{"numero_id": "bm-bmtnaau-1913-04-01", "volume": "bmtnaau_1913-04_01", "ocr_sha256": "5b1ba05a58a718e9cc74b0411dcd215fa3e25e219a7aab536419adc0dc7c7674", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1913/04_01/bmtnaau_1913-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1913/04_01/bmtnaau_1913-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01", "articles": [{"article_id": "bm-bmtnaau-1913-04-01-c002", "article_bluemountain": "bmtnaau_1913-04_01#c002", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "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=bmtnaau191304-01.2.2", "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": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.2", "debut_caractere": 528, "fin_caractere_exclue": 1351, "texte": "LITERARY CONTENTS.\nTHE GORDON CRAIG SCHOOL. J. S 387.\nIS \" POETIC DRAMA BORN AGAIN \" ? . Gordon Craig 389.\nTHE ENGLISHMAN AT THE THEATRE. . John Balance 393.\nFRAU WAGNER'S TRIUMPH Adolf Furst 397.\nREALISM. Oscar Wilde, with a note by A. C. 399.\nHORRORS ON THE STAGE St. Augustine, with a word\nby Louis Madrid. ... 301«\nA HISTORY OF PUPPETS Yorick. (P. Ferrigni) . . 303.\nTHE HOUR GLASS W. B. Yeats 337.\nTHE WEBB JUVENILE DRAMA. H. Francis Eagle. . . . 347.\nTHE ARCHITECTURE AND COSTUME OF\n♦« MEASURE FOR MEASURE \" . . E. W. Godwin. 1875. . . 353.\nSIENESE COSTUME Cesare Vecellio. 1589. . . 360.\nA WORD UPON ORIGINALITY. . . . Goethe. . . . . . 365.\nTHE MODERN THEATRE.. . . . . Allen Carrie 367.\nIN ROME Edward Edwardovltch. . . 369.\nLETTER TO THE EDITOR. . 374.\n& BOOK REVIEWS, & FOREIGN NOTES, EDITORIAL NOTES. . . . 376."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c003", "article_bluemountain": "bmtnaau_1913-04_01#c003", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "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=bmtnaau191304-01.2.3", "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": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.2", "debut_caractere": 1353, "fin_caractere_exclue": 1865, "texte": "ILLUSTRATIONS.\nDESIGN FOR A COSTUME FOR MISS ELLEN\nTERRY, (Frontispiece). . . . E. W. Godwin.\nA MARIONETTE SHOWMAN F. E. . . ... 296.\nANCIENT MARIONETTES Pace 30a.\nWEBB'S SHOP WINDOW ... 347.\nTHREE DESIGNS FOR THE WEBB DRAMA 348. 349* 35<>.\nFIVE PLANS FOR '• MEASURE FOR MEASURE\" E. W. Godwin. . . . 353.\nTWO SIENESE COSTUME Cesare Vecellio, 1589. 361.363.\nMEDIAEVAL MARIONETTES Herrad von Landsberg. . . 373.\nHEAD AND TALE PIECES AND INITIAL LETTERS by Gordon Craig, George Borrow,\nand from old English Designs."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c004", "article_bluemountain": "bmtnaau_1913-04_01#c004", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "257", "page_fin": "258", "image_debut": 7, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.4", "titre_corps": "THE GORDON CRAIG SCHOOL : Established February 27th 1913A RED LETTER DAY IN THE HISTORY OF THE THEATRE", "titre_sommaire": "THE GORDON CRAIG SCHOOL : Established February 27th 1913A RED LETTER DAY IN THE HISTORY OF THE THEATRE", "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": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 1601, "texte": "THE GORDON CRAIG SCHOOL.\nEstablished February 27th 1913.\nA RED LETTER DAY IN THE HISTORY OF THE THEATRE.\n\nany times has The Mask urged the necessity for a School\nfor the Art of tiie Theatre of such a nature, and carried\nout upon such lines, as Mr Craig has repeatedly set forth.\nIn the last number of the journal the subject was renewed\nby both Mr George Baltruschaltis and Mr Laurence Blnyon.\nNow we are happy in being able to publish the news of the foundation\nof this School.\nSuch news is as exhilerating as it is welcome, for it conveys a sure\npromise for the future of the Theatre as well as a sincere satisfaction\nin the present over the realization of a long cherished hope.\nThe announcement was made by Mr Gordon Craig himself on February,\n27th,... a day most fittingly chosen as being Miss Ellen Terry's birthday...\nWe give his own words :\n\" The date coincides, \" he says, 44 with the realisation of one of my\n44 most cherished schemes. And as whatever I am or may be I owe to\n44 the inspiring influence of my mother, could anything be more appro-\n-44 priate than that 1 should Join her name with the announcement of\n\" the project referred to ? In other words, I bring it to her as a birthday\n44 offering, fully recognising that I owe its fulfilment largely to her\n44 unwavering and helpful encouragement. <£?\n44 To-day, then, we lay the foundations of that experimental school\n44 for the cult of the art of the theatre which it has long been my ambition\n44 to establish in England. Such things cost money before they can be\n44 set upon a firm footing: the prudent man does not embark upon an"}, {"page_pdf": 8, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.8", "debut_caractere": 28, "fin_caractere_exclue": 2094, "texte": "enterprise until he has secured what he holds to be the necessary ca=\n44 pital. That has now been provided by a friend who shares my belief\n\" that there is ample room in London for a school whose object it will\n44 be to foster the development of the art of the theatre on lines not\nyet attempted, and to establish a useful system for the training of\n\" young people in all departments of the theatre. J£?\nother words, my aim, as director of the new school, will be to\nInfuse the life of Imagination into every art and craft connected with\nthe stage, so that fresh vigour may be given to the creative powers\n*' of those actively interested in the drama. <£? £/ .\n& 44 The school will consist simply of a body of earnest and thorough\n\" workers, who, building upon the foundations of the work 1 have\nhitherto endeavoured to achieve, will strive, by means of experiment\n\" &nd research, to rediscover and recreate some of those magic and\n44 elemental principles of beauty, simplicity, and grace in that art-world\n44 from which at present they are conspicuously absent. \" & &\n<& With such a School, under such a Leader, all becomes possible.\n& Three years ago Gordon Craig wrote of his project in this journal:\n44 My proposal is to discover or rediscover the lost Art of the Theatre\nby a practical expedition.... into the realms where it lies hidden \". Now\nat the outsettlng of this 44 practical expedition \" we are confident that\nail who love the Theatre, who look hopefully for the dawn of the New Age\nIn which, by means of creative art, shall be restored to us a sense of the\nsplendour of life, will wish to him, to the new adherents who gather to\njoin him, and to the old followers who have long proved their obedience\nand loyalty to this cause and to Craig as leader of this cause, 44 bon\nvoyage &\nThe way is a long one. He has himself said, 44 I am thoroughly con-\nvinced that there will never be an end to our journey \" ; but \"Attraction\nshall never cease for us ; that will never change, we shall ever be in-\nvited.... beckoned... impelled to move forward. \"\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c008", "article_bluemountain": "bmtnaau_1913-04_01#c008", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 10, "image_fin": 10, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.5", "titre_corps": "A Design for a Stage Costume for Miss Ellen Terry", "titre_sommaire": "A Design for a Stage Costume for Miss Ellen Terry", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 75, "texte": "A Design for a Stage Costume for Miss Ellen Terry, by E. W. Godwin. F. S A."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c009", "article_bluemountain": "bmtnaau_1913-04_01#c009", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "289", "page_fin": "292", "image_debut": 11, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.6", "titre_corps": "IS \"POETIC DRAMA BORN AGAIN?\" : A Reply given by Gordon Craig and recorded by John Cournos", "titre_sommaire": "IS \"POETIC DRAMA BORN AGAIN?\" : A Reply given by Gordon Craig and recorded by John Cournos", "signature_source": "J.S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "289", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 2180, "texte": "IS \"POETIC DRAMA BORN AGAIN?\" A\nReply given\nby Gordon Craig and recorded\nby John Cournos.\nJ. S.\nfew months ago an Interview with Mr Laurence Binyon appeared\nin the Boston Transcript under the heading \"Poetic Drama\nBorn Again\", an Interview in which Mr Binyon glorified the\nstage productions of Mr Granville Barker, \" compared them favourably\nwith the schemes and projects \" of Mr Gordon Craig, and then made the\nstartling declaration that 'f the poetic drama is freed at last. \"\n£? The Interview was brought to the notice of Mr Gordon Craig who,\nasked whether he also held that the poetic drama was born again, re-\nplied, \" It depends whether you are speaking of literary drama or mimo>\ndrama, which is a better name for pantomimo drama. The first is quite\na grown-up man ; the other is being re-born. The literary drama was\nbrought Into being by Yeats and Synge, but we have no great mimo-\ndrama. Therefore the poetic drama, as a whole, may be said to have been\nboth born again, and to be In the process of being born. \" &\n\"Stupendous 1\" was Mr Craig's exclamation on reading what Mr Binyon\nhad said on the subject, and, questioned as to what precisely he meant\nby \" stupendous \" he replied, \" That the great authority on Chinese\npaintings and Japanese prints should be speaking about the stage.\"\n& On being asked whether he meant that Mr Binyon should stick to\nhis own business Mr Craig replied, \" Well, I should be very shy of offe-\nring my opinion on the Chinese and Japanese collections in the British\nMuseum. 1 know that Binyon has written plays, and very beautiful plays ;\nand yet a man may write plays \"and know nothing about the stage, as in\nthe case of Browning, Tennyson, Byron, and a number of the great poets.\"\nWe reprint here a part of the Conversation as it took place between\nMr Craig and Mr John Cournos, a representative of the Boston •\nwhich has an especial interest when taken in connection with the\nstatements recently made by Mr Craig as to the system be intends to\nfollow in training the pupils In his school.\n'T'he stage \" said Mr Craig, \" is an Interpretative art; that is, the pro-\nduction of a play is a craft.... it Is not an art; and a craft more than"}, {"page_pdf": 12, "page_imprimee": "290", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.12", "debut_caractere": 35, "fin_caractere_exclue": 2367, "texte": "any other thing demands that the man who attempts it shall have be-\ncome familiar with Its instruments and materials and unless he Is tho-\nroughly familiar with them he is what is known as talking through his\nhat when he ventures to speak on the subject.\n& 44 I believe that Mr Binyon himself feels this way about it, and my\nreason for saying so is a passage which he has just written about my\nprojected school in a very interesting article to be published in the Ja-\nnuary number of The Mask, (i) This is the passage, speaking in praise\nof my school: \" Had William Morris undertaken the drama as he under-\n-44 took so many arts and crafts, this would have been his way. How\n44 splendid for the dramatic poet to learn his art not from abstract prin-\n-44 ciples or from reading plays in the study, but by handling the actual\n44 material of it, by becoming master of all subsidiary crafts of the theatre\n44 himself! \" I am very much surprised that Mr Binyon now speaks of\nthe poetic drama as having just suddenly been born and by the same\nprocess that a conjurer uses when he produces an egg out of a hat.\nJE? 44 Then what you mean is that as one swallow does not make a sum-\nmer, so one production does not make a drama \".\n44 That is exactly what I mean \" replied Mr Craig with emphasis.\n44 Could one, or even five, productions achieve this miracle, then we\nshould have recreated the poetic drama from 1900 to 1903, when we\nproduced plays and operas in grand succession and in a manner which\nat the time was called revolutionary, just as Mr Barker's productions\nto-day are called revolutionary. The methods we employed at the time\nhave been employed ever since by the revolutionists. \"\n44 Who are 'we' ? \" &\n4i We were a very small group.... consisting of a friend and myself\nand a band of assistants. We gave plays year after year, and we did not\nuse old scenes arid old dresses. We produced 44 Dido and Aeneas \" in 1900.\n4The Masque of Love* and a revival of 4Dido and Aeneas' in 1901, Handel's\nopera 4Acis and Galatea' and a revival of 4The Masque of Love'in 1902, and\nLaurence Hausman's nativity play, 4Bethlehem', 4Sword and Song', Ibsen's\n4Vikings' and 4Much Ado About Nothing' in 1903, all in London, and all\nproduced not as such productions are, out of old materials, but the whole\n\n(1) This article appeared in January last."}, {"page_pdf": 13, "page_imprimee": "291", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.13", "debut_caractere": 35, "fin_caractere_exclue": 2315, "texte": "thing in each detail new from beginning to end. They have failed for\nthe same reasons that the Reinhardt and Barker movements to create\nthe poetic drama will fail JZ> j&\n'♦ What, then, in your opinion, are the great forces that can create\nthe poetic drama ? \" JZ?\n** Poets... and great stage managers of genius, but in both cases it is\na question of creation and not interpretation. When Reinhardt produced\n♦Sumurun' he came nearer to creating a poetic drama.... mimo-drama,\nunderstand.... than any stage manager who merely interprets a play by\nShakespeare, and Reinhardt either succeeds or fails in so far as he is\ninspired or uninspired. A mimo-drama, carefully put together, beautifully\ndecorated, quite clear as to its meaning, can still be no work of art, and\ncan be merely a very good job. It all depends on the quality of Inspi-\nration. \"\n♦♦ My plan is this \" went on Mr Craig enthusiastically ; ♦♦ to make a\nsufficient number of very serious men in my school familiar with the\nmaterial and Instruments of their craft. Then we shall have the machine.\nThen all that is needed is the man of genius and that he shall be fa-\nmiliar with the machine. You can then expect a renaissance. We shall\nin our way and with our material hope to do what Yeats and Synge\nhave done with their material. It must be remembered that the two\nmaterials are as divided as the elements. I have myself acted as a most\n♦\nwilling aid in the interpretation of the drama of Yeats and it has been\none of the special happinesses of my life to have been connected with\nhis poetic dramas in Dublin: but with him I have only acted as servant,\nas interpreter and a very willing one; and I hope that my experience\nin that role has taught me more exactly than anything else the truth\nof the existence of another, shall we call it, brother art ?\n1 should be sorry that Americans should think that we are conceited\nover our minor efforts... that is our efforts as interpreters. There is a\nlarge group of artists in England who realize that art is only valuable\nwhen it is creative. We are not really very concerned in England as to\nthe setting of a play, or In any other detail of a production. What we\nare keenest about is that we should add fresh life to each branch of art,\nbe it architecture, music or drama."}, {"page_pdf": 14, "page_imprimee": "292", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.14", "debut_caractere": 37, "fin_caractere_exclue": 1494, "texte": "& Neither are we concerned as much as Americans might be led to sup-\npose with what is called success. You have in America a poet... perhaps\nthe greatest in the last century.... who was practically what is called a\nfailure \". I mean Walt Whitman. But we are all beginning to see that\nhe is an irresistible success and was a success in 1856 when he first\npublished \" Leaves of Grass \". We have had just such a giant in Europe\nonce upon a time Leonardo da Vinci. Each of his statues fell crumbling\nto the ground, all his paintings scaled off the walls or else remained in\nan unfinished state. He was laughed at by that far too \" successful \"\ngentleman, Michel Angelo. And yet today we see that in each of his\nmany branches he was a master, and a master second to none.\nAll his projects, whether flying machinery, scrapnel, for canal cutting,\nfor quarry cutting, for water raising, and many other things besides....\nif they were not brought to a final and perfect form... have proved the\nfirst indication of setting about to solve the problems which they under=\ntook to solve.\nThis artist resembled Nature itself. He worked slowly and never would\nhe go further than the natural point in a slow development. He knew\nthat things have to grow, whereas Mr Binyon thinks they have to be\nproduced out of a hat. Let us take Leonardo and Whitman as the two\ngreat masters of Europe and America and let us abide by their method,\nfor it is the method of Nature. \" & & & &"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c012", "article_bluemountain": "bmtnaau_1913-04_01#c012", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "293", "page_fin": "296", "image_debut": 15, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.7", "titre_corps": "THE ENGLISHMAN AT THE THEATRE", "titre_sommaire": "THE ENGLISHMAN AT THE THEATRE", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "293", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 2047, "texte": "THE ENGLISHMAN AT THE THEATRE\nby\nJohn Balance.\nn American writer has lately given his views (1) on the\n44 Impassive Englishman at the Theatre as he impresses the\nAmerican\".\nHaving described the English Theatre as 44 a place designed\nby a thoughtful providence for the vicarious expression of British emo-\ntion \"he goes on to assert that, since no well-bred Englishman dares to\nexpress aloud any feeling or speak of really serious things, he must find\nhis emotional expression vicariously in the emotional dramas and \"artistic\nrealism \" of the British stage.\n& But even so, says our critic, the Englishman is careful to allow no\ntrace of that emotionalism which he has gone to the Theatre to get out\nof his system to appear upon his face. 440n1y behind a stolid countenance\ndoes he enjoy the things he dare not feel \" 44 He goes to have expression\nhandled for him, just as he goes to have his clothes made by someone\nelse.\" and 44 English propriety reaches its climax at the London\nTheatre\". (2) & & &\n£? So much for the Englishman at the Theatre as Cousin Jonathan\n*\nsees him.\nNow that may be all very well so far as it goes; but then it refers\nto so small a section of the English,... that is to say, to the small section\nwhich does frequent the Theatre, that it is misleading to use the word\n44 English \" in that general sense, as if referring to the Public as a whole.\nFor the Public in England does not go to the Theatre. To the En-\nglishman the theatre means much less than it does to any other man,\nexcept the American. This is perhaps due to William Shakespeare. He\nhaving told England that all the world's a stage, the Englishman cannot\nbe expected afterwards to attach much importance to the Theatre. If the\nworld is a stage what a wretched place the stage must be. &\n£> To the Englishman the stage is a place where the mirror is held up\nto nature, and snobbery is what is seen in the glass. & & &\n\n(1) New York Sun.\n(2) Mr Gordom Craig wrote from a very different point of view of .the Englishman at the Theatre in \" The\nMask July, 1911."}, {"page_pdf": 16, "page_imprimee": "294", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.16", "debut_caractere": 33, "fin_caractere_exclue": 2257, "texte": "& The Englishman does not care about this, and so the Theatre In\nEngland has no Public. The Public,... that Is to say, the People, do not\ngo to the Theatre; they go to the Public House. There at least they can\nsteer clear of all humbug about nature and mirrors. There at any rate\nthey can make of every stool a castle,... 44 and don't be too ready to\nagree with me\". jg/ js*\nAgain, in a Theatre the Englishman has to elbow two other Englishmen\nas though he were in any German democratic bierhalle, whereas an\nEnglishman likes elbow room for his own ideas. In a Theatre he has\ntoo little liberty. How can he be at ease with two antagonistic tempe-\nraments sitting on either side of him ? So the Saxon keeps out of the\nTheatre, and the Normans who came over with conquering William keep\nup their theatre going out of respect for Paris. & jg?\nOne might be inclined to think that after many centuries of this\ntreatment Thalia and Melpomene, the muses of the Theatre, would be\nbroken-hearted. But muses have no hearts to break. That is why they\nare able to attract so many lovers. Yet they are very faithful... to prin-\nciple. They are unable to love for they are love, and being so, are\ndeathless. & jg? jg?\nThe muses of the Theatre are at the service of any man who will\nserve them faithfully. Women they detest. This is their one link with the\nsex to which they belong. No woman has ever served any muse faithfully\nand so no woman has ever seen the face of a muse. This Is all going to\nbe changed 500n... when some woman shall have learnt fidelity and\nobedience... to a muse ; though perhaps it is a task not a little beyond\na woman's power. jg> jg/\n& Some men have been faithful and obedient and the dreams of these\nare blessed with the smiles of both Thalia and Melpomene. &\n& A blessed dream Is a prize Englishmen are less inclined to fight for\nthan a lucky reality ; so that we find but few English artists who have\nany desire to act in obedience and faith towards the Law of their Land...\nthe Land of Imagination. In the Theatre, that parched desert land of\nArt, there are very few.\nThe Theatre in England, not receiving the spontaneous national and\nnatural support, is obliged to use unnatural means to attract a certain"}, {"page_pdf": 17, "page_imprimee": "295", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.17", "debut_caractere": 34, "fin_caractere_exclue": 2332, "texte": "number of People within its doors so as to save its face while spiting its\nnose. This absurd situation of the English Theatre is apparent to all the\nother theatres of Europe. Only from itself is its own indignity hidden.\n£? The men who have brought these unnatural dealings Into the Theatre\nand alienated the public are too numerous to mention. They paint their\nfaces nightly no less to give a correct impression to the audience of the\nludicrous thing the English Theatre has become, than to bring a blush\nto their own coy faces. £? & & & &\n£? The men who have controlled themselves from assisting at this\noutrage are few, but may be as easily discerned as white from black.\nThey have for some time had to fight a kind of guerilla warfare\nagainst the forces of the Theatrical Trust, ...a party so well united that,\nto use the wig-maker's parlance, \" you can't see a join anywhere. \" ■£*\nAnd here it is right to linger for a word or two about this immacu-\nlately joined and consolidated Trust. £? JZ?\nUntil lately everyone was of the belief that America was the only\nland with a Theatrical Trust. I am, I believe, the first to point out the\nlittle fact that a much more powerful Trust exists in England. It is more\npowerful for the reason above given... 4 &"}, {"page_pdf": 23, "page_imprimee": "301", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.23", "debut_caractere": 15, "fin_caractere_exclue": 919, "texte": "Yet but few attempt to prevent these good men from their fate. Has\nanyone the right to interfere? especially, has any Englishman the bad\ntaste? No, it Is \"good form\" to let them pass Into oblivion.\nJ£/ Yet perhaps the Englishman would be roused to a rescue if he once\nrealized that these Realists are dragging others to the same fate. All\nthose poor followers of Shaw, Galsworthy and Barker,., they who buy\ntickets to oblivion, who absorb delusion from a stall or a circle.\n\" Most of our modern portrait painters\" says Wilde,\" are doomed to\n\" absolute oblivion. They never paint what they see. They paint what\n\" the public sees, and the public never sees anything \". &\nHow very true,... the public never sees anything, and Barker, Shaw,\nand Galsworthy show them It. & & & jg? &\n& Is it not time we asked for works of Art from our artists instead of\n**»\nfro m a group of rather undecided thinkers ?\n\nA. C."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c021", "article_bluemountain": "bmtnaau_1913-04_01#c021", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "301", "page_fin": "302", "image_debut": 23, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.11", "titre_corps": "HORRORS ON THE STAGE : A word from St: Augustine, with a Note", "titre_sommaire": "HORRORS ON THE STAGE : A word from St: Augustine, with a Note", "signature_source": "Louis", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "301", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.23", "debut_caractere": 921, "fin_caractere_exclue": 1475, "texte": "HORRORS ON THE A word from\nSt: Augustine, with a Note\nby Louis\ngtage-plays also carried\nme away, full of Images\nof my miseries, and of fuel\nto my fire. Why is It, that\nX\nman desires to be made sad,\nbeholding doleful and tra-\ngical things, which yet him-\nself would by no means\nsuffer ? Yet he desires as a\nspectator to feel sorrow at\nthem, and this very sorrow\nis his pleasure. What Is\nthis but a miserable mad-\nness ? For a man is the more affected with these actions, the less fiee\nhe is from such affections. Howsoever, when he suffers in his own per-"}, {"page_pdf": 24, "page_imprimee": "302", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.24", "debut_caractere": 23, "fin_caractere_exclue": 1619, "texte": "son, it uses to be styled misery: when he compassionates others, then\nit is mercy. But what sort of compassion is this for feigned and scenical\npassions ? for the auditor is not called on to relieve, but only to grieve:\nand he applauds the actor of these fictions the more, the more he\ngrieves. And if the calamities of those persons, (whether of old times, or\nmere fiction) be so acted, that the spectator is not moved to. tears, he\ngoes away disgusted and criticising; but if he be moved to passion, he\nstays intent, and weeps for joy. \" jg\n'fhe times were little different in this saint's day from what they\nare now :... perhaps the saints are slightly changed, though even here\nthe times are possibly akin. Strange times, all times ! & &\n& No proper minded saint likes to see his churches empty. Yet what\nwill you have when churches are unattractive? Why we should no longer\nbe persuaded to feel nowadays in a church is what many millions of\npeople are asking. Some churches, with a sudden outburst of courage,\nawaken to the extent of a pennyworth of incenc.\nPoor People, Poor Saints, Poor chance of riches of Heaven. For the\nlaying up of riches in Heaven it is essential to feel Religion, not merely\nto repeat it.\n& Those who go to church nowadays and flatter the poor vicars\nand curates are not generous, or we should have rich churches gene°>\nrously overflowing with wealth, and the magnificent ceremonies of\nReligion.\n* Wel,» we sha\" find a new belief may be in the Theatre, and then,...\nthen let us hope we shall not cut out anything but the cackle but\ncome at once to the winged Horses."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c024", "article_bluemountain": "bmtnaau_1913-04_01#c024", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.12", "titre_corps": "SOME ANCIENT MARIONETTES", "titre_sommaire": "SOME ANCIENT MARIONETTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.25", "debut_caractere": 24, "fin_caractere_exclue": 113, "texte": "SOME ANCIENT MARIONETTES.\nNos: 1, 2, 3, Greek Marionettes.\nNos; 4 & s, Roman Marionettes."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c025", "article_bluemountain": "bmtnaau_1913-04_01#c025", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.12.1", "titre_corps": "No: 1", "titre_sommaire": "No: 1", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 6, "texte": "No: 1."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c026", "article_bluemountain": "bmtnaau_1913-04_01#c026", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.12.2", "titre_corps": "No: 4", "titre_sommaire": "No: 4", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.25", "debut_caractere": 8, "fin_caractere_exclue": 14, "texte": "No: 4."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c027", "article_bluemountain": "bmtnaau_1913-04_01#c027", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.12.3", "titre_corps": "No: 5", "titre_sommaire": "No: 5", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.25", "debut_caractere": 123, "fin_caractere_exclue": 129, "texte": "No: 5."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c028", "article_bluemountain": "bmtnaau_1913-04_01#c028", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.12.4", "titre_corps": "No: 2", "titre_sommaire": "No: 2", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.25", "debut_caractere": 16, "fin_caractere_exclue": 22, "texte": "No: 2."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c029", "article_bluemountain": "bmtnaau_1913-04_01#c029", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.12.5", "titre_corps": "No: 3", "titre_sommaire": "No: 3", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.25", "debut_caractere": 115, "fin_caractere_exclue": 121, "texte": "No: 3."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c030", "article_bluemountain": "bmtnaau_1913-04_01#c030", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "303", "page_fin": "322", "image_debut": 27, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.13", "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": 27, "page_imprimee": "303", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 2139, "texte": "A HISTORY OF PUPPETS,\nby \"Yorick\".\n(0\nEARLY PERFORMANCES IN ITALY.\nith the breaking of the chains by which the puppets had\nbeen held as the last slaves of the sacerdotal power\nthere also breaks off suddenly the thread of historical\nmemoranda which has guided us in the footsteps of our\ninteresting little wooden figures down to the period of\nthe Renaissance. *& & &\nj& The tradition is interrupted, the chronicle is silent, ail light dies out,\nand the blackest darkness broods over the first wanderings and the\nfirst attempts at independent life of the rebel and vagabond puppets.\n»<£? No single name, no indication, no title of a scenic play has reached\ndown to us through the sure and safe channel of contemporary annals.\nThe whole thing reduces itself to a few vague and uncertain hints from\nwhich appears this single truth ; that the puppets bestirred themselves\nwildly to gain as best they could a crust of bread ; that in all Italy, and\nmore especially in Tuscany, they dispersed into every corner of the land\n0\neither alone or in companies, to make a little name for themselves and\nto win for themselves some sympathy ; that in these attempts they suc-\nceeded admirably, and that in the midst of that universal reawakening\nof tfie dramatic art they were neither the last, nor the least valiant,\nnor the most obscure assistants of progress, JS? & &\nThat the marionettes in Italy were at that period the object of ad-\nmiration to both learned and ignorant we are assured by that same\nGirolamo Cardano already quoted, in his book ** De Subtilitate \".\n\" If I should wish \" says he, \"to enumerate all the marvels which,\n\" by means of strings, the little articulated and counterpoised wood -n\n\" figures are made to execute a whole day would not be long enough\n\" for me. Let it suffice to relate that they fight, hunt, dance, play at\n44 dice, blow the trumpet, and perform most artistically the part\n4< of cook. \" & J£T\nI have already mentioned in the previous pages how in the third\nchapter of another book of his, \" De varietate rerum Cardano, treat-\ning of the odds and ends of mechanics, (de artlficiis humilioribus)\n\n(i) P. Ferrigfii."}, {"page_pdf": 28, "page_imprimee": "304", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.28", "debut_caractere": 24, "fin_caractere_exclue": 2276, "texte": "cites in the sixty third paragraph a most curious kind of marionette\nmade to act by two Sicilian jugglers, by means of a thread which\ntraversed the breast of each. But yet more interesting is the repetition\nof the exact words with which that writer and eminent scientist\nconfesses, with all his learning, not to have understood one blessed\nthing in the mysterious arrangement by which these strange figures were\nset in motion. 4?\n&44 The thread \" writes he, 44 was tightly stretched. And there was\n44 no dance, however difficult and strange, that those marionettes were\n\" not capable of imitating, making with the feet, the legs, with the\n44 the arms, with the head, with the torso, the most amazing movements ;\n\" and taking so many extraordinary attitudes that, I confess it, I\n\" cannot discover the secret of the mechanisms and springs proper\n\" to produce this effect. The incomprehensibleness lies in the singleness\n\" of the thread and in its state of continual and perfect tension. I\n44 have often seen puppets set in motion by various strings, alternate-\n-44 ly tight and slack, in which there is nothing prodigious. I must also\n\" add that the spectacle of those little figures dancing and gestlcula-\n-44 ting to the sound of music, and without ever being out in the time,\n44 was most diverting \". JS?\nThe testimony Is precious on account of the persona! qualities of\nthe testator. Giroiamo Cardano, physician, mathematician and excel-\nlent philosopher for his times, was born at Pavia in 1504 and died at\nRome in 1576, as 44 archiatro \" of the Pope and pensioned by the Court\nof the Vatican. His name wil! for ever endure on account of the two\ndiscoveries which belong especially to him and ensure his fame. One\nis the formula for the resolution of cubic equations', the other is\nthat system of suspension in a double concentric circle, which des-\ntroys the effects of oscillation, and is used at the present time for the\nlamps hung in ships. & &\n& But what would Cardano have written had he lived long enough to\nsee the dancing marionettes of Nocchi and the acrobatic puppets of the\nPrandi brothers of Brescia ? &\nOne could not with certainty affirm that the Rucellai Gardens of\nFlorence, so celebrated for the gatherings of the Platonic Academy"}, {"page_pdf": 29, "page_imprimee": "305", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.29", "debut_caractere": 28, "fin_caractere_exclue": 2099, "texte": "instituted by Marsilio Picino under the auspices of Cosimo ii Vecchio,\nhave sometimes afforded hospitality to some strolling company of mario-\nnettes. But neither would it be permissable to exclude with certainty a\nsimilar hypothesis at a time in which the most elevated minds and the\nmost cultured talents did not disdain, from time to time, to lavish\naffectionate caresses upon the puppets. We know for certain that the\nDuke Cosimo I, allowed them to penetrate Into the theatre constructed\nat his expense and for his especial diversion in Palazzo Vecchio; and It\nis well known that his son, Francesco 1. (who was husband of the char-\nming Bianca Cappello), admitted them into the little permanent theatre\nerected by Siim in the Uffizi building.\n*& Don Lorenzo de' Medici, son of the Grand Duke Ferdinando 1. loved\nthe plays of the puppets, and, in his capacity of protector and\ndirector of the Academy of the \" Infuocati \", offered to his colleagues\nmarionette performances in that small but most charming theatre of\nthe palazzo Ardinghelli In Parione, which afterwards, transferred to\nthe houses of the Ughi beside Santa Maria del Fiore, became the theatre\nof the Cocomero.\nJZ? A celebrated maker of marionettes was that Federico Commandino\nof Urbino, a well-known geometrician and famous mathematician whose\nmemory was honoured by the poet-engineer, Bernardino Baldi, his pupil\nand friend, in a sonnet written shortly after 1550 :\nOh !... come Parte imitatrice ammiro\nOnde, con inodo inusitata e strano,\nMuovesi il legno, e I'uom ne pende immoto 1... (1)\nThese lines would in fact lead us to suppose that the preceptor of\nGuidobaldo da Montefeltro, the learned translator and commentator of\nthe Eniad, was in no way ashamed to assume every now and again the\nlivery of the puppet showman, and himself to manipulate, above an\nimprovised stage, the little figures which he knew how to construct with\n\nTRANSLA T I O N S.\n(i) 0h,.... how I admire the Imitative art by which, with strange and\nunaccustomed method, the wood is moved and the figure hangs motion-\nless from it"}, {"page_pdf": 30, "page_imprimee": "306", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.30", "debut_caractere": 26, "fin_caractere_exclue": 2339, "texte": "such admirable artifice.£? £? JZ?\nj& It has been In no place possible to trace the least vestige of the\nrepertory of the Italian marionettes in those first years of their inde-\npendence : but it is easy to infer that though at the outset, if only to\nutilize the figures and mechanisms left over from the \" sacre Rappre-\nsentazioni they may have continued to perform some kind of\n\" Mysteries \" and religious Dramas and legends of Martyrs and\nSaints, roughly cast into dialogue and scene, they must then have\nvery quickly devoted themselves to the Farces and comic pieces so\ngeneral, and so deeply rooted, in the customs of the country; remini-\nscences and remains and partial resurrections of the ancient Atelianlan\nplays and of the semi-acrobatic Pantomimes, the heritage of the times\nof the Roman decadence. A remnant of the first style survives in that\ndrama of \" Leonzio \" which I myself have in my youth seen performed\nby the marionettes of Nocchi and which, inspired by the generating idea\nof the Italian Sacre Rappresentazioni, took on later, under the Spanish\ninfluence, an air of such perfect similarity with 44 Don Giovanni Tenario \"\naccompanied by the inseparable 44 Convitato di Pietra \". &\n& It is also beyond all doubt that the puppet showmen of that period,\nthe most able 44 speakers \" and 44 operators of marionettes, did not\nrecite written productions, but for the most part improvised their\ndialogue according to the circumstances of the time and place of the\nperformance, precisely as did, immediately after, the most celebrated\nactors of the Commedia deJl'Arte. Thus upon those humble stages there\nwere born the most characteristic types of the ancient Italian theatre,\nthe immortal 44 masks \" which personified the disposition, the customs,\nthe virtues, the vices, the defects, and absurdities most usual and most\nproverbial in this or that province of Italy; whence they afterwards\nspread themselves all over the world and infused the warmth of\nlife into the first and feeble attempts of the foreign popular\ntheatre.^\nIn fact so great was the fame in those days of the little mobile\ntheatrical figures, and so universal the fame of excellence attributed\nto them in the art of representation, that one of the most able actors\nof the Company de' Gelosi, the buffoon who most frequently and with"}, {"page_pdf": 31, "page_imprimee": "307", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.31", "debut_caractere": 23, "fin_caractere_exclue": 2252, "texte": "the best success held the stage In the Commedla dell'Arte, small of\nstature, vivacious In his movements, witty in jests, altogether lost\nhis own name and was called \" Burattino I have here before me,\nwhile I write, his portrait drawn by Callot in the \" Balll di Sfessania\nbut I have sought in vain for his baptismal and family names. He was\ncertainly born at Florence and with the company \" de' Gelosl \" went to\nParis in 1577. Maurice Sand (1) and Magnin (2) believe and wish to have\nit believed that, In that exchange of names between the actor and the\nlittle wooden figures, it was In fact the actor who transmitted his to\nall the contemporary \" Pupi \" and to all the \" Fantoccini but, with\nthe kind permission of these erudite and indefaticable investigators, the\nhypothesis does not seem to me at all conformable to good logic and to\nthe conclusions to which we are led by the facts. & &\n44 Burattino \" was not by any means a proper name; rather was it\na nickname, neither more nor less ; and everyone knows how\nnick~names attach themselves to people for some eccentric habit, for\nsome bizzarre resemblance to another individual or thing or animal\nor figure known to all for certain particular characteristics. Now one\nwould not know how to explain the fact that the actor should have lent\nto the puppets this nickname of his, attached to him for his resemblance\nto some other thing which has remained absolutely unknown, and so\nwell attached as to cause his own name to be absolutely forgotten. It\nwill be Instead more natural, more logical and more consonant with use\nand tradition to affirm that so and so of such and such a family\nbecame, owing to his curious aptness to speak, recite, jump and gesti=\nculate like a puppet, universally designated by that mischievous nickname\nso as entirely to lose his baptismal name and [to pass to his posterity\nwith that written on his passport. & jgr & j&\nBut let us leave hypotheses and come down to more conclusive proofs.\n\" Burattino that is to say the actor who performed In the Commedla\ndell'Arte under this pseudonym appears for the first time on the\n\nNOTES.\n(1) \" Masques et bouffons Vol: I, page 30, Vol: II page 313. &\n(2) Histoire des Marionettes. Book 111 chap: 2 page 75."}, {"page_pdf": 32, "page_imprimee": "308", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.32", "debut_caractere": 25, "fin_caractere_exclue": 2114, "texte": "stages of Florence in the year 1580 as one of the components of that\ncelebrated company of the 44 Comlcl Gelosi \" which later, under the\nleadership and direction of Flaminio Scaia, obtained such great\ntriumphs and such long continued popularity upon the stages of\nParis. J£? SS\" &\n& The ** Scenarios \" of Flaminio Scala, collected under the title of\n44 Teatro delle favole rappresentative \" were printed for the first time\nat Venice in the year 1611, and often contain, In the list of characters,\nthe name of 44 Burattino \" together with that of Pantalone, of Gra»\nziano, of Pedrolino, of Cavicchio and of Capitano Spavento, all\n44 maschere \" of the ancient Commedia dell'Arte,\nAnd Luigi Riccoboni, in his 44 Storia del Teatro italiano \" intelligently\nobserves that Flaminio Scala was certainly not the inventor of these\nmasks 44 for he would not have failed to tell us so; and if through\nmodesty he had wished to refrain \" Francesco Andreini known as Capi-\ntano Spavento, \" who was his comrade and who wrote the preface to\nhis friend's book would have informed us (1) Thus Riccoboni\nconcludes that the masks and their names were much anterior to the\ntimes in which Scala and the actors of the Compagnia dei Gelosi\nflourished and that their 44 scenarios \" did but reproduce and revive\nunder a new form the stage types already existing in the Italian\ntheatre. &\n44 Burattino \" Is therefore a mask of earlier date than the actor who\nin 1580 impersonated the character; he is a type of the ancient comedy,\ngenerically designated with that name for the very reason that with\nhis lazzi, with voice, with movements he imitated the movements, the\nvoice and the lazzi of the wooden buratiini. &\nAnd that is not all. The imitation of the marionettes on the larger\nstages, as a source of absurdity and as an artifice for brightening\nthe action of the plays, is as ancient as the theatre, and will endure\nso long as the theatre endures. We ourselves have seen, some time\nback, one of the most celebrated gymnasts of the old 44 Guerra \" Company\n\nNO T E S.\n(1) Riccoboni. Histoire du Th<re. <£?£?£?&&"}, {"page_pdf": 33, "page_imprimee": "309", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.33", "debut_caractere": 25, "fin_caractere_exclue": 2288, "texte": "sustain in a pantomime the part of one of those bearded and hairy\ndevils which one shuts down by force in a box, on the opening of which\nby virtue of the spring hidd-en under the garments, the figure leaps\nout unexpectedly, swinging madly to and fro and wildly shaking its\narms and head. And even yet, alas, the auditorium breaks Into loud\napplause when Giuseppe Palamidessi, a comfc actor who was a lawyer\nbefore he was a comedian, imitates with rare perfection, in the 44 Casino\ndi Carnpagna \" the play of a wooden marionette \\ M?\n& But there is yet more to add. 41 Burattino in his day recited in the\nPadovan dialect, which carries back his appearance on the stage to the\nmost distant epoch in which, for the first time, the various dialects of\nthe Italian provinces made themselves heard, from the stage, to the\nears of the frequentors of the\n£/ No one ignores that already as early as 1502, and thus almost a cen=\ntury earlier than the company of the 44 Comici Gelosi there was born\nat Pavia Angiolo Beolco, nick-named 44 il Ruzzante \", the author of most\ndaring and original plays, an incomparable actor who first introduced\nupon the stage,.... where for so long a time there had been heard only\nthe Latin of the sacred writings or the highly elegant and refined Italian\nof Ariosto, Macchiavelli and Bibbiena,... the popular dialects of the Italian\nprovinces : the native Padovan, Bergamese, Bolognese, Venetian, Tuscan,\nand the burlesque Latin and the Neapolitanized Spanish, and the Greek\nof Sicily, and ail the other grotesque and bastard modes of speech of\nthe &-<2? &\nAwgelo Beolco was not born author and actor. Although nothing is\nknown of him save that which was written of him by Bernardino\nScarteone who regards him as a fortunate rival of Plautus and\nof Roscius, his own writings attest that he was born of a noble family,\nthat he was in friendly relations with the most illustrious men of his\nday, and that he early cultivated his mind by keen study and severe\ndiscipline.\nDuring the summer he lived at Codevigo, a villa belonging to his\nfellow citizen and friend Luigi Cornelio ; and, with him, and with Marco\nAurelio Alvarotto, and with Geromino Zanetti and with a Genoese,\nCastagnolo, young gentlemen of his own age, he used to improvise most"}, {"page_pdf": 34, "page_imprimee": "310", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.34", "debut_caractere": 26, "fin_caractere_exclue": 1840, "texte": "hilarious scenes and burlesques, imitating the speech of the peasants\nand of the travellers whom they came across.\n& He tried at first, and not without success, to reproduce the style and\nmanner of the writers of comedy then in vogue, Bembo, Speroni and\nothers of their class, and he put together a few heavy and high\nsounding academical compositions ; but he soon fired of work of that\nkind, and with his love for the lively and forcible types of the common,\nnative, vernacular, he set himself to conceive plots and to arrange\nscenes of rustic and rural nature. With these new comedies, in which\nhe recited extempore, teaching his colleagues to improvise also, he soon\nattained such skill and rose to such fame and celebrity, that he came to\nbe acknowledged, and is still acknowledged, as a reformer of the comic\nItalian theatre.^\nM\nAngelo Beolco died in 1342, and for his monument Giovan Battista\nRota composed the following inscription, an eloquent testimony of the\nrenown which this comedy writer of Padua had achieved :\nAngelo Beolco Ruzanti Patavino\nISullis in Scribendis Agendisque Comoediis\ningenio Facundia Aut Arte Secundo\nJocis Et Sermonib Agrest.\nApplausu Omnium Facetiss,\nQui Non Sine Amicor Moerore E Vita Decessit\nAnn. Domini MDXLII Die XVII Martii\nAefatls Vero XL\n10. Bapt. Rota Patavinus Tantae Praestantiae\nAdmirat. Pign. Hoc Sempit, in Test. Famae\n, Ac. Nominis\nP. C.\nAnn. A Mundo Redempt. MDLX.\nAnd here, as an example of the method and speech of \" Ruzzante \" is\nan extract from the \" Prologue \" of the \" Piovana \", the first among\nthe plays printed with his name at Vicenza in 1598. J£? &\n<£? \" Do not be amazed, any of you, if you hear spoken a language\n\" which is not Florentine, because I have not wished to exchange my\n\" speech for any other, since I believe myself able to wish you health"}, {"page_pdf": 35, "page_imprimee": "311", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.35", "debut_caractere": 29, "fin_caractere_exclue": 2386, "texte": "44 and wealth and joy and gaiety as well with my thick Paduan tongue\n44 as with any other silky smooth one. And I also speak with my own so\n44 as not to outrage naturalness.... and 1 who am come to give you\n44 pleasure should not be able to give It to you if not in my own speech...\n44 And do not imagine that anyone has robbed anyone else as some\n44 think; for if this were stolen stuff we would not show it to so many\n44 people, but should keep it hidden. If anyone should find In an old\n\" chest one of those robes which it was the fashion to wear in the\n44 ancient days gone by, and the cloth was good but the cut old-fashioned,\n44 and if he should make of the cloth jackets and trousers for the living,\n44 leaving the cut for the dead, would It be robbery ? I wot not. It would\n44 be to supply the living without taking from the dead. And thus it has\n44 come about with this 44 novella \" which was made for the old dead of\n44 ancient times who are no more, out of disused words which were not\n\" good for the living; and the master that has furbished It up has left\n44 the words to the dead, and that which they wished to say he has put\n44 in order for the living, and In this way has made, from a robe of the\n44 dead, breeches and shirts for the living.\n& Such, then, was the repertory of theatrical Marionettes in those days.\nIt consisted of old stories arranged in dialogue form, of mysteries and\nsacred dramas interspersed with a little of the comic element, of fables,\nof heroic episodes taken from bocks of chivalry and knighthood, of\nlegends, of synchronal facts, of old Latin plays, translated and revised,\nand of parodies, satires and burlesques collected here and there. Here\non the stage of the roying puppet theatre were represented popular\npersonages of the day and local types of character, dressed in fantastic\nstyle, who became models of the 44 maschere \" that have come down\nunchanged, even to our day. &\nIt is natural that the 44 maschere \" should have derived their origin,\nand acquired fame, from puppet plays, because at the time of the first\nmarionettes there were no troupes of comic acting companies, with\ntheir own repertory, travelling from city to city and giving a regular\ncourse of scenic displays, whereas there were puppet showmen who\nfrequently visited Fairs and Markets, carrying both theatre and company\non their jg? JS?"}, {"page_pdf": 36, "page_imprimee": "312", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.36", "debut_caractere": 27, "fin_caractere_exclue": 2225, "texte": "Nor must it be forgotten that, with that first revival of theatrical\npuppets, many examples were to be met with in public and private\nmuseums of the old marionettes, and of typical and proverbial 44 pupazzi \"\nwith their masks on their faces: Pappus, Manducus, Casnar, Maccus,\nCentunculus, from which it is not difficult to derive Arlecchino, Mescolino,\nTrappolino and Pulcineila, all more or less made up according to the\noriginal stamp. To these were added new ones by 44 Ruzzante Antonio\nda Molino, called 44 Burchielia \", of whom Sansovino speaks with great\npraise in his 44 Descrizlone di Venezia\"; and a certain Francesco, who was\nsurnamed Cherea, a comic actor much appreciated by Pope Leone X;\nCalmo, Cini, and Venturino da Pesaro, so much commended by Quadrio.\nSo did the Italian 44 fantoccini \" in Italy live and prosper during\nthe first half of the 16th. century that after 1550 actors of the Commedla\ndell'Arie increased and rose to great renown, having all, or nearly all,\nof them been puppet showmen before they became actors, like Ruzzante,\nCherea and Calmo, who in the exercise of those simple and unassuming\nimprovisations, so schooled and instructed themselves in the art of\nspeech and gesture 44 ex-abrupto \" in which they came later to be so\nhighly distinguished.\nTHE EXODUS OF THE.\nhe farther we recede from those eariy days of the puppet theatre,\nthe more dense does the darkness become, that surrounds our\n%\npoor little figures, scattered ail over the peninsular and endea-\nvouring to keep alive the love and ardour for revived dramatic art.\n& It is with difficulty that among the memories of the 17th. century\nwe are able to discover now and then some note relating to Marionettes,\nand even then, it is apt to be vague, uncertain and transitory, and has\noften to be gathered from the pages of books treating of quite other\nmatters.^\nLorenzo Lippi, for example, in his 44 Malmantile riacquistato \" which\nwe have already had occasion to refer to, informs us, as a fact, that in\nthe first years of the 17th. century, it was still the practice for fantocci\nto be wired at the breast and to dance to the sound of the bagpipes,\nalmost a copy of those described by Girolamo Cardano."}, {"page_pdf": 37, "page_imprimee": "313", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.37", "debut_caractere": 27, "fin_caractere_exclue": 2417, "texte": "& In that learned book of Quadrio, (Delia storia e della ragione d'ogni\npoesia) we find an account of a certain Massimino Romanini, a Milanese\nwhose skill and perfection in the art of manipulating pupazzi deserves\nto be honourably mentioned, and of a Bartolommeo Nerl, machinist and\npainter, and such an enthusiastic showman that he invented a new\nmethod whereby public and theatrical plays were rendered more enjoyable.