{"numero_id": "bm-bmtnaau-1912-10-01", "volume": "bmtnaau_1912-10_01", "ocr_sha256": "14236dce5766c7c0780e92cd33c64300b0528673c020aafb0738c559dd375f96", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1912/10_01/bmtnaau_1912-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1912/10_01/bmtnaau_1912-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01", "articles": [{"article_id": "bm-bmtnaau-1912-10-01-c002", "article_bluemountain": "bmtnaau_1912-10_01#c002", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.2", "titre_corps": "LITERARY CONTENTS", "titre_sommaire": "LITERARY CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.2", "debut_caractere": 535, "fin_caractere_exclue": 1363, "texte": "LITERARY CONTENTS.\nGENTLEMEN, THE MARIONETTE \\ ... . Gordon Craig. . . 95.\nTHE MARIONETTES OF M. SIGNORET. . . . Anatole France. . . 98.\nTHE COMMEDIA DELL'ARTE ASCENDING. . . Gordon Craig. . . 104.\nCRITICISM, A NOTE Adolf Furst. . . . 109.\nA HISTORY OF PUPPETS \"Yorick\" (P. Ferrlgni). in.\nEARLY ENGLISH PUPPET SHOWS. .... William Hone, 1823. . 141.\nTHE SOCIETY OF THE MARIONETTE . . . . J. S 144.\nTHE GAME OF MARIONETTES. Gordon Craig. . . 145.\nA NOTE ON EASTERN PUPPETS Sir William Ouseley, 1823. 157.\n44 UNTIL TODAY THE ARTIST \" Ivan Ivanowitch... . 159.\nSIMON OF CYRENE Oscar Wilde. . . . 162.\nTHE ARCHITECTURE AND COSTUME OF f MUCH\nADO ABOUT NOTHING E. W. Godwin. . . 163.\nLETTERS TO THE EDITOR 167.\nBOOK REVIEWS: FOREIGN NOTES: CRITICS CRITICISED: EDITORIAL NOTES. 169.\nShort Extract from the writings of Arthur Symons 103."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c003", "article_bluemountain": "bmtnaau_1912-10_01#c003", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.3", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.2", "debut_caractere": 1365, "fin_caractere_exclue": 1795, "texte": "ILLUSTRATIONS.\nTWO DESIGNS FOR COSTUMES FOR 44 THE MER-\nCHANT OF VENICE \" E. W. Godwin. . . no.\nPLANS FOR A MARIONETTE THEATRE. . . . John Bull. . . . 147.\nA MARIONETTE ON THE STAGE „ 150.\nDICKSONN'S METHOD OF MOVING MARIONETTES. „ „ . . 151.\nPRANDI'S METHOD OF MOVING MARIONETTES. . „ „ ... 153.\nGUIGNOL AND GNAFRON „ 155.\nHEAD AND TALE PIECES AND INITIAL LETTERS by Gordon Craig, John Bull,\nOliver, and from Old English Designs."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c004", "article_bluemountain": "bmtnaau_1912-10_01#c004", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 6, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.4", "titre_corps": "A Design for a stage Costume for Miss Ellen Terry as Portia", "titre_sommaire": "A Design for a stage Costume for Miss Ellen Terry as Portia", "signature_source": "E.W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 86, "texte": "A Design for a stage Costume for Miss Ellen Terry as Portia, by E. W. Godwin, F. S. A."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c005", "article_bluemountain": "bmtnaau_1912-10_01#c005", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "97", "image_debut": 7, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.5", "titre_corps": "GENTLEMEN, THE MARIONETTE!", "titre_sommaire": "GENTLEMEN, THE MARIONETTE!", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 1579, "texte": "GENTLEMEN, THE MARIONETTE!\nJ. S.\nnP/f/s number of The Mask being dedicated principally to the\nMarionette, we have asked Mr Gordon Craig, who has studied\nhim so closely and knows him so well, to act as Master of the\nCeremonies and make the Introduction ; and so, together with M.\nAnatoie France, 44 Yorick \",Mr Arthur Symons and others of\nthose who believe in 44 the majesty of marionettes \", make better\nknown to many who have long been estranged from them these\nwonderful little beings which, with centuries of life behind them\nand centuries before, have 44 in them something of the divine\nand 44live with the life of the immortal gods\ne has been waiting so long in the servants hall that 1 am\nsure you will not find fault with me for having called\nhim upstairs and brought you together. &\nYes, he had a capacity for waiting... a talent not with-\nout charm in so humble a creature. &\nJZ? Humility is only an assumption in men. & &\nLet me begin by saying a word on the nature of the marionette.\nHe will wait anywhere for any length of time,... hidden in a b0x,....\nin a cellar.... or even in a century. But he will wait.... and when he is\nbrought forward and made to feel at home he will still wait.... then he\nwaits upon you and all of us like a true servant.\n& There is only one actor... nay one man... who has the soul of the\nDramatic poet and who has ever served as true and loyal interpreter of\nthe Poet. This is the marionette. So let me introduce him to you.\nSome of you will think you have met him before. But how is that\n\n(i) Anatoie France. See Tfee Mask, Vol IV p. 308"}, {"page_pdf": 8, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.8", "debut_caractere": 28, "fin_caractere_exclue": 2142, "texte": "possible? for once to meet him, is never to forget him... whereas you\nand he are strangers. &\nYet I am not entirely Just. There are times, when you have come\nacross him, unawares. He has many disguises and he impersonates\nknown heroes and despised persons equally well. £? ■£?\nYou have come across him in some deserted cathedral in Italy or\n*\neven In England,... for cathedrals are free, and \"open to the public\"....\nand are therefore deserted.\nThere you will have seen him hanging upon the Cross. And many\nChristians love him; he is interpreting the Drama of both Poet-man and\ngod.\n& Or you have caught a glimpse of him in some temple in the Far East\nenacting a more serene Drama.... seated before incense,., hands folded,...\nvery calm. a?? j£? &\nj0- Or in the arms of a child you have seen him... interpreting the little\nhearts and the larger dreams of iove ! j£? £*\nThese attempts of his to reach you have not entirely failed .... but\nstill for all this until now you have actually and unconsciously kept him\nwaiting in the servants hall.\nj£r Gentlemen.... the marionette \\ <£?\nYet silently he waits until Ills master signals to act and then In a\nflash, and in one inimitable gesture, he readjusts the injustice of justice\nthe illegality of the 1aw,.,, the tragic farce of \" Religions \", the broken\npieces of philosophies and the trembling ignorance of all policies.\nAnd what other virtues can I name besides these two of silence and\nobedience ?... I think these are enough.\nFor his chief virtue springs out of these. Because of them he has been\nable to avoid that appalling crime of exhausting the stock. Born of wood\nand the lover of wood, he is content to obey his nature and remain\nwooden. Others can be as great as he.,., he always leaves much to be\ndesired; a great being therefore,... greater than Wagner and the other\ncelebrated men who have left nothing we long to have longer. After\nRichard Wagner, after Michaelangelo, after Shakespeare... what ?... Blanks !\nThey exhausted their gift, they squandered their talent; nothing was\n*\nleft. They did everything, suggested nothing, and their sons inherited"}, {"page_pdf": 9, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.9", "debut_caractere": 32, "fin_caractere_exclue": 1738, "texte": "empty purses, empty veins ; instead of thinking of their responsibilities\nthese great exhausters thought only of themselves. They were all full\nstops to short sentences. £? jgr &\nThis is not the Ideal of the artist, nor the Ideal of mankind.\nThe Ideal is more companionable, more paternal, gentler. It ends no-\nthing ; It will not go alone; it takes its sons with it and it has something\nmore priceless than all else to hand out to them at the end of the journey.\n& Leonardo was such an Ideal. The Marionette is another.\nThe Marionette through his two virtues of obedience and silence\nleaves to his sons a vast inheritance. He leaves to them the promise of\na new art. &&<&&&&\nThe Marionette is a little figure, but he has given birth to great ones\nwho, if they preserve the two essentials, obedience and silence, shall\npreserve their race. &\nThe day that they hunger for further power they will surely fall.\nThese children of his I have called ueber-marlonettes and have writ-\nten of them at some length. &\n<£? What the wires of the ueber-marionette shall be, what shall guide\nhim, who can say ? I do not believe in the mechanical..., nor in the ma-\nterial.... The wires which stretch from Divinity to the soul of the Poet\nare wires which might command him ;.... has God no more such threads\nto spare.... for one more figure ? I cannot doubt it.\nI will never believe anything else.\nnd did you think when I wrote five years ago of this new\nfigure who should stand as the symbol of man.... and when I\nchristened him the ueber-marlonette; to see real metal or\nsilken threads & & & &\n1 hope that another five years will be long enough time for you to\ndraw those tangible tangle-able wires out of your thoughts."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c010", "article_bluemountain": "bmtnaau_1912-10_01#c010", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "98", "page_fin": "103", "image_debut": 10, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.6", "titre_corps": "THE MARIONETTES OF M. SIGNORET", "titre_sommaire": "THE MARIONETTES OF M. SIGNORET", "signature_source": "Anatole France", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 2244, "texte": "THE MARIONETTES OF M. SIGNORET\nby Anatole France.\n(I)\nThe marionettes of M. Signoret piay Cervantes and\nAristophanes and 1 expect that they will also act\nShakespeare, Calderon, Plautus and Moltere; did not\nthe English marionettes act the tragedy of Julius\nCaesar in the time of Queen Elizabeth ? And was it\nnot in seeing the true history of Doctor Faust, played\nby articulated puppets, that Goethe conceived the\ngreat poem at which he worked until his dying day ? Did you then think\nit impossible that marionettes should be eloquent or poetic?\nIf those of the Galerie Vivienne would but believe me they would\naiso perform the Temptation of St Anthony by Gustave Flaubert and an\nabridgement of the Mystery of Orleans which M. Joseph Fabre would not\nfail to adapt for them with love. £? ■ xJ?\nThe little marionette who should represent la Pucelle should be car-\nved artlessly as though by some good image-maker of the fifteenth cen-\ntury, and thus our eyes would see Joan of Arc almost as our spirits see\nher when they are holy. Finally, since It is in the nature of man\nto desire without limit, I shape a last wish. 1 will say then that I have\na great desire that the marionettes should represent for us one of those\ndramas of Hrotswitha in which the virgins of the Lord speak with such\nsimplicity. Hrotswitha was a nun in Saxony, in the time of Otho the Great.\nShe was a very learned woman, of an intellect at once subtle and barba-\nrous. She took it into her head in her convent to write plays in imita-\ntion of Terence, and it turned out that these plays did not resemble „\neither those of Terence or any other plays. Our abbess had her head\nfull of charming legends. jg? &\n& She knew to the last detail the conversion of Theophilus and the\nrepentance of Mary, niece of Abraham, and she wove these pretty things\ninto Latin verse with the candour of a little child. That is the theatre\nwhich I want. The one of today is too complicated for me. If you wish\n\n(I) These essays appear through the courtesy of Mr John Lane, who is publishing: a complete English edition\nof the works of M. Anatole France, and who has kindly allowed us to make the above translations from\n\"La Vie Litteraire a complete version of which will be shortly issued by him."}, {"page_pdf": 11, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.11", "debut_caractere": 33, "fin_caractere_exclue": 2415, "texte": "to give me pleasure show me some piece of Hrotswitha's; the one, for\nexample, in which one sees a venerable hermit who, disguised as an\nelegant cavalier, enters Into a house of ill-fame to rescue therefrom a\nsinner predestined to eternal salvation. The spirit bloweth where it\nlisteth. To accomplish his purpose the hermit feigns at first to experience\ncarnal desires. But... oh unfading modesty of the good Hrotswitha!... this\nscene is of an exemplary chastity. \" Woman \" says the hermit, 44 I would\nlike to enjoy thy body \". 44 O stranger, it shall be according to thy desire\nand I am going to give myself up to thee \"• Then the hermit pushes her\naway and cries, \"What, thou art not ashamed...\"\nThat is how the abbess of Gandersheim understood the management\nof a scene. She had no humour. She was as innocent as a poet, which\nis why I love her. If I ever obtain the honour of being presented to the\nactress who takes the great leading parts in the Marionettes' theatre I\nshall throw myself at her feet, I shall kiss her hands, I shall clasp her\n\"knees, and I shall entreat her to play the part of Mary in my abbess's\nplay. I shall say: \" Mary, niece of St Abraham, was hermit and courte-\n-44 san. There are therein some great situations which explain themselves\n\" by a small number of gestures. A beautiful marionette like you will\n44 there surpass the flesh-and-blood actresses. You are very small, but\n\" you will seem big because you are simple, while in your place a living\n\" actress would seem small. Besides, there is none but you today to\n44 express religious\nThat what I shall say to her, and perhaps she will be persuaded.\nA truly artistic idea, a graceful and noble thought, ought to enter\nmore easily into the wooden head of a marionette than into the brain\nof a fashionable actress. £? & & &\njSf In the meantime I have twice seen the marionettes of the rue Vi=\nvienne and have taken great pleasure in them. 1 am infinitely pleased\nfor them to replace the living actors. If I must fully express my feeling\nthe actors spoil the play for me. I mean the good actors. I would put up\nwith the others! But it is the excellent actors, such as one finds at the\nCom£die fransaise that I positively cannot stand. Their talent is too great;\nit covers everything. There is nothing but them. Their personality effa-\nces the work which they represent. They are prominent. I would not"}, {"page_pdf": 12, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.12", "debut_caractere": 33, "fin_caractere_exclue": 2395, "texte": "have an actor prominent save when he has genius. I dream of master-\npieces wretchedly played in barns by wandering actors. But perhaps I\nhave no idea of what the theatre really is. I had better leave the care of\ntalking about it to M. Sarcey. I wish only to descant on Marionettes. It\nIs a subject which suits me and on which M. Sarcey would be no good\nat all. He would bring reason to bear upon & & &\nOne needs a keen taste for it and also a little veneration. The mario-\nnette is august: it issues from the sanctuary. The marionette or mariole\nwas originally a little virgin Mary, a pious image. And the street in Pa-\nris where they formerly sold these little figures was called rue des Ma-\nrlettes and des marionnettes. It is Magnin who says so. Magnin the\nlearned historian of the marionettes, and it is not quite impossible that\nhe tells the truth although such is not the habit of historians.\n& Yes, the marionettes have come forth from the sanctuary. In old Spain,\nin the ardent land of the Madonnas dressed in beautiful gowns similar\nto lamp-shades of gold and pearls, the marionettes acted mysteries and\nrepresented the drama of the Passion. They are clearly designated by an\narticle of the Synod of Orihuela, which forbids the use, for the sacred\nrepresentations, of these little moveable figures : \"Imajunculis flctilibus,\nmobili quadam agitatione compositis, quos titeres vulgari sermone ap-\npellamus\". & &JS\n& Formerly, at Jerusalem, in the great religious fairy scenes, they made\npuppets dance devoutly upon the Holy Sepulchre.\nIn the same way, in Greece and at Rome, the jointed dolls had at\nfirst a part in the religious ceremonies ; then they lost their religious\ncharacter. At the decline of the theatre the Athenians had so strong a\ntaste for them that the archons authorized little wooden actors to\nappear upon that stage of Bacchus which had re-echoed with the\nlamentations of Atossa and the furies of Orestes. The name of Pothinos,\nwho installed his trestle-stage on the altar of Dionysus has come\ndown to us. In Christian Gaul Brioche, Nicolet and Fagotin have re-\nmained famous as Marionette showmen. But I do not doubt that M.\nSignoret's puppets surpass, for style and grace, all those of Nicolet, of\nFagotin and of Briochd. They are divine, the puppets of M. Signoret,\nand worthy of embodying the dreams of the poet whose soul was, says"}, {"page_pdf": 13, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.13", "debut_caractere": 33, "fin_caractere_exclue": 2052, "texte": "Plato, \" the sanctuary of the Loves \".\nThanks to them, we have an Aristophanes in miniature. When the\ncurtain is raised on an aerial landscape and we have seen the two half\nchoirs of the birds take their places on the two sides of the thimele, we\nhave formed some idea for ourselves of the theatre of Bacchus. What a\nbeautiful performance! One of the two chorus-masters of the Birds, tur-\nning towards the spectators, pronounces these words:\n%\n\" lacking wings, unhappy mortals, condemned to an ephemeral and\n\" fugitive life, shadows, light dreams....\"\nIt is the first time, I think, that marionettes speak with that melan-\ncholy gravity.\nTHE TEMPEST.\nHenry Signoret's marionettes have just given us Shake-\nspeare's \" Tempest\". It is hardly an hour since the\ncurtain of the Petit Theatre fell upon the harmonious\ngroup of Ferdinand and Miranda. I am still under the\nspell, and, as Prosper© says, I \"yet taste some subtilties\no' the isle What a charming sight I And how true it is that exquisite\nthings, when they are naleve, are doubly exquisite. M. Signoret proposes\nto make his little actors play the chefs d' oeuvres, I will say the\nsalutes oeuvres, ol all the theatres. Yesterday Aristophanes, today\nShakespeare; tomorrow, Kalidasa. His little actors are of wood like the\ngods whom Polyeuctes detested. But Polyeuctes was a fanatic; he under-*\nstood nothing about art and he ignored everything of divine and adorable\n/\nwhich a wooden god can contain.\nJS? AS for me, I feel a sort of pity mingled with a kind of tenderness for\nthe little beings of wood and cardboard, dressed in wool or satin, who\nhave |ust passed before my eyes making the gestures ordained by the\nMuses. My friendship for the marionettes is an old friendship. 1 have\nalready expressed it here last year. 1 said that the wooden actors pos-\nsessed in my opinion, many advantages over the others. And I am\nmuch flattered to see that M. Paul Marguerifte, who has fine taste, the\nlove of the rare, the sense of the precious, is also a strong partisan of"}, {"page_pdf": 14, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.14", "debut_caractere": 33, "fin_caractere_exclue": 2443, "texte": "the artificial and diminutive actors. He has composed a. of the\nPetit-Th&ltre, an ingenious eulogy upon marionettes.\nJS? \" They are he has said, \" indefaticable, always ready. And while\n** the name and too-familiar face of a living actor imposes upon the\n\" public an obsession which renders illusion impossible or extremely\n\" difficult, the impersonal puppets, beings of wood and cardboard, pos-\n\" sess a droll and mysterious life. Their action, in truth, surprises,\n\" disquiets. In their essential gestures is contained the complete expres-\n\" slon of human sentiments. Proof of this was given at the performances\n\" of Aristophanes. Real actors would not have produced that effect. There\n\" the abridgement added to the illusion : those masks of the ancient\n\" comedy, those simple and slow movements, those statuesque poses\n\" guve to the spectacle a singular grace.\" I should not have expressed\nit so well, but I have felt the same. I add that it is very difficult for\nliving actresses, and above all for actors, to render themselves poetical.\nThe marionettes are so naturally; they have at the same time style and\ningenuousness. Are they not the sisters of the dolls and statues? See\nthe marionettes of the \" Tempest.\" The hand which carved them imprinted\nupon them the characteristics of the ideal, either tragic or comic.\nM. Belloc, pupil of Mercie, has modelled fof the Petit Theatre some\nheads of a powerful grotesqueness or a charming purity. His Miranda has\nthe fine grace of a figure of the first Italian renaissance and the perfume\nof the virgins of that blissful fifteenth century which made beauty flower\nfor the second time in the world. His Ariel recalls, in his gauze tunic\nspangled with silver, the little figures of Tanagra, because the aerial\nelegance of the forms undoubtedly belongs properly to the decline of\nthe helienic art. &\n& These two pretty marionettes speak with the clear voices of Made-\nmoiselle Paule Verne and Mademoiselle C6cile Dorelle. As to the more\nmanly actors of the drama, Prospero, Caliban, Stephano, it was such\npoets as Messrs Laurice Bouchon, Raoul Ponchon, Amedee Pigeon, F6lix\nRabbe, who made them speak. Not counting Coquelin cadet, who did not\ndisdain to voice the Prologue as well as the gay role of the fool Trinculo.\nThe scenery, certainly, possessed a poetry of its own. M. Luclen Doucet\nhad represented the grotto of Prospero with that skilful grace which is"}, {"page_pdf": 15, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.15", "debut_caractere": 33, "fin_caractere_exclue": 169, "texte": "one of the characteristics of his talent. The blue which sang in this de-\nlightful picture added a harmony to the poetry of Shakespeare."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c014", "article_bluemountain": "bmtnaau_1912-10_01#c014", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "103", "page_fin": "103", "image_debut": 15, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.7", "titre_corps": "A WORD ON PUPPETS", "titre_sommaire": "A WORD ON PUPPETS", "signature_source": "Arthur Symons", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.15", "debut_caractere": 171, "fin_caractere_exclue": 1974, "texte": "A WORD ON PUPPETS\nby Arthur Symons.\nAfter seeing a ballet, a farce, and the fragment of an opera performed\nby the marionettes at the Costajizl Theatre in Rome I am inclined to\nask myself why we require the Intervention of any less perfect medium\nbetween the meaning of a piece, as the author conceived it, and that\nother meaning which it derives from our reception of it. &\nJS> The living actor, even when he condescends to subordinate himself\nto the requirements of pantomime, has always what he is proud to call\nhis temperament; In other words, so much personal caprice, which for\nthe most part means wilful misunderstanding; and in seeing his acting\nyou have to consider this intrusive little personality of his as well as the\nauthor's. &\nThe marionette may be relied upon, fie will respond to an indication\nwithout reserve or revolt; an error on his part (we are all human) will\ncertainly be the fault of the author: he can be trained to perfection\nAbove all, for we need it above all, let the marionettes remind us that\nthe art of the theatre should be beautiful first, and then indeed what\nyou will afterwards. Gesture on the stage is the equivalent of rhythm\nin verse, and it can convey, as a perfect rhythm should, not a little of\nthe inner meaning of words, a meaning perhaps more latent in things.\n& In our marionettes, then, we get personified gesture and the gesture\nlike all other forms of emotion, generalised. The appeal In what seems\nto you these childish manoeuvres is to a finer, because to a more inti-\nmately poetic, sense of things than the merely rationalistic appeal of\nvery modern plays. If at times we laugh, it is with wonder at seeing\nhumanity so gay, heroic and untiring. There is the romantic suggestion\nof magic in this beauty. £?\nExtracts from the \" Apology for Puppets \"."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c015", "article_bluemountain": "bmtnaau_1912-10_01#c015", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "104", "page_fin": "108", "image_debut": 16, "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=bmtnaau191210-01.2.8", "titre_corps": "THE COMMEDIA DELL'ARTE ASCENDING", "titre_sommaire": "THE COMMEDIA DELL'ARTE ASCENDING", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 2369, "texte": "THE COMMEDIA DELL'ARTE ASCENDING\nby Gordon Craig.\now much has been written about this wonderful attempt to\nraise Theatricals to a higher state.... to lift them from inter-\npretatlve into creative realms. And how much more will have\nto be written, and that before long, on this plucky attempt.\nNo one fails to understand that In the Commedia dell'Arte the Italians\nof the late 16th century gave to future generations a hint as to the pos-\nsibilities of the Art of the Theatre. The hint was never taken by those\nof the subsequent centuries. The stage as usual liked an easier and less\nresponsible task, so after the Commedia dell'Arte had given birth to\nMoliere it \" rested \" and again became Interpretative.\n& I believe and hope that this century will see a revival 'of this in-\ndepedent spirit of the Theatre... I even believe that the spirit has begun\nto stir again in its ancient bones, (i) && & &\nThe theatre as an independent and creative art has slept for three\ncenturies... it is due time that it should awaken. The fear that such a\n\" novelty \" as a return to a nobler expression would fail to arrest pub-\nlic attention is founded upon nothing but the flimsiest of theories\ndisproved by practise since time immemorial.\n& I hope with further study and more leisure to devote to this subject\nsome years of my life. Till then I can only speak very inadequately of\nthis wonderful renaissance in the Theatre. &\nIt was a wonderful renaissance and It strikes everyone who approaches\nit as such, even the dullest of critics and theorists, no less than the\ntalented men who- are at work in the Theatre.\nProfessor Brander Matthews writes of it as follows: the comedy-of-\n\" masks Is one of the most Interesting developments of the drama in all\nits long history \", and continues : (2)\n&*' It was a development possible only among the Italians, who are\n\n(1) This article was written 1910. The Hope and Belie? here expressed has now begun to be fulfilled. A few\nmonths ago under the direction of Dr Alexander Hevesi a piece was improvised from a scenario of Riccobont's\nLe Defiant at the National Theatre. Budapest. The delight of the audience, the success of the actors, the\npleasure of everyone, were a demonstration that the fine spirit of the old Commedia has never died, but only\nslept, and that it has but to awaken to arrest public attention.\n(2) Story oi Drama. 172-94."}, {"page_pdf": 17, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.17", "debut_caractere": 37, "fin_caractere_exclue": 2493, "texte": "44 facile actors and who have the faculty of improvisation. A strolling\n44 troop consisted of perhaps a dozen performers, every one of whom\n44 impersonated always the same character, a stock-figure of unchanging\n44 peculiarities. One of them might be the young lover, Lelio, the same\n44 in name and in nature, whatever the imbroglio in which he was in-\n\" volved. Another might be Pantaleone, an old merchant, speaking the\n44 Venetian dialect. A third might be the Doctor, an elderly pedant,\n\" speaking the Bolognese dialect. Yet another might be Pulcinella, the\n44 rascally domestic, indefatigable in ingenious roguery, and speaking\n44 the Neapolitan dialect. And a fifth might be the Captain, the self-vaun-\n\" ting soldier, always boasting about his marvelous feats of valor.\n£? 4< Of the women, one might be Leonora, the young and lovely heroine;\n44 and another might be Isabella, her equally beautiful rival. A third\n\" might be Pranceschina, the pert waiting-maid, as unscrupulous as the\n44 intrlnguing valet with whom she was likely to pair off. If the company\n44 contained a performer of old women, this would be a man, who was\n44 bold in suggesting the least attractive attributes of elderly females.\n44 Add three or four other performers to fill in the less important per-\n-44 sonages, and we have a company competent to perform any plot with-\n-44 out the aid of a written play and often without even a rehearsal.\n44 If the manager, who was likely to be also a leading actor as well\n44 as the deviser of the plots, had happened to read the Italian story out\n44 of which Shakespeare made 44Romeo and Juliet,\" he might have \"cast\"\n44 it to such a company as this, discarding the tragic termination, em-\n-44 phaslzing the romantic aspects and providing opportunities for the\n44 clowning of the comedians. Pantaleone would have had a quarrel with\n44 the Doctor. Lelio would have been the son of Pantaleone, and Leonora\n44 would be the daughter of the Doctor. The man who played the 44 old\n44 women \" would be the nurse of Leonora; and the Captain would swag-\n-44 ger as the cousin or brother of Leonora, whom Lelio would kill in a\n44 duel. Pranceschina would be the serving-maid of Leonora, and Pulcinella\n44 would be the valet of Lelio.\n44 The manager-author would call the company together and explain to\n44 each the relation he was supposed to bear toward all the others. Then\n44 he would indicate the sequence of scenes in the several acts; and this"}, {"page_pdf": 18, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.18", "debut_caractere": 33, "fin_caractere_exclue": 2453, "texte": "44 scenario, as It was called, would be written out and pinned up behind\n44 the scenes. The play might begin with a violent altercation between\n44 Pantaleone and the Doctor; but this would be no difficult demand upon\n44 either performer, since they had often quarrelled in earlier plays. A\n\" little later might come a long love-scene for Lelio and Leonora: and\n\" this again would be no novelty, since he had been making love to her\n\" in almost every other piece since he joined the company. Lelio had in\n44 stock a dozen perfervid declarations of devotion; and Leonora had\n44 by experience a dozen different ways of receiving his declaration.\n& 44 In this fashion, the story of the loves of Romeo and Juliet might be\n\" unrolled by means of these stock-figures, each of which retained his\n44 own name always and his own individuality. And in this same fashion,\n44 any other story, tragic or comic, might be represented by a similar\n44 company of Italian comedians, accustomed to one another, and reali-\n-44 Zing the advantages of conscientious 44 team-play\". The unchanging\n44 and highly colored type, which any one of these comedians imperso-\n-44 nated and made his own, has an obvious likeness to the bishop or\n44 knight or any other piece of a set of chessmen, whose rights and pri-\n-44 vileges are strictly limited and absolutely invariable, but who can be\n44 set in motion in varied and limitless relations with the other pieces.\n44 That the Italians were able to interest audiences, generation after\n44 generation, with primitive plots of this kind in which character was\n44 subordinated to story, is added evidence that action is of primary\n44 importance in the theater. & &\ni®lt demanded men of great talent. 44 Amateurs were insufficient for\n44 these tasks. Every dilettante may, without training, and with or without\n44 talent, learn any written task by heart, and play it more or less badly,\n\" according to his capacities ; at least so that the course of the performance\n44 is not much disturbed or delayed. But not so with the Italian Com-\n-44 media de/rArte : there talent alone was not enough; professional\n44 training and perfect schooling were indispensable if the play was not\n44 to collapse. \"(<) ■£? £? &\n& For 44 to be a good Italian actor means to be a man who possesses a\n44 rich store of knowledge, who plays more from fancy than from memory,\n\n(I) Mantziiis. History of Theatrical Art: Vol: 15. 214"}, {"page_pdf": 19, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.19", "debut_caractere": 21, "fin_caractere_exclue": 2268, "texte": "\" who while he plays invents all he says ; who seconds his colleagues on\n\" the stage, that is, matches his words and actions so well with those\n\" of his comrade that he enters at once on ail the movements to which\n\"the other Invites him, and in such way as to make everybody believe\n\" that all has been settled beforehand (1)^2?\nSome critics having become warm about this subject for a moment\nseem to feel it their duty to grow cold as quickly: they find that the\nCommedia cannot be held as \"deep and sincere\", \"Nothing\" says one\nof them, \" except depth and sincerity of character=drawing can endow\n\" a play with the enduring merit which will resist the inevitable changes\n\"of theatrical fashion. The \" Romeo and Juliet \" of Shakspere survives\n\" to=day as vital as when it was first acted, because its two foremost\n\" figures are eternal types of the heedless and headstrong passion of\n\" ardent youth.\" (2) & jz?\nBut this is not true. An improvised drama can be as sincere and as\nprofound as a play written by a master of letters: ...character is not\ndrawn only by writers in ink nor can passion be patented by those of\nthe pen. Both the prose and poetry of life are free to us all, and if the\nCommedia dell'Arte gave expression in the sixteenth century but to the\nprose of life it is quite plain that the poetic expression still offers itself\nto some poet, (not necessarily one who writes) who shall revive the art.\nThe temperament of these Italian comedians and the conditions under\nwhich they worked influenced them when they chose character instead\nof passion as their medium ? (3) another temperament will fling itself\nupon the nobler and more mysterious material, (if we can speak of some-\nthing subjective as a material), and will prove the depth and sincerity\nof the Art.\nAnd so we shall have Drama once more instead of plays written by\nliterary men of genius or talent. & & & &\n& The thing Is as easy as dancing a waltz.... as easy and as difficult.\nThere is a vivid touch of passion in the waltz; the polka is a dance of\ncharacter. Comedians can excel in the latter but only poets in the former.\n\n(2) Le Theatre Italien de Gherardi. Paris 5717.\n(3) Braader Mathews. Op .cit,\n(4) W. B. Yeats. 44 The Tragic Theatre \" The Mask, Vol; ill. 77"}, {"page_pdf": 20, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.20", "debut_caractere": 38, "fin_caractere_exclue": 2024, "texte": "& Moliere shows us that in the Commedia dell' Arte of the sixteenth\ncentury much commonplace talk was needed to lead up to a \"point,\"\nand we may be sure that much silence will be necessary to approach a\nsituation in passionate Drama. Conversation, talk of any kind weakens\nthe Dramatic intensity of passion. It is all the more amazing that Dram-\ntic authors have traded in the commodity of talk so long...amazing and\nshameful. The intensity of passion can only be truly suggested by an\nact... an act which dominates the silence, not one which sinks under it.\nWe men of the Theatre hear the voice of our mother, commanding us\nthat we shall not forget this priceless truth...we know this In our bones,\nour blood tells us it dally and our souls are not deaf to the voice.\nWhat then has prevented the rebirth of the true Drama so long?\nMany things have done so. To begin with WE are most to blame. By\nWE I mean all of u5.... we have plotted to avoid the responsibility... half\nfrom fear, half from modesty. We have always telt that we were unfit\nto express with sincerity the profundity of passion... being what we are.\nand we have had no courage to encourage those amongst us who might\nhave ventured... being what they are.\nYet such men have lived with us:... some have sprung from the noble\nunion of lovers who were fitted by their love to undertake the respon-\nsibility of interpreting through their own persons the Divine.\nThere was much to aid them and there is still as much. Did they\nfeel that their face still showed too much the traces of desire to use it\nin the service of passion they could veil these traces under a mask: did\nthey tremble for the betraying weakness of their movements they could\nremedy such fallings by imprisoning their feet in raised and heavy shoes;.,\nthus disciplined they no longer need feel fear that their unworthiness\nwould impede the delivery of their message. £/\nI shall be able to write more on this theme some day : at present\nthis Is enough. &&&&&&"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c018", "article_bluemountain": "bmtnaau_1912-10_01#c018", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "110", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.9", "titre_corps": "CRITICISM: A NOTE", "titre_sommaire": "CRITICISM: A NOTE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 2324, "texte": "CRITICISM: A NOTE\n\nby Adolf Furst.\n,y^rith unrest around us, institutions toppling down, other institutions\nbeing hastily founded, with beliefs torn to shreds and scattered to\nthe four winds, it is not surprising that criticism finds itself today on\nthe verge of disaster. It is more surprising that criticism is as good as\ni t is.\njSf Critics are a race of underrated men, and underpaid too. People seem\nto forget that criticism is an art and that the critic is an artist. We are\ngreatly in need of him today. He could save many things, and for this\nreason it is to be wished that the English critic would study some of\nthe works of Nietzsche, for he would find in him an exceptional friends\nThere are some things which Frederick Nietzsche has said which, once\nperceived by the modern critic, would lend him additional strength, for\nNietzsche often repeats old truths in so vital away that they seem to\nbe new, and the newspaper will never refuse old truths. So Nietzsche is\nnot only a good friend for the critic, but also a safe one. For instance\nin his 44 Wil! to Power\", on page 297, second volume of the edition lately\npublished by F. N. Foulis, he says something valuable for the critic. Here\nis the passage: ZZ? JZZ JZ? JS?\n\"Concerning Flank: The terrible consequences of freedom are\n44 that everybody thinks he has the right to every problem. All order of\n44 rank has vanished.\" £? xz> £? £?\nUpon this theme Nietzsche has many other things to say in other\nparts of his works, and it is one of the most important of the points\nwhich he makes. See how it may lend strength to the critic if he can\nonly feel that he has it in his power to state that everybody has not the\nright to every problem. For instance, the amount of loose chatter which\neveryone thinks he is privileged to pour out concerning the theatre and\nthe art of the theatre does great harm and nullifies the efforts of the\nfew serious workers in this branch of art. These men can be heard every\nday giving their unripe opinion about matters to do with the theatre,\nand giving it without any sense of the ridiculousness of their presump-\ntion in the very presence of men who have studied this question for a\nlifetime.\nI remember hearing a very celebrated Anglo-American painter laying\ndown the law about things to do with theatrical art in the presence of"}, {"page_pdf": 22, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.22", "debut_caractere": 11, "fin_caractere_exclue": 2171, "texte": "a man who is a master in the art, and this same great painter had a\nmonth previously written a letter to one of my friends saying that he\nwas not very much interested in the theatre and knew very little about it.\nNow you would have thought that such a man, when he came to speak\nabout a matter of which he previously had expressed ignorance would\nsay without hesitation \" Now you know I know nothing about this ; tell\nme about Itbut you see he evidently thought that he had a right to\nthat problem, and the \"Terrible consequences\" of that were that the\norder of rank for the time being was upset.\n& Although very much cannot be said for the actor, or the theatrical\nmuse in general, as regards his own art, still one must enthusiastically\nadmit that he is seldom found \"gassing\" about other arts to other ar-\ntists. If in the presence of a painter, he generally enquires respectfully\nabout painting, and when he has received an answer fwhich I grant you\nhe doesn't understand) he thanks his informer and the order of rank is\nunbroken. &\nNow if critics were to write on this point, and were to drum it into\ntheir readers' heads that they were making donkeys of themselves in\npretending to a knowledge which they dp not possess on matters upon\nwhich they had not expended any thought, it would do a great deal\nOf gOOd.^2?\nThere is nothing shameful in not knowing about the art of the thea-\ntre, but there is something extremely ridiculous In pretending to know\nabout it. jZ? £? & z?\n1 do not think that we who write in Mask have often spoken\nabout the work of, let us say, Mr J. S. Sargent. We have perhaps res-\npectfully said that he was a magnificent painter, Just as we may have\nspoken of Augustus John or Van Gogh, but we have never gone into the\nmatter of painting as an art, for the very good reason that we know\nnothing about it. And we all rather think we deserve a prize for this,\nand the prize we should like would be that the workers in other fields\nof art should respect our art and listen to what our artists have to\nsay« & &\nThe fourth chapter in the \" Will to Power,\" volume 11, should really\nbe carried about by every critic in his breast pocket."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c019", "article_bluemountain": "bmtnaau_1912-10_01#c019", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "110", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.9.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "Adolf Furst", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.21", "debut_caractere": 19, "fin_caractere_exclue": 2324, "texte": "by Adolf Furst.\n,y^rith unrest around us, institutions toppling down, other institutions\nbeing hastily founded, with beliefs torn to shreds and scattered to\nthe four winds, it is not surprising that criticism finds itself today on\nthe verge of disaster. It is more surprising that criticism is as good as\ni t is.\njSf Critics are a race of underrated men, and underpaid too. People seem\nto forget that criticism is an art and that the critic is an artist. We are\ngreatly in need of him today. He could save many things, and for this\nreason it is to be wished that the English critic would study some of\nthe works of Nietzsche, for he would find in him an exceptional friends\nThere are some things which Frederick Nietzsche has said which, once\nperceived by the modern critic, would lend him additional strength, for\nNietzsche often repeats old truths in so vital away that they seem to\nbe new, and the newspaper will never refuse old truths. So Nietzsche is\nnot only a good friend for the critic, but also a safe one. For instance\nin his 44 Wil! to Power\", on page 297, second volume of the edition lately\npublished by F. N. Foulis, he says something valuable for the critic. Here\nis the passage: ZZ? JZZ JZ? JS?\n\"Concerning Flank: The terrible consequences of freedom are\n44 that everybody thinks he has the right to every problem. All order of\n44 rank has vanished.\" £? xz> £? £?\nUpon this theme Nietzsche has many other things to say in other\nparts of his works, and it is one of the most important of the points\nwhich he makes. See how it may lend strength to the critic if he can\nonly feel that he has it in his power to state that everybody has not the\nright to every problem. For instance, the amount of loose chatter which\neveryone thinks he is privileged to pour out concerning the theatre and\nthe art of the theatre does great harm and nullifies the efforts of the\nfew serious workers in this branch of art. These men can be heard every\nday giving their unripe opinion about matters to do with the theatre,\nand giving it without any sense of the ridiculousness of their presump-\ntion in the very presence of men who have studied this question for a\nlifetime.\nI remember hearing a very celebrated Anglo-American painter laying\ndown the law about things to do with theatrical art in the presence of"}, {"page_pdf": 22, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.22", "debut_caractere": 11, "fin_caractere_exclue": 2171, "texte": "a man who is a master in the art, and this same great painter had a\nmonth previously written a letter to one of my friends saying that he\nwas not very much interested in the theatre and knew very little about it.\nNow you would have thought that such a man, when he came to speak\nabout a matter of which he previously had expressed ignorance would\nsay without hesitation \" Now you know I know nothing about this ; tell\nme about Itbut you see he evidently thought that he had a right to\nthat problem, and the \"Terrible consequences\" of that were that the\norder of rank for the time being was upset.\n& Although very much cannot be said for the actor, or the theatrical\nmuse in general, as regards his own art, still one must enthusiastically\nadmit that he is seldom found \"gassing\" about other arts to other ar-\ntists. If in the presence of a painter, he generally enquires respectfully\nabout painting, and when he has received an answer fwhich I grant you\nhe doesn't understand) he thanks his informer and the order of rank is\nunbroken. &\nNow if critics were to write on this point, and were to drum it into\ntheir readers' heads that they were making donkeys of themselves in\npretending to a knowledge which they dp not possess on matters upon\nwhich they had not expended any thought, it would do a great deal\nOf gOOd.^2?\nThere is nothing shameful in not knowing about the art of the thea-\ntre, but there is something extremely ridiculous In pretending to know\nabout it. jZ? £? & z?\n1 do not think that we who write in Mask have often spoken\nabout the work of, let us say, Mr J. S. Sargent. We have perhaps res-\npectfully said that he was a magnificent painter, Just as we may have\nspoken of Augustus John or Van Gogh, but we have never gone into the\nmatter of painting as an art, for the very good reason that we know\nnothing about it. And we all rather think we deserve a prize for this,\nand the prize we should like would be that the workers in other fields\nof art should respect our art and listen to what our artists have to\nsay« & &\nThe fourth chapter in the \" Will to Power,\" volume 11, should really\nbe carried about by every critic in his breast pocket."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c020", "article_bluemountain": "bmtnaau_1912-10_01#c020", "volume": "bmtnaau_1912-10_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": 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=bmtnaau191210-01.2.10", "titre_corps": "A Design for a stage Costume for Miss Ellen Terry as Portia", "titre_sommaire": "A Design for a stage Costume for Miss Ellen Terry as Portia", "signature_source": "E.W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 86, "texte": "A Design for a stage Costume for Miss Ellen Terry as Portia, by E. W. Godwin, F. S. A."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c021", "article_bluemountain": "bmtnaau_1912-10_01#c021", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "111", "page_fin": "140", "image_debut": 25, "image_fin": 54, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.11", "titre_corps": "A HISTORY OF PUPPETS", "titre_sommaire": "A HISTORY OF PUPPETS", "signature_source": "Yorick", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 1994, "texte": "A HISTORY OF PUPPETS\nby \"Yorick\"\nANCIENT PUPPETS IN THE TEMPLE.\nt is obvious that In this direction we have neither the\ntime nor the means to make a journey according to rule,\nwith its obligatory stoppages, its longer or shorter rests,\nits Indispensable deviations into all the secondary lines,\nnoting everything and discussing ail the arguments.\nWere we to adopt this method a single volume would no longer\nsuffice for the history of the Puppets ; It would need a regular library.\nWe will therefore content ourselves with a simple excursion Into the\nfield of venerable antiquity; with the swiftest of Journeys through the\nstately temples once inhabited by the Gods who have departed from\nthem ; with a hurried excursion through the sacred woods, where the\ninitiated of the mysteries of the old religions, now passed out of fashion,\n%\ncelebrated the mysterious rites, and the solemn feasts and the sacrifices\nand the processions and the pomps,... at times obscene as at others awful,\nbut always poetic,.... of the pagan liturgy. JS*\nWe shall, for example, scarcely peep, in company with the good Homer,\nbeyond the confines of the world, into the starred, eternal, shining halls\nof Vulcan, where Thetis of the white foot went to seek the enchanted\narms promised by her to Achilles. The Goddess arrived in the workshop\nof the immortal Cripple, and, (1)\nShe found him in a sweat\nAbout his bellows, and in haste had twenty tripods beat\nTo set for stools about the sides of his well-builded hall,\nTo whose feet little wheels of gold he put, to go withal,\nAnd enter his rich dining-room, alone, their motion free,\nAnd back again go out alone, miraculous to see.\n& Certainly, a great marvel!... But inasmuch as Homer had not seen them\nhimself, his testimony does not convince us of the real existence of the\nself-moving tripods. & &\nIt merely suffices to show us that, from the most remote times,\nthere existed in the human mind the idea of inert matter, fashioned\n\nNO T E S.\n(i) Iliad. XVIII 369-377."}, {"page_pdf": 26, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.26", "debut_caractere": 23, "fin_caractere_exclue": 2131, "texte": "into various forms, and arranged and articulated by ingenious craftsmen\nin such away as to simulate the movements and actions of rea! life. &\n& Descending then precipitately from heaven to earth, we see before\nour eyes the annual ceremony with which the great festival of Osirlde\nwas celebrated in Egypt.\n& There, according to Herodotus, in the midst of the crowd which in-\nvaded the precincts and flowed along the avenues lined by the intermi-\nnable ranks of monstrous granite sphinxes, marched in great bands the\npriests, bearing on their shoulders the image of the God, whose head\nmoved incessantly from right to left and darted over the multitude the\nlightning glances of his fiery eyes.\n& With their backs to the walls of the temple of Jerapoli.... according\nto the testimony of the \"Anonyrao\" who wrote the treatise \"De syria Dea\"\n(by some erroniously attributed to Lucian,).... stood enormous figures\ncarved in wood and overlaid with plates of gold, which moved their\nheads with a merciful or menacing gesture, and instilled into the faithful\nhope or terror.\nThe statue of Jupitor Amnion, as described by Diodorus Siculus, did\nnot give forth its oracles without having been first carried in procession\n*\nin the open air, in a colossal golden boat, on the shoulders of eighty\npriests, to whom, with a gesture of the head, It Indicated the road that\nit was pleased to follow and the precise place where it wished to rest.\n£? The Apollo of the temple of Heliopolis was fashioned of great plates\nof gold, and moved all its limbs before dictating its replies, and moved\nits eyes, and sweated when the pontiff Interposed over-long delays to\nthe questions.\n& In the pages of Ateneo (i) one reads with extreme interest the de-\nscription of the magnificent feasts celebrated in honour of Bacchus and\nof Alexander by Tolomeo Filedelfo; in which, after many most singular\nspectacles, a four-wheeled cart was made to advance, drawn by sixty\npersons, cui Nisae insidebat effigies, cubitorum ocio, tunicam\niuduta croceam, auro distinctam, amicta veste Lacottica. Machina-\n\nNOTES.\n(i) Deipnosophist, book, 5, p. 199."}, {"page_pdf": 27, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.27", "debut_caractere": 23, "fin_caractere_exclue": 2158, "texte": "mento quodam ingegnose fabrefacto ilia nullo manibus\nattollente, et übi lac ex aurea phiala Ilbasset, sedebat rursum\nwhich In ordinary language means; there was on the car the Image of\nthe .city of Nlssa, eight cubits high, dressed in a saffron coloured mantle,\nglittering with gold, and with a short robe in the fashion of Laconia.\nBy means of an ingeniously constructed mechanism that figure rose to\nits feet without anyone touching it, and after it had sprinkled milk as\na libation, sat down again £? A&\nt\nOf the statues of Dedalus the ancient writers have spoken in a\nhundred different ways. All are, however, agreed in affirming that they\n\\ t\nseemed as living people: utque arlis vi aes adactum faerit ad sensus\nhumani speciem praebendam, as Callistratus left on record: meaning\nthat, by the power of art, the bronze was induced to present the ap=\npearance of human sensibility. The Venus of Dedalus, admirable for\ngrace and beauty of form and rendered by the daring craftsman different\nfrom the other hieratic figures, (which tradition required to be almost\nenclosed in a sheath like mummies or to have all the limbs, except the\nhead, united in one,) offered herself upon the altar nude to the gaze,\nwith arms and legs separated from the trunk and articulated in such a\nmanner as to be able to move freely by internal force. &\nThe divinities of Crete and of Rhodes, the \" Fortunes \" of Anzium,\nall the idols of Lazium and Etruria, the group of Jove and Juno as chil-\ndren at Preneste, the Dioscuri at Rome, lived with that dedalean life\nwhich was lent to the powers and movements by the mechanism hidden\nin the hollow breast of the figures.\n& Ovid, in the sixth book of the Fasti, cites with horror, and describes\nwith admirable evidence the prodigy which befell in the temple when\nthe statue of Servius Tullus, during the solemn ceremonies of a sacri-\nfice, with a furious gesture covered his eyes with his hand so as not to\nsee his parricide daughter. £/\nTitus Livius,(i) in speaking of the wonders which took place in Rome\nin the. gatherings of the year 573, recalls the banquet offered on the\n\nNO T E S.\n(i) Book XL chap. 59*"}, {"page_pdf": 28, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.28", "debut_caractere": 23, "fin_caractere_exclue": 2152, "texte": "public piazza to the statues of the Gods, who lay upon couches covered\nwith purple before the spread tables. \" Terra movit, in forls publlcis,\n\" übi lectisternium erat, Oeorum capita, quae in lectis erant, averterunt\n♦' se\" The earth shook; in the forum, where were the couches, the\nheads of the Gods, reclining on the beds, turned away, disdaining the\nfood !....The miracle filled all orders of the citizens with consternation,\nbut no other remedy was adopted save that of recommencing the feast\nfrom the beginning. And the Gods, the second time, accepted the banquet.\nPerhaps the priests had a better appetite \\\nj® It would be easy for me, did I so wish, to multiply these learned\nquotations; to establish the fact of how, among our great Roman forefa-\nthers, it was a very common custom to carry processionally, in the days\npreceding the celebration of the solemn games in the circus, various little\nmovable figures of wood, of ivory, of metal, representing Divinities, and\nmonsters and animals, all relative to the mysteries and rites of the re-\nligion, in which the populace took the greatest delight, and which terri-\nfied the ignorant and the children. & & j® j®\nj® But I think that the road is long, and that this part of the subject\nis not the most interesting for us, who are curious to seek out and to\nrecord more especially the facts relative to the Puppets of the theatre.\nAt which, however, we cannot arrive without pausing first for a little\namong another generation of public and domestic puppets, whose physi-\nonomy and memory the ancient writers have diligently preserved for us.\nANCIENT PUPPETS IN THE HOUSE.\nbegin, naturally, with that numerous family of puppets which\nmost nearly resembles the species previously described, and which\nin certain ways are connected with religious superstition.\nWe have the testimony of Heredotus (1 with regard to that strange\nEgyptian custom of calling men to a banquet, and then of passing from\nhand to hand of the invited guests, a statuette of ivory or of wood, re-\npresenting a dead body on a bier. It was either a poor jest of the worst\n\nNO T E S.\n(i) Book 11. chap. 78."}, {"page_pdf": 29, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.29", "debut_caractere": 23, "fin_caractere_exclue": 2242, "texte": "kind, or a charitable suggestion not to eat immoderately, or a pious\ninvitation to meditate upon the uncertainty of all things human, and\nthe Imminence of death, at the very moment when provision was made\nfor the sustenance and preservation of life. The explanation is difficult\nbut the fact is incontestable. &\nIt now remains to be proved whether those little figures of dead\nbodies.... or of skeletons, as Plutarch calls them were jointed and\nmovable in any of their parts. Mr. Wilkinon,(i) a learned Egyptologist, in\nsupport of his affirmative opinion, describes two female statuettes, taken\nfrom an ancient sarcophagus, one of which had the arms detached from\nthe body; and the other, without a head, that presented evident traces\nof jointure at the neck. Two similar figures have been described by Si-\ngnor Prisse, the one in the Museum of the Louvre and the other In a\ncollection of Dr. Abbot. (2) Charles Magnin Is of opinion that those four\n\" fantoccini \" had no convivial destination, but were simply children's\nplaythings. I ask pardon of the \" maestro \" and I beg for permission to\ngive my vote in favour of Mr Wilkinson. To bring to table and offer to'\nyour guests a \" cadaverino\", more or less skillfully modelled may,\nundoubtedly, seem to be a mournful eccentricity, but the thing is unde-\nniable ; and I confess that I do not find much difference between the\nrigid dead body and the jointed mummy. What is to me more unaccep-\ntable Is the idea of giving to a child an image of a dead body on a bier\nIn order to amuse It or to stop its crying. The ways of Egyptians at\nthat remote period were no doubt different from ours, but I cannot be-\nlieve that the children of Memphis and of Thebes would have found\nmuch pleasure in dallying with a cadaverous \"fantoccio\". Again, I would\nask, what would be the purpose of artificially adapting jointed heads,\narms and legs for a figure that was especially designed to represent a\nlifeless body. &&&&<&&&&\n1 think It Is more logical, then, to accept the opinion of Wilkinson\nand to classify the dead burattini with the statuettes that were preordained\n\nNOTES.\n(i) Manners and Customs of the ancient Egyptians. Vol. II p. 410.\n(a) Revue Archeologique. Vol. II p. 742."}, {"page_pdf": 30, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.30", "debut_caractere": 23, "fin_caractere_exclue": 2083, "texte": "as a pastime for the \" grown -up children\" from sixteen up to eighty\nfive years of age, who were assembled round the banquetting table and\nin process of commencing or taking part in an excessive feast. Moreover\nthe custom of bringing and exposing, towards the middle or end of the\nmeal, every kind of moving figures in different stage attitudes, was not\nby any means peculiar to the Egyptians, but may be regarded as the\nuniversal practice among peoples of ancient times.\nIn Greece there was no house, there was no family, that did not\npossess a little collection of \" pupazzi \" whether for ornament or table\ndecoration. The most skilful artificers of Athens, of Megara and of E=\nphesus strove in rivalry to produce wonders of plastic art and miracles\nof mechanics in the form of tiny statuettes, worked with their habitual\ndelicacy of style, modelled, coloured and draped with that taste, for\nwhich they were celebrated from the most remote ages.\nIt was a fashion of the day, at least in the time of Xenophon, who,\nin his description of a banquet given by Callias, introduces, between the\ndifferent courses, a Syracusan juggler, who disposed his puppets upon a\npurple cloth and caused them to execute a graceful \" bailetto \" and an\namusing pantomime. j£? .j2>\n& A similar custom prevailed in Rome. It will be sufficient, as a proof,\nto quote the words of Titus Petronious Arbitro relating to a sumptuous\nfeast given by Trlmalcione : \"As we were drinking and admiring the mag-\n\" nificence of all around us, a servant brought into the room a silver fl«\n\" gure, so constructed, that by a certain action, every part of it moved\n\" and turned \" ..Trlmalcione raised his voice, declaiming : (i)\n\" Ohitnel... miseri n0i1...\nL' uomo e una larva, un nulla...\nPresto cade e si perde\nDi nostra vita il verde.\n\nNOTES AND TRANSLATIONS.\n(a) Alas, unhappy we S Man is a phantom, a nothing... Quickly falls and\nis lost the fresh green of our life. Thus shall we all be when the im=\nplacable Oreo shall seize us. Let us live, then,1 let us live so long as\nwe can be merry here."}, {"page_pdf": 31, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.31", "debut_caractere": 23, "fin_caractere_exclue": 1701, "texte": "Cosi saremo poi\nTuttl, quando 1' implacabile\nL'Orco ci rapir&.\nViviam dunque, viviamo;\nFintanto che possiamo\nStare allegri di qua \".\nThe verses were less than mediocre, (even Trimalcione's Latin ones) ;\nbut the puppet was, it seems, a masterpiece of Dedalic art. Finer, and\nequally well adapted to the subject, Is the paraphrase of that strophe\nput by Pietro Cossa in the mouth of his Nero.\n\" Beviam.... presto si muore,\nNe crescono le viti del Falerno\nLungo la tetra riva\ndei laghi dell' Averno.\nCola piu il nostro labbro non si posa\nSulla bocca amorosa\nD' una cara fanciulla...