noften hear people talking of Synge\nand so seldom of Yeats. They seem\nto have been touched by Synge's\nforce,.but that in all probability\nis because they have read his plays.\n& it is different when you come\n....or they come.... to Yeats. There\nthey are not touched, not having\nread his plays. But whoever can\nread \"On Baile's Strand\" or \"Cath=\nieen ni Houlihan\" and not be thrilled\nwith the excitement of great things\nhappening has no blood in his body,\nno life in his heart. £? &\n& The dramatic power of \" On\nBaile's Strand \" is of the very finest\nquality. The whole play is alive\nwithout any doubt; It moves, it\nmoans, it cries.... it reaches out its\nhands to you; and, when the tragedy\nhas been enacted and the doors have\nclosed, the voices wail behind the\ndoors and, like the waves and wind\nrise, fall and break their soul upon\nthe barriers; they reach through\nto one's heart, they pierce the\nwalls and drown us in a spiritual\necstasy.\nMr Yeats has struggled with the\nstage. He has altered his verse and\nhis dramas to fit the stage. He has\ndone wrong. His dramas are not for\nthe stage because the stage Is a\nlawless place where no kind of le=\ngality is valued. His plays as they\nwere at first are as well fitted for\nthe modern stage as are Shake*\nspeare's plays,... that is to say, not\nat all. & &\n& But no amount of altering will"}, {"page_pdf": 87, "page_imprimee": "343", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.87", "texte": "BOOK REVIEWS.\n\nmake them fit better, A proper\nhandling of them by a stage manager\nof power would make people think\nthey fitted perfectly, would fool\nthem, fbr people are such dunder-\nheads when they come to the thea-\ntre. They only want to be taken In.\nArt does not take people In.\nDante takes nobody in, and Bach\ndoes not deceive you. The builder\nof the Parthenon had no ambition\nto get the best of his audience and\nGiotto was not concerned with\ncheating. Yet it is still held that we\nhave to consider the audience in a\ntheatre and carry them away because\nthey come there, (so it is still said)\nto be fooled.\n& Well then, any trick can do that\ntrick. Imitation flames thirty feet\nhigh will thrill idiots because flames\nare the last things we expect to see\non the stage. A crowd of girls with\nbare backs and legs wriggling suf-\nficiently in half lights will do it\nequally well because we are not yet\nused to bare backs and legs galore\non the stage. But turn up the lights,\nmake everything honest, work like\nan artist and not like a conjurer,\nand no one will care about it.\nIn short, unless people are shocked,\nand deceived, in a theatre they are\ndisappointed.\nOh wonderful Idiots! Oh won-\nderful Theatre! how honestly you\nhave sold yourself soul and body to\nevery man you have met.jg?\nCongratulations ! ...but you have\nnoticed what Is coming, 1 suppose ?\nYou have seen and heard of Motion\nPictures ? I think I hear you al=\nready packing your trunks. The old\ndays were joyous ones to what the\nnew ones will be. You are now to\nexperience the bitterness of having\nbeen treacherous to yourself. After=\nwards you will respect the Poet and\nyourself ...nor lie to hini ever again.\n\nSHAKESPEARE. A STUDY, by\nD arret I Figgis. Dent. Five Shil-\nlings net.\njyir Figgis evidently possesses the\ngift of assimilation. He has as~\nsimilated the works of Professor\nAllbright, Mr Frank Harris and many\nothers, ....indeed, one feels he must\nhave read and digested most of the\nbooks ever written about\npeare,.. and he has produced a study\nwhich, with the exception of some\nfew passages, anyone might read\nwith protit. Perhaps one must admit\nwith profit rather than pleasure, for\nthere is more hardness than charm\nin Mr Figgis's efficient handling of\nall this material, which is dlsappoin=\nting, for something more beautiful\nwas to be expected from one who\nclaims kinship with the poets. &"}, {"page_pdf": 88, "page_imprimee": "344", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.88", "texte": "BOOK REVIEWS.\n\nStill, his capacity for taking pains 1\ncommands admiration, and the two 1\nchapters on Shakespeare's Life and I\nStage are excellent summaries. & 1\n& The chapters on the \" Art\n44 Craft\" and \"Thought\" of Shake-\nspeare are less happy. They manifest,\nfor instance, a grave misunderstan-\nding, common to many literary men,\nof the very meaning of the word\n44 Drama \" In such passages as the\nfollowing:\n44 This question of Diction in\n\" Drama Is the prime matter of all\n44 interest, since it is words and\n\" words alone, that form the ex-\n-44 pression of Drama \". 44 Only by\n44 dramatic speech can dramatic\n44 thoughts or emotions be concei-\n-44 ved \". 44 The Art of all Drama is\n44 to express each emotion in its\n44 natural and apt diction \", \"Speech\n44 being the only agency of drama\".\n& If Mr Figgis would but refer to\nthe derivation of the word Drama\nas given by Professor Skeat (i) he\nwould find it to be Action and not\nthe Word, and one feels justified in\nconsidering that anyone who has so\nclouded an idea on such a funda-\nmental matter is hardly very well\nqualified to teach others. £?\nOn some other subjects also Mr\nFiggis's thought seems to be con-\nfused, as when, in writing of Sym-\nbolism, he stigmatizes it as \" gene-\nrally a confession of failure on the\npart of the artist, as though he had\nnot enough emotional power to give\nus actuality\", and in the following\npassage, though perhaps his meaning\nis clear as plate-glass to himself, it\nmust be admitted to be a little\nclouded to the reader, who is told\nthat: 44 the husband that slew his\nwife when wild with liquor, is\nRealism : the splendour of first love\nbringing thoughts of divinity, is\nReality. \" &\nit Is, in short, a disappointment\nthat one who can at times speak so\nwell should at other times speak\nso ill, and it would be quite unne-\ncessary ever to do so if Mr Figgis\nwould but get his mind clear as to\nwhat Drama really is before he\nnext sits down to write about it.