{"numero_id": "bm-bmtnaau-1913-07-01", "volume": "bmtnaau_1913-07_01", "ocr_sha256": "7dce1d58e4f76001ab663ffb0b9b46d4eb84bc0ac097778522dbe45aff31ccbe", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1913/07_01/bmtnaau_1913-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1913/07_01/bmtnaau_1913-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01", "articles": [{"article_id": "bm-bmtnaau-1913-07-01-c002", "article_bluemountain": "bmtnaau_1913-07_01#c002", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.2", "titre_corps": "LITERARY CONTENTS", "titre_sommaire": "LITERARY CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.2", "debut_caractere": 530, "fin_caractere_exclue": 1125, "texte": "LITERARY CONTENTS.\nVOLUME SIX. PRELUDE Gordon Craig .... 1.\nTHE RUSSIAN BALLET Gordon Craig .... 6.\nA HISTORY OF PUPPETS, (Continued) . . \" Yorick \". (P. Ferrigni . . 17.\nTHE SCENARIOS OF G. B. DELLA PORTA . Michele Scherillo ... 33-\nENGLISH SENTIMENTALITY .... John Balance .... 49.\nEUROPEAN DEPRESSION Gordon Craig .... 54.\nMONKEY TRICKS Yoo-no-hoo . . ~ . . 57.\nEURIPIDES AT FIESOLE Ernest Marriott. ... 62.\nCUBISM UNVEILED. An Extract from the\nBook of Human Proportion .... Albert Durer, 1500-23 . . 68.\nWith a Foreword by Felix Urban .... 65.\nBOOK REVIEWS. FOREIGN NOTES. 0 EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c003", "article_bluemountain": "bmtnaau_1913-07_01#c003", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.3", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.2", "debut_caractere": 1127, "fin_caractere_exclue": 1654, "texte": "ILLUSTRATIONS.\nA VENETIAN MARIONETTE (Frontispiece) .\nLE BALLET DES POLONAIS 1573 . - • Anon iS.\nTHE PROPORTIONS OF THE FOOT . . . Albert Durer .... 65.\nTHE PROPORTIONS OF THE HAND. . . ~ 67.\nSIX DIAGRAMS SHOWING METHODS OF BEN-\nDING THE BODY „ „ .... 68.\nA DESIGN SHOWING METHOD OF OBTAINING\nSECTIONS AND MODIFICATIONS . „ „ .... 70.\nA DRAWING OF THE HUMAN FIGURE . . „ „ .... 71.\nUNITED SECTIONS OF THE WHOLE HUMAN 11\nBODY „\nTHE HUMAN FIGURE ENCLOSED IN GEOME-\nTRICAL FORMS\nTHE HUMAN FIGURE REDUCED TO GEOME-\nTRICAL FORMS 75."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c004", "article_bluemountain": "bmtnaau_1913-07_01#c004", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.4", "titre_corps": "A VENETIAN MARIONETTE : One of the figures of the marionette theatre taken to her new home by Loredana Grimani on her marriage with Francesco Morosini, in Venice. 1772. And now in the Museo Correr in that city", "titre_sommaire": "A VENETIAN MARIONETTE : One of the figures of the marionette theatre taken to her new home by Loredana Grimani on her marriage with Francesco Morosini, in Venice. 1772. And now in the Museo Correr in that city", "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=bmtnaau191307-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 209, "texte": "A VENETIAN MARIONETTE.\nOne of the figures of the marionette theatre taken to her new home by Loredana Grimani on her marriage\nwith Francesco Morosini, in Venice. 1772. And now in the Museo Correr in that city."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c005", "article_bluemountain": "bmtnaau_1913-07_01#c005", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "4", "image_debut": 5, "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=bmtnaau191307-01.2.5", "titre_corps": "VOLUME SIX. PRELUDE", "titre_sommaire": "VOLUME SIX. PRELUDE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1614, "texte": "VOLUME SIX. PRELUDE.\n\nWe have asked Mr Gordon Craig, the Founder of \" The Mask \",\nand, from the outset, its good friend, to initiate the sixth volume\nby editing its first number, and this he has consented to do. J. S.\nam down to write the Preface to this number, indeed,\nto a new volume, and nothing could give me greater\nhappiness. Not because 1 want to say how well\neveryone in The Mask has done his or her task since\nthe work began, though 1 could say a good word on\nthat; but because having escaped from the Daemon\nwho accompanies me.... from a really most unthea«\ntrical figure who keeps me to my task in my working hours.... that Is\nto say, having escaped from the Spirit of the Theatre, I can revel in a\nholiday, and in this Prelude reveal my personal pleasures of the moment\nand' my personal fancies for the day.\nI note among the contributions for this year.... and it is even to be\nin this number.... an article which 1 myself have written at the dictation\nof the said Spirit of the Theatre, and which, were it not already in the\nPress, 1, as the writer of this Prelude and as temporary Editor of this\nJournal, should cut through with Pencil blue and refuse to print.\ni should refuse it on personal grounds whereas an Editor must be\nimpersonal. £? --0 & &\n1 very much object to myself having written an article which gives\nanything but the most overwhelming praise to my friend Nijinsky. I\nobject on personal grounds; for I not only admire that amazing genius,\nhaving a considerable appreciation of his personal qualities, but besides\nthis feel nothing but good fellowship towards him. To chat with him in"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.6", "debut_caractere": 15, "fin_caractere_exclue": 2173, "texte": "six languages over a cigar is one of the most delightful experiences\nlife has to offer.\n& What then can permit ine to allow such an article as this number\ncontains to pass ? JZ? -*2?\n& My friend Djagellef too. What of him ? He will be awfully offended\nat what I have said of his charming group of dancers, for I do not know\na more genia! man on the face of this earth ; and if he believes that\nthe body produces finer works than the soul produces.... why shouldn't\nhe believe it ? I at this moment and in this Prelude, not as Editor of\nthis Journal, but as a friend of his and free once more, can find no\nearthly (i) reason why he should not believe it;\n1 do not know whether I have mentioned Mademoiselle Karsavina in\nthe article. 1 shall not look at the wretched thing again ....that imperti-\nnent article! In fact, I have a very good mind to take serious action\nagainst the writer.... except that action is, according to Rimbaud,\n\" only away of spoiling something. \" ■£? JS? JZ?\n£? But I suppose Mile. Karsavina will easily believe me when I tell her\nthat I have sat entranced te see her blowing a trumpet round the stage\n....a trumpet which she does not blow, but which Is blown for her by a\ngentleman in evening dress. I should like to see her blowing the trumpet\nwhenever 1 remember that passage of tbe charming music of that amazing\n\"genius\" for \" theatrical \" music, Stravinsky, and would have given any-\nthing to meet her.... as they say.... to have talked with her for half an\nhour..., an hour.... two hours, three, four, five, or ten hours on the\ndifficulties she has to encounter in her work, the defeats she has encoun-\ntered, and the hopes and fears with which she looks forward to the\nfuture. Anything.;..everything....to show that 1 am a human being and\nthat my only thought is of human beings as human beings.\nBut, oh, you good people all of you, especially you dear Russians both\n\nNO T E S.\n(i) This Is a slang phrase which in England is only used among artists\nand by the lower classes. I suppose it is to show the good terms they\nare on with the earth. Got you there, Pedant of the \" New \" School\nwhich we now know is the \" Old \" School 1"}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.7", "debut_caractere": 15, "fin_caractere_exclue": 2293, "texte": "of St Petersberg and Moscow, ....when the devil are we all going to wake\nup in the Theatre ? No, seriously.... WHEN ARE WE GOING WAKE UP?\nThat tin trumpet of Stravinsky, even when a Karsavina pretends to\nblow upon it, will not even wake up a cat.\nYou have done marvels,...we all know it,...most of all do I know it;\nthe most marvellous tricks that can be done. But when Is the whole fa-\nmily going to wake up and together create one little thing in a moment\nof inspiration,...a thing of inspiration, pure and inspired? A little Law\nto guide an Art. &\nThis, this most difficult of all things we have forgotten to attend toi\nWe are afraid 1 That is the reason. We are afraid of time.... It would\ntake us years of experiment and lives of thought aud oceans of feeling,\nand we find we are poor in thought and feeling.... oh; oh, oh ! &\njg? We are all geniuses; we know that we are all wonderful beings,...that\ngoes without saying. But what is not yet evident is,...what have we found\nthat we can place by the side of the Pyramid, ...that will compare with\none of its steps ?\nWhat we lack, say Flaubert, is Conscience ! I know we have in our\npossession as great a secret as lies hidden in the Pyramids. then,\nmy dears, let us whisper over that secret together.\n& All the boys and girls who shall spring from us must be united toge-\nther and know that secret. There is not another moment to lose if it is\nto be clear to them twenty years from today. I shall eat, drink and be\nmerry meantime,...and I hope you will eat as much, drink much more\nand try to be as merry. But I swear I will drop a seed of that secret\nbefore I am finished, and I wish that each of you would drop one too.\nThen we should have GROWTH.\n& This is a beautiful City, this Florence ; ....you cannot tell how beauti-\nful it is. Would it not be a nice thing if we should ail meet here from\ntime to time ?...a month in your lives is not so long. &\njg? This City has such a curious flavour of ease and merriment. Here is\nthe excitement of great Architecture....Did you ever taste that ? The City\nis rich, not gaudy; familiar, not vulgar; it grapples its tried friends to\nits soul with hoops of steel ;...to us there is no City as fair. What its ar-\nchitects have said we take for our Law; there is no grief, no misery"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.8", "debut_caractere": 13, "fin_caractere_exclue": 1620, "texte": "here, for the towers stand up straight and announce the triumph of ten-\nderness and strength; & ■& &\n& Oh ! don't fear !... It's a real earth-town made by human beings. Every\ninch of our city breathes a friendliness that is human, and yet over it\nall there broods something more,... something indescribable,...and some-\nthing that if you could describe you wouldn't....for who would describe\na mystery which has been revealed after long obscurity and is now but part\nof the obvious ? & & &\n& Not being able to describe It, it impels you towards a condition ne-\ncessary to the creation of that which we call Art. For only in terms of\nArt can this mystery which is so obvious be rightly translated for those\nwho could never bear to experience it.\nThe City is a high experience. What a cradle it would be for the Art\nwhich we call the Art of the Theatre! .... for the Art of Movement!\nThat movement which all dancers are forced to make after effort and\nwith feet giued to the ground, but which a butterfly makes with ease\nand by nature ! J£? &\nEvery bell in the town breaks out ringing at the moment I write. A\nhundred.... two hundred.... three hundred perhaps. It is a wave of sound\nmoving in great circles.... &\nThis place is a place of ecstacy. -0 &\nTo all those working in the Theatre who love the Theatre I say... do\nnot keep away from me too long. J£? &\nCome quickly, and come here! Do not consider how you come.... why\nyou come. Would it be so unnatural to come because somebody calls you ?\nSo begins the sixth volume of the best book ever dedicated to the\nservice of our beloved Theatre.\n\nGordon Craig."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c009", "article_bluemountain": "bmtnaau_1913-07_01#c009", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 9, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.6", "titre_corps": "TO THE ENEMIES OF THE THEATRE. THE CHATTERING CIRCLE OF LONDON : THE PRETENDED LOVERS OF THE STAGE", "titre_sommaire": "TO THE ENEMIES OF THE THEATRE. THE CHATTERING CIRCLE OF LONDON : THE PRETENDED LOVERS OF THE STAGE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 1526, "texte": "TO THE ENEMIES OF THE THEATRE. THE CHATTERING\nCIRCLE OF LONDON: THE PRETENDED LOVERS OF THE\nSTAGE.\n'po those who, not knowing the Nature of our Art nor having expe-\nrienced the troubles of our House, would dictate with presumptuous\nvoices what we are to do in these days of our misfortune, this blank\nspace Is dedicated.\nTO THE LOVERS OF CUBISM AND GOOD DRAWING de-\ndicated the instructive designs and perplexing text on pages 64, etc\nby that too little known leader of the Cubists,\nALBERT D U R E R,\nIt is rtonaense to say that there is nothing new under the sun. Good\nwork is always new. It is only bad work that is of a period.\nThese designs by Albert Durer are no justification for those imitation\nthings now being offered in Europe. Durer's book was offered to students\nby an artist. The public is practically ignorant of its existence and has\nnever yet had an opportunity of knowing that Cubism is as old as the\nhills; but the public, being a foolish creature, is content to accept any\namount of copies If it can get even an imitation thrill out of them.\nIt has done so in the theatrical world, and now you see how it is\ndone in the world of the painters.\nI have no doubt that the most up-to-date modern music will very\nshortly be traced to the Hindoos. Meantime we beg the thousand readers\nof The Mask to keep their heads, not to crow too exultantly over their\nneighbours, and not to go down the High Street waving The Mask in\ntheir hands crying \"we always said our journal was the best, the\nmost up-to=date\". & & & & &"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c011", "article_bluemountain": "bmtnaau_1913-07_01#c011", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "6", "page_fin": "15", "image_debut": 10, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.7", "titre_corps": "THE RUSSIAN BALLET", "titre_sommaire": "THE RUSSIAN BALLET", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 1960, "texte": "THE RUSSIAN BALLET\nby Gordon Craig.\n\nleave ourselves at home when we go to the Theatre ; we\nthere renounce the right to our own tongue and choice, to our\ntaste, and even to our courage as we possess it and practise It\nwithin our own four walls in relation to God and man. No one\ntakes his finest taste in art into the theatre with him, not even\nthe artist who works for the theatre; there one is people, public,\nherd, woman, Pharisee, voting animal, democrat, neighbour, and\nfellow-creature', there even the most personal conscience succumbs\nto the levelling charm of the \" great multitude there stupidity\nOperates as wantonness and contagion; there the neighbour rules,\nthere one becomes a neighbour. \" & &\nx Nietzsche. (\"The Joyful \")\nOF ART AND ITS CREATOR.\nIn Art there must be created no feeling of disharmony between the\nBody and the Soul, yet in creating Art the body must be obedient,\ntrue, faithful to the Soul. & & & & &\n& It is the Soul must speak, but the lips must not be seen to move,\nand the throat must be as ivory.\n& While It is the time of Revelation we ask the Body for silent and in=\nvisible service... it is the Soul which moves... minister to its movements.\n& I put no query here, nor have 1 any doubts myself as to the value\nof the Body or the value of the Soul. & & j£> *&\nI would not undervalue either.\n& But In the creating of some things it is certain the Soul must\nbe subservient to the Body; in the creation of others the Body must as\ncertainly be subservient to the Soul. What an alliance when each can\nobey the other, keeping its place.... holding its peace.... in time and in\ntune to the force of the other... the Beloved.\n& There is no such thing as union which excludes command or obe-\ndience. Each honours the other. x?\n& 1 will take the first six examples of great works of art. See the\nPyramid.... the head of Amenemhat 111 or the painting of the Buddha\nand the Thirty three Bosatsous made by the priest Esshin. Look at the"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.11", "debut_caractere": 21, "fin_caractere_exclue": 2282, "texte": "bronze statue of Dai-Butsu at Kamakura ; or upon the towers of Tuscany\nand of Ireland, or at the needlework of a mother on the socks of a child;\nand I swear to you that these things were made when the soul was\nworking released from the tyranny of the body... a body which knows it\nmay claim the right in due time to command the soul. &\nThese truths are just what unreasonable people wish to deny. They\nwill not accept the simplest natural truths. The great hum going round\nthe eartii today about uniting the Body and the Soul in smug relation*\nship leads to the building of abominable houses, wretched palaces and\nmeaningless churches; produces the foolish paintings, the trembling\nbooks, and the awful music.\nBoth Soul and Body are helpless to create Art nowadays, for they\nhave been joined, tied, rivetted together by a lie, and equal liberties al-\nlowed to each, equal powers and qualities assigned to each.\nHence all works of Art which are the creation of the Soul and nothing\nbut the Soul are looked upon as \" queer \" and \" quaint \",... those are\n/\nthe words which people use today towards works of Art which show\nus signs that the Soul made the in. JS?\njSf \" Glorious \", \" wonderful \", \" brilliant \", these are the words used\ntowards the works of Art made by the Body today.\nBy these words the mob excuses its own ignorance and comforts its\ncowardice... for the mob, fearing the individual, stands as much for the\nBody today as It has always done: the m0b,... that which is everlastingly\nfickle and detests the 50u1,... the inspirer... that which alone remains\nunconquerable through faith. & JS> *&\n£? And so through its blind hatred of its master the mob today comes\nto find the workings of the Soul incomprehensible, whereas it recognises\nin the workings of the Body an experience of yesterday. &\n£? If Art, the voice of Revelation, were concerned solely with recording\nwhat has been, perhaps there would be nothing to be said. But Art is\nmost of all concerned with Tomorrow and 'the Horizon. JS?\nThe Pyramids were not only records; they were and still are always\npointing towards the Future. The Soul of Man runs easily up the great\nstairs and in the topmost silence is aware of Truth.\n& It will be asked why some of the works of Art may not be created"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.12", "debut_caractere": 21, "fin_caractere_exclue": 1938, "texte": "by the Body ? Why should there not be a great deal of comfortable work\nso as to make the world more \" gemiithlich with here and there a\nnice blaze of sensuous stuff too? Why not?... why not?\nBut what a ridiculous thing to call f0r.... what a ridiculous thing to\nbe always calling for and to get excited about when it comes!