\nAmiam,.. cl aspetta, dopo morte, II nulla!... (i)\nAnd here we have explained the mysterious significance of the gloomy\nconvivial marionettes, an incentive to the practical propaganda of epicu-\nrianism; an encouragement to free life, cool drink, hasty enjoyment, in a\nworld which, without the consolations of the table and the alcove would\n\\\nbe too full of troubles; and where one is in any case to remain for so\nshort a space of time that the supreme wisdom is that of htm who\ncontents himself with going along as best he can, day by day, without\nthinking about or trusting in the morrow.\n& One seems positively to hear the little silver skeleton of Trimalcione\nrepeat, with the noise of his movable vertebrae, to each of the numerous\nguests, in the form of a counsel, that ejaculation which Orazio Flacco\n\nNOTES AND TRANSLATIONS.\n(i) Let us drink, for soon we die ; nor do the vines of Falerno grow along\nthe gloomy bank of the lakes of Avernus. There no more shall our lips\npress upon the amorous mouth of a beloved maiden. Let us 10ve... there\nawaits us, after death; ....nothingness !.... & & &"}, {"page_pdf": 32, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.32", "debut_caractere": 23, "fin_caractere_exclue": 2185, "texte": "whispered in the ear of the beautiful Leuconoe:\nTune quaesieris... scire nefas... quern mihi, quern tibl\nPlnem Dl dederint, Leuconoe..; nec Babylonios\nTentaris numeros. Ut melius, quldquid erit, pati !...\nSeu plures hyemes, seu trlbuit Jupiter ultimam\nQuae nunc oppositis debilitat pumlcibus mare\nTyrrhenum: sapias, vina liques, et spatio brevi\nSpem longam reseces. Dum loquimur, fugerit invida\nAetas.... Carpe diem...quam minimum credula postero. (i)\nHaving spoken of the entertainments of \"grown persons\", we come\nnow to those of the 44 little children who, in the most ancient times,\nreceived gifts of marionettes and \" pupazzi \" just as they do in the pre-\nsent day. The sepulchres of Thebes and of Memphis, recently examined,\nhave restored to the light, among an enormous quantity of playthings\ndeposited in crypts and in children's coffins, a not inconsiderable number\nof figures of men and of animals, with the principal members detached\nfrom the trunk, and furnished with rings, joints and apertures, evidently\ndestined to receive the 44 filo \" that enabled 44 fantocci \" to imitate the\ngestures and motions of living beings. In Museum of the Louvre\nthere are several of those puppets, representing men, carrying instru-\nments of labour in their hands, which, by joints or hinges in the arms,\nwere made to move. The city of Leyden possesses a wooden figure, un-\ndoubtedly Egyptian, and very anceient, that has the appearance of a man\nbending over his work, jointed at the arms and ankles, and capable of\nImitating the movements of a launderer at his wash tub, or of a baker\n\nNOTES AND TRA\n(i) Do not distress thyself, Leuconoe, to investigate what end the Gods\nprepare for thee or me... Do not take the trouble of consulting the ora-\ncles of Babylon. Oh how much better is it to resign oneself to any or\nevery event! May Jove yet concede to us many winters, and may he\nassign to us as the last that which now pushes and causes to break on the\nopposite shores the waves of the Thyrenean sea; be wise, mix the wine,\nand shut in a brief space a long hope. While we speak the envious time\nis flying. Rejoice In today,... and believe little in tomorrow !... &"}, {"page_pdf": 33, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.33", "debut_caractere": 23, "fin_caractere_exclue": 2449, "texte": "at his kneading trough. There is also the marionette of a crocodile,\nwith the lower jaw made to move by means of a pivot, and with the feet\nconnected by a kind of hinge. Charles Lenormant discovered another one\nat Thebes in 1829; it was entirely of ivory and is the imitation of a\nyoung woman, with different parts united by metallic wires, and the\nhead, arms, and legs were all movable.-e?\n& Don Ignaido Paterno Castello, an academician of the Crusca, published\nit! Florence in 1791 a learned dissertation \"Sopra gli antichl ornamenti\ne trastull! Dei bambini in which wi'th great profuseness of erudition\nhe demonstrates:,,, \"that mothers and nurses, from the most remote\ntimes, were accustomed to suspend from the necks of their children,\namulets, whistles, \" Pasclolas, Bullas, Corailia, Tintinnabula, because\nchildren are amused with anything that makes a noise \", and when they\nwere getting bigger they gave them, in order to calm their tempers and\nto divert their waking hours, the little \" figurini \" that had been made\nto move their limbs. The infantile marionettes which have been found\nin Greece are so many in number and so beautiful, that if 1 were to\ndescribe them, I should have to devote at least fifty pages to the inven-\ntary. It is sufficient to say that they are to be seen in all Museums, In\nall private collections, and in all municipal galleries, There are some who,\nrelying upon certain words of Plato, maintain that Archimedes himself\ndid not' disdain to model some of his wonderful burattlni, and to adjust\ntheir members with such complicated mechanism, but so perfect, as to\nproduce the illusion of spontaneous movement. What, Archimedes a\nshowman I It may seem incredible to many, but It is Monsignor Boldetti\nwho says it, and it is not for me to contradict a priest.\nAt Corneto, which, as everyone knows, is the ancient Tarquinii, six\nchildren's coffins were found in a vault; and in each of them there were\nnumbers of small Roman marionettes, all of the most delicate workman*\nship and decoration. And on this subject, 1 have a curious observation\nto make. The custom of burying children together with the playthings\npuppets that had amused and diverted them during their first\nyears, was, not lost with the last vestiges of paganism, but continued,\nunchanged, for many centuries of the Christian era. Or, to put the matter\nin other words, more appropriate to our subject;., it is an Incontestable"}, {"page_pdf": 34, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.34", "debut_caractere": 27, "fin_caractere_exclue": 2471, "texte": "and undisputed fact, that the puppets survived the Gods. The greater\npart of the movable \"figurine\" to be found to-day in Museums and\nprivate collections, have come from the Christian catacombs of Rome,\nwhere it is not unusual to find engraved on the stone of a sepulchre,\ncontaining the bones of some child, long lamented by the new followers\nof Christ, groups of marionettes and ** pupazzi \", designed with the most\ngraceful and touching ingenuity. Many puppets, and nearly all intact,\nwere discovered during the year 1544 in the tomb of Maria, daugiiter of\nStilicho, and wife of Honorius, who (Maria) had been buried in that\nsepulchre together with her infant child in the Cemetery of the Vatican.\nAnd here I must make a short digression:.,. The Emperor Honorius\nwas the son of Theodosius the Great, who, for some time, united in his\nhands the supreme power of East and West, and maintained under his\nauthority the entire Roman world. Born in 384 before Christ, Honorius\nwas Consul at the age of two, a Caesar at four and Emperor at eleven.\nOn the death of his father (in 395) and in the division of the Empire,\nthe portion that fell to Honorius was the crown of the West, of which\nRome was the brightest and most precious Jewel. But, already, the\n\" barbari \", driven from their native mountains, and forced by necessity\nto possess fertile lands and the riches accumulated during so many years\nof conquest, began to scatter themselves all over Europe, carrying with\nthem the scourge of invasion, war, fire and hunger. The Goths, led by\nAlarlc, descended into Italy from the one side, while the Suevi, under\nthe command of Radagasius, overran the country from the other.\nHonorius was almost a child, weak, inexperienced, careless and timid.\nIn the midst of numberless dangers, fearing enemies from without and\ntraitors from within, he wandered from Rome to Milan, from Milan to\nAsti, from Asti to Ravenna, dragging his wife with him, and childishly\namusing himself with the rearing of birds and poultry. But, over him...\nand over a11.... there watched Stilicho. A Vandal in origin, he was a\nvaliant soldier, a wise counsellor, a man of great mind and great heart,\nand father-in-law of the Monarch, to whom he gave in succession two of\nhis daughters in marriage, of whom the first was Maria. Stilicho, at\nthe appearance of the «' barbari\", forsook his imperial palace, took com-\nmand of the army and advanced to battle; and so skilfully did he"}, {"page_pdf": 35, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.35", "debut_caractere": 23, "fin_caractere_exclue": 2460, "texte": "arrange his plan of campaign, so carefully did he carry out all his move-\nments, and so valorously did he fight at the head of his troops, that\nin less than three years, from 403 to 406, he defeated Alaric at Pollentia,\nand surrounded and took Radagasius prisoner on the green hills of\nFiesole in Tuscany; twice he celebrated victories, twice he saved the\nEmpire from imminent ruin. And the Emperor Honorius rewarded him\nfor his distinguished service, two years afterwards at Ravenna, by cau-\nsing his head to be cut off on the threshold of the principal church.\nMaria had not to undergo, like her sister, the ineffable sorrow of wit-\nnessing her father's massacre. She had died at Rome some years before,\nsoon following her little son to the tomb; that tomb that enclosed, with\nthe bones of the royal infant, the \" pupazzi\" that had arrested his cries\nand dried his tears during that continued and terrible succession of\ntriumphs, of flights, of pomp and of misfortune. You may smile, perhaps,\nas you think of that woman, that mother, that sovereign, daughter of\nthe greatest captain of his age, exalted to the most brilliant throne in\nthe world, in a time of tumult and ruin, and amidst the clash of arms\nwhile the old order of things was crumbling, and, in the stormy passage\nfrom the ancient to the new, all passions, all hatreds, all rivalries, all\nambitions were furiously raging, going down to the grave, as to an asylum,\nwith her child between her arms, and seeking peace in that sacred\nground, which the new religion had confided to the protection of\nguardian angels ; carrying nothing with her of all her wealth and trea-\nsure but the poor playthings of her little child. It is an affecting\nthought, that softens and consoles and stands out in strange contrast\nwith the ferocity and cruelty of that agitated period. & &\n& In confirmation of what has been already said with regard to the dis-\ncovery of puppets in the old Christian sepulchres, Fllippo Buonarroti,\nin his \" Vetri antichi \" (Pref., p. ix) describes having seen in the Car-\npegna museum certain infants of ivory and bone, that had been found in\nthe cemeteries of San Callisto and Santa Priscilla, and that had the arms\nand legs Jointed to the. body by very thin iron wire. Monsignor Boidetti\nhas published and illustrated an account of similar instances, in the\nTables,-forming part of his work on the \"Cemeteries of the holy Martyrs \"\nThis is what he writes ;...."}, {"page_pdf": 36, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.36", "debut_caractere": 23, "fin_caractere_exclue": 2159, "texte": "& 44 The ivory figures, shown in this Table, and which are found in\ncemeteries in children's tombs, are about six inches, or more In height;\nsometimes they are even as much as a \" palmo \" , they consist of bust,\nhips, legs and arms, detached at the joints, and pierced so as to admit\nof the passage of very thin iron or copper wire; so that the whole figure\nmay be rendered movable in every part. Children were accustomed to\ndivert themselves with these little Images, moving, or setting them In\nmotion, after the manner of theatrical puppets (i)\nFrom this point, let us endeavour to trace the history of this very\ncurious form of dramatic Art, which, although a little neglected in our\nday, is still alive, and which, in spite of repeated vicissitudes, was for\nmany centuries so glorious and triumphant.\nANCIENT PUPPETS IN THE THEATRE.\nTThere is no trace of any document to prove the existence, among\nthe Egyptians, of \" fantoccini \" intended for public display.\n& Of all the 44 figurine \" discovered in the course of excavations, not\none has on its head the little iron ring for the reception of a wire, so\nindispensable for the purpose of supporting the marionette on a stage;\nnot one has the hollow internal space, in which, In another form of\n44 pupazzi \", it is usual for the showman to introduce his fingers. I\nwould not say that this is positive evidence that theatrical puppets\nwere entirely unknown to the ancient Egyptians. The conditions of\nculture in that country, the magnificence of popular and religious fes-\ntivals and the undeniable testimony of the 44 pupl convivali \" might\npersuade to the contrary. But in a matter of history every supposition\nthat is not supported by some slight proof passes into the region of\nsimple fancy and imagination. It will be prudent, therefore until we\nhave information to the contrary.... to assume that the ancient people\nof Egypt did without that very pleasant amusement.\n& Greece, on the other hand, from the remotest times of which any\n\nNO T E S.\n(i) Boldettt: \" Osservazioni sopra ! Cimiteri dei Santi Martiri ©d antichl\ncristiani dl Roma book II chap. XIV page 496 and following."}, {"page_pdf": 37, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.37", "debut_caractere": 23, "fin_caractere_exclue": 2319, "texte": "accounts have come down to us, had marionette theatres in the public\nplaces of all the most populated cities; she had famous showmen, whose\nnames, recorded in the pages of the most illustrious writers, have\ntriumphed over death and oblivion; she had \"balletti\" and pantomimes,\n«\nexclusively conceived and preordained for the play \" pupazzi\". &\nXenophon,... as we have already said... in the description of the famous\nbanquet of Callias describes, among other 'pastimes offered to the in-\nvited guests, a scenic play, that took place in the banquetting hall itself\nand was conducted by a Syracusan showman, who informed his hearers\nthat men of his profession, \" Neurospastomena \" as they were then\ncalled, were in Athens neither few nor poor, but possessed* movable\ntheatres, which they carried about from place to place. \" I rejoice ''\nwas the message of Xenophon to the showman of Syracuse, that the\nnumber of imbeciles in the world is still so great\". \"I rejoice\" replied the\nshowman. \"It is the imbeciles who give me my living, running in crowds\nto the puppet play \". JZ? £? &\n& The juggler of Syracuse had a long tongue, according to all\naccounts, and easily succumbed to the temptation of retaliating with\nthe philosopher, and of bringing into ridicule the kind and indulgent\nguests who paid for his merry representations in ready money. But it\nwas not really, or at any rate not always, the imbeciles, the poor and\nthe ignorant who allowed themselves to be imbued with a passion for\nmarionettes on the sacred soil of Apollo and Minerva. We know, in fact,\non undoubted testimony, that Archytas and Eudoxus, eminent mathema-\nticians, were not above employing their time and knowledge in the\nconstruction of puppets, capable of performing the most difficult actions\nunder the Influence of the showman's fingers ; we know that Socrates, in\nthe course of his meditative walks, would sometimes stop before a\nshowman's booth, and from the motions, attitudes and dances of \" fan-\ntoccini \" he derived suggestions and examples, with which he afterwards\nenriched his discourses and his books. JZ?\ndegenerated sometimes into a kind of monomania, that threw a shadow\nof discredit over some of the most conspicuous personages of antiquity.\nAntiochus king of Syria had hardly mounted the throne before he"}, {"page_pdf": 38, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.38", "debut_caractere": 23, "fin_caractere_exclue": 2419, "texte": "surrounded himself with mimes, burattini and dancing figures of showmen;\nfor the latter he had such an extraordinary love and admiration, that\nhe wished to study the art from its beginning and to privately exercise\nit himself. In a short time the Court was full of marionette performers;\nthe Monarch gave himself up entirely to the construction of \" pupazzi\"\nand to the setting up of diminutive theatres, furnished with royal\nluxury, in which, with singular ability, he managed large figures of men\nand of animals, carved and painted to life so as to produce the most\nperfect illusion,and covered with silver, with gold, with jewelry, precious\nstuffs and shining armour. The theatre was furnished with the most\ncomplicated and surprising mechanism, and with such marvellous applian-\nces that every kind of transformation could be carried out, every ap-\npearance of meteoric phenomenon be imitated and every sort of prodigy,\nwhether agreable or the reverse, be perfectly simulated. And in the\nmeantime affairs of State dragged along wearily; truckling ministers\nIn order to pay court to the Sovereign, went more often to the Puppets\nthan to the Council Chamber; the army, left in the hands of inept\ngenerals, dwindled away, and instruments of war fell Into fragments,\nand very soon the throne of Antiochus began to shake, exactly like a\nlittle theatre of marionettes.\n& It should be said that from the very first appearance of \"fantoccini\"\non the sacred soil of the Iliad, the best and most skilful artificers and\nshowmen belonged to Sicily and had Italian blood in their veins.\nBut not only in the time of Euripides and Menandro did the puppets find\na place in Athens as they did later at Paris in the time of Moli&re and\nBeatimarcliais and at London in the days of Shakespeare and of Sheridan;\nthe Athenians developed so keen and general a passion for this form\nof amusement that the Archons were obliged to permit a valiant 4< Neu-\nrospasta\" to produce his puppets on the great stage of Bacchus, upon\nthat very stage which not long before had witnessed the tragic enthusiasm\nof the actors of Euripides. jgjg? &\nAteneo, in his 44 Banquet of the Sophists \" directs a stern rebuke at\nthe Athenian people for this profanation of the tragic stage; but he for-\ngets that the event took place only in an epoch of decadence of the cora-\ngia and a time of political oppression, when the victories of the"}, {"page_pdf": 39, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.39", "debut_caractere": 23, "fin_caractere_exclue": 2128, "texte": "Macedonian faction had reduced the theatre to an instrument of slavery,\nThen one saw the 44 castello \" of the puppets proudly raise itself on\nthe timele, and the 44 Neurospasta \" hidden within the little Improvised\ntheatre made his agile puppets move before the eyes of the multitude\ncrowded on the gradinate, and caused them to speak by producing his own\nvoice through those very masks which served his predecessors for tra-\ngedies.\nThat puppets were a miracle of perfection is attested by Aristotle,\nor by the person, who under the name of Aristotle, signed the discourse\n44 De mundo Volume 3, chapter 6, page 376:\n44 to make use of so many means and so many instruments in order\n\" that forces, men and all created things may act according to His\n44 wi11... like those mecanicians do, who produce effects, many and varied,\n44 from a single engine, or like those puppet showmen, called for that\n44 reason, '4 Neurospati \", who control and manage the 44 figurine \",\n44 making them, by the manipulation of wires, to move their heads,\n44 hands, shoulders, eyes and other members \".\n& Apuleius, who afterwards translated the 44 trattato De mundo, \"\namplifying and paraphrasing it in parts, added on his own account the\nfollowing paragraph\n44 nothing else to do but pull the string of the member they wish to\n44 set in motion, and immediately the head bends, the eyes turn, the\n44 hands lend themselves to any action, and the elegant little person\n44 moves and acts as though it were alive\n& This is either a solitary exaggeration allowable in the case of writers\nin love with their subject, or else the marionettes of the Greek Fotlno\nwere infinitely superior to ours. To bend the head and move the arms\nand legs is all right.... our contemporaneous puppets execute admira-\nbly those imitations of human gesture, but to turn the eyes, and apply\nthe hands to any action not even the most perfect 44 pupazzi \" of\nLemercier de Neuville can do that, notwithstanding that mechanics of\nthe present day have the advantage of so many discoveries and of so\nmany inventions that were entirely unknown in ancient times."}, {"page_pdf": 40, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.40", "debut_caractere": 25, "fin_caractere_exclue": 2331, "texte": "penetrated, little by little, into all places where the concourse of much\npeople gave hopes of gain and fruitful representations. There were the\n\" pupazzt \" that were unattached, that is to say, not connected with\nany permanent theatre, but were played in couples by some travelling\nshowman, who, holding one In each hand, performed with them in open\nspaces and at street corners; making them act droll little dialogues, or\npretend to sing some popular song, with the addition of Jests and ridi-\nculous contortions. There were the 44 fantoccini \" that were strung on a\nthin cord, or thread, drawn across the knees of the operator, who, while\nplaying some musical instrument, made certain movements with his legs\nthat caused the figure to advance or retire, to dance and to move arms\nand legs in all directions. There were also the little jointed \" figurine \"\nwith their hinges and springs; these were made to dance on tables, to\nthe accompaniment of sprightly and explicit songs. And there were the\npuppets adapted for scenic action or the performance of a farce, either\nin some portable 44 castelletto or in the vestibules of houses; and,\nfinally, there were the real marionettes, with which a showman, who\nhad a sufficient number of wooden actors at his command, gave repre=\nsentations in a little theatre according to rule.\n& Puppet plays were so popular among the ancient Romans that all\nthe leading writers make mention of them in their books and draw con»\nelusions from them. Persius, in one of the best of his satires, (Sat, v, 125)\nspeaks of the precepts of real liberty, that which proceeds from nobility\nof mind, from the power of resisting ail passions and of overcoming\nnecessities ; and thus addresses the weak and vicious man, who thinks\nhimself free because he is not subject to any master:.....\n44 art bound by so many chains ? Bitter slavery does not constrain thee,\n44 it is true; nothing outside of thee can oblige thee to put thy limbs in\n44 motion like those of puppets; but if, within thee, dominant instincts\n44 and passions are springing up, what sort of liberty is thine \".\nThe Emperor Marcus Aurelius refers to marionettes in every page of\nhis work 44 De se ipso \", a work that is so overflowing with generous\nthought, with sublime precepts, and with noble aspirations towards the"}, {"page_pdf": 41, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.41", "debut_caractere": 23, "fin_caractere_exclue": 2380, "texte": "eternal laws of love, justice and humanity.\nJZ? \" Remember,.... he says that It is thy vices that govern thee, as\n44 wires govern the wooden puppets.... and learn that thou hast within\n44 thee something that is more sublime and divine than the springs and\n\" cords of pupazzi Death, In withdrawing thy soul from the tyranny\n44 of thy senses, will put an end to that wretched condition of mario-\n\" nette, in which thou hast been all through thy life \". &\njzrßut these are philosophers, learned men and distinguished moralists,\nwho speak as though from a pulpit. Let us hear now what the illiterate,\nthe poor and discredited have to say. Horatius, in the seventh satire of\nhis second book, introduces his servant Davus, who, in accordance with\nancient Roman custom at the festival of Saturn had been released from\nbondage for twenty four hours, and now comes forward with a bold face\nand not only addresses his master in terms of familiarity, but imitates\nhim in his censure of the vices and weaknesses of his neighbours, and\nin his exposure of the faults of the nobility, and finally lifts up his\nvoice against Horatius himself, wounding him in his most sensitive parts,\nand attacking both his pride and arrogance. &\n44 Thou.... Thou art the master ?.... But of what thing or of whom ?.,.\n•' Events and men prescribe for thee and thou appearest small, very\n44 small. Three or four times fate would have emancipated thee; and\n\" three or four times, imbecile, thou hast fallen again into miserable\n\" slavery.... Thou actest the master to me, and thou commandest me\n44 with a r0d.... and to others thou actest the abject servant; and\n44 thou obeyest like a puppet that is moved by wires in the hands of\n44 another. \"JZ?JZ?J&-Z?^Z?->Z?-»Z?JZ?\nDavus had often been to see the puppets and knew how they were\nmanaged. Therefore in Rome the spectacle of marionettes was a common\namusement in which all could take part, without spending money, or\nonly spending very little; all the idle who loitered about the streets,\nslaves, gladiators, labourers, shopkeepers, people of every class, drawn\nby curiosity and attracted by the sound of the showman's fife or\ntrumpet. Horatius, who was such a close observer, and so careful to put\ninto the mouths of his 44 personaggi \" the words most adapted to the\nhabits and character of the individual, would never have attributed to"}, {"page_pdf": 42, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.42", "debut_caractere": 23, "fin_caractere_exclue": 2385, "texte": "the slave that allusion to marionettes if they had not been sufficiently\npopular In Rome to serve as an example, both for the poor Davus and\nfor his master.\nTherefore I argue that there were in Rome the marionettes for the\nupper classes; the burattinl for open spaces, porticos and street corners\nas well as those for the theatre. The one suggested epigrams to the\nbrain of a Davus, and the other inspired the philosophical reflections of\nPerslus, of Juvenal, of Aulus and of Marcus Aurelius.\n& The repertory of puppet theatres In Rome and Athens was com-\nposed in great part of parodies, of bold imitations of the tragedies most\nin vogue, of dialogued satires that drew attention to the vices of the\nday, the preponderating factions, the most frequented philosophical\nschool, sophists, demagogues, poets, magistrates, warriors and those who\nhad risen to fame and power. The marionettes of Fotlnus did not even\nspare the Gods. The \" personaggi \" were, In reality, not very dissimilar\nfrom our own ; and the marionette of the Campana Museum, described by\nMuret, with the bent shoulders, might very well pass for a Pulcinella,\nif we did not know that it is the true image of Maccus.\n& 1 cannot understand how, after so many indubitable testimonies, the\nlearned Magnin does not feel himself authorized in concluding that the\nRoman burattini had, like those of Greece, full liberty and very frequent\nopportunities of showing themselves in a theatre ...after the stage had\nbeen naturally modified with artificial arrangements so that it might\nserve well for the play of the little wooden figures.\nCertainly on this point and this aspect there presents itself a difficulty\ncommon to the puppets of both Greece and Rome. He who has some little\nknowledge of the material disposition of the ancient edifices destined to\nthe dramatic plays will find it difficult to explain to himself how the\nlittle figures introduced upon a tiny stage and speaking with the voice\nof an individual hidden behind a boarding or a curtain could make them-\nselves seen and heard in so vast a place to so large a number of spectators\ngathered upon the grades of an immense semicircle.\nEveryone knows that the flesh and blood actors, the real actors of\nAeschylus, Sophocles, Euripides, Plautus, and Terence were obliged to\nrecite upon a kind of stilts with their arms lengthened and their hands"}, {"page_pdf": 43, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.43", "debut_caractere": 23, "fin_caractere_exclue": 2426, "texte": "enlarged by added pieces and with the head enclosed in a mask which\nexaggerated Its proportions, and that at the mouth hole they had a me-\ntallic voice = carrier to increase and distribute the sounds, thus rendering\nthem perceptible to the ears of the public. How then was it possible to\nreconcile this necessity for optical and accoustic enlargement with the\ndiminutive proportions and enfeebled sounds of a scene of puppets ? jZ/\nLet us begin by deciding that the place assigned for the performance of\nthe puppets was not the proscenium, the stage properly so called where\nthe actors acted ; but rather the timele, constructed like a terrace at the\nextreme front limit of the orchestra, at the point nearest to the lower\ngrades of the amphitheatre. There, as in a kind of pulpet or tribune the\nshowman, the neurospata, raised his castello \", (prigme tetragono),\nsurmounted by a episcenio, a little house In which were hidden the\npersons, (probably children) entrusted with moving with strings the\npuppets, these latter assuredly modelled in proportions adapted to the\nvastness of the place. Under the stage, in the empty space between the\nsides of the prig ma,stood the orator, perhaps accompanied by others,\nand declaimed the dialogue or chanted the song, throwing out his voice\nthrough certain apertures made in the screen on the side towards the\ngradinate, and furnished with an apparatus, similar to the theatre\nmasks, which sufficiently augmented the sound. Some apertures, conve-\nniently arranged in the foundation of the stage, and corresponding to\nthe empty spaces purposely left in the flooring of the upper \" casotto \"\npermitted the \" gesticulatori \" and the \" declamatori \" to proceed in\naccord with each other, to appropriate the action to the word and the\nword to the action, to exchange the necessary information and the in-\ndispensible injunctions in a low voice, and simply in their natural tones.\nspectators of that period were especially eager, this internal disposition\nof the prigma rendered easy and most varied the applications of the\nmachinery conceived to produce certain marvellous effects, precisely as\ntoday the flights and transformations of the corographic scenes are ob-\ntained by means of the scaffoldings fitted beneath the trapdoors of the\nstage and the cranes installed high up above. jZ? jZ? jZ?\n& These are but conjectures, I admit, and have the defect of belonging"}, {"page_pdf": 44, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.44", "debut_caractere": 25, "fin_caractere_exclue": 2391, "texte": "to me alone; ....My explanation has, however, the advantage of respon-\nding exactly to that which has been always taught and related in regard\nto the material and the personnages of the ancient theatre ; of being\nsimple, natural and perfectly logical; of resting upon a tradition never\nInterrupted down to our own times and common to all peoples among\nwhom the \" castello \" of the puppets has always had, and has, almost\nthe same form; in Prance as in Italy, in Spain as at Constantinople, at\nCairo as at Bombay, at Teheran, at Samarcanda, at Nagasaki.\nIn any case I offer it as my own, and everyone knows that I do not\npretend to sell it for more than it is worth. & &\n& And now let us hasten on to other investigations no less interesting.\nThe repertory of the puppet theatre, at Rome and Athens, was as\nalready said, composed in great part of parodies, of audacious imitations, of\nthe tragedies most in vogue, of satirical dialogues which were aimed\nagainst the fashionable vice, the preponderating faction, the most fre-\nquented philosophical school, the sophists, the demagogues, the poets,\nthe magistrates, the soldiers, and those who had leapt to fame or risen\nto power. The marionettes of the Greek Potino did not even spare the\nGods, and might count today among the ancestors of the modernffree\nthinkers. The personnages were not, really, much different from ours,\nand the marionette of the Campana museum, with the bent shoulders\nand prominent paunch, would pass for a real true Pulcinella if one did\nnot know that it is the true image of ** Maccus \". The \" Citeria \" and\n\" Petreia \" are as like Columbina and Rosaura as two peas, and the old\n\" Manducus \" who ground his teeth and threatened to \" mangiar vivo\nvivo \", that is, to eat alive, his terrified interlocutor, is no other than\nour Rogantino, at whose terrible tirades the children of today tremble\non the knees of their nurses as did the children of the time of Juvenal\nIn their mother's arms.^\n\" In gremio matris formidat rusticus infans \".\nOther, as one might say, necessary, personnages of the \" castello \"\nof the Roman puppets were \" Pappus \", '* Buccus \" and \" Casnar \", types\nof the parasite, the glutton, and the fool; who afterwards remained as\nmodels of the species, and passed on as they were, with but few modi-\nfications, to the Atellanian stage, where they created that farce, almo st"}, {"page_pdf": 45, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.45", "debut_caractere": 23, "fin_caractere_exclue": 2346, "texte": "always improvised, and more obscene than frank In word and gesture,\nof which such frequent mention is met with in the histories of dramatic\nliterature among all the peoples of the world. &\n& It is well known that the repertory of the burattini was very moral...\nin intention, because it was intended to inveigh against vice, to hold up\ncharlatans to public scorn, to vindicate the weak from the tyranny of\nthe strong... but the forms, words and gestures, that were adopted to\ncarry out that very excellent and praise-worthy intention, were often\nexpressed with extreme licence. But it should be remembered that thea-\ntrical marionettes were bound by the ties of legitimate descent to the\nreligious marionettes ; and that the first dialogues, the first discourses,\nthe first scenic fables, proceeded in a direct line from the spectacles of\nthe sacred festivals of Bacchus. Now everyone knows that the character\nof those feasts, and of many others belonging to heathen liturgy, was not\ndistinguished for exemplary modesty.\nAmong the \" personaggi \" of the puppet theatre, there figured, for\na long period, the protagonists, real and imaginary, of the Bacchanalians\nand Lupercalians ; fauns, satyrs, deities of Priapus, monstrously deve-\nloped, all figures, to whose debased members the \" catenatlo mobilis \"\nadded a singular unrest and vivacity.\n& We should also bear in mind that the customs of those times per-\nmitted many things, that to us would seem to be audacious and\nimproper, but which, in those days, passed as pleasantries, jests and\nimages, that were pardonable, according to the quality of the person, or\nthe circumstances of the time and place; and which did not prevent\neven the most distinguished minds from deriving from marionette plays\nthe best of precepts, the most elevated thoughts and the brightest\nexamples.\nListen to the words of Plato, the severe Plato, as, with a puppet\nin his hand, he is addressing his disciples on the science of rightly\nliving and rightly dying:.... \" Let us imagine, my friends, that we are,\n\" each one of us, an animated figure, that has issued from the office of\n*' the Gods... The passions that move us are like so many strings, drawing\n\" us this or that way; opposite motions draw us in opposite directions.\n\" Thus we have the difference between vice and virtue. Good sense"}, {"page_pdf": 46, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.46", "debut_caractere": 23, "fin_caractere_exclue": 2230, "texte": "\" teaches us that we must obey only one of these strings, following its\n\" impulse with meekness and pertinaceously rejecting ail the others,\n\" That one string is the golden cord of .reason and of law. The others\n\" are of iron and are inflexible. That one alone lends itself to all motions\n\" because it is of gold ; that one alone has a constant form, while the\n\" others assume all configurations. All the strings should be submissive\nto that single one of law, because reason, excellent in itself, would be\n\" weak if the law did not strengthen the composition of the thread of\n\" gold, which is destined to govern all the others. \" & &\nPUPPETS IN THE MIDDLE AGES.\nhis will be a scanty chapter, but, to make up for it, I will\ndo my very best not to be also tedious.\n& In writing, whether ill or well, anything which pre-\ntends to resemble a history one must resign oneself to\nfollow scrupulously the chronological order, and it is not\npossible to skip a period which comprises a thousand years and includes\nin itself all the phenomena of the destruction of the old world, and all\nthe elements of the modification of the modern world. &\n& Notwithstanding the immense number of literary and scientific works\nthat have been published, chiefly In the first half of our century, the\nhistory of the Middle Ages is still full of obscurity and confusion.\n& It is natural that It should be so. Between the universal, destruc-\ntion, political, civil and religious, of the old order, and the introduction,\nin the face of endless difficulties, always overcome and yet always\nrepeated, of the new, there was a long period of general transformation,\nsometimes pacific, more often violent, sometimes Interrupted and again\nfiercely renewed, various in form, method and development. That period\nwhich comprises the overthrow and dissolution of the mighty Roman\nEmpire, the victory of Christianity over idolatry, the invasion, by bar-\nbarous nations, of Western Europe, oppression, slavery, civil war, feuda-\nlism, the Crusades and antagonism between Church and State, and lastly\nthe Insurrection of the Italian people, from which was, later on, to arise\nthe first cry for liberty, and the first ideas of national independence."}, {"page_pdf": 47, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.47", "debut_caractere": 27, "fin_caractere_exclue": 2412, "texte": "& It is a period of darkness, broken, now and then, by a ray of light\nthat enables us to obtain an occasional glimpse of a few only of the epi-\nsodes of that cruel and inhuman struggle, in which the power of right\nwas ultimately to triumph over the right of power. JZ7 JZ? JZ/\nThere is no record of the part that puppets played in that terrible\nand sanguinary drama. If we are not to lose all trace of our poor little\nwooden 44 figurine \", we must be content to glean some phrase, here\nand there; to gather, as best we may, some slight indication ; to collect,\nwith jealous care, some notice, picked up in a hundred books, and in\nthousands of documents, scattered and heaped away without order in\nnumberless Libraries. & JZ? JZ?\nAnd yet some parts in that drama must, undoubtedly, have been taken\nby marionettes. It is sufficient, in proof of it, to point to the lively\ninterest, which was manifested, during the last part of the decadence of\nRoman \" Civiita \", by the Neophytes of the Christian religion for that\ninfantile and popular spectacle. There was one advantage that puppets\ninvariably possessed ; the fathers of the Church had always a very tender\nregard for them, and they never made any secret of it. Their reprimands,\nimprecations and anathemas were all directed against living actors; for\nmarionettes, they had nothing but caresses, compliments and honied\nphrases, full of benevolence and affection. St Clement of Alexandria,\nTertulllan and Synesius often make mention of marionette theatres,\nand always with kindness, drawing from them many examples and moral\nreflections. & 4? &\n& At the beginning of the Middle Age, when the struggle between hea-\nthenism and faith in the Gospel was at its highest point, puppets of the\ntheatre, like their brethren of the church, were obliged to cast themselves\namong the ruins of the temples. Hatred of pagan anthropomorphism had\naroused a feeling of furious antipathy towards all miracles of plastic and\nmechanical art. Statues and images were destroyed by the demolishing\nhammers of iconoclasts; automata of the 44 arte dedalica \" were torn to\npieces and the many intricate parts of their delicate internal organism\nwere scattered everywhere, so that, amidst the insane fury of that blind\nfanaticism, the broken and mutilated bodies of more than one \"Mandu-\nco \", of more than one 44 Maccus \" and of more than one 44 Petreia \" were"}, {"page_pdf": 48, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.48", "debut_caractere": 23, "fin_caractere_exclue": 2480, "texte": "mingled with the marble fragments of an \" Apollo of a \" Vulcan \" or\na \" VenusJ£? & JZ? & &\n& It was not long, however, before Christianity began to realise the\nadvantages that might be gained for the new beliefs and new aspirations\nby the adoption of real representation in place of abstract symbols and\nformulas. A school of thought that was gifted with broader principles,\nand inspired with more eclectic doctrines, maintained that it was right,\nand even praiseworthy, to employ in the service of God all the powers\nof human skill, and to use them as efficacious means of propaganda,\nand as mediums wherewith to act upon the imaginations and senses of\nthe multitude and to elevate, little by little, the most obtuse intelli-\ngences to the knowledge of sacred mysteries and the supreme truth of\nfaith. Arnobius, Tertullianus, Origen and Abelard were opposed to the\nemployment of paintings and sculpture, but St. Ambrose, St. Damasus,\nSt. Gregory the Great, and, in the end, St. Thomas defended the appli-\ncation of works of art to religious purposes.... and they won the battle.\n& The figure of Jesus Christ, represented hitherto in the form of a lamb,\nnow assumed the human aspect; the Cross, adorned up to that'time with\nflowers and crowns of thorns only, had the head of the Redeemer painted\nupon it, and, soon afterwards the bust and, still later the whole body,\nno longer merely painted, but carved in relief and nailed upon the\nwood with real nails. And as in this world everything repeats itself and\nhuman life is nothing more than a succession of recurring events, so, in\na relatively short space of time, Christian clergy began to have recourse\nto the artifices and practices of the augurs and pagan priests and churches\nwere filled with carved images in ivory, marble, bronze, wood and terra\ncotta; statues of the Eternal Father, of Christ, of the Virgin and of the\nSaints, who, by means of Internal mechanism, moved head, arms and eyes.\njgt The secret of these sympathies is explained In two words: The hatred of\ntheatrical spectacles sprang more especially from the too great danger to\nthe souls of the faithful which might arise from that bare-faced nudity,\nthat coquettry full of lasciviousness, those carresses, those kisses, those\nembraces, rendered yet more exciting by the shameless promiscuity of\nthe two sexes on the stage; those voluptuous gestures, those obscene\ndances and those languid and provocative glances which those low-necked"}, {"page_pdf": 49, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.49", "debut_caractere": 23, "fin_caractere_exclue": 2419, "texte": "and short-skirted actresses cast at the spectators, There was nothing of\nall that In the Puppet performances, which might sometimes arouse\nlaughter but never lust; stir interest but never fire the passions.\nO\" the puppet stage no one could be said to infringe the precept of\nDeuteronomy, \"The woman shall not wear that which pertaineth unto\na man neither shall a man put on a woman's garments ; for all that\ndo so are abomination unto the Lord thy Qod &\nNor would St Basil have been able to call the \" castello \" of the pup-\npets \" a general and public school where one learns every form of licen-\ntiousness nor would St Cyprian have called the marionette theatre \" a\nbrothel of public shame, a seat of obscenitynor would other Holy\nFathers have reproved the licentiousness of the coreographic performances\nand the shameless licence of the gestures of the actors.\n&It Is in fact the opinion of the gravest treatise-writers that the\npassages of St Thomas, St Bonaventura and St Antonino which are less\nhostile to the stage plays, actually refer to the Puppets, as those which\nbest fulfil the mission of diverting without danger, and of offering to\npious souls an innocent recreation. They even think that the histrion,\ncompanion of St. Pancrazio in the glory of Paradise, cited by St Thomas,\nwas really a bura.ttina.io, one of those who wander round playing the\npiffero and making puppets, threaded through with a string, dance.\nThus it appears that during the Middle Ages the new religion, like\nthe old, availed itself of \" scultura meccanica \" in the pomp of its\nliturgy, in its processional ceremonies and in its representation of the\nMysteries. To the Apollo of Heliopolls had succeeded the Crucifix of\nNicodemis ; to the Theban Venus the Madonna of Orihuela.\n1 said \" in the pomp of its liturgy \" and in support of my words I\nproduce the testimony of Lombard, an old and truthful writer in the\ncounty of Kent, who affirms the existence of a mechanical crucified body\nin a church at Boxley, that, during the sacred service, moved its eyes\nand head by the action of secret springs.... and I quote also the account\nof Maundrell, Chaplain to the English Factory of Aleppo, who on a visit\nto the holy places in 1697, saw the monks of the Church of the Holy\nSepulchre, represent on Mount Calvary, \" according to a custom that\nhad been followed from time immemorial \" the episode of the crucifixion,"}, {"page_pdf": 50, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.50", "debut_caractere": 23, "fin_caractere_exclue": 2449, "texte": "using for the purpose a figure of the Saviour that was \" quite flexible\nas though it had been of real flesh, and articulated in such away that\nit could assume any attitude almost like a natural corpse And 1 added\n44 in processional ceremonies \" because 1 remember the legend relating\nto the 44 Volto Santo\" of Lucca, which on being carried processionally\nfrom the Cathedral through the streets of the city, raised its hand in\nbenediction of the people who were thronging its way.\n£? As to the representation of the Mysteries, onejnight multiply examples\nand citations by hundreds. It was the custom, common to all churches\nand -to all mediaeval monasteries, in the most solemn festivals and in\nthe most sacred commemorations of the year, 'to erect great wooden\nstages in their naves and chapels, and to cover them with carpets,\narras and painted scenes; sometimes they were decorated with evergreen\nor with cork-wood, or again with moss-covered stones, in imitation of\nhills, valleys and pathways, or in other ways adapted to the representa-\ntion of some of the most dramatic episodes of the Passion of Our Lord,\nor in the life of the Virgin and Saints.^\n& The 44 personaggi \" necessary for that kind of exhibition, were either\nlarge or small 44 fantocci \" according to circumstances; they were carved\nand coloured to life, and were richly clothed, and sometimes covered\nwith gold and jewels; they were also so adapted with springs and in-\nternal mechanism, that ail their limbs could be made to move by the\naction of strings and levers and thus to suit their movements to the\nparticular scene or event that it was desired to display.\n& These figures, which during the festival had excited the admiration,\nand stimulated the devotion of the faithful, were then placed upon the\naltar; this happened in the case of a figure of the Madonna di Orihuela\nin Spain, where the abuse was carried so far that in the holy Synod of\nOriolana in the year 1600 a prohibitive order was issued against what\nwas described as a wicked and shameful act. That, in that instance, they\nwere real puppets, called in the Spanish language 44 titeres \", is made\nclear by another paragraph in the Sinod's order, which reads:.... 44 We\n*\ncondemn and reprove and desire the perpetual prohibition of the practise\nof representing in church or elsewhere, the actions of Christ or of the\nblessed Virgin or saints by means of moving figures connected with wires"}, {"page_pdf": 51, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.51", "debut_caractere": 23, "fin_caractere_exclue": 2377, "texte": "and mechanical wheels, such as are commonly described by the name of\n44 tlteres\".\nBut prohibitions and canons are hardly ever sufficient to eradicate\nan inveterate habit. Religious puppets made a pretence of submission\nand obedience to the synodal decree, but after a short interval they re-\nappeared in the sanctuaries and assumed again their former liberty, and\nto such an extent, that in all churches, and especially in those in country\nplaces, it became the prevalent custom to represent 44 Presepii \" during\nChristmas time and 41 Calvarii \" in the Passion week, a custom that has\n*\ncontinued even up to our own days.\nAt Torre del Greco, not far from Naples, and not so many years ago,\nI, myself, saw the Cathedral of that industrious and populous city com-\npletely transformed by wooden structures, erected in imitation of a hill,\nthe summit of which was reached by broad paths through projecting\nrocks. The walls of the church were hidden by scenes that were admi-\nrably painted in prospective, and by branches and evergreens, covered\nwith white cotton flock to simulate snow. All around among the rocks\nand stones, that were covered with moss and creeping plants, there were\ndeep valleys and gorges, and, here and there, cottages, huts and windmills,\nall made in proportion and peopled with a myriad of figures dressed in\nreal cloth ; peasants and country people taking their flocks to pasture,\nanimals of all kinds roaming about the hill sides, soldiers and signori\nof all lands, some on foot, others on horses, and all dressed in accor-\ndance with national habit. Moreover, in places, were shops of every kind,\nfully opened and provided with all necessaries. At the top of the hill\nwas the 44 Presepio \" with movable figures, that were controlled and\nguided by expert operators, concealed behind the scenery, and crowds\nof people ascended each day, threading their way slowly, and finally at\nthe end of their journey kneeling praying and weeping before the Beth-\nlehem Manger that was illuminated with a great light.\n&We are in the nineteenth century and we pride ourselves on being\nunprejudiced people, experienced, indifferent, free thinkers, atheists*\nrationalists, naturalists, unbelievers. Xs? jjgZv\nThink what must have happened in the Middle Ages, In the days of\nfierce fanaticisms, of asceticism, of burning controversy, of frequent con-"}, {"page_pdf": 52, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.52", "debut_caractere": 23, "fin_caractere_exclue": 2231, "texte": "version and of daily miracles, The Council of Trent tried to put a stop\nto the abuse of religious marionettes, but puppets rebelled against the\nholy Synod leaving religion for satire and the church for the theatre,\nwherefore they were accused of magic and witchcraft, and were tortured,\nburnt, beheaded and buried \"alive \" and in the fourteenth century we\nfind them in Venice, piaying the principal part in the festival of the\nMaries.\nChronicles of the tenth century tell us that in the year twelve\nbeautiful Venetian maidens, richly clothed and covered with jewels, went\nforth from their homes in procession in order to complete the religious\nceremony of their marriage with an equal number of young men at the\nchurch of \" Santa Maria deila Salute\" on the Marina, when, suddenly a\nhorde of Barbary pirates, coming from Trieste in swift sailing ships, de-\nscended on shore and attacked the crowd that was following the proces-\nsion and, profiting by the confusion and terror that arose, took possession\nof the maidens and carried them away. But as soon as the first moment\nof alarm had passed, the hardy youth of the country rose up and rushed\nto arms, following the pirates, rescuing the brides and avenging with\nblood the dishonour that had been done. & & &\n& From that day it has been the custom to celebrate in Venice every\nyear on the same date the festival of the Maries by a procession, lasting a\nweek, of twelve young girls, selected for their beauty and conduct, and\ndressed with great luxury at the expense of the State, and who were then\nmarried to twelve young men and provided with dowries supplied by the\npublic treasury. The expense was enormous, and the selection of the\nmaidens was not only difficult, but proved to be a source of trouble,\nquarrel, and dissension. Wherefore it came to pass that little by little\nthe custom was modified, and in place of living girls, an equal number\nof mechanical figures were substituted ; (i) and these were dressed once\nfor ail and were brought out every year on the day of commemoration\nfrom the storehouses of the \" SignoriaWe shall see later, when we\n\nNOTES.\n(i) How much will be simplified when the same substitution takes place\nupon the stage! J. S."}, {"page_pdf": 53, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.53", "debut_caractere": 23, "fin_caractere_exclue": 2426, "texte": "return to the subject, what influence this Venetian festival had in the\ndestiny of Italian \" JS?\n& In the meantime let it be clear that, driven from churches and convents,\nwhere, every now and then they contrived to reintroduce themselves,\nmore or less publicly, our articulated 44 fantoccini \" established them »\nselves in open spaces, adjoining cathedrals and abbeys, whenever any\ngreat religious service was being carried out, and in markets and Fairs,\nsetting up their booths, disposing their scenes and increasing the number\nof their performances, which., at least., were based upon episodes of holy\nscripture, incidents from the old and new Testament, legends of miraclesg\nand of punishment and conversion of notable evil-doers. * £/\nThus sprang up the theatres of Puppets. In that way began the\n\" Mysteries \", which in subsequent increased proportion,, perfected and\nsupplied with every kind of mechanism and \" effetti speitacolosi \" fur-\nnished arguments and material for the first roving dramatic campanies ;\nthus also began the \" farse \" dialogued first for two puppets, then acted\nby several \" fantoccini \" dressed in a particular way, and speaking each\none in his native dialect... a type and model of the \" maschere \" that\nmade the fortune of the Italian theatre.\nBut we must leave the Middle Ages and turn a little to the puppets\nof modern times, following them in Italy, in France, in England, in Spain\nand in Germany, showing them as consolers of the life of Charles V. at\nthe monastery of St. Just, through the management of the celebrated\nGianello Torriani, the modern Archimedes; as infusing life in the Fronda\nat the Porta di Nesle in Paris with the famous Brioche, as companions\nof Scarron and Achille Du Harlay, as founders of Vaudeville and of the\nOpera comique, as first enemies and then friends of Voltaire, who received\nthem in his castle at Cirey ; as first adversaries and then allies of Piron\nand Lesage, who wrote their comedies and dramas both in verse and\nprose ; as praised by La Fontaine and Malezieux and protected by the\nDuke de Chartres; as guests of the Duchess de Maine at Sceaux, of the\nDuke de Bourbon at Tresmes and the Duchess de Berry at Versailles.\nIt is something to see puppets taking their part in the great revolution4\nand to witness the decapitation of Pulcinella on the same spot and at\nthe same moment as King Louis XVI and the Queen Marie Antoinette."}, {"page_pdf": 54, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.54", "debut_caractere": 23, "fin_caractere_exclue": 1467, "texte": "& It will not be time wasted to go with the marionettes to Meudcn to\nV\nthe Duke of Guise's, to Saint Germain to the palace of the great\nLouis XIV, and to penetrate into the aula of the Academie frangaise to-\ngether with Arlecchino! & &\nWe shall also see puppets In England taking part In politics, in Spain\nmixing themselves with matters of religion, in Germany fighting on the\nside of Luther and giving life to the heroes of the \" Edda \" and the\nwarriors of Nlehelungen, to the \" canzoni \" of the time of the Carlovin-\ngians and to the great epic of Eaust. We shall see Corneille and Moli&re\nrepresented by marionettes; we shall see the list [of writers for puppet\ntheatres enriched by thfe most illustrious names: Malezieux, Lesage,\nPiron, Favart, Fielding, Voltaire, Shakespeare, Rousseau, Curran, Goethe,\nBeranger, Ch. Nodier, George Sand... and we shall see Haydyn, the great\nHaydyn, engaged at the Court of Weimar in composing for the mario-\nnettes of prince Antonio Esterhazy, five operette, which the great master\ndid not in his later life regard as unworthy of his fame or his genius,\nbut of which, on the contrary, he transcribed the titles and dates in the\ncatalogue of his complete works, with his own hand. Finally we shall\nsee that the history of puppets, so modest and so simple in appearance\nis bound up in a hundred ways with the most arduous questions and\nthe most important events in the history of humanity.\nTo be continued."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c025", "article_bluemountain": "bmtnaau_1912-10_01#c025", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "143", "image_debut": 55, "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=bmtnaau191210-01.2.12", "titre_corps": "EARLY ENGLISH PUPPET SHOWS : An Extract from the \"Ancient Mysteries\" of William Hone", "titre_sommaire": "EARLY ENGLISH PUPPET SHOWS : An Extract from the \"Ancient Mysteries\" of William Hone", "signature_source": "William Hone", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 2290, "texte": "EARLY ENGLISH PUPPET SHOWS:\nAn Extract from the \"A Mysteries\" of\nWilliam Hon. 1823.\nHphe Tatler of May 14, 1709, cites a letter from Bath, describing the\nrivalry of Prudentia and Florimel, two ladies at that watering place.\nFlorimel bespoke the play of Alexander the Great, to be acted by the\ncompany of strollers on Thursday evening, and the letter-writer accepted\nthe lady's invitation to be of her party ; but he says, •' Prudentia had\ncounter-plotted us, and had bespoke on the same evening, the poppet-\nshow of the Creation of the World. She had engaged every body to\nbe there ; and to turn our leader into ridicule, had secretly let them\nknow that the poppet Eve was made the most like Florimel that ever\nwas seen. On Thursday morning the poppet drummer, Adam and Eve,\nand several others that lived before the flood, passed through the streets\non horseback to invite us all to the pastime, and the representation of\nsuch things as we all know to be true ; and Mr. Mayor was so wise as\nto prefer these innocent people, the poppets, who he said were to re-\npresent Christians, before the wicked players who were to show Alexander\nan heathen philosopher. When we came to Noah's Flood in the show,\nPunch and his wife were introduced dancing in the ark. Old Mrs. Pe-\ntulant desires both her daughters to mind the moral; then whispered\nto Mrs. Mayoress, •* This is very proper for young people to see\". Punch\nat the end of the play made Madam Prudentia a bow, and was very civil\nto the whole company, making bows till his buttons touched the ground\".\nSir Richard Steele in the Spectator of March 16th, 1711, Intimates that\nPowell, the puppet-show man exhibited religious subjects with his pup-\npets, under the little piazza in Covent Garden; and talks of ** his next\nopera of Susannah, or Innocence betrayed, which will be exhibited next\nweek with a pair of new Elders. & &\nStrutt quotes a puppet-showman's bill, in the reign of Anne; at the\nBritish Museum, which announces scriptural subjects as follows: \" At\nCrawley's Booth, over against the Crown Tavern, in Smithfield, during\nthe time of Bartholomew Fair, will be presented a little opera, called\nthe Old Creation of the World, yet newly revived ; with the addition\nof Noah's Flood; also several fountains playing water during the time"}, {"page_pdf": 56, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.56", "debut_caractere": 28, "fin_caractere_exclue": 2377, "texte": "of the play. The last scene does present Noah and his family coming out\nof the ark, with all the beasts two by two, and all the fowls of the air\nseen in a prospect sitting upon trees ; likewise over the ark is seen the\nsun rising in a glorious manner; moreover a multitude of angels will\nbe seen in a double rank, which presents a double prospect, one for the\nsun the other for a palace, where will be seen six angels ringing of\nbells. Likewise machines descend from above, double and treble, with\nDives rising out of hell, and Lazarus seen in Abraham's bosom,\nbesides several figures dancing jiggs, sarabands, and country dances, to\nthe admiration of the spectators ; with the merry conceits ot Squire\nPunch, and Sir John Spendall\nPerhaps the adventures of Punch in the common puppet-show, gave\nrise to dramatic performances of greater celebrity. Punch always comes\nup gay, heedless, and very well satisfied with himself. He is [a sensual,\ndissolute, hardened character, who beats his wife and child, has a tho-\nrough contempt for moral reputation, disregards the advice of the priest,\nknocks him down, dances with his female associates, is a little frightened\nby a spectre, becomes as bad as ever, does not fear the devil, fights with\nhim, is conquered, and finally carried off to hell. The adventures of\nDon Juan, or the Libertine Destroyed, of the theatres, and the Don\nGiovanni of the Italian opera, seem but an amplified representation of\nthe adventures of Punch, the libertine destroyed, in the puppet-show\nof the streets.