\nWhen the premises are right it is\nso much more probable that the\nconclusions will work out right also.\nThe book, which is well printed\nby Mr Dent, contains two plans of\nthe 44 Globe \" stage. & &\n(1) See \" The Mask\" July 1908.\n\n. AN ACTOR'S NOTE BOOKS\nI Frank Archer. Stanley Paul. Price\n' seven shillings and six pence nett\n• 'T'hree hundred and twenty five\npages of letters, talk and anecdote\nabout well-known people on, or con-"}, {"page_pdf": 89, "page_imprimee": "345", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.89", "texte": "BOOK REVIEWS.\n\nnected with, the stage in \nstrations, chiefly portraits. jg?\n\nTHE FLIGHT OF THE DRAGON\nby Laurence Binyon. John Mur-\nray• Price two shillings net. jz?\nEverything that comes from Mr\nBinyon is wei! done, and wel=\ncome. This latest book is quite the\nbest in the interesting series known\nas \" The Wisdom of the East\nSeries. \" g? & & &\ntitle, though, reads like the\ntitle of some romance. One also\nthinks about a certain Duchess who\nflew. But this Dragon in flight is a\nfine sight. He is so coy, this Dragon,\nthat one is compelled to chase him.\nWhen chasing take the very largest\nnet with the very finest mesh : even\nthen he'll escape you. But the chase\nis the main thing; you feel better\nafter the exercise. &\n& Mr Binyon translates for us again\nthe six Canons of Painting laid down\nfor the Chinese in the sixth century\nby Hsieh Ho, and his translation is\nclearer and better than those of\nGiles, Hirth or Petrucci. He then\ngoes into the jaws of the terrible\nsix and takes us in after him. That's\nhow I chased the Dragon... inside.\nBut that's only because words are\nalways the most unfriendly things\nto me and I to the iti» j£?\nYet his whole chapter on Rhythm\nand its magic is almost clear to me,\nand here and there I understand\nmany other passages; but like all\ngood things this Dragon got away....\nwithout me. &\nThere is one interesting note\nabout a Sung artist Tuang Ch'i, which\nshows us what a Futurist wants to\nbe and do; It is about suggestion.\nThis artist, it is said, painted a\npicture called \" Wind, Mist and About\nto Rain \" and it was \"so full of\ndepth, and caused the beholder to\ncall up images out of its indefinite-\nness, now appearing, now vanish\"\ning, without end \" ; and I suppose\nthat if ever a Futurist should become\nprofound, modest, courageous and\nobedient even as was the old Chinese\nmaster, then he would also be able\nto \" cause the beholder\" to do just\nas the spirit prompted him to\naesire.\nThere is so much in this little\nbook that I would like to quote that\nI could easily cover ten pages of\nthis magazine if I were allowed to.\nBut 1 must quote a few of the old\nChinese sayings which Mr Binyon\nloves to repeat. jgf\n■£? \" Painting and writing are one\n\" and the same art; whoever knew\n\" a good writer begin by making a\n*' sketch ? \" & &"}, {"page_pdf": 90, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.90", "texte": "BOOK REVIEWS.\n\ni suppose he meaqs a calligiapner,\nnot a literary gent. &\njg. Again, when the artist-emperor\n(oh for an artist-emperor in England!)\nHui-Tsung established his academy,\n(prick up your ears, oh R. A's), and\ncompetitions for places in it were\nheld, the successful painters were\nthose who most triumphantly used\nthe principle of suggestion. 44 Thus\n44 one of the subjects given was an\n44 illustration of a line of poetry,\n44 4Thehoofof his steed comes back\n44 heavily charged with the scent of\n44 the trampled flowers'. The success-\n-44 ful artist was one who painted a\n44 rider with a cluster of butterflies\n44 following at the horse's heels. \"\n& And lastly a fine quiet passage by\nMr Blnyon wherein he reminds us\nthat even 44 in Europe, artists have\never been jealous of their freedom\nand have insisted on their indepen-\ndence with even greater pride, be-\ncause, with so many of them, their art\nwas not a profession but a passion. \"\nI like that very much* How does\nthe profession like it ?\nYou wicked old humbugs, what\nhave you done with your art ?\n\nJAMES MCNEILL WHISTLER\nby Frank Rutter. Grant Richards.\nPrice one shilling. £?\nIt seems at first sight rather super-\nfluous that any other book should\nhave been published for a while with\nthe great Pennell work in everyone's\nhand, but this little book by Mr\nRutter has a number of good things\nin it. There are some passages by\nMr Walter Sickert, too, which of\ncourse lend a particular interest. &\n& Then we have the second famous\ntrial retold here, the result of which\nwas, as Mr Rutter tersely puts it,\n44 the establishing the right of an\n44 artist to control his own work and\n44 the precedent that a work of art,\n44 whether commissioned or not, was\n*4 the property of the artist till it\n44 passed out of his possession. \" &\nThis result should be better\nknown; it would prevent the tyranny\nwhich knaves are allowed to exert\neverv day over the artists of London.\n& The illustrations in the booklet\nare good considering how great is\ntheir reduction. There are twenty\nfour of them.\n\nON THE ART OF THE THEATRE\nhy Gordon Craig. Heinemann.\nPrice six shillings net. & &\nIn this volume the soul of the\ntheatre is articulate. At last an\nartist of the theatre has spoken as\nthe authentic critic of its art.... a\ncreator of it. Por too long the thea-\ntre's art has been interpreted only\nfrom outside, by its commentators\nand purveyors; for the first time,"}, {"page_pdf": 91, "page_imprimee": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.91", "texte": "BOOK RE V / E WS.