{"numero_id": "bm-bmtnaau-1912-07-01", "volume": "bmtnaau_1912-07_01", "ocr_sha256": "0dfe95da7dc99e8b3920a4e09ec7d72d8c5d8d88edad74236cc45d3f095b7978", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1912/07_01/bmtnaau_1912-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1912/07_01/bmtnaau_1912-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01", "articles": [{"article_id": "bm-bmtnaau-1912-07-01-c002", "article_bluemountain": "bmtnaau_1912-07_01#c002", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 3", "page_fin": "couv. 3", "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=bmtnaau191207-01.2.2", "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. 3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.2", "debut_caractere": 532, "fin_caractere_exclue": 1420, "texte": "LITERARY CONTENTS.\nPROLOGUE. . . J. S. . . . . . I.\nA WORD ON THE POLLOCK THEATRES. . . Ellen Terry. . . . 3-\nSOCIALISM SYNDICALISM REALISM. . Louis Madrid. ... 4.\nART AND THE NATION \" Britannlcus\". . . . 6.\nON \" FORERUNNERS \". . Nietzsche 15.\nTHE ACTRESS Oscar Wilde. . . . . 17.\nSIGNOR BRIGHELLA. ...... Dr Cesare Levi. . . . 20.\nOUR DAILY NEEDS V. Surgen 28.\nJACQUES DALCROZE AND HIS SCHOOL. . . John Balance. ... 3a.\nTHE PAINTER IN THE THEATRE. . . . Gordon Craig. ... 37.\nCAPTAIN JACK. B. YEATS Allen Carrie. ... 44.\nHOW JACK B. YEATS PRODUCED HIS PLAYS\nFOR THE MINIATURE STAGE. . . Jack B. Yeats. ... 49-\nTHE BEST THEATRE IN LONDON. . . . Edward Edwardovitch. . 54.\nTHE BLUE JACKETS 60.\nR. L. S. AND THE DRAMA OF SKELT. . . Dorothy Nevile Lees. . . 72.\nV\nBOOK REVIEWS. FOREIGN NOTES. & EDITORIAL NOTES 77-\nShort Extracts from the Words or Writings of Oscar Wilde. 19; Goethe, 3; 36,"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c003", "article_bluemountain": "bmtnaau_1912-07_01#c003", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 3", "page_fin": "couv. 3", "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=bmtnaau191207-01.2.3", "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. 3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.2", "debut_caractere": 1422, "fin_caractere_exclue": 1899, "texte": "ILLUSTRATIONS.\nTITLE DESIGN AND THREE FIGURES FROM\n\"THE BLUE JACKETS\". Frontispiece.. . Anon Face 1.\nDESIGN FOR \" MONNA VANNA \". ... Georges Banks. . . . 39.\nA SCENE FOR A PLAY Jack B. Yeats. ... 44.\nA SCENE FOR \"THE SCOURGE OF THE GULPH\". „ „ ... 47.\nTHE MINIATURE STAGE „ ... 51.\nREDINGTON'S SHOP WINDOW Anon 54.\nBLUE JACKETS AND JACKO 60.\nBETSY BODKIN, 65.\nBLUE JACKETS FAINTING 68.\nHEAD AND TALE PIECES AND INITIAL LETTERS by Gordon Craig, Jack B. Yeats,\nOliver and others."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c004", "article_bluemountain": "bmtnaau_1912-07_01#c004", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.4", "titre_corps": "DESIGNS FROM \"THE BLUE JACKETS\"", "titre_sommaire": "DESIGNS FROM \"THE BLUE JACKETS\"", "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=bmtnaau191207-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 49, "texte": "DESIGNS FROM \"THE BLUE JACKETS\". See pp. 60 to 71"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c005", "article_bluemountain": "bmtnaau_1912-07_01#c005", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 5, "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=bmtnaau191207-01.2.5", "titre_corps": "PROLOGUE. VOLUME FIVE", "titre_sommaire": "PROLOGUE. VOLUME FIVE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1661, "texte": "PROLOGUE. VOLUME FIVE.\n\ns Prelude to our fifth year of existence we start with\na game. It is where the modern Theatre leaves 0ff,....\nChild's P1ay,....\nTo play at Theatres is good fun. It costs nothing;\nit is the ideal in little. But the European Theatre plays\nat Theatres at a cost of some millions of pounds: this\nis very unpractical, very wasteful.\nTo paint and cut out in paper for our own and our friends' enter-\ntainment at a cost of twenty five shillings a year does no one any harm\nand is a good game ; but that the public of Europe should be made to\npay millions of pounds for the same kind of rubbish on a large scale is\npreposterous and reflects very little credit upon our Rulers. £/ £/\n£/ In England we possess the best of Toy Theatres and the worst of\ngrown-up Theatres. We consider that Pollock's Theatre is the best Toy\nTheatre in the world, and that Beerbohm Tree's Theatre is the worst\ngrown-up Theatre in the world.\nIt is of no use to honour by criticism such a- theatre as that over\nwhich Sir Herbert Tree is supposed to rule, for this theatre has proved\ntime and again that it belongs to a group of commercial \" Playhouses \"\nand therefore asks to be judged as a commercial play house.\nJS/ Art has nothing whatever to do with commerce, for commerce depends\nupon the weaknesses of the multitude and does not guide and strengthen\nit. The whole conspiracy of Commerce is to 44 catch \" the Public, and\nwhen so occupied the commercial gent has no time to give a single\nthought to the safety of the Public. &\nModern Theatres are as unsafe as was the 44 Titanic\". They kill\npeople slowly;... that is the only difference. They ruin the taste, nerves"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.6", "debut_caractere": 11, "fin_caractere_exclue": 1982, "texte": "and character of the nation, for instead of vital things they present dead\nthings.\nAnd as we have from time to time pointed out, this cannot be cured\nby patronizing a new theatre instead of an old one; by deserting \" His\nMajesty's \" and taking up with the \"Apollo\" or the \"Kingsway\" theatres.\nThe only cure is to change the conscience of the\n& The only man we know of working today as a director of a theatre\nin Great Britain whose conscience is his armour and not his pyjamas\nis W. B. Yeats, (i) jg?\nIn England you can buy people. You can buy their conscience. You\ncan therefore buy a part of our National Life. & &\n<£? We don't know how you feel about this, but we're hanged if we'd\nbe bought. We write and publish what we think is right to publish. We\ndo not join in the hostile attacks against the English Throne, Govern-\nment, and what does not concern us, for we know as little about such\nthings as most other folk. But we have made a careful study of the\nTheatre and its Art, and we wish to be of service to our Land by helping\nour Ruiers to a better understanding of the dangers to be avoided and\nthe advantages to be reaped by a thorough overhauling of the theatre\nboth as Art and as Institution./^\nSome day our Rulers will be able to give time to this not unimpor-\ntant question. Until then we can wait.^>\nAnd because they do not instantly turn to and oblige us and serve\nArt and through it the life of their People we shall not instantly turn\nsurly like so many do today in England, but we most earnestly and re-\nspectfully pray them that when they do decide to devote some time to\nour cause they will let the noblest precedents of History be their guide,\nand not the later precedents of debased and unhappy periods when Art\nsecretly served the cause of Unrest and Sedition. &\n(I} Lest this should b& misunderstood Set us hasten to remind our readers that Mr Gordon Craig is at work in\nParig, Mr Allen Carrie is in Persia, and Mr John Balance in Krakow,\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c009", "article_bluemountain": "bmtnaau_1912-07_01#c009", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "3", "image_debut": 7, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.6", "titre_corps": "MISS ELLEN TERRY AND THE POLLOCK THEATRE", "titre_sommaire": "MISS ELLEN TERRY AND THE POLLOCK THEATRE", "signature_source": "Ellen Terry", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 519, "texte": "MISS ELLEN TERRY AND THE POLLOCK\nTHEATRE.\nEllen Terry.\nMiss Ellen Terry writes us as follows of Pollock's Toy ,\nabout which much will be found in the later part of this number\nof The Mask:... JZ? ,^7\nI remember the little stages well and there is nothing quite like them.\nI had one when I was a child, when they were known as \"Redington's\nTheatre.\n1 have no interest In the German Toy stages which today are some°\ntimes offered us in place of the fine old English toys. They can't be in\nany way compared. &\nEllen Terry."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c010", "article_bluemountain": "bmtnaau_1912-07_01#c010", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "3", "image_debut": 7, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.7", "titre_corps": "A RULE FOR STAGE WORKERS", "titre_sommaire": "A RULE FOR STAGE WORKERS", "signature_source": "Goethe", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.7", "debut_caractere": 521, "fin_caractere_exclue": 808, "texte": "A RULE FOR STAGE WORKERS.\nGoethe.\nf~fe who would work for the stage.... should leave nature in her proper\nplace and take careful heed not to have recourse to any thing but\nwhat may be performed by children with puppets upon boards and\nlaths, together with sheets of card board and linen."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c012", "article_bluemountain": "bmtnaau_1912-07_01#c012", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "4", "page_fin": "6", "image_debut": 8, "image_fin": 10, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.8", "titre_corps": "SOCIALISM.... SYNDICALISM...REALISM,..", "titre_sommaire": "SOCIALISM.... SYNDICALISM...REALISM,..", "signature_source": "Louis Madrid", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 1996, "texte": "SOCIALISM.... SYNDICALISM...REALISM,....\nby Louis Madrid\nI ust the fewest words possible remembering that the whole world\nis suffering just now because of some split somewhere, some very na-\ntural misunderstanding. So let us come to essentials right to the\nheart of the question. JZ? JG? £?\nIt Is not difficult. When masters have made mistakes, have been a\nlittle unfair and when servants revolt, both parties lose their privileges\nthe masters the right to command and the men the right (and what\na right!) to serve.\n& There can be no question any longer of keeping up the attitudes of\nprotector and servant. Both are forfeit. JST &\nSomething like a return to the primitive state of the year one has\nbeen suddenly brought about. It won't do for either party to pretend\nany longer to even the clothing of a mask. The mask is off. The world\nis naked again. & &\nWhat an opportunity! Instead of its being a calamity it is a chance\n...one more blessed chance for the whole disobedient crew of 11. M. S. Earth,\nSuch an opportunity is also the most scathing test ever invented by\nthe Gods to create diversion or dread amongst the angels. For man once\nmore denuded of all pretence becomes a more sorry object than when\ncovered. JZ* JZ? JGR .ZZ? JS?\nThe opportunity lies in being once more given a moment wherein we\nmay show some real affection and some real mastery and do some real\nservice. & &\n& Masters like being masters well then. And Servants wish for no-\nthing better than to serve, well then.\n& What maddens the servants into these phases of so-called Socialism,\nSyndicalism and so on, is, that they have just weighed themselves and\nfound themselves wanting. That's the source of rage of this kind.\nAnd simultaneously masters get crazy for exactly the same reason....\nnot because they are found out but because they have seen themselves\nand found themselves ugly.\nIs there anything which makes a once-handsome woman more mise-\nrable, and (for the moment) more utterly careless of herself than the"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.9", "debut_caractere": 38, "fin_caractere_exclue": 2183, "texte": "discovery that she is getting ugly and old ? jZ? jZ? jZ?\nThat's the sole trouble with masters and men who disagree they\nare realizing their own faults. jz?\njZ? And for this there is only one remedy : Sacrifice.... not to get more,\n....*:o give more. Not to demand more, to offer more, spontaneously and\nwith gravity. And, say what you will, the remedy is infallible. For It isn't\nas though the world were evil;... it's good. And it isn't as if the whole\nworld of masters were represented by ten or even a hundred masters.\nThese may be like stone, but there is a thing which will break up stone\nwhen no hammers avail. It is the gentlest, most eternal thing of all.\njZ/ And the put-on harshness of masters ? why, their pretended role\ncan be transformed, broken up,... transformed by just as gentle a thing.\nBut by nothing else :.... least of all by the pretence of it. jZ? £?\nIDEALISM AND REALISM.\nTphe unrest of England,... its strikes, its threats of mutiny, its continual\ncrises can be altered as easily as an English Rose tree breaks into blossom.\njZ? It is wrong to look for any complicated and difficult solution to the\nriddle. It would also be wrong for anyone but a Saint Paul to attempt\nto put down in a book the method of solution.\n£? There is a method, but no man that has yet lived has written a\ntechnical book on the subject. The Prophets made an attempt and burst\ninto poetry. This was not technical enough to serve as a book of Rules\nof the Game. jS?\nTruth is that we are-not to learn those rules or we should have no-\nthing left to live f0r,.... or we should indeed become as Gods knowing\ngood and evil by looking down upon It as calmly as Buddha, as Kwannon\nor as Christ. <Z/ jZ? jZ? jZ? j&\njZ? But in being natural,... and that is the thing we always boast we\nare, especially in England.... in being really natural we shall achieve\nexactly what the Rose garden achieves,... Idealism. jZ? jZ? &\nsZ> It is THIS that all Art constantly is saying,., and inasmuch as England\ndenies the goodness of Art, the naturalism of Art, the practical divinity\nof Art, by so much does England lose her power to alleviate the pain of\nher children."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.10", "debut_caractere": 43, "fin_caractere_exclue": 1180, "texte": "& Art is true. Artists are very true and faithful people who always\nhave given counsel and comfort of the true kind. The Artists have\nnever struck. They've been chased, kicked, starved, (not even a minimum\nwage)... and generally told they were useless. And in truth all the use\nthey are is to inspire the earth with the one idea which makes for great\ngood, Idealism.\n& Idealism lays all ghosts, idealism puts to rout the demons which re-\nvolt in us; drives Materialism from us so that we can breathe the\nbetter in each other's company. &\nAnd Idealism will spread if a state will nourish its noblest art in-\nstincts. Royal Academies, alas, do not represent the noblest art of the\nstate. Art is Individual in its inception and It is the Individual artists\nwho could today bring to England a better understanding of what her\nIdealism is capable of.\n& To those Ministers of the Crown who cherish the thought of Idealism\nin England I address these lines, in the belief that one or more of\nthem will delay no longer in achieving the Ideal, by co-operating\nwith the Artists of Individuality and by upholding and spreading the\ndoctrine of Art. &"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c014", "article_bluemountain": "bmtnaau_1912-07_01#c014", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "6", "page_fin": "15", "image_debut": 10, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.9", "titre_corps": "ART AND THE NATION", "titre_sommaire": "ART AND THE NATION", "signature_source": "Britannicus", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.10", "debut_caractere": 1182, "fin_caractere_exclue": 1883, "texte": "ART AND THE NATION\nby \"Britannicus\"\nhe Letters of an Englishman which appear regularly in\nthe Daily Mail have always given me pleasure to read, and\nto preserve so as to read again : and his letter last April\non \" Art and the People \" is particularly good.\nHe repeats what Whistler and others have all told us,\nthat 44 Art has nothing to do with caste or wealth \"; that 44 she disdains\nneither the palace nor the cabin \"; and he grieves that Mr William\nArcher should talk of Art \" climbing down \" because that is a practical\nimpossibility. She is both down and up; and how like our dear old\nsensible, good Archer to have again shot at that Prog and missed him\nbecause he wouldn't stand still to be hit."}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.11", "debut_caractere": 21, "fin_caractere_exclue": 2381, "texte": "But 1 suppose A will always be an Archer and will always be employed\nshooting at Frogs. For if the world gets too matter of fact Life would\nbe unendurable, and we must be grateful to this particular descendant\nof our First Archer, who keeps up the old traditional custom, thereby\nproving what a staunch old Tory he is. Englishman's essay upon \" Art\nand the People \" will do quite a little good, for the Daily Mail travels\nfar and all that Englishman says is sound. But for all this we feel that\nunless the governing members of the Nation study more thoroughly\nthis question of Art in relation to National life Art will soon become\npowerless to influence England. uZ?\nJS/ One has been forced to realise that the governing members of our\nNation are a little too vague in their own minds about Art and its\ninfluence. And this is not difficult to understand, for the Governing\nmembers have been told by Ruskin and others that Art Is ail mixed up\nwith Morals and Hard Thinking; and have been told by Whistler and the\nothers that it has nothing whatever to do with either, and that it is all\nto do with Genius, temperament; and by the Royal Academy that Art is\nall a question of tame cat-ism. JZ?\nJZ/ The truth is that Art is nothing more than the purest product of\nthat spirit which has given life to everything, and which daily creates\neverything.\n& Art is the purest product of Imagination. When we talk of God we allude\nto a creation of the Imagination ; without the Imagination God could not\nexist. We talk of Love, of Life, of Death:... all these are created by\nthe Imagination. We make a hash of most of them and thereby we prove\nthat they are not works of art although works of imagination. Works\nof art, we repeat, are the purest and most orderly product, of the ima-\ngination. The Life and Death of Dante, his Love, his 8e1ief,..,., all these\nthings without his art, his \" Divina Commedia \", are failures... Imperfect\nin his Life, wretched in his Love, lonely in his Death, he prevails and still\nlives in his Art, and he thus still Inspires his Nation towards the Ideal.\n& This being the case it is necessary that a Nation shall consider care-\nfully about Art: ....what it has done and does ; what it is, and how it\nbest may spread its influence over the land that it may be of effect.\nJS? That is what our rulers might do. They cannot force Art to do this"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.12", "debut_caractere": 21, "fin_caractere_exclue": 2344, "texte": "or that; to nourish or forward this cause or to attack that\nevil. But they can do with it what Is being done today with the water\nof the Nile; ....give it continually to a parched land. J® J® J®\nJ® It would be a great and formidable task for a great statesman to\ncope with, but Its effect would be blessed.... By bringing the influence\nof the soul of Art to the soul of the People a great statesman would\nbring health and happiness to the nation, and he would not find opposed\nto his plan the daily material needs; there would never be a question\nof less Art being needed because more bread and wool is needed. The\nexistence of our daily bodily needs demands an accompaniment of Art\nto bring out the true value of our whole existence.\nj® We need only take a peep into any old village where the Folk arts\nstill flourish to note how their daily needs are made the sweeter and\nJollier for the presence of Art and the Artist.\nj® You are standing, for instance, at the door of some peasant's hut, let\nus say in Sweden. You lean your arm on the door frame and look inside\nfor the Leonardo da Vinci or Rembrandt in gilt frames. But don't do\nthat; ....Just one moment! ...don't shift your position, only move your\neyes. First look at what you're leaning against. A work of Art! BY JOVE!\nDid it topple over ? or does it topple over and break under your\nweight now that you've discovered it to be a WORK OF ART? N0,...n0r\nwill it for six hundred years or more, and it has already faced three\nhundred winters and summers without crumbling. And now look at the\nhandle of the door, at the rafters and at the door itself. You need not\nmove to be conscious that all around you works of art have grown on\nto and out of this hut into which you are looking.\nj® Yet there are no pictures in frames: no statues in niches or on\npedestals : ...no library of b00k5...; no grand pianos there. &\nj® And the peasant has a visitor or two, (other peasants), who come on\nfeast days to his house,, who can sing de Reske into a frazzle and act\nMonnet Sully off the table, and who invent lovelier things than all the\nartists are doing for London, Paris, Berlin or Rome, J® J® J®\nj® And why? why is it that in some villages in Sweden, Calabria, Poland,\nRussia or Hungary better works of art are being produced today than in\nLondon, Berlin, Paris and Rome ?"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.13", "debut_caractere": 13, "fin_caractere_exclue": 2249, "texte": "The reason is a very natural one. It Is because in these villages the\npeople who ask for the carvings, designings, metal things and dresses\nlong for lovely ones, and are excited about how they are going to turn\n0ut,... excited with the excitement of a child. They aren't allowed to\nsee how it's going along till its quite ready,... for the people, (called\nthe artists), who have been asked to do the carvings, designing, dresses\netc are just as excited to do them but not show them till they are\nquite ready; ....and then..,, then the mutual excitement! the carving\nis done ; ....artist and possessor both are in exstacies : both talk the\ncarving up and down and round and in and out: ....happiness ....excite*\nment Life.\nThat Spirit is not amongst us: and the task before the statesman\nwho sets out to affect his nation by the power of Art is to find out what\nit is which shall give life to that excitement in both the artist and the\nother party.\nThere is no real name for this other party. He is not the Patron, the\ncommissioner, the owner: he is far more the Begetter, as in the famous\nsonnets. He starts the wish to create. He says to the copper smith (or\nblacksmith) that he doesn't much like the look of his new door without\nsome plates somewhere, and the smith begins to pass his hand lovingly\nover the great oaken door and to make suggestions. The Begetter doesn't\nsay much for he is all eagerness to hear the man of ideas unfold, and\nslowly out it pours.\n& And if the making of a noble pair of iron plates for the door were\nall that came of it I'd tear up this article and go and drown myself.\nBut friendship comes of it,.... links sure and strong are forged in the\ncompact between these two men, both keen to better the place and so\nbetter the whole earth. Friendship cemented in such away cannot\neasily be broken, ,<S? jS/ &\nOf course the one pays the other because the other pays the one; and\nthe whole transaction benefits the whole race. jZ?\n\"Englishman\" says that a truly artistic community never has existed.\nWhistler said so too. May be it is true. But what has existed and what\nstill exists (though not in England) is a community which holds a natural\nrespect for the artist. Given that.... and I promise you fine art."}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.14", "debut_caractere": 21, "fin_caractere_exclue": 2093, "texte": "For a proper respect for the artist breeds a friendliness betwixt him\nwho asks for a work of art and him who undertakes to make it for him.\nBut where people ask for a work of art and begin even the very\nleast to pose as knowing what that work of art is to be like.. .. adieu\nart, and adieu to all possibility of its good influence on the community.\nTherefore honour your artists, you who manage the British Empire,\nand you'll soon find that the People will iearn to respect the artists too.\nI don't mean you are to make R. A.s of them or knight them ; ...best\navoid both these sham dignities and honour them in other truer and\nsimpler ways. & J£?\njgr Let the artists' work be honoured privately as well as publicly: let\nthose who feed the nation by journalism be taught that they must begin\nto associate the very roots of Life with those of Art: let there be no\nlonger this crass idea circulated that Art is not closely interknit with\na good and practical State and with a good and happy every-day life.\nAnd at the same time beware of another fatal mistake and one which\nwas made only the other day by that good Premier, Mr Asquith. Avoid,\nas you would avoid the devil, the folly of attempting to associate ancient\nart, especially ancient foreign art, and modern National Life, JP J&\nIt was not right of Mr Asquith to come to the Royal Academy dinner\nwith his ideas on Art's relation to our nation so topsy=turvey. He made\nthe following statement:\n\" The Government had not shown themselves insen-\n\" sible to the claims of art. Last year it was their\n\" privilege to help to retain the magnificent Carlisle\n\" \" Mabuse \". That picture was nearly lost to the\n\" country. He feared it would have been lost but for\n\" the intervenitou of the taxpayer; and only in the\n44 course of the last few days they had read of two\n\" great masterpieces of one of the greatest painters,\n\" Rembrandt, passing at enormous prices into foreign\n44 collections.\n& \" These incidents, \" he said, 44 are incidents which\n\" no lover of British art and of (i) Britain as a store\n\n(1) The italics are ours,"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.15", "debut_caractere": 21, "fin_caractere_exclue": 1925, "texte": "41 house of great artistic treasures can regard with\n44 anything but dissatisfaction. There are countries, as\n\" you all know, which take drastic measures, legislative\n\" and administrative, to preserve for themselves what\n\" I may call their art patrimony. I do not think that\n44 public opinion is ripe for the initiation of this form\n44 of procedure ; nor can you expect the British taxpayer,\n\" upon whose shoulders in these days there fall so\n\" many heavy burdens, to enter into an unlimited\n\" competition for this purpose with the millionaires of\n44 the world. &\n44 Happily the public spirit of owners of pictures\n44 in Great Britain, aided by the assiduity and the\n44 organising power of the Royal Academy, has brought\n44 it about that the whereabouts of the proprietorship\n44 of most of our art treasures are fairly well known.\n44 Further, 1 think it is a very rare thing that the\n44 owner of a great picture should not be ready and\n44 willing to give the first refusal of it, if he is about\n44 to part with it, to the nation. (Cheers.) &\n& 44 The remedy, if remedy there be for a state of\n44 things which all lovers of art must increasingly\n44 deplore, is to be found, I think, in an increasing\n44 co-operation between private generosity and State\n44 aid. \" &\n£7 No doubt Mr Asquith felt he had struck a mighty blow in the cause\nof art, but all he did, as you see, was to champion the English Dealer in\npictures against the American Dealer. AH he was concerned about was\nthe loss of some Foreign works of Art belonging to some rich Lord\nand painted centuries ago. £7 &\n£7 That is Snobbery tinged with Commercialism, and to blame the dealer\nor to blame anyone except the mean-spirited Lord who lets such parts\nof his furniture leave his house, is ridiculous. £7 £7\nThen the modern custom of speaking of a picture by some master as\n\" the Carlisle Mabuse \" or 44 the Lansdowne Rembrandt' \" is vulgar and"}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.16", "debut_caractere": 21, "fin_caractere_exclue": 2188, "texte": "could be easily avoided. It comes of course from looking on England as\n44 a store house of great artistic treasures \", one of Mr Asqulth's more\nunfortunate Inspirations. & &\nBut the most unfortunate of all is where this fine statesman speaks\nof the works of Rembrandt and Mabuse as being examples of British art.\nAny man who spares the right amount of time to consider the question\nof Art and National Life knows full well that the nation would not be\na jot worse off if every one of the old master-pieces went home to the\nland of its creator. In fact the problem which Mr Asquith might try to\nsolve is, How to get rid of all the Foreign Works of Art. Perhaps the\nway to do this would be to exchange our Italian, Spanish, Dutch and\nFrench pictures for the English works now to be found in Continental\ncollections. ,6? &\n& Mr Asquith's mistake at this Academy Banquet caused most of the\njournals of the next few days to send up a kind of Guido Rent wall of\ndespair, 44 Another Rembrandt for America gasped the\n44 Observer \", generally a very clear-sighted journal. 44 What a drain\non the country, when is it all going to ?\".\nBut why should it end until all the Foreign works have gone ? When\nthat time approaches English Art will begin to be appreciated in England\nand English artists will be given fair play; not before. For this mania for\npossessing Foreign works of art is the cause of the starvation of all\nmodern art, especially In England.\nIn America it Is almost as bad. American legislators should hound\ndown these dealers who import the works of Rembrandt and Mabuse.\nThe worst of it is that the whole matter is treated so amiably. Modern\nartists have not protested : rather are they themselves nowadays becoming\ncollectors and dealers, JS?\nThis of course is quite contemptable, and I am happy to say I have\nnever yet come across a modern artist in the act of dealing in ancient\nmaster pieces. I think 1 should knock him down.\nNow doubtless having read thus far you feel that you know better\nthan we artists do and you tell us that we are perfectly right to be so\nenthusiastic and you smile In an elderly fashion and you reserve your\ntrump card to the last. &"}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.17", "debut_caractere": 21, "fin_caractere_exclue": 2358, "texte": "& We wonder what on earth you mean when you smile so contentedly\nand tell us we are right to be so enthusiastic. What can we reply ? That\nwe aren't merely 44 enthusiastic \": that a few of us are ten time graver\nabout it all than you are ? That would not be polite ; but we want to\nknow what's at the back of your thoughts and so silently accept the\npretty reproof about our enthusiasm and look questioningly towards you.\nThen with the famous leonine gesture of the fine Englishman you square\nyour shoulders, and, leaning back in your chair which Mr Waring fits\non you so admirably, you rivit us with your fine rolling eye, grey, calm,\nnoble, ....and, alas, ridiculous.... and you make the following assertion In\ntones of finality: 44 The English people are not like the foreigners ; they\nare not by nature interested in Art, ...they have no use for it and no one\ncan make them take an interest in it. \"\nI have heard that statement made at least a thousand times by En-\nglishmen on behalf of England, and I can only suppose that they have\nnever had the advantage of reading a History of England.\n& The History of England, backed by the South Kensington Museum,\nthe British Museum and the London Museum, proves that such a state-\nment is utterly untrue. What is true, however, is that the English People\ndislike humbug in Art, and it is that humbug Art which has caught\ny0u,.... and so you talk about it. & &\nThe Race detests going to Galleries like the Academy or other such\nplaces to see row after row of pictures hung there without any reason.\nIt detests going into hot stuffy gilt and looking-glass palaces called\nTheatres to see plays which are there also without any reason or played\nwithout sense so the Race does not go to these places: cliques go.\n£/ It is the same with music and the other arts. The English People\nloathe parade , they won't go because it's 44 the right thing to go \" ; they\nwill keep away just because of that.\nSo the so-called Art Establishments are practically failures. So much\nare they failures that our Leonine Englishman can lean back in his chair\nand, with these places in his mind's eye, roundly assert that the English\n44 are not by nature interested in Art\".\n& It is just because the English are interested in Art that they refuse\nto assist these abhorrent parade places to exist. The English want art"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.18", "debut_caractere": 21, "fin_caractere_exclue": 2254, "texte": "in their life, and would get it were it not for these tricky art-mongers\nwho pester the nation till a few lunatics are found who support them\nand their parade places. JZ? *0\nThere was an attack made some years ago on the Royal Academy:\nthat attack should be recommenced. It is not one of the noble Institu-\ntions of England. It is an utterly foolish institution. England doesn't\nwant one huge house packed yearly with unbeautiful or even beautiful\nworks of art. England wants works of art in every house, great or small*\nin every street: and if you commence by establishing a kind of toll house\nwith a barrier across the road such as the Royal Academy, you prove\nthat you have the wrong conception as to what art is or is for.\nArt needs no other examination than that which purchaser and artist\nmake together.- that will be searching enough, and to attempt to Hall-\nmark works of art as you do silver by stamping A.R.A. or R. A. on them\nis preposterous, and insulting to Englishmen in the mass. &\nsg? Lastly, (if we may go a little further with what are, after all, only\nsuggestions) let the Theatre be the first to be considered by those who\nwish to bring to effectiveness the Influence of Art upon the nation. It\nIs the popular resort. Let it be filled with good things.\n•\nAt present it is filled with very rotten things,... rotten even as apples\nare rotten. Let a new standard be established. Let first the audience\nbecome human. That is all that is needed and that is not difficult.\nBecome Human,mind ; not become educated. The audience are only\na little stiff nowadays because asses have brayed from high places that\nArt is so moral and so deep, so this and so that, that our poor friends\nget stiff because they feel they can never be \"so good or so clever as\nall that\".\nThis humanizing of the audience can be brought about by giving\nthem good plays in a good workmanly way for a low price in well-built\ntheatres; comfortable and interesting, new, clever theatres, and clever\nand new things\nOur friends who are called the audience are only waiting to be excited.\nLet us feel keen about what we are preparing for them and then let us\nenjoy it together. jg? JZ? JS?\nTo do this new Theatres are necessary; and, before new Theatres,"}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.19", "debut_caractere": 21, "fin_caractere_exclue": 195, "texte": "9\nnew places where we can experiment for a year or two;... Schools. And\nin those schools, with the right men at the head, what new and exciting\nprojects could not be evolved."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c016", "article_bluemountain": "bmtnaau_1912-07_01#c016", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "16", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.10", "titre_corps": "ON \"FORERUNNERS\" AND THEIR MISSION", "titre_sommaire": "ON \"FORERUNNERS\" AND THEIR MISSION", "signature_source": "Nietzsche ; H. Zimmern", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.19", "debut_caractere": 197, "fin_caractere_exclue": 2233, "texte": "ON \"FORERUNNERS\" AND THEIR MISSION.\nNietzsche\n\nwho regard the democratic movement, not only as a degenerate\ning form of political organisation, but as equivalent to a degenerating,\na waning type of man, as involving his mediocrising and depreciation:\nwhere have we to fix our hopes ? In new philosophers...{i) there is no\nother alternative: in minds strong and original enough to initiate op-\nposite estimates of value, to transvalue and invert ''eternal valuations\";\nin forerunners, in men of the future, who in the present shall fix the\nconstraints and fasten the knots which will compel millenniums to take\nnew paths. To teach man the future of humanity as his will, as depen-\nding on human will, and to make preparation for vast hazardous enter-\nprises and collective attempts in rearing and educating, in order\nthereby to put an end to the frightful rule of folly and chance which\nhas hitherto gone by the name of \" history \" (the folly of the \"greatest\nnumber \" is only its last form).,, for that purpose a new type of philo-\nsophers and commanders will some time or other be needed, at the very\nidea of which everything that has existed in the way of occult, terrible,\nand benevolent beings might look pale and dwarfed. The image of such\nleaders hovers before our eyes: is it lawful for me to say it aloud, ye\nfree spirits ? The conditions which one would partly have to create and\npartly utilise for their genesis; the presumptive methods and tests by\nvirtue of which a soul should grow up to such an elevation and power\nas to feel a constraint to these tasks ; a transvaluation of values, under\nthe new pressure and hammer of which a conscience should be steeled\nand a heart transformed into brass, so as to bear the weight of such\nresponsibility; and on the other hand the necessity for such leaders, the\ndreadful danger that they might be lacking, or miscarry and degenerate:...\nthese are our real anxieties and glooms, 3 e know it well, ye free spirits!\n\n(i) For the word 41 Philosophers \"we would substitute 41 Artists J S."}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.20", "debut_caractere": 20, "fin_caractere_exclue": 1930, "texte": "these are the heavy distant thoughts and storms which sweep across the\nheaven of our life. There are few pains so grievous as to have seen,\ndivined, or experienced how an exceptional man has missed his way and\ndeteriorated: but he who has the rare eye for the universal danger of\n\" man \" himself deteriorating, he who like us has recognised the\nextraordinary fortuitousness which has hitherto played its game in re-\nspect to the future of mankind a game in which neither the hand\nnor even a \" finger of God \" has participated!... he who divines the fate\nthat is hidden under the idiotic unwariness and blind confidence of,\n*' modern ideas, \" and still more under the whole of Christo-European\nmorality... suffers from an anguish with which no other is to be com-\npared : he sees at a glance all that could still he made out of man\nthrough a favourable accumulation and augmentation of human powers\nand arrangements: he knows with all the knowledge of his conviction\nhow unexhausted man still is for the greatest possibilities, and how\noften in the past the type man has stood in presence of mysterious de-\ncisions and new paths;.... he knows still better from his palnfulest\nrecollections on what wretched obstacles promising developments of the\nhighest rank have hitherto usually gone to pieces, broken down, sunk,\nand become contemptible. The universal degeneracy of mankind\nto the level of the \" man of the future \"...as idealised by the socialistic\nfools and shallow pates...this degeneracy aud dwarfing of man to an abso-\nlutely gregarious animal (or as they call it, to a man of \"free society\")\nthis brutalising of man into a pigmy with equal rights and claims, is\nundoubtedly possible ! lie who has thought out this possibility to its\nultimate conclusion knows another loathing unknown to the rest of\nmankind.... and perhaps also a new mission / J£?\n\" Beyond Good and Evil \".\n\nTranslation by H. Zimmern."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c018", "article_bluemountain": "bmtnaau_1912-07_01#c018", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "19", "image_debut": 21, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.11", "titre_corps": "THE ACTRESS : An Unpublished Story", "titre_sommaire": "THE ACTRESS : 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": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 2039, "texte": "THE ACTRESS. An Unpublished Story\nby Oscar Wilde.\nThis story was told by Wilde to Miss when child\nand written out by her. A few copies were privately printed but\nthis is the first time it has been given to the public. J? &\nOther stories of the same series appeared in the January and\nApril numbers of The Mask. &\nTphere was once a great actress; A woman who had achieved such\ntriumphs that the whole world of art worshipped at her feet.\nThe incense of their worship had for many years filled her life and\ndimmed her eye for other things so that she wished for nothing\nelse.\nJO The day came, however, when she met a man whom she loved with\nall her soul. Then, all her art, and all her triumphs, and the clouds of\nincense were as nothing to her love was her whole life. But even\nthough this was so, the man she loved grew jealous jealous of the\npublic that the woman no longer cared for.\nHe asked her to give up her career and to leave the stage for ever.\nShe did so easily, for she said; \" Love is better than art, better than\nfame, better than life itself. \" And so she left the stage, and all its\ntriumphs gladly, and gave up her whole life to the man whom she loved.\nTime rushed by, and the man's love grew steadily less and less, and\nthe woman who had given up everything for it, knew It, and the\nknowledge of it fell on her like a chill mist at evening, and wrapped\nher from head to foot in a grey shroud of despair. But she was a brave\nwoman, and strong, and she looked the horror full In the face without\nflinching. She knew that she had reached the crisis of her life, the crisis\n\"on the issue of which her whole fate hung.\n£/ She saw the situation with a cruel, sharp clearness, which cut into\nher heart. She had sacrificed her career to her love. And now that love\nwas failing her. If she could not find means of reviving that light which\nwas now fading away it would soon burn out altogether, she would be\ndesolate in the midst of the ruins of her spoilt life. &\nAnd now, the woman who had been a great actress, realised that her"}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.22", "debut_caractere": 10, "fin_caractere_exclue": 2315, "texte": "art, instead of being a help and an inspiration to her in this darkest\nstrait of her life, proved, on the contrary, a drawback and a hindrance.\nShe missed the stage-manager's directions, and the author's ideas and\nwords. Hitherto she had never done ought without them, every thought,\nevery intonation, and well-nigh every gesture had been indicated to her,\nfor such is the actor's art. And now when called upon to think and\noriginate and act for herself she felt helpless and without resource, like\na child might who was suddenly confronted with a great problem. But\nwith every day that passed, the necessity for action, prompt and strong,\nimposed itself on her more and more. One day, whilst she was pacing\nto and fro with the feelings of wild despair which was within her,\nincreasing with every minute that passed, a man came to see her. He\nhad been the manager of the theatre where she had acted in former\ndays. He came to ask her to act a part at short notice in a new play.\nShe refused. What had she to do with the stage, and with that false art\nwhich turned those who practised it into puppets, helpless puppets moved\nby strings which were in the hands of the stage-managers and the\nauthor. jS jt& &\nTo-day she was face to face with a tragedy of real life, beside which\nall the mock sufferings on the stage were but as so \"much tinsel and\ncard-board. But the manager persisted, it meant money to him, and\nwas a Jew, and so he buzzed round her with the perseverance of a fly\nIn autumn, who will not be beaten off. & & &\nWould she not at least read the play ? To be rid of him she read it,\nand she found that the tragedy of the play was the tragedy of her life.\nThe situation was the same, and a solution of the problem was given.\nFate had come to the actress's help in a stage-play. She would act it\nso as to master entirely every detail of the situation. And so she studied\nthe part, and soon played it to a large audience. She acted with a\nfervour of genius which she had never surpassed during .the whole of\nher career, and the applause that thundered from all sides was the ir-\nresistable homage paid by the hearts and souls of men to all-conquer-\n!ng genius.\nWhen It was all over she returned home weary and half-stupefied,\nwith the cries and shouts of the multitude ringing in her ears. She had"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.23", "debut_caractere": 18, "fin_caractere_exclue": 551, "texte": "given them her best, had poured the power and wonder of her soul at\ntheir feet. All that was left to her now was a sense of powerlessness\nand weakness. She arrived at her house weary and flower-laden. Suddenly\nshe noticed the two places that were prepared at the supper table, and\nthen remembered that to-night was to decide her fate. She had forgotten\nit till then. At that moment the man she had loved came in, and he\nsaid, \" Am I in time?\"\nShe looked at the clock and said, \"You are in time; but you are\njust too late.\" JZ? & £? &"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c020", "article_bluemountain": "bmtnaau_1912-07_01#c020", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "19", "page_fin": "19", "image_debut": 23, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.12", "titre_corps": "TWO SAYINGS", "titre_sommaire": "TWO SAYINGS", "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": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.23", "debut_caractere": 553, "fin_caractere_exclue": 915, "texte": "TWO SAYINGS\nby Oscar Wilde.\ngeauty is a form of Genius... is higher, indeed, than Genius, as it needs\nno explanation. zg? zz? jg? & zgr /zr\nAn artist should create beautiful things, but should put nothing of his\nown life into them. We live in an age when men treat art as if It\nwere meant to be a form of autobiography. We have lost the abstract\nsense of beauty;"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c022", "article_bluemountain": "bmtnaau_1912-07_01#c022", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "27", "image_debut": 24, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.13", "titre_corps": "SIGNOR BRIGHELLA", "titre_sommaire": "SIGNOR BRIGHELLA", "signature_source": "Dr Cesare Levi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 1775, "texte": "SIGNOR BRIGHELLA\nby Dr Cesare Levi.\n(i)\nn these days ojne seldom sees him: scarcely even in some\n\" Commedia con maschera \" by Papa Goldoni does the\ngreen and white Brighella of the ancient Commedia del-\n-I'Arte, the astute and roguish servant, make his rapid\nappearance to assist some gallant intrigue of his master's,\nor, as Lescaut in \"Manon\", ...not so vary dissimilar from him in moral\ncharacter.... says, to give some counsel \" full of wisdom \". &\n4? Yet in past times \"il Signor Brighella \" has had his fortunate mo-\nments: the Zanni of the improvised comedy has held the sceptre on\nthe stage for more than a century, though he has never had the fortune\nof his colleague Arlecchino, the foolish servant... perhaps because the\nspectators are not too fond of seeing intelligence and smartness\ntriumph and prefer the awkwardness of Arlecchino to Brighella's subtlety\nof intrigue.\nThe origins of this masque are ancient: ancient and uncertain, like\nall origins.\n& According to the chronicle of Malvezzi, quoted by Sismondi, \" two\n\"thousand two hundred of the nobles of Brescia wanted to oblige the\n\" citizens to take up arms against the Bergamese and they did not\n\" consent. From this followed bloody battle in the streets of Brescia in\n\" which the nobles were left discomforted, where upon they fled to\n\" Cremona and there founded a military band. The popular part formed\n\" another under the name of Brughella or Brighella \". &\nHave we a mind to give to the plebeian masque of the servant so\nnoble an origin? Or, rather, to derive the name from the eighteenth\ncentury actor, Antonio da Molina, known as il Burchiella\n4? This second origin is even more extravagant than the former. Better\n\n(i) A Translation published by the courtesy of the Directors of \" Nafura ed Arte. \""}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.25", "debut_caractere": 19, "fin_caractere_exclue": 2290, "texte": "perhaps, to affirm more simply with Maurice Sand, that Brighella de-\nrives frcm briga, intrigue; in fact a characteristic of the masque is\nprecisely that of confusion : Brighella is the personification of cabal, of\nknavery; thus he descends in direct lineage from the slave Rseudole of\nthe Greek Comedy and from the Plautinian Epidico : the \"Slavero\" of\nthe \" Plovana \", a comedy by Beolco has likewise many analogies with\nBrighella. Toldo also believes that this masque came from the erudite\nItalian comedy, which, as everyone knows, Is an imitation from the\nLatin.\nHis fatherland is Bergamo : you will always hear him say to Arlec-\nchlno, \"dear peasant\", for while he honours himself as being of Bergamo-\nalta, Arlecchino is of Bergamo-bassa, and he would have it that the\ninhabitants of the upper city were more intelligent and keener-witted\nthan those of the lower: his noble title Is \"Brighella Cavicchio dl Val\nBrembana\".\nIn the most ancient times, when he was not a vainglorious bragger,\na kind of Capitan Spavento, Brighella had all the vices, all the failings,\nof a base and wicked man: a liar, a drunkard, often a thief, sometimes\nan assassin, an adventurer of the worst kind. Then, with the passing of\nyears, he went on modifying himself, and, while remaining the useful\nand obliging servant even in somewhat indecorous services, he grew re-\nfined, became astute and was no longer violent: a thief only when a\nfavourable opportunity offered, a thief, but with civility: vivacious, chat-\ntering, insolent he always remained. \"It is very well known \" says\nBartoli, \" that Brighella usually feigns himself to be a Bergamese man\n\" of ordinary extraction, of no culture, but dexterous, crafty and author\n\" of witty inventions\". & &\nAnd Perrucci, in his \" Arte Rappresentativa \" writes, \" The other\n\" Zanni, (Brighella) must be astute, ready, comical, cunning, that he\n\" may be able to perplex, delude, trick and deceive the world ; satirical\n\" but cum moderamine,in such away that his repartees may have\n\" something salacious but not foolish \" about them.\nIn the earliest times, however, he cannot have had much good fortune\nbecause we find him in none of the collections of Scenari of the six-\nteenth century, nor in those of Scala nor in those of Bartoli: we find"}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.26", "debut_caractere": 12, "fin_caractere_exclue": 2333, "texte": "him as \" servant of Alfonso \" in a scenario of the end of the seventeenth\ncentury, a manuscript of the Cicogna Collection, preserved in the Museo\nCorrer at Venice and published by Stoppato. JZ? &\nThe costume of the ancient Brighella consists of a jacket and pair\nof wide trousers of white linen, (perhaps to indicate his rustic origin) ;\nof a large cap with a green border and a little cloak which represented\nthe livery; thus Sand also represents him to us in his \" Masques et\nBouffons \" : the costume of 1570 did not change greatly in modern times:\nthe ancient Brighella wore long hair and a short pointed beard; his mask\nwas dark-coloured, (perhaps a derivation from the Latin Sanniones ?):\nhe wore at his side a belt with purse and dagger. By Gcldoni's time the\ndagger has disappeared. 0? £?\nGoldoni rehabilitated the masque: in the comedies of the Venetian\nadvocate, Brighella is often an honest and faithful servant, attached to\nhis master, incapable of the smallest indelicacy.\nIn Goldoni, Brighella speaks Venetian: in olden times he spoke a\ndialect in which various dialects mingled but in which Venetian always\npredominated: for the better comprehension of the spectators, (and also\nfor the well-being of their ears 1) how much more agreable must have\nbeen the sweet and soft dialect of the Lagoons instead of the rude and\ninharmonious Bergamese venacular! JZ? JZ?\n& Prom Brighella originated a great number of masques and of stage\ntypes of the Italian Theatre: Beltrame is a very near relation of Brighel-\nla, and so is Fenocchio. <0 JZ/\n& But the Zanni with the white and green blouse was to give life to\nthe most living and active figures of the classical French Theatre.\nMoli&re's derivations from the ancient Commedia dell'Arte are well\nknown: Moland studied them fully. It is especially in the parts of the\nservants that we find most prominent the characteristics of the impro-\nvised comedy, save that on the French stage the astute servant had more\nsuccess than the stupid; Mezzetino and Scapino, Sganarello and Masca-\nrlllo, the audacious and cunning servants of Moli£re's Comedy, descend\nin direct line from Brighella, and his brother in the flesh is that Sbri-\ngani, who, after having for three acts on end made game of that poor\n\" Signor di Pourceaugnac \", hears himself told by the provincial he has"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.27", "debut_caractere": 20, "fin_caractere_exclue": 2396, "texte": "been making Jest of, \"Here is the only real gentleman I have ever known !\nThis time Moliere does not even hide the origin ; he makes Sbrigani\nItalian, like Brighella. In the French Comedy of the eighteenth century\nthe Italian Brighella will be called Crispino, Frontino, Figaro... And the\nbarber of the immortal trilogy of Beaumarchais, is not he, too, an astute\nservant and full of resources, Just such a one as the Italian Brighella?