\nThe English puppet-show was formerly called a motion. Shakespeare\nmentions the performance of Mysteries by puppets; his Autolycus fre-\nquented wakes, fairs, and bear-baitings, and \" compassed a motion of\nthe Prodigal Son \". On a Twelfth night, in 1818, a man, making the\nusual Christmas cry, of \" Gallantee show, \" was called in to exhibit\nhis performances for the amusement of my young folks and their com-\npanions. Most unexpectedly, he \" compassed a motion of the Prodigal\nSon \"by dancing his transparencies between the magnifying glass and\ncandle of a magic lanthorn, the coloured figures greatly enlarged were\nreflected on a sheet spread against the wall of a darkened room. The\nprodigal son was represented carousing with his companions at the\nSwan Inn, at Stratford; while the landlady in the bar, on every fresh"}, {"page_pdf": 57, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.57", "debut_caractere": 29, "fin_caractere_exclue": 1491, "texte": "call was seen to score double. There was also Noah's Ark, with 44Pu1l\nDevil, Pull Baker,\" or the just judgment upon a baker, who sold bread\nshort of weight, and was carried to hell in his own basket. The reader\nwill bear in mind, that this was not a motion in the dramatic sense of\nthe word, but a puppet-//7re exhibition of a Mystery, with discrepancies\nof the same character as those which peculiarized the Mysteries of five\ncenturies ago. The Gallantee-showman narrated with astonishing gravity\nthe incidents of every fresh scene, while his companion in the room played\ncountry-dances and other tunes on the street organ, during the whole of\nthe performance. The manager informed me that his show had been the\nsame during many years, and, in truth, it was unvariable ; for his entire\nproperty consisted of but this one set of glasses, and his magic lanthorn.\n1 failed in an endeavour to make him comprehend that its propriety\ncould be doubted of; it was the first time that he had heard of the\npossibility of objection to an entertainment which his audience witnessed\nevery night with uncommon and unbounded applause. Expressing a hope\nthat 1 would command his company at a future time, he put his card\ninto my hand, inscribed, 44 The Royal Gallantee Show, provided by Jos.\nLeverge, 7, Ely Court, Holborn Hill;\" the very spot whereon the last\ntheatrical representation of a Mystery, the play of Christ's passion, is\nrecorded to have been witnessed in England,"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c027", "article_bluemountain": "bmtnaau_1912-10_01#c027", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "145", "image_debut": 58, "image_fin": 59, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.13", "titre_corps": "THE \"SOCIETY OF THE MARIONETTE\"", "titre_sommaire": "THE \"SOCIETY OF THE MARIONETTE\"", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 1953, "texte": "THE \"SOCIETY OF THE MARIONETTE\".\nJ. S.\ne intend to form a Society of the Marionette. Mr Gordon\nCraig has consented to act as President of the\nWe are In no great hurry, but shall be pleased to\nhear from any one who is Interested in our project.\nSome where in England we shall hope to establish a little\nhome for the Marionette and to this end shall be glad to hear from anyone\nin England who is ready to offer practical assistance of one kind or\nanother.\n& Concerning this we do not as yet Invite suggestions as to performan-\nces, for the first thing to be decided is that the performances can be given.\nAH we need is Just the names and addresses of those of you who are\ninterested, and two lines saying what you will do. In fact, you press the\nbutton: we do the rest, (i) JS? £?\n& Meantime letters announcing the intended formation of the Society\nare being sent to some of the leading members of the Marionette Thea-\ntre here in Italy, where, especially in the South, the influence of the\nMarionette is very strong. JZ? JZ?\nThe following is addressed to Don Gregorio Qrasso, (brother of the\ngreat Sicilian actor, Giovanni Grasso), who directs a puppet theatre, de-\nscended to him from his grandfather, in Catania. JZ?\nTo Don Gregorio Grasso.\nDear Sir,\nyou be an honorary member of a Society of Marionettes?\n& The idea of the Society is to arrange that as many performances\nas possible may be seen by as many people as possible...\nThe Marionette can never die and we do not Intend to be guilty of the\nimpertinence of believing that we can add to the centuries that are be-\nfore him. All those that love the Marionette know that he is immortal.\nAll we desire to do Is to let his influence drift northwards.\nTo this end we shall not stir ourselves energetically, knowing how\nforeign such exaggerated .activities are to his whole nature.\n\n(i) Letters sbotald be addressed to 44 Tfoe Secretary o! the Society of the Marionette, Arena Ooldoai, Florence,\nItaly"}, {"page_pdf": 59, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.59", "debut_caractere": 37, "fin_caractere_exclue": 567, "texte": "We shall not make centres nor reclame concerning him, but here\nand there, now and then, a word or two will be spoken, and possibly\nfurnished appartments can be found for him In some of the cities that\nhe has not frequented of late. &\nFor instance in Florence there is the Arena Goldonl entirely at the\ndisposition of the marionettes, and if there Is anyone who is acting as\ncicerone for these little creatures who cares to bring them to the Arena\nGoldoni to perform for the rich and the poor, the place shall be at their\ndisposal."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c030", "article_bluemountain": "bmtnaau_1912-10_01#c030", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "150", "image_debut": 59, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.14", "titre_corps": "THE GAME OF MARIONETTES : Letters to a Friend", "titre_sommaire": "THE GAME OF MARIONETTES : Letters to a Friend", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.59", "debut_caractere": 569, "fin_caractere_exclue": 1504, "texte": "THE GAME OF MARIONETTES; Letters to a\nFriend\nfrom Gordon Craig.\n\nLETTER ONE,\nf you wish to write dramas write them for marionettes.\nBut you must first study the marionettes. If you do so\nyou will find they are more interesting than men or\nthe ants.\nThe best way to study them is to prepare a small\nhouse for them and then to find some Italian or French\nmarionettes and have a good look at them when housed\nand comfortable.\nTake a little trouble for them and they will prove\nas grateful as the fairies. Do not forget that at night\ntime when the fairies enter the houses of the wise or the sweet they\nalways look for partners with whom to dance and nothing pleases them\nmore than to find some well dressed marionettes at home.\nThe bodies of Italian or French marionettes are very cheap. You buy\na little one in Florence for one soldo (a halfpenny); a larger and better\ndressed one for two soldi. All over the world the price is about the"}, {"page_pdf": 60, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.60", "debut_caractere": 30, "fin_caractere_exclue": 2149, "texte": "same. A king's body, a general's, a priest's, and a monk's for a halfpenny,\na Harlequin, a Pierrot, a Pantaieone, a Stenterello for a penny. The\nFlorentine Stenterello is a very well made marionette ; you can buy them\nin a little shop in the Via Romana between the two turnings Via del\nCampuccio and Via S. Maria. &\nThe best way to make a house for a marionette is to make it rather\nlike a theatre. Take a kitchen table, of smooth white wood, and on it\nerect a simple frame work. Herd is a design to show you the shape of\nthe frame work. Let the table be 8 ft long and 2 ft broad and as smodth\nand white as you like.\n& You'll probably have to get a carpenter to make this table.\n& Let your frame-work be made of pine-wood which is two inches square\nin thickness when planed and ready to use. Fix it firmly into position\nas indicated in figure A. And how to do this you know as well as I do.\nIf you don't, consult a carpenter at 8d per hour. &\n& When this frame-work is in position add to it a proscenium of pine\nwood or three-ply over which you paste or glue a covering of tightly\nstretched holland of a good coarse grain. Let the holland be undyed.\nFix this proscenium tightly to the front of your stage screwing it from\nthe back.\nAround the proscenium arch you can add what is called a u return \".\nLet this \"return\" be three inches broad, (figure C). Again consult your\ncarpenter. Behind this you suspend a pair of sliding curtains of the same\ncolour as the proscenium. JZ?\nWhen you have done all that 1 tell you, suspend your marionettes\nsomehow or other so that they rest .their feet on the stage. Then go\nto bed. •• • •\nIn the morning have a look at them. Don't weary yourself by paying\nthem any morning compliments; they don't understand a word of En-\nglish ; and don't get it into your head that they want to be giggled up\nand down ; they don't appreciate much movement. Take my advice and\nlet them rest; avoid if possible telling them to go and hang themselves.\nIn short, waste your time but not your energy with them and see what\nhappens.\n& As for scenery and plays and what to do, put it all off till tomorrow"}, {"page_pdf": 63, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.63", "debut_caractere": 15, "fin_caractere_exclue": 2152, "texte": "or the day after if possible. These things make themselves If you won't\nworry them too much ; all you have to do is to wait and do as the ma-\nrionettes tell you. Remember they are a Race, an immortal Race, so try\nand hear what they are telling you; open your eyes and you'll hear.\nLETTER TWO. June 11, 1910.\nI have received your letter with plans and drawings of your carpenter's\nattempt to make the stage. There seems nothing wrong about it,...0n1y\na few measurements, and you seem to think of making the back of your\nstage solid wood. It is best only a framework because you will need space\nfor your hands and your head sometimes if you use fingers and mouth\nwith which to hold the strings of your marionettes,.... presuming that\nyou suspend the figures; for, as you probably know, the Javanese hold\ntheir figures on a long thin stick beneath the stage ground line. I'll\nsend you some details of these fellows one day later on.\nYour figures should be about six inches high for out=of=do\"br scenes;\nfor Indoor scenes, Palaces, let the figure be six inches and for Cottages\ntwelve inches or a little more. Man is always really greater or smaller;\nthings don't change, but let man change even as he changes in the\nreal world. &\nAlways make your man before you make your surrounding in spite\nof the book of Genesis, and clothe him with care. The feather in a man's\ncap can sometimes exceed the stature of the man. (see page 250).\n& As a general Rule remember to avoid nearly all our modern theatrical\neffects. Therefore at the beginning do all you can to avoid making your\nstage modern in shape and idea.\n& You see that here we have not as yet avoided the old picture-frame\nproscenium. Think out something different. 1 only gave it to you to try\nyour teeth upon,... especially your wisdom tooth.\n&In considering the sense of the proscenium remember that between\nspectator and performer there must be a Barrier and a Path .*... the aim\nis to divide yet unite; to repel while attracting, n'est ce pas?\nThen what is the kind of thing to be placed there twixt me and you..?\nThe old proscenium won't do in the end. Still, make it, as I say, for"}, {"page_pdf": 64, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.64", "debut_caractere": 30, "fin_caractere_exclue": 479, "texte": "present use and destroy It after you've discovered a subtler barrier with\na subtler pathway through it. £? £? £? £?\nThis Is not intended to puzzle you, but it is exactly one of those\nlesser problems of the Theatre which no one takes the trouble to\nconsider: they think It is solved:... It Is not. Let me hear some day if\nyou come across a solution while watching the moths In the evening\nattempting to enjoy the pleasures of the Lamp.\n\nGordon Craig."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c032", "article_bluemountain": "bmtnaau_1912-10_01#c032", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "147", "image_debut": 61, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.14.2", "titre_corps": "Plans for a Marionette Theatre", "titre_sommaire": "Plans for a Marionette Theatre", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 31, "texte": "Plans for a Marionette Theatre."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c036", "article_bluemountain": "bmtnaau_1912-10_01#c036", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "155", "page_fin": "155", "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=bmtnaau191210-01.2.17", "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": 69, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 318, "texte": "Shewing the manner in which the Guignel Is manipulated. If you possess a\nnatural aptitude you may possibly with some years hard work learn to manage\nthese figures with facility.\nThe Guignol, although o! a later and rather more comman species, is still a\nmarionette, and direct descendant o? the great and ancient race."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c038", "article_bluemountain": "bmtnaau_1912-10_01#c038", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "157", "page_fin": "158", "image_debut": 71, "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=bmtnaau191210-01.2.18", "titre_corps": "A NOTE ON EASTERN PUPPETS", "titre_sommaire": "A NOTE ON EASTERN PUPPETS", "signature_source": "Sir William Ouseley", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 2231, "texte": "A NOTE ON EASTERN PUPPETS\nby Sir William Ouseley. 1823.\nthe evening of the 24th, Major Christie invited me, with some other\nfriends, to partake of an entertainment at his quarters. He first\ngratified us by an exhibition of seven or eight pahlawans or wrestlers.\nTo this buffoonery succeeded a puppet-show.\n& One man having unfolded a sheet or curtain of greenish linen, and\nfixed it on a wooden frame about 3 feet long, established his little\ntheatre in two minutes, and seated himself inside, where he managed\nthe puppets and was concealed from our view; whilst another, standing\nclose to' the frame outside, conversed with the principal personages, and\nserved to explain the story. jsf\nPahlawan, \"the illustrious hero or warrior\" (In England called Punch),\nhappening to look out of his door or window, beholds a young lady and\nimmediately becomes enamoured ; but his friend (the man sitting outside)\ninforms him that he must not cherish a passion which would certainly\nprove hopeless, or perhaps cause his destruction, this fair damsel being\nsister to several ferocious dives, or monstrous giants.\nPahlawan sighs and whines in a most ridiculous manner; one brother\nthen appears, a very formidable figure, with a hideous face and two long\nhorns. The lover betrays some symptom of fear; but at last attacks the\ndiv, and after many loud collisions of wooden skulls and fists, he con-\nquers and kills the giant, and hangs his carcase head down-wards over\nthe stage, in front. JS & &\n& Another of this frightful race, a yellow div, next encounters Pahlawan,\nand falls in a deadly combat; a red, a white, a black, and a speckled\nbrother, one also having the head of dog, and another with a single but\nimmense horn, successively fight the lover, are all slain, and hung in a\nrow with the first monster. The mother t00... an old sorceress or witch,\nhaving a black face and white hair shares the fate of her sons.\nPahlawan immediately resolves to carry off his mistress and enjoy the\nfruits of his victory ; but the discreet monitor advises him to marry the\nyoung lady with due forms and ceremonies.\nA Mula or priest, a Kazi or magistrate, a lawyer, and others attend ;\na bargain for the dowry is regularly made; then follows the arusi or"}, {"page_pdf": 72, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.72", "debut_caractere": 32, "fin_caractere_exclue": 1606, "texte": "nuptial procession, in which a man displays fire-works on his head, and\nseveral dancing girls and musicians appear; at length Pahlawan is in-\ntroduced to his lovely bride, and expresses the force of his amorous\npassion by gesticulations more intelligible than delicate; although out of\nrespect to the English gentlemen present (or, as I believe, in consequence\nof a hint from Major Christie), much of the Indecency was suppressed,\nwhich generally renders this concluding scene the chief delight of Turks\nand Persians. &&£?&&&&&\n& We heard that ladies of high rank condescend to smile at the exhibi-\ntion of this puppet show, with which their husbands sometimes treat\nthem, and that on these occasions no part of the original performance is\nomitted. Both of this entertainment and of the farce which preceded, the\ndialogues were constructed in Turko or Turkish, as spoken by the wan-\ndering tribes and lower classes of people inhabiting the northern provin-\nces of Persia.\n& My imperfect knowledge of this dialect rendered me incapable of\nthoroughly comprehending the many passages which excited bursts of\nlaughter among the crowd ; but they were evidently replete with humour\nas 1 could judge even from an explanation of them in Persian.\nThe managers of these shows, and the musicians who attended them,\nwere said to be mostly of the Karachi (or Gypsy) tribe already mentioned.\nPahlawan, 1 must here remark, squeaked in exactly the same kind of\nfeigned voice as Punch in our common English puppet-shows.\n\" Travels in Various Countries of\nthe East; more particularly Persia\"."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c040", "article_bluemountain": "bmtnaau_1912-10_01#c040", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "161", "image_debut": 73, "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=bmtnaau191210-01.2.19", "titre_corps": "UNTIL TODAY THE ARTIST : A Lost Incident in the Book called Genesis", "titre_sommaire": "UNTIL TODAY THE ARTIST : A Lost Incident in the Book called Genesis", "signature_source": "Ivan Ivanowitch", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 73, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.73", "debut_caractere": 0, "fin_caractere_exclue": 1537, "texte": "UNTIL TODAY THE ARTIST; A Lost Incident\nin the Book called Genesis\nby Ivan Ivanowitch.\nn the olden days.... when down in Eden Bower the\nserpent destroyed the happiness of man and woman, God,\nthough seeming to leave these two droll beings to their\nfate like an angry father, melted into tears as he fled back\nto heaven through the evening.\nAnd one of the tears of God was full of the sap of bitterness and joy\nand as it felt to earth it became living and took a human form. It resem-\nbled a man though Its essence was the essence of God. And from that\ntime until now this being, welling up from the very heart of God yet\nmade in the likeness of man, was through its supreme knowledge of\nbitterness and Joy so filled with tender compasslo'n for man that he partly\nundid the evil work of the serpent. And whenever man and woman\ntrembled with a great fear at the horrible visions which appeared to\nthem through their desire for knowledge, he eased their hearts by then\nand there revealing to them some lovely vision.\nAnd he created that which we call Music, Poetry, Painting and Archi-\ntecture and these were created out of the fulness of his pity for man\nand woman.... And he was the first Artist. &\nHe had and still has something eternal in him, and he suffers more\nand is more happy than all others, for he feels more and therefore\nmore than other men. And his special happiness is to tell'of what he has\nseen in a beautiful way. And when he first came amongst men he was\nwelcomed by many, and some of these he took apart and whispered to"}, {"page_pdf": 74, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.74", "debut_caractere": 25, "fin_caractere_exclue": 2208, "texte": "them the secret of his birth..., and he taught these few how to capture\nugly sounds and turn them into beauty and how to look at horrible\nsights and reflect beautiful pictures... and how to hear ugly words and\ncrush them till beautiful cries issued from them. And: man was eased\nfrom the overwhelming burden of his remorse and felt delight in these\nworks... without understanding them... and they called them Works of Art.\nAnd these beautiful things restored the balance which the Devil plot-\nted to destroy. And for a long time man found the utmost happiness in\nBeauty without exactly understanding it.\n& And one day a fool arose amongst the people and complained that to\nwaste money and time and feeling on what they did not understand was\na fool's way and to prove that he was a wise man he added \" 2 would\nnot act In such away.\" &\nAnd this Fool was a great and valued personage on the earth by\nreason of his folly, for he was a great glutton and a good thief and a poor\nanimal in his ways, and was therefore able to provide mankind with\nneedful things in the winter. & & jg? &\n& For he stole the eggs from under the hens and the skins from off\nthe very backs of the sheep and goats with whom he slept, and there\nwas never a single night which passed without the crying of lambs being\nheard, and even the great wolves and the brown bears were fooled and\ntrapped by him in hundreds by reason of his friendly bestial way and\nby his great cunning. ,:is>\n& And with every succeeding age these winter needs grew greater, for\nClod had turned away his face from the face of the earth, and it grew\ncolder and colder, and the people for this reason valued the presence\nand power of the FooS. jg? &\nAnd the Fool grew mightier and more brutal, and mankind by lear-\nning to depend on him learned to obey him. And he commanded them\nand they worshipped him. And the other Fools made Images of him and\nplaced them upon altars. And these images were true representations of\nfalsehood, and were hideous to behold. &\n& And then the Artist moved. & & & & &\n& And he fashioned an image out of his remembrance of his Father,\nleaving out all that tasted of bitterness and filling the image with all the"}, {"page_pdf": 75, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.75", "debut_caractere": 29, "fin_caractere_exclue": 768, "texte": "fire of joy. And he set it up one night facing the north from whence the\ncold wind was always blowing, and awaited the rising sun.\nsoon the light crept round the earth and over the hills, and It\ntouched the image, upon which were graven [the words, \" To the un-\nseen God\". jg?\nAnd instantly God became manifest, and everyone who saw the image\nknew that the unseen God was lovely to have given birth to so beautiful\nan image. And God turned back once more towards the earth. &\nAnd he looked so smilingly at the image of himself,.... an image so\nunlike and yet so true,... that he forgave mankind all their weaknesses.\n& And God was once more Master: mankind once more obeyed,\nand the Artist was forgotten. &\nAnd all this is as it should be."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c044", "article_bluemountain": "bmtnaau_1912-10_01#c044", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "162", "image_debut": 76, "image_fin": 76, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.20", "titre_corps": "SIMON OF CYRENE : An Unpublished Story", "titre_sommaire": "SIMON OF CYRENE : 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": 76, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.76", "debut_caractere": 0, "fin_caractere_exclue": 1971, "texte": "SIMON OF CYRENE. An Unpublished Story\nby Oscar Wilde.\nThis story was told by Wilde to Miss Aimee Lowther when a child\nand written out by her. A few copses were privately printed but\nthis is the first time it has been given to the public. & &\nOther stories of the same series appeared in the , April\nand July numbers of The Mask. &\n*Jphe old man sat with bowed head and patient back, while the futile\nrecriminations of his angry wife beat about his ears.\nLike an endless cascade splashed the dull reiteration of her reproaches;\n\" Senseless grey-beard, why did ye lose your time loitering on the way?\nYour father, and his father, and his father before him, all were keepers\nof the temple gate; and, had you been prompt when ye were sent for,\nye would doubtless have been made keeper likewise. But now a readier\nman hath been chosen.\n\" Oh ! most foolish old man who did prefer to loiter on the way, so\nthat, forsooth, you might carry the cross for some young carpenter, a\nseditious\n& \" 'Tis true,\" said the old man. \" 1 met the young man who was to\nbe crucified, and the centurion bade me carry his cross. And after that\n1 had carried it to the top of the hill, I still lingered, because of the\nwords which he spake, for he was sorely grieved, but with a grief which\nwas not for himself, but for others, and the wonder of his words held\nme there, so that 1 forgot all things \". & &\n& \" Yes, in verity you forgot all tilings, and the little sense you ever\nhad, and so came too late to be made keeper of the temple gate I Are\nyou not ashamed, to think that your father, and his father, and his father\nbefore him were all keepers of the gate of the Lord's house, and that\ntheir names are written thereon in letters of gold, which will be read\nby all men in times to come for ever and for aye ? But thou, vain old\ndotard, alone of ail thy kin, will never be heard of again, for whom In\nall the world, when thou art dead, will ever hear the name of Simon of\nCyrene ? \" & *&&&&&,&"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c045", "article_bluemountain": "bmtnaau_1912-10_01#c045", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "166", "image_debut": 77, "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=bmtnaau191210-01.2.21", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.77", "debut_caractere": 0, "fin_caractere_exclue": 1655, "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS\nMUCH ADO ABOUT NOTHING.\nby E. W. Godwin. 1875.\nM-ch Ado about Nothing contains in the first scene sufficient to show\nthat the Spaniards and Italians who there return to Sicily \" from\nthe wars,\" must have been contemporaries of Charles V., Francis 1., and\nHenry VIII. My notes on Henry VIII, and the Two Gentlemen of Verona (1)\nmay thus be taken as being more or less illustrative of this play. The\ntown of Messina is the place of the action throughout the comedy, and\nthe scenes, though numbering seventeen, may with care be reduced to\nfour arranged in six Acts, a liberty that may perhaps be allowed as the\nfirst quarto shows no division by means of Acts. The arrangement I pro-\npose would be as follows .*... J£? £? &\nAct I. The garden, including... I\nThe garden, orchard, arbour, and\nportion of the house or palace of\nLeonato, the Governor of Mes-\nsina : 2. The street outside the\ngarden; 3. At the back the ex-\nterior of the church.\nAct 11. A hall in Leonato's house.\nAct HI. The garden (in two scenes.)\nAct IV. The inside of a church.\nAct IVa. The prison.\nAct V. The garden (eliminating\nthe third scene).\nHow the garden Scene is to be\narranged so as to include, besides\nthe alleys and the arbours, the street for the watch and the penthouse\nfor Conrade and his friend, can best be seen by reference to the annexed\ndiagram, where M N is the proscenium, S the street, P the penthouse over\nthe gateway leading from the garden, O the of chard, B \"the pleached\nbower where honeysuckles ripen'd by the sun forbid the sun to enter,\"\n\n(1) See •• The Mask \" Vel: 111 p. 73 Vol; IV p. 102 and Vol: II p. 168."}, {"page_pdf": 78, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.78", "debut_caractere": 31, "fin_caractere_exclue": 2456, "texte": "X the \"thick-pleached alley,\" H the house with a covered arcaded ter-\nrace round it, W seats fixed, and C the church where the watch sits till\ntwo in the morning. *&■\n& To understand the architecture of Messina, and therefore that suited\nto the play, it may be as well to turn for a moment to the somewhat\nsingular architectural history of Sicily. The earliest buildings of which\nany remains exist are Doric-Greek, to these succeded works bearing suc-\ncessively the distinct marks or influence of I. Carthage; 2. Rome ;3.\nByzantium ; 4. Arabia ; 5. Normandy ; and 6. Mediaeval Italy. Through\nall, however distant, the spirit of the earliest... the refinement of the\nGreek... was made manifest, so that in looking at the twelfth and thir-\nteenth century Gothic of Sicily we are not looking at what is commonly\nknown as Gothic but at a Greek translation of it, for through all her\nmanifold changes, in spite of varying fashion, the island felt to the last\nthe calm simplicity, the refined strength of her first Dorian lover, and\nthrough all the excitement which for centuries raged round her, in the\nwhirl of conquest and the confusion of the rising and falling of nations\nand commonwealths, she never once wholly forgot him or forsook him.\nHere and there his influence may be said to have declined, as in some\nof the towns of her northern coast, where the architecture has a Roma-\nnesque, Lombardic, or even Provencal tone about it; but on the south\nside of the Island the memory of her first civilisation haunts her to this\nday. Now Messina is on the northern coast, and its mediaeval architecture\nis therefore, as 1 have just now said, more Romanesque and less Greek\nin its spirit than what it would have been on the other two coasts. Mes-\nsina, we must not forget, is a cathedral town as well as a seaport, its\nmother church, like that at Monreale, is built upon the basilican type,\nand, at the time of which I am writing, was not far from being a fairly\naccurate Romanesque edition of its southern neighbour. The buildings\nwere constructed of white stone, whether they dated from an early or\nlate time, but they looked much whiter than they really were from the\npowerful contrast afforded by the dark woods which formed the back-\nground to the city on one side, and the deep colour of the Mediterranean,\nwhich relieved It, on the other side. £>■ <2? &\n& Leonato's house may, then, be Romanesque, or Gothic, or Renaissance."}, {"page_pdf": 79, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.79", "debut_caractere": 27, "fin_caractere_exclue": 2232, "texte": "The last-mentioned style is that which seems to me to be the most\n„ probable, and consequently his hall would be not far removed In character\nfrom that of Baptista Minola. jZt jZ?\njZ? The inside of the church need not trouble us , there are so many\ncareful and measured drawings published of the churches of Sicily, that\nthe true portrait Is almost as easy to be attained on the stage as the\ncaricature we have hitherto seen.\nThe prison scene may very well be the means of Illustrating the early\nRomanesque architecture in Its fortified aspect; and about this, too,\nthere is not a shadow of difficulty.\nThe references in the text to accessories afford a further contribu-\ntion to the lists of articles of wearing apparel, furniture, &c., given in\nmy notes on other plays, tiius\n\" He wears his faith but as the fashion of his hat; it ever changes\nwith the next block.\" (Act i., Sc. I.)\n\" The body of your discourse is sometime guarded with fragments, and\nthe guards are but slightly basted on neither.\" (Act i, Sc. 1.)\njZ? \" What fashion will you wear the garland of ? About your neck, like\nan usurer's chain? or under your arm Sike a lieutenant's scarf?\" (Act\nii., Sc. 1.) jZ?jZ/jZ/<Z?jZ?j&j&J&\n\" 1 have known when he would have walked ten mile afoot to see a\ngood armour; and now will he lie ten nights awake carving the fashion\nof a new doublet.\" (Act ii., Sc. 3.) £? jZ? ■£? ■£?\n& \" There is no appearance of fancy in him, unless it be a fancy that\nhe hath to strange disguises ; as to be a Dutchman to-day; a Frenchman\ntomorrow; or in the shape of two countries at once, as, a German from\nthe waist downward, all slops ; and a Spaniard from the hip upward, no\ndoublet.\" (Act 132., Sc. 2.) zz? jZ? jZ?\nAmong the habits or manners of the young lover of this time we find\nthat he brushes his hat every morning, shaves ciose, rubs himself with\ncivit, washes his face and paints it. But the most detailed reference to\ncostume is in the fourth Scene of the third Act; here we have a little\ndiscussion between the lady and her attendant on the style of the rabato\n(the neck-band, ruff, or collar), the colour of the false hair and the tire\nand then follows great praise of Hero's wedding dress by the side of"}, {"page_pdf": 80, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.80", "debut_caractere": 18, "fin_caractere_exclue": 2164, "texte": "which the far-famed gown of the Duchess of Milan was \" but a night-gown\"\nalthough it was made of cloth of gold, slashed and laced with silver and\nset with pearls, having \" down sleeves\" (trunks) and \"side sleeves\"\n(hanging sleeves) and skirts round, underborne with a bluish tinsel. This\nsame lady, who so eclipsed the Duchess of Milan, wears gloves of excel-\nlent perfume, which she tells us were a present from the Count and were\nno doubt made of cheverilor soft kid, excellently stitched, and embroi-\ndered with gold or silver thread ; in fact, a rather Important sort of gift.\nBut rich gifts... soft kid, pearls, gold, and the rest... wax poor indeed\nwhen actors and actresses, absorbed in the finery of their situation, sink\nto the level of little more than lay figures for the exhibition of fashions.\nIn ordinary every-day life, the people who represent on the stage the\nfine dame, the noble duke, or the foreign potentate, are so little accus-\ntomed to art, or anything like good style in living, that it is with dif-\nficulty they can appear unconscious of their stage surroundings. Every\nmovement of their bodies says plainly \"this is a very telling sort of dress\nand no doubt it must arrest attention ; but I never wore anything like\nit before.\" Even in modern comedies we see the weak actress dominated\nby the sheer material force of millinery, and in the revival of old plays\nwhen fairly genuine costume and scenery approaching reality are produ-\nced, the mass of actors and actresses simply look imbecile. We give them\nthe benefit of the doubt, and assume that they are inside the clothes,\n«\nbut they certainly do not wear them. The human form becomes at last a\nmere peg, with four movable peglets fixed in it, and costume is thus\ntoo frequently brought into ridicule by the Ignorant, and made the\nscapegoat for the incapable player. Scenery and costume we want to see\nprogress until both shall be so natural as to be unobtrusive; but still\nmore do we desire to see some signs of progress in those who stand\nbetween us and the past, as the living illustrators of the manners of\nthat past, and the Interpreters of its mighty dramatist."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c048", "article_bluemountain": "bmtnaau_1912-10_01#c048", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "168", "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=bmtnaau191210-01.2.22", "titre_corps": "LETTERS TO THE EDITOR", "titre_sommaire": "LETTERS TO THE EDITOR", "signature_source": "George Chaucer", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.81", "debut_caractere": 0, "fin_caractere_exclue": 2047, "texte": "letters TO THE EDITOR.\nENGLAND, ROYALTY AND THE ARTIST.\n\nSir.\nan Englishman I find very little time to be in England, for\nwhat with travelling in India and China and attending to my work\nthere, I get only a month to spend as I like in England. Therefore, of\ncourse, I am not perhaps able to secure quite the right point of view\nthat others more favoured than myself are able to command. This\nperhaps explains the extraordinary impression I have lately received on\na visit to England.\nMy impression is that London is too full of disloyal persons... I mean\ndisloyal to the King and Queen. I would not like to exaggerate their\nnumber, but I should certainly say that as individuals they were not\nunimportant persons. Now if there is a thing which infuriates me it is\nto hear people, even in jest, speaking lightly of either the King or Queen,\nand as I notice that your Journal is very properly extremely royalist,\nnot only in regard to England but in general, I feel that it is the right\nplace to send my note to.\nThat Mr Keir Hardie, or Mr Grayson; or any of the other jovial hu-\nmourists of England should make a joke out of what they cannot under-\nstand is pardonable, but that men and women of very superior rank\nshould so lower themselves as to fool away the thing that is most\nprecious to them, is a situation one would like to think is too ridiculous\n*\nfor the in to indulge in.j&\n£? While 1 was in England 1 heard any amount of rubbish spoken about\nboth the King and the Queen who, if these extremely intelligent chat-\nterboxes are to be believed, neither take any interest in their country,\nnor the arts, nor anything.\njsf I suppose that these advanced people wish to convey that the country,\nand the arts, and the other things are not in quite so flourishing a\ncondition as they might be. Of course that is very difficult to decide\nand investigation in each department would be necessary before the\ntruth could be got at, but to take one department only, that in which\nyou are most interested... the arts... it does seem as though something"}, {"page_pdf": 82, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.82", "debut_caractere": 24, "fin_caractere_exclue": 1860, "texte": "were lacking in England, but that that has anything to do with the King\nor the Queen is preposterous. & &\n& If some of those who surround their Majesties do not perform their\nduties properly, and do not point out to them what is good in art, what\nis developed and what should be developed, that is only the fault of\nthose persons whoever they may be, and I for one should not regret to\nsee such bad servants removed and others put in their place; but because\nthe servants are bad is no reason why we should lessen ourselves by\nlowering the standard of royalty, which in England seems to be about\nas good as you can find on earth.\n& It is many centuries since kings have cared to be egoists. In those\ndays countries were well governed because they were governed by the\nking, and governed in this way, that being royal personages, and being\ntreated as such, they were surrounded by men whose sense of royalty\nwas very considerable. ■£?\nNow that we are ruled by a pack of cards, by a group instead of a\nman, nobody with any royalty in him troubles to express his opinion.\nA\nNo one in his senses for instance would dream of persuading a pack of\ncards to purchase English paintings by masters of to-day and to leave\nRembrandt and Raphael in Rotterdam and Rome. & &\nBut in the old days the royalist of distinction had but to whisper\nthe name of an English artist in the ear of the King and miracles were\naccomplished.\nWhen you come to think of it what is left of Louis XIV ? nothing\nexcept the works of art of his period. What is left of Caesar but Cleopatra?\nof the Pharoahs ? nothing whatever except the works of art.\nWell then, dear Sir, I think I have come to the end of my letter.\nP. S. I need hardly tell you that 1 am descended from an old poet whose\nname may not be unfamiliar to your readers. <£» &\n\nYours faithfully,\nGeorge Chaucer."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c050", "article_bluemountain": "bmtnaau_1912-10_01#c050", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "172", "image_debut": 83, "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=bmtnaau191210-01.2.23", "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": 83, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.83", "debut_caractere": 0, "fin_caractere_exclue": 1583, "texte": "BOOK REVIEWS.\n\nBOHEMIAN JINKS. 1908. THE\nGREEN KNIGHT, A VISION. 1911.\nby Porter Garnett. Bohemian\nClub. San Francisco, Cal:\n\njporter Garnett writes books. He\nis an American and there is there-\nfore little reason why he should\nwrite books.\nYou must not suppose from my\nsaying this that he writes them\nbadly; lie writes them very well,\nthat is the worst of it. He writes\nthem too well. In reading a book\nof his the suggestion is given that\nhe could write a book every day.\nHe has got the knack, and a knack\nis a dangerous thing. He lives in\nCalifornia where the trees are large\nand high, where probably half an\nhour would be sufficient time for\nhim to be lost in a Jungle. Therefore\nit is all the more extraordinary that\nhis books have nothing of the jungle\nabout them and are like the well\npaved streets of a European capital.\nAmericans are queer, adorable\nand abominable, as somebody once\nwrote In The Mask. They have the\nbiggest cities in the world and the\nbiggest Jungles, and nothing very\nvital seems to come out of either\nof them. JZ?\n& They cannot as an excuse say\nthat they have not had masters:\nthey have had some supreme men,\nto mention only two; Lincoln and\n*\nWhitman, and these two are Ameri-\ncan through and through. Whitman\nseems to have absorbed both the\nlife of the city, and that of the open\nair. It is Traubel who only in last\nMay's \"Conservator\" points out that\nwhen Walt ran from the town and\nburied himself in the country, it was\nonly that he might as it were carry\nto some quiet spot the precious\nthings that he discovered in the\ntown. In the same way he returns"}, {"page_pdf": 84, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 2365, "texte": "to the city with the precious things\nwhich he has found in the country.\nOther writers go off to get local\ncolour in the country. Arrived there\nthey write a poem in praise of the\npig, and when they return to the\ncity they \" sever all connection\"\nwith the country as if it were a\nthing to be forgotten and not talked\nabout.\nNow Porter Garnett lived for a\nwhile in the forest where the Bohe-\nmian Club was established. This club\nwas supposed to be a place where\nyou could forget care by absorbing\nnature; but into that club a lot of\nthose men have carried all the stu-\npidities which belong to a town. The\nfact of their eating In the open air\nat an encampment, about five or\nsix hundred at a time, is a Jolly\nidea. One imagines them sitting on\nthe edge of a bank and having a bit\nof bread* and butter and some cheese,\nand some of them, having brought\nout a bigger hamper, sharing that\nhamper with a group of five or six\nold friends. But what do we find by\na photograph in the Bohemian Jinks\nbook which Mr Porter Garnett has\nsent us ? We find three sumptuous\ncircular tables at which the five or\nsix hundred are seated. Cooks to\nthe right of them, valets to the left\nof them, while the cooks are even\ndressed like French chefs.\nIt is nothing but the pose of the\nopen air; it is not the real thing.\nNo great art can come out of that\nkind of thing and therefore the art\nof Porter Garnett cannot be indl-\nvi dual until it escapes from such\ntomfoolery.\nAnother picture in the same book\nshows us a place called Temple Bar,\na kind of classical temple, where 1\nsuppose Jolly good drinks are sold,\nbut there is no earthly reason why\nthey should have chosen a noble\ni\nforest to put such a place in. \"Magic\nCity\" would have been better; it\nis pure \"Luna Park\".\nThere are several pictures which\nshow us performances which are\ngiven in this wonderful forest, and\nsome which even show us the per*\nformers. Neither performances nor\nperformers seem to me to have\nany connection with the spirit\nwhich is in the forest. The mark of\nthe theatre, (the bad theatrical)\nsmears nature. Look at the photo-\ngraph on page 84 of two pantomime\nfigures called Woodmen who take\npart in a performance called \" The\nTriumph of Bohemia\". I happened\nto be last night at the performance\nof the \" Rheingold \" and these two\npantomime figures were there. They\ncame on to the stage and stalked"}, {"page_pdf": 85, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.85", "debut_caractere": 17, "fin_caractere_exclue": 2348, "texte": "about like two giants in a panto-\nmime. They had funny beards and\nwhiskers and their eyes were like\ngoggles. They took easy respectable\nattitudes such as an awkward man\nwould attempt to take in a drawing\nroom. They were clothed in skins\nand had hairy things on their feet\nand legs. In fact they were exactly\nlike these woodmen in \"The Triumph\nof Bohemia \". £? & &\n•£? 1 see no good in this kind of\nthing. If America cannot do better\nthan that on its own America is not\nthe place we all take it to be. I\nknow a lot of Americans, young\nfellows who are beginning painting,\nwriting, sculpture and the rest. I\nlike them all very much indeed\nthey are nice fellows... but they one\nand ail of them are unable to draw,\nwrite, make sculpture or carve with-\nout an audience and without being\npaid. They have not learnt the first\nthing : that success has not anything\nwhat ever to do with a work of art.\nThey do not know that a work of\nart comes into being because of a\nman's discontent with the disorder\nthat reigns in what is called the\n** Civilised World &\nAlthough the artists do not make\nthe laws or govern the country they\nsay the word which makes those\nlaws and which makes others govern\nthe country. History shows us this\nquite clearly. Very well then, the\nartist must first of all retain his in-\ndividuality, and must keep his in-\ndependence and his freedom to the\nend. J£? JS/ JZ/\nIt is for this reason that America\nis such an opportunity; the laws\nare not fixed there. They are search-\ning for a government, searching\nfor religion, searching for every-\nthing. Z&\n£? All that the artists have to do is\nto point this out to them, and as\nAmerica is the child of the artists\nthey must not get impatient, but\nthey must treat it in the same way\nas a father and mother combined\ntreat their child. JZ? uZ>\nThere must be no question of re-\nturn ; it is they who give, it is the\ncountry which accepts and is un-\ngrateful. jZ? JZ/\nWhitman is just such a man. Ame-\nrica to him was nothing but his\nchild, it could run away, It could\ndeny him, it could come back, it\ncould go away again, it could behave\njust as it wished ; but no one will\ndeny for a minute that he mastered\nit, and what some of us here wish\nto see over there is a few more\nwriters, painters, sculptors and ar-\ntists handling the wilful child in\nthe same quiet big manner.\n\nE. E."}, {"page_pdf": 86, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.86", "debut_caractere": 15, "fin_caractere_exclue": 2297, "texte": "THE YOUNG NIETZSCHE By\nFrau Forster-Nietzsche, Heine-\nmann. Price fifteen shillings net.\nHphis book is a disappointment.\nJS* I had always looked upon\nNietzsche as Artist and as real Man,\nand as one who could laugh at him-\nself. This book shows him as thinker\nin \"Germany\" and as \" man of a\nsect of men \". He has suddenly\nbecome small. Is it the fault of this\nbook, or of Nietzsche, or of both\nAnd what is to be made of the\npassages about Hedwig Raabe and\n\" the young Dutch girl, Fraulein\nTr \" on pages 161, 348, 389, 350\nand elsewhere? It seems from these\nas though Nietzsche had never faced\na woman: it makes him out a coward.\n\\\nAgain, is this Frau Forster Nietzs-\nche's fault, or Nietzsche's? or both?\nWhich ever it may be one can say\nthat Frau Forster-Nietzsche, for\nall her adoring sisterly affection,\nhas only succeeded in giving us a\npicture of Nietzsche which is a dis-\nappointment, if not a disillusion ;\n...which is a pity for Frau Forster\nNietzsche herself, ....and for us.\n\nTHE RENAISSANCE.Studies\nArt and Poetry by Walter Pater.\nMacmillan. Price one shilling\nnet.\nMacmillan have acted\nwisely in reissuing this book at\na price which brings it within the\nreach of all, for it is one which should\nbe in the hands of every critic and\n\" student of aesthetics \".\nThe fine pages of the Preface\nalone, on the office and work of the\naesthetic critic, can hardly be too\nclosely studied for the light which\nthey throw upon that function which\nPater defines as \" to distinguish, to\n\" analyse, and separate from its\n\" adjuncts, the virtue by which a\n\" picture, a landscape, a fair per-\n\" sonality in life or in a book, pro-\n\" duces this special impression of\n\" beauty or pleasure, to Indicate\n\" what the source of that impression\n\" is, and under what conditions it\n\"is experienced \" ; remembering\nalways that \" what is important,\n\" then, is not that the critic should\n\" possess a correct abstract defini-\n'* tion of beauty for the intellect,\n\" but a certain kind of tempera-\n\" ment, the power of being deeply\n\" moved by the presence of beauti-\n\" ful objects. \"\n\nMANCHESTER PLAYGOER.\nTwo Shillings and sixpence per\nannum, x? x?\nnphe first number of this journal\nhas only arrived in time for us\nto give it a welcome and wish it\nwell in the work it. aims to do on\nbehalf of the Theatre."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c051", "article_bluemountain": "bmtnaau_1912-10_01#c051", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "171", "image_debut": 83, "image_fin": 85, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.23.1", "titre_corps": "BOHEMIAN JINKS by Porter GarnettTHE GREEN KNIGHT, A VISION by Porter Garnett", "titre_sommaire": "BOHEMIAN JINKS by Porter GarnettTHE GREEN KNIGHT, A VISION by Porter Garnett", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 83, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.83", "debut_caractere": 15, "fin_caractere_exclue": 1583, "texte": "BOHEMIAN JINKS. 1908. THE\nGREEN KNIGHT, A VISION. 1911.\nby Porter Garnett. Bohemian\nClub. San Francisco, Cal:\n\njporter Garnett writes books. He\nis an American and there is there-\nfore little reason why he should\nwrite books.\nYou must not suppose from my\nsaying this that he writes them\nbadly; lie writes them very well,\nthat is the worst of it. He writes\nthem too well. In reading a book\nof his the suggestion is given that\nhe could write a book every day.\nHe has got the knack, and a knack\nis a dangerous thing. He lives in\nCalifornia where the trees are large\nand high, where probably half an\nhour would be sufficient time for\nhim to be lost in a Jungle. Therefore\nit is all the more extraordinary that\nhis books have nothing of the jungle\nabout them and are like the well\npaved streets of a European capital.\nAmericans are queer, adorable\nand abominable, as somebody once\nwrote In The Mask. They have the\nbiggest cities in the world and the\nbiggest Jungles, and nothing very\nvital seems to come out of either\nof them. JZ?\n& They cannot as an excuse say\nthat they have not had masters:\nthey have had some supreme men,\nto mention only two; Lincoln and\n*\nWhitman, and these two are Ameri-\ncan through and through. Whitman\nseems to have absorbed both the\nlife of the city, and that of the open\nair. It is Traubel who only in last\nMay's \"Conservator\" points out that\nwhen Walt ran from the town and\nburied himself in the country, it was\nonly that he might as it were carry\nto some quiet spot the precious\nthings that he discovered in the\ntown. In the same way he returns"}, {"page_pdf": 84, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 2365, "texte": "to the city with the precious things\nwhich he has found in the country.\nOther writers go off to get local\ncolour in the country. Arrived there\nthey write a poem in praise of the\npig, and when they return to the\ncity they \" sever all connection\"\nwith the country as if it were a\nthing to be forgotten and not talked\nabout.\nNow Porter Garnett lived for a\nwhile in the forest where the Bohe-\nmian Club was established. This club\nwas supposed to be a place where\nyou could forget care by absorbing\nnature; but into that club a lot of\nthose men have carried all the stu-\npidities which belong to a town. The\nfact of their eating In the open air\nat an encampment, about five or\nsix hundred at a time, is a Jolly\nidea. One imagines them sitting on\nthe edge of a bank and having a bit\nof bread* and butter and some cheese,\nand some of them, having brought\nout a bigger hamper, sharing that\nhamper with a group of five or six\nold friends. But what do we find by\na photograph in the Bohemian Jinks\nbook which Mr Porter Garnett has\nsent us ? We find three sumptuous\ncircular tables at which the five or\nsix hundred are seated. Cooks to\nthe right of them, valets to the left\nof them, while the cooks are even\ndressed like French chefs.\nIt is nothing but the pose of the\nopen air; it is not the real thing.\nNo great art can come out of that\nkind of thing and therefore the art\nof Porter Garnett cannot be indl-\nvi dual until it escapes from such\ntomfoolery.\nAnother picture in the same book\nshows us a place called Temple Bar,\na kind of classical temple, where 1\nsuppose Jolly good drinks are sold,\nbut there is no earthly reason why\nthey should have chosen a noble\ni\nforest to put such a place in. \"Magic\nCity\" would have been better; it\nis pure \"Luna Park\".\nThere are several pictures which\nshow us performances which are\ngiven in this wonderful forest, and\nsome which even show us the per*\nformers. Neither performances nor\nperformers seem to me to have\nany connection with the spirit\nwhich is in the forest. The mark of\nthe theatre, (the bad theatrical)\nsmears nature. Look at the photo-\ngraph on page 84 of two pantomime\nfigures called Woodmen who take\npart in a performance called \" The\nTriumph of Bohemia\". I happened\nto be last night at the performance\nof the \" Rheingold \" and these two\npantomime figures were there. They\ncame on to the stage and stalked"}, {"page_pdf": 85, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.85", "debut_caractere": 17, "fin_caractere_exclue": 2348, "texte": "about like two giants in a panto-\nmime. They had funny beards and\nwhiskers and their eyes were like\ngoggles. They took easy respectable\nattitudes such as an awkward man\nwould attempt to take in a drawing\nroom. They were clothed in skins\nand had hairy things on their feet\nand legs. In fact they were exactly\nlike these woodmen in \"The Triumph\nof Bohemia \". £? & &\n•£? 1 see no good in this kind of\nthing. If America cannot do better\nthan that on its own America is not\nthe place we all take it to be. I\nknow a lot of Americans, young\nfellows who are beginning painting,\nwriting, sculpture and the rest. I\nlike them all very much indeed\nthey are nice fellows... but they one\nand ail of them are unable to draw,\nwrite, make sculpture or carve with-\nout an audience and without being\npaid. They have not learnt the first\nthing : that success has not anything\nwhat ever to do with a work of art.\nThey do not know that a work of\nart comes into being because of a\nman's discontent with the disorder\nthat reigns in what is called the\n** Civilised World &\nAlthough the artists do not make\nthe laws or govern the country they\nsay the word which makes those\nlaws and which makes others govern\nthe country. History shows us this\nquite clearly. Very well then, the\nartist must first of all retain his in-\ndividuality, and must keep his in-\ndependence and his freedom to the\nend. J£? JS/ JZ/\nIt is for this reason that America\nis such an opportunity; the laws\nare not fixed there. They are search-\ning for a government, searching\nfor religion, searching for every-\nthing. Z&\n£? All that the artists have to do is\nto point this out to them, and as\nAmerica is the child of the artists\nthey must not get impatient, but\nthey must treat it in the same way\nas a father and mother combined\ntreat their child. JZ? uZ>\nThere must be no question of re-\nturn ; it is they who give, it is the\ncountry which accepts and is un-\ngrateful. jZ? JZ/\nWhitman is just such a man. Ame-\nrica to him was nothing but his\nchild, it could run away, It could\ndeny him, it could come back, it\ncould go away again, it could behave\njust as it wished ; but no one will\ndeny for a minute that he mastered\nit, and what some of us here wish\nto see over there is a few more\nwriters, painters, sculptors and ar-\ntists handling the wilful child in\nthe same quiet big manner.\n\nE. E."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c053", "article_bluemountain": "bmtnaau_1912-10_01#c053", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "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=bmtnaau191210-01.2.23.2", "titre_corps": "THE YOUNG NIETZSCHE By Frau Forster-Nietzsche", "titre_sommaire": "THE YOUNG NIETZSCHE By Frau Forster-Nietzsche", "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": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.86", "debut_caractere": 15, "fin_caractere_exclue": 998, "texte": "THE YOUNG NIETZSCHE By\nFrau Forster-Nietzsche, Heine-\nmann. Price fifteen shillings net.\nHphis book is a disappointment.\nJS* I had always looked upon\nNietzsche as Artist and as real Man,\nand as one who could laugh at him-\nself. This book shows him as thinker\nin \"Germany\" and as \" man of a\nsect of men \". He has suddenly\nbecome small. Is it the fault of this\nbook, or of Nietzsche, or of both\nAnd what is to be made of the\npassages about Hedwig Raabe and\n\" the young Dutch girl, Fraulein\nTr \" on pages 161, 348, 389, 350\nand elsewhere? It seems from these\nas though Nietzsche had never faced\na woman: it makes him out a coward.\n\\\nAgain, is this Frau Forster Nietzs-\nche's fault, or Nietzsche's? or both?\nWhich ever it may be one can say\nthat Frau Forster-Nietzsche, for\nall her adoring sisterly affection,\nhas only succeeded in giving us a\npicture of Nietzsche which is a dis-\nappointment, if not a disillusion ;\n...which is a pity for Frau Forster\nNietzsche herself, ....and for us."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c054", "article_bluemountain": "bmtnaau_1912-10_01#c054", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "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=bmtnaau191210-01.2.23.3", "titre_corps": "THE RENAISSANCE. Studies in Art and Poetery by Walter Pater", "titre_sommaire": "THE RENAISSANCE. Studies in Art and Poetery by Walter Pater", "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": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.86", "debut_caractere": 1000, "fin_caractere_exclue": 2074, "texte": "THE RENAISSANCE.Studies\nArt and Poetry by Walter Pater.\nMacmillan. Price one shilling\nnet.\nMacmillan have acted\nwisely in reissuing this book at\na price which brings it within the\nreach of all, for it is one which should\nbe in the hands of every critic and\n\" student of aesthetics \".\nThe fine pages of the Preface\nalone, on the office and work of the\naesthetic critic, can hardly be too\nclosely studied for the light which\nthey throw upon that function which\nPater defines as \" to distinguish, to\n\" analyse, and separate from its\n\" adjuncts, the virtue by which a\n\" picture, a landscape, a fair per-\n\" sonality in life or in a book, pro-\n\" duces this special impression of\n\" beauty or pleasure, to Indicate\n\" what the source of that impression\n\" is, and under what conditions it\n\"is experienced \" ; remembering\nalways that \" what is important,\n\" then, is not that the critic should\n\" possess a correct abstract defini-\n'* tion of beauty for the intellect,\n\" but a certain kind of tempera-\n\" ment, the power of being deeply\n\" moved by the presence of beauti-\n\" ful objects. \""}]}, {"article_id": "bm-bmtnaau-1912-10-01-c055", "article_bluemountain": "bmtnaau_1912-10_01#c055", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "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=bmtnaau191210-01.2.23.4", "titre_corps": "MANCHESTER PLAYGOER", "titre_sommaire": "MANCHESTER PLAYGOER", "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": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.86", "debut_caractere": 2076, "fin_caractere_exclue": 2297, "texte": "MANCHESTER PLAYGOER.\nTwo Shillings and sixpence per\nannum, x? x?\nnphe first number of this journal\nhas only arrived in time for us\nto give it a welcome and wish it\nwell in the work it. aims to do on\nbehalf of the Theatre."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c056", "article_bluemountain": "bmtnaau_1912-10_01#c056", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "180", "image_debut": 87, "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=bmtnaau191210-01.2.24", "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": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.87", "debut_caractere": 0, "fin_caractere_exclue": 22, "texte": "FOREIGN NOTES.\n\nPARIS."}, {"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.90", "debut_caractere": 22, "fin_caractere_exclue": 29, "texte": "LONDON."}, {"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.94", "debut_caractere": 1140, "fin_caractere_exclue": 1146, "texte": "GENOA."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c058", "article_bluemountain": "bmtnaau_1912-10_01#c058", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "175", "image_debut": 87, "image_fin": 89, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.2", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.87", "debut_caractere": 16, "fin_caractere_exclue": 22, "texte": "PARIS."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c059", "article_bluemountain": "bmtnaau_1912-10_01#c059", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "173", "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=bmtnaau191210-01.2.24.2.1", "titre_corps": "More Practical", "titre_sommaire": "More Practical", "signature_source": "H. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.87", "debut_caractere": 24, "fin_caractere_exclue": 1512, "texte": "More Practical.\nH. B.\nhad all hoped that Mr Gordon\nCraig would accept M. Rouche's\ninvitation to act as artistic adviser\nto the Theatre des Arts, and I sup-\npose we shall know some day why\nhe declined the invitation. &\nThat Mr Craig holds the Theatre\ndes Arts in esteem and considers it\none of the best of the smaller Art\nTheatres in Europe Is evident from\na short conversation I had with him\nlast week, and 1 gather that his\nreason for not bringing his work to\nParis through that particular chan-\nnel is that he does not fee! at present\nable to devote so much time away\nfrom his studies.