\nFor that comfortable and sensuous type of work is all over the place.\nlt pours out of the Theatre in streams. The novels are soaked with it.\nPainting bubbles with it. The music which it makes smokes and steams.\nThere is no question but that there will always be sufficient of this.\nHence it is needful that we look for the other, and call for the other\nuntil we get it.\nSo much as Prelude to my Note on the Russian Ballet. The Russian\nBallet is essentially the \" Art \" which is created by the Body. Its per-\nfection is physical. Its appeal is to our senses, not through them, (i)\nj£f Having excited them it has done its task. It makes no further effort.\nIt is sensuous art and not spiritual, and is Just as far removed from\nArchitecture and Music as the Body is from the Soul, and 1 wish, and\nmillions of people wish, to see the Theatre give birth to an art as spi-\nritual as music or architecture.\nOF ART AND ITS DESTROYER.\nI wonder if any of you will have read the \" Life and Works of Chevalier\nNoverre \". I wonder if any of you even know who this famous man was\nand what he did. You, who have gone to the Russian Ballet every night\nand speak in the same terms of what you witnessed there as you do when\nspeaking of the works of /Eschylus, of Dante, of Donatello or of Bach,\nhave you ever heard of Chevalier Noverre ? jgr\nlt is a hundred to one that he and his work are unknown to you.\n\nNO T E S.\n00 \" This life's five windows of the soul\nDistort the heavens from pole to pole\nAnd leads you to believe a lie,\nWhen you see with, not through the eye.\nWilliam Blake. \" The Everlasting Gospel. \""}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.13", "debut_caractere": 21, "fin_caractere_exclue": 2378, "texte": "Noverre was a maitre a danser....a Ballet master, the most celebrated\nof the 18th Century, and the times and values then were very little\ndifferent in regard to art from those of today, and people exaggerated\nthe importance of the dashing personality of the charming maitre and\nconfounded it with his work, even as they exaggerate and confuse the\npersons with the work of the modern Ballet masters.\nWhen we discover a dashing personality we conclude that we have\ndiscovered a great artist and we speak of him in place of his art: or\nwe are blinded by that personality and take it to be his art:... for we\nhave taught ourselves some tricky phrase about personality in art and\nare unable to get free from our conception.\njgt ft can't be doubted for a moment that the Chevalier Noverre was a\nvery charming and excellent person. His little way of haggling over money\nwith Garrick and others is a mere nothing, and his delightful conceit in\nassociating his name at every possible turn with those of Haydn, Mozart\nor Gluck is very natural....but alas! he Is comparatively forgotten.\n\\\n0 Yet Noverre will live by those of his works which have come down to\nus, and they show us pretty clearly that he was not an artist, if a maitre\nd dancer....that he was a charlatan in so far as art is concerned ; and they\nshould warn us to be a little careful before we explode with too much\nenthusiasm about the nearest things to Noverre's \"art\" which we can\nwitness now....the Russian Ballet. &\nj0 1 am a great admirer of the Russian Ballet. I find that it is often the\nbest dressed company of ladies and gentlemen who ever assumed a little\nsock and less buskin.\nj£? When 1 say that I am an admirer of the Russian Ballet, I mean that\nall the Dancers and their Maitre a danser charm me in spite of a few\nthings that 1 frankly don't like. For, as those of you will know who have\nread my book written some years before this Ballet left St Petersburg,\nnay, before it was formed as we see it today, I have reason for being\nopposed to the entrance of the studio painter into the Theatre; just as\nmany of you would dislike to see a stage painter decorating your chur-\nches. The Theatre has its own great scene-painters and needs no others.\nI am not a believer in the fluttering, bubbling personality of the stage\n\"Stars\" ;... I am against the emphasis whch is laid on the Body in the"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.14", "debut_caractere": 21, "fin_caractere_exclue": 1801, "texte": "Theatre, because 1 am one of those few who love the Stage as a\nfather loves his son,...as a son his father.\n& The dancers of the Russian Ballet and their maltre h danser are char-\nming people ; Nijinsky a marvel of technique, best when under M. Fokine's\ncontrol; and all his brother and sister dancers...charming; and M. Fokine,\nchief master of the dance, quite extraordinary. But if you ask me to\nlook upon their work as a work of art, or to speak of them as great\nartists, 1 must refuse, and I hope that some of the visitors to Covent\nGarden will be with me here. & JS?\nNoverre once entered the lists against and attempted to\ninterpret anew the story of Agamemnon and Orestes. Noverre was a\ngreat maitre h danser, but he was no artist. Had he been artist he\n\\\nwould have done less... succeeded less....but brought the art of dancing\na step nearer to the condition of a fine art.\n£? Here is his conception of the mighty works of the Trilogy :...\nAGAMEMNON REVENGED\nA Tragic Ballet\nby\nJean Georges Noverre.\nScene /.\nPart of the Gardens of Mycene.\nEgysthus and Clytemnestra enter, felicitating each on their mutual\nhappiness, and anxious only for the pleasing moment when they shall\nmake public the sentiments which unite their hearts. The distance and\nuncertainty, however, of that desired period fill Clytemnestra with the\nmost distressing disquietude. (i) which is heightened by the alarming\npresages of a very frightful dream. Egysthus, not less troubled on this\naccount than the queen, throws himself at her feet, and swearing love\nand everlasting fidelity, promises that his arm shall soon deliver her\n\nNO T E S.\n(i) Notice how this Tragic Ballet opens in anxious jerks and distressing\nspasms,... the very opposite way to that in which one expects a tragedy\nto begin. _/r> /o"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.15", "debut_caractere": 21, "fin_caractere_exclue": 1960, "texte": "from the obstacles that seem to threaten an interruption to their\nmutual bliss.\nScene II.\nAt the instant of his making these protestations a sound of drums,\ntrumpets, and other wartlike instruments is heard, which throws\nEgysthus and Clytemnestra into the greatest co'nsternation (1) and\naffright. He springs from, the feet of the queen with equal precipitation\nand fear. The noise affects their astonished souls like a peal of wrathful\nI\nthunder... they shrink with confusion. J£?\nScene III.\nA herald from Agamemnon enters with a letter to the queen from\nthat Prince, which he delivers to her on his knees. Clytemnestra with\na trembling hand (2) receives the letter and makes a motion to the\nherald to withdraw; he retires to the furthest part of the stage. Terror\nand affright seize the heart of Clytemnestra; a deathlike paleness over-\nspreads her countenance; nor can she by any means resolve to read the\nunwelcome letter. Desirous, however, to conceal her anxiety, she orders\nthe herald to leave her, assuming at the same time a look of satis-\nfaction and giving him to understand that his message puts an end\nto all her griefs and misfortunes.\nScene IV.\nJZ/ Clytemnestra and Egysthus draw near to each other with visible\nemotions of fear. Clytemnestra, sighing, shows him the fatal billet. She\nhesitates, but at last opens it with a hastiness (3) that displays the\n\nNOTES.\n(i) Consternation and confusion are out of place at the commencement\nof a great tragic drama. In fact they militate against the tragedy. Con-\nsternation and confusion are two states of being which should neither\nbe represented nor stirred up in the spectators. All great art combats\nconsternation and confusion.\n(•2) Is it not preposterous ? ....Clytemnestra !!....?\n(3) No, no, it is exactly what she does not do. Clytemnestra opens it\nwith a hastiness that displays all the agitation and tumult of a ballet-\ndancer's 'mind'. /Eschlylus opened it differently."}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.16", "debut_caractere": 21, "fin_caractere_exclue": 2240, "texte": "agitation and tumult of her disordered . By degrees they\nassume boldness enough to examine the contents; every line, every\nsentence, increases their apprehension and distress; but the intelligence\nthat the king is immediately following in the steps of his messenger\ncarries the severest stroke to the heart of Clytemnestra. Egysthus feels\nthe same sensations! both seem annihilated under the pressure of\ntheir misfortunes, and they recover from their situation only to\nsink into the most poignant despair. Egysthus proposes to murder\nAgamemnon. Clytemnestra shudders at the thought, and rejects the\nproject. He threatens to leave her and destroy himself. Trembling the\nqueen endeavours to appease his rage and soothe his transports, and\nto induce him to stay. She seems at one moment to yield to his horrid\nproposal, but the next her heart rebels against the thougiit; she re-\nproaches herself with her barbarity, and becomes sensibly shocked at\nthe enormity of such a crime. Egysthus, who is conscious of having no\nresource but flight or treason, breaks out into passion and menaces. His\narm, accustomed to murder, only seeks new victims for his fury. The\nunhappy queen, not knowing how to resolve, in a fatal moment yields\nto and joins in the black designs of Egysthus. They go off in all the\nagitation which fury, anguish and despair can excite in the human\nbreast (i) or characterize in the expressions of mind and body.\nThis is poor Noverre's idea of Tragedy and of Art. & &\n& I really can't take up space in reprinting more of the nonsense....but\nit is enough to show you the amazing cheapness of the mind of No-\nverre....the greatest Ballet Master of his time. I wili admit that some of\nthe movements of the dancers may have been quite \"splendid I grant\nit ever so willingly....all I refuse to let myself tell people Is that this\ncould possibly have been a work of art. JZ?\n& A splendid line or two in a badly conceived and badly written poem\nwill not make a work of art....and there is something seriously wrong with\nus if our critical faculty is able to be carried away to such an extent that\nwe apply the same terms of praise to the ballets of Noverre or Fokine as\n\nNO T E S.\n(i) Of a Ballet-master. & & & & _"}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.17", "debut_caractere": 21, "fin_caractere_exclue": 2125, "texte": "we do to the solemn and lovely works of art by or John\nSebastian Bach. JS?\nThere is another short line or two from Noverre's 44 Agamemnon\nRevenged\" that 1 must quote. Upon Agamemnon telling Clytemnestra\nthe name of his young captive Cassandra he recommends her to 44 the\ngenerous protection of the Queen\". «£? JZ? £?\n44 Clytemnestra then embraces her, and takes off her chains, but\nin performing this benevolent action seems to swear implacable\nhatred against the young princess. At every instant when unobserved,\nthe queen and Egysthus express the fury and impatience with which\nthey burn to satiate their vengeance and to sacrifice every object that\nseems to oppose their wishes\". (i) JZ? JZ? & &\nNow this even if it be pure ballet, and purely 44 theatrical \" in the\n\\\nsilly sense of the word, does not belong to a work of art. As performed\nby a great dancer it here and there might become noble and tragic....\nbut only here and there as it were by accident. JZ? JZ/\nArt is not at all a matter of accident: it is all a matter of design even\nas Nature is a matter of design. And so deliberate a misreading of Nature\nas Noverre is guilty of, is exactly what the Russian Ballet is guilty of.\nM. Nijinsky's 44 Apres midi d'un Faun \" does not improve matters.\nThought out with the all-too-clever twists of the Russian brains, it is\ndaring and nothing else. I am told that M. Rodin was enthusiastic. What\nof that ? Shall a sculptor decide all things ? If this be allowed will it\nalso be permitted that we of the Theatre shall be the judges to pro-\nnounce of Sculpture,...and be listened to ? Take care last we pronounce\nin favour of our property man who makes our Giant's fiead or Blondin\ndonkeys! & & JZ? & &\nJZ? Nature is not at all like a charming Carnival, or that ridiculous in-\nterpretatian of Chopin in muslin skirts ....where the dancers could not\neven Interpret correctly. sZ? j&\nFor Nature has a Rhythm. The Russian Baliet knows nothing of that\nRhythm. It is charming...perfectly, deliciously, intoxicatingly charming but\n\nNO T E S.\n(i) Can't one see it! All stage emotion.... stage proportions. £?"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.18", "debut_caractere": 21, "fin_caractere_exclue": 2097, "texte": "its charm is artificial; and Art's great claim to distinction is that it\napproaches nearer to Nature than anything else can do. And we insult\nall the masters of old, and those who today are striving to learn a few\nof the myriad secrets of Nature, when we rave frantically over what the\nRussian Ballet has to offer us. JZ\nJZ? I have written this after long deliberation, and because 1 believe that\nsomeone who holds all the Arts in the deepest respect must say a word\nto stem the tide of gush and error which threatens our\nI wish our Russian visitors all the \" success \" in the world....may\nthey come back to England again and again, and may a rain of bouquets\nbe showered upon the lovely ladies who pass before us so tenderly and so\ntemptingly on the stage of Covent Garden. May Nijinsky leap as loftily\nas ever and even more lightly, and may our admiration for his surprising\ntechnical powers stlil express themselves in thunders of applause. JZ?\nAs for M. Fokine, let him be crowned King of all the Ballets I JZ?\nBut let us not act towards Art as foolish traitors do who sell the\nnoblest for the silver pieces. We can all of us fall under the spell of these\ndancers for a moment, but let us not love aud reverence them as though\nthey had reached to the high achievement of masters of art. t\n•»\n-2? The Theatre is in this century about to make a new effort to become\na fine art....it is preparing to ascend....to approach a very difficult and\ndangerous incline. Do not thoughtlessly hamper its ascent by ill=advised\nenthusiasm whenever It stumbles in the ascent.\n& The Russian Ballet is held to be the finest achievement of the New\nTheatre. The Russian Ballet belongs to the Theatre of Yesterday.\nWhen our Theatre is re=formed my knowledge of my theatrical\nbrothers forces me to be quite certain that we shall \" reform al-\ntogether • jZ? JZ* j£7\n& The Russian Ballet is one of the modern Theatre's charming accidents.\nFor the sake of the future of the Art of the Theatre, do not in your enthu<\nsiasm mistake every taking Ballet or \"Production\" for one of its noblest\nefforts."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c013", "article_bluemountain": "bmtnaau_1913-07_01#c013", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "15", "image_debut": 19, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.7.2", "titre_corps": "LE BALLET DES POLONAIS PRESENTED AT THE TUILERIES 1573", "titre_sommaire": "LE BALLET DES POLONAIS PRESENTED AT THE TUILERIES 1573", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 55, "texte": "LE BALLET DES POLONAIS PRESENTED AT THE TUILERIES 1573."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c014", "article_bluemountain": "bmtnaau_1913-07_01#c014", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "32", "image_debut": 21, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.8", "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": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 2044, "texte": "A HISTORY OF PUPPETS\nby \"Yorick\"\n<■)\nPUPPETS IN ITALY.\nhardly know whether it is just to affirm that in\nthese days the marionette theatre is traversing a\nperiod of swift decline. JS? &\nCertainly, among the lower classes there is no\nlonger the same ardour, the former passion for the\npuppet plays. But \" les Dieux s'en vont \",... and it\nis very natural that there should depart, although\nless hastily, the puppets also. The public of the\nwooden \" fantoccini \" has changed its disposition, nature and cus-\ntoms. jg? <6? ■£/\nYet the \" burattini \" still exist and have enough breath in their\nbodies to survive a few hundred years more in the best of health. Only\nit is really a pity that they study every day to resemble more closely\nthe living actors, to dress like you and me, to recite like the leading\nman or the leading lady of the dramatic companies, to display the same\nrepertoire on their stages, and by this means to lose that original, mis-\nchievous, charmingly awkward physlonomy of their own which made of\nthe marionette theatre a microcosm, born and created to laugh at, and\nmake a jest of, this stupid and deceitful old world of ours.\n& I understand perfectly well that the little wooden figures also feel\nthe influence of modern ideas just as they feel that of damp and dryness\nand every change of temperament. The fact of being wooden does not\nsave from the influences of progress !\nAs formerly the puppets transformed themselves with the transfor-\nmation of ancient into modern society, changing from slaves to Roman\ncitizens, and from Gentiles into Christians, and from being religious and\nliturgical became civil and artistic; as Maccus and Centuculus became,\nfirst God the Father and the prophet Daniel, and afterwards Pulcinella\nand Ariecchino, so today they change slowly, slowly, and become the\nsignor Ministero and the signor Deputato. It Is natural and perfectly\ncomprehensible when one considers that in all times, under all govern-\nments, the marionettes have followed step by step,.... if they have not\n\n(1) P. Ferrigni."}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.22", "debut_caractere": 23, "fin_caractere_exclue": 2369, "texte": "at times preceded... the transformations of the theatre and of the society\nIn which they lived. &\nBut we old folks witness with profound regret this rapid disappearance\nof the masks which delighted our youth, and we see with sorrow the re-\ntirement from the marionette stage of those delightful and beloved figures\nJ*r\nwhich have already passed as a mist from the larger stages as well. If\nthey go ahead with this haste a little longer Plorindo, Rosaura* Pantalone,\nLelio, Beatrice, Leandro, Colombina, Smeraldina, all the charming phan-\ntoms which peopled with a gay and noisy multitude the garden of Italian\nart, will remain only as empty names and colourless shadows ; we shall\nnot find them any longer even among the puppets, and a hundred years\nhence they will be scarcely mentioned in books, and only as one speaks\ntoday of the little moveable figures excavated in the sepulchres of the\nChristian catacombs. J£? A&\nAt least It is something that in the universal shipwreck of all the\n\" maschere \" some few have been saved on the stage of the marionettes;\nand while the vernacular comedy declines and disappears and is scarcely\ntolerated on the smaller stages, some of the protagonists of those domestic\ntales continue tranquilly to babble their native dialect between the wings\nof a wooden booth or behind the curtains of a \" castello \".... of canvas.