\nThus the Zanni with the white and green blouse cannot complain of\nhis descent; he has made a good deal of progress from his native Bergamol\nAnd he has not stopped at Paris only ! While on the stage, first of\nthe Palais-Royal and afterwards of the Thddtre-Fran9ais and of the\nTheatre-Italien, he won, under another dress and another name, ap-\nplause and fame; while he contributed to the fame of Moliere, of the\nRegnards, of the Lesages, of Beaumarchais, Brighella in his own land\ntimidly showed himself between two lively beats of a Qoldonian comedy,\n....just to show that he had not altogether disappeared; or flung his\nlast \" lazzt\" into the comic fables of Count Carlo Gozzi.\nIf Goldoni rihabiiitated him morally, Gozzi raised him in rank and\ndignity: he is, together with Truffaldino, \"the King's huntsman\" in\nthe \" Corvo \" and \"butler\" in the \" Re Cervo \", and \"Master of Pages\"\nin \" Turandot\"; in the \"JAugellin Belverde \" lover of Barbarina, he is\n\" poet and soothsayer \"; and he rises even to the grade of \" captain of\nthe guard \" in the \" Mostro turchino \". Ah, for but a short time S He is\none of the beggars in the fable \" I Pitocchi fortunati \", to descend again\nto his condition of servant, whether of the court as in the \" Zobeide \"\nor of a Vizir as in the \" Donna Serpente \".... but always a servant. JZ/\n•\nthat traditional to the ancient mask: specially does the \" Amante Mili-\ntare \" recall the ancient Brighella, overbearing and boastful and often a\nsoldier. In this comedy, (certainly not amongst the best of Goldoni's,)\nBrighella is \"recruiting sergeant\"; with many blandishments he suc-\nceeds in enrolling his compatriot Arlecchino, who very soon wants to\nhave no more of the military life and tries to desert.\n& Brighella is servant and confidant of Florindo in the \" Bugiardo \" ♦\nservant of Ottavio in the \" Tutore of Pantalone in the \" Uomo Pru-\ndente\": Innkeeper In the \"Servitore dei due Padroni\", he returns to be"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.28", "debut_caractere": 12, "fin_caractere_exclue": 2420, "texte": "the servant of the house in the \" Puntigll domestic! \" and in the \"Fa-\nmigiia dell'antlquarlo \" : in the one comedy, as husband of Corailina, he\nsquabbles with her and is the cause of ail the quarrels and differences in\nthe house of the Count Ottavio, speaks ill of his master, is discovered\nfor the rascal that he is and driven away; in the other, servant of Count\nAnselmo, who has a mania for antiques, he introduces Ar'ecchino into\nthe house disguised as an Armenian and confuses his master, making\nhim buy old rubbish for objects of great rarity. Where Brighella is in-\ncomparable for drollery is in the \" Figlia obbediente \", where as father\nof the dancer Oiivetta he gives himself importance and airs over the\nmoney ill-acquired by his daughter: the comedy is not only a delightful\ncaricature of the newly-enriched man, the parvenu, but a yet more\nprofound satire of a type not a little ignoble and vulgar.\nIn three or four comedies,... among the better ones... Qoldoni makes\nof Brighella an honest man, attached to his masters, faithful even to\nscrupulousness.... It is the end of the mask! Brighella is dead !\n& When the type loses its characteristics it is finished: in transforming\nit Goldoni humanized it, and Goidoni well knew what he was doing:\nBrighella, owing to the great reformer, ceased to be a mask, a fixed type\nwith immutable characteristics, and became a man like so many others,\na man of flesh and blood, a man subject to the passion! and the weak-\nnesses of other men,\n& In the \"Moglie Saggia\" Brighella, servant of Count Ottavio, is a good\nman, attached to his mistress Rosaura. In the \"Donna di Garbo \" Bri-\nghella has been the one to introduce Rosaura into the Doctor's house:\nRosaura caresses him and is fond of him, an affection requited by an\nequal fidelity. In the \" Cavaliere di Buon Gusto \" Goldoni raises him a\nlittle in rank: from groom Count Ottavio promotes him, as a reward\nfor his honesty, to be house-steward. But in the \" Serva Amorosa \" Bri-\nghella is the true dens ex machtna of the play: it is he who gives to\nhis master sooner than to the Notary an important paper, which must\nfinally open the eyes of the old and childish Pantalone to the wickedness\nof Beatrice, and he ends by marrying Corailina, the \" serva amorosa \".\nBut Goldoni, who wanted little by little to exclude the masks from\nthe stage without running counter too suddenly to the taste of the public;"}, {"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.29", "debut_caractere": 20, "fin_caractere_exclue": 2346, "texte": "who wanted to improve Comedy by a bringing face to face of the scur-\nrility, the whims, the eccentricities of the old Comedy with the simpli-\ncity, the humanity, the urbanity of the new,... that of which he was\nhimself the creator.... Qoldonl did not attribute over much importance\nto the scenes in which the masks played their part; (<) he conceded a little\nto the taste of the public, and tolerated it, but he tried always increa-\nsingly to cause them to be forgotten. &\nGoldoni received, however, great praise at that time for a celebrated\nBrighella, the Milanese Giuseppe Angeleri, who from 1735 to 1754 had\ndistinguished himself In the parts of Brighella. Goldoni in his \"Memories\"\ndescribes his death which took place in Milan shortly after the perfor-\nmance. In fact it was suspected that Angeleri had been poisoned through\nwomen's jealousy. ? ■<&\nOne of the most famous Brighellas of the eighteenth century was\nPletro Gandini, a Veronese. Quadrlo says that he had a great disposition\nfor the theatre and from a child, joking with his companions, invented\nand performed little comedies.\n& When grown up he went on to amuse himself with the academicians\nof his own parts, and entered a company of players. It was he who in-\nvented the fashion, afterwards imitated by very many, of transforming\nhimself before the eyes of the spectators into various curious person-\nnages, playing instruments, singing little songs, \" and performing other\nplays pleasant and worthy of admiration \".\nBartoli, the Plutarch of our ancient comedians, says that 44 his talent\nwas such as to be heard of beyond the Alps, and he was urgently de-\nmanded at Paris\". fie died in the year 1760. &\nBrighella made the name of many others also: of Cimatori, of Fran-\ncesco Berti, of Giovanni Rossi, of Carlo Campi, of Antonio Martelli, of\nCarlo Giussani, of Tommaso Fortunati, of Gaspare Marzocchi, of Luigi\nDelicati, of Giuseppe Majani, of Luigi Lazzarini ; but all these were\noutdone, for originality and versatility of talent, by the Ferrarese Ata-\nnasio Zannoni.\n\n(i) An example of the treatment meted out to '* these masked giants that strode across the centuries for a\nwhile, helping Shakespeare, suckling Moliere, creating Goldoni, and being driven away from the haunts of man\nby the ungrateful children they had reared The Mask. Vol: 3, p. 100."}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.30", "debut_caractere": 18, "fin_caractere_exclue": 2386, "texte": "He was one of the best comedians of the eighteenth century, excellent\nalso without a mask, and a man of much culture and learning. He had\none of those very changeful physionomies which, one would say In the\nslang phrase, \"s! smontano \" : (i) an expressive mimic in the highest\ndegree; in a word, a Noveili of the eighteenth century; In this connec-\ntion a good story is told of him. A lady wished to have a portrait of a\nperson dear to her; and since this person obstinately refused to pose\n4 *\nfor the portrait, she thought of resorting to Zannoni: the actor consented,\nand in a short time succeeded in forming for himself a physionomy iden-\ntical with that of the person in question, and the painter, copying\nZannoni, was able to produce a picture' which was a marvellous likeness.\nZannoni, who had married a sister of the celebrated \" Truffaldino \".\nSacchi, and had entered his Company, is most [highly praised by Carlo\nGozzi in the Preface to the \" Re Cervo \".\nft was Zannoni who collected and published in a volume all the exits\nfrom the stage, the 44 discorsi di bravura\", the quips, the sayings; that\nwhich, in a word, the players of the Commedia dell'Arte called\n& To explain what these were I will quote the words of Riccoboni In\nhis 44Histoire du Theatre Italien \". \"To sustain the comedy and render\nif easier to be performed by mediocre actors it was necessary to resort\nto the Monologues and to those common situations which the Italians\ncall 44 Robbe Generiche \" and of which the actors make use in following\nthe interest and the situation of the scene \".\nFrom the Genericl Brighelleschi of Atanasio Zanone (sic !) I glean\nsome curious quips, some bizarre definitions, some repartees.\nSomeone having wished him the gallows, Brigheiia replies thus; 44 I\n44 wish you a hundred years of life, but ninety [of malignant fever and\n44 ten of grievous agony \", and gives this definition of women: 44An ugly ana\nwell-dressed woman Is like a fox, one throws away the flesh aud keeps\nthe skin and this of defects .• 44 defects are like odours, of which one is\nmore aware when they are around one than on oneself\" ; and in con-\n*\nelusion, this counsel, not to count a woman's years: 44 If you don't\nwant curses, don't count women's ages'4. (2)^\n\n(1) Literally *4 take t© pieces\".\n(2) Several are omitted, as 1 ©sifig to© much when tsnslated from the original dialect."}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.31", "debut_caractere": 12, "fin_caractere_exclue": 2017, "texte": "j0 Such eccentricities must have greatly pleased the public when the\nZanni who used them possessed its sympathies through being as smart\nand witty as was Zannoni: but they must have been insupportable in a\nmediocre actor, or even if too often repeated : the monotony of such\nstrainings after effect was not one of the least causes of the end of the\nCommedia deli'Arte.\nThis is well expressed by Goidoni, through the mouth of his \"Anselmo\"\nwho in the \" Teatro Comico \" represented Brighella to the poet, who\nreads him one of his plays: 44 But don't you know that Dialogues, exits,\nsoliloquies, reproofs, conceits, despairs, tirades, are things that are not\nused any more (i) And when a few scenes afterwards Brighella makes\nin fine style his tirade according to the ancient custom: \"that pilot who,\nfinding himself on the high seas \" Orazio, the poet of the company,\nquickly interrupts, *• That's enough. These comparisons, these allegories\nare no longer used \": to which Brighella replies, \" And yet when one\ndoes it the people clap their hands \". jZ>\n& Not for much longer, one might say today, were they to be applauded\nnor were they always supported by the genius of a Gandini, of a Zannoni.\n£/ This last Brighella <also, like Angeleri, like Cimatori who died by\nthe way at Lyons, was to die a violent death: while coming out from a\nsplendid supper Zannoni, perhaps unsteady on his legs, fell into a canal;\non being pulled out he was obliged to go to bed, but rose no more. It\nwas the year 1792. &\nj& Brighella ended with the \" Serenissima \": those were the last glories\nof the Republic of St Mark which coincided with the last lazzi of the\nlast Brighella. A symbolical death!\n£? In the meantime, over In Paris, one of the sons of Brighella, Figaro,\nhad proclaimed the rights of man, and raised his voice before his master\nand wanted to be considered, he too, as a man. & & /sr\nBrighella threw away the white and green livery and the big hat and\nset on his head the Friesian cap. . &\n\n(1) Aet 2. Sc. 1."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c026", "article_bluemountain": "bmtnaau_1912-07_01#c026", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "32", "image_debut": 32, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.14", "titre_corps": "OUR DAILY NEEDS", "titre_sommaire": "OUR DAILY NEEDS", "signature_source": "V. Surgen", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 1923, "texte": "OUR DAILY NEEDS,\nby V. Surgen.\nITEM. FOR BREAD: 20 pounds per Annum\n\" \" MUS /C: 2 0 pounds 44 44\nusic having passed out of Life we go in search of its re-\nmains in dusty little corners. It is a pity it was allowed to\ngo: it should be called back it would like that....;\nand it would be less angular, less in the corner,.... and so\nless dusty. £* g? jg?\nWe think that we have the best music In London, Paris, Berlin and\nthe other centres.\nit is these centres that are the corners.\n& Do you really want to know where the best music is to be heard?\nthis day.... sometime now never., that's the time.... Yes,\n\" but where the place\nupon the heath\nthere to meet with Macbeth. \"\nYes, upon the Heath when it thunders and when it rains... when the\nGods play upon the rotundity of the world when it wails in a gale\nor when it hums and zings on the golden strings drawn taut from earth\nto sun. Then man joins in lustily or drowsily,.... then and there we have\nthe only music still left to relieve life from the' deadliness of its storm\nand calm. But in the life of the cities there is no music. Whereas in the\nmountains or fields it comes to us, In the cities we had learnt that\nwe had to create it; for a special kind of music is needed in\nthe cities, in our city work. We had learnt that and now, alas, we\nhave forgotten it.\n& The artists used to be plain ordinary men just like ourselves, their\ndaily work being to play for us. We paid them for their piping. How\nclever we were once. How thoroughly practical and witty of us to know\nthen that we needed music, ....a particular kind of music.... just as we\nneeded bread,..:, a particular kind of bread. Town bread, town music.\nRough natural bread we knew wouldn't do. How clever to know that,\nAnd so we had softer more delicate bread made, and the same kind of\nmusic t00.... for our health and our family's health.\nAnd It all seemed so natural. And then one day our wife said to us,"}, {"page_pdf": 33, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.33", "debut_caractere": 18, "fin_caractere_exclue": 2218, "texte": "\" John, I hate been enquiring Into this matter of bread and music and\nI find that we pay our baker L. 20.0.0. a year for bread {and our musi-\ncian L. 20.0.0. a year for music. \" And we answered her, not knowing\nher mind. \" Well, my dear, and that is very little methinks \". But she\nanswered us again to our wonderment, \"Yes, John, but we are obliged\n\" to pay L. 20.0.0. a year for our bread because the baker tells me that\n\" he is obliged to pay heavily for the flour and the yeast. But with that\n\" music fellow it is different: it -costs him nothing to make his music\n\" for his materials are given him by the good God. What do you say,\n*' John ? Shall we cut him down to L. 10.0.0. a year and so save\n\" L. 10.0.0. ? we could buy you a new overcoat or new pantaloons,\n\" John, and our little Jeannette a new rattle \". &\nSerpent!\nAnd who still believes that there was both a real serpent and a woman\nin the Garden ? • Who is there that has seen the trail of the gliding\nthing but knows today that the impression on the earth clearly reveals\nthe female form divine? &\nThus it is that we have lost our music. For after we had cut down\nthe musician's salary to half its original size the musician gasped we\nheard that gasp somewhere in the thirtys, or was if earlier, much\nearlier ? At any rate there has gradually been less and less money\npaid to the musician for his \" daily music \" because the man never\ntroubled and the woman made up her mind not to be swindled any\nlonger,\n£/ Fool as well as serpent! And now except in restaurants and In thea-\ntres music does not enter into our life. It stays in the eating houses\nand in the theatre places because women want it to stay there. And nice\nmeaty stuff it i 5.... pretty tinseily tinkles too. Cheap as dirt.... in the\ndusty corners! There we find music in our life. & &\nYou notice how cheap it is, no? well, you see there are five\nhundred people eating in a big room and there is L. 12.0.0. or L. 20.0,0.\nof music split up between 'em. About ninepence a head at most. Or\nthere are three thousand people being bored in a theatre and there\nis about L. 20.0.0. worth of music for them,... less than a penny a head\nis what they have to pay. & J£? JZ? <£? •£?"}, {"page_pdf": 34, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.34", "debut_caractere": 18, "fin_caractere_exclue": 2172, "texte": "The popular prices of the Serpent, & &\n+\nAnd of course you can't (or don't anyhow) get real fine old musi-\ncians to play at three farthings a head; yon really don't. So that\nmusic has gone out of our life altogether and musicians are slowly\nbeing turned into philosophers. And if by chance we hear their music\nwe fee! queer about it and we ask, '« who could dance to that\" ? The\nanswer is, \" what, do you still want to dance ? do you still want to\nmove ? 1 thought you felt no need for that, I thought you wanted some-\n.thing to think aboutJZ? JZ? JZ> £?\n& No, but isn't it just a bit tragic.... as well as comic, that musicians\nshould be starved for centuries into slowly and deliberately becoming\nthinkers and philosophers when all the blessed children had to do was\nto feel and to make us feel. Assuredly they do still feel they feel\nthe pinch, (i) And we hear the squeal, the groan, the sigh, or else the\nquiet throbbing of the brain of the artist-turned-philosopher, regarding\nthose who have done him to a turn.\n& When musicians and all artists shall unlearn the words, \" Father\nforgive them, \" and the rest, then and only then will the woman be\nfound out and be happy to be caught meddling and put back in\nher place. J&JZ?JZTJZ}JZ?JZ?UZ?J&\nThere must be no question of further forgiveness. And it Is for this\nreason that I rather like so much these Futurists in all the arts.\nFuturist is a much better name for it all than Post-anythlng or Pre-\nanything else. & JZ? JZ? JZ? & £?\nhat is what became clear to me the other evening in Paris when\nby a good chance I was able to get to hear some new music\nwhich of course wasn't allowed (as it should be) to get to me.\nThe music I was to hear was by an Englishman.\n£? Dr Vaughan Williams is a Futurist. He doesn't know he i 5......\nneither does he know what it means: if he did he'd quickly recant\nand become a shepherd on Ben Nevis or a type setter if he preferred\ncity life. But he Is Just one of those amazing people who are leading us\nforward to the place we left years, centuries, ago. As he is an English\n\n(l) Tight lacing came m as a kind of 44 leit motif \" with the reduced salaries of musicians."}, {"page_pdf": 35, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.35", "debut_caractere": 18, "fin_caractere_exclue": 1980, "texte": "Futurist he lets us down middling,.... but his rage is terrible none\nthe less. & & & &\n& \" I don't forgive them they shall learn what they have done \".\nNot that I would suggest for a moment that the genial Doctor is at\nal! conscious of his Jove-like mood. Looking in his glass In the morning\nthe Doctor only sees the mask which, like all profound Englishmen, he\npurposely wears by accident. uS> &\n&So when I went to the Salle Gaveau to hear the Doctor's Poemes pour\nchant, piano et quatuor \" I was enchanted.\nThe majority of the people had gone there to hear tinklings, twiddlings\nand trillings by exceedingly worthy and high-class theatre and restau-\nrant musicians, and looked a little helpless without the gap-filling food.\nAnd when the twiddling bits were over they one and all made for the\ndoors: but nearly all were arrested at that instant by a strange cloud\nwhich began to put the place in shadow. & &\nIt was the entrance of Dr Vaughan Williams and his managers.\nThe solid phalanx approached in dreadful silence upon the field now\nstrewn with the sweet and sticky gore and gush which had but lately\nissued from those who had taken part in the sugary duel of twiddling\nand twaddling. &\nIn an instant everything was transformed. The gods rose up once more\nand held the people captive.\n&No one moved : how could they ? The sentence was about to be pro-\nnounced ; they, doom'd prisoners, understood. The Doctor had donned\nthe black cap.\nThen the message. &\nJ3 Some of us applauded like cannibals whilst the rest stood stock still.\nIn our rage we made enough noise for forty thousand, and we seemed\nto be possessed by the souls (or hands) of those dead musicians whom\nthat Wife had claimed in the thirtys. & &\nAltogether it was bracing Blake explains what that means.\n11 was \" DAMN \" unadorned, the horrific mood of old Blake. It was\nnot \" Father forgive them \".\nAnd music? what of the music?\n& The message was music, my friends, and there was no music with a"}, {"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.36", "debut_caractere": 18, "fin_caractere_exclue": 689, "texte": "message. How provoking that is! you cry. You don't like people who\nare paradoxical..o\nDON'T YOU! &\nThen you hate yourselves, my friends, for it is you who have made\nlife the paradox it is ; it is you that have complicated it ever since you\nallowed woman to meddle in affairs of Art and Life ; and until you put\nthe sweet lady back In her place once more you'll never be free from\nthe paradoxes and the pains and the penalties. And the way to begin\nsetting things right again is to pay annually that L. 20.0.0. a piece for\nV\nyour music:.... in fact pay the same sum as you pay for your nice white\nnecessary bread. And then.... God be with you.\n& Verbum sat sapienti. (1) &"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c030", "article_bluemountain": "bmtnaau_1912-07_01#c030", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "36", "image_debut": 36, "image_fin": 40, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.15", "titre_corps": "JACQUES DALCROZE AND HIS SCHOOL", "titre_sommaire": "JACQUES DALCROZE AND HIS SCHOOL", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.36", "debut_caractere": 691, "fin_caractere_exclue": 1785, "texte": "JACQUES DALCROZE AND HIS SCHOOL,\nby John Balance.\nVfou probably have never heard of Dalcroze. You've heard of Maud\nAllen well, that's not it; You've heard of Del Sarte ? that's not it\n/\neither; You've heard of Isadora Duncan?.... well, that's nearer it, and,\nto do M. Dalcroze full justice, in his teaching he reaches nearer to Miss\nDuncan's ideal than that of one of her imitators or one of her masters.\nBut then Dalcroze is himself no originator. There seems to be really\nno exquisite reason why he should be except that we like a man to think\nand feel for himself. If a woman derives her inspiration from a man its\nonly natural; she adds a personal touch which is common to her sex and\nsomehow that staggers us a11.... as it very rightly should do. We are\nail of us always staggered by that sex; the gods were even staggered.\nJupiter reeled ; Ap0110,... well, that's different, for,\n\" is not even Apollo, with hair and barpstring of gold\nA bitter God to follow ! a beautiful God to behold \" ? (2)\n\n(1) i« e. \"a wick is as good as a nod to a Mind horse\".\n(1) Swinburne. \"Hysnn to Proserpine.\""}, {"page_pdf": 37, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.37", "debut_caractere": 34, "fin_caractere_exclue": 2295, "texte": "Apollo...creator of Form, bringer of Light, Music; the impersonal God,\nthe God who burns up the dross; burns Isis, has power over Osiris. Come\nnow, here is an Inspiration which counts. And in him we have the God\nbefore whom even the staggering impertinence of the fair sex comes to\na standstill. The tiptilted noses droop beautifully again, and the ladies\nmake way for the true artists once more to advance and reveal the\npower of Apollo. J&\nDalcroze knowing this claims that his art is Apollonian. Alas, it is not.\nInstead it is the real old Theatrical article served up very neatly. For\nApollo never asked for a parade of womanly charms in his service. \" A\nbitter God to follow\". Women don't follow after Gods that offer bitter-\nness, for there are very very few women who know how to make beauty\nand goodness out of what spreads itself as bitterness on the earth. No,\nVenus, or some more pleasant Deity is their favourite. And as Dalcroze\nfills his school with girls he empties it of Apollonian possibilities and\nlets the Cyprian slip into the Fold.\nM. Dalcroze's girls are just delightful. No one who sees them exerci-\nsing or watches them as they watch their master, can doubt for a mo-\nment that they are true and sincere worshippers of Venus. She it is who\ncoos over all at Hellerau ; ...a distinguee, nice and pretty modern Venus;\nmodern because, unlike all the other Deities, she will be \" in the fa-\nshion \". Although a quite brainless, soulless Goddess she is intelligent.\n...1 once had a dear little pussy catcalled Topsy, and what that creature\ncouldn't do! ...but to the matter in hand.\nUnder the inspiration of Venus modernized into something at once\nhealthy and chic M. Dalcroze advances to instruct his many promising\npupils in the art of Rhythm. Gymnastics, Dancing and Dramatic Gesture\nare practised In d00r5,... or out d00r5.... for M. Dalcroze has a delightful\nand vast open air courtyard designed by the architect Heinrlch Tessenow\nwho doesn't seem to have wasted an ounce of his material or an inch\nof his space. sS> &\n1 can't sp9ak too highly of this whole building. It is made for the\npurpose to which It is to be applied, and it is a real working place. And\nwhat energy and enthusiasm the subscribers to the whole affair have\nshown \\£/"}, {"page_pdf": 38, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.38", "debut_caractere": 26, "fin_caractere_exclue": 2245, "texte": "Into this building Dr Dalcroze dumps his girls, and sets them swinging\ntheir arms and legs and bodies. Outwardly all is perfect, for the girls\nare just the perfectest girls that ever girls could be. Inwardly there is\nnothing & <£? JZ?\n& I mean, of course, comparatively nothing. For inwardly there are\nhearts, beating awfully prettily, and emotions chasing one another, and\nbeliefs all butterfly-like playing easily at Bc-Peep : ...and there are very\npretty little dances, and such a nice feeling of good breeding and pleasant\nhours spent. And there's just the prettiest of houses near the school\nwhere the girls are kept and fed and where they exchange those lovely\nconfidences which girls alone know how to exchange without having\ngiven anything.\nThe head mistresses of the school are most intelligent ladies oftnuch\nrefinement and thoroughly capable, and no one could desire a more\nperfect directress than Frau Mabel-Rlees. J£? J&\n& And yet the net result of the whole effort is nothing,\n& Individuality is lost in this school. And that is rather a grave matter,\nbecause they employ the individual even as the carpenter employs wood\nor the goldsmith gold.\nHerein lies the root-evil of the whole matter. Girls are employed like\nso much marble or g01d.... and Dalcroze, like Michaelangelo, hacks away\nat them, turns them, bends them and of course they like it,\nExcellent I excellent that any and all girls should like being bent and\nturned by a man ;... it is an old virtue of theirs, but it has the disad-\nvantage of in no way conducing towards the production of a work of art.\nlt has been lately pointed out, (i) and for the first time so far as 1\nknow, that a work of Art can only be made '• from those materials in\nwhich we can calculate \" and it has been shown that \" man is not one\nof these materials \" because \" the whole nature of man tends towards\nfreedom \". And therefore as \" Art only arrives by design \", to make use\nof the bodies of men and women can only end in creating something\naccidental. If this has but lately been proclaimed as a principle it has\nfor centuries been realized by every artist, great or small from East to\nWest as a truth. JZ?\n\n(l) In 14 Oa the Art of the Theatre by E. Gordon Craig."}, {"page_pdf": 39, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.39", "debut_caractere": 28, "fin_caractere_exclue": 2528, "texte": "The girls whom M. Dalcroze shows us in the frontispiece to his book\nare awfully pretty and charming : they spring up into the air like the\ndearest of nymphs,.. but they don't bear looking at besides even the\nsmallest statue by Donatello or by Yeshin-SSdzu. It is Venus versus\nApollo, and she loses the throw. JZ?\nCompare these dear little dancers with a different and a less spiritual\nwork of art; put them beside the figures carved and coloured in the sixth\ncentury before Christ by the master at the Acropole and their Goddess\ndeserts them.... for Dionysus peers out through the Temple doors.\nSo let us remember; the old Laws hold good, and if the grandest Law\nof Life is Liberty, the grandest Law of Art is Slavery, The artist himself\nis a servant... he is the servant of God and he is commanded to go and\nselect any material which creation can yield him ; but he must not make\nuse of man, woman, child, bird, beast (i) or any other living thing in his\nattempt to make a work of art. These things are free agents and must\nbe left free; these are already formed, already fitted with life: to touch\nthese, to take these with intent to use them as materia! of a work of art\nwould be to eat of the Tree of Life that is forbidden That one tree\n0n1y,... and theatrical people have disobeyed. JS? £?\nM. Dalcroze is not exactly a theatrical person ; he is a musician. He\ncomes promising to release us; he only binds us all more selfishly and\nmore cunningly than his predecessors. As master of gymnastics and di~\nrector of a well-ordered establishment for young ladies we are all in\nfavour of M. Dalcroze. As a teacher of art we consider him entirely lack°\ning in conscience, bringing false counsel of a very dangerous kind,..,...\nthat ancient advice of the serpent with its lithe and sinuous gestures,\n\"Ye shall not surely die, for God doth know that in the day ye eat there\n\"of your eyes shall be opened and ye shail be as Gods, knowing good\n\"and evil \"\nAnd it is to women that the good fascinating, harmless M. Dalcroze\n\n(i) Pen'ormiog Animals are every whit as eligible to be called artists as are either Actors or Dancers, yet\nno one so far as 1 can recall has claimed for any tronpc of performing elephants or dogs what Dalcroze claims\nfor his troupe o' girls. Nearly everyone realizes that the practise of training living things to perform obediently\nbefore the public is merely a harmless if objectionable sillyness which appeals only to those in quest of the\npeculiar and unnatural,...well then?,."}, {"page_pdf": 40, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.40", "debut_caractere": 40, "fin_caractere_exclue": 631, "texte": "appeals. They are to be goddesses again,... through the power of Rhythm\nand by the grace of Dalcroze. £?\nHe would have been right to make such an offer but for one small\nthing woman.\nLet us remember that against the Laws of Nature and against the\nLaws of Art it is forbidden to rebel, and he who does so shall not pre-\nvail, and his disobedience shall eternally plague him.\n& Come then, let us move on; let us strive to give birth to a new art of\nthe Theatre; but let us learn first the Laws, however stern they may be,\nand surely forbid ourselves that which Nature has already forbidden us."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c032", "article_bluemountain": "bmtnaau_1912-07_01#c032", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "36", "image_debut": 40, "image_fin": 40, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.16", "titre_corps": "ON TRUTH AND ERROR", "titre_sommaire": "ON TRUTH AND ERROR", "signature_source": "Goethe", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.40", "debut_caractere": 633, "fin_caractere_exclue": 1053, "texte": "ON TRUTH AND ERROR.\nGoethe.\n•*jphe truth has always need of being repeated, because error Is cease-\nlessly and repeatedly preached to us, and not only by some isolated\nvoice but by the crowd. In the newspapers, encyclopaedias, in the schools\nand the universities, everywhere error holds the first rank; it is at its\nease with the majority, who charge themselves with its defence.\nConversations with Eckermann. 1822-1832."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c034", "article_bluemountain": "bmtnaau_1912-07_01#c034", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "43", "image_debut": 41, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.17", "titre_corps": "THE PAINTER IN THE THEATRE : A Note", "titre_sommaire": "THE PAINTER IN THE THEATRE : A Note", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 2161, "texte": "THE PAINTER IN THE THEATRE. A Note\nby Gordon Craig,\n\ncopy of that excellent journal 44 Rhythm \" has been sent me by\nsomeone for some reason and If 1 could better understand the\nreason I should know better how to speak of the article which\nwas specially marked for me. J& J£/\n& This article was called 44 Stagecraft \" and was written by Mr Georges\nBanks, whom 1 take to be a painteryet I may be quite wrong in my\nguess, for Mr Banks might be Mr Holbrook Jackson in disguise or even\nMr Allen Carrie,.... except that Carrie really does know something about\nthe stage although he theorizes only and abstains from the practise.\nStill, without knowing who and what Mr Banks may be when he is\nat work, and without knowing why he selects to send me of all people\nhis Interesting article without any word of explanation or excuse, I\nbelieve so much in all these new movements that I can easily find a\nserious word or two to say about the suggestions of Mr Banks.\nThe gist of the article, then, is that Mr Banks went twice to the\nTheatre des Arts in Paris, saw from the stalls and the upper circle a\ncertain play by Dostoiewski, 44 Les Freres Karamasov \" and, \"seeing the\npiece first from the stalls and then from the upper circle \" found a new\nproblem revealed unto him. 44 From upstairs the scenery entirely dis-\n-44 appears, leaving the action to take place against a grey floor carpet\n44 composed of the elements of black frock coat and white shirts and\n44 arresting all movement, so that the artist has not merely to pro-\n-44 duce one vision, but four, below, above, right and left. \" &\n& This passage doesn't make things as clear to me as I would like, but\nat all events 1 gather that when in the upper circle a new problem was\nrevealed to Mr Banks.\n& Had 1 been with him I could have told him that dozens of new problems\nare revealed to us from that awful crow's nest, and that it's one of the\nhundred damnabilities with which we have to reckon when considering\nour art as a whole, JZ?\nMr Banks likes to consider a part of the art as though it were the\nwhole; and this is not quite right of him.\nHe therefore gets a false revelation. The upper circle is never very"}, {"page_pdf": 42, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.42", "debut_caractere": 28, "fin_caractere_exclue": 2148, "texte": "inspiring and should have been done away with some centuries ago, and\nit is wrong to think of adapting the art to its frame or to the floor\nfrom which we regard it when the frame and floor are both capable of\nbeing improved out of existence. jp &\nThe floor of the Theatre is the Earth: we need not bother our heads\nany longer about whether stage performers should be seen from any\nangle but the normal right angle of the straight floor laid as close to\nthe earth as possible. And it is because Mr Banks does trouble himself\nabout this, pondering a trifle too earnestly upon the value of the\nupper circle, that he wanders into a complication which is quite\nunnecessary*\nwould have us use the floor as a background all for the sake of\nthe upper circle, painting on it a decorative background.... a helpful\nbackground for the helpless who have been skyed against their will\nIn a circle which I feel sure even Dante would have refused to report\nupon. & & jg & &\nMr Banks gives us an example of what he means in word and picture\nand these I reproduce here.\n44 the production of the third act of Maeterlinck's \" Monna Vanna\n44 where it Is obvious that only half a tent can be staged. Here we have\n\" a magnificent opportunity to display, by the floor decoration alone, the\n\" shape, sise, ornament and background to the upper portion of the\n\" audience, as it is impossible to have a high not so\n44 much on account of the limitations of the tent, but because the two\n44 figures must not be dwarfed on account of the significance of the\n44 acting which takes place. Two human beings at the summit of their\n44 lives, one seated upon a couch, the other lying upon the floor, talking\n44 calmly without action, demand the prominence of facial expression.\n44 The garments must be simple in design, but depth and purity of colour\n«4 are essential.\n44 In the decorative striping of the tent we have the opportunity of\n44 carrying down the lines on the floor-cloth, converging to a semi circle\n44 with the suggestion of where the tent pole would be. Besides the outer\n44 drop-curtain a second, of the same material as the tent; parted and"}, {"page_pdf": 45, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.45", "debut_caractere": 28, "fin_caractere_exclue": 2313, "texte": "\" already drawn aside, would suggest the missing half and at the same\n44 time convey seclusion and dignity and be an immense asset to the\n\" i maginative realization of the scene &\nThat's all perfectly right, but quite valueless for the reason stated,\na nd It Is not a little reprehensible of Mr Banks to rush into print after\nundue consideration of this question of the Theatre. &\nIt smacks too much of the market, especially when we read the\nfollowing passage: 44 When the Theatre des arts in Paris employed the\n\" autumn salon artist to paint scenery last year, it was considered utter\n44 folly ; but M. Rouche knew what he was about, and in some cases the\n44 success has been very considerable, while to the craftsman the mistakes\n44 are of considerable significance. \" &\n& For though it was by no means folly of M. Rouche to invite the Salon\npointer into the theatre it was an utterly wrcng thing of him to do,\nmore especially as he belongs to that ever enlarging group of men\nwhose programme is frankly announced as 44 the Reform of the\nTheatre \". & &\nI am not a reformer of the Theatre. Some of these days 1 may find\nmyself ready to start the reform of the Drama, but at present I see too\nmany places where 1 would compromise and we know well that Reform\nad mlts of no compromise. And for this reason I sincerely wish that many\nof these admirable theatre directors would abstain from announcing\nt heir efforts for Reform, for, alas, it is very deceptive to the public. &\n1 have written elsewhere (i) about the futility of us welcoming the\nco of the Salon~painter, for though in the House or the\nSal on he fce ever so good, as Theatre collaborator he is useless for he\nb rings new complications to an already too-complicated problem.\n& Added to this he is poaching on our preserves and it will not do to\nbreak down the old hedges which divide our different properties. Monsieur\nA. or Monsieur B. may be very good fellow s, but they reveal a surprising\nlac k of good taste by such inroads upon our £? &\n& I remember meeting the Russian painter Somoff in Moscow a few\nyears ago and asking him if he had ever designed for the Theatre and\nhis reply was just what it should have been: 44 when I can spare fifteen\nyears to the study of the theatre I may feel that 1 could venture to work"}, {"page_pdf": 46, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.46", "debut_caractere": 28, "fin_caractere_exclue": 2423, "texte": "In the theatre \" he said. We talked further about this question and\nfound out that he respected the Theatre sufficiently to abstain from\nturning it to the pecuniary advantage he certainly could have derived\nfrom it. A few more men of like character amongst the Russian, French\nand German painters would spread a nicer feeling around the studios\nand create in the more serious men of the theatre more confidence. 0\n& I am very happy to be able to state that the painters of England\nunderstand and respect our labours thoroughly and begin altogether to\nrealize that the Theatre must settle its own difficulties for itself. Those\npainters who continue to study the Theatre are giving up their study of\npainting for the House, Church or Salon. Mr Norman Wilkinson is one\nof these and his assurance to me on this point gave me much happiness.\nMr Hugo Rumbold is another painter who is going wholeheartedly into\nthe Theatre and away from the ■£?\nPeople so often exclaim \" but fancy what James Pryde or Augustus\nJohn could do in the theatre \", believing that the Art of the Theatre or\nthe Art of Drama is a pictorial art. It is not; and therefore our two\nfriends would not be able to help us. They haven't offered, It's true, but\nthat shows the fine old feeling which in England teaches the Squire to\nrespect his neighbours' hedges. There are fewer hedges in Prance,\nRussia and Germany, hence the appalling lack of restraint which the Sa-\nlon painters exhibit and which, alas, Mr Banks applauds so enthusiastically.\nThe experience of the past failure of the outsider to influence the\nTheatre for good seems to count for nothing with these intrepid gentlemen\nwho have not remarked even the catastrophe which followed the Poets'\ninvasion of our territory. These brought us balm in the shape of the\nword,... the perfect word, perfect In sound If not in sense,.... and where\nis that word now? where the Poets? If perhaps we read them today in\nthe study we do not speak their verse on the stage save in as disastrous\naway as we can achieve. In short, we never liked their perfect word\nnor do we like the painter's perfect design in the theatre... and history\nshows the way we have behaved towards both\n1 hold no brief for the man of the Theatre as positive demonstrator\nfor he demonstrates dreadfully; but lam with him heart and soul as\ndefender of his own property and of the right to say what shall not be"}, {"page_pdf": 47, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.47", "debut_caractere": 28, "fin_caractere_exclue": 1145, "texte": "in his art. One of the reasons why of late he has not been able to develop\nhis own plot of land is that his time and force have been taken up in\ndefending it against the Inroads of all the kind friends bringing fully\narmed \" suggestions for improvement\". ,\nWhat would the painters say, do you suppose, if we others should go\ninto their studios and attempt to demonstrate there the value of the\ntheories we hold upon the art of painting ? Should we even get admitted\nto the studios ? Supposing we were able to show that our theories would,\nif put into practise, help to increase their income, should we get a hea-\nring ? I very much doubt it. & & &\n& Why then do these same painters, with an impertinence which 1 hardly\nrecognise in them, behave in this manner towards us and our art ? &\n& The only thing we can say in excuse for them is that they are acting\nin accordance with the restless and blind spirit of the age.... an age\nwhich applauds anything and everything which sentimental fashion\nbooms through a strange Press for stranger reasons,.... and over which\nthe legislators seem to have lost all control. & & &"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c036", "article_bluemountain": "bmtnaau_1912-07_01#c036", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 43, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.17.2", "titre_corps": "Suggestion for staging \"Monna Vanna\"", "titre_sommaire": "Suggestion for staging \"Monna Vanna\"", "signature_source": "Georges Banks", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 54, "texte": "Suggestion for staging \"Monna Vanna\" by Georges Banks."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c038", "article_bluemountain": "bmtnaau_1912-07_01#c038", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "46", "image_debut": 48, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.18", "titre_corps": "CAPTAIN JACK B. YEATS : A Pirate of the Old School", "titre_sommaire": "CAPTAIN JACK B. YEATS : A Pirate of the Old School", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 1352, "texte": "CAPTAIN JACK B. YEATS. A Pirate of the\nOld Schools:\nby Allen Carric.\nPREFACE: While my title is so suggestive it -will be as well to\nassure the reader that there will be positively no mention made\nof the Prussian Theatre in this very far too brief article upon one\nof the Glories of our National Drama. &\n7yir Jack B. Yeats plunders properly. He not only actually pretends to\nbe a pirate; he is one. But he only goes for those of the Old Trade.\nAnd he's done the business so thoroughly that It seems as though he is\ndestined to go down to posterity in Cassells' New Biographical Dictionary\nas the Last of the Pirates. & & & ■£> &\nMost Bucaneers reach their prime at forty. Captain Yeats was in\ncommand at the age of six, and before he was twenty had scuttled the\ntwo most formidable vessels ever known on the High Seas. The \"Pollock\"\nand the \" Reddington \" were their names, it is said of them that as they\ncleft the vivid waters of the Ocean they left behind them a wake of\ncross°bones over which the moon grinned horridly in likeness of a skull.\nIn their day they had many a fine haul, but none ever so rich as\nwhen they captured the \" Skelt& £r\nThe fame of the \" Skelt\" still survives its destruction. The \" Skelt\"\nwas a most daring vessel and over ten thousand bags of spangles were\nfound in its hold when it lost the day to the \" Pollock \" and the"}, {"page_pdf": 49, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.49", "debut_caractere": 24, "fin_caractere_exclue": 2166, "texte": "\" Reddington \". These spangles were once in the care of John Philip\nKemble, the most gaudy Admiral, though the grandest, in His Majesty's\nNavy; but he came across the \" Skelt\" and was with his crew literally\ncut up into little bits. &\nSo you see Captain Yeats has every right to play at Pirates....for he\nknows how a Pirate must act.\nBut if Captain Yeats,... now, alas, retired and become plain Mr Jack\nYeats.... knows how to Rob he disdains to Imitate. His theatre is the\ntheatre of Skelt, Pollock and Reddington, but his manner is his own.\n& He does not splutter or pour the colours about without any reason\nbut that its theatrically right. \"Isn't it Piratically right?\" asks Yeats;\n\" Isn't it natural?\". And, \" I'll be a true Pirate\" says he, \" and then\nIf possible I'll be natural \". & &\nHis toy theatre is the most natural Europe possesses. His Dramas are\nfilled with all the winds of Heaven. They are short, ....yet no one who\nreads them, no one who has seen them, but feels they are as long as Life.\n£? \" The Scourge of the Gulph \" is without exception quite the first\ndrama of the century. You may think, Reader, that I exaggerate, that 1\nam carried away by these pirates,.... or that 1 am mad. But 1 have at\nleast thirty nine good reasons which I could here put down 'twere it\nworth while, to prove logically that this Drama is without exception the\n♦\nfirst drama of the Century.\nIn this masterpiece things happen. In Dramas of this century things\ndon't happen,\nIn \" The Scourge of the Gulph \" they happen quick... lightning goes\nslower. Drama must beat lightning at its only game. Mr Yeats beats it.\n£/ There was an Irish dramatist called Synge who I once thought knew\nsomething about movement. I now realize that by the side of Jack Yeats\nSynge becomes a dreamer.\nSynge was never able to thrill us by a mere stage direction. Synge\nnever translated us a thousand miles in an instant as Yeats can with\nhis one solemn line of scenic art, \" Scene one ; 'The Deck of the Distant\nLand' \". Why, to have put that down just as it is settles his right to the\nLaurels. £? £? & &\nBut wait! On the next line we read, \"Captain L. H. (which means"}, {"page_pdf": 50, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.50", "debut_caractere": 24, "fin_caractere_exclue": 1871, "texte": "he is on the Left Hand,.... damned sinister). La Lolita in hammock L. H.\n(also sinister in her own way). Bosun Broad with cat-o'-nine-tails R. H.\n(thats so clear). Miles R. H. (good honest tragic Miles) and Crew discovered\".\njg? If all this isn't glorious, what is ? For look at La Lolita,... how she\nseems made for her hammock. I mean how her name swings In it. Synge\nwould never have captured a name like that. And that cat-o'-nine tails,...\nwhat a duet; Lolita and that instrument. And lastly the word \" Disco-\nvered \". Why one feels they are lost from the start.\nThe whole-of this first scene consists of 106 words only, and not\none word too many nor too few; and it Isn't as though the cackle had\nbeen cut for mere 'osses, ....it's cut for the Human Soul.\nAnd then, besides, Yeats cuts his own cardboard as well as his lines,\nand into the nice honest cardboard the Human Soul really enters.\nNow don't be a Oobson and utter those plaintive words, \" well, this\nis rather queer \"... For It's not '* rather \" anything. It's very everything.\nIt's no trick of the magic canister like that of La Zuleika ; it's the pure\nold magic of Heaven, ....the magic of a sincere artist who has thrilled\nwith excitement.\n£? To be sure Jack Yeats has a few mannerisms ; but then, you see,\nthey never get a chance of obtruding; they'll all cut down with the words:\n....there's no time, either, to see them.... because of the speed.\n& There isn't a reader of The Mask who ought not to secure copies of\nMr Yeats' Dramas and pictures. You go out of your way to spend a pound\nfor some dead stuff in heavy binding. Why ? you get\nStop doing that. Get Yeats' works. And don't forget to do your best\nto buy the Broadside.The copy for May 1911 has a superb design of\nCaptain Blackboard swearing in his crew. It's coloured ; coloured with\nthe sun in the heart of its maker."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c041", "article_bluemountain": "bmtnaau_1912-07_01#c041", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 51, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.19", "titre_corps": "A Scene for \"The Scourge of the Gulph\" designed by Jack B Yeats", "titre_sommaire": "A Scene for \"The Scourge of the Gulph\" designed by Jack B Yeats", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 64, "texte": "A Scene for \"The Scourge of the Gulph\" designed by Jack B Yeats."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c042", "article_bluemountain": "bmtnaau_1912-07_01#c042", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "53", "image_debut": 53, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.20", "titre_corps": "HOW JACK B. YEATS PRODUCED HIS PLAYS FOR THE MINIATURE STAGE", "titre_sommaire": "HOW JACK B. YEATS PRODUCED HIS PLAYS FOR THE MINIATURE STAGE", "signature_source": "JACK B. YEATS", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 2069, "texte": "HOW JACK B. YEATS PRODUCED HIS PLAYS\nFOR THE MINIATURE STAGE\nby the Master\nhimself.\n\nproduced my first card board plays on a stage abut eighteen inches\nwide.But I found that only a very small audience could look on atone\ntime, so 1 had a stage made with a proscenium opening three feet eight\ninches wide and one foot ten inches high. The stage was made like a box,\nwith the front (in two pieces) top and sides In the form of doors. When\nopened, the front and top made the sides and top of the proscenium.\n42 This larger opening allowed an audience sitting five or six abreast\nto get a very good view without being able to see through the wings\nto the hands of those who manipulated the figures. j2 £/\nj2 The whole stage end of the room was curtained off, and from once\nthe audience took their seats they had nothing before them but my card\nboard actors and card board scenes. 42 42 j2\n42 The figures were about nine inches high fastened firmly to laths of\nthe same tone as the stage and by these laths the figures slid along.\nThey could not move their limbs so the plays were written to suit the\nstiffness of the actors. j2\n& The old \" Penny Plain and Tuppence coloured \" plays were adapted\nfrom full grown plays like \"Three fingered Jack, The terror of Jamaica,\"\nor \" Paul Clifford \" or \" Mazeppa \", plays which were full of sword fights\nand pistollings, swoonings of ladies and poisonings of cups. Things im-\npossible to do with card board figures. So the old makers of the minia-\nture plays did the only thing they could, they had a different figure for\nevery action and stage directions such as this :\n\"Jack. No words; obey or perish. (Jack binds Rosa's hand s\nwith a cord. Draw off Jack and R. H. PI. 7. she leans against\nwing L. H. put on Jack at table PI. 5. \") j2 /2\nor this :\n\" Quash. No hurry, Jack, take it easy. 'Cause him going to\nsend you down below to see your ole friend. & .■&\n(Desparate combat. Jack disarms Quashee when a struggle\ntakes place. Draw off figures combatting and put on Jack and\nQuashee bottom of PI. 6. Jack is about to strangle Quashee"}, {"page_pdf": 54, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.54", "debut_caractere": 38, "fin_caractere_exclue": 1789, "texte": "when Tuckey with pistol R. H. pi. 6 appears at top of rock\nbetween the two scenes. He fires and wounds Jack who leaves\ngo his hold. Quashee then springs up and stabs Jack in the\nbreast. Draw off the figures and put on Quashee stabbing\nJack R. H. pi. 6. Enter Sam L. H. pi 6 from behind set piece,\nand Tuckey R. H. pi 4. \")\nIn colouring my scenes I used coloured papers very largely which\nsaved time and paint. Lightning was suggested by a zig-zag cut in the\nback cloth covered with blue paper down behind which, at the right\nmoment, a light was dashed. &\n& For foot lights I used night lights with reflectory.