\n44 You see 1 am studying all\nthe time \" he said, 441 really hardly\n44 have any time to enjoy myself\n44 like all the new-comers have; they\n44 have been clever enough to avoid\n44 all study; 1 haven't. I produced\n44 44 Hamlet\" In Moscow because I\n44 was just beginning to doubt my\n44 own earlier conviction that\n44 Shakespeare is unactable and does\n44 not belong to the stage. So I pro-\n-44 duced 44 Hamlet \" to strengthen\n44 my conviction. 1 am now thorough-\n-44 ly convinced \". &\n& 44 1 am now at work on an edition\n44 of 44 Hamlet \". I shall prove how\n44 delightful and perfect the play is\n44 in book form Count Kessler\n4: is producing the book, He will do\n44 wonders with it \".\nI asked Mr Craig about his future\nstage plans.\n& 44 I have none \" he replied ;\neveryone has plans, and the awful\nthing is that they carry them out\ntoo. Let me be privileged to have no\nplans. It is so far more practical. \""}]}, {"article_id": "bm-bmtnaau-1912-10-01-c060", "article_bluemountain": "bmtnaau_1912-10_01#c060", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "174", "image_debut": 87, "image_fin": 88, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.2.2", "titre_corps": "Original Ideas", "titre_sommaire": "Original Ideas", "signature_source": "J. de S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.87", "debut_caractere": 1514, "fin_caractere_exclue": 1783, "texte": "Original Ideas.\n\ngalome\" has been produced here.\nM. Bakst, Miss Rubenstein and\nM; de Max have done it together.\nIt is a poor play,... unless you read\nit; then it is more or less of a\nrealistic poem.\n£? Aubrey Beardsley illustrated it\nyears ag0...... in fact in the last"}, {"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.88", "debut_caractere": 16, "fin_caractere_exclue": 218, "texte": "century. & &\nOscar Wilde once wrote, \"Realism\nis only a background. It cannot form\nan artistic motive for a play that\nIs to be a work of art. \" £?\nOscar Wilde, alas, also wrote\n\" Salome \". .g/\n\nJ. de S."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c061", "article_bluemountain": "bmtnaau_1912-10_01#c061", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "175", "image_debut": 88, "image_fin": 89, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.2.3", "titre_corps": "M. Doucet..... Humourist", "titre_sommaire": "M. Doucet..... Humourist", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.88", "debut_caractere": 220, "fin_caractere_exclue": 2335, "texte": "M. Doucet,..... Humourist.\n\nHPhere is a clever man in Paris.. .\nand a humourist... his laugh is\nvery broad. His is probably a name\nvery little known to people in Eng-\nland, but those who scanned the\njournals in June last will have seen\nthe name Doucet in connection with\nthe sale of some works of art. They\nhave probably forgotten the name\nand have only remembered the high\nprices which were paid for the col-\nlection. Let me explain how M.\nDoucet is a clever man and a humou-\nrist ; for many years he listened to\nwhat everyone was telling him about\nthe value of certain ancient works\nof art, and he bought these and\nkept on buying them and everybody\nelse kept on raising their value by\nraving about them.\nM. Doucet then allowed many\nyears to elapse and everybody looked\non him as one of the old-fashioned\ncollectors who will buy anything so\nlong as it is old. Then all of a sud-\nden, M. Doucet sells his whole col-\nlection. Where he had bought a\npicture for a hundred pounds he selis\nit for a couple of thousand, selling\nit to the man who likes the sort of\nthing and who believes that It still\nhas value; and then instead of in-\n-4\nvesting the large sum obtained in\naeroplanes or oil fields, M. Doucet\nhas the wit to purchase modem\nworks of art. & jgr\nThere is really something very\nwitty in making a collection of old\nmasterpieces so that he may sell it\nat ten times its value in order to\nencourage modern art. Among other\npictures I believe M. Doucet has\nbought a Monet and a Cezanne.\nI happened to go to the collection\nof ancient masterpieces when they\nwere all set out in a large house in\nthe Rue Spontini. 1 went there by\naccident and did not know that the\nthings were for sale. The fashionable\nworld of Paris was there making\nmouths at everything, and I was\nstruck by the dinginess of the poor\nrelics. Bidding them a last adieu I\nwent out into the fresh air even as\nM. Doucet has bidden them a last\nadieu and gone out into the fresh\nair.\n& 1 do not agree with Mr Marinett!\nthe Futurist, who would like to see\nthe museums and ail that they con-\ntain burnt to the ground, but I\nwould like to see the things all"}, {"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.89", "debut_caractere": 18, "fin_caractere_exclue": 2373, "texte": "scattered about instead of gathered\ntogether Into one vast spider's web\nso suggestive of an old house that\nhas not been kept clean.\nWhy should a thing be preserved\nthat cannot preserve itself ? A thing\never loved will never be destroyed ;\nthere Is always someone to pass It\non to when one dies, or one can\nalways do what M. Doucet has done\nso cleverly; buy it and sell it and\nwith the money develop the new.\nWhere will all this mania for collect-\ning end ? The other day 1 read\nthat an English museum (1 think it\nwas the London Museum), had pur-\nchased a Hansom Cab and was\nexhibiting it as a curiosity. Now\nnobody surely wants to keep a\nhansom cab, and If anyone wants to\nknow what a hansom cab looked\nlike five years ago or even twenty\nfive years ago, he has only to open\na volume like 44 Punch \" and he will\nfind hundreds of them there. Now\nas thousands of copies of \"Punch\" are\nprinted each week, there seems a\nchance of our being able to have a\nfew copies in about a thousand\nyears from now, so that our remote\ndescendants shall be able to study\nall the eccentricities of the Hobble\nskirt and the Turkey trot, of the\nclassical revivals and Futurist revo-\nlutions and all the social and political\nfashions or freaks or customs of\ntoday.\nThe value of the well illustrated\nmodern newspaper is not sufficiently\nunderstood. 1 think all the museums\nmight have a couple of sets put by\nas a reserve. Some day people will\nfinger tbem so much in their search\nfor relics of the past, that they will\nhave to be put into glass cases, and\nthen nobody will get the chance of\nseeing them. 0\n0 I remember when 1 was a young\nman going to the British Museum\nto search for some details to help a\nfriend of* mine in illustrating an\nedition of \"Romeo and Juliet\", and,\nnot knowing the names of the won-\nderful books of Italy, and being pa-\nralysed by fear at the sight of the\nofficials of the museum, when asked\nwhat book 1 wanted, I stammered\nout \"Oh, something like \"Punch,\"\nthe 44 Punch \" of the fifteenth cen-\ntury j0 0\nReally on thinking It over 1 find\nthat that was not a bad idea and\nreminds me of how valuable \"Punch\"\nmight any day become. Besides, how\nvaluable a set of 44 Punch \" would\nbe in about ten years to a man like\nM. Doucet who wished to part with\nit for, let us say, L. 5000*0.0 in or-\nder to establish a new journal, let us\nsay, like \"The Mask.\"\n\nJ. B."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c062", "article_bluemountain": "bmtnaau_1912-10_01#c062", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "180", "image_debut": 90, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.3", "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": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.90", "debut_caractere": 22, "fin_caractere_exclue": 29, "texte": "LONDON."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c063", "article_bluemountain": "bmtnaau_1912-10_01#c063", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "177", "image_debut": 90, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.3.1", "titre_corps": "A Church Ceremony", "titre_sommaire": "A Church Ceremony", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.90", "debut_caractere": 31, "fin_caractere_exclue": 2415, "texte": "A Church Ceremony.\n\n|n all London there is only one\n\" church where plain singing is to\nbe heard week after week. This is\nat St Mary the Virgin, Primrose\nHill. There is incense used in the\nchurch, and you see a few vestments,\nbut the idea of the church is not to\nreturn to Roman Catholic display,\nalthough possibly here and there\npeople might imagine so, but to re-\nturn to the conditions of the early\nEnglish Church, which is quite a\ndifferent thing, and quite a good\nthing. In returning to the early\nEnglish Church they return to plain\nsong, which is a perfect thing, for\nplain song is the only passionate\nspeech that exists. To hear it Is like\nlistening to an inspired talker. It is\nlike everything that is not modern.\nHow strange that the English people\ndo not see that in plain song they\nhave something which is essentially\ntheir own. For real excitement 1\nf\nwould sooner go to St Mary the\nVirgin's Church at Primrose Hill than\ngo to hear and see the Russian\nBallet or visit the Queen's Hall.\nAnd I mean this in the literal\nsense of the word... for the sake of\nreal Excitement. And do you know,\nthat the work there is done without\nan impresario such as the great Mr\nDjagelef; it is done without the\nassistance of the nimble Nijinski,\nand it is done for about as much\nmoney as one man can live uncom-\nfortably upon for a year. Instead of\nthirty to forty boy's voices the En-\nglish pe0p1e,.... that extraordinarily\nreligious nation Is only able to\nsubscribe enough to enable them\nto have ten or twelve. Instead of six\nor seven fine bass voices, they are\nreduced to two, one of these being\nthe organist himself who, almost\nwithout a trained voice, discovers,\nthrough his passionate intensity at\nthe moment of his having to sing,\nthe grand quality... quite the grand.\nI rather wish that the fine men\nwho officiated,... the priests... would\nbend a little, as under the inspira-\nration of the passion in the plain\nsong, and would, when they are\nreading or singing the prayers, con-\ntinue the musical note. There is no\nneed for them to learn from operatic\nor theatrical men this magical les-\nson, but if only they would absorb\nthe music a little more, I feel that\nthe whole performance (and a Church\nCeremony is a performance) would\nbe irresistible.\n& 1 am greatly interested in this\nwork because it is so good, and\nwhile on all sides you hear demands\nfor hundreds of thousands of pounds"}, {"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.91", "debut_caractere": 16, "fin_caractere_exclue": 344, "texte": "to support this or that scheme, 1\ncan imagine no finer investment for\nan English gentleman to make than\nthat of a couple or three hundred\npounds yearly to forward the mu-\nsical work in this church. I should\nnot speak with this conviction if\n1 had not been very much moved\na few Sundays ago, when witnessing\na performance.\n\nE. E."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c064", "article_bluemountain": "bmtnaau_1912-10_01#c064", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "178", "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=bmtnaau191210-01.2.24.3.2", "titre_corps": "\"Blanco Posnet\" at Letchworth", "titre_sommaire": "\"Blanco Posnet\" at Letchworth", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.91", "debut_caractere": 346, "fin_caractere_exclue": 2344, "texte": "\"Blanco Posnet\" at Letchworth.\n\nThe Letchworth Dramatic Society\ngave on August 31st a special\nprivate performance of 4» The Sho-\nwing Up Of Blanco Posnet which\nseems to me to be Bernard Shaw's\nbest play. I thought some years ago\nthat Bernard Shaw would come out\nof that strange dry thing which we\ncan call the chrysalis, and fly Into\nthe air, and he seems to be doing\nit. He is a kind of brown moth but\na good strong one, and the play is\n•particularly good for a Dramatic\nSociety that doesn't possess its own\ntheatre, for it can be played in a\nbarn or any such building and is\nall the better for the open air.\nPlayed in a theatre I should\nthink it would be intolerable and\nso Mr Shaw can be happy that the\nCensor prohibited the performance in\nLondon. &\n& In Letchworth it was played in\nthe open air and in daylight, and\nhad the rain come down it would\nstill not have spoiled the perfor-\nmance in the least. We sat in a\nbarn, the big doors were open, It\nwas very pleasant; it was really\nJust what a theatre should be. We\nwere all a bit too sentimental,\naudience and actors alike, but we\ncan't help that nowadays. It comes\nof being so dreadfully sensitive; I\nshould advise the Letchworth Dra-\nmatic Society to keep a sharp eye\non sentimentality and put it down\nwith a very strong hand. They only\nneed that to become very good\nIndeed. Some times the Company\nacted too much, and sometimes they\nacted very well, that is to say, they\ndid very little. Mr C. B. Purdon as\nBlanco was quite good, especially\nwhen one considers that he was\nworking for the love of the thing.\nHere of course my sentimentality\nbegins to emerge. Horrible thing,\nwhich I shall permit myself to\nindulge in so as not to be out of\nthe picture. One feels so touched\nthat a brave young Englishman who\nworks as a clerk in an estate office\nshould have the pluck etc: etc:\netc: to get up the performance of\na play which has been banned, to\nproduce it In a barn without hopes\nof any profit other than the joy of\nhaving done the work and so"}, {"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.92", "debut_caractere": 18, "fin_caractere_exclue": 1692, "texte": "forth. Then too I got quite sentimen-\ntal about Mr Jack Dent's perfor-\nmance of the Sheriff Kemp; how\ntouching in the large hat which he\nmust have gone to great trouble to\nprocure and which was entirely out\nof the picture. And then the young\nlady, I forget her name, to see her\npainted up to the nines gave rise to\nweakness and sentimentality again.\nThe dear old Theatre ...the rouge.,\nthe hare's foot, tears S But what\ncounted a great deal more than\nsentiment in this performance was\nthe background, across which pass\nnow and again figures and faces\nwithout a scrap of sentiment, very\nalive, that is to say; very alive./s»\nWho is the foreman of the Jury?\nNobody knows of him In London\nbut he is a good actor. That is to\nsay he realised he had to do nothing\nbut be himself. And then there was\nStrapper Kemp, a very good actor,\nand the girls were very good, and\nthe elder Daniels. The whole thing,\nof course, was much better than\nanything one gets in London, and I\nbelieve the whole performance rea-\nlised about. L. 3,0.0. Now I don't\nthink they should have L. 200, o. o.\na performance nor even L.50,0,0 but I\ndon't think that Letchwortli should\nfind it beyond their powers to find\nthat Company L 25.0.0 four times a\nyear. It needs a little money, this\nCompany. That is the first thing.\nThen it needs a little tuition... Just\na little. It only needs a little for\nthis reason, that its powers must\ndevelop slowly; it must walk on\nits own feet without assistance of a\nchair, it must be very full of mar-\nked and individual faults for a long\ntime to come, but it must not culti-\nvate a lot of new artificial\n& I hope to have occasion to speak\nagain about this Company.\n\nE. G. C."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c065", "article_bluemountain": "bmtnaau_1912-10_01#c065", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "179", "image_debut": 92, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.3.3", "titre_corps": "Mr Frohman's Triple Alliance", "titre_sommaire": "Mr Frohman's Triple Alliance", "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": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.92", "debut_caractere": 1694, "fin_caractere_exclue": 2444, "texte": "Mr Frohman'sTriple Alliance.\nTphat Jove-like being, Mr Charles\nFrohman, who Juggles with the\nstars in their courses, calling them\nall by name, and who holds the\nwinds of popular favour in his fists\nis now about to try the effect of a\ndramatic trinity in unity. It is stated\nthat he has commissioned Sir Arthur\nPinero, Mr Barrie and Mr Bernard\nShaw to write each a one-act play,\nthe three pieces to be produced\ntogether as a \" Triple Alliance \" of\ntalent; a three-course bill of\nThis seems a particularly well-\ncalculated idea of Mr Frohman's.\nHas he perhaps been ruminating\nupon it during his long period of\nunobtrusive quiet since the Reper-\ntory Theatre was laid to rest ? For\nof course there is a large public of\nShavians who can always be counted"}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.93", "debut_caractere": 18, "fin_caractere_exclue": 713, "texte": "on to fill the theatre were but the\nPrologue by their leader; Sir Arthur\nPinero has his own following, and\nas for Mr Barrie, why, he has almost\nas many friends as Peter Pan himself.\nSo to arrange his programme In\nsuch away as to gather together\nthese three distinctive, and even\nopposing, parties at each perfor-\nmance is a master stroke of policy\non Mr Frohman's part. It shows a\ntruly mathematical sense of values\nand results. It is a triumph of Box\noffice reasoning and logic... ,4?\n& But, even so, as Publius Syrus\nsaid, \" It is a very hard undertaking\nto seek to please everybody,,.\n*£? This equilateral triangle of talent\nwill be described upon the stage of\nthe Duke of York's Theatre. jg?"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c066", "article_bluemountain": "bmtnaau_1912-10_01#c066", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "180", "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=bmtnaau191210-01.2.24.3.4", "titre_corps": "The Leicester Galleries", "titre_sommaire": "The Leicester Galleries", "signature_source": "G. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.93", "debut_caractere": 715, "fin_caractere_exclue": 2436, "texte": "The Leicester Galleries.\n\nimportant exhibition is being\nheld this month at the Leicester\nGalleries of some of Mr Gordon\nCraig's designs for stage scenery\nand of the models for his recent pro-\nduction of \" Hamlet \" at the Moscow\nArt Theatre. It is an exhibition\nwhich must undoubtedly help to\nclear the minds of such of Mr Craig's\nown countrymen as still cherish cer-\ntain errors concerning hs work, and\nto prepare the way for the realisa-\ntion of his ideas in England as they\nhave begun to be realised on the\nContinent, for it demonstrates yet\nonce more, as the critic of the \"Dai-\nly Mail\" points out, that \"Far from\nbeing an unpractical theorist he\nnow appears to be an eminently\npractical stage designer and Pro-\nducer, a man of action \".\n& In fact one after another those\nwho write of these designs and of\nthe Screens, (Mr Craig's invention,)\nwhich are used in the \" Ham'et\"\nModels, emphasize this PRACTICA-\nLITY of his ideas. \" Some of the\n\" Hamlet \" models show a practical\ningenuity in the use of these plain\nscreens that amazes one with the\nsimplicity and the beauty of its ef-\nfects \" says one; who adds that \"In\nthe matter of lighting effects Rein-\nSi ardt is, to a great extent, just\nCraig put into practise. Elsewhere,\ntoo, Mr Craig's ideas have been\nyielding golden fruit... for others. \"\nSo besides being a fresh demon-\nstration of \" practicality \", this\n\" exhilerating exhibition \" as the\n\" Times \" calls it, is undoubtedly\nawakening many who had not yet\nrealised it to the fact that certain\nproductions over which London has\nbeen enthusing lately have been in\nreality but poor imitations of Mr\nCraig's work, ...a realisation which\nshould certainly prove father to the\ndesire to have real Craig productions"}, {"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.94", "debut_caractere": 20, "fin_caractere_exclue": 674, "texte": "instead of weak copies of what they\nare supposed to be. \"One is impressed\nanew \" writes the \" Times \" critic, by\nthe variety of mood and atmosphere\nthat Mr Craig can achieve by the\nuse of the simplest means; and one\nlongs to see his work in the concrete\nnot merely adumbrated in a drawing\nor adapted by some avowed or secret\nimitator.\" A great many people in\nLondon are echoing his words very\nheartily Just\n1 hear that the northern cities,\n...Manchester, Liverpool, Leeds, Glas-\ngow and others are to have an\nopportunity of seeing the exhibition\nafter it leaves London on September\n30th, lectures being delivered in\neach place upon Mr Craig's work.\n\nG.H."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c067", "article_bluemountain": "bmtnaau_1912-10_01#c067", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 94, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.3.5", "titre_corps": "A Curious Compliment", "titre_sommaire": "A Curious Compliment", "signature_source": "B. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.94", "debut_caractere": 676, "fin_caractere_exclue": 1138, "texte": "A Curious Compliment.\nB. P.\nMarie Tempest \", or in\nplain English, \"kidneys, Marie\nTempest£? JZ?\nI don't know how one can write\nof so charming a lady in connec-\ntion with so charming a dish, except\nto say that one has heard of PSche\nMelba, and Souffl6 Sarah Bernhardt;\nhut there is a slight difference be-\ntween kidneys and peaches. This\ndish was advertised on a menu not\na stone's throw from His Majesty's\nTheatre. How on earth do these\nthings happen In London ?"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c068", "article_bluemountain": "bmtnaau_1912-10_01#c068", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 94, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.4", "titre_corps": "GENOA", "titre_sommaire": "GENOA", "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": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.94", "debut_caractere": 1140, "fin_caractere_exclue": 1146, "texte": "GENOA."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c069", "article_bluemountain": "bmtnaau_1912-10_01#c069", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 94, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.24.4.1", "titre_corps": "The Commedia dell'Arte", "titre_sommaire": "The Commedia dell'Arte", "signature_source": "F", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.94", "debut_caractere": 1148, "fin_caractere_exclue": 2268, "texte": "The Commedia dell'Arte.\nF.\nLast July The Mask gave the news\nof a revival of one of the old\nimprovised plays of the Commedia\ndeli'Arte in Budapest.\nNow it is encouraging to find a\nsimilar revival taking place in Italy\nthrough the enterprise of Signor\nArmando Rossi, whose company has\n«r\nbeen giving a series of performances\nof plays taken from the '* Thddtre\nItalien \" of Gherardi, the plays\nhitherto translated and adapted\nbeing, \" La Precaution inutile\n\"Aitendez-moi sous Forme,\" \"Arle-\nquin poli par l'amour,\" \" Le Jen de\n1'Amour et du Hasardand also\ncertain plays found in very old \"co-\npioni\" of ancient companies, such\nas \" The Return of Arlecchino,\"\n\" The sad effects of Jealousy \" and\n\"Arlecchino as a Savage.\" JZf\nThis repertory, representative\nof the old Comedies of Masks of the\n17th and 18th centuries, has been\nadmirably produced. <0\nSignor Rossi began his perfor-\nmances at Milan, but the critics\nthere had little appreciaton of his\nfine enterprise, lie then proceeded\nto Genoa, Turin, Venice, Bologna\nand other cities, where a far better\nreception awaited him. I hope later\nyou may hear of him In Florence."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c070", "article_bluemountain": "bmtnaau_1912-10_01#c070", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "186", "image_debut": 95, "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=bmtnaau191210-01.2.25", "titre_corps": "CRITICS CRITICISED", "titre_sommaire": "CRITICS CRITICISED", "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": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.95", "debut_caractere": 0, "fin_caractere_exclue": 2348, "texte": "CRITICS CRITICISED.\n\nA REVIVAL IN ITALY.\nIt is ho doubt true that one swallow\ndoes not make a summer; but\nwhen they begin to arrive one after\nanother from different quarters and\nto practise all their charming acti-\nvities beneath the eaves, one is Jus-\ntified in believing that, to say the\n»\nleast of it, summer is on its way.\nAnd so with the theatre : when good\nnews begins to come in from many\nsides, news of keen, intelligent and\n#\nvital enterprises, one feels that the\nwinter of dulness, ignorance and\nindifference is giving way, if but\nvery slowly, and that better times\nare at hand.\nA few months ago there came\nthe news from Budapest of Dr Alex-\nander Hevesi's fine enterprise in\nreviving the art of Improvisation\nwith a performance based upon\nRiccoboni's scenario, 44 Le Defiant \"\nand thus proving the vitality yet\nlatent in the old Commedia dell'Arte.\nNow Signor Armando Rossi has done\nthe same in Italy, re-evoking upon\nthe stage the ancient comedies of\nmasks,\nAnd the public in each case, was\ndelighted. The old, gay, ever-young\nfigures seem to have found as warm\na welcome in their native land as\nthey found in Budapest.\nj& The Italian critics have, however,\nproved themselves less intelligent\nthan the Hungarian in their reception\nof this old-new thing. More than one\nof them was exasperated by Signor\nRossi's enterprise: and they wrung\ntheir hands and cried that it was a\nfolly, a madness, a stupid attempt\nto make the theatre retrograde three\nhundred years : or they turned up\ntheir noses and sniffed at the absur-\ndity of desiring to bring into the\nmodern theatre the \" foolish\" old\nmasks of former times; and al-\ntogether there was much flutte-\nring in the critics' dovecote, much\ngesticulating and shrugging of shoul-\nders and many expressions of con-\ntempt around the little tables in\nthe cafds over Signor Rossi and his\nsingular idea.\nSignor Mario Ferrignl has proved\nhis intelligence as a critic by coming\nforward with a warm defence of\nSignor Rossi's productions in the\n44 Ventesimo \" of Genoa, and has\nmade therein a spirited protest\nagainst the popular and pompous\nassertion of a number of the present\nday critics that \" the old Commedia\nmasks are dead.\" Nothing of the\nkind. They never have been dead;\nthey can never die. They possess in\nthemselves the spring of life, the\nsecret of youth , they will adapt\n\n(1) Sec page iSO"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.96", "debut_caractere": 23, "fin_caractere_exclue": 2493, "texte": "themselves to any century, and wear\nthe livery of any age while yet\nremaining always vitally,unalterably\nthemselves. & JZ? £?\nThe old literary plays with their\nset forms and phrases, their change-\nless characters repeating the same-\nold lines, may well indeed be dead\nso far as the theatre goes, and the\ndomestic infelicities of Edipus Rex\nor the trials of Electra may come to\nseem stale upon a theatre stage, for\nthey have really nothing to do with\nus today. But Arlecchino is immortal\nand Columbfna can never die. Their\nspangled jackets and waving skirts\nare a mere mortal livery, for they\nare ideas, not material beings; they\nare mirrors which reflect the life\naround them and the sunlight above\nthem and the laughter and move-\nment and folly and wisdom and love\nand gaiety and tears of life as well\nin the twentieth century as in the\nsixteenth, but which render no dull\nphotographic reproduction of actua-\nlity, but a vision of life all silvered\nover with laughter and coloured\nwith romance. And those who have\nso ungracious a welcome for them\nwhen they come stealing back after\nthese many centuries, listening, tip-\ntoe, finger to lip, at the theatre door\nand then bounding with a peal of\nlaughter on to the stage, must err\nfrom ignorance or from prejudice,...\neither ignorance of what the Corn-\nmedia dell'Arte ever really was, or\nprejudice as to what they believe its\nrevival wou Id mean at the present day.\nj0 They complain, for instance, that\nthe performances of the old come-\ndians were coarse and licentious,\nfull of indecent phrases, and they\nask us if we want those revived\nupon the stage today. But they for-\nget that the Commedia was ever\nattuned exactly to the age in which\nit existed, and if they will study the\ndomestic history of those days, the\nrecords of conversation, of the habi-\ntual greetings and subjects of talk,\nthe actions which took place in\npublic, the dirtyness, the coarseness,\nthe insanitary conditions which were\nuniversai for rich as well as poor,\nas much a part of the life of even\nthe great nobles as were their Greek\nlearning, their sumptuous banquets\nand their magnificent festal clothes,\nthey will perceive that there was\nnothing to strike a discordant note\nin the spectators' minds.\nThe players mirrored their own\ntimes ; they were in perfect harmony\nwith its standards of good taste, and\nthe critics who profess themselves\nso shocked by what they find in the\ntheatre of those days would have\n*\nbeen equally shocked at what they"}, {"page_pdf": 97, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.97", "debut_caractere": 23, "fin_caractere_exclue": 2431, "texte": "found in the daily life had they been\nsuddenly transplanted to it; born\nand bred in it they would have\ntaken it all as a matter of course\nwhether in the streets or on the\nstage. \" In the sixteenth and seven-\nteenth century the relation between\n\" the real customs and the theatre\nt4 was the same as today\" writes\n\" Signor Ferrigni:\" only that both\n44 the customs and the theatre were\n44 ruder in their exterior forms:\"\nand then he proceeds to give an\nexample of what he means from the\nlife of today by citing instances of\nthe freedom permitted in costume\nand in conversational pleasantries\nat a summer bathing resort or at a\n44 ville d' eaux \" and which, quite\npermissible in such environment,\nwould produce a very different ef-\nfect in town. &\nAs for the plays of the Commedia/\nthose old Scenarios, stripped of what\nwas purely topical in dialogue and\nwhich varied even then with every\nperformance, yet remain as the scaf-\nfolding of fine plays upon which the\nimprovisors of today might build,\nsheltering themselves beneath the\nancient masks. And the Masks, beings\nof a fine race, knew well enough\n#\nthat fine breeding manifests itself\nin ever adapting oneself so as to be\nIn harmony with one's company\nand Arlecchino would find as much\nto satirise, as much to raise a laugh\nfrom in the life of today as ever he\nfound three centuries ago, though\nthe points he seized on might\nnot be the same. He is not one of\nthose poor creatures who need to\nsave themselves, to use the same\nidea more than once for fear of\nrunning short. He has but to give\nhimself, his spirit, his amazing vita-\nlity, his infinite riches, in whatever\nsurroundings he finds himself, and\nhe would be as much at home, as\nwitty, as Impertinent, as shrewd, as\nJoyous, as infinitely wise on a London\nstage today as he was when roaming\nthe highways of Europe and dining\nunder the hedgerows and bandying\nrepartees with kings three hundred\nyears ago. ~2? JZ?\nAnd what if the old Commedia\ndeli'Arte were what the critics con-\nsider so over-frank in its rendering\nof life ? It is true enough that three\nhundred years ago the players had\nall kinds of amazing adventures\nupon the stage with birth and death,\ndoctors and marriages and bridal\nnights and surgical operations and\nfeeding bottles and other intimate\nfactors of life. But today the very\ntheatre which regards that as a bar-\nbarous age gives us seductions and\nconfinements, bath-room scenes and"}, {"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.98", "debut_caractere": 24, "fin_caractere_exclue": 2328, "texte": "bedrom scenes and hospital scenes,\nonly gives them all with a smug\nsolemnity which has none of the\nfrank merry healthy spirit of an\nearlier day. Why, even Shakespeare\nshocks them ; they have to 44 expur-\ngate \" his works before presenting\nthem to the modest eyes and ears\nof the public, although they expect\nthat same public to be gratified by\nthe gloomy spectacle of a naked\nSalome fooling around with John\nthe Baptist's head.\nThe attitude* assumed towards\nSigner Rossi's productions is one\nmore proof of the attempt to stifle\nany keen or vital enterprise in the\ntheatre; is part of the great con-\nspiracy to push back into the old\nsafe rut the man who dreams of\n*\nturning up some other way. We\nhope it will not succeed and we take\noff our hat to Signor Rossi. He and\nDr Hevesi should meet each other,...\nwith Arlecchlno as Master of the\nCeremony.\n\nMORE AMATEUR .\n*>\nJMr Clayton Hamilton in an article\nabout Mr Gordon Craig and his\nwork has furnished us with one\nmore example of the impertinence\nof amateur criticism.\nHe apparently does not know\nhis Montaigne, or he might call to\nmind that \"The only good histories\nare those that have been written by\nthe persons themselves who com-\nmanded in the affairs where of they\nwrite and that as the word of a\nN apoieon is better worth taking in\nthe control and disposition of troops\nthan that of, let us say, M. Maeter-\nlinck, so the utterances of one who\nhas devoted his whole life to the\nstudy and practical demonstration\nof a subject are to be accepted with\nrespect by those who know nothing\nat all of the matter.\nJ£? Mr Clayton Hamilton is, it ap-\npears, displeased with Mr Gordon\nCraig and with his manner of ex-\npressing his ideas, and is anxious\nto make this known. He has therefore\ncontributed to 44 The Bookman \"\n(July 1912) a didactic article on\n44 The New Art of Stage Direction \"\n4\nin which he alternately reproves\nMr Gordon Craig and pats him on\nthe head. But so lofty is his lan-\nguage on the subject that really, as\nMaule once complained of the oppo-\nsing counsel in a law suit, our \"lear-\nned friend's manner would be into-\nlerable in Almighty God to a black\nbeetle\".\nMr Clayton Hamilton commences\nby telling us that 44 the stage-di-\n-44 rection of the immediate future\n44 has already cast its light before\n44 it. \" \" Already\" says he, 44 three"}, {"page_pdf": 99, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.99", "debut_caractere": 23, "fin_caractere_exclue": 2409, "texte": "-44 thoroughly practicable remedies\n44 have been suggested for the three\n\" evils that have been enumerated.\n\" Professor Max Reinhardt, of Berlin,\n\" has shown us how we may obtain\n\" relief from the insistence on de«\ntails : the Irish Players have shown\n44 us how to save money wisely In\n44 the preparation of productions;\n\" and Mr Gordon Craig has shown\n\" us in his practise (and endeavou-\n-44 red, somewhat vainly, to teach us\n44 in his theory) how we may turn\n44 the theatre to more imaginative\n44 uses. \" JZ? .£?\nBut Mr Clayton Hamilton does\nnot tell u5,... he probably, knowing\nso little of the theatre, is not\naware ~... that 44 Professor Max\nReinhardt, of Berlin \" has been for\nsome years paying Mr Gordon Craig\nthe sincere compliment of following\nhis Ideas line upon line, precept\nupon precept; or that the Irish\nPlayers have found the best way to\n44 save money wisely \" over their\nproductions was to adopt the scenic\ninvention of Mr Gordon Craig, an\naccount of their first success with\nwhich Mr Clayton Hamilton may\nread In The Mask, January 1911.\nThen, after informing us of\nhow Mr Craig has 44toiIed\" for many\nyears, he informs us that 44 mean-\n«« while, he has exhibited his de-\n\" signs.... all of which are odd and\nf4 many of which are interesting\n44 and has talked a great deal, in\n44 those rapt, ecstatic, and undecl-\n\" pherable terms that impress the\n44 uninitiated \". &\nNow let us see who are some of\nthese whom Mr Clayton Hamilton\nincludes among the \" uninitiated. \"\nThere are the Germans, led by Messrs\nReinhardt, Orllk and Roller, turning\nthe Craig ideas into good hard cash.\nThe Russians, with Dr Meyerhold\nimitating him in St Petersberg, and\nthe directors of the Art Theatre\nin Moscow, about the leading\ntheatre in Europe,.... honoured in\nputting their stage under his control.\nThere is Dr Alexander Hevesi, leader\nof the fine enterprise of the Budapest\nTheatre and one of the warmest\nadherents of the Craig ideas.\nXs? There is the owner of the Th&itre\ndes Arts In Paris, inviting Mr Craig\nto act as art director in his theatre.\nThere are Madame Sarah Bernhardt,\nMadame Yvette Guilbert, M. Antoine,\nMr W. B. Yeats, Mr Martin Harvey,\nAir Granville Barker, Mr David Be-\niasco, to mention but a very few\nIn the theatre itself. And then\namong the critics,.... critics whose\nnames will we believe, be better\nknown to our readers than Mr\nClayton Hamilton's, we find Mr Ar-"}, {"page_pdf": 100, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.100", "debut_caractere": 25, "fin_caractere_exclue": 2349, "texte": "thur Symons, Mr Max Beerbohm j Mr\nE. F. Spence, Mr Gilbert Cannon,\nMr Pritchard Eaton and Mr Percy\nMackaye. We find the painters, we\nfind the writers, many more than\nthere is space here to name, but\neven the few names cited will serve\nto show what kind of people are\nthose 44 uninitiated \" whom Mr\nGordon Craig has impressed, (and\nconvinced) by those 44 rapt\" ecstatic\nand undecipherable terms\" which\nso tickle Mr Hamilton's sense of the\nabsurd. J\n& Then again Mr Hamilton objects\nvery strongly to Mr Craig's manner\nof expressing himself in his recent\nbook 44 On the Art of the Theatre \".\nWe quote passages from the ar-\nticle, because it affords so inte-\nresting an example of Mr Clayton\nHamilton's own style, from the\nheights of which he looks so dis-\ndainfully upon Mr Craig's;\n44 production. It indicates that how-\n*\n44 over able Mr. Craig may be as\n44 a designer of scenery and costumes\n44 he is utterly Incapable of any\n44 exercise of the literary art. His\n44 book is inconsecutive and inco-\n-44 herent. He splashes about in a\n44 splurge of words,(i) like a baby in\n44 a bath - tub. Several of his revie-\n44 wers have hailed him as a genius\n44 by which they mean, apparently,\n44 that he is incapable of Intelligent\n44 analysis or orderly exposition. His\n44 book is an extremely messy work.\n44 If Mr. Craig sincerely\n44 desires to contribute to the pro-\n-44 gress of the stage he should\n44 first gag himself, and then permit\n44 some trained and skilful writer\n44 (1) to study his designs and explain\n44 their purport lucidly and sanely\n44 to the public.\"\n& Then, having further denounced\nwhat he calls this 44 pretentious\nand preposterous Indigestion of i-\ndeas\", the 44 hybrid and horrific\nterm \" of Über-Marionette, and also\nwhat he assumes Mr Craig's idea to\nbe, he concludes emphatically, 44 It\nis hardly necessary to remark that\nthis Idea is mad\". &\nSo does Mr Clayton Hamilton,\nA.\n44 most ignorant of what he's most as-\nred \", play his fantastic literary and\ncritical tricks before high heaven.\nReading his article one cannot but\nrecall the words of Solomon who\nonce declared of a man wise in his\nown conceit that 44 There is more\nhope of a fool than of him for\na fool may well learn, but Mr\nClayton Hamilton is already cock-\nsure. & uS?\n(I) The stalks are ours, Ed;\n(I) Such, one presumes, as our learned friend ?"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c071", "article_bluemountain": "bmtnaau_1912-10_01#c071", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "184", "image_debut": 95, "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=bmtnaau191210-01.2.25.1", "titre_corps": "A REVIVAL IN ITALY", "titre_sommaire": "A REVIVAL IN ITALY", "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": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.95", "debut_caractere": 21, "fin_caractere_exclue": 2348, "texte": "A REVIVAL IN ITALY.\nIt is ho doubt true that one swallow\ndoes not make a summer; but\nwhen they begin to arrive one after\nanother from different quarters and\nto practise all their charming acti-\nvities beneath the eaves, one is Jus-\ntified in believing that, to say the\n»\nleast of it, summer is on its way.\nAnd so with the theatre : when good\nnews begins to come in from many\nsides, news of keen, intelligent and\n#\nvital enterprises, one feels that the\nwinter of dulness, ignorance and\nindifference is giving way, if but\nvery slowly, and that better times\nare at hand.\nA few months ago there came\nthe news from Budapest of Dr Alex-\nander Hevesi's fine enterprise in\nreviving the art of Improvisation\nwith a performance based upon\nRiccoboni's scenario, 44 Le Defiant \"\nand thus proving the vitality yet\nlatent in the old Commedia dell'Arte.\nNow Signor Armando Rossi has done\nthe same in Italy, re-evoking upon\nthe stage the ancient comedies of\nmasks,\nAnd the public in each case, was\ndelighted. The old, gay, ever-young\nfigures seem to have found as warm\na welcome in their native land as\nthey found in Budapest.\nj& The Italian critics have, however,\nproved themselves less intelligent\nthan the Hungarian in their reception\nof this old-new thing. More than one\nof them was exasperated by Signor\nRossi's enterprise: and they wrung\ntheir hands and cried that it was a\nfolly, a madness, a stupid attempt\nto make the theatre retrograde three\nhundred years : or they turned up\ntheir noses and sniffed at the absur-\ndity of desiring to bring into the\nmodern theatre the \" foolish\" old\nmasks of former times; and al-\ntogether there was much flutte-\nring in the critics' dovecote, much\ngesticulating and shrugging of shoul-\nders and many expressions of con-\ntempt around the little tables in\nthe cafds over Signor Rossi and his\nsingular idea.\nSignor Mario Ferrignl has proved\nhis intelligence as a critic by coming\nforward with a warm defence of\nSignor Rossi's productions in the\n44 Ventesimo \" of Genoa, and has\nmade therein a spirited protest\nagainst the popular and pompous\nassertion of a number of the present\nday critics that \" the old Commedia\nmasks are dead.\" Nothing of the\nkind. They never have been dead;\nthey can never die. They possess in\nthemselves the spring of life, the\nsecret of youth , they will adapt\n\n(1) Sec page iSO"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.96", "debut_caractere": 23, "fin_caractere_exclue": 2493, "texte": "themselves to any century, and wear\nthe livery of any age while yet\nremaining always vitally,unalterably\nthemselves. & JZ? £?\nThe old literary plays with their\nset forms and phrases, their change-\nless characters repeating the same-\nold lines, may well indeed be dead\nso far as the theatre goes, and the\ndomestic infelicities of Edipus Rex\nor the trials of Electra may come to\nseem stale upon a theatre stage, for\nthey have really nothing to do with\nus today. But Arlecchino is immortal\nand Columbfna can never die. Their\nspangled jackets and waving skirts\nare a mere mortal livery, for they\nare ideas, not material beings; they\nare mirrors which reflect the life\naround them and the sunlight above\nthem and the laughter and move-\nment and folly and wisdom and love\nand gaiety and tears of life as well\nin the twentieth century as in the\nsixteenth, but which render no dull\nphotographic reproduction of actua-\nlity, but a vision of life all silvered\nover with laughter and coloured\nwith romance. And those who have\nso ungracious a welcome for them\nwhen they come stealing back after\nthese many centuries, listening, tip-\ntoe, finger to lip, at the theatre door\nand then bounding with a peal of\nlaughter on to the stage, must err\nfrom ignorance or from prejudice,...\neither ignorance of what the Corn-\nmedia dell'Arte ever really was, or\nprejudice as to what they believe its\nrevival wou Id mean at the present day.\nj0 They complain, for instance, that\nthe performances of the old come-\ndians were coarse and licentious,\nfull of indecent phrases, and they\nask us if we want those revived\nupon the stage today. But they for-\nget that the Commedia was ever\nattuned exactly to the age in which\nit existed, and if they will study the\ndomestic history of those days, the\nrecords of conversation, of the habi-\ntual greetings and subjects of talk,\nthe actions which took place in\npublic, the dirtyness, the coarseness,\nthe insanitary conditions which were\nuniversai for rich as well as poor,\nas much a part of the life of even\nthe great nobles as were their Greek\nlearning, their sumptuous banquets\nand their magnificent festal clothes,\nthey will perceive that there was\nnothing to strike a discordant note\nin the spectators' minds.\nThe players mirrored their own\ntimes ; they were in perfect harmony\nwith its standards of good taste, and\nthe critics who profess themselves\nso shocked by what they find in the\ntheatre of those days would have\n*\nbeen equally shocked at what they"}, {"page_pdf": 97, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.97", "debut_caractere": 23, "fin_caractere_exclue": 2431, "texte": "found in the daily life had they been\nsuddenly transplanted to it; born\nand bred in it they would have\ntaken it all as a matter of course\nwhether in the streets or on the\nstage. \" In the sixteenth and seven-\nteenth century the relation between\n\" the real customs and the theatre\nt4 was the same as today\" writes\n\" Signor Ferrigni:\" only that both\n44 the customs and the theatre were\n44 ruder in their exterior forms:\"\nand then he proceeds to give an\nexample of what he means from the\nlife of today by citing instances of\nthe freedom permitted in costume\nand in conversational pleasantries\nat a summer bathing resort or at a\n44 ville d' eaux \" and which, quite\npermissible in such environment,\nwould produce a very different ef-\nfect in town. &\nAs for the plays of the Commedia/\nthose old Scenarios, stripped of what\nwas purely topical in dialogue and\nwhich varied even then with every\nperformance, yet remain as the scaf-\nfolding of fine plays upon which the\nimprovisors of today might build,\nsheltering themselves beneath the\nancient masks. And the Masks, beings\nof a fine race, knew well enough\n#\nthat fine breeding manifests itself\nin ever adapting oneself so as to be\nIn harmony with one's company\nand Arlecchino would find as much\nto satirise, as much to raise a laugh\nfrom in the life of today as ever he\nfound three centuries ago, though\nthe points he seized on might\nnot be the same. He is not one of\nthose poor creatures who need to\nsave themselves, to use the same\nidea more than once for fear of\nrunning short. He has but to give\nhimself, his spirit, his amazing vita-\nlity, his infinite riches, in whatever\nsurroundings he finds himself, and\nhe would be as much at home, as\nwitty, as Impertinent, as shrewd, as\nJoyous, as infinitely wise on a London\nstage today as he was when roaming\nthe highways of Europe and dining\nunder the hedgerows and bandying\nrepartees with kings three hundred\nyears ago. ~2? JZ?\nAnd what if the old Commedia\ndeli'Arte were what the critics con-\nsider so over-frank in its rendering\nof life ? It is true enough that three\nhundred years ago the players had\nall kinds of amazing adventures\nupon the stage with birth and death,\ndoctors and marriages and bridal\nnights and surgical operations and\nfeeding bottles and other intimate\nfactors of life. But today the very\ntheatre which regards that as a bar-\nbarous age gives us seductions and\nconfinements, bath-room scenes and"}, {"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.98", "debut_caractere": 24, "fin_caractere_exclue": 872, "texte": "bedrom scenes and hospital scenes,\nonly gives them all with a smug\nsolemnity which has none of the\nfrank merry healthy spirit of an\nearlier day. Why, even Shakespeare\nshocks them ; they have to 44 expur-\ngate \" his works before presenting\nthem to the modest eyes and ears\nof the public, although they expect\nthat same public to be gratified by\nthe gloomy spectacle of a naked\nSalome fooling around with John\nthe Baptist's head.\nThe attitude* assumed towards\nSigner Rossi's productions is one\nmore proof of the attempt to stifle\nany keen or vital enterprise in the\ntheatre; is part of the great con-\nspiracy to push back into the old\nsafe rut the man who dreams of\n*\nturning up some other way. We\nhope it will not succeed and we take\noff our hat to Signor Rossi. He and\nDr Hevesi should meet each other,...\nwith Arlecchlno as Master of the\nCeremony."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c072", "article_bluemountain": "bmtnaau_1912-10_01#c072", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "184", "page_fin": "186", "image_debut": 98, "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=bmtnaau191210-01.2.25.2", "titre_corps": "MORE AMATEUR CRITICISM", "titre_sommaire": "MORE AMATEUR CRITICISM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.98", "debut_caractere": 874, "fin_caractere_exclue": 2328, "texte": "MORE AMATEUR .\n*>\nJMr Clayton Hamilton in an article\nabout Mr Gordon Craig and his\nwork has furnished us with one\nmore example of the impertinence\nof amateur criticism.\nHe apparently does not know\nhis Montaigne, or he might call to\nmind that \"The only good histories\nare those that have been written by\nthe persons themselves who com-\nmanded in the affairs where of they\nwrite and that as the word of a\nN apoieon is better worth taking in\nthe control and disposition of troops\nthan that of, let us say, M. Maeter-\nlinck, so the utterances of one who\nhas devoted his whole life to the\nstudy and practical demonstration\nof a subject are to be accepted with\nrespect by those who know nothing\nat all of the matter.\nJ£? Mr Clayton Hamilton is, it ap-\npears, displeased with Mr Gordon\nCraig and with his manner of ex-\npressing his ideas, and is anxious\nto make this known. He has therefore\ncontributed to 44 The Bookman \"\n(July 1912) a didactic article on\n44 The New Art of Stage Direction \"\n4\nin which he alternately reproves\nMr Gordon Craig and pats him on\nthe head. But so lofty is his lan-\nguage on the subject that really, as\nMaule once complained of the oppo-\nsing counsel in a law suit, our \"lear-\nned friend's manner would be into-\nlerable in Almighty God to a black\nbeetle\".\nMr Clayton Hamilton commences\nby telling us that 44 the stage-di-\n-44 rection of the immediate future\n44 has already cast its light before\n44 it. \" \" Already\" says he, 44 three"}, {"page_pdf": 99, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.99", "debut_caractere": 23, "fin_caractere_exclue": 2409, "texte": "-44 thoroughly practicable remedies\n44 have been suggested for the three\n\" evils that have been enumerated.\n\" Professor Max Reinhardt, of Berlin,\n\" has shown us how we may obtain\n\" relief from the insistence on de«\ntails : the Irish Players have shown\n44 us how to save money wisely In\n44 the preparation of productions;\n\" and Mr Gordon Craig has shown\n\" us in his practise (and endeavou-\n-44 red, somewhat vainly, to teach us\n44 in his theory) how we may turn\n44 the theatre to more imaginative\n44 uses. \" JZ? .£?\nBut Mr Clayton Hamilton does\nnot tell u5,... he probably, knowing\nso little of the theatre, is not\naware ~... that 44 Professor Max\nReinhardt, of Berlin \" has been for\nsome years paying Mr Gordon Craig\nthe sincere compliment of following\nhis Ideas line upon line, precept\nupon precept; or that the Irish\nPlayers have found the best way to\n44 save money wisely \" over their\nproductions was to adopt the scenic\ninvention of Mr Gordon Craig, an\naccount of their first success with\nwhich Mr Clayton Hamilton may\nread In The Mask, January 1911.\nThen, after informing us of\nhow Mr Craig has 44toiIed\" for many\nyears, he informs us that 44 mean-\n«« while, he has exhibited his de-\n\" signs.... all of which are odd and\nf4 many of which are interesting\n44 and has talked a great deal, in\n44 those rapt, ecstatic, and undecl-\n\" pherable terms that impress the\n44 uninitiated \". &\nNow let us see who are some of\nthese whom Mr Clayton Hamilton\nincludes among the \" uninitiated. \"\nThere are the Germans, led by Messrs\nReinhardt, Orllk and Roller, turning\nthe Craig ideas into good hard cash.\nThe Russians, with Dr Meyerhold\nimitating him in St Petersberg, and\nthe directors of the Art Theatre\nin Moscow, about the leading\ntheatre in Europe,.... honoured in\nputting their stage under his control.\nThere is Dr Alexander Hevesi, leader\nof the fine enterprise of the Budapest\nTheatre and one of the warmest\nadherents of the Craig ideas.\nXs? There is the owner of the Th&itre\ndes Arts In Paris, inviting Mr Craig\nto act as art director in his theatre.\nThere are Madame Sarah Bernhardt,\nMadame Yvette Guilbert, M. Antoine,\nMr W. B. Yeats, Mr Martin Harvey,\nAir Granville Barker, Mr David Be-\niasco, to mention but a very few\nIn the theatre itself. And then\namong the critics,.... critics whose\nnames will we believe, be better\nknown to our readers than Mr\nClayton Hamilton's, we find Mr Ar-"}, {"page_pdf": 100, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.100", "debut_caractere": 25, "fin_caractere_exclue": 2349, "texte": "thur Symons, Mr Max Beerbohm j Mr\nE. F. Spence, Mr Gilbert Cannon,\nMr Pritchard Eaton and Mr Percy\nMackaye. We find the painters, we\nfind the writers, many more than\nthere is space here to name, but\neven the few names cited will serve\nto show what kind of people are\nthose 44 uninitiated \" whom Mr\nGordon Craig has impressed, (and\nconvinced) by those 44 rapt\" ecstatic\nand undecipherable terms\" which\nso tickle Mr Hamilton's sense of the\nabsurd. J\n& Then again Mr Hamilton objects\nvery strongly to Mr Craig's manner\nof expressing himself in his recent\nbook 44 On the Art of the Theatre \".\nWe quote passages from the ar-\nticle, because it affords so inte-\nresting an example of Mr Clayton\nHamilton's own style, from the\nheights of which he looks so dis-\ndainfully upon Mr Craig's;\n44 production. It indicates that how-\n*\n44 over able Mr. Craig may be as\n44 a designer of scenery and costumes\n44 he is utterly Incapable of any\n44 exercise of the literary art. His\n44 book is inconsecutive and inco-\n-44 herent. He splashes about in a\n44 splurge of words,(i) like a baby in\n44 a bath - tub. Several of his revie-\n44 wers have hailed him as a genius\n44 by which they mean, apparently,\n44 that he is incapable of Intelligent\n44 analysis or orderly exposition. His\n44 book is an extremely messy work.\n44 If Mr. Craig sincerely\n44 desires to contribute to the pro-\n-44 gress of the stage he should\n44 first gag himself, and then permit\n44 some trained and skilful writer\n44 (1) to study his designs and explain\n44 their purport lucidly and sanely\n44 to the public.\"\n& Then, having further denounced\nwhat he calls this 44 pretentious\nand preposterous Indigestion of i-\ndeas\", the 44 hybrid and horrific\nterm \" of Über-Marionette, and also\nwhat he assumes Mr Craig's idea to\nbe, he concludes emphatically, 44 It\nis hardly necessary to remark that\nthis Idea is mad\". &\nSo does Mr Clayton Hamilton,\nA.\n44 most ignorant of what he's most as-\nred \", play his fantastic literary and\ncritical tricks before high heaven.\nReading his article one cannot but\nrecall the words of Solomon who\nonce declared of a man wise in his\nown conceit that 44 There is more\nhope of a fool than of him for\na fool may well learn, but Mr\nClayton Hamilton is already cock-\nsure. & uS?\n(I) The stalks are ours, Ed;\n(I) Such, one presumes, as our learned friend ?"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c073", "article_bluemountain": "bmtnaau_1912-10_01#c073", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "192", "image_debut": 101, "image_fin": 106, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.26", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 2014, "texte": "EDITORIAL NOTES.\n\n£/ METCALFE OF 44 LIFE \". j&\nTplie writer on theatrical matters\nin the New York 44 Life \" is a\nmost excellent critic. We have liked\nhis work for several years; he feels\nrightly about things. He seems to\nbe one of the few writers in Ame=\nrica who, when some semi-religious\nplay is put on, says the truth about\nit. instead of being sentimentally\ncarried away, he criticises. In the\ncase of Air Kennedy's play called\n44 The Terrible Aleek \" he wrote:\n-2? 4i The sanctimonious statement\n46 that44 The Terrible Meek \" Is pro-\n46 duced for its religious effect will\n44 only be taken with a grain of salt\n44 by those who know the pecuniary\n44 value of a new sensation in the\n44 theatrical business. Two and a\n\" half dollars per seat at the Box\noffice and newspaper talk from the\n44 author about 44 The Passion and\n44 Resurrection of our Blessed Lord \"\n44 do not seem consistent. The com-\n44 binafion savours just a little too\n44 much of ttie English streetcorner\n44 evangelist, whose familiar pious\n44 preachments have direct relation\n44 to the number of coppers that can\n44 be coaxed and exhorted into the\n44 evangelical hat \". JZ?\nThis play, 44 The Terrible Meek \",\nwas produced by Mr Ames, who\nfailed to steer the New Theatre to\nsuccess and was obliged to start a\nlittle theatre of his own. Of this A-\nmerican impresario Mr Metcalfe says:\n44 Friends of the American theatre\n44 have come to regard Mr Ames as\n44 the white hope in the present\n44 condition of the drama, but, if he\n44 is to confirm their confidence, It\n44 would look as though he must\n44 pick out a new hypnotist to guide\n44 his selection of plays JS/\nIf there are a few more guides\nlike Mr Metcalfe, and if the Ameri-\ncan managers and public will just\nfor once let themselves be guided\nby men who have thought about\nthese matters, then the condition\nof the drama in America will improve\nenormously.\nThere is no doubt, we should say,\nthat Mr Ames is a really capable\ndirector and a very poor judge in\nmatters of art. Somehow people have"}, {"page_pdf": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.102", "debut_caractere": 20, "fin_caractere_exclue": 2331, "texte": "got into their heads the Idea that\na director must be a judge in such\nmatters, yet it is not at all necessary\nand It is better If he is not; but he\nshould at least have common sense\nenough to be guided by those who\ncan judge. So when he builds a\ntheatre he should select a stage\nmanager and an architect, who to-\ngether know what is the right shape\nfor an auditorium. Then he should\nnot suddenly change his stage mana-\nger but should continue to abide\nby his first choice, and should do\npractically what he Is told by this\nman in regard to the stage.\nThe next difficult task for the\ndirector Is to choose the literary\nadviser, for on no account must such\na man be at loggerheads with the\nstage manager. In speaking of stage\nmanagers, we allude to such as Sta-\nnislawski and Hevesi, and naturally\nsuch people are very difficult to\napproach and their services almost\nimpossible to obtain. But it Is of men\nof this standing that a clever direc-\ntor like Mr Ames is greatly In need.\nI suppose the only man in Ame-\nrica who is anywhere in line with\nthese two is Mr Belasco. A really\nclever director in America would\nsecure that man first of all. \" Pro-\nduce great persons\" says Whitman,\n\" the rest follows \". Great persons\nhave not a particular talent for ac-\ncommodating themselves to small\npersons, but Mr Ames, being a clever\nman, can surely accommodate him-\nself to Mr Belasco, and if he wishes\nto serve the best interests oi the\nAmerican stage that is what he will\ndo. & ■£? JQ-\n\nINSULTING INTELLIGENT\nAMERICANS. &\nan example of the kind of cri-\nticism which should be forcibly put\ndown by the state the following is\nworthy of notice :\n\" Paolo Uccello, (1396-1479). This\n\" Interesting old painter gave much\n*• thought and study to perspective\n\" and although we can but smile\n\" when we look at his pictures and\n\" think of this still they do show a\n\" little advance upon what had pre-\n\" ceeded htm\nFrom \" Painters, Sculptors,\nArchitects and EngraversA\nHandbook by Clara E. Clement.\nPublished by Houghton, Mifflin\n& Co. Boston & New York. U. S. A.\nOur quotation is from the\nand revised impressso we see\nthat the book has a somewhat ex-\ntensive publicity given to It. jg?\nThere should be some law to con-\ntrol writers of this kind of book\nand to limit their powers of spreading\nnonsensical suggestions of this kind."}, {"page_pdf": 103, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.103", "debut_caractere": 20, "fin_caractere_exclue": 2331, "texte": "It Is to be supposed that the Ameri-\ncans who study pictures are as witty\nas any other beings; why then should\nthey be forced to absorb as the\ntruth such utter rubbish as the a-\nbove quotation? There is hardly any\nfield of thought more subtly difficult\nthan that of Art criticism, but surely\nthe production of a Dictionary of this\nkind demanding thoroughness and\nan absence of anything but fact\nshould not be too difficult for so\ngreat a nation as America to com-\npass, -iS* ■£?\nLet us hope that the idiotic book\nwill be called in soon so that the\ngood sense of Americans eager to\nunderstand European Art somewhat\nrightly will no longer be insulted\nand misled by the wretched puerili-\nties of C. E. Clement.\n\n& A NATIONAL THEATRE. &\nWilliam Archer and Mr Gran-\nville Barker brought out a book\nIn 1907 which they called A Natio-\nnal Theatre.. Scheme and Estimates\".\nIt has this to commend it,.,, that we\ndislike it.\nThe book is in twelve sections,\nand the section which we are con-\ncerned with here is section 4 where\nin is explained what the authos'r\nNational Theatre would do with\nShakespeare. In large letters they\ncommence the chapter by saying:-\n\" IT IS NOT AN ADVANCED THEA-\nTRE THAT WE ARE ADVISING \"\nthough what the fear of advance\nshould be, heaven only knows. Mr\nWilliam Archer has only quite lately\nadvanced back to Japan, and Mr\nBarker is stealthily advancing to\nthe production of the \" Winter's\nTale \". & &\nIn their book they follow up their\nassurances about not having an\n\" advanced \" theatre by explaining\nthat the subsidized theatres of the\ncontinent are not \" advanced \" thea-\ntres; adding that it is not their \"bu-\nsiness \" to be \" far ahead of the\ntime but to be well abreast of it\nwhatever that may mean; it does\nnot seem to mean very much.