\nAnd the method was this:.... \" Let a high stage be arranged, such\n\" as Is used for ordinary comedy, surrounded with scenes of customary\n\" size. Place on the stage a few wooden boards, grooved in channels,\n\" which are to serve as slots within which figures about a braccio, or\n\" more in height, and made of papier-mach6, and representing various\n\" forms, are to stand, or travel. These figures are then to be moved\n\" from one end of the channel to the other, according to requirements,\n\" by means of concealed counterweights, some of which hang by a wire\n\" attached to the shoulders of a figure; these wires are intended to\n\" serve for the purpose of manipulating the figures and arranging them\n\" in various graceful and appropriate attitudes, and they are worked\n\" by men.hidden under the stage, or in some other convenient place. \"\nThis invention of Nerl, however, never made much way, and puppets\ncontinued to be moved about in the old way, according to the description\ngiven by Quadrio:... \" with the head of the bust and\n\" thighs of wood, the arms of cords, the hands and legs of lead, all well\n\" dressed in silken clothes, with shoes, hats, hoods and other things\n\" usually seen on the persons of living beings. Each of these puppets\n\" has attached to its head a piece of iron wire, wherewith it is moved\nhere or there by the operator, who controls and manages it without\n« being seen, and who has four strings of silk, or of some other material,\n** two In his hands, and two fixed to his feet, whereby he causes the\n*' figure to walk, jump, gesticulate, dance and make sounds. There are\n\" also many devices for counterfeiting the voices of the little fantoccf.\n\" Some showmen make use, for the purpose, of a tube, artfully con-\n\" cealed in the mouth, with which they are able to change the voice\n«« to suit the particular character of the puppet they are handling, and\n«4 so cleverly that If the fantoccio had a voice of its own, it could not\n\" be more natural. \""}, {"page_pdf": 38, "page_imprimee": "314", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.38", "debut_caractere": 23, "fin_caractere_exclue": 2385, "texte": "It will be admitted that the role of the showman, who has to keep\nthat tube in his mouth or throat, Is not by any means an easy one, to\nsay nothing of the risk of swallowing it.\n& The first showmen to enter Spain were all Italians, Giannello Torriani,\nTabary, who shortly after 1590 appeared in Paris, the two Briocci, Grillo,\nGavazza, the inventor of the \" Ombre Chinesi \" (Chinese shades) Fran-\nceschino and many others, masters in the art of Marionettes, up to\nDatelin, Bienfait, Nicolet and Seraphin. Italians also were the managers\nof \" pupi \" in England, who, in 1573, exhibited to an astonished people\nthe little figures that were called puppets. Again it was the Rezzonieri\nand the Grifi, who left Italy, and in Germany presented the first fantocci.\ncalled in that country \" Puppenspielen. \"\n/\nIt was natural that all those showmen, before leaving their own land,\nshould have perfected themselves in their business by long experience\nand practice, In order that they might hope, by their wanderings all\nover the world with their figures and mechanism, to find fortune and\nsuccess. VVe shall find all these little personages at their posts when\nwe come to deal with the doings of marionettes in different countries,\nand among the different peoples, of Europe. JZ?\nIt would have been interesting If we had been able to obtain more\nextensive and more reliable information on the subject of the repertory\nof a growing puppet theatre and to give examples of the plays written\nfor marionettes by Ruzzante, Giraldi, Andrea Calmo, Marin Negro, Pietro\nand Giovanni Briocci, Virgilio Verrucci, Righelli, Gattlci, and Dattomo,\nsome of whosn applied their talents, later, to the production of real\ncomedies and made the fortunes of Italian actors in Paris, in Belgium,\nin Holland and in England. & &\nLooking through, and examining, the printed text of such productions\nas \" Brigant! della Bastina \" by Camillo Scagligeri della Fratta, the\n\" Tartarea, commedia infernale \" by Giovanni Briocci, \" La cortesia di\nLeone e di Ruggiero colia morte di Rodomonte \" Ariodante tradito \"\nby Fiorillo, \" Le disgrazie di Burattino \" by Gattici, \" Le bellicose gare\nfra Gereniei e Lambertazzi \" by Scafa, one sees plainly that these plays\nare nothing more than those of marionettes, refurbished, and filled with\ninterminable language, but it is impossible to gather from them what"}, {"page_pdf": 39, "page_imprimee": "315", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.39", "debut_caractere": 25, "fin_caractere_exclue": 2271, "texte": "improvisation must have been in the days of \" burattini. \" JZ? JS/\nWe know, however, from Quadrio, that certain comedies of Ariosto,\nsuch as \" Cassaria \", '* Lena '' Suppositi \", with a few of Francesco\nD'Ambra and several by Cecchi were written in prose long before\nthey issued from the press and fell into the hands of Academicians and\nDirectors of public festivals. &\nPROM THE PIAZZA TO THE THEATRE.\nTPhe last century was really a century of gold for the Marionettes of\nItaly. The reform in dramatic art, inaugurated by Carlo Goldonl, con-\ntributed in a singular way to revive the fortunes of the burattini, who\nwere scattered all over the surface of the peninsular. From the first\nand most agitated periods of their history, attacked both by the parti-\nsans of the old systems and by the ardent Innovators, who sought to\nrestore the Italian theatre to its ancient and honoured traditions, they\nhad always served as a resting place between the two contending hosts;\nand the actors of wood were engaged in more than one skirmish with\nthe actors of flesh and blood, while satire poured its venemous darts\nfrom the mouth of the showman, concealed behind the curtains of his\npoor and wretched booth.\n£? It is not possible to mention the name of Carlo Goldoni Without\nremembering that the Italian theatre was probably indebted to Burattini\nfor the great reform inaugurated in our times by that distinguished\nwriter. The eloquent pages of his \" Memorie \" supply abundant testimony\non that subject. Everyone knows, or at least all who have read that most\ninteresting autobiography, that Giullo Goldoni, the father of Carlo, had\na small marionette theatre built in his house for the 'amusement of his\nlittle son, that he worked it himself with the assistance of three or\nfour friends, and that the small Goldoni derived immense pleasure from\nit, and became inspired with the first germs of that passion for comic\nrepresentations, that was to dominate his whole life, JZ? J£>\nWhen quite a youth he went to join his father at Gorizia, near to the\nCount Lantieri, Lieutenant Genera! of the army of the Emperor Charles\nthe sixth, and In the course-of his visit, extending over four months,\nhe discovered another puppet theatre, well furnished with figures"}, {"page_pdf": 40, "page_imprimee": "316", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.40", "debut_caractere": 25, "fin_caractere_exclue": 2459, "texte": "and decorations, but which had evidently been for some time neglected.\nImagine his joy. The future regenerator of Italian comedy took prompt\npossession, set everything in order, and proceeded to amuse the company\nby giving a representation of a great man, the play having been expressly\ncomposed for comedians of wood ; and this was \" Lo starnuto di Ercole \"\nby the celebrated Pier Giacomo Marteili of Bologna.\nJS? Towards the close of the 16th. century, and all through the 18th, it\nwas the custom of noble families to have a marionette theatre In order\nto provide merriment at the 44 vendemmia \" or vintage time, and\nthe most distinguished writers of the day were engaged to produce\ncompositions suitable for those tiny stages and for those diminutive\nactors.\n£? Piero Jacopo Marteili of Bologna, born in 1666, and died in 172/, was\na poet, who in his time was greatly applauded for his theatrical writings\nHe was a scholar and also a statesman. As a relaxation from the cares\nof the State and his study of the drama, he wrote twenty six plays, either\ndramas or tragedies, all in that peculiar style, which took from him the\nname of 44 martelliano \", and he also found time to gratify his ambition\nand to occupy himself with marionettes, for whom he put together,\nfrom time to time, a series of bright and lively little farces, called by\nhtm \" Bambocciate \", of which the most perfect example was 44 Lo Star-\nnuto di Ercole \". 44 The author, 44 writes Carlo Goldoni, 44 with the\n44 liveliness of his imagination sends Hercules to the land of the Pigmies.\n44 These little dwarfs, terrified at the sight of a live mountain with arms\n44 and legs, hide themselves away. One day when Hercules is stretched\n44 on the open ground and sleeping peacefully, the timid little inhabitants\n44 come out of their hiding places, and armed with rushes, spring upon\n44 the huge man and cover him from head to foot, just as flies do when\n44 they attack a piece of putrified meat. Hercules awakes, feels something\n44 on his nose and sneezes, whereupon the enemy disperse in all directions,\n44 and that is the end of the play. It contains design, plot, catastrophe,\n44 and accidents; the style is good and well maintained; the thoughts\n44 and feelings are all proportioned to the bodily size of the people;\n44 even the verses are short; everything is, in fact, in character with\n44 Pigmies. It became necessary to build a gigantic 44 burattino \" for the"}, {"page_pdf": 41, "page_imprimee": "317", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.41", "debut_caractere": 23, "fin_caractere_exclue": 2307, "texte": "\" figure of Hercules, but the effect was good and the entertainment\n\" gave great pleasure\nBut, as was natural, Carlo Qoldonl did not continue long to represent\non the puppet theatre the plays of other authors. He wrote himself,\nand caused to be acted by marionettes, \" La Cantatrice \", a smalf operetta,\nand then followed up his success with the more ambitious \" Enea nel\nLazio '% 44Amorl di Alessandro Magno \",Pavola de' tre Qobbi \", Bertoldo\nBerteldino e Cacasenno \", and \" Finto principe He composed also an\n\" Arcifanfano Re de' Matti \",\" Mondo della Luna \", \" Buovo d'Antona\nand \" Talismano \", which remained in the possession of the Venetian\nmarionettes until the author reclaimed some of them and transformed\nthem into regular tragedies and dramas for tiie greater theatres. Even\nthe Count Giovanni Giraud did not disdain to employ his talents on\nbehalf of burattinesque plays; from his collection of dramatic works we\nderive \" Malvinuccia ossia la Bambina dl quattro annl \", a comic diver-\nsion intended for a few young noblemen to perform at their country\nhouses with marionettes, and \" il viagglo sull'asino dl Cassandrino\nsposo \". Some of the old \" rappresentazloni sacre\" of Giovan Maria\nCecchi, a Florentine, were also produced ;... \" L'Acquisto di Giacobbe\nii Battesimo di Crlsto \", 44 il Flgliuol prodlgo \"il Diogene and\n44 Fanny in London by Chlaro, and the four 44 Angellche \"of Gamerra,\n44 lldegonda \", and \" Carolina di Montalbano \" by Roti, and similar dramas\nof Cicognini, \" la Principessa Arsinda \" by Testl, \" Guerrin meschino\nby Straccla, 44Achille in Troia \" by Canocchi, \" Genovleffa di Brabante \"\nby Gasperi, and 44Belfegor \" by some anonymous author, and all the\nfantastic creations of Gozzi. &\nThen, when the conceptions of Goldon! were triumphant, and a new\nclass of comedies and dramas was delighting the cultured youth of the\nprincipal cities of Italy, the marionette theatre inherited the whole pa-\ntrimony of the old spectacular productions in the possession of the\nleading comedians, who had become disciples of the new order; and Sn\naddition to that, all the old scenic properties, that had been discarded\nby the greater theatre, passed almost at once into the hands of the\nshowmen, who were carrying on the business of the little figures\nof wood. &"}, {"page_pdf": 42, "page_imprimee": "318", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.42", "debut_caractere": 23, "fin_caractere_exclue": 2389, "texte": "Rustic and pastoral scenes, stories of noted assassins and great\ncriminals, arranged for the theatre, popular farces, full of jests and\nslightly risky humour, fables, knightly and romantic stories, In which\nthe marvellous was mixed with the ridiculous, fates, gennii, giants, pala-\ndins, tyrants and their mingling their voices, their bold defiances,\n4\nsighs and curses with the peculiar mode of speaking and all the usual\nknaveries of buffoons,.... all came under the dominion of the burattini,\nand drew around their frail and staggering \" castelli \" a great multitude\nof merry and applauding people, heedless, and even restive, as to changes\nof either taste, habits or custom.\nThe \" maschere \" driven away from the vaster stage, took refuge on\nthe rough and narrow one of \"pupazzi \", and thus returned, after many\nyears, to the dark and dusty place, In which they had been born.\nIn every village, in every part of the country, a puppets' show was\nset up; and served, in all places frequented by servants, soldiers and\npeasants, as a point of assembly for a vast crowd, eager to be amused\naccording to the measure of their intelligence.\nAnd in the cities marionette theatres were constructed by the hundred ;\nchildren flocked to them for the pantomimes and dances, and common\npeople to laugh at the caricatures and parodies; even serious and\neducated men,...fulfilling the prophecy of Quadrio,...condescended to pass\nan hour with them, smiling and looking for allusions, reminiscences,\nmemories and traditions of the days that were past.\nIn Florence, near to the Loggia de' Lanzi; in Naples, on the Large\nCastelfo and in the Toledo; in Milan, Venice, Bologna, Genoa and Turin,\nmarionettes made sensation in the theatres,while \"burattini\" made fortune\non the public road. The most cultivated persons* and the most\ncorrect in manners, were not above pushing their way into a crowd\nin order to witness* unobserved* the representations of fantoccini.\nIn Rome* Leone Ailacci* the learned librarian at the Vatican* under\nAlessandro VII* author of the \" Drammaturgia \" and of many celebrated\nhistorical and theological works, could not do otherwise than go every\nevening to the little theatre of the marionettes, and often, as he was\npassing in the morning by San Lorenzo, he stopped in front of the\n\" castello \" of a burattinalo, forgetting the Library for the burattini."}, {"page_pdf": 43, "page_imprimee": "319", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.43", "debut_caractere": 25, "fin_caractere_exclue": 2390, "texte": "and his holiness Pope Afessandro for that rascal, Signor Pantalone. jS?\njSf In Milan the burattini of the Piando theatre, even through the first\nhalf of our century, rose to such celebrity, and were so thoroughly\n\" alia nioda \" that it would have been a disgrace for any foreigner to\nleave the city without having paid at least one visit to the temple of the\n44 Musa di legno \". jz?\n\\\nA correspondant of the 44 Qlobe \", a French paper of repute, was con-\nstrained to refer to them in the following terms :\n44 The body, arms' and head of those little figures move with so much\n44 grace and in such perfect accord with the sentiments expressed by\n44 the voice, that, except with regard to proportion, I might very well\n44 have thought that I was witnessing a performance by the actors of the\n44 Cornedie They presented that evening 44 Nabuccodonosor\n44 a classical tragedy, and a bright little 44 balletto called \" Le deiizie\n\" di Flora \". I wish that the 44 ballerini \" and sylphs of the Opera, who\n44 are so proud of their beautiful legs, and of their smiling faces, could\n\" take a lesson from these graceful personages of wood, who overcome\n44 with the most perfect ease, all the difficulties of choregraphic art \".\njz? Signor Jal writes in the same sense of the Milanese marionettes in\nhis book, 44 De Paris a Naples j£?\n44 I witnessed a performance at the Fiando theatre of a romantic melodrama\n44 in six parts, 44 11 Principe Eugenio di Savoia aU'assedio di Temeswar\n44 and greatly enjoyed it. The 44 ballo \" excited my utmost enthusiasm.\n44 It is amazing, the dancing of those wooden Perrots and Taglionis.\n\" it passes belief. Horizontal dance, lateral dance, vertical dance, all the\n44 dances in the world, all the flourishes of feet and legs, that are so\n44 much admired on the illustrious Paris stage, are to be seen at the\n\" Fiando, improved and perfected. And when the 44 ballerina \" has\n44 finished her part, and applause on all sides draws her to the front\n44 again, she comes forth from the wings, bows with touching manner,\n44 carries her little hand to her heart, throws kisses in all directions and\n44 does not withdraw until she has imitated in every respect the actions\n44 of her taller sisters in the art\nIn the same year the Burattini of Genoa represented in the theatre,\n44 delle Vigne \", 44 La presa d'Anversa, \" while the marionettes of Turin"}, {"page_pdf": 44, "page_imprimee": "320", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.44", "debut_caractere": 22, "fin_caractere_exclue": 2413, "texte": "performed at the 44 San Martiniano \" \" La Morte del Conte Ugolino\nthe privilege of keeping open all the year round, even during the peni-\ntential days of Lent. For an account of that '• pupazzi \" theatre we have\none of the most brilliant writers in France, Enrico Beyle, better known\nby the name of 44 Stendhal \", author of the \" Storia defla pittura in\nItalia of 44 Passaggiate romane 44 La Chartreuse de Parme \" and of\nmany other critical and philosophical works that are immortal both for\ntheir keenness of perception and for their grace of style.\n44 It was nine o' clock in the evening,.,, writes Stendhal,... and on\n44 coming out of the magnificent 44 sale \" of the Gaffe Rospoli, I entered\n44 the Fiano palace, at one of the doors of which stood an individual,\n44 crying with a loud voice, 44 Come forward, gentlemen, the performance\n44 will soon begin. I did not wait to be pressed, but secured the right\n44 of entrance by the payment of the paltry sum of half a 44 paolo \". The\n44 price had led me to fear there might be fleas and bad compapy, but\n44 I was soon reassured. My neighbours were the fattest and most pacific\n44 burgesses in Rome. Roman people are, perhaps, more appreciative of\n44 pointed and lively satire than any other people in Europe. Here thea-\n-44 trical censorship, political and ecclesiastical, is a hundred times more\n44 suspicious than it is in Paris. And it is precisely for that reason that\n44 comedies in the theatres are cold and insipid. Laughter has taken refuge\n44 with the burattini, who improvise a great deal and treat all censorship\n44 with indifference.\n44 The 44 marionetta \" in fashion is called Cassandrino. He is an ener-\n-44 getic old man, of about fifty five or sixty years of age, with slim and\n44 upright figure, powdered, polished and as lively as a Cardinal. Cassan-\n-44 drino is experienced in the ways of the world, and knows how to conduct\n44 a conversation, in fact he would have all the virtues, if it were not\n44 that he falls madly in love with all the women he meets. It is easy\n44 to understand that a person of that description naturally makes way\n44 in a country governed by an oligarchy of old bachelors, who exercise\n♦f full power. Cassandrino is a layman, but I dare wager that all the\n44 spectators invest him, although invisibly, with the red hat of his\n\" Eminence, and the violet stockings of Monsignore. Rome is full of"}, {"page_pdf": 45, "page_imprimee": "321", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.45", "debut_caractere": 25, "fin_caractere_exclue": 2452, "texte": "44 Monsignori who resemble Cassandrino perfectly. The play that evening\n44 was 44 Cassandrino allievo d'un pittore \"• A Roman artist, who has\n44 many pupils In his studio, has a very beautiful sister, young and good.\n44 Cassandrino introduces himself in the house on the plea of protecting\n♦4 the artist, makes the acquaintance of the girl and straightway fails in\n44 love with her: but not daring, on account of his age and position to\n•4 risk a declaration of love, turns the conversation to the subject of\n44 music and asks leave to sing a 44 cavatina 99 that he has heard at a con®\n44 cert. The 44 cavatina 99 was by Paesiello and was exquisitely sung behind\n44 the scenes by a girl of the company, the daughter of a cobbler. But\n44 while the old fellow Is trilling his song, the conference is interrupted\n44 by the arrival of the painter, who reproves his sister and puts Cassan-\n-44 drino outside the door for paying court to girls without being able to\n44 marry them. Whereat there was applause that shook the house. In the\n44 following act, the poor 44 innamorato full of eagerness to see his\n44 4 4 bella 99 again, reappears disguised as a young scholar with his hair\n44 dyed and faise moustache. This time the enterprising Cassandrino is\n44 caught, not by the brother, but by an aunt of the artist, an old fool,\n44 whom Cassandrino had known long ago at Ferrara, and who insists\n44 that she is married to him. After a series of amusing adventures he\n44 resigns himself to taking the old woman away with him as governess\n44 so that he may become in some way the uncle of the young lady }9.\nTo the same author we are indebted for a description of some burat-\ntini he saw in the house of a rich merchant, where twenty four mario-\nnettes eight inches high, ...and so well made that they had cost a zecchfho\neach, gave a representation, in a theatre scarcely five feet wide, of\nselections from 44 Mandragora \" by Macchiavelli, and of some puppets in\nNaples who, in a private theatre, acted in some satirical and political\nplays, one of which was called 44 Si fara o no un Segretario dl Stato 99•\nBut the most brilliant picture of Roman Marionettes is to be found in\na book by Story, 44 Roba di Roma \" in the 10th. chapter, wherein the\nauthor describes an evening spent by him, in company with certain\nfriends, at the Teatro Burattini in the Piazza Navona. Read some of\nthose pages and you will laugh, (i)\n\n(1) See page 323"}, {"page_pdf": 46, "page_imprimee": "322", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.46", "debut_caractere": 28, "fin_caractere_exclue": 2347, "texte": "Thus, right up to our times, 44 Pulcinella \" at Naples, 44 Qerolamo \"\nat Milan, 44 Qianduia \"at Turin, 44 Stentorello \"at Florence,44 Brighelia \"\nand 44 Arlecchino\" at Venice, and the 44 Dottore \" at Bologna have\ncontinued without interruption to keep the old 44 commedia dell'arte \"\nalive in the hearts and minds of the people ; thus, during more than\nthree hundred years of toil and labour, marionettes have maintained their\nposition In the national theatre, have fought with the poisoned point of\nsatire against all abuses, all prejudices, all acts of oppression, all religious\nand political tyranny, and wrongs of every kind, whether literary, social,\nscientific or economical. They have defended Galileo against the Inqui-\nsition, Giordano Bruno against the holy office and Fra Paolo Sarpi against\nthe thunders of the Vatican. They have attacked feudalism, intolerance,\ncelibacy of priests* rigid class prejudices of Academies, Court intrigues,\nmilitary pride and vain glory, and many other evils beside. JZ?\n& The repertory of marionettes during the last three hundred years\nwould shame that of the better prose, theatres, not, let it be understood\nfor the value and gravity of production, but for the selection of argu-\nments, and for the seasonable opportunity of the subjects put upon the\nstage. The parody of 44 Alcest\" as an attempt at literary rebellion,\n44 Cassandrino \", as a shaft of courageous satire against the manners of\nthe Roman Court, the celebrated 44 Viagglo a Civitavecchia \", to which\nMercey referred in the 44 Revue des deux Mondes \", the 44 Pozzo incantato \"\nquoted by Beyle, the 44 terribile Maino \" mentioned by Bourquelot, and\nmany others, too numerous to be recorded, bear witness to the truth of\nwhat I have said. But If any one desires to know more than it has been\npossible for me to tell within the narrow confines of this chapter, let\nhim turn to the writings of Jal in the 44 Globe \", of del Vlgner in 44 Monde\ndramatique \", of Peisse in the 44 Revue Britannique \", of Beyle in the\n44 New Monthly Magazine and of the abbot Du Bos, who in his great\nwork, 44 Reflexions sur la poesie de la peinture \", relates that an illus-\nstrious cardinal had an elegant little theatre erected in his house,44 per\nfar cantare dalle marionette \" all the operas of Rossini. -*£? jzf\nTo be continued."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c034", "article_bluemountain": "bmtnaau_1913-04_01#c034", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "323", "page_fin": "326", "image_debut": 47, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.14", "titre_corps": "ROMAN PUPPETS", "titre_sommaire": "ROMAN PUPPETS", "signature_source": "W. Story", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "323", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 2267, "texte": "ROMAN PUPPETS\nby W. Story.\n*Jphe love for the acting of burattini, or puppets, is universal among the\nlower classes throughout Italy, and in some cities, especially in Genoa,\nno pains are spared in their costume, construction, and movement, to\nrender them life-like. & & & &\nn°t allow yourself to suppose that there is anything ludicrous\nto the audience In the performances of these wooden burattini. Nothing,\non the contrary, is more serious. No human being could be so serious.\nTheir countenances are solemn as death and more unchanging than the\nface of a clock. Their terrible gravity when, with drooping heads and\ncollapsed arms, they fix on you their great goggle eyes is at times\nghastly. They never descend into the regions of conscious farce. The\nplays they perform are mostly heroic, romantic and historical. They\nstoop to nothing which is not startling in incident, imposing in style\nand grandiose in movement. The wars of the Paladins, the heroic\nadventures of knights and ladies of romance, the tragedies of the middle\nages, the prodigies of the melodramatic world, are within their special\nprovince. The heroes that tread the \" fantoccini \" stage are doughty\nwarriors, who perform impossible feats of prowess, slay armies with a\nsingle arm, rescue Injured damsels, express themselves in loud and\nboastful language, utter exalted sentiments, and are equally admirable\nin love and war. No worthy \" iantoccino \" shrinks before an army, or\nleaves the boards of battle till it is covered with the corpses of his\nenemies.\n■£? The audience listen with grave and profound Interest. To them the\nactors are not \" fantoccini \" but heroes. Their inflated aad extravagant\ndiscourse Is simply grand and noble. They are the mighty x which re.\npresents the unknown quantity of boasting which potentially exists in\nthe bosom of every one. Do not laugh when you enter* or the general\nlook of surprise and annoyance will at once recall you to the proprieties\nof the occasion. You might as well laugh in a church.^\nThere are two performances, or camerate, every evening; one com-\nmencing at Ave Maria and the other at ten o' clock. We arrived at the\ntheatre just too late for the first. \" What is that great noise of drums\n\n(ij The writer is speaking of the Teatro Emiliano."}, {"page_pdf": 48, "page_imprimee": "324", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.48", "debut_caractere": 20, "fin_caractere_exclue": 2422, "texte": "inside \" asked we. 44 Battaglie \" said the ticket seller. 44 Shall we see a\nbattle in the next piece ? \" 44 E sempre battaglie \", always battle, was\nthe reproving answer. Outside were two hand-carts; one with refresh-\nments of sorbetti or 44 pappine\" at one baiocco the glass; and the\nother filled with oblong slabs of hard stony gingerbread and 44 bruscolini \"\nor pumpkin seeds salted and cooked in a furnace.\nThe bill pasted outside informed us that the burattini were to play\nto-night, 44 La grandlosa opera intitolata il Bellsario, ossla le avventure\ndi Oreste, Ersilia, Palsierone, Selinguerro ed II terrlbil Gobbo \". Prices\nin the 44 platea \", two baiocchi; in the loggiata, three balocchi. Private\nboxes are also to be obtained for five baiocchi the seat; and some of\nmy female friends having taken a box one night, were received by the\naudience on their entrance with loud cheers. We, however, only allowed\nourselves the luxury of a loggiata seat.^\nThe 44 grandiosa opera \" of Belisario did not belle the general character\nof Fantoccini plays. It was 44 sempre battaglia. \" The scene when we\nentered was between two puppets, both dressed in armour, speaking in\ntremendous voices, and flourishing gigantic swords. One was a child-\nFantoccino, the other probably Selinguerra.\njg/ Each 44 Fantoccino \" when it spoke went into a sudden convulsion\nas if it were attacked by a fit of St. Vitus's dance, while the sword seemed\nanimated with spasmodic life, and thrashed to and fro in the air with\nutter disregard to the warrior's anatomy, which it constantly and\npainfully dislocated with every movement. But no sooner had he ceased\nspeaking than his arms fell into a helpless collapse, his head dropped\ndrunkenly forward, or remained fixed in a dislocation glaring at nothing,\nand with his sword stiffly pointing up to the ceiling, and his legs hanging\nin the air or huddled under him, so as to leave him quite out of balance,\nhe awaited impotently the answer of his opponent. JE? &\nIt was a violent dispute that was taking place between the youth and\nSelinguerra and his lieutenant, who were threatening to destroy the\ncastle of the 44 terribil Gobbo \". These doughty warriors were a couple\nof Inches at least above the floor, which they never descended or con-\ndescended to touch save byway of emphasis, when down they came on\ntheir heels with a sharp wooden rap, and then jerked suddenly up again."}, {"page_pdf": 49, "page_imprimee": "325", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.49", "debut_caractere": 20, "fin_caractere_exclue": 2366, "texte": "The dispute was tremendous. They launched at each other, in loud voices,\nterrible threats and challenges. Selinguerra was especially ferocious, and\n44 Chi sei tu che osa \" he cried to the youth ; but the latter not to be\noutdone in boasting and fury, exclaimed, 44 Tremaj che son II figlio del\nterribi! Gobbo \", and then collapsed in silence 44 Ah, Ah, \" with a roar\nresponded his opponent, 44 male hai fatto a palesarlo non posso piu\ncontere il mio immense furor, Prepara a morir \", But the youth now\nshowed himself the true son of the terrible Gobbo. He roused from the\ncollapse in which he had fallen and jerked his head and limbs, flung out\nwildly one leg and waved a challenge In the name of St. Vitus. Now\nensued a terrible encounter. Selinguerra, backed by his lieutenant, at>\ntacked the heroic son of the Gobbo, and all three rising higher from the\nfloor in their excitement, dashed promiscuously together, clashing their\nswords furiously, and swinging backwards and forwards half the\nlength of the stage, while their helpless legs beat to and fro in\nthe air. £? &\n£? All the while a drum behind the scenes was 44 rolling rapidly \". It\nwas encouraging to see how bravely the son of Gobbo held his own.\nDespite the terrible blows he received on his head, each of which would\nhave done for ever a. mere 44 personaggio \", and the excited efforts he\nmade with his arms and legs, he never changed, but on his countenance\nmight still be seen the same calm supernatural glare, the same unwin«\nking eyes. AH seemed over with him, when suddenly in burst the\n44 terribil Gobbo \" himself, In complete steel, and striking the floor with\na succession of bold knocks, and waving with convulsive jerks his sword,\nbrought help at the most opportune moment. At first it was Selinguerra\nand hi 3 lieutenant who opposed him, but he soon made minced meat of\nthem, and then the whole army, spasmodically hopping and staggering\nsideways to the rescue of their captain, attacked the Gobbo alto=\ngether. &\nIt is useless further to follow the doings on this occasion. What\nBelisario had to do with this 44 grandiosa opera \" besides giving it his\nname, I did not plainly see, as he never made his appearance on the stage.\nBut of all the feats of the 44 Fantoccini \", nothing can be compared\nto their acting in the ballet. If the pantomime by actual 44 personaggi \""}, {"page_pdf": 50, "page_imprimee": "326", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.50", "debut_caractere": 16, "fin_caractere_exclue": 2398, "texte": "be extraordinary, imagine what it is when performed by puppets whose\nevery motion is effected by wires, who imitate the gestures of despair\nwith hands that cannot shut, and, with a wooden gravity of countenance,\nthrow their bodies into terrible contortions to make up for the lack of\nexpression in the face.\nBut if possible their dancing is even superior to their pantomime.\nWhen the wooden-headed court, almost as solemn and stiff as a real one,\nhave seated themselves on one side of the stage, and the corps de ballet\nhas advanced and retreated in steady platoons, and retired and opened just\nlike the real thing...ln with a tremendous leap, suddenly drops the prima\nballerina, knocks her wooden knees together, and jerking her head about,\nsalutes the audience with a smile quite as artificial as we could see in\nthe best trained of her fleshly rivals. Then with a masterly ease, after\ndescribing air circles with her toes far higher than her head, and poising\nherself in impossible positions, she bounds, or rather flies forward with\nsuperhuman lightness, perforins feats of choreography to awaken envy\nin Cerito and drive Ellsler to despair, and pausing on her pointed toe\nthat disdains to touch the floor, turns never-ending pirouettes on\nnothing at all, till at last, throwing both her wooden hands forward\nshe suddenly comes to a stiff stop to receive your applause. This is the\nvery apotheosis of ballet dancing. us?\nUnhampered with the difficulties that encumber her mortal sister,\nshe performs what the living creature can only attempt, and surpasses\nher as the ideal surpasses the actual. & &\nWhen we see her with her permanent smile and breast that never\npants, we are not haunted by the notion of those sad hours of practis-\ning in the gloomy theatrical day, when the splendid clouds of tulle and\nthe stereotype smile give way to shabby petticoats and twitching face,\nand her ear is saluted by the criticism of the master instead of the\napplause of the audience. Ah no, the Fantoccina leaps perfect into her\nart from the hands of her maker, dreams her day away smiliing just the\nsame in her box as on the stage, is never harassed by want of food and\nfamily cares, is troubled by no jealousies, pricked by no vain ambition*\nhaunted by no remorses, ruined by no failures, but without envy, sorrow,-\nhunger or fear of old age, keeps perennial youth, and a perpetual smile."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c035", "article_bluemountain": "bmtnaau_1913-04_01#c035", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "327", "page_fin": "327", "image_debut": 51, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.15", "titre_corps": "THE HOUR GLASS : A PREFACE TO THE NEW VERSION", "titre_sommaire": "THE HOUR GLASS : A PREFACE TO THE NEW VERSION", "signature_source": "W. B. Yeats", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "327", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 1185, "texte": "THE HOUR GLASS\nA PREFACE TO THE NEW VERSION.\nby W. B. Yeats.\nW. B. Yeats.\ntook the plot of \"The Hour Glass\" from an Irish Polk\nTale but tried to put my own philosophy into the words.\nAn action on the stage, however, Is so much stronger\nthan a word that when the Wise Man abused himself\nbefore the Fool I was always ashamed. My own tilean =■\nings had vanished and I saw before me a cowardly\nperson who seemed to cry out \" the wisdom of this\nworld is foolishness \" and to understand the words not\nas may a scholar and a gentleman but as do ignorant\npreachers. J& &\nI began a revision of the words from the moment when the play\nconverted a music hall singer and sent him to mass and to confession ;\nbut no revision of words could change the effect of the Wise Man down\non his knees before the Fool; so last year I changed action and all. £/\nI made a new play of it and when I had finished, discovered how I\nmight have taken the offence out of the old by a change of action so\nslight that a reader would hardly have noticed if. I shall let \" our se-\ncond company \" go on playing the old version thus amended in Irish\nprovincial towns but think the new one better for myself and my\nfriends."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c037", "article_bluemountain": "bmtnaau_1913-04_01#c037", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "327", "page_fin": "346", "image_debut": 51, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.16", "titre_corps": "THE HOUR GLASS", "titre_sommaire": "THE HOUR GLASS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "327", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.51", "debut_caractere": 1187, "fin_caractere_exclue": 1635, "texte": "THE HOUR GLASS\nSCENE: THE WISE MAN'S house. An Hour-glass on a stand and\na big chair with a great book on a desk before it.\n(ENTER PUPILS)\nHe said we might choose the subject for the lesson.\nThere is none of us wise enough to do that.\nIt would need a great deal of wisdom to know what we\nwant to know.\nI will question him.\nYou ?\nLast night I dreamt that someone came and told me to\n\nIst PUPIL.\nand PUPIL.\n3nd PUPIL.\n4th PUPIL.\n5th PUPIL.\n4th PUPIL."}, {"page_pdf": 52, "page_imprimee": "328", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.52", "debut_caractere": 18, "fin_caractere_exclue": 1617, "texte": "Ist PUPIL.\nFOOL,\nand PUPIL.\nFOOL.\n3rd PUPIL.\n4th PUPIL.\nand PUPIL.\n4th PUPIL.\nFOOL.\n3rd PUPIL.\n2nd PUPIL.\n3rd PUPIL.\nIst PUPIL.\nsth PUPIL.\nFOOL.\nIst PUPIL.\n\nquestion hlra. I was to say to him, you were wrong\nto say there is no God and no 50u1.... maybe, If there is\nnot much of either, there is yet some tatters, some tag\non the wind, some rag.... so to speak of divinity, some\nbob-tail of a god \". 1 will argue with him*... nonsense\nthough it be.... according to my dream, and you will see\nhow well I can argue, and what thoughts I have.\nI'd as soon listen to dried peas in a bladder, as listen\nto your thoughts.\n{FOOL comes in)\nGive me a penny.\nLet us choose a subject by chance. Here is his big book.\nLet us turn over the pages slowly, let one of us put down\nhis finger without looking, the passage his finger lights\non will be the subject for the lesson.\nGive me a penny.\n(taking up book) How heavy it is.\nSpread it on Teigue's back, and then we can all stand\nround and see the choice,\nMake him spread out his arms.\nDown on your knees. Hunch up your back. Spread your\narms out now, and look like a golden eagle in a church.\nKeep still, keep still.\nGive me a penny.\nIs that the right cry for an eagle cock ?\nI'll turn the pages.... you close your eyes and put your\nfinger down.\nThat's it, and then he cannot blame us for the choice.\nThere, 1 have choosen. Fool, keep 5ti11.... and if what's\nwise is strange and sounds like nonsense, we've made a\ngood choice.\nHere is the master coming.\nWill anybody give a penny to a fool ?\n(WISE MAN comes in)\ni\nWe have chosen the passage for the lesson, Master."}, {"page_pdf": 53, "page_imprimee": "329", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.53", "debut_caractere": 18, "fin_caractere_exclue": 1776, "texte": "WISE MAN.\nIst PUPIL.\nWISE MAN.\n4th PUPIL.\n3rd PUPIL.\n2nd PUPIL.\nIst PUPIL.\nWISE MAN.\n4th PUPIL.\nFOOL.\nWISE MAN.\n\n\" There are two living countries, one visible and one in*\nvisible, and when it is summer there, it is winter here,\nand when it is November with us, it is lamblng*time\nthere. \"\nThat passage, that passage ; what mischief has there been\nsince yesterday ?\nNone, Master.\nOh, yes, there has; some craziness has fallen from the\nwind, or rises from the graves of old men, and made you\nchoose that subject, (he goes to desk)\nI knew that it was folly, but they would have it.\nHad we not better say we picked it by chance ?\nNo, he would say we were children still.\n1 have found a sentence under that one, that says.... as\nthough to show it had a hidden meaning a beggar\nwrote it upon the walls of Babylon.\nThen find some beggar and ask him what it means, for\nI will have nothing to do with it.\nCome, Teigue, what is the old book's meaning when it\nsays that there are sheep that drop their iambs in No*\nvember ?\nTo be sure.... everybody knows, everybody in the world\nknows, when it is Spring with us, the trees are withering\nthere, when it is summer with us, *the snow is falling\nthere, and have 1 not myself heard the lambs that are\nthere all bleating on a cold November day.... to be sure,\ndoes not everybody with an intellect know that; and\nmaybe when it's night with us, it is day with them, for\nmany a time I have seen the roads lighted before me.\nThe beggar who wrote that on Babylon wall meant that\nthere is a spiritual kingdom that cannot be seen or known\ntill the faculties whereby we master the kingdom of this\nworld wither away, like green things in winter. A monk*\nish thought, the most mischievous thought that ever\npassed out of a man's mouth."}, {"page_pdf": 54, "page_imprimee": "330", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.54", "debut_caractere": 20, "fin_caractere_exclue": 1453, "texte": "Ist PUPIL.\nand PUPIL.\n4th PUPIL.\nIst PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\n\nIf he meant all that, I will take an oath that he was\nspindle-shanked, and cross-eyed, and had a lousy itching\nshoulder, and that his heart was crosser than his eyes,\nand that he wrote it out of malice.\nLet's come away and find a better subject.\nAnd maybe now you'll let me choose.\nCome.\nWere It but true t'would alter everything.\nUntil the stream of the world had changed it course,\nAnd that and all out thoughts had run\nInto some cloudy thunderous spring.\nThey dream to be its source....\nAye, to some frenzy of the mind,\nTill all that we have done's, undone\nOur speculative wind,\nI have dreamed it twice.\nSomething has troubled him.\n(PUPILS go out)\nTwice have 1 dreamed it in a morning dream,\nNow nothing serves niy pupils but to come\nWith a like thought. Reason is growing dim.\nA moment more and Frenzy will beat his drum\nAnd laugh aloud and scream.\nAnd I must dance in the dream,\nNo, no, but it is like a hawk, a hawk of the air,\nIt has swooped down... and this swoop makes the third...\nAnd what can I, but tremble like a bird ?\nGive me a penny.\nThat I should dream it twice, and after that,\nThat they should pick it out.\nWon't you give me a penny ?\nWhat do you want ? What can it matter to you whether\nthe words I am reading, are wisdom or sheer folly ?\nSuch a great wise teacher will not refuse a penny to a\nfool."}, {"page_pdf": 55, "page_imprimee": "331", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.55", "debut_caractere": 19, "fin_caractere_exclue": 1777, "texte": "WISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\n\nSeeing that everybody is a fool when he is asleep and\ndreaming, why do you call me wise ?\n0, I know, ... I know. I know what I have seen.\nWell, to see rightly is the whole of wisdom, whatever\ndream be with us.\nWhen 1 went by Kilcluan, where the bells used to be\nringing at the break of every day, 1 could hear nothing\nbut the people snoring in their houses. When I went by\nTubbervanach, where the young men used to be climbing\nthe hill to the blessed well, they were sitting at the\ncrossroads playing cards. When I went by Carrigoras,\nwhere the friars used to be fasting and serving the poor,\nI saw them drinking wine and obeying their wives. And\nwhen 1 asked what misfortune had brought all these\nchanges, they said it was no misfortune, but that it was\nthe wisdom they had learned from your teaching.\nAnd you too have called me wise .... you would be paid\nfor that good opinion doubtless .... Run to the kitchen,\nmy wife will give you food and drink.\nThat's foolish advice for a wise man to give.\nWhy, Fool ?\nWhat is eaten is g0ne...1 want pennies for my bag. I must\nbuy bacon in the shops, and nuts in the market, and\nstrong drink for the time the sun is weak, and snares\nto catch the rabbits, and the hares, and a big pot to\ncook them in.\n1 have more to think about tfian giving pennies to your\nlike, so run away.\nGive me a penny and I will bring you luck. The fishermen\nlet me sleep among their nets in the loft because 1 bring\nluck, and in the summer time, the wild creatures\nlet me sleep near their nests and their holes. It is lucky\neven to look at me, but it is much more lucky to give\nme a penny. If 1 was not lucky I would starve.\nWhat are the shears for ?"}, {"page_pdf": 56, "page_imprimee": "332", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.56", "debut_caractere": 22, "fin_caractere_exclue": 1523, "texte": "FOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\n\nI won't tell you. If I told you, you would drive them\naway.\nDrive them away, who would I drive away ?\nI won't tell you.\nNot if I give you a penny?\nNo.\nNot if I give you two pennies ?\nYou will be very lucky if you give me two pennies, but\nI won't tell you.\nThree pennies ?\nFour, and I will tell you.\nVery well ... four, but from this out I will not call you,\nTeigue the Fool.\nLet me come close to you, where nobody will hear me,\nbut first you must promise not to drive them away.\n(WISEMAN nods) Every day men go out dressed in\nblack and spread great black nets over the hills, great\nblack nets.\nA strange place that to fish in.\nThey spread them out on the hills that they may catch\nthe feet of the angels ; but every morning just before the\ndawn, I go out and cut the nets with the shears and the\nangels fly away.\n(speaking with some excitement) Ah, now I know that\nyou \"are Teigue the Fool. You say that I am wise, and yet\ni say, there are no angels.\nI have seen plenty of angels.\nNo, no, you have not.\nThey are plenty if you but look about you, they are\nlike the blades of grass.\nThey are plenty as the blades of grass .... I heard that\nphrase when I was but a child and was told folly.\nWhen one gets quiet. When one is so quiet that there\nis not a thought in one's head maybe, there is something\nthat wakes up inside one, something happy and quiet,"}, {"page_pdf": 57, "page_imprimee": "333", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.57", "debut_caractere": 18, "fin_caractere_exclue": 1464, "texte": "and then all in a minute one can smell summer flowers,\nand tall people go by, happy and laughing, but they will\nnot let us look at their faces. Oh, no, it is not right that\nwe should look at their faces.\n4ft\nYou have fallen asleep upon a hill, yet, even those\nthat used to dream of angels dream now of other\nthings.\n1 saw one but a moment ago... that is because I am lucky.\nIt was coming behind me, but it was not laughing.\nThere's nothing but what men can see when they are\nawake. Nothing, nothing.\n1 knew you would drive them away.\nPardon me, Pool,\nI had forgotten who I spoke to.\nWell, there are your four pennies ... Pool,you are called\nAnd all day long they cry, \" come hither, Fool.\n{FOOL goes close to him)\nOr else it's, \"Fool, be gone \" {FOOL goes further off)\nOr, \" Fool, stand there \" {FOOL straightens himself)\nOr, \" Fool, go sit in the corner '' (FOOL sits in corner)\nAnd all the while\nWhat were they all but fools before 1 came.\nWhat are they now, but mirrors that seem men.\nBecause of my image. Fool, hold up your head. (FOOL\ndoes so)\nWhat foolish stories they have told of the ghosts\nThat fumbled with the clothes upon the bed,\nOr creaked and shuffled in the corridor,\nOr else, If they were pious bred,\nOf angels from the skies,\nThat came through a man's door,\nOr, it maybe, standing there,\nWould solidly out stare\nThe steadiest eyes with their unnatural eyes,\nAye, even on his own floor.\n\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN."}, {"page_pdf": 58, "page_imprimee": "334", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.58", "debut_caractere": 16, "fin_caractere_exclue": 1569, "texte": "(ANGEL has come in)\nYet it is strange, the strangest thing I have known,\nThat I should still be haunted by the notion\nThat there's a crisis of the soul wherein\nWe get new sight, and how if when it comes\nThey have some craft to turn it into frenzy.\nWhy do you put your finger to your iips,\nAnd creep away ? (FOOL goes out)\n( WISE MAN sees ANGEL) What are you ? Who are you ?\nI think I saw some like you in my dreams,\nWhen but a child. That thing about your head,\nThat brightness in your hair .... that flowery branch ....\nBut I have done with dreams ... I have done with dreams.\nI am the crafty one that you have called.\nHow that I called ?\nI am the messenger.\nWhat message could you bring to one like me ?\nThat you will die when the last grain of sand\nHas fallen through this glass.\nI have a wife,\nChildren and pupils that 1 cannot leave,\nWhy must I die, my time is far away ?\nYou are to die because no soul has passed\nThe heavenly threshold since you have opened school.\nBut grass grows there, and rust upon the hinge ;\nAnd they are lonely that must keep the watch.\nAnd whither shall I go when I am dead ?\nYou have denied the purgatorial fire\nTherefore that gate is closed ; you have dented\nThat there's a heaven, and that gate is closed.\nWhere then ? 1 have denied there is a hell.\nHell is the place of those who have denied,\nThey find there what they planted and what dug,\nA lake of spaces, and a wood of nothing,\nAnd wander there and drift and never cease,\n\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL."}, {"page_pdf": 59, "page_imprimee": "335", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.59", "debut_caractere": 16, "fin_caractere_exclue": 1530, "texte": "Wailing for substance.\nPardon me, blessed Angel,\nI have denied and taught the like to others.\nBelieving nothing but what sense has taught,\nAnd the mind's abstract.\nIt is too late for pardon.\nMad I but seen your face as now 1 see it,\nBut how can you...that live but where we go,\nIn the uncertainty of dizzy dreams...\nKnow why we doubt. Parting, disease and death,\nThe rotting of the grass, tempest and drouth,\nThese are the messengers that came to me.\nWhy are you silent ? You carry in your hands,\nGod's pardon, and you will not give it me,\nWhy are you silent? Were I not afraid,\nI'd kiss your hands, no, no, the hem of your dress*\nOnly when all the world has testified,\nMay soul confound it, crying out in joy.\nWhat's dearth and death and sickness to the soul.\nThat knows no virtue but itself, nor could It,\nSo trembling with delight and mother naked,\nLive unabashed if the arguing world stood by.\nIt is so hard for you to understand\nWhy we have doubted,-as it is for us\nTo put our doubts away... what have 1 said,\nThere can be nothing that you do n,ot know,\nGive me a year... a month ... a week... a day,\nI would undo what I have done ...an hour...\nGive me until the sand has run in the glass.\nThough you may not undo what you have done,\nI have this power... if you but find one soul,\nThat still believes that it shall never cease,\nOne fish to lie and spawn among the stones\nTill the great fisher's net is full again,\nYou may, the purgatorial fire being passed,\n\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL."}, {"page_pdf": 60, "page_imprimee": "336", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.60", "debut_caractere": 16, "fin_caractere_exclue": 1339, "texte": "PUPILS.\nWISE MAN.\nANQEL.\nIst PUPIL.\n2nd PUPIL.\nFOOL.\nIst PUPIL.\n2nd PUPIL.\n3rd PUPIL.\n4th PUPIL.\nFOOL.\nIst PUPIL.\n\nSpring to your peace.\n(sing in the distance) Who stole your wits away\nAnd where are they gone ? \"\nMy pupils come,\nBefore you have begun to climb the sky\n1 shall have found belief... they say they doubt,\nBut what their mothers dinned into their ears\nHas not been broken down... 1 have long thought it,\nBesides, 3 can disprove what 1 once proved,\nAnd yet give me some thought, some argument,\nMore mighty than my own.\nFarewell ... farewell,\nFor 1 am weary of the weight of time.\n{ANGEL goes out, MAN makes a\nStep to follow and pauses. PUPILS\ncome in at other side.)\nMaster, Master, you must choose the subject.\n(ENTER other PUPILS with FOOL, about\nwhom they dance.)\nHere is a subject.... where have the Fool's wits gone?\n(Singing) \" Who dragged your wits away\nWhere no one knows ?\nOr have they run off\nOn their own pairs of shoes?\"\nGive me a penny.\nThe Master will find your wits.\nAnd when they are found, you must not beg for pennies\nThey are hidden somewhere in the badger's hole,\nBut you must carry an old candle end,\nIf you would find them.\nThey are up above the clouds.\nGive me a penny, give me a penny, Teigue.\n(singing) 44 I'll find your wits again,\nCome, for 1 saw them roll,\nTo where old badger mumbles"}, {"page_pdf": 61, "page_imprimee": "337", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.61", "debut_caractere": 18, "fin_caractere_exclue": 1466, "texte": "and PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\nand PUPIL.\n3rd PUPIL.\nIst PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\n\nIn the black hole.\n(singing) \" No, but an angel stole them\nThe night that you were born,\nAnd now they are but a rag,\nOn the moon's horn.\nBe silent.\nCan you not see that he is troubled ?\nWhat do you think of when alone at night?\nDo not the things your mothers spoke about\nBefore they took the candle from the bedside,\nRush up into the mind and master it,\nTill you believe in them against your will?\n(to Ist PUPIL) You answer for us.\n(in a whisper) Be careful what you say.\nIf he persuades you to an argument\nHe will make a mock of you and us.\nYou have made our minds,\nOur bodies only, were our mothers' work.\nNo, no,\nYou answer with incredible things. It Is certain\nThat there is 0ne,... though it may be but one...\nBelieves in God and in some heaven and hell.\nIn all those things we put into our prayers.\nWe thought those things before our minds were born\nBut that was long ago... we are not children.\nYou are afraid to tell me what you think\nBecause 1 am hot and angry when 1 am crossed,\n1 do not blame you for it, but have no fear,\n♦\nFor if there is one that sat on smilling there\nAs though my arguments were sweet as milk\nYet found them bitter, 1 will thank him for it,\nIf he but speak his mind.\nThere is no one Master,\nThere is not one but found them sweet as milk.\nThe things that have been told us in our childhood"}, {"page_pdf": 62, "page_imprimee": "338", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.62", "debut_caractere": 16, "fin_caractere_exclue": 1594, "texte": "2nd PUPIL.\n3rd PUPIL.\nOTHER PUPILS.\nWISE MAN,\nIst PUPIL.\n2nd PUPIL.\n3rd PUPIL.