\nFor coloured fires I used red and green matches, used them good and\nplenty!\nThe titles of my plays were :\n44 Esmeralda Grande \",\n44 The Treasure of the Garden, \"\n44 James Flaunty, \"\n44 The Scourge of the Gulph, \" and\n44 James Dance, or the Fortunate Ship Boy. \"\nThere was also a pantomime called \"The Mysterious Travellers, or the\nGamesome Princes and the pursuing Policeman\", and I had two circuses.\n& The pantomime was good fun to make because of the mechanical\n44 business.\n& The clown smoked real smoke out of a little clay pipe. He also fished\nfrom the quay with a practical fishing rod. There was also a pillar letter\nbox with a door which opened and showed the clown hiding inside, then\nsnapped to again, and\nThere was a town crier who rang a bell.\nThe making of the circuses was good fun too. The 44 Procession of\nAH Nations \" Japan with those delightful little paper lanterns with toy\ncandles inside. And the four horses abreast in the Ride of all Nations.\n44 The Riders of old Rome who in prehistoric days guided\ntheir antideluvian horses mid the catacombs and pyramids\nof that noble City without saddle or bridle.\nJSf The Cowboys."}, {"page_pdf": 57, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.57", "debut_caractere": 44, "fin_caractere_exclue": 1219, "texte": "£> The Egyptians stated without error to be the most mar-\nvellous horsemen in the entire universe from the Indian\nOcean to the Carribean Sea.\n& The Bui ('fighters of Spain, and the ring master spoke of\nthe \"sanguinary sawdust of Seville\n& The words of the plays were of course spoken behind the scenes and\nit was at times hard to make the voices of the characters sufficiently\ndifferent, and after talking for some time in the husky voice of Captain\nTeach one found that for a scene or two all the characters were speaking\ntheir lines in the same deep notes. For the time one had acquired the\nthroat of piracy, one had to be very careful, for it was not right that\nJessie Henderson should speak with the same voice as Willie Mc Gowan\nor Bosun Hardbite.\nThe two voices used in the adventures Oath in Esmeralda Grande\nwere easier to produce. A deep roar for the Captain, and for the crew\nas they repeat each line a fear-struck wail which gradually grows feebler\nas the thing goes on. & &\nAnd now, looking back, 1 think my audiences liked the oath best of\nall, better than the red fire of the flare on the sinking Linnet and\nbetter even than the green shine of Esmeralda Grande."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c043", "article_bluemountain": "bmtnaau_1912-07_01#c043", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "51", "page_fin": "51", "image_debut": 55, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.20.1", "titre_corps": "The Miniature Stage of Jack B. Yeats", "titre_sommaire": "The Miniature Stage of Jack B. Yeats", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 37, "texte": "The Miniature Stage of Jack B. Yeats."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c045", "article_bluemountain": "bmtnaau_1912-07_01#c045", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "54", "page_fin": "59", "image_debut": 58, "image_fin": 63, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.21", "titre_corps": "THE BEST THEATRE IN LONDON", "titre_sommaire": "THE BEST THEATRE IN LONDON", "signature_source": "Edward Edwardovitch", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 763, "texte": "THE BEST THEATRE IN LONDON\nby\nEdward Edwardovitch.\nC®e this vision of delight. It is the shop where they make the Best\nTheatre in London. jsf\nIt doesn't interest me today to explain why our West=end Theatres\nare not the best, and if you haven't found that out for yourself by this\ntime let's hope you never will. To those who have found it out let me\nrecommend Pollock's Theatre. & &\nIt is all very interesting and 1 hope to come back to it again some\nday, for there is much that is entertaining in the whole History of the\nTheatres made for Children. Here 1 can only touch upon one particular\ntheatre, and that rather loosely.\nThe above picture shows you a shop window. The design is one of the\nscenes in a splendid Drama called \" Harlequin Baron Munchausen, and"}, {"page_pdf": 59, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.59", "debut_caractere": 31, "fin_caractere_exclue": 2342, "texte": "his comical Cream Cob Cruiser, or the Queen of the Fairy Steed's\nhaunt Besides being a scene in a play it is an actual spot in London.\nLet us go there. & & & &\nWhere? Why, to Redington the Printer, Bookbinder, Stationer, To-\nbacconist, Jeweller and Theatrical Print Warehouse. £? £?\n& But what part of London ? Let us look up an old directory, for the\npicture is not a new one and perhaps the \" Adam and Eve \" is gone.\nJS? In the old Directory we find Redington is at Hoxton Old Town, and\nthat there is an 44 Adam and Eve \" and that it is 209 Hoxton Old Town.\nSo off we go to the Old Town tonight.^\nOn getting out that way we are told by policeman Z 1 that the Town\nno longer exists, but that a street still exists and we can try that if\nwe like.z? JQ JZ? JZ? JZ?\nzz? We trj' it. We search for 208 Hoxton Street. We find it. No Redington\nthere. Everyone tells us it is gone. We ask and ask; no clue. We then\nask for the 44 Adam and Eve \" which should be number 209. 44 There is\nan 44 Adam and Eve \", but it's now number 74\" they tell us. «£>\n& Off we go to number 74, and lo and behold, there stands the very\npublic house, and there beside it is our Printer and Theatrical Printseller.\nThen how is it that no one knew of Redington ?.... Because Redington\nis no more, and his place is taken by Ben Pollock, one of the glories of\nGreat Britain. JZ?^Z?JZ/JZ?JZ>SZ?JZ>JZ?\nLet me explain how Ben Pollock comes to be there.\n& Redington (1) the writer of the Juvenile Dramas was also the builder\nof the Theatres, the scene designer, the costumier, electrician, conductor ;\nin fact he was ALL. Glorious old man! Yet so delightful was his occupation\nthat many younger men and women were drawn towards his little magic\nshop and Redington allowed some of them to Join him,... some to paint,\nsome to cut, some to print, some to bespangle, some to build, some to\nlook nice and make things look nice.\n& The one who excelled at this last art was little Miss Redington. She\nwas so delightful that she turned the heads of one and all the young\nmen who worked for her Papa. All the painters daubed ; all the builders\n\n(1) There were not many makers of these Theatres in days gone hy, but there was a famous man called Skelt>\nand one called Marks; one Jamieson, one West, one Hodgeson, one Park, one Lloyd, one Webb and one Green."}, {"page_pdf": 60, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.60", "debut_caractere": 31, "fin_caractere_exclue": 2309, "texte": "built crooked; all the cutters cut their fingers,.., these latter on purpose\nthat M'ss Redington might bandage them with her own hands. JS?\nAt last one passionate admirer, realizing that if this sort of thing\nwent on much longer the ancient and noble art of Theatre making,\ncutting and colouring would die out, seized the Bull by the horns and\ndemanded of Mr Redington the hand of his Daughter.\nThis man was Benjamin Pollock, the only surviving master of the\ngreat school of ancient Theatrical Art. He married pretty Miss Redington,\nand in time he changed the name of the magic shop from Redington to\nPollock. He also changed the number. Prom 208 Hoxton Old Town it\nbecame 73 Hoxton Street. £/\njg? And there it is at this day. Anyone who wants to go and see it and\nwho goes there will find the place exactly as it is shown in the picture\non page 54. Except for the name, numbers, and the little Theatre hanging\nout as a sign board. The \" Adam and Eve \" is outside next door. 1 don't\nknow if Mr Pollock objects to this, but you can ask him if you like. It\nwas rebuilt about thirty five years ago so it's not the same old English\nplace as shown in the picture, but they say that the same old Scotch\nwhisky is to be found there.\n& Now that I've told you where and how to find the place I think I've\ndone ail that is possible to do. It would be useless my attempting to tell\nyou what you will find there, except, as I say, the best Theatre in London.\nR. L. Stevenson attempted, and failed, to do the thing justice. Walter\nPater even wouid not have succeeded. Perhaps Alexandre Dumas might\nhave triumphed. But then Dumas did triumph, for his novels and this\nTheatre are part and parcel of one another.\njgr But what I can do is to tell you the names of the Dramas to be\nobtained, the sizes of the stages, their prices, and then you can do the\nrest. And if I don't hear that many of the subscribers of The Mask have\nwritten to our old friend Pollock to despatch immediately his whole\nRepertory Theatre to them I shall begin to think that our subscribers\nare blind to their own interests.\nAnd remember, The Mask never speaks well or ill of a thing because\nit pays to speak well or ill. We may not boast a journal of great com-\nmercial power, but possibly of another power still greater."}, {"page_pdf": 61, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.61", "debut_caractere": 23, "fin_caractere_exclue": 1247, "texte": "The names of Mr Pollock' dramas are as follows : £?\nPlain Coloured\nsd, s d\nAladdin or the Wonderful Lamp ... 13 24\nBlue Jackets ... ... ... ... 06 oso\nBrigand ••• ••• ••• ••• O IO I C)\nCharles the Second ... ... ...06 010\nChildren In the Wood ... ... o 10 16\nCinderella ... ... ... ... o 11 18\nCorsican Brothers ... ... ... 08 12\nDon Quixote ..< ... ... - ... 08 12\nDaughter of the Regiment ... ... 05 08\nDouglas ... ... ... ... 07 10\nForty Thieves ... ... ... ... 1 6 2 10\nKing Henry ... ... ... ... 07 10\nLord Darnley ... ... ... ... 09 14\nLord Mayor's Fool ... ... ...06 010\nMistletoe Bough ... ... ... 09 14\nMiller and his Men ... ... ...10 110\nOliver Twist ... ... ~. ... 11 20\nPaul Clifford ... ... ... ... 11 20\nSilver Palace ... ... ... ... 08 12\nTimour the Tartar ... ... ... on 18\nWaterman ... ... ... ... 05 08\nWoodman's Hut ... ... ... o 10 16\nBlind Boy ... ~. ... ... o 10 16\nMaid and the Magpie... ... ... 08 12\nPANTOMIMES.\nBaron Munchausen ... ... ... 14 26\nJack the Qiant Killer ... ... 14 26\nWhittington and his Cat ... ... 14 26\nSleeping Beauty ... ... ... 13 24\nThese Prices are with Book of Words, Scenes, Figures and Directions\nComplete\n• Then the Theatres are made in two sizes, either fized or to fold"}, {"page_pdf": 62, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.62", "debut_caractere": 29, "fin_caractere_exclue": 2065, "texte": "up when you want to pack them away, and, of course, to set them up\nyou have to unfold them. They have glorious Prosceniums highly coloured,\na place for lamps or electric lights, (if you are clever you'll put electric\nlights), and you can buy tin slides for all the figures. Here is the list\nof all these articles, and ail are indispensable.\nStages Sine 6xB. (it's the scenes which are 6 x 8 so you'll order a\n6xB stage). Prices. 9d. i/- ... I/6 ... .2/= and 2/6\nSize 12 x p. Prices, 2/=, 2/6, 3/-, 3/6, 5/-.\nYou had better buy at 2/6 6xB, and also at 5/=, 12 x 9.\nTin Slides. 3d, 6d and I/- per dozen. You will want at least three or\nfour dozen at 3d and I/- per dozen.\nLamp. These are sold and look well, but I advise everyone to\navoid oil and matches. Much better is it to purchase some\nof the very tiny electric bulbs. You can get them about a\nquarter of an inch long, and if you have your electrician to\nput a dozen such lamps on to some wires and fix the wire\nin an ever ready battery or torch you can light up and\nturn out whenever you wish and the effect is charming.\nThe address of these ever-ready lamp people is 120 Shaft-\nesbury Avenue, London, W.\nThen besides these small lamps you had better get two small\npocket lamps which act just like large lime lights. With\nthese follow the star.\nNow when you have obtained all these you have to cut out and paste\na good deal. If you are lazy you can avoid this by sending to Pollock for\nscenes and figures already cut out and ready for working, but don't, 1\nbeg of you unless absolutely necessary, for the sake of Great Britain\ncut them out yourself! Mr\nI went to Qammage's the great toy shop one day last year to buy\none of Pollock's wonderful theatres. 1 came away disappointed. I cursed\nthe reasons. & MrMr Mr m? M? Mr\n& I was told that people didn't like \" flimsy \" English toy theatres and\nthat the German were much cheaper and that as the German figures\nwere all cut out and pasted on and had wires fixed to'the figures \" the\ntrouble to the purchaser was reduced. \" Mr Mr mt Mr"}, {"page_pdf": 63, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.63", "debut_caractere": 29, "fin_caractere_exclue": 2168, "texte": "This made me pretty furious; and it seems to me after careful con-\nsideration that these British-made Theatres are every whit as cheap as\nthe German things and a hundred times better; ...and, what is evident,\nbetter for British purchasers. uS>\nJE> The German things were without character, awful up-to-date vulga-\nrities. 1 was so annoyed at not being able to find my old British friends\nat this representative British shop that I felt obliged to crave an interview\nwith the Head of the &\njz? I extracted no better answer from the great man. The fact that they\nwere British made no appeal to him, and the fact that they were better\nstuff made less. Let us hope that this is not the incomprehensible kind of\nattitude for which shopkeepers get knighted nowadays. &\nSo if you want Pollock's Theatres you had better write direct to\nPollock at 73 Hoxton Street, London, N. And then you\"fl have the time\nof your life\nNOTE In the following pages is given a play from \"Pollock's Juvenile\nDrama 11 The Blue Jackets, or, His Majesty's Service. A Farce in one\nAct. Printed and Published \", as the title page tells us, \"by B. Pollock,\n73 Hoxton St, N. at his wholesale and Retail Theatrical Print and Tinsel\nWarehouse.\" & &\njSf When one speaks of a \"Pollock Play\", however, one must not entirely\nforget Pollock's predecessors from whom he has annexed several of his\ndramas, lock, stock and barrel. Thus \" The Battle of Waterloo \" (one of\nthe most brilliant of the \" Pollock Plays \" and one which should be in\nthe nursery of every officer of the Realm) (i) was invented by Green in\n1841, for Green's name is on the original blocks, and Pollock, like Ramases\nof Egypt, has merely erased Green's name from the monumental work\nand substituted his own. & & &\nln away this is not quite as fair as Redington, who merely added\nhis name to Green's work, and added it as *' sold by J. Redington, etc \".\nBut some day someone will erase the great Pollock's name and\nsubstitute that of Smith. Let us hope it will not then be spelt\nSCHMIDT. & & & & & (Editor)\n\n(1) The drama costs two shillings and lour pence, scenes, costumes, actors and book ot words complete. *"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c047", "article_bluemountain": "bmtnaau_1912-07_01#c047", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "60", "page_fin": "71", "image_debut": 64, "image_fin": 75, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.22", "titre_corps": "THE BLUE JACKETS or His Majesty's Service", "titre_sommaire": "THE BLUE JACKETS or His Majesty's Service", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 1052, "texte": "THE BLUE JACKETS or His Majesty's Service.\n\nCharacters Represented\nMEN.\nADMIRAL TRUNNION (Port Admiral, rich and testy)\nCHARLES HERBFRT (Honourable and Romantic)\nBEN BINNACLE (A Superannuated Seamen)\nMr. CHASER. (An Invalided Master at Arms, Commanding the Bombshell)\nJACKO (A Negro)\nWOMEN.\nFANNY YRUNNiON (Daughter to the Admiral, alias Lieutenant Firefly, of\nthe Skyrocket Fire Ship, and Commander of the Blue Jackets)\nBETSY BODKIN (Her Maid, alias Pitch-and-Tar, a Blue Jacket)\nBlue Jackets, Sailors, Marines, Drummer, &c.\nSCENE i. No. I. A LIBRARY. Wings No. 5.\nEnter Ben Binnacle, Left Hand....Plate s.\nEnter Admiral Trunnion, Right Hand...Plate 2.\nTrunnion. Keep the prisoner safe under hatches, till further orders.\n& Ben. Aye, aye, your honor I\nTrunnion. They thought to out manoeuvre me, did they ? cut a vessel\nout of my own dock, and sail off under false colours ! By Nelson's cocked\nhat, I'd a blown'em both out of the water. My daughter shall sail in\ncompany with Captain Cathead, or remain single for life. What do you\nsay, you porpoise ?"}, {"page_pdf": 65, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.65", "debut_caractere": 19, "fin_caractere_exclue": 2097, "texte": "Ben. If I say anything, yer honour, I'd rather take grog than biscuit.\nTrunnion. Aboard, you lubber! and see that Herbert goes safely\nwith you.\nBen. All taut, yer honor. He's stowed away in the jolly boat, when\nwe laid our grappling irons aboard on him, he swore he'd blow you to\nthe devil, and hang every mother's son of us. He kicked and plunged\nlike a young grampus when he gets a harpoon in his wltals. Jack Sykes\nthreatened to push a tar brush down his throat, and make him dance\n\" Jack's the Lad \" on a boarding pike ! I offered him my bacca-box and\nall; and Taffrall challenged him to fight for a gallon of rum, but nothing\nseemed to please him ; so we tied him head and foot, and stowed him\naway in the stern sheets of the jolly boat \\\nJE> Trunnion. You have been too violent with him. He must be treated\nlike a gentleman\nBen. I'll treat him to anything he likes, from heaving the lead to\nweighing an anchor. I know eddication and manners....my old mother...\nshe's gone to glory, where Polly Long's gone, she was a schollard, yer\nhonour, and could read the newspaper backwards without spectacles....and\nmade pancakes, lobscounce, chowder, and egg flip, better nor any captain\nin the service. & (Exit.\nTrunnion. And drank it afterwards, I'll be sworn! Master Ben's\npoliteness and the cabin of an old seventyfour, will soon cool the young\ngentlemen's courage. &\nEnter Fanny Trunnion. Lett Hand, Plate 2.\nTrunnion. Fanny my dear!... & & -0\n& Fanny. (Sings) '* Marry me, marry me....Peter he would marry me ! \"\n& Trunnion, (aside) She alludes to Cathead, (aloud) Hark ye, Miss!\nwhere have you been ?\nFanny. Looking at the sea....such a glorious sight....all smooth and\ncalm; sun shining brilliantly....the gallant vessels with their white sails\nset, and pennants flying in the wind scores of Blue Jackets, round\nthe rlgging..all in animation and activity ! I never look upon those noble\nships in the bay, but I think they are so many guardian Qenii, appoin-\nted by old Neptune to guard and watch our shores!\n& Trunnion. They are the mighty engines of a free constitution, to"}, {"page_pdf": 66, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.66", "debut_caractere": 19, "fin_caractere_exclue": 2010, "texte": "protect our liberty and peace! Captain Cathead will be here to-day, I\nsuppose you can guess why.\nFanny. Is it to play at backgammon with you, sir, or to throw his\nwooden leg into the water, lor my Newfoundland dog to fetch It out again.\nTrunnion. No sarcasm if you please. It is to take you to church, madam !\n& Fanny. If I go what will you give me pa, eh ?\nTrunnion. A husband. Will you accept the gift?\nFanny. No thank y0u....1 shall present myself with that article when\nI commit matrimony. & & g?\n£? Trunnion. You don't mean to say you wont have him, &\n& Fanny. I do though. Do you suppose I would marry a fragment of a\nman ?...limp to church with a wooden leg !...Ogled all day with a glass\neye ? No, I would rather die first!\nTrunnion. You dare not say this to my face.\nFanny. Sir, I am the daughter of a British seaman and dare do\nanything but act with dishonour.\nTrunnion (aside) She's my own child after all. You love your father\ndon't you, puss? & & & & & &\n& Fanny. As much as I regret his foibles.\n& Trunnion. What foibles? never knew I had any! What am I, Miss\nTrunnion ? <£/\nFanny. A dear, g*ood-natured, testy, self-willed old gentlemen, aged\nsixty-four, with a tender heart, and a very obstinate head , rich, gouty,\nvery generous and irritable...possessing many comforts, and one torment\nMiss Fanny Trunnion, a self-willed young lady of nineteen, inheriting\nall her father's graces, accomplishments, and failings !\nTrunnion. Now, obey me, Fanny, and I'll give you all I am worth ;\ndisobey me, and 1'11....1'1l live for a thousand years to plague you! (Exit\nFanny. Live, live dear pa ! for I never will be Mrs. Captain Simon\nPeter Cathead... ha, ha ! 4what a horrid name. Now to think of poor\nCharles. What can I do to assist him ? The ship is slenderly guarded. If\nwe...yes, yes, it will do...my nautical knowledge will now be of service.\nNot a moment must be lost.\nEnter Betsy Bodkin, Left Hand: Plate 2.\nBetsy. Oh, Miss, I've let his honour's silver tankard drop out of the"}, {"page_pdf": 67, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.67", "debut_caractere": 19, "fin_caractere_exclue": 1921, "texte": "back window into the sea, and I've been trying to fish it up again with\na ball of string tied to a clothes prop and a cabbage net. -0\nFanny Never mind the tankard, it will serve the fish to mix their\ngrog in.^\nBetsy.Lor, so it will, miss...l never thought of that. & &\nFanni. Will you do me a service...you shall be well paid? &\nBetsy. Ain't I so already, Miss? Twelve pounds a year; every other\nSunday out, and my young man to see me twice a year: have tea in the\nkitchen, and play at cards at Christmas!\n& Fanny. I only want you to personate a sailor.\nBetsy. No! do you though ? Well I should like to put on the\ntrousers but shan't I soon be found out ? my hands ar'n't covered\nWith pitch.\nFanny. Never mind the pitch, girl, you must play a tar. Listen to\nmy scheme. You have seen a handsome gentleman that has several times\naccosted me on the beach! &\nBetsy. Oh, yes, Miss. & &\nFanny. My pa wants me to marry an old friend of his, Captain\nCathead, with a glass eye and a wooden leg. & &\nBetsy. And you want to marry the handsome gentleman. &\nFanny. My pa has caused my Charles to be imprisoned on the\nBombshell hulk, until my union with his friend takes place, for which\nI am resolved never shall. &\nBetsy. That's right, Miss ! show a proper spirit... I always does when\nmy young man wants to stay after eleven o'clock at night. No, says I,\nthe best of friends must part, as the rat said to his tail when he left\nit in the trap! & & & &\nFanny. You know 1 have a number of young women at work in the\nhouse, preparing the dresses for the masquerade ball that's to take place\nnext week.\nBetsy. The sailors' dresses ?\nFanny. Just so. Now if they will consent to wear them for a few hours,\nand accompany me, we will storm the hulk, and set my Charles free.\nBetsy. To be sure we will. Besides, it will be such capital fun. (Exit,\n.<2? Fanny. If we can gain the ship unobserved, I'll answer for the result."}, {"page_pdf": 68, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.68", "debut_caractere": 19, "fin_caractere_exclue": 1447, "texte": "But time presses...the crew must be prepared, the boat launched. I trust\nwe shall not disgrace Her Majesty's Service...for England expects that\nevery man...woman, I mean...will do her duty.\nSONQ.../7ajJ/7<y\nThe sailor's heart is light and true...\nHis lass in mind...his port in view...\nLet cares and dangers round him throng,\nHe drives them off with grog and] song.\nHe sees the spreading sails unfurl'd\nThat waft him to a distant world,\nThe parting anchor cheerly heaves,\nThough country, friends, and girl he leaves\nYo hoi yo, heave hoi\nFoaming onward now we g0...\nThrough the silver deep we dash,\nWhile the yielding billows splash,\nSinging gaily as we go,\nYo ho I yo, heave ho I\n& SPOKEN. Steady I Steady I Keep her up-breakers ahead there I helm *\naportl she touches I Heave the lead I Quarter less, five I Bout ship I By\nthe mark, seven I Helmsman, hold to your course. Aye, aye 1 Yo ho I by\nthe deep nine I She clears I huzza I All's well I j& jS?\nThough thunders howl and lightning flash,\nHis heart intrepid, knows no fear-\nThough angry billows wildly dash,\nAnd hurl the dreadful surges near-\nUndaunted will the helmsman hold\nHis vessel's head, his watchful eye.\nPursue with anxious heart, yet bold,\nHis course, though perils, round him lie.\nYo ho, &c. (Exit.\nSCENE 2. No. 2. A CHAMBER. Wings No. 5.\nEnter Admiral Trunnion, Right Hand: Plate 2.\nTrunnion.All my schemes seems to be thwarted. Miss Fanny leads\nme a nice life."}, {"page_pdf": 69, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.69", "debut_caractere": 23, "fin_caractere_exclue": 1452, "texte": "Betsy. (without) stop a minute, Miss...l've only got to put on the\ntrousers.\nTrunnion. Hiloa! what the deuce is in the wind now 1 Bodkin sailing\nunder false colours\nHe Retires to the back of the Stage.\nEnter Betty Bodkin, Left Hand: Plate 3.\nBetsy. Young Missus looks the very moral\nof old master, only she's not half so ugly.\nTrunnion, (coming forward) What is\nthe meaning of this tom=foo!ery ? Speak 1\nBetsy. I can't sir...l'm dumb ! &\nTrunnion. And pray what are those\nthings, madam ? & & &\n& Betsy. I believe they are gentlemen's\npetticoats, sir. J£ JZT\nTrunnion. And that is a gentlemen's\nbonnet, 1 presume ?\nBetsy. Y=ye=yes, sir...the last new fashion.\n(aside) What shall I do ? he'll find it all out!\nTrunnion. What are all these things for ?\nBetsy. T0...t0 wear, sir. At the masquerade\nball. &\nTrunnion, (aside) A frolic of Miss Fanny.\nDon't mention my enquiries to your mistress*\nand 1 shall do something for you.\n& jßetsy.Thank ye, sir. Perhaps you will rise my wagers...make 'em guinea s\ninstead of pounds, and allow me a little more tea and sugar. £?\n%\nEnter Servant, Right Hand : Plate 4.\nServant. Sir Thomas Hardhead, sir, wishes to see you. £/\nTrunnion. I'll wait upon Sir Thomas immediately. & &\nExit Servant.\n& Trunnion. Betty remain here 'till I return, mind no tattling...and I'll\nthink about the tea and sugar ; ha, ha ! JS? JS?\nExit Trunnion.\nBetty. Well I think I've led the old gentleman astray in the most"}, {"page_pdf": 70, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.70", "debut_caractere": 21, "fin_caractere_exclue": 2167, "texte": "splendacious style I This sailoring will turn out ail very well, if the gals\nbehave themselves and hold their tongues. My first loveyer was a sailor,\nI shall never forget him. He used to send me a little Cupid and a large\nanchor every year for a valentine. He never missed but once...then he fell\noverboard, and was swallowed by a shark. I cried for two days, I\nremember, because I wanted the Cupid to stick on the lid of my\nbonnet box. jtsr (Exit.\nEnter Admiral Trunnion, Right Hand...Plate 2.\nTrunnion. This is an extraordinary business Sir Thomas has acquainted\nme with ! Mr. Charles Herbert, my prisoner, is a gentlemen in disguise...\nmakes love to my daughter, and overturns all my arrangements, I\nhate such stuff! Why did'nt he come boldly forward, and tell me he loved\nFan, and was determined to have her,whether I gave my consent or not!\nnot persuade the girl to walk out with him out on the sands, sighing and\ncreeping like a pair of mermaids with the measles! {advancing to the\nwing) What's that ? my barge manned, pulling from shore ! A fine jolly\nset of fellows! who are they....where do they come from and what do\nthey want.\nEnter Servant, Right Hand: Plate 4.\njer Trunnion.John, where's your mistress ? & JG? &\n& Servant. Gone out, sir. JE? ■£? &\nTrunnion. Send Bodkin to me. us*\nServant. She's gone out, too, sir. I met her running down the garden\nto the water side, dressed up in a queer outlandish fashion.\nTrunnion. That explains it, then. Those fine jolly fellows are all\nyoung women, pulling towards the Bombshell. Eh ! I see it all now. This\nis the masquerading frolic, my ladies, is it ? I'll soon be about their\nquarters! Run down to Sir Thomas Hardhead, and ask him for a file of\nMarines, and a round of blank cartridges...order out my barge and crew...\nthese ladles shall soon smell powder, or I'm no seamen. Quick you\nlubber...don't let the grass grow under your feet.\nServant. Yes, sir ? £> JG? & JG? (Exit\nTrunnion. They think to surprise the garrison, and set Mr. Herbert\nat liberty. What will not woman do in the hour of need, for the man of\nher choice? Dear woman's a companion in prosperity..a heroine in adversity"}, {"page_pdf": 71, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.71", "debut_caractere": 19, "fin_caractere_exclue": 1752, "texte": "There's nothing like a petticoat to shelter a man in the hour of\n4\ntrouble j^(Exit.\nSCENE 3. No. 3. THE MAIN DECK OF THE\nBOMBSHELL. Wings No. 8,\nPut on Chest and Barrel.\nEnter Mr. Chaser, Right Hand : Plate 2\nEnter Charles Herbert, Left Hand: Plate 2, and\nJacko, Left Hand . Plate 3.\nThe Marines in Plates 2 and 3, to be placed at the\nback of the Stage.\n& Chaser. Oh, you must go below!\n£7 Herbert. This outrage shall be bitterly punished ! (Exit.\nEnter Ben Binnacle, Left Hand : Plate 1.\nBen. There...he's safely stowed away. & £?\nJacko. Issa, massa Ben...right as 'em trivet. Ha, ha! poor buckra man\nis in for a nice ting. £7 £7 & £7 £7\n£7 Chaser, it's no business of ours...we must keep him safe until further\norders. (Bell strikes four.) Time for grog. Serve it out, Jacko !\n£7 Jacko. Issa, massa. &\n£7 Chaser. Ben, finish that yarn you began to spin us about Captain\nCathead's wooden leg and the shark. £7 j&\n£7 Jacko. Issa...do, massa Ben. £7 £7 & &\n£7 Ben. When Captain Cathead was a leeftenant, he was fishing\none day over the starboard bulwark, and by some means slipped his cable\nand pitched overboard... A perdigious large shark rose up out of the deep\nwaters at the same time, and made for the leeftenant, he roared, and\ndown went the jolly boat. We pulled for him, but we warn't in time,\nfor the shark had got hold of his leg. £7 &\n£7 Jacko. Poor debel! he put his foot in it, then.\nChaser. His leg. £7 £7 £7 £7 £7\n£/ Ben. Yes, but it a wooden 'un {All laugh). £7 £7 &\n£ Jacko. Ha, ha! Dat bery good. £ £ £ £ £\n£ Ben. Well, this master shark looked as if he could'nt make out what\nhe got in his precious mouth. Away he tugged at the pin, and we tugged\nat Cathead. Such splashing in the water never was seen We got him on"}, {"page_pdf": 72, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.72", "debut_caractere": 19, "fin_caractere_exclue": 1169, "texte": "board at last...set the leeftenant safely on his legs, and brought master\nshark to his senses with two or three hatchets. Stuck in a hollow tooth\nwe fouud a tinder box and one of Murphy's Almanack's. &\nOmnes. Ha, ha, ha! .<2? £?\nFanny, (roughly)\nSurrender!\nChaser. (trying to\nspeak) May I!..\nFanny. Silence...\nhear me ! J0\nJacko. Take him\nlife massa, but don't\nspill him grog.\n£? Ben. Shiver my\ntopsail, if this arn't a\npretty rig.\nFanny. Silence,\ncommon sailor.\nBen. Com m on\nSailor! What do you\nmean by that ? There's\nno such thing as a\ncommon sailor in the\nBritish navy. &&&&&&&&\n4? Fanny, Throw that fellow overboard ! Hark ye, my fine fellows, you are\nour prisoners, resistance is useless. & & & & &\nChaser. May I be so bold as to enquire your name, sir.\n4? Fanny. Certainly...certalnly. My name is Lieutenant Hotspur Firefly, of\nthe Skyrocket fire ship...and these smart lasses...hem! lads I mean...form\npart of my crew, (to Blue Jackets) Squib, Torch, Rough, Tough, Strike\n■a-light, and Pltch=and=tar, all able seamen in Her Majesty's Service. &\n£* Ben. (aside) He picks his way like a hen in silk stockings walking\nthrough a pig stye. JST & &"}, {"page_pdf": 73, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.73", "debut_caractere": 10, "fin_caractere_exclue": 1787, "texte": "Fanny. Skyrockets, bring up the prisoner I J£? £?\nExit Blue Jackets.\nEnter Charles Herbert Left Hand-Plate 2.\nHerbert. What is the meaning of this unwarrantable conduct? You\nappear to be an officer, sir...perhaps you will explain the outrage ?\n& Fanny. Sir, you were brought here for two reasons. Firstly...because\nyou are compelled to come ; and secondly because you could'nt help it.\nAre you satisfied, sir ?\nHerbert. Be assured the civil authorities shall avenge me.&\nHe retires to the back of the Stage.\nFanny, (aside) Proud as Lucifer! I'll punish him a little before I li-\nberate him for his snappishness (aloud) Strike-a-light, pipe all hands\nfor mischief, you shall have a dance.\nBen. A hornpipe...a hornpipe, for the honour of the navy.\n40 Jacko. Issa massa...for the honour of the graby ! j£f (Exit.\nPut on Jacko and Blue Jackets dancing-Plate 1. (1)\nPut on Drummer, Plate 2 and Fifer, Plate (2)\nAfter dancing a short time Exit all\nRe-enter Fanny Trunnion, Right Hand-Plate 1. (3)\nRe-enter Mr. Chaser, Left Hand-Plate 4.\nand Jacko, Left Hand-Plate 3.\nChaser. Two strange crafts in sight, one of them carrying the Admiral's\nflag, and manned with marines, steering towards the ship.\n£? Fanny, (aside) I'm lost then, my father has discovered alL.escape will\nbe impossible ! we must brave it out. (aloud) Now boys, clear the decks\nand prepare for action, (aside) I am sure I shall faint \\J&\nEnter Blue Jackets: Plate 2.\nChaser. The boats approach &\nFanny (aside) Lord do they! call me a coach then! (aloud) Skyrockets,\ntry your discipline, and prepare to receive the enemy. £//&£>\nChaser, They are nearing the vessel. £? £? (Exit.\nRe-enter Mr. Chaser, Right Hand-Plate 2.\nFanny. Oh, oh 1 I'm anything but myself.\n\n(1) See headpiece, page 60.\n(2) and (3) See Frontispiece."}, {"page_pdf": 74, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.74", "debut_caractere": 18, "fin_caractere_exclue": 1694, "texte": "Ben.Huzza! huzza! here they come. Now for a row.\nFanny. Mail the guns ! Oh, dear! Skyrockets, don't go off yet...behave\nlike men! & & &\nBlue Jackets. We can't...we don't know how. & & jet\nJacko. Oh, oh I dat bery good-ha, ha! & &\n(A single shot heard without).\nExit Fanny and Blue Jackets.\nPut on Fanny Trunnion, and Blue , fainted....Plate (1)\nBen. My eyes! the Skyrockets has gone off with a bang.\nEnter Admiral Trunnion. Right Hand; Plate 3.\nEnter Marines, Right Hand: Plate 3.\nMarines cross the Stage and Exit.\nPut on Marines: Plate 4.\n& Trunnion, {aside) So, so, my ladies, you are there are you {aloud)\nWhere are these desperate mutineers that have dared to take forcible\npossession of your ship, Mr. Chaser. £/\n4P Chaser. All dead, your honour,\nap Trunnion. So much the better. Throw them all overboard.\nBen. Aye, aye\nFanny. Stop, stop! we are all killed dead enough already. M\nFanny, and Blue Jackets fainted to be drawn off.\nRe-enter Fanny Trunnion, Right Hand-Plate 1.\nEnter Charles Herbert, Left Hand-Plate 2.\n& Trunnion. So, young gentleman, you've been guilty of high treason.\nA heavy punishment awaits you and your unhappy companions. To-night\nyou will remain on board. To-morrow you'll sail double-ironed for the\nWest Indies, (to Herbert) This is the ringleader, eh ? Marines, make\nready! I'll shoot the desperado on the spot. & & & &\nFanny. If you shoot him, I'll be killed too \\& & & &\nTrunnion. A Woman \\\n& Fanny. Yes, sir; and here are ten or twelve more harmless creatures.\n& Trunnion. Madam, there is but one female that would so far forgotten\nherself, and she is,.. & «<p & &\nFanny Your spoiled daughter! Pray, forgive my imprudence!\n\nj0\n(1) See page 71."}, {"page_pdf": 75, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.75", "debut_caractere": 19, "fin_caractere_exclue": 547, "texte": "Herbert, {aside) Dear girl! &\nTrunnion. Well, well, I suppose 1 must laugh at the frolic. (to Herbert)\nThere take her, sir, and make your own terms with the little baggage;\nFanny. {to Audience) Ladles and Gentlemen, may 1 be permitted to\nsay one word in behalf of the Blue Jackets ? They are at our mercy...\nyou are our judges...our Lords of the Admiralty ; if we have been fortunate\nenough to secure your approbation, I trust this will not be our last\nappearance in Her Majesty's Service.\nMusic-\" GOD SAVE THE QUEEN \".\nTHE END."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c049", "article_bluemountain": "bmtnaau_1912-07_01#c049", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "65", "page_fin": "65", "image_debut": 69, "image_fin": 69, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.22.2", "titre_corps": "Betsy Bodlan", "titre_sommaire": "Betsy Bodlan", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.69", "debut_caractere": 1454, "fin_caractere_exclue": 1466, "texte": "Betsy Bodlan"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c050", "article_bluemountain": "bmtnaau_1912-07_01#c050", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "68", "page_fin": "68", "image_debut": 72, "image_fin": 72, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.22.3", "titre_corps": "Blue Jackets", "titre_sommaire": "Blue Jackets", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.72", "debut_caractere": 1171, "fin_caractere_exclue": 1239, "texte": "Enter Fanny Trunnion, Right Hand-Plate I,\nand Blue Jackets, Plate 3."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c052", "article_bluemountain": "bmtnaau_1912-07_01#c052", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "72", "page_fin": "76", "image_debut": 76, "image_fin": 80, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.23", "titre_corps": "ROBERT LOUIS STEVENSON AND THE DRAMA OF SKELT", "titre_sommaire": "ROBERT LOUIS STEVENSON AND THE DRAMA OF SKELT", "signature_source": "Dorothy Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 76, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.76", "debut_caractere": 0, "fin_caractere_exclue": 2392, "texte": "ROBERT LOUIS STEVENSON AND THE\nDRAMA OF SKELT\nby Dorothy Nevile Lees.\nn his volume of 44 Memoirs and Portraits \" Robert Louis Ste-\nvenson celebrates the romance and glories of those little card-\nboard scenes and figures which, 44 A Penny Plain and Twopence\nColoured \", were Issued by a mysterious and powerful magician\nnamed Skelt and were the delight of his childish days. &\n\" A Penny Plain and Twopence Coloured\"; that was the legend\ninscribed above the door of hope where those small boys of half a century\nago, In their frilled collars and skeleton suits, entered with hot halfpence\nclasped tight in the depths of breeches's pockets, to revel in the joys\nwhich were at the disposition of all who possessed that talismanic sum.\nBut the full witchery that lurks in the words can perhaps only be\nsavoured by those who, like Mr Jack B. Yeats, have in their earliest youth\nknown them and all that they stood for, have early tasted the mastery\nover the miniature stages, the dominion over all those little cardboard\nfigures,.... the jolly tars, the blood-thirsty buccaneers, the nimble-toed\nBlue-Jackets, the ladies in their little full skirts and frilly pantaloons...\nthose, in fact, who were ** students of Skelt's Juvenile Drama \" at an\nage when their spirits were still sensitive to its wonders and their small\npersons yet in a pleasant proportion to its diminutive scenes.\nR. L. S. knew that delight well. There is love in every word that he\nwrites about the little theatres: and how he seems to caress that old-time\nlegend over the door which he sets as title at his essay's head 1\n\" These words \", says he, \" will be familiar to all students of Skelt's\n** Juvenile Drama. That national monument, after having changed its\n\" name to Park's, to Webb's, to Redington's, and last of all to Pollock's#\n\" has now become, for the most part, a memory. Some of its pillars,\n\" like Stonehenge, are still afoot, the rest clean vanished. It may be the\n\" Museum numbers a full set; and Mr lonides, perhaps, or else her\n\" gracious Majesty, may boast their great collections; but to the plain\n\"private person they are become, like Raphaels, unattainable \".\nAnd yet at different times what a glorious number of them he had\n\n(!) So far as we know no one has thoiougbly traced the Drama of Skelt to its source or to its mouth, and it\nis a subject into which it is to be hoped some one wiil go fully, J\". S."}, {"page_pdf": 77, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.77", "debut_caractere": 27, "fin_caractere_exclue": 2432, "texte": "possessed ! A 44 roll call of stirring names the mere enumeration of\nwhich affords clear 44 evidences of a happy childhood \". JZ? JZ/\n&44 Aladdin 44 The Red Rover 44 The Wood Daemon \", •' Jack\nSheppard, \" 44 the Smuggler, \" 44 The Forest of Bondy, \" 44 My Poll and\nmy Partner Joe ; \" 44 Three Fingered Jack, the Terror of Jamaica \", (what\na magnificent title ! why, we seem to get the whole thing in those seven\nstirring words I) 44 The Old Oak Chest; \" 44 The Miller and his Men \"The\nMaid of the Inn The Battle of Waterloo \"...But the list grows too long.\nLet us go back and peep in with the small Robert Louis through the\nwindow of that 44 stationer's shop at a corner of the wide thoroughfare \"\nwhich joined the city of his childhood to the sea: that window where\n44 all the year round, there stood displayed a theatre in working order,\n44 with a 44 forest set a 44 combat \". and a few 44 robbers carousing \" in\n44 the slides; and where 44 below and about, dearer tenfold \" to the future\n44 writer of the 44 Treasure Island \" and 44 Kidnapped 44 the plays\n«4 themselves, those budgets of romance, lay tumbled one upon another.\"\nJZ? What a delight to linger there, fingering the hot penny and tasting\nthe pleasures of anticipation, knowing that one could at will exchange\nthese for the pleasures of realisation and possession ! JZ?\njZ? 44 One figure, we shall say, was visible in the first plate of characters,\n44 bearded, pistol in hand, or drawing to his ear the clothyard arrow \":\n44 was it Macaire or Long Tom Coffin, or Grindoff, second dress ? \" But\nperhaps even the name was hidden, and the small shop=gazer could only\n44 wonder in what play he figured, and what immortai legend justified\n44 his attitude and strange apparel \". JZ/\nAnd then what joy, by virtue of the copper coin, to pass within ; 44t0\n44 announce yourself as an intending purchaser, and, closely watched, be\n44 suffered to undo those bundles and breathlessly devour those pages of\n44 gesticulating villains, epileptic combats, bosky forests, palaces and\n44 warships, frowning fortresses and prison vaults.....it was a giddy joy 1\"\nNo wonder that the shop was 44 a load stone rock for all that bore the\nname of boy \" and that the exultant laughter of the homeward race,\nwith the \"Miller\" or the 44 Rover4' clutched close against his jacket*\nechoed still long years after in the heart of the little boy when grown\nto man's estate."}, {"page_pdf": 78, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.78", "debut_caractere": 27, "fin_caractere_exclue": 2387, "texte": "But perhaps something of the best joy which lurked in Skelt's Juvenile\nDrama was always just beyond the reach of that little boy who was to\ngrow into a man of letters and not a man of the theatre ; for it seems\nto have been the letters more than the drama which appealed to him\neven in those early days. That which would have delighted the boy\nGoethe, with his puppets and his miniature stage, '....such passages as\n44 Scene 6. The Hermitage. Night set scene. Place back of scene i, No. 2\n44 at back of stage and hermitage. Fig. 2. out of set piece, R. H. in a\n44 slanting direction \"...such passages which, as I say, would, to the small\nGoethe, have been the crux of the whole matter, were to the small\nStevenson, \" though very practical, hardly to be called good reading\nIndeed, he adds, \"as literature, these dramas did not much appeal to,\nme \" ;...a strong testimony, did he but realise it, to their excellence\nsince who is there still living who wants drama to \" appeal to them as\nliterature\" ? & & &\nBut it was always of necessity the literary sense that was to dominate\nStevenson. He who was later on to be a master of language was already\nin love with language, held by the spell and magic of mere words, a magic\nwhich lurked for him even in the list on the back of the play books,\n44 that enticing double file of names \", where \" poetry, for the true child\nof Skelt, reigned happy and glorious like her Majesty the Queen in\nthose \" realms of gold \" where shone \" upon that map or abstract, names\nof HI Dorados that still haunt the ear of memory\nWhy, to such an extent was he enamoured of names, of words &$\nwords, that to him \" the name of Skelt itself has always seemed a part\nand parcel of his productions \" and 44 the attraction of this paper drama\nsensibly declined when Webb had crept into the rubric: a poor cuckoo,\nflaunting in Skelt's nest\". & &\nSo much, indeed, does this name of Skeit appear to him '• stagey and\npiratic \" that he adopts it in the form of \" skeltery \" to designate those\nqualities of which 44 the stagey \" is the 44 generic name an old'\n44 insular, home-bred staginess; not French, domestically British ; not of\n44 today but smacking of O. Smith, Fitzball, and the great age of me-\n\" lodrama; a peculiar fragrance haunting it; uttering its unimportant\n44 message in a tone of voice that has the charm of fresh antiquity \". A"}, {"page_pdf": 79, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.79", "debut_caractere": 27, "fin_caractere_exclue": 2409, "texte": "drama marked by 44 the presence of a great unity of gusto : of those direct\n44 eiap-trap appeals, which a man is dead and buriable when he fails to\nanswer; of the footlight glamour, the ready-made, bare-faced, tran-\nspontine picturesque, a thing not one with cold reality, but how much\n\"dearer to the mind!\" &&&&&&\nYes, that was one of the noblest qualities of 44 Skeltery it had\nnothing in common with 44 cold reality \",...that reality which has nothing\nto do with art.\nSkelt's world was a new creation; it's vegetation was peculiar to itself ;\nit's physical structure unique ; the light which illumined it was such as\nnever shone on land or sea; its occidental scenery, in which Skelt, for\nall his oriental vein, was most himself,44 had a strong flavour of England\nwas 44 a sort of indigestion of England and drop-scenes \", but charming\nwithal.\n4& 44 How \", writes Stevenson, 44 the roads wander; how the castle sits\n44 upon the hill, how the sun eradiates from behind the cloud, and how\n44 the congregated clouds themselves up-roll, as stiff as bolstersl Here is the\n'4 cottage interior, the usual first flat, with the cloak upon the nail, the\n44 rosaries of onions, the gun and powder-horn and corner cupboard; here\n44 is the inn, (this drama must be nautical, 1 foresee Luff and Bold Bob\n44 Bowsprit) with the red curtain, pipes, spittoons, and eight-day clock;\n44 and there again is that impressive dungeon with the chains which was\n44 so dull to colour. England, the hedgerow elms, the thin brick houses,\n44 windmills, glimpses of the navigable Thames,.. England, when at last\n44 I came to visit it, was only Skelt made evident: to cross the border\n44 was, for the Scotsman, to come home to Skelt: there was the inn-sign\n44 and there the horse trough, all foreshadowed in the faithful Skelt \"\n44 What am 1?\" he cries in conclusion, 44 what are life, art, letters,\n44 the world, but what my Skelt has made them ? He stamped himself\n44 upon my immaturity. The world was plain before I knew him, a poor\n44 penny world ; but soon it was all coloured with romance. If I go to the\n44 theatre to see a good old melodrama, 'tis but Skelt a little faded. If I\n44 visit a bold scene in nature, Skelt would have been bolder: there had\n44 been certainly a castle on that mountain, and the hollow tree.... that\n44 set piece....1 seem to miss it in the foreground. Indeed, out of this cut-"}, {"page_pdf": 80, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.80", "debut_caractere": 26, "fin_caractere_exclue": 1831, "texte": "44 and-dry dull, swaggering, obtrusive, and infantile art, I seem to have\n\" learned the very spirit of my life's enjoyment: met there the shadows\n44 of the characters I was to read about and love in a late future, got\n\" the romance of \" Der Freischutz \" long ere I was to hear of Weber or\n44 the mighty Formes: acquired a gallery of scenes and characters with\n44 which, in the silent theatre of the brain, I might enact all novels and\n\" romances, and took from those rude cuts an enduring and transforming\n44 pleasure£?\nThat was what Skelt, that dim mysterious figure whom we know only\ni n his works, did for the children of his generation; for that which one\nchild grew up to put on record must have been felt by many in the\ninarticulate way of those who have little gift of self-expression and are\nstrangers to the art, in which Stevenson excelled, of talking with\nthe pen. &\nBut although Skelt has long since vanished there is still a survivor to\ncarry on his delightful art in the person of Mr B. Pollock, late J. Redington,\nwho, at No. 73, Hoxton Street, N. publishes some two dozen of the old\nplays and possesses the plates for the remainder, together with a 44 modest\nreadiness \" to issue them for the children of today.\n& There, in the little Hoxton shop, you may still buy them ; there if\nyou go, pence in hand, you may yet purchase your entry into a world,\nPlain or Coloured according to your capacity to pay, but in any case\nflooded through with the bold sunlight of romance: a little gay world\ninto which no realism can enter, no actor's personality protrude, since\nthe ghost of Skelt, that 44 stagey and piratic\" figure, stands like an angel\nwith a flaming sword at the entrance to that cardboard Eden where the\npoplar, palm and potato tree flourish and the all-pervasive hollyhock\nruns wild."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c055", "article_bluemountain": "bmtnaau_1912-07_01#c055", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "82", "image_debut": 81, "image_fin": 86, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.24", "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": 81, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.81", "debut_caractere": 0, "fin_caractere_exclue": 1570, "texte": "BOOK REVIEWS.\n\nJACK B. YEATS, His Pictorial\nDramatic Art by Ernest Marriott.\n(Elkin Matthews). Price one shil-\nling. J&\njyir Marriott [is not a Londoner.\nManchester claims him. He is\ntherefore one of those rare free men\nof England. If he lived in London\nhe'd never have dared write so se=\nrlous or so enthusiastic a book on\nsuch an outsider as Jack B. Yeats .\nTo live out of London, out of\nreach of the Groove-ists and the\nRut-ists ....is to be an outsider. Al.\nLondon asks of England Is that her\nsons shall fall into the Groove or\nthe Rut, and the London Groove is\nlittle more than the Grave.\nTo be within hail of the hearty\nmodern London Web=spinner is to\nsay farewell to individuality, and\nindeed to Life itself. If you're a\nGenius like young Mr Yeats, (he\nmust be called so to distinguish him\nfrom his brother who was always a\nGenius till he became a Master) you\nare subject to the liveliest of tyran-\nnies which London can think out.\nIf you're a critic as free and fresh\nas is Mr Marriott you are subjected\nto a thorough \"treatment\" of\nthreats and temptations until you\nsuccomb. jg/ j\nDo you know what London asks\nfrom the critic fresh and free enough\nto say what he believes about those\nduffers in position and those men\nof talent or genius in the shade ?\nDo you know ?\nWell, London asks him not to\nsay what he believes and to think\nIt over and come round after the\nsecond act. It then tells him what\nhe is to think and to say. And some\nof the critics knuckle in to this.\nThose who don't in time get dis-\nmissed from the offices of the paper\nin which they write. &"}, {"page_pdf": 82, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.82", "debut_caractere": 15, "fin_caractere_exclue": 2172, "texte": "They may be all you would wish\nof them as moral, physical and\nspiritual men ; but unless they agree\nsooner or later to say what every\none else is saying, ....out they go\nI know only a few instances of\nthis sort of thing; others know of\nmany more. It's this devilry makes\nus all appreciate the sincerity and\nopen-mindedness of a man like Mr\nJ. S. Garvin whose \" Observer\"\nboasts a staff of writers and wor-\nkers of superlative qualities. The\n\"Pall Mall Gazette\" will be Just such\nanother now that Garvin is at the\nhelm. And one such man counts\nmore for England and English deve-\nlopment than all these other wret-\nched timid devils count against it.\nBut enough of London.\nManchester breeds and supports\nmen who think and move as in-\ndividuals. There are many up there\nand Marriott is one of them, and\nthus it is that we get in London a\nbook upon a fine Irish painter-dra-\nmatist written by a Manchester man.\nAnd it's a charming little book which\nyou must get add read for your-\nselves. Here are just a few verses\nfrom it concerning the boats of \"The\nLittle Fleet\" made by Yeats and his\nfriends.\nFirst there's the \"Moby Dick\".\n\" She sailed down the Gara valley,\nShe startled all the cows,\nWith touchwood in her galley\nAnd green paint round her bows.\nAs Mr Marriott says, \"the quain-\ntest verses in the book are those by\nthe pirate poet who fell off the bluff:\n\"To find out who that poet is and\nwhy he fell off the bluff you must\nget the book, and when you've read\nhis verses which I shall quote here\nI think you'll agree with me that he\nnever does better when he is at ease\non a bluff:\nAnd now by Gara rushes\nWhen stars are blinking white;\nAnd sleep has stilled the thrushes,\nAnd sunset brings the night;\nThere wherethe stones are gleamin,\nA passer-by can hark\nTo the old, drowned \" Monte \"\nseamen\nA-'singlng through the dark.\nThere where the gnats are pesky\nThey sing like anything;\nThey sing like Jean de Reske.\nThis is the song they sing:\n• •••»•••*\nOur bones are green and weeded,\nOur bones are old and wet;\nBut the noble deeds that we did\nWe never can forget*\nSome longer and more mora!