\n£/ Let us bestow a sigh and a tear on the dead ; on Pantalone dei Biso-\ngnosi, on Faccanappa, on Fritelllno, on Giangurgolo, on Corallina, on\nBeltrame, on the Magnifico, on Zaccagnino, on Truffaldino, on Pagliacci,\nand let us consecrate a page to the living,.., alas, about to die,... who\nyet salute us for these last days from the height of those unsteady and\nawkward trestles. &\nThe merriest and the most noisy is always \" Arlecchino \", Arlic-\nchino \", as he was called by Francesco Saverio Quadrio, who so admirably\ndepicts his figure, character and actions:....\n\" The dress of \" Arlecchino \" consists of nothing more than bits of\ncloth, red, light blue, violet and yellow, cut in triangles, and joined one\nto the other from top to bottom; a small hat that barely covers the\n*\nhead, a pair of little shoes without soles, and a black mask, a style of\nvestment undoubtedly like that of the \" Zanni \", of the ancient mimes,\nwiio were called Planipedes. In that coat of many colours, behold"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.23", "debut_caractere": 23, "fin_caractere_exclue": 2341, "texte": "\" Centunculo \" of whom Apuleio speaks. In that black mask you have\nthe soot-covered face; in that mode of wearing the hair hidden under a\ncoif, the significant shaven head that, with the Planipedes, was Impe-\nrative. In those shoes without soles you have the type of those who\nwalked bare-footed, and, in the beatings that he so frequently receives\nfrom his master, you see the humiliations to which they were subjected.\nOf Arlecchino's power of making people laugh with his head, mouth,\nactions, face and voice, Cicero wrote:... Quid enlm potest tam ridiculum\nquam Sannio esse ? qui ore, vultu, iniitandls motibus, voce, denique\ncorpore ridetur ipso \"• This was with regard to the Sannioni and the\nMimes, whom Arlecchino resembled. The character that Italian comedies\nof past centuries gave to their \" Zanni \", was always the same as that\nof the old Latins and Greeks, that is to say, of a buffoon and a glutton.\"\nLet it be said byway of parenthesis that there were two \" Zannis \"\n44 Arlecchino \" and \"Scappino \", but Scappino, alas, has \" scappato \" (i)\nto some other world. Arlecchino was born in the Bergamo valley; he\nspeaks the Venetian dialect out of regard for the intelligence of his\naudience who, if he were to speak in his native jargon, would not un-\nderstand a single word of what he said. \" A Bergamesque Moor, writes\nMarmontel, is an absurdity, and it must be supposed that some African\nslave was the first prototype of that personage \". Oh no, Sir, it was not\nthe sun of Africa that darkened the skin of Arlecchino ; It was the soot,\nwith which the \" Fallofori \" of Slcione blackened their faces, \" fuligine\nfaciem obductam \" in order to imitate and ridicule foreign slaves. £?\nThere are some who maintain that Michelangiolo caused an alteration\nto be made in the \" maschera \" of Arlecchino, so as to make It more\nartistic and that he was inspired by an ancient Satire. Just imagine,\n%\neven the divine Buonarroti was interested in burattini!\n\" The character of Arlecchino, says Marmontel, is a mixture of igno-\nrance, ingenuity, spirit, stupidity and grace. He is a kind of imperfect\nman, great baby, who has something of the light of intelligence, and\nwhose apparent carelessness has just a shadow of acuteness. He is the\n\nNO T E S.\n(i) A play on words. \"Scappato\" means \"run away\", \"made his escape\"."}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.24", "debut_caractere": 16, "fin_caractere_exclue": 2273, "texte": "counterpart of the flexibility, agility, and grace of a young kitten, with\nthe addition of a certain native ruggedness, that renders all he does\nmore pleasing. The part that he plays is that of a servant, patient,\nfaithful, trustful, always in love, always embarrassed either for himself\nor his \" padrone \", distressing and consoling himself as readily as a child,\nand whose sorrow is as exhilarating as his joy\nListen to Arlecchino, when seeking service:....\n& 44Sior Florindo, I know that you are in want of a servant, after\n\" having made three hundred and twenty seven changes in a year, and\n\" I hope to make up the round number. I am a man, who knows how\n\" to do everything:... eating, drinking, sleeping and making love to the\n44 maids ; the only fault I have Is that 1 don't like work. 1 shall be as\n44 punctual as an idler, as faithful as a domestic thief, as secret as an\n44 earthquake and as watchful as a cat \". jZ? jZ? .<Z?\n\"Brighella\" (1) is also Bergamesque, but comes from the city and not\nfrom the vallles. I should hardly like to say that, precisely on account\nof this, Brighella is as cunning, crafty, subtle, boasting, lying and thieving\nas Arlecchino is sincere, pensive, sweet, modest and trustful. 1 do not\nwish to speak evil of any one, but 44 Brighella \", with ali due respect,\nis a perfect type of \"canaglfa infame\". (2) Bold with women, cringing with\nmen, haughty with the weak and cowardly with the strong when he\nis afraid he is implacable and brandishes his knife, even treacherously.\nOn the other hand he is full of good qualities; lie sings, dances, and\nblows the trumpet; and he always knows where to find twenty \"Svanziche\"\nwhen he has need of them,... and he has need of them three hundred and\nsixty five days in every year. This is his own autobiography;.... (3)\n44 At twelve years of age, I was in prison for the first time ; at fifteen,\n44 in the pillory; at twenty I was flogged, and at twenty five, for the\n44 first time, at the galleys. Grammar, rhetoric, philosophy, humanities,\n54 all my studies 1 have completed very early. If you charge me with\n\nNO T E S.\n(1) An article on \" Brighella \" appeared in 44 The Mask \" July 1912.\n(2) A good for nothing rascal.\n(3} \" Qenerici brighelleschi Novara. Crotti. <B7O. jz? jg?"}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.25", "debut_caractere": 23, "fin_caractere_exclue": 2347, "texte": "44 having been beaten and with having been at the galleys, I reply that\n\" 1 have served my Prince both on land and sea. Now 1 am a huntsman ;\n44 I live on what 1 kill, but must not on that account be called a thief,\n44 but rather a clever mathematician, who finds things before their\n\" masters lose them &\n.<2? Now, however, 44 Brighella \" has become more sensible. I do not say\nthat he is really better than he was, but he does not rob or kill, and is\nmore inclined to deceive women in his love affairs than men in business.\nThe third among the burattinesque \" maschere \" is the 44 Dottore \",\na native of Bologna, dressed entirely in black, with a chocolate coloured\n44 moretta \" on his forehead and nose, and his red cheeks changing to\nviolet. He is one of those learned men, who know nothing, or rather\nwho know all things by halves, and therefore make the most ridiculous\nblunders on every subject.\nThe \" Dottore \" claims to be an Accademiclan of the Crusca \" of\nFlorence, physician, notary, advocate, astronomer on occasion, and an\nastrologer when he can find any one to believe in him. But the learned\n44 Dottore \" did not always know how to speak the truth. jZf JZ/\n44 Rogantino \" is a Roman, descended in direct line from that 44 Pirgo-\npollnice \" whom Plautus has immortalized under the name of 4( Miles\ngloriosus \". and, like him, acts the bully and the braggart, threatening\ncontinually to eat up his enemies alive, and unsheathing his sword at\nevery moment, to deliver upon all and sundry the most terrible blows.\nHe Is dressed in something like the livery of the pontifical guards,\nscarlet with dark blue pantaloons, an enormous double pointed hat on\nhis head, placed crosswise ; he walks heavily, by leaps and bounds, in a\nhectoring sort calculated to frighten all around him, and shakes\nhimself like a dog that has just come out of water, in order that the\nrattle of the arms he carries may be distinctly heard ; and he turns\ncontinually to see who it is that laughs or hisses, and who it is that\ndares to open his mouth, when he is there. JS?\nJZ? 44 Sandrone \" and 44 Carciofo \" are quite modern 44 maschere \". Of\n44 Sandrone \" we shall speak later* because his biography is connected\nwith the story of a family of showmen, so typical and strange, that it\ndeserves to have a chapter of its own,j& uZ? JZ? JZ>"}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.26", "debut_caractere": 23, "fin_caractere_exclue": 2284, "texte": "\" Carciofo \" Is a Neapolitan fantoccino, with a large head and a lean\nbody; rubicund, careless and homely. He was born at Pisa in the theatre\nof the \" Belle Torri \" about four years ago, and has father was Tertul-\nliano Plccinini, eldest son of \" Orazio a showman, who was famous\nthroughout the Tuscan and Romagnan provinces. jZ?\n& It was evening... the performance was just about to commence, and\nTertulliano was at the door, taking the money of the people crowding\nto come in. ''Forward, come forward, Slgnori, and get good places!\" when\nall at once a soldier belonging to the artillery pushed in front, at the\nsame time calling to a companion to follow, a recruit, who was lamenting\nthe price of the ticket. \" Come, 1 tell you, said the first; you will enjoy\nit \". Go, you, and enjoy it. I have no money \". \" Come, 1 tell you,\ncarciofo \". (i) That scornful word immediately struck the ear of Piccinini,\nwho turned round, with a smiling glance at the recruit, and in that\nmoment \" Carciofo \" was created, and has continued ever since to arouse\nenthusiasm throughout Tuscany, the Marches and Umbria. &\n& \" Carciofo \" is a surprising personage. He walks with a swinging\ngait and with bending knees; he moves his head, mouth, eyes and\nshoulders, drinks, smokes, eats macaroni, lifts a candle from the table\nto light his pipe and puts it down again, each one of those actions being\nreceived with tremendous applause by the spectators,\n£? Another very ancient fantoccio, still living on the marionette stage,\nis the \" Diavolo \", with all the attributes and distinctive qualities of\nhis infernal nature. The history of the \" Demonio \" as a comic actor,\nwould be interesting to study and to write. But it is a story that would\ncarry us too far and oblige us to deviate from our subject. &\n& It is certain that the \" Diavolo \" often took part burattini in\nthe \" Sacre rappresentazioni \" and in the \" Misteri \" of Italy, in the\n\" Miracle plays and Pageants \" of England, in the \" Sotties \" of France,\nand in the \" Tokkenspieler \" of Germany, and as long as liturgical drama\nretained any life in Europe the figure of Satan had necessarily to be\nput in opposition to that of the \" Padre Eterno \", if only to make the\n\nNOTES.\n(i) A \" carciofo \" is an artichoke. jz? uz? &"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.27", "debut_caractere": 23, "fin_caractere_exclue": 2285, "texte": "triumph of the latter more splendid and more glorious. Afterwards when\nthe theatre changed its nature, character, language, objects and manners,\nthe figure of the \" Padre Eterno \" left the scene in indignation, and the\n44 Diavolo \" remained... as was natural. It actually seemed to him like\nbeing in his own house. & &\nThe other personages and 44 maschere \" of the burattini show, 44 Sten-\nterello \", 44 Meneghino \", \"Qianduia\", 44 Gerolamo \", 44 Tartaglia \", are\nthe same as those who recite in the great theatres of flesh and blood\nactors, and do not differ from them in any way, except, perhaps, in wil-\nlingness, indefatigableness and complaisance. jZ*\nOf 44 Puicinella \", (1) who is a name of European repute, I must say\nsomething, although he is not now a personage belonging exclusively to\nthe burattino theatre. But he is, perhaps, the most ancient \"maschera\"\nthat has ever appeared on the stage, the first to be born under the origi-\nnal \"fantoccio\" form, the one who best preserves the national physiognomy\nin spite of his continuous and fortunate emigrations, in the course of\nwhich he has had to traverse every part of the known world, bearing\nin each country a different name, dress, character and habits. Biogra-\nphers, when they speak of the 44 Puicinella \" of flesh and blood, make\nhim descend from the 44 Mimus albus \" of the Osci, from the 44 Maccus \"\nof the Campaui. But after the old bronze statue was disinterred in Rome\nin 1726 and placed in the Capponi Museum, reproducing exactly the\nfigure, profile, dress and general appearance of the Puicinella of the\npuppet stage it may at least be asked, which of the two, the fantoccino or\nthe actor, was born first ? jS?\nIn any case, what is certain is, that Puicinella has continued for a\nvery long period to be the life, soul, and spirit of theatrical marionettes.\nWherever a burattino showman has found a bit of ground whereon to\npitch his 44 castello \", there 44 Pollicinella \" at Rome and Naples, 44 Puici-\nnella \" in every other part of Italy, 44 Polichinelle \" in France, \"Punch\"\nin England, 44Hans-Wurst\" in Germany, and \"Don Christoval Polichinelo\"\nIn Spain has appeared in likeness of the bronze statue of the Capponi\n\nNOTES.\n(2) For further news of Pulcinella see ** The Mask July 1910."}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.28", "debut_caractere": 23, "fin_caractere_exclue": 2305, "texte": "Museum, dressed in a wide white robe, drawn in at the waist with a\nleathern belt, with a crush hat, in shape like a sugar=!oaf, on his\nhead, and the face covered with a black half-mask, with the hooked\nnose and the large mole on the cheek. £2? -2?\nJZ? That head and robe present the most perfect type of the primitive\nburattlno, made expressly to be manipulated with three fingers of the\nhand of the showman. Even today Pulcinella is in a servile condition,\nastute and foolish according to circumstances, sober and greedy, loqua-\ncious and taciturn, full of gesture, merry, sarcastic, satirical, and a\nslanderer and backbiter as required. Travel round the world, and in\nEurope, Asia, Africa and America wherever you may be, you will find\nPulcinella with his knotty stick in his hands ready to discharge, on the\nburattlno stage, a crop of heavy blows either on the horns of \"Diavolo\"\n...or on the head of the Commissary of police.\nBEHIND THE SCENES.\n\"T*he sight that presents itself behind the stage curtain is extraordinary.\nThe place is restricted, dark and confusing. On ail sides there is an\nintolerable odour, a kind of special perfume, that rises from the nose\nto the brain ; a mixture of paint and varnish, Hie snuff of a candle,\npetroleum and grease, with the addition of a trifle of garlic and strong\ncheese. Along the walls fifty or sixty poor little fantoccini, of both sexes,\nare hanging, like so many herrings, looking at you out of that\nsemi-darkness with their fixed glass eyes and with an expression that\nalmost freezes the blood in your veins. One has its head turned the\nwrong way and partly hanging down its back ; another has its arms\ncontorted or its legs twisted ; all present the appearance of people who\nhave died on the gallows after many hours of spasmodic convulsion. Six\nor seven enormous spectres are moving about, looking like colossal\ngiants in the midst of pigmies. They come and go in silence, busily en-\ngaged in placing the different personages, animals and others objects\nthat are to form part of the evening performance. These are the showmen.\nSeen close at hand, in that confined and smoky atmosphere, and\nmixed with real live men, the little \" burattini\", stationed here and\nthere, seem like a swarm of monstrous insects, and one would think it"}, {"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.29", "debut_caractere": 23, "fin_caractere_exclue": 2123, "texte": "almost impossible to derive from them anything approaching that com-\nplete illusion, which is so indispensable in all theatrical representation.\nAnd yet, as soon as the curtain rises, the effect is surprising. The\nrelations of proportion between the figures and the stage appliances and\nscenery, are so exactly arranged, that in five minutes after the com-\nmencement of the play, the eye has become accustomed to the perfect\nharmony produced: the little marionettes seem to acquire at once the\nstature of living persons, space seems to increase, the back ground to\nrecede, and the air to circulate freely, so that* little by little, anyone\nmight easily imagine that he was witnessing a performance by living\nhuman beings.\nThe r4 operatori \" are naturally out of sight, and they are accustomed,\nin spite of present-day talk about division of labour, to speak the part\nas well as manage the fantocci.\n& A normal \" burattino \" is generally sixty centimetres in height, and\nis composed of six pieces, a head, two forearms with the relative hands,\ntwo legs and a torso, all carved of light wood. The heads, when it is\nnecessary to reproduce some particular and traditional 44 maschere \", or\nto obtain some resemblance to contemporaneous persons, known to the\npublic, are constructed by a skilled artlzan, and usually cost seven or\neight Lire each, (i\nIn all other cases, speaking generally, the showman does what is\nrequired. The neck is attached to the body by means of an iron hook\nand ring. The arms from the elbow to the armpit, and the legs from\nthe knee to the hip, are made, in the case of ordinary figures, of cloth\nsleeves, and, therefore, admit of any action or movement that may be\nrequired.\nIn the case of the principal figures, as well as of 44 maschere \" peculiar\nto some particular province, the whole is made of wood, but with all\nthe various sections so skilfully joined as to permit of free play in every\ndirection. On the top of the head there is a fixed ring of iron for the\nV ferro \", or rod, that holds and supports the figure when it has to be\n\nNO T E S.\n(i) Six or seven shillings."}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.30", "debut_caractere": 23, "fin_caractere_exclue": 2407, "texte": "in repose. This rod is about a metre in length, and has a hook at the\nend of it. Below the hook there is a good sized wooden block, or ball,\nattached to the rod; in fact the rod passes through it; on this block\nare small hooks and eyes that receive the 44 fili \" whereby the 44 fan-\ntocclo \" is made to gesticulate with the greatest ease and facility.