\n4th PUPIL.\nIst.PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\nIst PUPIL.\n\nAre not so fragile.\nWe are no longer children.\nWe all believe in you and in what you have taught.\n*\nAil, ali, all, aii, in you, nothing but you.\nI have deceived you ... where shall I go for words,\nI have not thoughts... my mind has been swept bare.\nThe messengers that stand in the fiery cloud,\nFling themselves out, if we but dare to question,\nAnd after that, the Babylonian moon,\nBlots all away.\n(to other PUPILS) 1 take his words to mean\nThat visionaries, and martyrs when they are raised\nAbove translunary things, and there enlightened,\nAs the contention is, may lose the light.\nAnd blunder in their speech when the eyes open.\nHow well he imitates their trick of speech.\nTheir air of mystery,\nTheir empty gaze,\nAs though they'd looked upon some winged thing,\nAnd would not condescend to mankind after.\nMaster, we have all learnt that truth is learnt\nWhen the intellect's deliberate and cold,\nAs it were a polished mirror that reflects\nAn unchanged world ; and not when the steel melts,\nBubbling and hissing, till there's naught but fume.\nWhen it is melted, when it all fumes up,\nThey walk, as when beside those three in the furnace\nThe form of the fourth.\nMaster, there's none among us\nThat has not heard your mockery of these,\nOr thoughts like these, and we have not forgot.\nSomething incredible has happened ... someone has come,\nSuddenly like a grey hawk out of the air,\nAnd al! that I declared untrue is true.\n(toother PUPILS)"}, {"page_pdf": 63, "page_imprimee": "339", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.63", "debut_caractere": 19, "fin_caractere_exclue": 1410, "texte": "and PUPIL.\nWISE MAN.\n3rd PUPIL.\nWISE MAN.\nIst PUPIL.\n{to the OTHERS)\nand PUPIL.\n3rd PUPIL.\nIst PUPIL.\nand PUPIL.\n3rd PUPIL.\nIst PUPIL.\nWISE MAN.\n3rd PUPIL.\n4th PUPIL.\n\nYou'd think the way he says it, that he felt it,\nThere's not a mummer to compare with him,\nHe's something like a man.\nGive us some proof.\nWhat proof have 1 to give, but that an angel\nAn instant ago was standing on that spot.\nYou dreamed it, Master,\nI was awake as I am now.\nI may be dreaming now for all I know.\nHe wants to show we have no certain proof\nOf anything in the world.\nThere is this proof,\nThat shows we are awake ... we have all one world\nWhile every dreamer has a world of his own,\nAnd sees what no one else can.\nTeigue sees angels.\nSo when the Master says he has seen an angel,\nHe may have seen one.\nBoth may still be dreamers.\nUnless it's proved the angels were alike.\nWhat sort are the angels, Teigue ?\nThat will prove nothing.\nFor all we know, prolonged obedience\nHas made one angel like another angel,\nAs they were eggs.\nThe Master's silent now:\nFor he has found that to dispute with us...\nSeeing that he has taught us what we know...\nIs but to reason with himself. Let us away,\nAnd find if there is one believer left.\nYes, yes. Find me but one that still believes\nThe things that we were told when we were children.\nOur Master'll mock and maul him.\nFrom the first\nI knew he'd have us find some disputant."}, {"page_pdf": 64, "page_imprimee": "340", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.64", "debut_caractere": 19, "fin_caractere_exclue": 1397, "texte": "WISE MAN.\nIst PUPIL.\n4th PUPIL.\nWISE MAN.\n4th PUPIL.\nWISE MAN.\n4th PUPtL.\nWISE MAN.\n2nd PUPIL.\nWISE MAN.\n4th PUPIL.\n\n{THEY go)\nI have no reason left, all dark, all dark.\n{PUPILS return laughing. They push\n{forward 4th PUPIL)\nHere, Master, is the very man yon want.\nHe said, when we were studying the book,\nThat maybe after all the monks were right.\nAnd you mistaken, and if we but gave him time,\nHe'd prove that it was so.\n! never said it.\nDear Friend, dear Friend, do you believe in God ?\nMaster, they have invented this to mock me.\nYou are afraid of me.\nThey know well, Master.\nThat ail I said was but to make them argue.\nThey've pushed me in to make a mock of me,\nBecause they knew I could take either side,\nAnd beat them at it.\nIf you believe in God,\nYou are my soul's one friend. {PUPILS laugh)\nMistress or wife,\nCan give us but our good or evil luck,\nAmid the howling world, but you shall give\nEternity... and those sweet throated things\nThat drift above the moon. {PUPILS are silent)\nHow strange he is.\nThe angel that stood there upon that spot,\nSaid that my soul was lost unless I found,...\nBefore the sands in the hour-glass had run out...\nOne that believed.\nCease mocking at me, Master.\nI am so certain that there Is no God,\nI'll curse him if you will, and after curse\nThe soul that has been made after his image ...\nIf but their lies were true. Will that convince you"}, {"page_pdf": 65, "page_imprimee": "341", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.65", "debut_caractere": 18, "fin_caractere_exclue": 1589, "texte": "WISE MAN.\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\n\nThat I have set my heart on what you teach ?\nThe giddy glass is emptier every moment,\nAnd you stand there, debating, laughing and wrangling.\nOut of my sight! Out of my sight, I say.\n(HE drives them out)\nI'll call my wife, for what can women do,\nThat carry us in the darkness of their bodies,\nBut mock the reason that lets nothing grow\nUnless it grow in Sight. Bridget, Bridget,\nSay what we wi11... Bridget, come quickly, Bridget.\n(BRIDGET comes in wearing her apron.\nHer sleeves turned up from her\nfloury arms)\nWire, what do you believe in ? Teli the truth,\nAnd not... as Is the habit with you a11...\nSomething you think will please me. Do you pray\nSometimes when you're alone in the house, do you pray ?\nPrayers... no, you taught me to leave them off long ago.\nAt first I was sorry, but I am glad now, for I. am sleepy\nin the evenings.\nDo you believe in God ?\nOh, a good wife oniy believes in what her husband tells her.\nBut sometimes, when the children are asleep,\nAnd 1 am in the school, do you not think\nAbout the Martyrs and the saints and angels,\nAnd all the things that you believed in once ?\nI think about nothing... sometimes 1 wonder if the linen\nis bleaching white, or I go out to see if the crows are\npicking up the chickens' food.\nMy God... my God! 1 will go out myself.\nMy pupils said that they would find a man\nThat had the old belief... they may have found him.\nTherefore I will go out... but if I go\nThe glass will let the sands run out unseen.\n1 cannot go ... 1 cannot leave the glass."}, {"page_pdf": 66, "page_imprimee": "342", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.66", "debut_caractere": 20, "fin_caractere_exclue": 1508, "texte": "BRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nPOOL.\n\nGo call my pupils...! can explain all now,\nOnly when all our hold on life is shaken,\nOnly in spiritual terror can the Truth\nCome through the broken mind ... as the pease burst\nOut of a broken pease=cod.\n{He clutches BRIDGET as she )\nSay to them,\nThat nature would lack all in her most need,\nCould not the sou! find truth as in a flash,\nUpon the battle field or In the midst\nOf overwhelming waves, and say to them ...\nBut no, they would but answer as 1 bid.\nYou want somebody to get up an argument with.\nLook out and see if there is anyone\nThere In the street...! cannot leave the glass,\nFor somebody might shake it, and the sand\nIf it were shaken might run down on the instant.\nI don't understand a word you are saying. There's a crowd\nof people talking to your pupils.\nGo out and find if they have found a man\nWho did not understand me when 1 taught,\nOr did not listen.\nIt Is a hard thing to be married to a man of learning\ntiiat must always be having arguments. Children, don't\nbe meddling with the bread while 1 am out. (She\ngoes out)\nStrange that 1 should be blind to the great secret,\nAnd that so simple a man might write it out\nUpon a blade of grass or bit of rush\nWith naught but berry juice, and laugh to himself\nWriting it out, because it was so simple.\n(ENTER FOOL and BRIDGET)\nGive me something; give me a penny to buy bacon in\nthe shops and nuts in the market, and strong drink for\nthe time when the sun is weak."}, {"page_pdf": 67, "page_imprimee": "343", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.67", "debut_caractere": 20, "fin_caractere_exclue": 1529, "texte": "BRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nFIRST CHILD.\nSECOND CHILD.\nBOTH CHILDREN.\nFIRST CHILD.\nWISE MAN.\n\n1 have no pennies. (to WISE Your pupils cannot\nfind anybody to argue with you. There's nobody in the\nwhole country with belief enough for a lover's oath.\nCan't you be quiet now, and not always wanting to have\narguments. It must be terrible to have a mind like\nthat.\nThen I am lost indeed.\nLeave me alone now, S have to make the bread for you\nand the children. (SHE goes into kitchen)\nChildren, children !\nYour father wants you, run to him.\n(CHILDREN run in)\nCome to me, children. Do not be afraid.\nI want to know If you believe in Heaven,\nGod or the soul.;. no, do not tell me yet,\nYou need not be afraid 1 shall be angry,\nSay what you please... so that it is your thought...\n1 wanted you to know before you spoke,\nThat 1 shall not be angry,\nWe have not forgotten, Father.\nOh, no, Father\n(as if repeating a lesson) There is nothing we cannot\nsee, nothing we cannot touch.\nFoolish people used to say that there was, but you have\ntaught us better.\nGo to your mother, g0... yet do not go\nFor she can teach you nothing. If I am dumb\nYou shall be lost among tiie woods of nothing,\nAnd 1 because the sands are running out\nHave but a moment to show it all in. Children\nThe sap would die out of the blades of grass\nHad they a doubt. They understand it all,\nBeing the fingers of God's certainty,\nYet can but make their sign into the air.\nBut could they find their tongues .... they'd show it all"}, {"page_pdf": 68, "page_imprimee": "344", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.68", "debut_caractere": 16, "fin_caractere_exclue": 1507, "texte": "FOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\n\nBut what am I to say that am but one,\nWhen they are minions and they will not speak.\n('CHILDREN have run out)\nBut they are gone; what made them run away?\n{TheFOOL comes in with a dandelion)\nLook at me, tell me if my face Is changed,\nIs there a notch of the fiend's nail upon it\nAlready ? Is it terrible to sight ?\nBecause the moment's near. {Going to glass)\n1 dare not look,\n1 dare not know the moment when they come\nTo carry me away, {covers glass) Will there be a foot fall\nOr will there be a sort of tearing sound,\nOr else a cracking, as though an iron claw\nHad gripped the threshold stone.\n{FOOL has begun to blow the dandelion)\nWhat are you doing ?\nWait a minute ... four ... five ... six ...\nWhat are you doing that for?\n1 am blowing the dandelion to find out what hour it is.\nYou have heard everything, and that is why\nYou'd find what hour it is ... you'd find that out,\nThat you may look upon a fleet of devils\nDragging my soul away. You shall not stop,\n! will have no one here when they come In,\n1 will have no one sitting there ... no one ...\nAnd yet ....and yet.... there is something strange about\nyou.\nAre you the one 1 seek ? Do you believe\nIn God and the sou!, In the undying stuff\nThat all things have been made of from the first ?\nSo you ask me now. i thought when you were asking your\npupils, \" will he ask, Teigue the FooS. Yes, he will, he\nwill, no, he will not... yes he will.\" But Teigue will say\nnothing. Teigue will say nothing."}, {"page_pdf": 69, "page_imprimee": "345", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.69", "debut_caractere": 12, "fin_caractere_exclue": 1642, "texte": "WISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nPOOL.\nWISE MAN.\nPOOL.\nWISE MAN.\nFOOL-\nWISE MAN.\n\nTell me quickly.\nI said, \"Teigue knows everything, not even the green=\neyed cats and the hares that milk the cows have Teigue's\nwisdom \" but, Teigue will not speak, he says nothing.\nSpeak, speak, for underneath the cover there\nThe sand is running from the upper glass,\nAnd when the last grain's through, 1 shall be lost\nUnless 1 have lit upon unshaken faith\nSomewhere In somebody.\nI will not speak. ! will not tell you what Is in my mind.\n1 wiS! not teil you what is in my bag. You might steal\naway my thoughts. I met a bodach on the road yesterday,\nand he said, \" Teigue, tell me how many pennies are in your\nbag; ! will wager three pennies that there are not twenty\npennies in your bag; let me put In my hand and count\nthem. \" But I gripped the bag the tighter and when 1\ngo to sleep at night, I hide the bag where nobody knows.\nThere's but one pinch of sand ~. and i am lost\nIf you are not he 1 seek.\nO, what a Sot the Fool knows, but he says nothing.\n{seizing him) I kneel to you ... you are the man I have\nsought. You alone can save me.\nNo, no, what should poor Teigue know, Teigue that is out\nin ail weathers, Teigue that sleeps in the fishers' loft, poor\nTeigue the Fool. (HE breaks away and goes out)\nThe last hope is gone.\nAnd now that it's too late I see it ail,\nWe perish into God and sink away\nInto reality... the rest's a dream.\n{coming back on tip-toe and peering under\ncover of Hour-glass and singing in a low voice)\n\" I hear the wind a=b!ow,\nAnd the grass a=grow\nAnd ai! that I know, 1 know, \"\ni know what fixed the station"}, {"page_pdf": 70, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.70", "debut_caractere": 24, "fin_caractere_exclue": 1422, "texte": "Of star and cloud.\nAnd knowing all, I cry,\nThat what so God has willed,\nOn the instant he fulfilled,\nThough that be my damnation.\nThe stream of the world has changed its course\nAnd with the stream my thoughts have run,\nInto some cloudy thunderous spring\nThat is its mountain source.\nAye, to some frenzy of the mind,\nFor all we have done's undone\nOur speculation wind. (He )\nWise man.... Wise man, wake up and I will tell you\neverything for a penny, if is I, poor Teigue the Fool\nthat you were looking for. i am the man you were to\nfind before the sand ran out... the man who believes in\nGod. Why don't you wake up and say, There is a penny\nfor you, Teigue. \" No, no, you will say nothing. You and\n1, we are the two fools, we know everything, but we\nwill not speak.\nANGEL ENTERS holding casket\n0, look what has come from his mouth ! O, look what\nhas come from his hands... the white butterfly. He is\ndead and I have taken his sou! In my hands; but 1 know\nwhy you open the lid of that golden box. 1 must give it\nto you. There then, (HEput butterfly in casket) He has\ngone through his pains, and you will open the lid in the\nGarden of Paradise. (HEcloses curtain) He is gone, he\nis gone, he is gone, but come in everybody in the world\nand look at me.\n\" I hear the wind a-blow\ni hear the grass a«=grow,\nAnd ail that I know, 1 know. \"\nBut 1 will not speak, I will run away. (HE goes out)\nTHE END.\n\nFOOL."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c038", "article_bluemountain": "bmtnaau_1913-04_01#c038", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "347", "page_fin": "352", "image_debut": 71, "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=bmtnaau191304-01.2.17", "titre_corps": "THE WEBB JUVENILE DRAMA", "titre_sommaire": "THE WEBB JUVENILE DRAMA", "signature_source": "H. E. Francis Eagle", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 1186, "texte": "THE WEBB JUVENILE DRAMA\nby H.\nE. Francis Eagle.\n/I rnong the many publishers of Juvenile Drama and Theatrical Prints...\ntheir number has exceeded thirty.... William George Webb was In\nmany ways one of the most interesting. Born at Ripley, Surrey, in the\nyear 1819.... the posthumous son of a prosperous London Wool Merchant...\nat the age of fourteen he was bound apprentice for seven years;\n''without wages, but with board lodging and washing\".... as the\nqnaintly worded old document reads.... to another Juvenile Drama\nPublisher, Mr. A. Park, who then had a printing office in Leonard Street,\nFins bury, London.\n& W. G. Webb was the only publisher of these prints who served an\napprenticeship to the trade, and he sketched, engraved and printed his\nmaster's work. Later on, when he went into business on his own account\nat Bermondsey Street Borough he was the only member of the trade who\ncombined these three capacities, as artist etcher, printer and publisher\nof his own Theatrical Portraits and characters and scenes for the\nMiniature plays. & & &\nIn the trade 56 years altogether, W. G. Webb was the doyen of the\nJuvenile Drama publishers.... only two of whom sketched and engraved"}, {"page_pdf": 72, "page_imprimee": "348", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.72", "debut_caractere": 29, "fin_caractere_exclue": 1671, "texte": "the work they issued, one Park, before mentioned, and the other his\nclever apprentice Webb who died in January 1889. & &\nThe Plays produced by W. G. Webb are second to none in Artistry\nand Craftsmanship and are of particular interest to this generation,\ninasmuch as they illustrate for us some of the fashions, fads and events,\nduring part of the Victorian Era,.... as portrayed on the Stage.... that\nvivid mirror of the day, and were the last work of any importance issued\nin the Juvenile Drama. & JZ? JZ?\nThe earlier work of Webb was contemporary with the later publi-\ncations of Skelt, Park, Fairburn and Green, indeed some of Skelt's plays\nwere sketched and engraved, by Webb. This shows that R. L. Stevenson\nin his memoir \" A Penny Plain and Twopence Coloured \" gives Skeit\ngreat praise for work that was not the production of his brain or hands :\nand with great injustice says: \"It may be different with the rose, but\nthe attraction of this paper drama sensibly declined when Webb had\ncrept into the rubric: a poor cuckoo, flaunting in Skelt's nest.\" This\narticle, when originally pubiished, was illustrated with fifteen reproduc-\ntions of prints, ascribed by Stevenson to Skelt, as a fact, fourteen of\nthese are taken from original etchings by Webb... the fifteenth, a cavern\nscene from the \" Miller and his Men \" was the only Skelt print repro-\nduced. Skelt... a prolific publisher... was neither artist or engraver.\nOriginally a shoemaker, he had his shop window filled with prints issued\nby the earlier publishers of plays, and, finding this side line more pro-\nfitable... we may assume.... than shoemaking and mending, drifted into"}, {"page_pdf": 73, "page_imprimee": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.73", "debut_caractere": 29, "fin_caractere_exclue": 1673, "texte": "the trade! There is more in this R. L. S. incident than meets the\neye... and if our editor desires, 1 will at a later date write the full story.\nWebb's first play \" The Forest of Bondy \" was published in 1847,\na fine production,... but a play that has been issued by at least two other\npublishers. The celebrated actor Buckstone made his first appearance in\nthe year 1818 as Captain Aubrey in The Forest of Bondy. &\nThe second play produced about 1848, was 44 Union Jack \", a stirring\ndrama telling of the early settlers in America; among the characters are\n44 Kleas Klafferman \", 44 Mordenbrenner 4' and 44 Diderich \"4 the pirates,\n44 Zarembo \" the Kaffir Chief, and the hero 44 Union Jack £? jZ?\nThen followed in the order given : 44 Three Fingered Jack \", a play\nmentioned by R. L. Stevenson, and I notice Mr. Jack B. Yeats quotes\nfrom the book and refers to the play in the 44 Mask \" for July. This play\ndeals with the bygone slave trade in Jamaica.\n& After this, in 1852, 44 Uncle Tom's Cabin \"... this was apparently taken\nfrom the first dramatisation of Mrs. Harriet Beecher Stowe's novel,\nproduced at one of the London Theatres. After this; \" Robin Hood \" &\nthe Merry Men of Sherwood Forest.\"\nThis play is mentioned and the book quoted by R. L. S. in his memoir.\nStevenson evidently considered it to be one of Skelt's plays. The error\nwill be quite obvious when 1 point out that Webb was the only publisher\nof 44 Robin Hood \" as a drama. jZt jZ? jZ? jZ? jZ?\n£> The next two plays :44 The Battle of Alma \" 1854.44 Battle of Balaclava\nand Inkerman are interesting, portraying the scenery and principal\nactors in these historic & & uzr ■£>"}, {"page_pdf": 74, "page_imprimee": "350", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.74", "debut_caractere": 25, "fin_caractere_exclue": 1565, "texte": "The book of 44 Balaclava and Inkerman \" contains the old patriotic\nsong 44 The Red White & Blue \", also song 44 Partant pour la Syrle\n& After this : \" Guy Fawkes \" a fine drama now unfortunately out of\nprint.\n& f Dred or the Dismal Swamp \"... another play dealing with the slave\ntrade, and then the first Webb Pantomime: 44 Dame Crump and the\nSilver Penny, or Pig won't get over the Stile to-night \", a clever piece\nof work in twenty five plates. Among the figures are some delightful\ncaricatures and scene seven represents Webb's old shop demolished in 1898.\nThe book contains the' doggrel verse quoted by Charles Dickens in\none of his speeches... 44 Stick won't beat pig, and pig won't go home for\nme to cook my supper to-night. \" «\nJZ/ In the text mention is made of velved and three-piled pieces;\nEnglish kerseys, gowns \" and furred with fox and lambskins, too; \"\nfour suits of peach-coloured satin as belonging to one Master Caper;\nblack masks; paint for women's faces, and also powder. There is, too, one\nvery interesting passage in the first Scene of the second Act...a Scene which\nreflects the English justice room of 1590-1610 rather than the Courts\nof Siena, where Ponipey Bum speaking, In his evidence, of stewed prunes,\ntells the magistrates that there were \" but two in the house, which at\nthat very distant time stood, as it were, in a fruit-dish, a dish of some\nthree-pence; your honours have seen such dishes; they are not china\ndishes, but very good dishes. \" When, in addition to this statement, we\nknow that in Shakspere's day Chinese Tsee, or porcelain, was a regular\n\n(1) See 44 The Mask \" Volnmes I, 11, IV."}, {"page_pdf": 84, "page_imprimee": "360", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.84", "debut_caractere": 25, "fin_caractere_exclue": 618, "texte": "impost of Venice, and that England amongst other European countries\npurchased \" china dishes \" there, we may very fairly conclude that no\nimportant house in the class of plays we are now considering, more\nespecially in the Italian group, would be considered furnished without\nits china. Indeed, from the first introduction of Chinese porcelain by\nthe Portuguese in 1503* specimens of this kind of ceramic art have\nbeen more or less eagerly desired, and so great was the demand for it\nthat after 1550 it had grown popular enough seriously to affect the\nmajolica manufactories of Italy*£? £? JS?"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c046", "article_bluemountain": "bmtnaau_1913-04_01#c046", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "355", "page_fin": "355", "image_debut": 79, "image_fin": 79, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.18.2", "titre_corps": "MEASURE FOR MEASURE", "titre_sommaire": "MEASURE FOR MEASURE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 79, "page_imprimee": "355", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.79", "debut_caractere": 0, "fin_caractere_exclue": 51, "texte": "MEASURE FOR MEASURE\nPlans for \"Measure for Measure\""}]}, {"article_id": "bm-bmtnaau-1913-04-01-c048", "article_bluemountain": "bmtnaau_1913-04_01#c048", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "360", "page_fin": "365", "image_debut": 84, "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=bmtnaau191304-01.2.19", "titre_corps": "SIENESE COSTUME : A translation from the book of Cesare Vecellio, 1589", "titre_sommaire": "SIENESE COSTUME : A translation from the book of Cesare Vecellio, 1589", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 84, "page_imprimee": "360", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.84", "debut_caractere": 620, "fin_caractere_exclue": 1778, "texte": "SIENESE COSTUME, A translation from the\nbook of Cesare Vecellio, 1589.\nCOSTUME OP SIENESE GENTLEWOMEN.\n(>)\nTThere are some Ladies, wives of the leading men of Siena, or of officials\nof the Grand duke of Tuscany, who deck themselves with a dress of\ngold or of the most richly adorned brocade which reaches to the ground,\nwith the bodice not too long and the neck low so that one sees all the\nthroat, and with very sumptuous wristlets of gold lace, with which it is\nadorned at the feet also. They wear silk collars with very fine ruffles,\nand at the neck they have most beautiful strings of pearls, with jewels\nof great value hanging among them, and they also wear necklets or\nchains of gold very finely wrought, with some diamond or ritby attached\nto them in the middle. Over this they wear mantles of silk, with gold\nlace, which are fastened to the head and fall to the ground with great\nmagnificence and pomp. & &\nCOSTUME OP NOBLE SIENESE MATRONS.\nTThe noble Sienese Matrons wear robes or \" Zimarras \" of damask, or\nvelvet, of various colours according to their own taste; many of these\n\n(1) whose husbands hold honourable positions and offices in the city."}, {"page_pdf": 89, "page_imprimee": "365", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.89", "debut_caractere": 19, "fin_caractere_exclue": 643, "texte": "dresses, however, are adorned in front with gold, finely worked, and\nalso at the feet, and they are long, reaching to the ground. Under these\nthey wear skirts of silk brocade or of gold made one over another, with\nsleeves of the same, and with the bodice well fitting and not very long, but\nlow=necked.\nOver these gowns they wear a long silk veil, which; hanging from their\nheads, which are covered with velvet hats with small brims, fall to the\n%\nfull length of the dress. &\nThey adorn their necks with most beautiful strings of pearls and rich\ngold chains, and wear ruffles at the wrists, and very becoming silk\nbaveri« (i"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c052", "article_bluemountain": "bmtnaau_1913-04_01#c052", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "365", "page_fin": "366", "image_debut": 89, "image_fin": 90, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.20", "titre_corps": "A WORD UPON ORIGINALITY", "titre_sommaire": "A WORD UPON ORIGINALITY", "signature_source": "Eckermann", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 89, "page_imprimee": "365", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.89", "debut_caractere": 645, "fin_caractere_exclue": 1782, "texte": "A WORD UPON ORIGINALITY\nby Goethe.\n\npeople often \" said Eckermann, \" raise doubt as to the originality of\nsuch or such a celebrated man, by pointing out the Sources whence\nhe has derived his ideas^\n& \" That is perfectly ridiculous \" replied Goethe. \" One might as well,\nin regard to a man who is in good health and seems well nourished,\nhold an enquiry as to the oxen, sheep and pigs which have served for his\nnourishment and given him strength. We certainly bring faculties with\nus, but we owe our development to the thousand influences of an Infinite\nworld ; of this world we appropriate what we are able to and what is\nsuited to us. I owe much to the Greeks, to the French; 1 owe an infinite\namount to Shakespeare, to Sterne, to Goldsmith. But those are not all\nthe sources from which my spirit has drawn ; these are infinite in number,\nand what use is there in knowing them ? The principal thing is to have\na soul which loves truth and which takes it where it finds £?\n& Moreover, the world is now so old and, for many centuries so many\nremarkable men have lived and thought, that there is little that is new\n\n(1) a cape-like collar."}, {"page_pdf": 90, "page_imprimee": "366", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.90", "debut_caractere": 29, "fin_caractere_exclue": 1211, "texte": "to find and to say. My '* Theory of Colours \" is not absolutely a novelty,\nPlato, Leonardo da Vinci and other fine intellects have in part found and\nsaid all that I have myself found and said, but to have rediscovered it,\nre-said it, propagated, defended, and traced out a route for truth, that\nis my merit. & && && && &\n£? Truth has always need of being repeated because error is repreached\nto us ceaselessly, and not merely by a few isolated voices but by the\ncrowd, In the newspapers, in the encyclopaedias, in the schools, in the\nuniversities, everywhere error holds the first place; it is at its ease with\nthe majority who take upon themselves its defence. Often also people set\nforth in turn truth and error, and then pause upon this latter. Thus a\n4 A\nfew days ago I was reading in an English encyclopaedia the exposition of\nthe formation of the colour blue. It gave first the theory of Leonardo\nda Vinci, which is the true one ; but immediately afterwards it gave quite\ntranquilly the theory of Newton, which is false, but it pointed out that it\nwas necessary to accept this latter, because it is universally received I\n\nFrom the \" Conversations\nwith Eckermann. 1832-1832. \""}]}, {"article_id": "bm-bmtnaau-1913-04-01-c054", "article_bluemountain": "bmtnaau_1913-04_01#c054", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "367", "page_fin": "369", "image_debut": 91, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.21", "titre_corps": "THE MODERN THEATRE", "titre_sommaire": "THE MODERN THEATRE", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "367", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.91", "debut_caractere": 0, "fin_caractere_exclue": 2034, "texte": "THE MODERN THEATRE\nby Allen Carric.\nTo the existence of art, to the existence of any aesthetic activity\nor perception whatsoever, a preliminary psychological condition\nis indispensable: namely, ecstasy, & Nietzsche.\nt is unnatural, this modern theatre, it Is altogether unnatural,\nis there any doubt about it? & & &\nIs it not unnatural for us to be forced to wait till night to\nenjoy an art?\n& Is it not unnatural to sit two and a half long hours on one seat,... a\nticketted seat, a numbered seat, crushed in on all sides by strangers ?\nJZ? IS it not unnatural to enter into a place with fear, and look round\nat the multitude with fear, to walk up to your place fearfully, and to sit\ndown talking rather loudly because you are frightened ? Is not fear un-\nnatural ? JZ? JZ?\nIs it not unnatural that you look on to an artificial stage which is\nnot even invested with a natural artifice nor even with a real artificial\nartifice ? £? JS?\nis it not unnatural of us to bear all this without a murmur, to hear\na shout which goes out in praise to the silliest things, and to remain\nsilent through fear ?\njSf Is it not unnatural, that sigh of relief as we perceive a danger which\nhas been avoided? Is this not unnatural? uz?\nJZ? And is it not unnatural on our part to praise every little perfor-\nmance, to pretend even there and also to pretend that pretence ? The\nrouge is not dabbed on artificially as a frank artifice,... it pretends to\nbe naturai nowadays. & x?\nHow great a fault 1\nwe the audience, and they the players, are forced into this pretence\nby the cruellest of deities that savages ever chose to be their master,...\n♦« Pretention \". We are in no natural condition in the theatre. We are\nnot relaxed,... nor do we find relaxation. At best it can be said that\nsometimes we achieve a pretended and external relaxation. & £?\nJZ? it is because of this that someone once said to an inquirer that he\nhoped some day to see the theatre in the Turkish Bath. Some of the\nFrenchmen who came across this statement wrote about this, and found"}, {"page_pdf": 92, "page_imprimee": "368", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.92", "debut_caractere": 27, "fin_caractere_exclue": 2310, "texte": "it a '* comic reform But it is not so comic as they pretend. In the\nTurkish Bath, you become relaxed. The fearful noises and the as fearful\nstillnesses of modern existence are removed:\nYou have passed some length of time in a strange stillness broken\nonly by the natural noise of running water; you are physically in the\nfinest possible condition : your senses are tuned up to the right pitch.\nNow is the condition in which you can receive ail good things which\nstir up the imagination through the senses. Well then, what shall we\nsee? What shall we hear? Let it be drama and opera.^\n& A heavy curtain closes over the central arch.... the light Is shut out,\nali but those long soft rays which shoot from side or ceiling upon the\ntiled pavement; an attendant passes without a sound, and as he goes,\nthere rises a sound of singing,.... the opera has begun. Afar off. unseen\npersons raise their voices in unison,..,, it is the first chorus. The lights\nseem to grow less ; now someone who 10ve5.... something or somebody,\nor all things and all bodies,;... begins to sing.... unseen ; and whilst he\nsings, the notes of a reed pipe seem to follow him,.... to follow not to\nrun beside him.... to follow him in the guise of all those things which\nfollow attraction. What is it we discern in the notes of this pipe ? Some\nof us think it is a flight of birds, another may think it is a fountain, a\nnew source of a new river breaking through the earth. Some think of\nthe waves reaching up to the shore, some will think it is the quickened\nbeat of the pulse. It will be none of these and all of them. It will be\nmerely something moving, in harmony, in vain, and in despite. But while\nvoice and pipe sing, it will seem as though both were moving away. At\nlast a pause. You can count ten slowly. What has happened ? Nothing.\nThe chorus bursts out from the other end of the building: something\nsurprising rushes into the place. The light fills the room slowly, as slowly\nas the chorus swells rapidly. The song and the sound increase and in-\ncrease and then die slowly out.\nThe opera has ended\n....we have fallen asleep.\nwe long to witness a drama. & & & & &\nThe attendants draw aside a thin veil, and disclose a low long window\nin which we seem to see a whole city. Quite silent yet sunny, it seems"}, {"page_pdf": 93, "page_imprimee": "369", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.93", "debut_caractere": 22, "fin_caractere_exclue": 984, "texte": "far outside the place in which we lie, where all is dark and drowsy.\nOutside it is all gay, the sun strikes across the corners of the roofs,\nmoving and falling here and there like something liquid : we see no\nlittle corner, we see a whole city. Then in whispers* the Drama of the\nMarionnettes begins. &\n& In whispers, not of the stage but of the poet's mouth. The little fi-\ngures move about; they don't know we see them, we know they don't\nsee us. AH is grave or gay. Not one thing alone, but many things are\nhappening; not one man alone but many men are feeling, not one\nwoman, but many women, many children Ssssssssh !1 &\n& \"The world is so full of a number of things I'm sure we should all be\nas happy as Kings. \" & & & &\n0 To be as happy as kings... like kings... is the art of the Marlonnette.\nWisdom has often been whispered... a poet has told us. The whispe-\nring grows and grows. Now all is silent once more.\nThe Drama of wisdom has ended\nWe are asleep."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c057", "article_bluemountain": "bmtnaau_1913-04_01#c057", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "369", "page_fin": "373", "image_debut": 93, "image_fin": 97, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.22", "titre_corps": "IN ROME", "titre_sommaire": "IN ROME", "signature_source": "Edward Edwardovitch", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "369", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.93", "debut_caractere": 986, "fin_caractere_exclue": 1441, "texte": "IN ROME\nby Edward Edwardovitch.\n\n\"WHEN IN ROME, DO AS THE ROMANS DO\"\ndid, and I didn't.\n& 1 did as the Romans do. I went to the Theatre and\nlaughed like a Roman. I drank in new Ijfe, and became,\nlike Romans do, intoxicated with good things.\n£/ Then I did what Romans don't do. £/\nTHE CHURCH.\nwent to Santa Maria Maggiore, a large and perhaps beautiful church.\nI went there convinced I should have to elbow my way In; it was at\nVespers on New Year's Day. &"}, {"page_pdf": 94, "page_imprimee": "370", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.94", "debut_caractere": 13, "fin_caractere_exclue": 2279, "texte": "& I arrived early at a quarter to three, and at three fifteen the service\nbegan. Hardly a Roman in the place. One or two foreigners. 1 told\nmyself that modern Romans do not understand any more Dignity and\nBeauty in ceremony and music. And I waited breathlessly, as I wait al-\nways before the Matthew \" Passion \" of John Sebastian Bach.\nThe ceremony began. The music came. The ceremony ended. The\nmusic went. But neither one nor the other touched me.... they gave me\nnothing... there was a feeling that it was being got through to please\nthemselves. ug? jg? jg? jg? jg? j& jg? j&\nAs an artist I am always open to impressions, and, where an organ,\na choir of voices and a ceremony work in harmony, I am always alert\nand ready to enjoy. 4g? & j& jg? jg? &\nThe whole service that afternoon at 3.15 in St Maria Maggiore, Rome\nwas exceedingly bad, and so bad that it is open to censure. J&\nJ& Nothing leads me to suppose that the performance of the ceremony\nwas worse than usual.... yet I was unusually disappointed. I had been\nprepared for something lovely. Hoping for the best I waited to hear the\nmusic played and sung in a perfect fashion. Both were thoroughly bad,...\nnot even adequate. J& j& jg? j& j& j& J&\nj&Once, while travelling in the Appenines, I had a long conversation\n*\nwith a priest. He was on his way to Rome. jg? J& jg? &\njg? Never having seen any Italian city but Florence and Milan I was\ncurious to hear of the capital of Italy. I supposed Rome was a noble city.\nHe answered me that it was. & J&\nI then spoke of the difficulty 1 had in being a **believer \" in the\nsense the Catholic uses the word. 1 said 1 had tried hard, but the\nChurch was always preventing me by force from loving the Church,\nj& \" How is that ? \" he asked. jg? jg? J& jg? J&\nj& \" Well you see, I am such a wretched being.... I am an artist. I love\n\" so much beautiful things. I love the beauty of white clouds, and the\n\" little hills of 1ta1y,... the beauty of the mystery of the singing of birds,\n\" and the noises of a brook. Yes, and even the beauty of the heart....\n\" and of sacrifice. I dislike so much the ugliness and tyranny of stations\n\" and the noises of trains, the blackness and the hard suggestion of\n\" cities. And I cannot tell how it is, but whenever 1 enter the grand"}, {"page_pdf": 95, "page_imprimee": "371", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.95", "debut_caractere": 16, "fin_caractere_exclue": 2106, "texte": "\" old churches of Italy I am there forced to feel as though they were\n\" places of terror. The effect works slowly, but it always drives me out\n\" sooner than I had hoped to go. jg? jg? jg?\njSf 44 In Florence, in Fiesole, in Milano, in many smaller towns, I have\n\" £°n6 with reverence and in search of spiritual beauty into many\n\" churches. What did I find in every case?\n44 I hardly dare to tell you. & jg?\n& \" Tell me, \" he answered, for he was a patient priest.\n\" No, I cannot tell you what I saw and heard. But I must ask you\n\" to tell me why the Church orders its priests to strive to make their\n44 faces and figures more ugly than is necessary ? I must ask you to ex-\n-44 plain why the priests are told to talk amongst themselves and point\n\" to and laugh about men and women who come in to look and listen\n44 with reverence ? These are things which puzzle me much : but what\n44 puzzles me most is to understand why the church insists so rlgourously\n44 upon its priests grinding out the most ugly sounds which the human\n44 voice is capable of producing, and all the while making grimaces such\n44 as are only equalled for ugliness by the Chinese evil spirits as depicted\n44 by the great artists of the Hast. £? jg/\n& 44 If I could only understand the profound intention of the Church\n4 4 and its insistence upon the daily creations of ugliness I could perhaps\n44 the better believe in this Church and admire its influence \". j£*\n44 Ah, \" sighed my friend. 44 You should go to Rome. There the music\n44 is quite lovely \". j\nSo I came. I have listened and looked and it is as ugly and as\nseemingly selfish as everything I have ever encountered. Please under-\nstand me that 1 speak only of the semblance of the thing, not of its\ninner life. JS & &\nI know nothing of that inner life. How can I ? There is no way of\nascertaining. I am forcibly prevented from getting further than the\nexternals.\nThese are, 1 repeat, the ugliest, blackest, most hopeless which man\never encountered.\nAnd perhaps this is a reason why Romans were not to be found at\nSt Maria Maggiore on New Year's Day at Vespers. &"}, {"page_pdf": 96, "page_imprimee": "372", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.96", "debut_caractere": 18, "fin_caractere_exclue": 2164, "texte": "I am told that the place is practically empty the whole year round.\n1 am not surprised, and I think it is a very good old saying about doing\nas the Romans do In Rome, j2f &\nTHE STAGE.\njpor they go to the Theatre... they went to laugh with each other\nand with Scarpetta, and hang me if I don't believe in my heart of\nhearts that a side splitting performance by Scarpetta is a more elevating;\nand a more religious Exhibition than is today the service held at\nSt Maria Maggiore.\n1 don't question that the Church service aims at Divine Worship. 1\ncan only state that it fails utterly to hit the mark for it falls to be heard\nor seen, and therefore to be felt, and that Is essential If you wish to\nmove the people. ■&\nAnd those who do hear and see it are terrified, if their eyes and ears\nare prepared to receive the signs of spiritual beauty. & &\nWhereas we all of us came into touch with Scarpetta at the theatre,\nwe all of us saw and heard things and were moved to feel things ;\nat the theatre doubts and theories vanished, false hopes and equally\nfalse delusions vanished,... we were face to face with life. Nobody was\nmewing and nobody was barking. People were speaking... human people.\nThey were telling us nothing new, nothing mysterious.... 1 mean to say\nnothing so mysterious that it was incomprehensible. We just heard once\nmore the same old story with the moral (if you want a moral) of the\npower of gay spirits over the weakness of tears and complaints. &\nMany comedies, it is true, are charged with the spirit of mockery.\nThese comedies in Rome had an ounce of it, but only an ounce: the\nrest was pure mischief and fun, and poetry; little \" tragedy \" in the\nstrict sense of the word, but much more tragedy than you would get in\na Classic Theatre in Paris, Berlin, or London. For after all, an old gen-\ntleman with a very red nose, is not only comic, but has a touch of\ntragedy in him; especially when that nose is wedded to a pair of ex-\ntremely grave eyes and brows, and a \"reserved play of the hands.\nThe mockery of life was mainly in the gait of the actors and there\nwas nothing but charm or comedy in their delivery. Now and then, one"}, {"page_pdf": 97, "page_imprimee": "373", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.97", "debut_caractere": 16, "fin_caractere_exclue": 636, "texte": "or two of the actors In the secondary roles exaggerated a trifle and by\ntrying to force the humour of the situation or the character became, I\nregret to say, almost like the priests in St Maria Maggiore. But this\nwas never the case with the first five or six of the actors who were\nquite delightful.\nReader, I am afraid that when you come to Rome you won't be able\nto do as the Romans did for I think that Scarpetta will be in Naples,\nSyracuse, or some fair city far removed from the haunt of the Cardinals.\nFor Scarpetta comes from Naples; so when you go to Rome welij I\nthink you had better do as the Neapolitans do. &"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c059", "article_bluemountain": "bmtnaau_1913-04_01#c059", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "373", "page_fin": "373", "image_debut": 97, "image_fin": 97, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.22.2", "titre_corps": "Mediaeval Marionettes from the \"Hortus deliciarum\" of Herrad von Landsberg", "titre_sommaire": "Mediaeval Marionettes from the \"Hortus deliciarum\" of Herrad von Landsberg", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 97, "page_imprimee": "373", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.97", "debut_caractere": 638, "fin_caractere_exclue": 713, "texte": "Mediaeval Marionettes from the \"Hortus deliciarum\" of Herrad von Landsberg."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c060", "article_bluemountain": "bmtnaau_1913-04_01#c060", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "374", "page_fin": "376", "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=bmtnaau191304-01.2.23", "titre_corps": "LETTERS TO THE EDITOR", "titre_sommaire": "LETTERS TO THE EDITOR", "signature_source": "A. Z", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 98, "page_imprimee": "374", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.98", "debut_caractere": 0, "fin_caractere_exclue": 2208, "texte": "LETTERS TO THE EDITOR.\nTHE LIVERPOOL REPERTORY THEATRE.\n\nSir.\n'jphe wealthy are often thought to be mean. Perhaps that Is why the\nwealthiest nation in the world, making the greatest boast of its ge-\nnerosity, has so many of the poverty stricken in its midst. jg/\nCertain it is that all movements towards reform and betterment in\nEngland are expected to make do with one half of the encouragement\nand financial assistance accorded to similar endeavours elsewhere. In\nArt most justly of all may this accusation be levied against the English.\nThe bitter root of puritanism has left foul stain everywhere. The English\nartist Is yet someone to be 'ignored' ...a modern cultural form of earlier\npuritanical burning and hatred. If he be not reviled he is drugged with\nthe poisonous wine of flattery. &\nAs justification for this diatribe against English pettifogging and\ndisregard, let us take the case of Drama. As a particular instance in\nthat case let us conduct an ex-parte examination into the circumstances\nand present condition of the Liverpool Repertory Theatre, to which you\nreferred in your last issue. &\nThese English Repertory Theatres are an unworthy attempt to re-\nvivify with new blood a worn-out corpse of the English theatre. The\nattempt is unworthy because the promoters have hurried to their task\nwith an imperfect knowledge of what was required of them, or of the\nart which they have sought to reawaken; and with firm belief in their\npower to effect vital improvement by inexpensive and conservative methods.\nThe Liverpool Theatre is struggling towards the close of its second\nseason. What is the history of its achievement ? Upon what new school\nof dramatic writing has it set the seal of its encouragement ? With what\nnew methods of production has it experimented ? Has it a school of\nacting, and is that school in a flourishing condition ? How many Sha-\nkespearean plays have been performed during these two seasons? Questions\nand doubts come tumbling out of one's thought; to each of them painful\nsilence is perhaps the most considerate answer. £?\n& We were told that the word ** repertory \" was the rallying cry of the\nnew spirit in the English Theatre. Yet in the theatre under examination,"}, {"page_pdf": 99, "page_imprimee": "375", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.99", "debut_caractere": 23, "fin_caractere_exclue": 2298, "texte": "one of the most representative in this English movement, what a tale of\npractical failure must be told! Shakespeare has not yet been performed in\nthis theatre. With the exception of an encouragingly successful attempt\nIn Oscar Wilde's \" A Florentine Tragedy \" and in a Christmas fairy play\nwhich owed its existence entirely to private enterprise, there has been\nliterally no attempt whatsoever to exploit new methods of production ; no\nattempt to progress beyond the mediocre standard of what is termed\nrealistic acting on and upwards towards that new theatre of Rhythm\ncompounded of Form, Colour and Song; the new movement spiritualised\nand led by such men as Gordon Craig, Kemendy, Leon Bakst, Stanislawsky,\nand Reinhardt. j&\n£? The most tragic part of our tale of failure is that the blame for this\npresent situation cannot be laid with the committee of management, or\nboard of directors as they are called, or with the Art Director of the\ntheatre. The former have, 1 believe, most excellent intentions and the\nlatter is a hard working fellow enough.\nThe blame must be laid with the public of that great city of Liverpool,\nwho by their infamous neglect of this theatre have earned the right\nto complete neglect from the artists of the world for at least fifty\nyears. <£?\n£? This great seaport is one of the richest of England's provincial cities.\nYet it has allowed Its theatre to struggle in absolute penury for two\nyears, and to fail in its most primary objects; it has allowed itself to\nmiss the opportunity of making its theatre world-famous, and thereby\nadding one more jewel to its crown of commercial prosperity. (How one\nkow-tows to the reigning goddess of Britain !)\n& Liverpool is the home of wealthy magnates. There are names which\ncome quickly to one's mind ; William Lever, Bruce Ismay, Richard D. Holt,\nCharles Bibby, Alfred Booth, E. K. Muspratt; and behind these outstan-\n. 4\nding personalities comes a great multitude of lesser wealthy citizens,\nflanked by the wealthiest of municipalities. Yet out of this great mass\nof wealth there does not appear to have been the smallest attempt to\nrender first aid to this enterprise.\nThere is much to be said against municipal endowment. There is\nnothing to be said against a partial endowment obtained by a regular"}, {"page_pdf": 100, "page_imprimee": "376", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.100", "debut_caractere": 27, "fin_caractere_exclue": 751, "texte": "subscription list, or by a particular donation towards the production of\none or two special plays. 0\nThe example of the little town of Lubeck which was quoted by a\nwriter in the last issue of your journal has fallen upon deaf ears in\nLiverpool. It seems that it must ever be so. And so the tale of indecent\nstruggle and practical failure goes on. 0\n0 For this reason, and for this reason only 1 believe, the Liverpool\ntheatre has achieved nothing. The city apparently is content with car-\nrying wealthy Americans across the Atlantic; it seeks no embellishment\nof Its civic life. In precise English, the situation Is disgraceful. Wealthy\nLiverpool regards it with perfect equanimity i 0 0 0\nLiverpool.\n\nYours faithfully\nA. Z."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c062", "article_bluemountain": "bmtnaau_1913-04_01#c062", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "377", "page_fin": "379", "image_debut": 101, "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=bmtnaau191304-01.2.24", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "377", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 1611, "texte": "BOOK REVIEWS.\n\nTHE CIVIC THEATRE by Percy\nMackaye* Mitchell Rennerley.\nNew York.\nlyir Percy Mackaye's utterances\nabout the Theatre always carry\nweight. As we have always held, he\nhas the right to speak with autho-\nrity, being a son of the theatre, and\nas such he may be included in that\nsmall group whose words are deser-\nving of the most careful attention\nof all who are seriously and keenly\nconcerned in the welfare of the\nTheatre and Its Art.\nHis new book treats of his con-\nception of a \" Civic Theatre \", an\nidea which, he points out, im-\nplies, as a distinctive issue, \" the\n'*conscious awakening of a people to\n•' self-government in the activities\n\" of its leisure\".\n& There Is an Idea in this.\nMr Mackaye defines this institu-\ntion which he calls the Civic Thea-\ntre as \" the efficient instrument of\nthe recreative arts of a community,\"\nan instrument to aid it in fulfilling\nthat deepest instinct of a pe0p1e,....\nthe need for happiness. \"Its object,',\nhe states, \" is to fill time, not kill\n\" it: to refill it to overflowing with\n\" that quality of charmed eternity\n\" which it always possesses In nor-\n\" mal childhood \", and he would\nhave the people themselves coope-\nrate, under the leadership of the\nartists, in all the activities which\nthe celebrations and festivals of such\na theatre should\n\" The redemption of leisure by\n\" an art participated in by the peo-\n\" pie on a national scale \", writes\nMr Mackaye, \" would create such a\n\" counter-demand for craftsman-\n\" ship In the humblest things as\n\" would revolutionize the present\n\" aspects of the machine-made world.\n\" Every property, costume, symbol,"}, {"page_pdf": 102, "page_imprimee": "378", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.102", "debut_caractere": 17, "fin_caractere_exclue": 2443, "texte": "\" insignium, banner and humblest\n\" buckle designed for their festivals\n\" would ultimately become the pro-\n-44 duct of the people themselves,\n44 under leadership of their fellows,...\n\"the artists of the civic theatre\".\nIn fact, 44 Its organization is an or-\n\" ganization of artists for civic lea-\n-44 dership\".\n48 This idea of the leadership of the\nartists is one which cannot be too\noften insisted upon.\n\"The Mask\" has repeatedly decla-\nred that there is not one single de-\npartment of national life which would\nnot be rendered keener, gayer, hap-\npier and more prosperous through\nthe influence of a fine Theatre,\nadequately endowed, under the di-\nrection of artists ; it has also poin-\nted out the value of giving every\nvillage a theatre and every boy and\ngirl the chance of acting. For when\namusement is freed from the curse\nof commercialism and when it is\nthe artists who control and direct\nthe people's leisure, who not only\ndelight them, but first inspire and\nthen guide them to creative activi-\nties of their own, we shall have taken\na long step towards the attainment\nof that ideal state when the artists\nshall cease to be isolated accidents,\nexceptions, but when all shall be\nartists, 44 contributing their verse \"\nto the great Song of Life in honour\nof the New Age whose dawn the\nartists are even now prophecying is\nto revive an old world, 48/ 48\n& What we are all striving for and\nshould remember is that the whole\nof mankind should be creative ar«\ntists; that a man who is not an\nartists should be the exception. This\nis the desire of many thousands of\npeople ; they see In this the solution\nof all social problems, the solution\nof all difference between sex,... the\nsolution of the great problem of life.