\nkinds of poems touch you perhaps.\nThese are the kind touch me H. M."}, {"page_pdf": 83, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.83", "debut_caractere": 15, "fin_caractere_exclue": 2303, "texte": "NIETZSCHE AND ART, by An-\nthony Ludovici, Constable.\nFour shillings and sixpence net.\nor later it will be brought\n\" home to us in Europe that we\n\" cannot with impunity foster and\n\" cultivate vulgarity and mob quali-\n\" ties in our architecture, our\n\" sculpture, our painting, our music,\nand our literature, without paying\n\" very dearly for these luxuries in\n\" our respective politics, in our\n\" family institutions and even in\n\" our physique \". & JZ?\nam delighted with this book, if\never there was a good book writ-\nten upon Art it is this one by Mr\nLudovici. It was issued in 1911,\nand I suppose it is now in its\ntwentieth edition. If not it ought to\nbe. If I were a man of means, not\nnecessarily a millionaire, I would\ngive many thousands of pounds to\nspread the book far and wide, and\nmany more to its author. It is not\nmerely one of the necessary books :\nit is the one essential book of its\nkind. JZ?\n& It tells us in a perfectly simple\nway a few essential facts and one\ngreat truth. This is that the highest\nArt is Ruler Art and that it is\ntherefore the highest beauty in\nwhich culture is opposed to natural\ncomplexity ; and that this Ruler Art\ncan be the flower and product only\nof an aristocratic society which in\nits traditions and its active life has\nobserved, and continues to observe,\nthe three aristocratic principles,\n....culture, selection and simplicity.\n& Mr Ludovici tells us that in his\nbook, but he follows the philosophy\nof Nietzsche, and, indeed, he quotes\ncontinually from his master. But\nwhereas Nietzsche is to some of us\nnot at all clear, ....especially in an\nEnglish translation.... Mr Ludovici is\nas clear as day.\nYou want to know more ?....you\nwant me to expound this book' to\nyou ? I cannot ! Put before me a\nbook which is hateful to me and\nask me to to tell* you what is devi-\nlish in it, and i'll talk like a Gat-\nling gun and fire the thing out of\nexistence; but ask me to explain\nwhy I like a much-loved book or\neven what it Is about and I am\nunable to say a word. &\nWhen one approves so thoroughly\nof anything as I do of this work one\nis silent about it because it all\nseems so right aud so natural that\nto say any more would be to\nspoil it. JS? JS?\nAs Mr Ludovici says in re-telling\nthe Artist's view of life, \" disorder\n\" and confusion are the loadstones"}, {"page_pdf": 84, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 2265, "texte": "** that attract him\": and he adds that\n\" stimulated by disorder, which he\n«♦ despises, he is driven to his work ;\n** spurred by the sight of anarchy,\n*' his inspiration Is government;\n\" fertilized by rudeness and rugged-\n\" ness, his will to power gives birth\n** to culture and refinement. \"\nSo that when a man comes along\nwho understands, puts in order,\ncultures and refines life as Mr\nLudovici does by his book, then I,\nthe artist, am utterly relaxed,\nthere is nothing further for me\nto do*\nThe Mask and Mr Ludovici are\nin the same field, are fighting the\nsame hosts, have already sighted\nthe same victory, and if any of us\nstop to watch another doing his\nbrilliant feats of swordsmanship we\nshall get into trouble. So that this\ncan but be a hasty word of acknow-\nledgement to Mr Ludovici.... We\nshall meet after the battle.\nE. E.\n\nDAVID GARRICKAND HIS\nFRENCH FRIENDS by F. A.\nHedgcock. (Stanley Paul & Co.\nTen shillings and sixpence net.\nJ do not like this book, Not that it\nis not well written nor admirably\nconstructed, but because it relates\nto much that is petty about the\nTheatre in general.\nWe have had enough of these\nbooks to prove that not only is\nReform impossible, but that a new\nTheatre Is necessary. &\nJZ? The story of Garrick is the story\nof Rachel, of Kean, of Macklin and\nof Beerbohm Tree. Squabbles with\neyeryone carried on in a pompous\nmanner because the theatre is ma-\nnaged by common and ignorant\npeople instead or by men of talent\nand distinction. JZ?\nGarrick seems to have been a\ngood fellow just as our modern\nmanagers are good fellows. But\nGarrick seems to have been as in-\ncapable of establishing the Art in\nthe unassailable position it should\nbe placed in as Tree seems incapable\nof doing today. jSf &\nGarrick is served by commonplace\npeople who manage him. The result\nis that even if the famous actor\nsecretly desired to establish his Art\non the same sure and high position\nupon which the Fine Arts rest he\nwas unable to do so owing to his\ndependence upon his staff.\nThis is Garrick's only excuse. But\nthen Garrick was a tradesman, and\nfar more so than, for example,\nEdmund Kean.\nGarrick went about buying talent\nwith which to dress his shop window.\nHe visits Paris, and secures Noverre\nthe famous dancing master, much to"}, {"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.85", "debut_caractere": 15, "fin_caractere_exclue": 2304, "texte": "Lacy's disgust, ...Lacy who was the\nvulgar, but, it seems, indispensable\nbusiness manager of the theatre.\nThen the squabbles commence.\nAnd it seems to me that those\nsquabbles will continue until the\nthirtieth century and after unless\nthe business man selected by our\nfuture Garrick is a man of refine-\nment and understanding. In which\ncase he will then do the selecting,\n....even will he select his leading\nactor, his Macklin or his Wyndham.\nAnd how relieved we all shall be.\nThe Comic History of the Stage will\nbe finished. JZ? &\n\nTHE AMERICAN DRAMATIST\nby Montrose Moses. j& &\nJUtr Montrose Moses seems to have\nstudied The Mask pretty badly.\nHis collection of articles written for\nseveral American journals show that\nthe author is a careful reader without\nany single gleam of vision, ....and\nseemingly without a point of view.\nThe result is a weighty book\nwithout value. There are too many\nbooks of this kind hurled at an\nunoffending public, which passes\nthem on to us poor reviewers to\nread, and we are just sick of\nthem. &\n£> This author repeats quite a\nnumber of fine-sounding empty\n-tatements concerning the stage: we\ndon't like this kind of stuff in a\ncritical work, and the American\nstage is in no need of any but the\nmost serious criticism. Mr Moses\nthinks he makes things all right by\nsaying at the end that \" Present\nday dramatic criticism In America is\nnot an art \", and that \" one does\nnot need to be specially trained for\nthe position but this is absolutely\nno excuse. He adds that \" the dra-\nmatic critic's position is not an easy\none \". It ought not to be if Ameri-\ncan critics are all like Mr Moses.\nJ£? We like a critic to study his\nsubject first and know it better\nthan anyone else ; secondly to take\nup a distinct point of view; and\nthirdly to say what he sees and\nthinks, even if he loses a job through\nit. Mr Moses isn't that kind of a\ncritic. Mr Moses has no confidence in\nhimself. Mr Moses would get nothing\nout of a rock however much he\nstruck it, for Mr Moses has as much\nfaith as a door handle, ....and to be\nthat article is probably Mr Moses's\nambition.\n\nMODERN DANCING AND\nDANCERS by J. E. Crawfurd\nFlitch M. A. Grant Richards.\nPrice fifteen shillings Net.\n'\"phis is one of those useless books.\nThe writer is an M. A. and the\nauthor of \" Mediterranean Moods \"."}, {"page_pdf": 86, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.86", "debut_caractere": 15, "fin_caractere_exclue": 686, "texte": "lf this book has not quite the\nMonte Carlo touch it has some of\nthe oppressiveness of the Mediter-\nranean's Libyan mood. I never could\nabide the sirocco, but when it comes\ntasselled and begowned as an M. A.\nthen it is doubly relaxing.\nWhy write a book about Dancing\nat ail unless you know all about the\nart ? &\n& There are some scraps of good\njournalism in the book,but journalism\nat fifteen shillings a copy is rather\nexpensive.^\n& The reproductions of photographs\nare common and the eight coloured\nthings in the book pretending also\nproperly to represent two arts are\ndoubly awful. j0\n■fßßßTlMTtlWn—rirfTfwnMnKfTTllur——T—lWM—MTl—r mrM—«m—am man mil i ■ i\n\nBOUGHT BOOKS."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c057", "article_bluemountain": "bmtnaau_1912-07_01#c057", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "78", "image_debut": 81, "image_fin": 82, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.24.2", "titre_corps": "JACK B. YEATS, His Pictorial Dramatic Art by Ernest Marriot", "titre_sommaire": "JACK B. YEATS, His Pictorial Dramatic Art by Ernest Marriot", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.81", "debut_caractere": 15, "fin_caractere_exclue": 1570, "texte": "JACK B. YEATS, His Pictorial\nDramatic Art by Ernest Marriott.\n(Elkin Matthews). Price one shil-\nling. J&\njyir Marriott [is not a Londoner.\nManchester claims him. He is\ntherefore one of those rare free men\nof England. If he lived in London\nhe'd never have dared write so se=\nrlous or so enthusiastic a book on\nsuch an outsider as Jack B. Yeats .\nTo live out of London, out of\nreach of the Groove-ists and the\nRut-ists ....is to be an outsider. Al.\nLondon asks of England Is that her\nsons shall fall into the Groove or\nthe Rut, and the London Groove is\nlittle more than the Grave.\nTo be within hail of the hearty\nmodern London Web=spinner is to\nsay farewell to individuality, and\nindeed to Life itself. If you're a\nGenius like young Mr Yeats, (he\nmust be called so to distinguish him\nfrom his brother who was always a\nGenius till he became a Master) you\nare subject to the liveliest of tyran-\nnies which London can think out.\nIf you're a critic as free and fresh\nas is Mr Marriott you are subjected\nto a thorough \"treatment\" of\nthreats and temptations until you\nsuccomb. jg/ j\nDo you know what London asks\nfrom the critic fresh and free enough\nto say what he believes about those\nduffers in position and those men\nof talent or genius in the shade ?\nDo you know ?\nWell, London asks him not to\nsay what he believes and to think\nIt over and come round after the\nsecond act. It then tells him what\nhe is to think and to say. And some\nof the critics knuckle in to this.\nThose who don't in time get dis-\nmissed from the offices of the paper\nin which they write. &"}, {"page_pdf": 82, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.82", "debut_caractere": 15, "fin_caractere_exclue": 2172, "texte": "They may be all you would wish\nof them as moral, physical and\nspiritual men ; but unless they agree\nsooner or later to say what every\none else is saying, ....out they go\nI know only a few instances of\nthis sort of thing; others know of\nmany more. It's this devilry makes\nus all appreciate the sincerity and\nopen-mindedness of a man like Mr\nJ. S. Garvin whose \" Observer\"\nboasts a staff of writers and wor-\nkers of superlative qualities. The\n\"Pall Mall Gazette\" will be Just such\nanother now that Garvin is at the\nhelm. And one such man counts\nmore for England and English deve-\nlopment than all these other wret-\nched timid devils count against it.\nBut enough of London.\nManchester breeds and supports\nmen who think and move as in-\ndividuals. There are many up there\nand Marriott is one of them, and\nthus it is that we get in London a\nbook upon a fine Irish painter-dra-\nmatist written by a Manchester man.\nAnd it's a charming little book which\nyou must get add read for your-\nselves. Here are just a few verses\nfrom it concerning the boats of \"The\nLittle Fleet\" made by Yeats and his\nfriends.\nFirst there's the \"Moby Dick\".\n\" She sailed down the Gara valley,\nShe startled all the cows,\nWith touchwood in her galley\nAnd green paint round her bows.\nAs Mr Marriott says, \"the quain-\ntest verses in the book are those by\nthe pirate poet who fell off the bluff:\n\"To find out who that poet is and\nwhy he fell off the bluff you must\nget the book, and when you've read\nhis verses which I shall quote here\nI think you'll agree with me that he\nnever does better when he is at ease\non a bluff:\nAnd now by Gara rushes\nWhen stars are blinking white;\nAnd sleep has stilled the thrushes,\nAnd sunset brings the night;\nThere wherethe stones are gleamin,\nA passer-by can hark\nTo the old, drowned \" Monte \"\nseamen\nA-'singlng through the dark.\nThere where the gnats are pesky\nThey sing like anything;\nThey sing like Jean de Reske.\nThis is the song they sing:\n• •••»•••*\nOur bones are green and weeded,\nOur bones are old and wet;\nBut the noble deeds that we did\nWe never can forget*\nSome longer and more mora!\nkinds of poems touch you perhaps.\nThese are the kind touch me H. M."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c058", "article_bluemountain": "bmtnaau_1912-07_01#c058", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "79", "page_fin": "80", "image_debut": 83, "image_fin": 84, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.24.3", "titre_corps": "NIETZSCHE AND ART, by Anthony Ludovici", "titre_sommaire": "NIETZSCHE AND ART, by Anthony Ludovici", "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": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.83", "debut_caractere": 15, "fin_caractere_exclue": 2303, "texte": "NIETZSCHE AND ART, by An-\nthony Ludovici, Constable.\nFour shillings and sixpence net.\nor later it will be brought\n\" home to us in Europe that we\n\" cannot with impunity foster and\n\" cultivate vulgarity and mob quali-\n\" ties in our architecture, our\n\" sculpture, our painting, our music,\nand our literature, without paying\n\" very dearly for these luxuries in\n\" our respective politics, in our\n\" family institutions and even in\n\" our physique \". & JZ?\nam delighted with this book, if\never there was a good book writ-\nten upon Art it is this one by Mr\nLudovici. It was issued in 1911,\nand I suppose it is now in its\ntwentieth edition. If not it ought to\nbe. If I were a man of means, not\nnecessarily a millionaire, I would\ngive many thousands of pounds to\nspread the book far and wide, and\nmany more to its author. It is not\nmerely one of the necessary books :\nit is the one essential book of its\nkind. JZ?\n& It tells us in a perfectly simple\nway a few essential facts and one\ngreat truth. This is that the highest\nArt is Ruler Art and that it is\ntherefore the highest beauty in\nwhich culture is opposed to natural\ncomplexity ; and that this Ruler Art\ncan be the flower and product only\nof an aristocratic society which in\nits traditions and its active life has\nobserved, and continues to observe,\nthe three aristocratic principles,\n....culture, selection and simplicity.\n& Mr Ludovici tells us that in his\nbook, but he follows the philosophy\nof Nietzsche, and, indeed, he quotes\ncontinually from his master. But\nwhereas Nietzsche is to some of us\nnot at all clear, ....especially in an\nEnglish translation.... Mr Ludovici is\nas clear as day.\nYou want to know more ?....you\nwant me to expound this book' to\nyou ? I cannot ! Put before me a\nbook which is hateful to me and\nask me to to tell* you what is devi-\nlish in it, and i'll talk like a Gat-\nling gun and fire the thing out of\nexistence; but ask me to explain\nwhy I like a much-loved book or\neven what it Is about and I am\nunable to say a word. &\nWhen one approves so thoroughly\nof anything as I do of this work one\nis silent about it because it all\nseems so right aud so natural that\nto say any more would be to\nspoil it. JS? JS?\nAs Mr Ludovici says in re-telling\nthe Artist's view of life, \" disorder\n\" and confusion are the loadstones"}, {"page_pdf": 84, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 846, "texte": "** that attract him\": and he adds that\n\" stimulated by disorder, which he\n«♦ despises, he is driven to his work ;\n** spurred by the sight of anarchy,\n*' his inspiration Is government;\n\" fertilized by rudeness and rugged-\n\" ness, his will to power gives birth\n** to culture and refinement. \"\nSo that when a man comes along\nwho understands, puts in order,\ncultures and refines life as Mr\nLudovici does by his book, then I,\nthe artist, am utterly relaxed,\nthere is nothing further for me\nto do*\nThe Mask and Mr Ludovici are\nin the same field, are fighting the\nsame hosts, have already sighted\nthe same victory, and if any of us\nstop to watch another doing his\nbrilliant feats of swordsmanship we\nshall get into trouble. So that this\ncan but be a hasty word of acknow-\nledgement to Mr Ludovici.... We\nshall meet after the battle.\nE. E."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c060", "article_bluemountain": "bmtnaau_1912-07_01#c060", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "81", "image_debut": 84, "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=bmtnaau191207-01.2.24.4", "titre_corps": "DAVID GARRICK AND HIS FRENCH FRIENDS by F.A. Hedgcock", "titre_sommaire": "DAVID GARRICK AND HIS FRENCH FRIENDS by F.A. Hedgcock", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 84, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.84", "debut_caractere": 848, "fin_caractere_exclue": 2265, "texte": "DAVID GARRICKAND HIS\nFRENCH FRIENDS by F. A.\nHedgcock. (Stanley Paul & Co.\nTen shillings and sixpence net.\nJ do not like this book, Not that it\nis not well written nor admirably\nconstructed, but because it relates\nto much that is petty about the\nTheatre in general.\nWe have had enough of these\nbooks to prove that not only is\nReform impossible, but that a new\nTheatre Is necessary. &\nJZ? The story of Garrick is the story\nof Rachel, of Kean, of Macklin and\nof Beerbohm Tree. Squabbles with\neyeryone carried on in a pompous\nmanner because the theatre is ma-\nnaged by common and ignorant\npeople instead or by men of talent\nand distinction. JZ?\nGarrick seems to have been a\ngood fellow just as our modern\nmanagers are good fellows. But\nGarrick seems to have been as in-\ncapable of establishing the Art in\nthe unassailable position it should\nbe placed in as Tree seems incapable\nof doing today. jSf &\nGarrick is served by commonplace\npeople who manage him. The result\nis that even if the famous actor\nsecretly desired to establish his Art\non the same sure and high position\nupon which the Fine Arts rest he\nwas unable to do so owing to his\ndependence upon his staff.\nThis is Garrick's only excuse. But\nthen Garrick was a tradesman, and\nfar more so than, for example,\nEdmund Kean.\nGarrick went about buying talent\nwith which to dress his shop window.\nHe visits Paris, and secures Noverre\nthe famous dancing master, much to"}, {"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.85", "debut_caractere": 15, "fin_caractere_exclue": 545, "texte": "Lacy's disgust, ...Lacy who was the\nvulgar, but, it seems, indispensable\nbusiness manager of the theatre.\nThen the squabbles commence.\nAnd it seems to me that those\nsquabbles will continue until the\nthirtieth century and after unless\nthe business man selected by our\nfuture Garrick is a man of refine-\nment and understanding. In which\ncase he will then do the selecting,\n....even will he select his leading\nactor, his Macklin or his Wyndham.\nAnd how relieved we all shall be.\nThe Comic History of the Stage will\nbe finished. JZ? &"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c061", "article_bluemountain": "bmtnaau_1912-07_01#c061", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "image_debut": 85, "image_fin": 85, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.24.5", "titre_corps": "THE AMERICAN DRAMATIST by Montrose Moses", "titre_sommaire": "THE AMERICAN DRAMATIST by Montrose Moses", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.85", "debut_caractere": 547, "fin_caractere_exclue": 2096, "texte": "THE AMERICAN DRAMATIST\nby Montrose Moses. j& &\nJUtr Montrose Moses seems to have\nstudied The Mask pretty badly.\nHis collection of articles written for\nseveral American journals show that\nthe author is a careful reader without\nany single gleam of vision, ....and\nseemingly without a point of view.\nThe result is a weighty book\nwithout value. There are too many\nbooks of this kind hurled at an\nunoffending public, which passes\nthem on to us poor reviewers to\nread, and we are just sick of\nthem. &\n£> This author repeats quite a\nnumber of fine-sounding empty\n-tatements concerning the stage: we\ndon't like this kind of stuff in a\ncritical work, and the American\nstage is in no need of any but the\nmost serious criticism. Mr Moses\nthinks he makes things all right by\nsaying at the end that \" Present\nday dramatic criticism In America is\nnot an art \", and that \" one does\nnot need to be specially trained for\nthe position but this is absolutely\nno excuse. He adds that \" the dra-\nmatic critic's position is not an easy\none \". It ought not to be if Ameri-\ncan critics are all like Mr Moses.\nJ£? We like a critic to study his\nsubject first and know it better\nthan anyone else ; secondly to take\nup a distinct point of view; and\nthirdly to say what he sees and\nthinks, even if he loses a job through\nit. Mr Moses isn't that kind of a\ncritic. Mr Moses has no confidence in\nhimself. Mr Moses would get nothing\nout of a rock however much he\nstruck it, for Mr Moses has as much\nfaith as a door handle, ....and to be\nthat article is probably Mr Moses's\nambition."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c062", "article_bluemountain": "bmtnaau_1912-07_01#c062", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "82", "image_debut": 85, "image_fin": 86, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.24.6", "titre_corps": "MODERN DANCING AND DANCERS by J.E. Crawfurd Flitch", "titre_sommaire": "MODERN DANCING AND DANCERS by J.E. Crawfurd Flitch", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.85", "debut_caractere": 2098, "fin_caractere_exclue": 2304, "texte": "MODERN DANCING AND\nDANCERS by J. E. Crawfurd\nFlitch M. A. Grant Richards.\nPrice fifteen shillings Net.\n'\"phis is one of those useless books.\nThe writer is an M. A. and the\nauthor of \" Mediterranean Moods \"."}, {"page_pdf": 86, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.86", "debut_caractere": 15, "fin_caractere_exclue": 671, "texte": "lf this book has not quite the\nMonte Carlo touch it has some of\nthe oppressiveness of the Mediter-\nranean's Libyan mood. I never could\nabide the sirocco, but when it comes\ntasselled and begowned as an M. A.\nthen it is doubly relaxing.\nWhy write a book about Dancing\nat ail unless you know all about the\nart ? &\n& There are some scraps of good\njournalism in the book,but journalism\nat fifteen shillings a copy is rather\nexpensive.^\n& The reproductions of photographs\nare common and the eight coloured\nthings in the book pretending also\nproperly to represent two arts are\ndoubly awful. j0\n■fßßßTlMTtlWn—rirfTfwnMnKfTTllur——T—lWM—MTl—r mrM—«m—am man mil i ■ i"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c063", "article_bluemountain": "bmtnaau_1912-07_01#c063", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 86, "image_fin": 86, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.24.7", "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": 86, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.86", "debut_caractere": 673, "fin_caractere_exclue": 686, "texte": "BOUGHT BOOKS."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c064", "article_bluemountain": "bmtnaau_1912-07_01#c064", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 86, "image_fin": 86, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.24.7.1", "titre_corps": "WILLIAM SHAKESPEARE by John Masefield", "titre_sommaire": "WILLIAM SHAKESPEARE by John Masefield", "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": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.86", "debut_caractere": 688, "fin_caractere_exclue": 2074, "texte": "WILLIAM SHAKES by\nJohn Masefield. Williams and\nNorg at a. & & j\nT bought this book first, (for I bought\ntwo of them), because of the name\n44 William Shakespeare I bought\nthe second copy because of the name\nJohn Masefield.\nIt is superbly written and well\nimagined, and with great passion do\nthe lines boil out. Here is a lover\nof Shakespeare indeed. In a clever\nintroduction in two chapters we\ncome across the following remarks\nby this serious writer :\n*'■ Women were not then allowed\n44 upon the stage. Women's parts\n44 were played by boys. Some have\n44 thought that this must have\n44 taken from the excellence of the\n44 performances. It is highly likely\n44 that it added much to it. Nearly\n44 all boys can act extremely well.\n44 Very few men and women can\nA terse paragraph and one which\nlends weight to the growing convic-\ntion that women must leave the\nstage for its quality to revive. That\nProfessor Raleigh and John Masefield\nare agreed on this point lends weight\nto the indictment of the actress.\nAltogether this is one of the best\nbooks I would even go so far as\nto say the best..... written on\nShakespeare. &\nit is certainly the smallest, ...asa\nlarge type pages of a book the size\nof the Everyman \" series. jS\nMr Masefield is being hailed as\nour greatest poet, but if his next\nbook is in prose we shall obviously\nhave a masterpiece, and shall then\nbe in doubt what to call him."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c066", "article_bluemountain": "bmtnaau_1912-07_01#c066", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 87, "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=bmtnaau191207-01.2.25", "titre_corps": "MAGAZINE REVIEWS", "titre_sommaire": "MAGAZINE REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.87", "debut_caractere": 0, "fin_caractere_exclue": 2210, "texte": "MAGAZINE REVIEWS\n\nmagazines are very full\nof life at times, and bring us often\na good essay or two on the Theatre.\nBut as a rule those American wri-\nters who attempt the role of Thea-\ntrical Historian so as to help us to\na clearer understanding of the past\nmerely succeed in annoying us by\na lot of vague guesses founded for\nthe most part on very weak evi-\ndence.\nIn Modern Philology (Chicago)\nthere was an article on \" An Early\nType of Stage \" In a recent num-\nber. There was also a short note\nby another writer on the \" Swan\nTheatre\" which was a little better.\nThe authors take the usual \"proofs\"\n.... some written word or some single\nengraving, and write down their\nguesses on the margin. We prefer\nthe method of the only great modern\nhistorian of the stage, Mr E. K.\nChambers.\nHe does not trouble himself or\nus about any special fifth-rate\nengraving or any chance scratch in\nsuch an engraving: he does not spend\npages discussing a couple of words\n(probably misprints) in an old book.\nOr If he troubles himself he does\nnot seem to trouble, and so makes\nit charming for us. His method Is to\nexhaust himself over at least three\nthousand books, (one might even\nguess at double that number) and\nhe quotes out of each of them, and\nthere an end. Everything falls into\nthe right order when he works, and\nwe get a thick book of facts, facts\nand nothing but facts. Every other\nline is a quotation; sometimes a\nsingle line is made up of the gist of\ntwo quotations. As we read we are\nmade to feel sure. Such a gift\ncannot be for everyone, and yet we\nfeel that the other historians ought\nreally to do a little better and\nattempt a clearer and calmer\nmethod. jg/\n& We understand that Mr E. K.\nChambers is at work upon the\nShakespeare book which he mentions\nso casually as \"a little book\" in his\nPreface to \" The Mediaeval Stage \"\nissued in 1903, and we hope it may\nsoon appear.\nThis American journal has one\nexcellent custom: it numbers the\npages of each article from I. to\nwhatever figure the essay may\nreach. Thus, if we detach any article\n(even when it run into three\nnumbers of the journal) we have a\nproper order of pages which is quite\nt\nuseful.\nModern Philology Is issued quar-\nterly by the University of Chicago."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c067", "article_bluemountain": "bmtnaau_1912-07_01#c067", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 87, "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=bmtnaau191207-01.2.25.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.87", "debut_caractere": 18, "fin_caractere_exclue": 2210, "texte": "magazines are very full\nof life at times, and bring us often\na good essay or two on the Theatre.\nBut as a rule those American wri-\nters who attempt the role of Thea-\ntrical Historian so as to help us to\na clearer understanding of the past\nmerely succeed in annoying us by\na lot of vague guesses founded for\nthe most part on very weak evi-\ndence.\nIn Modern Philology (Chicago)\nthere was an article on \" An Early\nType of Stage \" In a recent num-\nber. There was also a short note\nby another writer on the \" Swan\nTheatre\" which was a little better.\nThe authors take the usual \"proofs\"\n.... some written word or some single\nengraving, and write down their\nguesses on the margin. We prefer\nthe method of the only great modern\nhistorian of the stage, Mr E. K.\nChambers.\nHe does not trouble himself or\nus about any special fifth-rate\nengraving or any chance scratch in\nsuch an engraving: he does not spend\npages discussing a couple of words\n(probably misprints) in an old book.\nOr If he troubles himself he does\nnot seem to trouble, and so makes\nit charming for us. His method Is to\nexhaust himself over at least three\nthousand books, (one might even\nguess at double that number) and\nhe quotes out of each of them, and\nthere an end. Everything falls into\nthe right order when he works, and\nwe get a thick book of facts, facts\nand nothing but facts. Every other\nline is a quotation; sometimes a\nsingle line is made up of the gist of\ntwo quotations. As we read we are\nmade to feel sure. Such a gift\ncannot be for everyone, and yet we\nfeel that the other historians ought\nreally to do a little better and\nattempt a clearer and calmer\nmethod. jg/\n& We understand that Mr E. K.\nChambers is at work upon the\nShakespeare book which he mentions\nso casually as \"a little book\" in his\nPreface to \" The Mediaeval Stage \"\nissued in 1903, and we hope it may\nsoon appear.\nThis American journal has one\nexcellent custom: it numbers the\npages of each article from I. to\nwhatever figure the essay may\nreach. Thus, if we detach any article\n(even when it run into three\nnumbers of the journal) we have a\nproper order of pages which is quite\nt\nuseful.\nModern Philology Is issued quar-\nterly by the University of Chicago."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c068", "article_bluemountain": "bmtnaau_1912-07_01#c068", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "88", "image_debut": 88, "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=bmtnaau191207-01.2.26", "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": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.88", "debut_caractere": 0, "fin_caractere_exclue": 25, "texte": "FOREIGN NOTES.\n\nBUDAPEST."}, {"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.91", "debut_caractere": 1260, "fin_caractere_exclue": 1267, "texte": "LONDON."}, {"page_pdf": 92, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.92", "debut_caractere": 737, "fin_caractere_exclue": 745, "texte": "NEW YORK"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c070", "article_bluemountain": "bmtnaau_1912-07_01#c070", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "87", "image_debut": 88, "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=bmtnaau191207-01.2.26.2", "titre_corps": "BUDAPEST", "titre_sommaire": "BUDAPEST", "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": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.88", "debut_caractere": 16, "fin_caractere_exclue": 25, "texte": "BUDAPEST."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c071", "article_bluemountain": "bmtnaau_1912-07_01#c071", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "image_debut": 88, "image_fin": 88, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.26.2.1", "titre_corps": "The Commedia dell'Arte", "titre_sommaire": "The Commedia dell'Arte", "signature_source": "p", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.88", "debut_caractere": 27, "fin_caractere_exclue": 606, "texte": "The Commedia dell'Arte.\np.\nCrom here I am able to send you\nfamous news.\nAt the National Theatre, under\nthe direction of Dr Alexander Heve-\nsi, they have improvised a piece\nfrom a scenario of Riccoboni's, \"Le\nDefiant\", thus reviving for the first\ntime the splendid traditions of the\nCommedia dell 'Arte of which so\nmuch has been written in The Mask.\nIt was a superb performance. .£?\n& Everyone here is delighted, and\nto prove this I cannot do better than\nsend you some extracts from the\nBudapest journals upon this fine\nachievement of Dr Hevesi and of all\nwho worked under him. j0"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c072", "article_bluemountain": "bmtnaau_1912-07_01#c072", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "87", "image_debut": 88, "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=bmtnaau191207-01.2.26.2.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.88", "debut_caractere": 608, "fin_caractere_exclue": 1785, "texte": "|n \" AzEst \" (The Evening) Ernest\nSzep, one of the best Hungarian\npoets, writes:\n** There was a feast last night\nin the National Theatre... They gave\nthe ninth production of the comedy-\ncycle, producing two plays, \" Maitre\nPathelin \", the famous comedy of the\n15th century, and an example of the\nCommedia dell' Arte of the 18th\ncentury called ** Le Defiant\nJS/ The second was the event of the\nevening. And not only that, but an\nevent and a glory to the National\nTheatre as well as to the whole\nHungarian stage.\n& The sympathetic masquerading\nfigures of old-time pantomimes, of\npoetry and picture, Pierrot, Arlecchi-\nno, Columbina, Scapino, were acted,\nposed, played, quarrelling, singing,\njumping, by members of the National\nTheatre, who never before did a\ncomedy like this and could never\nhave even see one before.\nThe Commedia dell' Arte, never\nplayed since its own time was\nrevived and renewed In its past\nsplendour by the National Theatre.\nThe actors had to create their\nparts to a great extent themselves.\nThey made them and acted them in\nsuch away that Professor Reinhardt\nshould have seen them from the\ngallery in that bewitching world\nwhich upon that night was conjured"}, {"page_pdf": 89, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.89", "debut_caractere": 16, "fin_caractere_exclue": 2271, "texte": "up on the stage by Hungarians. 0\n& It was a happiness and pride to\nknow that we were in the National\nTheatre and that we were Hun-\ngarians. J0\n& All honour is due to this noble\ntheatre and to the talent of Mr He-\nvesi, by whose art as a Producer this\nthing was created and who even\nafter long applause did not show\nhimself before the curtain.\n& Magyar Nemzei (Hungarian\nNation) j0\n....So much real, and really felt,\njoy, so much cheerfulness is seldom\nto be found in a public. No doubt a\ngreat deal of this remarkable suc-\ncess was due to the actors and\none can but praise their original,\nlively, fresh, and sympathetic acting.\nNevertheless the main part of\nthe merit and the chief recognition\nis still due to the producer-in-chief,\nMr Hevesi, who translated \" Maitre\nPatheiin\" in sparkling rhymes,\nwho arranged the production of \"Le\nDefiant\" with the keenest sense\nof style and also as prelude to the\nproduction gave us an excellent con-\nference which, as well for its contents\nas for its form, may be said to have\nbeen perfect.\nBudapester Presse. 0 0\nMr Mohacsy writes:\na? Though the National Theatre last\nnight put off its seriousness for one\nevening it is not therefore to be\ntaken less earnestly.\nj£f It indulged in a piece of theatrical\nhistory, but without any learned\nhigh-browedness ; one was permitted\nto forget history and to enjoy an\nenchanting spectacle.\n*&Last night many hitherto unknown\ntalents were discovered in the Na-\ntional Theatre.\nThey first played the old French\nfarce of \"Maitre Patheiin \". This\nwas followed by a sample of the old\nCommedia dell' Arte. The scenario\nof a hundred lines became In their\nhands a delightful comedy in two\nparts. 0\nThis theatrical occasion, artisti-\ncally the best we have seen for a long\ntime in the National Theatre, was\nunder the rule of Mr Hevesi. He was\nthe translator of \" Maitre Patheiin \",\nadapter of \" Le Defiant \", producer\nand lecturer. His discourse was in-\nstructive and amusing, artistic and\nfull of delight.\nMr Hevesi was often called before\nthe curtain after his conference : he\nwas also called for later in the\nevening as its hero. In his stead,\nbut nevertheless in acknowledge-\nment of their own merits, the excel-\nlent actors were honoured with\nenthusiastic proofs of popular favour."}, {"page_pdf": 90, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.90", "debut_caractere": 16, "fin_caractere_exclue": 2327, "texte": "The audience did not stop laughing\nall the evening through. &\nAlkotmany (Constitution).\nDr Sztrakoniczky writes....\nLast night the fool's cap crowned\nthe National Theatre. Chuckling,\nhealthy unrestricted merriment\nwhich burst from the people with\nirrisistable force, over spread the\naudience and the stage as well,\nbrought the public and the actors\nclose together, and, in the name of\ncomedy, made for a few hours an\nassemblage of mirthful merrimakers\nof the actors.\n£> I never before saw men of such\ndifferent orders and ranks, drawn\ntogether for one evening by profes-\nsion, by chance or by custom, un-\nderstand each other so well, or feel\nso closely related and so essentially\none as last night. & £/ £?\n& The National Theatre revived a\nkind of art which, it became ma-\nnifest during the performance, it\nwould have been a mistake not to\nrevive. The circumstance alone shows\nthat the National Theatre did the\nwork of revival just In the way it\nshould be done. & £? £?\n& That skeleton of one hundred\nlines, once written by Coypel and\npreserved by Riccoboni, was filled\nout and covered with flowers by the\nactors. Two acts full of merriment*\nfrolic, dancing, joking and laughing\nwere played with much, and excel-\nlent, humour... It was an agreable,\nenjoyable, even a glorious, evening.\n& The National Theatre showed\nitself to have reached a height which\nwe were always wishing for. It solved\na serious artistic problem and did\nnot only convince but fascinated\nthe public. It revived an old spe-\ncies of art; bringing it forward\ntriumphantly; the actors won.\nuSf No doubt the principle part of\nthis victory belongs to Dr Alex-\nander Hevesi, the producer-in-chief\nof the National Theatre. It was he\nwith whom the idea of the whole\nm\ncomedy-cycle originated ; he who\nbrought the Commedia dell'Arte on\nto this stage, he who rendered this\nperformance, through the skill of\nhis method, a complete success, and,\nby his excellent artistic sense, made\nof it a glorious feature ; he it was who\n(in introducing the performance of\nthe two comedies), gave a fascinating,\ndeep and spirited lecture about\nthem.\nWe do not really know which of\nIlls manifold merits should be first,\nand more especially, acknowledged,,\nbut there is no doubt that the\nsplendid success of this evening was\nhis. £/\n& Indeed, after the demonstrative."}, {"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.91", "debut_caractere": 16, "fin_caractere_exclue": 1258, "texte": "warm and enthusiastic applause of\nthe audience, little need be added in\nhis praise.\n£? Budapestl Hirlap (Journal of\nBudapest.) JZ? jz? /zr\n£? Dr Alexander, the doyen of Hun-\ngarian critics, writes\n& On Wednesday and Thursday\ntwo plays were produced, following\nan introductory lecture by Dr Hevesl.\nIt was a real pleasure to listen to\nhim, as in a fresh, natural and yet\ndistinguished manner he gave vent\nto a streaming flow of knowledge,\nideas and spirited notions, zzf\n& This introduction was indeed\nnecessary ....The improvised play is\nborn and fades moment by moment.\n& The present moment Is Its ele-\nment.\nHevesl explained this, and in\ndoing so excited the curiosity\nof the public in such a manner\nthat, after having applauded him\nwe sat looking out eagerly for those\nto come. JZ?\nThe whole of the theatre, spec-\ntators, actors and all, were seized\nby that agreable excitement which\nIs a condition of big successes.\nThe lecturer trembled: what's\ncoming ? The actors entered upon\nthe thing fearlessly; it was n0w....\nanyhow. And the spectator\ncould hardly overcome his surprise :\nwell, that's grand, fine, really\nentertaining 1 This requires nothing\nbut to give oneself up wholly to\nthe minute, and to forget all prepa-\nration. zz? <Z? *£?"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c073", "article_bluemountain": "bmtnaau_1912-07_01#c073", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "88", "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=bmtnaau191207-01.2.26.3", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.91", "debut_caractere": 1260, "fin_caractere_exclue": 1267, "texte": "LONDON."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c074", "article_bluemountain": "bmtnaau_1912-07_01#c074", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "88", "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=bmtnaau191207-01.2.26.3.1", "titre_corps": "The Russian Ballet", "titre_sommaire": "The Russian Ballet", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.91", "debut_caractere": 1269, "fin_caractere_exclue": 2220, "texte": "The Russian Ballet.\n\nJt becomes more and more amazing\nto some of us how it is that the\nRussian Ballet was ever let into\nLondon at all. We used to be so\nstrict in London and still are so\nstrict about some things and they\nare some of those things which are\nvery closely connected with the\nRussian Ballet. JZ? JZ?\nStill, the ladies are very fasci-\nnating and quite the nicest part of\nthe whole show. JZ? zZ?\nI suppose it is a little late to\nadvise England about such matters,\nfor did not Wilde say, \" It is always\na silly thing to give advice but to\ngive good advice is absolutely fatal.\"\nLord Dunsany's Play. &\n| ord Dunsany is one of those who\nstill believe in writing plays.\nThat is to say, he believes that a\nliterary play Is a drama, and after\nall it is much ea~sier to agree with\nthan to differ from him because his\nown plays are so well written, and,\nindeed, very dramatic. JZ? JZ/\n& His \"Gods of the Mountain\" up\nto a point promised all the time,"}, {"page_pdf": 92, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.92", "debut_caractere": 15, "fin_caractere_exclue": 735, "texte": "but when it comes to the dramatic\nmoment we hardly get what may be\ncalled the \"great thrill\". It was\nthe same with his one act play,\n** The Glittering Gate \". jZ?\n«e> All really good dramatic literary\nplays serve as the very best of\nwitnesses to the truism that dramas\nare only concerned with that part\nof life which cannot be spoken. For\none sees how at the end of his task\nand when something is going to hap-\npen the poet comes either upon a\nblank wall or upon a great closed\ngate. He stops dead before it or, if\nhe opens It like the character in the\n\" Glittering Gate \" he says, \" Bill,\nthere aint no drama... nothing but\ngreat glittering words\".\nBut Lord Dunsany has a future\nbefore him, probably a great one.\n\nR. S."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c075", "article_bluemountain": "bmtnaau_1912-07_01#c075", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 92, "image_fin": 92, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.26.4", "titre_corps": "NEW YORK", "titre_sommaire": "NEW YORK", "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": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.92", "debut_caractere": 737, "fin_caractere_exclue": 745, "texte": "NEW YORK"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c076", "article_bluemountain": "bmtnaau_1912-07_01#c076", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 92, "image_fin": 92, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.26.4.1", "titre_corps": "A Question of Size", "titre_sommaire": "A Question of Size", "signature_source": "P. G", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.92", "debut_caractere": 747, "fin_caractere_exclue": 1989, "texte": "A Question of Size.\nP. G.\nMost of the journals in America\nhave been busying themselves,\nevidently with Mr Ames' assistance,\nin trying to find excuses for the\nfailure of the New Theatre, or\nMillionaires' Theatre, of New York-\nAnd the word has gone forth that\nthe reason for its failure was that\nit was too large.\nWhether Americans will take\nthis sitting down is to be seriously\n¥■\ndoubted. America doesn't as a rule\nrun away from size; And Americans\ndon't put forward such weak excuses\nas a rule. Size! I Really, Mr Ames...\nWe suppose it really was size\nwhich made \" The Miracle \" such a\nsuccess: and what about Barnum's,\nand Edmund Kean in Drury Lane ?\nDid size prevent genius realizing\nitself there ? And that somewhat\ncelebrated little performance of the\n\" Agamemnon \" in Athens at the\nTheatre of Dionysus,... ~ did the\nvastness of the theatre (it seated\n\" about twenty thousand persons \"s\nHaigh) prevent its success?\nReally, Mr Ames, really you\nmight have thought of a better\nexcuse. For it is quite clear on the\nmost casual of enquiries that in\nancient times, in times not long ago\nand in modern times size has actually\nnothing whatever to do with the\nsuccess or failure of Dramatic\nworks. jg? J£?\n& Well then, where are you, Mr\nAmes ? £?"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c078", "article_bluemountain": "bmtnaau_1912-07_01#c078", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "94", "image_debut": 93, "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=bmtnaau191207-01.2.27", "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": 93, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.93", "debut_caractere": 0, "fin_caractere_exclue": 1656, "texte": "EDITORIAL NOTES.\n\nTHE FUTURISTS ' BLUNDER.\nJhe Futurists' aim at painting\n\" states of mind \". \" You must\nrender the invisible which stirs and\nlives beyond intervening obstacles \"\nthey say, and as a rule they select\nto show us on a canvas things in\nmovement.\nIn order to do this they imitate\nvery frankly the methods of the\ncinematograph become human. That\nis to say, a palsied cinematograph.\nThe thing which they can't get rid\nof is their weakness. Their eye is\nweak; It cannot follow everything\nat once. So feeble is the power of\ntheir eye that, if two persons pass\neach other, instead of being able to\nsee both they see bits of both; what\nthey can't see they leave out. They\nhave to be very quick to see even\none bit of each figure and to note\nits JZ?\nIf a women in a large hat, a\nhorse, a tram and a bicycle pass in\nfront of a Futurist in quick succes-\nsion he puts down on the canvas\nbits of woman, bits of horse, a bit\nof the tram and a bit of the bicycle.\nTh is small rough design Is a bad\nFuturist picture, but its the same\nthing as one. £7\nj£? The painter is trying to do in\nline and colour what movement\n»\nalone can accomplish. «£>\nJZ> tie therefore makes a big blunder.\nFancy a Futurist blundering 1 Surely\nthat was not Intentional. £>\nIt comes from forgetting that\nmovement is the property of another\nand quite different artist, namely,\nthe artist of the Theatre. And it\ncomes from the modern lust after\nother people's property which has\nmade the European quite crazy of\nlate. Some more-than-Futurlst will\nsoon come along who professes to\ngive sound to pictures. It is only\ndetestable because of the conceit of\nthe thing. As though what has been"}, {"page_pdf": 94, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.94", "debut_caractere": 11, "fin_caractere_exclue": 2188, "texte": "enough to puzzle Leonardo the young\nItalian painter is not enough to\npuzzle the aged Severini.\nLet Severini get into touch with\nthe eternal Leonardo as soon as he\ncan and learn first the respect due\nto all masters and the worship due\nto those who were the most modest\nof all, the most obedient to nature,\nthe least conceited when in the\npresence of nature.\nThese masters will live on and\nare the only true Futurists, and these\nmodern Italian fellows calling them-\nselves Futurists are already dead\nand don't know it.\n\nA LESSON THE\n*< TITANIC \". &\n'yhey denied the sinkability of the\nTitanic\" and of all the great\nmodern ships. They deny the unsafe\nposition of the modern stage and\nthe power of the Music Hall and the\nCinematograph. & JZ?\n& Who deny this ? The Managers\nin each case.\nj& Just a word then about the Ci=\nnematograph which the managers\ntell us we need not fear. There are\nat the present day four thousand\npicture palaces in the British\nIsles. Tens of thousands of people\nvisit them daily. The money expended\nis incalculable and rolls Into the\ncoffers of these theatres throughout\ntwelve and fourteen hours daily.\nIn the United States there are\nabout 14,000 picture theatres and it\nis computed that 5,000,000 men,\nwomen and children visit these esta-\nblishments daily. In the course of\ntwelve months at low prices\n26000000 pounds sterling are spent\nby the American Public on this form\nof entertainment. These are the\nresults at the end of fifteen years.\nMr Cyril Maude, a representative\ntheatrical manager, said the other\nday that he had \" heard that the\ncinema theatres are going out, and\nthat some of them are eking out a\nsomewhat hazardous existence by\nengaging actors to appear in\nsketches\". &\nCan any one doubt that If the\nserious theatre Is run on the same\nlines as the Cinematograph, that\nIs to say, as a shop, that it will\nfail ? & & &\nIt deserves to fail, and it Is\nfalling.\nLet the managers take care how\nthey deny this, and let them not\ndream so many dreams. Particularly\nlet them try to avoid misleading\nthe public and the actors and them-\nselves by comforting statements based\non insufficient and incorrect infor-\nmation.\n& There is only one way to save"}, {"page_pdf": 95, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.95", "debut_caractere": 17, "fin_caractere_exclue": 2284, "texte": "the theatre. It is to get rid of all\ncommercialism Raising it above\ncommercialism not merely in witty\nafter-dinner speeches but in straight-\nforward and energetic action; it\nwould then no longer compete with\nthe modern variety and motion\npicture shows. & &\nBut to raise the theatre something\ndifferent from theatrical diplomacy\nis needed. A little theatrical art is\nthe right lever. & £?\nFind your men, then,.,... your\nartists. Believe us, you will search\nfor them and be very humble before\nthem on the day of catastrophe.\n\nON SOME GREAT MEN. &\nsphere is talk of putting up a\nmonument to the memory of\nWilliam Blake. We have heard of\nthis from several quarters. Somehow\nwe do not believe that this is all\ntalk although English people lately\nhave been indulging In so much of\nthat luxury that costs so little.\n£? After all it is only fair to our-\nselves that we should draw the atten-\ntion of the masses to one of the\nfew examples of a superman who\nhas lived in our midst, died and been\nforgotten there. By the bye, they\nare erecting in Germany a great\nmemorial to the man who is sup-\nposed to have created the superman\n. . . . that is to say, to Priedrich\nNietzsche. We don't know how many\nmillion marks are to be spent on\nthe memorial but think that roughly\nIt Is about eight millions.\nEvery English artist should some-\nhow contribute towards this for by\ndoing so we shall lead all the sooner\nto the statue of William Blake; for\nthough Nietzsche never speaks of\nBlake and though perhaps he may\nnever have read nor heard of Blake\nhe is for all that of the same family.\nJZ? Another great member of the\nsame family is Walt Whitman. Pro-\nbably Nietzsche never heard of him\neither for he never mentions him.\nYet compare the following pas-\nsages\nNIETZSCHE\nAlone do I now go, my disciples I\nGet ye also hence, and alone I Thus\nwould I have it.\" £?\n\" Verily, I beseech you : take\n44 your leave of me and arm your-\n-44 selves against Zarathustra 1 And\n44 better still, be ashamed of him !\n44 may be he hath deceived\n<£? 44 The knight of knowledge must\n44 be able not only to love his ene-\n\" mies, but also to hate his friends:\n\" the man who remaineth a pupil\n\" requiteth his teacher but ill. And\n44 why would ye not pluck at my\n44 wreath ?\" JZ/\nNow 1 bid you lose me and find"}, {"page_pdf": 96, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.96", "debut_caractere": 17, "fin_caractere_exclue": 2212, "texte": "yourselves; and only when ye have\nall denied me will I come back unto\nyou\". Ecce Homo. Page s.\nZarathustra. Book I.\n?S? WHITMAN. 188s\n\" \\ am the teacher of athletes.\nA& \" He that by me spreads a wider\n44 breast than my own proves the\n\" width of my own. JG?\nA& He most honours my style who\n44 learns under it to destroy the\n44\n44 Leaves of Grass. Page 74.\n44 I call to the world to distrust\n44 the accounts of my friends, but\n44 listen to my enemies, as I myself\n44 do.\n& 44 I charge you forever to reject\n44 those who would expound me, for\n44 I cannot expound myself.\n& 44 I charge that there be no the-\n-44 ory or school founded out of me.\nA& 44 1 charge you to leave all free.\nIbid, page 190.\n& NIETZSCHE\nA& 44 Mankind ought constantly to\n44 be striving to introduce great men;\n44 this and nothing else is its duty.\n44 Schopenhauer as Educator\".\n£? WHITMAN\nJS? 44 Produce great Persons, the\n44 rest follows £? A& &\nLeaves of Grass.