\nThere are usually four of these 44 fili \", two for the hands and two\nfor the feet, or rather, two for the wrists and two for the ankles. In\nthe case of 44 pupazzi \" that are intended to perform some special and\ncharacteristic action, the lower 44 fili \" are joined to the knees.\nBut it often happens that there are figures, dowered with more com-\nplicated motions; with them the number of 44 fili\" is increased and\nmultiplied, their direction and management is governed by many rings,\nand the different 44 fili \" unite in the 44 ferro \", or rod, which is hollow\nand is in such cases surmounted by a block, twice or three times the\nusual size, and furnished with lateral holders and with supplementary\nhooks. g? g/ * g? g? g/\nThere are some burattini that move their eyes, open and shut their\nmouths, and move the fingers of their hands. The 44 Tartaglia\", for\nexample, twists his lips in such away as to form a most ridiculous\ngrimace, 44 Rogantino \" grinds his teeth: 44 Stenterello \" puts his finger\nto his nose and scratches it as in act of meditation. The famous 44 Car-\nciofo ' lias his hollow torso fitted with a metallic case, containing such\nmechanism and appliances that he is able to drink, eat macaroni and\nsmoke; his hands are also so arranged that with his fingers he can imi-\ntate exactly the playing of a musician on a violin ; moreover his clothes\nare so adjusted that he can undress himself and appear on the stage in\nhis shirt sleeves. g? g? g? &\n& For a first class company of Marionettes, at least a hundred burattini\nare necessary, and often two or three figures of the same \"personaggio\"\nso as to carry out rapidly the various changes required. jgf\nShowmen, as a rule, are quiet, inoffensive, honest citizens, and fathers\nof families. They carry on, almost always, some supplementary trade, or\nbusiness, either as cabinet-makers, carpenters, wood-turners, painters or\ndecorators. But they are always full of enthusiasm for their art, and\ntalk of their theatres, of their scenery, their actors, their peregrina-"}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.31", "debut_caractere": 23, "fin_caractere_exclue": 2030, "texte": "tions among the different *' piazze \" of Italy, the tastes and humours of\nthe public and the comparative value of comedies and comedy writers,\nwith all the airs and importance of a star comedian relating the story\nof his numerous triumphs.\nI have discovered in conversation with leading showmen that the\ntaste for marionettes is much more marked in the cities than in country\nplaces, and also that peasants and children are but slightly impressed\nwith the perfection of mechanism in some of our more elaborate little\nfigures, and that for a proper appreciation of ail the physical and moral\nqualities of a \" Carciofo \" you must have a select public and a highly\neducated people.\nA FEW STATISTICS\nAt the present moment there are more than four hundred Marionette\n\" edifizl large and small, on Italian soil. (1) lam not counting the\nmany informal \" baracche or wretched <* castelii \" set up by some\npoor wandering showman, who works a couple of \" fantocci \" called\n\" capocielli \" with his fingers, and amuses a crowd of rogues and pick-\npockets in a Fair or Market with a play of \"Pulclnella\" acting \"Diavolo\"\nand \" Carabiniere jg?\nThese are two or three times as numerous; they arrive, leave, come\nand go, carrying all their belongings in a bag or bundle, like that\nGreek philosopher.... and no one notices them, no one knows them and\nno one troubles himself about them. 1 am speaking only of Marionette\n\" intraprenditori di spettacoii \" from the most complete to the least so,\npeople who carry on the business with a small capital, travelling from\ncity to city, setting up their \" baracca \" on the stage of some regular\ntheatre, and giving a course of representations, which they have pre-\nviously announced by means of bills on the wails ; those who, by hook\nor by crook, have managed to get a company together and to provide\nthemselves with some kind of repertory, and who are possessed of a few\nhousehold goods, which for them are the equivalent of a patrimony. &\n\nNOTES.\n(i) This was written about 1884."}, {"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.32", "debut_caractere": 23, "fin_caractere_exclue": 2287, "texte": "According to my calculations, which are based upon a very moderate\nestimate, Italy, to-day, contains a population of forty thousand theatric\ncal burattini, of whom the last census makes no mention whatever.\nThey are most numerous in the southern provinces of our peninsular.\nThose highly populated towns on the shores of the two seas, at the end\nof the Boot hardly know of any dramatic theatre except that of the\nMarionettes. Even at Naples, Gaeta, Salerno, Aquila and Caserta, mecha-\nnical theatres are sometimes able to compete with the regular stage\nplays.\nIn the rest of Italy there are roving companies of Burattini, who\nchange their place every month, like the nomadic companies of travelling\ndramatic actors, going from theatre to theatre. At Milan and in the\nprovinces of Lombardy there are many Marionette companies and they\ndo an excellent business. One of the most celebrated is that of the bro-\nthers Prandi, of Brescia, which has also travelled more than once through\nTuscany, and been greatly applauded at Florence, Siena and Pisa.\nHere, in Tuscany, after Nocchi, we had Paganl of Florence and Cia-\nbattari of Leghorn, who made a great name among lovers of burat-\ntinesque plays. At Turin, those who hold the first place are Lupi and\nDacomo ; at Forlf, Mainett); at Jesi, Salicl and Cerruti and at Genoa,\nLuciano Zane.\nBut none of those companies remain stationary in any one city ; they\nall move about and visit in succession every part of the peninsular.\nIn Florence, Empoli, Prato, Pisa, Leghorn and Portoferraio the com-\npany of Orazio Piccinini was famous up to quite recent times: they\npossessed an \" edifizio \" so elegant and a collection of \" pupazzi \" so\nperfect, thaf they were able to defy comparison. At present the Piccinini\ncompany are resting on their laurels in a solid chest in a charming\nhouse, which Orazio has purchased out of his savings in the beautiful\nneighbourhood of Empoli. &\n& Tiie example is encouraging, but it must not be supposed that the\npaths of Burattini showmen are always strewn with roses. An \"edifizio\"\nconstructed and maintained according to the rules of art costs \"un\nocchio della testa \". (i) The public has become exacting and critical. It\n\n(i) \"An eye out of one's head\", An Italian idiom for a great cost."}, {"page_pdf": 33, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.33", "debut_caractere": 23, "fin_caractere_exclue": 2298, "texte": "requires an oriental luxury in tbe appointments of the scene, great\nvariety and perfection of mechanism, fresh wonders and ruinous profusion\nof dresses, covered with gold, silver, roman pearls, spangles, feathers,\nfringe, lace, tassels, and distinguished orders. 44 Balii \" have become real\nchorographic displays, requiring magnificence of scenery, skilled musi=\ncians, and above a11... burattini. It is already the custom to state on the\nplaybill the name of the scene painter, and that of the organizer, as well\nas that of the chief dressmaker, and of the director of the orchestra,\nwith his thirty professors, who must not, or any account, be left ano=\nnymous.\nIn addition to the \" bailerini \" we have now acrobats and jugglers.\n....burattini, who walk on a tight rope, and perform on a trapeze,\nwithout the least sign of any wires to hold and guide them : burattini\nthat act the part of a flying man like Leotard, or of an equilibrist like\nBlondin ; burattini that play with balls, bottles and daggers: that fence,\nfire off guns, jump through hoops, and play the violin to the accompa=»\nniment of a full orchestra. All this is very fine, but it is not the simple\nand unassuming way of the Marionettes of old. If we continue to advance\nat this rale, burattini, by degrees, will become automatons, and \"castelii\"\nand 44 edifiziiwill be transformed into machines marvellousiy conceived\n»\nand skilfully put together. ;£/ «<£?\nAnd then, good bye to originality: good bye to inspiration : good bye\nto the work and skill of the showman. 44 La mise en scene etouffe I'art\nsous les oripeaux \" cries Francisque Sarcey 44 ceci tuera cela \"... The\nillustrious critic is crying in the wilderness. The truth is, he is preaching\nto the 44 Comedie franfaise \". Burattini might at least listen. jg/\nTHE PUPPET REPERTORY.\n| should be foolish, and worse than foolish, presumptuous even, if I\nintended, or wished, to give a complete list of ail the productions,\nrecited, improvised and performed by the burattini of Italy since they\nmade their first appearance on the stage. An undertaking of that kind\nwould never end. I shall content myself with mentioning those dramas,\nfarces and comedies, which, according to long and interrupted tradition,\nhave been represented in marionette theatres."}, {"page_pdf": 34, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.34", "debut_caractere": 23, "fin_caractere_exclue": 2465, "texte": "& It seems to be certain that during the first efforts on the part of\ntheatrical \"pupazzi\" towards autonomous life, the sacred dramas, legends\nof the saints, and miracles of faith, must have defrayed the expenses of\nthe burattinesque showmen, both on account of the facility with which\nthe figures and machinery already used for the \"sacre Rappresentazioni\"\ncould be applied, and because of the practise that had been gained in\nreciting long passages of \" Laude biblical and evangelical extracts in\nIlturgicical plays. All this is so true, that several of those \" Misteri \"\nrefashioned and revised to suit modern taste, still form part of the re=\npertory of certain marionette companies, and are even now represented\nin country places, and also in the cities:... 'La Passlone del nostro Si-\ngnore Gesu Crlsto' by Mojorana: 'II Figliuol prodigo', by G. M. Cecchi:\n•la Vita e la morte di San Bartoiommeo', 'la Maddalena lasclva e peni-\ntente', by G. B. Andreini: 'Giuseppe ebreo\\ by Scamacca: 'Sansone e\nDalila' by Padre Rosselll: 'Giuda Iscaretta', byLottini: and 'Santa Tecla',\nand 'Santa Margherita da Cortona', by some anonymous writer. . &\nLater on, when •• maschere \" and farces came into vogue, burattini\nbecame possessed, as we have already seen- of all the \" scenarii \" of the\nCommedia dell'Arte; and partly transcribed, partly improvised the pro-\nductions that had made the fortune of Italian comedians of that period ;\n4\nthe comedies of Ruzzante, of della Scala, of Andreini, and all the others,\nwhich, afterwards, came to be represented in France in the Marionette\ntheatres of the two \" Fiere \", where we shall find them In due time and\npass them in review. j£?\n& Burattini had also at that time under their control \" scenarii\" of\nthe most ancient times, altered and revised to meet the requirements\nof wooden personages:... 'Li sdegni degli amanti', by Ottavio Janida, Gli\namanti scherniti', 'Amor non inteso', by Boccabadati, 'La caccia degli\namori', 'Gli anelli magic!', 'Arlecchino finto princepe', 'I due vecchi Ge-\nmel'i', *ll finto negromante', 'La prlncipessa addormentata', 'II giusto\nprincipe', 'II finto marlto', 'L' innocenza riconosciuta', 'II Baslllsco di\nBerganasso', 'La schiava', 'Amor non vuole imganni', 'Arlecchino ladro,\nsbirro e giudlce', 'Eularia muta per amore', 'Rosalba incantatrice', 'II\nbarone tedesco', *ll gran Convitato di Pietra'. &\n£? Of improvised comedies many disappeared, either in the \" casottl"}, {"page_pdf": 35, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.35", "debut_caractere": 23, "fin_caractere_exclue": 2386, "texte": "or 44 castelll \" that were set up in the open streets, where they were\nacted by strolling showmen of \" fraccuradi \" and 44 fantoccini or in\nthe theatres of innumerable 44 Accademie\" and 44 Congreghe \", that sprang\nup rapidly all over the peninsular. &\nIn those improvisations, one of the most distinguished was Pletro\nSusini, brother in-law of Lorenzo Lippi, author of 44Malmantile riacqui-\nsto \", who, (Pletro) according to the tastimony of Salvinl, \" provided the\nsubjects and recited himself in the 44 casino da S. Marco \", in the time\nof prince Leopold, afterwards Cardinal; and was one of the operating\nmembers of the 44 Accademla de' Rifritti &\n& After that, came the fabled and pantomimic plays: 4L'Augel!ino Bel'\nverde \", 4Le tre melarance', 411 Re cervo', 4La donna Serpente', all fables\nby Gozzi, 'La Grotta incantata', by Pirola, 411 noce di Benevento', by\nFlnoli, 4La Fata Morgana', 411 flauto magico', 4Eutlchio e Sinfarosa', 411\ncastello di Udolfo', 4Leonzio o I'incredulo punito', 'L'alchemista', 'II ca-\nstello incantato'.\nJZ? And then all the pathetic and romantic dramas of the last century\nand of ours4Genovieffa di Brabante ovvero le caduta del terribile\nGolo' by Gasperi, 4Bianca e Fernando alia tomba del Duca d'Agrigento',\nby Roti, 'L'orfanella della Svizzera', by Marchionnl, 'II conte dl San\nGermano', by Prina, 4Elisabetta Potowsky ovvero gli Eslliati in Siberia',\nand 411 furioso all' Isola di San Domingo', by Ferretti. £? JS? &\nAll the dramas of the 44 Avelloni \" and 44 Federici all the French\nmelodramas, translated and revised for the Italian stage ; all the civil\nand military German comedies of Iffland and Kotzebue, stripped, shor-\ntened, amputated and changed so as to admit of the intervention of\nArlecchino, Brighella, Gerolamo, Meneghino, Gianduia and Stenterello\npassed one at a time into the Marionette theatre. s?\nIt is probable that no other stage has ever so clearly represented\nwhat might be described as the 44 colore del tempo \" ; and that no other\ntheatre has ever manifested, more plainly than the burattini, the critical\nand philosophical spirit of Its contemporaries, with those little produc-\ntions; acted with all the dominant passion of the moment, with parodies,\nwith satires, with daring farces, with allusions to all current events,\nand all political people, with 44 tirate \", improvised or composed day by"}, {"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.36", "debut_caractere": 23, "fin_caractere_exclue": 631, "texte": "day, I might almost say hour by hour, according to circumstances and\nthe course of events.\nAll great men, all reformers, all the personages of the day, all abstract\nbeings, all personifications of ideas, ail the heroes of religion, of atheism,\nof epic poetry, of romance and chronicle from Christ to Beelzebub,\nfrom Don Pirlone to Ugo Bassi, from Vittorio Emanuele to Garibaldi,\nfrom Rinaldo di Montalbano to Masfrilli, from Giovanna D'Arco to the\nMonaca of Cracovia, from Carlo V to Giovanni delle Bande Nere; all\nhave had among burattini a moment of triumph and an hour of resur-\nrection.^\nTo be continued."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c017", "article_bluemountain": "bmtnaau_1913-07_01#c017", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "48", "image_debut": 37, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.9", "titre_corps": "THE SCENARIOS OF DELLA PORTA", "titre_sommaire": "THE SCENARIOS OF DELLA PORTA", "signature_source": "Dr Michele Scherillo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 1881, "texte": "THE SCENARIOS OF DELLA PORTA\nby Dr Michele Scherillo.\ndella Porta, of whose \" Scenarios \" Dr Scherillo\nwrites in the following essay, was born in Naples about 1540\nof a noble and ancient family and died in 1615. While very young\nhe travelled much in Italy, France and Spain, frequenting the\nlibraries and the society of learned men and clever craftsmen,\nand acquiring much learning.\nAfter his return to Naples he instituted in his own house the\n\" Accademia dei Segreti\" to which he admitted none who had not\ndiscovered some secret useful in medicine or in natural science. He\nwrote, besides his stage plays, a learned work on Natural Magic,\nand also a profound study ,s De humana physiognomia \".J& JS?\niccoib Toppi, a nobleman of Chieti and keeper of\nthe archives of his Catholic Majesty in the great\nrecord office of the \" Regla Camera della Sum-\nmaria \", describes Qiambattista della Porta as a\n\" napolitano di fertile ed elevato Ingegno, orna-\nmento particolare di Napoli \", and specially refers\nto his scientific works. (1)\nBut in the additions to his \" Bibiioteca Napo-\nletana\" which covers as much space as the first part of the work, he\ngives a list of the tragedies, tragicomedies and comedies of Porta and\nconfesses to having compiled it from the 44 Drammaturgia \" of Leone\nAllaccii (see page 329 of above). There is no reference to the 44 scenarl\nLionardo Nicodemo, who made the 44 Addizioni \" to the 44 Biblioteca \"\nof Toppi, adds to the list a comedy called 44 La notte \", which used to\nbe represented 44 all' Improviso \" in public theatres and In a few private\nhouses. And Ghirardelli, with regard to that play, says in the 44 difesa \"\n\nNO T E S.\n(i) (Biblioteca napoletana et apparato a gli huominl illustri in lettere di\nNapoli e del Regno, delle famiglie, terre, citta e religioni. che sono neilo\nstesso Regno, dalle loro orlgini per tutto I'anno 1673; pag. 139. £?"}, {"page_pdf": 38, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.38", "debut_caractere": 30, "fin_caractere_exclue": 2277, "texte": "of Ills \" Costantlno \" : \" Porta has been very highly praised for his\n*' \"Notte\", which at one stroke produced so much and such varied suc-\n\" cess as aroused the laughter and wonder of the spectators. \" (1) X?\n& Gennaro Muzio, the editor of four volumes of Porta's comedies, ex-\ncuses himself for the delay in their publication by saying: \" By no means\n\" small has been the labour which 1 have been obliged to devote for the\n\" putting together, and adapting as one whole all the comedies of this\n\" most famous author. Some of them 1 have happily succeeded in\n\" collecting; others, however, It has not been possible to trace save\nafter repeated requests and incredible exertions. Who will ever believe\n\" that one man treated my continual requests as objectionable or even\n\" ridiculous ? thai some other, moved by the idle fear of rendering trivial\n\" or vulgar the rarest gems of his library, repulsed me?.... \" ....And\nhaving mentioned the published plays, he hastens to quote what Ni-\ncodemo says of the \" Notte \" so that it may be generally known that\nas this particnlar comedy was always acted \" all' improvviso \", it was\nnever printed and that on that account it had been impossible for him\nto include it with the other \"commedie\", which were all written out at\nft\nlengtii and preserved In print. jZ? jZ? & jZ? x&\nx? Signorelll of Naples, In reliance on the statement of Nicodemo and\nGennaro Muzio, also refers to the comedies in connection with Porta.