\n\nIn the fullness of modern expe-\nJ\nrience and prophecy, it is revealed\nfrom within, by its artist-expert,\nGordon Craig, *' On the Art of the\nTheatre.\" In this astonishing volume\nhe pulls the shrill and tawdry play-\nhouses of two hemispheres clatte-\nm\nring about our ears in dust heaps,\nand from this revolution he rebuilds\nserene and joyous temples for the\naspiring mind. Perhaps no task\ncould be more nobly imaginative\nand difficult than his :....• to make\nclear and comprehensible the out-\nlines of a beauty yet-to-be.\nBut this task he has well-nigh\naccomplished in a style so simple,\nconfiding and undismayed, that the\nreader soon feels himself borne\nonward, as friend with friend, in\ncharmed conversation. This style,\nwhich grants fellowship with such\nlargess, is itself a sign of the seeking,\nf\ncreative spirit which imbues the\nwhole work. Whether we agree with\nits author in whole, or only in part,\nor not at all, one startling convic-\ntion abides from the reading of this\nbook: that, because of it, never\nagain can we think of the theatre\nas before.\n& Here in this volume its art is\nreborn in creative beauty. Gordon\nCraig, who conceived this regenera-\ntion, is himself a worker in the thea-\ntre: that is welcome proof that vision\nis at work there. jZ? Percy Mackaye.\n\nMOVING P I C T U RE S, by\nFrederick A. Talbot. William\nHeinemann. Eight shillings. &\nis one of the most remarkable\nbooks for the student of the\nTheatre and explains a number of\nmysteries. It explains in particular\nthat mystic marriage in England of\nTheatre and Music Hall. It explains\nwhy half the theatres in London are\ndying, and it explains the actor out\nof existence.\njg? it does all this by relentlessly\nrelating facts, and facts are still as\nstubborn things as ever they were.\n& This book will be often referred\nto in our columns.... it is a fund of\ninformation; and there are hundreds\nof interesting, amusing and instruc-\ntive pictures.\n\nTWO PLAYS BY\nTranslated with Notes, etc-, by\nGeorge Calderon, Grant Richards.\nThree\" shillings and sixpence net.\nnpo Mr George Calderon everyone\nowes a debt of gratitude for taking\nthe trouble to give us even two of\nthese plays. Let us hope we may get\nthe other three \" important plays \"\nnext, and after that the Farces in\none Act apiece. &\nAs one of the European Family\nthe Englishman ought to be able to"}, {"page_pdf": 92, "page_imprimee": "348", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.92", "texte": "BOOK R E VI E V/ S .\n\nknow how his Russian cousins write\nand so gain some slight idea how\nRussians do not think. For a great\nauthor does not reflect the life of\nhis period; he creates a new life\nwhich veils the actual one.\nThis is what Tchekof does,... and\nthe crowd are again cheated,\nBut we rather deplore the second\nparagraph in this charming collabo-\nration by Tchekof and Calderon. It\nis there stated that while our\n\" new Drama\" (in England,) \"is still\n44 in its plastic age, still capable of\n44 new impressions... It is good for all\n44 who cherish it, playwrights, critics\n44 and spectators, to keep the best\n44 foreign models before their eyes \".\nThat seems particularly weak. &\n£? Omit the word 44 playwrights \"\nand all would be harmless enough,\nbut to suggest as a remedy for\nEnglish sloth and timidity a dose of\nRussian art is altogether meaningless.\nIf Synge, our Irishman, had 44 cher-\nished \" Tchekof and in his 44 plastic \"\nperiod had received a Russian 44 im-\npression \" would it have done him\na scrap of good ? For the Russian\ndramatic literature is not schooled ;\nit has not built upon principles as\nold as they are sound ; it is full of\nattractive pitfalls for the impressio-\nnable playwright.\n& Tchekof is often quoted in the\nPreface ; in a letter to Shtcheglof\nhe wrote: \" Be objective; look at\neverything with your customary\nkind eyes; sit down and write us a\nstory or play of Russian life, not a\ncriticism of Russian life, but the\njoyful song of a goldfinch about\nRussian life and human life in gene-\nral, life which is given us but once\nand which it is foolish to waste on\nexposing the wickedness of \" so\nand so.\n\"The joyful song of a goldfinch\"\nis good; that is something worth\ncreating. And to do that the study\nof Tchekof is unnecessary.\n\nTHE S/INIT Y OF ART by Bernard\nShaw. Constable.One shilling net.\n'X'he Sanity of Art \" is one of Mr\nShaw's latest and earliest books.\nIt has the subtitle of \"An Exposure\nof the Current Nonsense about Ar=\ntists being Degenerate \". &\nj£? It was originally published in 1895\nas a magazine article to vanquish\nDr Max Nordau who had just suc-\nceeded in an attack against nearly\nall the artists of the Nineteenth\ncentury based on an accusation that\nthey were more or less idiots. It\nwas republished as a booklet last\nyear to vanquish... himself, who,\nas Mr Bernard Shaw the familiar\nfriend of the Art of the Theatre, had\nin 1909 made the same assertion as"}, {"page_pdf": 93, "page_imprimee": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.93", "texte": "BOOK REVIEWS.\n\nDr Nordau.\nHere are his own words: \" The\n\" reason that all artists become\n\" more or less idiots (In the strict\n\" sense of the word) is that they so\n\" seldom get that discipline in con-\n-44 vincing and considering other\n44 people that a committee affords\".