\nAS? Any student of Nietzsche should\nbe a very careful student of Whit-\nman and of Blake. The first of them\nall is of course our own William\nBlake. Then comes the colossal my-\nstery Whitman and then the careful\narranger and builder Nietzsche. &\nJG? P. S. At any rate let us avoid\nputting up a tablet to Blake, let\nthe memorial cost at least fifty thou-\nsand pounds, or better still, a hun-\ndred thousand pounds. •£? &\nA? 44 Why so much? \" you ask. 44Why\nnot a choice piece of artistry hidden\nIn some sweet little dell at the foot\nof Primrose Hill ? \" A&\nA? Because it is not for ourselves\nthat we should put up a statue to\nBlake, nor for the man himself, but\nsolely for the masses that they may\nwith upturned eyes and gaping\nmouths say, 44 who is that for whom\nfifty thousand pounds was found\nand not found too much?\" and the\nanswer will be,\"... A MAN. AS?\n£? Another interesting comparison.\n& NIETZSCHE. JS?\nThe type of my disciples.... To\n44 such men as concern me in any\n44 way I wish suffering, desolation,\n44 sickness, ill-treatment, indignities\n44 of all kinds. I wish the misery of\n44 the defeated. I have no pity for\n44 them ; because I wish them to have\n44 the only thing which today proves\n44 whether a man has any value\n44 or not, namely, the capacity"}, {"page_pdf": 97, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.97", "debut_caractere": 17, "fin_caractere_exclue": 2251, "texte": "\" of sticking to his guns. &\nWill to Power Vol. 2 Page 333.\nGARIBALDI £/\n& \" To the crowds that thronged\n\" him Garibaldi would speak with\n44 that beautiful voice of his which\n44 was a part of the secret of his\n\" charm:....\n\" Come, he who stays at home\n\" is a coward. 1 promise you weari-\n-44 ness, hardships and battles. But\n44 we will conquer or die\".\nAnd again\n44 Fortune, who betrays us today\n44 will smile on us tomorow. I am\n\" going out from Rome. Let those\n44 who wish to continue the war\n44 against the stranger, come with\n44 me. I offer neither pay, nor quar-\n-44 ters, nor provisions; I offer hunger,\n44 thirst, forced marches, battles\n\" and death. Let him who loves his\n44 country in his heart and not with\n\" his Hps only, follow me.\" szr\nTrevelyan's 44 Garibaldi's Defence\nof the Roman Republic \". Pag. 231.\nAnd Garibaldi saved and united\nall Italy.\n& Is the European Theatre going\nto shake itself free from Itself and\n44 claim its own at all hazards \" ?\n\nLONDON CRITICS ON THE\nLOOSE.\n\nIt is rather extraordinary that so\nreally admirable a paper as the\nPall Mall Gazette, ..so well infor-\nmed, so, dare one say, up=to=date a\njournal, should, when it touches upon\nmatters theatrical, write as though\nthings had not altered within the\nlast ten years. &\nIn its issue for June 15th the\nPall Mall Gazette has a leading\narticle headed \" Harmony on the\nStage It is very sensibly pointed\nout that when a stage decorator is\nmore serious than the actors he\nattracts more attention to his par-\nticular branch of the whole stage\nwork than is right. & £?\nug? But what the journal should\nhave added is that a bad and non-\nserious stage director attracts ex-\nactly the same amount of notice;\nYou can't look at the actors because\nthe twirl and flummery of the sce-\nnery attract too much attention\nto themselves. When a bad decora-\ntor attracts our attention surely\nit is doing an injustice to the\nacting and also an injustice to the\nplay; but when a good decorator\nattracts us we naturally ask why is\nthe play not as good, why are the\nactors unable to hold their own ?\nOne would have thought that a\npaper like the Pall Mall Gazette\nwould have wanted to thrash out\nso important a point as this and to\nprove to the public that acting today,."}, {"page_pdf": 98, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.98", "debut_caractere": 71, "fin_caractere_exclue": 2382, "texte": "especially in England, is a very\nwishy-washy kind of affair.\n& Another passage in the article to\nwhich we refer reads as follows :....\n•' If the allied arts which go to make\n44 up a Theatrical Representation....\n44 those of speaking, acting, painting\n44 and music.... are not in a harmo-\n-44 nious and equal alliance the whole\n44 effect of the presentation is de-\n-44 stroyed\n& Now this is amazingly careless;\nfor we know nowadays, (having been\ntold by men whom the Pall Mall\nGazette upholds), that a Theatrical\nRepresentation can be quite perfect\nwithout any music at all or can be\nquite perfect without any speaking\nat al! and we are also learning that\npainting is by no means an essential\npart in a Theatrical Representation.\nSo serious a Journal as our con-\ntemporary, instead of vaguely asser-\nting that Theatrical Representation\nconsists of 44 speaking, acting, pain-\nting and music', should do better\nthan this. It would help its readers\nbetter if it spoke of these three\ncomponent parts.... voice, scene and\nmovement. By doing this it would\nbe speaking correctly instead of\nloosely, for in voice may, (or may\nnot) be included song and speech:\nin scene may, (or may not) be in-\ncluded painting or architecture, and\nin movement may, for may not) be\nincluded acting and dancing.\nTo talk of speaking as being\none of the Arts of the Theatre is\nlike talking of 44 colouring inas\nbeing part of the art of painting.\nNeither 44 colouring in\" nor 44 spea-\nking \" can be parts of any art. Colour\nand speech may be.\n& There is less excuse than there\nwas ten years ago for writers on\nthe Theatre to speak loosely about\nthe Art and we do sincerely hope\nthat it will be possible for writers\non theatrical subjects in the more\nimportant papers to learn.... and so\nteach their readers,., to simplify, to\nsee the whole art in a simpler way.\nNot to make difficulties and com-\nplications where none exist, and so\nto bring about that which they no\ndoubt desire. That is, that Harmony\nand Health should be one. They can-\nnot be one until the critics are more\nsingle in thought and purpose.\nBut that this will in time come\nabout need not be doubted, for, as\nDarwin wrote, 44 Great is the power\n44 of steady misrepresentation, but\n44 the history of science shows that\n44 fortunately this power does not\n44 long endure \".\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c080", "article_bluemountain": "bmtnaau_1912-07_01#c080", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "90", "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=bmtnaau191207-01.2.27.2", "titre_corps": "THE FUTURISTS ' BLUNDER", "titre_sommaire": "THE FUTURISTS ' BLUNDER", "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": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.93", "debut_caractere": 18, "fin_caractere_exclue": 1656, "texte": "THE FUTURISTS ' BLUNDER.\nJhe Futurists' aim at painting\n\" states of mind \". \" You must\nrender the invisible which stirs and\nlives beyond intervening obstacles \"\nthey say, and as a rule they select\nto show us on a canvas things in\nmovement.\nIn order to do this they imitate\nvery frankly the methods of the\ncinematograph become human. That\nis to say, a palsied cinematograph.\nThe thing which they can't get rid\nof is their weakness. Their eye is\nweak; It cannot follow everything\nat once. So feeble is the power of\ntheir eye that, if two persons pass\neach other, instead of being able to\nsee both they see bits of both; what\nthey can't see they leave out. They\nhave to be very quick to see even\none bit of each figure and to note\nits JZ?\nIf a women in a large hat, a\nhorse, a tram and a bicycle pass in\nfront of a Futurist in quick succes-\nsion he puts down on the canvas\nbits of woman, bits of horse, a bit\nof the tram and a bit of the bicycle.\nTh is small rough design Is a bad\nFuturist picture, but its the same\nthing as one. £7\nj£? The painter is trying to do in\nline and colour what movement\n»\nalone can accomplish. «£>\nJZ> tie therefore makes a big blunder.\nFancy a Futurist blundering 1 Surely\nthat was not Intentional. £>\nIt comes from forgetting that\nmovement is the property of another\nand quite different artist, namely,\nthe artist of the Theatre. And it\ncomes from the modern lust after\nother people's property which has\nmade the European quite crazy of\nlate. Some more-than-Futurlst will\nsoon come along who professes to\ngive sound to pictures. It is only\ndetestable because of the conceit of\nthe thing. As though what has been"}, {"page_pdf": 94, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.94", "debut_caractere": 11, "fin_caractere_exclue": 527, "texte": "enough to puzzle Leonardo the young\nItalian painter is not enough to\npuzzle the aged Severini.\nLet Severini get into touch with\nthe eternal Leonardo as soon as he\ncan and learn first the respect due\nto all masters and the worship due\nto those who were the most modest\nof all, the most obedient to nature,\nthe least conceited when in the\npresence of nature.\nThese masters will live on and\nare the only true Futurists, and these\nmodern Italian fellows calling them-\nselves Futurists are already dead\nand don't know it."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c082", "article_bluemountain": "bmtnaau_1912-07_01#c082", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "91", "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=bmtnaau191207-01.2.27.3", "titre_corps": "A LESSON FROM THE \"TITANIC\"", "titre_sommaire": "A LESSON FROM THE \"TITANIC\"", "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": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.94", "debut_caractere": 529, "fin_caractere_exclue": 2188, "texte": "A LESSON THE\n*< TITANIC \". &\n'yhey denied the sinkability of the\nTitanic\" and of all the great\nmodern ships. They deny the unsafe\nposition of the modern stage and\nthe power of the Music Hall and the\nCinematograph. & JZ?\n& Who deny this ? The Managers\nin each case.\nj& Just a word then about the Ci=\nnematograph which the managers\ntell us we need not fear. There are\nat the present day four thousand\npicture palaces in the British\nIsles. Tens of thousands of people\nvisit them daily. The money expended\nis incalculable and rolls Into the\ncoffers of these theatres throughout\ntwelve and fourteen hours daily.\nIn the United States there are\nabout 14,000 picture theatres and it\nis computed that 5,000,000 men,\nwomen and children visit these esta-\nblishments daily. In the course of\ntwelve months at low prices\n26000000 pounds sterling are spent\nby the American Public on this form\nof entertainment. These are the\nresults at the end of fifteen years.\nMr Cyril Maude, a representative\ntheatrical manager, said the other\nday that he had \" heard that the\ncinema theatres are going out, and\nthat some of them are eking out a\nsomewhat hazardous existence by\nengaging actors to appear in\nsketches\". &\nCan any one doubt that If the\nserious theatre Is run on the same\nlines as the Cinematograph, that\nIs to say, as a shop, that it will\nfail ? & & &\nIt deserves to fail, and it Is\nfalling.\nLet the managers take care how\nthey deny this, and let them not\ndream so many dreams. Particularly\nlet them try to avoid misleading\nthe public and the actors and them-\nselves by comforting statements based\non insufficient and incorrect infor-\nmation.\n& There is only one way to save"}, {"page_pdf": 95, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.95", "debut_caractere": 17, "fin_caractere_exclue": 539, "texte": "the theatre. It is to get rid of all\ncommercialism Raising it above\ncommercialism not merely in witty\nafter-dinner speeches but in straight-\nforward and energetic action; it\nwould then no longer compete with\nthe modern variety and motion\npicture shows. & &\nBut to raise the theatre something\ndifferent from theatrical diplomacy\nis needed. A little theatrical art is\nthe right lever. & £?\nFind your men, then,.,... your\nartists. Believe us, you will search\nfor them and be very humble before\nthem on the day of catastrophe."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c083", "article_bluemountain": "bmtnaau_1912-07_01#c083", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "93", "image_debut": 95, "image_fin": 97, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.27.4", "titre_corps": "ON SOME GREAT MEN", "titre_sommaire": "ON SOME GREAT MEN", "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": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.95", "debut_caractere": 541, "fin_caractere_exclue": 2284, "texte": "ON SOME GREAT MEN. &\nsphere is talk of putting up a\nmonument to the memory of\nWilliam Blake. We have heard of\nthis from several quarters. Somehow\nwe do not believe that this is all\ntalk although English people lately\nhave been indulging In so much of\nthat luxury that costs so little.\n£? After all it is only fair to our-\nselves that we should draw the atten-\ntion of the masses to one of the\nfew examples of a superman who\nhas lived in our midst, died and been\nforgotten there. By the bye, they\nare erecting in Germany a great\nmemorial to the man who is sup-\nposed to have created the superman\n. . . . that is to say, to Priedrich\nNietzsche. We don't know how many\nmillion marks are to be spent on\nthe memorial but think that roughly\nIt Is about eight millions.\nEvery English artist should some-\nhow contribute towards this for by\ndoing so we shall lead all the sooner\nto the statue of William Blake; for\nthough Nietzsche never speaks of\nBlake and though perhaps he may\nnever have read nor heard of Blake\nhe is for all that of the same family.\nJZ? Another great member of the\nsame family is Walt Whitman. Pro-\nbably Nietzsche never heard of him\neither for he never mentions him.\nYet compare the following pas-\nsages\nNIETZSCHE\nAlone do I now go, my disciples I\nGet ye also hence, and alone I Thus\nwould I have it.\" £?\n\" Verily, I beseech you : take\n44 your leave of me and arm your-\n-44 selves against Zarathustra 1 And\n44 better still, be ashamed of him !\n44 may be he hath deceived\n<£? 44 The knight of knowledge must\n44 be able not only to love his ene-\n\" mies, but also to hate his friends:\n\" the man who remaineth a pupil\n\" requiteth his teacher but ill. And\n44 why would ye not pluck at my\n44 wreath ?\" JZ/\nNow 1 bid you lose me and find"}, {"page_pdf": 96, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.96", "debut_caractere": 17, "fin_caractere_exclue": 2212, "texte": "yourselves; and only when ye have\nall denied me will I come back unto\nyou\". Ecce Homo. Page s.\nZarathustra. Book I.\n?S? WHITMAN. 188s\n\" \\ am the teacher of athletes.\nA& \" He that by me spreads a wider\n44 breast than my own proves the\n\" width of my own. JG?\nA& He most honours my style who\n44 learns under it to destroy the\n44\n44 Leaves of Grass. Page 74.\n44 I call to the world to distrust\n44 the accounts of my friends, but\n44 listen to my enemies, as I myself\n44 do.\n& 44 I charge you forever to reject\n44 those who would expound me, for\n44 I cannot expound myself.\n& 44 I charge that there be no the-\n-44 ory or school founded out of me.\nA& 44 1 charge you to leave all free.\nIbid, page 190.\n& NIETZSCHE\nA& 44 Mankind ought constantly to\n44 be striving to introduce great men;\n44 this and nothing else is its duty.\n44 Schopenhauer as Educator\".\n£? WHITMAN\nJS? 44 Produce great Persons, the\n44 rest follows £? A& &\nLeaves of Grass.\nAS? Any student of Nietzsche should\nbe a very careful student of Whit-\nman and of Blake. The first of them\nall is of course our own William\nBlake. Then comes the colossal my-\nstery Whitman and then the careful\narranger and builder Nietzsche. &\nJG? P. S. At any rate let us avoid\nputting up a tablet to Blake, let\nthe memorial cost at least fifty thou-\nsand pounds, or better still, a hun-\ndred thousand pounds. •£? &\nA? 44 Why so much? \" you ask. 44Why\nnot a choice piece of artistry hidden\nIn some sweet little dell at the foot\nof Primrose Hill ? \" A&\nA? Because it is not for ourselves\nthat we should put up a statue to\nBlake, nor for the man himself, but\nsolely for the masses that they may\nwith upturned eyes and gaping\nmouths say, 44 who is that for whom\nfifty thousand pounds was found\nand not found too much?\" and the\nanswer will be,\"... A MAN. AS?\n£? Another interesting comparison.\n& NIETZSCHE. JS?\nThe type of my disciples.... To\n44 such men as concern me in any\n44 way I wish suffering, desolation,\n44 sickness, ill-treatment, indignities\n44 of all kinds. I wish the misery of\n44 the defeated. I have no pity for\n44 them ; because I wish them to have\n44 the only thing which today proves\n44 whether a man has any value\n44 or not, namely, the capacity"}, {"page_pdf": 97, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.97", "debut_caractere": 17, "fin_caractere_exclue": 982, "texte": "\" of sticking to his guns. &\nWill to Power Vol. 2 Page 333.\nGARIBALDI £/\n& \" To the crowds that thronged\n\" him Garibaldi would speak with\n44 that beautiful voice of his which\n44 was a part of the secret of his\n\" charm:....\n\" Come, he who stays at home\n\" is a coward. 1 promise you weari-\n-44 ness, hardships and battles. But\n44 we will conquer or die\".\nAnd again\n44 Fortune, who betrays us today\n44 will smile on us tomorow. I am\n\" going out from Rome. Let those\n44 who wish to continue the war\n44 against the stranger, come with\n44 me. I offer neither pay, nor quar-\n-44 ters, nor provisions; I offer hunger,\n44 thirst, forced marches, battles\n\" and death. Let him who loves his\n44 country in his heart and not with\n\" his Hps only, follow me.\" szr\nTrevelyan's 44 Garibaldi's Defence\nof the Roman Republic \". Pag. 231.\nAnd Garibaldi saved and united\nall Italy.\n& Is the European Theatre going\nto shake itself free from Itself and\n44 claim its own at all hazards \" ?"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c084", "article_bluemountain": "bmtnaau_1912-07_01#c084", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "94", "image_debut": 97, "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=bmtnaau191207-01.2.27.5", "titre_corps": "LONDON CRITICS ON THE LOOSE", "titre_sommaire": "LONDON CRITICS ON THE LOOSE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 97, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.97", "debut_caractere": 984, "fin_caractere_exclue": 2251, "texte": "LONDON CRITICS ON THE\nLOOSE.\n\nIt is rather extraordinary that so\nreally admirable a paper as the\nPall Mall Gazette, ..so well infor-\nmed, so, dare one say, up=to=date a\njournal, should, when it touches upon\nmatters theatrical, write as though\nthings had not altered within the\nlast ten years. &\nIn its issue for June 15th the\nPall Mall Gazette has a leading\narticle headed \" Harmony on the\nStage It is very sensibly pointed\nout that when a stage decorator is\nmore serious than the actors he\nattracts more attention to his par-\nticular branch of the whole stage\nwork than is right. & £?\nug? But what the journal should\nhave added is that a bad and non-\nserious stage director attracts ex-\nactly the same amount of notice;\nYou can't look at the actors because\nthe twirl and flummery of the sce-\nnery attract too much attention\nto themselves. When a bad decora-\ntor attracts our attention surely\nit is doing an injustice to the\nacting and also an injustice to the\nplay; but when a good decorator\nattracts us we naturally ask why is\nthe play not as good, why are the\nactors unable to hold their own ?\nOne would have thought that a\npaper like the Pall Mall Gazette\nwould have wanted to thrash out\nso important a point as this and to\nprove to the public that acting today,."}, {"page_pdf": 98, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.98", "debut_caractere": 71, "fin_caractere_exclue": 2382, "texte": "especially in England, is a very\nwishy-washy kind of affair.\n& Another passage in the article to\nwhich we refer reads as follows :....\n•' If the allied arts which go to make\n44 up a Theatrical Representation....\n44 those of speaking, acting, painting\n44 and music.... are not in a harmo-\n-44 nious and equal alliance the whole\n44 effect of the presentation is de-\n-44 stroyed\n& Now this is amazingly careless;\nfor we know nowadays, (having been\ntold by men whom the Pall Mall\nGazette upholds), that a Theatrical\nRepresentation can be quite perfect\nwithout any music at all or can be\nquite perfect without any speaking\nat al! and we are also learning that\npainting is by no means an essential\npart in a Theatrical Representation.\nSo serious a Journal as our con-\ntemporary, instead of vaguely asser-\nting that Theatrical Representation\nconsists of 44 speaking, acting, pain-\nting and music', should do better\nthan this. It would help its readers\nbetter if it spoke of these three\ncomponent parts.... voice, scene and\nmovement. By doing this it would\nbe speaking correctly instead of\nloosely, for in voice may, (or may\nnot) be included song and speech:\nin scene may, (or may not) be in-\ncluded painting or architecture, and\nin movement may, for may not) be\nincluded acting and dancing.\nTo talk of speaking as being\none of the Arts of the Theatre is\nlike talking of 44 colouring inas\nbeing part of the art of painting.\nNeither 44 colouring in\" nor 44 spea-\nking \" can be parts of any art. Colour\nand speech may be.\n& There is less excuse than there\nwas ten years ago for writers on\nthe Theatre to speak loosely about\nthe Art and we do sincerely hope\nthat it will be possible for writers\non theatrical subjects in the more\nimportant papers to learn.... and so\nteach their readers,., to simplify, to\nsee the whole art in a simpler way.\nNot to make difficulties and com-\nplications where none exist, and so\nto bring about that which they no\ndoubt desire. That is, that Harmony\nand Health should be one. They can-\nnot be one until the critics are more\nsingle in thought and purpose.\nBut that this will in time come\nabout need not be doubted, for, as\nDarwin wrote, 44 Great is the power\n44 of steady misrepresentation, but\n44 the history of science shows that\n44 fortunately this power does not\n44 long endure \".\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c085", "article_bluemountain": "bmtnaau_1912-07_01#c085", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "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=bmtnaau191207-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.100", "debut_caractere": 0, "fin_caractere_exclue": 562, "texte": "JACK B. YE A TS' S WORKS*\nAll illustrated by the .\n(If Coloured by the Author, 3j~net.)\n& PLAYS FOR THE MINIATURE STAGE. &\nThe Treasure of the Garden. 4to 2/6 net. ,\nThe Scourge of the Gulf. Fcap Bvo. i/» net.\nJames Ffaunty; or the Terror of the Western Sea. Fcap Bvo. 1/- net.\nBOORS FOR CHILDREN.\nThe Little Fleet. Fcap Bvo. i/« net.\nThe Bosun and the Bob»tailed Comet. Fcap Bvo. I/- net.\nJACK B. YEATS: His Pictorial and Dramatic Art. By Ernest Marriott:\nWith Chart of Pirate Island, and Portrait. Fcap Bvo. I/- net.\nLONDON. ELK I N MATTHEWS. VIGO STREET. W. f"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c086", "article_bluemountain": "bmtnaau_1912-07_01#c086", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "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=bmtnaau191207-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.100", "debut_caractere": 564, "fin_caractere_exclue": 1105, "texte": "THE POETRY REVIEW\nA Monthly Periodical de voted to the Study and\nAppreciation of Modern Poetry of all countries.\nA SPECIAL SUBJECT WILL BE DEALT WITH IN EACH ISSUE.\nTHE FOLLOWNG ARE AMONG THOSE SELECTED FOR 1912.\nWOMEN POETS.\nAMERICAN POETRY.\nFRENCH POETRY.\nGERMAN POETRY.\nMYSTERY PLAYS.\nITALIAN POETRY.\nTHE CELTIC TWILIGHT.\nTHE FIRST ISSUE APPEARED IN JANUARY 1912\nANNUAL SUBSCRIPTION FIVE SHILLINGS NET-\nSEPARATE COPIES SIXPENCE NET.\nOf all Booksellers, and In Florence of\nSuc c. B. Seeb e r, Via Tornabuoni.\n93 CHANCERY LANE, LONDON W. C."}]}, {"article_id": "bm-bmtnaau-1912-07-01-c087", "article_bluemountain": "bmtnaau_1912-07_01#c087", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "97", "image_debut": 101, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.30", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.101", "debut_caractere": 741, "fin_caractere_exclue": 932, "texte": "TO THE SHY\nwho would Subscribe to \" The Mask \" if,.... and if,.... and if. £*\n\"Come now! Less nonsense and\nout with your money !\n(Coilodi's Pinocchlo)\nTHE MASK OFFICE. ARENA QOLDONI. FLORENCE"}]}, {"article_id": "bm-bmtnaau-1912-07-01-c088", "article_bluemountain": "bmtnaau_1912-07_01#c088", "volume": "bmtnaau_1912-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "97", "image_debut": 101, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.2.31", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.101", "debut_caractere": 934, "fin_caractere_exclue": 994, "texte": "'•THE MASK IS THE\nFINEST COMMODITY\nIN THE WORLD.\" &\nGoldoni,"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.1", "texte": "THE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nVolume Five. Number One\nJULY\nI 9 I 2\nARENA GOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS.\n& SINGLE COPY PRICE FOUR SHILLINGS NET.\nTRADE AGENTS.\nSIMP K I Nt MARSHALL, HAMILTON, KENT &"}, {"page_pdf": 2, "page_imprimee": "couv. 3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.2", "texte": "THE MASK. JULY 1912.\nHP he Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated.\n& All possible care will be taken, but he cannot hold himself responsible for the\naccidental loss of MSS. These must in every case be accompanied by a stamped and\naddressed envelope as otherwise they cannot be returned.\n& Communications should be addressed to the Arena Goldoni. Florence. Italy.\n\nLITERARY CONTENTS.\nPROLOGUE. . . J. S. . . . . . I.\nA WORD ON THE POLLOCK THEATRES. . . Ellen Terry. . . . 3-\nSOCIALISM SYNDICALISM REALISM. . Louis Madrid. ... 4.\nART AND THE NATION \" Britannlcus\". . . . 6.\nON \" FORERUNNERS \". . Nietzsche 15.\nTHE ACTRESS Oscar Wilde. . . . . 17.\nSIGNOR BRIGHELLA. ...... Dr Cesare Levi. . . . 20.\nOUR DAILY NEEDS V. Surgen 28.\nJACQUES DALCROZE AND HIS SCHOOL. . . John Balance. ... 3a.\nTHE PAINTER IN THE THEATRE. . . . Gordon Craig. ... 37.\nCAPTAIN JACK. B. YEATS Allen Carrie. ... 44.\nHOW JACK B. YEATS PRODUCED HIS PLAYS\nFOR THE MINIATURE STAGE. . . Jack B. Yeats. ... 49-\nTHE BEST THEATRE IN LONDON. . . . Edward Edwardovitch. . 54.\nTHE BLUE JACKETS 60.\nR. L. S. AND THE DRAMA OF SKELT. . . Dorothy Nevile Lees. . . 72.\nV\nBOOK REVIEWS. FOREIGN NOTES. & EDITORIAL NOTES 77-\nShort Extracts from the Words or Writings of Oscar Wilde. 19; Goethe, 3; 36,\n\nILLUSTRATIONS.\nTITLE DESIGN AND THREE FIGURES FROM\n\"THE BLUE JACKETS\". Frontispiece.. . Anon Face 1.\nDESIGN FOR \" MONNA VANNA \". ... Georges Banks. . . . 39.\nA SCENE FOR A PLAY Jack B. Yeats. ... 44.\nA SCENE FOR \"THE SCOURGE OF THE GULPH\". „ „ ... 47.\nTHE MINIATURE STAGE „ ... 51.\nREDINGTON'S SHOP WINDOW Anon 54.\nBLUE JACKETS AND JACKO 60.\nBETSY BODKIN, 65.\nBLUE JACKETS FAINTING 68.\nHEAD AND TALE PIECES AND INITIAL LETTERS by Gordon Craig, Jack B. Yeats,\nOliver and others."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.4", "texte": "DESIGNS FROM \"THE BLUE JACKETS\". See pp. 60 to 71\n\nTHB MASK,\nJuly 1912."}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.5", "texte": "PROLOGUE. VOLUME FIVE.\n\ns Prelude to our fifth year of existence we start with\na game. It is where the modern Theatre leaves 0ff,....\nChild's P1ay,....\nTo play at Theatres is good fun. It costs nothing;\nit is the ideal in little. But the European Theatre plays\nat Theatres at a cost of some millions of pounds: this\nis very unpractical, very wasteful.\nTo paint and cut out in paper for our own and our friends' enter-\ntainment at a cost of twenty five shillings a year does no one any harm\nand is a good game ; but that the public of Europe should be made to\npay millions of pounds for the same kind of rubbish on a large scale is\npreposterous and reflects very little credit upon our Rulers. £/ £/\n£/ In England we possess the best of Toy Theatres and the worst of\ngrown-up Theatres. We consider that Pollock's Theatre is the best Toy\nTheatre in the world, and that Beerbohm Tree's Theatre is the worst\ngrown-up Theatre in the world.\nIt is of no use to honour by criticism such a- theatre as that over\nwhich Sir Herbert Tree is supposed to rule, for this theatre has proved\ntime and again that it belongs to a group of commercial \" Playhouses \"\nand therefore asks to be judged as a commercial play house.\nJS/ Art has nothing whatever to do with commerce, for commerce depends\nupon the weaknesses of the multitude and does not guide and strengthen\nit. The whole conspiracy of Commerce is to 44 catch \" the Public, and\nwhen so occupied the commercial gent has no time to give a single\nthought to the safety of the Public. &\nModern Theatres are as unsafe as was the 44 Titanic\". They kill\npeople slowly;... that is the only difference. They ruin the taste, nerves"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.6", "texte": "PROLOGUE.\n\nand character of the nation, for instead of vital things they present dead\nthings.\nAnd as we have from time to time pointed out, this cannot be cured\nby patronizing a new theatre instead of an old one; by deserting \" His\nMajesty's \" and taking up with the \"Apollo\" or the \"Kingsway\" theatres.\nThe only cure is to change the conscience of the\n& The only man we know of working today as a director of a theatre\nin Great Britain whose conscience is his armour and not his pyjamas\nis W. B. Yeats, (i) jg?\nIn England you can buy people. You can buy their conscience. You\ncan therefore buy a part of our National Life. & &\n<£? We don't know how you feel about this, but we're hanged if we'd\nbe bought. We write and publish what we think is right to publish. We\ndo not join in the hostile attacks against the English Throne, Govern-\nment, and what does not concern us, for we know as little about such\nthings as most other folk. But we have made a careful study of the\nTheatre and its Art, and we wish to be of service to our Land by helping\nour Ruiers to a better understanding of the dangers to be avoided and\nthe advantages to be reaped by a thorough overhauling of the theatre\nboth as Art and as Institution./^\nSome day our Rulers will be able to give time to this not unimpor-\ntant question. Until then we can wait.^>\nAnd because they do not instantly turn to and oblige us and serve\nArt and through it the life of their People we shall not instantly turn\nsurly like so many do today in England, but we most earnestly and re-\nspectfully pray them that when they do decide to devote some time to\nour cause they will let the noblest precedents of History be their guide,\nand not the later precedents of debased and unhappy periods when Art\nsecretly served the cause of Unrest and Sedition. &\n(I} Lest this should b& misunderstood Set us hasten to remind our readers that Mr Gordon Craig is at work in\nParig, Mr Allen Carrie is in Persia, and Mr John Balance in Krakow,\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.7", "texte": "MISS ELLEN TERRY AND THE POLLOCK\nTHEATRE.\nEllen Terry.\nMiss Ellen Terry writes us as follows of Pollock's Toy ,\nabout which much will be found in the later part of this number\nof The Mask:... JZ? ,^7\nI remember the little stages well and there is nothing quite like them.\nI had one when I was a child, when they were known as \"Redington's\nTheatre.\n1 have no interest In the German Toy stages which today are some°\ntimes offered us in place of the fine old English toys. They can't be in\nany way compared. &\nEllen Terry.\n\nA RULE FOR STAGE WORKERS.\nGoethe.\nf~fe who would work for the stage.... should leave nature in her proper\nplace and take careful heed not to have recourse to any thing but\nwhat may be performed by children with puppets upon boards and\nlaths, together with sheets of card board and linen."}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.8", "texte": "SOCIALISM.... SYNDICALISM...REALISM,....\nby Louis Madrid\nI ust the fewest words possible remembering that the whole world\nis suffering just now because of some split somewhere, some very na-\ntural misunderstanding. So let us come to essentials right to the\nheart of the question. JZ? JG? £?\nIt Is not difficult. When masters have made mistakes, have been a\nlittle unfair and when servants revolt, both parties lose their privileges\nthe masters the right to command and the men the right (and what\na right!) to serve.\n& There can be no question any longer of keeping up the attitudes of\nprotector and servant. Both are forfeit. JST &\nSomething like a return to the primitive state of the year one has\nbeen suddenly brought about. It won't do for either party to pretend\nany longer to even the clothing of a mask. The mask is off. The world\nis naked again. & &\nWhat an opportunity! Instead of its being a calamity it is a chance\n...one more blessed chance for the whole disobedient crew of 11. M. S. Earth,\nSuch an opportunity is also the most scathing test ever invented by\nthe Gods to create diversion or dread amongst the angels. For man once\nmore denuded of all pretence becomes a more sorry object than when\ncovered. JZ* JZ? JGR .ZZ? JS?\nThe opportunity lies in being once more given a moment wherein we\nmay show some real affection and some real mastery and do some real\nservice. & &\n& Masters like being masters well then. And Servants wish for no-\nthing better than to serve, well then.\n& What maddens the servants into these phases of so-called Socialism,\nSyndicalism and so on, is, that they have just weighed themselves and\nfound themselves wanting. That's the source of rage of this kind.\nAnd simultaneously masters get crazy for exactly the same reason....\nnot because they are found out but because they have seen themselves\nand found themselves ugly.\nIs there anything which makes a once-handsome woman more mise-\nrable, and (for the moment) more utterly careless of herself than the"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.9", "texte": "SOCIALISM.... SYNDICALISMREALISM....\n\ndiscovery that she is getting ugly and old ? jZ? jZ? jZ?\nThat's the sole trouble with masters and men who disagree they\nare realizing their own faults. jz?\njZ? And for this there is only one remedy : Sacrifice.... not to get more,\n....*:o give more. Not to demand more, to offer more, spontaneously and\nwith gravity. And, say what you will, the remedy is infallible. For It isn't\nas though the world were evil;... it's good. And it isn't as if the whole\nworld of masters were represented by ten or even a hundred masters.\nThese may be like stone, but there is a thing which will break up stone\nwhen no hammers avail. It is the gentlest, most eternal thing of all.\njZ/ And the put-on harshness of masters ? why, their pretended role\ncan be transformed, broken up,... transformed by just as gentle a thing.\nBut by nothing else :.... least of all by the pretence of it. jZ? £?\nIDEALISM AND REALISM.\nTphe unrest of England,... its strikes, its threats of mutiny, its continual\ncrises can be altered as easily as an English Rose tree breaks into blossom.\njZ? It is wrong to look for any complicated and difficult solution to the\nriddle. It would also be wrong for anyone but a Saint Paul to attempt\nto put down in a book the method of solution.\n£? There is a method, but no man that has yet lived has written a\ntechnical book on the subject. The Prophets made an attempt and burst\ninto poetry. This was not technical enough to serve as a book of Rules\nof the Game. jS?\nTruth is that we are-not to learn those rules or we should have no-\nthing left to live f0r,.... or we should indeed become as Gods knowing\ngood and evil by looking down upon It as calmly as Buddha, as Kwannon\nor as Christ. <Z/ jZ? jZ? jZ? j&\njZ? But in being natural,... and that is the thing we always boast we\nare, especially in England.... in being really natural we shall achieve\nexactly what the Rose garden achieves,... Idealism. jZ? jZ? &\nsZ> It is THIS that all Art constantly is saying,., and inasmuch as England\ndenies the goodness of Art, the naturalism of Art, the practical divinity\nof Art, by so much does England lose her power to alleviate the pain of\nher children."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.10", "texte": "SOCIALISM.... SYNDICALISM.... REALISM....\n\n& Art is true. Artists are very true and faithful people who always\nhave given counsel and comfort of the true kind. The Artists have\nnever struck. They've been chased, kicked, starved, (not even a minimum\nwage)... and generally told they were useless. And in truth all the use\nthey are is to inspire the earth with the one idea which makes for great\ngood, Idealism.\n& Idealism lays all ghosts, idealism puts to rout the demons which re-\nvolt in us; drives Materialism from us so that we can breathe the\nbetter in each other's company. &\nAnd Idealism will spread if a state will nourish its noblest art in-\nstincts. Royal Academies, alas, do not represent the noblest art of the\nstate. Art is Individual in its inception and It is the Individual artists\nwho could today bring to England a better understanding of what her\nIdealism is capable of.\n& To those Ministers of the Crown who cherish the thought of Idealism\nin England I address these lines, in the belief that one or more of\nthem will delay no longer in achieving the Ideal, by co-operating\nwith the Artists of Individuality and by upholding and spreading the\ndoctrine of Art. &\n\nART AND THE NATION\nby \"Britannicus\"\nhe Letters of an Englishman which appear regularly in\nthe Daily Mail have always given me pleasure to read, and\nto preserve so as to read again : and his letter last April\non \" Art and the People \" is particularly good.\nHe repeats what Whistler and others have all told us,\nthat 44 Art has nothing to do with caste or wealth \"; that 44 she disdains\nneither the palace nor the cabin \"; and he grieves that Mr William\nArcher should talk of Art \" climbing down \" because that is a practical\nimpossibility. She is both down and up; and how like our dear old\nsensible, good Archer to have again shot at that Prog and missed him\nbecause he wouldn't stand still to be hit."}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.11", "texte": "ART AND THE NATION.\n\nBut 1 suppose A will always be an Archer and will always be employed\nshooting at Frogs. For if the world gets too matter of fact Life would\nbe unendurable, and we must be grateful to this particular descendant\nof our First Archer, who keeps up the old traditional custom, thereby\nproving what a staunch old Tory he is. Englishman's essay upon \" Art\nand the People \" will do quite a little good, for the Daily Mail travels\nfar and all that Englishman says is sound. But for all this we feel that\nunless the governing members of the Nation study more thoroughly\nthis question of Art in relation to National life Art will soon become\npowerless to influence England. uZ?\nJS/ One has been forced to realise that the governing members of our\nNation are a little too vague in their own minds about Art and its\ninfluence. And this is not difficult to understand, for the Governing\nmembers have been told by Ruskin and others that Art Is ail mixed up\nwith Morals and Hard Thinking; and have been told by Whistler and the\nothers that it has nothing whatever to do with either, and that it is all\nto do with Genius, temperament; and by the Royal Academy that Art is\nall a question of tame cat-ism. JZ?\nJZ/ The truth is that Art is nothing more than the purest product of\nthat spirit which has given life to everything, and which daily creates\neverything.\n& Art is the purest product of Imagination. When we talk of God we allude\nto a creation of the Imagination ; without the Imagination God could not\nexist. We talk of Love, of Life, of Death:... all these are created by\nthe Imagination. We make a hash of most of them and thereby we prove\nthat they are not works of art although works of imagination. Works\nof art, we repeat, are the purest and most orderly product, of the ima-\ngination. The Life and Death of Dante, his Love, his 8e1ief,..,., all these\nthings without his art, his \" Divina Commedia \", are failures... Imperfect\nin his Life, wretched in his Love, lonely in his Death, he prevails and still\nlives in his Art, and he thus still Inspires his Nation towards the Ideal.\n& This being the case it is necessary that a Nation shall consider care-\nfully about Art: ....what it has done and does ; what it is, and how it\nbest may spread its influence over the land that it may be of effect.\nJS? That is what our rulers might do. They cannot force Art to do this"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.12", "texte": "ART AND THE NATION.\n\nor that; to nourish or forward this cause or to attack that\nevil. But they can do with it what Is being done today with the water\nof the Nile; ....give it continually to a parched land. J® J® J®\nJ® It would be a great and formidable task for a great statesman to\ncope with, but Its effect would be blessed.... By bringing the influence\nof the soul of Art to the soul of the People a great statesman would\nbring health and happiness to the nation, and he would not find opposed\nto his plan the daily material needs; there would never be a question\nof less Art being needed because more bread and wool is needed. The\nexistence of our daily bodily needs demands an accompaniment of Art\nto bring out the true value of our whole existence.\nj® We need only take a peep into any old village where the Folk arts\nstill flourish to note how their daily needs are made the sweeter and\nJollier for the presence of Art and the Artist.\nj® You are standing, for instance, at the door of some peasant's hut, let\nus say in Sweden. You lean your arm on the door frame and look inside\nfor the Leonardo da Vinci or Rembrandt in gilt frames. But don't do\nthat; ....Just one moment! ...don't shift your position, only move your\neyes. First look at what you're leaning against. A work of Art! BY JOVE!\nDid it topple over ? or does it topple over and break under your\nweight now that you've discovered it to be a WORK OF ART? N0,...n0r\nwill it for six hundred years or more, and it has already faced three\nhundred winters and summers without crumbling. And now look at the\nhandle of the door, at the rafters and at the door itself. You need not\nmove to be conscious that all around you works of art have grown on\nto and out of this hut into which you are looking.\nj® Yet there are no pictures in frames: no statues in niches or on\npedestals : ...no library of b00k5...; no grand pianos there. &\nj® And the peasant has a visitor or two, (other peasants), who come on\nfeast days to his house,, who can sing de Reske into a frazzle and act\nMonnet Sully off the table, and who invent lovelier things than all the\nartists are doing for London, Paris, Berlin or Rome, J® J® J®\nj® And why? why is it that in some villages in Sweden, Calabria, Poland,\nRussia or Hungary better works of art are being produced today than in\nLondon, Berlin, Paris and Rome ?"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.13", "texte": "ART AND THE\n\nThe reason is a very natural one. It Is because in these villages the\npeople who ask for the carvings, designings, metal things and dresses\nlong for lovely ones, and are excited about how they are going to turn\n0ut,... excited with the excitement of a child. They aren't allowed to\nsee how it's going along till its quite ready,... for the people, (called\nthe artists), who have been asked to do the carvings, designing, dresses\netc are just as excited to do them but not show them till they are\nquite ready; ....and then..,, then the mutual excitement! the carving\nis done ; ....artist and possessor both are in exstacies : both talk the\ncarving up and down and round and in and out: ....happiness ....excite*\nment Life.\nThat Spirit is not amongst us: and the task before the statesman\nwho sets out to affect his nation by the power of Art is to find out what\nit is which shall give life to that excitement in both the artist and the\nother party.\nThere is no real name for this other party. He is not the Patron, the\ncommissioner, the owner: he is far more the Begetter, as in the famous\nsonnets. He starts the wish to create. He says to the copper smith (or\nblacksmith) that he doesn't much like the look of his new door without\nsome plates somewhere, and the smith begins to pass his hand lovingly\nover the great oaken door and to make suggestions. The Begetter doesn't\nsay much for he is all eagerness to hear the man of ideas unfold, and\nslowly out it pours.\n& And if the making of a noble pair of iron plates for the door were\nall that came of it I'd tear up this article and go and drown myself.\nBut friendship comes of it,.... links sure and strong are forged in the\ncompact between these two men, both keen to better the place and so\nbetter the whole earth. Friendship cemented in such away cannot\neasily be broken, ,<S? jS/ &\nOf course the one pays the other because the other pays the one; and\nthe whole transaction benefits the whole race. jZ?\n\"Englishman\" says that a truly artistic community never has existed.\nWhistler said so too. May be it is true. But what has existed and what\nstill exists (though not in England) is a community which holds a natural\nrespect for the artist. Given that.... and I promise you fine art."}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.14", "texte": "ART AND THE NATION.\n\nFor a proper respect for the artist breeds a friendliness betwixt him\nwho asks for a work of art and him who undertakes to make it for him.\nBut where people ask for a work of art and begin even the very\nleast to pose as knowing what that work of art is to be like.. .. adieu\nart, and adieu to all possibility of its good influence on the community.\nTherefore honour your artists, you who manage the British Empire,\nand you'll soon find that the People will iearn to respect the artists too.\nI don't mean you are to make R. A.s of them or knight them ; ...best\navoid both these sham dignities and honour them in other truer and\nsimpler ways. & J£?\njgr Let the artists' work be honoured privately as well as publicly: let\nthose who feed the nation by journalism be taught that they must begin\nto associate the very roots of Life with those of Art: let there be no\nlonger this crass idea circulated that Art is not closely interknit with\na good and practical State and with a good and happy every-day life.\nAnd at the same time beware of another fatal mistake and one which\nwas made only the other day by that good Premier, Mr Asquith. Avoid,\nas you would avoid the devil, the folly of attempting to associate ancient\nart, especially ancient foreign art, and modern National Life, JP J&\nIt was not right of Mr Asquith to come to the Royal Academy dinner\nwith his ideas on Art's relation to our nation so topsy=turvey. He made\nthe following statement:\n\" The Government had not shown themselves insen-\n\" sible to the claims of art. Last year it was their\n\" privilege to help to retain the magnificent Carlisle\n\" \" Mabuse \". That picture was nearly lost to the\n\" country. He feared it would have been lost but for\n\" the intervenitou of the taxpayer; and only in the\n44 course of the last few days they had read of two\n\" great masterpieces of one of the greatest painters,\n\" Rembrandt, passing at enormous prices into foreign\n44 collections.\n& \" These incidents, \" he said, 44 are incidents which\n\" no lover of British art and of (i) Britain as a store\n\n(1) The italics are ours,"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.15", "texte": "ART AND THE NATION.\n\n41 house of great artistic treasures can regard with\n44 anything but dissatisfaction. There are countries, as\n\" you all know, which take drastic measures, legislative\n\" and administrative, to preserve for themselves what\n\" I may call their art patrimony. I do not think that\n44 public opinion is ripe for the initiation of this form\n44 of procedure ; nor can you expect the British taxpayer,\n\" upon whose shoulders in these days there fall so\n\" many heavy burdens, to enter into an unlimited\n\" competition for this purpose with the millionaires of\n44 the world. &\n44 Happily the public spirit of owners of pictures\n44 in Great Britain, aided by the assiduity and the\n44 organising power of the Royal Academy, has brought\n44 it about that the whereabouts of the proprietorship\n44 of most of our art treasures are fairly well known.\n44 Further, 1 think it is a very rare thing that the\n44 owner of a great picture should not be ready and\n44 willing to give the first refusal of it, if he is about\n44 to part with it, to the nation. (Cheers.) &\n& 44 The remedy, if remedy there be for a state of\n44 things which all lovers of art must increasingly\n44 deplore, is to be found, I think, in an increasing\n44 co-operation between private generosity and State\n44 aid. \" &\n£7 No doubt Mr Asquith felt he had struck a mighty blow in the cause\nof art, but all he did, as you see, was to champion the English Dealer in\npictures against the American Dealer. AH he was concerned about was\nthe loss of some Foreign works of Art belonging to some rich Lord\nand painted centuries ago. £7 &\n£7 That is Snobbery tinged with Commercialism, and to blame the dealer\nor to blame anyone except the mean-spirited Lord who lets such parts\nof his furniture leave his house, is ridiculous. £7 £7\nThen the modern custom of speaking of a picture by some master as\n\" the Carlisle Mabuse \" or 44 the Lansdowne Rembrandt' \" is vulgar and"}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.16", "texte": "ART AND THE NATION.\n\ncould be easily avoided. It comes of course from looking on England as\n44 a store house of great artistic treasures \", one of Mr Asqulth's more\nunfortunate Inspirations. & &\nBut the most unfortunate of all is where this fine statesman speaks\nof the works of Rembrandt and Mabuse as being examples of British art.\nAny man who spares the right amount of time to consider the question\nof Art and National Life knows full well that the nation would not be\na jot worse off if every one of the old master-pieces went home to the\nland of its creator. In fact the problem which Mr Asquith might try to\nsolve is, How to get rid of all the Foreign Works of Art. Perhaps the\nway to do this would be to exchange our Italian, Spanish, Dutch and\nFrench pictures for the English works now to be found in Continental\ncollections. ,6? &\n& Mr Asquith's mistake at this Academy Banquet caused most of the\njournals of the next few days to send up a kind of Guido Rent wall of\ndespair, 44 Another Rembrandt for America gasped the\n44 Observer \", generally a very clear-sighted journal. 44 What a drain\non the country, when is it all going to ?\".\nBut why should it end until all the Foreign works have gone ? When\nthat time approaches English Art will begin to be appreciated in England\nand English artists will be given fair play; not before. For this mania for\npossessing Foreign works of art is the cause of the starvation of all\nmodern art, especially In England.\nIn America it Is almost as bad. American legislators should hound\ndown these dealers who import the works of Rembrandt and Mabuse.\nThe worst of it is that the whole matter is treated so amiably. Modern\nartists have not protested : rather are they themselves nowadays becoming\ncollectors and dealers, JS?\nThis of course is quite contemptable, and I am happy to say I have\nnever yet come across a modern artist in the act of dealing in ancient\nmaster pieces. I think 1 should knock him down.\nNow doubtless having read thus far you feel that you know better\nthan we artists do and you tell us that we are perfectly right to be so\nenthusiastic and you smile In an elderly fashion and you reserve your\ntrump card to the last. &"}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.17", "texte": "ART AND THE NATION.\n\n& We wonder what on earth you mean when you smile so contentedly\nand tell us we are right to be so enthusiastic. What can we reply ? That\nwe aren't merely 44 enthusiastic \": that a few of us are ten time graver\nabout it all than you are ? That would not be polite ; but we want to\nknow what's at the back of your thoughts and so silently accept the\npretty reproof about our enthusiasm and look questioningly towards you.\nThen with the famous leonine gesture of the fine Englishman you square\nyour shoulders, and, leaning back in your chair which Mr Waring fits\non you so admirably, you rivit us with your fine rolling eye, grey, calm,\nnoble, ....and, alas, ridiculous.... and you make the following assertion In\ntones of finality: 44 The English people are not like the foreigners ; they\nare not by nature interested in Art, ...they have no use for it and no one\ncan make them take an interest in it. \"\nI have heard that statement made at least a thousand times by En-\nglishmen on behalf of England, and I can only suppose that they have\nnever had the advantage of reading a History of England.\n& The History of England, backed by the South Kensington Museum,\nthe British Museum and the London Museum, proves that such a state-\nment is utterly untrue. What is true, however, is that the English People\ndislike humbug in Art, and it is that humbug Art which has caught\ny0u,.... and so you talk about it. & &\nThe Race detests going to Galleries like the Academy or other such\nplaces to see row after row of pictures hung there without any reason.\nIt detests going into hot stuffy gilt and looking-glass palaces called\nTheatres to see plays which are there also without any reason or played\nwithout sense so the Race does not go to these places: cliques go.\n£/ It is the same with music and the other arts. The English People\nloathe parade , they won't go because it's 44 the right thing to go \" ; they\nwill keep away just because of that.