\nIt would, indeed, appear from his account that he had actually had them\nin his hands. This is what he says, after having first denounced all those\nwho \" non leggendo, osano raglonare (2) \" : \" We shall not dwell upon\n\" either of those comedies which the publisher of his \" Penelope \"\n\" Pompeo Barbarito, promised in 1591 to produce.\" (it remains to be seen\nwhether he could have done so !), nor \" upon the favole \" a soggetto \"\n\" (among which his celebrated \"Notte\" won a long celebrity,) with which\n\" he used to delight the city of Naples at the same time as with his\n\nNOTES.\n(i) Delle Commedie di Qiovambattista de la Porta napoletano. 4 vols :\nNaples 1726. From the press and at the expense of Gennaro Muzio heir\nof Mlchele-Luigi. x? & & js?\n(3) Without reading, dare to argue. jZ? jZ? x?"}, {"page_pdf": 39, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.39", "debut_caractere": 30, "fin_caractere_exclue": 2396, "texte": "«* scientific works he rendered it learned. \" (Storia critica dei teatri\nantichi e moderni, vol. 6. pag. 295.) And then, without further com-\nment, he refers his readers to Ghirardelli and to Nicodemo.\nj£? It has been alleged in later times by Camerini, Settembrini and\nTailarigo, that Porta was the author of \"scenari\" but none of them has\nadvanced any proof of this. The gospel has always been preached ac=\ncording to Nicodemo.\nThe illustrious professor Fiorentino, with that gravity of style which\nmakes him one of the ablest of critics* and not of Italy only, has also\njoined the contest, and suggested a doubt whether Porta ever wrote any\nplays at all. His reasoning is something like this : 44 You assert that Porta\n44 wrote them, for no other reason except that you have heard that a\n<« scenario \" called 44 La Notte \" was the work of this author. Now you\n44 should know that that \" celebrated \" Notte Is not a 44 scenario \" and\n44 in 1610 was ready for the press, and figures among the works of which\n44 the Manuscripts were consigned by De Filiis to the Publisher Bar-\n-44 tolemmeo Zannetti. \" JZ?\n& The 44 scenari\", according to Fiorentino, served for the 44 commedla\ndell'arte \", 44 which was so called because it was always performed by\n44 professional actors while the learned comedy could be performed even\n44 by dilettanti. Porta kept on the edge of the learned comedy, and if\n44 towards the end of his dramatic career he turned somewhat from the\n4\n44 classic models and introduces some innovations, he never goes so far\n44 as the commedia dell'arte nor the use of masks. Porta never gives any\n44 indications that his plays were performed save by dilettanti ; much\n44 less then would it enter his mind to sketch out 44 canevacci \" which\n44 to such actors would be absolutely useless. The improvised comedy,\n44 or comedy 44 a soggetto \" as we usually call it, served for one who\n44 was both author and actor, as was Moliere in later times. For our\n44 Porta it was not the thing. \" JZ? JZ/\n& As the matter stands here, the balance of probability would seem to\nincline in favour of the negative argument of Fiorentino. On the other\nhand, there is a document, that goes to prove that Porta really did write\n44 scenari:... an actual \"scenario\" of his composition! It has been brought\ndown to us by the Sicilian Andrea Perrucci in his book 44 Dell'arte rap-"}, {"page_pdf": 40, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.40", "debut_caractere": 30, "fin_caractere_exclue": 2374, "texte": "presentatativa premeditata ed all'improviso \". Speaking of 44 commsdie a\nsoggetto \"he writes: 44 The 'soggetti' which are scattered about are\n44 many, and there are printed volumes of them either from the comedians\n44 theatre or of 44 zibaidoni \" to which I refer, such as the fifty days\n44 44 Teatro scenico \" of Piaminio Scala, known as Piavio. &\n\" The making of new ones is a little difficult for anyone who has\n44 not good powers of invention and knows how to avoid the ancient\n44 lazzi:however 44 hoc opus hie labor est\". It seems that the Latins\n44 did not know how to avoid the imitation of the Greeks, nor the Italians\n44 of the Latins ; hence the invention of new lazzi Is not for all, espe-\n-44 cialiy in a \"soggetto \", where many are required, which for but few\n44 is an easy matter. Now I, although I have amused myself by ma-\n-44 king them like a very Mars, will take example from a classic in this\n44 work, that is the 44 Trapolaria \" by G!o. Batt. della Porta the Neapo-\n-44 litan whose genius is known through his many treatises on natural\nmagic, chiromancy and a thousand other erudite matters among which\nwas not lacking this of the Comedia, because, in the words of Tullio,\n44 \"omnes artes habent quoddam comune vinculum, et cognations qnadam\n44 inter se continentur\n\" should be observed that Porta not only wrote 44 scenari \", but be=\ncame a classic in the art. This fact seems to me to be most important\nfor all those who desire to make a complete study of the Neapolitan\n44 commedlografo \", and also for those who wish to occupy themselves\nseriously and it is about time..,, with an examination of sixteenth\ncentury comedy. But, besides that, the 44 scenario \" of the '4 Trapoiaria \"\naffords us an opportunity of comparison, which may very much assist\nus in our Investigations with regard to the 44 commedia dell' arte \" in\nItaly.\n&It is drawn from a comedy of Plautus, the 44 Pseudolus and it served\nlater as a frame on which Porta built the play to which he gave the\ntitle of 44 Trapolaria \", so that we have in our hands actual facts showing\nus, not only how a commedia came to be derived from a 44 scenario\nand, therefore, in what way were developed the 44 lazzi and 44 scene\nwhich in the 44 scenario \" were only suggested ...(there would be nothing\nspecially new about this in the actual condition of our study of the"}, {"page_pdf": 41, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.41", "debut_caractere": 31, "fin_caractere_exclue": 1895, "texte": "44 commedia dell'arte \"...)(i) but also what must hav<e been the labour of\na sixteenth century writer In reducing to a 44 scenario \" a 44 commedia\nclassica\".\n& The achievement consists in the conjunction of the two phenomena.\nIt should not, however, be assumed that the metamorphosis of a classical\nplay into a 44 scenario \" is to be found only in respect of the 44 Pseudo-\nlus On the contrary, I believe It applied to all the 44commedie\" both\nof Plautus and Terence. Still, so far as I know, this is the first time we\nare called upon to examine the two elaborations executed on the same\nsubject by a single author.44 Pseudolus \" signifies 44 trappoliere \"(a cheat\nor deceiver) and 44 Trappolaria \" the work, or doings, of a 44 trappoliere\nThe 44 personaggi \", or actors of Plautus are fewer in number and com°\npare with those of the 44 scenario \" and those of the 44 commedia \" of the\nNeapolitan poet in the following manner :\nPseudolus, Scenario, Commedia,\nPseudolus, servos. Coviello. servant. Trappola. servant.\nCalidorus, adolescens. Pedelindo. son. Arsenio. son.\nBallio. leno. Policinella. merchant. Lucrino. pimp.\nSimo. senes. Tartaglia. father. Calllfrone. old man.\nCaliipho. senes. Pasquariello. servant. Dentifrangolo. servant,\nliarpax. cacula. Pespice. servant. Leonello. servant.\nCharinus. adolescens. Turchetta. slave. Cook.\nPuer. Donna Laura, wife Fagone. parasite.\nCocuus. of Tartaglia. Filesia. Spanish youth.\nLoiarii, quatuor. A servant of Donna Elionora. old woman.\nSimia, sycophanta. Laura. Gabrina. wife of Fa-\nPhoenicium. meretrix. Isabella, courtesan. gone.\nPimpinella. servant. Dragoleone. capitano.\nCapitano. Poleone. venditore.\nRivenditore.\n\nNO T\n(i) See Ad. Bartoli. 44 Scenari inediti\" pg p6 and following. Also Achille\nNerl, 44 Una commedia dell'arte \" In the Giornale storico delta Lett: ital:\nYear, Vol i, No: I, pg. 75 and following."}, {"page_pdf": 42, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.42", "debut_caractere": 31, "fin_caractere_exclue": 2469, "texte": "& The plot of the \" Pseudolus \" is also less complicated. &\n& The servant... who is a man with red hair, corpulent, with swarthy\ncomplexion, sharp eyes, rubicund, and with big feet.... swears that he\nwill deliver the courtesan Phoenicium into the hands of Calidoj;us in\nspite of all the craftiness of the 44 ruffiano \", or go-between, and the\navarice of the aged Slmo. He comes to the house of Ballio and arrives\nat the moment when the soldier, Harpax, who has been sent by the\nMacedonian Captain, is presenting the last fifty pieces of money for the\npurchase of the slave and is also giving the countersign. Pseudolus\nadvances and asks him what he wants, and* having been told, puts out\nhis hand for the money and sign. The soldier gives the sign, but not\nthe money, saying that he will give that to Ballio himself. While waiting\nfor Ballio's return, he enters a tavern, where Pseudolus promises to\nbring Ballio when he comes. No sooner, however, does he find himself\nin possession of the countersign than the crafty servant proceeds to carry\nout a brilliant stroke of knavery and in Simia he has an accomplice,\nwho might have been his teacher. His disguise as a soldier leads Charinus\nto give him fifty 44 mine \", or pieces of money, with instructions to go\nand redeem the slave. As soon as they have her in their possession, they\ndepart to make merry in a tavern. Simo and the 44 ruffiano \" rub their\nhands with satisfaction at being rid of Phoenicium, but, presently,\nHarpax returns and asks for the woman to be given to him. The two\nold men, mistaking him for a delayed mandatory of Pseudolus, begin to\nbanter and laugh at him, but they soon discover that it is they them-\nselves who are fooled, and that they not only have the joke against\nthem but the loss of a considerable sum of money as well. Ballio has to\nrefund two hundred 44 mine \" to the Captain, and as much to Simo on\naccount of his lost wager over the girl and Simo has to pay these two\nhundred 44 mine \"to Pseudolus because he has been tricked. £/\nBut a plot so simple could not suffice for a Neapolitan comedy writer\nof the sixteenth century. The times required a crowd of actors and a\nseries of actions, both principal and secondary, and all interwoven in\napparently inextricable knots, such as to render indispensable some\n44 Deus ex machlna \" of the kind that is often introduced on the stage\nto unravel everything with confessions and explanations. A providential"}, {"page_pdf": 43, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.43", "debut_caractere": 30, "fin_caractere_exclue": 2357, "texte": "hand is stretched out to join in matrimony two u promessi sposi \". who,\nto all appearance, were separated for ever, having, the one or the other,\nbeen carried away to captivity by Turkish bandits. Sold at first in Bar-\n•\nbery and afterwards re=sold to a \" Capitano di ventura or to a slave\nmerchant, they are ultimately brought back to their own country to be\nsold again, when, in some mysterious way, they return to their families,\nare recognised and their happy marriage is celebrated.\nThe Public of that day, with its deadened aesthetic sense, had need\nof strong excitement and strong emotions, and as for that purpose the\n\" sale plautino \" was not sufficient, and phrases with double meanings,\nif they were to be appreciated, had to be divested of every veil and to\nbe presented in their natural impudicity, it was necessary that the\nvarious actions of a play should not be merely implied, or left to be\nunderstood, but that they should be expanded and explained in their\nfullest and most minute particulars.\nThe spectators of the \" Trappolaria \", for example, would have put\non wry faces if Trappola or Coviello, in order to avoid reciting passages\nthat were called for in the unfolding of the plot, had said like Pseudolus:\n\" Horn in caussa haec agitur spectatorum Fabula\nHi sciunt, qui hie affuerunt; vobis post narravero \".\nIt was necessary to devise a more studied method of expression,\nsomething that should be less simple and less primitive, even if it were\nan \" accidente di soliloquio \" of the \" primo innamorato\nThe \" scenario \" is still more complicated than the written play. In\nthe former Porta is preoccupied with the various mannerisms of the\nactors and with the necessity of adapting different parts to fixed types\nso as not to exclude any of them or to make them speak or act in any\nway opposed to the traditional. In the case of the \" com media \", on the\ncontrary, he polishes and re-polishes his work, knowing full well that\nhe has not only to satisfy the fleeting taste of his contemporaries, as he\ndoes with regard to the \" scenario \", but that he has also to face the\njudgment of posterity. jg? jg? *& &\nThe action, or plot, of the \" scenario \" opens like this :\nCapitano speaks of his love for the slave and of his wish to pur-\n%\nchase her. Poiicinella is playing lazzi inside and then comes forward."}, {"page_pdf": 44, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.44", "debut_caractere": 30, "fin_caractere_exclue": 2238, "texte": "Capitano takes him for a servant of the house and asks for Polici-\nnelia, who tells him to speak. Capitano says he wants Policinella,\nwho jokes and says \"e tu torna a bussar In the end they know\none another and come to an agreement about the slave and the price,\nthe Capitano saying that he will send a servant with a counter-\nsign which he whispers in his ear. Turchetta, having observed every-\nthing through the window, is sorry not to have heard the counter-\nsign ; she comes in. Policinella enters. Capitano goes away.\n£? AH this is understood both in the '* commedia of Plautus and in the\nlater one of Porta. But In the \" scenario \" it could not be omitted, or\nbe merely implied, because it afforded an opportunity for the appearance\non the stage of a character that was extremely well liked by the Italian\npublic, and especially by the Neapolitan public, the type or character\n9\nof the Spanish Capltan; moreover it presented an occasion for the\nmeeting of the Capitano with Policinella and of carrying on with him\nthose pranks and jests which always produced the most excited applause.\nAlthough all might have been well understood, or implied, the public\nwould not have been satisfied to go without the actual demonstration,\nsimply because in a good comedy such things were considered to be out\nof place.\n& The two productions, then, of Porta are co-incident.\n& Enter Tartaglla and Fedelindo talking of sending the brother and\nsister-in-law to Barcelona to fetch the step-mother, repeating the\nargument of the play of the \" Due figli sirnili \" and of the two\ndaughters of Donna Laura, Elvira and Eufrasia. Fedelindo refuses to\n♦\ngo there. Tartaglia says that he will have to go by force and departs\nto arrange about a ship. Fedelindo in despair. Turchetta comes from\nher house, lamenting that she has to be separated from Fedelindo ;\nan equivocal scene takes place, Fedelindo believing he has heard of\nher sale. In the end Fedelindo discloses the will of his father. Tur-\nchetta faints. Coviello comes in and seeing the slave in a faint goes\nfor water, (i) pure cistern or spring water, hot or cold. Turchetta comes\n\nNO T E S.\n(i) Here a lazzo is introduced on varied kinds of water, clean and unclean*"}, {"page_pdf": 45, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.45", "debut_caractere": 30, "fin_caractere_exclue": 2218, "texte": "to herself and discovers that she has been sold. Pedelindo faints and\ncalls for water. Coviello seeing the grief of the lovers, pretends to\nfaint; they call for water and he for wine.\n& Here we have what might be a repetition of the first four scenes of\nthe 44 Trappolaria In which, however, the 44 lazzi of Coviello for the\npurpose of recovering the lovers do not take place. It may be worth\nwhile to give the scene between Arsenio, Filesia and Trappola in order\nto be able to form an idea of the kind of language that lovers in those\ndays were accustomed to use to one another:\nTrappola.. Master, what are you crying for, what is the meaning\nof all th is lamentation ?\nArsenio. Can you not see, Trappola, that my life is dead In my\narms and that my own death lives in me ? Oh, death, how can you give\ndeath to one, who has the power of giving life to others ? If you have\nbeen merciful to her in relieving her from care, why are you so cruel\nto me, making me survive in so much pain ? You have acquired the\nname of cruel one in killing her; acquire now the name of compassion\nnate one by killing me also. Alas, she is quite cold and all warmth has\ngone from her heart and now it seems that her death invites me to\ndie too. jg? jg/\nTrappola. Don't despair, master; pull her hair; that is the way\nto revive women.\" jg?\nHere, at last, the Plautinian \" commedia \" begins. Calidorus tells\nPseudolus of all his troubles as a lover and Pseudolus promises to help\nhim. In the second scene the slave dealer appears with four warders\nand gives orders for the house to be prepared for the celebration of his\n%\nfestival. This part, so characteristic of Plautus, is necessarily wanting\nin the sixteenth century play because it was no longer iu accordance\nwith the customs of the time. In the third scene the young lover and\nhis servant arrive to claim the slave and are told that she has been al~\nready sold to the Capitano. Pseudolus threatens the dealer that he will\ntake her by force. jg? - jgf\nIn substance the 44 scenario \" and the 44 commedia \" of Porta say the\nsame thing, but with the usual wealth and research of detail. &\nIn the 44 scenario \" Policinella is calling the slave; Coviello and"}, {"page_pdf": 46, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.46", "debut_caractere": 34, "fin_caractere_exclue": 2347, "texte": "Fedeiindo while speaking pleasantly to Policlnella pretend to\nconceal her; afterwards they offer to buy her. Policinella says that\nshe has been sold, Coviello says that he will steal her. Policinella\nlaughs at him and Coviello declares that he will come for her with\na carriage and four horses and much noise and say, or else I steal\nher. Policinella replies that it Is impossible. They arrange twenty\nfive scudl. Policinella enters the house with the slave.\nThis corresponds with the fifth scene In the 44 commedia \" -<s>\nBut there Is a difference as regards the part of the servant in all\nthree of the plays. It is simpler and more probable, as is always the case\nas represented in Pseudolus. Here the servant, while puzzling his brain\nto think of away of becoming possessed of the girl, happens to meet\nHarpax and proceeds to wrest the countersign from him, and having\nobtained it. Is enabled to secure Phoenicium without further trouble. In\nthe 44 scenario \" on the contrary, another woman is Introduced, a\ncourtesan, named Isabella, who is in love with the Capitano and who\nturns to Coviello for help.