\nTherefore we see that familiarity\nwith all the arts in 1895 and there-\nabouts bred in Mr Shaw his contempt\nfor the artists in 1909,\nWell, that is all I have to say\nabout the book. It is a mistake to\nattack or defend Artists on their\nArt, and Mr Shaw having done both\nmerely renders to himself that to\nwhich he is entitled But what\nan awful waste of time and energy\nin so capable a citizen as our first\nSocialist.\n\nBOUGHT BOOKS.\nn/tany of the books which the\nEditor handles are really not\nworth reviewing, for seldom can\none urge the reader of The Mask\nto buy the book; they are not worth\nbuying. Still, there are many books\nnot sent to us for review which\ncertainly are worth buying, and it\nhas been decided that The Mask\nshall take the unusual course of pur-\nchasing books and reviewing under\nthe separate heading of \" Bought\nBooks \" even those books published\nquite a while ago And may it\ngive confidence to the reader of\nthese Reviews.\n\nA DIGIT OF THE MOON. Price\nthree shillings and sixpence. £*\nA HEIFER OF THE DA WN. Price\ntwo shillings and sixpence by F.\nW. Bain. Methuen. &\nTP hese two little books are so well\nknown that to those who have\nread them this note will seem su=\nperil uous.\nPublished somewhere about 1904,\nthey came out on the huge tidal\nwave of the publishing season and\nfloated off like two rose leaves and\nnobody marked them, for not more\nthan five or ten thousand copies\nwere struck off, therefore only a\nfew people possessed these master-\npieces of perfect loveliness.\nThey are so divinely made that\nthey stand apart from all other\nbooks known to me. £?\nDO you know what happiness is?\nLet me tell you that happiness is\nwithin the covers of these two books,\nfor therein dwells the essence of\nlife and love: therein is whispered\nthe loveliest of tales; therein are\npressed the two hemispheres of\nbeauty, the earth's sweetness and\ngrandeur can be upon you in an\ninstant."}, {"page_pdf": 94, "page_imprimee": "350", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.94", "texte": "BOOK REVIEWS.\n\nWhat do you know of the love\nof a woman which is at once au s=\nterely noble and delicately sweet ?\nHere it Is for you within these\nbooks. There she walks, turns, runs,\nsmiles, \" where the blue lakes are\n\" filled with rows of silver swans,\n\" and where, on steps of lapis-Iazulij\n\" the peacocks dance in agitation at\n44 the murmur of the thunder In the\n44 hills Where the stars and the\nsky are shown to be as great an\nillusion as are their reflection in\nthe seas, but where the little lamp\nlighted by a woman whose faith was\nstrong and sent floating on the\nbroad Ganges is shown to be a rea-\nlity which is indestructable.\n& But I am only thinking of one\nof the two books, the 44 Heifer of\nthe Dawn \", for 1 read it last. It Is\n4k\nthe greater of the two marvels for\n1 read it second, and all great works\nof art have the unique power of\ndestroying for the time the remem-\nbrance of all other works of art,'\neven the most perfect. &\n\nZULE1KA DOBSON by Max\nBeerbohm.\nA fine example of fine art. Mr\nMax Beerbohm was born an artist\nand he has not wasted his time.\nHaving first of all played with\npeople on paper, becoming the first\ncaricaturist of the Victorian era, he\npassed on to the writing of short\nand perfect essays. And now in this\nremarkable novel about a Miss\nZuleika Dobson Mr Beerbohm takes\nhis third step. The book is just as\ndeliberate, just as cautious as has\nbeen Mr Beerbohm's advance. It Is\nthe work of a master who walks\nalong the really difficult and dange-\nrous path and all along the way\nplays with this and with that\nemotion and thought as though the\nwhole thing were just a game\nthat can be played any day and by\nanyone.\n9\nNot only is there not a dull page\nIn the book; .... there is not a page\nwhich is not profound. The imagi-\nnation is touched. When at the\nbeginning 1 saw the train comlmg\ninto the Oxford station 1 was just\nkeen to see all the doors swing\nopen, and I was wild with joy when\nthe first one let Zuleika escape from\nit. 1 once saw a girl come in through\nthe door of a picture gallery; It\nwas just like that I felt when Mr\nBeerbohn opened thedoorofZuleika's\ncoupe.\nBut when I followed her past\nthose statues, those emperors whose\nsilences become appalling In their\nagony, and saw her sitting amidst\nher gorgeous library of books;\nwhen I heard her slightly weary"}, {"page_pdf": 95, "page_imprimee": "351", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.95", "texte": "BOOK REVIEWS.\n\nvoice calling to Melisande to undress\nher, and watched her silently\npondering over her amazing adven-\nture with the canister and the fish\nof gold, then all my excitement\nfor her left me and I regarded her\nas one of the few marionettes of\ngreat import in the hands of a genius\nwho cares only for his inspiration\nbecause, with it, he can calculate a\nwork of art into being. &\nJZ? Such genius Is only very rare,\nand have we a doubt that this is\nthe rarest kind ? Is not the creator\nof Zuleika still unfamiliar to us ?\nHas he stepped before the curtain ?\nDo we ever even see his hands as\nthey manipulate the strings ? While\nwatching this figure of a doll which\nhe allows to swing out, sometimes\nas palpitating as a real woman yet\nalways swathed and incased as in\nivory or marble, we applaud with\nour customary unnecessary enthu-\nsiasm in the hope that we may lure\nthe magician from his high place that\nhe may reveal himself and his secret\nand bob to our insulting approval.\nYet he does not answer.... nor appear.\nHe makes no sign. He is twice pres-\nsed, for while we cannot derive any\npublic pleasure from this artist, we\nhave the great happiness of feeling\nthat there are no limitations to his\nart, except those he sternly sets to it.