\n& If Monsieur Rodin, if Cezanne, if\nNietzsche, if Walter Pater, in fact if\nall the first artists of the last fifty\nyears had been merely \"abreast of the\ntime \", we should have had no\nRodin, no Cezanne, no Nietzsche\nand no Walter Pater. It is because\nthey were far ahead of their time\nthat they were who they were. &\nBut you will say that this has\nnothing to do with it; that you\ncannot compare the theatre or the\nNational Theatre with independent\nartists, and you will receive the\nobvious reply that the theatre has\nno business to exist until an indi-"}, {"page_pdf": 104, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.104", "debut_caractere": 17, "fin_caractere_exclue": 2417, "texte": "vidua! artist has been found to\ncommand It, and, if he is not ahead\nof his time, there is no use in put-\nting him in command, for the Box\nOffice keeper would do quite as\nwell. As a matter of fact, the best\ntheatres in Europe are the 44 advan-\nced \" theatres, and some of the\n\" advanced \" theatres are subsidized\ntheatres. We don't know what Mr\nArcher and Mr Barker mean by\nthe word 44 advanced \" or why\nthey are so frightened about it,\nbut we take it here to mean a\ntheatre that has life and that moves\nforward. We have never yet heard of\nanybody who had the fear of advo-\ncating life or moving forward.\nShakespeare is 44 advanced \" for\ninstance, and always will be 44 ad-\nvanced \" as far as we are concerned.\nHe is 44 advanced \" because he has\nall the qualities which go to make\na great artist: he is strong, he is\nfearless, he is rich in humour, In\ntenderness, in fantasy : very well\nthen, all we want is a theatre 44 ad-\nvanced \" enough to be able to In-\ncrease the value of the Shakespeare\nrepertory by adding to it the power\nto present his works strongly, ten-\nderly, imaginatively. jz/\n& Messrs Archer and Barker feel\nthat the National Theatre should\nnot be 44 advancedbut they do\nthink that there should be pioneer\ntheatres who do the advancing for\nthem, \" who try this path and who\nsometimes blunder and find them-\nselves in an untenable position or in\na no throroughfare \". They then add\nthat the National theatre should\nprofit by the experience gained by\nthe pioneer theatres while trying to\n\" avoid their errors &\nThe worst of Messrs Archer and\nBarker is that they look on the\ntheatre as If it were an army, they\nspeak of it as such, they talk about\n\" out-posts, \" \" pioneers, \" \"untena-\nble \" positions, \" pressing on \" and\nso forth. Anything more mislead-\ning cannot well be conceived. Cau-\ntion may play a great part in the\nadvance of an army, it plays a very\nvalueless part in the advance of an\nart. In the army you may be fight-\ning for a piece of ground, in an\nart you are fighting for something\ndifferent: for something intangible.\nThe true artist Is never rash, having\na large streak of caution in his na-\nture; but he is for ever experimen-\nting and never ceases advancing.\nThe mistake Messrs Archer and\nBarker make is in believing that\njust naturally clever and careful men\ncan direct the fortunes of a Theatre,\nforgetting that there have' been\nhundreds of clever and careful men"}, {"page_pdf": 105, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.105", "debut_caractere": 13, "fin_caractere_exclue": 2409, "texte": "who have tried without any success;\nand not being artists Messrs Archer\nand Barker very naturally are una-\nble to realize what are the artist's\npowers. JS? *£? £? JZ?\n& Messrs Archer and Barker say\nexperiment would not be the pri-\nmary function of the National Thea-\ntre, though they would \" keep a\nsympathetic eye upon the work of\nthe out-post theatres.\" \"Sympathetic\neye \" is good ;... the 44 sympathetic\neye \" of Mr BUI Sykes. But the\n\" sympathetic eye \" with which\nMessrs Archer and Barker gaze\nlongingly at the coming National\nTheatre is not very keen in its sym-\npathy towards Shakespeare, and we\nhere come across a very curious and\nnot exactly courageous championship\nof our only great national drama-\ntist. JS?\n& Fully to understand Messrs Ar-\ncher's and Barker's attitude towards\nShakespeare we must remind our\nreaders that these two gentlemen\nwere in the very forefront of those\nwho were crying for the removal of\nthe Censor. They held that the Cen-\nsor prevented 44 advanced \" plays\nby modern authors being acted, but\nwhen it comes to Shakespeare and\nhis position in the National Theatre\nwhat do we find these gentlemen\nadvocating ? They whittle the entire\nthirty seven plays down to three,\nalthough they generously add that\nsix others can be played uow and\nthen. Listen to this passage from\nthe two advocates for the removal\nof the censor:\n44 The final Shakespeare canon\n44 consists of 37 plays. Of these one...\n44 Titus Andronlcus... is wholly un>\n44 presentable on the modern stage;\n44 while six... Trolius and Cressida,\n44 Timon of Athens, Pericles, and\n44 the three parts of Henry V 1... can\n44 only be presented after heroic\n*4 curtailments and manipulations...\n44 then again of the remaining plays\n44 five would probably be found fit\n44 only for occasional revival at long\n44 Intervals : the Two Gentlemen of\n44 Verona. The Comedv of Errors\n44 and Love's Labour Lost are imma-\n-44 ture productions, All's Well that\n44 Ends Well is likewise immature\n44 and inexplicable in theme ; and\n44 Henry VIII, is a formless pageant\n44 play, which has very little claim\n44 to rank as Shakespeare. There\n44 remain, then, twenty five plays,\n44 which ought never to be suffered\n44 for long to drop out of the reper-\n-44 tory of an English National Thea-\n-44 tre. If six on an averege were re*>\n44 vived in every season, the whole\n44 list (save one) would be gone\n44 through once in four years;"}, {"page_pdf": 106, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.106", "debut_caractere": 76, "fin_caractere_exclue": 2323, "texte": "*'while in each season certain plays,\n\" carried forward from the season\n*' or seasons before, would be con-\n\" sidered not as revivals, but as be-\n\" longing to the permanent subs-\n\" tratum of the repertory... what\n\" is called in France the \" repertoire\n\" courantWe take it then that\n\" in the initial season three plays\n\" might be regarded as representing\n** the Shakespearean element in\n\" this permanent substratum, while\n\" the remaining six are about the\n\" equivalent of the normal revivals\n** of a normal season\nHow Shakspeare would have\nenjoyed reading that paragraph!\nWhile it may be hoped that the\nday is far off when the Censor shall\nbe removed, we hope that he will not\npass before removing the ban from\nall the Shakespeare plays. It makes\nsuch a difference who treats tragical\nsubjects that somehow we feel that\nShakespeare can handle them better\nthan Messrs Barker or Shaw, and\nTitus Andronicus would be but a\nlaughable tragedy after their \"heroic\ncurtailments and manipulations\nIf Messrs Archer and Barker are\nrepresentative of any England at\nall, perhaps they represent the Vic-\ntorian Era at its worst, certainly not\nthe Elizabethan at its best though\nthere is a suggestion in their sen-\ntiments that they would fit the\nCromwellian era like a glove; so that\nwe see Messrs Archer and Barker\nare really for the most \"advanced \"\ntheatre conceivable: that of the Revo-\nlutionary Puritan wherein Shakes*\npeare plays the part of the \"Bauble.\"\n\nART AND\nJ. S.\nseems to feel that he\nhas the right to speak of Art\nnowadays without knowing about it.\nArt, the property of the king,\nthe priest and the aristocracy, has\nbecome the property of the mob.\nEven highly placed people care\nto offer opinions on art, laying down\nthe law about it. To these Notre\nDame is as \" noble \" as the Temple\nof Denderah ; Nijinsky as \" superb \"\nas the Louvre Nike of\n•£? Ask the same people some simple\nquestions about chemistry or mathe-\nmatics and they answer that they\nleave such subjects to those who\nstudy them. Is Art then not so se-\nrious a study that they can so glibly\nroll off rubbish about it ?uP\nKeep your place, gentlemen, and,\nwithout blurting out that art is\nabove you, or confessing by chatter\nthat it is beneath you, turn your\nthoughts to other things."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c075", "article_bluemountain": "bmtnaau_1912-10_01#c075", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "188", "image_debut": 101, "image_fin": 102, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.26.2", "titre_corps": "METCALFE OF \"LIFE\"", "titre_sommaire": "METCALFE OF \"LIFE\"", "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": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.101", "debut_caractere": 18, "fin_caractere_exclue": 2014, "texte": "£/ METCALFE OF 44 LIFE \". j&\nTplie writer on theatrical matters\nin the New York 44 Life \" is a\nmost excellent critic. We have liked\nhis work for several years; he feels\nrightly about things. He seems to\nbe one of the few writers in Ame=\nrica who, when some semi-religious\nplay is put on, says the truth about\nit. instead of being sentimentally\ncarried away, he criticises. In the\ncase of Air Kennedy's play called\n44 The Terrible Aleek \" he wrote:\n-2? 4i The sanctimonious statement\n46 that44 The Terrible Meek \" Is pro-\n46 duced for its religious effect will\n44 only be taken with a grain of salt\n44 by those who know the pecuniary\n44 value of a new sensation in the\n44 theatrical business. Two and a\n\" half dollars per seat at the Box\noffice and newspaper talk from the\n44 author about 44 The Passion and\n44 Resurrection of our Blessed Lord \"\n44 do not seem consistent. The com-\n44 binafion savours just a little too\n44 much of ttie English streetcorner\n44 evangelist, whose familiar pious\n44 preachments have direct relation\n44 to the number of coppers that can\n44 be coaxed and exhorted into the\n44 evangelical hat \". JZ?\nThis play, 44 The Terrible Meek \",\nwas produced by Mr Ames, who\nfailed to steer the New Theatre to\nsuccess and was obliged to start a\nlittle theatre of his own. Of this A-\nmerican impresario Mr Metcalfe says:\n44 Friends of the American theatre\n44 have come to regard Mr Ames as\n44 the white hope in the present\n44 condition of the drama, but, if he\n44 is to confirm their confidence, It\n44 would look as though he must\n44 pick out a new hypnotist to guide\n44 his selection of plays JS/\nIf there are a few more guides\nlike Mr Metcalfe, and if the Ameri-\ncan managers and public will just\nfor once let themselves be guided\nby men who have thought about\nthese matters, then the condition\nof the drama in America will improve\nenormously.\nThere is no doubt, we should say,\nthat Mr Ames is a really capable\ndirector and a very poor judge in\nmatters of art. Somehow people have"}, {"page_pdf": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.102", "debut_caractere": 20, "fin_caractere_exclue": 1498, "texte": "got into their heads the Idea that\na director must be a judge in such\nmatters, yet it is not at all necessary\nand It is better If he is not; but he\nshould at least have common sense\nenough to be guided by those who\ncan judge. So when he builds a\ntheatre he should select a stage\nmanager and an architect, who to-\ngether know what is the right shape\nfor an auditorium. Then he should\nnot suddenly change his stage mana-\nger but should continue to abide\nby his first choice, and should do\npractically what he Is told by this\nman in regard to the stage.\nThe next difficult task for the\ndirector Is to choose the literary\nadviser, for on no account must such\na man be at loggerheads with the\nstage manager. In speaking of stage\nmanagers, we allude to such as Sta-\nnislawski and Hevesi, and naturally\nsuch people are very difficult to\napproach and their services almost\nimpossible to obtain. But it Is of men\nof this standing that a clever direc-\ntor like Mr Ames is greatly In need.\nI suppose the only man in Ame-\nrica who is anywhere in line with\nthese two is Mr Belasco. A really\nclever director in America would\nsecure that man first of all. \" Pro-\nduce great persons\" says Whitman,\n\" the rest follows \". Great persons\nhave not a particular talent for ac-\ncommodating themselves to small\npersons, but Mr Ames, being a clever\nman, can surely accommodate him-\nself to Mr Belasco, and if he wishes\nto serve the best interests oi the\nAmerican stage that is what he will\ndo. & ■£? JQ-"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c076", "article_bluemountain": "bmtnaau_1912-10_01#c076", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "189", "image_debut": 102, "image_fin": 103, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.26.3", "titre_corps": "INSULTING INTELLIGENT AMERICANS", "titre_sommaire": "INSULTING INTELLIGENT AMERICANS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.102", "debut_caractere": 1500, "fin_caractere_exclue": 2331, "texte": "INSULTING INTELLIGENT\nAMERICANS. &\nan example of the kind of cri-\nticism which should be forcibly put\ndown by the state the following is\nworthy of notice :\n\" Paolo Uccello, (1396-1479). This\n\" Interesting old painter gave much\n*• thought and study to perspective\n\" and although we can but smile\n\" when we look at his pictures and\n\" think of this still they do show a\n\" little advance upon what had pre-\n\" ceeded htm\nFrom \" Painters, Sculptors,\nArchitects and EngraversA\nHandbook by Clara E. Clement.\nPublished by Houghton, Mifflin\n& Co. Boston & New York. U. S. A.\nOur quotation is from the\nand revised impressso we see\nthat the book has a somewhat ex-\ntensive publicity given to It. jg?\nThere should be some law to con-\ntrol writers of this kind of book\nand to limit their powers of spreading\nnonsensical suggestions of this kind."}, {"page_pdf": 103, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.103", "debut_caractere": 20, "fin_caractere_exclue": 727, "texte": "It Is to be supposed that the Ameri-\ncans who study pictures are as witty\nas any other beings; why then should\nthey be forced to absorb as the\ntruth such utter rubbish as the a-\nbove quotation? There is hardly any\nfield of thought more subtly difficult\nthan that of Art criticism, but surely\nthe production of a Dictionary of this\nkind demanding thoroughness and\nan absence of anything but fact\nshould not be too difficult for so\ngreat a nation as America to com-\npass, -iS* ■£?\nLet us hope that the idiotic book\nwill be called in soon so that the\ngood sense of Americans eager to\nunderstand European Art somewhat\nrightly will no longer be insulted\nand misled by the wretched puerili-\nties of C. E. Clement."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c077", "article_bluemountain": "bmtnaau_1912-10_01#c077", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "189", "page_fin": "192", "image_debut": 103, "image_fin": 106, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.26.4", "titre_corps": "A NATIONAL THEATRE", "titre_sommaire": "A NATIONAL THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 103, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.103", "debut_caractere": 729, "fin_caractere_exclue": 2331, "texte": "& A NATIONAL THEATRE. &\nWilliam Archer and Mr Gran-\nville Barker brought out a book\nIn 1907 which they called A Natio-\nnal Theatre.. Scheme and Estimates\".\nIt has this to commend it,.,, that we\ndislike it.\nThe book is in twelve sections,\nand the section which we are con-\ncerned with here is section 4 where\nin is explained what the authos'r\nNational Theatre would do with\nShakespeare. In large letters they\ncommence the chapter by saying:-\n\" IT IS NOT AN ADVANCED THEA-\nTRE THAT WE ARE ADVISING \"\nthough what the fear of advance\nshould be, heaven only knows. Mr\nWilliam Archer has only quite lately\nadvanced back to Japan, and Mr\nBarker is stealthily advancing to\nthe production of the \" Winter's\nTale \". & &\nIn their book they follow up their\nassurances about not having an\n\" advanced \" theatre by explaining\nthat the subsidized theatres of the\ncontinent are not \" advanced \" thea-\ntres; adding that it is not their \"bu-\nsiness \" to be \" far ahead of the\ntime but to be well abreast of it\nwhatever that may mean; it does\nnot seem to mean very much.\n& If Monsieur Rodin, if Cezanne, if\nNietzsche, if Walter Pater, in fact if\nall the first artists of the last fifty\nyears had been merely \"abreast of the\ntime \", we should have had no\nRodin, no Cezanne, no Nietzsche\nand no Walter Pater. It is because\nthey were far ahead of their time\nthat they were who they were. &\nBut you will say that this has\nnothing to do with it; that you\ncannot compare the theatre or the\nNational Theatre with independent\nartists, and you will receive the\nobvious reply that the theatre has\nno business to exist until an indi-"}, {"page_pdf": 104, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.104", "debut_caractere": 17, "fin_caractere_exclue": 2417, "texte": "vidua! artist has been found to\ncommand It, and, if he is not ahead\nof his time, there is no use in put-\nting him in command, for the Box\nOffice keeper would do quite as\nwell. As a matter of fact, the best\ntheatres in Europe are the 44 advan-\nced \" theatres, and some of the\n\" advanced \" theatres are subsidized\ntheatres. We don't know what Mr\nArcher and Mr Barker mean by\nthe word 44 advanced \" or why\nthey are so frightened about it,\nbut we take it here to mean a\ntheatre that has life and that moves\nforward. We have never yet heard of\nanybody who had the fear of advo-\ncating life or moving forward.\nShakespeare is 44 advanced \" for\ninstance, and always will be 44 ad-\nvanced \" as far as we are concerned.\nHe is 44 advanced \" because he has\nall the qualities which go to make\na great artist: he is strong, he is\nfearless, he is rich in humour, In\ntenderness, in fantasy : very well\nthen, all we want is a theatre 44 ad-\nvanced \" enough to be able to In-\ncrease the value of the Shakespeare\nrepertory by adding to it the power\nto present his works strongly, ten-\nderly, imaginatively. jz/\n& Messrs Archer and Barker feel\nthat the National Theatre should\nnot be 44 advancedbut they do\nthink that there should be pioneer\ntheatres who do the advancing for\nthem, \" who try this path and who\nsometimes blunder and find them-\nselves in an untenable position or in\na no throroughfare \". They then add\nthat the National theatre should\nprofit by the experience gained by\nthe pioneer theatres while trying to\n\" avoid their errors &\nThe worst of Messrs Archer and\nBarker is that they look on the\ntheatre as If it were an army, they\nspeak of it as such, they talk about\n\" out-posts, \" \" pioneers, \" \"untena-\nble \" positions, \" pressing on \" and\nso forth. Anything more mislead-\ning cannot well be conceived. Cau-\ntion may play a great part in the\nadvance of an army, it plays a very\nvalueless part in the advance of an\nart. In the army you may be fight-\ning for a piece of ground, in an\nart you are fighting for something\ndifferent: for something intangible.\nThe true artist Is never rash, having\na large streak of caution in his na-\nture; but he is for ever experimen-\nting and never ceases advancing.\nThe mistake Messrs Archer and\nBarker make is in believing that\njust naturally clever and careful men\ncan direct the fortunes of a Theatre,\nforgetting that there have' been\nhundreds of clever and careful men"}, {"page_pdf": 105, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.105", "debut_caractere": 13, "fin_caractere_exclue": 2409, "texte": "who have tried without any success;\nand not being artists Messrs Archer\nand Barker very naturally are una-\nble to realize what are the artist's\npowers. JS? *£? £? JZ?\n& Messrs Archer and Barker say\nexperiment would not be the pri-\nmary function of the National Thea-\ntre, though they would \" keep a\nsympathetic eye upon the work of\nthe out-post theatres.\" \"Sympathetic\neye \" is good ;... the 44 sympathetic\neye \" of Mr BUI Sykes. But the\n\" sympathetic eye \" with which\nMessrs Archer and Barker gaze\nlongingly at the coming National\nTheatre is not very keen in its sym-\npathy towards Shakespeare, and we\nhere come across a very curious and\nnot exactly courageous championship\nof our only great national drama-\ntist. JS?\n& Fully to understand Messrs Ar-\ncher's and Barker's attitude towards\nShakespeare we must remind our\nreaders that these two gentlemen\nwere in the very forefront of those\nwho were crying for the removal of\nthe Censor. They held that the Cen-\nsor prevented 44 advanced \" plays\nby modern authors being acted, but\nwhen it comes to Shakespeare and\nhis position in the National Theatre\nwhat do we find these gentlemen\nadvocating ? They whittle the entire\nthirty seven plays down to three,\nalthough they generously add that\nsix others can be played uow and\nthen. Listen to this passage from\nthe two advocates for the removal\nof the censor:\n44 The final Shakespeare canon\n44 consists of 37 plays. Of these one...\n44 Titus Andronlcus... is wholly un>\n44 presentable on the modern stage;\n44 while six... Trolius and Cressida,\n44 Timon of Athens, Pericles, and\n44 the three parts of Henry V 1... can\n44 only be presented after heroic\n*4 curtailments and manipulations...\n44 then again of the remaining plays\n44 five would probably be found fit\n44 only for occasional revival at long\n44 Intervals : the Two Gentlemen of\n44 Verona. The Comedv of Errors\n44 and Love's Labour Lost are imma-\n-44 ture productions, All's Well that\n44 Ends Well is likewise immature\n44 and inexplicable in theme ; and\n44 Henry VIII, is a formless pageant\n44 play, which has very little claim\n44 to rank as Shakespeare. There\n44 remain, then, twenty five plays,\n44 which ought never to be suffered\n44 for long to drop out of the reper-\n-44 tory of an English National Thea-\n-44 tre. If six on an averege were re*>\n44 vived in every season, the whole\n44 list (save one) would be gone\n44 through once in four years;"}, {"page_pdf": 106, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.106", "debut_caractere": 76, "fin_caractere_exclue": 1523, "texte": "*'while in each season certain plays,\n\" carried forward from the season\n*' or seasons before, would be con-\n\" sidered not as revivals, but as be-\n\" longing to the permanent subs-\n\" tratum of the repertory... what\n\" is called in France the \" repertoire\n\" courantWe take it then that\n\" in the initial season three plays\n\" might be regarded as representing\n** the Shakespearean element in\n\" this permanent substratum, while\n\" the remaining six are about the\n\" equivalent of the normal revivals\n** of a normal season\nHow Shakspeare would have\nenjoyed reading that paragraph!\nWhile it may be hoped that the\nday is far off when the Censor shall\nbe removed, we hope that he will not\npass before removing the ban from\nall the Shakespeare plays. It makes\nsuch a difference who treats tragical\nsubjects that somehow we feel that\nShakespeare can handle them better\nthan Messrs Barker or Shaw, and\nTitus Andronicus would be but a\nlaughable tragedy after their \"heroic\ncurtailments and manipulations\nIf Messrs Archer and Barker are\nrepresentative of any England at\nall, perhaps they represent the Vic-\ntorian Era at its worst, certainly not\nthe Elizabethan at its best though\nthere is a suggestion in their sen-\ntiments that they would fit the\nCromwellian era like a glove; so that\nwe see Messrs Archer and Barker\nare really for the most \"advanced \"\ntheatre conceivable: that of the Revo-\nlutionary Puritan wherein Shakes*\npeare plays the part of the \"Bauble.\""}]}, {"article_id": "bm-bmtnaau-1912-10-01-c078", "article_bluemountain": "bmtnaau_1912-10_01#c078", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "192", "page_fin": "192", "image_debut": 106, "image_fin": 106, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.26.5", "titre_corps": "ART AND ARTISTS", "titre_sommaire": "ART AND ARTISTS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 106, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.106", "debut_caractere": 1525, "fin_caractere_exclue": 2323, "texte": "ART AND\nJ. S.\nseems to feel that he\nhas the right to speak of Art\nnowadays without knowing about it.\nArt, the property of the king,\nthe priest and the aristocracy, has\nbecome the property of the mob.\nEven highly placed people care\nto offer opinions on art, laying down\nthe law about it. To these Notre\nDame is as \" noble \" as the Temple\nof Denderah ; Nijinsky as \" superb \"\nas the Louvre Nike of\n•£? Ask the same people some simple\nquestions about chemistry or mathe-\nmatics and they answer that they\nleave such subjects to those who\nstudy them. Is Art then not so se-\nrious a study that they can so glibly\nroll off rubbish about it ?uP\nKeep your place, gentlemen, and,\nwithout blurting out that art is\nabove you, or confessing by chatter\nthat it is beneath you, turn your\nthoughts to other things."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c079", "article_bluemountain": "bmtnaau_1912-10_01#c079", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "193", "page_fin": "193", "image_debut": 107, "image_fin": 107, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.27", "titre_corps": "AN ADDITIONAL FOREIGN NOTE", "titre_sommaire": "AN ADDITIONAL FOREIGN NOTE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.107", "debut_caractere": 0, "fin_caractere_exclue": 49, "texte": "AN ADDITIONAL FOREIGN .\n\nTHE LEICESTER GALLERIES."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c081", "article_bluemountain": "bmtnaau_1912-10_01#c081", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "193", "page_fin": "193", "image_debut": 107, "image_fin": 107, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.27.2", "titre_corps": "THE LEICESTER GALLERIES", "titre_sommaire": "THE LEICESTER GALLERIES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.107", "debut_caractere": 25, "fin_caractere_exclue": 49, "texte": "THE LEICESTER GALLERIES."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c082", "article_bluemountain": "bmtnaau_1912-10_01#c082", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "193", "page_fin": "193", "image_debut": 107, "image_fin": 107, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.27.2.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.107", "debut_caractere": 51, "fin_caractere_exclue": 404, "texte": "J. S.\n7e print below a Note which has\nTV\njust reached us, too late to be\nIncluded with the other News from\nLondon, relative to Mr Gordon\nGra!g*s exhibition at the Leicester\nGalleries referred to Oh page 179*\nIt will be of Interest to those who\nhave hitherto been unable to visit\nthe Exhibition to know that they\nhave still an opportunity of doing\nSO. J&"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c083", "article_bluemountain": "bmtnaau_1912-10_01#c083", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "193", "page_fin": "193", "image_debut": 107, "image_fin": 107, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.27.2.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "G. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.107", "debut_caractere": 406, "fin_caractere_exclue": 1635, "texte": "G. H.\nCjnce telling you that Mr Gordon\nCraig's Exhibition would close in\nLondon on September 30th and\nwould then start on a tour of the\nnorthern cities I learn that the Di«\nrectors of the Leicester Gallery have\ndecided to keep it open for two\nweeks longer than previously arran-\nged. it will thus be the middle of Oc-\ntober before it starts northwards, and\nno doubt many of The Mask readers\nwho are now returning to London\nwill be glad of this news and to\nknow that they are yet in time to\nsee these models and designs.\nv, , y ' ■> y T''■ ;>S ' ~■/ v '• ' -V01* ■ ■', I\nThe exhibition has been visited\nduring the last month by a large\nnumber of well known people, in-\ncluding Countess Greffulbe, Princess\nI\nCaramen Chimay, Lady Strachey,\nSir Bram well Tho mas, Sir Albert\nSeymour, Miss Evie Greene, Sir Wil-\nliam Bull, Mr and Mrs Haldane\nMacfall, Mr Walter Crane, Miss Ger-\ntrude Kingston, Mr Augustus John\nLord and Lady Dunsany, Mr Charles\nBrookfleSd, Mr Norman Forbes Ro«\nbertson, Countess Gleichen, Mr and\n*\nMrs William Rothenstein, Professor\nBaker of Harvard University, Mr H.B.\nirVing, Mr Alfred Waring, (Director\nof the Glasgow Repertory Theatre),\nMr Emery Walker, Mrs HolmanHunt,\nCount Kessler and Lady Dorothy\nNeville. j&"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c084", "article_bluemountain": "bmtnaau_1912-10_01#c084", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.28", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 282, "texte": "THE FORUM.\nis printing the most brilliant and\nenduring work of the men\nand women who will\nI\nbe the classics of\nto-morrow.\nSTORIES : ESSAYS : CRITICISM .♦ PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\n4ITCHELL K E N N E R\n» New York & London\nThree months trial subscription two shillings"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c085", "article_bluemountain": "bmtnaau_1912-10_01#c085", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.2.29", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.3", "debut_caractere": 284, "fin_caractere_exclue": 931, "texte": "■MI dMI\nH E\nHER\nTHE special literary value of ray general Catalogue has given it a unique position\nin the world of book-making for book-lovers.\nProm year to year these Catalogues have been issued with the view of making\nknown, as no other form of advertising could make known, The Mosher Books and\nwhat they represent in up-to-date bookcraft. All possible value has been put into\nthese books by their publisher; so that to-day they are the only style of genuine\nhand-made editions at popular prices in America.\nJ0 Sent without charge to all who are interested in choice editions at moderate\nprices. & & JS> &\nIHO MAS B. MOS HER, POR TLA ND. MAINE."}]}, {"article_id": "bm-bmtnaau-1912-10-01-c086", "article_bluemountain": "bmtnaau_1912-10_01#c086", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[92]", "page_fin": "[92]", "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=bmtnaau191210-01.2.30", "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": 4, "page_imprimee": "[92]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 398, "texte": "THE BLUE BOOK\nThe Undergraduate Review\n0\nNUMBER ONE APPEARED MAY 1912\n& Its contents were as follows. &\nThe Ideas of Mr Gordon Craig C'est a Vamour du Vieux\nThe Tavern of Children Monde\nHome Chat: A Play in one Past and Present of Futurism\nAct Henry James jM\n£/ Poems Essays Reviews\nBMB\nCONDUCTED BY OXFORD UNDERGRADUATES & PUBLISHED\nEVERY TWO MONTHS AT 6 & 7 CORNMARKET ST, OXFORD\nONE SHILLING NET"}]}, {"article_id": "bm-bmtnaau-1912-10-01-c087", "article_bluemountain": "bmtnaau_1912-10_01#c087", "volume": "bmtnaau_1912-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[92]", "page_fin": "[92]", "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=bmtnaau191210-01.2.31", "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": 4, "page_imprimee": "[92]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.4", "debut_caractere": 400, "fin_caractere_exclue": 1267, "texte": "THE POETRY REVIEW\nA Monthly Periodical devoted to the Study and\nAppreciation of Modern Poetry of all countries.\nA SPECIAL SUBJECT WILL BE DEALT WITH IN EACH ISSUE.\nTHE FOLLOWNQ 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\n\" . ANNUAL SUBSCRIPTION FIVE SHILLINGS NET-\nSEPARATE COPIES SIXPENCE NET.\n—1 —n-atae,n—B——riOTinniwTi\"————in—iw—innii—n mwii.wi 1 ■ 111 nuiiiiiwr7*nifrr**,TiTi~rngiwwM>-fiT\"■■■ir\",'iM~mwiTWinnmTi\"mTrr«nwTnp—n—wma——w\nOf all Booksellers, and In Florence of\nSucc. B. Seeb e r, Via Tornabuoni.\nV • . ; '*\nmmmmmmmmmmaummammrnnammmmmjuwi. MWMMMMTlMWAMJliiiiuttrtwmiiriavi tmmimii>ii,iiniiMWiiniiw,ijiii<,ii,ii i mmMmßm&mtMH&mzmmnmmmmmKmmmmmmammßmmaßummmaßmmmmMaxmsEmm - r ■ » ~\n93 CHANCERY LANE, LONDON W.\nC."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.1", "texte": "A QUARTERLYJOWNM, OF\nTHE ART OF THE THEATRE\nVolume Five. Number Two\nOCTOBER\ni 9 I 2\nARENA QOLDONI\nF L OR E N C E\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS.\n& SINGLE COPY PRICE FOUR' SHILLINGS NET. &\nTRADE A.\nSIMP K I N, MARSHALL, HAMILTON KENT & CO. LON DON."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.2", "texte": "THE MASK. OCTOBER 1912.\n9 t\n''jphe Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated.\nAll possible care will be taken, but he cannot hold himself responsible for the\naccidental loss of MSS. These must in every case be accompanied by a stamped and\naddressed envelope as otherwise they cannot be returned.\nCommunications should be addressed to the Arena Goldoni. Florence. Italy\n\nLITERARY CONTENTS.\nGENTLEMEN, THE MARIONETTE \\ ... . Gordon Craig. . . 95.\nTHE MARIONETTES OF M. SIGNORET. . . . Anatole France. . . 98.\nTHE COMMEDIA DELL'ARTE ASCENDING. . . Gordon Craig. . . 104.\nCRITICISM, A NOTE Adolf Furst. . . . 109.\nA HISTORY OF PUPPETS \"Yorick\" (P. Ferrlgni). in.\nEARLY ENGLISH PUPPET SHOWS. .... William Hone, 1823. . 141.\nTHE SOCIETY OF THE MARIONETTE . . . . J. S 144.\nTHE GAME OF MARIONETTES. Gordon Craig. . . 145.\nA NOTE ON EASTERN PUPPETS Sir William Ouseley, 1823. 157.\n44 UNTIL TODAY THE ARTIST \" Ivan Ivanowitch... . 159.\nSIMON OF CYRENE Oscar Wilde. . . . 162.\nTHE ARCHITECTURE AND COSTUME OF f MUCH\nADO ABOUT NOTHING E. W. Godwin. . . 163.\nLETTERS TO THE EDITOR 167.\nBOOK REVIEWS: FOREIGN NOTES: CRITICS CRITICISED: EDITORIAL NOTES. 169.\nShort Extract from the writings of Arthur Symons 103.\n\nILLUSTRATIONS.\nTWO DESIGNS FOR COSTUMES FOR 44 THE MER-\nCHANT OF VENICE \" E. W. Godwin. . . no.\nPLANS FOR A MARIONETTE THEATRE. . . . John Bull. . . . 147.\nA MARIONETTE ON THE STAGE „ 150.\nDICKSONN'S METHOD OF MOVING MARIONETTES. „ „ . . 151.\nPRANDI'S METHOD OF MOVING MARIONETTES. . „ „ ... 153.\nGUIGNOL AND GNAFRON „ 155.\nHEAD AND TALE PIECES AND INITIAL LETTERS by Gordon Craig, John Bull,\nOliver, and from Old English Designs."}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.3", "texte": "THE FORUM.\nis printing the most brilliant and\nenduring work of the men\nand women who will\nI\nbe the classics of\nto-morrow.\nSTORIES : ESSAYS : CRITICISM .♦ PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\n4ITCHELL K E N N E R\n» New York & London\nThree months trial subscription two shillings\n\n■MI dMI\nH E\nHER\nTHE special literary value of ray general Catalogue has given it a unique position\nin the world of book-making for book-lovers.\nProm year to year these Catalogues have been issued with the view of making\nknown, as no other form of advertising could make known, The Mosher Books and\nwhat they represent in up-to-date bookcraft. All possible value has been put into\nthese books by their publisher; so that to-day they are the only style of genuine\nhand-made editions at popular prices in America.\nJ0 Sent without charge to all who are interested in choice editions at moderate\nprices. & & JS> &\nIHO MAS B. MOS HER, POR TLA ND. MAINE."}, {"page_pdf": 4, "page_imprimee": "[92]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.4", "texte": "THE BLUE BOOK\nThe Undergraduate Review\n0\nNUMBER ONE APPEARED MAY 1912\n& Its contents were as follows. &\nThe Ideas of Mr Gordon Craig C'est a Vamour du Vieux\nThe Tavern of Children Monde\nHome Chat: A Play in one Past and Present of Futurism\nAct Henry James jM\n£/ Poems Essays Reviews\nBMB\nCONDUCTED BY OXFORD UNDERGRADUATES & PUBLISHED\nEVERY TWO MONTHS AT 6 & 7 CORNMARKET ST, OXFORD\nONE SHILLING NET\n\nTHE POETRY REVIEW\nA Monthly Periodical devoted to the Study and\nAppreciation of Modern Poetry of all countries.\nA SPECIAL SUBJECT WILL BE DEALT WITH IN EACH ISSUE.\nTHE FOLLOWNQ 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\n\" . ANNUAL SUBSCRIPTION FIVE SHILLINGS NET-\nSEPARATE COPIES SIXPENCE NET.\n—1 —n-atae,n—B——riOTinniwTi\"————in—iw—innii—n mwii.wi 1 ■ 111 nuiiiiiwr7*nifrr**,TiTi~rngiwwM>-fiT\"■■■ir\",'iM~mwiTWinnmTi\"mTrr«nwTnp—n—wma——w\nOf all Booksellers, and In Florence of\nSucc. B. Seeb e r, Via Tornabuoni.\nV • . ; '*\nmmmmmmmmmmaummammrnnammmmmjuwi. MWMMMMTlMWAMJliiiiuttrtwmiiriavi tmmimii>ii,iiniiMWiiniiw,ijiii<,ii,ii i mmMmßm&mtMH&mzmmnmmmmmKmmmmmmammßmmaßummmaßmmmmMaxmsEmm - r ■ » ~\n93 CHANCERY LANE, LONDON W.\nC."}, {"page_pdf": 6, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.6", "texte": "A Design for a stage Costume for Miss Ellen Terry as Portia, by E. W. Godwin, F. S. A.\n\nTHE MASK.\nOetoiier, 1912."}, {"page_pdf": 7, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.7", "texte": "GENTLEMEN, THE MARIONETTE!\nJ. S.\nnP/f/s number of The Mask being dedicated principally to the\nMarionette, we have asked Mr Gordon Craig, who has studied\nhim so closely and knows him so well, to act as Master of the\nCeremonies and make the Introduction ; and so, together with M.\nAnatoie France, 44 Yorick \",Mr Arthur Symons and others of\nthose who believe in 44 the majesty of marionettes \", make better\nknown to many who have long been estranged from them these\nwonderful little beings which, with centuries of life behind them\nand centuries before, have 44 in them something of the divine\nand 44live with the life of the immortal gods\ne has been waiting so long in the servants hall that 1 am\nsure you will not find fault with me for having called\nhim upstairs and brought you together. &\nYes, he had a capacity for waiting... a talent not with-\nout charm in so humble a creature. &\nJZ? Humility is only an assumption in men. & &\nLet me begin by saying a word on the nature of the marionette.\nHe will wait anywhere for any length of time,... hidden in a b0x,....\nin a cellar.... or even in a century. But he will wait.... and when he is\nbrought forward and made to feel at home he will still wait.... then he\nwaits upon you and all of us like a true servant.\n& There is only one actor... nay one man... who has the soul of the\nDramatic poet and who has ever served as true and loyal interpreter of\nthe Poet. This is the marionette. So let me introduce him to you.\nSome of you will think you have met him before. But how is that\n\n(i) Anatoie France. See Tfee Mask, Vol IV p. 308"}, {"page_pdf": 8, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.8", "texte": "GENTLEMEN, THE MARIONETTE!\n\npossible? for once to meet him, is never to forget him... whereas you\nand he are strangers. &\nYet I am not entirely Just. There are times, when you have come\nacross him, unawares. He has many disguises and he impersonates\nknown heroes and despised persons equally well. £? ■£?\nYou have come across him in some deserted cathedral in Italy or\n*\neven In England,... for cathedrals are free, and \"open to the public\"....\nand are therefore deserted.\nThere you will have seen him hanging upon the Cross. And many\nChristians love him; he is interpreting the Drama of both Poet-man and\ngod.\n& Or you have caught a glimpse of him in some temple in the Far East\nenacting a more serene Drama.... seated before incense,., hands folded,...\nvery calm. a?? j£? &\nj0- Or in the arms of a child you have seen him... interpreting the little\nhearts and the larger dreams of iove ! j£? £*\nThese attempts of his to reach you have not entirely failed .... but\nstill for all this until now you have actually and unconsciously kept him\nwaiting in the servants hall.\nj£r Gentlemen.... the marionette \\ <£?\nYet silently he waits until Ills master signals to act and then In a\nflash, and in one inimitable gesture, he readjusts the injustice of justice\nthe illegality of the 1aw,.,, the tragic farce of \" Religions \", the broken\npieces of philosophies and the trembling ignorance of all policies.\nAnd what other virtues can I name besides these two of silence and\nobedience ?... I think these are enough.\nFor his chief virtue springs out of these. Because of them he has been\nable to avoid that appalling crime of exhausting the stock. Born of wood\nand the lover of wood, he is content to obey his nature and remain\nwooden. Others can be as great as he.,., he always leaves much to be\ndesired; a great being therefore,... greater than Wagner and the other\ncelebrated men who have left nothing we long to have longer. After\nRichard Wagner, after Michaelangelo, after Shakespeare... what ?... Blanks !\nThey exhausted their gift, they squandered their talent; nothing was\n*\nleft. They did everything, suggested nothing, and their sons inherited"}, {"page_pdf": 9, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.9", "texte": "& GENTLEMEN, THE MARIONETTE! &\n\nempty purses, empty veins ; instead of thinking of their responsibilities\nthese great exhausters thought only of themselves. They were all full\nstops to short sentences. £? jgr &\nThis is not the Ideal of the artist, nor the Ideal of mankind.\nThe Ideal is more companionable, more paternal, gentler. It ends no-\nthing ; It will not go alone; it takes its sons with it and it has something\nmore priceless than all else to hand out to them at the end of the journey.\n& Leonardo was such an Ideal. The Marionette is another.\nThe Marionette through his two virtues of obedience and silence\nleaves to his sons a vast inheritance. He leaves to them the promise of\na new art. &&<&&&&\nThe Marionette is a little figure, but he has given birth to great ones\nwho, if they preserve the two essentials, obedience and silence, shall\npreserve their race. &\nThe day that they hunger for further power they will surely fall.\nThese children of his I have called ueber-marlonettes and have writ-\nten of them at some length. &\n<£? What the wires of the ueber-marionette shall be, what shall guide\nhim, who can say ? I do not believe in the mechanical..., nor in the ma-\nterial.... The wires which stretch from Divinity to the soul of the Poet\nare wires which might command him ;.... has God no more such threads\nto spare.... for one more figure ? I cannot doubt it.\nI will never believe anything else.\nnd did you think when I wrote five years ago of this new\nfigure who should stand as the symbol of man.... and when I\nchristened him the ueber-marlonette; to see real metal or\nsilken threads & & & &\n1 hope that another five years will be long enough time for you to\ndraw those tangible tangle-able wires out of your thoughts."}, {"page_pdf": 10, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.10", "texte": "THE MARIONETTES OF M. SIGNORET\nby Anatole France.\n(I)\nThe marionettes of M. Signoret piay Cervantes and\nAristophanes and 1 expect that they will also act\nShakespeare, Calderon, Plautus and Moltere; did not\nthe English marionettes act the tragedy of Julius\nCaesar in the time of Queen Elizabeth ? And was it\nnot in seeing the true history of Doctor Faust, played\nby articulated puppets, that Goethe conceived the\ngreat poem at which he worked until his dying day ? Did you then think\nit impossible that marionettes should be eloquent or poetic?\nIf those of the Galerie Vivienne would but believe me they would\naiso perform the Temptation of St Anthony by Gustave Flaubert and an\nabridgement of the Mystery of Orleans which M. Joseph Fabre would not\nfail to adapt for them with love. £? ■ xJ?\nThe little marionette who should represent la Pucelle should be car-\nved artlessly as though by some good image-maker of the fifteenth cen-\ntury, and thus our eyes would see Joan of Arc almost as our spirits see\nher when they are holy. Finally, since It is in the nature of man\nto desire without limit, I shape a last wish. 1 will say then that I have\na great desire that the marionettes should represent for us one of those\ndramas of Hrotswitha in which the virgins of the Lord speak with such\nsimplicity. Hrotswitha was a nun in Saxony, in the time of Otho the Great.\nShe was a very learned woman, of an intellect at once subtle and barba-\nrous. She took it into her head in her convent to write plays in imita-\ntion of Terence, and it turned out that these plays did not resemble „\neither those of Terence or any other plays. Our abbess had her head\nfull of charming legends. jg? &\n& She knew to the last detail the conversion of Theophilus and the\nrepentance of Mary, niece of Abraham, and she wove these pretty things\ninto Latin verse with the candour of a little child. That is the theatre\nwhich I want. The one of today is too complicated for me. If you wish\n\n(I) These essays appear through the courtesy of Mr John Lane, who is publishing: a complete English edition\nof the works of M. Anatole France, and who has kindly allowed us to make the above translations from\n\"La Vie Litteraire a complete version of which will be shortly issued by him."}, {"page_pdf": 11, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.11", "texte": "THE MARIONETTES OF M. S/GNORET.\n\nto give me pleasure show me some piece of Hrotswitha's; the one, for\nexample, in which one sees a venerable hermit who, disguised as an\nelegant cavalier, enters Into a house of ill-fame to rescue therefrom a\nsinner predestined to eternal salvation. The spirit bloweth where it\nlisteth. To accomplish his purpose the hermit feigns at first to experience\ncarnal desires. But... oh unfading modesty of the good Hrotswitha!... this\nscene is of an exemplary chastity. \" Woman \" says the hermit, 44 I would\nlike to enjoy thy body \". 44 O stranger, it shall be according to thy desire\nand I am going to give myself up to thee \"• Then the hermit pushes her\naway and cries, \"What, thou art not ashamed...\"\nThat is how the abbess of Gandersheim understood the management\nof a scene. She had no humour. She was as innocent as a poet, which\nis why I love her. If I ever obtain the honour of being presented to the\nactress who takes the great leading parts in the Marionettes' theatre I\nshall throw myself at her feet, I shall kiss her hands, I shall clasp her\n\"knees, and I shall entreat her to play the part of Mary in my abbess's\nplay. I shall say: \" Mary, niece of St Abraham, was hermit and courte-\n-44 san. There are therein some great situations which explain themselves\n\" by a small number of gestures. A beautiful marionette like you will\n44 there surpass the flesh-and-blood actresses. You are very small, but\n\" you will seem big because you are simple, while in your place a living\n\" actress would seem small. Besides, there is none but you today to\n44 express religious\nThat what I shall say to her, and perhaps she will be persuaded.\nA truly artistic idea, a graceful and noble thought, ought to enter\nmore easily into the wooden head of a marionette than into the brain\nof a fashionable actress. £? & & &\njSf In the meantime I have twice seen the marionettes of the rue Vi=\nvienne and have taken great pleasure in them. 1 am infinitely pleased\nfor them to replace the living actors. If I must fully express my feeling\nthe actors spoil the play for me. I mean the good actors. I would put up\nwith the others! But it is the excellent actors, such as one finds at the\nCom£die fransaise that I positively cannot stand. Their talent is too great;\nit covers everything. There is nothing but them. Their personality effa-\nces the work which they represent. They are prominent. I would not"}, {"page_pdf": 12, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.12", "texte": "THE MARIONETTES OF M. SIGNORET.\n\nhave an actor prominent save when he has genius. I dream of master-\npieces wretchedly played in barns by wandering actors. But perhaps I\nhave no idea of what the theatre really is. I had better leave the care of\ntalking about it to M. Sarcey. I wish only to descant on Marionettes. It\nIs a subject which suits me and on which M. Sarcey would be no good\nat all. He would bring reason to bear upon & & &\nOne needs a keen taste for it and also a little veneration. The mario-\nnette is august: it issues from the sanctuary. The marionette or mariole\nwas originally a little virgin Mary, a pious image. And the street in Pa-\nris where they formerly sold these little figures was called rue des Ma-\nrlettes and des marionnettes. It is Magnin who says so. Magnin the\nlearned historian of the marionettes, and it is not quite impossible that\nhe tells the truth although such is not the habit of historians.\n& Yes, the marionettes have come forth from the sanctuary. In old Spain,\nin the ardent land of the Madonnas dressed in beautiful gowns similar\nto lamp-shades of gold and pearls, the marionettes acted mysteries and\nrepresented the drama of the Passion. They are clearly designated by an\narticle of the Synod of Orihuela, which forbids the use, for the sacred\nrepresentations, of these little moveable figures : \"Imajunculis flctilibus,\nmobili quadam agitatione compositis, quos titeres vulgari sermone ap-\npellamus\". & &JS\n& Formerly, at Jerusalem, in the great religious fairy scenes, they made\npuppets dance devoutly upon the Holy Sepulchre.\nIn the same way, in Greece and at Rome, the jointed dolls had at\nfirst a part in the religious ceremonies ; then they lost their religious\ncharacter. At the decline of the theatre the Athenians had so strong a\ntaste for them that the archons authorized little wooden actors to\nappear upon that stage of Bacchus which had re-echoed with the\nlamentations of Atossa and the furies of Orestes. The name of Pothinos,\nwho installed his trestle-stage on the altar of Dionysus has come\ndown to us. In Christian Gaul Brioche, Nicolet and Fagotin have re-\nmained famous as Marionette showmen. But I do not doubt that M.\nSignoret's puppets surpass, for style and grace, all those of Nicolet, of\nFagotin and of Briochd. They are divine, the puppets of M. Signoret,\nand worthy of embodying the dreams of the poet whose soul was, says"}, {"page_pdf": 13, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.13", "texte": "THE MARIONETTES OF M. SIGNORET.\n\nPlato, \" the sanctuary of the Loves \".\nThanks to them, we have an Aristophanes in miniature. When the\ncurtain is raised on an aerial landscape and we have seen the two half\nchoirs of the birds take their places on the two sides of the thimele, we\nhave formed some idea for ourselves of the theatre of Bacchus. What a\nbeautiful performance! One of the two chorus-masters of the Birds, tur-\nning towards the spectators, pronounces these words:\n%\n\" lacking wings, unhappy mortals, condemned to an ephemeral and\n\" fugitive life, shadows, light dreams....\"\nIt is the first time, I think, that marionettes speak with that melan-\ncholy gravity.\nTHE TEMPEST.\nHenry Signoret's marionettes have just given us Shake-\nspeare's \" Tempest\". It is hardly an hour since the\ncurtain of the Petit Theatre fell upon the harmonious\ngroup of Ferdinand and Miranda. I am still under the\nspell, and, as Prosper© says, I \"yet taste some subtilties\no' the isle What a charming sight I And how true it is that exquisite\nthings, when they are naleve, are doubly exquisite. M. Signoret proposes\nto make his little actors play the chefs d' oeuvres, I will say the\nsalutes oeuvres, ol all the theatres. Yesterday Aristophanes, today\nShakespeare; tomorrow, Kalidasa. His little actors are of wood like the\ngods whom Polyeuctes detested. But Polyeuctes was a fanatic; he under-*\nstood nothing about art and he ignored everything of divine and adorable\n/\nwhich a wooden god can contain.\nJS? AS for me, I feel a sort of pity mingled with a kind of tenderness for\nthe little beings of wood and cardboard, dressed in wool or satin, who\nhave |ust passed before my eyes making the gestures ordained by the\nMuses. My friendship for the marionettes is an old friendship. 1 have\nalready expressed it here last year. 1 said that the wooden actors pos-\nsessed in my opinion, many advantages over the others. And I am\nmuch flattered to see that M. Paul Marguerifte, who has fine taste, the\nlove of the rare, the sense of the precious, is also a strong partisan of"}, {"page_pdf": 14, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.14", "texte": "THE MARIONETTES OF M. SIGNORET.\n\nthe artificial and diminutive actors. He has composed a. of the\nPetit-Th&ltre, an ingenious eulogy upon marionettes.\nJS? \" They are he has said, \" indefaticable, always ready. And while\n** the name and too-familiar face of a living actor imposes upon the\n\" public an obsession which renders illusion impossible or extremely\n\" difficult, the impersonal puppets, beings of wood and cardboard, pos-\n\" sess a droll and mysterious life. Their action, in truth, surprises,\n\" disquiets. In their essential gestures is contained the complete expres-\n\" slon of human sentiments. Proof of this was given at the performances\n\" of Aristophanes. Real actors would not have produced that effect. There\n\" the abridgement added to the illusion : those masks of the ancient\n\" comedy, those simple and slow movements, those statuesque poses\n\" guve to the spectacle a singular grace.\" I should not have expressed\nit so well, but I have felt the same. I add that it is very difficult for\nliving actresses, and above all for actors, to render themselves poetical.\nThe marionettes are so naturally; they have at the same time style and\ningenuousness. Are they not the sisters of the dolls and statues? See\nthe marionettes of the \" Tempest.\" The hand which carved them imprinted\nupon them the characteristics of the ideal, either tragic or comic.\nM. Belloc, pupil of Mercie, has modelled fof the Petit Theatre some\nheads of a powerful grotesqueness or a charming purity. His Miranda has\nthe fine grace of a figure of the first Italian renaissance and the perfume\nof the virgins of that blissful fifteenth century which made beauty flower\nfor the second time in the world. His Ariel recalls, in his gauze tunic\nspangled with silver, the little figures of Tanagra, because the aerial\nelegance of the forms undoubtedly belongs properly to the decline of\nthe helienic art. &\n& These two pretty marionettes speak with the clear voices of Made-\nmoiselle Paule Verne and Mademoiselle C6cile Dorelle. As to the more\nmanly actors of the drama, Prospero, Caliban, Stephano, it was such\npoets as Messrs Laurice Bouchon, Raoul Ponchon, Amedee Pigeon, F6lix\nRabbe, who made them speak. Not counting Coquelin cadet, who did not\ndisdain to voice the Prologue as well as the gay role of the fool Trinculo.\nThe scenery, certainly, possessed a poetry of its own. M. Luclen Doucet\nhad represented the grotto of Prospero with that skilful grace which is"}, {"page_pdf": 15, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.15", "texte": "THE MARIONETTES OF M. SIGNORET.\n\none of the characteristics of his talent. The blue which sang in this de-\nlightful picture added a harmony to the poetry of Shakespeare.\n\nA WORD ON PUPPETS\nby Arthur Symons.\nAfter seeing a ballet, a farce, and the fragment of an opera performed\nby the marionettes at the Costajizl Theatre in Rome I am inclined to\nask myself why we require the Intervention of any less perfect medium\nbetween the meaning of a piece, as the author conceived it, and that\nother meaning which it derives from our reception of it. &\nJS> The living actor, even when he condescends to subordinate himself\nto the requirements of pantomime, has always what he is proud to call\nhis temperament; In other words, so much personal caprice, which for\nthe most part means wilful misunderstanding; and in seeing his acting\nyou have to consider this intrusive little personality of his as well as the\nauthor's. &\nThe marionette may be relied upon, fie will respond to an indication\nwithout reserve or revolt; an error on his part (we are all human) will\ncertainly be the fault of the author: he can be trained to perfection\nAbove all, for we need it above all, let the marionettes remind us that\nthe art of the theatre should be beautiful first, and then indeed what\nyou will afterwards. Gesture on the stage is the equivalent of rhythm\nin verse, and it can convey, as a perfect rhythm should, not a little of\nthe inner meaning of words, a meaning perhaps more latent in things.\n& In our marionettes, then, we get personified gesture and the gesture\nlike all other forms of emotion, generalised. The appeal In what seems\nto you these childish manoeuvres is to a finer, because to a more inti-\nmately poetic, sense of things than the merely rationalistic appeal of\nvery modern plays. If at times we laugh, it is with wonder at seeing\nhumanity so gay, heroic and untiring. There is the romantic suggestion\nof magic in this beauty. £?\nExtracts from the \" Apology for Puppets \"."}, {"page_pdf": 16, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.16", "texte": "THE COMMEDIA DELL'ARTE ASCENDING\nby Gordon Craig.\now much has been written about this wonderful attempt to\nraise Theatricals to a higher state.... to lift them from inter-\npretatlve into creative realms. And how much more will have\nto be written, and that before long, on this plucky attempt.\nNo one fails to understand that In the Commedia dell'Arte the Italians\nof the late 16th century gave to future generations a hint as to the pos-\nsibilities of the Art of the Theatre. The hint was never taken by those\nof the subsequent centuries. The stage as usual liked an easier and less\nresponsible task, so after the Commedia dell'Arte had given birth to\nMoliere it \" rested \" and again became Interpretative.\n& I believe and hope that this century will see a revival 'of this in-\ndepedent spirit of the Theatre... I even believe that the spirit has begun\nto stir again in its ancient bones, (i) && & &\nThe theatre as an independent and creative art has slept for three\ncenturies... it is due time that it should awaken. The fear that such a\n\" novelty \" as a return to a nobler expression would fail to arrest pub-\nlic attention is founded upon nothing but the flimsiest of theories\ndisproved by practise since time immemorial.\n& I hope with further study and more leisure to devote to this subject\nsome years of my life. Till then I can only speak very inadequately of\nthis wonderful renaissance in the Theatre. &\nIt was a wonderful renaissance and It strikes everyone who approaches\nit as such, even the dullest of critics and theorists, no less than the\ntalented men who- are at work in the Theatre.\nProfessor Brander Matthews writes of it as follows: the comedy-of-\n\" masks Is one of the most Interesting developments of the drama in all\nits long history \", and continues : (2)\n&*' It was a development possible only among the Italians, who are\n\n(1) This article was written 1910. The Hope and Belie? here expressed has now begun to be fulfilled. A few\nmonths ago under the direction of Dr Alexander Hevesi a piece was improvised from a scenario of Riccobont's\nLe Defiant at the National Theatre. Budapest. The delight of the audience, the success of the actors, the\npleasure of everyone, were a demonstration that the fine spirit of the old Commedia has never died, but only\nslept, and that it has but to awaken to arrest public attention.\n(2) Story oi Drama. 172-94."}, {"page_pdf": 17, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.17", "texte": "THE CO MM EDI A DELL'ARTE ASCENDING\n\n44 facile actors and who have the faculty of improvisation. A strolling\n44 troop consisted of perhaps a dozen performers, every one of whom\n44 impersonated always the same character, a stock-figure of unchanging\n44 peculiarities. One of them might be the young lover, Lelio, the same\n44 in name and in nature, whatever the imbroglio in which he was in-\n\" volved. Another might be Pantaleone, an old merchant, speaking the\n44 Venetian dialect. A third might be the Doctor, an elderly pedant,\n\" speaking the Bolognese dialect. Yet another might be Pulcinella, the\n44 rascally domestic, indefatigable in ingenious roguery, and speaking\n44 the Neapolitan dialect. And a fifth might be the Captain, the self-vaun-\n\" ting soldier, always boasting about his marvelous feats of valor.\n£? 4< Of the women, one might be Leonora, the young and lovely heroine;\n44 and another might be Isabella, her equally beautiful rival. A third\n\" might be Pranceschina, the pert waiting-maid, as unscrupulous as the\n44 intrlnguing valet with whom she was likely to pair off. If the company\n44 contained a performer of old women, this would be a man, who was\n44 bold in suggesting the least attractive attributes of elderly females.\n44 Add three or four other performers to fill in the less important per-\n-44 sonages, and we have a company competent to perform any plot with-\n-44 out the aid of a written play and often without even a rehearsal.\n44 If the manager, who was likely to be also a leading actor as well\n44 as the deviser of the plots, had happened to read the Italian story out\n44 of which Shakespeare made 44Romeo and Juliet,\" he might have \"cast\"\n44 it to such a company as this, discarding the tragic termination, em-\n-44 phaslzing the romantic aspects and providing opportunities for the\n44 clowning of the comedians. Pantaleone would have had a quarrel with\n44 the Doctor. Lelio would have been the son of Pantaleone, and Leonora\n44 would be the daughter of the Doctor. The man who played the 44 old\n44 women \" would be the nurse of Leonora; and the Captain would swag-\n-44 ger as the cousin or brother of Leonora, whom Lelio would kill in a\n44 duel. Pranceschina would be the serving-maid of Leonora, and Pulcinella\n44 would be the valet of Lelio.