\n\" Isabella, a courtesan, begs Coviello to aid her in her love for the\nCaptain. Coviello promises and departs. The Capitano appears bring-\ning the money for the slave girl. Isabella entreats him, but he\ndisdains her and goes. Isabella in despair. jg/ &\nThis Intromission of the 44 cortigiana amante \" is one of the old stock\nweapons of the 44 commedia dell'arte \" and Porta discarded it in his later\ncomedies. In the second act Coviello begins to be active. & &\nPasquariello the servant of the Captain says that he has been\nsent by his master to buy the slave. Here Coviello speaks of the\npast. Pasquariello asks Coviello to tell him where Policinella lives.\nCoviello, suspicious, says he is Policinella. Pasquariello, who has come\nfor the slave, gives him money. Coviello pretends that he is a cheat\nas he has not given him the countersign. Pasquariello says that he\nhad forgotten to do so, and that it is 4'touch the end of your nose\".\nCoviello says It Is all right and calls Isabella. When she conies he\ntells her in an aside that she must pretend to be his slave so that she\nmay go with the Captain. She consents. Coviello then hands her to\nPasquariello and they go away together. Coviello wants by some"}, {"page_pdf": 47, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.47", "debut_caractere": 30, "fin_caractere_exclue": 2042, "texte": "means to secure the real slave and calls Pesplce, a servant to\nIsabella. £? J£? &\nCoviello arranges with him to pretend to be Pasquariello so that he\nmay get the slave. He promises him a dinner and gives him money and\nthe countersign and departs.\n£? In the \" commedia \" Trappola has recourse to the parasite Falcone,\nwho disguises himself as a soldier and thus deceives the slave merchant,\nand to Falcone's wife, Gabrina, who, closely veiled, is given, In substi-\ntution for Filesia, to Dentifrangolo, the Captain's servant. The slave,\npending the arrival of her lover, Is made to enter the house ol the pa-\nrasite, The Captain receives the reputed Filesia with great joy, but as\nsoon as her face is unveiled and he is confronted with that ugly old\nwoman, he exclaims:\nDragalone. YOU, then, are my charming and beautiful Filesia.\nGabrina. & I am Filesia, yes.\nDragalone. Worthy of course of a joust under your windows\nand of the breaking of a dozen jZ? zz? •£*\nGabrina. I am Filesia, yes. &\nDragalone. I desired Filesia because she is as lovely as Venus.\nGabrina. I am Filesia, and I am also beautiful.\nDragalone. You beautiful! you are the very picture of a devil, of\nthe evil of San Lazzaro, a pest that would frighten even a ghost. JZ>\nGabrina. And you with your face of a witch. The mere sight of\nyou is sufficient to' excite disgust.\nDragalone. I have created more wounds with my eyes by loving\ngentle ladies than I have ever made with my sword and with my angelic\ncountenance. JZ? JS?JZ?J:7/Z?£?JZ?J&\nGabrina. & A countenance of Satan from the Inferno.\n\\\nDragalone. & As for you, ugly creature as you are, I swear to you\non the faith of a cavalier, that if I were not afraid of tarnishing my\nglorious and illustrious deeds, in the course of which I have subdued\nprinces and dethroned powerful kings, by soiling my hands with the\n*\nblood from the faces of women of mean condition I would cut off your\nnose and wear it as a crest on my helmet. j£?\nGabrina. And you, I would have you to know that I can become"}, {"page_pdf": 48, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.48", "debut_caractere": 35, "fin_caractere_exclue": 2246, "texte": "a man or a woman as I please, and that if you put nie Into a rage I will\nmake your skin suffer.\nDragalone. YOU surely cannot know who I am.\nGabrina then returns to her house and finds Filesia there. As she\ndoes not know her, she takes her to be a mistress of her husband, and\nseizes a stick, where with to drive her out. At that moment Fagone\nappears with a quantity of things to eat and a cook, whom he has en-\ngaged in the city for the day, so that a feast may be prepared in cele-\nbration of the happy result of Trappola's craftiness and knavery. The\nold woman, full of jealousy and imagining orgies, bacchanalia and the\nlike begins, in her rage, to throw her stick about, breaking bottles,\nglasses, plates and much besides. &\nFagone. \"Ho, accursed fool, stop it! 1 have had enough of this,\nis it not enough that you should beat me, but you must even break my\nflask of wine and spoil my clothes ? Why have you not rather broken\nmy head and scattered my brains ? If you had spiit my blood you could\nnot have displeased me more. Let the race of such as you be exting-\nuished. 1 wiil satisfy myself, at any rate, with what remains. \"\nFilesia manages to make her escape and goes wandering about Naples\nin search of Arsenio, who, in his turn, goes to Fagone and finds him\ndrunk, but learns with some difficulty that the girl has left. He sets off\nin pursuit... and for some time he Is speaking on one side of the stage\nand she on the other without either of them being aware that they are\nclose together. At last they hear one another's voices, draw near and\nare recognised. & *& & & & &\nThe plot of the \"scenario \" follows a parallel course, but contains\nfewer episodes. &\n& Capitano, disdainful, says he expected the slave ; departs. Isabella\nremains looking displeased and knocks at her house. Turchetta asks\nwhat she wants. Isabella becomes jealous and saying that it is her\nhouse drives Turchetta out and enters herself. Turchetta goes. Co-\nvlello and Fedelindo say they have taken the slave to Isabella's house\na«u they knock. Pimpinella says that his mistress has sent away\nthe slave through jealousy of the captain; they go in search of her.\nTurchetta, lamenting her fortune, does not know where to go. At"}, {"page_pdf": 49, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.49", "debut_caractere": 30, "fin_caractere_exclue": 2302, "texte": "this moment Fedelindo sees her and they embrace. &\nAs soon as the lover is successful in obtaining possession of Phoenicium,\nthe Plautinian comedy comes to an end. Everything now depends upon\nthe wager of Pseudolus that in some way he would get the slave from\nthe dealer and having done so and, therefore, won, the comedy comes\nto its natural termination.\nThe solution of the matter is altogether external, but the question\narises whether old Simo will allow his son to keep the girl in the house\nsimply because the servant has been successful in so cunningly obtaining\npossession of her. &\n& Porta gives a fuller solution though he has to go for it to the usual\n\" guardaroba \" of his time. Arsenio had a brother, married in Barcelona,\nand the two brothers resembled one another like two drops of water.\nThe sister-fn-law was the daughter of the first husband of her mother\nand had a sister, who had been promised to him as his wife, but had\nfallen into the hands of slave merchants. Trappola continues his subter-\nfuges until there would seem to be no escape from them, when, at that\nmoment, the step-mother of Arsenio arrives from Barcelona and reco-\ngnises Pilesia as her long lost daughter-in-law and the marriage Is\ncolebrated. The same playwright admits in the \" scenario \" that this\nconclusion is not new, and that it has, in fact, been taken from the\ncomedy of the \" Due figli simili\nAmong the various episodes of the \" scenario \" there is one that was\nafterwards reproduced In the \" commedia which it may be useful and\ninteresting to mention. Covielio has hired from a broker of second-hand\narticles a Spanish cavalier's suit, a lady's dress and a soldier's uniform\nfor the purpose of a ** trappola \" or plot. As the \" padrone \" has nothing\nelse to offer in pledge, he gives a false ring, which he represents to be\nworthy thirty scudi. The broker is satisfied, but finding afterwards that\nhe has been imposed upon, he claims either the return of the things he\nhas loaned or the deposit of some other security. Fedelindo and his \"in-\nnamorata\" are at that moment wearing the clothes that have been hired.\n& In answer to the broker's demand Fedelindo pretends not to unders-\ntand, talks Spanish, turns his back upon him and tells him to get his\nmoney from Covielio."}, {"page_pdf": 50, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.50", "debut_caractere": 30, "fin_caractere_exclue": 2009, "texte": "The Court and broker, having discovered that the ring Is false\nobtain an order for the arrest of Coviello and have him taken.\n•\nCoviello tells Fedellndo to settle with the jailors for the false ring.\nFedelindo pretends not to know him, saying in Spanish: \" Hermano\nyo no to conosco Coviello tells the broker to arrest the couple,\nwho are wearing the clothes. The broker causes Fedelindo to be\narrested, who, changing his tone, asks Coviello to help him. Coviello\npays him back in his own coin by saying In Spanish ; \" Hermano yo\nno te conosco\". The police are about to take him to prison; there\nis a struggle and the second act ends. ■£?\nIn the \"commedia\" all these different lazzi are set forth at length:\nTrappo/a. JZT What do you want ? What do you seek from me ?\nPoleone. I want you, either to come to prison or to return my\ngoods. <£? JZ? JZ/\nTrappola. Here Is the padrone, ask him. I am only a poor\nservant. JE? JZT & JZ? JZ? JZ? JZ>\nPoleone. JZ? Sir, will you restore my clothes or shall I conduct that\nman to prison ? JG? JZ? ZZ? JZ? G? JZ?\nArsenio. z? (Speaking in Spanish, tells him to go away, and not to\ntalk to a cavalier with such little respect.)\nTrappola. z? For pity's sake, padrone, either pay him or return\nhim his clothes. g? & z? jg? &\nArsenio. (In Spanish.) I don't know what you are saying. £>\nTrappola. ■£? Now that you have gained your end, do you not un-\nderstand what he says ? jZ? jZ? jZ? g?\nArsenio. (Says, in Spanish, that he does not know.) JZ? JZ?\nTrappola. JZ? NOW don't you know Trappola ? JZ?\nArsenio. Trappola, what Trappola ? & JZ?\nTrappola. jzt What are you talking about ? Will you pay or must I\ngo to prison ?\nArsenio. li Que te ileven adonde quieren, que se me da \".\nPoieone. JZ? Sir, if I take him I shall not be acting discourteously\nfor lamin my right and if you wish me to speak 1 wi11.... £? gf\nTrappola. zz? I will speak, Sir, my Italian padrone ordered me in\nthe couise of his service to find him some pieces of cloth; 1 found them"}, {"page_pdf": 51, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.51", "debut_caractere": 30, "fin_caractere_exclue": 2177, "texte": "and we \"pawned them with this young man, who gave us as security a\nfalse ring. Having gained what he wanted the padrone comes with the\npolice and demands the return of the goods or another pledge, other-\nwise that I be taken to prison. The Italian padrone speak Spanish and\nprotests that he is not the person concerned, therefore pronounce the\nsentence ; the padrone there acts as an ungrateful man and an ass.\nArsenio.■£? Si, es verdad, razon teneys.\nTrappola.£? And that he is an ass I require no further proof than\nyourself for you very weil know that what I say is true.\nArsenio. J£? YO me voy, que tengo que hazar. & &\nArsenio goes away and Trappola restores the soldier's uniform to the\npawnbroker and gives him to understand that the fault rests entirely*\nwith his padrone and that he is the man who should be taken to prison.\nArsenio, believing himself to be out of the difficulty and that Poleone\nhas gone, returns to the scene, when the following dialogue takes place\nPoleone. JZ? Take that man to gaol; I am determined to have my\nproperty. JZ? J£> - JZ?\nArsenio. Que quereys vos de my ?\nPoleone. YOU needn't speak Spanish any longer ; either restore\nto me the clothes you are wearing or come to\nArsenio. JZ? Trappola, haz de rnanera que ne vays en prison. JZ?\nTrappola. JZ? I Trappola, I ? Just now you pretended not to know\nme; how is it that you know me now? I don't know you, nor do I\nknow to whom you are referring.\nArsenio. & Por vida tuya hagamos de manera, que estes ine dexen.\nTrappola. JZ? DO it yourself. What have you to do with me ?\nPoleone. £? Come, either return the things or let us go to gaol.\nArsenio. & (In Italian.) (If I go to prison it will be my ruin and\neverything will be found out. I would rather die.) Quitaos de hay con\ntodos diablos, se no queos matare. JZ/ JZI JZ? JZ?\nPoleonei JZ? Poor me, where are you going ? The plague take you.\nAndrea Perrucci.... who wrote many dramatic plays, especially for\nmusic and \" scenari \"... in republishing this one of Porta, gives us this\nadditional explanation of the various \" lazzi \" which were merely\nImplied because they were extremely common, or usual, among actors."}, {"page_pdf": 52, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.52", "debut_caractere": 31, "fin_caractere_exclue": 2335, "texte": "Thus \" the lazzo of \" torna a bussare \" (go back and knock) in the\nfirst scene means that the Capitano, not recognising Policinella the\nmerchant, seeing him slovenly, does not want to speak to him ; and the\nother, to make him understand that he is the master of the house, tells\nhin \"torna a bussare\" until he awakes to the truth. \"Suoi Jazzi da\ndentro \" (his lazzi inside) in the first scene means that Policinella from\nwithin can at his pleasure pretend either to sing or to quarrel with the\nslvaves or any other ridiculous action without being limited. &\nHe gives moreover the rule or system whereby to understand the con-\nventional signs that were in customary use in \" scenari \", thus a line\n(--) is 'the sign for going off and terminating the scene', and an asterisk\nis the sign to observe from aside what the other characters do or say so\nas then to do what is required for the argument', This asterisk was called\nthe ' osservatorioThe expression 'in questo ' means that the character\non the exit of the others, remains; thus showing that such and such\ncharacters go off and such or such are \" in questo \", that is, remain, qnd\nanother or others arrive. And then, we are told 'at the end of each\nact there must be music, or some dance, or at other times amusing in-\nterludes . /Z> /O\nIt may not, perhaps be difficult for some diligent and fortunate stu-\ndent, In looking through old papers and books, to discover other \" sce-\nnari \" by Porta and it might form an important contribution to our\nknowledge of the \" con;media dell'arte \".\n& In the meantime, before I finish my story i should like to be allowed\nto address a remark to Fiorentino. He says: \"of the Policinella who\nspeaks Neapoietan the first progenitors are it Giacoso delia Tabernaria\nand il Punnuorfo del del Moro, Introduced by our Giambattista Porta\nbeside the characters of the classic comedy & &\nWe must not be unjust to Pulcinella. Giacoso and Pannurfo are indi-\n>idua! creations of Porta, in imitation of \" Intrighi d'amore \", and cannot\nbe rightly described either as progenitors or descendants of the \"buffone\"\nof Acerra. Pulcinella, as we have seen, Is older than they are. In the\nscenario of the \" Trapolarla \"he is introduced as being one of the\nmost popular actors of the day, together with the Capitano and with\nCoviello."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c019", "article_bluemountain": "bmtnaau_1913-07_01#c019", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "53", "image_debut": 53, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.10", "titre_corps": "ENGLISH SENTIMENTALITY", "titre_sommaire": "ENGLISH SENTIMENTALITY", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 2102, "texte": "ENGLISH SENTIMENTALITY\nby John Balance.\nnglish sentimentality is on the increase; seldom\nhas it gushed out with such lack of control as it\nhas done lately. There are quite a number of in-\nstances in the last year; we need not single out\nthe case of the heroic death of Scott, neither is\nthe loss of the Titanic a case in point, but at every\ninstant Britain weeps and loses control of herself\nin the handkerchief of her newspapers.\nThe news of a disaster comes as a shock whether you are an indivi-\ndual or a nation, and, according to the way in which a shock is received,\nso do you declare the strength or the weakness of your nature. If you\nshriek, get flustered, and meet disaster in any other way but smilingly,\nand with open eyes, searching into the suggestion which has to be found\nin such a disaster, then you are nothing but a hysterical nation or\nperson, and that is unfortunately the very tiling which England seems\nlonging to prove,... that she is a hysterical nation.\nSuch sentimental outbursts are no signs of feeling; they are signs of\nlack of feeling, lack of vision, a lack of knowledge, and it is very bad\nfor the health.\nThere are always a million or so of people who will say that shocks\nof all kinds are bad for the health, but that is because they see nothing\nin life, which is a series of shocks, ending up with one great big shock,\nand do not perceive that the whole reason of these preliminary shocks is\nto lead you into such a condition that you can meet the last shock.\njZf What use is there then in fainting or becoming hysterical ? No use,\nyou say,... just natural. But everything is natural, therefore the other\nthing is as natural as this.\nCertainly, when you read the news of a man dying in jtho Arctic re-\ngions, it is a great shock, and if that man is known to you it is even\nmore of a shock, but you have only got to look out of your window,\nespecially in London, to see disasters no less terrible see them in\nhundreds. *&&&&\nA man dying for the cause he loves is certainly a disaster for us, but\nthen we perpetually encourage such disasters by doing nothing to prevent"}, {"page_pdf": 54, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.54", "debut_caractere": 24, "fin_caractere_exclue": 2342, "texte": "them. Over there on the other side of the street is a man in a couple of\nrooms. What Is he trying to do ? Nothihg but to discover the means to\nprevent cancer; ....a heroic act, but he will probably die for it. It is\nquite natural to him, but it occurs to nobody to cry out that a terrible\ndisaster has happened to the English nation when he does die. %\nOr there is another man attempting to restore beauty, to discover\nagain something as lost and as unknown as the North or South ,\n...that is to say, beauty. He may be an architect or a musician, and he\ngives his life to it. Nobody notices that he has given it. No large head*\nlines of ♦* Tragic Fate of Richard Wagner \", \" Terrible disaster to August\nStrindberg \".