\n\nA HISTORY OF PANTOMIME\nby R. J. Broadbent 1901. Simpkitt\nMarshall and Co.\nnphe price of this Interesting little\nbook I know not, for it was bought\nby a friend and given to me. But\nit is worthy of a nice long notice\nif only the space permitted. It is\ncuriously inaccurate and yet full of\ninformation which is often accurate\nenough. It is quite the best book\nupon the subject that I know of in\nthe English language. And it is\nthe only book I know of which\nmentions a work by Rich the great\nLondon Harlequin.\nThis book, says Mr Broadbent, is\ncalled \" Companion to the Latin\nDictionary \" and 1 suppose is concer-\nned with Dumb Show words.\nIt is evident that the author loved\nand loves his subject for it looks as\nif he had issued the book at his own\nexpense. He is a Liverpool man, and\nthe only one in England who seems\nto realize passionately that Drama\nis all a matter of Gesture.^\nBravo, Mr Broadbent 1 6We raise\nour glass of Italian Chianti and we\nlooks towards you."}, {"page_pdf": 96, "page_imprimee": "352", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.96", "texte": "THE THEATRE.\n\nIN GERMANY, HOLLAND, RUSSIA, ENGLAND AND FRANCE.\nA Series of Letters\nfrom Gordon Craig.\n\ndear Semar..<2? JZ? <£?\n.sS> It is long since I wrote you\na letter from a great city telling\nyou about the theatres there. The\nlast time I wrote to you I was In\nMoscow. There were a number of\ninteresting things to tell you about.\nNow I am in Paris, .. .and there is\nnothing at all to say. After Moscow...\nthe Beresina. & JZ> &\n& I passed that fatal spot safely\nenough but all my remembrances of\nthe Art theatres of Europe were\ndrowned. No more Art Theatres for\nme. This is in no way to be construed\nas suggesting dissatisfaction with the\nTheatre of M. Stanlslawsky. On the\ncontrary my enthusiasm for the\nMoscow Art Theatre is just what it\nwas. There are one or two rats in\nthe building but they don't count;\nas soon as the ship shows the least\nsign of sinking they'll desert, and\nwe shall all see them .... and their\ntads. But after such a theatre other\nArt Theatres are out of the reckon=\ning and other non=art theatres\nnon existent.\njgr But the Art of the Theatre still\ncalls and 1, feeling refreshed after\nmy late experience at Moscow, turn\nto the question of the Art with\nrenewed pleasure and determination.\nWhy, Semar, there are treinen=\ndous things to be done. We haven't\nyet got near the thing; Über=roario=\nnettes and wordless plays and\nactorless dramas arethe more obvious\nsteps to a far deeper mystery. It is\nthat we have to peer into. &\nJZ? I remember years and years ago...\nI think it was ini9ii.... speaking\nwith you almost seriously about the\ndoings of certain dangerous people\nas we used to call them,...\" actor\nmanagers \", 44 English leaders\nLet me tell you, my friend, that when\nI got to London this last autumn\nI was assured on all sides that they\nwere of so little danger, of so little"}, {"page_pdf": 97, "page_imprimee": "353", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.97", "texte": "A LETTER FROM PARIS.\n\nimportance, that serious people\nnever even considered them; that\nthese old fellows whom we used to\ndiscuss, attack, and all the rest of\nIt were all as dead as door nails.\n1 felt quite out of date, i assure you.\nMention T, (whom heaven forbid\nthat I should ever mention again)\nand eyebrows went up and some\nsigns of impatience could be remar-\nked in the listener's manner; then\nas I continued to speak of T. (who,\nsave the mark, shall ne'er again be\nspoken of), i would be told with\nsome visible signs of gentle forbea-\nrance that the old fellow no longer\ncounted. Now that makes me want\nfor the first time to take up arms\nagainst his enemies. Dead, finished?\nwhy, he must be rescued. But I know\nenough of the nervous figure to know\nthat he would even resent that. So\nlet him be where he has fallen\nand let us get on to pleasant things.\nI shall have my school soon and\nmy theatre, and we shall announce\na programme and stick to it,....\na rare thing omitted by most ma-\nnagements.\n& We shall neither play up nor\ndown to the public, (had you there,\nSemar I) but we shall just experiment\nwith fresh things each day, month\nand year, and if anyone likes what\nwe do, all the better ; if they don't\nlike what we do, all the worse. But\nwe shall not change our programme.\n& There will be no need. We shall\nrespect the Censor and be loyal to\nthe King, because neither the Censor\nnor his Majesty ever interferes\nwith straightforward workers in\nany branch of art or science.\nAnd our art we shall try to make\nas scientific as possible, We shall\nmove slowly ; never shall immediate\neffect be sought for nor immediate\nfailure shunned. We shall be in no\nhurry, why should we? Our\nhappiness like that of every norma!\nartist consists in doing our work not\nin results: the day there are no\nmore experiments to test, no more\nbye-paths to adventure on; when\nnothing but the goal is there before\nus to claim and proclaim,.... on that\nday we and the other artists on\nearth can go to sleep; there'll be\nno more use for us. JZ?\nFor all we are crazy about is the\nlimitless. What kind of fool is it who\nonly desires that which is limited by\nhis perceptions ? what kind of Art\nwould that be which had an edge ?\nArt is not here nor there; it is\nthat which lies between this and\nthat. Nor can you pin it down at\nrest. Dependent upon motion itglides\nor careers from now to the hereafter,\nfrom every yesterday to every to-"}, {"page_pdf": 98, "page_imprimee": "3584", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.98", "texte": "A LETTER FROM PARIS.