\nSo the so-called Art Establishments are practically failures. So much\nare they failures that our Leonine Englishman can lean back in his chair\nand, with these places in his mind's eye, roundly assert that the English\n44 are not by nature interested in Art\".\n& It is just because the English are interested in Art that they refuse\nto assist these abhorrent parade places to exist. The English want art"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.18", "texte": "ART AND THE NATION.\n\nin their life, and would get it were it not for these tricky art-mongers\nwho pester the nation till a few lunatics are found who support them\nand their parade places. JZ? *0\nThere was an attack made some years ago on the Royal Academy:\nthat attack should be recommenced. It is not one of the noble Institu-\ntions of England. It is an utterly foolish institution. England doesn't\nwant one huge house packed yearly with unbeautiful or even beautiful\nworks of art. England wants works of art in every house, great or small*\nin every street: and if you commence by establishing a kind of toll house\nwith a barrier across the road such as the Royal Academy, you prove\nthat you have the wrong conception as to what art is or is for.\nArt needs no other examination than that which purchaser and artist\nmake together.- that will be searching enough, and to attempt to Hall-\nmark works of art as you do silver by stamping A.R.A. or R. A. on them\nis preposterous, and insulting to Englishmen in the mass. &\nsg? Lastly, (if we may go a little further with what are, after all, only\nsuggestions) let the Theatre be the first to be considered by those who\nwish to bring to effectiveness the Influence of Art upon the nation. It\nIs the popular resort. Let it be filled with good things.\n•\nAt present it is filled with very rotten things,... rotten even as apples\nare rotten. Let a new standard be established. Let first the audience\nbecome human. That is all that is needed and that is not difficult.\nBecome Human,mind ; not become educated. The audience are only\na little stiff nowadays because asses have brayed from high places that\nArt is so moral and so deep, so this and so that, that our poor friends\nget stiff because they feel they can never be \"so good or so clever as\nall that\".\nThis humanizing of the audience can be brought about by giving\nthem good plays in a good workmanly way for a low price in well-built\ntheatres; comfortable and interesting, new, clever theatres, and clever\nand new things\nOur friends who are called the audience are only waiting to be excited.\nLet us feel keen about what we are preparing for them and then let us\nenjoy it together. jg? JZ? JS?\nTo do this new Theatres are necessary; and, before new Theatres,"}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.19", "texte": "ART AND THE NATION.\n\n9\nnew places where we can experiment for a year or two;... Schools. And\nin those schools, with the right men at the head, what new and exciting\nprojects could not be evolved.\n\nON \"FORERUNNERS\" AND THEIR MISSION.\nNietzsche\n\nwho regard the democratic movement, not only as a degenerate\ning form of political organisation, but as equivalent to a degenerating,\na waning type of man, as involving his mediocrising and depreciation:\nwhere have we to fix our hopes ? In new philosophers...{i) there is no\nother alternative: in minds strong and original enough to initiate op-\nposite estimates of value, to transvalue and invert ''eternal valuations\";\nin forerunners, in men of the future, who in the present shall fix the\nconstraints and fasten the knots which will compel millenniums to take\nnew paths. To teach man the future of humanity as his will, as depen-\nding on human will, and to make preparation for vast hazardous enter-\nprises and collective attempts in rearing and educating, in order\nthereby to put an end to the frightful rule of folly and chance which\nhas hitherto gone by the name of \" history \" (the folly of the \"greatest\nnumber \" is only its last form).,, for that purpose a new type of philo-\nsophers and commanders will some time or other be needed, at the very\nidea of which everything that has existed in the way of occult, terrible,\nand benevolent beings might look pale and dwarfed. The image of such\nleaders hovers before our eyes: is it lawful for me to say it aloud, ye\nfree spirits ? The conditions which one would partly have to create and\npartly utilise for their genesis; the presumptive methods and tests by\nvirtue of which a soul should grow up to such an elevation and power\nas to feel a constraint to these tasks ; a transvaluation of values, under\nthe new pressure and hammer of which a conscience should be steeled\nand a heart transformed into brass, so as to bear the weight of such\nresponsibility; and on the other hand the necessity for such leaders, the\ndreadful danger that they might be lacking, or miscarry and degenerate:...\nthese are our real anxieties and glooms, 3 e know it well, ye free spirits!\n\n(i) For the word 41 Philosophers \"we would substitute 41 Artists J S."}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.20", "texte": "ON\" FORERUNNERS ''\n\nthese are the heavy distant thoughts and storms which sweep across the\nheaven of our life. There are few pains so grievous as to have seen,\ndivined, or experienced how an exceptional man has missed his way and\ndeteriorated: but he who has the rare eye for the universal danger of\n\" man \" himself deteriorating, he who like us has recognised the\nextraordinary fortuitousness which has hitherto played its game in re-\nspect to the future of mankind a game in which neither the hand\nnor even a \" finger of God \" has participated!... he who divines the fate\nthat is hidden under the idiotic unwariness and blind confidence of,\n*' modern ideas, \" and still more under the whole of Christo-European\nmorality... suffers from an anguish with which no other is to be com-\npared : he sees at a glance all that could still he made out of man\nthrough a favourable accumulation and augmentation of human powers\nand arrangements: he knows with all the knowledge of his conviction\nhow unexhausted man still is for the greatest possibilities, and how\noften in the past the type man has stood in presence of mysterious de-\ncisions and new paths;.... he knows still better from his palnfulest\nrecollections on what wretched obstacles promising developments of the\nhighest rank have hitherto usually gone to pieces, broken down, sunk,\nand become contemptible. The universal degeneracy of mankind\nto the level of the \" man of the future \"...as idealised by the socialistic\nfools and shallow pates...this degeneracy aud dwarfing of man to an abso-\nlutely gregarious animal (or as they call it, to a man of \"free society\")\nthis brutalising of man into a pigmy with equal rights and claims, is\nundoubtedly possible ! lie who has thought out this possibility to its\nultimate conclusion knows another loathing unknown to the rest of\nmankind.... and perhaps also a new mission / J£?\n\" Beyond Good and Evil \".\n\nTranslation by H. Zimmern."}, {"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.21", "texte": "THE ACTRESS. An Unpublished Story\nby Oscar Wilde.\nThis story was told by Wilde to Miss when child\nand written out by her. A few copies were privately printed but\nthis is the first time it has been given to the public. J? &\nOther stories of the same series appeared in the January and\nApril numbers of The Mask. &\nTphere was once a great actress; A woman who had achieved such\ntriumphs that the whole world of art worshipped at her feet.\nThe incense of their worship had for many years filled her life and\ndimmed her eye for other things so that she wished for nothing\nelse.\nJO The day came, however, when she met a man whom she loved with\nall her soul. Then, all her art, and all her triumphs, and the clouds of\nincense were as nothing to her love was her whole life. But even\nthough this was so, the man she loved grew jealous jealous of the\npublic that the woman no longer cared for.\nHe asked her to give up her career and to leave the stage for ever.\nShe did so easily, for she said; \" Love is better than art, better than\nfame, better than life itself. \" And so she left the stage, and all its\ntriumphs gladly, and gave up her whole life to the man whom she loved.\nTime rushed by, and the man's love grew steadily less and less, and\nthe woman who had given up everything for it, knew It, and the\nknowledge of it fell on her like a chill mist at evening, and wrapped\nher from head to foot in a grey shroud of despair. But she was a brave\nwoman, and strong, and she looked the horror full In the face without\nflinching. She knew that she had reached the crisis of her life, the crisis\n\"on the issue of which her whole fate hung.\n£/ She saw the situation with a cruel, sharp clearness, which cut into\nher heart. She had sacrificed her career to her love. And now that love\nwas failing her. If she could not find means of reviving that light which\nwas now fading away it would soon burn out altogether, she would be\ndesolate in the midst of the ruins of her spoilt life. &\nAnd now, the woman who had been a great actress, realised that her"}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.22", "texte": "THE ACTR\n\nart, instead of being a help and an inspiration to her in this darkest\nstrait of her life, proved, on the contrary, a drawback and a hindrance.\nShe missed the stage-manager's directions, and the author's ideas and\nwords. Hitherto she had never done ought without them, every thought,\nevery intonation, and well-nigh every gesture had been indicated to her,\nfor such is the actor's art. And now when called upon to think and\noriginate and act for herself she felt helpless and without resource, like\na child might who was suddenly confronted with a great problem. But\nwith every day that passed, the necessity for action, prompt and strong,\nimposed itself on her more and more. One day, whilst she was pacing\nto and fro with the feelings of wild despair which was within her,\nincreasing with every minute that passed, a man came to see her. He\nhad been the manager of the theatre where she had acted in former\ndays. He came to ask her to act a part at short notice in a new play.\nShe refused. What had she to do with the stage, and with that false art\nwhich turned those who practised it into puppets, helpless puppets moved\nby strings which were in the hands of the stage-managers and the\nauthor. jS jt& &\nTo-day she was face to face with a tragedy of real life, beside which\nall the mock sufferings on the stage were but as so \"much tinsel and\ncard-board. But the manager persisted, it meant money to him, and\nwas a Jew, and so he buzzed round her with the perseverance of a fly\nIn autumn, who will not be beaten off. & & &\nWould she not at least read the play ? To be rid of him she read it,\nand she found that the tragedy of the play was the tragedy of her life.\nThe situation was the same, and a solution of the problem was given.\nFate had come to the actress's help in a stage-play. She would act it\nso as to master entirely every detail of the situation. And so she studied\nthe part, and soon played it to a large audience. She acted with a\nfervour of genius which she had never surpassed during .the whole of\nher career, and the applause that thundered from all sides was the ir-\nresistable homage paid by the hearts and souls of men to all-conquer-\n!ng genius.\nWhen It was all over she returned home weary and half-stupefied,\nwith the cries and shouts of the multitude ringing in her ears. She had"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.23", "texte": "& THE ACTRESS. &\n\ngiven them her best, had poured the power and wonder of her soul at\ntheir feet. All that was left to her now was a sense of powerlessness\nand weakness. She arrived at her house weary and flower-laden. Suddenly\nshe noticed the two places that were prepared at the supper table, and\nthen remembered that to-night was to decide her fate. She had forgotten\nit till then. At that moment the man she had loved came in, and he\nsaid, \" Am I in time?\"\nShe looked at the clock and said, \"You are in time; but you are\njust too late.\" JZ? & £? &\n\nTWO SAYINGS\nby Oscar Wilde.\ngeauty is a form of Genius... is higher, indeed, than Genius, as it needs\nno explanation. zg? zz? jg? & zgr /zr\nAn artist should create beautiful things, but should put nothing of his\nown life into them. We live in an age when men treat art as if It\nwere meant to be a form of autobiography. We have lost the abstract\nsense of beauty;"}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.24", "texte": "SIGNOR BRIGHELLA\nby Dr Cesare Levi.\n(i)\nn these days ojne seldom sees him: scarcely even in some\n\" Commedia con maschera \" by Papa Goldoni does the\ngreen and white Brighella of the ancient Commedia del-\n-I'Arte, the astute and roguish servant, make his rapid\nappearance to assist some gallant intrigue of his master's,\nor, as Lescaut in \"Manon\", ...not so vary dissimilar from him in moral\ncharacter.... says, to give some counsel \" full of wisdom \". &\n4? Yet in past times \"il Signor Brighella \" has had his fortunate mo-\nments: the Zanni of the improvised comedy has held the sceptre on\nthe stage for more than a century, though he has never had the fortune\nof his colleague Arlecchino, the foolish servant... perhaps because the\nspectators are not too fond of seeing intelligence and smartness\ntriumph and prefer the awkwardness of Arlecchino to Brighella's subtlety\nof intrigue.\nThe origins of this masque are ancient: ancient and uncertain, like\nall origins.\n& According to the chronicle of Malvezzi, quoted by Sismondi, \" two\n\"thousand two hundred of the nobles of Brescia wanted to oblige the\n\" citizens to take up arms against the Bergamese and they did not\n\" consent. From this followed bloody battle in the streets of Brescia in\n\" which the nobles were left discomforted, where upon they fled to\n\" Cremona and there founded a military band. The popular part formed\n\" another under the name of Brughella or Brighella \". &\nHave we a mind to give to the plebeian masque of the servant so\nnoble an origin? Or, rather, to derive the name from the eighteenth\ncentury actor, Antonio da Molina, known as il Burchiella\n4? This second origin is even more extravagant than the former. Better\n\n(i) A Translation published by the courtesy of the Directors of \" Nafura ed Arte. \""}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.25", "texte": "SIGNOR BRIGHELLA.\n\nperhaps, to affirm more simply with Maurice Sand, that Brighella de-\nrives frcm briga, intrigue; in fact a characteristic of the masque is\nprecisely that of confusion : Brighella is the personification of cabal, of\nknavery; thus he descends in direct lineage from the slave Rseudole of\nthe Greek Comedy and from the Plautinian Epidico : the \"Slavero\" of\nthe \" Plovana \", a comedy by Beolco has likewise many analogies with\nBrighella. Toldo also believes that this masque came from the erudite\nItalian comedy, which, as everyone knows, Is an imitation from the\nLatin.\nHis fatherland is Bergamo : you will always hear him say to Arlec-\nchlno, \"dear peasant\", for while he honours himself as being of Bergamo-\nalta, Arlecchino is of Bergamo-bassa, and he would have it that the\ninhabitants of the upper city were more intelligent and keener-witted\nthan those of the lower: his noble title Is \"Brighella Cavicchio dl Val\nBrembana\".\nIn the most ancient times, when he was not a vainglorious bragger,\na kind of Capitan Spavento, Brighella had all the vices, all the failings,\nof a base and wicked man: a liar, a drunkard, often a thief, sometimes\nan assassin, an adventurer of the worst kind. Then, with the passing of\nyears, he went on modifying himself, and, while remaining the useful\nand obliging servant even in somewhat indecorous services, he grew re-\nfined, became astute and was no longer violent: a thief only when a\nfavourable opportunity offered, a thief, but with civility: vivacious, chat-\ntering, insolent he always remained. \"It is very well known \" says\nBartoli, \" that Brighella usually feigns himself to be a Bergamese man\n\" of ordinary extraction, of no culture, but dexterous, crafty and author\n\" of witty inventions\". & &\nAnd Perrucci, in his \" Arte Rappresentativa \" writes, \" The other\n\" Zanni, (Brighella) must be astute, ready, comical, cunning, that he\n\" may be able to perplex, delude, trick and deceive the world ; satirical\n\" but cum moderamine,in such away that his repartees may have\n\" something salacious but not foolish \" about them.\nIn the earliest times, however, he cannot have had much good fortune\nbecause we find him in none of the collections of Scenari of the six-\nteenth century, nor in those of Scala nor in those of Bartoli: we find"}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.26", "texte": "S/GNOR BRI\n\nhim as \" servant of Alfonso \" in a scenario of the end of the seventeenth\ncentury, a manuscript of the Cicogna Collection, preserved in the Museo\nCorrer at Venice and published by Stoppato. JZ? &\nThe costume of the ancient Brighella consists of a jacket and pair\nof wide trousers of white linen, (perhaps to indicate his rustic origin) ;\nof a large cap with a green border and a little cloak which represented\nthe livery; thus Sand also represents him to us in his \" Masques et\nBouffons \" : the costume of 1570 did not change greatly in modern times:\nthe ancient Brighella wore long hair and a short pointed beard; his mask\nwas dark-coloured, (perhaps a derivation from the Latin Sanniones ?):\nhe wore at his side a belt with purse and dagger. By Gcldoni's time the\ndagger has disappeared. 0? £?\nGoldoni rehabilitated the masque: in the comedies of the Venetian\nadvocate, Brighella is often an honest and faithful servant, attached to\nhis master, incapable of the smallest indelicacy.\nIn Goldoni, Brighella speaks Venetian: in olden times he spoke a\ndialect in which various dialects mingled but in which Venetian always\npredominated: for the better comprehension of the spectators, (and also\nfor the well-being of their ears 1) how much more agreable must have\nbeen the sweet and soft dialect of the Lagoons instead of the rude and\ninharmonious Bergamese venacular! JZ? JZ?\n& Prom Brighella originated a great number of masques and of stage\ntypes of the Italian Theatre: Beltrame is a very near relation of Brighel-\nla, and so is Fenocchio. <0 JZ/\n& But the Zanni with the white and green blouse was to give life to\nthe most living and active figures of the classical French Theatre.\nMoli&re's derivations from the ancient Commedia dell'Arte are well\nknown: Moland studied them fully. It is especially in the parts of the\nservants that we find most prominent the characteristics of the impro-\nvised comedy, save that on the French stage the astute servant had more\nsuccess than the stupid; Mezzetino and Scapino, Sganarello and Masca-\nrlllo, the audacious and cunning servants of Moli£re's Comedy, descend\nin direct line from Brighella, and his brother in the flesh is that Sbri-\ngani, who, after having for three acts on end made game of that poor\n\" Signor di Pourceaugnac \", hears himself told by the provincial he has"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.27", "texte": "SIGN OR BRIGHELLA.\n\nbeen making Jest of, \"Here is the only real gentleman I have ever known !\nThis time Moliere does not even hide the origin ; he makes Sbrigani\nItalian, like Brighella. In the French Comedy of the eighteenth century\nthe Italian Brighella will be called Crispino, Frontino, Figaro... And the\nbarber of the immortal trilogy of Beaumarchais, is not he, too, an astute\nservant and full of resources, Just such a one as the Italian Brighella?\nThus the Zanni with the white and green blouse cannot complain of\nhis descent; he has made a good deal of progress from his native Bergamol\nAnd he has not stopped at Paris only ! While on the stage, first of\nthe Palais-Royal and afterwards of the Thddtre-Fran9ais and of the\nTheatre-Italien, he won, under another dress and another name, ap-\nplause and fame; while he contributed to the fame of Moliere, of the\nRegnards, of the Lesages, of Beaumarchais, Brighella in his own land\ntimidly showed himself between two lively beats of a Qoldonian comedy,\n....just to show that he had not altogether disappeared; or flung his\nlast \" lazzt\" into the comic fables of Count Carlo Gozzi.\nIf Goldoni rihabiiitated him morally, Gozzi raised him in rank and\ndignity: he is, together with Truffaldino, \"the King's huntsman\" in\nthe \" Corvo \" and \"butler\" in the \" Re Cervo \", and \"Master of Pages\"\nin \" Turandot\"; in the \"JAugellin Belverde \" lover of Barbarina, he is\n\" poet and soothsayer \"; and he rises even to the grade of \" captain of\nthe guard \" in the \" Mostro turchino \". Ah, for but a short time S He is\none of the beggars in the fable \" I Pitocchi fortunati \", to descend again\nto his condition of servant, whether of the court as in the \" Zobeide \"\nor of a Vizir as in the \" Donna Serpente \".... but always a servant. JZ/\n•\nthat traditional to the ancient mask: specially does the \" Amante Mili-\ntare \" recall the ancient Brighella, overbearing and boastful and often a\nsoldier. In this comedy, (certainly not amongst the best of Goldoni's,)\nBrighella is \"recruiting sergeant\"; with many blandishments he suc-\nceeds in enrolling his compatriot Arlecchino, who very soon wants to\nhave no more of the military life and tries to desert.\n& Brighella is servant and confidant of Florindo in the \" Bugiardo \" ♦\nservant of Ottavio in the \" Tutore of Pantalone in the \" Uomo Pru-\ndente\": Innkeeper In the \"Servitore dei due Padroni\", he returns to be"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.28", "texte": "SIGNQR BRI\n\nthe servant of the house in the \" Puntigll domestic! \" and in the \"Fa-\nmigiia dell'antlquarlo \" : in the one comedy, as husband of Corailina, he\nsquabbles with her and is the cause of ail the quarrels and differences in\nthe house of the Count Ottavio, speaks ill of his master, is discovered\nfor the rascal that he is and driven away; in the other, servant of Count\nAnselmo, who has a mania for antiques, he introduces Ar'ecchino into\nthe house disguised as an Armenian and confuses his master, making\nhim buy old rubbish for objects of great rarity. Where Brighella is in-\ncomparable for drollery is in the \" Figlia obbediente \", where as father\nof the dancer Oiivetta he gives himself importance and airs over the\nmoney ill-acquired by his daughter: the comedy is not only a delightful\ncaricature of the newly-enriched man, the parvenu, but a yet more\nprofound satire of a type not a little ignoble and vulgar.\nIn three or four comedies,... among the better ones... Qoldoni makes\nof Brighella an honest man, attached to his masters, faithful even to\nscrupulousness.... It is the end of the mask! Brighella is dead !\n& When the type loses its characteristics it is finished: in transforming\nit Goldoni humanized it, and Goidoni well knew what he was doing:\nBrighella, owing to the great reformer, ceased to be a mask, a fixed type\nwith immutable characteristics, and became a man like so many others,\na man of flesh and blood, a man subject to the passion! and the weak-\nnesses of other men,\n& In the \"Moglie Saggia\" Brighella, servant of Count Ottavio, is a good\nman, attached to his mistress Rosaura. In the \"Donna di Garbo \" Bri-\nghella has been the one to introduce Rosaura into the Doctor's house:\nRosaura caresses him and is fond of him, an affection requited by an\nequal fidelity. In the \" Cavaliere di Buon Gusto \" Goldoni raises him a\nlittle in rank: from groom Count Ottavio promotes him, as a reward\nfor his honesty, to be house-steward. But in the \" Serva Amorosa \" Bri-\nghella is the true dens ex machtna of the play: it is he who gives to\nhis master sooner than to the Notary an important paper, which must\nfinally open the eyes of the old and childish Pantalone to the wickedness\nof Beatrice, and he ends by marrying Corailina, the \" serva amorosa \".\nBut Goldoni, who wanted little by little to exclude the masks from\nthe stage without running counter too suddenly to the taste of the public;"}, {"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.29", "texte": "SIGNOR BRIGHELLA .\n\nwho wanted to improve Comedy by a bringing face to face of the scur-\nrility, the whims, the eccentricities of the old Comedy with the simpli-\ncity, the humanity, the urbanity of the new,... that of which he was\nhimself the creator.... Qoldonl did not attribute over much importance\nto the scenes in which the masks played their part; (<) he conceded a little\nto the taste of the public, and tolerated it, but he tried always increa-\nsingly to cause them to be forgotten. &\nGoldoni received, however, great praise at that time for a celebrated\nBrighella, the Milanese Giuseppe Angeleri, who from 1735 to 1754 had\ndistinguished himself In the parts of Brighella. Goldoni in his \"Memories\"\ndescribes his death which took place in Milan shortly after the perfor-\nmance. In fact it was suspected that Angeleri had been poisoned through\nwomen's jealousy. ? ■<&\nOne of the most famous Brighellas of the eighteenth century was\nPletro Gandini, a Veronese. Quadrlo says that he had a great disposition\nfor the theatre and from a child, joking with his companions, invented\nand performed little comedies.\n& When grown up he went on to amuse himself with the academicians\nof his own parts, and entered a company of players. It was he who in-\nvented the fashion, afterwards imitated by very many, of transforming\nhimself before the eyes of the spectators into various curious person-\nnages, playing instruments, singing little songs, \" and performing other\nplays pleasant and worthy of admiration \".\nBartoli, the Plutarch of our ancient comedians, says that 44 his talent\nwas such as to be heard of beyond the Alps, and he was urgently de-\nmanded at Paris\". fie died in the year 1760. &\nBrighella made the name of many others also: of Cimatori, of Fran-\ncesco Berti, of Giovanni Rossi, of Carlo Campi, of Antonio Martelli, of\nCarlo Giussani, of Tommaso Fortunati, of Gaspare Marzocchi, of Luigi\nDelicati, of Giuseppe Majani, of Luigi Lazzarini ; but all these were\noutdone, for originality and versatility of talent, by the Ferrarese Ata-\nnasio Zannoni.\n\n(i) An example of the treatment meted out to '* these masked giants that strode across the centuries for a\nwhile, helping Shakespeare, suckling Moliere, creating Goldoni, and being driven away from the haunts of man\nby the ungrateful children they had reared The Mask. Vol: 3, p. 100."}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.30", "texte": "SJGNOR BRIGHELLA\n\nHe was one of the best comedians of the eighteenth century, excellent\nalso without a mask, and a man of much culture and learning. He had\none of those very changeful physionomies which, one would say In the\nslang phrase, \"s! smontano \" : (i) an expressive mimic in the highest\ndegree; in a word, a Noveili of the eighteenth century; In this connec-\ntion a good story is told of him. A lady wished to have a portrait of a\nperson dear to her; and since this person obstinately refused to pose\n4 *\nfor the portrait, she thought of resorting to Zannoni: the actor consented,\nand in a short time succeeded in forming for himself a physionomy iden-\ntical with that of the person in question, and the painter, copying\nZannoni, was able to produce a picture' which was a marvellous likeness.\nZannoni, who had married a sister of the celebrated \" Truffaldino \".\nSacchi, and had entered his Company, is most [highly praised by Carlo\nGozzi in the Preface to the \" Re Cervo \".\nft was Zannoni who collected and published in a volume all the exits\nfrom the stage, the 44 discorsi di bravura\", the quips, the sayings; that\nwhich, in a word, the players of the Commedia dell'Arte called\n& To explain what these were I will quote the words of Riccoboni In\nhis 44Histoire du Theatre Italien \". \"To sustain the comedy and render\nif easier to be performed by mediocre actors it was necessary to resort\nto the Monologues and to those common situations which the Italians\ncall 44 Robbe Generiche \" and of which the actors make use in following\nthe interest and the situation of the scene \".\nFrom the Genericl Brighelleschi of Atanasio Zanone (sic !) I glean\nsome curious quips, some bizarre definitions, some repartees.\nSomeone having wished him the gallows, Brigheiia replies thus; 44 I\n44 wish you a hundred years of life, but ninety [of malignant fever and\n44 ten of grievous agony \", and gives this definition of women: 44An ugly ana\nwell-dressed woman Is like a fox, one throws away the flesh aud keeps\nthe skin and this of defects .• 44 defects are like odours, of which one is\nmore aware when they are around one than on oneself\" ; and in con-\n*\nelusion, this counsel, not to count a woman's years: 44 If you don't\nwant curses, don't count women's ages'4. (2)^\n\n(1) Literally *4 take t© pieces\".\n(2) Several are omitted, as 1 ©sifig to© much when tsnslated from the original dialect."}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.31", "texte": "SJGNOR BRI\n\nj0 Such eccentricities must have greatly pleased the public when the\nZanni who used them possessed its sympathies through being as smart\nand witty as was Zannoni: but they must have been insupportable in a\nmediocre actor, or even if too often repeated : the monotony of such\nstrainings after effect was not one of the least causes of the end of the\nCommedia deli'Arte.\nThis is well expressed by Goidoni, through the mouth of his \"Anselmo\"\nwho in the \" Teatro Comico \" represented Brighella to the poet, who\nreads him one of his plays: 44 But don't you know that Dialogues, exits,\nsoliloquies, reproofs, conceits, despairs, tirades, are things that are not\nused any more (i) And when a few scenes afterwards Brighella makes\nin fine style his tirade according to the ancient custom: \"that pilot who,\nfinding himself on the high seas \" Orazio, the poet of the company,\nquickly interrupts, *• That's enough. These comparisons, these allegories\nare no longer used \": to which Brighella replies, \" And yet when one\ndoes it the people clap their hands \". jZ>\n& Not for much longer, one might say today, were they to be applauded\nnor were they always supported by the genius of a Gandini, of a Zannoni.\n£/ This last Brighella <also, like Angeleri, like Cimatori who died by\nthe way at Lyons, was to die a violent death: while coming out from a\nsplendid supper Zannoni, perhaps unsteady on his legs, fell into a canal;\non being pulled out he was obliged to go to bed, but rose no more. It\nwas the year 1792. &\nj& Brighella ended with the \" Serenissima \": those were the last glories\nof the Republic of St Mark which coincided with the last lazzi of the\nlast Brighella. A symbolical death!\n£? In the meantime, over In Paris, one of the sons of Brighella, Figaro,\nhad proclaimed the rights of man, and raised his voice before his master\nand wanted to be considered, he too, as a man. & & /sr\nBrighella threw away the white and green livery and the big hat and\nset on his head the Friesian cap. . &\n\n(1) Aet 2. Sc. 1."}, {"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.32", "texte": "OUR DAILY NEEDS,\nby V. Surgen.\nITEM. FOR BREAD: 20 pounds per Annum\n\" \" MUS /C: 2 0 pounds 44 44\nusic having passed out of Life we go in search of its re-\nmains in dusty little corners. It is a pity it was allowed to\ngo: it should be called back it would like that....;\nand it would be less angular, less in the corner,.... and so\nless dusty. £* g? jg?\nWe think that we have the best music In London, Paris, Berlin and\nthe other centres.\nit is these centres that are the corners.\n& Do you really want to know where the best music is to be heard?\nthis day.... sometime now never., that's the time.... Yes,\n\" but where the place\nupon the heath\nthere to meet with Macbeth. \"\nYes, upon the Heath when it thunders and when it rains... when the\nGods play upon the rotundity of the world when it wails in a gale\nor when it hums and zings on the golden strings drawn taut from earth\nto sun. Then man joins in lustily or drowsily,.... then and there we have\nthe only music still left to relieve life from the' deadliness of its storm\nand calm. But in the life of the cities there is no music. Whereas in the\nmountains or fields it comes to us, In the cities we had learnt that\nwe had to create it; for a special kind of music is needed in\nthe cities, in our city work. We had learnt that and now, alas, we\nhave forgotten it.\n& The artists used to be plain ordinary men just like ourselves, their\ndaily work being to play for us. We paid them for their piping. How\nclever we were once. How thoroughly practical and witty of us to know\nthen that we needed music, ....a particular kind of music.... just as we\nneeded bread,..:, a particular kind of bread. Town bread, town music.\nRough natural bread we knew wouldn't do. How clever to know that,\nAnd so we had softer more delicate bread made, and the same kind of\nmusic t00.... for our health and our family's health.\nAnd It all seemed so natural. And then one day our wife said to us,"}, {"page_pdf": 33, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.33", "texte": "OUR DAILY NEEDS.\n\n\" John, I hate been enquiring Into this matter of bread and music and\nI find that we pay our baker L. 20.0.0. a year for bread {and our musi-\ncian L. 20.0.0. a year for music. \" And we answered her, not knowing\nher mind. \" Well, my dear, and that is very little methinks \". But she\nanswered us again to our wonderment, \"Yes, John, but we are obliged\n\" to pay L. 20.0.0. a year for our bread because the baker tells me that\n\" he is obliged to pay heavily for the flour and the yeast. But with that\n\" music fellow it is different: it -costs him nothing to make his music\n\" for his materials are given him by the good God. What do you say,\n*' John ? Shall we cut him down to L. 10.0.0. a year and so save\n\" L. 10.0.0. ? we could buy you a new overcoat or new pantaloons,\n\" John, and our little Jeannette a new rattle \". &\nSerpent!\nAnd who still believes that there was both a real serpent and a woman\nin the Garden ? • Who is there that has seen the trail of the gliding\nthing but knows today that the impression on the earth clearly reveals\nthe female form divine? &\nThus it is that we have lost our music. For after we had cut down\nthe musician's salary to half its original size the musician gasped we\nheard that gasp somewhere in the thirtys, or was if earlier, much\nearlier ? At any rate there has gradually been less and less money\npaid to the musician for his \" daily music \" because the man never\ntroubled and the woman made up her mind not to be swindled any\nlonger,\n£/ Fool as well as serpent! And now except in restaurants and In thea-\ntres music does not enter into our life. It stays in the eating houses\nand in the theatre places because women want it to stay there. And nice\nmeaty stuff it i 5.... pretty tinseily tinkles too. Cheap as dirt.... in the\ndusty corners! There we find music in our life. & &\nYou notice how cheap it is, no? well, you see there are five\nhundred people eating in a big room and there is L. 12.0.0. or L. 20.0,0.\nof music split up between 'em. About ninepence a head at most. Or\nthere are three thousand people being bored in a theatre and there\nis about L. 20.0.0. worth of music for them,... less than a penny a head\nis what they have to pay. & J£? JZ? <£? •£?"}, {"page_pdf": 34, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.34", "texte": "OUR DAILY NEEDS.\n\nThe popular prices of the Serpent, & &\n+\nAnd of course you can't (or don't anyhow) get real fine old musi-\ncians to play at three farthings a head; yon really don't. So that\nmusic has gone out of our life altogether and musicians are slowly\nbeing turned into philosophers. And if by chance we hear their music\nwe fee! queer about it and we ask, '« who could dance to that\" ? The\nanswer is, \" what, do you still want to dance ? do you still want to\nmove ? 1 thought you felt no need for that, I thought you wanted some-\n.thing to think aboutJZ? JZ? JZ> £?\n& No, but isn't it just a bit tragic.... as well as comic, that musicians\nshould be starved for centuries into slowly and deliberately becoming\nthinkers and philosophers when all the blessed children had to do was\nto feel and to make us feel. Assuredly they do still feel they feel\nthe pinch, (i) And we hear the squeal, the groan, the sigh, or else the\nquiet throbbing of the brain of the artist-turned-philosopher, regarding\nthose who have done him to a turn.\n& When musicians and all artists shall unlearn the words, \" Father\nforgive them, \" and the rest, then and only then will the woman be\nfound out and be happy to be caught meddling and put back in\nher place. J&JZ?JZTJZ}JZ?JZ?UZ?J&\nThere must be no question of further forgiveness. And it Is for this\nreason that I rather like so much these Futurists in all the arts.\nFuturist is a much better name for it all than Post-anythlng or Pre-\nanything else. & JZ? JZ? JZ? & £?\nhat is what became clear to me the other evening in Paris when\nby a good chance I was able to get to hear some new music\nwhich of course wasn't allowed (as it should be) to get to me.\nThe music I was to hear was by an Englishman.\n£? Dr Vaughan Williams is a Futurist. He doesn't know he i 5......\nneither does he know what it means: if he did he'd quickly recant\nand become a shepherd on Ben Nevis or a type setter if he preferred\ncity life. But he Is Just one of those amazing people who are leading us\nforward to the place we left years, centuries, ago. As he is an English\n\n(l) Tight lacing came m as a kind of 44 leit motif \" with the reduced salaries of musicians."}, {"page_pdf": 35, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.35", "texte": "OUR DAILY NEEDS.\n\nFuturist he lets us down middling,.... but his rage is terrible none\nthe less. & & & &\n& \" I don't forgive them they shall learn what they have done \".\nNot that I would suggest for a moment that the genial Doctor is at\nal! conscious of his Jove-like mood. Looking in his glass In the morning\nthe Doctor only sees the mask which, like all profound Englishmen, he\npurposely wears by accident. uS> &\n&So when I went to the Salle Gaveau to hear the Doctor's Poemes pour\nchant, piano et quatuor \" I was enchanted.\nThe majority of the people had gone there to hear tinklings, twiddlings\nand trillings by exceedingly worthy and high-class theatre and restau-\nrant musicians, and looked a little helpless without the gap-filling food.\nAnd when the twiddling bits were over they one and all made for the\ndoors: but nearly all were arrested at that instant by a strange cloud\nwhich began to put the place in shadow. & &\nIt was the entrance of Dr Vaughan Williams and his managers.\nThe solid phalanx approached in dreadful silence upon the field now\nstrewn with the sweet and sticky gore and gush which had but lately\nissued from those who had taken part in the sugary duel of twiddling\nand twaddling. &\nIn an instant everything was transformed. The gods rose up once more\nand held the people captive.\n&No one moved : how could they ? The sentence was about to be pro-\nnounced ; they, doom'd prisoners, understood. The Doctor had donned\nthe black cap.\nThen the message. &\nJ3 Some of us applauded like cannibals whilst the rest stood stock still.\nIn our rage we made enough noise for forty thousand, and we seemed\nto be possessed by the souls (or hands) of those dead musicians whom\nthat Wife had claimed in the thirtys. & &\nAltogether it was bracing Blake explains what that means.\n11 was \" DAMN \" unadorned, the horrific mood of old Blake. It was\nnot \" Father forgive them \".\nAnd music? what of the music?\n& The message was music, my friends, and there was no music with a"}, {"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.36", "texte": "OUR DAILY NEEDS.\n\nmessage. How provoking that is! you cry. You don't like people who\nare paradoxical..o\nDON'T YOU! &\nThen you hate yourselves, my friends, for it is you who have made\nlife the paradox it is ; it is you that have complicated it ever since you\nallowed woman to meddle in affairs of Art and Life ; and until you put\nthe sweet lady back In her place once more you'll never be free from\nthe paradoxes and the pains and the penalties. And the way to begin\nsetting things right again is to pay annually that L. 20.0.0. a piece for\nV\nyour music:.... in fact pay the same sum as you pay for your nice white\nnecessary bread. And then.... God be with you.\n& Verbum sat sapienti. (1) &\n\nJACQUES DALCROZE AND HIS SCHOOL,\nby John Balance.\nVfou probably have never heard of Dalcroze. You've heard of Maud\nAllen well, that's not it; You've heard of Del Sarte ? that's not it\n/\neither; You've heard of Isadora Duncan?.... well, that's nearer it, and,\nto do M. Dalcroze full justice, in his teaching he reaches nearer to Miss\nDuncan's ideal than that of one of her imitators or one of her masters.\nBut then Dalcroze is himself no originator. There seems to be really\nno exquisite reason why he should be except that we like a man to think\nand feel for himself. If a woman derives her inspiration from a man its\nonly natural; she adds a personal touch which is common to her sex and\nsomehow that staggers us a11.... as it very rightly should do. We are\nail of us always staggered by that sex; the gods were even staggered.\nJupiter reeled ; Ap0110,... well, that's different, for,\n\" is not even Apollo, with hair and barpstring of gold\nA bitter God to follow ! a beautiful God to behold \" ? (2)\n\n(1) i« e. \"a wick is as good as a nod to a Mind horse\".\n(1) Swinburne. \"Hysnn to Proserpine.\""}, {"page_pdf": 37, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.37", "texte": "JACQUES DALCROZE AND HIS SCHOOL.\n\nApollo...creator of Form, bringer of Light, Music; the impersonal God,\nthe God who burns up the dross; burns Isis, has power over Osiris. Come\nnow, here is an Inspiration which counts. And in him we have the God\nbefore whom even the staggering impertinence of the fair sex comes to\na standstill. The tiptilted noses droop beautifully again, and the ladies\nmake way for the true artists once more to advance and reveal the\npower of Apollo. J&\nDalcroze knowing this claims that his art is Apollonian. Alas, it is not.\nInstead it is the real old Theatrical article served up very neatly. For\nApollo never asked for a parade of womanly charms in his service. \" A\nbitter God to follow\". Women don't follow after Gods that offer bitter-\nness, for there are very very few women who know how to make beauty\nand goodness out of what spreads itself as bitterness on the earth. No,\nVenus, or some more pleasant Deity is their favourite. And as Dalcroze\nfills his school with girls he empties it of Apollonian possibilities and\nlets the Cyprian slip into the Fold.\nM. Dalcroze's girls are just delightful. No one who sees them exerci-\nsing or watches them as they watch their master, can doubt for a mo-\nment that they are true and sincere worshippers of Venus. She it is who\ncoos over all at Hellerau ; ...a distinguee, nice and pretty modern Venus;\nmodern because, unlike all the other Deities, she will be \" in the fa-\nshion \". Although a quite brainless, soulless Goddess she is intelligent.\n...1 once had a dear little pussy catcalled Topsy, and what that creature\ncouldn't do! ...but to the matter in hand.\nUnder the inspiration of Venus modernized into something at once\nhealthy and chic M. Dalcroze advances to instruct his many promising\npupils in the art of Rhythm. Gymnastics, Dancing and Dramatic Gesture\nare practised In d00r5,... or out d00r5.... for M. Dalcroze has a delightful\nand vast open air courtyard designed by the architect Heinrlch Tessenow\nwho doesn't seem to have wasted an ounce of his material or an inch\nof his space. sS> &\n1 can't sp9ak too highly of this whole building. It is made for the\npurpose to which It is to be applied, and it is a real working place. And\nwhat energy and enthusiasm the subscribers to the whole affair have\nshown \\£/"}, {"page_pdf": 38, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.38", "texte": "JACQUES DALCROZE AND HIS\n\nInto this building Dr Dalcroze dumps his girls, and sets them swinging\ntheir arms and legs and bodies. Outwardly all is perfect, for the girls\nare just the perfectest girls that ever girls could be. Inwardly there is\nnothing & <£? JZ?\n& I mean, of course, comparatively nothing. For inwardly there are\nhearts, beating awfully prettily, and emotions chasing one another, and\nbeliefs all butterfly-like playing easily at Bc-Peep : ...and there are very\npretty little dances, and such a nice feeling of good breeding and pleasant\nhours spent. And there's just the prettiest of houses near the school\nwhere the girls are kept and fed and where they exchange those lovely\nconfidences which girls alone know how to exchange without having\ngiven anything.\nThe head mistresses of the school are most intelligent ladies oftnuch\nrefinement and thoroughly capable, and no one could desire a more\nperfect directress than Frau Mabel-Rlees. J£? J&\n& And yet the net result of the whole effort is nothing,\n& Individuality is lost in this school. And that is rather a grave matter,\nbecause they employ the individual even as the carpenter employs wood\nor the goldsmith gold.\nHerein lies the root-evil of the whole matter. Girls are employed like\nso much marble or g01d.... and Dalcroze, like Michaelangelo, hacks away\nat them, turns them, bends them and of course they like it,\nExcellent I excellent that any and all girls should like being bent and\nturned by a man ;... it is an old virtue of theirs, but it has the disad-\nvantage of in no way conducing towards the production of a work of art.\nlt has been lately pointed out, (i) and for the first time so far as 1\nknow, that a work of Art can only be made '• from those materials in\nwhich we can calculate \" and it has been shown that \" man is not one\nof these materials \" because \" the whole nature of man tends towards\nfreedom \". And therefore as \" Art only arrives by design \", to make use\nof the bodies of men and women can only end in creating something\naccidental. If this has but lately been proclaimed as a principle it has\nfor centuries been realized by every artist, great or small from East to\nWest as a truth. JZ?\n\n(l) In 14 Oa the Art of the Theatre by E. Gordon Craig."}, {"page_pdf": 39, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.39", "texte": "JACQUES DALCROZE AND HIS .\n\nThe girls whom M. Dalcroze shows us in the frontispiece to his book\nare awfully pretty and charming : they spring up into the air like the\ndearest of nymphs,.. but they don't bear looking at besides even the\nsmallest statue by Donatello or by Yeshin-SSdzu. It is Venus versus\nApollo, and she loses the throw. JZ?\nCompare these dear little dancers with a different and a less spiritual\nwork of art; put them beside the figures carved and coloured in the sixth\ncentury before Christ by the master at the Acropole and their Goddess\ndeserts them.... for Dionysus peers out through the Temple doors.\nSo let us remember; the old Laws hold good, and if the grandest Law\nof Life is Liberty, the grandest Law of Art is Slavery, The artist himself\nis a servant... he is the servant of God and he is commanded to go and\nselect any material which creation can yield him ; but he must not make\nuse of man, woman, child, bird, beast (i) or any other living thing in his\nattempt to make a work of art. These things are free agents and must\nbe left free; these are already formed, already fitted with life: to touch\nthese, to take these with intent to use them as materia! of a work of art\nwould be to eat of the Tree of Life that is forbidden That one tree\n0n1y,... and theatrical people have disobeyed. JS? £?\nM. Dalcroze is not exactly a theatrical person ; he is a musician. He\ncomes promising to release us; he only binds us all more selfishly and\nmore cunningly than his predecessors. As master of gymnastics and di~\nrector of a well-ordered establishment for young ladies we are all in\nfavour of M. Dalcroze. As a teacher of art we consider him entirely lack°\ning in conscience, bringing false counsel of a very dangerous kind,..,...\nthat ancient advice of the serpent with its lithe and sinuous gestures,\n\"Ye shall not surely die, for God doth know that in the day ye eat there\n\"of your eyes shall be opened and ye shail be as Gods, knowing good\n\"and evil \"\nAnd it is to women that the good fascinating, harmless M. Dalcroze\n\n(i) Pen'ormiog Animals are every whit as eligible to be called artists as are either Actors or Dancers, yet\nno one so far as 1 can recall has claimed for any tronpc of performing elephants or dogs what Dalcroze claims\nfor his troupe o' girls. Nearly everyone realizes that the practise of training living things to perform obediently\nbefore the public is merely a harmless if objectionable sillyness which appeals only to those in quest of the\npeculiar and unnatural,...well then?,."}, {"page_pdf": 40, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.40", "texte": "& JACQUES DALCROZE AND HIS SCHOOL. se>\n\nappeals. They are to be goddesses again,... through the power of Rhythm\nand by the grace of Dalcroze. £?\nHe would have been right to make such an offer but for one small\nthing woman.\nLet us remember that against the Laws of Nature and against the\nLaws of Art it is forbidden to rebel, and he who does so shall not pre-\nvail, and his disobedience shall eternally plague him.\n& Come then, let us move on; let us strive to give birth to a new art of\nthe Theatre; but let us learn first the Laws, however stern they may be,\nand surely forbid ourselves that which Nature has already forbidden us.\n\nON TRUTH AND ERROR.\nGoethe.\n•*jphe truth has always need of being repeated, because error Is cease-\nlessly and repeatedly preached to us, and not only by some isolated\nvoice but by the crowd. In the newspapers, encyclopaedias, in the schools\nand the universities, everywhere error holds the first rank; it is at its\nease with the majority, who charge themselves with its defence.\nConversations with Eckermann. 1822-1832."}, {"page_pdf": 41, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.41", "texte": "THE PAINTER IN THE THEATRE. A Note\nby Gordon Craig,\n\ncopy of that excellent journal 44 Rhythm \" has been sent me by\nsomeone for some reason and If 1 could better understand the\nreason I should know better how to speak of the article which\nwas specially marked for me. J& J£/\n& This article was called 44 Stagecraft \" and was written by Mr Georges\nBanks, whom 1 take to be a painteryet I may be quite wrong in my\nguess, for Mr Banks might be Mr Holbrook Jackson in disguise or even\nMr Allen Carrie,.... except that Carrie really does know something about\nthe stage although he theorizes only and abstains from the practise.\nStill, without knowing who and what Mr Banks may be when he is\nat work, and without knowing why he selects to send me of all people\nhis Interesting article without any word of explanation or excuse, I\nbelieve so much in all these new movements that I can easily find a\nserious word or two to say about the suggestions of Mr Banks.\nThe gist of the article, then, is that Mr Banks went twice to the\nTheatre des Arts in Paris, saw from the stalls and the upper circle a\ncertain play by Dostoiewski, 44 Les Freres Karamasov \" and, \"seeing the\npiece first from the stalls and then from the upper circle \" found a new\nproblem revealed unto him. 44 From upstairs the scenery entirely dis-\n-44 appears, leaving the action to take place against a grey floor carpet\n44 composed of the elements of black frock coat and white shirts and\n44 arresting all movement, so that the artist has not merely to pro-\n-44 duce one vision, but four, below, above, right and left. \" &\n& This passage doesn't make things as clear to me as I would like, but\nat all events 1 gather that when in the upper circle a new problem was\nrevealed to Mr Banks.\n& Had 1 been with him I could have told him that dozens of new problems\nare revealed to us from that awful crow's nest, and that it's one of the\nhundred damnabilities with which we have to reckon when considering\nour art as a whole, JZ?\nMr Banks likes to consider a part of the art as though it were the\nwhole; and this is not quite right of him.\nHe therefore gets a false revelation. The upper circle is never very"}, {"page_pdf": 42, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.42", "texte": "THE PAINTER IN THE THEATRE\n\ninspiring and should have been done away with some centuries ago, and\nit is wrong to think of adapting the art to its frame or to the floor\nfrom which we regard it when the frame and floor are both capable of\nbeing improved out of existence. jp &\nThe floor of the Theatre is the Earth: we need not bother our heads\nany longer about whether stage performers should be seen from any\nangle but the normal right angle of the straight floor laid as close to\nthe earth as possible. And it is because Mr Banks does trouble himself\nabout this, pondering a trifle too earnestly upon the value of the\nupper circle, that he wanders into a complication which is quite\nunnecessary*\nwould have us use the floor as a background all for the sake of\nthe upper circle, painting on it a decorative background.... a helpful\nbackground for the helpless who have been skyed against their will\nIn a circle which I feel sure even Dante would have refused to report\nupon. & & jg & &\nMr Banks gives us an example of what he means in word and picture\nand these I reproduce here.