\nAnd a very good thing that there are no such headlines when these\nmen die; but, and here we come to the point of this note, do not forget\nthat the acts are parallel and of the same importance; do not forget\nthat a small group in every branch of life in the world Is giving its life\nwillingly to discover things for the rest of the world and that the\nrest of the world does nothing to assist them.\nThe rest of the world merely weeps buckets of unnecessary and saltless\ntears on hearing of the death of some brave captain.\njg? At the head of the group of men who give their lives in this work is\nthe king. Of course the world imagines that he is at the head of the\nother spectators, and not of the workers. They look on him as a kind of\npatron of indolence, a most amusing but general idea, for most people\nare indolent and only begin to work when the tragic news arrives. Then\nthey run to and fro, wailing and moaning, and feeling, or rather trying\nto feel, something,... who knows what? JZ? ■£? JZ?\n*\nNow if this small section of which I have spoken is the heroic group,\nfr\nhow is it that the heroic group has such difficulty in advancing and\nchanging things, so as to make them more human,... I do not say more\ncomfortable, but more human, more natural? It is that the members of\nthis heroic group have the whole world of womankind against them.\nyg? This is not said because I do not understand women, (though Heaven\nforbid that I should pretend to understand them thoroughly,) but it Is\nsaid because this must be the only explanation of the extraordinary way\nin which the world is carrying on today."}, {"page_pdf": 55, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.55", "debut_caractere": 24, "fin_caractere_exclue": 2055, "texte": "Reader'. jZ> I cannot let you continue. I note you intended this to be\nan essay, but I must make It Into a duologue. You must not have all\nft\nthe say to yourself. Now tell me, do you put everything down to the\nwomen, do you put the whole responsibility of modern civilisation down\nto them ?\nJT. B. jZ? Most decidedly. &\nReader: Then you must be an enthusiastic supporter of the modern\nfeminine movement ? jz? &\nJ. B. On the contrary, .that movement is merely a repetition of what\nmust have been before. jz? jZ?\nXr\nReader: Well, but if women get power, then women will be able\nto help ? JZ?£?JZ?JZ?JZ?JZ?JZ?J&\nJ. B. & Women have always had power and have sometimes helped.\nReader: & When ? £? zz? £? jZ?\nJ. B. ■Z? Show me the times when the state was well governed, when\na city was a beautiful place to walk in, when wealth was not the pro-\nperty of a few, when the right balance between master and servant,\nbetween the artist and the craftsman, between the father and the family\nwas maintained : show me these times and you will be showing me the\ntimes when women had most power. These were the heroic times.\nReader: JZ? SO you think that to-day the women do not stand by this\nheroic section, that you spoke of, of which royalty is at the head ? What\nproof would you put forward that this is so ? .£2?\nJ. B. jZ? For the first proof I would beg of you to come out with me\nInto the streets of London, Paris, or Berlin. Everything is ugly.\nReader: Ah! yes, I see what you want! You want beautiful ex-\nternals only. £> jS? jz?\nJ. B. JZ? Beautiful externals are the result of beautiful internals. An\nappletree In blossom is different from a fungus In blossom. Both are\nbeautiful, you say? No, not both are beautiful; but It is just because\neveryone has the right to say what is beautiful, what Is well constructed,\nwhat is capably planned, what Is beautifully painted, what is well-dressed,\nthat there is no longer a standard for these things. If you allow everyone\nto judge there can be nothing better or worse, everything is the\nsame."}, {"page_pdf": 56, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.56", "debut_caractere": 24, "fin_caractere_exclue": 2219, "texte": "Reader: u& And would you have the women take part in this Judgement?\nWould that improve matters ? &\nJ. B. No, but I would have the women join theihselves and their whole\nforces to that smaller section which we have called the heroic, rather\nthan slip into a casual, and quite uninterested but amused, alliance with\nthe other and larger section. us/\nReader: Ah, but the heroic has something so queer about it. 1 do\nnot think it is quite right for a man like Scott to go to the South Pole\nand leave behind him all those that he loved; 1 think it is somewhat\nreprehensible.\nJ. B. u& You do not believe in sacrifice, then ?\nReader: u& No, sacrifice is a very unpleasant thing which is overrated\n«\nnowadays.\nJ. B. £/ An act of sacrifice is perhaps hardly a pretty thing, but out of\nit comes beauty. The fact that there is so little beauty in modern life\nis the result of there being so little sacrifice. That there is little sacrifice\nis owing to the sentimentality of modern people, who, finding one Man\nin the year One prepared to sacrifice his life in order to save ail the\nothers from having to sacrifice anything, (those others readily accepting\nthe sacrifice, and feeling that there was no further call on their natures,)\nhave become phlegmatic, comfortable, unathletic either in body or mind\nor soul. JOJ&J&U&&J&U2/&\n& And so it comes that there is nowadays [only this little group of\nheroic people with the whole world against them, and I believe if the\nwhole of womankind realized this and placed itself on the side of this\nsingle battalion, the whole heart of the world would be altered. J&\nHow is it that this alliance cannot be made ? It would be very easy\nto explain the failure indignantly and cynically. The heroes are not\nheroes, one might argue, the women are not women. A very easy ex-\nplanation but very unsatisfactory. usz JS/ JS/ uS/\nWhat is it then that has prevented the alliance? Nothing but the\nenemy. Such alliance is not made on the strength of virtues any more\nthan on the strength of vices or strength of weaknesses. Conditions hardly\nform a strong enough wisp of straw with which to bind two forces to-\ngether; if this were so there would be alliances in the world every"}, {"page_pdf": 57, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.57", "debut_caractere": 24, "fin_caractere_exclue": 2318, "texte": "minute. The whole world would be in alliance with the world itself*\nand the contract would have brought about heaven.\nNo, this alliance that 1 spoke of, which I am certain would give the\nworld new vitality, instead of robbing it of its last remnant of vitality,\nthis alliance is solely prevented by the enemy. The enemy is the other\ncorner of the triangle, and I suppose it is almost growing into a conven-\ntion that a triangle must have three equal angles. But 1 am not inclined\nto accept the symbol of the triangle much longer, since it works so\nbadly as a useful sign.\nSurely there are other geometrical figures which have such signifi-\ncance and are much more satisfactory ? Anyhow, for the moment the\ntriangle remains as it is, it is the third corner that Is hampering the\nmovements of the two others. Of course it is quite easy, says the third\ncorner; it has to be a triangle; bnt the other two corners wish to make\n.a change. If these two corners gave way and rounded themselves, the\nthird would have to join in, and the third is so particularly enamoured\nof angles. ' jg? & &\nThis in Itself is very good, but it is not very good considering the\npresent day conditions, because the present day condition is not as\none grave and superb triangle such as one conceived In the days of Egypt,\nit is as a lot of broken-up little angles such as the Futurists show\nJ£? The Futurists exactly explain modern life, they are horrible, their\npicture are horrible. And exactly so is modern life, broken and agitated,\neach little inch quite finished in itself, quite independent of the other\npieces; no harmony, no rhythm, but pandemonium ; not the triumph of\n•the angle, but the catastrophe of the angle. £?\n£> And it is always the case that when a thing has reached its period\n•of decay it is proudest of itself. This conceit it is which prevents the\nwomen from joining forces with the heroic battalion ; this conceit pre-\nvents their loyal and courageous union, and prevents beauty being born\nagain and the perfect balance once again restored. Only conceit does all\nthis,... and conceit fattens upon sentimentality. & £/\nEnglish Reader. (sotto voce.) \" The Mask evidently is jealous of\nme. I shall stop taking it in ! There I \" (Throws this copy at a statue of\nVenus and goes out to the Caf£ Royal.)"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c021", "article_bluemountain": "bmtnaau_1913-07_01#c021", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "54", "page_fin": "57", "image_debut": 58, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.11", "titre_corps": "EUROPEAN DEPRESSION", "titre_sommaire": "EUROPEAN DEPRESSION", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 1645, "texte": "EUROPEAN DEPRESSION\nby Gordon Craig.\neading over letters from my friends a few\nhundreds received between 1901 and 1908... I re-\nmember each Incident and am warmed at remem-\nbering each friend. I read on and on, but when\nhalf way through 1 begin slowly to pull up.\nMy thoughts have been brought to a standstill.\nSomething has stopped me advancing.\n& What Is it ?\nIt is a single note running through ail the letters, connecting each\nfriend with the other 'riend, preventing all but a few from standing\napart, linking them all together.\nThis note is depression.\n\"1 do not think that you will be able t0... \" etc.\n& 44 I regret that you choose t0... \" etc.\njSf \"I'm a bit of an idealist myself, but 1 wish you wouldn't.?. \" etc.\n\" How happy you are but if only you would... \" etc.\n44 What use is there in... \" etc.\n44 Why... \"\n£> 44 Why... \"\n44 Why... besides how... and after all when...\"\nOnly three letters out of the first hundred 1 have just gone through\nare without regrets, fears, disapprovals, refusals, denials and whims...\nand are, in fact, Joyful.\nAll are written in the English tongue, and, as 1 say, cover\nyears; from 1901 to 1908.\nj0 And that note of depression which sounds from each made me take\nmy hands from the sheets and close them once more in their box... and\nlock it.\nThey sound the great London note... the Horn of Hernani. One must\nnot let this play end so.\nThat Horn can moan out its own sorrow; it shall not be the cue for\nmy actors to perform a tragedy. This Horn note which walls in the words\nof my friends, which tries to be significant and to draw me into the\ndumps, is a note which London not alone knows how to utter."}, {"page_pdf": 59, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.59", "debut_caractere": 21, "fin_caractere_exclue": 2233, "texte": "j£? Europe today Is uttering it... it rises daily like the daily smoke from\nthe chimneys. It spreads dreadful disbelief, and Nature herself barely has\nstrength to defy it.\nI have been trying to the best of my ability to raise the Theatre,., the\nDrama... the Stage... call it what you wi11... from the gutter.\nNot the first to make the attempt... but each man gone has made his\nattempt differently; each has tried to do it in twenty-five years.\nEach one has failed.\nThey one and all raised its body an inch out of the gutter ••• held it\nthere...applause broke out...,4too soon, too soon, why do the people shout?\"\nthey seemed to say with their faces. A shudder ran through their frames...\nthen they put it down and fell; a heap upon a heap, increasing by their\nweight what already weighed too heavy.\n& And now that I attempt this thing, everyone, (many dear to me) stands\nby with hands and throat ready to cry; \" Hip, Hip, Hurrah I \" and as I keep\nthem waiting, for I am long over my work... as they watch me, my back\nbent over this queer thing in the ditch, as they see me motionless, they\ngrow impatient and utter despondent and disheartening sounds. The note\nof Depression begins to be heard... Hernani's Horn.\nMy dear fellows, how do you suppose the Theatre is to be raised... what\nis the process employed for the magical act known as raising the\n& If I remain bent over this thing which I love, cannot you trust me ?\nMust you click the tongue, grin, sigh, or vex me ? Is that part of the\nperformance ? Will it help to hasten the ascension of that which lies\nprone and already begins to rot ?\nSome of you even turn away with a shrug of the shoulders, and ente-\nring the first playhouse, you come to the self-satisfying and secure feeling\nthat there at least some effort is being made to raise the Theatre... before\nyour eyes.\nYes, there at least you are right, and there the theatre is being raised\none inch in a few years. The man raising it by that physical and visible\nprocess will drop it, overcome by your applause... your kindly but most\nunkind way of showing that you approve that you appreciate his\ncleverness in taking you into his secret.... his sense in including you\nas necessary to the operation."}, {"page_pdf": 60, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.60", "debut_caractere": 21, "fin_caractere_exclue": 2178, "texte": "And it is only because of an unusual Depression which weighs so\nheavily on us today that you catch at the chance he offers you to relieve\nyour feelings... to applaud.\nIf this world were more Joyful... if like Nature we could wait and wait\nwith belief .in the final ascension of all things, then you would wait with\n*\nme even as I promise you I shall always wait with you.\nYou are some of you attempting to give an ascending motion to the\nthings you 10ve... to painting, to architecture, to music, and the other\nmagical things, (I wonder if I exaggerate), and which ever one of you\ngoes farthest, takes longest; I will wait for and with him.\nWill you not do this for me too ?\nI swear that i shall have raised the Theatre not one inch or many\ninches, but out of its Body before I shall die.\nI am doing that all the time as I stoop bent over Its prostrate form.\nLet the Realists in Life as well as in Art listen to what I now say.\nHold close to the 80dy... thinking to reveal the Soul through the\nholding; raise the Body the traditional inch..,, continue to do 50.... and\nto let it fall again. Do not cease from this frantic and purposeless parody\nof Time and Space.\nI shall steal the Soul of the Theatre and I shall leave that real corpse\nIn your midst, and you shall know no more what is to be done with It.\nLike a mummy it shall block the passages... frighten the children... sadden\nthe middle-aged... and be a plague even to the dying.\nUnder your very eyes, and through your hands, guard you never so\nwell, 1 will pass, and In my hands the Soul of the Art. Out of your midst\n*.\nI will go, and only when I have carried this Soul again into its Heaven\nfor those who want it,... only then will you, if you look up, under-\nstand.\n& Continue then to look down, and to the right and the left, to click\nthe tongue against the teeth, to shake the head... continue with decadent\nfeet to shuffle down along the Intricate paths... the double shuffle... the\nreligious nance of these \" Real \" days... dance this to your own idols...\nto yourselves.\n& With decadent eyes gaze like moles at the brown earth until those\ntwo last tears of the sou! become darkened and dried."}, {"page_pdf": 61, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.61", "debut_caractere": 21, "fin_caractere_exclue": 777, "texte": "So with withered eyes shall the heart itself wither and become dry as\na dead sponge.\nBut I shall have plucked the Soul itself from the dead, and I shall\nhave placed it where its imperishable beauty can be felt by the whole\nearth.\nWhen that day comes you will then no longer have eyes to see it...you\nwill have mortgaged them to the last glance.\nBut rather than that this should all be as 1 have said, will you not\ncease your complaints, and be rid of the tyranny of this modern\nplague... Depression?\nSee... speak... write with new eyes and tongues; praise all which\nwaits long and seems to act true to the laws of Time and Space, and\nmistrust all those who want to show immediately that which they have\nnot seen, and to utter that which they have not felt."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c024", "article_bluemountain": "bmtnaau_1913-07_01#c024", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "57", "page_fin": "61", "image_debut": 61, "image_fin": 65, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.12", "titre_corps": "MONKEY TRICKS", "titre_sommaire": "MONKEY TRICKS", "signature_source": "Yoo-no-hoo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.61", "debut_caractere": 779, "fin_caractere_exclue": 1564, "texte": "MONKEY TRICKS\nby Yoo-no-hoo.\nooking through a collection of designs for the\nTheatre,., scenes, costumes, and so 0n... by the\nRussian artists of the last six years, (i) the parti-\ncular power shown by one and all appears to me\nto be that of assimilation.\nThis power is their weakness.\nI suppose very few people out of Russia have\nseen this collection, which is made up of designs\nby Roerich, Somoff, Saponoff, Dobouginsky, Bilibine, Soudeikine, Stelletsky\nand others. The designs, although for the Theatre, include as you see,\nwork by several men not included among the decorators of the Russian\nBallet; and yet one and all look as if made by men of the same\n& Much strong, indeed one may say violent, colour Is spread over each\n\n(1) In the Russiaa Journals \" Apollo \" and (i La Balance"}, {"page_pdf": 62, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.62", "debut_caractere": 15, "fin_caractere_exclue": 2304, "texte": "design. The colours assert thenseives each for its own sake ; still, one feels\nthat that is the best part of the business. And perhaps the worst part\nof it is that these designers can be switched on \" to any manner \" even\nas a telephone is switched on to any number: Gerrard. 222.\nThey can turn on the manner of the Middle Ages and make things\nexactly as if they came out of missals* or they can turn on the Eighteenth\nCentury, or they can turn on a kind of fresco scene, or a scene h la Byron\nor it la Conder; in fact, they can become anything; but they cannot be\nnatural.They cannot say what they have seen, they can oniy report what\nsomeone points out to them.\nThis damns once and for all to my mind the whole facile family. j0\nTo borrow an American phrase, they are just too siick for anything.\n1 once upon a time thought that the painters when they came into\nthe Theatre would hold the Theatre rather too powerfully in their hands.\nI now see unmistakeably that the Theatre can twist them round its\nlittle finger.