\n\nmorrow: governed by the laws of\nTime and by Number it is yet Indes-\ntructable for no one can touch it as\nit passes.\nCome on, then, Semar I get your\nfleetest steed and join me In the\ngrandest sport that ever an Eng-\n*\nlishman went in for. & &\ngut before starting off 1 mustn't\nforget some of my old friends. The\ncommittee who invited me over to\nLondon last summer, and the\ncommittee who have become the\nprotectors of my school. And I have a\nword to say about some new friends\nFirst Brown and Philips of the\nLeicester Galleries: then William\nHeinemann. These have been to me\nthe best of friends. The first made\nit possible for me to show my Lon-\ndon public some of my designs and\nmodels. What a delightful time I\nhad in that Leicester Gallery! How\ncourteous and friendly to me were\nits directors; how considerate to-\nwards my work. Every day spent as\nguest In their house was enjoyable.\n& And William Heinemann ! 1 had\nalways heard such bogey tales about\npublishers. The bogies may exist, but\nHeinemann is nothing but a good\nfairy full of human kindness, a\nsplendid administrator and a hard\nworker. He attends to everything,\nand with an enthusiasm and care\nwhich to me was a revelation.\nHow ? you ask. Why, it revealed\namongst other things that 1 was not\nsuch an impossible person to deal\nwith as some wretches would make\nout. (1 mean 44 wretches \" in the kin-\ndest sense of the word ; one speaks\nof silly old ladies as wretches \").\nNow what amazed me was this :....\nBrown and Philips and William\nHeinemann, both the heads of their\nparticular vocations, could work\nwith me so agreably, and if I could\nfind no smallest thing to differ with\nthem upon, how was it that when\nit came to managers of theatres the\nthing became impossible on account\nof the disagreableness of the whole\nwork? Semar, there must have been\nsomething rather queer with those\ntheatres.\n& Bye the way, do you remember\nthat book 1 told you I would some\nday prepare,.... 44 Hamlet \"? I have\nbegun it and It will be published in\nEnglish and in German; another\nfriend has made that possible : so\nyou see, as Mr Asquith said,\n44 We're getting on \". & 0\nWhen next 1 write it will be to\ntell you the exact site chosen for\nmy school and my theatre, and you\nknow I never start telling you of\nanything which I do not carry out.\n\nArivederci....! Gordon Craig"}, {"page_pdf": 99, "page_imprimee": "355", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.99", "texte": "FOREIGN NOTES\n\nPARIS.\n\nGreekerys of the “Pasters\nJ. de S.\nJDurope and America are passing\nthrough something of the same\nexternal phase as happened to Europe\nIn the time of Buonaparte. The Greek\nis being put on again;.... other toys\nare quite out of fashion for the\nmoment.\n£/ Sometimes, as, of old, Greek\nmeets Greek, and then true fashion\nand health gets an opening. &\nThe Futurists are a thousand\ntimes preferable to these Pasters.\nThe Pasters are really objectionable\non new fashioned grounds. For if\nthe Futurists remind us of nothing\nthe Pasters make us regret what\nwe have lost. The Futurists are not\npeculiar In their dress and mode of\nlife, whereas the others are conceited\nenough to use their belief as an\nadvertisement and parade Paris in\nGreek dress and bare legs trundling\nmodern perambulators or carrying a\nFrench market bag filled with nice\nmodern vegetables fresh from the\ngreengrocer's.\nJS? Their work is unsatisfactory when\nit is exhibited in modern surroundings\nand one feels how unfit the time\nand place are for such an exhibition.\nIn Greece it might possibly be de-\nlightful; the place If not the time\nwould be in harmony. Though in\nGreece it's ten to one these Pasters\nwould live in a modern hotel and\nbe seen on wet days taking a walk\nin goloshes and with an umbrella. I\nremember seeing one of them thus\nequipped In London.\nThere are clever if not Intelligent\npeople amongst them; why they\nforget the Prophets, who were not\ninsignificant figures in the Past, is\nqueer. One of the Prophets told us\nthat 4* There Is a time for every\npurpose under the heaven \", and\nsurely we ought not to need to\nbe reminded that when a thing is\nout of place it is also out of\ndate.\n\nRouge and...... a New Religion.\n\nvye have lately had a serious (?)\nannouncement made by a per=\nformer from the boards of a theatre"}, {"page_pdf": 100, "page_imprimee": "356", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.100", "texte": "foreign NOTES\n\nhere to the effect that after a short\nholiday she would return and found\na new Religion.\n& Theatrical people seem always\nto have been without a fitting sense\nof time and place. They fail to see\nthat Artifice and Religion are never\nto be allied ; they seem to think that\nrouge, curls, limelight and Divinity\nare somehow part and parcel of each\nother..... It would be profane if it\nwere not so funrty.\nAnd yet the fun is just a little\ntasteless.\nuS7 What a blessing it is that the\nCensor prohibits the representation\nof royal personnages upon the stage.\nBut it should also be seen to that\nsacred personnages are prohibited.\nJohn the Baptist, for instance, ought\nnever to have been allowed to ap=\npear. There is no limit to what may\nnot be seen and done when the in-\ntroduction of these sacred characters\nIs permitted. s£7\nThe freedom allowed to this kind\nof thing reminds us that once upon\na time Madame Sarah Bernhardt\nIndulged in this theatrical profanity,\nas may be read in the following\nextract from a letter from the first\nEar! of Lytton (Owen Meredith) to\nMr Justice Stephen, Paris, April\nnthiß9o:^\nof farces, Sarah Bern hardt\n44 ... intoxicated with the new Idea\n\" of virginity ever since she acted\n44 Jeanne d'Arc...has been reciting a\n44 French Passion play In the biggest\n44 Circus of Paris, with a Christ\n44 in white tie and tail coat. The\n44 audience got bored, rose in revolt,\n44 screaming out, \"Tu nous ennuies r\n44 assez du Christ. De la Musique, de\n44 ia Musique \" So that, quite unin=\n44 tentionally and unconsciously, the\n44 Chef d'Orchestre played in this\n44 performance the part of Barabbas\n44 (44 Not this man, but the\nother \").