\n44 the production of the third act of Maeterlinck's \" Monna Vanna\n44 where it Is obvious that only half a tent can be staged. Here we have\n\" a magnificent opportunity to display, by the floor decoration alone, the\n\" shape, sise, ornament and background to the upper portion of the\n\" audience, as it is impossible to have a high not so\n44 much on account of the limitations of the tent, but because the two\n44 figures must not be dwarfed on account of the significance of the\n44 acting which takes place. Two human beings at the summit of their\n44 lives, one seated upon a couch, the other lying upon the floor, talking\n44 calmly without action, demand the prominence of facial expression.\n44 The garments must be simple in design, but depth and purity of colour\n«4 are essential.\n44 In the decorative striping of the tent we have the opportunity of\n44 carrying down the lines on the floor-cloth, converging to a semi circle\n44 with the suggestion of where the tent pole would be. Besides the outer\n44 drop-curtain a second, of the same material as the tent; parted and"}, {"page_pdf": 43, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.43", "texte": "Suggestion for staging \"Monna Vanna\" by Georges Banks."}, {"page_pdf": 45, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.45", "texte": "THE PAINTER IN THE THEATRE\n\n\" already drawn aside, would suggest the missing half and at the same\n44 time convey seclusion and dignity and be an immense asset to the\n\" i maginative realization of the scene &\nThat's all perfectly right, but quite valueless for the reason stated,\na nd It Is not a little reprehensible of Mr Banks to rush into print after\nundue consideration of this question of the Theatre. &\nIt smacks too much of the market, especially when we read the\nfollowing passage: 44 When the Theatre des arts in Paris employed the\n\" autumn salon artist to paint scenery last year, it was considered utter\n44 folly ; but M. Rouche knew what he was about, and in some cases the\n44 success has been very considerable, while to the craftsman the mistakes\n44 are of considerable significance. \" &\n& For though it was by no means folly of M. Rouche to invite the Salon\npointer into the theatre it was an utterly wrcng thing of him to do,\nmore especially as he belongs to that ever enlarging group of men\nwhose programme is frankly announced as 44 the Reform of the\nTheatre \". & &\nI am not a reformer of the Theatre. Some of these days 1 may find\nmyself ready to start the reform of the Drama, but at present I see too\nmany places where 1 would compromise and we know well that Reform\nad mlts of no compromise. And for this reason I sincerely wish that many\nof these admirable theatre directors would abstain from announcing\nt heir efforts for Reform, for, alas, it is very deceptive to the public. &\n1 have written elsewhere (i) about the futility of us welcoming the\nco of the Salon~painter, for though in the House or the\nSal on he fce ever so good, as Theatre collaborator he is useless for he\nb rings new complications to an already too-complicated problem.\n& Added to this he is poaching on our preserves and it will not do to\nbreak down the old hedges which divide our different properties. Monsieur\nA. or Monsieur B. may be very good fellow s, but they reveal a surprising\nlac k of good taste by such inroads upon our £? &\n& I remember meeting the Russian painter Somoff in Moscow a few\nyears ago and asking him if he had ever designed for the Theatre and\nhis reply was just what it should have been: 44 when I can spare fifteen\nyears to the study of the theatre I may feel that 1 could venture to work"}, {"page_pdf": 46, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.46", "texte": "THE PAINTER IN THE THEATRE\n\nIn the theatre \" he said. We talked further about this question and\nfound out that he respected the Theatre sufficiently to abstain from\nturning it to the pecuniary advantage he certainly could have derived\nfrom it. A few more men of like character amongst the Russian, French\nand German painters would spread a nicer feeling around the studios\nand create in the more serious men of the theatre more confidence. 0\n& I am very happy to be able to state that the painters of England\nunderstand and respect our labours thoroughly and begin altogether to\nrealize that the Theatre must settle its own difficulties for itself. Those\npainters who continue to study the Theatre are giving up their study of\npainting for the House, Church or Salon. Mr Norman Wilkinson is one\nof these and his assurance to me on this point gave me much happiness.\nMr Hugo Rumbold is another painter who is going wholeheartedly into\nthe Theatre and away from the ■£?\nPeople so often exclaim \" but fancy what James Pryde or Augustus\nJohn could do in the theatre \", believing that the Art of the Theatre or\nthe Art of Drama is a pictorial art. It is not; and therefore our two\nfriends would not be able to help us. They haven't offered, It's true, but\nthat shows the fine old feeling which in England teaches the Squire to\nrespect his neighbours' hedges. There are fewer hedges in Prance,\nRussia and Germany, hence the appalling lack of restraint which the Sa-\nlon painters exhibit and which, alas, Mr Banks applauds so enthusiastically.\nThe experience of the past failure of the outsider to influence the\nTheatre for good seems to count for nothing with these intrepid gentlemen\nwho have not remarked even the catastrophe which followed the Poets'\ninvasion of our territory. These brought us balm in the shape of the\nword,... the perfect word, perfect In sound If not in sense,.... and where\nis that word now? where the Poets? If perhaps we read them today in\nthe study we do not speak their verse on the stage save in as disastrous\naway as we can achieve. In short, we never liked their perfect word\nnor do we like the painter's perfect design in the theatre... and history\nshows the way we have behaved towards both\n1 hold no brief for the man of the Theatre as positive demonstrator\nfor he demonstrates dreadfully; but lam with him heart and soul as\ndefender of his own property and of the right to say what shall not be"}, {"page_pdf": 47, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.47", "texte": "THE PAINTER IN THE THEATRE\n\nin his art. One of the reasons why of late he has not been able to develop\nhis own plot of land is that his time and force have been taken up in\ndefending it against the Inroads of all the kind friends bringing fully\narmed \" suggestions for improvement\". ,\nWhat would the painters say, do you suppose, if we others should go\ninto their studios and attempt to demonstrate there the value of the\ntheories we hold upon the art of painting ? Should we even get admitted\nto the studios ? Supposing we were able to show that our theories would,\nif put into practise, help to increase their income, should we get a hea-\nring ? I very much doubt it. & & &\n& Why then do these same painters, with an impertinence which 1 hardly\nrecognise in them, behave in this manner towards us and our art ? &\n& The only thing we can say in excuse for them is that they are acting\nin accordance with the restless and blind spirit of the age.... an age\nwhich applauds anything and everything which sentimental fashion\nbooms through a strange Press for stranger reasons,.... and over which\nthe legislators seem to have lost all control. & & &"}, {"page_pdf": 48, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.48", "texte": "CAPTAIN JACK B. YEATS. A Pirate of the\nOld Schools:\nby Allen Carric.\nPREFACE: While my title is so suggestive it -will be as well to\nassure the reader that there will be positively no mention made\nof the Prussian Theatre in this very far too brief article upon one\nof the Glories of our National Drama. &\n7yir Jack B. Yeats plunders properly. He not only actually pretends to\nbe a pirate; he is one. But he only goes for those of the Old Trade.\nAnd he's done the business so thoroughly that It seems as though he is\ndestined to go down to posterity in Cassells' New Biographical Dictionary\nas the Last of the Pirates. & & & ■£> &\nMost Bucaneers reach their prime at forty. Captain Yeats was in\ncommand at the age of six, and before he was twenty had scuttled the\ntwo most formidable vessels ever known on the High Seas. The \"Pollock\"\nand the \" Reddington \" were their names, it is said of them that as they\ncleft the vivid waters of the Ocean they left behind them a wake of\ncross°bones over which the moon grinned horridly in likeness of a skull.\nIn their day they had many a fine haul, but none ever so rich as\nwhen they captured the \" Skelt& £r\nThe fame of the \" Skelt\" still survives its destruction. The \" Skelt\"\nwas a most daring vessel and over ten thousand bags of spangles were\nfound in its hold when it lost the day to the \" Pollock \" and the"}, {"page_pdf": 49, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.49", "texte": "CAPTAIN JACK B. YEATS.\n\n\" Reddington \". These spangles were once in the care of John Philip\nKemble, the most gaudy Admiral, though the grandest, in His Majesty's\nNavy; but he came across the \" Skelt\" and was with his crew literally\ncut up into little bits. &\nSo you see Captain Yeats has every right to play at Pirates....for he\nknows how a Pirate must act.\nBut if Captain Yeats,... now, alas, retired and become plain Mr Jack\nYeats.... knows how to Rob he disdains to Imitate. His theatre is the\ntheatre of Skelt, Pollock and Reddington, but his manner is his own.\n& He does not splutter or pour the colours about without any reason\nbut that its theatrically right. \"Isn't it Piratically right?\" asks Yeats;\n\" Isn't it natural?\". And, \" I'll be a true Pirate\" says he, \" and then\nIf possible I'll be natural \". & &\nHis toy theatre is the most natural Europe possesses. His Dramas are\nfilled with all the winds of Heaven. They are short, ....yet no one who\nreads them, no one who has seen them, but feels they are as long as Life.\n£? \" The Scourge of the Gulph \" is without exception quite the first\ndrama of the century. You may think, Reader, that I exaggerate, that 1\nam carried away by these pirates,.... or that 1 am mad. But 1 have at\nleast thirty nine good reasons which I could here put down 'twere it\nworth while, to prove logically that this Drama is without exception the\n♦\nfirst drama of the Century.\nIn this masterpiece things happen. In Dramas of this century things\ndon't happen,\nIn \" The Scourge of the Gulph \" they happen quick... lightning goes\nslower. Drama must beat lightning at its only game. Mr Yeats beats it.\n£/ There was an Irish dramatist called Synge who I once thought knew\nsomething about movement. I now realize that by the side of Jack Yeats\nSynge becomes a dreamer.\nSynge was never able to thrill us by a mere stage direction. Synge\nnever translated us a thousand miles in an instant as Yeats can with\nhis one solemn line of scenic art, \" Scene one ; 'The Deck of the Distant\nLand' \". Why, to have put that down just as it is settles his right to the\nLaurels. £? £? & &\nBut wait! On the next line we read, \"Captain L. H. (which means"}, {"page_pdf": 50, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.50", "texte": "CAPTAIN JACK B. YEATS.\n\nhe is on the Left Hand,.... damned sinister). La Lolita in hammock L. H.\n(also sinister in her own way). Bosun Broad with cat-o'-nine-tails R. H.\n(thats so clear). Miles R. H. (good honest tragic Miles) and Crew discovered\".\njg? If all this isn't glorious, what is ? For look at La Lolita,... how she\nseems made for her hammock. I mean how her name swings In it. Synge\nwould never have captured a name like that. And that cat-o'-nine tails,...\nwhat a duet; Lolita and that instrument. And lastly the word \" Disco-\nvered \". Why one feels they are lost from the start.\nThe whole-of this first scene consists of 106 words only, and not\none word too many nor too few; and it Isn't as though the cackle had\nbeen cut for mere 'osses, ....it's cut for the Human Soul.\nAnd then, besides, Yeats cuts his own cardboard as well as his lines,\nand into the nice honest cardboard the Human Soul really enters.\nNow don't be a Oobson and utter those plaintive words, \" well, this\nis rather queer \"... For It's not '* rather \" anything. It's very everything.\nIt's no trick of the magic canister like that of La Zuleika ; it's the pure\nold magic of Heaven, ....the magic of a sincere artist who has thrilled\nwith excitement.\n£? To be sure Jack Yeats has a few mannerisms ; but then, you see,\nthey never get a chance of obtruding; they'll all cut down with the words:\n....there's no time, either, to see them.... because of the speed.\n& There isn't a reader of The Mask who ought not to secure copies of\nMr Yeats' Dramas and pictures. You go out of your way to spend a pound\nfor some dead stuff in heavy binding. Why ? you get\nStop doing that. Get Yeats' works. And don't forget to do your best\nto buy the Broadside.The copy for May 1911 has a superb design of\nCaptain Blackboard swearing in his crew. It's coloured ; coloured with\nthe sun in the heart of its maker."}, {"page_pdf": 51, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.51", "texte": "A Scene for \"The Scourge of the Gulph\" designed by Jack B Yeats."}, {"page_pdf": 53, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.53", "texte": "HOW JACK B. YEATS PRODUCED HIS PLAYS\nFOR THE MINIATURE STAGE\nby the Master\nhimself.\n\nproduced my first card board plays on a stage abut eighteen inches\nwide.But I found that only a very small audience could look on atone\ntime, so 1 had a stage made with a proscenium opening three feet eight\ninches wide and one foot ten inches high. The stage was made like a box,\nwith the front (in two pieces) top and sides In the form of doors. When\nopened, the front and top made the sides and top of the proscenium.\n42 This larger opening allowed an audience sitting five or six abreast\nto get a very good view without being able to see through the wings\nto the hands of those who manipulated the figures. j2 £/\nj2 The whole stage end of the room was curtained off, and from once\nthe audience took their seats they had nothing before them but my card\nboard actors and card board scenes. 42 42 j2\n42 The figures were about nine inches high fastened firmly to laths of\nthe same tone as the stage and by these laths the figures slid along.\nThey could not move their limbs so the plays were written to suit the\nstiffness of the actors. j2\n& The old \" Penny Plain and Tuppence coloured \" plays were adapted\nfrom full grown plays like \"Three fingered Jack, The terror of Jamaica,\"\nor \" Paul Clifford \" or \" Mazeppa \", plays which were full of sword fights\nand pistollings, swoonings of ladies and poisonings of cups. Things im-\npossible to do with card board figures. So the old makers of the minia-\nture plays did the only thing they could, they had a different figure for\nevery action and stage directions such as this :\n\"Jack. No words; obey or perish. (Jack binds Rosa's hand s\nwith a cord. Draw off Jack and R. H. PI. 7. she leans against\nwing L. H. put on Jack at table PI. 5. \") j2 /2\nor this :\n\" Quash. No hurry, Jack, take it easy. 'Cause him going to\nsend you down below to see your ole friend. & .■&\n(Desparate combat. Jack disarms Quashee when a struggle\ntakes place. Draw off figures combatting and put on Jack and\nQuashee bottom of PI. 6. Jack is about to strangle Quashee"}, {"page_pdf": 54, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.54", "texte": "HOW JACK B. YEATS PRODUCED HIS PLAYS\n\nwhen Tuckey with pistol R. H. pi. 6 appears at top of rock\nbetween the two scenes. He fires and wounds Jack who leaves\ngo his hold. Quashee then springs up and stabs Jack in the\nbreast. Draw off the figures and put on Quashee stabbing\nJack R. H. pi. 6. Enter Sam L. H. pi 6 from behind set piece,\nand Tuckey R. H. pi 4. \")\nIn colouring my scenes I used coloured papers very largely which\nsaved time and paint. Lightning was suggested by a zig-zag cut in the\nback cloth covered with blue paper down behind which, at the right\nmoment, a light was dashed. &\n& For foot lights I used night lights with reflectory.\nFor coloured fires I used red and green matches, used them good and\nplenty!\nThe titles of my plays were :\n44 Esmeralda Grande \",\n44 The Treasure of the Garden, \"\n44 James Flaunty, \"\n44 The Scourge of the Gulph, \" and\n44 James Dance, or the Fortunate Ship Boy. \"\nThere was also a pantomime called \"The Mysterious Travellers, or the\nGamesome Princes and the pursuing Policeman\", and I had two circuses.\n& The pantomime was good fun to make because of the mechanical\n44 business.\n& The clown smoked real smoke out of a little clay pipe. He also fished\nfrom the quay with a practical fishing rod. There was also a pillar letter\nbox with a door which opened and showed the clown hiding inside, then\nsnapped to again, and\nThere was a town crier who rang a bell.\nThe making of the circuses was good fun too. The 44 Procession of\nAH Nations \" Japan with those delightful little paper lanterns with toy\ncandles inside. And the four horses abreast in the Ride of all Nations.\n44 The Riders of old Rome who in prehistoric days guided\ntheir antideluvian horses mid the catacombs and pyramids\nof that noble City without saddle or bridle.\nJSf The Cowboys."}, {"page_pdf": 55, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.55", "texte": "The Miniature Stage of Jack B. Yeats."}, {"page_pdf": 57, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.57", "texte": "<e> HOW JACK B. YEATS PRODUCED HIS PLAYS &\n\n£> The Egyptians stated without error to be the most mar-\nvellous horsemen in the entire universe from the Indian\nOcean to the Carribean Sea.\n& The Bui ('fighters of Spain, and the ring master spoke of\nthe \"sanguinary sawdust of Seville\n& The words of the plays were of course spoken behind the scenes and\nit was at times hard to make the voices of the characters sufficiently\ndifferent, and after talking for some time in the husky voice of Captain\nTeach one found that for a scene or two all the characters were speaking\ntheir lines in the same deep notes. For the time one had acquired the\nthroat of piracy, one had to be very careful, for it was not right that\nJessie Henderson should speak with the same voice as Willie Mc Gowan\nor Bosun Hardbite.\nThe two voices used in the adventures Oath in Esmeralda Grande\nwere easier to produce. A deep roar for the Captain, and for the crew\nas they repeat each line a fear-struck wail which gradually grows feebler\nas the thing goes on. & &\nAnd now, looking back, 1 think my audiences liked the oath best of\nall, better than the red fire of the flare on the sinking Linnet and\nbetter even than the green shine of Esmeralda Grande."}, {"page_pdf": 58, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.58", "texte": "THE BEST THEATRE IN LONDON\nby\nEdward Edwardovitch.\nC®e this vision of delight. It is the shop where they make the Best\nTheatre in London. jsf\nIt doesn't interest me today to explain why our West=end Theatres\nare not the best, and if you haven't found that out for yourself by this\ntime let's hope you never will. To those who have found it out let me\nrecommend Pollock's Theatre. & &\nIt is all very interesting and 1 hope to come back to it again some\nday, for there is much that is entertaining in the whole History of the\nTheatres made for Children. Here 1 can only touch upon one particular\ntheatre, and that rather loosely.\nThe above picture shows you a shop window. The design is one of the\nscenes in a splendid Drama called \" Harlequin Baron Munchausen, and"}, {"page_pdf": 59, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.59", "texte": "& THE BEST THEATRE IN LONDON.\n\nhis comical Cream Cob Cruiser, or the Queen of the Fairy Steed's\nhaunt Besides being a scene in a play it is an actual spot in London.\nLet us go there. & & & &\nWhere? Why, to Redington the Printer, Bookbinder, Stationer, To-\nbacconist, Jeweller and Theatrical Print Warehouse. £? £?\n& But what part of London ? Let us look up an old directory, for the\npicture is not a new one and perhaps the \" Adam and Eve \" is gone.\nJS? In the old Directory we find Redington is at Hoxton Old Town, and\nthat there is an 44 Adam and Eve \" and that it is 209 Hoxton Old Town.\nSo off we go to the Old Town tonight.^\nOn getting out that way we are told by policeman Z 1 that the Town\nno longer exists, but that a street still exists and we can try that if\nwe like.z? JQ JZ? JZ? JZ?\nzz? We trj' it. We search for 208 Hoxton Street. We find it. No Redington\nthere. Everyone tells us it is gone. We ask and ask; no clue. We then\nask for the 44 Adam and Eve \" which should be number 209. 44 There is\nan 44 Adam and Eve \", but it's now number 74\" they tell us. «£>\n& Off we go to number 74, and lo and behold, there stands the very\npublic house, and there beside it is our Printer and Theatrical Printseller.\nThen how is it that no one knew of Redington ?.... Because Redington\nis no more, and his place is taken by Ben Pollock, one of the glories of\nGreat Britain. JZ?^Z?JZ/JZ?JZ>SZ?JZ>JZ?\nLet me explain how Ben Pollock comes to be there.\n& Redington (1) the writer of the Juvenile Dramas was also the builder\nof the Theatres, the scene designer, the costumier, electrician, conductor ;\nin fact he was ALL. Glorious old man! Yet so delightful was his occupation\nthat many younger men and women were drawn towards his little magic\nshop and Redington allowed some of them to Join him,... some to paint,\nsome to cut, some to print, some to bespangle, some to build, some to\nlook nice and make things look nice.\n& The one who excelled at this last art was little Miss Redington. She\nwas so delightful that she turned the heads of one and all the young\nmen who worked for her Papa. All the painters daubed ; all the builders\n\n(1) There were not many makers of these Theatres in days gone hy, but there was a famous man called Skelt>\nand one called Marks; one Jamieson, one West, one Hodgeson, one Park, one Lloyd, one Webb and one Green."}, {"page_pdf": 60, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.60", "texte": "& THE BEST THEATRE IN LONDON.\n\nbuilt crooked; all the cutters cut their fingers,.., these latter on purpose\nthat M'ss Redington might bandage them with her own hands. JS?\nAt last one passionate admirer, realizing that if this sort of thing\nwent on much longer the ancient and noble art of Theatre making,\ncutting and colouring would die out, seized the Bull by the horns and\ndemanded of Mr Redington the hand of his Daughter.\nThis man was Benjamin Pollock, the only surviving master of the\ngreat school of ancient Theatrical Art. He married pretty Miss Redington,\nand in time he changed the name of the magic shop from Redington to\nPollock. He also changed the number. Prom 208 Hoxton Old Town it\nbecame 73 Hoxton Street. £/\njg? And there it is at this day. Anyone who wants to go and see it and\nwho goes there will find the place exactly as it is shown in the picture\non page 54. Except for the name, numbers, and the little Theatre hanging\nout as a sign board. The \" Adam and Eve \" is outside next door. 1 don't\nknow if Mr Pollock objects to this, but you can ask him if you like. It\nwas rebuilt about thirty five years ago so it's not the same old English\nplace as shown in the picture, but they say that the same old Scotch\nwhisky is to be found there.\n& Now that I've told you where and how to find the place I think I've\ndone ail that is possible to do. It would be useless my attempting to tell\nyou what you will find there, except, as I say, the best Theatre in London.\nR. L. Stevenson attempted, and failed, to do the thing justice. Walter\nPater even wouid not have succeeded. Perhaps Alexandre Dumas might\nhave triumphed. But then Dumas did triumph, for his novels and this\nTheatre are part and parcel of one another.\njgr But what I can do is to tell you the names of the Dramas to be\nobtained, the sizes of the stages, their prices, and then you can do the\nrest. And if I don't hear that many of the subscribers of The Mask have\nwritten to our old friend Pollock to despatch immediately his whole\nRepertory Theatre to them I shall begin to think that our subscribers\nare blind to their own interests.\nAnd remember, The Mask never speaks well or ill of a thing because\nit pays to speak well or ill. We may not boast a journal of great com-\nmercial power, but possibly of another power still greater."}, {"page_pdf": 61, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.61", "texte": "THE BEST THEATRE IN .\n\nThe names of Mr Pollock' dramas are as follows : £?\nPlain Coloured\nsd, s d\nAladdin or the Wonderful Lamp ... 13 24\nBlue Jackets ... ... ... ... 06 oso\nBrigand ••• ••• ••• ••• O IO I C)\nCharles the Second ... ... ...06 010\nChildren In the Wood ... ... o 10 16\nCinderella ... ... ... ... o 11 18\nCorsican Brothers ... ... ... 08 12\nDon Quixote ..< ... ... - ... 08 12\nDaughter of the Regiment ... ... 05 08\nDouglas ... ... ... ... 07 10\nForty Thieves ... ... ... ... 1 6 2 10\nKing Henry ... ... ... ... 07 10\nLord Darnley ... ... ... ... 09 14\nLord Mayor's Fool ... ... ...06 010\nMistletoe Bough ... ... ... 09 14\nMiller and his Men ... ... ...10 110\nOliver Twist ... ... ~. ... 11 20\nPaul Clifford ... ... ... ... 11 20\nSilver Palace ... ... ... ... 08 12\nTimour the Tartar ... ... ... on 18\nWaterman ... ... ... ... 05 08\nWoodman's Hut ... ... ... o 10 16\nBlind Boy ... ~. ... ... o 10 16\nMaid and the Magpie... ... ... 08 12\nPANTOMIMES.\nBaron Munchausen ... ... ... 14 26\nJack the Qiant Killer ... ... 14 26\nWhittington and his Cat ... ... 14 26\nSleeping Beauty ... ... ... 13 24\nThese Prices are with Book of Words, Scenes, Figures and Directions\nComplete\n• Then the Theatres are made in two sizes, either fized or to fold"}, {"page_pdf": 62, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.62", "texte": "THE BEST THEATRE IN LONDON.\n\nup when you want to pack them away, and, of course, to set them up\nyou have to unfold them. They have glorious Prosceniums highly coloured,\na place for lamps or electric lights, (if you are clever you'll put electric\nlights), and you can buy tin slides for all the figures. Here is the list\nof all these articles, and ail are indispensable.\nStages Sine 6xB. (it's the scenes which are 6 x 8 so you'll order a\n6xB stage). Prices. 9d. i/- ... I/6 ... .2/= and 2/6\nSize 12 x p. Prices, 2/=, 2/6, 3/-, 3/6, 5/-.\nYou had better buy at 2/6 6xB, and also at 5/=, 12 x 9.\nTin Slides. 3d, 6d and I/- per dozen. You will want at least three or\nfour dozen at 3d and I/- per dozen.\nLamp. These are sold and look well, but I advise everyone to\navoid oil and matches. Much better is it to purchase some\nof the very tiny electric bulbs. You can get them about a\nquarter of an inch long, and if you have your electrician to\nput a dozen such lamps on to some wires and fix the wire\nin an ever ready battery or torch you can light up and\nturn out whenever you wish and the effect is charming.\nThe address of these ever-ready lamp people is 120 Shaft-\nesbury Avenue, London, W.\nThen besides these small lamps you had better get two small\npocket lamps which act just like large lime lights. With\nthese follow the star.\nNow when you have obtained all these you have to cut out and paste\na good deal. If you are lazy you can avoid this by sending to Pollock for\nscenes and figures already cut out and ready for working, but don't, 1\nbeg of you unless absolutely necessary, for the sake of Great Britain\ncut them out yourself! Mr\nI went to Qammage's the great toy shop one day last year to buy\none of Pollock's wonderful theatres. 1 came away disappointed. I cursed\nthe reasons. & MrMr Mr m? M? Mr\n& I was told that people didn't like \" flimsy \" English toy theatres and\nthat the German were much cheaper and that as the German figures\nwere all cut out and pasted on and had wires fixed to'the figures \" the\ntrouble to the purchaser was reduced. \" Mr Mr mt Mr"}, {"page_pdf": 63, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.63", "texte": "THE BEST THEATRE IN LONDON.\n\nThis made me pretty furious; and it seems to me after careful con-\nsideration that these British-made Theatres are every whit as cheap as\nthe German things and a hundred times better; ...and, what is evident,\nbetter for British purchasers. uS>\nJE> The German things were without character, awful up-to-date vulga-\nrities. 1 was so annoyed at not being able to find my old British friends\nat this representative British shop that I felt obliged to crave an interview\nwith the Head of the &\njz? I extracted no better answer from the great man. The fact that they\nwere British made no appeal to him, and the fact that they were better\nstuff made less. Let us hope that this is not the incomprehensible kind of\nattitude for which shopkeepers get knighted nowadays. &\nSo if you want Pollock's Theatres you had better write direct to\nPollock at 73 Hoxton Street, London, N. And then you\"fl have the time\nof your life\nNOTE In the following pages is given a play from \"Pollock's Juvenile\nDrama 11 The Blue Jackets, or, His Majesty's Service. A Farce in one\nAct. Printed and Published \", as the title page tells us, \"by B. Pollock,\n73 Hoxton St, N. at his wholesale and Retail Theatrical Print and Tinsel\nWarehouse.\" & &\njSf When one speaks of a \"Pollock Play\", however, one must not entirely\nforget Pollock's predecessors from whom he has annexed several of his\ndramas, lock, stock and barrel. Thus \" The Battle of Waterloo \" (one of\nthe most brilliant of the \" Pollock Plays \" and one which should be in\nthe nursery of every officer of the Realm) (i) was invented by Green in\n1841, for Green's name is on the original blocks, and Pollock, like Ramases\nof Egypt, has merely erased Green's name from the monumental work\nand substituted his own. & & &\nln away this is not quite as fair as Redington, who merely added\nhis name to Green's work, and added it as *' sold by J. Redington, etc \".\nBut some day someone will erase the great Pollock's name and\nsubstitute that of Smith. Let us hope it will not then be spelt\nSCHMIDT. & & & & & (Editor)\n\n(1) The drama costs two shillings and lour pence, scenes, costumes, actors and book ot words complete. *"}, {"page_pdf": 64, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.64", "texte": "THE BLUE JACKETS or His Majesty's Service.\n\nCharacters Represented\nMEN.\nADMIRAL TRUNNION (Port Admiral, rich and testy)\nCHARLES HERBFRT (Honourable and Romantic)\nBEN BINNACLE (A Superannuated Seamen)\nMr. CHASER. (An Invalided Master at Arms, Commanding the Bombshell)\nJACKO (A Negro)\nWOMEN.\nFANNY YRUNNiON (Daughter to the Admiral, alias Lieutenant Firefly, of\nthe Skyrocket Fire Ship, and Commander of the Blue Jackets)\nBETSY BODKIN (Her Maid, alias Pitch-and-Tar, a Blue Jacket)\nBlue Jackets, Sailors, Marines, Drummer, &c.\nSCENE i. No. I. A LIBRARY. Wings No. 5.\nEnter Ben Binnacle, Left Hand....Plate s.\nEnter Admiral Trunnion, Right Hand...Plate 2.\nTrunnion. Keep the prisoner safe under hatches, till further orders.\n& Ben. Aye, aye, your honor I\nTrunnion. They thought to out manoeuvre me, did they ? cut a vessel\nout of my own dock, and sail off under false colours ! By Nelson's cocked\nhat, I'd a blown'em both out of the water. My daughter shall sail in\ncompany with Captain Cathead, or remain single for life. What do you\nsay, you porpoise ?"}, {"page_pdf": 65, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.65", "texte": "THE BLUE JACKETS.\n\nBen. If I say anything, yer honour, I'd rather take grog than biscuit.\nTrunnion. Aboard, you lubber! and see that Herbert goes safely\nwith you.\nBen. All taut, yer honor. He's stowed away in the jolly boat, when\nwe laid our grappling irons aboard on him, he swore he'd blow you to\nthe devil, and hang every mother's son of us. He kicked and plunged\nlike a young grampus when he gets a harpoon in his wltals. Jack Sykes\nthreatened to push a tar brush down his throat, and make him dance\n\" Jack's the Lad \" on a boarding pike ! I offered him my bacca-box and\nall; and Taffrall challenged him to fight for a gallon of rum, but nothing\nseemed to please him ; so we tied him head and foot, and stowed him\naway in the stern sheets of the jolly boat \\\nJE> Trunnion. You have been too violent with him. He must be treated\nlike a gentleman\nBen. I'll treat him to anything he likes, from heaving the lead to\nweighing an anchor. I know eddication and manners....my old mother...\nshe's gone to glory, where Polly Long's gone, she was a schollard, yer\nhonour, and could read the newspaper backwards without spectacles....and\nmade pancakes, lobscounce, chowder, and egg flip, better nor any captain\nin the service. & (Exit.\nTrunnion. And drank it afterwards, I'll be sworn! Master Ben's\npoliteness and the cabin of an old seventyfour, will soon cool the young\ngentlemen's courage. &\nEnter Fanny Trunnion. Lett Hand, Plate 2.\nTrunnion. Fanny my dear!... & & -0\n& Fanny. (Sings) '* Marry me, marry me....Peter he would marry me ! \"\n& Trunnion, (aside) She alludes to Cathead, (aloud) Hark ye, Miss!\nwhere have you been ?\nFanny. Looking at the sea....such a glorious sight....all smooth and\ncalm; sun shining brilliantly....the gallant vessels with their white sails\nset, and pennants flying in the wind scores of Blue Jackets, round\nthe rlgging..all in animation and activity ! I never look upon those noble\nships in the bay, but I think they are so many guardian Qenii, appoin-\nted by old Neptune to guard and watch our shores!\n& Trunnion. They are the mighty engines of a free constitution, to"}, {"page_pdf": 66, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.66", "texte": "THE BLUE JACKETS-\n\nprotect our liberty and peace! Captain Cathead will be here to-day, I\nsuppose you can guess why.\nFanny. Is it to play at backgammon with you, sir, or to throw his\nwooden leg into the water, lor my Newfoundland dog to fetch It out again.\nTrunnion. No sarcasm if you please. It is to take you to church, madam !\n& Fanny. If I go what will you give me pa, eh ?\nTrunnion. A husband. Will you accept the gift?\nFanny. No thank y0u....1 shall present myself with that article when\nI commit matrimony. & & g?\n£? Trunnion. You don't mean to say you wont have him, &\n& Fanny. I do though. Do you suppose I would marry a fragment of a\nman ?...limp to church with a wooden leg !...Ogled all day with a glass\neye ? No, I would rather die first!\nTrunnion. You dare not say this to my face.\nFanny. Sir, I am the daughter of a British seaman and dare do\nanything but act with dishonour.\nTrunnion (aside) She's my own child after all. You love your father\ndon't you, puss? & & & & & &\n& Fanny. As much as I regret his foibles.\n& Trunnion. What foibles? never knew I had any! What am I, Miss\nTrunnion ? <£/\nFanny. A dear, g*ood-natured, testy, self-willed old gentlemen, aged\nsixty-four, with a tender heart, and a very obstinate head , rich, gouty,\nvery generous and irritable...possessing many comforts, and one torment\nMiss Fanny Trunnion, a self-willed young lady of nineteen, inheriting\nall her father's graces, accomplishments, and failings !\nTrunnion. Now, obey me, Fanny, and I'll give you all I am worth ;\ndisobey me, and 1'11....1'1l live for a thousand years to plague you! (Exit\nFanny. Live, live dear pa ! for I never will be Mrs. Captain Simon\nPeter Cathead... ha, ha ! 4what a horrid name. Now to think of poor\nCharles. What can I do to assist him ? The ship is slenderly guarded. If\nwe...yes, yes, it will do...my nautical knowledge will now be of service.\nNot a moment must be lost.\nEnter Betsy Bodkin, Left Hand: Plate 2.\nBetsy. Oh, Miss, I've let his honour's silver tankard drop out of the"}, {"page_pdf": 67, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.67", "texte": "THE BLUE JACKETS.\n\nback window into the sea, and I've been trying to fish it up again with\na ball of string tied to a clothes prop and a cabbage net. -0\nFanny Never mind the tankard, it will serve the fish to mix their\ngrog in.^\nBetsy.Lor, so it will, miss...l never thought of that. & &\nFanni. Will you do me a service...you shall be well paid? &\nBetsy. Ain't I so already, Miss? Twelve pounds a year; every other\nSunday out, and my young man to see me twice a year: have tea in the\nkitchen, and play at cards at Christmas!\n& Fanny. I only want you to personate a sailor.\nBetsy. No! do you though ? Well I should like to put on the\ntrousers but shan't I soon be found out ? my hands ar'n't covered\nWith pitch.\nFanny. Never mind the pitch, girl, you must play a tar. Listen to\nmy scheme. You have seen a handsome gentleman that has several times\naccosted me on the beach! &\nBetsy. Oh, yes, Miss. & &\nFanny. My pa wants me to marry an old friend of his, Captain\nCathead, with a glass eye and a wooden leg. & &\nBetsy. And you want to marry the handsome gentleman. &\nFanny. My pa has caused my Charles to be imprisoned on the\nBombshell hulk, until my union with his friend takes place, for which\nI am resolved never shall. &\nBetsy. That's right, Miss ! show a proper spirit... I always does when\nmy young man wants to stay after eleven o'clock at night. No, says I,\nthe best of friends must part, as the rat said to his tail when he left\nit in the trap! & & & &\nFanny. You know 1 have a number of young women at work in the\nhouse, preparing the dresses for the masquerade ball that's to take place\nnext week.\nBetsy. The sailors' dresses ?\nFanny. Just so. Now if they will consent to wear them for a few hours,\nand accompany me, we will storm the hulk, and set my Charles free.\nBetsy. To be sure we will. Besides, it will be such capital fun. (Exit,\n.<2? Fanny. If we can gain the ship unobserved, I'll answer for the result."}, {"page_pdf": 68, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.68", "texte": "THE BLUE JACKETS.\n\nBut time presses...the crew must be prepared, the boat launched. I trust\nwe shall not disgrace Her Majesty's Service...for England expects that\nevery man...woman, I mean...will do her duty.\nSONQ.../7ajJ/7<y\nThe sailor's heart is light and true...\nHis lass in mind...his port in view...\nLet cares and dangers round him throng,\nHe drives them off with grog and] song.\nHe sees the spreading sails unfurl'd\nThat waft him to a distant world,\nThe parting anchor cheerly heaves,\nThough country, friends, and girl he leaves\nYo hoi yo, heave hoi\nFoaming onward now we g0...\nThrough the silver deep we dash,\nWhile the yielding billows splash,\nSinging gaily as we go,\nYo ho I yo, heave ho I\n& SPOKEN. Steady I Steady I Keep her up-breakers ahead there I helm *\naportl she touches I Heave the lead I Quarter less, five I Bout ship I By\nthe mark, seven I Helmsman, hold to your course. Aye, aye 1 Yo ho I by\nthe deep nine I She clears I huzza I All's well I j& jS?\nThough thunders howl and lightning flash,\nHis heart intrepid, knows no fear-\nThough angry billows wildly dash,\nAnd hurl the dreadful surges near-\nUndaunted will the helmsman hold\nHis vessel's head, his watchful eye.\nPursue with anxious heart, yet bold,\nHis course, though perils, round him lie.\nYo ho, &c. (Exit.\nSCENE 2. No. 2. A CHAMBER. Wings No. 5.\nEnter Admiral Trunnion, Right Hand: Plate 2.\nTrunnion.All my schemes seems to be thwarted. Miss Fanny leads\nme a nice life."}, {"page_pdf": 69, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.69", "texte": "& THE BLUE JACKETS. &\n\nBetsy. (without) stop a minute, Miss...l've only got to put on the\ntrousers.\nTrunnion. Hiloa! what the deuce is in the wind now 1 Bodkin sailing\nunder false colours\nHe Retires to the back of the Stage.\nEnter Betty Bodkin, Left Hand: Plate 3.\nBetsy. Young Missus looks the very moral\nof old master, only she's not half so ugly.\nTrunnion, (coming forward) What is\nthe meaning of this tom=foo!ery ? Speak 1\nBetsy. I can't sir...l'm dumb ! &\nTrunnion. And pray what are those\nthings, madam ? & & &\n& Betsy. I believe they are gentlemen's\npetticoats, sir. J£ JZT\nTrunnion. And that is a gentlemen's\nbonnet, 1 presume ?\nBetsy. Y=ye=yes, sir...the last new fashion.\n(aside) What shall I do ? he'll find it all out!\nTrunnion. What are all these things for ?\nBetsy. T0...t0 wear, sir. At the masquerade\nball. &\nTrunnion, (aside) A frolic of Miss Fanny.\nDon't mention my enquiries to your mistress*\nand 1 shall do something for you.\n& jßetsy.Thank ye, sir. Perhaps you will rise my wagers...make 'em guinea s\ninstead of pounds, and allow me a little more tea and sugar. £?\n%\nEnter Servant, Right Hand : Plate 4.\nServant. Sir Thomas Hardhead, sir, wishes to see you. £/\nTrunnion. I'll wait upon Sir Thomas immediately. & &\nExit Servant.\n& Trunnion. Betty remain here 'till I return, mind no tattling...and I'll\nthink about the tea and sugar ; ha, ha ! JS? JS?\nExit Trunnion.\nBetty. Well I think I've led the old gentleman astray in the most\n\nBetsy Bodlan"}, {"page_pdf": 70, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.70", "texte": "THE BLUE JACKETS. &\n\nsplendacious style I This sailoring will turn out ail very well, if the gals\nbehave themselves and hold their tongues. My first loveyer was a sailor,\nI shall never forget him. He used to send me a little Cupid and a large\nanchor every year for a valentine. He never missed but once...then he fell\noverboard, and was swallowed by a shark. I cried for two days, I\nremember, because I wanted the Cupid to stick on the lid of my\nbonnet box. jtsr (Exit.\nEnter Admiral Trunnion, Right Hand...Plate 2.\nTrunnion. This is an extraordinary business Sir Thomas has acquainted\nme with ! Mr. Charles Herbert, my prisoner, is a gentlemen in disguise...\nmakes love to my daughter, and overturns all my arrangements, I\nhate such stuff! Why did'nt he come boldly forward, and tell me he loved\nFan, and was determined to have her,whether I gave my consent or not!\nnot persuade the girl to walk out with him out on the sands, sighing and\ncreeping like a pair of mermaids with the measles! {advancing to the\nwing) What's that ? my barge manned, pulling from shore ! A fine jolly\nset of fellows! who are they....where do they come from and what do\nthey want.\nEnter Servant, Right Hand: Plate 4.\njer Trunnion.John, where's your mistress ? & JG? &\n& Servant. Gone out, sir. JE? ■£? &\nTrunnion. Send Bodkin to me. us*\nServant. She's gone out, too, sir. I met her running down the garden\nto the water side, dressed up in a queer outlandish fashion.\nTrunnion. That explains it, then. Those fine jolly fellows are all\nyoung women, pulling towards the Bombshell. Eh ! I see it all now. This\nis the masquerading frolic, my ladies, is it ? I'll soon be about their\nquarters! Run down to Sir Thomas Hardhead, and ask him for a file of\nMarines, and a round of blank cartridges...order out my barge and crew...\nthese ladles shall soon smell powder, or I'm no seamen. Quick you\nlubber...don't let the grass grow under your feet.\nServant. Yes, sir ? £> JG? & JG? (Exit\nTrunnion. They think to surprise the garrison, and set Mr. Herbert\nat liberty. What will not woman do in the hour of need, for the man of\nher choice? Dear woman's a companion in prosperity..a heroine in adversity"}, {"page_pdf": 71, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.71", "texte": "THE BLUE JACKETS,\n\nThere's nothing like a petticoat to shelter a man in the hour of\n4\ntrouble j^(Exit.\nSCENE 3. No. 3. THE MAIN DECK OF THE\nBOMBSHELL. Wings No. 8,\nPut on Chest and Barrel.\nEnter Mr. Chaser, Right Hand : Plate 2\nEnter Charles Herbert, Left Hand: Plate 2, and\nJacko, Left Hand . Plate 3.\nThe Marines in Plates 2 and 3, to be placed at the\nback of the Stage.\n& Chaser. Oh, you must go below!\n£7 Herbert. This outrage shall be bitterly punished ! (Exit.\nEnter Ben Binnacle, Left Hand : Plate 1.\nBen. There...he's safely stowed away. & £?\nJacko. Issa, massa Ben...right as 'em trivet. Ha, ha! poor buckra man\nis in for a nice ting. £7 £7 & £7 £7\n£7 Chaser, it's no business of ours...we must keep him safe until further\norders. (Bell strikes four.) Time for grog. Serve it out, Jacko !\n£7 Jacko. Issa, massa. &\n£7 Chaser. Ben, finish that yarn you began to spin us about Captain\nCathead's wooden leg and the shark. £7 j&\n£7 Jacko. Issa...do, massa Ben. £7 £7 & &\n£7 Ben. When Captain Cathead was a leeftenant, he was fishing\none day over the starboard bulwark, and by some means slipped his cable\nand pitched overboard... A perdigious large shark rose up out of the deep\nwaters at the same time, and made for the leeftenant, he roared, and\ndown went the jolly boat. We pulled for him, but we warn't in time,\nfor the shark had got hold of his leg. £7 &\n£7 Jacko. Poor debel! he put his foot in it, then.\nChaser. His leg. £7 £7 £7 £7 £7\n£/ Ben. Yes, but it a wooden 'un {All laugh). £7 £7 &\n£ Jacko. Ha, ha! Dat bery good. £ £ £ £ £\n£ Ben. Well, this master shark looked as if he could'nt make out what\nhe got in his precious mouth. Away he tugged at the pin, and we tugged\nat Cathead. Such splashing in the water never was seen We got him on"}, {"page_pdf": 72, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.72", "texte": "THE BLUE JACKETS.\n\nboard at last...set the leeftenant safely on his legs, and brought master\nshark to his senses with two or three hatchets. Stuck in a hollow tooth\nwe fouud a tinder box and one of Murphy's Almanack's. &\nOmnes. Ha, ha, ha! .<2? £?\nFanny, (roughly)\nSurrender!\nChaser. (trying to\nspeak) May I!..\nFanny. Silence...\nhear me ! J0\nJacko. Take him\nlife massa, but don't\nspill him grog.\n£? Ben. Shiver my\ntopsail, if this arn't a\npretty rig.\nFanny. Silence,\ncommon sailor.\nBen. Com m on\nSailor! What do you\nmean by that ? There's\nno such thing as a\ncommon sailor in the\nBritish navy. &&&&&&&&\n4? Fanny, Throw that fellow overboard ! Hark ye, my fine fellows, you are\nour prisoners, resistance is useless. & & & & &\nChaser. May I be so bold as to enquire your name, sir.\n4? Fanny. Certainly...certalnly. My name is Lieutenant Hotspur Firefly, of\nthe Skyrocket fire ship...and these smart lasses...hem! lads I mean...form\npart of my crew, (to Blue Jackets) Squib, Torch, Rough, Tough, Strike\n■a-light, and Pltch=and=tar, all able seamen in Her Majesty's Service. &\n£* Ben. (aside) He picks his way like a hen in silk stockings walking\nthrough a pig stye. JST & &\n\nEnter Fanny Trunnion, Right Hand-Plate I,\nand Blue Jackets, Plate 3."}, {"page_pdf": 73, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.73", "texte": "THE BLUE\n\nFanny. Skyrockets, bring up the prisoner I J£? £?\nExit Blue Jackets.\nEnter Charles Herbert Left Hand-Plate 2.\nHerbert. What is the meaning of this unwarrantable conduct? You\nappear to be an officer, sir...perhaps you will explain the outrage ?\n& Fanny. Sir, you were brought here for two reasons. Firstly...because\nyou are compelled to come ; and secondly because you could'nt help it.\nAre you satisfied, sir ?\nHerbert. Be assured the civil authorities shall avenge me.&\nHe retires to the back of the Stage.\nFanny, (aside) Proud as Lucifer! I'll punish him a little before I li-\nberate him for his snappishness (aloud) Strike-a-light, pipe all hands\nfor mischief, you shall have a dance.\nBen. A hornpipe...a hornpipe, for the honour of the navy.\n40 Jacko. Issa massa...for the honour of the graby ! j£f (Exit.\nPut on Jacko and Blue Jackets dancing-Plate 1. (1)\nPut on Drummer, Plate 2 and Fifer, Plate (2)\nAfter dancing a short time Exit all\nRe-enter Fanny Trunnion, Right Hand-Plate 1. (3)\nRe-enter Mr. Chaser, Left Hand-Plate 4.\nand Jacko, Left Hand-Plate 3.\nChaser. Two strange crafts in sight, one of them carrying the Admiral's\nflag, and manned with marines, steering towards the ship.\n£? Fanny, (aside) I'm lost then, my father has discovered alL.escape will\nbe impossible ! we must brave it out. (aloud) Now boys, clear the decks\nand prepare for action, (aside) I am sure I shall faint \\J&\nEnter Blue Jackets: Plate 2.\nChaser. The boats approach &\nFanny (aside) Lord do they! call me a coach then! (aloud) Skyrockets,\ntry your discipline, and prepare to receive the enemy. £//&£>\nChaser, They are nearing the vessel. £? £? (Exit.\nRe-enter Mr. Chaser, Right Hand-Plate 2.\nFanny. Oh, oh 1 I'm anything but myself.\n\n(1) See headpiece, page 60.\n(2) and (3) See Frontispiece."}, {"page_pdf": 74, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.74", "texte": "THE BLUE JACKETS\n\nBen.Huzza! huzza! here they come. Now for a row.\nFanny. Mail the guns ! Oh, dear! Skyrockets, don't go off yet...behave\nlike men! & & &\nBlue Jackets. We can't...we don't know how. & & jet\nJacko. Oh, oh I dat bery good-ha, ha! & &\n(A single shot heard without).\nExit Fanny and Blue Jackets.\nPut on Fanny Trunnion, and Blue , fainted....Plate (1)\nBen. My eyes! the Skyrockets has gone off with a bang.\nEnter Admiral Trunnion. Right Hand; Plate 3.\nEnter Marines, Right Hand: Plate 3.\nMarines cross the Stage and Exit.\nPut on Marines: Plate 4.\n& Trunnion, {aside) So, so, my ladies, you are there are you {aloud)\nWhere are these desperate mutineers that have dared to take forcible\npossession of your ship, Mr. Chaser. £/\n4P Chaser. All dead, your honour,\nap Trunnion. So much the better. Throw them all overboard.\nBen. Aye, aye\nFanny. Stop, stop! we are all killed dead enough already. M\nFanny, and Blue Jackets fainted to be drawn off.\nRe-enter Fanny Trunnion, Right Hand-Plate 1.\nEnter Charles Herbert, Left Hand-Plate 2.\n& Trunnion. So, young gentleman, you've been guilty of high treason.\nA heavy punishment awaits you and your unhappy companions. To-night\nyou will remain on board. To-morrow you'll sail double-ironed for the\nWest Indies, (to Herbert) This is the ringleader, eh ? Marines, make\nready! I'll shoot the desperado on the spot. & & & &\nFanny. If you shoot him, I'll be killed too \\& & & &\nTrunnion. A Woman \\\n& Fanny. Yes, sir; and here are ten or twelve more harmless creatures.\n& Trunnion. Madam, there is but one female that would so far forgotten\nherself, and she is,.. & «<p & &\nFanny Your spoiled daughter! Pray, forgive my imprudence!\n\nj0\n(1) See page 71."}, {"page_pdf": 75, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.75", "texte": "THE BLUE JACKETS.\n\nHerbert, {aside) Dear girl! &\nTrunnion. Well, well, I suppose 1 must laugh at the frolic. (to Herbert)\nThere take her, sir, and make your own terms with the little baggage;\nFanny. {to Audience) Ladles and Gentlemen, may 1 be permitted to\nsay one word in behalf of the Blue Jackets ? They are at our mercy...\nyou are our judges...our Lords of the Admiralty ; if we have been fortunate\nenough to secure your approbation, I trust this will not be our last\nappearance in Her Majesty's Service.\nMusic-\" GOD SAVE THE QUEEN \".\nTHE END."}, {"page_pdf": 76, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.76", "texte": "ROBERT LOUIS STEVENSON AND THE\nDRAMA OF SKELT\nby Dorothy Nevile Lees.\nn his volume of 44 Memoirs and Portraits \" Robert Louis Ste-\nvenson celebrates the romance and glories of those little card-\nboard scenes and figures which, 44 A Penny Plain and Twopence\nColoured \", were Issued by a mysterious and powerful magician\nnamed Skelt and were the delight of his childish days. &\n\" A Penny Plain and Twopence Coloured\"; that was the legend\ninscribed above the door of hope where those small boys of half a century\nago, In their frilled collars and skeleton suits, entered with hot halfpence\nclasped tight in the depths of breeches's pockets, to revel in the joys\nwhich were at the disposition of all who possessed that talismanic sum.\nBut the full witchery that lurks in the words can perhaps only be\nsavoured by those who, like Mr Jack B. Yeats, have in their earliest youth\nknown them and all that they stood for, have early tasted the mastery\nover the miniature stages, the dominion over all those little cardboard\nfigures,.... the jolly tars, the blood-thirsty buccaneers, the nimble-toed\nBlue-Jackets, the ladies in their little full skirts and frilly pantaloons...\nthose, in fact, who were ** students of Skelt's Juvenile Drama \" at an\nage when their spirits were still sensitive to its wonders and their small\npersons yet in a pleasant proportion to its diminutive scenes.\nR. L. S. knew that delight well. There is love in every word that he\nwrites about the little theatres: and how he seems to caress that old-time\nlegend over the door which he sets as title at his essay's head 1\n\" These words \", says he, \" will be familiar to all students of Skelt's\n** Juvenile Drama. That national monument, after having changed its\n\" name to Park's, to Webb's, to Redington's, and last of all to Pollock's#\n\" has now become, for the most part, a memory. Some of its pillars,\n\" like Stonehenge, are still afoot, the rest clean vanished. It may be the\n\" Museum numbers a full set; and Mr lonides, perhaps, or else her\n\" gracious Majesty, may boast their great collections; but to the plain\n\"private person they are become, like Raphaels, unattainable \".\nAnd yet at different times what a glorious number of them he had\n\n(!) So far as we know no one has thoiougbly traced the Drama of Skelt to its source or to its mouth, and it\nis a subject into which it is to be hoped some one wiil go fully, J\". S."}, {"page_pdf": 77, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.77", "texte": "R. L. S. AND THE DRAMA OF\n\npossessed ! A 44 roll call of stirring names the mere enumeration of\nwhich affords clear 44 evidences of a happy childhood \". JZ? JZ/\n&44 Aladdin 44 The Red Rover 44 The Wood Daemon \", •' Jack\nSheppard, \" 44 the Smuggler, \" 44 The Forest of Bondy, \" 44 My Poll and\nmy Partner Joe ; \" 44 Three Fingered Jack, the Terror of Jamaica \", (what\na magnificent title ! why, we seem to get the whole thing in those seven\nstirring words I) 44 The Old Oak Chest; \" 44 The Miller and his Men \"The\nMaid of the Inn The Battle of Waterloo \"...But the list grows too long.