\n44 The manager-author would call the company together and explain to\n44 each the relation he was supposed to bear toward all the others. Then\n44 he would indicate the sequence of scenes in the several acts; and this"}, {"page_pdf": 18, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.18", "texte": "THE COMMEDIA DELUARTE ASCENDING\n\n44 scenario, as It was called, would be written out and pinned up behind\n44 the scenes. The play might begin with a violent altercation between\n44 Pantaleone and the Doctor; but this would be no difficult demand upon\n44 either performer, since they had often quarrelled in earlier plays. A\n\" little later might come a long love-scene for Lelio and Leonora: and\n\" this again would be no novelty, since he had been making love to her\n\" in almost every other piece since he joined the company. Lelio had in\n44 stock a dozen perfervid declarations of devotion; and Leonora had\n44 by experience a dozen different ways of receiving his declaration.\n& 44 In this fashion, the story of the loves of Romeo and Juliet might be\n\" unrolled by means of these stock-figures, each of which retained his\n44 own name always and his own individuality. And in this same fashion,\n44 any other story, tragic or comic, might be represented by a similar\n44 company of Italian comedians, accustomed to one another, and reali-\n-44 Zing the advantages of conscientious 44 team-play\". The unchanging\n44 and highly colored type, which any one of these comedians imperso-\n-44 nated and made his own, has an obvious likeness to the bishop or\n44 knight or any other piece of a set of chessmen, whose rights and pri-\n-44 vileges are strictly limited and absolutely invariable, but who can be\n44 set in motion in varied and limitless relations with the other pieces.\n44 That the Italians were able to interest audiences, generation after\n44 generation, with primitive plots of this kind in which character was\n44 subordinated to story, is added evidence that action is of primary\n44 importance in the theater. & &\ni®lt demanded men of great talent. 44 Amateurs were insufficient for\n44 these tasks. Every dilettante may, without training, and with or without\n44 talent, learn any written task by heart, and play it more or less badly,\n\" according to his capacities ; at least so that the course of the performance\n44 is not much disturbed or delayed. But not so with the Italian Com-\n-44 media de/rArte : there talent alone was not enough; professional\n44 training and perfect schooling were indispensable if the play was not\n44 to collapse. \"(<) ■£? £? &\n& For 44 to be a good Italian actor means to be a man who possesses a\n44 rich store of knowledge, who plays more from fancy than from memory,\n\n(I) Mantziiis. History of Theatrical Art: Vol: 15. 214"}, {"page_pdf": 19, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.19", "texte": "THE COMMEDIA DELVAR\n\n\" who while he plays invents all he says ; who seconds his colleagues on\n\" the stage, that is, matches his words and actions so well with those\n\" of his comrade that he enters at once on ail the movements to which\n\"the other Invites him, and in such way as to make everybody believe\n\" that all has been settled beforehand (1)^2?\nSome critics having become warm about this subject for a moment\nseem to feel it their duty to grow cold as quickly: they find that the\nCommedia cannot be held as \"deep and sincere\", \"Nothing\" says one\nof them, \" except depth and sincerity of character=drawing can endow\n\" a play with the enduring merit which will resist the inevitable changes\n\"of theatrical fashion. The \" Romeo and Juliet \" of Shakspere survives\n\" to=day as vital as when it was first acted, because its two foremost\n\" figures are eternal types of the heedless and headstrong passion of\n\" ardent youth.\" (2) & jz?\nBut this is not true. An improvised drama can be as sincere and as\nprofound as a play written by a master of letters: ...character is not\ndrawn only by writers in ink nor can passion be patented by those of\nthe pen. Both the prose and poetry of life are free to us all, and if the\nCommedia dell'Arte gave expression in the sixteenth century but to the\nprose of life it is quite plain that the poetic expression still offers itself\nto some poet, (not necessarily one who writes) who shall revive the art.\nThe temperament of these Italian comedians and the conditions under\nwhich they worked influenced them when they chose character instead\nof passion as their medium ? (3) another temperament will fling itself\nupon the nobler and more mysterious material, (if we can speak of some-\nthing subjective as a material), and will prove the depth and sincerity\nof the Art.\nAnd so we shall have Drama once more instead of plays written by\nliterary men of genius or talent. & & & &\n& The thing Is as easy as dancing a waltz.... as easy and as difficult.\nThere is a vivid touch of passion in the waltz; the polka is a dance of\ncharacter. Comedians can excel in the latter but only poets in the former.\n\n(2) Le Theatre Italien de Gherardi. Paris 5717.\n(3) Braader Mathews. Op .cit,\n(4) W. B. Yeats. 44 The Tragic Theatre \" The Mask, Vol; ill. 77"}, {"page_pdf": 20, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.20", "texte": "THE CO MM EDI A DELL'ARTE ASCENDING.\n\n& Moliere shows us that in the Commedia dell' Arte of the sixteenth\ncentury much commonplace talk was needed to lead up to a \"point,\"\nand we may be sure that much silence will be necessary to approach a\nsituation in passionate Drama. Conversation, talk of any kind weakens\nthe Dramatic intensity of passion. It is all the more amazing that Dram-\ntic authors have traded in the commodity of talk so long...amazing and\nshameful. The intensity of passion can only be truly suggested by an\nact... an act which dominates the silence, not one which sinks under it.\nWe men of the Theatre hear the voice of our mother, commanding us\nthat we shall not forget this priceless truth...we know this In our bones,\nour blood tells us it dally and our souls are not deaf to the voice.\nWhat then has prevented the rebirth of the true Drama so long?\nMany things have done so. To begin with WE are most to blame. By\nWE I mean all of u5.... we have plotted to avoid the responsibility... half\nfrom fear, half from modesty. We have always telt that we were unfit\nto express with sincerity the profundity of passion... being what we are.\nand we have had no courage to encourage those amongst us who might\nhave ventured... being what they are.\nYet such men have lived with us:... some have sprung from the noble\nunion of lovers who were fitted by their love to undertake the respon-\nsibility of interpreting through their own persons the Divine.\nThere was much to aid them and there is still as much. Did they\nfeel that their face still showed too much the traces of desire to use it\nin the service of passion they could veil these traces under a mask: did\nthey tremble for the betraying weakness of their movements they could\nremedy such fallings by imprisoning their feet in raised and heavy shoes;.,\nthus disciplined they no longer need feel fear that their unworthiness\nwould impede the delivery of their message. £/\nI shall be able to write more on this theme some day : at present\nthis Is enough. &&&&&&"}, {"page_pdf": 21, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.21", "texte": "CRITICISM: A NOTE\n\nby Adolf Furst.\n,y^rith unrest around us, institutions toppling down, other institutions\nbeing hastily founded, with beliefs torn to shreds and scattered to\nthe four winds, it is not surprising that criticism finds itself today on\nthe verge of disaster. It is more surprising that criticism is as good as\ni t is.\njSf Critics are a race of underrated men, and underpaid too. People seem\nto forget that criticism is an art and that the critic is an artist. We are\ngreatly in need of him today. He could save many things, and for this\nreason it is to be wished that the English critic would study some of\nthe works of Nietzsche, for he would find in him an exceptional friends\nThere are some things which Frederick Nietzsche has said which, once\nperceived by the modern critic, would lend him additional strength, for\nNietzsche often repeats old truths in so vital away that they seem to\nbe new, and the newspaper will never refuse old truths. So Nietzsche is\nnot only a good friend for the critic, but also a safe one. For instance\nin his 44 Wil! to Power\", on page 297, second volume of the edition lately\npublished by F. N. Foulis, he says something valuable for the critic. Here\nis the passage: ZZ? JZZ JZ? JS?\n\"Concerning Flank: The terrible consequences of freedom are\n44 that everybody thinks he has the right to every problem. All order of\n44 rank has vanished.\" £? xz> £? £?\nUpon this theme Nietzsche has many other things to say in other\nparts of his works, and it is one of the most important of the points\nwhich he makes. See how it may lend strength to the critic if he can\nonly feel that he has it in his power to state that everybody has not the\nright to every problem. For instance, the amount of loose chatter which\neveryone thinks he is privileged to pour out concerning the theatre and\nthe art of the theatre does great harm and nullifies the efforts of the\nfew serious workers in this branch of art. These men can be heard every\nday giving their unripe opinion about matters to do with the theatre,\nand giving it without any sense of the ridiculousness of their presump-\ntion in the very presence of men who have studied this question for a\nlifetime.\nI remember hearing a very celebrated Anglo-American painter laying\ndown the law about things to do with theatrical art in the presence of"}, {"page_pdf": 22, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.22", "texte": "CRITICISM\n\na man who is a master in the art, and this same great painter had a\nmonth previously written a letter to one of my friends saying that he\nwas not very much interested in the theatre and knew very little about it.\nNow you would have thought that such a man, when he came to speak\nabout a matter of which he previously had expressed ignorance would\nsay without hesitation \" Now you know I know nothing about this ; tell\nme about Itbut you see he evidently thought that he had a right to\nthat problem, and the \"Terrible consequences\" of that were that the\norder of rank for the time being was upset.\n& Although very much cannot be said for the actor, or the theatrical\nmuse in general, as regards his own art, still one must enthusiastically\nadmit that he is seldom found \"gassing\" about other arts to other ar-\ntists. If in the presence of a painter, he generally enquires respectfully\nabout painting, and when he has received an answer fwhich I grant you\nhe doesn't understand) he thanks his informer and the order of rank is\nunbroken. &\nNow if critics were to write on this point, and were to drum it into\ntheir readers' heads that they were making donkeys of themselves in\npretending to a knowledge which they dp not possess on matters upon\nwhich they had not expended any thought, it would do a great deal\nOf gOOd.^2?\nThere is nothing shameful in not knowing about the art of the thea-\ntre, but there is something extremely ridiculous In pretending to know\nabout it. jZ? £? & z?\n1 do not think that we who write in Mask have often spoken\nabout the work of, let us say, Mr J. S. Sargent. We have perhaps res-\npectfully said that he was a magnificent painter, Just as we may have\nspoken of Augustus John or Van Gogh, but we have never gone into the\nmatter of painting as an art, for the very good reason that we know\nnothing about it. And we all rather think we deserve a prize for this,\nand the prize we should like would be that the workers in other fields\nof art should respect our art and listen to what our artists have to\nsay« & &\nThe fourth chapter in the \" Will to Power,\" volume 11, should really\nbe carried about by every critic in his breast pocket."}, {"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.23", "texte": "A Design for a stage Costume for Miss Ellen Terry as Portia, by E. W. Godwin, F. S. A.\n\nTHE MASK.\nOctober, 1912."}, {"page_pdf": 25, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.25", "texte": "A HISTORY OF PUPPETS\nby \"Yorick\"\nANCIENT PUPPETS IN THE TEMPLE.\nt is obvious that In this direction we have neither the\ntime nor the means to make a journey according to rule,\nwith its obligatory stoppages, its longer or shorter rests,\nits Indispensable deviations into all the secondary lines,\nnoting everything and discussing ail the arguments.\nWere we to adopt this method a single volume would no longer\nsuffice for the history of the Puppets ; It would need a regular library.\nWe will therefore content ourselves with a simple excursion Into the\nfield of venerable antiquity; with the swiftest of Journeys through the\nstately temples once inhabited by the Gods who have departed from\nthem ; with a hurried excursion through the sacred woods, where the\ninitiated of the mysteries of the old religions, now passed out of fashion,\n%\ncelebrated the mysterious rites, and the solemn feasts and the sacrifices\nand the processions and the pomps,... at times obscene as at others awful,\nbut always poetic,.... of the pagan liturgy. JS*\nWe shall, for example, scarcely peep, in company with the good Homer,\nbeyond the confines of the world, into the starred, eternal, shining halls\nof Vulcan, where Thetis of the white foot went to seek the enchanted\narms promised by her to Achilles. The Goddess arrived in the workshop\nof the immortal Cripple, and, (1)\nShe found him in a sweat\nAbout his bellows, and in haste had twenty tripods beat\nTo set for stools about the sides of his well-builded hall,\nTo whose feet little wheels of gold he put, to go withal,\nAnd enter his rich dining-room, alone, their motion free,\nAnd back again go out alone, miraculous to see.\n& Certainly, a great marvel!... But inasmuch as Homer had not seen them\nhimself, his testimony does not convince us of the real existence of the\nself-moving tripods. & &\nIt merely suffices to show us that, from the most remote times,\nthere existed in the human mind the idea of inert matter, fashioned\n\nNO T E S.\n(i) Iliad. XVIII 369-377."}, {"page_pdf": 26, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.26", "texte": "A HISTORY OF PUPPETS.\n\ninto various forms, and arranged and articulated by ingenious craftsmen\nin such away as to simulate the movements and actions of rea! life. &\n& Descending then precipitately from heaven to earth, we see before\nour eyes the annual ceremony with which the great festival of Osirlde\nwas celebrated in Egypt.\n& There, according to Herodotus, in the midst of the crowd which in-\nvaded the precincts and flowed along the avenues lined by the intermi-\nnable ranks of monstrous granite sphinxes, marched in great bands the\npriests, bearing on their shoulders the image of the God, whose head\nmoved incessantly from right to left and darted over the multitude the\nlightning glances of his fiery eyes.\n& With their backs to the walls of the temple of Jerapoli.... according\nto the testimony of the \"Anonyrao\" who wrote the treatise \"De syria Dea\"\n(by some erroniously attributed to Lucian,).... stood enormous figures\ncarved in wood and overlaid with plates of gold, which moved their\nheads with a merciful or menacing gesture, and instilled into the faithful\nhope or terror.\nThe statue of Jupitor Amnion, as described by Diodorus Siculus, did\nnot give forth its oracles without having been first carried in procession\n*\nin the open air, in a colossal golden boat, on the shoulders of eighty\npriests, to whom, with a gesture of the head, It Indicated the road that\nit was pleased to follow and the precise place where it wished to rest.\n£? The Apollo of the temple of Heliopolis was fashioned of great plates\nof gold, and moved all its limbs before dictating its replies, and moved\nits eyes, and sweated when the pontiff Interposed over-long delays to\nthe questions.\n& In the pages of Ateneo (i) one reads with extreme interest the de-\nscription of the magnificent feasts celebrated in honour of Bacchus and\nof Alexander by Tolomeo Filedelfo; in which, after many most singular\nspectacles, a four-wheeled cart was made to advance, drawn by sixty\npersons, cui Nisae insidebat effigies, cubitorum ocio, tunicam\niuduta croceam, auro distinctam, amicta veste Lacottica. Machina-\n\nNOTES.\n(i) Deipnosophist, book, 5, p. 199."}, {"page_pdf": 27, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.27", "texte": "A HISTORY OF PUPPETS.\n\nmento quodam ingegnose fabrefacto ilia nullo manibus\nattollente, et übi lac ex aurea phiala Ilbasset, sedebat rursum\nwhich In ordinary language means; there was on the car the Image of\nthe .city of Nlssa, eight cubits high, dressed in a saffron coloured mantle,\nglittering with gold, and with a short robe in the fashion of Laconia.\nBy means of an ingeniously constructed mechanism that figure rose to\nits feet without anyone touching it, and after it had sprinkled milk as\na libation, sat down again £? A&\nt\nOf the statues of Dedalus the ancient writers have spoken in a\nhundred different ways. All are, however, agreed in affirming that they\n\\ t\nseemed as living people: utque arlis vi aes adactum faerit ad sensus\nhumani speciem praebendam, as Callistratus left on record: meaning\nthat, by the power of art, the bronze was induced to present the ap=\npearance of human sensibility. The Venus of Dedalus, admirable for\ngrace and beauty of form and rendered by the daring craftsman different\nfrom the other hieratic figures, (which tradition required to be almost\nenclosed in a sheath like mummies or to have all the limbs, except the\nhead, united in one,) offered herself upon the altar nude to the gaze,\nwith arms and legs separated from the trunk and articulated in such a\nmanner as to be able to move freely by internal force. &\nThe divinities of Crete and of Rhodes, the \" Fortunes \" of Anzium,\nall the idols of Lazium and Etruria, the group of Jove and Juno as chil-\ndren at Preneste, the Dioscuri at Rome, lived with that dedalean life\nwhich was lent to the powers and movements by the mechanism hidden\nin the hollow breast of the figures.\n& Ovid, in the sixth book of the Fasti, cites with horror, and describes\nwith admirable evidence the prodigy which befell in the temple when\nthe statue of Servius Tullus, during the solemn ceremonies of a sacri-\nfice, with a furious gesture covered his eyes with his hand so as not to\nsee his parricide daughter. £/\nTitus Livius,(i) in speaking of the wonders which took place in Rome\nin the. gatherings of the year 573, recalls the banquet offered on the\n\nNO T E S.\n(i) Book XL chap. 59*"}, {"page_pdf": 28, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.28", "texte": "A HISTORY OF PUPPETS.\n\npublic piazza to the statues of the Gods, who lay upon couches covered\nwith purple before the spread tables. \" Terra movit, in forls publlcis,\n\" übi lectisternium erat, Oeorum capita, quae in lectis erant, averterunt\n♦' se\" The earth shook; in the forum, where were the couches, the\nheads of the Gods, reclining on the beds, turned away, disdaining the\nfood !....The miracle filled all orders of the citizens with consternation,\nbut no other remedy was adopted save that of recommencing the feast\nfrom the beginning. And the Gods, the second time, accepted the banquet.\nPerhaps the priests had a better appetite \\\nj® It would be easy for me, did I so wish, to multiply these learned\nquotations; to establish the fact of how, among our great Roman forefa-\nthers, it was a very common custom to carry processionally, in the days\npreceding the celebration of the solemn games in the circus, various little\nmovable figures of wood, of ivory, of metal, representing Divinities, and\nmonsters and animals, all relative to the mysteries and rites of the re-\nligion, in which the populace took the greatest delight, and which terri-\nfied the ignorant and the children. & & j® j®\nj® But I think that the road is long, and that this part of the subject\nis not the most interesting for us, who are curious to seek out and to\nrecord more especially the facts relative to the Puppets of the theatre.\nAt which, however, we cannot arrive without pausing first for a little\namong another generation of public and domestic puppets, whose physi-\nonomy and memory the ancient writers have diligently preserved for us.\nANCIENT PUPPETS IN THE HOUSE.\nbegin, naturally, with that numerous family of puppets which\nmost nearly resembles the species previously described, and which\nin certain ways are connected with religious superstition.\nWe have the testimony of Heredotus (1 with regard to that strange\nEgyptian custom of calling men to a banquet, and then of passing from\nhand to hand of the invited guests, a statuette of ivory or of wood, re-\npresenting a dead body on a bier. It was either a poor jest of the worst\n\nNO T E S.\n(i) Book 11. chap. 78."}, {"page_pdf": 29, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.29", "texte": "A HISTORY OF PUPPETS.\n\nkind, or a charitable suggestion not to eat immoderately, or a pious\ninvitation to meditate upon the uncertainty of all things human, and\nthe Imminence of death, at the very moment when provision was made\nfor the sustenance and preservation of life. The explanation is difficult\nbut the fact is incontestable. &\nIt now remains to be proved whether those little figures of dead\nbodies.... or of skeletons, as Plutarch calls them were jointed and\nmovable in any of their parts. Mr. Wilkinon,(i) a learned Egyptologist, in\nsupport of his affirmative opinion, describes two female statuettes, taken\nfrom an ancient sarcophagus, one of which had the arms detached from\nthe body; and the other, without a head, that presented evident traces\nof jointure at the neck. Two similar figures have been described by Si-\ngnor Prisse, the one in the Museum of the Louvre and the other In a\ncollection of Dr. Abbot. (2) Charles Magnin Is of opinion that those four\n\" fantoccini \" had no convivial destination, but were simply children's\nplaythings. I ask pardon of the \" maestro \" and I beg for permission to\ngive my vote in favour of Mr Wilkinson. To bring to table and offer to'\nyour guests a \" cadaverino\", more or less skillfully modelled may,\nundoubtedly, seem to be a mournful eccentricity, but the thing is unde-\nniable ; and I confess that I do not find much difference between the\nrigid dead body and the jointed mummy. What is to me more unaccep-\ntable Is the idea of giving to a child an image of a dead body on a bier\nIn order to amuse It or to stop its crying. The ways of Egyptians at\nthat remote period were no doubt different from ours, but I cannot be-\nlieve that the children of Memphis and of Thebes would have found\nmuch pleasure in dallying with a cadaverous \"fantoccio\". Again, I would\nask, what would be the purpose of artificially adapting jointed heads,\narms and legs for a figure that was especially designed to represent a\nlifeless body. &&&&<&&&&\n1 think It Is more logical, then, to accept the opinion of Wilkinson\nand to classify the dead burattini with the statuettes that were preordained\n\nNOTES.\n(i) Manners and Customs of the ancient Egyptians. Vol. II p. 410.\n(a) Revue Archeologique. Vol. II p. 742."}, {"page_pdf": 30, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.30", "texte": "A HISTORY OF PUPPETS.\n\nas a pastime for the \" grown -up children\" from sixteen up to eighty\nfive years of age, who were assembled round the banquetting table and\nin process of commencing or taking part in an excessive feast. Moreover\nthe custom of bringing and exposing, towards the middle or end of the\nmeal, every kind of moving figures in different stage attitudes, was not\nby any means peculiar to the Egyptians, but may be regarded as the\nuniversal practice among peoples of ancient times.\nIn Greece there was no house, there was no family, that did not\npossess a little collection of \" pupazzi \" whether for ornament or table\ndecoration. The most skilful artificers of Athens, of Megara and of E=\nphesus strove in rivalry to produce wonders of plastic art and miracles\nof mechanics in the form of tiny statuettes, worked with their habitual\ndelicacy of style, modelled, coloured and draped with that taste, for\nwhich they were celebrated from the most remote ages.\nIt was a fashion of the day, at least in the time of Xenophon, who,\nin his description of a banquet given by Callias, introduces, between the\ndifferent courses, a Syracusan juggler, who disposed his puppets upon a\npurple cloth and caused them to execute a graceful \" bailetto \" and an\namusing pantomime. j£? .j2>\n& A similar custom prevailed in Rome. It will be sufficient, as a proof,\nto quote the words of Titus Petronious Arbitro relating to a sumptuous\nfeast given by Trlmalcione : \"As we were drinking and admiring the mag-\n\" nificence of all around us, a servant brought into the room a silver fl«\n\" gure, so constructed, that by a certain action, every part of it moved\n\" and turned \" ..Trlmalcione raised his voice, declaiming : (i)\n\" Ohitnel... miseri n0i1...\nL' uomo e una larva, un nulla...\nPresto cade e si perde\nDi nostra vita il verde.\n\nNOTES AND TRANSLATIONS.\n(a) Alas, unhappy we S Man is a phantom, a nothing... Quickly falls and\nis lost the fresh green of our life. Thus shall we all be when the im=\nplacable Oreo shall seize us. Let us live, then,1 let us live so long as\nwe can be merry here."}, {"page_pdf": 31, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.31", "texte": "A HISTORY OF PUPPETS.\n\nCosi saremo poi\nTuttl, quando 1' implacabile\nL'Orco ci rapir&.\nViviam dunque, viviamo;\nFintanto che possiamo\nStare allegri di qua \".\nThe verses were less than mediocre, (even Trimalcione's Latin ones) ;\nbut the puppet was, it seems, a masterpiece of Dedalic art. Finer, and\nequally well adapted to the subject, Is the paraphrase of that strophe\nput by Pietro Cossa in the mouth of his Nero.\n\" Beviam.... presto si muore,\nNe crescono le viti del Falerno\nLungo la tetra riva\ndei laghi dell' Averno.\nCola piu il nostro labbro non si posa\nSulla bocca amorosa\nD' una cara fanciulla...\nAmiam,.. cl aspetta, dopo morte, II nulla!... (i)\nAnd here we have explained the mysterious significance of the gloomy\nconvivial marionettes, an incentive to the practical propaganda of epicu-\nrianism; an encouragement to free life, cool drink, hasty enjoyment, in a\nworld which, without the consolations of the table and the alcove would\n\\\nbe too full of troubles; and where one is in any case to remain for so\nshort a space of time that the supreme wisdom is that of htm who\ncontents himself with going along as best he can, day by day, without\nthinking about or trusting in the morrow.\n& One seems positively to hear the little silver skeleton of Trimalcione\nrepeat, with the noise of his movable vertebrae, to each of the numerous\nguests, in the form of a counsel, that ejaculation which Orazio Flacco\n\nNOTES AND TRANSLATIONS.\n(i) Let us drink, for soon we die ; nor do the vines of Falerno grow along\nthe gloomy bank of the lakes of Avernus. There no more shall our lips\npress upon the amorous mouth of a beloved maiden. Let us 10ve... there\nawaits us, after death; ....nothingness !.... & & &"}, {"page_pdf": 32, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.32", "texte": "A HISTORY OF PUPPETS.\n\nwhispered in the ear of the beautiful Leuconoe:\nTune quaesieris... scire nefas... quern mihi, quern tibl\nPlnem Dl dederint, Leuconoe..; nec Babylonios\nTentaris numeros. Ut melius, quldquid erit, pati !...\nSeu plures hyemes, seu trlbuit Jupiter ultimam\nQuae nunc oppositis debilitat pumlcibus mare\nTyrrhenum: sapias, vina liques, et spatio brevi\nSpem longam reseces. Dum loquimur, fugerit invida\nAetas.... Carpe diem...quam minimum credula postero. (i)\nHaving spoken of the entertainments of \"grown persons\", we come\nnow to those of the 44 little children who, in the most ancient times,\nreceived gifts of marionettes and \" pupazzi \" just as they do in the pre-\nsent day. The sepulchres of Thebes and of Memphis, recently examined,\nhave restored to the light, among an enormous quantity of playthings\ndeposited in crypts and in children's coffins, a not inconsiderable number\nof figures of men and of animals, with the principal members detached\nfrom the trunk, and furnished with rings, joints and apertures, evidently\ndestined to receive the 44 filo \" that enabled 44 fantocci \" to imitate the\ngestures and motions of living beings. In Museum of the Louvre\nthere are several of those puppets, representing men, carrying instru-\nments of labour in their hands, which, by joints or hinges in the arms,\nwere made to move. The city of Leyden possesses a wooden figure, un-\ndoubtedly Egyptian, and very anceient, that has the appearance of a man\nbending over his work, jointed at the arms and ankles, and capable of\nImitating the movements of a launderer at his wash tub, or of a baker\n\nNOTES AND TRA\n(i) Do not distress thyself, Leuconoe, to investigate what end the Gods\nprepare for thee or me... Do not take the trouble of consulting the ora-\ncles of Babylon. Oh how much better is it to resign oneself to any or\nevery event! May Jove yet concede to us many winters, and may he\nassign to us as the last that which now pushes and causes to break on the\nopposite shores the waves of the Thyrenean sea; be wise, mix the wine,\nand shut in a brief space a long hope. While we speak the envious time\nis flying. Rejoice In today,... and believe little in tomorrow !... &"}, {"page_pdf": 33, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.33", "texte": "A HISTORY OF PUPPETS.\n\nat his kneading trough. There is also the marionette of a crocodile,\nwith the lower jaw made to move by means of a pivot, and with the feet\nconnected by a kind of hinge. Charles Lenormant discovered another one\nat Thebes in 1829; it was entirely of ivory and is the imitation of a\nyoung woman, with different parts united by metallic wires, and the\nhead, arms, and legs were all movable.-e?\n& Don Ignaido Paterno Castello, an academician of the Crusca, published\nit! Florence in 1791 a learned dissertation \"Sopra gli antichl ornamenti\ne trastull! Dei bambini in which wi'th great profuseness of erudition\nhe demonstrates:,,, \"that mothers and nurses, from the most remote\ntimes, were accustomed to suspend from the necks of their children,\namulets, whistles, \" Pasclolas, Bullas, Corailia, Tintinnabula, because\nchildren are amused with anything that makes a noise \", and when they\nwere getting bigger they gave them, in order to calm their tempers and\nto divert their waking hours, the little \" figurini \" that had been made\nto move their limbs. The infantile marionettes which have been found\nin Greece are so many in number and so beautiful, that if 1 were to\ndescribe them, I should have to devote at least fifty pages to the inven-\ntary. It is sufficient to say that they are to be seen in all Museums, In\nall private collections, and in all municipal galleries, There are some who,\nrelying upon certain words of Plato, maintain that Archimedes himself\ndid not' disdain to model some of his wonderful burattlni, and to adjust\ntheir members with such complicated mechanism, but so perfect, as to\nproduce the illusion of spontaneous movement. What, Archimedes a\nshowman I It may seem incredible to many, but It is Monsignor Boldetti\nwho says it, and it is not for me to contradict a priest.\nAt Corneto, which, as everyone knows, is the ancient Tarquinii, six\nchildren's coffins were found in a vault; and in each of them there were\nnumbers of small Roman marionettes, all of the most delicate workman*\nship and decoration. And on this subject, 1 have a curious observation\nto make. The custom of burying children together with the playthings\npuppets that had amused and diverted them during their first\nyears, was, not lost with the last vestiges of paganism, but continued,\nunchanged, for many centuries of the Christian era. Or, to put the matter\nin other words, more appropriate to our subject;., it is an Incontestable"}, {"page_pdf": 34, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.34", "texte": "& A HISTORY OF PUPPETS. &\n\nand undisputed fact, that the puppets survived the Gods. The greater\npart of the movable \"figurine\" to be found to-day in Museums and\nprivate collections, have come from the Christian catacombs of Rome,\nwhere it is not unusual to find engraved on the stone of a sepulchre,\ncontaining the bones of some child, long lamented by the new followers\nof Christ, groups of marionettes and ** pupazzi \", designed with the most\ngraceful and touching ingenuity. Many puppets, and nearly all intact,\nwere discovered during the year 1544 in the tomb of Maria, daugiiter of\nStilicho, and wife of Honorius, who (Maria) had been buried in that\nsepulchre together with her infant child in the Cemetery of the Vatican.\nAnd here I must make a short digression:.,. The Emperor Honorius\nwas the son of Theodosius the Great, who, for some time, united in his\nhands the supreme power of East and West, and maintained under his\nauthority the entire Roman world. Born in 384 before Christ, Honorius\nwas Consul at the age of two, a Caesar at four and Emperor at eleven.\nOn the death of his father (in 395) and in the division of the Empire,\nthe portion that fell to Honorius was the crown of the West, of which\nRome was the brightest and most precious Jewel. But, already, the\n\" barbari \", driven from their native mountains, and forced by necessity\nto possess fertile lands and the riches accumulated during so many years\nof conquest, began to scatter themselves all over Europe, carrying with\nthem the scourge of invasion, war, fire and hunger. The Goths, led by\nAlarlc, descended into Italy from the one side, while the Suevi, under\nthe command of Radagasius, overran the country from the other.\nHonorius was almost a child, weak, inexperienced, careless and timid.\nIn the midst of numberless dangers, fearing enemies from without and\ntraitors from within, he wandered from Rome to Milan, from Milan to\nAsti, from Asti to Ravenna, dragging his wife with him, and childishly\namusing himself with the rearing of birds and poultry. But, over him...\nand over a11.... there watched Stilicho. A Vandal in origin, he was a\nvaliant soldier, a wise counsellor, a man of great mind and great heart,\nand father-in-law of the Monarch, to whom he gave in succession two of\nhis daughters in marriage, of whom the first was Maria. Stilicho, at\nthe appearance of the «' barbari\", forsook his imperial palace, took com-\nmand of the army and advanced to battle; and so skilfully did he"}, {"page_pdf": 35, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.35", "texte": "A HISTORY OF PUPPETS.\n\narrange his plan of campaign, so carefully did he carry out all his move-\nments, and so valorously did he fight at the head of his troops, that\nin less than three years, from 403 to 406, he defeated Alaric at Pollentia,\nand surrounded and took Radagasius prisoner on the green hills of\nFiesole in Tuscany; twice he celebrated victories, twice he saved the\nEmpire from imminent ruin. And the Emperor Honorius rewarded him\nfor his distinguished service, two years afterwards at Ravenna, by cau-\nsing his head to be cut off on the threshold of the principal church.\nMaria had not to undergo, like her sister, the ineffable sorrow of wit-\nnessing her father's massacre. She had died at Rome some years before,\nsoon following her little son to the tomb; that tomb that enclosed, with\nthe bones of the royal infant, the \" pupazzi\" that had arrested his cries\nand dried his tears during that continued and terrible succession of\ntriumphs, of flights, of pomp and of misfortune. You may smile, perhaps,\nas you think of that woman, that mother, that sovereign, daughter of\nthe greatest captain of his age, exalted to the most brilliant throne in\nthe world, in a time of tumult and ruin, and amidst the clash of arms\nwhile the old order of things was crumbling, and, in the stormy passage\nfrom the ancient to the new, all passions, all hatreds, all rivalries, all\nambitions were furiously raging, going down to the grave, as to an asylum,\nwith her child between her arms, and seeking peace in that sacred\nground, which the new religion had confided to the protection of\nguardian angels ; carrying nothing with her of all her wealth and trea-\nsure but the poor playthings of her little child. It is an affecting\nthought, that softens and consoles and stands out in strange contrast\nwith the ferocity and cruelty of that agitated period. & &\n& In confirmation of what has been already said with regard to the dis-\ncovery of puppets in the old Christian sepulchres, Fllippo Buonarroti,\nin his \" Vetri antichi \" (Pref., p. ix) describes having seen in the Car-\npegna museum certain infants of ivory and bone, that had been found in\nthe cemeteries of San Callisto and Santa Priscilla, and that had the arms\nand legs Jointed to the. body by very thin iron wire. Monsignor Boidetti\nhas published and illustrated an account of similar instances, in the\nTables,-forming part of his work on the \"Cemeteries of the holy Martyrs \"\nThis is what he writes ;...."}, {"page_pdf": 36, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.36", "texte": "A HISTORY OF PUPPETS.\n\n& 44 The ivory figures, shown in this Table, and which are found in\ncemeteries in children's tombs, are about six inches, or more In height;\nsometimes they are even as much as a \" palmo \" , they consist of bust,\nhips, legs and arms, detached at the joints, and pierced so as to admit\nof the passage of very thin iron or copper wire; so that the whole figure\nmay be rendered movable in every part. Children were accustomed to\ndivert themselves with these little Images, moving, or setting them In\nmotion, after the manner of theatrical puppets (i)\nFrom this point, let us endeavour to trace the history of this very\ncurious form of dramatic Art, which, although a little neglected in our\nday, is still alive, and which, in spite of repeated vicissitudes, was for\nmany centuries so glorious and triumphant.\nANCIENT PUPPETS IN THE THEATRE.\nTThere is no trace of any document to prove the existence, among\nthe Egyptians, of \" fantoccini \" intended for public display.\n& Of all the 44 figurine \" discovered in the course of excavations, not\none has on its head the little iron ring for the reception of a wire, so\nindispensable for the purpose of supporting the marionette on a stage;\nnot one has the hollow internal space, in which, In another form of\n44 pupazzi \", it is usual for the showman to introduce his fingers. I\nwould not say that this is positive evidence that theatrical puppets\nwere entirely unknown to the ancient Egyptians. The conditions of\nculture in that country, the magnificence of popular and religious fes-\ntivals and the undeniable testimony of the 44 pupl convivali \" might\npersuade to the contrary. But in a matter of history every supposition\nthat is not supported by some slight proof passes into the region of\nsimple fancy and imagination. It will be prudent, therefore until we\nhave information to the contrary.... to assume that the ancient people\nof Egypt did without that very pleasant amusement.\n& Greece, on the other hand, from the remotest times of which any\n\nNO T E S.\n(i) Boldettt: \" Osservazioni sopra ! Cimiteri dei Santi Martiri ©d antichl\ncristiani dl Roma book II chap. XIV page 496 and following."}, {"page_pdf": 37, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.37", "texte": "A HISTORY OF PUPPETS.\n\naccounts have come down to us, had marionette theatres in the public\nplaces of all the most populated cities; she had famous showmen, whose\nnames, recorded in the pages of the most illustrious writers, have\ntriumphed over death and oblivion; she had \"balletti\" and pantomimes,\n«\nexclusively conceived and preordained for the play \" pupazzi\". &\nXenophon,... as we have already said... in the description of the famous\nbanquet of Callias describes, among other 'pastimes offered to the in-\nvited guests, a scenic play, that took place in the banquetting hall itself\nand was conducted by a Syracusan showman, who informed his hearers\nthat men of his profession, \" Neurospastomena \" as they were then\ncalled, were in Athens neither few nor poor, but possessed* movable\ntheatres, which they carried about from place to place. \" I rejoice ''\nwas the message of Xenophon to the showman of Syracuse, that the\nnumber of imbeciles in the world is still so great\". \"I rejoice\" replied the\nshowman. \"It is the imbeciles who give me my living, running in crowds\nto the puppet play \". JZ? £? &\n& The juggler of Syracuse had a long tongue, according to all\naccounts, and easily succumbed to the temptation of retaliating with\nthe philosopher, and of bringing into ridicule the kind and indulgent\nguests who paid for his merry representations in ready money. But it\nwas not really, or at any rate not always, the imbeciles, the poor and\nthe ignorant who allowed themselves to be imbued with a passion for\nmarionettes on the sacred soil of Apollo and Minerva. We know, in fact,\non undoubted testimony, that Archytas and Eudoxus, eminent mathema-\nticians, were not above employing their time and knowledge in the\nconstruction of puppets, capable of performing the most difficult actions\nunder the Influence of the showman's fingers ; we know that Socrates, in\nthe course of his meditative walks, would sometimes stop before a\nshowman's booth, and from the motions, attitudes and dances of \" fan-\ntoccini \" he derived suggestions and examples, with which he afterwards\nenriched his discourses and his books. JZ?\ndegenerated sometimes into a kind of monomania, that threw a shadow\nof discredit over some of the most conspicuous personages of antiquity.\nAntiochus king of Syria had hardly mounted the throne before he"}, {"page_pdf": 38, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.38", "texte": "A HISTORY OF PUPPETS.\n\nsurrounded himself with mimes, burattini and dancing figures of showmen;\nfor the latter he had such an extraordinary love and admiration, that\nhe wished to study the art from its beginning and to privately exercise\nit himself. In a short time the Court was full of marionette performers;\nthe Monarch gave himself up entirely to the construction of \" pupazzi\"\nand to the setting up of diminutive theatres, furnished with royal\nluxury, in which, with singular ability, he managed large figures of men\nand of animals, carved and painted to life so as to produce the most\nperfect illusion,and covered with silver, with gold, with jewelry, precious\nstuffs and shining armour. The theatre was furnished with the most\ncomplicated and surprising mechanism, and with such marvellous applian-\nces that every kind of transformation could be carried out, every ap-\npearance of meteoric phenomenon be imitated and every sort of prodigy,\nwhether agreable or the reverse, be perfectly simulated. And in the\nmeantime affairs of State dragged along wearily; truckling ministers\nIn order to pay court to the Sovereign, went more often to the Puppets\nthan to the Council Chamber; the army, left in the hands of inept\ngenerals, dwindled away, and instruments of war fell Into fragments,\nand very soon the throne of Antiochus began to shake, exactly like a\nlittle theatre of marionettes.\n& It should be said that from the very first appearance of \"fantoccini\"\non the sacred soil of the Iliad, the best and most skilful artificers and\nshowmen belonged to Sicily and had Italian blood in their veins.\nBut not only in the time of Euripides and Menandro did the puppets find\na place in Athens as they did later at Paris in the time of Moli&re and\nBeatimarcliais and at London in the days of Shakespeare and of Sheridan;\nthe Athenians developed so keen and general a passion for this form\nof amusement that the Archons were obliged to permit a valiant 4< Neu-\nrospasta\" to produce his puppets on the great stage of Bacchus, upon\nthat very stage which not long before had witnessed the tragic enthusiasm\nof the actors of Euripides. jgjg? &\nAteneo, in his 44 Banquet of the Sophists \" directs a stern rebuke at\nthe Athenian people for this profanation of the tragic stage; but he for-\ngets that the event took place only in an epoch of decadence of the cora-\ngia and a time of political oppression, when the victories of the"}, {"page_pdf": 39, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.39", "texte": "A HISTORY OF PUPPEtS.\n\nMacedonian faction had reduced the theatre to an instrument of slavery,\nThen one saw the 44 castello \" of the puppets proudly raise itself on\nthe timele, and the 44 Neurospasta \" hidden within the little Improvised\ntheatre made his agile puppets move before the eyes of the multitude\ncrowded on the gradinate, and caused them to speak by producing his own\nvoice through those very masks which served his predecessors for tra-\ngedies.\nThat puppets were a miracle of perfection is attested by Aristotle,\nor by the person, who under the name of Aristotle, signed the discourse\n44 De mundo Volume 3, chapter 6, page 376:\n44 to make use of so many means and so many instruments in order\n\" that forces, men and all created things may act according to His\n44 wi11... like those mecanicians do, who produce effects, many and varied,\n44 from a single engine, or like those puppet showmen, called for that\n44 reason, '4 Neurospati \", who control and manage the 44 figurine \",\n44 making them, by the manipulation of wires, to move their heads,\n44 hands, shoulders, eyes and other members \".\n& Apuleius, who afterwards translated the 44 trattato De mundo, \"\namplifying and paraphrasing it in parts, added on his own account the\nfollowing paragraph\n44 nothing else to do but pull the string of the member they wish to\n44 set in motion, and immediately the head bends, the eyes turn, the\n44 hands lend themselves to any action, and the elegant little person\n44 moves and acts as though it were alive\n& This is either a solitary exaggeration allowable in the case of writers\nin love with their subject, or else the marionettes of the Greek Fotlno\nwere infinitely superior to ours. To bend the head and move the arms\nand legs is all right.... our contemporaneous puppets execute admira-\nbly those imitations of human gesture, but to turn the eyes, and apply\nthe hands to any action not even the most perfect 44 pupazzi \" of\nLemercier de Neuville can do that, notwithstanding that mechanics of\nthe present day have the advantage of so many discoveries and of so\nmany inventions that were entirely unknown in ancient times."}, {"page_pdf": 40, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.40", "texte": "& A HISTORY OF PUPPETS.\n\npenetrated, little by little, into all places where the concourse of much\npeople gave hopes of gain and fruitful representations. There were the\n\" pupazzt \" that were unattached, that is to say, not connected with\nany permanent theatre, but were played in couples by some travelling\nshowman, who, holding one In each hand, performed with them in open\nspaces and at street corners; making them act droll little dialogues, or\npretend to sing some popular song, with the addition of Jests and ridi-\nculous contortions. There were the 44 fantoccini \" that were strung on a\nthin cord, or thread, drawn across the knees of the operator, who, while\nplaying some musical instrument, made certain movements with his legs\nthat caused the figure to advance or retire, to dance and to move arms\nand legs in all directions. There were also the little jointed \" figurine \"\nwith their hinges and springs; these were made to dance on tables, to\nthe accompaniment of sprightly and explicit songs. And there were the\npuppets adapted for scenic action or the performance of a farce, either\nin some portable 44 castelletto or in the vestibules of houses; and,\nfinally, there were the real marionettes, with which a showman, who\nhad a sufficient number of wooden actors at his command, gave repre=\nsentations in a little theatre according to rule.\n& Puppet plays were so popular among the ancient Romans that all\nthe leading writers make mention of them in their books and draw con»\nelusions from them. Persius, in one of the best of his satires, (Sat, v, 125)\nspeaks of the precepts of real liberty, that which proceeds from nobility\nof mind, from the power of resisting ail passions and of overcoming\nnecessities ; and thus addresses the weak and vicious man, who thinks\nhimself free because he is not subject to any master:.....\n44 art bound by so many chains ? Bitter slavery does not constrain thee,\n44 it is true; nothing outside of thee can oblige thee to put thy limbs in\n44 motion like those of puppets; but if, within thee, dominant instincts\n44 and passions are springing up, what sort of liberty is thine \".\nThe Emperor Marcus Aurelius refers to marionettes in every page of\nhis work 44 De se ipso \", a work that is so overflowing with generous\nthought, with sublime precepts, and with noble aspirations towards the"}, {"page_pdf": 41, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.41", "texte": "A HISTORY OF PUPPETS.\n\neternal laws of love, justice and humanity.\nJZ? \" Remember,.... he says that It is thy vices that govern thee, as\n44 wires govern the wooden puppets.... and learn that thou hast within\n44 thee something that is more sublime and divine than the springs and\n\" cords of pupazzi Death, In withdrawing thy soul from the tyranny\n44 of thy senses, will put an end to that wretched condition of mario-\n\" nette, in which thou hast been all through thy life \". &\njzrßut these are philosophers, learned men and distinguished moralists,\nwho speak as though from a pulpit. Let us hear now what the illiterate,\nthe poor and discredited have to say. Horatius, in the seventh satire of\nhis second book, introduces his servant Davus, who, in accordance with\nancient Roman custom at the festival of Saturn had been released from\nbondage for twenty four hours, and now comes forward with a bold face\nand not only addresses his master in terms of familiarity, but imitates\nhim in his censure of the vices and weaknesses of his neighbours, and\nin his exposure of the faults of the nobility, and finally lifts up his\nvoice against Horatius himself, wounding him in his most sensitive parts,\nand attacking both his pride and arrogance. &\n44 Thou.... Thou art the master ?.... But of what thing or of whom ?.,.\n•' Events and men prescribe for thee and thou appearest small, very\n44 small. Three or four times fate would have emancipated thee; and\n\" three or four times, imbecile, thou hast fallen again into miserable\n\" slavery.... Thou actest the master to me, and thou commandest me\n44 with a r0d.... and to others thou actest the abject servant; and\n44 thou obeyest like a puppet that is moved by wires in the hands of\n44 another. \"JZ?JZ?J&-Z?^Z?->Z?-»Z?JZ?\nDavus had often been to see the puppets and knew how they were\nmanaged. Therefore in Rome the spectacle of marionettes was a common\namusement in which all could take part, without spending money, or\nonly spending very little; all the idle who loitered about the streets,\nslaves, gladiators, labourers, shopkeepers, people of every class, drawn\nby curiosity and attracted by the sound of the showman's fife or\ntrumpet. Horatius, who was such a close observer, and so careful to put\ninto the mouths of his 44 personaggi \" the words most adapted to the\nhabits and character of the individual, would never have attributed to"}, {"page_pdf": 42, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.42", "texte": "A HISTORY OF PUPPETS.\n\nthe slave that allusion to marionettes if they had not been sufficiently\npopular In Rome to serve as an example, both for the poor Davus and\nfor his master.\nTherefore I argue that there were in Rome the marionettes for the\nupper classes; the burattinl for open spaces, porticos and street corners\nas well as those for the theatre. The one suggested epigrams to the\nbrain of a Davus, and the other inspired the philosophical reflections of\nPerslus, of Juvenal, of Aulus and of Marcus Aurelius.\n& The repertory of puppet theatres In Rome and Athens was com-\nposed in great part of parodies, of bold imitations of the tragedies most\nin vogue, of dialogued satires that drew attention to the vices of the\nday, the preponderating factions, the most frequented philosophical\nschool, sophists, demagogues, poets, magistrates, warriors and those who\nhad risen to fame and power. The marionettes of Fotlnus did not even\nspare the Gods. The \" personaggi \" were, In reality, not very dissimilar\nfrom our own ; and the marionette of the Campana Museum, described by\nMuret, with the bent shoulders, might very well pass for a Pulcinella,\nif we did not know that it is the true image of Maccus.\n& 1 cannot understand how, after so many indubitable testimonies, the\nlearned Magnin does not feel himself authorized in concluding that the\nRoman burattini had, like those of Greece, full liberty and very frequent\nopportunities of showing themselves in a theatre ...after the stage had\nbeen naturally modified with artificial arrangements so that it might\nserve well for the play of the little wooden figures.\nCertainly on this point and this aspect there presents itself a difficulty\ncommon to the puppets of both Greece and Rome. He who has some little\nknowledge of the material disposition of the ancient edifices destined to\nthe dramatic plays will find it difficult to explain to himself how the\nlittle figures introduced upon a tiny stage and speaking with the voice\nof an individual hidden behind a boarding or a curtain could make them-\nselves seen and heard in so vast a place to so large a number of spectators\ngathered upon the grades of an immense semicircle.\nEveryone knows that the flesh and blood actors, the real actors of\nAeschylus, Sophocles, Euripides, Plautus, and Terence were obliged to\nrecite upon a kind of stilts with their arms lengthened and their hands"}, {"page_pdf": 43, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.43", "texte": "A HISTORY OF PUPPETS.\n\nenlarged by added pieces and with the head enclosed in a mask which\nexaggerated Its proportions, and that at the mouth hole they had a me-\ntallic voice = carrier to increase and distribute the sounds, thus rendering\nthem perceptible to the ears of the public. How then was it possible to\nreconcile this necessity for optical and accoustic enlargement with the\ndiminutive proportions and enfeebled sounds of a scene of puppets ? jZ/\nLet us begin by deciding that the place assigned for the performance of\nthe puppets was not the proscenium, the stage properly so called where\nthe actors acted ; but rather the timele, constructed like a terrace at the\nextreme front limit of the orchestra, at the point nearest to the lower\ngrades of the amphitheatre. There, as in a kind of pulpet or tribune the\nshowman, the neurospata, raised his castello \", (prigme tetragono),\nsurmounted by a episcenio, a little house In which were hidden the\npersons, (probably children) entrusted with moving with strings the\npuppets, these latter assuredly modelled in proportions adapted to the\nvastness of the place. Under the stage, in the empty space between the\nsides of the prig ma,stood the orator, perhaps accompanied by others,\nand declaimed the dialogue or chanted the song, throwing out his voice\nthrough certain apertures made in the screen on the side towards the\ngradinate, and furnished with an apparatus, similar to the theatre\nmasks, which sufficiently augmented the sound. Some apertures, conve-\nniently arranged in the foundation of the stage, and corresponding to\nthe empty spaces purposely left in the flooring of the upper \" casotto \"\npermitted the \" gesticulatori \" and the \" declamatori \" to proceed in\naccord with each other, to appropriate the action to the word and the\nword to the action, to exchange the necessary information and the in-\ndispensible injunctions in a low voice, and simply in their natural tones.\nspectators of that period were especially eager, this internal disposition\nof the prigma rendered easy and most varied the applications of the\nmachinery conceived to produce certain marvellous effects, precisely as\ntoday the flights and transformations of the corographic scenes are ob-\ntained by means of the scaffoldings fitted beneath the trapdoors of the\nstage and the cranes installed high up above. jZ? jZ? jZ?\n& These are but conjectures, I admit, and have the defect of belonging"}, {"page_pdf": 44, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.44", "texte": "& A HISTORY OF PUPPETS.\n\nto me alone; ....My explanation has, however, the advantage of respon-\nding exactly to that which has been always taught and related in regard\nto the material and the personnages of the ancient theatre ; of being\nsimple, natural and perfectly logical; of resting upon a tradition never\nInterrupted down to our own times and common to all peoples among\nwhom the \" castello \" of the puppets has always had, and has, almost\nthe same form; in Prance as in Italy, in Spain as at Constantinople, at\nCairo as at Bombay, at Teheran, at Samarcanda, at Nagasaki.\nIn any case I offer it as my own, and everyone knows that I do not\npretend to sell it for more than it is worth. & &\n& And now let us hasten on to other investigations no less interesting.\nThe repertory of the puppet theatre, at Rome and Athens, was as\nalready said, composed in great part of parodies, of audacious imitations, of\nthe tragedies most in vogue, of satirical dialogues which were aimed\nagainst the fashionable vice, the preponderating faction, the most fre-\nquented philosophical school, the sophists, the demagogues, the poets,\nthe magistrates, the soldiers, and those who had leapt to fame or risen\nto power. The marionettes of the Greek Potino did not even spare the\nGods, and might count today among the ancestors of the modernffree\nthinkers. The personnages were not, really, much different from ours,\nand the marionette of the Campana museum, with the bent shoulders\nand prominent paunch, would pass for a real true Pulcinella if one did\nnot know that it is the true image of ** Maccus \". The \" Citeria \" and\n\" Petreia \" are as like Columbina and Rosaura as two peas, and the old\n\" Manducus \" who ground his teeth and threatened to \" mangiar vivo\nvivo \", that is, to eat alive, his terrified interlocutor, is no other than\nour Rogantino, at whose terrible tirades the children of today tremble\non the knees of their nurses as did the children of the time of Juvenal\nIn their mother's arms.^\n\" In gremio matris formidat rusticus infans \".\nOther, as one might say, necessary, personnages of the \" castello \"\nof the Roman puppets were \" Pappus \", '* Buccus \" and \" Casnar \", types\nof the parasite, the glutton, and the fool; who afterwards remained as\nmodels of the species, and passed on as they were, with but few modi-\nfications, to the Atellanian stage, where they created that farce, almo st"}, {"page_pdf": 45, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.45", "texte": "A HISTORY OF PUPPETS.\n\nalways improvised, and more obscene than frank In word and gesture,\nof which such frequent mention is met with in the histories of dramatic\nliterature among all the peoples of the world. &\n& It is well known that the repertory of the burattini was very moral...\nin intention, because it was intended to inveigh against vice, to hold up\ncharlatans to public scorn, to vindicate the weak from the tyranny of\nthe strong... but the forms, words and gestures, that were adopted to\ncarry out that very excellent and praise-worthy intention, were often\nexpressed with extreme licence. But it should be remembered that thea-\ntrical marionettes were bound by the ties of legitimate descent to the\nreligious marionettes ; and that the first dialogues, the first discourses,\nthe first scenic fables, proceeded in a direct line from the spectacles of\nthe sacred festivals of Bacchus. Now everyone knows that the character\nof those feasts, and of many others belonging to heathen liturgy, was not\ndistinguished for exemplary modesty.\nAmong the \" personaggi \" of the puppet theatre, there figured, for\na long period, the protagonists, real and imaginary, of the Bacchanalians\nand Lupercalians ; fauns, satyrs, deities of Priapus, monstrously deve-\nloped, all figures, to whose debased members the \" catenatlo mobilis \"\nadded a singular unrest and vivacity.\n& We should also bear in mind that the customs of those times per-\nmitted many things, that to us would seem to be audacious and\nimproper, but which, in those days, passed as pleasantries, jests and\nimages, that were pardonable, according to the quality of the person, or\nthe circumstances of the time and place; and which did not prevent\neven the most distinguished minds from deriving from marionette plays\nthe best of precepts, the most elevated thoughts and the brightest\nexamples.\nListen to the words of Plato, the severe Plato, as, with a puppet\nin his hand, he is addressing his disciples on the science of rightly\nliving and rightly dying:.... \" Let us imagine, my friends, that we are,\n\" each one of us, an animated figure, that has issued from the office of\n*' the Gods... The passions that move us are like so many strings, drawing\n\" us this or that way; opposite motions draw us in opposite directions.\n\" Thus we have the difference between vice and virtue. Good sense"}, {"page_pdf": 46, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.46", "texte": "A HISTORY OF PUPPETS.\n\n\" teaches us that we must obey only one of these strings, following its\n\" impulse with meekness and pertinaceously rejecting ail the others,\n\" That one string is the golden cord of .reason and of law. The others\n\" are of iron and are inflexible. That one alone lends itself to all motions\n\" because it is of gold ; that one alone has a constant form, while the\n\" others assume all configurations. All the strings should be submissive\nto that single one of law, because reason, excellent in itself, would be\n\" weak if the law did not strengthen the composition of the thread of\n\" gold, which is destined to govern all the others. \" & &\nPUPPETS IN THE MIDDLE AGES.