\nFor the artist understands\nall things, whereas all other people\nare specialists. A Leonardo da Vinci,\na Whitman, both springing from the\npeople,seem to know that this uni-\nversal race of artists is bound to\ncome. It is no new idea, and its\nrealization is to come after the social\nUpheaval which threatens us even\nnow.\n■£? The artists of the Theatre will be\nin the forefront of that movement\nwhich shall lead us to a sense of the\nsplendour of life as understood and\nfelt through the means of creative\nart...through the very act of creating.\n4? The vision of the foremost men\nand women of our art must pierce\nbeyond that of all others; it must\ncommand a wider horizon. They must\nfor ever be in advance, for they"}, {"page_pdf": 103, "page_imprimee": "379", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.103", "debut_caractere": 20, "fin_caractere_exclue": 2313, "texte": "search on behalf of the people,and joy\ncan be brought to these in no other\npossible way than by the understan-\nding and creation of the beautiful.\nThe Chinese sage tells us that a\njourney of a thousand miles began\nwith a single step and as the\nstep been taken towards this ideal\nthe destination must be reached.\n\nIMPRESSIONS AND OPINIONS\nby George Moore. Werner Lau-\nrie. Price six shillings. &\nMr George Moore tells\nus that this book, \" like a big\nNewfoundland dog, dived after him\nand brought him to shore \" when\nhe was *'■ sinking in a flood of public\ndisfavour caused by 'Spring Days'; \"\nand as he further goes on to say,\n\" We have heard of three pounds\nten shillings being asked for a copy\"\nhow could we expect him to refrain\nfrom reprinting a cheaper edition ?\nThere are several little essays on\nthe Theatre included; one on the\norigin of the \" Theatre Libre \" in\nParis, an Idea for a Th&itre Libre\nIn England, estimates of \" our Dra=\nmatists and their Literature \" and\nso on. &\nX? His essay on \"Mummer Worship\"\nis of interest if only that it reminds\nus afresh that what was so terribly\ntrue when he first published it in\n1888 is still as true, and even\nmore 50.... today.\nMr Moore wrote twenty-five\nyears ago of the \" Mummer \"... \"his\nvanity has grown as weed never\ngrew before : It overtops all things\nhuman jg? X?\nJS? Are not the amazing records of\nan actor manager's \" little conti-\nnental tour \" in 1885 equalled by\nthe importance given to the trifling\nactivities and achievements of cer-\ntain actor-managers today ? and\nwhat of his leading lady's tremen-\ndous admission on going to act in\nBerlin, when she says, having \"never\nkept up a familiarity with the Ger-\nman language\" since her schooldays,\n\"in order to get as much practise\nas possible In the foreign tongue in\nwhich I had somewhat rashly un-\ndertaken to play, I took my passage\nin the North German Lloyd\nsteamer *Saal'.(l) ■£>\nSurely this will become immortal.\nMr Moore's indictment remains,\nunfortunately, as true today as when\nit was written: and not until the\ncolossal vanity of the \" mummer \"\ncan be rooted out, until this worship\nof mere \" personality \" ceases, and\nas stern a training is enforced in\nthe theatre as in any other art, may\nwe hope that these fatuous follies\nwill be corrected.\n(i) The Italics are ours."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c064", "article_bluemountain": "bmtnaau_1913-04_01#c064", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "377", "page_fin": "379", "image_debut": 101, "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=bmtnaau191304-01.2.24.2", "titre_corps": "THE CIVIC THEATRE by Percy Mackaye", "titre_sommaire": "THE CIVIC THEATRE by Percy Mackaye", "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": "377", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.101", "debut_caractere": 15, "fin_caractere_exclue": 1611, "texte": "THE CIVIC THEATRE by Percy\nMackaye* Mitchell Rennerley.\nNew York.\nlyir Percy Mackaye's utterances\nabout the Theatre always carry\nweight. As we have always held, he\nhas the right to speak with autho-\nrity, being a son of the theatre, and\nas such he may be included in that\nsmall group whose words are deser-\nving of the most careful attention\nof all who are seriously and keenly\nconcerned in the welfare of the\nTheatre and Its Art.\nHis new book treats of his con-\nception of a \" Civic Theatre \", an\nidea which, he points out, im-\nplies, as a distinctive issue, \" the\n'*conscious awakening of a people to\n•' self-government in the activities\n\" of its leisure\".\n& There Is an Idea in this.\nMr Mackaye defines this institu-\ntion which he calls the Civic Thea-\ntre as \" the efficient instrument of\nthe recreative arts of a community,\"\nan instrument to aid it in fulfilling\nthat deepest instinct of a pe0p1e,....\nthe need for happiness. \"Its object,',\nhe states, \" is to fill time, not kill\n\" it: to refill it to overflowing with\n\" that quality of charmed eternity\n\" which it always possesses In nor-\n\" mal childhood \", and he would\nhave the people themselves coope-\nrate, under the leadership of the\nartists, in all the activities which\nthe celebrations and festivals of such\na theatre should\n\" The redemption of leisure by\n\" an art participated in by the peo-\n\" pie on a national scale \", writes\nMr Mackaye, \" would create such a\n\" counter-demand for craftsman-\n\" ship In the humblest things as\n\" would revolutionize the present\n\" aspects of the machine-made world.\n\" Every property, costume, symbol,"}, {"page_pdf": 102, "page_imprimee": "378", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.102", "debut_caractere": 17, "fin_caractere_exclue": 2443, "texte": "\" insignium, banner and humblest\n\" buckle designed for their festivals\n\" would ultimately become the pro-\n-44 duct of the people themselves,\n44 under leadership of their fellows,...\n\"the artists of the civic theatre\".\nIn fact, 44 Its organization is an or-\n\" ganization of artists for civic lea-\n-44 dership\".\n48 This idea of the leadership of the\nartists is one which cannot be too\noften insisted upon.\n\"The Mask\" has repeatedly decla-\nred that there is not one single de-\npartment of national life which would\nnot be rendered keener, gayer, hap-\npier and more prosperous through\nthe influence of a fine Theatre,\nadequately endowed, under the di-\nrection of artists ; it has also poin-\nted out the value of giving every\nvillage a theatre and every boy and\ngirl the chance of acting. For when\namusement is freed from the curse\nof commercialism and when it is\nthe artists who control and direct\nthe people's leisure, who not only\ndelight them, but first inspire and\nthen guide them to creative activi-\nties of their own, we shall have taken\na long step towards the attainment\nof that ideal state when the artists\nshall cease to be isolated accidents,\nexceptions, but when all shall be\nartists, 44 contributing their verse \"\nto the great Song of Life in honour\nof the New Age whose dawn the\nartists are even now prophecying is\nto revive an old world, 48/ 48\n& What we are all striving for and\nshould remember is that the whole\nof mankind should be creative ar«\ntists; that a man who is not an\nartists should be the exception. This\nis the desire of many thousands of\npeople ; they see In this the solution\nof all social problems, the solution\nof all difference between sex,... the\nsolution of the great problem of life.\nFor the artist understands\nall things, whereas all other people\nare specialists. A Leonardo da Vinci,\na Whitman, both springing from the\npeople,seem to know that this uni-\nversal race of artists is bound to\ncome. It is no new idea, and its\nrealization is to come after the social\nUpheaval which threatens us even\nnow.\n■£? The artists of the Theatre will be\nin the forefront of that movement\nwhich shall lead us to a sense of the\nsplendour of life as understood and\nfelt through the means of creative\nart...through the very act of creating.\n4? The vision of the foremost men\nand women of our art must pierce\nbeyond that of all others; it must\ncommand a wider horizon. They must\nfor ever be in advance, for they"}, {"page_pdf": 103, "page_imprimee": "379", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.103", "debut_caractere": 20, "fin_caractere_exclue": 331, "texte": "search on behalf of the people,and joy\ncan be brought to these in no other\npossible way than by the understan-\nding and creation of the beautiful.\nThe Chinese sage tells us that a\njourney of a thousand miles began\nwith a single step and as the\nstep been taken towards this ideal\nthe destination must be reached."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c065", "article_bluemountain": "bmtnaau_1913-04_01#c065", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "379", "page_fin": "379", "image_debut": 103, "image_fin": 103, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.24.3", "titre_corps": "IMPRESSIONS AND OPINIONS by George Moore", "titre_sommaire": "IMPRESSIONS AND OPINIONS by George Moore", "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": "379", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.103", "debut_caractere": 333, "fin_caractere_exclue": 2313, "texte": "IMPRESSIONS AND OPINIONS\nby George Moore. Werner Lau-\nrie. Price six shillings. &\nMr George Moore tells\nus that this book, \" like a big\nNewfoundland dog, dived after him\nand brought him to shore \" when\nhe was *'■ sinking in a flood of public\ndisfavour caused by 'Spring Days'; \"\nand as he further goes on to say,\n\" We have heard of three pounds\nten shillings being asked for a copy\"\nhow could we expect him to refrain\nfrom reprinting a cheaper edition ?\nThere are several little essays on\nthe Theatre included; one on the\norigin of the \" Theatre Libre \" in\nParis, an Idea for a Th&itre Libre\nIn England, estimates of \" our Dra=\nmatists and their Literature \" and\nso on. &\nX? His essay on \"Mummer Worship\"\nis of interest if only that it reminds\nus afresh that what was so terribly\ntrue when he first published it in\n1888 is still as true, and even\nmore 50.... today.\nMr Moore wrote twenty-five\nyears ago of the \" Mummer \"... \"his\nvanity has grown as weed never\ngrew before : It overtops all things\nhuman jg? X?\nJS? Are not the amazing records of\nan actor manager's \" little conti-\nnental tour \" in 1885 equalled by\nthe importance given to the trifling\nactivities and achievements of cer-\ntain actor-managers today ? and\nwhat of his leading lady's tremen-\ndous admission on going to act in\nBerlin, when she says, having \"never\nkept up a familiarity with the Ger-\nman language\" since her schooldays,\n\"in order to get as much practise\nas possible In the foreign tongue in\nwhich I had somewhat rashly un-\ndertaken to play, I took my passage\nin the North German Lloyd\nsteamer *Saal'.(l) ■£>\nSurely this will become immortal.\nMr Moore's indictment remains,\nunfortunately, as true today as when\nit was written: and not until the\ncolossal vanity of the \" mummer \"\ncan be rooted out, until this worship\nof mere \" personality \" ceases, and\nas stern a training is enforced in\nthe theatre as in any other art, may\nwe hope that these fatuous follies\nwill be corrected.\n(i) The Italics are ours."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c066", "article_bluemountain": "bmtnaau_1913-04_01#c066", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "380", "page_fin": "385", "image_debut": 104, "image_fin": 109, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.25", "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": 104, "page_imprimee": "380", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.104", "debut_caractere": 0, "fin_caractere_exclue": 22, "texte": "FOREIGN NOTES\n\nLONDON."}, {"page_pdf": 105, "page_imprimee": "381", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.105", "debut_caractere": 2079, "fin_caractere_exclue": 2089, "texte": "LIVERPOOL."}, {"page_pdf": 108, "page_imprimee": "384", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.108", "debut_caractere": 1538, "fin_caractere_exclue": 1545, "texte": "LONDON."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c068", "article_bluemountain": "bmtnaau_1913-04_01#c068", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "380", "page_fin": "381", "image_debut": 104, "image_fin": 105, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.25.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 104, "page_imprimee": "380", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.104", "debut_caractere": 15, "fin_caractere_exclue": 22, "texte": "LONDON."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c069", "article_bluemountain": "bmtnaau_1913-04_01#c069", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "380", "page_fin": "381", "image_debut": 104, "image_fin": 105, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.25.2.1", "titre_corps": "Mr Lovat Fraser's Exhibition", "titre_sommaire": "Mr Lovat Fraser's Exhibition", "signature_source": "R. D", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 104, "page_imprimee": "380", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.104", "debut_caractere": 24, "fin_caractere_exclue": 1761, "texte": "Mr Lovat Fraser's Exhibition.\n\n''jphere was a good little Exhibition\nof designs by Mr Lovat Fraser\nheld at his studio in Pelham St in\nFebruary. j£t\nHe did not announce that the de-\nsigns were for the Theatre, but the\nwhole collection of 63 designs, if not\nfor any special theatre* belong to a\ngreat extent to the theatre.\nFor instance, No 14. \" The Inn\nat Pirates Point^\n& This design teaches the theatre\nsomething that it doesn't want to\nknow, pointing out to the theatre\nthe advantages of designing your\nscene as it is there designed and not\nchanging a scrap of it, and they\nwould still not understand that the\nartist was really trying to do them\na great service, x? &\n& The foreign theatre would know\nall about this, but the English thea-\ntre would not understand. It is so\nsensitive. It thinks you want to rob\nit. You want to give it something.\nSo that if any theatrical people\nhave seen Mr Fraser's collection,\nthey have begun puliing it to pieces\nat once.\nMr Lovat Fraser is alive, and\nwill take a lot of killing. You can-\nnot hit him anywhere so far as 1\ncan see. lie is much too fond of\neverything and everybody, despising\nboth at the same time. How grate-\nful he is for a crumb, how indiffe-\nrent to a large slice of advice.\n& This is really a very strong Ex-\nhibition of 63 designs, and unlike a\nfirst Exhibition, Mr Fraser has not\nbeen careful to hide all his likes\nand dislikes. He frankly shows that\nhe has been touched by the work of\nthose trying to revive the European\nTheatre. He is not cautious; a\ncautious man would have gone to\nTelbin or De Lowtherbourg for his\ninspiration. x?\nA cautious man would not have\nhad the courage to say;.... ** I like\nthese new fellows, \" and in a few\nyears, Mr Fraser will, after disliking"}, {"page_pdf": 105, "page_imprimee": "381", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.105", "debut_caractere": 13, "fin_caractere_exclue": 2077, "texte": "or forgetting his friends, make new\nfriends, the friends that his imagi-\nnation will have conjured up for him.\nParticularly interesting is No. 32,\n\" Demeter \".\nThe good thing about it is that\nthere is only one idea in it. Most\npeople would have tried to put six,\nbeing frightened lest one should\nfail. \" Caution \", caution !! A won-\nderful thing in a rash man like\nWhitman, a disastrous thing in any-\nthing less great, less rash, and it is\nbecause there is so much caution in\nEngland that movement has turned\nto rest, and stagnation threatens\nto set in. This is not an opinion\ngiven at close quarters. It is given\nat the proper distance. It is un-\nfortunately what every nation is\nsaying of us, and it is for us to point\nthis out not to our nation as a\nnation, but to the one or two indl-\ndividuals whom each of us happen\nto know. JS? JSf R. P.\nMr Clunn Lewis's Marionettes.\nAmong the attractions of the first\n\"Children's Welfare Exhibition \"\nlately held at Olympia was Mr Clunn\nLewis's Marionette Show, which gave\nfifty-one performances during the\neleven days, and was visited by two\nthousand five hundred people.\nMany of these evinced the keenest\nLewis's much-travelled puppets re-\nceived an applause which mighteasily\nhave turned the heads of any actors\nless serene. x?\nCertainly, the performance given\nby these old dolls is a refreshing and\ndelightful one. England owes a debt\nof gratitude to such a man as Clunn\nLewis, for the tenacity and love he\nhas devoted to keeping alive an an-\ncient tradition ; and It is to be hoped\nthat this debt may soon be dischar-\nged in a fitting way... that is to say,\nby assisting this fine old showman in\nsome practical manner to preserve\nthe marionettes, and thus proving\nto him that his... and their.... good\ndays are not over but yet to come.\nIt is to every one's interest to do\nthis. For, as Mr John Bull, writing of\nthis Puppet Show in the last number\nof \" The Mask \" declared, the En-\nm\ngllsh, \" in serving the man who pre-\nserves old traditions of this kind \"\n\" would be serving themselves more\nthan anyone else.\n\nR. D."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c070", "article_bluemountain": "bmtnaau_1913-04_01#c070", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "381", "page_fin": "384", "image_debut": 105, "image_fin": 108, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.25.3", "titre_corps": "LIVERPOOL", "titre_sommaire": "LIVERPOOL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 105, "page_imprimee": "381", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.105", "debut_caractere": 2079, "fin_caractere_exclue": 2089, "texte": "LIVERPOOL."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c071", "article_bluemountain": "bmtnaau_1913-04_01#c071", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "381", "page_fin": "384", "image_debut": 105, "image_fin": 108, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.25.3.1", "titre_corps": "Mr Gordon Craig's Exhibition", "titre_sommaire": "Mr Gordon Craig's Exhibition", "signature_source": "P. A", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 105, "page_imprimee": "381", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.105", "debut_caractere": 2091, "fin_caractere_exclue": 2387, "texte": "Mr Gordon Craig's Exhibition.\n\nQne of the most remarkable exhi-\nbitions of modern times has been\non view at Liberty Buildings.\nThe little models of stages,\nthough forming only a small part\nof the show, are the section that at\ninterest in the marionettes, and Mronce arrest the attention... we are"}, {"page_pdf": 106, "page_imprimee": "382", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.106", "debut_caractere": 18, "fin_caractere_exclue": 2385, "texte": "still like children in that to see a\nthing In the round, and on a small\nscale, is more real than reality itself,\nand far more exciting than the most\namazing two - dimension represen-\ntation. JZ? JZ/ sZ*\nIn these models we see at first\nhand and clean from the source\nwhat has been percolating through\nfrom Germany and other directions\nin a more or less muddy way, and\nhas been welcomed by us and rhapso-\ndised over in this clouded form as\nsomething wonderful and strange.^\nThe new theatric art had its\norigin in this country, its influence\nhas been \" festooned from point\nto point around Europe\", and at\nlength we are beginning to honour\nthe fountain head. JZ?\nThe natural thing is to say\nthat these models represent the\nrevolt from the realistic stage, but\nthey are something more definite\nthan this. Taking the \" Hamlet\"\ngroup, which appear to carry the\nprinciples suggested in the others\nto their logical conclusion, it is evi-\ndent that this stagecraft overthrows\nthe tyranny of stylistic architecture\non the stage: the models are essen-\ntially stylistic, but at the same\ntime intensely architectural.\nBut the mere clever imitation\nof actual architecture, which was so\ngorgeously indulged in by the Ita-\nlians at the renaissance, and by\nInigo Jones with us, and which with\nus has sunk to a tedious, if precise,\nrepresentation of an actual scene,\nis a thing of the past... we cannot\nbelieve that it will ever return, even\nto mimic a law court or solicitor's\noffice.\nThe literal trespassing of one art\non the grounds of another is one of\nthe chief impositions that we are\nfighting against at present. Paint-\ning has nearly got free of that\nliterary incubus, ?and although the\nmusic of Strauss appeared to grovel\nin a cruder subservience than before\nthe really modern music of Reger\nand others is bent on a flight unen-\ncumbered by literary or pictorial\nsandbags.\nSimilarly, Mr Craig by the use\nof his screens, entirely devoid of\ndetail or ornament, has proved that\nthe art of the theatre is an art of\nitself, and not a matter of imitation,\nas some people would have us think\npainting is. No buildings in the world\ncould everhave existed likeMrCralg's\nmodels; they are sheer architectural\nconceptions untrammelled by practi-\nbility...means of intensifying moods\nand planes for the play of light. In\nthe most rarefied sense we describe\nthem as architectural, as we are"}, {"page_pdf": 107, "page_imprimee": "383", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.107", "debut_caractere": 16, "fin_caractere_exclue": 2433, "texte": "compelled to use the epithet for\nGreek sculpture ; but whoever plan-\nned a real building like the cage\nthat Ophelia wanders about in during\nher mad scene with a gigantic cir-\ncular column in the centre and slim\nsquare shafts around it? The whole\nromance of corridors is concentrated\ninto the Lady Macbeth model so\nunmistakably Celtic in feeling, but\nwe are convinced that not even the\nfantasies of a Scottish baronial castle\never rose to this superb height of\nimpracticability. jg? jg?\nCo-equal in importance with form\nis the lighting. Here Mr. Craig shows\nhimself to be more in sympathy with\nVermeer and Chardin than Rem-\nbrandt. He does not consider gloom\nand bursts of glory necessary ac-\ncompaniments or settings for trage-\ndy ; but he is fascinated by the ex-\nquisite gradation of light thrown at\nan angle on a receding plane. In\nsome of the scenes this aim entirely\ndominates the form, notably in No.\n190, where two different qualities\nof light are made to shine on a\nsymmetrical scene, and the diago-\nnally placed pier is in a wonderful\nradiance of reflected light.\nIt is difficult to leave the models,\nbut the show of drawings is scarcely\nless noteworthy. We are tempted\nto regard these as examples of pic-\ntorial art, although we are well\naware that Mr. Craig definitely\nstates that they are nothing more\nor less than designs for scenes, cos-\ntumes, and properties, and makes\nno claim for them but as a means\nto an end. But three-quarters of\nthem at least can stand by them-\nselves as works of first-rate draughts-\nmanship and design, and for humour\nand fantasy we have seen little to\ntouch them.\nTheir range and versatility is\namazing. There is the exquisite little\nWoodland Mask (8) with its group\nof serious performers disappearing\nunder the trees and the irresponsible\npierrettes amusing themselves be-\nhind. Then there is the whole group\n(26-34) illustrating an adoration my-\nstery play, from which the King's\nson, minstrel, and two .shepherds\noutstand for pure delight. To this\ntype also belong the two charming\nPierrots (5 and 7). Of quite different\ncharacter are the charcoal and chalk\ndrawings, many of them frankly\nscene studies. The storm In \" King\nLear \" (40) is one which we are con-\nvinced must appeal to artists, and\nis conceived in a spirit of austere\ntragedy. For exquisite magic of co-\nlour the two \" Tempest \" scenes\n(43-44) stand alone; in the catalogue\n(which in its way is as remarkable"}, {"page_pdf": 108, "page_imprimee": "384", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.108", "debut_caractere": 11, "fin_caractere_exclue": 1536, "texte": "a production as the models, and\nabounds in abrupt and characteristic\nnotes) Mr. Craig modestly says that\nthese designs require considerable\nexplanation, but he prefers to reserve\nthe little secret This secret may\nbe a stage one, but as drawings they\nare manifestly infused with the\nspirit of the 44 Tempest \":....\nNothing of him that doth fade\nBut doth suffer a sea change\nInto something rich and strange.\nOn the other side of the screen\ncomes a complete change with the\n44Vikings,\" as barbaric and strong\nas you please, particularly the lady\nwith the wolfskin cloak. Mr Craig\nhas let loose his gorgeous fancy on\nthese costumes, which are the very\nantithesis of the delicacy of his\nmasques. Two other types of scene\nwe must mention, those in which\nhe aims at a static quality such as\nV The Wretched Lovers\" (22), in\nwhich one can hardly imagine a fi-\ngure or a gesture moving, and in\nwhich the dream city must hover\nperpetually over their heads; and\nthose which are instinct with motion,\nfor example \" Enter the Army \" (74)\nand 44 Study in Movement\" (75).\nFor ourselves the two which we like\nthe most, and which are pure riots\nof decorative draughtsmanship, are\nthe minute 44 White Fan \" (168) and\nthe gorgeous 14 Hunger ; the\ncrouching figure in black check\ntights, thje gentleman himself with\nthe paunch, and above all, the burst\nof steam from the dish that is being\nbrought to him reveal the strength\nof an artist of exuberant vitality.\nLiverpool is fortunate to be the\nthird city in the country to see these\nworks.\n\nP. A."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c072", "article_bluemountain": "bmtnaau_1913-04_01#c072", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "384", "page_fin": "385", "image_debut": 108, "image_fin": 109, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.25.4", "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": 108, "page_imprimee": "384", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.108", "debut_caractere": 1538, "fin_caractere_exclue": 1545, "texte": "LONDON."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c073", "article_bluemountain": "bmtnaau_1913-04_01#c073", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "384", "page_fin": "385", "image_debut": 108, "image_fin": 109, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.25.4.1", "titre_corps": "A Hundred Good Songs", "titre_sommaire": "A Hundred Good Songs", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 108, "page_imprimee": "384", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.108", "debut_caractere": 1547, "fin_caractere_exclue": 2394, "texte": "A Hundred Good Songs.\n\nhundred good songs for half\na crown! Mr Martin Shaw has just\ngiven us these; though of these\nsongs is alone worth a sovereign\nand is superbly arranged for Piano\nby the composer, who, with old-\nfashioned courtesy, reminds us that\nMr Fuller Maitland worked on this\nsong some years ago. &\nIt is this kind of graciousness\nwhich the Theatre has still to learn\nfrom a few fine-spirited workers in\nthe other fields of Art, and one feels\nthat Mr Gordon Craig, in his new\nbook ** Towards a new Theatre \" has\nnot over emphasised this point in\nalluding to Little Jack iiorner who\nsaid what a good boy He was.\nI was present at the first perfor-\nmance of these songs last February\n(l) The collection our correspondant refers to is \" Songs\nof Britain \" selected and edited by Frank Kidson and\nMartin Shaw. Boosey and Co; Half a crown net."}, {"page_pdf": 109, "page_imprimee": "385", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.109", "debut_caractere": 9, "fin_caractere_exclue": 839, "texte": "when they were sung at the house\nof Dr Vaughan Williams.\nLondon is a great city,.... too\ngreat a city... and perhaps some of\nthe beauty of a song has faded in\nthe process of carrying it from Glen\nShalloch or Balquhidder to the City\nof Dreadful Night. &\nThe great Agincourt song carried\nus away from the place, but* in the\ncase of \"Farewell to Glen Shalloch\"\n1 personally wanted the place to be\ncarried to me before I could really\nfeel all that is in the song.\nFoik dances and songs, although\nthey have a perfect right to be\ndanced or sung in the cities, seem\nto me to belong to a certain spot\nand none other. &\nThis brings me to the point of\nthis note, which is to ask Mr Martin\nShaw to give us a collection of Songs\nof London. He is the one man who\ncould make such a collection and\nrender them simply and grandly\nenough. &\n\nE. E."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c074", "article_bluemountain": "bmtnaau_1913-04_01#c074", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "385", "page_fin": "385", "image_debut": 109, "image_fin": 109, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.25.4.2", "titre_corps": "The Gordon Craig School", "titre_sommaire": "The Gordon Craig School", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 109, "page_imprimee": "385", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.109", "debut_caractere": 841, "fin_caractere_exclue": 2343, "texte": "The Gordon Craig School. &\njUere the best news in the Theatre\nand, indeed, not only here,\nbut in the whole European Theatre,.,\nis that of the establishment of Mr\nGordon Craig's School.\nEveryone who cares about the\nArt of the Theatre must be,.... and\ni 5.... excited over this for no one\ncan fail to realize the importance\nand value of the news. &\njg/With a School organized on such\nlines as those which Mr Craig has\nindicated, and with such a man as\nleader and head, one feels that all\ngood becomes possible, that one may\nindulge one's hopes at last as much\nas one likes, with full confidence of\nnot being disappointed.\njgf There also seems something par»\nticularly welcome in the fact that\nit is through the generosity of an\nEnglishman that the establishment\nof this School has been rendered\npossible. English people needed a\ngreat deal of telling from Europe\nbefore they began to awaken to the\nfact that the recognised head of the\nof the European Theatre was a\ncountryman of their own. And since,\nalthough Goethe rightly says that\nthere is no such thing as patriotic\nart, there Is such a thing as the\npride of a nation in its greatest\nsons;.... its honour if it be swift to\nforward, its reproach if it hinder,\ntheir work for the public g00d,... it\nshould surely, be a gratification to\nEnglishmen that It has not been\nleft to the Continent,... first to ac=\nknowledge Mr Craig's leadership,...to\nbe also the first to give him the\nSchool for which he has long asked\non behalf of the Theatre and its art."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c075", "article_bluemountain": "bmtnaau_1913-04_01#c075", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "386", "page_fin": "392", "image_debut": 110, "image_fin": 116, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.26", "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": 110, "page_imprimee": "386", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.110", "debut_caractere": 0, "fin_caractere_exclue": 2022, "texte": "EDITORIAL NOTES.\n\nTHE LIVERPOOL THEATRE.\n\\yhile not publishing so large a\nnumber of copies as the Daily\nMail, The Mask may yet be said to\nexercise as great an influence. It\npreserves its point of view in all\ncircumstances, and that is one of the\nreasons why it carries weight.\n& The Liverpool Post, tor Instance,\nthinks it worth while to quote\na general criticism of the Liverpool\nand Manchester Repertory Theatres\nwhich appeared in the January\nnumber, and to quote in full.\n& Had this same article been written\non the Repertory movement in Lon-\ndon- we doubt whether the Daily\nMail or the Daily Telegraph\nwould have quoted it at length.\nOne of the passages in the article\nwas: \" Let Liverpool and Manchester\n\" realise that a well-established\n•« theatre with a large financial\n\" backing and plenty of go in it is\n** going to improve every scrap of\n\" the business of those towns ;\n** that it is going to improve the\n«« very existence of each of the inha-\n\" bitants, and then perhaps things\n44 will be done in the right way \".\nJS? NOW, instead of the Post taking\noffence at such a passage as this,...\nfor after all it might be looked upon\nas an effort to teach those cities\ntheir own business...it has approach®\ned the matter in the right spirit.\nInstead of laughing at the idea that\nwell established Repertory Theatres\nwhich are not commercial theatres\nare going to improve the business\nof a city as London would have\ndone, (as, alas, London always does,\ntaking its lead from that most\namazing, if out of date, theatrical\nthermometer, the Referee); instead\nof doing this Liverpool is able to\nsay that 44 the sentiments of the\nwriter\" in The Mask 44 will be\n44 heartily echoed, by all who have\n44 worked for or watched the Liver®\n44 pool enterprise. The large public\n44 which has already shown its ap®\n44 preciation of the work the theatre\n44 has done naturally expects a steady\n44 improvement in that work. But\n44 It must not consider that its duty\n44 is done by attending the theatre.\n44 It should be eager, from patriotic"}, {"page_pdf": 111, "page_imprimee": "387", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.111", "debut_caractere": 22, "fin_caractere_exclue": 2186, "texte": "44 motives, to ensure a constant\n44 improvement by providing the\n44 necessary financial backing, with-\n-44 out which every enterprise, busi-\n-44 ness or artistic, must be seriously\n44 handicapped. It is in the power of\n44 everyone to see that the Liverpool\n44 Repertory Theatre is conducted\n44 worthily. But it will never be\n44 done by talking, but by helping.\n\nENDOWMENT FOR THE\nTHEATRE.\nParisian theatre were 2,300,000\npounds sterling. Twenty years ago\nthey hardly reached one million. For\n1913 the reported amount is higher\nthan that of 1911. & &\nDoes this interest you, reader?\nIf money is the root of all evil,\nthen the evil of the theatre is on\nthe increase.\nBut IF this be so it is only be-\ncause of the people of the theatre,\nand not because of the money.\nNo amount of money, however\ngreat, if properly administered can\ndo anything but good to a good in»\nstitution, and, with such a wonderful\nenchantment as the theatre, endow\na few theatres with several millions\na year between them, and you can\nmake the people happy and help\nthem through their lives by magic\nmeans.\nThere Is nothing which could\nhave a more encouraging effect on\nthe people than a number of well\norganized and enchanting theatres\nendowed with sufficient money to\nkeep them 44 good=looking\n£? At present, in spite of their\nseemingly successful appearance,\nthey are in a bad state of health,...\nand ugly.\nThey have no liberty.\nBecause they take more money\nIn 1911 than they did in 1891 it does\nnot follow that they are a whit more\n44 successful \", for there are many\nmore theatres in Paris today than\nthere were in 1891 and the expenses\nare all far\n& No ; at present the theatre is a\nfailure,... and it needs endowment.\nProvide two millions a year ....and\nyou will have a stronger, gayer and\na more imaginative people.\nMr Percy Mackaye, in his very\ninteresting and very thorough book,\n44 The Playhouse and the Play\"\nshows us what are the necessary\nsteps to be taken by anyone desirous\nof endowing a theatre; and Mr\nGordon Craig has pointed out that\nthe first step is to establish schools\nof Experiment. J£>\n& We quote from Mr Mackaye's\nwords: jg?& j£?\njSf 44 An effectual business needs no"}, {"page_pdf": 112, "page_imprimee": "388", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.112", "debut_caractere": 20, "fin_caractere_exclue": 2408, "texte": "44 subsidy; an effectual art cannot\n44 live without it. &\n& 44 The status of the playhouse\n44 in society is as vital as the\n44 status of the university in society.\n44 The dignity and efficiency of the\n44 one demand the same safeguarding\n44 against inward deterioration as\n44 the dignity and efficiency of the\n44 other. The functions of both are\n44 educative. The safeguard of each\n44 is endowment\". &\n44 The highest potentiality of the\n44 drama can never be realized until\n44 the theatre...the drama's communal\n44 instrument... shall be dedicated to\n44 public, not private ends. &\n44 The permanent emancipation\n44 of dramatic art from theatrical\n44 business is a special cause.\n44 The success of that special\n44 cause would permanently benefit\n44 the nation. A cause whose success\n44 would permanently benefit the\n44 nation is a cause which deserves\n44 the support of all citizens able to\n44 promote the efficient means to its\n44 success. j\n& 44 The efficient means to the sue-\n-44 cess of the drama's special cause\n44 is endowment. &\n& 44 Therefore, The drama's\n44 c/a/ cause should be endowed\n44 by citizens able to endow\n44 it- \" jg? &\n* ' £• /\"\n. » ■—'\n\nSOLITUDE AND WORK.\nin Paris to an interviewer\na short time ago, the philosopher\nBergson complained ofthe multitude\nof his occupations and preoccupa-\ntions. \" I feel like a man floundering\nin a heavy sea, with the odds large-\n\" Iy in favour of the sea, \" he said,,\nor words to that effect. 44 I am over-\n-44 burdened, overwhelmed, submer-\n\" ged, 1 am reduced to neglecting\n\" the most urgent matters. During\n\" my two months in Switzerland the\n\" past summer (nominally months-\n-44 of vacation,) I was not able tc get\n44 so much as an hour's rest, and\n44 even so 1 failed to accomplish\n44 what I needed to accomplish. I\n44 have just been obliged to decline\n44 a highly flattering request for an\n44 article from one of the best ma-\n-44 gazines of your country... in spite\n44 of my keen desire to get into the\n44 closest possible touch with the\n44 people whose guest 1 am soon to\n44 be... because I have rashly con-\n-44 tracted so many engagements la\n44 so many quarters (promises of\n44 articles, lectures and the like,)'\n44 that it will take me at least two\n44 years to fulfill them; and front\n44 now to then it will be absolutely\n44 Impossible for me to undertake\n44 anything new, not eyep an article\nof a hundred lines. There,\" poin-"}, {"page_pdf": 113, "page_imprimee": "389", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.113", "debut_caractere": 18, "fin_caractere_exclue": 2380, "texte": "ting to a corner table, cluttered\nwith packages and letters* \"is\n\" my morning mail.... a good part\nof it bears American postmarks...\n\" and Heaven knows when I shall\n\" find time to cut open the letters,\n\" to sa}' nothing of looking into the\n\" pamphlets, magazines and books.\n\" People think me vain and bearish\n\" because I do not answer letters\n\" and refuse to receive callers and\n\" I am making many enemies in\n\" consequence; but if I contrived\n\" to do both of these things, 1 should\n\" not have a minute to do anything\n\" else, and after ail, I cannot forget\n\" that I have my special work to\n\" do. It has been this way for as\n\" much as three years and the si-\n\" tuation is constantly growing\n\" worse, in fact it is getting well-\n\" nigh intolerable JS/\nThe philosopher then said that\nhe had often thought of giving up\nhis position at the College de France,\nand of withdrawing Into the country\nas the only way of escaping those\ntasks which seriously interfered\nwith his investigations, and the\ninterviewer asked him whether he\ndid not fear that living in the Pro-\nvinces might not cause him to get\nout of.touch with life, and in fact,\nto \" go to seed And Bergs on an-\nswered \" That might happen to\n\"persons with whom creativeness is\n\"not so much a matter of self ex-\n\"pression as a matter of responsive-\n\"ness or external stimulus, or to\n\"persons whose plans are floating or\n\"uncertain. But to me, tranquillity\n\"and solitude are absolutely indi-\nspensable prerequisities of my work.\n\"I know just what i want to do ; all\n\"that I want is the time in which to\n\"do it, and that, somehow or other,\n\"I must get. \"\n\nUNPRODUCTIVE PRODUCERS.\nr Norman McKinnel has been\nwaxing eloquent on the subject\nof modern stage producers. In an\nInterview which he lately gave to a\njournalist in the Green t Room of\nthe \" Little Theatre 99 in New York\nhe declared that \"Modern producers\n\" in Germany are probably, taken\n\" collectively, the greatest in the\n\" vanguard of the return to nature,\n\" so to speak, on the stage \" ; and\nhe then bursts into a pean of praise\nto the glory of Professor Reinhardt,\nwho he asserts to be \" a genius of\nthe stage, a wonderful blend of\n\" the artist and the showman which\n\" accomplishes the greatest things\n\" on the stage. \" &\n\" Another element of Professor\nRelnhardt's success \", according to\nhis admirer, \" is his spurning of\ntraditions \" Simply because a"}, {"page_pdf": 114, "page_imprimee": "390", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.114", "debut_caractere": 21, "fin_caractere_exclue": 2435, "texte": "44 play has been acted in a certain\n\" way \" Mr McKinne! tells us, 44 or\n44 because a certain bit of business\n44 has been interpolated into the\n44 play, has absolutely no force with\n\" Professor Reinhardt. He goes at a\n44 play with a fresh unprejudiced\n\" mind, determines what he thinks\n44 the plays mean, and then evolves\n44 the scenery and the business\n44 which will put vividly before\n44 the audiences his conceptions\n44 of the play \" (i) &\nHow delightful this is! To pic-\nture Professor Reinhardt, steeped in\nother men's ideas, guided by other\nmen's designs, inspired by other\nmen's conceptions, aided by other\nmen's hands,... in fact never having\nbeen known to have produced any-\nthing upon any stage whatever, (if\nto 44 produce \" means to create, and\nthen formulate, a new idea); Pro-\nfessor Reinhardt whose sole claim\nto distinction, apart from his great\nactivity, is that he was a fine actor\nand once, long ago, really put some\nplays upon the stage quite admirably\nin his own painstaking manner,....\nto picture, we repeat, this earnest\nenterprising and incapable German\nbringing his 44 fresh unprejudiced\nmind \" to bear upon a play and then\n<4evolving the scenery and business\"\nwhich shall 44 put vividly before the\naudiences his conceptions is simply\n4kolossaF.\nMr McKinnel then passes on to\nEngland. 44 We have in England \",\nhe assures the Interviewer, 44 a\n44 number of producers of the first\n44 quality, at the head of whom I\n44 would place Granville Barker \".\n44 Mr Barker \", he continues, has a\n44 strong and independent persona-\n-44 lity, but I think he would not\n44 hesitate to acknowledge that Pro-\n-44 fessor Reinhardt has had a great\n44 influence on his method of pro-\n-44 duction. \" (i)\nSir Herbert Tree also, according\nto the generous Mr McKinnel, \"ranks\nas one of the best English produ-\ncers \", so now we know just what\nMr McKinnel really likes. &\n& Mr McKinnel then bestowed a\ngracious word or two upon M. An-\ntoine and Lucien Guitry as repre-\nsenting the French stage, but de-\nclared that 44 the' Germans and\n44 Hungarians are the two nations\n44 who are at the front now both as\n44 playwrights and as producers \",\nalthough he admits that Russia 44 is\n44 accomplishing great things at the\n44 Art Theatre in Moscow -and in\n44 some of her other theatres \".\n\n(Ij The Italics are ours. J. S.\n(1) And is Professor Reinhardt ready, in his turn, to\nmake any courteous little acknowledgements ? J. S,"}, {"page_pdf": 115, "page_imprimee": "391", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.115", "debut_caractere": 23, "fin_caractere_exclue": 2375, "texte": "But is it not very remarkable\nthat Mr McKinnel should throughout\nthis Interview exhibit such reticence\nas to the real power aud Inspiration\nbehind all these theatre \"producers\"\nhe has named ? jtz? &\nWe know some of the Germans\nare never very anxious to speak of\nthe careful study they have made of\nthe Englishman who was the first to\nshow the way... and is still leading,\nand in this they are unlike the\nHungarians, who gladly and grate-\nfully acknowledge through their\nleader Hevesl, that all their inspi-\nration is derived from him. But why\nshould Mr McKinnel, an Englishman,\nbe so silent on this point ? We should\nhave thought it would have been\nsome satisfaction to him, (and to all\nthe members of the English theatre)\nto remember that at the back of\nevery piece of good work which he\nhas praised,..:, whether German,\nEnglish, Hungarian or Russian, there\nis the influence and inspiration of\njust one man,... and that man one\nof his own countrymen.\nBut Mr McKinnel chooses to turn\ntail.... well run, McKinnel 1! well\nrun, Sir! & &\n\nTHE YOUNGER GENERATION.\njyir William Brady is out of spirits.\nHe declares that \" The present\n\" theatrical situation in New York\n\"Is bad. There has got to come a\n\" change in it, but I don't know\n44 just how this is going to come\n\" about\". & & &\nHe attributes existing conditions\npartly to the increase in the first\nclass theatres which has been grea-\nter then the Increase in the public\nto attend them: (but Mr William\nBrady had something to do with\nthis himself, hadn't he?): then to\nthe fact that America \" hasn't got\n44 good actors enough to act the\n44 plays that go to the boards\".\n\" I should say \" declares Mr\nBrady, 44 the future of the stage here\n44 depends on the producer\": but he\ngoes on to lamemt that the old pro=\nducer is dying out, that Mr Charles\nProhman's activities have been cut\ndown by his poor health, 44 and the\n\" rest of us are getting old or lazy.\n\" What we need now is young blood\n\" in the producing field\".\nJS? But where is it to be raised ?\nThat is Mr Brady's trouble. Listen\nto him on the younger generation.\nJS?44 How it is going to get this\n44 schooling for the work, though, I\n44 don't know. We have no training\n44 schools for production, and there\n44 are not many young men coming\n44 on today who have been actors,\n44 stage managers, everything in a\n44 theatre like some of us have been."}, {"page_pdf": 116, "page_imprimee": "392", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.116", "debut_caractere": 76, "fin_caractere_exclue": 2353, "texte": "44 It's even worse with the actors.\n44 There is no good training school\n44 for them and their kind is dying\n44 out. The outlook Is a bad one \".\n& Not so bad as you think, Mr\nBrady; at least not so bad if every-\none, instead of wringing their hands,\nwill put them to the plough and\nhelp to turn up some good straight\nfurrows where the fresh seed can\nbe sown.\n& Those young men in whom you\nsee salvation really exist, they are\nreally at work already, and their\nkind, far from dying out, Is coming\non, finer and fresher and more\ncompetent than ever before. Keep\nyour eye on The , Mr Brady I\nwe promise you help,... but can you\ntake it? That you alone can\n\nTOWARDS A NEW THEATRE.\nIn the last number of The Mask\nan article appeared urging, as The\nMask has so often urged before, the\nnecessity for first class books about\nthe Theatre. The quarter has brought\nus one such, Mr Oordon Craig's new\nbook 44 Towards a New Theatre\";\nand though this has appeared too\nlate for us to review it fully in the\npresent number we would say mean-\ntime to every student and worker, in\nthe theatre, to everyone who looks\ntowards and hopes for the founding\nof a New Theatre,... get it and study\nit... and then study it again, and yet\nagain. But do not forget the author's\nown words about the contents of\nthis book: 44 It is not offered as you\n44 offer food ; it is given purely as a\n44 warning. There is not a thing in\n44 this book that can be of any prac-\n-44 tical 44 use \" to you whatever ex-\n-44 cept as a warning, and for your\n44 own sakes, and for the sake of\n44 the ideal Theatre, don't seize upon\nthis book in the hope of extracting\n44 from it something which can be *\n44 put instantly into practical use in\n44 the belief that it will bring you\n44 nearer to our ideal.... It is more\n44 likely to bring you L. 10,000 a year\n44 if well worked, but that in\n44 my opinion, would be highly un-\n-44 practical.... for L. 10,000 is hardly\n44 worth more than a song.... and\n44 one should learn how to refuse\n44 such little sums if one is serious\n44 about the large ideals connected\n44 with the Art. \" &\n&\n\nA LAST WORD.\nJ. S.\nHphinking long of Captain Scott and\nhis Companions we still find not\na word to say.\nIf he could speak we think it\nwould be to say:... 44 I sleep we 11:...\nI have had a good dream"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c077", "article_bluemountain": "bmtnaau_1913-04_01#c077", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "386", "page_fin": "387", "image_debut": 110, "image_fin": 111, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.26.2", "titre_corps": "THE LIVERPOOL THEATRE", "titre_sommaire": "THE LIVERPOOL THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 110, "page_imprimee": "386", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.110", "debut_caractere": 18, "fin_caractere_exclue": 2022, "texte": "THE LIVERPOOL THEATRE.\n\\yhile not publishing so large a\nnumber of copies as the Daily\nMail, The Mask may yet be said to\nexercise as great an influence. It\npreserves its point of view in all\ncircumstances, and that is one of the\nreasons why it carries weight.\n& The Liverpool Post, tor Instance,\nthinks it worth while to quote\na general criticism of the Liverpool\nand Manchester Repertory Theatres\nwhich appeared in the January\nnumber, and to quote in full.\n& Had this same article been written\non the Repertory movement in Lon-\ndon- we doubt whether the Daily\nMail or the Daily Telegraph\nwould have quoted it at length.\nOne of the passages in the article\nwas: \" Let Liverpool and Manchester\n\" realise that a well-established\n•« theatre with a large financial\n\" backing and plenty of go in it is\n** going to improve every scrap of\n\" the business of those towns ;\n** that it is going to improve the\n«« very existence of each of the inha-\n\" bitants, and then perhaps things\n44 will be done in the right way \".\nJS? NOW, instead of the Post taking\noffence at such a passage as this,...\nfor after all it might be looked upon\nas an effort to teach those cities\ntheir own business...it has approach®\ned the matter in the right spirit.\nInstead of laughing at the idea that\nwell established Repertory Theatres\nwhich are not commercial theatres\nare going to improve the business\nof a city as London would have\ndone, (as, alas, London always does,\ntaking its lead from that most\namazing, if out of date, theatrical\nthermometer, the Referee); instead\nof doing this Liverpool is able to\nsay that 44 the sentiments of the\nwriter\" in The Mask 44 will be\n44 heartily echoed, by all who have\n44 worked for or watched the Liver®\n44 pool enterprise. The large public\n44 which has already shown its ap®\n44 preciation of the work the theatre\n44 has done naturally expects a steady\n44 improvement in that work. But\n44 It must not consider that its duty\n44 is done by attending the theatre.\n44 It should be eager, from patriotic"}, {"page_pdf": 111, "page_imprimee": "387", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.111", "debut_caractere": 22, "fin_caractere_exclue": 382, "texte": "44 motives, to ensure a constant\n44 improvement by providing the\n44 necessary financial backing, with-\n-44 out which every enterprise, busi-\n-44 ness or artistic, must be seriously\n44 handicapped. It is in the power of\n44 everyone to see that the Liverpool\n44 Repertory Theatre is conducted\n44 worthily. But it will never be\n44 done by talking, but by helping."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c078", "article_bluemountain": "bmtnaau_1913-04_01#c078", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "387", "page_fin": "388", "image_debut": 111, "image_fin": 112, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.26.3", "titre_corps": "ENDOWMENT FOR THE THEATRE", "titre_sommaire": "ENDOWMENT FOR THE THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 111, "page_imprimee": "387", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.111", "debut_caractere": 384, "fin_caractere_exclue": 2186, "texte": "ENDOWMENT FOR THE\nTHEATRE.\nParisian theatre were 2,300,000\npounds sterling. Twenty years ago\nthey hardly reached one million. For\n1913 the reported amount is higher\nthan that of 1911. & &\nDoes this interest you, reader?\nIf money is the root of all evil,\nthen the evil of the theatre is on\nthe increase.\nBut IF this be so it is only be-\ncause of the people of the theatre,\nand not because of the money.\nNo amount of money, however\ngreat, if properly administered can\ndo anything but good to a good in»\nstitution, and, with such a wonderful\nenchantment as the theatre, endow\na few theatres with several millions\na year between them, and you can\nmake the people happy and help\nthem through their lives by magic\nmeans.\nThere Is nothing which could\nhave a more encouraging effect on\nthe people than a number of well\norganized and enchanting theatres\nendowed with sufficient money to\nkeep them 44 good=looking\n£? At present, in spite of their\nseemingly successful appearance,\nthey are in a bad state of health,...\nand ugly.\nThey have no liberty.\nBecause they take more money\nIn 1911 than they did in 1891 it does\nnot follow that they are a whit more\n44 successful \", for there are many\nmore theatres in Paris today than\nthere were in 1891 and the expenses\nare all far\n& No ; at present the theatre is a\nfailure,... and it needs endowment.\nProvide two millions a year ....and\nyou will have a stronger, gayer and\na more imaginative people.\nMr Percy Mackaye, in his very\ninteresting and very thorough book,\n44 The Playhouse and the Play\"\nshows us what are the necessary\nsteps to be taken by anyone desirous\nof endowing a theatre; and Mr\nGordon Craig has pointed out that\nthe first step is to establish schools\nof Experiment. J£>\n& We quote from Mr Mackaye's\nwords: jg?& j£?