\nLet us go back and peep in with the small Robert Louis through the\nwindow of that 44 stationer's shop at a corner of the wide thoroughfare \"\nwhich joined the city of his childhood to the sea: that window where\n44 all the year round, there stood displayed a theatre in working order,\n44 with a 44 forest set a 44 combat \". and a few 44 robbers carousing \" in\n44 the slides; and where 44 below and about, dearer tenfold \" to the future\n44 writer of the 44 Treasure Island \" and 44 Kidnapped 44 the plays\n«4 themselves, those budgets of romance, lay tumbled one upon another.\"\nJZ? What a delight to linger there, fingering the hot penny and tasting\nthe pleasures of anticipation, knowing that one could at will exchange\nthese for the pleasures of realisation and possession ! JZ?\njZ? 44 One figure, we shall say, was visible in the first plate of characters,\n44 bearded, pistol in hand, or drawing to his ear the clothyard arrow \":\n44 was it Macaire or Long Tom Coffin, or Grindoff, second dress ? \" But\nperhaps even the name was hidden, and the small shop=gazer could only\n44 wonder in what play he figured, and what immortai legend justified\n44 his attitude and strange apparel \". JZ/\nAnd then what joy, by virtue of the copper coin, to pass within ; 44t0\n44 announce yourself as an intending purchaser, and, closely watched, be\n44 suffered to undo those bundles and breathlessly devour those pages of\n44 gesticulating villains, epileptic combats, bosky forests, palaces and\n44 warships, frowning fortresses and prison vaults.....it was a giddy joy 1\"\nNo wonder that the shop was 44 a load stone rock for all that bore the\nname of boy \" and that the exultant laughter of the homeward race,\nwith the \"Miller\" or the 44 Rover4' clutched close against his jacket*\nechoed still long years after in the heart of the little boy when grown\nto man's estate."}, {"page_pdf": 78, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.78", "texte": "R. L. S. AND THE DRAMA OF\n\nBut perhaps something of the best joy which lurked in Skelt's Juvenile\nDrama was always just beyond the reach of that little boy who was to\ngrow into a man of letters and not a man of the theatre ; for it seems\nto have been the letters more than the drama which appealed to him\neven in those early days. That which would have delighted the boy\nGoethe, with his puppets and his miniature stage, '....such passages as\n44 Scene 6. The Hermitage. Night set scene. Place back of scene i, No. 2\n44 at back of stage and hermitage. Fig. 2. out of set piece, R. H. in a\n44 slanting direction \"...such passages which, as I say, would, to the small\nGoethe, have been the crux of the whole matter, were to the small\nStevenson, \" though very practical, hardly to be called good reading\nIndeed, he adds, \"as literature, these dramas did not much appeal to,\nme \" ;...a strong testimony, did he but realise it, to their excellence\nsince who is there still living who wants drama to \" appeal to them as\nliterature\" ? & & &\nBut it was always of necessity the literary sense that was to dominate\nStevenson. He who was later on to be a master of language was already\nin love with language, held by the spell and magic of mere words, a magic\nwhich lurked for him even in the list on the back of the play books,\n44 that enticing double file of names \", where \" poetry, for the true child\nof Skelt, reigned happy and glorious like her Majesty the Queen in\nthose \" realms of gold \" where shone \" upon that map or abstract, names\nof HI Dorados that still haunt the ear of memory\nWhy, to such an extent was he enamoured of names, of words &$\nwords, that to him \" the name of Skelt itself has always seemed a part\nand parcel of his productions \" and 44 the attraction of this paper drama\nsensibly declined when Webb had crept into the rubric: a poor cuckoo,\nflaunting in Skelt's nest\". & &\nSo much, indeed, does this name of Skeit appear to him '• stagey and\npiratic \" that he adopts it in the form of \" skeltery \" to designate those\nqualities of which 44 the stagey \" is the 44 generic name an old'\n44 insular, home-bred staginess; not French, domestically British ; not of\n44 today but smacking of O. Smith, Fitzball, and the great age of me-\n\" lodrama; a peculiar fragrance haunting it; uttering its unimportant\n44 message in a tone of voice that has the charm of fresh antiquity \". A"}, {"page_pdf": 79, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.79", "texte": "R. L. S. AND THE DRAMA OF\n\ndrama marked by 44 the presence of a great unity of gusto : of those direct\n44 eiap-trap appeals, which a man is dead and buriable when he fails to\nanswer; of the footlight glamour, the ready-made, bare-faced, tran-\nspontine picturesque, a thing not one with cold reality, but how much\n\"dearer to the mind!\" &&&&&&\nYes, that was one of the noblest qualities of 44 Skeltery it had\nnothing in common with 44 cold reality \",...that reality which has nothing\nto do with art.\nSkelt's world was a new creation; it's vegetation was peculiar to itself ;\nit's physical structure unique ; the light which illumined it was such as\nnever shone on land or sea; its occidental scenery, in which Skelt, for\nall his oriental vein, was most himself,44 had a strong flavour of England\nwas 44 a sort of indigestion of England and drop-scenes \", but charming\nwithal.\n4& 44 How \", writes Stevenson, 44 the roads wander; how the castle sits\n44 upon the hill, how the sun eradiates from behind the cloud, and how\n44 the congregated clouds themselves up-roll, as stiff as bolstersl Here is the\n'4 cottage interior, the usual first flat, with the cloak upon the nail, the\n44 rosaries of onions, the gun and powder-horn and corner cupboard; here\n44 is the inn, (this drama must be nautical, 1 foresee Luff and Bold Bob\n44 Bowsprit) with the red curtain, pipes, spittoons, and eight-day clock;\n44 and there again is that impressive dungeon with the chains which was\n44 so dull to colour. England, the hedgerow elms, the thin brick houses,\n44 windmills, glimpses of the navigable Thames,.. England, when at last\n44 I came to visit it, was only Skelt made evident: to cross the border\n44 was, for the Scotsman, to come home to Skelt: there was the inn-sign\n44 and there the horse trough, all foreshadowed in the faithful Skelt \"\n44 What am 1?\" he cries in conclusion, 44 what are life, art, letters,\n44 the world, but what my Skelt has made them ? He stamped himself\n44 upon my immaturity. The world was plain before I knew him, a poor\n44 penny world ; but soon it was all coloured with romance. If I go to the\n44 theatre to see a good old melodrama, 'tis but Skelt a little faded. If I\n44 visit a bold scene in nature, Skelt would have been bolder: there had\n44 been certainly a castle on that mountain, and the hollow tree.... that\n44 set piece....1 seem to miss it in the foreground. Indeed, out of this cut-"}, {"page_pdf": 80, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.80", "texte": "R- L.S. AND THE DRAMA OF\n\n44 and-dry dull, swaggering, obtrusive, and infantile art, I seem to have\n\" learned the very spirit of my life's enjoyment: met there the shadows\n44 of the characters I was to read about and love in a late future, got\n\" the romance of \" Der Freischutz \" long ere I was to hear of Weber or\n44 the mighty Formes: acquired a gallery of scenes and characters with\n44 which, in the silent theatre of the brain, I might enact all novels and\n\" romances, and took from those rude cuts an enduring and transforming\n44 pleasure£?\nThat was what Skelt, that dim mysterious figure whom we know only\ni n his works, did for the children of his generation; for that which one\nchild grew up to put on record must have been felt by many in the\ninarticulate way of those who have little gift of self-expression and are\nstrangers to the art, in which Stevenson excelled, of talking with\nthe pen. &\nBut although Skelt has long since vanished there is still a survivor to\ncarry on his delightful art in the person of Mr B. Pollock, late J. Redington,\nwho, at No. 73, Hoxton Street, N. publishes some two dozen of the old\nplays and possesses the plates for the remainder, together with a 44 modest\nreadiness \" to issue them for the children of today.\n& There, in the little Hoxton shop, you may still buy them ; there if\nyou go, pence in hand, you may yet purchase your entry into a world,\nPlain or Coloured according to your capacity to pay, but in any case\nflooded through with the bold sunlight of romance: a little gay world\ninto which no realism can enter, no actor's personality protrude, since\nthe ghost of Skelt, that 44 stagey and piratic\" figure, stands like an angel\nwith a flaming sword at the entrance to that cardboard Eden where the\npoplar, palm and potato tree flourish and the all-pervasive hollyhock\nruns wild."}, {"page_pdf": 81, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.81", "texte": "BOOK REVIEWS.\n\nJACK B. YEATS, His Pictorial\nDramatic Art by Ernest Marriott.\n(Elkin Matthews). Price one shil-\nling. J&\njyir Marriott [is not a Londoner.\nManchester claims him. He is\ntherefore one of those rare free men\nof England. If he lived in London\nhe'd never have dared write so se=\nrlous or so enthusiastic a book on\nsuch an outsider as Jack B. Yeats .\nTo live out of London, out of\nreach of the Groove-ists and the\nRut-ists ....is to be an outsider. Al.\nLondon asks of England Is that her\nsons shall fall into the Groove or\nthe Rut, and the London Groove is\nlittle more than the Grave.\nTo be within hail of the hearty\nmodern London Web=spinner is to\nsay farewell to individuality, and\nindeed to Life itself. If you're a\nGenius like young Mr Yeats, (he\nmust be called so to distinguish him\nfrom his brother who was always a\nGenius till he became a Master) you\nare subject to the liveliest of tyran-\nnies which London can think out.\nIf you're a critic as free and fresh\nas is Mr Marriott you are subjected\nto a thorough \"treatment\" of\nthreats and temptations until you\nsuccomb. jg/ j\nDo you know what London asks\nfrom the critic fresh and free enough\nto say what he believes about those\nduffers in position and those men\nof talent or genius in the shade ?\nDo you know ?\nWell, London asks him not to\nsay what he believes and to think\nIt over and come round after the\nsecond act. It then tells him what\nhe is to think and to say. And some\nof the critics knuckle in to this.\nThose who don't in time get dis-\nmissed from the offices of the paper\nin which they write. &"}, {"page_pdf": 82, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.82", "texte": "BOOK REVIEWS.\n\nThey may be all you would wish\nof them as moral, physical and\nspiritual men ; but unless they agree\nsooner or later to say what every\none else is saying, ....out they go\nI know only a few instances of\nthis sort of thing; others know of\nmany more. It's this devilry makes\nus all appreciate the sincerity and\nopen-mindedness of a man like Mr\nJ. S. Garvin whose \" Observer\"\nboasts a staff of writers and wor-\nkers of superlative qualities. The\n\"Pall Mall Gazette\" will be Just such\nanother now that Garvin is at the\nhelm. And one such man counts\nmore for England and English deve-\nlopment than all these other wret-\nched timid devils count against it.\nBut enough of London.\nManchester breeds and supports\nmen who think and move as in-\ndividuals. There are many up there\nand Marriott is one of them, and\nthus it is that we get in London a\nbook upon a fine Irish painter-dra-\nmatist written by a Manchester man.\nAnd it's a charming little book which\nyou must get add read for your-\nselves. Here are just a few verses\nfrom it concerning the boats of \"The\nLittle Fleet\" made by Yeats and his\nfriends.\nFirst there's the \"Moby Dick\".\n\" She sailed down the Gara valley,\nShe startled all the cows,\nWith touchwood in her galley\nAnd green paint round her bows.\nAs Mr Marriott says, \"the quain-\ntest verses in the book are those by\nthe pirate poet who fell off the bluff:\n\"To find out who that poet is and\nwhy he fell off the bluff you must\nget the book, and when you've read\nhis verses which I shall quote here\nI think you'll agree with me that he\nnever does better when he is at ease\non a bluff:\nAnd now by Gara rushes\nWhen stars are blinking white;\nAnd sleep has stilled the thrushes,\nAnd sunset brings the night;\nThere wherethe stones are gleamin,\nA passer-by can hark\nTo the old, drowned \" Monte \"\nseamen\nA-'singlng through the dark.\nThere where the gnats are pesky\nThey sing like anything;\nThey sing like Jean de Reske.\nThis is the song they sing:\n• •••»•••*\nOur bones are green and weeded,\nOur bones are old and wet;\nBut the noble deeds that we did\nWe never can forget*\nSome longer and more mora!\nkinds of poems touch you perhaps.\nThese are the kind touch me H. M."}, {"page_pdf": 83, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.83", "texte": "BOOK REVIEWS.\n\nNIETZSCHE AND ART, by An-\nthony Ludovici, Constable.\nFour shillings and sixpence net.\nor later it will be brought\n\" home to us in Europe that we\n\" cannot with impunity foster and\n\" cultivate vulgarity and mob quali-\n\" ties in our architecture, our\n\" sculpture, our painting, our music,\nand our literature, without paying\n\" very dearly for these luxuries in\n\" our respective politics, in our\n\" family institutions and even in\n\" our physique \". & JZ?\nam delighted with this book, if\never there was a good book writ-\nten upon Art it is this one by Mr\nLudovici. It was issued in 1911,\nand I suppose it is now in its\ntwentieth edition. If not it ought to\nbe. If I were a man of means, not\nnecessarily a millionaire, I would\ngive many thousands of pounds to\nspread the book far and wide, and\nmany more to its author. It is not\nmerely one of the necessary books :\nit is the one essential book of its\nkind. JZ?\n& It tells us in a perfectly simple\nway a few essential facts and one\ngreat truth. This is that the highest\nArt is Ruler Art and that it is\ntherefore the highest beauty in\nwhich culture is opposed to natural\ncomplexity ; and that this Ruler Art\ncan be the flower and product only\nof an aristocratic society which in\nits traditions and its active life has\nobserved, and continues to observe,\nthe three aristocratic principles,\n....culture, selection and simplicity.\n& Mr Ludovici tells us that in his\nbook, but he follows the philosophy\nof Nietzsche, and, indeed, he quotes\ncontinually from his master. But\nwhereas Nietzsche is to some of us\nnot at all clear, ....especially in an\nEnglish translation.... Mr Ludovici is\nas clear as day.\nYou want to know more ?....you\nwant me to expound this book' to\nyou ? I cannot ! Put before me a\nbook which is hateful to me and\nask me to to tell* you what is devi-\nlish in it, and i'll talk like a Gat-\nling gun and fire the thing out of\nexistence; but ask me to explain\nwhy I like a much-loved book or\neven what it Is about and I am\nunable to say a word. &\nWhen one approves so thoroughly\nof anything as I do of this work one\nis silent about it because it all\nseems so right aud so natural that\nto say any more would be to\nspoil it. JS? JS?\nAs Mr Ludovici says in re-telling\nthe Artist's view of life, \" disorder\n\" and confusion are the loadstones"}, {"page_pdf": 84, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.84", "texte": "BOOK REVIEWS.\n\n** that attract him\": and he adds that\n\" stimulated by disorder, which he\n«♦ despises, he is driven to his work ;\n** spurred by the sight of anarchy,\n*' his inspiration Is government;\n\" fertilized by rudeness and rugged-\n\" ness, his will to power gives birth\n** to culture and refinement. \"\nSo that when a man comes along\nwho understands, puts in order,\ncultures and refines life as Mr\nLudovici does by his book, then I,\nthe artist, am utterly relaxed,\nthere is nothing further for me\nto do*\nThe Mask and Mr Ludovici are\nin the same field, are fighting the\nsame hosts, have already sighted\nthe same victory, and if any of us\nstop to watch another doing his\nbrilliant feats of swordsmanship we\nshall get into trouble. So that this\ncan but be a hasty word of acknow-\nledgement to Mr Ludovici.... We\nshall meet after the battle.\nE. E.\n\nDAVID GARRICKAND HIS\nFRENCH FRIENDS by F. A.\nHedgcock. (Stanley Paul & Co.\nTen shillings and sixpence net.\nJ do not like this book, Not that it\nis not well written nor admirably\nconstructed, but because it relates\nto much that is petty about the\nTheatre in general.\nWe have had enough of these\nbooks to prove that not only is\nReform impossible, but that a new\nTheatre Is necessary. &\nJZ? The story of Garrick is the story\nof Rachel, of Kean, of Macklin and\nof Beerbohm Tree. Squabbles with\neyeryone carried on in a pompous\nmanner because the theatre is ma-\nnaged by common and ignorant\npeople instead or by men of talent\nand distinction. JZ?\nGarrick seems to have been a\ngood fellow just as our modern\nmanagers are good fellows. But\nGarrick seems to have been as in-\ncapable of establishing the Art in\nthe unassailable position it should\nbe placed in as Tree seems incapable\nof doing today. jSf &\nGarrick is served by commonplace\npeople who manage him. The result\nis that even if the famous actor\nsecretly desired to establish his Art\non the same sure and high position\nupon which the Fine Arts rest he\nwas unable to do so owing to his\ndependence upon his staff.\nThis is Garrick's only excuse. But\nthen Garrick was a tradesman, and\nfar more so than, for example,\nEdmund Kean.\nGarrick went about buying talent\nwith which to dress his shop window.\nHe visits Paris, and secures Noverre\nthe famous dancing master, much to"}, {"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.85", "texte": "BOOK REVIEWS.\n\nLacy's disgust, ...Lacy who was the\nvulgar, but, it seems, indispensable\nbusiness manager of the theatre.\nThen the squabbles commence.\nAnd it seems to me that those\nsquabbles will continue until the\nthirtieth century and after unless\nthe business man selected by our\nfuture Garrick is a man of refine-\nment and understanding. In which\ncase he will then do the selecting,\n....even will he select his leading\nactor, his Macklin or his Wyndham.\nAnd how relieved we all shall be.\nThe Comic History of the Stage will\nbe finished. JZ? &\n\nTHE AMERICAN DRAMATIST\nby Montrose Moses. j& &\nJUtr Montrose Moses seems to have\nstudied The Mask pretty badly.\nHis collection of articles written for\nseveral American journals show that\nthe author is a careful reader without\nany single gleam of vision, ....and\nseemingly without a point of view.\nThe result is a weighty book\nwithout value. There are too many\nbooks of this kind hurled at an\nunoffending public, which passes\nthem on to us poor reviewers to\nread, and we are just sick of\nthem. &\n£> This author repeats quite a\nnumber of fine-sounding empty\n-tatements concerning the stage: we\ndon't like this kind of stuff in a\ncritical work, and the American\nstage is in no need of any but the\nmost serious criticism. Mr Moses\nthinks he makes things all right by\nsaying at the end that \" Present\nday dramatic criticism In America is\nnot an art \", and that \" one does\nnot need to be specially trained for\nthe position but this is absolutely\nno excuse. He adds that \" the dra-\nmatic critic's position is not an easy\none \". It ought not to be if Ameri-\ncan critics are all like Mr Moses.\nJ£? We like a critic to study his\nsubject first and know it better\nthan anyone else ; secondly to take\nup a distinct point of view; and\nthirdly to say what he sees and\nthinks, even if he loses a job through\nit. Mr Moses isn't that kind of a\ncritic. Mr Moses has no confidence in\nhimself. Mr Moses would get nothing\nout of a rock however much he\nstruck it, for Mr Moses has as much\nfaith as a door handle, ....and to be\nthat article is probably Mr Moses's\nambition.\n\nMODERN DANCING AND\nDANCERS by J. E. Crawfurd\nFlitch M. A. Grant Richards.\nPrice fifteen shillings Net.\n'\"phis is one of those useless books.\nThe writer is an M. A. and the\nauthor of \" Mediterranean Moods \"."}, {"page_pdf": 86, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.86", "texte": "BOOK REVIEWS.\n\nlf this book has not quite the\nMonte Carlo touch it has some of\nthe oppressiveness of the Mediter-\nranean's Libyan mood. I never could\nabide the sirocco, but when it comes\ntasselled and begowned as an M. A.\nthen it is doubly relaxing.\nWhy write a book about Dancing\nat ail unless you know all about the\nart ? &\n& There are some scraps of good\njournalism in the book,but journalism\nat fifteen shillings a copy is rather\nexpensive.^\n& The reproductions of photographs\nare common and the eight coloured\nthings in the book pretending also\nproperly to represent two arts are\ndoubly awful. j0\n■fßßßTlMTtlWn—rirfTfwnMnKfTTllur——T—lWM—MTl—r mrM—«m—am man mil i ■ i\n\nBOUGHT BOOKS.\n\nWILLIAM SHAKES by\nJohn Masefield. Williams and\nNorg at a. & & j\nT bought this book first, (for I bought\ntwo of them), because of the name\n44 William Shakespeare I bought\nthe second copy because of the name\nJohn Masefield.\nIt is superbly written and well\nimagined, and with great passion do\nthe lines boil out. Here is a lover\nof Shakespeare indeed. In a clever\nintroduction in two chapters we\ncome across the following remarks\nby this serious writer :\n*'■ Women were not then allowed\n44 upon the stage. Women's parts\n44 were played by boys. Some have\n44 thought that this must have\n44 taken from the excellence of the\n44 performances. It is highly likely\n44 that it added much to it. Nearly\n44 all boys can act extremely well.\n44 Very few men and women can\nA terse paragraph and one which\nlends weight to the growing convic-\ntion that women must leave the\nstage for its quality to revive. That\nProfessor Raleigh and John Masefield\nare agreed on this point lends weight\nto the indictment of the actress.\nAltogether this is one of the best\nbooks I would even go so far as\nto say the best..... written on\nShakespeare. &\nit is certainly the smallest, ...asa\nlarge type pages of a book the size\nof the Everyman \" series. jS\nMr Masefield is being hailed as\nour greatest poet, but if his next\nbook is in prose we shall obviously\nhave a masterpiece, and shall then\nbe in doubt what to call him."}, {"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.87", "texte": "MAGAZINE REVIEWS\n\nmagazines are very full\nof life at times, and bring us often\na good essay or two on the Theatre.\nBut as a rule those American wri-\nters who attempt the role of Thea-\ntrical Historian so as to help us to\na clearer understanding of the past\nmerely succeed in annoying us by\na lot of vague guesses founded for\nthe most part on very weak evi-\ndence.\nIn Modern Philology (Chicago)\nthere was an article on \" An Early\nType of Stage \" In a recent num-\nber. There was also a short note\nby another writer on the \" Swan\nTheatre\" which was a little better.\nThe authors take the usual \"proofs\"\n.... some written word or some single\nengraving, and write down their\nguesses on the margin. We prefer\nthe method of the only great modern\nhistorian of the stage, Mr E. K.\nChambers.\nHe does not trouble himself or\nus about any special fifth-rate\nengraving or any chance scratch in\nsuch an engraving: he does not spend\npages discussing a couple of words\n(probably misprints) in an old book.\nOr If he troubles himself he does\nnot seem to trouble, and so makes\nit charming for us. His method Is to\nexhaust himself over at least three\nthousand books, (one might even\nguess at double that number) and\nhe quotes out of each of them, and\nthere an end. Everything falls into\nthe right order when he works, and\nwe get a thick book of facts, facts\nand nothing but facts. Every other\nline is a quotation; sometimes a\nsingle line is made up of the gist of\ntwo quotations. As we read we are\nmade to feel sure. Such a gift\ncannot be for everyone, and yet we\nfeel that the other historians ought\nreally to do a little better and\nattempt a clearer and calmer\nmethod. jg/\n& We understand that Mr E. K.\nChambers is at work upon the\nShakespeare book which he mentions\nso casually as \"a little book\" in his\nPreface to \" The Mediaeval Stage \"\nissued in 1903, and we hope it may\nsoon appear.\nThis American journal has one\nexcellent custom: it numbers the\npages of each article from I. to\nwhatever figure the essay may\nreach. Thus, if we detach any article\n(even when it run into three\nnumbers of the journal) we have a\nproper order of pages which is quite\nt\nuseful.\nModern Philology Is issued quar-\nterly by the University of Chicago."}, {"page_pdf": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.88", "texte": "FOREIGN NOTES.\n\nBUDAPEST.\n\nThe Commedia dell'Arte.\np.\nCrom here I am able to send you\nfamous news.\nAt the National Theatre, under\nthe direction of Dr Alexander Heve-\nsi, they have improvised a piece\nfrom a scenario of Riccoboni's, \"Le\nDefiant\", thus reviving for the first\ntime the splendid traditions of the\nCommedia dell 'Arte of which so\nmuch has been written in The Mask.\nIt was a superb performance. .£?\n& Everyone here is delighted, and\nto prove this I cannot do better than\nsend you some extracts from the\nBudapest journals upon this fine\nachievement of Dr Hevesi and of all\nwho worked under him. j0\n\n|n \" AzEst \" (The Evening) Ernest\nSzep, one of the best Hungarian\npoets, writes:\n** There was a feast last night\nin the National Theatre... They gave\nthe ninth production of the comedy-\ncycle, producing two plays, \" Maitre\nPathelin \", the famous comedy of the\n15th century, and an example of the\nCommedia dell' Arte of the 18th\ncentury called ** Le Defiant\nJS/ The second was the event of the\nevening. And not only that, but an\nevent and a glory to the National\nTheatre as well as to the whole\nHungarian stage.\n& The sympathetic masquerading\nfigures of old-time pantomimes, of\npoetry and picture, Pierrot, Arlecchi-\nno, Columbina, Scapino, were acted,\nposed, played, quarrelling, singing,\njumping, by members of the National\nTheatre, who never before did a\ncomedy like this and could never\nhave even see one before.\nThe Commedia dell' Arte, never\nplayed since its own time was\nrevived and renewed In its past\nsplendour by the National Theatre.\nThe actors had to create their\nparts to a great extent themselves.\nThey made them and acted them in\nsuch away that Professor Reinhardt\nshould have seen them from the\ngallery in that bewitching world\nwhich upon that night was conjured"}, {"page_pdf": 89, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.89", "texte": "FOREIGN NOTES.\n\nup on the stage by Hungarians. 0\n& It was a happiness and pride to\nknow that we were in the National\nTheatre and that we were Hun-\ngarians. J0\n& All honour is due to this noble\ntheatre and to the talent of Mr He-\nvesi, by whose art as a Producer this\nthing was created and who even\nafter long applause did not show\nhimself before the curtain.\n& Magyar Nemzei (Hungarian\nNation) j0\n....So much real, and really felt,\njoy, so much cheerfulness is seldom\nto be found in a public. No doubt a\ngreat deal of this remarkable suc-\ncess was due to the actors and\none can but praise their original,\nlively, fresh, and sympathetic acting.\nNevertheless the main part of\nthe merit and the chief recognition\nis still due to the producer-in-chief,\nMr Hevesi, who translated \" Maitre\nPatheiin\" in sparkling rhymes,\nwho arranged the production of \"Le\nDefiant\" with the keenest sense\nof style and also as prelude to the\nproduction gave us an excellent con-\nference which, as well for its contents\nas for its form, may be said to have\nbeen perfect.\nBudapester Presse. 0 0\nMr Mohacsy writes:\na? Though the National Theatre last\nnight put off its seriousness for one\nevening it is not therefore to be\ntaken less earnestly.\nj£f It indulged in a piece of theatrical\nhistory, but without any learned\nhigh-browedness ; one was permitted\nto forget history and to enjoy an\nenchanting spectacle.\n*&Last night many hitherto unknown\ntalents were discovered in the Na-\ntional Theatre.\nThey first played the old French\nfarce of \"Maitre Patheiin \". This\nwas followed by a sample of the old\nCommedia dell' Arte. The scenario\nof a hundred lines became In their\nhands a delightful comedy in two\nparts. 0\nThis theatrical occasion, artisti-\ncally the best we have seen for a long\ntime in the National Theatre, was\nunder the rule of Mr Hevesi. He was\nthe translator of \" Maitre Patheiin \",\nadapter of \" Le Defiant \", producer\nand lecturer. His discourse was in-\nstructive and amusing, artistic and\nfull of delight.\nMr Hevesi was often called before\nthe curtain after his conference : he\nwas also called for later in the\nevening as its hero. In his stead,\nbut nevertheless in acknowledge-\nment of their own merits, the excel-\nlent actors were honoured with\nenthusiastic proofs of popular favour."}, {"page_pdf": 90, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.90", "texte": "FOREIGN NOTES.\n\nThe audience did not stop laughing\nall the evening through. &\nAlkotmany (Constitution).\nDr Sztrakoniczky writes....\nLast night the fool's cap crowned\nthe National Theatre. Chuckling,\nhealthy unrestricted merriment\nwhich burst from the people with\nirrisistable force, over spread the\naudience and the stage as well,\nbrought the public and the actors\nclose together, and, in the name of\ncomedy, made for a few hours an\nassemblage of mirthful merrimakers\nof the actors.\n£> I never before saw men of such\ndifferent orders and ranks, drawn\ntogether for one evening by profes-\nsion, by chance or by custom, un-\nderstand each other so well, or feel\nso closely related and so essentially\none as last night. & £/ £?\n& The National Theatre revived a\nkind of art which, it became ma-\nnifest during the performance, it\nwould have been a mistake not to\nrevive. The circumstance alone shows\nthat the National Theatre did the\nwork of revival just In the way it\nshould be done. & £? £?\n& That skeleton of one hundred\nlines, once written by Coypel and\npreserved by Riccoboni, was filled\nout and covered with flowers by the\nactors. Two acts full of merriment*\nfrolic, dancing, joking and laughing\nwere played with much, and excel-\nlent, humour... It was an agreable,\nenjoyable, even a glorious, evening.\n& The National Theatre showed\nitself to have reached a height which\nwe were always wishing for. It solved\na serious artistic problem and did\nnot only convince but fascinated\nthe public. It revived an old spe-\ncies of art; bringing it forward\ntriumphantly; the actors won.\nuSf No doubt the principle part of\nthis victory belongs to Dr Alex-\nander Hevesi, the producer-in-chief\nof the National Theatre. It was he\nwith whom the idea of the whole\nm\ncomedy-cycle originated ; he who\nbrought the Commedia dell'Arte on\nto this stage, he who rendered this\nperformance, through the skill of\nhis method, a complete success, and,\nby his excellent artistic sense, made\nof it a glorious feature ; he it was who\n(in introducing the performance of\nthe two comedies), gave a fascinating,\ndeep and spirited lecture about\nthem.\nWe do not really know which of\nIlls manifold merits should be first,\nand more especially, acknowledged,,\nbut there is no doubt that the\nsplendid success of this evening was\nhis. £/\n& Indeed, after the demonstrative."}, {"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.91", "texte": "FOREIGN NOTES.\n\nwarm and enthusiastic applause of\nthe audience, little need be added in\nhis praise.\n£? Budapestl Hirlap (Journal of\nBudapest.) JZ? jz? /zr\n£? Dr Alexander, the doyen of Hun-\ngarian critics, writes\n& On Wednesday and Thursday\ntwo plays were produced, following\nan introductory lecture by Dr Hevesl.\nIt was a real pleasure to listen to\nhim, as in a fresh, natural and yet\ndistinguished manner he gave vent\nto a streaming flow of knowledge,\nideas and spirited notions, zzf\n& This introduction was indeed\nnecessary ....The improvised play is\nborn and fades moment by moment.\n& The present moment Is Its ele-\nment.\nHevesl explained this, and in\ndoing so excited the curiosity\nof the public in such a manner\nthat, after having applauded him\nwe sat looking out eagerly for those\nto come. JZ?\nThe whole of the theatre, spec-\ntators, actors and all, were seized\nby that agreable excitement which\nIs a condition of big successes.\nThe lecturer trembled: what's\ncoming ? The actors entered upon\nthe thing fearlessly; it was n0w....\nanyhow. And the spectator\ncould hardly overcome his surprise :\nwell, that's grand, fine, really\nentertaining 1 This requires nothing\nbut to give oneself up wholly to\nthe minute, and to forget all prepa-\nration. zz? <Z? *£?\n\nLONDON.\n\nThe Russian Ballet.\n\nJt becomes more and more amazing\nto some of us how it is that the\nRussian Ballet was ever let into\nLondon at all. We used to be so\nstrict in London and still are so\nstrict about some things and they\nare some of those things which are\nvery closely connected with the\nRussian Ballet. JZ? JZ?\nStill, the ladies are very fasci-\nnating and quite the nicest part of\nthe whole show. JZ? zZ?\nI suppose it is a little late to\nadvise England about such matters,\nfor did not Wilde say, \" It is always\na silly thing to give advice but to\ngive good advice is absolutely fatal.\"\nLord Dunsany's Play. &\n| ord Dunsany is one of those who\nstill believe in writing plays.\nThat is to say, he believes that a\nliterary play Is a drama, and after\nall it is much ea~sier to agree with\nthan to differ from him because his\nown plays are so well written, and,\nindeed, very dramatic. JZ? JZ/\n& His \"Gods of the Mountain\" up\nto a point promised all the time,"}, {"page_pdf": 92, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.92", "texte": "FOREIGN NOTES\n\nbut when it comes to the dramatic\nmoment we hardly get what may be\ncalled the \"great thrill\". It was\nthe same with his one act play,\n** The Glittering Gate \". jZ?\n«e> All really good dramatic literary\nplays serve as the very best of\nwitnesses to the truism that dramas\nare only concerned with that part\nof life which cannot be spoken. For\none sees how at the end of his task\nand when something is going to hap-\npen the poet comes either upon a\nblank wall or upon a great closed\ngate. He stops dead before it or, if\nhe opens It like the character in the\n\" Glittering Gate \" he says, \" Bill,\nthere aint no drama... nothing but\ngreat glittering words\".\nBut Lord Dunsany has a future\nbefore him, probably a great one.\n\nR. S.\n\nNEW YORK\n\nA Question of Size.\nP. G.\nMost of the journals in America\nhave been busying themselves,\nevidently with Mr Ames' assistance,\nin trying to find excuses for the\nfailure of the New Theatre, or\nMillionaires' Theatre, of New York-\nAnd the word has gone forth that\nthe reason for its failure was that\nit was too large.\nWhether Americans will take\nthis sitting down is to be seriously\n¥■\ndoubted. America doesn't as a rule\nrun away from size; And Americans\ndon't put forward such weak excuses\nas a rule. Size! I Really, Mr Ames...\nWe suppose it really was size\nwhich made \" The Miracle \" such a\nsuccess: and what about Barnum's,\nand Edmund Kean in Drury Lane ?\nDid size prevent genius realizing\nitself there ? And that somewhat\ncelebrated little performance of the\n\" Agamemnon \" in Athens at the\nTheatre of Dionysus,... ~ did the\nvastness of the theatre (it seated\n\" about twenty thousand persons \"s\nHaigh) prevent its success?\nReally, Mr Ames, really you\nmight have thought of a better\nexcuse. For it is quite clear on the\nmost casual of enquiries that in\nancient times, in times not long ago\nand in modern times size has actually\nnothing whatever to do with the\nsuccess or failure of Dramatic\nworks. jg? J£?\n& Well then, where are you, Mr\nAmes ? £?"}, {"page_pdf": 93, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.93", "texte": "EDITORIAL NOTES.\n\nTHE FUTURISTS ' BLUNDER.\nJhe Futurists' aim at painting\n\" states of mind \". \" You must\nrender the invisible which stirs and\nlives beyond intervening obstacles \"\nthey say, and as a rule they select\nto show us on a canvas things in\nmovement.\nIn order to do this they imitate\nvery frankly the methods of the\ncinematograph become human. That\nis to say, a palsied cinematograph.\nThe thing which they can't get rid\nof is their weakness. Their eye is\nweak; It cannot follow everything\nat once. So feeble is the power of\ntheir eye that, if two persons pass\neach other, instead of being able to\nsee both they see bits of both; what\nthey can't see they leave out. They\nhave to be very quick to see even\none bit of each figure and to note\nits JZ?\nIf a women in a large hat, a\nhorse, a tram and a bicycle pass in\nfront of a Futurist in quick succes-\nsion he puts down on the canvas\nbits of woman, bits of horse, a bit\nof the tram and a bit of the bicycle.\nTh is small rough design Is a bad\nFuturist picture, but its the same\nthing as one. £7\nj£? The painter is trying to do in\nline and colour what movement\n»\nalone can accomplish. «£>\nJZ> tie therefore makes a big blunder.\nFancy a Futurist blundering 1 Surely\nthat was not Intentional. £>\nIt comes from forgetting that\nmovement is the property of another\nand quite different artist, namely,\nthe artist of the Theatre. And it\ncomes from the modern lust after\nother people's property which has\nmade the European quite crazy of\nlate. Some more-than-Futurlst will\nsoon come along who professes to\ngive sound to pictures. It is only\ndetestable because of the conceit of\nthe thing. As though what has been"}, {"page_pdf": 94, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.94", "texte": "EDITORIAL\n\nenough to puzzle Leonardo the young\nItalian painter is not enough to\npuzzle the aged Severini.\nLet Severini get into touch with\nthe eternal Leonardo as soon as he\ncan and learn first the respect due\nto all masters and the worship due\nto those who were the most modest\nof all, the most obedient to nature,\nthe least conceited when in the\npresence of nature.\nThese masters will live on and\nare the only true Futurists, and these\nmodern Italian fellows calling them-\nselves Futurists are already dead\nand don't know it.\n\nA LESSON THE\n*< TITANIC \". &\n'yhey denied the sinkability of the\nTitanic\" and of all the great\nmodern ships. They deny the unsafe\nposition of the modern stage and\nthe power of the Music Hall and the\nCinematograph. & JZ?\n& Who deny this ? The Managers\nin each case.\nj& Just a word then about the Ci=\nnematograph which the managers\ntell us we need not fear. There are\nat the present day four thousand\npicture palaces in the British\nIsles. Tens of thousands of people\nvisit them daily. The money expended\nis incalculable and rolls Into the\ncoffers of these theatres throughout\ntwelve and fourteen hours daily.\nIn the United States there are\nabout 14,000 picture theatres and it\nis computed that 5,000,000 men,\nwomen and children visit these esta-\nblishments daily. In the course of\ntwelve months at low prices\n26000000 pounds sterling are spent\nby the American Public on this form\nof entertainment. These are the\nresults at the end of fifteen years.\nMr Cyril Maude, a representative\ntheatrical manager, said the other\nday that he had \" heard that the\ncinema theatres are going out, and\nthat some of them are eking out a\nsomewhat hazardous existence by\nengaging actors to appear in\nsketches\". &\nCan any one doubt that If the\nserious theatre Is run on the same\nlines as the Cinematograph, that\nIs to say, as a shop, that it will\nfail ? & & &\nIt deserves to fail, and it Is\nfalling.\nLet the managers take care how\nthey deny this, and let them not\ndream so many dreams. Particularly\nlet them try to avoid misleading\nthe public and the actors and them-\nselves by comforting statements based\non insufficient and incorrect infor-\nmation.\n& There is only one way to save"}, {"page_pdf": 95, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.95", "texte": "EDITORIAL NOTES\n\nthe theatre. It is to get rid of all\ncommercialism Raising it above\ncommercialism not merely in witty\nafter-dinner speeches but in straight-\nforward and energetic action; it\nwould then no longer compete with\nthe modern variety and motion\npicture shows. & &\nBut to raise the theatre something\ndifferent from theatrical diplomacy\nis needed. A little theatrical art is\nthe right lever. & £?\nFind your men, then,.,... your\nartists. Believe us, you will search\nfor them and be very humble before\nthem on the day of catastrophe.\n\nON SOME GREAT MEN. &\nsphere is talk of putting up a\nmonument to the memory of\nWilliam Blake. We have heard of\nthis from several quarters. Somehow\nwe do not believe that this is all\ntalk although English people lately\nhave been indulging In so much of\nthat luxury that costs so little.\n£? After all it is only fair to our-\nselves that we should draw the atten-\ntion of the masses to one of the\nfew examples of a superman who\nhas lived in our midst, died and been\nforgotten there. By the bye, they\nare erecting in Germany a great\nmemorial to the man who is sup-\nposed to have created the superman\n. . . . that is to say, to Priedrich\nNietzsche. We don't know how many\nmillion marks are to be spent on\nthe memorial but think that roughly\nIt Is about eight millions.\nEvery English artist should some-\nhow contribute towards this for by\ndoing so we shall lead all the sooner\nto the statue of William Blake; for\nthough Nietzsche never speaks of\nBlake and though perhaps he may\nnever have read nor heard of Blake\nhe is for all that of the same family.\nJZ? Another great member of the\nsame family is Walt Whitman. Pro-\nbably Nietzsche never heard of him\neither for he never mentions him.\nYet compare the following pas-\nsages\nNIETZSCHE\nAlone do I now go, my disciples I\nGet ye also hence, and alone I Thus\nwould I have it.\" £?\n\" Verily, I beseech you : take\n44 your leave of me and arm your-\n-44 selves against Zarathustra 1 And\n44 better still, be ashamed of him !\n44 may be he hath deceived\n<£? 44 The knight of knowledge must\n44 be able not only to love his ene-\n\" mies, but also to hate his friends:\n\" the man who remaineth a pupil\n\" requiteth his teacher but ill. And\n44 why would ye not pluck at my\n44 wreath ?\" JZ/\nNow 1 bid you lose me and find"}, {"page_pdf": 96, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.96", "texte": "EDITORIAL NOTES\n\nyourselves; and only when ye have\nall denied me will I come back unto\nyou\". Ecce Homo. Page s.\nZarathustra. Book I.\n?S? WHITMAN. 188s\n\" \\ am the teacher of athletes.\nA& \" He that by me spreads a wider\n44 breast than my own proves the\n\" width of my own. JG?\nA& He most honours my style who\n44 learns under it to destroy the\n44\n44 Leaves of Grass. Page 74.\n44 I call to the world to distrust\n44 the accounts of my friends, but\n44 listen to my enemies, as I myself\n44 do.\n& 44 I charge you forever to reject\n44 those who would expound me, for\n44 I cannot expound myself.\n& 44 I charge that there be no the-\n-44 ory or school founded out of me.\nA& 44 1 charge you to leave all free.\nIbid, page 190.\n& NIETZSCHE\nA& 44 Mankind ought constantly to\n44 be striving to introduce great men;\n44 this and nothing else is its duty.\n44 Schopenhauer as Educator\".\n£? WHITMAN\nJS? 44 Produce great Persons, the\n44 rest follows £? A& &\nLeaves of Grass.\nAS? Any student of Nietzsche should\nbe a very careful student of Whit-\nman and of Blake. The first of them\nall is of course our own William\nBlake. Then comes the colossal my-\nstery Whitman and then the careful\narranger and builder Nietzsche. &\nJG? P. S. At any rate let us avoid\nputting up a tablet to Blake, let\nthe memorial cost at least fifty thou-\nsand pounds, or better still, a hun-\ndred thousand pounds. •£? &\nA? 44 Why so much? \" you ask. 44Why\nnot a choice piece of artistry hidden\nIn some sweet little dell at the foot\nof Primrose Hill ? \" A&\nA? Because it is not for ourselves\nthat we should put up a statue to\nBlake, nor for the man himself, but\nsolely for the masses that they may\nwith upturned eyes and gaping\nmouths say, 44 who is that for whom\nfifty thousand pounds was found\nand not found too much?\" and the\nanswer will be,\"... A MAN. AS?\n£? Another interesting comparison.\n& NIETZSCHE. JS?\nThe type of my disciples.... To\n44 such men as concern me in any\n44 way I wish suffering, desolation,\n44 sickness, ill-treatment, indignities\n44 of all kinds. I wish the misery of\n44 the defeated. I have no pity for\n44 them ; because I wish them to have\n44 the only thing which today proves\n44 whether a man has any value\n44 or not, namely, the capacity"}, {"page_pdf": 97, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.97", "texte": "EDITORIAL NOTES\n\n\" of sticking to his guns. &\nWill to Power Vol. 2 Page 333.\nGARIBALDI £/\n& \" To the crowds that thronged\n\" him Garibaldi would speak with\n44 that beautiful voice of his which\n44 was a part of the secret of his\n\" charm:....\n\" Come, he who stays at home\n\" is a coward. 1 promise you weari-\n-44 ness, hardships and battles. But\n44 we will conquer or die\".\nAnd again\n44 Fortune, who betrays us today\n44 will smile on us tomorow. I am\n\" going out from Rome. Let those\n44 who wish to continue the war\n44 against the stranger, come with\n44 me. I offer neither pay, nor quar-\n-44 ters, nor provisions; I offer hunger,\n44 thirst, forced marches, battles\n\" and death. Let him who loves his\n44 country in his heart and not with\n\" his Hps only, follow me.\" szr\nTrevelyan's 44 Garibaldi's Defence\nof the Roman Republic \". Pag. 231.\nAnd Garibaldi saved and united\nall Italy.\n& Is the European Theatre going\nto shake itself free from Itself and\n44 claim its own at all hazards \" ?\n\nLONDON CRITICS ON THE\nLOOSE.\n\nIt is rather extraordinary that so\nreally admirable a paper as the\nPall Mall Gazette, ..so well infor-\nmed, so, dare one say, up=to=date a\njournal, should, when it touches upon\nmatters theatrical, write as though\nthings had not altered within the\nlast ten years. &\nIn its issue for June 15th the\nPall Mall Gazette has a leading\narticle headed \" Harmony on the\nStage It is very sensibly pointed\nout that when a stage decorator is\nmore serious than the actors he\nattracts more attention to his par-\nticular branch of the whole stage\nwork than is right. & £?\nug? But what the journal should\nhave added is that a bad and non-\nserious stage director attracts ex-\nactly the same amount of notice;\nYou can't look at the actors because\nthe twirl and flummery of the sce-\nnery attract too much attention\nto themselves. When a bad decora-\ntor attracts our attention surely\nit is doing an injustice to the\nacting and also an injustice to the\nplay; but when a good decorator\nattracts us we naturally ask why is\nthe play not as good, why are the\nactors unable to hold their own ?\nOne would have thought that a\npaper like the Pall Mall Gazette\nwould have wanted to thrash out\nso important a point as this and to\nprove to the public that acting today,."}, {"page_pdf": 98, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.98", "texte": "EDITORIAL NOTES\nALL RIGHTS RESERVED\nGerente Responsabile GIULIO VANZI\n\nespecially in England, is a very\nwishy-washy kind of affair.\n& Another passage in the article to\nwhich we refer reads as follows :....\n•' If the allied arts which go to make\n44 up a Theatrical Representation....\n44 those of speaking, acting, painting\n44 and music.... are not in a harmo-\n-44 nious and equal alliance the whole\n44 effect of the presentation is de-\n-44 stroyed\n& Now this is amazingly careless;\nfor we know nowadays, (having been\ntold by men whom the Pall Mall\nGazette upholds), that a Theatrical\nRepresentation can be quite perfect\nwithout any music at all or can be\nquite perfect without any speaking\nat al! and we are also learning that\npainting is by no means an essential\npart in a Theatrical Representation.\nSo serious a Journal as our con-\ntemporary, instead of vaguely asser-\nting that Theatrical Representation\nconsists of 44 speaking, acting, pain-\nting and music', should do better\nthan this. It would help its readers\nbetter if it spoke of these three\ncomponent parts.... voice, scene and\nmovement. By doing this it would\nbe speaking correctly instead of\nloosely, for in voice may, (or may\nnot) be included song and speech:\nin scene may, (or may not) be in-\ncluded painting or architecture, and\nin movement may, for may not) be\nincluded acting and dancing.\nTo talk of speaking as being\none of the Arts of the Theatre is\nlike talking of 44 colouring inas\nbeing part of the art of painting.\nNeither 44 colouring in\" nor 44 spea-\nking \" can be parts of any art. Colour\nand speech may be.\n& There is less excuse than there\nwas ten years ago for writers on\nthe Theatre to speak loosely about\nthe Art and we do sincerely hope\nthat it will be possible for writers\non theatrical subjects in the more\nimportant papers to learn.... and so\nteach their readers,., to simplify, to\nsee the whole art in a simpler way.\nNot to make difficulties and com-\nplications where none exist, and so\nto bring about that which they no\ndoubt desire. That is, that Harmony\nand Health should be one. They can-\nnot be one until the critics are more\nsingle in thought and purpose.\nBut that this will in time come\nabout need not be doubted, for, as\nDarwin wrote, 44 Great is the power\n44 of steady misrepresentation, but\n44 the history of science shows that\n44 fortunately this power does not\n44 long endure \".\n\nJ. S."}, {"page_pdf": 99, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.99", "texte": "IMR-*^-N«-3:'^-<**,,'*IOTII»T,,IRE'\"NTTR«',^MI -T*R IRLOITIFCIFWNMNYRI^TRMRR I-——»^—^—.~ (\nBMTA SECOND PORTFOLIO\nOF E T C 1/ I /\\\nj by E. Gordon Craig,\nV.-FIVI-' I £W »■■»■■ ■ mmR^—■ ..IN— TTRFNMN——M—WMHIKMCIJ]—.MT\nsecond series of Etchings by Mr Gordon Craig has recently been\nissued, forming a companion Portfolio to that issued'in 1908.\nj& These etchings, as those contained In the previous Portfolio, were\nmade by the artist at Florence, and a few of the plates are a continua-\ntion of the first j& j& j& u&\n& Connected, as was that, with his dream of an Ideal Theatre they have\nIn no way anything in common with the modern stage, but with that\nMovement, which, writes Mr Craig, \" was at the roots of the Ancient\n\" Theatre and will ever remain the very Essence of the Art\". j&\nOnly thirty portfolios are being issued, although a few additional\ncopies of some of the plates will be printed according to the condition\nof the plate. The plates will then be destroyed.\n& Each set consists of twelve designs loosely mounted on boards and\nuntrimmed, and Is contained in a grey box portfolio with fastenings.\n4\ns& Each plate is signed by the artist and each portfolio is numbered. &\n£/ £/ & Size of portfolio 48 x 30 ctms. £? j&\n& j& Average size of plate, 14 213 x I5 2(3 ctms. &\n& The price for a portfolio is 25 guineas, (650 Francs or 525 Marks)\n& & Carriage extra. All orders to be addressed to 4R &\n* T H E MASK P R E S S . -0\nARENA GOLDONI, FLORENCE, ITALY.\nI\nm"}, {"page_pdf": 100, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.100", "texte": "JACK B. YE A TS' S WORKS*\nAll illustrated by the .\n(If Coloured by the Author, 3j~net.)\n& PLAYS FOR THE MINIATURE STAGE. &\nThe Treasure of the Garden. 4to 2/6 net. ,\nThe Scourge of the Gulf. Fcap Bvo. i/» net.\nJames Ffaunty; or the Terror of the Western Sea. Fcap Bvo. 1/- net.\nBOORS FOR CHILDREN.\nThe Little Fleet. Fcap Bvo. i/« net.\nThe Bosun and the Bob»tailed Comet. Fcap Bvo. I/- net.\nJACK B. YEATS: His Pictorial and Dramatic Art. By Ernest Marriott:\nWith Chart of Pirate Island, and Portrait. Fcap Bvo. I/- net.\nLONDON. ELK I N MATTHEWS. VIGO STREET. W. f\n\nTHE POETRY REVIEW\nA Monthly Periodical de voted to the Study and\nAppreciation of Modern Poetry of all countries.\nA SPECIAL SUBJECT WILL BE DEALT WITH IN EACH ISSUE.\nTHE FOLLOWNG ARE AMONG THOSE SELECTED FOR 1912.\nWOMEN POETS.\nAMERICAN POETRY.\nFRENCH POETRY.\nGERMAN POETRY.\nMYSTERY PLAYS.\nITALIAN POETRY.\nTHE CELTIC TWILIGHT.\nTHE FIRST ISSUE APPEARED IN JANUARY 1912\nANNUAL SUBSCRIPTION FIVE SHILLINGS NET-\nSEPARATE COPIES SIXPENCE NET.\nOf all Booksellers, and In Florence of\nSuc c. B. Seeb e r, Via Tornabuoni.\n93 CHANCERY LANE, LONDON W. C."}, {"page_pdf": 101, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.101", "texte": "*\nANNOUNCEMENTS; FROM THE MASK PRESS\nARENA GOLDONI. FLORENCE, ITALY.\n' -a THE MASK. NEW SERIES. VOLUME FIVE.\nOf the new Volume, beginning with the present number, Three\nEditions are published, and the yearly subscriptions, post free,\n*° *'iese Editions are respectively as follows.\nMiff Popular Edition. . . . Shillings 15. Dollars 4.00\njLarge Paper Edition (100 copies.) 20. „ 5.00\nEdition de Luxe. (15copies.) „ 65, „ 16.00\n•—p——a THE MASK. OLD SERIES. 1908... 1909... 1910... 1911...\nUnbound Sets, Vol, 1. Shillings 30. dollars 7.50\nfVoI. 2. ~ ~ 23. ~ ~ 6.50\nVol. 3. „ , 20. „ „ 5.00\nVol. 4' »» if I 5« ,t „ 4*®®\nBound in Vellum. Vol. 1. ~ „ ' 35. „ „ 8.50\nVol. 2. „ „ 30. „ „ 7.50\nVol. 3* If 99 25. If „ 6.50\nVol. 4* 99 9, 20. ~ ~ 5.50\n\nTO THE SHY\nwho would Subscribe to \" The Mask \" if,.... and if,.... and if. £*\n\"Come now! Less nonsense and\nout with your money !\n(Coilodi's Pinocchlo)\nTHE MASK OFFICE. ARENA QOLDONI. FLORENCE\n\n'•THE MASK IS THE\nFINEST COMMODITY\nIN THE WORLD.\" &\nGoldoni,"}, {"page_pdf": 102, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191207-01.1.102", "texte": "THREE OPINIONS ON \"THE MASK\"\nI \" There is not a page in it which is\nnot interesting and stimulating in a fine\nway\nPal! Mall\n\" A quite remarkable rich\nin intelligence.\"\nI Westminster Gazette, |\nI \" A very amusing and , as I\nI well as a most beautiful, magazine\nThe Daily Telegraph,\nTRADE AGENTS\nSimpkin, Marshall, Hamilton,\nKent & Co. London. &\nPrinted fertile Proprietor by Tipografia R. Lastrueci, Via de Serragli, 104 Florence and published at The Office of \" The Mask \" Arena Goldoni"}]}