\nhis will be a scanty chapter, but, to make up for it, I will\ndo my very best not to be also tedious.\n& In writing, whether ill or well, anything which pre-\ntends to resemble a history one must resign oneself to\nfollow scrupulously the chronological order, and it is not\npossible to skip a period which comprises a thousand years and includes\nin itself all the phenomena of the destruction of the old world, and all\nthe elements of the modification of the modern world. &\n& Notwithstanding the immense number of literary and scientific works\nthat have been published, chiefly In the first half of our century, the\nhistory of the Middle Ages is still full of obscurity and confusion.\n& It is natural that It should be so. Between the universal, destruc-\ntion, political, civil and religious, of the old order, and the introduction,\nin the face of endless difficulties, always overcome and yet always\nrepeated, of the new, there was a long period of general transformation,\nsometimes pacific, more often violent, sometimes Interrupted and again\nfiercely renewed, various in form, method and development. That period\nwhich comprises the overthrow and dissolution of the mighty Roman\nEmpire, the victory of Christianity over idolatry, the invasion, by bar-\nbarous nations, of Western Europe, oppression, slavery, civil war, feuda-\nlism, the Crusades and antagonism between Church and State, and lastly\nthe Insurrection of the Italian people, from which was, later on, to arise\nthe first cry for liberty, and the first ideas of national independence."}, {"page_pdf": 47, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.47", "texte": "& A HISTORY OF PUPPETS. 0\n\n& It is a period of darkness, broken, now and then, by a ray of light\nthat enables us to obtain an occasional glimpse of a few only of the epi-\nsodes of that cruel and inhuman struggle, in which the power of right\nwas ultimately to triumph over the right of power. JZ7 JZ? JZ/\nThere is no record of the part that puppets played in that terrible\nand sanguinary drama. If we are not to lose all trace of our poor little\nwooden 44 figurine \", we must be content to glean some phrase, here\nand there; to gather, as best we may, some slight indication ; to collect,\nwith jealous care, some notice, picked up in a hundred books, and in\nthousands of documents, scattered and heaped away without order in\nnumberless Libraries. & JZ? JZ?\nAnd yet some parts in that drama must, undoubtedly, have been taken\nby marionettes. It is sufficient, in proof of it, to point to the lively\ninterest, which was manifested, during the last part of the decadence of\nRoman \" Civiita \", by the Neophytes of the Christian religion for that\ninfantile and popular spectacle. There was one advantage that puppets\ninvariably possessed ; the fathers of the Church had always a very tender\nregard for them, and they never made any secret of it. Their reprimands,\nimprecations and anathemas were all directed against living actors; for\nmarionettes, they had nothing but caresses, compliments and honied\nphrases, full of benevolence and affection. St Clement of Alexandria,\nTertulllan and Synesius often make mention of marionette theatres,\nand always with kindness, drawing from them many examples and moral\nreflections. & 4? &\n& At the beginning of the Middle Age, when the struggle between hea-\nthenism and faith in the Gospel was at its highest point, puppets of the\ntheatre, like their brethren of the church, were obliged to cast themselves\namong the ruins of the temples. Hatred of pagan anthropomorphism had\naroused a feeling of furious antipathy towards all miracles of plastic and\nmechanical art. Statues and images were destroyed by the demolishing\nhammers of iconoclasts; automata of the 44 arte dedalica \" were torn to\npieces and the many intricate parts of their delicate internal organism\nwere scattered everywhere, so that, amidst the insane fury of that blind\nfanaticism, the broken and mutilated bodies of more than one \"Mandu-\nco \", of more than one 44 Maccus \" and of more than one 44 Petreia \" were"}, {"page_pdf": 48, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.48", "texte": "A HISTORY OF PUPPETS,\n\nmingled with the marble fragments of an \" Apollo of a \" Vulcan \" or\na \" VenusJ£? & JZ? & &\n& It was not long, however, before Christianity began to realise the\nadvantages that might be gained for the new beliefs and new aspirations\nby the adoption of real representation in place of abstract symbols and\nformulas. A school of thought that was gifted with broader principles,\nand inspired with more eclectic doctrines, maintained that it was right,\nand even praiseworthy, to employ in the service of God all the powers\nof human skill, and to use them as efficacious means of propaganda,\nand as mediums wherewith to act upon the imaginations and senses of\nthe multitude and to elevate, little by little, the most obtuse intelli-\ngences to the knowledge of sacred mysteries and the supreme truth of\nfaith. Arnobius, Tertullianus, Origen and Abelard were opposed to the\nemployment of paintings and sculpture, but St. Ambrose, St. Damasus,\nSt. Gregory the Great, and, in the end, St. Thomas defended the appli-\ncation of works of art to religious purposes.... and they won the battle.\n& The figure of Jesus Christ, represented hitherto in the form of a lamb,\nnow assumed the human aspect; the Cross, adorned up to that'time with\nflowers and crowns of thorns only, had the head of the Redeemer painted\nupon it, and, soon afterwards the bust and, still later the whole body,\nno longer merely painted, but carved in relief and nailed upon the\nwood with real nails. And as in this world everything repeats itself and\nhuman life is nothing more than a succession of recurring events, so, in\na relatively short space of time, Christian clergy began to have recourse\nto the artifices and practices of the augurs and pagan priests and churches\nwere filled with carved images in ivory, marble, bronze, wood and terra\ncotta; statues of the Eternal Father, of Christ, of the Virgin and of the\nSaints, who, by means of Internal mechanism, moved head, arms and eyes.\njgt The secret of these sympathies is explained In two words: The hatred of\ntheatrical spectacles sprang more especially from the too great danger to\nthe souls of the faithful which might arise from that bare-faced nudity,\nthat coquettry full of lasciviousness, those carresses, those kisses, those\nembraces, rendered yet more exciting by the shameless promiscuity of\nthe two sexes on the stage; those voluptuous gestures, those obscene\ndances and those languid and provocative glances which those low-necked"}, {"page_pdf": 49, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.49", "texte": "A HISTORY OF PUPPETS.\n\nand short-skirted actresses cast at the spectators, There was nothing of\nall that In the Puppet performances, which might sometimes arouse\nlaughter but never lust; stir interest but never fire the passions.\nO\" the puppet stage no one could be said to infringe the precept of\nDeuteronomy, \"The woman shall not wear that which pertaineth unto\na man neither shall a man put on a woman's garments ; for all that\ndo so are abomination unto the Lord thy Qod &\nNor would St Basil have been able to call the \" castello \" of the pup-\npets \" a general and public school where one learns every form of licen-\ntiousness nor would St Cyprian have called the marionette theatre \" a\nbrothel of public shame, a seat of obscenitynor would other Holy\nFathers have reproved the licentiousness of the coreographic performances\nand the shameless licence of the gestures of the actors.\n&It Is in fact the opinion of the gravest treatise-writers that the\npassages of St Thomas, St Bonaventura and St Antonino which are less\nhostile to the stage plays, actually refer to the Puppets, as those which\nbest fulfil the mission of diverting without danger, and of offering to\npious souls an innocent recreation. They even think that the histrion,\ncompanion of St. Pancrazio in the glory of Paradise, cited by St Thomas,\nwas really a bura.ttina.io, one of those who wander round playing the\npiffero and making puppets, threaded through with a string, dance.\nThus it appears that during the Middle Ages the new religion, like\nthe old, availed itself of \" scultura meccanica \" in the pomp of its\nliturgy, in its processional ceremonies and in its representation of the\nMysteries. To the Apollo of Heliopolls had succeeded the Crucifix of\nNicodemis ; to the Theban Venus the Madonna of Orihuela.\n1 said \" in the pomp of its liturgy \" and in support of my words I\nproduce the testimony of Lombard, an old and truthful writer in the\ncounty of Kent, who affirms the existence of a mechanical crucified body\nin a church at Boxley, that, during the sacred service, moved its eyes\nand head by the action of secret springs.... and I quote also the account\nof Maundrell, Chaplain to the English Factory of Aleppo, who on a visit\nto the holy places in 1697, saw the monks of the Church of the Holy\nSepulchre, represent on Mount Calvary, \" according to a custom that\nhad been followed from time immemorial \" the episode of the crucifixion,"}, {"page_pdf": 50, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.50", "texte": "A HISTORY OF PUPPETS.\n\nusing for the purpose a figure of the Saviour that was \" quite flexible\nas though it had been of real flesh, and articulated in such away that\nit could assume any attitude almost like a natural corpse And 1 added\n44 in processional ceremonies \" because 1 remember the legend relating\nto the 44 Volto Santo\" of Lucca, which on being carried processionally\nfrom the Cathedral through the streets of the city, raised its hand in\nbenediction of the people who were thronging its way.\n£? As to the representation of the Mysteries, onejnight multiply examples\nand citations by hundreds. It was the custom, common to all churches\nand -to all mediaeval monasteries, in the most solemn festivals and in\nthe most sacred commemorations of the year, 'to erect great wooden\nstages in their naves and chapels, and to cover them with carpets,\narras and painted scenes; sometimes they were decorated with evergreen\nor with cork-wood, or again with moss-covered stones, in imitation of\nhills, valleys and pathways, or in other ways adapted to the representa-\ntion of some of the most dramatic episodes of the Passion of Our Lord,\nor in the life of the Virgin and Saints.^\n& The 44 personaggi \" necessary for that kind of exhibition, were either\nlarge or small 44 fantocci \" according to circumstances; they were carved\nand coloured to life, and were richly clothed, and sometimes covered\nwith gold and jewels; they were also so adapted with springs and in-\nternal mechanism, that ail their limbs could be made to move by the\naction of strings and levers and thus to suit their movements to the\nparticular scene or event that it was desired to display.\n& These figures, which during the festival had excited the admiration,\nand stimulated the devotion of the faithful, were then placed upon the\naltar; this happened in the case of a figure of the Madonna di Orihuela\nin Spain, where the abuse was carried so far that in the holy Synod of\nOriolana in the year 1600 a prohibitive order was issued against what\nwas described as a wicked and shameful act. That, in that instance, they\nwere real puppets, called in the Spanish language 44 titeres \", is made\nclear by another paragraph in the Sinod's order, which reads:.... 44 We\n*\ncondemn and reprove and desire the perpetual prohibition of the practise\nof representing in church or elsewhere, the actions of Christ or of the\nblessed Virgin or saints by means of moving figures connected with wires"}, {"page_pdf": 51, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.51", "texte": "A HISTORY OP PUPPETS.\n\nand mechanical wheels, such as are commonly described by the name of\n44 tlteres\".\nBut prohibitions and canons are hardly ever sufficient to eradicate\nan inveterate habit. Religious puppets made a pretence of submission\nand obedience to the synodal decree, but after a short interval they re-\nappeared in the sanctuaries and assumed again their former liberty, and\nto such an extent, that in all churches, and especially in those in country\nplaces, it became the prevalent custom to represent 44 Presepii \" during\nChristmas time and 41 Calvarii \" in the Passion week, a custom that has\n*\ncontinued even up to our own days.\nAt Torre del Greco, not far from Naples, and not so many years ago,\nI, myself, saw the Cathedral of that industrious and populous city com-\npletely transformed by wooden structures, erected in imitation of a hill,\nthe summit of which was reached by broad paths through projecting\nrocks. The walls of the church were hidden by scenes that were admi-\nrably painted in prospective, and by branches and evergreens, covered\nwith white cotton flock to simulate snow. All around among the rocks\nand stones, that were covered with moss and creeping plants, there were\ndeep valleys and gorges, and, here and there, cottages, huts and windmills,\nall made in proportion and peopled with a myriad of figures dressed in\nreal cloth ; peasants and country people taking their flocks to pasture,\nanimals of all kinds roaming about the hill sides, soldiers and signori\nof all lands, some on foot, others on horses, and all dressed in accor-\ndance with national habit. Moreover, in places, were shops of every kind,\nfully opened and provided with all necessaries. At the top of the hill\nwas the 44 Presepio \" with movable figures, that were controlled and\nguided by expert operators, concealed behind the scenery, and crowds\nof people ascended each day, threading their way slowly, and finally at\nthe end of their journey kneeling praying and weeping before the Beth-\nlehem Manger that was illuminated with a great light.\n&We are in the nineteenth century and we pride ourselves on being\nunprejudiced people, experienced, indifferent, free thinkers, atheists*\nrationalists, naturalists, unbelievers. Xs? jjgZv\nThink what must have happened in the Middle Ages, In the days of\nfierce fanaticisms, of asceticism, of burning controversy, of frequent con-"}, {"page_pdf": 52, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.52", "texte": "A HISTORY OF PUPPETS.\n\nversion and of daily miracles, The Council of Trent tried to put a stop\nto the abuse of religious marionettes, but puppets rebelled against the\nholy Synod leaving religion for satire and the church for the theatre,\nwherefore they were accused of magic and witchcraft, and were tortured,\nburnt, beheaded and buried \"alive \" and in the fourteenth century we\nfind them in Venice, piaying the principal part in the festival of the\nMaries.\nChronicles of the tenth century tell us that in the year twelve\nbeautiful Venetian maidens, richly clothed and covered with jewels, went\nforth from their homes in procession in order to complete the religious\nceremony of their marriage with an equal number of young men at the\nchurch of \" Santa Maria deila Salute\" on the Marina, when, suddenly a\nhorde of Barbary pirates, coming from Trieste in swift sailing ships, de-\nscended on shore and attacked the crowd that was following the proces-\nsion and, profiting by the confusion and terror that arose, took possession\nof the maidens and carried them away. But as soon as the first moment\nof alarm had passed, the hardy youth of the country rose up and rushed\nto arms, following the pirates, rescuing the brides and avenging with\nblood the dishonour that had been done. & & &\n& From that day it has been the custom to celebrate in Venice every\nyear on the same date the festival of the Maries by a procession, lasting a\nweek, of twelve young girls, selected for their beauty and conduct, and\ndressed with great luxury at the expense of the State, and who were then\nmarried to twelve young men and provided with dowries supplied by the\npublic treasury. The expense was enormous, and the selection of the\nmaidens was not only difficult, but proved to be a source of trouble,\nquarrel, and dissension. Wherefore it came to pass that little by little\nthe custom was modified, and in place of living girls, an equal number\nof mechanical figures were substituted ; (i) and these were dressed once\nfor ail and were brought out every year on the day of commemoration\nfrom the storehouses of the \" SignoriaWe shall see later, when we\n\nNOTES.\n(i) How much will be simplified when the same substitution takes place\nupon the stage! J. S."}, {"page_pdf": 53, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.53", "texte": "A HISTORY OF PUPPETS.\n\nreturn to the subject, what influence this Venetian festival had in the\ndestiny of Italian \" JS?\n& In the meantime let it be clear that, driven from churches and convents,\nwhere, every now and then they contrived to reintroduce themselves,\nmore or less publicly, our articulated 44 fantoccini \" established them »\nselves in open spaces, adjoining cathedrals and abbeys, whenever any\ngreat religious service was being carried out, and in markets and Fairs,\nsetting up their booths, disposing their scenes and increasing the number\nof their performances, which., at least., were based upon episodes of holy\nscripture, incidents from the old and new Testament, legends of miraclesg\nand of punishment and conversion of notable evil-doers. * £/\nThus sprang up the theatres of Puppets. In that way began the\n\" Mysteries \", which in subsequent increased proportion,, perfected and\nsupplied with every kind of mechanism and \" effetti speitacolosi \" fur-\nnished arguments and material for the first roving dramatic campanies ;\nthus also began the \" farse \" dialogued first for two puppets, then acted\nby several \" fantoccini \" dressed in a particular way, and speaking each\none in his native dialect... a type and model of the \" maschere \" that\nmade the fortune of the Italian theatre.\nBut we must leave the Middle Ages and turn a little to the puppets\nof modern times, following them in Italy, in France, in England, in Spain\nand in Germany, showing them as consolers of the life of Charles V. at\nthe monastery of St. Just, through the management of the celebrated\nGianello Torriani, the modern Archimedes; as infusing life in the Fronda\nat the Porta di Nesle in Paris with the famous Brioche, as companions\nof Scarron and Achille Du Harlay, as founders of Vaudeville and of the\nOpera comique, as first enemies and then friends of Voltaire, who received\nthem in his castle at Cirey ; as first adversaries and then allies of Piron\nand Lesage, who wrote their comedies and dramas both in verse and\nprose ; as praised by La Fontaine and Malezieux and protected by the\nDuke de Chartres; as guests of the Duchess de Maine at Sceaux, of the\nDuke de Bourbon at Tresmes and the Duchess de Berry at Versailles.\nIt is something to see puppets taking their part in the great revolution4\nand to witness the decapitation of Pulcinella on the same spot and at\nthe same moment as King Louis XVI and the Queen Marie Antoinette."}, {"page_pdf": 54, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.54", "texte": "A HISTORY OF PUPPETS.\n\n& It will not be time wasted to go with the marionettes to Meudcn to\nV\nthe Duke of Guise's, to Saint Germain to the palace of the great\nLouis XIV, and to penetrate into the aula of the Academie frangaise to-\ngether with Arlecchino! & &\nWe shall also see puppets In England taking part In politics, in Spain\nmixing themselves with matters of religion, in Germany fighting on the\nside of Luther and giving life to the heroes of the \" Edda \" and the\nwarriors of Nlehelungen, to the \" canzoni \" of the time of the Carlovin-\ngians and to the great epic of Eaust. We shall see Corneille and Moli&re\nrepresented by marionettes; we shall see the list [of writers for puppet\ntheatres enriched by thfe most illustrious names: Malezieux, Lesage,\nPiron, Favart, Fielding, Voltaire, Shakespeare, Rousseau, Curran, Goethe,\nBeranger, Ch. Nodier, George Sand... and we shall see Haydyn, the great\nHaydyn, engaged at the Court of Weimar in composing for the mario-\nnettes of prince Antonio Esterhazy, five operette, which the great master\ndid not in his later life regard as unworthy of his fame or his genius,\nbut of which, on the contrary, he transcribed the titles and dates in the\ncatalogue of his complete works, with his own hand. Finally we shall\nsee that the history of puppets, so modest and so simple in appearance\nis bound up in a hundred ways with the most arduous questions and\nthe most important events in the history of humanity.\nTo be continued."}, {"page_pdf": 55, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.55", "texte": "EARLY ENGLISH PUPPET SHOWS:\nAn Extract from the \"A Mysteries\" of\nWilliam Hon. 1823.\nHphe Tatler of May 14, 1709, cites a letter from Bath, describing the\nrivalry of Prudentia and Florimel, two ladies at that watering place.\nFlorimel bespoke the play of Alexander the Great, to be acted by the\ncompany of strollers on Thursday evening, and the letter-writer accepted\nthe lady's invitation to be of her party ; but he says, •' Prudentia had\ncounter-plotted us, and had bespoke on the same evening, the poppet-\nshow of the Creation of the World. She had engaged every body to\nbe there ; and to turn our leader into ridicule, had secretly let them\nknow that the poppet Eve was made the most like Florimel that ever\nwas seen. On Thursday morning the poppet drummer, Adam and Eve,\nand several others that lived before the flood, passed through the streets\non horseback to invite us all to the pastime, and the representation of\nsuch things as we all know to be true ; and Mr. Mayor was so wise as\nto prefer these innocent people, the poppets, who he said were to re-\npresent Christians, before the wicked players who were to show Alexander\nan heathen philosopher. When we came to Noah's Flood in the show,\nPunch and his wife were introduced dancing in the ark. Old Mrs. Pe-\ntulant desires both her daughters to mind the moral; then whispered\nto Mrs. Mayoress, •* This is very proper for young people to see\". Punch\nat the end of the play made Madam Prudentia a bow, and was very civil\nto the whole company, making bows till his buttons touched the ground\".\nSir Richard Steele in the Spectator of March 16th, 1711, Intimates that\nPowell, the puppet-show man exhibited religious subjects with his pup-\npets, under the little piazza in Covent Garden; and talks of ** his next\nopera of Susannah, or Innocence betrayed, which will be exhibited next\nweek with a pair of new Elders. & &\nStrutt quotes a puppet-showman's bill, in the reign of Anne; at the\nBritish Museum, which announces scriptural subjects as follows: \" At\nCrawley's Booth, over against the Crown Tavern, in Smithfield, during\nthe time of Bartholomew Fair, will be presented a little opera, called\nthe Old Creation of the World, yet newly revived ; with the addition\nof Noah's Flood; also several fountains playing water during the time"}, {"page_pdf": 56, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.56", "texte": "EARLY ENGLISH PUPPET SHOWS\n\nof the play. The last scene does present Noah and his family coming out\nof the ark, with all the beasts two by two, and all the fowls of the air\nseen in a prospect sitting upon trees ; likewise over the ark is seen the\nsun rising in a glorious manner; moreover a multitude of angels will\nbe seen in a double rank, which presents a double prospect, one for the\nsun the other for a palace, where will be seen six angels ringing of\nbells. Likewise machines descend from above, double and treble, with\nDives rising out of hell, and Lazarus seen in Abraham's bosom,\nbesides several figures dancing jiggs, sarabands, and country dances, to\nthe admiration of the spectators ; with the merry conceits ot Squire\nPunch, and Sir John Spendall\nPerhaps the adventures of Punch in the common puppet-show, gave\nrise to dramatic performances of greater celebrity. Punch always comes\nup gay, heedless, and very well satisfied with himself. He is [a sensual,\ndissolute, hardened character, who beats his wife and child, has a tho-\nrough contempt for moral reputation, disregards the advice of the priest,\nknocks him down, dances with his female associates, is a little frightened\nby a spectre, becomes as bad as ever, does not fear the devil, fights with\nhim, is conquered, and finally carried off to hell. The adventures of\nDon Juan, or the Libertine Destroyed, of the theatres, and the Don\nGiovanni of the Italian opera, seem but an amplified representation of\nthe adventures of Punch, the libertine destroyed, in the puppet-show\nof the streets.\nThe English puppet-show was formerly called a motion. Shakespeare\nmentions the performance of Mysteries by puppets; his Autolycus fre-\nquented wakes, fairs, and bear-baitings, and \" compassed a motion of\nthe Prodigal Son \". On a Twelfth night, in 1818, a man, making the\nusual Christmas cry, of \" Gallantee show, \" was called in to exhibit\nhis performances for the amusement of my young folks and their com-\npanions. Most unexpectedly, he \" compassed a motion of the Prodigal\nSon \"by dancing his transparencies between the magnifying glass and\ncandle of a magic lanthorn, the coloured figures greatly enlarged were\nreflected on a sheet spread against the wall of a darkened room. The\nprodigal son was represented carousing with his companions at the\nSwan Inn, at Stratford; while the landlady in the bar, on every fresh"}, {"page_pdf": 57, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.57", "texte": "EARLY ENGLISH PUPPET SHOWS.\n\ncall was seen to score double. There was also Noah's Ark, with 44Pu1l\nDevil, Pull Baker,\" or the just judgment upon a baker, who sold bread\nshort of weight, and was carried to hell in his own basket. The reader\nwill bear in mind, that this was not a motion in the dramatic sense of\nthe word, but a puppet-//7re exhibition of a Mystery, with discrepancies\nof the same character as those which peculiarized the Mysteries of five\ncenturies ago. The Gallantee-showman narrated with astonishing gravity\nthe incidents of every fresh scene, while his companion in the room played\ncountry-dances and other tunes on the street organ, during the whole of\nthe performance. The manager informed me that his show had been the\nsame during many years, and, in truth, it was unvariable ; for his entire\nproperty consisted of but this one set of glasses, and his magic lanthorn.\n1 failed in an endeavour to make him comprehend that its propriety\ncould be doubted of; it was the first time that he had heard of the\npossibility of objection to an entertainment which his audience witnessed\nevery night with uncommon and unbounded applause. Expressing a hope\nthat 1 would command his company at a future time, he put his card\ninto my hand, inscribed, 44 The Royal Gallantee Show, provided by Jos.\nLeverge, 7, Ely Court, Holborn Hill;\" the very spot whereon the last\ntheatrical representation of a Mystery, the play of Christ's passion, is\nrecorded to have been witnessed in England,"}, {"page_pdf": 58, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.58", "texte": "THE \"SOCIETY OF THE MARIONETTE\".\nJ. S.\ne intend to form a Society of the Marionette. Mr Gordon\nCraig has consented to act as President of the\nWe are In no great hurry, but shall be pleased to\nhear from any one who is Interested in our project.\nSome where in England we shall hope to establish a little\nhome for the Marionette and to this end shall be glad to hear from anyone\nin England who is ready to offer practical assistance of one kind or\nanother.\n& Concerning this we do not as yet Invite suggestions as to performan-\nces, for the first thing to be decided is that the performances can be given.\nAH we need is Just the names and addresses of those of you who are\ninterested, and two lines saying what you will do. In fact, you press the\nbutton: we do the rest, (i) JS? £?\n& Meantime letters announcing the intended formation of the Society\nare being sent to some of the leading members of the Marionette Thea-\ntre here in Italy, where, especially in the South, the influence of the\nMarionette is very strong. JZ? JZ?\nThe following is addressed to Don Gregorio Qrasso, (brother of the\ngreat Sicilian actor, Giovanni Grasso), who directs a puppet theatre, de-\nscended to him from his grandfather, in Catania. JZ?\nTo Don Gregorio Grasso.\nDear Sir,\nyou be an honorary member of a Society of Marionettes?\n& The idea of the Society is to arrange that as many performances\nas possible may be seen by as many people as possible...\nThe Marionette can never die and we do not Intend to be guilty of the\nimpertinence of believing that we can add to the centuries that are be-\nfore him. All those that love the Marionette know that he is immortal.\nAll we desire to do Is to let his influence drift northwards.\nTo this end we shall not stir ourselves energetically, knowing how\nforeign such exaggerated .activities are to his whole nature.\n\n(i) Letters sbotald be addressed to 44 Tfoe Secretary o! the Society of the Marionette, Arena Ooldoai, Florence,\nItaly"}, {"page_pdf": 59, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.59", "texte": "& THE \" SOCIETY OF THE MARIONETTE \"\n\nWe shall not make centres nor reclame concerning him, but here\nand there, now and then, a word or two will be spoken, and possibly\nfurnished appartments can be found for him In some of the cities that\nhe has not frequented of late. &\nFor instance in Florence there is the Arena Goldonl entirely at the\ndisposition of the marionettes, and if there Is anyone who is acting as\ncicerone for these little creatures who cares to bring them to the Arena\nGoldoni to perform for the rich and the poor, the place shall be at their\ndisposal.\n\nTHE GAME OF MARIONETTES; Letters to a\nFriend\nfrom Gordon Craig.\n\nLETTER ONE,\nf you wish to write dramas write them for marionettes.\nBut you must first study the marionettes. If you do so\nyou will find they are more interesting than men or\nthe ants.\nThe best way to study them is to prepare a small\nhouse for them and then to find some Italian or French\nmarionettes and have a good look at them when housed\nand comfortable.\nTake a little trouble for them and they will prove\nas grateful as the fairies. Do not forget that at night\ntime when the fairies enter the houses of the wise or the sweet they\nalways look for partners with whom to dance and nothing pleases them\nmore than to find some well dressed marionettes at home.\nThe bodies of Italian or French marionettes are very cheap. You buy\na little one in Florence for one soldo (a halfpenny); a larger and better\ndressed one for two soldi. All over the world the price is about the"}, {"page_pdf": 60, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.60", "texte": "& THE GAME OF MARIONETTES. &\n\nsame. A king's body, a general's, a priest's, and a monk's for a halfpenny,\na Harlequin, a Pierrot, a Pantaieone, a Stenterello for a penny. The\nFlorentine Stenterello is a very well made marionette ; you can buy them\nin a little shop in the Via Romana between the two turnings Via del\nCampuccio and Via S. Maria. &\nThe best way to make a house for a marionette is to make it rather\nlike a theatre. Take a kitchen table, of smooth white wood, and on it\nerect a simple frame work. Herd is a design to show you the shape of\nthe frame work. Let the table be 8 ft long and 2 ft broad and as smodth\nand white as you like.\n& You'll probably have to get a carpenter to make this table.\n& Let your frame-work be made of pine-wood which is two inches square\nin thickness when planed and ready to use. Fix it firmly into position\nas indicated in figure A. And how to do this you know as well as I do.\nIf you don't, consult a carpenter at 8d per hour. &\n& When this frame-work is in position add to it a proscenium of pine\nwood or three-ply over which you paste or glue a covering of tightly\nstretched holland of a good coarse grain. Let the holland be undyed.\nFix this proscenium tightly to the front of your stage screwing it from\nthe back.\nAround the proscenium arch you can add what is called a u return \".\nLet this \"return\" be three inches broad, (figure C). Again consult your\ncarpenter. Behind this you suspend a pair of sliding curtains of the same\ncolour as the proscenium. JZ?\nWhen you have done all that 1 tell you, suspend your marionettes\nsomehow or other so that they rest .their feet on the stage. Then go\nto bed. •• • •\nIn the morning have a look at them. Don't weary yourself by paying\nthem any morning compliments; they don't understand a word of En-\nglish ; and don't get it into your head that they want to be giggled up\nand down ; they don't appreciate much movement. Take my advice and\nlet them rest; avoid if possible telling them to go and hang themselves.\nIn short, waste your time but not your energy with them and see what\nhappens.\n& As for scenery and plays and what to do, put it all off till tomorrow"}, {"page_pdf": 61, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.61", "texte": "Plans for a Marionette Theatre."}, {"page_pdf": 63, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.63", "texte": "THE GAME OF M\n\nor the day after if possible. These things make themselves If you won't\nworry them too much ; all you have to do is to wait and do as the ma-\nrionettes tell you. Remember they are a Race, an immortal Race, so try\nand hear what they are telling you; open your eyes and you'll hear.\nLETTER TWO. June 11, 1910.\nI have received your letter with plans and drawings of your carpenter's\nattempt to make the stage. There seems nothing wrong about it,...0n1y\na few measurements, and you seem to think of making the back of your\nstage solid wood. It is best only a framework because you will need space\nfor your hands and your head sometimes if you use fingers and mouth\nwith which to hold the strings of your marionettes,.... presuming that\nyou suspend the figures; for, as you probably know, the Javanese hold\ntheir figures on a long thin stick beneath the stage ground line. I'll\nsend you some details of these fellows one day later on.\nYour figures should be about six inches high for out=of=do\"br scenes;\nfor Indoor scenes, Palaces, let the figure be six inches and for Cottages\ntwelve inches or a little more. Man is always really greater or smaller;\nthings don't change, but let man change even as he changes in the\nreal world. &\nAlways make your man before you make your surrounding in spite\nof the book of Genesis, and clothe him with care. The feather in a man's\ncap can sometimes exceed the stature of the man. (see page 250).\n& As a general Rule remember to avoid nearly all our modern theatrical\neffects. Therefore at the beginning do all you can to avoid making your\nstage modern in shape and idea.\n& You see that here we have not as yet avoided the old picture-frame\nproscenium. Think out something different. 1 only gave it to you to try\nyour teeth upon,... especially your wisdom tooth.\n&In considering the sense of the proscenium remember that between\nspectator and performer there must be a Barrier and a Path .*... the aim\nis to divide yet unite; to repel while attracting, n'est ce pas?\nThen what is the kind of thing to be placed there twixt me and you..?\nThe old proscenium won't do in the end. Still, make it, as I say, for"}, {"page_pdf": 64, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.64", "texte": "& THE GAME OF MARIONETTES. &\n\npresent use and destroy It after you've discovered a subtler barrier with\na subtler pathway through it. £? £? £? £?\nThis Is not intended to puzzle you, but it is exactly one of those\nlesser problems of the Theatre which no one takes the trouble to\nconsider: they think It is solved:... It Is not. Let me hear some day if\nyou come across a solution while watching the moths In the evening\nattempting to enjoy the pleasures of the Lamp.\n\nGordon Craig."}, {"page_pdf": 69, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.69", "texte": "Shewing the manner in which the Guignel Is manipulated. If you possess a\nnatural aptitude you may possibly with some years hard work learn to manage\nthese figures with facility.\nThe Guignol, although o! a later and rather more comman species, is still a\nmarionette, and direct descendant o? the great and ancient race."}, {"page_pdf": 71, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.71", "texte": "A NOTE ON EASTERN PUPPETS\nby Sir William Ouseley. 1823.\nthe evening of the 24th, Major Christie invited me, with some other\nfriends, to partake of an entertainment at his quarters. He first\ngratified us by an exhibition of seven or eight pahlawans or wrestlers.\nTo this buffoonery succeeded a puppet-show.\n& One man having unfolded a sheet or curtain of greenish linen, and\nfixed it on a wooden frame about 3 feet long, established his little\ntheatre in two minutes, and seated himself inside, where he managed\nthe puppets and was concealed from our view; whilst another, standing\nclose to' the frame outside, conversed with the principal personages, and\nserved to explain the story. jsf\nPahlawan, \"the illustrious hero or warrior\" (In England called Punch),\nhappening to look out of his door or window, beholds a young lady and\nimmediately becomes enamoured ; but his friend (the man sitting outside)\ninforms him that he must not cherish a passion which would certainly\nprove hopeless, or perhaps cause his destruction, this fair damsel being\nsister to several ferocious dives, or monstrous giants.\nPahlawan sighs and whines in a most ridiculous manner; one brother\nthen appears, a very formidable figure, with a hideous face and two long\nhorns. The lover betrays some symptom of fear; but at last attacks the\ndiv, and after many loud collisions of wooden skulls and fists, he con-\nquers and kills the giant, and hangs his carcase head down-wards over\nthe stage, in front. JS & &\n& Another of this frightful race, a yellow div, next encounters Pahlawan,\nand falls in a deadly combat; a red, a white, a black, and a speckled\nbrother, one also having the head of dog, and another with a single but\nimmense horn, successively fight the lover, are all slain, and hung in a\nrow with the first monster. The mother t00... an old sorceress or witch,\nhaving a black face and white hair shares the fate of her sons.\nPahlawan immediately resolves to carry off his mistress and enjoy the\nfruits of his victory ; but the discreet monitor advises him to marry the\nyoung lady with due forms and ceremonies.\nA Mula or priest, a Kazi or magistrate, a lawyer, and others attend ;\na bargain for the dowry is regularly made; then follows the arusi or"}, {"page_pdf": 72, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.72", "texte": "& A NOTE ON EASTERN PUPPETS. &\n\nnuptial procession, in which a man displays fire-works on his head, and\nseveral dancing girls and musicians appear; at length Pahlawan is in-\ntroduced to his lovely bride, and expresses the force of his amorous\npassion by gesticulations more intelligible than delicate; although out of\nrespect to the English gentlemen present (or, as I believe, in consequence\nof a hint from Major Christie), much of the Indecency was suppressed,\nwhich generally renders this concluding scene the chief delight of Turks\nand Persians. &&£?&&&&&\n& We heard that ladies of high rank condescend to smile at the exhibi-\ntion of this puppet show, with which their husbands sometimes treat\nthem, and that on these occasions no part of the original performance is\nomitted. Both of this entertainment and of the farce which preceded, the\ndialogues were constructed in Turko or Turkish, as spoken by the wan-\ndering tribes and lower classes of people inhabiting the northern provin-\nces of Persia.\n& My imperfect knowledge of this dialect rendered me incapable of\nthoroughly comprehending the many passages which excited bursts of\nlaughter among the crowd ; but they were evidently replete with humour\nas 1 could judge even from an explanation of them in Persian.\nThe managers of these shows, and the musicians who attended them,\nwere said to be mostly of the Karachi (or Gypsy) tribe already mentioned.\nPahlawan, 1 must here remark, squeaked in exactly the same kind of\nfeigned voice as Punch in our common English puppet-shows.\n\" Travels in Various Countries of\nthe East; more particularly Persia\"."}, {"page_pdf": 73, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.73", "texte": "UNTIL TODAY THE ARTIST; A Lost Incident\nin the Book called Genesis\nby Ivan Ivanowitch.\nn the olden days.... when down in Eden Bower the\nserpent destroyed the happiness of man and woman, God,\nthough seeming to leave these two droll beings to their\nfate like an angry father, melted into tears as he fled back\nto heaven through the evening.\nAnd one of the tears of God was full of the sap of bitterness and joy\nand as it felt to earth it became living and took a human form. It resem-\nbled a man though Its essence was the essence of God. And from that\ntime until now this being, welling up from the very heart of God yet\nmade in the likeness of man, was through its supreme knowledge of\nbitterness and Joy so filled with tender compasslo'n for man that he partly\nundid the evil work of the serpent. And whenever man and woman\ntrembled with a great fear at the horrible visions which appeared to\nthem through their desire for knowledge, he eased their hearts by then\nand there revealing to them some lovely vision.\nAnd he created that which we call Music, Poetry, Painting and Archi-\ntecture and these were created out of the fulness of his pity for man\nand woman.... And he was the first Artist. &\nHe had and still has something eternal in him, and he suffers more\nand is more happy than all others, for he feels more and therefore\nmore than other men. And his special happiness is to tell'of what he has\nseen in a beautiful way. And when he first came amongst men he was\nwelcomed by many, and some of these he took apart and whispered to"}, {"page_pdf": 74, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.74", "texte": "UNTIL TODAY THE ARTIST.\n\nthem the secret of his birth..., and he taught these few how to capture\nugly sounds and turn them into beauty and how to look at horrible\nsights and reflect beautiful pictures... and how to hear ugly words and\ncrush them till beautiful cries issued from them. And: man was eased\nfrom the overwhelming burden of his remorse and felt delight in these\nworks... without understanding them... and they called them Works of Art.\nAnd these beautiful things restored the balance which the Devil plot-\nted to destroy. And for a long time man found the utmost happiness in\nBeauty without exactly understanding it.\n& And one day a fool arose amongst the people and complained that to\nwaste money and time and feeling on what they did not understand was\na fool's way and to prove that he was a wise man he added \" 2 would\nnot act In such away.\" &\nAnd this Fool was a great and valued personage on the earth by\nreason of his folly, for he was a great glutton and a good thief and a poor\nanimal in his ways, and was therefore able to provide mankind with\nneedful things in the winter. & & jg? &\n& For he stole the eggs from under the hens and the skins from off\nthe very backs of the sheep and goats with whom he slept, and there\nwas never a single night which passed without the crying of lambs being\nheard, and even the great wolves and the brown bears were fooled and\ntrapped by him in hundreds by reason of his friendly bestial way and\nby his great cunning. ,:is>\n& And with every succeeding age these winter needs grew greater, for\nClod had turned away his face from the face of the earth, and it grew\ncolder and colder, and the people for this reason valued the presence\nand power of the FooS. jg? &\nAnd the Fool grew mightier and more brutal, and mankind by lear-\nning to depend on him learned to obey him. And he commanded them\nand they worshipped him. And the other Fools made Images of him and\nplaced them upon altars. And these images were true representations of\nfalsehood, and were hideous to behold. &\n& And then the Artist moved. & & & & &\n& And he fashioned an image out of his remembrance of his Father,\nleaving out all that tasted of bitterness and filling the image with all the"}, {"page_pdf": 75, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.75", "texte": "& UNTIL TODAY THE ARTIST. &\n\nfire of joy. And he set it up one night facing the north from whence the\ncold wind was always blowing, and awaited the rising sun.\nsoon the light crept round the earth and over the hills, and It\ntouched the image, upon which were graven [the words, \" To the un-\nseen God\". jg?\nAnd instantly God became manifest, and everyone who saw the image\nknew that the unseen God was lovely to have given birth to so beautiful\nan image. And God turned back once more towards the earth. &\nAnd he looked so smilingly at the image of himself,.... an image so\nunlike and yet so true,... that he forgave mankind all their weaknesses.\n& And God was once more Master: mankind once more obeyed,\nand the Artist was forgotten. &\nAnd all this is as it should be."}, {"page_pdf": 76, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.76", "texte": "SIMON OF CYRENE. An Unpublished Story\nby Oscar Wilde.\nThis story was told by Wilde to Miss Aimee Lowther when a child\nand written out by her. A few copses were privately printed but\nthis is the first time it has been given to the public. & &\nOther stories of the same series appeared in the , April\nand July numbers of The Mask. &\n*Jphe old man sat with bowed head and patient back, while the futile\nrecriminations of his angry wife beat about his ears.\nLike an endless cascade splashed the dull reiteration of her reproaches;\n\" Senseless grey-beard, why did ye lose your time loitering on the way?\nYour father, and his father, and his father before him, all were keepers\nof the temple gate; and, had you been prompt when ye were sent for,\nye would doubtless have been made keeper likewise. But now a readier\nman hath been chosen.\n\" Oh ! most foolish old man who did prefer to loiter on the way, so\nthat, forsooth, you might carry the cross for some young carpenter, a\nseditious\n& \" 'Tis true,\" said the old man. \" 1 met the young man who was to\nbe crucified, and the centurion bade me carry his cross. And after that\n1 had carried it to the top of the hill, I still lingered, because of the\nwords which he spake, for he was sorely grieved, but with a grief which\nwas not for himself, but for others, and the wonder of his words held\nme there, so that 1 forgot all things \". & &\n& \" Yes, in verity you forgot all tilings, and the little sense you ever\nhad, and so came too late to be made keeper of the temple gate I Are\nyou not ashamed, to think that your father, and his father, and his father\nbefore him were all keepers of the gate of the Lord's house, and that\ntheir names are written thereon in letters of gold, which will be read\nby all men in times to come for ever and for aye ? But thou, vain old\ndotard, alone of ail thy kin, will never be heard of again, for whom In\nall the world, when thou art dead, will ever hear the name of Simon of\nCyrene ? \" & *&&&&&,&"}, {"page_pdf": 77, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.77", "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS\nMUCH ADO ABOUT NOTHING.\nby E. W. Godwin. 1875.\nM-ch Ado about Nothing contains in the first scene sufficient to show\nthat the Spaniards and Italians who there return to Sicily \" from\nthe wars,\" must have been contemporaries of Charles V., Francis 1., and\nHenry VIII. My notes on Henry VIII, and the Two Gentlemen of Verona (1)\nmay thus be taken as being more or less illustrative of this play. The\ntown of Messina is the place of the action throughout the comedy, and\nthe scenes, though numbering seventeen, may with care be reduced to\nfour arranged in six Acts, a liberty that may perhaps be allowed as the\nfirst quarto shows no division by means of Acts. The arrangement I pro-\npose would be as follows .*... J£? £? &\nAct I. The garden, including... I\nThe garden, orchard, arbour, and\nportion of the house or palace of\nLeonato, the Governor of Mes-\nsina : 2. The street outside the\ngarden; 3. At the back the ex-\nterior of the church.\nAct 11. A hall in Leonato's house.\nAct HI. The garden (in two scenes.)\nAct IV. The inside of a church.\nAct IVa. The prison.\nAct V. The garden (eliminating\nthe third scene).\nHow the garden Scene is to be\narranged so as to include, besides\nthe alleys and the arbours, the street for the watch and the penthouse\nfor Conrade and his friend, can best be seen by reference to the annexed\ndiagram, where M N is the proscenium, S the street, P the penthouse over\nthe gateway leading from the garden, O the of chard, B \"the pleached\nbower where honeysuckles ripen'd by the sun forbid the sun to enter,\"\n\n(1) See •• The Mask \" Vel: 111 p. 73 Vol; IV p. 102 and Vol: II p. 168."}, {"page_pdf": 78, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.78", "texte": "& MUCH ADO ABOUT NOTHING. <£>\n\nX the \"thick-pleached alley,\" H the house with a covered arcaded ter-\nrace round it, W seats fixed, and C the church where the watch sits till\ntwo in the morning. *&■\n& To understand the architecture of Messina, and therefore that suited\nto the play, it may be as well to turn for a moment to the somewhat\nsingular architectural history of Sicily. The earliest buildings of which\nany remains exist are Doric-Greek, to these succeded works bearing suc-\ncessively the distinct marks or influence of I. Carthage; 2. Rome ;3.\nByzantium ; 4. Arabia ; 5. Normandy ; and 6. Mediaeval Italy. Through\nall, however distant, the spirit of the earliest... the refinement of the\nGreek... was made manifest, so that in looking at the twelfth and thir-\nteenth century Gothic of Sicily we are not looking at what is commonly\nknown as Gothic but at a Greek translation of it, for through all her\nmanifold changes, in spite of varying fashion, the island felt to the last\nthe calm simplicity, the refined strength of her first Dorian lover, and\nthrough all the excitement which for centuries raged round her, in the\nwhirl of conquest and the confusion of the rising and falling of nations\nand commonwealths, she never once wholly forgot him or forsook him.\nHere and there his influence may be said to have declined, as in some\nof the towns of her northern coast, where the architecture has a Roma-\nnesque, Lombardic, or even Provencal tone about it; but on the south\nside of the Island the memory of her first civilisation haunts her to this\nday. Now Messina is on the northern coast, and its mediaeval architecture\nis therefore, as 1 have just now said, more Romanesque and less Greek\nin its spirit than what it would have been on the other two coasts. Mes-\nsina, we must not forget, is a cathedral town as well as a seaport, its\nmother church, like that at Monreale, is built upon the basilican type,\nand, at the time of which I am writing, was not far from being a fairly\naccurate Romanesque edition of its southern neighbour. The buildings\nwere constructed of white stone, whether they dated from an early or\nlate time, but they looked much whiter than they really were from the\npowerful contrast afforded by the dark woods which formed the back-\nground to the city on one side, and the deep colour of the Mediterranean,\nwhich relieved It, on the other side. £>■ <2? &\n& Leonato's house may, then, be Romanesque, or Gothic, or Renaissance."}, {"page_pdf": 79, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.79", "texte": "MUCH ABO ABOUT NOTHING. &\n\nThe last-mentioned style is that which seems to me to be the most\n„ probable, and consequently his hall would be not far removed In character\nfrom that of Baptista Minola. jZt jZ?\njZ? The inside of the church need not trouble us , there are so many\ncareful and measured drawings published of the churches of Sicily, that\nthe true portrait Is almost as easy to be attained on the stage as the\ncaricature we have hitherto seen.\nThe prison scene may very well be the means of Illustrating the early\nRomanesque architecture in Its fortified aspect; and about this, too,\nthere is not a shadow of difficulty.\nThe references in the text to accessories afford a further contribu-\ntion to the lists of articles of wearing apparel, furniture, &c., given in\nmy notes on other plays, tiius\n\" He wears his faith but as the fashion of his hat; it ever changes\nwith the next block.\" (Act i., Sc. I.)\n\" The body of your discourse is sometime guarded with fragments, and\nthe guards are but slightly basted on neither.\" (Act i, Sc. 1.)\njZ? \" What fashion will you wear the garland of ? About your neck, like\nan usurer's chain? or under your arm Sike a lieutenant's scarf?\" (Act\nii., Sc. 1.) jZ?jZ/jZ/<Z?jZ?j&j&J&\n\" 1 have known when he would have walked ten mile afoot to see a\ngood armour; and now will he lie ten nights awake carving the fashion\nof a new doublet.\" (Act ii., Sc. 3.) £? jZ? ■£? ■£?\n& \" There is no appearance of fancy in him, unless it be a fancy that\nhe hath to strange disguises ; as to be a Dutchman to-day; a Frenchman\ntomorrow; or in the shape of two countries at once, as, a German from\nthe waist downward, all slops ; and a Spaniard from the hip upward, no\ndoublet.\" (Act 132., Sc. 2.) zz? jZ? jZ?\nAmong the habits or manners of the young lover of this time we find\nthat he brushes his hat every morning, shaves ciose, rubs himself with\ncivit, washes his face and paints it. But the most detailed reference to\ncostume is in the fourth Scene of the third Act; here we have a little\ndiscussion between the lady and her attendant on the style of the rabato\n(the neck-band, ruff, or collar), the colour of the false hair and the tire\nand then follows great praise of Hero's wedding dress by the side of"}, {"page_pdf": 80, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.80", "texte": "& MUCH ADO ABOUT\n\nwhich the far-famed gown of the Duchess of Milan was \" but a night-gown\"\nalthough it was made of cloth of gold, slashed and laced with silver and\nset with pearls, having \" down sleeves\" (trunks) and \"side sleeves\"\n(hanging sleeves) and skirts round, underborne with a bluish tinsel. This\nsame lady, who so eclipsed the Duchess of Milan, wears gloves of excel-\nlent perfume, which she tells us were a present from the Count and were\nno doubt made of cheverilor soft kid, excellently stitched, and embroi-\ndered with gold or silver thread ; in fact, a rather Important sort of gift.\nBut rich gifts... soft kid, pearls, gold, and the rest... wax poor indeed\nwhen actors and actresses, absorbed in the finery of their situation, sink\nto the level of little more than lay figures for the exhibition of fashions.\nIn ordinary every-day life, the people who represent on the stage the\nfine dame, the noble duke, or the foreign potentate, are so little accus-\ntomed to art, or anything like good style in living, that it is with dif-\nficulty they can appear unconscious of their stage surroundings. Every\nmovement of their bodies says plainly \"this is a very telling sort of dress\nand no doubt it must arrest attention ; but I never wore anything like\nit before.\" Even in modern comedies we see the weak actress dominated\nby the sheer material force of millinery, and in the revival of old plays\nwhen fairly genuine costume and scenery approaching reality are produ-\nced, the mass of actors and actresses simply look imbecile. We give them\nthe benefit of the doubt, and assume that they are inside the clothes,\n«\nbut they certainly do not wear them. The human form becomes at last a\nmere peg, with four movable peglets fixed in it, and costume is thus\ntoo frequently brought into ridicule by the Ignorant, and made the\nscapegoat for the incapable player. Scenery and costume we want to see\nprogress until both shall be so natural as to be unobtrusive; but still\nmore do we desire to see some signs of progress in those who stand\nbetween us and the past, as the living illustrators of the manners of\nthat past, and the Interpreters of its mighty dramatist."}, {"page_pdf": 81, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.81", "texte": "letters TO THE EDITOR.\nENGLAND, ROYALTY AND THE ARTIST.\n\nSir.\nan Englishman I find very little time to be in England, for\nwhat with travelling in India and China and attending to my work\nthere, I get only a month to spend as I like in England. Therefore, of\ncourse, I am not perhaps able to secure quite the right point of view\nthat others more favoured than myself are able to command. This\nperhaps explains the extraordinary impression I have lately received on\na visit to England.\nMy impression is that London is too full of disloyal persons... I mean\ndisloyal to the King and Queen. I would not like to exaggerate their\nnumber, but I should certainly say that as individuals they were not\nunimportant persons. Now if there is a thing which infuriates me it is\nto hear people, even in jest, speaking lightly of either the King or Queen,\nand as I notice that your Journal is very properly extremely royalist,\nnot only in regard to England but in general, I feel that it is the right\nplace to send my note to.\nThat Mr Keir Hardie, or Mr Grayson; or any of the other jovial hu-\nmourists of England should make a joke out of what they cannot under-\nstand is pardonable, but that men and women of very superior rank\nshould so lower themselves as to fool away the thing that is most\nprecious to them, is a situation one would like to think is too ridiculous\n*\nfor the in to indulge in.j&\n£? While 1 was in England 1 heard any amount of rubbish spoken about\nboth the King and the Queen who, if these extremely intelligent chat-\nterboxes are to be believed, neither take any interest in their country,\nnor the arts, nor anything.\njsf I suppose that these advanced people wish to convey that the country,\nand the arts, and the other things are not in quite so flourishing a\ncondition as they might be. Of course that is very difficult to decide\nand investigation in each department would be necessary before the\ntruth could be got at, but to take one department only, that in which\nyou are most interested... the arts... it does seem as though something"}, {"page_pdf": 82, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.82", "texte": "LETTERS TO THE EDITOR.\n\nwere lacking in England, but that that has anything to do with the King\nor the Queen is preposterous. & &\n& If some of those who surround their Majesties do not perform their\nduties properly, and do not point out to them what is good in art, what\nis developed and what should be developed, that is only the fault of\nthose persons whoever they may be, and I for one should not regret to\nsee such bad servants removed and others put in their place; but because\nthe servants are bad is no reason why we should lessen ourselves by\nlowering the standard of royalty, which in England seems to be about\nas good as you can find on earth.\n& It is many centuries since kings have cared to be egoists. In those\ndays countries were well governed because they were governed by the\nking, and governed in this way, that being royal personages, and being\ntreated as such, they were surrounded by men whose sense of royalty\nwas very considerable. ■£?\nNow that we are ruled by a pack of cards, by a group instead of a\nman, nobody with any royalty in him troubles to express his opinion.\nA\nNo one in his senses for instance would dream of persuading a pack of\ncards to purchase English paintings by masters of to-day and to leave\nRembrandt and Raphael in Rotterdam and Rome. & &\nBut in the old days the royalist of distinction had but to whisper\nthe name of an English artist in the ear of the King and miracles were\naccomplished.\nWhen you come to think of it what is left of Louis XIV ? nothing\nexcept the works of art of his period. What is left of Caesar but Cleopatra?\nof the Pharoahs ? nothing whatever except the works of art.\nWell then, dear Sir, I think I have come to the end of my letter.\nP. S. I need hardly tell you that 1 am descended from an old poet whose\nname may not be unfamiliar to your readers. <£» &\n\nYours faithfully,\nGeorge Chaucer."}, {"page_pdf": 83, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.83", "texte": "BOOK REVIEWS.\n\nBOHEMIAN JINKS. 1908. THE\nGREEN KNIGHT, A VISION. 1911.\nby Porter Garnett. Bohemian\nClub. San Francisco, Cal:\n\njporter Garnett writes books. He\nis an American and there is there-\nfore little reason why he should\nwrite books.\nYou must not suppose from my\nsaying this that he writes them\nbadly; lie writes them very well,\nthat is the worst of it. He writes\nthem too well. In reading a book\nof his the suggestion is given that\nhe could write a book every day.\nHe has got the knack, and a knack\nis a dangerous thing. He lives in\nCalifornia where the trees are large\nand high, where probably half an\nhour would be sufficient time for\nhim to be lost in a Jungle. Therefore\nit is all the more extraordinary that\nhis books have nothing of the jungle\nabout them and are like the well\npaved streets of a European capital.\nAmericans are queer, adorable\nand abominable, as somebody once\nwrote In The Mask. They have the\nbiggest cities in the world and the\nbiggest Jungles, and nothing very\nvital seems to come out of either\nof them. JZ?\n& They cannot as an excuse say\nthat they have not had masters:\nthey have had some supreme men,\nto mention only two; Lincoln and\n*\nWhitman, and these two are Ameri-\ncan through and through. Whitman\nseems to have absorbed both the\nlife of the city, and that of the open\nair. It is Traubel who only in last\nMay's \"Conservator\" points out that\nwhen Walt ran from the town and\nburied himself in the country, it was\nonly that he might as it were carry\nto some quiet spot the precious\nthings that he discovered in the\ntown. In the same way he returns"}, {"page_pdf": 84, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.84", "texte": "BOOK REVIEWS.