\njSf 44 An effectual business needs no"}, {"page_pdf": 112, "page_imprimee": "388", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.112", "debut_caractere": 20, "fin_caractere_exclue": 1176, "texte": "44 subsidy; an effectual art cannot\n44 live without it. &\n& 44 The status of the playhouse\n44 in society is as vital as the\n44 status of the university in society.\n44 The dignity and efficiency of the\n44 one demand the same safeguarding\n44 against inward deterioration as\n44 the dignity and efficiency of the\n44 other. The functions of both are\n44 educative. The safeguard of each\n44 is endowment\". &\n44 The highest potentiality of the\n44 drama can never be realized until\n44 the theatre...the drama's communal\n44 instrument... shall be dedicated to\n44 public, not private ends. &\n44 The permanent emancipation\n44 of dramatic art from theatrical\n44 business is a special cause.\n44 The success of that special\n44 cause would permanently benefit\n44 the nation. A cause whose success\n44 would permanently benefit the\n44 nation is a cause which deserves\n44 the support of all citizens able to\n44 promote the efficient means to its\n44 success. j\n& 44 The efficient means to the sue-\n-44 cess of the drama's special cause\n44 is endowment. &\n& 44 Therefore, The drama's\n44 c/a/ cause should be endowed\n44 by citizens able to endow\n44 it- \" jg? &\n* ' £• /\"\n. » ■—'"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c079", "article_bluemountain": "bmtnaau_1913-04_01#c079", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "388", "page_fin": "389", "image_debut": 112, "image_fin": 113, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.26.4", "titre_corps": "SOLITUDE AND WORK", "titre_sommaire": "SOLITUDE AND WORK", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 112, "page_imprimee": "388", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.112", "debut_caractere": 1178, "fin_caractere_exclue": 2408, "texte": "SOLITUDE AND WORK.\nin Paris to an interviewer\na short time ago, the philosopher\nBergson complained ofthe multitude\nof his occupations and preoccupa-\ntions. \" I feel like a man floundering\nin a heavy sea, with the odds large-\n\" Iy in favour of the sea, \" he said,,\nor words to that effect. 44 I am over-\n-44 burdened, overwhelmed, submer-\n\" ged, 1 am reduced to neglecting\n\" the most urgent matters. During\n\" my two months in Switzerland the\n\" past summer (nominally months-\n-44 of vacation,) I was not able tc get\n44 so much as an hour's rest, and\n44 even so 1 failed to accomplish\n44 what I needed to accomplish. I\n44 have just been obliged to decline\n44 a highly flattering request for an\n44 article from one of the best ma-\n-44 gazines of your country... in spite\n44 of my keen desire to get into the\n44 closest possible touch with the\n44 people whose guest 1 am soon to\n44 be... because I have rashly con-\n-44 tracted so many engagements la\n44 so many quarters (promises of\n44 articles, lectures and the like,)'\n44 that it will take me at least two\n44 years to fulfill them; and front\n44 now to then it will be absolutely\n44 Impossible for me to undertake\n44 anything new, not eyep an article\nof a hundred lines. There,\" poin-"}, {"page_pdf": 113, "page_imprimee": "389", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.113", "debut_caractere": 18, "fin_caractere_exclue": 1620, "texte": "ting to a corner table, cluttered\nwith packages and letters* \"is\n\" my morning mail.... a good part\nof it bears American postmarks...\n\" and Heaven knows when I shall\n\" find time to cut open the letters,\n\" to sa}' nothing of looking into the\n\" pamphlets, magazines and books.\n\" People think me vain and bearish\n\" because I do not answer letters\n\" and refuse to receive callers and\n\" I am making many enemies in\n\" consequence; but if I contrived\n\" to do both of these things, 1 should\n\" not have a minute to do anything\n\" else, and after ail, I cannot forget\n\" that I have my special work to\n\" do. It has been this way for as\n\" much as three years and the si-\n\" tuation is constantly growing\n\" worse, in fact it is getting well-\n\" nigh intolerable JS/\nThe philosopher then said that\nhe had often thought of giving up\nhis position at the College de France,\nand of withdrawing Into the country\nas the only way of escaping those\ntasks which seriously interfered\nwith his investigations, and the\ninterviewer asked him whether he\ndid not fear that living in the Pro-\nvinces might not cause him to get\nout of.touch with life, and in fact,\nto \" go to seed And Bergs on an-\nswered \" That might happen to\n\"persons with whom creativeness is\n\"not so much a matter of self ex-\n\"pression as a matter of responsive-\n\"ness or external stimulus, or to\n\"persons whose plans are floating or\n\"uncertain. But to me, tranquillity\n\"and solitude are absolutely indi-\nspensable prerequisities of my work.\n\"I know just what i want to do ; all\n\"that I want is the time in which to\n\"do it, and that, somehow or other,\n\"I must get. \""}]}, {"article_id": "bm-bmtnaau-1913-04-01-c080", "article_bluemountain": "bmtnaau_1913-04_01#c080", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "389", "page_fin": "391", "image_debut": 113, "image_fin": 115, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.26.5", "titre_corps": "UNPRODUCTIVE PRODUCERS", "titre_sommaire": "UNPRODUCTIVE PRODUCERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 113, "page_imprimee": "389", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.113", "debut_caractere": 1622, "fin_caractere_exclue": 2380, "texte": "UNPRODUCTIVE PRODUCERS.\nr Norman McKinnel has been\nwaxing eloquent on the subject\nof modern stage producers. In an\nInterview which he lately gave to a\njournalist in the Green t Room of\nthe \" Little Theatre 99 in New York\nhe declared that \"Modern producers\n\" in Germany are probably, taken\n\" collectively, the greatest in the\n\" vanguard of the return to nature,\n\" so to speak, on the stage \" ; and\nhe then bursts into a pean of praise\nto the glory of Professor Reinhardt,\nwho he asserts to be \" a genius of\nthe stage, a wonderful blend of\n\" the artist and the showman which\n\" accomplishes the greatest things\n\" on the stage. \" &\n\" Another element of Professor\nRelnhardt's success \", according to\nhis admirer, \" is his spurning of\ntraditions \" Simply because a"}, {"page_pdf": 114, "page_imprimee": "390", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.114", "debut_caractere": 21, "fin_caractere_exclue": 2435, "texte": "44 play has been acted in a certain\n\" way \" Mr McKinne! tells us, 44 or\n44 because a certain bit of business\n44 has been interpolated into the\n44 play, has absolutely no force with\n\" Professor Reinhardt. He goes at a\n44 play with a fresh unprejudiced\n\" mind, determines what he thinks\n44 the plays mean, and then evolves\n44 the scenery and the business\n44 which will put vividly before\n44 the audiences his conceptions\n44 of the play \" (i) &\nHow delightful this is! To pic-\nture Professor Reinhardt, steeped in\nother men's ideas, guided by other\nmen's designs, inspired by other\nmen's conceptions, aided by other\nmen's hands,... in fact never having\nbeen known to have produced any-\nthing upon any stage whatever, (if\nto 44 produce \" means to create, and\nthen formulate, a new idea); Pro-\nfessor Reinhardt whose sole claim\nto distinction, apart from his great\nactivity, is that he was a fine actor\nand once, long ago, really put some\nplays upon the stage quite admirably\nin his own painstaking manner,....\nto picture, we repeat, this earnest\nenterprising and incapable German\nbringing his 44 fresh unprejudiced\nmind \" to bear upon a play and then\n<4evolving the scenery and business\"\nwhich shall 44 put vividly before the\naudiences his conceptions is simply\n4kolossaF.\nMr McKinnel then passes on to\nEngland. 44 We have in England \",\nhe assures the Interviewer, 44 a\n44 number of producers of the first\n44 quality, at the head of whom I\n44 would place Granville Barker \".\n44 Mr Barker \", he continues, has a\n44 strong and independent persona-\n-44 lity, but I think he would not\n44 hesitate to acknowledge that Pro-\n-44 fessor Reinhardt has had a great\n44 influence on his method of pro-\n-44 duction. \" (i)\nSir Herbert Tree also, according\nto the generous Mr McKinnel, \"ranks\nas one of the best English produ-\ncers \", so now we know just what\nMr McKinnel really likes. &\n& Mr McKinnel then bestowed a\ngracious word or two upon M. An-\ntoine and Lucien Guitry as repre-\nsenting the French stage, but de-\nclared that 44 the' Germans and\n44 Hungarians are the two nations\n44 who are at the front now both as\n44 playwrights and as producers \",\nalthough he admits that Russia 44 is\n44 accomplishing great things at the\n44 Art Theatre in Moscow -and in\n44 some of her other theatres \".\n\n(Ij The Italics are ours. J. S.\n(1) And is Professor Reinhardt ready, in his turn, to\nmake any courteous little acknowledgements ? J. S,"}, {"page_pdf": 115, "page_imprimee": "391", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.115", "debut_caractere": 23, "fin_caractere_exclue": 1056, "texte": "But is it not very remarkable\nthat Mr McKinnel should throughout\nthis Interview exhibit such reticence\nas to the real power aud Inspiration\nbehind all these theatre \"producers\"\nhe has named ? jtz? &\nWe know some of the Germans\nare never very anxious to speak of\nthe careful study they have made of\nthe Englishman who was the first to\nshow the way... and is still leading,\nand in this they are unlike the\nHungarians, who gladly and grate-\nfully acknowledge through their\nleader Hevesl, that all their inspi-\nration is derived from him. But why\nshould Mr McKinnel, an Englishman,\nbe so silent on this point ? We should\nhave thought it would have been\nsome satisfaction to him, (and to all\nthe members of the English theatre)\nto remember that at the back of\nevery piece of good work which he\nhas praised,..:, whether German,\nEnglish, Hungarian or Russian, there\nis the influence and inspiration of\njust one man,... and that man one\nof his own countrymen.\nBut Mr McKinnel chooses to turn\ntail.... well run, McKinnel 1! well\nrun, Sir! & &"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c081", "article_bluemountain": "bmtnaau_1913-04_01#c081", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "391", "page_fin": "392", "image_debut": 115, "image_fin": 116, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.26.6", "titre_corps": "THE YOUNGER GENERATION", "titre_sommaire": "THE YOUNGER GENERATION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 115, "page_imprimee": "391", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.115", "debut_caractere": 1058, "fin_caractere_exclue": 2375, "texte": "THE YOUNGER GENERATION.\njyir William Brady is out of spirits.\nHe declares that \" The present\n\" theatrical situation in New York\n\"Is bad. There has got to come a\n\" change in it, but I don't know\n44 just how this is going to come\n\" about\". & & &\nHe attributes existing conditions\npartly to the increase in the first\nclass theatres which has been grea-\nter then the Increase in the public\nto attend them: (but Mr William\nBrady had something to do with\nthis himself, hadn't he?): then to\nthe fact that America \" hasn't got\n44 good actors enough to act the\n44 plays that go to the boards\".\n\" I should say \" declares Mr\nBrady, 44 the future of the stage here\n44 depends on the producer\": but he\ngoes on to lamemt that the old pro=\nducer is dying out, that Mr Charles\nProhman's activities have been cut\ndown by his poor health, 44 and the\n\" rest of us are getting old or lazy.\n\" What we need now is young blood\n\" in the producing field\".\nJS? But where is it to be raised ?\nThat is Mr Brady's trouble. Listen\nto him on the younger generation.\nJS?44 How it is going to get this\n44 schooling for the work, though, I\n44 don't know. We have no training\n44 schools for production, and there\n44 are not many young men coming\n44 on today who have been actors,\n44 stage managers, everything in a\n44 theatre like some of us have been."}, {"page_pdf": 116, "page_imprimee": "392", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.116", "debut_caractere": 76, "fin_caractere_exclue": 727, "texte": "44 It's even worse with the actors.\n44 There is no good training school\n44 for them and their kind is dying\n44 out. The outlook Is a bad one \".\n& Not so bad as you think, Mr\nBrady; at least not so bad if every-\none, instead of wringing their hands,\nwill put them to the plough and\nhelp to turn up some good straight\nfurrows where the fresh seed can\nbe sown.\n& Those young men in whom you\nsee salvation really exist, they are\nreally at work already, and their\nkind, far from dying out, Is coming\non, finer and fresher and more\ncompetent than ever before. Keep\nyour eye on The , Mr Brady I\nwe promise you help,... but can you\ntake it? That you alone can"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c082", "article_bluemountain": "bmtnaau_1913-04_01#c082", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "392", "page_fin": "392", "image_debut": 116, "image_fin": 116, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.26.7", "titre_corps": "TOWARDS A NEW THEATRE", "titre_sommaire": "TOWARDS A NEW THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 116, "page_imprimee": "392", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.116", "debut_caractere": 729, "fin_caractere_exclue": 2154, "texte": "TOWARDS A NEW THEATRE.\nIn the last number of The Mask\nan article appeared urging, as The\nMask has so often urged before, the\nnecessity for first class books about\nthe Theatre. The quarter has brought\nus one such, Mr Oordon Craig's new\nbook 44 Towards a New Theatre\";\nand though this has appeared too\nlate for us to review it fully in the\npresent number we would say mean-\ntime to every student and worker, in\nthe theatre, to everyone who looks\ntowards and hopes for the founding\nof a New Theatre,... get it and study\nit... and then study it again, and yet\nagain. But do not forget the author's\nown words about the contents of\nthis book: 44 It is not offered as you\n44 offer food ; it is given purely as a\n44 warning. There is not a thing in\n44 this book that can be of any prac-\n-44 tical 44 use \" to you whatever ex-\n-44 cept as a warning, and for your\n44 own sakes, and for the sake of\n44 the ideal Theatre, don't seize upon\nthis book in the hope of extracting\n44 from it something which can be *\n44 put instantly into practical use in\n44 the belief that it will bring you\n44 nearer to our ideal.... It is more\n44 likely to bring you L. 10,000 a year\n44 if well worked, but that in\n44 my opinion, would be highly un-\n-44 practical.... for L. 10,000 is hardly\n44 worth more than a song.... and\n44 one should learn how to refuse\n44 such little sums if one is serious\n44 about the large ideals connected\n44 with the Art. \" &\n&"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c083", "article_bluemountain": "bmtnaau_1913-04_01#c083", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "392", "page_fin": "392", "image_debut": 116, "image_fin": 116, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.26.8", "titre_corps": "A LAST WORD", "titre_sommaire": "A LAST WORD", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 116, "page_imprimee": "392", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.116", "debut_caractere": 2156, "fin_caractere_exclue": 2353, "texte": "A LAST WORD.\nJ. S.\nHphinking long of Captain Scott and\nhis Companions we still find not\na word to say.\nIf he could speak we think it\nwould be to say:... 44 I sleep we 11:...\nI have had a good dream"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c085", "article_bluemountain": "bmtnaau_1913-04_01#c085", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.28", "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": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 287, "texte": "THE POETRY REV IE W\nOpened on January i, 1913, at\n35 Devonshire St, Theobald's Road\n(5 minutes from the British Mu-\nseum).\nA BOOKSHOP FOR THE\nSALE OF POETRY\nFOR 1913 THE POETRY REVIEW &\nhas been much enlarged and is published quarterly at 2j6 net.\n& Annual subscription 10[6 post free. &"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c086", "article_bluemountain": "bmtnaau_1913-04_01#c086", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.29", "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": 5, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.5", "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\nbe the classics of\nto-morrow.\nSTORIES : ESSAYS : CRITICISM : PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\nissa\nMITCHELL KENNERLEY\n& New York & London\nThree months trial subscription two shillings"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c087", "article_bluemountain": "bmtnaau_1913-04_01#c087", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.30", "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": 5, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.5", "debut_caractere": 284, "fin_caractere_exclue": 943, "texte": "%\nTH E MOSHER BOOKS &\nHE special literary value of my general Catalogue has given it a unique position\nIn the world of book-making for book-lovers. & & & &\njgr Prom 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 paper editions at popular prices in America. & & & &\nSent without charge to all who are interested in choice editions at moderate\nprices.\nKOXSO\n1 HOM AS B. MOSHER, , MAINE,"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c088", "article_bluemountain": "bmtnaau_1913-04_01#c088", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191304-01.2.31", "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": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 1460, "texte": "YE OLDE PARIS BOOKE=SHOPPE\nII Rue de Chateaudun, Paris, France.\n«———aßßMaa—am lIIIIMMIIIIMII II I I sawn.—aa i Hi———i\nBuys and Sells All Sorts of ,\nSpanish and Italian Books. Also Engravings,\nAncient and Modern.\nCatalogues issued monthly. Correspondance in\nFrench or English invited. Books sent on Ap-\nproval to any part of the World. Lists of Desi-\nderata receive careful consideration.\nEnglish Translations of French, Latin and Greek Classical Works, such\nas Brantdme : \" Liv.es of Fair Ladies \", (with coloured illustrations) ; 44 One\nHundred Merrie & Delightsome Stories \", translation of 44 les Cent Nou-\nvelles nouvelles\"; Anatole France : \" Thais (the Repentant Courtlsan of\nAlexandria). 44 The Well of Santa Clara \" with 21 Copper Plate Etchings;\nPierre Louys 44 Aphrodite \", illustrated by Ed. Zler; Petronius: 44The\nSatyricon\" (translated by Oscar Wilde, with long Preface and many\nNotes;) 44 The Golden Ass\" (of Apuleius) fine English version, with Notes\nand copperplate Etchings ; 4'Corporal Punishment in France\", historic and\nanecdotic; Aristophanes 44 The Eleven Comedies\", literally and fully\nrendered into English for the first time.\nCirculars sent on application, (with stamps to cover postage)\nPlease note we buy French books for cash and\ncan supply all Parisian publications.\nFine Catalogue of French Books, Contes, Romans, Etudes curie uses\n& & (free for 20 cs.) & &\nYE OLDE PARIS BOOR E-S fi O P P E\n11 Rue de Chateaudun, Paris, France. &"}]}, {"article_id": "bm-bmtnaau-1913-04-01-c089", "article_bluemountain": "bmtnaau_1913-04_01#c089", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "393", "page_fin": "393", "image_debut": 117, "image_fin": 117, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.32", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 117, "page_imprimee": "393", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.117", "debut_caractere": 0, "fin_caractere_exclue": 380, "texte": "LEO S. OLSCHKI.\nUn g1 Ar no Acc/a / o I / , Florence.\nLarge Stock of Italian Theatrical Books from the XVth Cen-\ntury up to date JZ?\nIncunabula, Manuscripts with and without .\nOld Bindings, Prints, etc. & J£>\nBooks not in stock sought for and reported free of any charge.\nMonthly Lists of latest purchases supplied on Application\nRichly illustrated Catalogues on special subjects."}]}, {"article_id": "bm-bmtnaau-1913-04-01-c090", "article_bluemountain": "bmtnaau_1913-04_01#c090", "volume": "bmtnaau_1913-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "394", "page_fin": "394", "image_debut": 118, "image_fin": 118, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.2.33", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 118, "page_imprimee": "394", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.118", "debut_caractere": 0, "fin_caractere_exclue": 1056, "texte": "& J& J U S T O U T .\nTOWARDS A NEW THEATRE.\nBeing 40 Designs For Stage Scenes\nWith Critical Notes By The Inventor.\n*jpo ©very design the author adds a page of critical notes. The work\narrests attention not only because of the completeness of its author's\nbreak with all the weak theatrical traditions of the artificial ages, but\nbecause the author breaks away from himself, pointing out to us how\nloose is the f< tradition \" which is all too rapidly being formed upon\nhis earliest experiments, and the danger this rapidity is to his school*\n& The book brings together many of his most representative designs\nmade between the years 1901 and 1911 and which were made for Tragedy,\nComedy, Melodrama for Opera and Mimo-drama.\nThe book is on sale in Florence, and enquiries may be made\nfor It at the office of \" The Mask \", Arena Goldoni. Florence\nSquare Royal 4to, 21 shillings net.\nEDWARD GORDON CRAIG.\nmm\nSend to the Publishers for Prospectus and General Catalogue*\n& J. M. DENT AND SONS. L T D. &\n/ SINGLE COPY PRICE FOUR SHILLINGS\nTRADE AGENTS.\nS I M P RI Nt MARSHALL, HAMILTON, KENT &CO.LON DO N."}, {"page_pdf": 2, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.2", "texte": "E MASK. APRIL 1913- &\nThe Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated. &\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 Qoldoni. Florence. Italy\n\nLITERARY CONTENTS.\nTHE GORDON CRAIG SCHOOL. J. S 387.\nIS \" POETIC DRAMA BORN AGAIN \" ? . Gordon Craig 389.\nTHE ENGLISHMAN AT THE THEATRE. . John Balance 393.\nFRAU WAGNER'S TRIUMPH Adolf Furst 397.\nREALISM. Oscar Wilde, with a note by A. C. 399.\nHORRORS ON THE STAGE St. Augustine, with a word\nby Louis Madrid. ... 301«\nA HISTORY OF PUPPETS Yorick. (P. Ferrigni) . . 303.\nTHE HOUR GLASS W. B. Yeats 337.\nTHE WEBB JUVENILE DRAMA. H. Francis Eagle. . . . 347.\nTHE ARCHITECTURE AND COSTUME OF\n♦« MEASURE FOR MEASURE \" . . E. W. Godwin. 1875. . . 353.\nSIENESE COSTUME Cesare Vecellio. 1589. . . 360.\nA WORD UPON ORIGINALITY. . . . Goethe. . . . . . 365.\nTHE MODERN THEATRE.. . . . . Allen Carrie 367.\nIN ROME Edward Edwardovltch. . . 369.\nLETTER TO THE EDITOR. . 374.\n& BOOK REVIEWS, & FOREIGN NOTES, EDITORIAL NOTES. . . . 376.\n\nILLUSTRATIONS.\nDESIGN FOR A COSTUME FOR MISS ELLEN\nTERRY, (Frontispiece). . . . E. W. Godwin.\nA MARIONETTE SHOWMAN F. E. . . ... 296.\nANCIENT MARIONETTES Pace 30a.\nWEBB'S SHOP WINDOW ... 347.\nTHREE DESIGNS FOR THE WEBB DRAMA 348. 349* 35<>.\nFIVE PLANS FOR '• MEASURE FOR MEASURE\" E. W. Godwin. . . . 353.\nTWO SIENESE COSTUME Cesare Vecellio, 1589. 361.363.\nMEDIAEVAL MARIONETTES Herrad von Landsberg. . . 373.\nHEAD AND TALE PIECES AND INITIAL LETTERS by Gordon Craig, George Borrow,\nand from old English Designs."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.4", "texte": "THE POETRY REV IE W\nOpened on January i, 1913, at\n35 Devonshire St, Theobald's Road\n(5 minutes from the British Mu-\nseum).\nA BOOKSHOP FOR THE\nSALE OF POETRY\nFOR 1913 THE POETRY REVIEW &\nhas been much enlarged and is published quarterly at 2j6 net.\n& Annual subscription 10[6 post free. &"}, {"page_pdf": 5, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.5", "texte": "THE FORUM.\nis printing the most brilliant and\nenduring work of the men\nand women who will\nbe the classics of\nto-morrow.\nSTORIES : ESSAYS : CRITICISM : PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\nissa\nMITCHELL KENNERLEY\n& New York & London\nThree months trial subscription two shillings\n\n%\nTH E MOSHER BOOKS &\nHE special literary value of my general Catalogue has given it a unique position\nIn the world of book-making for book-lovers. & & & &\njgr Prom 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 paper editions at popular prices in America. & & & &\nSent without charge to all who are interested in choice editions at moderate\nprices.\nKOXSO\n1 HOM AS B. MOSHER, , MAINE,"}, {"page_pdf": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.6", "texte": "YE OLDE PARIS BOOKE=SHOPPE\nII Rue de Chateaudun, Paris, France.\n«———aßßMaa—am lIIIIMMIIIIMII II I I sawn.—aa i Hi———i\nBuys and Sells All Sorts of ,\nSpanish and Italian Books. Also Engravings,\nAncient and Modern.\nCatalogues issued monthly. Correspondance in\nFrench or English invited. Books sent on Ap-\nproval to any part of the World. Lists of Desi-\nderata receive careful consideration.\nEnglish Translations of French, Latin and Greek Classical Works, such\nas Brantdme : \" Liv.es of Fair Ladies \", (with coloured illustrations) ; 44 One\nHundred Merrie & Delightsome Stories \", translation of 44 les Cent Nou-\nvelles nouvelles\"; Anatole France : \" Thais (the Repentant Courtlsan of\nAlexandria). 44 The Well of Santa Clara \" with 21 Copper Plate Etchings;\nPierre Louys 44 Aphrodite \", illustrated by Ed. Zler; Petronius: 44The\nSatyricon\" (translated by Oscar Wilde, with long Preface and many\nNotes;) 44 The Golden Ass\" (of Apuleius) fine English version, with Notes\nand copperplate Etchings ; 4'Corporal Punishment in France\", historic and\nanecdotic; Aristophanes 44 The Eleven Comedies\", literally and fully\nrendered into English for the first time.\nCirculars sent on application, (with stamps to cover postage)\nPlease note we buy French books for cash and\ncan supply all Parisian publications.\nFine Catalogue of French Books, Contes, Romans, Etudes curie uses\n& & (free for 20 cs.) & &\nYE OLDE PARIS BOOR E-S fi O P P E\n11 Rue de Chateaudun, Paris, France. &"}, {"page_pdf": 7, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.7", "texte": "THE GORDON CRAIG SCHOOL.\nEstablished February 27th 1913.\nA RED LETTER DAY IN THE HISTORY OF THE THEATRE.\n\nany times has The Mask urged the necessity for a School\nfor the Art of tiie Theatre of such a nature, and carried\nout upon such lines, as Mr Craig has repeatedly set forth.\nIn the last number of the journal the subject was renewed\nby both Mr George Baltruschaltis and Mr Laurence Blnyon.\nNow we are happy in being able to publish the news of the foundation\nof this School.\nSuch news is as exhilerating as it is welcome, for it conveys a sure\npromise for the future of the Theatre as well as a sincere satisfaction\nin the present over the realization of a long cherished hope.\nThe announcement was made by Mr Gordon Craig himself on February,\n27th,... a day most fittingly chosen as being Miss Ellen Terry's birthday...\nWe give his own words :\n\" The date coincides, \" he says, 44 with the realisation of one of my\n44 most cherished schemes. And as whatever I am or may be I owe to\n44 the inspiring influence of my mother, could anything be more appro-\n-44 priate than that 1 should Join her name with the announcement of\n\" the project referred to ? In other words, I bring it to her as a birthday\n44 offering, fully recognising that I owe its fulfilment largely to her\n44 unwavering and helpful encouragement. <£?\n44 To-day, then, we lay the foundations of that experimental school\n44 for the cult of the art of the theatre which it has long been my ambition\n44 to establish in England. Such things cost money before they can be\n44 set upon a firm footing: the prudent man does not embark upon an"}, {"page_pdf": 8, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.8", "texte": "THE GORDON CRAIG SCHOOL. &\n\nenterprise until he has secured what he holds to be the necessary ca=\n44 pital. That has now been provided by a friend who shares my belief\n\" that there is ample room in London for a school whose object it will\n44 be to foster the development of the art of the theatre on lines not\nyet attempted, and to establish a useful system for the training of\n\" young people in all departments of the theatre. J£?\nother words, my aim, as director of the new school, will be to\nInfuse the life of Imagination into every art and craft connected with\nthe stage, so that fresh vigour may be given to the creative powers\n*' of those actively interested in the drama. <£? £/ .\n& 44 The school will consist simply of a body of earnest and thorough\n\" workers, who, building upon the foundations of the work 1 have\nhitherto endeavoured to achieve, will strive, by means of experiment\n\" &nd research, to rediscover and recreate some of those magic and\n44 elemental principles of beauty, simplicity, and grace in that art-world\n44 from which at present they are conspicuously absent. \" & &\n<& With such a School, under such a Leader, all becomes possible.\n& Three years ago Gordon Craig wrote of his project in this journal:\n44 My proposal is to discover or rediscover the lost Art of the Theatre\nby a practical expedition.... into the realms where it lies hidden \". Now\nat the outsettlng of this 44 practical expedition \" we are confident that\nail who love the Theatre, who look hopefully for the dawn of the New Age\nIn which, by means of creative art, shall be restored to us a sense of the\nsplendour of life, will wish to him, to the new adherents who gather to\njoin him, and to the old followers who have long proved their obedience\nand loyalty to this cause and to Craig as leader of this cause, 44 bon\nvoyage &\nThe way is a long one. He has himself said, 44 I am thoroughly con-\nvinced that there will never be an end to our journey \" ; but \"Attraction\nshall never cease for us ; that will never change, we shall ever be in-\nvited.... beckoned... impelled to move forward. \"\n\nJ. S."}, {"page_pdf": 10, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.10", "texte": "A Design for a Stage Costume for Miss Ellen Terry, by E. W. Godwin. F. S A.\n\nTHE MASK.\nApril 1913."}, {"page_pdf": 11, "page_imprimee": "289", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.11", "texte": "IS \"POETIC DRAMA BORN AGAIN?\" A\nReply given\nby Gordon Craig and recorded\nby John Cournos.\nJ. S.\nfew months ago an Interview with Mr Laurence Binyon appeared\nin the Boston Transcript under the heading \"Poetic Drama\nBorn Again\", an Interview in which Mr Binyon glorified the\nstage productions of Mr Granville Barker, \" compared them favourably\nwith the schemes and projects \" of Mr Gordon Craig, and then made the\nstartling declaration that 'f the poetic drama is freed at last. \"\n£? The Interview was brought to the notice of Mr Gordon Craig who,\nasked whether he also held that the poetic drama was born again, re-\nplied, \" It depends whether you are speaking of literary drama or mimo>\ndrama, which is a better name for pantomimo drama. The first is quite\na grown-up man ; the other is being re-born. The literary drama was\nbrought Into being by Yeats and Synge, but we have no great mimo-\ndrama. Therefore the poetic drama, as a whole, may be said to have been\nboth born again, and to be In the process of being born. \" &\n\"Stupendous 1\" was Mr Craig's exclamation on reading what Mr Binyon\nhad said on the subject, and, questioned as to what precisely he meant\nby \" stupendous \" he replied, \" That the great authority on Chinese\npaintings and Japanese prints should be speaking about the stage.\"\n& On being asked whether he meant that Mr Binyon should stick to\nhis own business Mr Craig replied, \" Well, I should be very shy of offe-\nring my opinion on the Chinese and Japanese collections in the British\nMuseum. 1 know that Binyon has written plays, and very beautiful plays ;\nand yet a man may write plays \"and know nothing about the stage, as in\nthe case of Browning, Tennyson, Byron, and a number of the great poets.\"\nWe reprint here a part of the Conversation as it took place between\nMr Craig and Mr John Cournos, a representative of the Boston •\nwhich has an especial interest when taken in connection with the\nstatements recently made by Mr Craig as to the system be intends to\nfollow in training the pupils In his school.\n'T'he stage \" said Mr Craig, \" is an Interpretative art; that is, the pro-\nduction of a play is a craft.... it Is not an art; and a craft more than"}, {"page_pdf": 12, "page_imprimee": "290", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.12", "texte": "IS 44 POETIC DRAMA BORN AGAIN?\" &\n\nany other thing demands that the man who attempts it shall have be-\ncome familiar with Its instruments and materials and unless he Is tho-\nroughly familiar with them he is what is known as talking through his\nhat when he ventures to speak on the subject.\n& 44 I believe that Mr Binyon himself feels this way about it, and my\nreason for saying so is a passage which he has just written about my\nprojected school in a very interesting article to be published in the Ja-\nnuary number of The Mask, (i) This is the passage, speaking in praise\nof my school: \" Had William Morris undertaken the drama as he under-\n-44 took so many arts and crafts, this would have been his way. How\n44 splendid for the dramatic poet to learn his art not from abstract prin-\n-44 ciples or from reading plays in the study, but by handling the actual\n44 material of it, by becoming master of all subsidiary crafts of the theatre\n44 himself! \" I am very much surprised that Mr Binyon now speaks of\nthe poetic drama as having just suddenly been born and by the same\nprocess that a conjurer uses when he produces an egg out of a hat.\nJE? 44 Then what you mean is that as one swallow does not make a sum-\nmer, so one production does not make a drama \".\n44 That is exactly what I mean \" replied Mr Craig with emphasis.\n44 Could one, or even five, productions achieve this miracle, then we\nshould have recreated the poetic drama from 1900 to 1903, when we\nproduced plays and operas in grand succession and in a manner which\nat the time was called revolutionary, just as Mr Barker's productions\nto-day are called revolutionary. The methods we employed at the time\nhave been employed ever since by the revolutionists. \"\n44 Who are 'we' ? \" &\n4i We were a very small group.... consisting of a friend and myself\nand a band of assistants. We gave plays year after year, and we did not\nuse old scenes arid old dresses. We produced 44 Dido and Aeneas \" in 1900.\n4The Masque of Love* and a revival of 4Dido and Aeneas' in 1901, Handel's\nopera 4Acis and Galatea' and a revival of 4The Masque of Love'in 1902, and\nLaurence Hausman's nativity play, 4Bethlehem', 4Sword and Song', Ibsen's\n4Vikings' and 4Much Ado About Nothing' in 1903, all in London, and all\nproduced not as such productions are, out of old materials, but the whole\n\n(1) This article appeared in January last."}, {"page_pdf": 13, "page_imprimee": "291", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.13", "texte": "& IS \" POETIC DRAMA BORN AGAIN? \"\n\nthing in each detail new from beginning to end. They have failed for\nthe same reasons that the Reinhardt and Barker movements to create\nthe poetic drama will fail JZ> j&\n'♦ What, then, in your opinion, are the great forces that can create\nthe poetic drama ? \" JZ?\n** Poets... and great stage managers of genius, but in both cases it is\na question of creation and not interpretation. When Reinhardt produced\n♦Sumurun' he came nearer to creating a poetic drama.... mimo-drama,\nunderstand.... than any stage manager who merely interprets a play by\nShakespeare, and Reinhardt either succeeds or fails in so far as he is\ninspired or uninspired. A mimo-drama, carefully put together, beautifully\ndecorated, quite clear as to its meaning, can still be no work of art, and\ncan be merely a very good job. It all depends on the quality of Inspi-\nration. \"\n♦♦ My plan is this \" went on Mr Craig enthusiastically ; ♦♦ to make a\nsufficient number of very serious men in my school familiar with the\nmaterial and Instruments of their craft. Then we shall have the machine.\nThen all that is needed is the man of genius and that he shall be fa-\nmiliar with the machine. You can then expect a renaissance. We shall\nin our way and with our material hope to do what Yeats and Synge\nhave done with their material. It must be remembered that the two\nmaterials are as divided as the elements. I have myself acted as a most\n♦\nwilling aid in the interpretation of the drama of Yeats and it has been\none of the special happinesses of my life to have been connected with\nhis poetic dramas in Dublin: but with him I have only acted as servant,\nas interpreter and a very willing one; and I hope that my experience\nin that role has taught me more exactly than anything else the truth\nof the existence of another, shall we call it, brother art ?\n1 should be sorry that Americans should think that we are conceited\nover our minor efforts... that is our efforts as interpreters. There is a\nlarge group of artists in England who realize that art is only valuable\nwhen it is creative. We are not really very concerned in England as to\nthe setting of a play, or In any other detail of a production. What we\nare keenest about is that we should add fresh life to each branch of art,\nbe it architecture, music or drama."}, {"page_pdf": 14, "page_imprimee": "292", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.14", "texte": "& IS \" POETIC DRAMA BORN AGAIN? \" &\n\n& Neither are we concerned as much as Americans might be led to sup-\npose with what is called success. You have in America a poet... perhaps\nthe greatest in the last century.... who was practically what is called a\nfailure \". I mean Walt Whitman. But we are all beginning to see that\nhe is an irresistible success and was a success in 1856 when he first\npublished \" Leaves of Grass \". We have had just such a giant in Europe\nonce upon a time Leonardo da Vinci. Each of his statues fell crumbling\nto the ground, all his paintings scaled off the walls or else remained in\nan unfinished state. He was laughed at by that far too \" successful \"\ngentleman, Michel Angelo. And yet today we see that in each of his\nmany branches he was a master, and a master second to none.\nAll his projects, whether flying machinery, scrapnel, for canal cutting,\nfor quarry cutting, for water raising, and many other things besides....\nif they were not brought to a final and perfect form... have proved the\nfirst indication of setting about to solve the problems which they under=\ntook to solve.\nThis artist resembled Nature itself. He worked slowly and never would\nhe go further than the natural point in a slow development. He knew\nthat things have to grow, whereas Mr Binyon thinks they have to be\nproduced out of a hat. Let us take Leonardo and Whitman as the two\ngreat masters of Europe and America and let us abide by their method,\nfor it is the method of Nature. \" & & & &"}, {"page_pdf": 15, "page_imprimee": "293", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.15", "texte": "THE ENGLISHMAN AT THE THEATRE\nby\nJohn Balance.\nn American writer has lately given his views (1) on the\n44 Impassive Englishman at the Theatre as he impresses the\nAmerican\".\nHaving described the English Theatre as 44 a place designed\nby a thoughtful providence for the vicarious expression of British emo-\ntion \"he goes on to assert that, since no well-bred Englishman dares to\nexpress aloud any feeling or speak of really serious things, he must find\nhis emotional expression vicariously in the emotional dramas and \"artistic\nrealism \" of the British stage.\n& But even so, says our critic, the Englishman is careful to allow no\ntrace of that emotionalism which he has gone to the Theatre to get out\nof his system to appear upon his face. 440n1y behind a stolid countenance\ndoes he enjoy the things he dare not feel \" 44 He goes to have expression\nhandled for him, just as he goes to have his clothes made by someone\nelse.\" and 44 English propriety reaches its climax at the London\nTheatre\". (2) & & &\n£? So much for the Englishman at the Theatre as Cousin Jonathan\n*\nsees him.\nNow that may be all very well so far as it goes; but then it refers\nto so small a section of the English,... that is to say, to the small section\nwhich does frequent the Theatre, that it is misleading to use the word\n44 English \" in that general sense, as if referring to the Public as a whole.\nFor the Public in England does not go to the Theatre. To the En-\nglishman the theatre means much less than it does to any other man,\nexcept the American. This is perhaps due to William Shakespeare. He\nhaving told England that all the world's a stage, the Englishman cannot\nbe expected afterwards to attach much importance to the Theatre. If the\nworld is a stage what a wretched place the stage must be. &\n£> To the Englishman the stage is a place where the mirror is held up\nto nature, and snobbery is what is seen in the glass. & & &\n\n(1) New York Sun.\n(2) Mr Gordom Craig wrote from a very different point of view of .the Englishman at the Theatre in \" The\nMask July, 1911."}, {"page_pdf": 16, "page_imprimee": "294", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.16", "texte": "THE ENGLISHMAN AT THE THEATRE &\n\n& The Englishman does not care about this, and so the Theatre In\nEngland has no Public. The Public,... that Is to say, the People, do not\ngo to the Theatre; they go to the Public House. There at least they can\nsteer clear of all humbug about nature and mirrors. There at any rate\nthey can make of every stool a castle,... 44 and don't be too ready to\nagree with me\". jg/ js*\nAgain, in a Theatre the Englishman has to elbow two other Englishmen\nas though he were in any German democratic bierhalle, whereas an\nEnglishman likes elbow room for his own ideas. In a Theatre he has\ntoo little liberty. How can he be at ease with two antagonistic tempe-\nraments sitting on either side of him ? So the Saxon keeps out of the\nTheatre, and the Normans who came over with conquering William keep\nup their theatre going out of respect for Paris. & jg?\nOne might be inclined to think that after many centuries of this\ntreatment Thalia and Melpomene, the muses of the Theatre, would be\nbroken-hearted. But muses have no hearts to break. That is why they\nare able to attract so many lovers. Yet they are very faithful... to prin-\nciple. They are unable to love for they are love, and being so, are\ndeathless. & jg? jg?\nThe muses of the Theatre are at the service of any man who will\nserve them faithfully. Women they detest. This is their one link with the\nsex to which they belong. No woman has ever served any muse faithfully\nand so no woman has ever seen the face of a muse. This Is all going to\nbe changed 500n... when some woman shall have learnt fidelity and\nobedience... to a muse ; though perhaps it is a task not a little beyond\na woman's power. jg> jg/\n& Some men have been faithful and obedient and the dreams of these\nare blessed with the smiles of both Thalia and Melpomene. &\n& A blessed dream Is a prize Englishmen are less inclined to fight for\nthan a lucky reality ; so that we find but few English artists who have\nany desire to act in obedience and faith towards the Law of their Land...\nthe Land of Imagination. In the Theatre, that parched desert land of\nArt, there are very few.\nThe Theatre in England, not receiving the spontaneous national and\nnatural support, is obliged to use unnatural means to attract a certain"}, {"page_pdf": 17, "page_imprimee": "295", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.17", "texte": "THE ENGLISHMAN A T THE THE A TRE\n\nnumber of People within its doors so as to save its face while spiting its\nnose. This absurd situation of the English Theatre is apparent to all the\nother theatres of Europe. Only from itself is its own indignity hidden.\n£? The men who have brought these unnatural dealings Into the Theatre\nand alienated the public are too numerous to mention. They paint their\nfaces nightly no less to give a correct impression to the audience of the\nludicrous thing the English Theatre has become, than to bring a blush\nto their own coy faces. £? & & & &\n£? The men who have controlled themselves from assisting at this\noutrage are few, but may be as easily discerned as white from black.\nThey have for some time had to fight a kind of guerilla warfare\nagainst the forces of the Theatrical Trust, ...a party so well united that,\nto use the wig-maker's parlance, \" you can't see a join anywhere. \" ■£*\nAnd here it is right to linger for a word or two about this immacu-\nlately joined and consolidated Trust. £? JZ?\nUntil lately everyone was of the belief that America was the only\nland with a Theatrical Trust. I am, I believe, the first to point out the\nlittle fact that a much more powerful Trust exists in England. It is more\npowerful for the reason above given... 4 &"}, {"page_pdf": 23, "page_imprimee": "301", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.23", "texte": "£> REALISM. &\n\nYet but few attempt to prevent these good men from their fate. Has\nanyone the right to interfere? especially, has any Englishman the bad\ntaste? No, it Is \"good form\" to let them pass Into oblivion.\nJ£/ Yet perhaps the Englishman would be roused to a rescue if he once\nrealized that these Realists are dragging others to the same fate. All\nthose poor followers of Shaw, Galsworthy and Barker,., they who buy\ntickets to oblivion, who absorb delusion from a stall or a circle.\n\" Most of our modern portrait painters\" says Wilde,\" are doomed to\n\" absolute oblivion. They never paint what they see. They paint what\n\" the public sees, and the public never sees anything \". &\nHow very true,... the public never sees anything, and Barker, Shaw,\nand Galsworthy show them It. & & & jg? &\n& Is it not time we asked for works of Art from our artists instead of\n**»\nfro m a group of rather undecided thinkers ?\n\nA. C.\n\nHORRORS ON THE A word from\nSt: Augustine, with a Note\nby Louis\ngtage-plays also carried\nme away, full of Images\nof my miseries, and of fuel\nto my fire. Why is It, that\nX\nman desires to be made sad,\nbeholding doleful and tra-\ngical things, which yet him-\nself would by no means\nsuffer ? Yet he desires as a\nspectator to feel sorrow at\nthem, and this very sorrow\nis his pleasure. What Is\nthis but a miserable mad-\nness ? For a man is the more affected with these actions, the less fiee\nhe is from such affections. Howsoever, when he suffers in his own per-"}, {"page_pdf": 24, "page_imprimee": "302", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.24", "texte": "HORRORS ON THE STAGE.\n\nson, it uses to be styled misery: when he compassionates others, then\nit is mercy. But what sort of compassion is this for feigned and scenical\npassions ? for the auditor is not called on to relieve, but only to grieve:\nand he applauds the actor of these fictions the more, the more he\ngrieves. And if the calamities of those persons, (whether of old times, or\nmere fiction) be so acted, that the spectator is not moved to. tears, he\ngoes away disgusted and criticising; but if he be moved to passion, he\nstays intent, and weeps for joy. \" jg\n'fhe times were little different in this saint's day from what they\nare now :... perhaps the saints are slightly changed, though even here\nthe times are possibly akin. Strange times, all times ! & &\n& No proper minded saint likes to see his churches empty. Yet what\nwill you have when churches are unattractive? Why we should no longer\nbe persuaded to feel nowadays in a church is what many millions of\npeople are asking. Some churches, with a sudden outburst of courage,\nawaken to the extent of a pennyworth of incenc.\nPoor People, Poor Saints, Poor chance of riches of Heaven. For the\nlaying up of riches in Heaven it is essential to feel Religion, not merely\nto repeat it.\n& Those who go to church nowadays and flatter the poor vicars\nand curates are not generous, or we should have rich churches gene°>\nrously overflowing with wealth, and the magnificent ceremonies of\nReligion.\n* Wel,» we sha\" find a new belief may be in the Theatre, and then,...\nthen let us hope we shall not cut out anything but the cackle but\ncome at once to the winged Horses."}, {"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.25", "texte": "No: 1.\n\nNo: 4.\n\nNo: 2.\n\nSOME ANCIENT MARIONETTES.\nNos: 1, 2, 3, Greek Marionettes.\nNos; 4 & s, Roman Marionettes.\n\nNo: 3.\n\nNo: 5."}, {"page_pdf": 27, "page_imprimee": "303", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.27", "texte": "A HISTORY OF PUPPETS,\nby \"Yorick\".\n(0\nEARLY PERFORMANCES IN ITALY.\nith the breaking of the chains by which the puppets had\nbeen held as the last slaves of the sacerdotal power\nthere also breaks off suddenly the thread of historical\nmemoranda which has guided us in the footsteps of our\ninteresting little wooden figures down to the period of\nthe Renaissance. *& & &\nj& The tradition is interrupted, the chronicle is silent, ail light dies out,\nand the blackest darkness broods over the first wanderings and the\nfirst attempts at independent life of the rebel and vagabond puppets.\n»<£? No single name, no indication, no title of a scenic play has reached\ndown to us through the sure and safe channel of contemporary annals.\nThe whole thing reduces itself to a few vague and uncertain hints from\nwhich appears this single truth ; that the puppets bestirred themselves\nwildly to gain as best they could a crust of bread ; that in all Italy, and\nmore especially in Tuscany, they dispersed into every corner of the land\n0\neither alone or in companies, to make a little name for themselves and\nto win for themselves some sympathy ; that in these attempts they suc-\nceeded admirably, and that in the midst of that universal reawakening\nof tfie dramatic art they were neither the last, nor the least valiant,\nnor the most obscure assistants of progress, JS? & &\nThat the marionettes in Italy were at that period the object of ad-\nmiration to both learned and ignorant we are assured by that same\nGirolamo Cardano already quoted, in his book ** De Subtilitate \".\n\" If I should wish \" says he, \"to enumerate all the marvels which,\n\" by means of strings, the little articulated and counterpoised wood -n\n\" figures are made to execute a whole day would not be long enough\n\" for me. Let it suffice to relate that they fight, hunt, dance, play at\n44 dice, blow the trumpet, and perform most artistically the part\n4< of cook. \" & J£T\nI have already mentioned in the previous pages how in the third\nchapter of another book of his, \" De varietate rerum Cardano, treat-\ning of the odds and ends of mechanics, (de artlficiis humilioribus)\n\n(i) P. Ferrigfii."}, {"page_pdf": 28, "page_imprimee": "304", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.28", "texte": "& A HISTORY OF PUPPETS\n\ncites in the sixty third paragraph a most curious kind of marionette\nmade to act by two Sicilian jugglers, by means of a thread which\ntraversed the breast of each. But yet more interesting is the repetition\nof the exact words with which that writer and eminent scientist\nconfesses, with all his learning, not to have understood one blessed\nthing in the mysterious arrangement by which these strange figures were\nset in motion. 4?\n&44 The thread \" writes he, 44 was tightly stretched. And there was\n44 no dance, however difficult and strange, that those marionettes were\n\" not capable of imitating, making with the feet, the legs, with the\n44 the arms, with the head, with the torso, the most amazing movements ;\n\" and taking so many extraordinary attitudes that, I confess it, I\n\" cannot discover the secret of the mechanisms and springs proper\n\" to produce this effect. The incomprehensibleness lies in the singleness\n\" of the thread and in its state of continual and perfect tension. I\n44 have often seen puppets set in motion by various strings, alternate-\n-44 ly tight and slack, in which there is nothing prodigious. I must also\n\" add that the spectacle of those little figures dancing and gestlcula-\n-44 ting to the sound of music, and without ever being out in the time,\n44 was most diverting \". JS?\nThe testimony Is precious on account of the persona! qualities of\nthe testator. Giroiamo Cardano, physician, mathematician and excel-\nlent philosopher for his times, was born at Pavia in 1504 and died at\nRome in 1576, as 44 archiatro \" of the Pope and pensioned by the Court\nof the Vatican. His name wil! for ever endure on account of the two\ndiscoveries which belong especially to him and ensure his fame. One\nis the formula for the resolution of cubic equations', the other is\nthat system of suspension in a double concentric circle, which des-\ntroys the effects of oscillation, and is used at the present time for the\nlamps hung in ships. & &\n& But what would Cardano have written had he lived long enough to\nsee the dancing marionettes of Nocchi and the acrobatic puppets of the\nPrandi brothers of Brescia ? &\nOne could not with certainty affirm that the Rucellai Gardens of\nFlorence, so celebrated for the gatherings of the Platonic Academy"}, {"page_pdf": 29, "page_imprimee": "305", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.29", "texte": "j£> A HISTORY OF PUPPETS &\n\ninstituted by Marsilio Picino under the auspices of Cosimo ii Vecchio,\nhave sometimes afforded hospitality to some strolling company of mario-\nnettes. But neither would it be permissable to exclude with certainty a\nsimilar hypothesis at a time in which the most elevated minds and the\nmost cultured talents did not disdain, from time to time, to lavish\naffectionate caresses upon the puppets. We know for certain that the\nDuke Cosimo I, allowed them to penetrate Into the theatre constructed\nat his expense and for his especial diversion in Palazzo Vecchio; and It\nis well known that his son, Francesco 1. (who was husband of the char-\nming Bianca Cappello), admitted them into the little permanent theatre\nerected by Siim in the Uffizi building.\n*& Don Lorenzo de' Medici, son of the Grand Duke Ferdinando 1. loved\nthe plays of the puppets, and, in his capacity of protector and\ndirector of the Academy of the \" Infuocati \", offered to his colleagues\nmarionette performances in that small but most charming theatre of\nthe palazzo Ardinghelli In Parione, which afterwards, transferred to\nthe houses of the Ughi beside Santa Maria del Fiore, became the theatre\nof the Cocomero.