\n44 Then the Author of the Play,\n44 white with rage, and tr6s £mu,\n44 began skipping over the benches on\n\" to the stage, shaking his fist at the\n44 audience, and, with copious tears,\n\" kissing first Sarah Bernhardt, then\n44 his Mother, then his Sister, and\n44 then his Mistress. This touched\n44 and partly mollified the public!\n44 What a funny nation we are here,\n44 and yet we are capable of great\n44 things now and then and very\nclever things at all times \".\n\nH. L.\n\nLONDON\nR. S.\nA Word about the Futurists\n& As Signor Marinetti very rightly\nsays, ' 'The Futurists paint what they\nsee\". And as Mr Whistler as rightly\nsaid, 44 the shock will be when they\nsee what they paint. \" 4St"}, {"page_pdf": 101, "page_imprimee": "357", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.101", "texte": "EDITORIAL NOTES\n\nFUTURISTS AND OTHERS.\n'\"phe Italian Futurist, Signor Mari-\nnetti, who in Paris assaulted a\nlittle Frenchman who asked him a\nsimple question, has gone to London,\nand is already on the war-path. ■£?\nHe is a strange pleasant young\nman, who, when he meets a D'An-\nnunzio or a Rodin, raises his hat and\ntells him he is a Futurist. If the\ngentleman denies it Signor Marinetti\nsmiles. If the gentleman gets in a\nrage Signor Marinetti goes on smiling\nbut if the gentleman politely asks\nhim a question Signor Capitano Ma-\nrinetti draws his theatrical pistols\nand rolls his eyes. £? JZ?\nThe gentle Signor has a receipt\nfor making Futurist pictures. He\nmerely encourages artists and buys\ntheir pictures. It is a novel idea and\nworthy of the consideration of those\nEnglish gentlemen who visit galleries\nof modern art and hold theories con-\ncerning the work of Messrs Rothen-\nstein, Sickert, John and Pryde and\nthe different schools they represent.\n«£? It is a novel idea, and the only way\nof strengthening our National Art.\nIf our Lords and Ladles now and\nagain purchase a Nicholson or an\nOrpen they do very weil, but they\nneed no particular perception to see\nhow good is the work of these two\nfine English painters; whereas it\ncertainly needs a considerable amount\nof wisdom and wit to realise the\nimportance to English Art and to the\nEnglish nation of the work of William\nRothenstein.\n& There is that in the work of this\npainter and engraver which inspires\nwithout laying claim to having in-\nspired. That is the rarest gift of all.\nAnd Gift is the exact word to use.\nA master is always giving, whereas\nthe so-called masters always ex-\nchange,... and secure the best share/;\nthey secure your liberty.\nThe true master leaves you free.\nHe masters only that in you which\nmust be mastered ; but the door is\nalways open; if you will obey it need\nnever be closed ; if you won't obey\nwhat use to close it ? & &\nAnd while we are speaking about\nthis particular master who of all\nmen today in England influences."}, {"page_pdf": 102, "page_imprimee": "358", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.102", "texte": "EDITORIAL NOTES\nALL RIGHTS RESERVED.\nGerente Responsabile. Giulio Vanzl\n\npeople least and things most; who\nin his whole attitude towards art\nrevives the impression of a very\nancient wisdom come amongst us\nonce more to prove how blessed\nit was and ever will be while\nthinking of this can it be of any use\nto thfnk of those other weaker in-\nfluences at work?-<£>\nPerhaps; for those weaker influ-\nences with their immediate effect,\ntheir apparently startling power, can\ndo a certain harm for a short while;\nand so we were best to take heed,\nand, without over-estimating their\ndangerous qualities nor under-sta-\nting their undoubted value, bear\ncontinually in mind that it is only\nby first entering into a state of soul\nthat the perception of what is Art\nbecomes possible; and that it is\nonly by remaining in that state\nand in the silence which reigns\nthere that the creation of a true\nwork of art becomes practical.\nFor \" since it is not possible to\nu know anything rightly while we\n\" are in the body one of two things\n\" must be true; either we shall never\n\" know anything, or we shall have\n\" true knowledge after our death\".\nThus spoke the old and wise\n.Philosopher of Greece..,, lie who in\n:silence was seen \"early in the morn-\n\" lug standing in one place wrapt\n\" in meditation ; and as he seemed\n44 not to be able to unravel the\n44 subjects of his thoughts he still\n44 continued to stand as enquiring\n44 and discussing within himself, and\n44 when noon came, the soldiers bb»\n44 served him and said to one another\n4t4Socrates has been standing there\n44 thinking, ever since morning'. At\n44 last some lonians came to the\n44 spot, and having supped, as it was\n44 summer, bringing their blankets,\n44 they lay down to sleep in the cool;\n44 they observed that Socrates con=\n44 tinued to stand there the whole\n44 night until morning, and that,\n44 when the sun rose, he saluted it\n44 with a prayer and departed. \" &\n\nA THIRD EDITION.\nJ. S.