\n\nto the city with the precious things\nwhich he has found in the country.\nOther writers go off to get local\ncolour in the country. Arrived there\nthey write a poem in praise of the\npig, and when they return to the\ncity they \" sever all connection\"\nwith the country as if it were a\nthing to be forgotten and not talked\nabout.\nNow Porter Garnett lived for a\nwhile in the forest where the Bohe-\nmian Club was established. This club\nwas supposed to be a place where\nyou could forget care by absorbing\nnature; but into that club a lot of\nthose men have carried all the stu-\npidities which belong to a town. The\nfact of their eating In the open air\nat an encampment, about five or\nsix hundred at a time, is a Jolly\nidea. One imagines them sitting on\nthe edge of a bank and having a bit\nof bread* and butter and some cheese,\nand some of them, having brought\nout a bigger hamper, sharing that\nhamper with a group of five or six\nold friends. But what do we find by\na photograph in the Bohemian Jinks\nbook which Mr Porter Garnett has\nsent us ? We find three sumptuous\ncircular tables at which the five or\nsix hundred are seated. Cooks to\nthe right of them, valets to the left\nof them, while the cooks are even\ndressed like French chefs.\nIt is nothing but the pose of the\nopen air; it is not the real thing.\nNo great art can come out of that\nkind of thing and therefore the art\nof Porter Garnett cannot be indl-\nvi dual until it escapes from such\ntomfoolery.\nAnother picture in the same book\nshows us a place called Temple Bar,\na kind of classical temple, where 1\nsuppose Jolly good drinks are sold,\nbut there is no earthly reason why\nthey should have chosen a noble\ni\nforest to put such a place in. \"Magic\nCity\" would have been better; it\nis pure \"Luna Park\".\nThere are several pictures which\nshow us performances which are\ngiven in this wonderful forest, and\nsome which even show us the per*\nformers. Neither performances nor\nperformers seem to me to have\nany connection with the spirit\nwhich is in the forest. The mark of\nthe theatre, (the bad theatrical)\nsmears nature. Look at the photo-\ngraph on page 84 of two pantomime\nfigures called Woodmen who take\npart in a performance called \" The\nTriumph of Bohemia\". I happened\nto be last night at the performance\nof the \" Rheingold \" and these two\npantomime figures were there. They\ncame on to the stage and stalked"}, {"page_pdf": 85, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.85", "texte": "BOOK REVIEWS. &\n\nabout like two giants in a panto-\nmime. They had funny beards and\nwhiskers and their eyes were like\ngoggles. They took easy respectable\nattitudes such as an awkward man\nwould attempt to take in a drawing\nroom. They were clothed in skins\nand had hairy things on their feet\nand legs. In fact they were exactly\nlike these woodmen in \"The Triumph\nof Bohemia \". £? & &\n•£? 1 see no good in this kind of\nthing. If America cannot do better\nthan that on its own America is not\nthe place we all take it to be. I\nknow a lot of Americans, young\nfellows who are beginning painting,\nwriting, sculpture and the rest. I\nlike them all very much indeed\nthey are nice fellows... but they one\nand ail of them are unable to draw,\nwrite, make sculpture or carve with-\nout an audience and without being\npaid. They have not learnt the first\nthing : that success has not anything\nwhat ever to do with a work of art.\nThey do not know that a work of\nart comes into being because of a\nman's discontent with the disorder\nthat reigns in what is called the\n** Civilised World &\nAlthough the artists do not make\nthe laws or govern the country they\nsay the word which makes those\nlaws and which makes others govern\nthe country. History shows us this\nquite clearly. Very well then, the\nartist must first of all retain his in-\ndividuality, and must keep his in-\ndependence and his freedom to the\nend. J£? JS/ JZ/\nIt is for this reason that America\nis such an opportunity; the laws\nare not fixed there. They are search-\ning for a government, searching\nfor religion, searching for every-\nthing. Z&\n£? All that the artists have to do is\nto point this out to them, and as\nAmerica is the child of the artists\nthey must not get impatient, but\nthey must treat it in the same way\nas a father and mother combined\ntreat their child. JZ? uZ>\nThere must be no question of re-\nturn ; it is they who give, it is the\ncountry which accepts and is un-\ngrateful. jZ? JZ/\nWhitman is just such a man. Ame-\nrica to him was nothing but his\nchild, it could run away, It could\ndeny him, it could come back, it\ncould go away again, it could behave\njust as it wished ; but no one will\ndeny for a minute that he mastered\nit, and what some of us here wish\nto see over there is a few more\nwriters, painters, sculptors and ar-\ntists handling the wilful child in\nthe same quiet big manner.\n\nE. E."}, {"page_pdf": 86, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.86", "texte": "BOOK REVIEWS.\n\nTHE YOUNG NIETZSCHE By\nFrau Forster-Nietzsche, Heine-\nmann. Price fifteen shillings net.\nHphis book is a disappointment.\nJS* I had always looked upon\nNietzsche as Artist and as real Man,\nand as one who could laugh at him-\nself. This book shows him as thinker\nin \"Germany\" and as \" man of a\nsect of men \". He has suddenly\nbecome small. Is it the fault of this\nbook, or of Nietzsche, or of both\nAnd what is to be made of the\npassages about Hedwig Raabe and\n\" the young Dutch girl, Fraulein\nTr \" on pages 161, 348, 389, 350\nand elsewhere? It seems from these\nas though Nietzsche had never faced\na woman: it makes him out a coward.\n\\\nAgain, is this Frau Forster Nietzs-\nche's fault, or Nietzsche's? or both?\nWhich ever it may be one can say\nthat Frau Forster-Nietzsche, for\nall her adoring sisterly affection,\nhas only succeeded in giving us a\npicture of Nietzsche which is a dis-\nappointment, if not a disillusion ;\n...which is a pity for Frau Forster\nNietzsche herself, ....and for us.\n\nTHE RENAISSANCE.Studies\nArt and Poetry by Walter Pater.\nMacmillan. Price one shilling\nnet.\nMacmillan have acted\nwisely in reissuing this book at\na price which brings it within the\nreach of all, for it is one which should\nbe in the hands of every critic and\n\" student of aesthetics \".\nThe fine pages of the Preface\nalone, on the office and work of the\naesthetic critic, can hardly be too\nclosely studied for the light which\nthey throw upon that function which\nPater defines as \" to distinguish, to\n\" analyse, and separate from its\n\" adjuncts, the virtue by which a\n\" picture, a landscape, a fair per-\n\" sonality in life or in a book, pro-\n\" duces this special impression of\n\" beauty or pleasure, to Indicate\n\" what the source of that impression\n\" is, and under what conditions it\n\"is experienced \" ; remembering\nalways that \" what is important,\n\" then, is not that the critic should\n\" possess a correct abstract defini-\n'* tion of beauty for the intellect,\n\" but a certain kind of tempera-\n\" ment, the power of being deeply\n\" moved by the presence of beauti-\n\" ful objects. \"\n\nMANCHESTER PLAYGOER.\nTwo Shillings and sixpence per\nannum, x? x?\nnphe first number of this journal\nhas only arrived in time for us\nto give it a welcome and wish it\nwell in the work it. aims to do on\nbehalf of the Theatre."}, {"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.87", "texte": "FOREIGN NOTES.\n\nPARIS.\n\nMore Practical.\nH. B.\nhad all hoped that Mr Gordon\nCraig would accept M. Rouche's\ninvitation to act as artistic adviser\nto the Theatre des Arts, and I sup-\npose we shall know some day why\nhe declined the invitation. &\nThat Mr Craig holds the Theatre\ndes Arts in esteem and considers it\none of the best of the smaller Art\nTheatres in Europe Is evident from\na short conversation I had with him\nlast week, and 1 gather that his\nreason for not bringing his work to\nParis through that particular chan-\nnel is that he does not fee! at present\nable to devote so much time away\nfrom his studies.\n44 You see 1 am studying all\nthe time \" he said, 441 really hardly\n44 have any time to enjoy myself\n44 like all the new-comers have; they\n44 have been clever enough to avoid\n44 all study; 1 haven't. I produced\n44 44 Hamlet\" In Moscow because I\n44 was just beginning to doubt my\n44 own earlier conviction that\n44 Shakespeare is unactable and does\n44 not belong to the stage. So I pro-\n-44 duced 44 Hamlet \" to strengthen\n44 my conviction. 1 am now thorough-\n-44 ly convinced \". &\n& 44 1 am now at work on an edition\n44 of 44 Hamlet \". I shall prove how\n44 delightful and perfect the play is\n44 in book form Count Kessler\n4: is producing the book, He will do\n44 wonders with it \".\nI asked Mr Craig about his future\nstage plans.\n& 44 I have none \" he replied ;\neveryone has plans, and the awful\nthing is that they carry them out\ntoo. Let me be privileged to have no\nplans. It is so far more practical. \"\n\nOriginal Ideas.\n\ngalome\" has been produced here.\nM. Bakst, Miss Rubenstein and\nM; de Max have done it together.\nIt is a poor play,... unless you read\nit; then it is more or less of a\nrealistic poem.\n£? Aubrey Beardsley illustrated it\nyears ag0...... in fact in the last"}, {"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.88", "texte": "FOREIGN NOTES,\n\ncentury. & &\nOscar Wilde once wrote, \"Realism\nis only a background. It cannot form\nan artistic motive for a play that\nIs to be a work of art. \" £?\nOscar Wilde, alas, also wrote\n\" Salome \". .g/\n\nJ. de S.\n\nM. Doucet,..... Humourist.\n\nHPhere is a clever man in Paris.. .\nand a humourist... his laugh is\nvery broad. His is probably a name\nvery little known to people in Eng-\nland, but those who scanned the\njournals in June last will have seen\nthe name Doucet in connection with\nthe sale of some works of art. They\nhave probably forgotten the name\nand have only remembered the high\nprices which were paid for the col-\nlection. Let me explain how M.\nDoucet is a clever man and a humou-\nrist ; for many years he listened to\nwhat everyone was telling him about\nthe value of certain ancient works\nof art, and he bought these and\nkept on buying them and everybody\nelse kept on raising their value by\nraving about them.\nM. Doucet then allowed many\nyears to elapse and everybody looked\non him as one of the old-fashioned\ncollectors who will buy anything so\nlong as it is old. Then all of a sud-\nden, M. Doucet sells his whole col-\nlection. Where he had bought a\npicture for a hundred pounds he selis\nit for a couple of thousand, selling\nit to the man who likes the sort of\nthing and who believes that It still\nhas value; and then instead of in-\n-4\nvesting the large sum obtained in\naeroplanes or oil fields, M. Doucet\nhas the wit to purchase modem\nworks of art. & jgr\nThere is really something very\nwitty in making a collection of old\nmasterpieces so that he may sell it\nat ten times its value in order to\nencourage modern art. Among other\npictures I believe M. Doucet has\nbought a Monet and a Cezanne.\nI happened to go to the collection\nof ancient masterpieces when they\nwere all set out in a large house in\nthe Rue Spontini. 1 went there by\naccident and did not know that the\nthings were for sale. The fashionable\nworld of Paris was there making\nmouths at everything, and I was\nstruck by the dinginess of the poor\nrelics. Bidding them a last adieu I\nwent out into the fresh air even as\nM. Doucet has bidden them a last\nadieu and gone out into the fresh\nair.\n& 1 do not agree with Mr Marinett!\nthe Futurist, who would like to see\nthe museums and ail that they con-\ntain burnt to the ground, but I\nwould like to see the things all"}, {"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.89", "texte": "FORE/ON NOTES. &\n\nscattered about instead of gathered\ntogether Into one vast spider's web\nso suggestive of an old house that\nhas not been kept clean.\nWhy should a thing be preserved\nthat cannot preserve itself ? A thing\never loved will never be destroyed ;\nthere Is always someone to pass It\non to when one dies, or one can\nalways do what M. Doucet has done\nso cleverly; buy it and sell it and\nwith the money develop the new.\nWhere will all this mania for collect-\ning end ? The other day 1 read\nthat an English museum (1 think it\nwas the London Museum), had pur-\nchased a Hansom Cab and was\nexhibiting it as a curiosity. Now\nnobody surely wants to keep a\nhansom cab, and If anyone wants to\nknow what a hansom cab looked\nlike five years ago or even twenty\nfive years ago, he has only to open\na volume like 44 Punch \" and he will\nfind hundreds of them there. Now\nas thousands of copies of \"Punch\" are\nprinted each week, there seems a\nchance of our being able to have a\nfew copies in about a thousand\nyears from now, so that our remote\ndescendants shall be able to study\nall the eccentricities of the Hobble\nskirt and the Turkey trot, of the\nclassical revivals and Futurist revo-\nlutions and all the social and political\nfashions or freaks or customs of\ntoday.\nThe value of the well illustrated\nmodern newspaper is not sufficiently\nunderstood. 1 think all the museums\nmight have a couple of sets put by\nas a reserve. Some day people will\nfinger tbem so much in their search\nfor relics of the past, that they will\nhave to be put into glass cases, and\nthen nobody will get the chance of\nseeing them. 0\n0 I remember when 1 was a young\nman going to the British Museum\nto search for some details to help a\nfriend of* mine in illustrating an\nedition of \"Romeo and Juliet\", and,\nnot knowing the names of the won-\nderful books of Italy, and being pa-\nralysed by fear at the sight of the\nofficials of the museum, when asked\nwhat book 1 wanted, I stammered\nout \"Oh, something like \"Punch,\"\nthe 44 Punch \" of the fifteenth cen-\ntury j0 0\nReally on thinking It over 1 find\nthat that was not a bad idea and\nreminds me of how valuable \"Punch\"\nmight any day become. Besides, how\nvaluable a set of 44 Punch \" would\nbe in about ten years to a man like\nM. Doucet who wished to part with\nit for, let us say, L. 5000*0.0 in or-\nder to establish a new journal, let us\nsay, like \"The Mask.\"\n\nJ. B."}, {"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.90", "texte": "js> FOREIGN NOTES. &\n\nLONDON.\n\nA Church Ceremony.\n\n|n all London there is only one\n\" church where plain singing is to\nbe heard week after week. This is\nat St Mary the Virgin, Primrose\nHill. There is incense used in the\nchurch, and you see a few vestments,\nbut the idea of the church is not to\nreturn to Roman Catholic display,\nalthough possibly here and there\npeople might imagine so, but to re-\nturn to the conditions of the early\nEnglish Church, which is quite a\ndifferent thing, and quite a good\nthing. In returning to the early\nEnglish Church they return to plain\nsong, which is a perfect thing, for\nplain song is the only passionate\nspeech that exists. To hear it Is like\nlistening to an inspired talker. It is\nlike everything that is not modern.\nHow strange that the English people\ndo not see that in plain song they\nhave something which is essentially\ntheir own. For real excitement 1\nf\nwould sooner go to St Mary the\nVirgin's Church at Primrose Hill than\ngo to hear and see the Russian\nBallet or visit the Queen's Hall.\nAnd I mean this in the literal\nsense of the word... for the sake of\nreal Excitement. And do you know,\nthat the work there is done without\nan impresario such as the great Mr\nDjagelef; it is done without the\nassistance of the nimble Nijinski,\nand it is done for about as much\nmoney as one man can live uncom-\nfortably upon for a year. Instead of\nthirty to forty boy's voices the En-\nglish pe0p1e,.... that extraordinarily\nreligious nation Is only able to\nsubscribe enough to enable them\nto have ten or twelve. Instead of six\nor seven fine bass voices, they are\nreduced to two, one of these being\nthe organist himself who, almost\nwithout a trained voice, discovers,\nthrough his passionate intensity at\nthe moment of his having to sing,\nthe grand quality... quite the grand.\nI rather wish that the fine men\nwho officiated,... the priests... would\nbend a little, as under the inspira-\nration of the passion in the plain\nsong, and would, when they are\nreading or singing the prayers, con-\ntinue the musical note. There is no\nneed for them to learn from operatic\nor theatrical men this magical les-\nson, but if only they would absorb\nthe music a little more, I feel that\nthe whole performance (and a Church\nCeremony is a performance) would\nbe irresistible.\n& 1 am greatly interested in this\nwork because it is so good, and\nwhile on all sides you hear demands\nfor hundreds of thousands of pounds"}, {"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.91", "texte": "FOREIGN NOTES.\n\nto support this or that scheme, 1\ncan imagine no finer investment for\nan English gentleman to make than\nthat of a couple or three hundred\npounds yearly to forward the mu-\nsical work in this church. I should\nnot speak with this conviction if\n1 had not been very much moved\na few Sundays ago, when witnessing\na performance.\n\nE. E.\n\n\"Blanco Posnet\" at Letchworth.\n\nThe Letchworth Dramatic Society\ngave on August 31st a special\nprivate performance of 4» The Sho-\nwing Up Of Blanco Posnet which\nseems to me to be Bernard Shaw's\nbest play. I thought some years ago\nthat Bernard Shaw would come out\nof that strange dry thing which we\ncan call the chrysalis, and fly Into\nthe air, and he seems to be doing\nit. He is a kind of brown moth but\na good strong one, and the play is\n•particularly good for a Dramatic\nSociety that doesn't possess its own\ntheatre, for it can be played in a\nbarn or any such building and is\nall the better for the open air.\nPlayed in a theatre I should\nthink it would be intolerable and\nso Mr Shaw can be happy that the\nCensor prohibited the performance in\nLondon. &\n& In Letchworth it was played in\nthe open air and in daylight, and\nhad the rain come down it would\nstill not have spoiled the perfor-\nmance in the least. We sat in a\nbarn, the big doors were open, It\nwas very pleasant; it was really\nJust what a theatre should be. We\nwere all a bit too sentimental,\naudience and actors alike, but we\ncan't help that nowadays. It comes\nof being so dreadfully sensitive; I\nshould advise the Letchworth Dra-\nmatic Society to keep a sharp eye\non sentimentality and put it down\nwith a very strong hand. They only\nneed that to become very good\nIndeed. Some times the Company\nacted too much, and sometimes they\nacted very well, that is to say, they\ndid very little. Mr C. B. Purdon as\nBlanco was quite good, especially\nwhen one considers that he was\nworking for the love of the thing.\nHere of course my sentimentality\nbegins to emerge. Horrible thing,\nwhich I shall permit myself to\nindulge in so as not to be out of\nthe picture. One feels so touched\nthat a brave young Englishman who\nworks as a clerk in an estate office\nshould have the pluck etc: etc:\netc: to get up the performance of\na play which has been banned, to\nproduce it In a barn without hopes\nof any profit other than the joy of\nhaving done the work and so"}, {"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.92", "texte": "FOREIGN NOTES. &\n\nforth. Then too I got quite sentimen-\ntal about Mr Jack Dent's perfor-\nmance of the Sheriff Kemp; how\ntouching in the large hat which he\nmust have gone to great trouble to\nprocure and which was entirely out\nof the picture. And then the young\nlady, I forget her name, to see her\npainted up to the nines gave rise to\nweakness and sentimentality again.\nThe dear old Theatre ...the rouge.,\nthe hare's foot, tears S But what\ncounted a great deal more than\nsentiment in this performance was\nthe background, across which pass\nnow and again figures and faces\nwithout a scrap of sentiment, very\nalive, that is to say; very alive./s»\nWho is the foreman of the Jury?\nNobody knows of him In London\nbut he is a good actor. That is to\nsay he realised he had to do nothing\nbut be himself. And then there was\nStrapper Kemp, a very good actor,\nand the girls were very good, and\nthe elder Daniels. The whole thing,\nof course, was much better than\nanything one gets in London, and I\nbelieve the whole performance rea-\nlised about. L. 3,0.0. Now I don't\nthink they should have L. 200, o. o.\na performance nor even L.50,0,0 but I\ndon't think that Letchwortli should\nfind it beyond their powers to find\nthat Company L 25.0.0 four times a\nyear. It needs a little money, this\nCompany. That is the first thing.\nThen it needs a little tuition... Just\na little. It only needs a little for\nthis reason, that its powers must\ndevelop slowly; it must walk on\nits own feet without assistance of a\nchair, it must be very full of mar-\nked and individual faults for a long\ntime to come, but it must not culti-\nvate a lot of new artificial\n& I hope to have occasion to speak\nagain about this Company.\n\nE. G. C.\n\nMr Frohman'sTriple Alliance.\nTphat Jove-like being, Mr Charles\nFrohman, who Juggles with the\nstars in their courses, calling them\nall by name, and who holds the\nwinds of popular favour in his fists\nis now about to try the effect of a\ndramatic trinity in unity. It is stated\nthat he has commissioned Sir Arthur\nPinero, Mr Barrie and Mr Bernard\nShaw to write each a one-act play,\nthe three pieces to be produced\ntogether as a \" Triple Alliance \" of\ntalent; a three-course bill of\nThis seems a particularly well-\ncalculated idea of Mr Frohman's.\nHas he perhaps been ruminating\nupon it during his long period of\nunobtrusive quiet since the Reper-\ntory Theatre was laid to rest ? For\nof course there is a large public of\nShavians who can always be counted"}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.93", "texte": "FOREIGN NOTES. &\n\non to fill the theatre were but the\nPrologue by their leader; Sir Arthur\nPinero has his own following, and\nas for Mr Barrie, why, he has almost\nas many friends as Peter Pan himself.\nSo to arrange his programme In\nsuch away as to gather together\nthese three distinctive, and even\nopposing, parties at each perfor-\nmance is a master stroke of policy\non Mr Frohman's part. It shows a\ntruly mathematical sense of values\nand results. It is a triumph of Box\noffice reasoning and logic... ,4?\n& But, even so, as Publius Syrus\nsaid, \" It is a very hard undertaking\nto seek to please everybody,,.\n*£? This equilateral triangle of talent\nwill be described upon the stage of\nthe Duke of York's Theatre. jg?\n\nThe Leicester Galleries.\n\nimportant exhibition is being\nheld this month at the Leicester\nGalleries of some of Mr Gordon\nCraig's designs for stage scenery\nand of the models for his recent pro-\nduction of \" Hamlet \" at the Moscow\nArt Theatre. It is an exhibition\nwhich must undoubtedly help to\nclear the minds of such of Mr Craig's\nown countrymen as still cherish cer-\ntain errors concerning hs work, and\nto prepare the way for the realisa-\ntion of his ideas in England as they\nhave begun to be realised on the\nContinent, for it demonstrates yet\nonce more, as the critic of the \"Dai-\nly Mail\" points out, that \"Far from\nbeing an unpractical theorist he\nnow appears to be an eminently\npractical stage designer and Pro-\nducer, a man of action \".\n& In fact one after another those\nwho write of these designs and of\nthe Screens, (Mr Craig's invention,)\nwhich are used in the \" Ham'et\"\nModels, emphasize this PRACTICA-\nLITY of his ideas. \" Some of the\n\" Hamlet \" models show a practical\ningenuity in the use of these plain\nscreens that amazes one with the\nsimplicity and the beauty of its ef-\nfects \" says one; who adds that \"In\nthe matter of lighting effects Rein-\nSi ardt is, to a great extent, just\nCraig put into practise. Elsewhere,\ntoo, Mr Craig's ideas have been\nyielding golden fruit... for others. \"\nSo besides being a fresh demon-\nstration of \" practicality \", this\n\" exhilerating exhibition \" as the\n\" Times \" calls it, is undoubtedly\nawakening many who had not yet\nrealised it to the fact that certain\nproductions over which London has\nbeen enthusing lately have been in\nreality but poor imitations of Mr\nCraig's work, ...a realisation which\nshould certainly prove father to the\ndesire to have real Craig productions"}, {"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.94", "texte": "& FOREIGN NOTES. &\n\ninstead of weak copies of what they\nare supposed to be. \"One is impressed\nanew \" writes the \" Times \" critic, by\nthe variety of mood and atmosphere\nthat Mr Craig can achieve by the\nuse of the simplest means; and one\nlongs to see his work in the concrete\nnot merely adumbrated in a drawing\nor adapted by some avowed or secret\nimitator.\" A great many people in\nLondon are echoing his words very\nheartily Just\n1 hear that the northern cities,\n...Manchester, Liverpool, Leeds, Glas-\ngow and others are to have an\nopportunity of seeing the exhibition\nafter it leaves London on September\n30th, lectures being delivered in\neach place upon Mr Craig's work.\n\nG.H.\n\nA Curious Compliment.\nB. P.\nMarie Tempest \", or in\nplain English, \"kidneys, Marie\nTempest£? JZ?\nI don't know how one can write\nof so charming a lady in connec-\ntion with so charming a dish, except\nto say that one has heard of PSche\nMelba, and Souffl6 Sarah Bernhardt;\nhut there is a slight difference be-\ntween kidneys and peaches. This\ndish was advertised on a menu not\na stone's throw from His Majesty's\nTheatre. How on earth do these\nthings happen In London ?\n\nGENOA.\n\nThe Commedia dell'Arte.\nF.\nLast July The Mask gave the news\nof a revival of one of the old\nimprovised plays of the Commedia\ndeli'Arte in Budapest.\nNow it is encouraging to find a\nsimilar revival taking place in Italy\nthrough the enterprise of Signor\nArmando Rossi, whose company has\n«r\nbeen giving a series of performances\nof plays taken from the '* Thddtre\nItalien \" of Gherardi, the plays\nhitherto translated and adapted\nbeing, \" La Precaution inutile\n\"Aitendez-moi sous Forme,\" \"Arle-\nquin poli par l'amour,\" \" Le Jen de\n1'Amour et du Hasardand also\ncertain plays found in very old \"co-\npioni\" of ancient companies, such\nas \" The Return of Arlecchino,\"\n\" The sad effects of Jealousy \" and\n\"Arlecchino as a Savage.\" JZf\nThis repertory, representative\nof the old Comedies of Masks of the\n17th and 18th centuries, has been\nadmirably produced. <0\nSignor Rossi began his perfor-\nmances at Milan, but the critics\nthere had little appreciaton of his\nfine enterprise, lie then proceeded\nto Genoa, Turin, Venice, Bologna\nand other cities, where a far better\nreception awaited him. I hope later\nyou may hear of him In Florence."}, {"page_pdf": 95, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.95", "texte": "CRITICS CRITICISED.\n\nA REVIVAL IN ITALY.\nIt is ho doubt true that one swallow\ndoes not make a summer; but\nwhen they begin to arrive one after\nanother from different quarters and\nto practise all their charming acti-\nvities beneath the eaves, one is Jus-\ntified in believing that, to say the\n»\nleast of it, summer is on its way.\nAnd so with the theatre : when good\nnews begins to come in from many\nsides, news of keen, intelligent and\n#\nvital enterprises, one feels that the\nwinter of dulness, ignorance and\nindifference is giving way, if but\nvery slowly, and that better times\nare at hand.\nA few months ago there came\nthe news from Budapest of Dr Alex-\nander Hevesi's fine enterprise in\nreviving the art of Improvisation\nwith a performance based upon\nRiccoboni's scenario, 44 Le Defiant \"\nand thus proving the vitality yet\nlatent in the old Commedia dell'Arte.\nNow Signor Armando Rossi has done\nthe same in Italy, re-evoking upon\nthe stage the ancient comedies of\nmasks,\nAnd the public in each case, was\ndelighted. The old, gay, ever-young\nfigures seem to have found as warm\na welcome in their native land as\nthey found in Budapest.\nj& The Italian critics have, however,\nproved themselves less intelligent\nthan the Hungarian in their reception\nof this old-new thing. More than one\nof them was exasperated by Signor\nRossi's enterprise: and they wrung\ntheir hands and cried that it was a\nfolly, a madness, a stupid attempt\nto make the theatre retrograde three\nhundred years : or they turned up\ntheir noses and sniffed at the absur-\ndity of desiring to bring into the\nmodern theatre the \" foolish\" old\nmasks of former times; and al-\ntogether there was much flutte-\nring in the critics' dovecote, much\ngesticulating and shrugging of shoul-\nders and many expressions of con-\ntempt around the little tables in\nthe cafds over Signor Rossi and his\nsingular idea.\nSignor Mario Ferrignl has proved\nhis intelligence as a critic by coming\nforward with a warm defence of\nSignor Rossi's productions in the\n44 Ventesimo \" of Genoa, and has\nmade therein a spirited protest\nagainst the popular and pompous\nassertion of a number of the present\nday critics that \" the old Commedia\nmasks are dead.\" Nothing of the\nkind. They never have been dead;\nthey can never die. They possess in\nthemselves the spring of life, the\nsecret of youth , they will adapt\n\n(1) Sec page iSO"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.96", "texte": "CRITICS CRITICISED. &\n\nthemselves to any century, and wear\nthe livery of any age while yet\nremaining always vitally,unalterably\nthemselves. & JZ? £?\nThe old literary plays with their\nset forms and phrases, their change-\nless characters repeating the same-\nold lines, may well indeed be dead\nso far as the theatre goes, and the\ndomestic infelicities of Edipus Rex\nor the trials of Electra may come to\nseem stale upon a theatre stage, for\nthey have really nothing to do with\nus today. But Arlecchino is immortal\nand Columbfna can never die. Their\nspangled jackets and waving skirts\nare a mere mortal livery, for they\nare ideas, not material beings; they\nare mirrors which reflect the life\naround them and the sunlight above\nthem and the laughter and move-\nment and folly and wisdom and love\nand gaiety and tears of life as well\nin the twentieth century as in the\nsixteenth, but which render no dull\nphotographic reproduction of actua-\nlity, but a vision of life all silvered\nover with laughter and coloured\nwith romance. And those who have\nso ungracious a welcome for them\nwhen they come stealing back after\nthese many centuries, listening, tip-\ntoe, finger to lip, at the theatre door\nand then bounding with a peal of\nlaughter on to the stage, must err\nfrom ignorance or from prejudice,...\neither ignorance of what the Corn-\nmedia dell'Arte ever really was, or\nprejudice as to what they believe its\nrevival wou Id mean at the present day.\nj0 They complain, for instance, that\nthe performances of the old come-\ndians were coarse and licentious,\nfull of indecent phrases, and they\nask us if we want those revived\nupon the stage today. But they for-\nget that the Commedia was ever\nattuned exactly to the age in which\nit existed, and if they will study the\ndomestic history of those days, the\nrecords of conversation, of the habi-\ntual greetings and subjects of talk,\nthe actions which took place in\npublic, the dirtyness, the coarseness,\nthe insanitary conditions which were\nuniversai for rich as well as poor,\nas much a part of the life of even\nthe great nobles as were their Greek\nlearning, their sumptuous banquets\nand their magnificent festal clothes,\nthey will perceive that there was\nnothing to strike a discordant note\nin the spectators' minds.\nThe players mirrored their own\ntimes ; they were in perfect harmony\nwith its standards of good taste, and\nthe critics who profess themselves\nso shocked by what they find in the\ntheatre of those days would have\n*\nbeen equally shocked at what they"}, {"page_pdf": 97, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.97", "texte": "CRITICS CRITICISED. &\n\nfound in the daily life had they been\nsuddenly transplanted to it; born\nand bred in it they would have\ntaken it all as a matter of course\nwhether in the streets or on the\nstage. \" In the sixteenth and seven-\nteenth century the relation between\n\" the real customs and the theatre\nt4 was the same as today\" writes\n\" Signor Ferrigni:\" only that both\n44 the customs and the theatre were\n44 ruder in their exterior forms:\"\nand then he proceeds to give an\nexample of what he means from the\nlife of today by citing instances of\nthe freedom permitted in costume\nand in conversational pleasantries\nat a summer bathing resort or at a\n44 ville d' eaux \" and which, quite\npermissible in such environment,\nwould produce a very different ef-\nfect in town. &\nAs for the plays of the Commedia/\nthose old Scenarios, stripped of what\nwas purely topical in dialogue and\nwhich varied even then with every\nperformance, yet remain as the scaf-\nfolding of fine plays upon which the\nimprovisors of today might build,\nsheltering themselves beneath the\nancient masks. And the Masks, beings\nof a fine race, knew well enough\n#\nthat fine breeding manifests itself\nin ever adapting oneself so as to be\nIn harmony with one's company\nand Arlecchino would find as much\nto satirise, as much to raise a laugh\nfrom in the life of today as ever he\nfound three centuries ago, though\nthe points he seized on might\nnot be the same. He is not one of\nthose poor creatures who need to\nsave themselves, to use the same\nidea more than once for fear of\nrunning short. He has but to give\nhimself, his spirit, his amazing vita-\nlity, his infinite riches, in whatever\nsurroundings he finds himself, and\nhe would be as much at home, as\nwitty, as Impertinent, as shrewd, as\nJoyous, as infinitely wise on a London\nstage today as he was when roaming\nthe highways of Europe and dining\nunder the hedgerows and bandying\nrepartees with kings three hundred\nyears ago. ~2? JZ?\nAnd what if the old Commedia\ndeli'Arte were what the critics con-\nsider so over-frank in its rendering\nof life ? It is true enough that three\nhundred years ago the players had\nall kinds of amazing adventures\nupon the stage with birth and death,\ndoctors and marriages and bridal\nnights and surgical operations and\nfeeding bottles and other intimate\nfactors of life. But today the very\ntheatre which regards that as a bar-\nbarous age gives us seductions and\nconfinements, bath-room scenes and"}, {"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.98", "texte": "CRITICS CRITICISED, x?\n\nbedrom scenes and hospital scenes,\nonly gives them all with a smug\nsolemnity which has none of the\nfrank merry healthy spirit of an\nearlier day. Why, even Shakespeare\nshocks them ; they have to 44 expur-\ngate \" his works before presenting\nthem to the modest eyes and ears\nof the public, although they expect\nthat same public to be gratified by\nthe gloomy spectacle of a naked\nSalome fooling around with John\nthe Baptist's head.\nThe attitude* assumed towards\nSigner Rossi's productions is one\nmore proof of the attempt to stifle\nany keen or vital enterprise in the\ntheatre; is part of the great con-\nspiracy to push back into the old\nsafe rut the man who dreams of\n*\nturning up some other way. We\nhope it will not succeed and we take\noff our hat to Signor Rossi. He and\nDr Hevesi should meet each other,...\nwith Arlecchlno as Master of the\nCeremony.\n\nMORE AMATEUR .\n*>\nJMr Clayton Hamilton in an article\nabout Mr Gordon Craig and his\nwork has furnished us with one\nmore example of the impertinence\nof amateur criticism.\nHe apparently does not know\nhis Montaigne, or he might call to\nmind that \"The only good histories\nare those that have been written by\nthe persons themselves who com-\nmanded in the affairs where of they\nwrite and that as the word of a\nN apoieon is better worth taking in\nthe control and disposition of troops\nthan that of, let us say, M. Maeter-\nlinck, so the utterances of one who\nhas devoted his whole life to the\nstudy and practical demonstration\nof a subject are to be accepted with\nrespect by those who know nothing\nat all of the matter.\nJ£? Mr Clayton Hamilton is, it ap-\npears, displeased with Mr Gordon\nCraig and with his manner of ex-\npressing his ideas, and is anxious\nto make this known. He has therefore\ncontributed to 44 The Bookman \"\n(July 1912) a didactic article on\n44 The New Art of Stage Direction \"\n4\nin which he alternately reproves\nMr Gordon Craig and pats him on\nthe head. But so lofty is his lan-\nguage on the subject that really, as\nMaule once complained of the oppo-\nsing counsel in a law suit, our \"lear-\nned friend's manner would be into-\nlerable in Almighty God to a black\nbeetle\".\nMr Clayton Hamilton commences\nby telling us that 44 the stage-di-\n-44 rection of the immediate future\n44 has already cast its light before\n44 it. \" \" Already\" says he, 44 three"}, {"page_pdf": 99, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.99", "texte": "& CRITICS CRITICISED.\n\n-44 thoroughly practicable remedies\n44 have been suggested for the three\n\" evils that have been enumerated.\n\" Professor Max Reinhardt, of Berlin,\n\" has shown us how we may obtain\n\" relief from the insistence on de«\ntails : the Irish Players have shown\n44 us how to save money wisely In\n44 the preparation of productions;\n\" and Mr Gordon Craig has shown\n\" us in his practise (and endeavou-\n-44 red, somewhat vainly, to teach us\n44 in his theory) how we may turn\n44 the theatre to more imaginative\n44 uses. \" JZ? .£?\nBut Mr Clayton Hamilton does\nnot tell u5,... he probably, knowing\nso little of the theatre, is not\naware ~... that 44 Professor Max\nReinhardt, of Berlin \" has been for\nsome years paying Mr Gordon Craig\nthe sincere compliment of following\nhis Ideas line upon line, precept\nupon precept; or that the Irish\nPlayers have found the best way to\n44 save money wisely \" over their\nproductions was to adopt the scenic\ninvention of Mr Gordon Craig, an\naccount of their first success with\nwhich Mr Clayton Hamilton may\nread In The Mask, January 1911.\nThen, after informing us of\nhow Mr Craig has 44toiIed\" for many\nyears, he informs us that 44 mean-\n«« while, he has exhibited his de-\n\" signs.... all of which are odd and\nf4 many of which are interesting\n44 and has talked a great deal, in\n44 those rapt, ecstatic, and undecl-\n\" pherable terms that impress the\n44 uninitiated \". &\nNow let us see who are some of\nthese whom Mr Clayton Hamilton\nincludes among the \" uninitiated. \"\nThere are the Germans, led by Messrs\nReinhardt, Orllk and Roller, turning\nthe Craig ideas into good hard cash.\nThe Russians, with Dr Meyerhold\nimitating him in St Petersberg, and\nthe directors of the Art Theatre\nin Moscow, about the leading\ntheatre in Europe,.... honoured in\nputting their stage under his control.\nThere is Dr Alexander Hevesi, leader\nof the fine enterprise of the Budapest\nTheatre and one of the warmest\nadherents of the Craig ideas.\nXs? There is the owner of the Th&itre\ndes Arts In Paris, inviting Mr Craig\nto act as art director in his theatre.\nThere are Madame Sarah Bernhardt,\nMadame Yvette Guilbert, M. Antoine,\nMr W. B. Yeats, Mr Martin Harvey,\nAir Granville Barker, Mr David Be-\niasco, to mention but a very few\nIn the theatre itself. And then\namong the critics,.... critics whose\nnames will we believe, be better\nknown to our readers than Mr\nClayton Hamilton's, we find Mr Ar-"}, {"page_pdf": 100, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.100", "texte": "CRITICS CRITICISED. <e>\n\nthur Symons, Mr Max Beerbohm j Mr\nE. F. Spence, Mr Gilbert Cannon,\nMr Pritchard Eaton and Mr Percy\nMackaye. We find the painters, we\nfind the writers, many more than\nthere is space here to name, but\neven the few names cited will serve\nto show what kind of people are\nthose 44 uninitiated \" whom Mr\nGordon Craig has impressed, (and\nconvinced) by those 44 rapt\" ecstatic\nand undecipherable terms\" which\nso tickle Mr Hamilton's sense of the\nabsurd. J\n& Then again Mr Hamilton objects\nvery strongly to Mr Craig's manner\nof expressing himself in his recent\nbook 44 On the Art of the Theatre \".\nWe quote passages from the ar-\nticle, because it affords so inte-\nresting an example of Mr Clayton\nHamilton's own style, from the\nheights of which he looks so dis-\ndainfully upon Mr Craig's;\n44 production. It indicates that how-\n*\n44 over able Mr. Craig may be as\n44 a designer of scenery and costumes\n44 he is utterly Incapable of any\n44 exercise of the literary art. His\n44 book is inconsecutive and inco-\n-44 herent. He splashes about in a\n44 splurge of words,(i) like a baby in\n44 a bath - tub. Several of his revie-\n44 wers have hailed him as a genius\n44 by which they mean, apparently,\n44 that he is incapable of Intelligent\n44 analysis or orderly exposition. His\n44 book is an extremely messy work.\n44 If Mr. Craig sincerely\n44 desires to contribute to the pro-\n-44 gress of the stage he should\n44 first gag himself, and then permit\n44 some trained and skilful writer\n44 (1) to study his designs and explain\n44 their purport lucidly and sanely\n44 to the public.\"\n& Then, having further denounced\nwhat he calls this 44 pretentious\nand preposterous Indigestion of i-\ndeas\", the 44 hybrid and horrific\nterm \" of Über-Marionette, and also\nwhat he assumes Mr Craig's idea to\nbe, he concludes emphatically, 44 It\nis hardly necessary to remark that\nthis Idea is mad\". &\nSo does Mr Clayton Hamilton,\nA.\n44 most ignorant of what he's most as-\nred \", play his fantastic literary and\ncritical tricks before high heaven.\nReading his article one cannot but\nrecall the words of Solomon who\nonce declared of a man wise in his\nown conceit that 44 There is more\nhope of a fool than of him for\na fool may well learn, but Mr\nClayton Hamilton is already cock-\nsure. & uS?\n(I) The stalks are ours, Ed;\n(I) Such, one presumes, as our learned friend ?"}, {"page_pdf": 101, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.101", "texte": "EDITORIAL NOTES.\n\n£/ METCALFE OF 44 LIFE \". j&\nTplie writer on theatrical matters\nin the New York 44 Life \" is a\nmost excellent critic. We have liked\nhis work for several years; he feels\nrightly about things. He seems to\nbe one of the few writers in Ame=\nrica who, when some semi-religious\nplay is put on, says the truth about\nit. instead of being sentimentally\ncarried away, he criticises. In the\ncase of Air Kennedy's play called\n44 The Terrible Aleek \" he wrote:\n-2? 4i The sanctimonious statement\n46 that44 The Terrible Meek \" Is pro-\n46 duced for its religious effect will\n44 only be taken with a grain of salt\n44 by those who know the pecuniary\n44 value of a new sensation in the\n44 theatrical business. Two and a\n\" half dollars per seat at the Box\noffice and newspaper talk from the\n44 author about 44 The Passion and\n44 Resurrection of our Blessed Lord \"\n44 do not seem consistent. The com-\n44 binafion savours just a little too\n44 much of ttie English streetcorner\n44 evangelist, whose familiar pious\n44 preachments have direct relation\n44 to the number of coppers that can\n44 be coaxed and exhorted into the\n44 evangelical hat \". JZ?\nThis play, 44 The Terrible Meek \",\nwas produced by Mr Ames, who\nfailed to steer the New Theatre to\nsuccess and was obliged to start a\nlittle theatre of his own. Of this A-\nmerican impresario Mr Metcalfe says:\n44 Friends of the American theatre\n44 have come to regard Mr Ames as\n44 the white hope in the present\n44 condition of the drama, but, if he\n44 is to confirm their confidence, It\n44 would look as though he must\n44 pick out a new hypnotist to guide\n44 his selection of plays JS/\nIf there are a few more guides\nlike Mr Metcalfe, and if the Ameri-\ncan managers and public will just\nfor once let themselves be guided\nby men who have thought about\nthese matters, then the condition\nof the drama in America will improve\nenormously.\nThere is no doubt, we should say,\nthat Mr Ames is a really capable\ndirector and a very poor judge in\nmatters of art. Somehow people have"}, {"page_pdf": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.102", "texte": "& EDITORIAL NOTES.\n\ngot into their heads the Idea that\na director must be a judge in such\nmatters, yet it is not at all necessary\nand It is better If he is not; but he\nshould at least have common sense\nenough to be guided by those who\ncan judge. So when he builds a\ntheatre he should select a stage\nmanager and an architect, who to-\ngether know what is the right shape\nfor an auditorium. Then he should\nnot suddenly change his stage mana-\nger but should continue to abide\nby his first choice, and should do\npractically what he Is told by this\nman in regard to the stage.\nThe next difficult task for the\ndirector Is to choose the literary\nadviser, for on no account must such\na man be at loggerheads with the\nstage manager. In speaking of stage\nmanagers, we allude to such as Sta-\nnislawski and Hevesi, and naturally\nsuch people are very difficult to\napproach and their services almost\nimpossible to obtain. But it Is of men\nof this standing that a clever direc-\ntor like Mr Ames is greatly In need.\nI suppose the only man in Ame-\nrica who is anywhere in line with\nthese two is Mr Belasco. A really\nclever director in America would\nsecure that man first of all. \" Pro-\nduce great persons\" says Whitman,\n\" the rest follows \". Great persons\nhave not a particular talent for ac-\ncommodating themselves to small\npersons, but Mr Ames, being a clever\nman, can surely accommodate him-\nself to Mr Belasco, and if he wishes\nto serve the best interests oi the\nAmerican stage that is what he will\ndo. & ■£? JQ-\n\nINSULTING INTELLIGENT\nAMERICANS. &\nan example of the kind of cri-\nticism which should be forcibly put\ndown by the state the following is\nworthy of notice :\n\" Paolo Uccello, (1396-1479). This\n\" Interesting old painter gave much\n*• thought and study to perspective\n\" and although we can but smile\n\" when we look at his pictures and\n\" think of this still they do show a\n\" little advance upon what had pre-\n\" ceeded htm\nFrom \" Painters, Sculptors,\nArchitects and EngraversA\nHandbook by Clara E. Clement.\nPublished by Houghton, Mifflin\n& Co. Boston & New York. U. S. A.\nOur quotation is from the\nand revised impressso we see\nthat the book has a somewhat ex-\ntensive publicity given to It. jg?\nThere should be some law to con-\ntrol writers of this kind of book\nand to limit their powers of spreading\nnonsensical suggestions of this kind."}, {"page_pdf": 103, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.103", "texte": "& EDITORIAL NOTES.\n\nIt Is to be supposed that the Ameri-\ncans who study pictures are as witty\nas any other beings; why then should\nthey be forced to absorb as the\ntruth such utter rubbish as the a-\nbove quotation? There is hardly any\nfield of thought more subtly difficult\nthan that of Art criticism, but surely\nthe production of a Dictionary of this\nkind demanding thoroughness and\nan absence of anything but fact\nshould not be too difficult for so\ngreat a nation as America to com-\npass, -iS* ■£?\nLet us hope that the idiotic book\nwill be called in soon so that the\ngood sense of Americans eager to\nunderstand European Art somewhat\nrightly will no longer be insulted\nand misled by the wretched puerili-\nties of C. E. Clement.\n\n& A NATIONAL THEATRE. &\nWilliam Archer and Mr Gran-\nville Barker brought out a book\nIn 1907 which they called A Natio-\nnal Theatre.. Scheme and Estimates\".\nIt has this to commend it,.,, that we\ndislike it.\nThe book is in twelve sections,\nand the section which we are con-\ncerned with here is section 4 where\nin is explained what the authos'r\nNational Theatre would do with\nShakespeare. In large letters they\ncommence the chapter by saying:-\n\" IT IS NOT AN ADVANCED THEA-\nTRE THAT WE ARE ADVISING \"\nthough what the fear of advance\nshould be, heaven only knows. Mr\nWilliam Archer has only quite lately\nadvanced back to Japan, and Mr\nBarker is stealthily advancing to\nthe production of the \" Winter's\nTale \". & &\nIn their book they follow up their\nassurances about not having an\n\" advanced \" theatre by explaining\nthat the subsidized theatres of the\ncontinent are not \" advanced \" thea-\ntres; adding that it is not their \"bu-\nsiness \" to be \" far ahead of the\ntime but to be well abreast of it\nwhatever that may mean; it does\nnot seem to mean very much.\n& If Monsieur Rodin, if Cezanne, if\nNietzsche, if Walter Pater, in fact if\nall the first artists of the last fifty\nyears had been merely \"abreast of the\ntime \", we should have had no\nRodin, no Cezanne, no Nietzsche\nand no Walter Pater. It is because\nthey were far ahead of their time\nthat they were who they were. &\nBut you will say that this has\nnothing to do with it; that you\ncannot compare the theatre or the\nNational Theatre with independent\nartists, and you will receive the\nobvious reply that the theatre has\nno business to exist until an indi-"}, {"page_pdf": 104, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.104", "texte": "& EDITORIAL us?\n\nvidua! artist has been found to\ncommand It, and, if he is not ahead\nof his time, there is no use in put-\nting him in command, for the Box\nOffice keeper would do quite as\nwell. As a matter of fact, the best\ntheatres in Europe are the 44 advan-\nced \" theatres, and some of the\n\" advanced \" theatres are subsidized\ntheatres. We don't know what Mr\nArcher and Mr Barker mean by\nthe word 44 advanced \" or why\nthey are so frightened about it,\nbut we take it here to mean a\ntheatre that has life and that moves\nforward. We have never yet heard of\nanybody who had the fear of advo-\ncating life or moving forward.\nShakespeare is 44 advanced \" for\ninstance, and always will be 44 ad-\nvanced \" as far as we are concerned.\nHe is 44 advanced \" because he has\nall the qualities which go to make\na great artist: he is strong, he is\nfearless, he is rich in humour, In\ntenderness, in fantasy : very well\nthen, all we want is a theatre 44 ad-\nvanced \" enough to be able to In-\ncrease the value of the Shakespeare\nrepertory by adding to it the power\nto present his works strongly, ten-\nderly, imaginatively. jz/\n& Messrs Archer and Barker feel\nthat the National Theatre should\nnot be 44 advancedbut they do\nthink that there should be pioneer\ntheatres who do the advancing for\nthem, \" who try this path and who\nsometimes blunder and find them-\nselves in an untenable position or in\na no throroughfare \". They then add\nthat the National theatre should\nprofit by the experience gained by\nthe pioneer theatres while trying to\n\" avoid their errors &\nThe worst of Messrs Archer and\nBarker is that they look on the\ntheatre as If it were an army, they\nspeak of it as such, they talk about\n\" out-posts, \" \" pioneers, \" \"untena-\nble \" positions, \" pressing on \" and\nso forth. Anything more mislead-\ning cannot well be conceived. Cau-\ntion may play a great part in the\nadvance of an army, it plays a very\nvalueless part in the advance of an\nart. In the army you may be fight-\ning for a piece of ground, in an\nart you are fighting for something\ndifferent: for something intangible.\nThe true artist Is never rash, having\na large streak of caution in his na-\nture; but he is for ever experimen-\nting and never ceases advancing.\nThe mistake Messrs Archer and\nBarker make is in believing that\njust naturally clever and careful men\ncan direct the fortunes of a Theatre,\nforgetting that there have' been\nhundreds of clever and careful men"}, {"page_pdf": 105, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.105", "texte": "EDITORIAL &\n\nwho have tried without any success;\nand not being artists Messrs Archer\nand Barker very naturally are una-\nble to realize what are the artist's\npowers. JS? *£? £? JZ?\n& Messrs Archer and Barker say\nexperiment would not be the pri-\nmary function of the National Thea-\ntre, though they would \" keep a\nsympathetic eye upon the work of\nthe out-post theatres.\" \"Sympathetic\neye \" is good ;... the 44 sympathetic\neye \" of Mr BUI Sykes. But the\n\" sympathetic eye \" with which\nMessrs Archer and Barker gaze\nlongingly at the coming National\nTheatre is not very keen in its sym-\npathy towards Shakespeare, and we\nhere come across a very curious and\nnot exactly courageous championship\nof our only great national drama-\ntist. JS?\n& Fully to understand Messrs Ar-\ncher's and Barker's attitude towards\nShakespeare we must remind our\nreaders that these two gentlemen\nwere in the very forefront of those\nwho were crying for the removal of\nthe Censor. They held that the Cen-\nsor prevented 44 advanced \" plays\nby modern authors being acted, but\nwhen it comes to Shakespeare and\nhis position in the National Theatre\nwhat do we find these gentlemen\nadvocating ? They whittle the entire\nthirty seven plays down to three,\nalthough they generously add that\nsix others can be played uow and\nthen. Listen to this passage from\nthe two advocates for the removal\nof the censor:\n44 The final Shakespeare canon\n44 consists of 37 plays. Of these one...\n44 Titus Andronlcus... is wholly un>\n44 presentable on the modern stage;\n44 while six... Trolius and Cressida,\n44 Timon of Athens, Pericles, and\n44 the three parts of Henry V 1... can\n44 only be presented after heroic\n*4 curtailments and manipulations...\n44 then again of the remaining plays\n44 five would probably be found fit\n44 only for occasional revival at long\n44 Intervals : the Two Gentlemen of\n44 Verona. The Comedv of Errors\n44 and Love's Labour Lost are imma-\n-44 ture productions, All's Well that\n44 Ends Well is likewise immature\n44 and inexplicable in theme ; and\n44 Henry VIII, is a formless pageant\n44 play, which has very little claim\n44 to rank as Shakespeare. There\n44 remain, then, twenty five plays,\n44 which ought never to be suffered\n44 for long to drop out of the reper-\n-44 tory of an English National Thea-\n-44 tre. If six on an averege were re*>\n44 vived in every season, the whole\n44 list (save one) would be gone\n44 through once in four years;"}, {"page_pdf": 106, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.106", "texte": "EDITORIAL NOTES. j£?\nALL RIGHTS RESERVED\nGerente Responsabile G1ULIO VANZI\n\n*'while in each season certain plays,\n\" carried forward from the season\n*' or seasons before, would be con-\n\" sidered not as revivals, but as be-\n\" longing to the permanent subs-\n\" tratum of the repertory... what\n\" is called in France the \" repertoire\n\" courantWe take it then that\n\" in the initial season three plays\n\" might be regarded as representing\n** the Shakespearean element in\n\" this permanent substratum, while\n\" the remaining six are about the\n\" equivalent of the normal revivals\n** of a normal season\nHow Shakspeare would have\nenjoyed reading that paragraph!\nWhile it may be hoped that the\nday is far off when the Censor shall\nbe removed, we hope that he will not\npass before removing the ban from\nall the Shakespeare plays. It makes\nsuch a difference who treats tragical\nsubjects that somehow we feel that\nShakespeare can handle them better\nthan Messrs Barker or Shaw, and\nTitus Andronicus would be but a\nlaughable tragedy after their \"heroic\ncurtailments and manipulations\nIf Messrs Archer and Barker are\nrepresentative of any England at\nall, perhaps they represent the Vic-\ntorian Era at its worst, certainly not\nthe Elizabethan at its best though\nthere is a suggestion in their sen-\ntiments that they would fit the\nCromwellian era like a glove; so that\nwe see Messrs Archer and Barker\nare really for the most \"advanced \"\ntheatre conceivable: that of the Revo-\nlutionary Puritan wherein Shakes*\npeare plays the part of the \"Bauble.\"\n\nART AND\nJ. S.\nseems to feel that he\nhas the right to speak of Art\nnowadays without knowing about it.\nArt, the property of the king,\nthe priest and the aristocracy, has\nbecome the property of the mob.\nEven highly placed people care\nto offer opinions on art, laying down\nthe law about it. To these Notre\nDame is as \" noble \" as the Temple\nof Denderah ; Nijinsky as \" superb \"\nas the Louvre Nike of\n•£? Ask the same people some simple\nquestions about chemistry or mathe-\nmatics and they answer that they\nleave such subjects to those who\nstudy them. Is Art then not so se-\nrious a study that they can so glibly\nroll off rubbish about it ?uP\nKeep your place, gentlemen, and,\nwithout blurting out that art is\nabove you, or confessing by chatter\nthat it is beneath you, turn your\nthoughts to other things."}, {"page_pdf": 107, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.107", "texte": "AN ADDITIONAL FOREIGN .\n\nTHE LEICESTER GALLERIES.\n\nJ. S.\n7e print below a Note which has\nTV\njust reached us, too late to be\nIncluded with the other News from\nLondon, relative to Mr Gordon\nGra!g*s exhibition at the Leicester\nGalleries referred to Oh page 179*\nIt will be of Interest to those who\nhave hitherto been unable to visit\nthe Exhibition to know that they\nhave still an opportunity of doing\nSO. J&\n\nG. H.\nCjnce telling you that Mr Gordon\nCraig's Exhibition would close in\nLondon on September 30th and\nwould then start on a tour of the\nnorthern cities I learn that the Di«\nrectors of the Leicester Gallery have\ndecided to keep it open for two\nweeks longer than previously arran-\nged. it will thus be the middle of Oc-\ntober before it starts northwards, and\nno doubt many of The Mask readers\nwho are now returning to London\nwill be glad of this news and to\nknow that they are yet in time to\nsee these models and designs.\nv, , y ' ■> y T''■ ;>S ' ~■/ v '• ' -V01* ■ ■', I\nThe exhibition has been visited\nduring the last month by a large\nnumber of well known people, in-\ncluding Countess Greffulbe, Princess\nI\nCaramen Chimay, Lady Strachey,\nSir Bram well Tho mas, Sir Albert\nSeymour, Miss Evie Greene, Sir Wil-\nliam Bull, Mr and Mrs Haldane\nMacfall, Mr Walter Crane, Miss Ger-\ntrude Kingston, Mr Augustus John\nLord and Lady Dunsany, Mr Charles\nBrookfleSd, Mr Norman Forbes Ro«\nbertson, Countess Gleichen, Mr and\n*\nMrs William Rothenstein, Professor\nBaker of Harvard University, Mr H.B.\nirVing, Mr Alfred Waring, (Director\nof the Glasgow Repertory Theatre),\nMr Emery Walker, Mrs HolmanHunt,\nCount Kessler and Lady Dorothy\nNeville. j&"}, {"page_pdf": 109, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.109", "texte": "- II Mil -| I • -y'^arvJ-g..^.A^w,^^>»«J«r. rgfWi I ■ I ■ .—< , r HIT\n- -- -\n%\nt\nANNOUNCEMENTS; FROM \"THE MASK PRESS''\nARENA OOLDONI. FLORENCE, ITALY.\n— THE MASK. NEW SERIES. VOLUME FIVE. JS>\nOf the new Volume, beginning with the present number, Three\nEditions are published, and the yearly subscriptions, post free,\nto these Editions are respectively as follows.\nPopular Edition. . . . Shillings 15. Dollars I\nLarge Paper Edition (100 copies.) „ 20. „ 5.00\nEdition de Luxe. (15 copies.) „ , 65, „ 16.00\nMiBaBMWMiMwiJimyiiiiija— Ml nine m— nil i»3\nKOasm in—II > n ■■■iini niTi'iiii win iiniemmn'rinfiinniBniiirTwnamiihiujibi— . iiwan»rTrarMimi^,nnrTnBnirniiTrfflBBmwrranBiMnimMffl>wwi»iiTOTirTn««CT\n——■■■■—■ THE MASK. OLD SERIES. 1908... 1909... 1910... 1911...\nVI- ifc- §r <&.£z ;\nUnbound Sets, Vol* 1. Shillings 30. dollars 7.50\nVol. 2* 99 99 25* 9* 9 9 6*50 .\nVol. 3* 99 9 30. 99 „ 5#oo •\n99 99 **** 99 99 4*oo\nBound in Vellum. Vol. 1. „ „ 35. „ „. 8.50\nC'.S Vol. 2. * 99 99 -3®* 99 99 7*50\nVol. 3* »» 25. 9. 99 6.30\n, HI MHMMIIIHIII. MM WW Vol. 4* »» ♦> 20. 9. 99 5«5^\nM *fcl JMUWWWI h jj|\nVVT ;5RA. . * SQEESBK®®9ATIFCS XT^^AWLI^^-—A-- - •-IW<IN ■• A^AW^I\nFIVE OF \"THE MASK\"\nbegan with the number published last July.\n* SOME OF THE CONTENTS WERE: *\n£> PROLOOUE by J. S. .£• A WORD ON THE POLLOCK THEATRES by ELLEN TERRY\n* • .\nSOCIALISM, SYNDICALISM, REALISM by LOUIS MADRID. ART AND THE NATION\nby \"BRITANN1CUS,\" j& THE ACTRESS by OSCAR WILDE. SIQNOR BRIGHELLA by\nIDR CESARE LEVI. & OUR DAILY NEEDS by V. SURGEN. j& JACQUES DALCROZE\nAND HIS SCHOOL by JOHN BALANCE. & THE PAINTER IN THE THEATRE by GORDON\nCRAIG. j& CAPTAIN JACK. B. YEATS by ALLEN CARR1C. HOW JACK B. YEATS\nPRODUCED HIS PLAYS FOR THE MINIATURE STAGE by JACK B. YEATS. & THE\nBEST THEATRE IN LONDON by EDWARD EDWARDOVITCH. j& R. L. S. AND THE\nDRAMA OF SKELT by DOROTHY NEVILE LEES. & THE BLUE JACKETS, ONE OF THE\nI TOY THEATRE PLAYS & BOOK REVIEW. j0 FOREIGN NOTES. & EDITORIAL NOTES.\n& EACH SINGLE NUMBER, (.POPULAR EDITION) COSTS FOUR SHILLINGS\nNET, BUT IF YOU SEND US FIFTEEN SHILLINGS YOU WILL RECEIVE THE\nJOURNAL, (FOUR QUARTERLY PARTS) POST FREE FOR A YEAR.\nI ''The Mask\" Offices, Arena Goldoni, Florence, Italy\n- - ■ II I - *V I« II II II RI- IR FI II NR I IT IN—TPTWTT TITMTWIWIMTRITF I"}, {"page_pdf": 110, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191210-01.1.110", "texte": "I FOUR OPINIONS ON \"THE MASK\" |\n\" There is not a page in it which is 1\nnot interesting and stimulating in a fine I\nway I\n\" The Mask \" always contains something I\n\" worth reading, and often something\n\" worth keeping\nPail Mall\nI\" A quite remarkable magazine, rich\nin intelligence.)}\nWestminster Gazette.\n\"A very amusing and stimulating, as\nwell as a most beautiful, magazine \" 11\nThe Daily Telegraph. II\n\" I may say without any hesitation that / 1\n•' have received more pleasure from its I\n\"pages, both intellectual and aesthetic,\n\" than I have received from any other pe-\n\" riodical now being published. It is ama-\n\"zing to find that in a paper devoted to\n\" a special object there should be so\n\" wide an intellectual appeal.\nT. P.'s Weekly\\\n& TRADE AGENTS &\nSimpkin, Marshall, Hamilton,\n& Kent& Co. London. |\njiHMaMBBMMBWMBMHMMIiSIiIIIHi I'lmii iM'IIUfy Willi—g »| I' llliWH Ml If'lll llll'Hl ■!> I I 1 IH iHM Hlll'l lIIH IHI 11 II H I. ,1111 1 \"1 IJI llnll M li> HITIIWWmMMMaaMMWnMni\nPrinted for the Proprietor by Tipografia R. Lastrucci, Via de Serragli, 104 Florence and published at The Office of \" The Mask \" Arena Qoldoni"}]}