\nJZ? A celebrated maker of marionettes was that Federico Commandino\nof Urbino, a well-known geometrician and famous mathematician whose\nmemory was honoured by the poet-engineer, Bernardino Baldi, his pupil\nand friend, in a sonnet written shortly after 1550 :\nOh !... come Parte imitatrice ammiro\nOnde, con inodo inusitata e strano,\nMuovesi il legno, e I'uom ne pende immoto 1... (1)\nThese lines would in fact lead us to suppose that the preceptor of\nGuidobaldo da Montefeltro, the learned translator and commentator of\nthe Eniad, was in no way ashamed to assume every now and again the\nlivery of the puppet showman, and himself to manipulate, above an\nimprovised stage, the little figures which he knew how to construct with\n\nTRANSLA T I O N S.\n(i) 0h,.... how I admire the Imitative art by which, with strange and\nunaccustomed method, the wood is moved and the figure hangs motion-\nless from it"}, {"page_pdf": 30, "page_imprimee": "306", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.30", "texte": "& A HISTORY OF PUPPETS &\n\nsuch admirable artifice.£? £? JZ?\nj& It has been In no place possible to trace the least vestige of the\nrepertory of the Italian marionettes in those first years of their inde-\npendence : but it is easy to infer that though at the outset, if only to\nutilize the figures and mechanisms left over from the \" sacre Rappre-\nsentazioni they may have continued to perform some kind of\n\" Mysteries \" and religious Dramas and legends of Martyrs and\nSaints, roughly cast into dialogue and scene, they must then have\nvery quickly devoted themselves to the Farces and comic pieces so\ngeneral, and so deeply rooted, in the customs of the country; remini-\nscences and remains and partial resurrections of the ancient Atelianlan\nplays and of the semi-acrobatic Pantomimes, the heritage of the times\nof the Roman decadence. A remnant of the first style survives in that\ndrama of \" Leonzio \" which I myself have in my youth seen performed\nby the marionettes of Nocchi and which, inspired by the generating idea\nof the Italian Sacre Rappresentazioni, took on later, under the Spanish\ninfluence, an air of such perfect similarity with 44 Don Giovanni Tenario \"\naccompanied by the inseparable 44 Convitato di Pietra \". &\n& It is also beyond all doubt that the puppet showmen of that period,\nthe most able 44 speakers \" and 44 operators of marionettes, did not\nrecite written productions, but for the most part improvised their\ndialogue according to the circumstances of the time and place of the\nperformance, precisely as did, immediately after, the most celebrated\nactors of the Commedia deJl'Arte. Thus upon those humble stages there\nwere born the most characteristic types of the ancient Italian theatre,\nthe immortal 44 masks \" which personified the disposition, the customs,\nthe virtues, the vices, the defects, and absurdities most usual and most\nproverbial in this or that province of Italy; whence they afterwards\nspread themselves all over the world and infused the warmth of\nlife into the first and feeble attempts of the foreign popular\ntheatre.^\nIn fact so great was the fame in those days of the little mobile\ntheatrical figures, and so universal the fame of excellence attributed\nto them in the art of representation, that one of the most able actors\nof the Company de' Gelosi, the buffoon who most frequently and with"}, {"page_pdf": 31, "page_imprimee": "307", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.31", "texte": "A HISTORY OF PUPPETS.\n\nthe best success held the stage In the Commedla dell'Arte, small of\nstature, vivacious In his movements, witty in jests, altogether lost\nhis own name and was called \" Burattino I have here before me,\nwhile I write, his portrait drawn by Callot in the \" Balll di Sfessania\nbut I have sought in vain for his baptismal and family names. He was\ncertainly born at Florence and with the company \" de' Gelosl \" went to\nParis in 1577. Maurice Sand (1) and Magnin (2) believe and wish to have\nit believed that, In that exchange of names between the actor and the\nlittle wooden figures, it was In fact the actor who transmitted his to\nall the contemporary \" Pupi \" and to all the \" Fantoccini but, with\nthe kind permission of these erudite and indefaticable investigators, the\nhypothesis does not seem to me at all conformable to good logic and to\nthe conclusions to which we are led by the facts. & &\n44 Burattino \" was not by any means a proper name; rather was it\na nickname, neither more nor less ; and everyone knows how\nnick~names attach themselves to people for some eccentric habit, for\nsome bizzarre resemblance to another individual or thing or animal\nor figure known to all for certain particular characteristics. Now one\nwould not know how to explain the fact that the actor should have lent\nto the puppets this nickname of his, attached to him for his resemblance\nto some other thing which has remained absolutely unknown, and so\nwell attached as to cause his own name to be absolutely forgotten. It\nwill be Instead more natural, more logical and more consonant with use\nand tradition to affirm that so and so of such and such a family\nbecame, owing to his curious aptness to speak, recite, jump and gesti=\nculate like a puppet, universally designated by that mischievous nickname\nso as entirely to lose his baptismal name and [to pass to his posterity\nwith that written on his passport. & jgr & j&\nBut let us leave hypotheses and come down to more conclusive proofs.\n\" Burattino that is to say the actor who performed In the Commedla\ndell'Arte under this pseudonym appears for the first time on the\n\nNOTES.\n(1) \" Masques et bouffons Vol: I, page 30, Vol: II page 313. &\n(2) Histoire des Marionettes. Book 111 chap: 2 page 75."}, {"page_pdf": 32, "page_imprimee": "308", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.32", "texte": "A HISTORY OF PUPPETS. &\n\nstages of Florence in the year 1580 as one of the components of that\ncelebrated company of the 44 Comlcl Gelosi \" which later, under the\nleadership and direction of Flaminio Scaia, obtained such great\ntriumphs and such long continued popularity upon the stages of\nParis. J£? SS\" &\n& The ** Scenarios \" of Flaminio Scala, collected under the title of\n44 Teatro delle favole rappresentative \" were printed for the first time\nat Venice in the year 1611, and often contain, In the list of characters,\nthe name of 44 Burattino \" together with that of Pantalone, of Gra»\nziano, of Pedrolino, of Cavicchio and of Capitano Spavento, all\n44 maschere \" of the ancient Commedia dell'Arte,\nAnd Luigi Riccoboni, in his 44 Storia del Teatro italiano \" intelligently\nobserves that Flaminio Scala was certainly not the inventor of these\nmasks 44 for he would not have failed to tell us so; and if through\nmodesty he had wished to refrain \" Francesco Andreini known as Capi-\ntano Spavento, \" who was his comrade and who wrote the preface to\nhis friend's book would have informed us (1) Thus Riccoboni\nconcludes that the masks and their names were much anterior to the\ntimes in which Scala and the actors of the Compagnia dei Gelosi\nflourished and that their 44 scenarios \" did but reproduce and revive\nunder a new form the stage types already existing in the Italian\ntheatre. &\n44 Burattino \" Is therefore a mask of earlier date than the actor who\nin 1580 impersonated the character; he is a type of the ancient comedy,\ngenerically designated with that name for the very reason that with\nhis lazzi, with voice, with movements he imitated the movements, the\nvoice and the lazzi of the wooden buratiini. &\nAnd that is not all. The imitation of the marionettes on the larger\nstages, as a source of absurdity and as an artifice for brightening\nthe action of the plays, is as ancient as the theatre, and will endure\nso long as the theatre endures. We ourselves have seen, some time\nback, one of the most celebrated gymnasts of the old 44 Guerra \" Company\n\nNO T E S.\n(1) Riccoboni. Histoire du Th<re. <£?£?£?&&"}, {"page_pdf": 33, "page_imprimee": "309", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.33", "texte": "& A HISTORY OF PUPPETS.\n\nsustain in a pantomime the part of one of those bearded and hairy\ndevils which one shuts down by force in a box, on the opening of which\nby virtue of the spring hidd-en under the garments, the figure leaps\nout unexpectedly, swinging madly to and fro and wildly shaking its\narms and head. And even yet, alas, the auditorium breaks Into loud\napplause when Giuseppe Palamidessi, a comfc actor who was a lawyer\nbefore he was a comedian, imitates with rare perfection, in the 44 Casino\ndi Carnpagna \" the play of a wooden marionette \\ M?\n& But there is yet more to add. 41 Burattino in his day recited in the\nPadovan dialect, which carries back his appearance on the stage to the\nmost distant epoch in which, for the first time, the various dialects of\nthe Italian provinces made themselves heard, from the stage, to the\nears of the frequentors of the\n£/ No one ignores that already as early as 1502, and thus almost a cen=\ntury earlier than the company of the 44 Comici Gelosi there was born\nat Pavia Angiolo Beolco, nick-named 44 il Ruzzante \", the author of most\ndaring and original plays, an incomparable actor who first introduced\nupon the stage,.... where for so long a time there had been heard only\nthe Latin of the sacred writings or the highly elegant and refined Italian\nof Ariosto, Macchiavelli and Bibbiena,... the popular dialects of the Italian\nprovinces : the native Padovan, Bergamese, Bolognese, Venetian, Tuscan,\nand the burlesque Latin and the Neapolitanized Spanish, and the Greek\nof Sicily, and ail the other grotesque and bastard modes of speech of\nthe &-<2? &\nAwgelo Beolco was not born author and actor. Although nothing is\nknown of him save that which was written of him by Bernardino\nScarteone who regards him as a fortunate rival of Plautus and\nof Roscius, his own writings attest that he was born of a noble family,\nthat he was in friendly relations with the most illustrious men of his\nday, and that he early cultivated his mind by keen study and severe\ndiscipline.\nDuring the summer he lived at Codevigo, a villa belonging to his\nfellow citizen and friend Luigi Cornelio ; and, with him, and with Marco\nAurelio Alvarotto, and with Geromino Zanetti and with a Genoese,\nCastagnolo, young gentlemen of his own age, he used to improvise most"}, {"page_pdf": 34, "page_imprimee": "310", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.34", "texte": "-- A HISTORY OF PUPPETS.\n\nhilarious scenes and burlesques, imitating the speech of the peasants\nand of the travellers whom they came across.\n& He tried at first, and not without success, to reproduce the style and\nmanner of the writers of comedy then in vogue, Bembo, Speroni and\nothers of their class, and he put together a few heavy and high\nsounding academical compositions ; but he soon fired of work of that\nkind, and with his love for the lively and forcible types of the common,\nnative, vernacular, he set himself to conceive plots and to arrange\nscenes of rustic and rural nature. With these new comedies, in which\nhe recited extempore, teaching his colleagues to improvise also, he soon\nattained such skill and rose to such fame and celebrity, that he came to\nbe acknowledged, and is still acknowledged, as a reformer of the comic\nItalian theatre.^\nM\nAngelo Beolco died in 1342, and for his monument Giovan Battista\nRota composed the following inscription, an eloquent testimony of the\nrenown which this comedy writer of Padua had achieved :\nAngelo Beolco Ruzanti Patavino\nISullis in Scribendis Agendisque Comoediis\ningenio Facundia Aut Arte Secundo\nJocis Et Sermonib Agrest.\nApplausu Omnium Facetiss,\nQui Non Sine Amicor Moerore E Vita Decessit\nAnn. Domini MDXLII Die XVII Martii\nAefatls Vero XL\n10. Bapt. Rota Patavinus Tantae Praestantiae\nAdmirat. Pign. Hoc Sempit, in Test. Famae\n, Ac. Nominis\nP. C.\nAnn. A Mundo Redempt. MDLX.\nAnd here, as an example of the method and speech of \" Ruzzante \" is\nan extract from the \" Prologue \" of the \" Piovana \", the first among\nthe plays printed with his name at Vicenza in 1598. J£? &\n<£? \" Do not be amazed, any of you, if you hear spoken a language\n\" which is not Florentine, because I have not wished to exchange my\n\" speech for any other, since I believe myself able to wish you health"}, {"page_pdf": 35, "page_imprimee": "311", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.35", "texte": "& A HISTORY OF PUPPETS. js>\n\n44 and wealth and joy and gaiety as well with my thick Paduan tongue\n44 as with any other silky smooth one. And I also speak with my own so\n44 as not to outrage naturalness.... and 1 who am come to give you\n44 pleasure should not be able to give It to you if not in my own speech...\n44 And do not imagine that anyone has robbed anyone else as some\n44 think; for if this were stolen stuff we would not show it to so many\n44 people, but should keep it hidden. If anyone should find In an old\n\" chest one of those robes which it was the fashion to wear in the\n44 ancient days gone by, and the cloth was good but the cut old-fashioned,\n44 and if he should make of the cloth jackets and trousers for the living,\n44 leaving the cut for the dead, would It be robbery ? I wot not. It would\n44 be to supply the living without taking from the dead. And thus it has\n44 come about with this 44 novella \" which was made for the old dead of\n44 ancient times who are no more, out of disused words which were not\n\" good for the living; and the master that has furbished It up has left\n44 the words to the dead, and that which they wished to say he has put\n44 in order for the living, and In this way has made, from a robe of the\n44 dead, breeches and shirts for the living.\n& Such, then, was the repertory of theatrical Marionettes in those days.\nIt consisted of old stories arranged in dialogue form, of mysteries and\nsacred dramas interspersed with a little of the comic element, of fables,\nof heroic episodes taken from bocks of chivalry and knighthood, of\nlegends, of synchronal facts, of old Latin plays, translated and revised,\nand of parodies, satires and burlesques collected here and there. Here\non the stage of the roying puppet theatre were represented popular\npersonages of the day and local types of character, dressed in fantastic\nstyle, who became models of the 44 maschere \" that have come down\nunchanged, even to our day. &\nIt is natural that the 44 maschere \" should have derived their origin,\nand acquired fame, from puppet plays, because at the time of the first\nmarionettes there were no troupes of comic acting companies, with\ntheir own repertory, travelling from city to city and giving a regular\ncourse of scenic displays, whereas there were puppet showmen who\nfrequently visited Fairs and Markets, carrying both theatre and company\non their jg? JS?"}, {"page_pdf": 36, "page_imprimee": "312", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.36", "texte": "& A HISTORY OF PUPPETS. &\n\nNor must it be forgotten that, with that first revival of theatrical\npuppets, many examples were to be met with in public and private\nmuseums of the old marionettes, and of typical and proverbial 44 pupazzi \"\nwith their masks on their faces: Pappus, Manducus, Casnar, Maccus,\nCentunculus, from which it is not difficult to derive Arlecchino, Mescolino,\nTrappolino and Pulcineila, all more or less made up according to the\noriginal stamp. To these were added new ones by 44 Ruzzante Antonio\nda Molino, called 44 Burchielia \", of whom Sansovino speaks with great\npraise in his 44 Descrizlone di Venezia\"; and a certain Francesco, who was\nsurnamed Cherea, a comic actor much appreciated by Pope Leone X;\nCalmo, Cini, and Venturino da Pesaro, so much commended by Quadrio.\nSo did the Italian 44 fantoccini \" in Italy live and prosper during\nthe first half of the 16th. century that after 1550 actors of the Commedla\ndell'Arie increased and rose to great renown, having all, or nearly all,\nof them been puppet showmen before they became actors, like Ruzzante,\nCherea and Calmo, who in the exercise of those simple and unassuming\nimprovisations, so schooled and instructed themselves in the art of\nspeech and gesture 44 ex-abrupto \" in which they came later to be so\nhighly distinguished.\nTHE EXODUS OF THE.\nhe farther we recede from those eariy days of the puppet theatre,\nthe more dense does the darkness become, that surrounds our\n%\npoor little figures, scattered ail over the peninsular and endea-\nvouring to keep alive the love and ardour for revived dramatic art.\n& It is with difficulty that among the memories of the 17th. century\nwe are able to discover now and then some note relating to Marionettes,\nand even then, it is apt to be vague, uncertain and transitory, and has\noften to be gathered from the pages of books treating of quite other\nmatters.^\nLorenzo Lippi, for example, in his 44 Malmantile riacquistato \" which\nwe have already had occasion to refer to, informs us, as a fact, that in\nthe first years of the 17th. century, it was still the practice for fantocci\nto be wired at the breast and to dance to the sound of the bagpipes,\nalmost a copy of those described by Girolamo Cardano."}, {"page_pdf": 37, "page_imprimee": "313", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.37", "texte": "& A HISTORY OF PUPPETS. &\n\n& In that learned book of Quadrio, (Delia storia e della ragione d'ogni\npoesia) we find an account of a certain Massimino Romanini, a Milanese\nwhose skill and perfection in the art of manipulating pupazzi deserves\nto be honourably mentioned, and of a Bartolommeo Nerl, machinist and\npainter, and such an enthusiastic showman that he invented a new\nmethod whereby public and theatrical plays were rendered more enjoyable.\nAnd the method was this:.... \" Let a high stage be arranged, such\n\" as Is used for ordinary comedy, surrounded with scenes of customary\n\" size. Place on the stage a few wooden boards, grooved in channels,\n\" which are to serve as slots within which figures about a braccio, or\n\" more in height, and made of papier-mach6, and representing various\n\" forms, are to stand, or travel. These figures are then to be moved\n\" from one end of the channel to the other, according to requirements,\n\" by means of concealed counterweights, some of which hang by a wire\n\" attached to the shoulders of a figure; these wires are intended to\n\" serve for the purpose of manipulating the figures and arranging them\n\" in various graceful and appropriate attitudes, and they are worked\n\" by men.hidden under the stage, or in some other convenient place. \"\nThis invention of Nerl, however, never made much way, and puppets\ncontinued to be moved about in the old way, according to the description\ngiven by Quadrio:... \" with the head of the bust and\n\" thighs of wood, the arms of cords, the hands and legs of lead, all well\n\" dressed in silken clothes, with shoes, hats, hoods and other things\n\" usually seen on the persons of living beings. Each of these puppets\n\" has attached to its head a piece of iron wire, wherewith it is moved\nhere or there by the operator, who controls and manages it without\n« being seen, and who has four strings of silk, or of some other material,\n** two In his hands, and two fixed to his feet, whereby he causes the\n*' figure to walk, jump, gesticulate, dance and make sounds. There are\n\" also many devices for counterfeiting the voices of the little fantoccf.\n\" Some showmen make use, for the purpose, of a tube, artfully con-\n\" cealed in the mouth, with which they are able to change the voice\n«« to suit the particular character of the puppet they are handling, and\n«4 so cleverly that If the fantoccio had a voice of its own, it could not\n\" be more natural. \""}, {"page_pdf": 38, "page_imprimee": "314", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.38", "texte": "A HISTORY OF PUPPETS.\n\nIt will be admitted that the role of the showman, who has to keep\nthat tube in his mouth or throat, Is not by any means an easy one, to\nsay nothing of the risk of swallowing it.\n& The first showmen to enter Spain were all Italians, Giannello Torriani,\nTabary, who shortly after 1590 appeared in Paris, the two Briocci, Grillo,\nGavazza, the inventor of the \" Ombre Chinesi \" (Chinese shades) Fran-\nceschino and many others, masters in the art of Marionettes, up to\nDatelin, Bienfait, Nicolet and Seraphin. Italians also were the managers\nof \" pupi \" in England, who, in 1573, exhibited to an astonished people\nthe little figures that were called puppets. Again it was the Rezzonieri\nand the Grifi, who left Italy, and in Germany presented the first fantocci.\ncalled in that country \" Puppenspielen. \"\n/\nIt was natural that all those showmen, before leaving their own land,\nshould have perfected themselves in their business by long experience\nand practice, In order that they might hope, by their wanderings all\nover the world with their figures and mechanism, to find fortune and\nsuccess. VVe shall find all these little personages at their posts when\nwe come to deal with the doings of marionettes in different countries,\nand among the different peoples, of Europe. JZ?\nIt would have been interesting If we had been able to obtain more\nextensive and more reliable information on the subject of the repertory\nof a growing puppet theatre and to give examples of the plays written\nfor marionettes by Ruzzante, Giraldi, Andrea Calmo, Marin Negro, Pietro\nand Giovanni Briocci, Virgilio Verrucci, Righelli, Gattlci, and Dattomo,\nsome of whosn applied their talents, later, to the production of real\ncomedies and made the fortunes of Italian actors in Paris, in Belgium,\nin Holland and in England. & &\nLooking through, and examining, the printed text of such productions\nas \" Brigant! della Bastina \" by Camillo Scagligeri della Fratta, the\n\" Tartarea, commedia infernale \" by Giovanni Briocci, \" La cortesia di\nLeone e di Ruggiero colia morte di Rodomonte \" Ariodante tradito \"\nby Fiorillo, \" Le disgrazie di Burattino \" by Gattici, \" Le bellicose gare\nfra Gereniei e Lambertazzi \" by Scafa, one sees plainly that these plays\nare nothing more than those of marionettes, refurbished, and filled with\ninterminable language, but it is impossible to gather from them what"}, {"page_pdf": 39, "page_imprimee": "315", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.39", "texte": "& A HISTORY OF PUPPETS.\n\nimprovisation must have been in the days of \" burattini. \" JZ? JS/\nWe know, however, from Quadrio, that certain comedies of Ariosto,\nsuch as \" Cassaria \", '* Lena '' Suppositi \", with a few of Francesco\nD'Ambra and several by Cecchi were written in prose long before\nthey issued from the press and fell into the hands of Academicians and\nDirectors of public festivals. &\nPROM THE PIAZZA TO THE THEATRE.\nTPhe last century was really a century of gold for the Marionettes of\nItaly. The reform in dramatic art, inaugurated by Carlo Goldonl, con-\ntributed in a singular way to revive the fortunes of the burattini, who\nwere scattered all over the surface of the peninsular. From the first\nand most agitated periods of their history, attacked both by the parti-\nsans of the old systems and by the ardent Innovators, who sought to\nrestore the Italian theatre to its ancient and honoured traditions, they\nhad always served as a resting place between the two contending hosts;\nand the actors of wood were engaged in more than one skirmish with\nthe actors of flesh and blood, while satire poured its venemous darts\nfrom the mouth of the showman, concealed behind the curtains of his\npoor and wretched booth.\n£? It is not possible to mention the name of Carlo Goldoni Without\nremembering that the Italian theatre was probably indebted to Burattini\nfor the great reform inaugurated in our times by that distinguished\nwriter. The eloquent pages of his \" Memorie \" supply abundant testimony\non that subject. Everyone knows, or at least all who have read that most\ninteresting autobiography, that Giullo Goldoni, the father of Carlo, had\na small marionette theatre built in his house for the 'amusement of his\nlittle son, that he worked it himself with the assistance of three or\nfour friends, and that the small Goldoni derived immense pleasure from\nit, and became inspired with the first germs of that passion for comic\nrepresentations, that was to dominate his whole life, JZ? J£>\nWhen quite a youth he went to join his father at Gorizia, near to the\nCount Lantieri, Lieutenant Genera! of the army of the Emperor Charles\nthe sixth, and In the course-of his visit, extending over four months,\nhe discovered another puppet theatre, well furnished with figures"}, {"page_pdf": 40, "page_imprimee": "316", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.40", "texte": "A HISTORY OF PUPPETS. &\n\nand decorations, but which had evidently been for some time neglected.\nImagine his joy. The future regenerator of Italian comedy took prompt\npossession, set everything in order, and proceeded to amuse the company\nby giving a representation of a great man, the play having been expressly\ncomposed for comedians of wood ; and this was \" Lo starnuto di Ercole \"\nby the celebrated Pier Giacomo Marteili of Bologna.\nJS? Towards the close of the 16th. century, and all through the 18th, it\nwas the custom of noble families to have a marionette theatre In order\nto provide merriment at the 44 vendemmia \" or vintage time, and\nthe most distinguished writers of the day were engaged to produce\ncompositions suitable for those tiny stages and for those diminutive\nactors.\n£? Piero Jacopo Marteili of Bologna, born in 1666, and died in 172/, was\na poet, who in his time was greatly applauded for his theatrical writings\nHe was a scholar and also a statesman. As a relaxation from the cares\nof the State and his study of the drama, he wrote twenty six plays, either\ndramas or tragedies, all in that peculiar style, which took from him the\nname of 44 martelliano \", and he also found time to gratify his ambition\nand to occupy himself with marionettes, for whom he put together,\nfrom time to time, a series of bright and lively little farces, called by\nhtm \" Bambocciate \", of which the most perfect example was 44 Lo Star-\nnuto di Ercole \". 44 The author, 44 writes Carlo Goldoni, 44 with the\n44 liveliness of his imagination sends Hercules to the land of the Pigmies.\n44 These little dwarfs, terrified at the sight of a live mountain with arms\n44 and legs, hide themselves away. One day when Hercules is stretched\n44 on the open ground and sleeping peacefully, the timid little inhabitants\n44 come out of their hiding places, and armed with rushes, spring upon\n44 the huge man and cover him from head to foot, just as flies do when\n44 they attack a piece of putrified meat. Hercules awakes, feels something\n44 on his nose and sneezes, whereupon the enemy disperse in all directions,\n44 and that is the end of the play. It contains design, plot, catastrophe,\n44 and accidents; the style is good and well maintained; the thoughts\n44 and feelings are all proportioned to the bodily size of the people;\n44 even the verses are short; everything is, in fact, in character with\n44 Pigmies. It became necessary to build a gigantic 44 burattino \" for the"}, {"page_pdf": 41, "page_imprimee": "317", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.41", "texte": "A HISTORY OF PUPPETS.\n\n\" figure of Hercules, but the effect was good and the entertainment\n\" gave great pleasure\nBut, as was natural, Carlo Qoldonl did not continue long to represent\non the puppet theatre the plays of other authors. He wrote himself,\nand caused to be acted by marionettes, \" La Cantatrice \", a smalf operetta,\nand then followed up his success with the more ambitious \" Enea nel\nLazio '% 44Amorl di Alessandro Magno \",Pavola de' tre Qobbi \", Bertoldo\nBerteldino e Cacasenno \", and \" Finto principe He composed also an\n\" Arcifanfano Re de' Matti \",\" Mondo della Luna \", \" Buovo d'Antona\nand \" Talismano \", which remained in the possession of the Venetian\nmarionettes until the author reclaimed some of them and transformed\nthem into regular tragedies and dramas for tiie greater theatres. Even\nthe Count Giovanni Giraud did not disdain to employ his talents on\nbehalf of burattinesque plays; from his collection of dramatic works we\nderive \" Malvinuccia ossia la Bambina dl quattro annl \", a comic diver-\nsion intended for a few young noblemen to perform at their country\nhouses with marionettes, and \" il viagglo sull'asino dl Cassandrino\nsposo \". Some of the old \" rappresentazloni sacre\" of Giovan Maria\nCecchi, a Florentine, were also produced ;... \" L'Acquisto di Giacobbe\nii Battesimo di Crlsto \", 44 il Flgliuol prodlgo \"il Diogene and\n44 Fanny in London by Chlaro, and the four 44 Angellche \"of Gamerra,\n44 lldegonda \", and \" Carolina di Montalbano \" by Roti, and similar dramas\nof Cicognini, \" la Principessa Arsinda \" by Testl, \" Guerrin meschino\nby Straccla, 44Achille in Troia \" by Canocchi, \" Genovleffa di Brabante \"\nby Gasperi, and 44Belfegor \" by some anonymous author, and all the\nfantastic creations of Gozzi. &\nThen, when the conceptions of Goldon! were triumphant, and a new\nclass of comedies and dramas was delighting the cultured youth of the\nprincipal cities of Italy, the marionette theatre inherited the whole pa-\ntrimony of the old spectacular productions in the possession of the\nleading comedians, who had become disciples of the new order; and Sn\naddition to that, all the old scenic properties, that had been discarded\nby the greater theatre, passed almost at once into the hands of the\nshowmen, who were carrying on the business of the little figures\nof wood. &"}, {"page_pdf": 42, "page_imprimee": "318", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.42", "texte": "A HISTORY OF PUPPETS.\n\nRustic and pastoral scenes, stories of noted assassins and great\ncriminals, arranged for the theatre, popular farces, full of jests and\nslightly risky humour, fables, knightly and romantic stories, In which\nthe marvellous was mixed with the ridiculous, fates, gennii, giants, pala-\ndins, tyrants and their mingling their voices, their bold defiances,\n4\nsighs and curses with the peculiar mode of speaking and all the usual\nknaveries of buffoons,.... all came under the dominion of the burattini,\nand drew around their frail and staggering \" castelli \" a great multitude\nof merry and applauding people, heedless, and even restive, as to changes\nof either taste, habits or custom.\nThe \" maschere \" driven away from the vaster stage, took refuge on\nthe rough and narrow one of \"pupazzi \", and thus returned, after many\nyears, to the dark and dusty place, In which they had been born.\nIn every village, in every part of the country, a puppets' show was\nset up; and served, in all places frequented by servants, soldiers and\npeasants, as a point of assembly for a vast crowd, eager to be amused\naccording to the measure of their intelligence.\nAnd in the cities marionette theatres were constructed by the hundred ;\nchildren flocked to them for the pantomimes and dances, and common\npeople to laugh at the caricatures and parodies; even serious and\neducated men,...fulfilling the prophecy of Quadrio,...condescended to pass\nan hour with them, smiling and looking for allusions, reminiscences,\nmemories and traditions of the days that were past.\nIn Florence, near to the Loggia de' Lanzi; in Naples, on the Large\nCastelfo and in the Toledo; in Milan, Venice, Bologna, Genoa and Turin,\nmarionettes made sensation in the theatres,while \"burattini\" made fortune\non the public road. The most cultivated persons* and the most\ncorrect in manners, were not above pushing their way into a crowd\nin order to witness* unobserved* the representations of fantoccini.\nIn Rome* Leone Ailacci* the learned librarian at the Vatican* under\nAlessandro VII* author of the \" Drammaturgia \" and of many celebrated\nhistorical and theological works, could not do otherwise than go every\nevening to the little theatre of the marionettes, and often, as he was\npassing in the morning by San Lorenzo, he stopped in front of the\n\" castello \" of a burattinalo, forgetting the Library for the burattini."}, {"page_pdf": 43, "page_imprimee": "319", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.43", "texte": "A HISTORY OF PUPPETS. &\n\nand his holiness Pope Afessandro for that rascal, Signor Pantalone. jS?\njSf In Milan the burattini of the Piando theatre, even through the first\nhalf of our century, rose to such celebrity, and were so thoroughly\n\" alia nioda \" that it would have been a disgrace for any foreigner to\nleave the city without having paid at least one visit to the temple of the\n44 Musa di legno \". jz?\n\\\nA correspondant of the 44 Qlobe \", a French paper of repute, was con-\nstrained to refer to them in the following terms :\n44 The body, arms' and head of those little figures move with so much\n44 grace and in such perfect accord with the sentiments expressed by\n44 the voice, that, except with regard to proportion, I might very well\n44 have thought that I was witnessing a performance by the actors of the\n44 Cornedie They presented that evening 44 Nabuccodonosor\n44 a classical tragedy, and a bright little 44 balletto called \" Le deiizie\n\" di Flora \". I wish that the 44 ballerini \" and sylphs of the Opera, who\n44 are so proud of their beautiful legs, and of their smiling faces, could\n\" take a lesson from these graceful personages of wood, who overcome\n44 with the most perfect ease, all the difficulties of choregraphic art \".\njz? Signor Jal writes in the same sense of the Milanese marionettes in\nhis book, 44 De Paris a Naples j£?\n44 I witnessed a performance at the Fiando theatre of a romantic melodrama\n44 in six parts, 44 11 Principe Eugenio di Savoia aU'assedio di Temeswar\n44 and greatly enjoyed it. The 44 ballo \" excited my utmost enthusiasm.\n44 It is amazing, the dancing of those wooden Perrots and Taglionis.\n\" it passes belief. Horizontal dance, lateral dance, vertical dance, all the\n44 dances in the world, all the flourishes of feet and legs, that are so\n44 much admired on the illustrious Paris stage, are to be seen at the\n\" Fiando, improved and perfected. And when the 44 ballerina \" has\n44 finished her part, and applause on all sides draws her to the front\n44 again, she comes forth from the wings, bows with touching manner,\n44 carries her little hand to her heart, throws kisses in all directions and\n44 does not withdraw until she has imitated in every respect the actions\n44 of her taller sisters in the art\nIn the same year the Burattini of Genoa represented in the theatre,\n44 delle Vigne \", 44 La presa d'Anversa, \" while the marionettes of Turin"}, {"page_pdf": 44, "page_imprimee": "320", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.44", "texte": "A HISTORYGF PUPPETS.\n\nperformed at the 44 San Martiniano \" \" La Morte del Conte Ugolino\nthe privilege of keeping open all the year round, even during the peni-\ntential days of Lent. For an account of that '• pupazzi \" theatre we have\none of the most brilliant writers in France, Enrico Beyle, better known\nby the name of 44 Stendhal \", author of the \" Storia defla pittura in\nItalia of 44 Passaggiate romane 44 La Chartreuse de Parme \" and of\nmany other critical and philosophical works that are immortal both for\ntheir keenness of perception and for their grace of style.\n44 It was nine o' clock in the evening,.,, writes Stendhal,... and on\n44 coming out of the magnificent 44 sale \" of the Gaffe Rospoli, I entered\n44 the Fiano palace, at one of the doors of which stood an individual,\n44 crying with a loud voice, 44 Come forward, gentlemen, the performance\n44 will soon begin. I did not wait to be pressed, but secured the right\n44 of entrance by the payment of the paltry sum of half a 44 paolo \". The\n44 price had led me to fear there might be fleas and bad compapy, but\n44 I was soon reassured. My neighbours were the fattest and most pacific\n44 burgesses in Rome. Roman people are, perhaps, more appreciative of\n44 pointed and lively satire than any other people in Europe. Here thea-\n-44 trical censorship, political and ecclesiastical, is a hundred times more\n44 suspicious than it is in Paris. And it is precisely for that reason that\n44 comedies in the theatres are cold and insipid. Laughter has taken refuge\n44 with the burattini, who improvise a great deal and treat all censorship\n44 with indifference.\n44 The 44 marionetta \" in fashion is called Cassandrino. He is an ener-\n-44 getic old man, of about fifty five or sixty years of age, with slim and\n44 upright figure, powdered, polished and as lively as a Cardinal. Cassan-\n-44 drino is experienced in the ways of the world, and knows how to conduct\n44 a conversation, in fact he would have all the virtues, if it were not\n44 that he falls madly in love with all the women he meets. It is easy\n44 to understand that a person of that description naturally makes way\n44 in a country governed by an oligarchy of old bachelors, who exercise\n♦f full power. Cassandrino is a layman, but I dare wager that all the\n44 spectators invest him, although invisibly, with the red hat of his\n\" Eminence, and the violet stockings of Monsignore. Rome is full of"}, {"page_pdf": 45, "page_imprimee": "321", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.45", "texte": "A HISTORY OF PUPPETS. &\n\n44 Monsignori who resemble Cassandrino perfectly. The play that evening\n44 was 44 Cassandrino allievo d'un pittore \"• A Roman artist, who has\n44 many pupils In his studio, has a very beautiful sister, young and good.\n44 Cassandrino introduces himself in the house on the plea of protecting\n♦4 the artist, makes the acquaintance of the girl and straightway fails in\n44 love with her: but not daring, on account of his age and position to\n•4 risk a declaration of love, turns the conversation to the subject of\n44 music and asks leave to sing a 44 cavatina 99 that he has heard at a con®\n44 cert. The 44 cavatina 99 was by Paesiello and was exquisitely sung behind\n44 the scenes by a girl of the company, the daughter of a cobbler. But\n44 while the old fellow Is trilling his song, the conference is interrupted\n44 by the arrival of the painter, who reproves his sister and puts Cassan-\n-44 drino outside the door for paying court to girls without being able to\n44 marry them. Whereat there was applause that shook the house. In the\n44 following act, the poor 44 innamorato full of eagerness to see his\n44 4 4 bella 99 again, reappears disguised as a young scholar with his hair\n44 dyed and faise moustache. This time the enterprising Cassandrino is\n44 caught, not by the brother, but by an aunt of the artist, an old fool,\n44 whom Cassandrino had known long ago at Ferrara, and who insists\n44 that she is married to him. After a series of amusing adventures he\n44 resigns himself to taking the old woman away with him as governess\n44 so that he may become in some way the uncle of the young lady }9.\nTo the same author we are indebted for a description of some burat-\ntini he saw in the house of a rich merchant, where twenty four mario-\nnettes eight inches high, ...and so well made that they had cost a zecchfho\neach, gave a representation, in a theatre scarcely five feet wide, of\nselections from 44 Mandragora \" by Macchiavelli, and of some puppets in\nNaples who, in a private theatre, acted in some satirical and political\nplays, one of which was called 44 Si fara o no un Segretario dl Stato 99•\nBut the most brilliant picture of Roman Marionettes is to be found in\na book by Story, 44 Roba di Roma \" in the 10th. chapter, wherein the\nauthor describes an evening spent by him, in company with certain\nfriends, at the Teatro Burattini in the Piazza Navona. Read some of\nthose pages and you will laugh, (i)\n\n(1) See page 323"}, {"page_pdf": 46, "page_imprimee": "322", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.46", "texte": "& A HISTORY OF PUPPETS. 4?\n\nThus, right up to our times, 44 Pulcinella \" at Naples, 44 Qerolamo \"\nat Milan, 44 Qianduia \"at Turin, 44 Stentorello \"at Florence,44 Brighelia \"\nand 44 Arlecchino\" at Venice, and the 44 Dottore \" at Bologna have\ncontinued without interruption to keep the old 44 commedia dell'arte \"\nalive in the hearts and minds of the people ; thus, during more than\nthree hundred years of toil and labour, marionettes have maintained their\nposition In the national theatre, have fought with the poisoned point of\nsatire against all abuses, all prejudices, all acts of oppression, all religious\nand political tyranny, and wrongs of every kind, whether literary, social,\nscientific or economical. They have defended Galileo against the Inqui-\nsition, Giordano Bruno against the holy office and Fra Paolo Sarpi against\nthe thunders of the Vatican. They have attacked feudalism, intolerance,\ncelibacy of priests* rigid class prejudices of Academies, Court intrigues,\nmilitary pride and vain glory, and many other evils beside. JZ?\n& The repertory of marionettes during the last three hundred years\nwould shame that of the better prose, theatres, not, let it be understood\nfor the value and gravity of production, but for the selection of argu-\nments, and for the seasonable opportunity of the subjects put upon the\nstage. The parody of 44 Alcest\" as an attempt at literary rebellion,\n44 Cassandrino \", as a shaft of courageous satire against the manners of\nthe Roman Court, the celebrated 44 Viagglo a Civitavecchia \", to which\nMercey referred in the 44 Revue des deux Mondes \", the 44 Pozzo incantato \"\nquoted by Beyle, the 44 terribile Maino \" mentioned by Bourquelot, and\nmany others, too numerous to be recorded, bear witness to the truth of\nwhat I have said. But If any one desires to know more than it has been\npossible for me to tell within the narrow confines of this chapter, let\nhim turn to the writings of Jal in the 44 Globe \", of del Vlgner in 44 Monde\ndramatique \", of Peisse in the 44 Revue Britannique \", of Beyle in the\n44 New Monthly Magazine and of the abbot Du Bos, who in his great\nwork, 44 Reflexions sur la poesie de la peinture \", relates that an illus-\nstrious cardinal had an elegant little theatre erected in his house,44 per\nfar cantare dalle marionette \" all the operas of Rossini. -*£? jzf\nTo be continued."}, {"page_pdf": 47, "page_imprimee": "323", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.47", "texte": "ROMAN PUPPETS\nby W. Story.\n*Jphe love for the acting of burattini, or puppets, is universal among the\nlower classes throughout Italy, and in some cities, especially in Genoa,\nno pains are spared in their costume, construction, and movement, to\nrender them life-like. & & & &\nn°t allow yourself to suppose that there is anything ludicrous\nto the audience In the performances of these wooden burattini. Nothing,\non the contrary, is more serious. No human being could be so serious.\nTheir countenances are solemn as death and more unchanging than the\nface of a clock. Their terrible gravity when, with drooping heads and\ncollapsed arms, they fix on you their great goggle eyes is at times\nghastly. They never descend into the regions of conscious farce. The\nplays they perform are mostly heroic, romantic and historical. They\nstoop to nothing which is not startling in incident, imposing in style\nand grandiose in movement. The wars of the Paladins, the heroic\nadventures of knights and ladies of romance, the tragedies of the middle\nages, the prodigies of the melodramatic world, are within their special\nprovince. The heroes that tread the \" fantoccini \" stage are doughty\nwarriors, who perform impossible feats of prowess, slay armies with a\nsingle arm, rescue Injured damsels, express themselves in loud and\nboastful language, utter exalted sentiments, and are equally admirable\nin love and war. No worthy \" iantoccino \" shrinks before an army, or\nleaves the boards of battle till it is covered with the corpses of his\nenemies.\n■£? The audience listen with grave and profound Interest. To them the\nactors are not \" fantoccini \" but heroes. Their inflated aad extravagant\ndiscourse Is simply grand and noble. They are the mighty x which re.\npresents the unknown quantity of boasting which potentially exists in\nthe bosom of every one. Do not laugh when you enter* or the general\nlook of surprise and annoyance will at once recall you to the proprieties\nof the occasion. You might as well laugh in a church.^\nThere are two performances, or camerate, every evening; one com-\nmencing at Ave Maria and the other at ten o' clock. We arrived at the\ntheatre just too late for the first. \" What is that great noise of drums\n\n(ij The writer is speaking of the Teatro Emiliano."}, {"page_pdf": 48, "page_imprimee": "324", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.48", "texte": "& ROMAN PUPPETS. &\n\ninside \" asked we. 44 Battaglie \" said the ticket seller. 44 Shall we see a\nbattle in the next piece ? \" 44 E sempre battaglie \", always battle, was\nthe reproving answer. Outside were two hand-carts; one with refresh-\nments of sorbetti or 44 pappine\" at one baiocco the glass; and the\nother filled with oblong slabs of hard stony gingerbread and 44 bruscolini \"\nor pumpkin seeds salted and cooked in a furnace.\nThe bill pasted outside informed us that the burattini were to play\nto-night, 44 La grandlosa opera intitolata il Bellsario, ossla le avventure\ndi Oreste, Ersilia, Palsierone, Selinguerro ed II terrlbil Gobbo \". Prices\nin the 44 platea \", two baiocchi; in the loggiata, three balocchi. Private\nboxes are also to be obtained for five baiocchi the seat; and some of\nmy female friends having taken a box one night, were received by the\naudience on their entrance with loud cheers. We, however, only allowed\nourselves the luxury of a loggiata seat.^\nThe 44 grandiosa opera \" of Belisario did not belle the general character\nof Fantoccini plays. It was 44 sempre battaglia. \" The scene when we\nentered was between two puppets, both dressed in armour, speaking in\ntremendous voices, and flourishing gigantic swords. One was a child-\nFantoccino, the other probably Selinguerra.\njg/ Each 44 Fantoccino \" when it spoke went into a sudden convulsion\nas if it were attacked by a fit of St. Vitus's dance, while the sword seemed\nanimated with spasmodic life, and thrashed to and fro in the air with\nutter disregard to the warrior's anatomy, which it constantly and\npainfully dislocated with every movement. But no sooner had he ceased\nspeaking than his arms fell into a helpless collapse, his head dropped\ndrunkenly forward, or remained fixed in a dislocation glaring at nothing,\nand with his sword stiffly pointing up to the ceiling, and his legs hanging\nin the air or huddled under him, so as to leave him quite out of balance,\nhe awaited impotently the answer of his opponent. JE? &\nIt was a violent dispute that was taking place between the youth and\nSelinguerra and his lieutenant, who were threatening to destroy the\ncastle of the 44 terribil Gobbo \". These doughty warriors were a couple\nof Inches at least above the floor, which they never descended or con-\ndescended to touch save byway of emphasis, when down they came on\ntheir heels with a sharp wooden rap, and then jerked suddenly up again."}, {"page_pdf": 49, "page_imprimee": "325", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.49", "texte": "ROMAN PUPPETS. JS>\n\nThe dispute was tremendous. They launched at each other, in loud voices,\nterrible threats and challenges. Selinguerra was especially ferocious, and\n44 Chi sei tu che osa \" he cried to the youth ; but the latter not to be\noutdone in boasting and fury, exclaimed, 44 Tremaj che son II figlio del\nterribi! Gobbo \", and then collapsed in silence 44 Ah, Ah, \" with a roar\nresponded his opponent, 44 male hai fatto a palesarlo non posso piu\ncontere il mio immense furor, Prepara a morir \", But the youth now\nshowed himself the true son of the terrible Gobbo. He roused from the\ncollapse in which he had fallen and jerked his head and limbs, flung out\nwildly one leg and waved a challenge In the name of St. Vitus. Now\nensued a terrible encounter. Selinguerra, backed by his lieutenant, at>\ntacked the heroic son of the Gobbo, and all three rising higher from the\nfloor in their excitement, dashed promiscuously together, clashing their\nswords furiously, and swinging backwards and forwards half the\nlength of the stage, while their helpless legs beat to and fro in\nthe air. £? &\n£? All the while a drum behind the scenes was 44 rolling rapidly \". It\nwas encouraging to see how bravely the son of Gobbo held his own.\nDespite the terrible blows he received on his head, each of which would\nhave done for ever a. mere 44 personaggio \", and the excited efforts he\nmade with his arms and legs, he never changed, but on his countenance\nmight still be seen the same calm supernatural glare, the same unwin«\nking eyes. AH seemed over with him, when suddenly in burst the\n44 terribil Gobbo \" himself, In complete steel, and striking the floor with\na succession of bold knocks, and waving with convulsive jerks his sword,\nbrought help at the most opportune moment. At first it was Selinguerra\nand hi 3 lieutenant who opposed him, but he soon made minced meat of\nthem, and then the whole army, spasmodically hopping and staggering\nsideways to the rescue of their captain, attacked the Gobbo alto=\ngether. &\nIt is useless further to follow the doings on this occasion. What\nBelisario had to do with this 44 grandiosa opera \" besides giving it his\nname, I did not plainly see, as he never made his appearance on the stage.\nBut of all the feats of the 44 Fantoccini \", nothing can be compared\nto their acting in the ballet. If the pantomime by actual 44 personaggi \""}, {"page_pdf": 50, "page_imprimee": "326", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.50", "texte": "ROMAN PUPPETS.\n\nbe extraordinary, imagine what it is when performed by puppets whose\nevery motion is effected by wires, who imitate the gestures of despair\nwith hands that cannot shut, and, with a wooden gravity of countenance,\nthrow their bodies into terrible contortions to make up for the lack of\nexpression in the face.\nBut if possible their dancing is even superior to their pantomime.\nWhen the wooden-headed court, almost as solemn and stiff as a real one,\nhave seated themselves on one side of the stage, and the corps de ballet\nhas advanced and retreated in steady platoons, and retired and opened just\nlike the real thing...ln with a tremendous leap, suddenly drops the prima\nballerina, knocks her wooden knees together, and jerking her head about,\nsalutes the audience with a smile quite as artificial as we could see in\nthe best trained of her fleshly rivals. Then with a masterly ease, after\ndescribing air circles with her toes far higher than her head, and poising\nherself in impossible positions, she bounds, or rather flies forward with\nsuperhuman lightness, perforins feats of choreography to awaken envy\nin Cerito and drive Ellsler to despair, and pausing on her pointed toe\nthat disdains to touch the floor, turns never-ending pirouettes on\nnothing at all, till at last, throwing both her wooden hands forward\nshe suddenly comes to a stiff stop to receive your applause. This is the\nvery apotheosis of ballet dancing. us?\nUnhampered with the difficulties that encumber her mortal sister,\nshe performs what the living creature can only attempt, and surpasses\nher as the ideal surpasses the actual. & &\nWhen we see her with her permanent smile and breast that never\npants, we are not haunted by the notion of those sad hours of practis-\ning in the gloomy theatrical day, when the splendid clouds of tulle and\nthe stereotype smile give way to shabby petticoats and twitching face,\nand her ear is saluted by the criticism of the master instead of the\napplause of the audience. Ah no, the Fantoccina leaps perfect into her\nart from the hands of her maker, dreams her day away smiliing just the\nsame in her box as on the stage, is never harassed by want of food and\nfamily cares, is troubled by no jealousies, pricked by no vain ambition*\nhaunted by no remorses, ruined by no failures, but without envy, sorrow,-\nhunger or fear of old age, keeps perennial youth, and a perpetual smile."}, {"page_pdf": 51, "page_imprimee": "327", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.51", "texte": "THE HOUR GLASS\nA PREFACE TO THE NEW VERSION.\nby W. B. Yeats.\nW. B. Yeats.\ntook the plot of \"The Hour Glass\" from an Irish Polk\nTale but tried to put my own philosophy into the words.\nAn action on the stage, however, Is so much stronger\nthan a word that when the Wise Man abused himself\nbefore the Fool I was always ashamed. My own tilean =■\nings had vanished and I saw before me a cowardly\nperson who seemed to cry out \" the wisdom of this\nworld is foolishness \" and to understand the words not\nas may a scholar and a gentleman but as do ignorant\npreachers. J& &\nI began a revision of the words from the moment when the play\nconverted a music hall singer and sent him to mass and to confession ;\nbut no revision of words could change the effect of the Wise Man down\non his knees before the Fool; so last year I changed action and all. £/\nI made a new play of it and when I had finished, discovered how I\nmight have taken the offence out of the old by a change of action so\nslight that a reader would hardly have noticed if. I shall let \" our se-\ncond company \" go on playing the old version thus amended in Irish\nprovincial towns but think the new one better for myself and my\nfriends.\n\nTHE HOUR GLASS\nSCENE: THE WISE MAN'S house. An Hour-glass on a stand and\na big chair with a great book on a desk before it.\n(ENTER PUPILS)\nHe said we might choose the subject for the lesson.\nThere is none of us wise enough to do that.\nIt would need a great deal of wisdom to know what we\nwant to know.\nI will question him.\nYou ?\nLast night I dreamt that someone came and told me to\n\nIst PUPIL.\nand PUPIL.\n3nd PUPIL.\n4th PUPIL.\n5th PUPIL.\n4th PUPIL."}, {"page_pdf": 52, "page_imprimee": "328", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.52", "texte": "THE HOUR GLASS &\n\nIst PUPIL.\nFOOL,\nand PUPIL.\nFOOL.\n3rd PUPIL.\n4th PUPIL.\nand PUPIL.\n4th PUPIL.\nFOOL.\n3rd PUPIL.\n2nd PUPIL.\n3rd PUPIL.\nIst PUPIL.\nsth PUPIL.\nFOOL.\nIst PUPIL.\n\nquestion hlra. I was to say to him, you were wrong\nto say there is no God and no 50u1.... maybe, If there is\nnot much of either, there is yet some tatters, some tag\non the wind, some rag.... so to speak of divinity, some\nbob-tail of a god \". 