\nOeaders cf The Mask will be espe-\n<;ially pleased to hear that Mr\nHeinemann has reprinted a third\nedition of Mr Gordon Craig's book\nOn the Art of the Theatre\nThe first impression was issued\nDecember 1911; the second January\n1912, and the third in March. &\nYOU who read The Mash can\nclaim some hand in this book, for\nhad you turned up your noses at\nthe journal in 1908 it is doubtful\nwhether this book would ever have\nseen the light in 1911. &"}, {"page_pdf": 103, "page_imprimee": "359", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.103", "texte": "WHICH ERA ? An Additional Editorial Note.\n\nAN AMAZING STATE OF AFFAIRS\nJ. S.\nTphe Era is justly supposed to be the\nbest informed theatrical newspa-\nper in England. The whole profes-\nsion relies on it for its information.\nThe following letter Is therefore\na very illuminating side light on the\nawful way that the Era is treated\nby its Foreign Correspondants.\nJanHary 29. 1912.\nDear ....\n\" I wrote a correspon-\n\" dant In Moscow to send me\n«full report of Mr Gordon\n44 Craig's 44 Hamlet \" pro-\n44 duction. ■£?\n44The correspondant says\n44 he knows of no Arts Theatre\n44 In the city or of any such\n\" production. £/\n44 Can you tell me if ft\n44 really took place ?\n& 441 am disappointed at\n44 not having a report for\nthe Era.& &\nYour faithful\nFrank Desprez\n(Editor of the Era.)\n& After this one itiay indeed ask...\nwhich Era ? &\n& We think we can safely say we\nhave never met with so amazingly\nstupid a correspondant as that one\nIn Moscow who is supposed to serve\nthe Era reliably, and our sympathy\ngoes out to the Editor of that journal.\nBut how like England not to take\nthe trouble to ascertain where the\nbest theatres of Europe are situated\nand then to employ really first class\ncorrespondants in those cities.\nThere are not more than a round\ndozen of towns in Europe where\nreally interesting things are being\ndone... things which would be bound\nto interest everyone, and these\ntowns are Moscow, St Petersberg,\nBudapest, Paris, Munich, Berlin,\nKrakow, Dublin, and a few Italian\ntowns; but Moscow is easily the\ntown of the very first interest, and\nthe event which took place there\nlast January,.... Mr Gordon Craig's\nproduction of \" Hamlet\" at the Art\nTheatre, (an event which, \" let\nignorance\" (in the person of the\nEra correspondant) \"talk as it will\"\nwe can assure Mr Desprez did take\nplace, and take place triumphantly)\nwas one so Era=marking in the\nhistory of the European Theatre\nthat to find the English Era so far\nbehind the times is ....well, really,\nt\nthe Limit! wake , EngU.lu . it's\nmore than time."}, {"page_pdf": 105, "page_imprimee": "361", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.105", "texte": "r * 6 ■ ——■ —|i\nANNOUNCEMENTS; FROM \" THE MASK PRESS \" II\nARENA GOLD ON I. FLORENCE . ||\nthe mask, new series, volume pour. £> I\nof the new Volume, beginning with the July number 1911, Three j\nEditions are published, and the yearly subscriptions, post free, I\nto these Editions are respectively as follows. I\nPopular Edition. . . . Shillings 15. Dollars 4.00 I\nJfeqpP Large Paper Edition (60 .) „ 20. „ 5.00 I\nEdition de Luxe. (15 copies.) 65, 16.00 I\nTHE MASK. OLD SERIES. 1908.... 1909.... 1910.... |\nUnbound Sets, Vol. i. Shillings 30* dollars 7*50 I\nWfSjwK Vo!\" a* »» \" 3s* •» »» 6«so I\n\" ** ao* •' ,f 5,00\nBound in Vellum. Vol. 1. „ „ 35. „ „ 8.50 I\nv°'« 2« »» »» 30. „ „ 7.50 I\nVol. 3. ,, „ 35. „ „ 6.50\nI . r? | & A PORTFOLIO OF ETCHINGS by GORDON CRAIG. X? I\nH «!■ « I 'T'hese Etchings were made by the Artist in 1907 at Florence and !\nM I represent his most serious work. Connected with his dream of an\n: Ideal Theatre, they have nothing in common with the Modern stage,\n«S$jegygM j0 Only Thirty Portfolios were issued. Of these a few remain.\nEach contains twelve Designs mounted on grey card, and with\nu I' I a Preface by the Artist. .0 & j&\nmif Size of Portfolio. 48x30 ctms. Price Twenty five Guineas.\nf Dollars 132, Marks 525. Francs 630.\nBOOK PLATES. £> j& I\n& Designed, Engraved and Printed by the Engra. I\nvers of San Leonardos Arena Ooldoni, Florence, Italy. I\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\nTmfgyLPg* work which shall be as careful in Its execution as beautiful and\ndistinguished in Its design.\nI HERE IS SOMETHING FOR THE I\nPictures from Gordon Craig's \" Book of Penny Toys. \" I\nThis book of colour drawings of the most representative I\nEnglish, Dutch and German wooden toys with accompanying I\nverses was published in 1899 and proved so popular that copies\nare rarely to be found.\nA FEW SETS OF THE TWENTY LARGE ILLUSTRATIONS\nPrinted on thick art paper are still to be had, price four\nguineas, (dollars 2i. Marks 82.00. Francs . & &\n_& The Mask Publishers, Arena Goldoni. Florence. Italy*\nwmmmmmmmmKmmmmummmmmmmmwmmscMeaJsaamK£*mauumimBacmmmmmBaEB3mmsmssammmBmm\\\\\\ 1 ■■in—"}, {"page_pdf": 106, "page_imprimee": "362", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191204-01.1.106", "texte": "fMissmmmmmammmmmmmmmmwmmwmmmmmsmmmmmmswamam wmmmmmmmmmmomm n ■■■■»■ mm i mßmummummmmmmmmmmammmmmmmms\nPdated for the Propricter hj Tipogrtfia R. Lastraeci, Via de Ser/agii,l W Floreaoe tad published at The Office oi \" The Mask \" Areas Geldooi\nN\n\nA LETTER FROM\nMr. PERCY\nThe Mask has \" The rare attraction\n14 of abundant intellectual activity with\n44 aesthetic charm. Its freedom, its courage,\n44 its fecundity of ideasits emphasis of\n44 vital potentialities in the its\n44 ample horizon which aims to review\n44 the centuries as well as the seasons of\n44 theatrical art, its earnest search for\n44 rational criteria, its championship of\n' the poetic and creative in its own field,\n44 these unusual qualities differentiate The\n44 Mask from that large class of art\n44 journals which are mere catalogues\n44 and tend to give it a perennial rather\n44 than a momentary appeal.\nvi,\n& TRADE AGENTS\nSimpkin, Marshall, Hamilton,\nKent & Co. London."}]}