1 will argue with him*... nonsense\nthough it be.... according to my dream, and you will see\nhow well I can argue, and what thoughts I have.\nI'd as soon listen to dried peas in a bladder, as listen\nto your thoughts.\n{FOOL comes in)\nGive me a penny.\nLet us choose a subject by chance. Here is his big book.\nLet us turn over the pages slowly, let one of us put down\nhis finger without looking, the passage his finger lights\non will be the subject for the lesson.\nGive me a penny.\n(taking up book) How heavy it is.\nSpread it on Teigue's back, and then we can all stand\nround and see the choice,\nMake him spread out his arms.\nDown on your knees. Hunch up your back. Spread your\narms out now, and look like a golden eagle in a church.\nKeep still, keep still.\nGive me a penny.\nIs that the right cry for an eagle cock ?\nI'll turn the pages.... you close your eyes and put your\nfinger down.\nThat's it, and then he cannot blame us for the choice.\nThere, 1 have choosen. Fool, keep 5ti11.... and if what's\nwise is strange and sounds like nonsense, we've made a\ngood choice.\nHere is the master coming.\nWill anybody give a penny to a fool ?\n(WISE MAN comes in)\ni\nWe have chosen the passage for the lesson, Master."}, {"page_pdf": 53, "page_imprimee": "329", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.53", "texte": "THE HOUR GLASS &\n\nWISE MAN.\nIst PUPIL.\nWISE MAN.\n4th PUPIL.\n3rd PUPIL.\n2nd PUPIL.\nIst PUPIL.\nWISE MAN.\n4th PUPIL.\nFOOL.\nWISE MAN.\n\n\" There are two living countries, one visible and one in*\nvisible, and when it is summer there, it is winter here,\nand when it is November with us, it is lamblng*time\nthere. \"\nThat passage, that passage ; what mischief has there been\nsince yesterday ?\nNone, Master.\nOh, yes, there has; some craziness has fallen from the\nwind, or rises from the graves of old men, and made you\nchoose that subject, (he goes to desk)\nI knew that it was folly, but they would have it.\nHad we not better say we picked it by chance ?\nNo, he would say we were children still.\n1 have found a sentence under that one, that says.... as\nthough to show it had a hidden meaning a beggar\nwrote it upon the walls of Babylon.\nThen find some beggar and ask him what it means, for\nI will have nothing to do with it.\nCome, Teigue, what is the old book's meaning when it\nsays that there are sheep that drop their iambs in No*\nvember ?\nTo be sure.... everybody knows, everybody in the world\nknows, when it is Spring with us, the trees are withering\nthere, when it is summer with us, *the snow is falling\nthere, and have 1 not myself heard the lambs that are\nthere all bleating on a cold November day.... to be sure,\ndoes not everybody with an intellect know that; and\nmaybe when it's night with us, it is day with them, for\nmany a time I have seen the roads lighted before me.\nThe beggar who wrote that on Babylon wall meant that\nthere is a spiritual kingdom that cannot be seen or known\ntill the faculties whereby we master the kingdom of this\nworld wither away, like green things in winter. A monk*\nish thought, the most mischievous thought that ever\npassed out of a man's mouth."}, {"page_pdf": 54, "page_imprimee": "330", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.54", "texte": "& THE HOUR GLASS &\n\nIst PUPIL.\nand PUPIL.\n4th PUPIL.\nIst PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\n\nIf he meant all that, I will take an oath that he was\nspindle-shanked, and cross-eyed, and had a lousy itching\nshoulder, and that his heart was crosser than his eyes,\nand that he wrote it out of malice.\nLet's come away and find a better subject.\nAnd maybe now you'll let me choose.\nCome.\nWere It but true t'would alter everything.\nUntil the stream of the world had changed it course,\nAnd that and all out thoughts had run\nInto some cloudy thunderous spring.\nThey dream to be its source....\nAye, to some frenzy of the mind,\nTill all that we have done's, undone\nOur speculative wind,\nI have dreamed it twice.\nSomething has troubled him.\n(PUPILS go out)\nTwice have 1 dreamed it in a morning dream,\nNow nothing serves niy pupils but to come\nWith a like thought. Reason is growing dim.\nA moment more and Frenzy will beat his drum\nAnd laugh aloud and scream.\nAnd I must dance in the dream,\nNo, no, but it is like a hawk, a hawk of the air,\nIt has swooped down... and this swoop makes the third...\nAnd what can I, but tremble like a bird ?\nGive me a penny.\nThat I should dream it twice, and after that,\nThat they should pick it out.\nWon't you give me a penny ?\nWhat do you want ? What can it matter to you whether\nthe words I am reading, are wisdom or sheer folly ?\nSuch a great wise teacher will not refuse a penny to a\nfool."}, {"page_pdf": 55, "page_imprimee": "331", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.55", "texte": "THE HO UR GLASS &\n\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\n\nSeeing that everybody is a fool when he is asleep and\ndreaming, why do you call me wise ?\n0, I know, ... I know. I know what I have seen.\nWell, to see rightly is the whole of wisdom, whatever\ndream be with us.\nWhen 1 went by Kilcluan, where the bells used to be\nringing at the break of every day, 1 could hear nothing\nbut the people snoring in their houses. When I went by\nTubbervanach, where the young men used to be climbing\nthe hill to the blessed well, they were sitting at the\ncrossroads playing cards. When I went by Carrigoras,\nwhere the friars used to be fasting and serving the poor,\nI saw them drinking wine and obeying their wives. And\nwhen 1 asked what misfortune had brought all these\nchanges, they said it was no misfortune, but that it was\nthe wisdom they had learned from your teaching.\nAnd you too have called me wise .... you would be paid\nfor that good opinion doubtless .... Run to the kitchen,\nmy wife will give you food and drink.\nThat's foolish advice for a wise man to give.\nWhy, Fool ?\nWhat is eaten is g0ne...1 want pennies for my bag. I must\nbuy bacon in the shops, and nuts in the market, and\nstrong drink for the time the sun is weak, and snares\nto catch the rabbits, and the hares, and a big pot to\ncook them in.\n1 have more to think about tfian giving pennies to your\nlike, so run away.\nGive me a penny and I will bring you luck. The fishermen\nlet me sleep among their nets in the loft because 1 bring\nluck, and in the summer time, the wild creatures\nlet me sleep near their nests and their holes. It is lucky\neven to look at me, but it is much more lucky to give\nme a penny. If 1 was not lucky I would starve.\nWhat are the shears for ?"}, {"page_pdf": 56, "page_imprimee": "332", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.56", "texte": "<£> THE HOUR GLASS &\n\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\n\nI won't tell you. If I told you, you would drive them\naway.\nDrive them away, who would I drive away ?\nI won't tell you.\nNot if I give you a penny?\nNo.\nNot if I give you two pennies ?\nYou will be very lucky if you give me two pennies, but\nI won't tell you.\nThree pennies ?\nFour, and I will tell you.\nVery well ... four, but from this out I will not call you,\nTeigue the Fool.\nLet me come close to you, where nobody will hear me,\nbut first you must promise not to drive them away.\n(WISEMAN nods) Every day men go out dressed in\nblack and spread great black nets over the hills, great\nblack nets.\nA strange place that to fish in.\nThey spread them out on the hills that they may catch\nthe feet of the angels ; but every morning just before the\ndawn, I go out and cut the nets with the shears and the\nangels fly away.\n(speaking with some excitement) Ah, now I know that\nyou \"are Teigue the Fool. You say that I am wise, and yet\ni say, there are no angels.\nI have seen plenty of angels.\nNo, no, you have not.\nThey are plenty if you but look about you, they are\nlike the blades of grass.\nThey are plenty as the blades of grass .... I heard that\nphrase when I was but a child and was told folly.\nWhen one gets quiet. When one is so quiet that there\nis not a thought in one's head maybe, there is something\nthat wakes up inside one, something happy and quiet,"}, {"page_pdf": 57, "page_imprimee": "333", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.57", "texte": "THE HOUR GLASS &\n\nand then all in a minute one can smell summer flowers,\nand tall people go by, happy and laughing, but they will\nnot let us look at their faces. Oh, no, it is not right that\nwe should look at their faces.\n4ft\nYou have fallen asleep upon a hill, yet, even those\nthat used to dream of angels dream now of other\nthings.\n1 saw one but a moment ago... that is because I am lucky.\nIt was coming behind me, but it was not laughing.\nThere's nothing but what men can see when they are\nawake. Nothing, nothing.\n1 knew you would drive them away.\nPardon me, Pool,\nI had forgotten who I spoke to.\nWell, there are your four pennies ... Pool,you are called\nAnd all day long they cry, \" come hither, Fool.\n{FOOL goes close to him)\nOr else it's, \"Fool, be gone \" {FOOL goes further off)\nOr, \" Fool, stand there \" {FOOL straightens himself)\nOr, \" Fool, go sit in the corner '' (FOOL sits in corner)\nAnd all the while\nWhat were they all but fools before 1 came.\nWhat are they now, but mirrors that seem men.\nBecause of my image. Fool, hold up your head. (FOOL\ndoes so)\nWhat foolish stories they have told of the ghosts\nThat fumbled with the clothes upon the bed,\nOr creaked and shuffled in the corridor,\nOr else, If they were pious bred,\nOf angels from the skies,\nThat came through a man's door,\nOr, it maybe, standing there,\nWould solidly out stare\nThe steadiest eyes with their unnatural eyes,\nAye, even on his own floor.\n\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN."}, {"page_pdf": 58, "page_imprimee": "334", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.58", "texte": "THE HOUR GLASS\n\n(ANGEL has come in)\nYet it is strange, the strangest thing I have known,\nThat I should still be haunted by the notion\nThat there's a crisis of the soul wherein\nWe get new sight, and how if when it comes\nThey have some craft to turn it into frenzy.\nWhy do you put your finger to your iips,\nAnd creep away ? (FOOL goes out)\n( WISE MAN sees ANGEL) What are you ? Who are you ?\nI think I saw some like you in my dreams,\nWhen but a child. That thing about your head,\nThat brightness in your hair .... that flowery branch ....\nBut I have done with dreams ... I have done with dreams.\nI am the crafty one that you have called.\nHow that I called ?\nI am the messenger.\nWhat message could you bring to one like me ?\nThat you will die when the last grain of sand\nHas fallen through this glass.\nI have a wife,\nChildren and pupils that 1 cannot leave,\nWhy must I die, my time is far away ?\nYou are to die because no soul has passed\nThe heavenly threshold since you have opened school.\nBut grass grows there, and rust upon the hinge ;\nAnd they are lonely that must keep the watch.\nAnd whither shall I go when I am dead ?\nYou have denied the purgatorial fire\nTherefore that gate is closed ; you have dented\nThat there's a heaven, and that gate is closed.\nWhere then ? 1 have denied there is a hell.\nHell is the place of those who have denied,\nThey find there what they planted and what dug,\nA lake of spaces, and a wood of nothing,\nAnd wander there and drift and never cease,\n\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL."}, {"page_pdf": 59, "page_imprimee": "335", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.59", "texte": "THE HOUR GLASS\n\nWailing for substance.\nPardon me, blessed Angel,\nI have denied and taught the like to others.\nBelieving nothing but what sense has taught,\nAnd the mind's abstract.\nIt is too late for pardon.\nMad I but seen your face as now 1 see it,\nBut how can you...that live but where we go,\nIn the uncertainty of dizzy dreams...\nKnow why we doubt. Parting, disease and death,\nThe rotting of the grass, tempest and drouth,\nThese are the messengers that came to me.\nWhy are you silent ? You carry in your hands,\nGod's pardon, and you will not give it me,\nWhy are you silent? Were I not afraid,\nI'd kiss your hands, no, no, the hem of your dress*\nOnly when all the world has testified,\nMay soul confound it, crying out in joy.\nWhat's dearth and death and sickness to the soul.\nThat knows no virtue but itself, nor could It,\nSo trembling with delight and mother naked,\nLive unabashed if the arguing world stood by.\nIt is so hard for you to understand\nWhy we have doubted,-as it is for us\nTo put our doubts away... what have 1 said,\nThere can be nothing that you do n,ot know,\nGive me a year... a month ... a week... a day,\nI would undo what I have done ...an hour...\nGive me until the sand has run in the glass.\nThough you may not undo what you have done,\nI have this power... if you but find one soul,\nThat still believes that it shall never cease,\nOne fish to lie and spawn among the stones\nTill the great fisher's net is full again,\nYou may, the purgatorial fire being passed,\n\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL.\nWISE MAN.\nANGEL."}, {"page_pdf": 60, "page_imprimee": "336", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.60", "texte": "THE HOUR GLASS\n\nPUPILS.\nWISE MAN.\nANQEL.\nIst PUPIL.\n2nd PUPIL.\nFOOL.\nIst PUPIL.\n2nd PUPIL.\n3rd PUPIL.\n4th PUPIL.\nFOOL.\nIst PUPIL.\n\nSpring to your peace.\n(sing in the distance) Who stole your wits away\nAnd where are they gone ? \"\nMy pupils come,\nBefore you have begun to climb the sky\n1 shall have found belief... they say they doubt,\nBut what their mothers dinned into their ears\nHas not been broken down... 1 have long thought it,\nBesides, 3 can disprove what 1 once proved,\nAnd yet give me some thought, some argument,\nMore mighty than my own.\nFarewell ... farewell,\nFor 1 am weary of the weight of time.\n{ANGEL goes out, MAN makes a\nStep to follow and pauses. PUPILS\ncome in at other side.)\nMaster, Master, you must choose the subject.\n(ENTER other PUPILS with FOOL, about\nwhom they dance.)\nHere is a subject.... where have the Fool's wits gone?\n(Singing) \" Who dragged your wits away\nWhere no one knows ?\nOr have they run off\nOn their own pairs of shoes?\"\nGive me a penny.\nThe Master will find your wits.\nAnd when they are found, you must not beg for pennies\nThey are hidden somewhere in the badger's hole,\nBut you must carry an old candle end,\nIf you would find them.\nThey are up above the clouds.\nGive me a penny, give me a penny, Teigue.\n(singing) 44 I'll find your wits again,\nCome, for 1 saw them roll,\nTo where old badger mumbles"}, {"page_pdf": 61, "page_imprimee": "337", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.61", "texte": "THE HOUR GLASS &\n\nand PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\nand PUPIL.\n3rd PUPIL.\nIst PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\n\nIn the black hole.\n(singing) \" No, but an angel stole them\nThe night that you were born,\nAnd now they are but a rag,\nOn the moon's horn.\nBe silent.\nCan you not see that he is troubled ?\nWhat do you think of when alone at night?\nDo not the things your mothers spoke about\nBefore they took the candle from the bedside,\nRush up into the mind and master it,\nTill you believe in them against your will?\n(to Ist PUPIL) You answer for us.\n(in a whisper) Be careful what you say.\nIf he persuades you to an argument\nHe will make a mock of you and us.\nYou have made our minds,\nOur bodies only, were our mothers' work.\nNo, no,\nYou answer with incredible things. It Is certain\nThat there is 0ne,... though it may be but one...\nBelieves in God and in some heaven and hell.\nIn all those things we put into our prayers.\nWe thought those things before our minds were born\nBut that was long ago... we are not children.\nYou are afraid to tell me what you think\nBecause 1 am hot and angry when 1 am crossed,\n1 do not blame you for it, but have no fear,\n♦\nFor if there is one that sat on smilling there\nAs though my arguments were sweet as milk\nYet found them bitter, 1 will thank him for it,\nIf he but speak his mind.\nThere is no one Master,\nThere is not one but found them sweet as milk.\nThe things that have been told us in our childhood"}, {"page_pdf": 62, "page_imprimee": "338", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.62", "texte": "THE HOUR GLASS\n\n2nd PUPIL.\n3rd PUPIL.\nOTHER PUPILS.\nWISE MAN,\nIst PUPIL.\n2nd PUPIL.\n3rd PUPIL.\n4th PUPIL.\nIst.PUPIL.\nWISE MAN.\nIst PUPIL.\nWISE MAN.\nIst PUPIL.\n\nAre not so fragile.\nWe are no longer children.\nWe all believe in you and in what you have taught.\n*\nAil, ali, all, aii, in you, nothing but you.\nI have deceived you ... where shall I go for words,\nI have not thoughts... my mind has been swept bare.\nThe messengers that stand in the fiery cloud,\nFling themselves out, if we but dare to question,\nAnd after that, the Babylonian moon,\nBlots all away.\n(to other PUPILS) 1 take his words to mean\nThat visionaries, and martyrs when they are raised\nAbove translunary things, and there enlightened,\nAs the contention is, may lose the light.\nAnd blunder in their speech when the eyes open.\nHow well he imitates their trick of speech.\nTheir air of mystery,\nTheir empty gaze,\nAs though they'd looked upon some winged thing,\nAnd would not condescend to mankind after.\nMaster, we have all learnt that truth is learnt\nWhen the intellect's deliberate and cold,\nAs it were a polished mirror that reflects\nAn unchanged world ; and not when the steel melts,\nBubbling and hissing, till there's naught but fume.\nWhen it is melted, when it all fumes up,\nThey walk, as when beside those three in the furnace\nThe form of the fourth.\nMaster, there's none among us\nThat has not heard your mockery of these,\nOr thoughts like these, and we have not forgot.\nSomething incredible has happened ... someone has come,\nSuddenly like a grey hawk out of the air,\nAnd al! that I declared untrue is true.\n(toother PUPILS)"}, {"page_pdf": 63, "page_imprimee": "339", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.63", "texte": "THE HOUR GLASS j&\n\nand PUPIL.\nWISE MAN.\n3rd PUPIL.\nWISE MAN.\nIst PUPIL.\n{to the OTHERS)\nand PUPIL.\n3rd PUPIL.\nIst PUPIL.\nand PUPIL.\n3rd PUPIL.\nIst PUPIL.\nWISE MAN.\n3rd PUPIL.\n4th PUPIL.\n\nYou'd think the way he says it, that he felt it,\nThere's not a mummer to compare with him,\nHe's something like a man.\nGive us some proof.\nWhat proof have 1 to give, but that an angel\nAn instant ago was standing on that spot.\nYou dreamed it, Master,\nI was awake as I am now.\nI may be dreaming now for all I know.\nHe wants to show we have no certain proof\nOf anything in the world.\nThere is this proof,\nThat shows we are awake ... we have all one world\nWhile every dreamer has a world of his own,\nAnd sees what no one else can.\nTeigue sees angels.\nSo when the Master says he has seen an angel,\nHe may have seen one.\nBoth may still be dreamers.\nUnless it's proved the angels were alike.\nWhat sort are the angels, Teigue ?\nThat will prove nothing.\nFor all we know, prolonged obedience\nHas made one angel like another angel,\nAs they were eggs.\nThe Master's silent now:\nFor he has found that to dispute with us...\nSeeing that he has taught us what we know...\nIs but to reason with himself. Let us away,\nAnd find if there is one believer left.\nYes, yes. Find me but one that still believes\nThe things that we were told when we were children.\nOur Master'll mock and maul him.\nFrom the first\nI knew he'd have us find some disputant."}, {"page_pdf": 64, "page_imprimee": "340", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.64", "texte": "£> THE HOUR GLASS\n\nWISE MAN.\nIst PUPIL.\n4th PUPIL.\nWISE MAN.\n4th PUPIL.\nWISE MAN.\n4th PUPtL.\nWISE MAN.\n2nd PUPIL.\nWISE MAN.\n4th PUPIL.\n\n{THEY go)\nI have no reason left, all dark, all dark.\n{PUPILS return laughing. They push\n{forward 4th PUPIL)\nHere, Master, is the very man yon want.\nHe said, when we were studying the book,\nThat maybe after all the monks were right.\nAnd you mistaken, and if we but gave him time,\nHe'd prove that it was so.\n! never said it.\nDear Friend, dear Friend, do you believe in God ?\nMaster, they have invented this to mock me.\nYou are afraid of me.\nThey know well, Master.\nThat ail I said was but to make them argue.\nThey've pushed me in to make a mock of me,\nBecause they knew I could take either side,\nAnd beat them at it.\nIf you believe in God,\nYou are my soul's one friend. {PUPILS laugh)\nMistress or wife,\nCan give us but our good or evil luck,\nAmid the howling world, but you shall give\nEternity... and those sweet throated things\nThat drift above the moon. {PUPILS are silent)\nHow strange he is.\nThe angel that stood there upon that spot,\nSaid that my soul was lost unless I found,...\nBefore the sands in the hour-glass had run out...\nOne that believed.\nCease mocking at me, Master.\nI am so certain that there Is no God,\nI'll curse him if you will, and after curse\nThe soul that has been made after his image ...\nIf but their lies were true. Will that convince you"}, {"page_pdf": 65, "page_imprimee": "341", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.65", "texte": "THE HOUR GLASS &\n\nWISE MAN.\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\n\nThat I have set my heart on what you teach ?\nThe giddy glass is emptier every moment,\nAnd you stand there, debating, laughing and wrangling.\nOut of my sight! Out of my sight, I say.\n(HE drives them out)\nI'll call my wife, for what can women do,\nThat carry us in the darkness of their bodies,\nBut mock the reason that lets nothing grow\nUnless it grow in Sight. Bridget, Bridget,\nSay what we wi11... Bridget, come quickly, Bridget.\n(BRIDGET comes in wearing her apron.\nHer sleeves turned up from her\nfloury arms)\nWire, what do you believe in ? Teli the truth,\nAnd not... as Is the habit with you a11...\nSomething you think will please me. Do you pray\nSometimes when you're alone in the house, do you pray ?\nPrayers... no, you taught me to leave them off long ago.\nAt first I was sorry, but I am glad now, for I. am sleepy\nin the evenings.\nDo you believe in God ?\nOh, a good wife oniy believes in what her husband tells her.\nBut sometimes, when the children are asleep,\nAnd 1 am in the school, do you not think\nAbout the Martyrs and the saints and angels,\nAnd all the things that you believed in once ?\nI think about nothing... sometimes 1 wonder if the linen\nis bleaching white, or I go out to see if the crows are\npicking up the chickens' food.\nMy God... my God! 1 will go out myself.\nMy pupils said that they would find a man\nThat had the old belief... they may have found him.\nTherefore I will go out... but if I go\nThe glass will let the sands run out unseen.\n1 cannot go ... 1 cannot leave the glass."}, {"page_pdf": 66, "page_imprimee": "342", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.66", "texte": "ue> THE HOUR GLASS\n\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nPOOL.\n\nGo call my pupils...! can explain all now,\nOnly when all our hold on life is shaken,\nOnly in spiritual terror can the Truth\nCome through the broken mind ... as the pease burst\nOut of a broken pease=cod.\n{He clutches BRIDGET as she )\nSay to them,\nThat nature would lack all in her most need,\nCould not the sou! find truth as in a flash,\nUpon the battle field or In the midst\nOf overwhelming waves, and say to them ...\nBut no, they would but answer as 1 bid.\nYou want somebody to get up an argument with.\nLook out and see if there is anyone\nThere In the street...! cannot leave the glass,\nFor somebody might shake it, and the sand\nIf it were shaken might run down on the instant.\nI don't understand a word you are saying. There's a crowd\nof people talking to your pupils.\nGo out and find if they have found a man\nWho did not understand me when 1 taught,\nOr did not listen.\nIt Is a hard thing to be married to a man of learning\ntiiat must always be having arguments. Children, don't\nbe meddling with the bread while 1 am out. (She\ngoes out)\nStrange that 1 should be blind to the great secret,\nAnd that so simple a man might write it out\nUpon a blade of grass or bit of rush\nWith naught but berry juice, and laugh to himself\nWriting it out, because it was so simple.\n(ENTER FOOL and BRIDGET)\nGive me something; give me a penny to buy bacon in\nthe shops and nuts in the market, and strong drink for\nthe time when the sun is weak."}, {"page_pdf": 67, "page_imprimee": "343", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.67", "texte": "& THE HOUR GLASS &\n\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nBRIDGET.\nWISE MAN.\nFIRST CHILD.\nSECOND CHILD.\nBOTH CHILDREN.\nFIRST CHILD.\nWISE MAN.\n\n1 have no pennies. (to WISE Your pupils cannot\nfind anybody to argue with you. There's nobody in the\nwhole country with belief enough for a lover's oath.\nCan't you be quiet now, and not always wanting to have\narguments. It must be terrible to have a mind like\nthat.\nThen I am lost indeed.\nLeave me alone now, S have to make the bread for you\nand the children. (SHE goes into kitchen)\nChildren, children !\nYour father wants you, run to him.\n(CHILDREN run in)\nCome to me, children. Do not be afraid.\nI want to know If you believe in Heaven,\nGod or the soul.;. no, do not tell me yet,\nYou need not be afraid 1 shall be angry,\nSay what you please... so that it is your thought...\n1 wanted you to know before you spoke,\nThat 1 shall not be angry,\nWe have not forgotten, Father.\nOh, no, Father\n(as if repeating a lesson) There is nothing we cannot\nsee, nothing we cannot touch.\nFoolish people used to say that there was, but you have\ntaught us better.\nGo to your mother, g0... yet do not go\nFor she can teach you nothing. If I am dumb\nYou shall be lost among tiie woods of nothing,\nAnd 1 because the sands are running out\nHave but a moment to show it all in. Children\nThe sap would die out of the blades of grass\nHad they a doubt. They understand it all,\nBeing the fingers of God's certainty,\nYet can but make their sign into the air.\nBut could they find their tongues .... they'd show it all"}, {"page_pdf": 68, "page_imprimee": "344", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.68", "texte": "THE HOUR GLASS\n\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\n\nBut what am I to say that am but one,\nWhen they are minions and they will not speak.\n('CHILDREN have run out)\nBut they are gone; what made them run away?\n{TheFOOL comes in with a dandelion)\nLook at me, tell me if my face Is changed,\nIs there a notch of the fiend's nail upon it\nAlready ? Is it terrible to sight ?\nBecause the moment's near. {Going to glass)\n1 dare not look,\n1 dare not know the moment when they come\nTo carry me away, {covers glass) Will there be a foot fall\nOr will there be a sort of tearing sound,\nOr else a cracking, as though an iron claw\nHad gripped the threshold stone.\n{FOOL has begun to blow the dandelion)\nWhat are you doing ?\nWait a minute ... four ... five ... six ...\nWhat are you doing that for?\n1 am blowing the dandelion to find out what hour it is.\nYou have heard everything, and that is why\nYou'd find what hour it is ... you'd find that out,\nThat you may look upon a fleet of devils\nDragging my soul away. You shall not stop,\n! will have no one here when they come In,\n1 will have no one sitting there ... no one ...\nAnd yet ....and yet.... there is something strange about\nyou.\nAre you the one 1 seek ? Do you believe\nIn God and the sou!, In the undying stuff\nThat all things have been made of from the first ?\nSo you ask me now. i thought when you were asking your\npupils, \" will he ask, Teigue the FooS. Yes, he will, he\nwill, no, he will not... yes he will.\" But Teigue will say\nnothing. Teigue will say nothing."}, {"page_pdf": 69, "page_imprimee": "345", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.69", "texte": "0 THE HOUR\n\nWISE MAN.\nFOOL.\nWISE MAN.\nFOOL.\nWISE MAN.\nPOOL.\nWISE MAN.\nPOOL.\nWISE MAN.\nFOOL-\nWISE MAN.\n\nTell me quickly.\nI said, \"Teigue knows everything, not even the green=\neyed cats and the hares that milk the cows have Teigue's\nwisdom \" but, Teigue will not speak, he says nothing.\nSpeak, speak, for underneath the cover there\nThe sand is running from the upper glass,\nAnd when the last grain's through, 1 shall be lost\nUnless 1 have lit upon unshaken faith\nSomewhere In somebody.\nI will not speak. ! will not tell you what Is in my mind.\n1 wiS! not teil you what is in my bag. You might steal\naway my thoughts. I met a bodach on the road yesterday,\nand he said, \" Teigue, tell me how many pennies are in your\nbag; ! will wager three pennies that there are not twenty\npennies in your bag; let me put In my hand and count\nthem. \" But I gripped the bag the tighter and when 1\ngo to sleep at night, I hide the bag where nobody knows.\nThere's but one pinch of sand ~. and i am lost\nIf you are not he 1 seek.\nO, what a Sot the Fool knows, but he says nothing.\n{seizing him) I kneel to you ... you are the man I have\nsought. You alone can save me.\nNo, no, what should poor Teigue know, Teigue that is out\nin ail weathers, Teigue that sleeps in the fishers' loft, poor\nTeigue the Fool. (HE breaks away and goes out)\nThe last hope is gone.\nAnd now that it's too late I see it ail,\nWe perish into God and sink away\nInto reality... the rest's a dream.\n{coming back on tip-toe and peering under\ncover of Hour-glass and singing in a low voice)\n\" I hear the wind a=b!ow,\nAnd the grass a=grow\nAnd ai! that I know, 1 know, \"\ni know what fixed the station"}, {"page_pdf": 70, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.70", "texte": "<£> THE HOUR GLASS \n\nOf star and cloud.\nAnd knowing all, I cry,\nThat what so God has willed,\nOn the instant he fulfilled,\nThough that be my damnation.\nThe stream of the world has changed its course\nAnd with the stream my thoughts have run,\nInto some cloudy thunderous spring\nThat is its mountain source.\nAye, to some frenzy of the mind,\nFor all we have done's undone\nOur speculation wind. (He )\nWise man.... Wise man, wake up and I will tell you\neverything for a penny, if is I, poor Teigue the Fool\nthat you were looking for. i am the man you were to\nfind before the sand ran out... the man who believes in\nGod. Why don't you wake up and say, There is a penny\nfor you, Teigue. \" No, no, you will say nothing. You and\n1, we are the two fools, we know everything, but we\nwill not speak.\nANGEL ENTERS holding casket\n0, look what has come from his mouth ! O, look what\nhas come from his hands... the white butterfly. He is\ndead and I have taken his sou! In my hands; but 1 know\nwhy you open the lid of that golden box. 1 must give it\nto you. There then, (HEput butterfly in casket) He has\ngone through his pains, and you will open the lid in the\nGarden of Paradise. (HEcloses curtain) He is gone, he\nis gone, he is gone, but come in everybody in the world\nand look at me.\n\" I hear the wind a-blow\ni hear the grass a«=grow,\nAnd ail that I know, 1 know. \"\nBut 1 will not speak, I will run away. (HE goes out)\nTHE END.\n\nFOOL."}, {"page_pdf": 71, "page_imprimee": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.71", "texte": "THE WEBB JUVENILE DRAMA\nby H.\nE. Francis Eagle.\n/I rnong the many publishers of Juvenile Drama and Theatrical Prints...\ntheir number has exceeded thirty.... William George Webb was In\nmany ways one of the most interesting. Born at Ripley, Surrey, in the\nyear 1819.... the posthumous son of a prosperous London Wool Merchant...\nat the age of fourteen he was bound apprentice for seven years;\n''without wages, but with board lodging and washing\".... as the\nqnaintly worded old document reads.... to another Juvenile Drama\nPublisher, Mr. A. Park, who then had a printing office in Leonard Street,\nFins bury, London.\n& W. G. Webb was the only publisher of these prints who served an\napprenticeship to the trade, and he sketched, engraved and printed his\nmaster's work. Later on, when he went into business on his own account\nat Bermondsey Street Borough he was the only member of the trade who\ncombined these three capacities, as artist etcher, printer and publisher\nof his own Theatrical Portraits and characters and scenes for the\nMiniature plays. & & &\nIn the trade 56 years altogether, W. G. Webb was the doyen of the\nJuvenile Drama publishers.... only two of whom sketched and engraved"}, {"page_pdf": 72, "page_imprimee": "348", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.72", "texte": "& THE WEBB JUVENILE DRAMA &\n\nthe work they issued, one Park, before mentioned, and the other his\nclever apprentice Webb who died in January 1889. & &\nThe Plays produced by W. G. Webb are second to none in Artistry\nand Craftsmanship and are of particular interest to this generation,\ninasmuch as they illustrate for us some of the fashions, fads and events,\nduring part of the Victorian Era,.... as portrayed on the Stage.... that\nvivid mirror of the day, and were the last work of any importance issued\nin the Juvenile Drama. & JZ? JZ?\nThe earlier work of Webb was contemporary with the later publi-\ncations of Skelt, Park, Fairburn and Green, indeed some of Skelt's plays\nwere sketched and engraved, by Webb. This shows that R. L. Stevenson\nin his memoir \" A Penny Plain and Twopence Coloured \" gives Skeit\ngreat praise for work that was not the production of his brain or hands :\nand with great injustice says: \"It may be different with the rose, but\nthe attraction of this paper drama sensibly declined when Webb had\ncrept into the rubric: a poor cuckoo, flaunting in Skelt's nest.\" This\narticle, when originally pubiished, was illustrated with fifteen reproduc-\ntions of prints, ascribed by Stevenson to Skelt, as a fact, fourteen of\nthese are taken from original etchings by Webb... the fifteenth, a cavern\nscene from the \" Miller and his Men \" was the only Skelt print repro-\nduced. Skelt... a prolific publisher... was neither artist or engraver.\nOriginally a shoemaker, he had his shop window filled with prints issued\nby the earlier publishers of plays, and, finding this side line more pro-\nfitable... we may assume.... than shoemaking and mending, drifted into"}, {"page_pdf": 73, "page_imprimee": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.73", "texte": "THE WEBB JUVENILE DRAMA jz?\n\nthe trade! There is more in this R. L. S. incident than meets the\neye... and if our editor desires, 1 will at a later date write the full story.\nWebb's first play \" The Forest of Bondy \" was published in 1847,\na fine production,... but a play that has been issued by at least two other\npublishers. The celebrated actor Buckstone made his first appearance in\nthe year 1818 as Captain Aubrey in The Forest of Bondy. &\nThe second play produced about 1848, was 44 Union Jack \", a stirring\ndrama telling of the early settlers in America; among the characters are\n44 Kleas Klafferman \", 44 Mordenbrenner 4' and 44 Diderich \"4 the pirates,\n44 Zarembo \" the Kaffir Chief, and the hero 44 Union Jack £? jZ?\nThen followed in the order given : 44 Three Fingered Jack \", a play\nmentioned by R. L. Stevenson, and I notice Mr. Jack B. Yeats quotes\nfrom the book and refers to the play in the 44 Mask \" for July. This play\ndeals with the bygone slave trade in Jamaica.\n& After this, in 1852, 44 Uncle Tom's Cabin \"... this was apparently taken\nfrom the first dramatisation of Mrs. Harriet Beecher Stowe's novel,\nproduced at one of the London Theatres. After this; \" Robin Hood \" &\nthe Merry Men of Sherwood Forest.\"\nThis play is mentioned and the book quoted by R. L. S. in his memoir.\nStevenson evidently considered it to be one of Skelt's plays. The error\nwill be quite obvious when 1 point out that Webb was the only publisher\nof 44 Robin Hood \" as a drama. jZt jZ? jZ? jZ? jZ?\n£> The next two plays :44 The Battle of Alma \" 1854.44 Battle of Balaclava\nand Inkerman are interesting, portraying the scenery and principal\nactors in these historic & & uzr ■£>"}, {"page_pdf": 74, "page_imprimee": "350", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.74", "texte": "THE WEBB JUVENILE DRAMA\n\nThe book of 44 Balaclava and Inkerman \" contains the old patriotic\nsong 44 The Red White & Blue \", also song 44 Partant pour la Syrle\n& After this : \" Guy Fawkes \" a fine drama now unfortunately out of\nprint.\n& f Dred or the Dismal Swamp \"... another play dealing with the slave\ntrade, and then the first Webb Pantomime: 44 Dame Crump and the\nSilver Penny, or Pig won't get over the Stile to-night \", a clever piece\nof work in twenty five plates. Among the figures are some delightful\ncaricatures and scene seven represents Webb's old shop demolished in 1898.\nThe book contains the' doggrel verse quoted by Charles Dickens in\none of his speeches... 44 Stick won't beat pig, and pig won't go home for\nme to cook my supper to-night. \" « MEASURE FOR MEASURE &\n\nprivate house. The painted (architectural) decoration of Baldassare\nPeruzzi (1481=1536), a Sienese architect and painter, should also be\nreferred to. The Farnesina Villa, not far from the Farnese Palace\nat Rome, was both built and decorated by Peruzzi, but unfortunately\nonly the decoration of a small portion of the second story remains.\nThe third Act Is the prison scene, and for this 1 would advise an\ninterior that might include the third Scene, of the second Act, the last\nof the third, and the second, third, and fourth, of the fourth, with but\none or two slight omissions ; for although in the text the latter part\nof this act is placed in \" the street before the prison \" and the fourth\nScene of the fourth Act is placed in Angelo's house, there would be\nlittle or no difficulty in so arranging these as to make the interior of\nthe prison a quite probable situation for the action of both scenes. Red\nbrickwork constructed in the plainest Gothic manner is all that is re-\nquired for the architectural character of this interior. (1) The plan of\nthe action and the dialogue demand some such arrangement as that\nindicated. Here M N is the proscenium, A an inner court of the\nprison, divided from an outer or public court F by arches filled with\niron grilles B B. S the street, P the postern gate, L the corridor or\ncloister leading to cells C C, and E doorways leading to different parts\nof the prison, jz? jz? jz? jz?\n& The last or fourth Act takes us outside the city gates. In this I\ninclude besides the whole of the fifth Act of the play the short fifth\nand sixth Scenes of the fourth;, and thus the latter is divided between\nthe third and last Acts. The fields outside the town, the street near\nthe city gate, and the public place near the city gate, are three scenes\nwhich can easily [be thrown into one without doing the slightest\nviolence to the course of the action. In Fig.* V. I show a diagram of how\nthis scene might be arranged. The walls and gateway would be of brick\nand terra=cotta, the top of the gateway wouid be machicolated, but the\nold fortification of the Middle Ages was, even at the time of the play,\nalready of more interest to the artist than to the military engineer. In\nFig. Y.j T is the town, G the gate, W the town walls, P the public place\nbefore the gats. F fields, and S, streets or roads near the gate. If the\n\nI) This, however, is written not considering the tune of the acting, whi:h is the melody. Ed."}, {"page_pdf": 83, "page_imprimee": "359", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.83", "texte": "& MEASURE FOR MEASURE &\n\nseats for the deputies are placed at A, if the friar places the ladies at\nB, and the Duke meets his deputies at the point indicated by the arrows,\nIt is easy to arrange the scene so as to present a picture not inferior to\nany In the whole range of the comedies.\nThe costume of the Sienese does not receive very much attention\nat the hands of Vecellio. He gives, (see pp. 361 and 363), a married lady of\nrank, and a gentlewoman of position, who might have been the wife of a\nmagistrate. There are two or three points to notice in these. The volu-\nminous scalloped-edged mantle in which both ladles are shrouded, appears\non the noble to be sleeveless, and is worn evidently with an eye\nto drapery effects; the other has capacious sleeves which touch the\nground. The first Is of delicate material, and is the utmost development\nof the veil reaching almost to the idea of a cloak and hood. The second\nis a kind of overall, with shaped body and shoulders. The dress of the\nnoble is open in front, revealing a richly ornamented skirt, the body\ncut low, aad sleeves tight from elbow to wrist. The noble lady wears a\nround-topped broad-brimmed hat, very like the modern felt worn by\ngentlemen in the country. A stiff-lace collar at the back of the neck, and\na lace stomacher are to be seen in the second example. Both ladies have\ngloves, necklets of pearls, and neck chains, but no fans. For the rest of\nthe costume we may refer to Vecelllo's drawings of the inhabitants of\nFlorence and other towns in Southern Italy. (1) J£>\nJZ/ In the text mention is made of velved and three-piled pieces;\nEnglish kerseys, gowns \" and furred with fox and lambskins, too; \"\nfour suits of peach-coloured satin as belonging to one Master Caper;\nblack masks; paint for women's faces, and also powder. There is, too, one\nvery interesting passage in the first Scene of the second Act...a Scene which\nreflects the English justice room of 1590-1610 rather than the Courts\nof Siena, where Ponipey Bum speaking, In his evidence, of stewed prunes,\ntells the magistrates that there were \" but two in the house, which at\nthat very distant time stood, as it were, in a fruit-dish, a dish of some\nthree-pence; your honours have seen such dishes; they are not china\ndishes, but very good dishes. \" When, in addition to this statement, we\nknow that in Shakspere's day Chinese Tsee, or porcelain, was a regular\n\n(1) See 44 The Mask \" Volnmes I, 11, IV."}, {"page_pdf": 84, "page_imprimee": "360", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.84", "texte": "& MEASURE FOR MEASURE &\n\nimpost of Venice, and that England amongst other European countries\npurchased \" china dishes \" there, we may very fairly conclude that no\nimportant house in the class of plays we are now considering, more\nespecially in the Italian group, would be considered furnished without\nits china. Indeed, from the first introduction of Chinese porcelain by\nthe Portuguese in 1503* specimens of this kind of ceramic art have\nbeen more or less eagerly desired, and so great was the demand for it\nthat after 1550 it had grown popular enough seriously to affect the\nmajolica manufactories of Italy*£? £? JS?\n\nSIENESE COSTUME, A translation from the\nbook of Cesare Vecellio, 1589.\nCOSTUME OP SIENESE GENTLEWOMEN.\n(>)\nTThere are some Ladies, wives of the leading men of Siena, or of officials\nof the Grand duke of Tuscany, who deck themselves with a dress of\ngold or of the most richly adorned brocade which reaches to the ground,\nwith the bodice not too long and the neck low so that one sees all the\nthroat, and with very sumptuous wristlets of gold lace, with which it is\nadorned at the feet also. They wear silk collars with very fine ruffles,\nand at the neck they have most beautiful strings of pearls, with jewels\nof great value hanging among them, and they also wear necklets or\nchains of gold very finely wrought, with some diamond or ritby attached\nto them in the middle. Over this they wear mantles of silk, with gold\nlace, which are fastened to the head and fall to the ground with great\nmagnificence and pomp. & &\nCOSTUME OP NOBLE SIENESE MATRONS.\nTThe noble Sienese Matrons wear robes or \" Zimarras \" of damask, or\nvelvet, of various colours according to their own taste; many of these\n\n(1) whose husbands hold honourable positions and offices in the city."}, {"page_pdf": 89, "page_imprimee": "365", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.89", "texte": "SIENESE COSTUME &\n\ndresses, however, are adorned in front with gold, finely worked, and\nalso at the feet, and they are long, reaching to the ground. Under these\nthey wear skirts of silk brocade or of gold made one over another, with\nsleeves of the same, and with the bodice well fitting and not very long, but\nlow=necked.\nOver these gowns they wear a long silk veil, which; hanging from their\nheads, which are covered with velvet hats with small brims, fall to the\n%\nfull length of the dress. &\nThey adorn their necks with most beautiful strings of pearls and rich\ngold chains, and wear ruffles at the wrists, and very becoming silk\nbaveri« (i\n\nA WORD UPON ORIGINALITY\nby Goethe.\n\npeople often \" said Eckermann, \" raise doubt as to the originality of\nsuch or such a celebrated man, by pointing out the Sources whence\nhe has derived his ideas^\n& \" That is perfectly ridiculous \" replied Goethe. \" One might as well,\nin regard to a man who is in good health and seems well nourished,\nhold an enquiry as to the oxen, sheep and pigs which have served for his\nnourishment and given him strength. We certainly bring faculties with\nus, but we owe our development to the thousand influences of an Infinite\nworld ; of this world we appropriate what we are able to and what is\nsuited to us. I owe much to the Greeks, to the French; 1 owe an infinite\namount to Shakespeare, to Sterne, to Goldsmith. But those are not all\nthe sources from which my spirit has drawn ; these are infinite in number,\nand what use is there in knowing them ? The principal thing is to have\na soul which loves truth and which takes it where it finds £?\n& Moreover, the world is now so old and, for many centuries so many\nremarkable men have lived and thought, that there is little that is new\n\n(1) a cape-like collar."}, {"page_pdf": 90, "page_imprimee": "366", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.90", "texte": "& A WORD UPON ORIGINALITY &\n\nto find and to say. My '* Theory of Colours \" is not absolutely a novelty,\nPlato, Leonardo da Vinci and other fine intellects have in part found and\nsaid all that I have myself found and said, but to have rediscovered it,\nre-said it, propagated, defended, and traced out a route for truth, that\nis my merit. & && && && &\n£? Truth has always need of being repeated because error is repreached\nto us ceaselessly, and not merely by a few isolated voices but by the\ncrowd, In the newspapers, in the encyclopaedias, in the schools, in the\nuniversities, everywhere error holds the first place; it is at its ease with\nthe majority who take upon themselves its defence. Often also people set\nforth in turn truth and error, and then pause upon this latter. Thus a\n4 A\nfew days ago I was reading in an English encyclopaedia the exposition of\nthe formation of the colour blue. It gave first the theory of Leonardo\nda Vinci, which is the true one ; but immediately afterwards it gave quite\ntranquilly the theory of Newton, which is false, but it pointed out that it\nwas necessary to accept this latter, because it is universally received I\n\nFrom the \" Conversations\nwith Eckermann. 1832-1832. \""}, {"page_pdf": 91, "page_imprimee": "367", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.91", "texte": "THE MODERN THEATRE\nby Allen Carric.\nTo the existence of art, to the existence of any aesthetic activity\nor perception whatsoever, a preliminary psychological condition\nis indispensable: namely, ecstasy, & Nietzsche.\nt is unnatural, this modern theatre, it Is altogether unnatural,\nis there any doubt about it? & & &\nIs it not unnatural for us to be forced to wait till night to\nenjoy an art?\n& Is it not unnatural to sit two and a half long hours on one seat,... a\nticketted seat, a numbered seat, crushed in on all sides by strangers ?\nJZ? IS it not unnatural to enter into a place with fear, and look round\nat the multitude with fear, to walk up to your place fearfully, and to sit\ndown talking rather loudly because you are frightened ? Is not fear un-\nnatural ? JZ? JZ?\nIs it not unnatural that you look on to an artificial stage which is\nnot even invested with a natural artifice nor even with a real artificial\nartifice ? £? JS?\nis it not unnatural of us to bear all this without a murmur, to hear\na shout which goes out in praise to the silliest things, and to remain\nsilent through fear ?\njSf Is it not unnatural, that sigh of relief as we perceive a danger which\nhas been avoided? Is this not unnatural? uz?\nJZ? And is it not unnatural on our part to praise every little perfor-\nmance, to pretend even there and also to pretend that pretence ? The\nrouge is not dabbed on artificially as a frank artifice,... it pretends to\nbe naturai nowadays. & x?\nHow great a fault 1\nwe the audience, and they the players, are forced into this pretence\nby the cruellest of deities that savages ever chose to be their master,...\n♦« Pretention \". We are in no natural condition in the theatre. We are\nnot relaxed,... nor do we find relaxation. At best it can be said that\nsometimes we achieve a pretended and external relaxation. & £?\nJZ? it is because of this that someone once said to an inquirer that he\nhoped some day to see the theatre in the Turkish Bath. Some of the\nFrenchmen who came across this statement wrote about this, and found"}, {"page_pdf": 92, "page_imprimee": "368", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.92", "texte": "£> THE MODERN THE A TRE &\n\nit a '* comic reform But it is not so comic as they pretend. In the\nTurkish Bath, you become relaxed. The fearful noises and the as fearful\nstillnesses of modern existence are removed:\nYou have passed some length of time in a strange stillness broken\nonly by the natural noise of running water; you are physically in the\nfinest possible condition : your senses are tuned up to the right pitch.\nNow is the condition in which you can receive ail good things which\nstir up the imagination through the senses. Well then, what shall we\nsee? What shall we hear? Let it be drama and opera.^\n& A heavy curtain closes over the central arch.... the light Is shut out,\nali but those long soft rays which shoot from side or ceiling upon the\ntiled pavement; an attendant passes without a sound, and as he goes,\nthere rises a sound of singing,.... the opera has begun. Afar off. unseen\npersons raise their voices in unison,..,, it is the first chorus. The lights\nseem to grow less ; now someone who 10ve5.... something or somebody,\nor all things and all bodies,;... begins to sing.... unseen ; and whilst he\nsings, the notes of a reed pipe seem to follow him,.... to follow not to\nrun beside him.... to follow him in the guise of all those things which\nfollow attraction. What is it we discern in the notes of this pipe ? Some\nof us think it is a flight of birds, another may think it is a fountain, a\nnew source of a new river breaking through the earth. Some think of\nthe waves reaching up to the shore, some will think it is the quickened\nbeat of the pulse. It will be none of these and all of them. It will be\nmerely something moving, in harmony, in vain, and in despite. But while\nvoice and pipe sing, it will seem as though both were moving away. At\nlast a pause. You can count ten slowly. What has happened ? Nothing.\nThe chorus bursts out from the other end of the building: something\nsurprising rushes into the place. The light fills the room slowly, as slowly\nas the chorus swells rapidly. The song and the sound increase and in-\ncrease and then die slowly out.\nThe opera has ended\n....we have fallen asleep.\nwe long to witness a drama. & & & & &\nThe attendants draw aside a thin veil, and disclose a low long window\nin which we seem to see a whole city. Quite silent yet sunny, it seems"}, {"page_pdf": 93, "page_imprimee": "369", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.93", "texte": "THE MODERN THEATRE &\n\nfar outside the place in which we lie, where all is dark and drowsy.\nOutside it is all gay, the sun strikes across the corners of the roofs,\nmoving and falling here and there like something liquid : we see no\nlittle corner, we see a whole city. Then in whispers* the Drama of the\nMarionnettes begins. &\n& In whispers, not of the stage but of the poet's mouth. The little fi-\ngures move about; they don't know we see them, we know they don't\nsee us. AH is grave or gay. Not one thing alone, but many things are\nhappening; not one man alone but many men are feeling, not one\nwoman, but many women, many children Ssssssssh !1 &\n& \"The world is so full of a number of things I'm sure we should all be\nas happy as Kings. \" & & & &\n0 To be as happy as kings... like kings... is the art of the Marlonnette.\nWisdom has often been whispered... a poet has told us. The whispe-\nring grows and grows. Now all is silent once more.\nThe Drama of wisdom has ended\nWe are asleep.\n\nIN ROME\nby Edward Edwardovitch.\n\n\"WHEN IN ROME, DO AS THE ROMANS DO\"\ndid, and I didn't.\n& 1 did as the Romans do. I went to the Theatre and\nlaughed like a Roman. I drank in new Ijfe, and became,\nlike Romans do, intoxicated with good things.\n£/ Then I did what Romans don't do. £/\nTHE CHURCH.\nwent to Santa Maria Maggiore, a large and perhaps beautiful church.\nI went there convinced I should have to elbow my way In; it was at\nVespers on New Year's Day. &"}, {"page_pdf": 94, "page_imprimee": "370", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.94", "texte": "■£? / N R O\n\n& I arrived early at a quarter to three, and at three fifteen the service\nbegan. Hardly a Roman in the place. One or two foreigners. 1 told\nmyself that modern Romans do not understand any more Dignity and\nBeauty in ceremony and music. And I waited breathlessly, as I wait al-\nways before the Matthew \" Passion \" of John Sebastian Bach.\nThe ceremony began. The music came. The ceremony ended. The\nmusic went. But neither one nor the other touched me.... they gave me\nnothing... there was a feeling that it was being got through to please\nthemselves. ug? jg? jg? jg? jg? j& jg? j&\nAs an artist I am always open to impressions, and, where an organ,\na choir of voices and a ceremony work in harmony, I am always alert\nand ready to enjoy. 4g? & j& jg? jg? &\nThe whole service that afternoon at 3.15 in St Maria Maggiore, Rome\nwas exceedingly bad, and so bad that it is open to censure. J&\nJ& Nothing leads me to suppose that the performance of the ceremony\nwas worse than usual.... yet I was unusually disappointed. I had been\nprepared for something lovely. Hoping for the best I waited to hear the\nmusic played and sung in a perfect fashion. Both were thoroughly bad,...\nnot even adequate. J& j& jg? j& j& j& J&\nj&Once, while travelling in the Appenines, I had a long conversation\n*\nwith a priest. He was on his way to Rome. jg? J& jg? &\njg? Never having seen any Italian city but Florence and Milan I was\ncurious to hear of the capital of Italy. I supposed Rome was a noble city.\nHe answered me that it was. & J&\nI then spoke of the difficulty 1 had in being a **believer \" in the\nsense the Catholic uses the word. 1 said 1 had tried hard, but the\nChurch was always preventing me by force from loving the Church,\nj& \" How is that ? \" he asked. jg? jg? J& jg? J&\nj& \" Well you see, I am such a wretched being.... I am an artist. I love\n\" so much beautiful things. I love the beauty of white clouds, and the\n\" little hills of 1ta1y,... the beauty of the mystery of the singing of birds,\n\" and the noises of a brook. Yes, and even the beauty of the heart....\n\" and of sacrifice. I dislike so much the ugliness and tyranny of stations\n\" and the noises of trains, the blackness and the hard suggestion of\n\" cities. And I cannot tell how it is, but whenever 1 enter the grand"}, {"page_pdf": 95, "page_imprimee": "371", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.95", "texte": "& 1 N R O M E.\n\n\" old churches of Italy I am there forced to feel as though they were\n\" places of terror. The effect works slowly, but it always drives me out\n\" sooner than I had hoped to go. jg? jg? jg?\njSf 44 In Florence, in Fiesole, in Milano, in many smaller towns, I have\n\" £°n6 with reverence and in search of spiritual beauty into many\n\" churches. What did I find in every case?\n44 I hardly dare to tell you. & jg?\n& \" Tell me, \" he answered, for he was a patient priest.\n\" No, I cannot tell you what I saw and heard. But I must ask you\n\" to tell me why the Church orders its priests to strive to make their\n44 faces and figures more ugly than is necessary ? I must ask you to ex-\n-44 plain why the priests are told to talk amongst themselves and point\n\" to and laugh about men and women who come in to look and listen\n44 with reverence ? These are things which puzzle me much : but what\n44 puzzles me most is to understand why the church insists so rlgourously\n44 upon its priests grinding out the most ugly sounds which the human\n44 voice is capable of producing, and all the while making grimaces such\n44 as are only equalled for ugliness by the Chinese evil spirits as depicted\n44 by the great artists of the Hast. £? jg/\n& 44 If I could only understand the profound intention of the Church\n4 4 and its insistence upon the daily creations of ugliness I could perhaps\n44 the better believe in this Church and admire its influence \". j£*\n44 Ah, \" sighed my friend. 44 You should go to Rome. There the music\n44 is quite lovely \". j\nSo I came. I have listened and looked and it is as ugly and as\nseemingly selfish as everything I have ever encountered. Please under-\nstand me that 1 speak only of the semblance of the thing, not of its\ninner life. JS & &\nI know nothing of that inner life. How can I ? There is no way of\nascertaining. I am forcibly prevented from getting further than the\nexternals.\nThese are, 1 repeat, the ugliest, blackest, most hopeless which man\never encountered.\nAnd perhaps this is a reason why Romans were not to be found at\nSt Maria Maggiore on New Year's Day at Vespers. &"}, {"page_pdf": 96, "page_imprimee": "372", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.96", "texte": "j& I N R O ME. &\n\nI am told that the place is practically empty the whole year round.\n1 am not surprised, and I think it is a very good old saying about doing\nas the Romans do In Rome, j2f &\nTHE STAGE.\njpor they go to the Theatre... they went to laugh with each other\nand with Scarpetta, and hang me if I don't believe in my heart of\nhearts that a side splitting performance by Scarpetta is a more elevating;\nand a more religious Exhibition than is today the service held at\nSt Maria Maggiore.\n1 don't question that the Church service aims at Divine Worship. 1\ncan only state that it fails utterly to hit the mark for it falls to be heard\nor seen, and therefore to be felt, and that Is essential If you wish to\nmove the people. ■&\nAnd those who do hear and see it are terrified, if their eyes and ears\nare prepared to receive the signs of spiritual beauty. & &\nWhereas we all of us came into touch with Scarpetta at the theatre,\nwe all of us saw and heard things and were moved to feel things ;\nat the theatre doubts and theories vanished, false hopes and equally\nfalse delusions vanished,... we were face to face with life. Nobody was\nmewing and nobody was barking. People were speaking... human people.\nThey were telling us nothing new, nothing mysterious.... 1 mean to say\nnothing so mysterious that it was incomprehensible. We just heard once\nmore the same old story with the moral (if you want a moral) of the\npower of gay spirits over the weakness of tears and complaints. &\nMany comedies, it is true, are charged with the spirit of mockery.\nThese comedies in Rome had an ounce of it, but only an ounce: the\nrest was pure mischief and fun, and poetry; little \" tragedy \" in the\nstrict sense of the word, but much more tragedy than you would get in\na Classic Theatre in Paris, Berlin, or London. For after all, an old gen-\ntleman with a very red nose, is not only comic, but has a touch of\ntragedy in him; especially when that nose is wedded to a pair of ex-\ntremely grave eyes and brows, and a \"reserved play of the hands.\nThe mockery of life was mainly in the gait of the actors and there\nwas nothing but charm or comedy in their delivery. Now and then, one"}, {"page_pdf": 97, "page_imprimee": "373", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.97", "texte": "& I N ROM E. &\n\nor two of the actors In the secondary roles exaggerated a trifle and by\ntrying to force the humour of the situation or the character became, I\nregret to say, almost like the priests in St Maria Maggiore. But this\nwas never the case with the first five or six of the actors who were\nquite delightful.\nReader, I am afraid that when you come to Rome you won't be able\nto do as the Romans did for I think that Scarpetta will be in Naples,\nSyracuse, or some fair city far removed from the haunt of the Cardinals.\nFor Scarpetta comes from Naples; so when you go to Rome welij I\nthink you had better do as the Neapolitans do. &\n\nMediaeval Marionettes from the \"Hortus deliciarum\" of Herrad von Landsberg."}, {"page_pdf": 98, "page_imprimee": "374", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.98", "texte": "LETTERS TO THE EDITOR.\nTHE LIVERPOOL REPERTORY THEATRE.\n\nSir.\n'jphe wealthy are often thought to be mean. Perhaps that Is why the\nwealthiest nation in the world, making the greatest boast of its ge-\nnerosity, has so many of the poverty stricken in its midst. jg/\nCertain it is that all movements towards reform and betterment in\nEngland are expected to make do with one half of the encouragement\nand financial assistance accorded to similar endeavours elsewhere. In\nArt most justly of all may this accusation be levied against the English.\nThe bitter root of puritanism has left foul stain everywhere. The English\nartist Is yet someone to be 'ignored' ...a modern cultural form of earlier\npuritanical burning and hatred. If he be not reviled he is drugged with\nthe poisonous wine of flattery. &\nAs justification for this diatribe against English pettifogging and\ndisregard, let us take the case of Drama. As a particular instance in\nthat case let us conduct an ex-parte examination into the circumstances\nand present condition of the Liverpool Repertory Theatre, to which you\nreferred in your last issue. &\nThese English Repertory Theatres are an unworthy attempt to re-\nvivify with new blood a worn-out corpse of the English theatre. The\nattempt is unworthy because the promoters have hurried to their task\nwith an imperfect knowledge of what was required of them, or of the\nart which they have sought to reawaken; and with firm belief in their\npower to effect vital improvement by inexpensive and conservative methods.\nThe Liverpool Theatre is struggling towards the close of its second\nseason. What is the history of its achievement ? Upon what new school\nof dramatic writing has it set the seal of its encouragement ? With what\nnew methods of production has it experimented ? Has it a school of\nacting, and is that school in a flourishing condition ? How many Sha-\nkespearean plays have been performed during these two seasons? Questions\nand doubts come tumbling out of one's thought; to each of them painful\nsilence is perhaps the most considerate answer. £?\n& We were told that the word ** repertory \" was the rallying cry of the\nnew spirit in the English Theatre. Yet in the theatre under examination,"}, {"page_pdf": 99, "page_imprimee": "375", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.99", "texte": "LETTERS TO THE EDITOR\n\none of the most representative in this English movement, what a tale of\npractical failure must be told! Shakespeare has not yet been performed in\nthis theatre. With the exception of an encouragingly successful attempt\nIn Oscar Wilde's \" A Florentine Tragedy \" and in a Christmas fairy play\nwhich owed its existence entirely to private enterprise, there has been\nliterally no attempt whatsoever to exploit new methods of production ; no\nattempt to progress beyond the mediocre standard of what is termed\nrealistic acting on and upwards towards that new theatre of Rhythm\ncompounded of Form, Colour and Song; the new movement spiritualised\nand led by such men as Gordon Craig, Kemendy, Leon Bakst, Stanislawsky,\nand Reinhardt. j&\n£? The most tragic part of our tale of failure is that the blame for this\npresent situation cannot be laid with the committee of management, or\nboard of directors as they are called, or with the Art Director of the\ntheatre. The former have, 1 believe, most excellent intentions and the\nlatter is a hard working fellow enough.\nThe blame must be laid with the public of that great city of Liverpool,\nwho by their infamous neglect of this theatre have earned the right\nto complete neglect from the artists of the world for at least fifty\nyears. <£?\n£? This great seaport is one of the richest of England's provincial cities.\nYet it has allowed Its theatre to struggle in absolute penury for two\nyears, and to fail in its most primary objects; it has allowed itself to\nmiss the opportunity of making its theatre world-famous, and thereby\nadding one more jewel to its crown of commercial prosperity. (How one\nkow-tows to the reigning goddess of Britain !)\n& Liverpool is the home of wealthy magnates. There are names which\ncome quickly to one's mind ; William Lever, Bruce Ismay, Richard D. Holt,\nCharles Bibby, Alfred Booth, E. K. Muspratt; and behind these outstan-\n. 4\nding personalities comes a great multitude of lesser wealthy citizens,\nflanked by the wealthiest of municipalities. Yet out of this great mass\nof wealth there does not appear to have been the smallest attempt to\nrender first aid to this enterprise.\nThere is much to be said against municipal endowment. There is\nnothing to be said against a partial endowment obtained by a regular"}, {"page_pdf": 100, "page_imprimee": "376", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.100", "texte": "0 LETTERS TO THE EDITOR 0\n\nsubscription list, or by a particular donation towards the production of\none or two special plays. 0\nThe example of the little town of Lubeck which was quoted by a\nwriter in the last issue of your journal has fallen upon deaf ears in\nLiverpool. It seems that it must ever be so. And so the tale of indecent\nstruggle and practical failure goes on. 0\n0 For this reason, and for this reason only 1 believe, the Liverpool\ntheatre has achieved nothing. The city apparently is content with car-\nrying wealthy Americans across the Atlantic; it seeks no embellishment\nof Its civic life. In precise English, the situation Is disgraceful. Wealthy\nLiverpool regards it with perfect equanimity i 0 0 0\nLiverpool.\n\nYours faithfully\nA. Z."}, {"page_pdf": 101, "page_imprimee": "377", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.101", "texte": "BOOK REVIEWS.\n\nTHE CIVIC THEATRE by Percy\nMackaye* Mitchell Rennerley.\nNew York.\nlyir Percy Mackaye's utterances\nabout the Theatre always carry\nweight. As we have always held, he\nhas the right to speak with autho-\nrity, being a son of the theatre, and\nas such he may be included in that\nsmall group whose words are deser-\nving of the most careful attention\nof all who are seriously and keenly\nconcerned in the welfare of the\nTheatre and Its Art.\nHis new book treats of his con-\nception of a \" Civic Theatre \", an\nidea which, he points out, im-\nplies, as a distinctive issue, \" the\n'*conscious awakening of a people to\n•' self-government in the activities\n\" of its leisure\".\n& There Is an Idea in this.\nMr Mackaye defines this institu-\ntion which he calls the Civic Thea-\ntre as \" the efficient instrument of\nthe recreative arts of a community,\"\nan instrument to aid it in fulfilling\nthat deepest instinct of a pe0p1e,....\nthe need for happiness. \"Its object,',\nhe states, \" is to fill time, not kill\n\" it: to refill it to overflowing with\n\" that quality of charmed eternity\n\" which it always possesses In nor-\n\" mal childhood \", and he would\nhave the people themselves coope-\nrate, under the leadership of the\nartists, in all the activities which\nthe celebrations and festivals of such\na theatre should\n\" The redemption of leisure by\n\" an art participated in by the peo-\n\" pie on a national scale \", writes\nMr Mackaye, \" would create such a\n\" counter-demand for craftsman-\n\" ship In the humblest things as\n\" would revolutionize the present\n\" aspects of the machine-made world.\n\" Every property, costume, symbol,"}, {"page_pdf": 102, "page_imprimee": "378", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.102", "texte": "<£> B O O K REV\n\n\" insignium, banner and humblest\n\" buckle designed for their festivals\n\" would ultimately become the pro-\n-44 duct of the people themselves,\n44 under leadership of their fellows,...\n\"the artists of the civic theatre\".\nIn fact, 44 Its organization is an or-\n\" ganization of artists for civic lea-\n-44 dership\".\n48 This idea of the leadership of the\nartists is one which cannot be too\noften insisted upon.\n\"The Mask\" has repeatedly decla-\nred that there is not one single de-\npartment of national life which would\nnot be rendered keener, gayer, hap-\npier and more prosperous through\nthe influence of a fine Theatre,\nadequately endowed, under the di-\nrection of artists ; it has also poin-\nted out the value of giving every\nvillage a theatre and every boy and\ngirl the chance of acting. For when\namusement is freed from the curse\nof commercialism and when it is\nthe artists who control and direct\nthe people's leisure, who not only\ndelight them, but first inspire and\nthen guide them to creative activi-\nties of their own, we shall have taken\na long step towards the attainment\nof that ideal state when the artists\nshall cease to be isolated accidents,\nexceptions, but when all shall be\nartists, 44 contributing their verse \"\nto the great Song of Life in honour\nof the New Age whose dawn the\nartists are even now prophecying is\nto revive an old world, 48/ 48\n& What we are all striving for and\nshould remember is that the whole\nof mankind should be creative ar«\ntists; that a man who is not an\nartists should be the exception. This\nis the desire of many thousands of\npeople ; they see In this the solution\nof all social problems, the solution\nof all difference between sex,... the\nsolution of the great problem of life.\nFor the artist understands\nall things, whereas all other people\nare specialists. A Leonardo da Vinci,\na Whitman, both springing from the\npeople,seem to know that this uni-\nversal race of artists is bound to\ncome. It is no new idea, and its\nrealization is to come after the social\nUpheaval which threatens us even\nnow.\n■£? The artists of the Theatre will be\nin the forefront of that movement\nwhich shall lead us to a sense of the\nsplendour of life as understood and\nfelt through the means of creative\nart...through the very act of creating.\n4? The vision of the foremost men\nand women of our art must pierce\nbeyond that of all others; it must\ncommand a wider horizon. They must\nfor ever be in advance, for they"}, {"page_pdf": 103, "page_imprimee": "379", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.103", "texte": "B O O K REVIEWS. &\n\nsearch on behalf of the people,and joy\ncan be brought to these in no other\npossible way than by the understan-\nding and creation of the beautiful.\nThe Chinese sage tells us that a\njourney of a thousand miles began\nwith a single step and as the\nstep been taken towards this ideal\nthe destination must be reached.\n\nIMPRESSIONS AND OPINIONS\nby George Moore. Werner Lau-\nrie. Price six shillings. &\nMr George Moore tells\nus that this book, \" like a big\nNewfoundland dog, dived after him\nand brought him to shore \" when\nhe was *'■ sinking in a flood of public\ndisfavour caused by 'Spring Days'; \"\nand as he further goes on to say,\n\" We have heard of three pounds\nten shillings being asked for a copy\"\nhow could we expect him to refrain\nfrom reprinting a cheaper edition ?\nThere are several little essays on\nthe Theatre included; one on the\norigin of the \" Theatre Libre \" in\nParis, an Idea for a Th&itre Libre\nIn England, estimates of \" our Dra=\nmatists and their Literature \" and\nso on. &\nX? His essay on \"Mummer Worship\"\nis of interest if only that it reminds\nus afresh that what was so terribly\ntrue when he first published it in\n1888 is still as true, and even\nmore 50.... today.\nMr Moore wrote twenty-five\nyears ago of the \" Mummer \"... \"his\nvanity has grown as weed never\ngrew before : It overtops all things\nhuman jg? X?\nJS? Are not the amazing records of\nan actor manager's \" little conti-\nnental tour \" in 1885 equalled by\nthe importance given to the trifling\nactivities and achievements of cer-\ntain actor-managers today ? and\nwhat of his leading lady's tremen-\ndous admission on going to act in\nBerlin, when she says, having \"never\nkept up a familiarity with the Ger-\nman language\" since her schooldays,\n\"in order to get as much practise\nas possible In the foreign tongue in\nwhich I had somewhat rashly un-\ndertaken to play, I took my passage\nin the North German Lloyd\nsteamer *Saal'.(l) ■£>\nSurely this will become immortal.\nMr Moore's indictment remains,\nunfortunately, as true today as when\nit was written: and not until the\ncolossal vanity of the \" mummer \"\ncan be rooted out, until this worship\nof mere \" personality \" ceases, and\nas stern a training is enforced in\nthe theatre as in any other art, may\nwe hope that these fatuous follies\nwill be corrected.\n(i) The Italics are ours."}, {"page_pdf": 104, "page_imprimee": "380", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.104", "texte": "FOREIGN NOTES\n\nLONDON.\n\nMr Lovat Fraser's Exhibition.\n\n''jphere was a good little Exhibition\nof designs by Mr Lovat Fraser\nheld at his studio in Pelham St in\nFebruary. j£t\nHe did not announce that the de-\nsigns were for the Theatre, but the\nwhole collection of 63 designs, if not\nfor any special theatre* belong to a\ngreat extent to the theatre.\nFor instance, No 14. \" The Inn\nat Pirates Point^\n& This design teaches the theatre\nsomething that it doesn't want to\nknow, pointing out to the theatre\nthe advantages of designing your\nscene as it is there designed and not\nchanging a scrap of it, and they\nwould still not understand that the\nartist was really trying to do them\na great service, x? &\n& The foreign theatre would know\nall about this, but the English thea-\ntre would not understand. It is so\nsensitive. It thinks you want to rob\nit. You want to give it something.\nSo that if any theatrical people\nhave seen Mr Fraser's collection,\nthey have begun puliing it to pieces\nat once.\nMr Lovat Fraser is alive, and\nwill take a lot of killing. You can-\nnot hit him anywhere so far as 1\ncan see. lie is much too fond of\neverything and everybody, despising\nboth at the same time. How grate-\nful he is for a crumb, how indiffe-\nrent to a large slice of advice.\n& This is really a very strong Ex-\nhibition of 63 designs, and unlike a\nfirst Exhibition, Mr Fraser has not\nbeen careful to hide all his likes\nand dislikes. He frankly shows that\nhe has been touched by the work of\nthose trying to revive the European\nTheatre. He is not cautious; a\ncautious man would have gone to\nTelbin or De Lowtherbourg for his\ninspiration. x?\nA cautious man would not have\nhad the courage to say;.... ** I like\nthese new fellows, \" and in a few\nyears, Mr Fraser will, after disliking"}, {"page_pdf": 105, "page_imprimee": "381", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.105", "texte": "-0- FOREIGN\n\nor forgetting his friends, make new\nfriends, the friends that his imagi-\nnation will have conjured up for him.\nParticularly interesting is No. 32,\n\" Demeter \".\nThe good thing about it is that\nthere is only one idea in it. Most\npeople would have tried to put six,\nbeing frightened lest one should\nfail. \" Caution \", caution !! A won-\nderful thing in a rash man like\nWhitman, a disastrous thing in any-\nthing less great, less rash, and it is\nbecause there is so much caution in\nEngland that movement has turned\nto rest, and stagnation threatens\nto set in. This is not an opinion\ngiven at close quarters. It is given\nat the proper distance. It is un-\nfortunately what every nation is\nsaying of us, and it is for us to point\nthis out not to our nation as a\nnation, but to the one or two indl-\ndividuals whom each of us happen\nto know. JS? JSf R. P.\nMr Clunn Lewis's Marionettes.\nAmong the attractions of the first\n\"Children's Welfare Exhibition \"\nlately held at Olympia was Mr Clunn\nLewis's Marionette Show, which gave\nfifty-one performances during the\neleven days, and was visited by two\nthousand five hundred people.\nMany of these evinced the keenest\nLewis's much-travelled puppets re-\nceived an applause which mighteasily\nhave turned the heads of any actors\nless serene. x?\nCertainly, the performance given\nby these old dolls is a refreshing and\ndelightful one. England owes a debt\nof gratitude to such a man as Clunn\nLewis, for the tenacity and love he\nhas devoted to keeping alive an an-\ncient tradition ; and It is to be hoped\nthat this debt may soon be dischar-\nged in a fitting way... that is to say,\nby assisting this fine old showman in\nsome practical manner to preserve\nthe marionettes, and thus proving\nto him that his... and their.... good\ndays are not over but yet to come.\nIt is to every one's interest to do\nthis. For, as Mr John Bull, writing of\nthis Puppet Show in the last number\nof \" The Mask \" declared, the En-\nm\ngllsh, \" in serving the man who pre-\nserves old traditions of this kind \"\n\" would be serving themselves more\nthan anyone else.\n\nR. D.\n\nLIVERPOOL.\n\nMr Gordon Craig's Exhibition.\n\nQne of the most remarkable exhi-\nbitions of modern times has been\non view at Liberty Buildings.\nThe little models of stages,\nthough forming only a small part\nof the show, are the section that at\ninterest in the marionettes, and Mronce arrest the attention... we are"}, {"page_pdf": 106, "page_imprimee": "382", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.106", "texte": "FOREIGN NOTES. &\n\nstill like children in that to see a\nthing In the round, and on a small\nscale, is more real than reality itself,\nand far more exciting than the most\namazing two - dimension represen-\ntation. JZ? JZ/ sZ*\nIn these models we see at first\nhand and clean from the source\nwhat has been percolating through\nfrom Germany and other directions\nin a more or less muddy way, and\nhas been welcomed by us and rhapso-\ndised over in this clouded form as\nsomething wonderful and strange.^\nThe new theatric art had its\norigin in this country, its influence\nhas been \" festooned from point\nto point around Europe\", and at\nlength we are beginning to honour\nthe fountain head. JZ?\nThe natural thing is to say\nthat these models represent the\nrevolt from the realistic stage, but\nthey are something more definite\nthan this. Taking the \" Hamlet\"\ngroup, which appear to carry the\nprinciples suggested in the others\nto their logical conclusion, it is evi-\ndent that this stagecraft overthrows\nthe tyranny of stylistic architecture\non the stage: the models are essen-\ntially stylistic, but at the same\ntime intensely architectural.\nBut the mere clever imitation\nof actual architecture, which was so\ngorgeously indulged in by the Ita-\nlians at the renaissance, and by\nInigo Jones with us, and which with\nus has sunk to a tedious, if precise,\nrepresentation of an actual scene,\nis a thing of the past... we cannot\nbelieve that it will ever return, even\nto mimic a law court or solicitor's\noffice.\nThe literal trespassing of one art\non the grounds of another is one of\nthe chief impositions that we are\nfighting against at present. Paint-\ning has nearly got free of that\nliterary incubus, ?and although the\nmusic of Strauss appeared to grovel\nin a cruder subservience than before\nthe really modern music of Reger\nand others is bent on a flight unen-\ncumbered by literary or pictorial\nsandbags.\nSimilarly, Mr Craig by the use\nof his screens, entirely devoid of\ndetail or ornament, has proved that\nthe art of the theatre is an art of\nitself, and not a matter of imitation,\nas some people would have us think\npainting is. No buildings in the world\ncould everhave existed likeMrCralg's\nmodels; they are sheer architectural\nconceptions untrammelled by practi-\nbility...means of intensifying moods\nand planes for the play of light. In\nthe most rarefied sense we describe\nthem as architectural, as we are"}, {"page_pdf": 107, "page_imprimee": "383", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.107", "texte": "FOREIGN NOTES.\n\ncompelled to use the epithet for\nGreek sculpture ; but whoever plan-\nned a real building like the cage\nthat Ophelia wanders about in during\nher mad scene with a gigantic cir-\ncular column in the centre and slim\nsquare shafts around it? The whole\nromance of corridors is concentrated\ninto the Lady Macbeth model so\nunmistakably Celtic in feeling, but\nwe are convinced that not even the\nfantasies of a Scottish baronial castle\never rose to this superb height of\nimpracticability. jg? jg?\nCo-equal in importance with form\nis the lighting. Here Mr. Craig shows\nhimself to be more in sympathy with\nVermeer and Chardin than Rem-\nbrandt. He does not consider gloom\nand bursts of glory necessary ac-\ncompaniments or settings for trage-\ndy ; but he is fascinated by the ex-\nquisite gradation of light thrown at\nan angle on a receding plane. In\nsome of the scenes this aim entirely\ndominates the form, notably in No.\n190, where two different qualities\nof light are made to shine on a\nsymmetrical scene, and the diago-\nnally placed pier is in a wonderful\nradiance of reflected light.\nIt is difficult to leave the models,\nbut the show of drawings is scarcely\nless noteworthy. We are tempted\nto regard these as examples of pic-\ntorial art, although we are well\naware that Mr. Craig definitely\nstates that they are nothing more\nor less than designs for scenes, cos-\ntumes, and properties, and makes\nno claim for them but as a means\nto an end. But three-quarters of\nthem at least can stand by them-\nselves as works of first-rate draughts-\nmanship and design, and for humour\nand fantasy we have seen little to\ntouch them.\nTheir range and versatility is\namazing. There is the exquisite little\nWoodland Mask (8) with its group\nof serious performers disappearing\nunder the trees and the irresponsible\npierrettes amusing themselves be-\nhind. Then there is the whole group\n(26-34) illustrating an adoration my-\nstery play, from which the King's\nson, minstrel, and two .shepherds\noutstand for pure delight. To this\ntype also belong the two charming\nPierrots (5 and 7). Of quite different\ncharacter are the charcoal and chalk\ndrawings, many of them frankly\nscene studies. The storm In \" King\nLear \" (40) is one which we are con-\nvinced must appeal to artists, and\nis conceived in a spirit of austere\ntragedy. For exquisite magic of co-\nlour the two \" Tempest \" scenes\n(43-44) stand alone; in the catalogue\n(which in its way is as remarkable"}, {"page_pdf": 108, "page_imprimee": "384", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.108", "texte": "& FOREIGN\n\na production as the models, and\nabounds in abrupt and characteristic\nnotes) Mr. Craig modestly says that\nthese designs require considerable\nexplanation, but he prefers to reserve\nthe little secret This secret may\nbe a stage one, but as drawings they\nare manifestly infused with the\nspirit of the 44 Tempest \":....\nNothing of him that doth fade\nBut doth suffer a sea change\nInto something rich and strange.\nOn the other side of the screen\ncomes a complete change with the\n44Vikings,\" as barbaric and strong\nas you please, particularly the lady\nwith the wolfskin cloak. Mr Craig\nhas let loose his gorgeous fancy on\nthese costumes, which are the very\nantithesis of the delicacy of his\nmasques. Two other types of scene\nwe must mention, those in which\nhe aims at a static quality such as\nV The Wretched Lovers\" (22), in\nwhich one can hardly imagine a fi-\ngure or a gesture moving, and in\nwhich the dream city must hover\nperpetually over their heads; and\nthose which are instinct with motion,\nfor example \" Enter the Army \" (74)\nand 44 Study in Movement\" (75).\nFor ourselves the two which we like\nthe most, and which are pure riots\nof decorative draughtsmanship, are\nthe minute 44 White Fan \" (168) and\nthe gorgeous 14 Hunger ; the\ncrouching figure in black check\ntights, thje gentleman himself with\nthe paunch, and above all, the burst\nof steam from the dish that is being\nbrought to him reveal the strength\nof an artist of exuberant vitality.\nLiverpool is fortunate to be the\nthird city in the country to see these\nworks.\n\nP. A.\n\nLONDON.\n\nA Hundred Good Songs.\n\nhundred good songs for half\na crown! Mr Martin Shaw has just\ngiven us these; though of these\nsongs is alone worth a sovereign\nand is superbly arranged for Piano\nby the composer, who, with old-\nfashioned courtesy, reminds us that\nMr Fuller Maitland worked on this\nsong some years ago. &\nIt is this kind of graciousness\nwhich the Theatre has still to learn\nfrom a few fine-spirited workers in\nthe other fields of Art, and one feels\nthat Mr Gordon Craig, in his new\nbook ** Towards a new Theatre \" has\nnot over emphasised this point in\nalluding to Little Jack iiorner who\nsaid what a good boy He was.\nI was present at the first perfor-\nmance of these songs last February\n(l) The collection our correspondant refers to is \" Songs\nof Britain \" selected and edited by Frank Kidson and\nMartin Shaw. Boosey and Co; Half a crown net."}, {"page_pdf": 109, "page_imprimee": "385", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.109", "texte": "FOREIGN\n\nwhen they were sung at the house\nof Dr Vaughan Williams.\nLondon is a great city,.... too\ngreat a city... and perhaps some of\nthe beauty of a song has faded in\nthe process of carrying it from Glen\nShalloch or Balquhidder to the City\nof Dreadful Night. &\nThe great Agincourt song carried\nus away from the place, but* in the\ncase of \"Farewell to Glen Shalloch\"\n1 personally wanted the place to be\ncarried to me before I could really\nfeel all that is in the song.\nFoik dances and songs, although\nthey have a perfect right to be\ndanced or sung in the cities, seem\nto me to belong to a certain spot\nand none other. &\nThis brings me to the point of\nthis note, which is to ask Mr Martin\nShaw to give us a collection of Songs\nof London. He is the one man who\ncould make such a collection and\nrender them simply and grandly\nenough. &\n\nE. E.\n\nThe Gordon Craig School. &\njUere the best news in the Theatre\nand, indeed, not only here,\nbut in the whole European Theatre,.,\nis that of the establishment of Mr\nGordon Craig's School.\nEveryone who cares about the\nArt of the Theatre must be,.... and\ni 5.... excited over this for no one\ncan fail to realize the importance\nand value of the news. &\njg/With a School organized on such\nlines as those which Mr Craig has\nindicated, and with such a man as\nleader and head, one feels that all\ngood becomes possible, that one may\nindulge one's hopes at last as much\nas one likes, with full confidence of\nnot being disappointed.\njgf There also seems something par»\nticularly welcome in the fact that\nit is through the generosity of an\nEnglishman that the establishment\nof this School has been rendered\npossible. English people needed a\ngreat deal of telling from Europe\nbefore they began to awaken to the\nfact that the recognised head of the\nof the European Theatre was a\ncountryman of their own. And since,\nalthough Goethe rightly says that\nthere is no such thing as patriotic\nart, there Is such a thing as the\npride of a nation in its greatest\nsons;.... its honour if it be swift to\nforward, its reproach if it hinder,\ntheir work for the public g00d,... it\nshould surely, be a gratification to\nEnglishmen that It has not been\nleft to the Continent,... first to ac=\nknowledge Mr Craig's leadership,...to\nbe also the first to give him the\nSchool for which he has long asked\non behalf of the Theatre and its art."}, {"page_pdf": 110, "page_imprimee": "386", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.110", "texte": "EDITORIAL NOTES.\n\nTHE LIVERPOOL THEATRE.\n\\yhile not publishing so large a\nnumber of copies as the Daily\nMail, The Mask may yet be said to\nexercise as great an influence. It\npreserves its point of view in all\ncircumstances, and that is one of the\nreasons why it carries weight.\n& The Liverpool Post, tor Instance,\nthinks it worth while to quote\na general criticism of the Liverpool\nand Manchester Repertory Theatres\nwhich appeared in the January\nnumber, and to quote in full.\n& Had this same article been written\non the Repertory movement in Lon-\ndon- we doubt whether the Daily\nMail or the Daily Telegraph\nwould have quoted it at length.\nOne of the passages in the article\nwas: \" Let Liverpool and Manchester\n\" realise that a well-established\n•« theatre with a large financial\n\" backing and plenty of go in it is\n** going to improve every scrap of\n\" the business of those towns ;\n** that it is going to improve the\n«« very existence of each of the inha-\n\" bitants, and then perhaps things\n44 will be done in the right way \".\nJS? NOW, instead of the Post taking\noffence at such a passage as this,...\nfor after all it might be looked upon\nas an effort to teach those cities\ntheir own business...it has approach®\ned the matter in the right spirit.\nInstead of laughing at the idea that\nwell established Repertory Theatres\nwhich are not commercial theatres\nare going to improve the business\nof a city as London would have\ndone, (as, alas, London always does,\ntaking its lead from that most\namazing, if out of date, theatrical\nthermometer, the Referee); instead\nof doing this Liverpool is able to\nsay that 44 the sentiments of the\nwriter\" in The Mask 44 will be\n44 heartily echoed, by all who have\n44 worked for or watched the Liver®\n44 pool enterprise. The large public\n44 which has already shown its ap®\n44 preciation of the work the theatre\n44 has done naturally expects a steady\n44 improvement in that work. But\n44 It must not consider that its duty\n44 is done by attending the theatre.\n44 It should be eager, from patriotic"}, {"page_pdf": 111, "page_imprimee": "387", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.111", "texte": "-©> EDITORIAL NOTES.\n\n44 motives, to ensure a constant\n44 improvement by providing the\n44 necessary financial backing, with-\n-44 out which every enterprise, busi-\n-44 ness or artistic, must be seriously\n44 handicapped. It is in the power of\n44 everyone to see that the Liverpool\n44 Repertory Theatre is conducted\n44 worthily. But it will never be\n44 done by talking, but by helping.\n\nENDOWMENT FOR THE\nTHEATRE.\nParisian theatre were 2,300,000\npounds sterling. Twenty years ago\nthey hardly reached one million. For\n1913 the reported amount is higher\nthan that of 1911. & &\nDoes this interest you, reader?\nIf money is the root of all evil,\nthen the evil of the theatre is on\nthe increase.\nBut IF this be so it is only be-\ncause of the people of the theatre,\nand not because of the money.\nNo amount of money, however\ngreat, if properly administered can\ndo anything but good to a good in»\nstitution, and, with such a wonderful\nenchantment as the theatre, endow\na few theatres with several millions\na year between them, and you can\nmake the people happy and help\nthem through their lives by magic\nmeans.\nThere Is nothing which could\nhave a more encouraging effect on\nthe people than a number of well\norganized and enchanting theatres\nendowed with sufficient money to\nkeep them 44 good=looking\n£? At present, in spite of their\nseemingly successful appearance,\nthey are in a bad state of health,...\nand ugly.\nThey have no liberty.\nBecause they take more money\nIn 1911 than they did in 1891 it does\nnot follow that they are a whit more\n44 successful \", for there are many\nmore theatres in Paris today than\nthere were in 1891 and the expenses\nare all far\n& No ; at present the theatre is a\nfailure,... and it needs endowment.\nProvide two millions a year ....and\nyou will have a stronger, gayer and\na more imaginative people.\nMr Percy Mackaye, in his very\ninteresting and very thorough book,\n44 The Playhouse and the Play\"\nshows us what are the necessary\nsteps to be taken by anyone desirous\nof endowing a theatre; and Mr\nGordon Craig has pointed out that\nthe first step is to establish schools\nof Experiment. J£>\n& We quote from Mr Mackaye's\nwords: jg?& j£?\njSf 44 An effectual business needs no"}, {"page_pdf": 112, "page_imprimee": "388", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.112", "texte": "& EDITORIAL NOTES.\n\n44 subsidy; an effectual art cannot\n44 live without it. &\n& 44 The status of the playhouse\n44 in society is as vital as the\n44 status of the university in society.\n44 The dignity and efficiency of the\n44 one demand the same safeguarding\n44 against inward deterioration as\n44 the dignity and efficiency of the\n44 other. The functions of both are\n44 educative. The safeguard of each\n44 is endowment\". &\n44 The highest potentiality of the\n44 drama can never be realized until\n44 the theatre...the drama's communal\n44 instrument... shall be dedicated to\n44 public, not private ends. &\n44 The permanent emancipation\n44 of dramatic art from theatrical\n44 business is a special cause.\n44 The success of that special\n44 cause would permanently benefit\n44 the nation. A cause whose success\n44 would permanently benefit the\n44 nation is a cause which deserves\n44 the support of all citizens able to\n44 promote the efficient means to its\n44 success. j\n& 44 The efficient means to the sue-\n-44 cess of the drama's special cause\n44 is endowment. &\n& 44 Therefore, The drama's\n44 c/a/ cause should be endowed\n44 by citizens able to endow\n44 it- \" jg? &\n* ' £• /\"\n. » ■—'\n\nSOLITUDE AND WORK.\nin Paris to an interviewer\na short time ago, the philosopher\nBergson complained ofthe multitude\nof his occupations and preoccupa-\ntions. \" I feel like a man floundering\nin a heavy sea, with the odds large-\n\" Iy in favour of the sea, \" he said,,\nor words to that effect. 44 I am over-\n-44 burdened, overwhelmed, submer-\n\" ged, 1 am reduced to neglecting\n\" the most urgent matters. During\n\" my two months in Switzerland the\n\" past summer (nominally months-\n-44 of vacation,) I was not able tc get\n44 so much as an hour's rest, and\n44 even so 1 failed to accomplish\n44 what I needed to accomplish. I\n44 have just been obliged to decline\n44 a highly flattering request for an\n44 article from one of the best ma-\n-44 gazines of your country... in spite\n44 of my keen desire to get into the\n44 closest possible touch with the\n44 people whose guest 1 am soon to\n44 be... because I have rashly con-\n-44 tracted so many engagements la\n44 so many quarters (promises of\n44 articles, lectures and the like,)'\n44 that it will take me at least two\n44 years to fulfill them; and front\n44 now to then it will be absolutely\n44 Impossible for me to undertake\n44 anything new, not eyep an article\nof a hundred lines. There,\" poin-"}, {"page_pdf": 113, "page_imprimee": "389", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.113", "texte": "EDITORIAL NOTES.\n\nting to a corner table, cluttered\nwith packages and letters* \"is\n\" my morning mail.... a good part\nof it bears American postmarks...\n\" and Heaven knows when I shall\n\" find time to cut open the letters,\n\" to sa}' nothing of looking into the\n\" pamphlets, magazines and books.\n\" People think me vain and bearish\n\" because I do not answer letters\n\" and refuse to receive callers and\n\" I am making many enemies in\n\" consequence; but if I contrived\n\" to do both of these things, 1 should\n\" not have a minute to do anything\n\" else, and after ail, I cannot forget\n\" that I have my special work to\n\" do. It has been this way for as\n\" much as three years and the si-\n\" tuation is constantly growing\n\" worse, in fact it is getting well-\n\" nigh intolerable JS/\nThe philosopher then said that\nhe had often thought of giving up\nhis position at the College de France,\nand of withdrawing Into the country\nas the only way of escaping those\ntasks which seriously interfered\nwith his investigations, and the\ninterviewer asked him whether he\ndid not fear that living in the Pro-\nvinces might not cause him to get\nout of.touch with life, and in fact,\nto \" go to seed And Bergs on an-\nswered \" That might happen to\n\"persons with whom creativeness is\n\"not so much a matter of self ex-\n\"pression as a matter of responsive-\n\"ness or external stimulus, or to\n\"persons whose plans are floating or\n\"uncertain. But to me, tranquillity\n\"and solitude are absolutely indi-\nspensable prerequisities of my work.\n\"I know just what i want to do ; all\n\"that I want is the time in which to\n\"do it, and that, somehow or other,\n\"I must get. \"\n\nUNPRODUCTIVE PRODUCERS.\nr Norman McKinnel has been\nwaxing eloquent on the subject\nof modern stage producers. In an\nInterview which he lately gave to a\njournalist in the Green t Room of\nthe \" Little Theatre 99 in New York\nhe declared that \"Modern producers\n\" in Germany are probably, taken\n\" collectively, the greatest in the\n\" vanguard of the return to nature,\n\" so to speak, on the stage \" ; and\nhe then bursts into a pean of praise\nto the glory of Professor Reinhardt,\nwho he asserts to be \" a genius of\nthe stage, a wonderful blend of\n\" the artist and the showman which\n\" accomplishes the greatest things\n\" on the stage. \" &\n\" Another element of Professor\nRelnhardt's success \", according to\nhis admirer, \" is his spurning of\ntraditions \" Simply because a"}, {"page_pdf": 114, "page_imprimee": "390", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.114", "texte": "EDITORIAL NOTES, x?\n\n44 play has been acted in a certain\n\" way \" Mr McKinne! tells us, 44 or\n44 because a certain bit of business\n44 has been interpolated into the\n44 play, has absolutely no force with\n\" Professor Reinhardt. He goes at a\n44 play with a fresh unprejudiced\n\" mind, determines what he thinks\n44 the plays mean, and then evolves\n44 the scenery and the business\n44 which will put vividly before\n44 the audiences his conceptions\n44 of the play \" (i) &\nHow delightful this is! To pic-\nture Professor Reinhardt, steeped in\nother men's ideas, guided by other\nmen's designs, inspired by other\nmen's conceptions, aided by other\nmen's hands,... in fact never having\nbeen known to have produced any-\nthing upon any stage whatever, (if\nto 44 produce \" means to create, and\nthen formulate, a new idea); Pro-\nfessor Reinhardt whose sole claim\nto distinction, apart from his great\nactivity, is that he was a fine actor\nand once, long ago, really put some\nplays upon the stage quite admirably\nin his own painstaking manner,....\nto picture, we repeat, this earnest\nenterprising and incapable German\nbringing his 44 fresh unprejudiced\nmind \" to bear upon a play and then\n<4evolving the scenery and business\"\nwhich shall 44 put vividly before the\naudiences his conceptions is simply\n4kolossaF.\nMr McKinnel then passes on to\nEngland. 44 We have in England \",\nhe assures the Interviewer, 44 a\n44 number of producers of the first\n44 quality, at the head of whom I\n44 would place Granville Barker \".\n44 Mr Barker \", he continues, has a\n44 strong and independent persona-\n-44 lity, but I think he would not\n44 hesitate to acknowledge that Pro-\n-44 fessor Reinhardt has had a great\n44 influence on his method of pro-\n-44 duction. \" (i)\nSir Herbert Tree also, according\nto the generous Mr McKinnel, \"ranks\nas one of the best English produ-\ncers \", so now we know just what\nMr McKinnel really likes. &\n& Mr McKinnel then bestowed a\ngracious word or two upon M. An-\ntoine and Lucien Guitry as repre-\nsenting the French stage, but de-\nclared that 44 the' Germans and\n44 Hungarians are the two nations\n44 who are at the front now both as\n44 playwrights and as producers \",\nalthough he admits that Russia 44 is\n44 accomplishing great things at the\n44 Art Theatre in Moscow -and in\n44 some of her other theatres \".\n\n(Ij The Italics are ours. J. S.\n(1) And is Professor Reinhardt ready, in his turn, to\nmake any courteous little acknowledgements ? J. S,"}, {"page_pdf": 115, "page_imprimee": "391", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.115", "texte": "& EDITORIAL NOTES, x?\n\nBut is it not very remarkable\nthat Mr McKinnel should throughout\nthis Interview exhibit such reticence\nas to the real power aud Inspiration\nbehind all these theatre \"producers\"\nhe has named ? jtz? &\nWe know some of the Germans\nare never very anxious to speak of\nthe careful study they have made of\nthe Englishman who was the first to\nshow the way... and is still leading,\nand in this they are unlike the\nHungarians, who gladly and grate-\nfully acknowledge through their\nleader Hevesl, that all their inspi-\nration is derived from him. But why\nshould Mr McKinnel, an Englishman,\nbe so silent on this point ? We should\nhave thought it would have been\nsome satisfaction to him, (and to all\nthe members of the English theatre)\nto remember that at the back of\nevery piece of good work which he\nhas praised,..:, whether German,\nEnglish, Hungarian or Russian, there\nis the influence and inspiration of\njust one man,... and that man one\nof his own countrymen.\nBut Mr McKinnel chooses to turn\ntail.... well run, McKinnel 1! well\nrun, Sir! & &\n\nTHE YOUNGER GENERATION.\njyir William Brady is out of spirits.\nHe declares that \" The present\n\" theatrical situation in New York\n\"Is bad. There has got to come a\n\" change in it, but I don't know\n44 just how this is going to come\n\" about\". & & &\nHe attributes existing conditions\npartly to the increase in the first\nclass theatres which has been grea-\nter then the Increase in the public\nto attend them: (but Mr William\nBrady had something to do with\nthis himself, hadn't he?): then to\nthe fact that America \" hasn't got\n44 good actors enough to act the\n44 plays that go to the boards\".\n\" I should say \" declares Mr\nBrady, 44 the future of the stage here\n44 depends on the producer\": but he\ngoes on to lamemt that the old pro=\nducer is dying out, that Mr Charles\nProhman's activities have been cut\ndown by his poor health, 44 and the\n\" rest of us are getting old or lazy.\n\" What we need now is young blood\n\" in the producing field\".\nJS? But where is it to be raised ?\nThat is Mr Brady's trouble. Listen\nto him on the younger generation.\nJS?44 How it is going to get this\n44 schooling for the work, though, I\n44 don't know. We have no training\n44 schools for production, and there\n44 are not many young men coming\n44 on today who have been actors,\n44 stage managers, everything in a\n44 theatre like some of us have been."}, {"page_pdf": 116, "page_imprimee": "392", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.116", "texte": "EDITORIAL NOTES. &\nALL RIGHTS RESERVED &\nGerente Responsabile GIULIO VAN2I\n\n44 It's even worse with the actors.\n44 There is no good training school\n44 for them and their kind is dying\n44 out. The outlook Is a bad one \".\n& Not so bad as you think, Mr\nBrady; at least not so bad if every-\none, instead of wringing their hands,\nwill put them to the plough and\nhelp to turn up some good straight\nfurrows where the fresh seed can\nbe sown.\n& Those young men in whom you\nsee salvation really exist, they are\nreally at work already, and their\nkind, far from dying out, Is coming\non, finer and fresher and more\ncompetent than ever before. Keep\nyour eye on The , Mr Brady I\nwe promise you help,... but can you\ntake it? That you alone can\n\nTOWARDS A NEW THEATRE.\nIn the last number of The Mask\nan article appeared urging, as The\nMask has so often urged before, the\nnecessity for first class books about\nthe Theatre. The quarter has brought\nus one such, Mr Oordon Craig's new\nbook 44 Towards a New Theatre\";\nand though this has appeared too\nlate for us to review it fully in the\npresent number we would say mean-\ntime to every student and worker, in\nthe theatre, to everyone who looks\ntowards and hopes for the founding\nof a New Theatre,... get it and study\nit... and then study it again, and yet\nagain. But do not forget the author's\nown words about the contents of\nthis book: 44 It is not offered as you\n44 offer food ; it is given purely as a\n44 warning. There is not a thing in\n44 this book that can be of any prac-\n-44 tical 44 use \" to you whatever ex-\n-44 cept as a warning, and for your\n44 own sakes, and for the sake of\n44 the ideal Theatre, don't seize upon\nthis book in the hope of extracting\n44 from it something which can be *\n44 put instantly into practical use in\n44 the belief that it will bring you\n44 nearer to our ideal.... It is more\n44 likely to bring you L. 10,000 a year\n44 if well worked, but that in\n44 my opinion, would be highly un-\n-44 practical.... for L. 10,000 is hardly\n44 worth more than a song.... and\n44 one should learn how to refuse\n44 such little sums if one is serious\n44 about the large ideals connected\n44 with the Art. \" &\n&\n\nA LAST WORD.\nJ. S.\nHphinking long of Captain Scott and\nhis Companions we still find not\na word to say.\nIf he could speak we think it\nwould be to say:... 44 I sleep we 11:...\nI have had a good dream"}, {"page_pdf": 117, "page_imprimee": "393", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.117", "texte": "LEO S. OLSCHKI.\nUn g1 Ar no Acc/a / o I / , Florence.\nLarge Stock of Italian Theatrical Books from the XVth Cen-\ntury up to date JZ?\nIncunabula, Manuscripts with and without .\nOld Bindings, Prints, etc. & J£>\nBooks not in stock sought for and reported free of any charge.\nMonthly Lists of latest purchases supplied on Application\nRichly illustrated Catalogues on special subjects."}, {"page_pdf": 118, "page_imprimee": "394", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.118", "texte": "& J& J U S T O U T .\nTOWARDS A NEW THEATRE.\nBeing 40 Designs For Stage Scenes\nWith Critical Notes By The Inventor.\n*jpo ©very design the author adds a page of critical notes. The work\narrests attention not only because of the completeness of its author's\nbreak with all the weak theatrical traditions of the artificial ages, but\nbecause the author breaks away from himself, pointing out to us how\nloose is the f< tradition \" which is all too rapidly being formed upon\nhis earliest experiments, and the danger this rapidity is to his school*\n& The book brings together many of his most representative designs\nmade between the years 1901 and 1911 and which were made for Tragedy,\nComedy, Melodrama for Opera and Mimo-drama.\nThe book is on sale in Florence, and enquiries may be made\nfor It at the office of \" The Mask \", Arena Goldoni. Florence\nSquare Royal 4to, 21 shillings net.\nEDWARD GORDON CRAIG.\nmm\nSend to the Publishers for Prospectus and General Catalogue*\n& J. M. DENT AND SONS. L T D. &\n/ A certain number of complete sets of Volumes 1, a, and 3,\nf (large ottavo) still remain, and, bound in vellum, may be obtained\n• from this office, price five guineas, (dollars a6).\nNEW SERIES. Vol. 4. shillings as- dollars 6.50\nBound in Vellum. Vol. 5. „ ~ ao. ~ „ 5.50\n0 Volume 5, Large Paper Ed, (vellum bound,) shillings, as,\n»■ dollars 6.50.\nOrders and Subscriptions may be sent direct to\nTHE MASK Offices, Arena , , Italy,\nor to \" The Society of the Theatre. \" 7, John Stf Adelphi, London.\n\nmm\nTHE SOCIETY OF THE THEATRE\nAffiliated to the Gordon Craig School for\nthe Art of the Theatre.\nOBJECT\nTHE PROMOTION OF THE\nA R T OF THE THEATRE.\nSUBSCRIPTION.\nOrdinary Membership od per annum.\nAssociate Members IOS\" \" \"\nFellows, L. 10, iofc. od life memberspip\nEvery Reader of \" The Mask \" should join the Society.\n•\nWrite for all particulars to The Secretary, Offices of the Society of the Theatre\nJohn St, Adelphi, London.\n* (Telephone 1601 Regent)"}, {"page_pdf": 120, "page_imprimee": "396", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191304-01.1.120", "texte": "rFOUR 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\nI\" The Mask \" always contains something 11\nI \" worth reading, and often something |\n1 \" worth keeping \".\nPall Mall Gazette.\n\"A quite remarkable magazine, rich\nI in intelligence\"\nWestminster Gazette.\na\"A very amusing and stimulating, as\nI well as a most beautiful, magazine.\"\nI The Daily Telegraph.\nI '! I may say without any hesitation that I\n| •' have received more pleasure from its\nI \"pages, both intellectual and aesthetic,\nI \" than I have received from any other pe~ j j\nI \" riodical now being published. It is am a- j ;\n\" zing to find that in a paper devoted to\nI\" a special object there should be so |\n\" wide an intellectual appeal. I\nT. P. s Weekly. j\nTRADE AGENTS I\nSimpkin, Marshall, Hamilton, j\nj Kent & Co. London. I\nPrinted for the Proprietor by Tipografia R. Lastrucci, Via de Serragli, 104 Florence and published at The Office of \" The Mask \" Arena Golden!"}]}