\nThere is nothing the Theatre achieves to such perfection as the trick\nof the ape. After many centuries it has surpassed ail others In its power\nof mimicry. And now the painters, swarming into the Theatre, seem to\nhave been stopped at the stage door and asked for the pass-word.\n\" Mimicry \", they giggle inanely, and are admitted by the hall porter\npretending to look profound, but with the devil flashing under his mask\nas, in an aside, he mutters the one word, 44 Nabbed I \"&\nsingle one which Indicates that the artist has looked at nature or felt\nnature moving in him. To consider nature should be the first endeavour\nof those who, though unable to feel deeply, wish at least to be up to date*\n& There has been a farcical idea going round for the last thirty years\nor more, that the Artificial after all sprang from Nature. Whereas who\nis there today who does not begin to perceive that the Artificial has its\nsource only in its dear little self? Perhaps maiden aunts and uncles gave\nIt birth; still, whatever its origin, when decked out in its little pink\nbows and rouged cheeks it was always'a funny pretty little creature.\nBut nowadays when these Russians take the poor little being out of Its\ntrivial tissue-paper dress and clothe It in the over-worked copes of the"}, {"page_pdf": 63, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.63", "debut_caractere": 15, "fin_caractere_exclue": 2339, "texte": "Middle Ages, give it weighty gauntlets of the Seventeenth Century, add\nhigh red-heeled shoes of the Eighteenth, and then throw In a few Mu-\nseum pieces from Paris and Bergamo, then artificiality becomes too\npompous and too pretentious for words and is offensive. jSf\nAnd this is all done at the bidding of the stage! Will not another law\nbe laid down some day to prevent these fully licenced thieves from being\nmolested by the owners of the houses and parks wherein they feloniously\ntrespass ? A law has been passed, (and the Devil knows who passed it),\nwhich bestows a kind of licence upon a fashionable robber.\nIt is a strange thing to me to watch the people creeping by moonlight\nover the fences, going up to the mansions, waiting until the lights are\nout, stealing the plate, being caught by the owners of the house and\nforced then and there to put on the livery of the house and act as ser-\nvants, doing any odd job that the master of the house wishes them to\ndo. For this is how the Theatre treats these poor fellows. ■£? &\n&It is a strange thing to me, 1 say, and strange that it has not been\nnoticed by anyone else. True, 1 have been watching this thing very closely,\nand others have not the same interest in watching what goes on. But I\nhave never seen one of these fellows get away with the swag.^\nIt is for this reason I ask whether a Law cannot be passed to protect\nthese robbers from the awful and unprecedented calamity which over\ntakes them.\n£? The Jesuits were children in subtlety by the side of the Theatrcal\nProfession, the owners of my House ■, and if Michael Angelo, followed by\nLeonardo da Vinci and Albert Durer, if these three giants had entered\nthe Theatre purposing with their genius to reform the decoration of the\nStage, they would have been translated all three of them, within three\nyears, into the pitiful position wherein Messrs Roerich, Saponoff, Dobougin-\nsky,Bllibine,Soudeikine, Stelletsky, Bakst and Benois find themselves own.\n\" Find themselves \" is perhaps a slightly Incorrect way of putting it,\nfor they are quite unconscious of the metamorphosis that has taken\nplace... just as once upon a time those delightful gentlemen tra-la-la-ing\nInto the presence of Circe were transformed without knowing it. I\nswear they mistook their own squeaks for songs and their grunts for\npleasantries"}, {"page_pdf": 64, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.64", "debut_caractere": 15, "fin_caractere_exclue": 2187, "texte": "JZ/ I have spoken before on this subject, but that was before I dreamed\nthat the times would so soon be offering me witnesses galore to the truth\nof what I guessed to be true.\nEven the Germans are not so markedly mimics, Germans get a kind\nof heavy liGlaube,t in certain principles, and there is a weighty sincerity\nwith which they set about producing Shakespeare things or Schiller\nthings, or Miracle plays. In some measure, spite of all their faults, the fact\nthat they are so \" ernst \" is much in their favour.\nBut the Russians with their nimble dexterity remind me of that little\nStone Monkey who came all by himself out of the Stone Egg which he\nhad laid by himself.\nHave you ever heard the story? Well, it is this. & &\nJZ? Having come into being, the Stone Monkey was surrounded by a crowd\nof other monkeys who begged him to be their King. This post he accepted,\nhaving already thrown out hints that he was the very man. The first\nthing he did was to travel. JZ? JZ? JZ? JZ? JZ? JZ?\n0\nAnd travelling he met a magician from whom he learned all kinds of\ntricks. He could become invisible, could fly up into the sky, could jump\na hundred miles In a single jump ; and so he soon grew to believe himself\nbetter and stronger than anything else. Then he determined to make\nhimself Lord of the Sky ...\" Have you heard of the new King of the\nMonkeys?\" the Lord Buddha was asked... \"No\", replied the God.\n\" What is there to hear about him ? \" ... \"He means to turn out the\nLord of the Sky, believing that he is a Great Being\"...\nJZ? So the Buddha went up into the clouds in search of the little Stone\nMonkey, and found him misbehaving himself, insulting everybody who\ndared to interfere with him. JZ? J£> JZ? JZ?\n\"What is it you want?\" asked the Lord Buddha of him in a quiet\nvoice. JZ?JZrjZ>jZ?jZ?jZ?&? jZ? &\n& \" 1 want, \" answered the Stone Monkey, \" to be the Lord of the Sky.\n1 could manage things much better than they are managed now. Lord 1\nsee how I can jumpl \" JZ? JZ? JZ? JZ? JZ? JZ?\nIn one moment he was out of sight and in another he was back again.\n\" Can you do that ? \" he asked the Lord Buddha. JZ>\nThe God smiled and answered, \" Come with me outside the Palace"}, {"page_pdf": 65, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.65", "debut_caractere": 15, "fin_caractere_exclue": 2035, "texte": "and stand upon my hand. If you can jump out of it you shall be Lord\nof the Sky, but If you cannot jump out of It you shall return to earth\nand never come here again.\" £7 £7 £7 £7 £7\n£7 The Monkey grinned and shivered with conceit and confidence. They\nwent outside the Palace, the Lord Buddha put out his hand, and the\nMonkey stepped on to it. Then he gave a great jump and immediately\nwas far out of sight. &\nOn he went jumping and jumping until he came to the End of the\nEarth. Arrived there, he was chuckling to himself that he soon would be\nLord of the Sky, when he caught sight of five great red pillars standing\non the very edge of the world, with nothing but empty space beyond\nthem. Wriggling with self-satisfaction like a tourist, he thought he would\nleave some sign to show how far he had really jumped, so he scratched\na mark on one of the five pillars, saying, \" I will bring the Lord Buddha\nhere to see it for himself!\" Then with a great leap he was back again\nin the hand of the God. £7 £7 £7 £7\n£7 \" Well, and when are you going to jump \" the Lord Buddha asked\nsweetly. £7£7£7£7£7£7£7£7\n£7 44 When?\" cried the Monkey....\" Why, I have jumped to the very end\nof the earth!\" and he began to explain about the five great red pillars\nand the mark which was on one of them. £7 £7 £7 £7\n£7 Then the Lord Buddha stretched out his fingers, and on one of them\nwas the very mark which the Monkey had made. s£ £7 £7\n£7 44 When you jumped you thought you were out of sight, but you were\nin my hand all the time. Return to the earth and learn to keep your\nproper place. \" £7 £7 £7 £7 £7 £7 £7 £7\n£7 in like manner do these Russian painters appear to believe that by\nnimbleness and continual dexterous jumping from point to point, from\nstyle to style, they will attain to the lordship of the Theatre. They will\ndo nothing of the kind. They will but bring upon themselves the same\nfate as the presumptuous little stone monkey:... perpetual banishment\nfrom the world of Art,., and the laughter of the Gods they have defied."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c027", "article_bluemountain": "bmtnaau_1913-07_01#c027", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "62", "page_fin": "64", "image_debut": 66, "image_fin": 68, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.13", "titre_corps": "EURIPIDES AT FIESOLE", "titre_sommaire": "EURIPIDES AT FIESOLE", "signature_source": "Ernest Marriott", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 66, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.66", "debut_caractere": 0, "fin_caractere_exclue": 2132, "texte": "EURIPIDES AT FIESOLE\nby Ernest Marriott\nne goes to a modern representation of an ancient\nclassical play almost Invariably with mixed feelings\nand one returns from it almost invariably depres-\nsed or dissatisfied. &\nWhen, however, a performance of the Baccha-\nnals was announced to take place in the Roman\namphitheatre at Fiesole It seemed as if there might\nbe a glorious possibility in store. Fiesole is Fiesole.\nThere is nothing quite like it, and we hoped that the producer and his\nassistants would be inspired by the surroundings. The sun and the wide\nsky, the blue ranges of hills and the clear Italian atmosphere,.... surely\nthese would all help to build up something more than the ordinary! £?\n& Such was the gayer side of our expectation as we baked ourselves\non the box=seat of the dusty little di on the road from Florence\nto Fiesole. The horses with the tinkling brass flags on their harness\nplodded upwards. In spite of the heat, in spite of the motors we held\ntenaciously to our belief that there really was a good chance of witnes-\nsing a successful and interesting xz?\n& But before we had been seated very long in the amphitheatre we had\npremonitions of disaster. For we saw that someone had built a \" property \"\naltar. That \" someone \"had, it is true, endeavoured to make the proper-\nties harmonise with the old grey stones of the amphitheatre, but the\nresult was not laudable. xzr xz?\nThe standards with gilt pine cones railing off the inner ring of sea-\ntin at a were bright and festive in appearance but quite inadequate. They\nhad no relation to the general scheme. The garlands on the altar and on the\nbase of the imported alien statue of Dirce were trivial and limp, and the\ngeneral semblance of paltering interference with the natural beauty of\nthe place was exasperating and distressing. x& jS? x?\n& While waiting for the tragedy to begin one forgot the decorations by\nlooking over the arid little valley to the mountain range In the misty\nblue distance beyond. & xz> & & &\nThen a young man in ordinary modern clothes walked to the altar,\nthrew some charcoal and spirit Into the earthernware vessel and kindled"}, {"page_pdf": 67, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.67", "debut_caractere": 22, "fin_caractere_exclue": 2384, "texte": "the sacred flame with a box of wax matches. We were hurt beyond de-\nscription. Vesta's taking the place of the Vestal Virgin I\nThe responsible authorities were more successful in getting the ruins\nalight. We did not see how it was done and felt that they were improving\na little. Then we caught sight of an official fireman In shining black\nhelmet patrolling in the rear. Another shock!\nJS? Unfortunately there were many little details of this sort to which no\nthought had been given. Why, for instance, were odd spectators allowed\nto ramble about in the adjacent landscape showing themselves behind\nthe actors in the play ? Why were the ponderous marble pillars of the\npalace so constructed that when they were shaken down by the wrath\nof the gods they bounced, boomed hollowly, broke open and lay scattered\nlike packing cases in a railway collision? Why were we allowed to see\nthe god in the machine frantically tugging at the wire which caused the\ndownfall ? Why was not the orchestra properly screened off ? ....But we\ncould exhaust a golden afternoon asking why, why, why ?\n/\njg? Briefly, the performance was lacking everywhere. The chorus moved\njerkily and were insufficiently trained in their part of the ceremony. The\nentrance of the stage populace was badly managed; They did not know\nwhat to do and stood about looking feckless and unhappy. When the\nthunder rattled and the palace cracked asunder and lost its cornice they\nran away not as if in great terror but as if they were swarming without\nundue haste to see a dog fight or a street accident.\nThe costumes lacked imagination. They were drab and dull and never\nsuggested the garments of people who lived in a sunny land. - &\nThe limit of absurdity was reached when the übiquitous waiter walked\nround the inside of the ring selling packets of sweets and oranges to the\n«• patricians \" sitting on the lower steps of the amphitheatre. The tragedy\nwas in full swing at the time, but the waiter seemed blissfully uncon-\nscious that a play was proceeding... and that his coat-tails flapped almost\nin the faces of some of the chorus.\nThe principal actors spoke well, but they employed the usual tricks\nand graces and over-elaborate gestures. The man who acted Dionysus\nhad a glorious voice and used it well. But one longed for the Pagan\nDeity to come down himself and infuse a little of the real Dionysian"}, {"page_pdf": 68, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.68", "debut_caractere": 22, "fin_caractere_exclue": 2036, "texte": "spirit into the actions.\n& One really interesting thing should be recorded. The acoustics of the\nplace are wonderful. The faintest tones and inflections of speech can be\nheard anywhere in the amphitheatre. When the hubbub of the audience\nsubsided and the first thin note of a wood=>wind instrument heralded the\nentrance of the chorus the effect was magical. This beginning of the great\ntragedy contained the only touch of real magic in the whole performance.\nAfter that it became a tragedy of misrepresentation.\nJS/ in fact it was disappointment, waste, from first to last. And what else,\nunder the circumstances, can one expect? How can all this waste and\ndisappointment which is taking place daily in all the theatres, be remedied\nuntil each production which is put upon any stage is the work of one\nman, of a thoroughly trained Artist of the Theatre, who shall shape, and\ninfuse life into, all the material which belongs to the Theatre? It is in\nthe finding and training of such men that the remedy for all the waste\nand nonsense in the theatre lies.\n£? There was plenty of good will, but no adequate guidance heaps of\nenergy, but no one competent to focus it to one point. There was money\nguaranteed for the support of the enterprise, there was a fine place, a\nfine play, and people eager to be delighted and excited In the presence\nof Beauty,... and it ail came to nothing because the master~mind of the\nartist was not there to dominate, to infuse spirit into the material which\nhad been amassed : because the Artist of the Theatre, with the vision to\nperceive and the practical power to use all the opportunities of the scene,\nthe movement and the spoken word,., the man able to create beauty and\nbestow unity and stir excitement,... had not been found. £?\n£? Probably he had not been even sought. Hence the failure and the\nwaste. Hence the broken dream of those who had hoped to meet with a\nspirit of Beauty there among the Tuscan hills and within the noble curve\nof the old theatre which the Romans left. &"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c030", "article_bluemountain": "bmtnaau_1913-07_01#c030", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "65", "page_fin": "67", "image_debut": 69, "image_fin": 71, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.14", "titre_corps": "CUBISM UNVEILED : AN EXTRACT FROM THE TREATISE ON THE PROPORTIONS OF THE HUMAN BODY", "titre_sommaire": "CUBISM UNVEILED : AN EXTRACT FROM THE TREATISE ON THE PROPORTIONS OF THE HUMAN BODY", "signature_source": "Albert Durer ; F. U", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 1391, "texte": "CUBISM UNVEILED: AN EXTRACT FROM THE\nTREATISE ON THE PROPORTIONS OF THE\nHUMAN BODY,\nWritten and Illustrated by\nAlbert Durer, 1500-1523.(1) With a Foreword\nby Felix Urban.\n\nhe Cubists, newest of the new, the 44 last word \" in\nmodernity, have arrived on the scene too late. Albert\nDurer has forestalled them by four hundred years;\nfor the Manuscript of his work on 44 Human Pro-\nportion \" in the Dresden Library bears the Inscrip-\ntion, 44 1523, at Nurnberg\", and though it was not\npublished until 1528, the author living to see but\nthe first part in the press, some of the drawings for\nit were made even as early as 1500. ■£?\njg. The complete work was published after Durer's death under the edi-\ntorship of Pirkheimer, and bore the inscription, \" Herein are contained\n4 Books of Human Proportion, invented and described by Albrecht Durer\nof Nurnberg, for the use of all who love this art and it soon passed\ninto numerous editions and translations, Latin, (i532*34)> Italian, Spanish,\nFrench and Dutch; while in 1666 a curious English version appeared,\ncalled \" A. Durer\nj?> n seems however that Durer, himself forestalling Cubism by four\nhundred years, was in his turn but following on the system of a yet\n\n(1) Di Alberto Durero Pittore e Geometra chiarissimo. Delia Simmetria del Corpi Human!. Libri quatiro. Traditta\ndalla lingua Latioa da M. Qio. Paolo Gallucci Salodiano In Venetia MDXI."}, {"page_pdf": 70, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.70", "debut_caractere": 10, "fin_caractere_exclue": 2277, "texte": "earlier master, Jacopo de' Barbarl, who appears to have influenced his\nmethods of measurement, and to whom, and to Vitruvius, Durer ascribes\nhis first knowledge of proportion. JZ? &\nof Jacopo himself information is scanty. He was a Venetian, and known\namong the Nurnberg painters as Jakob Walch. He appears to have been\nin Nurnberg previous to 1500 and later on to have entered the \"service\nof Philip, son of the Duke of Burgundy. In 1510 he was painter to the\nDuchess Margaret, Regent of the Netherlands, and was dead in 1516. Durer,\nwho early came into contact with him, declares that he had found no\none 44 who had described how to take the measure of the human form,\n44 but a man called Jacobus, a native of Venice, a charming painter. He\n\" showed me a man and a woman taken by measure, so that at that time\n44 I would rather have seen what his meaning was than a new Empire.\n«< But at that time I was young, and had never heard of such things \".\nThat Durer afterwards both saw and applied the 44 meaning \" which\nso keenly aroused his enthusiasm is evidenced by the long series of de-\nsigns of men and women 44 taken by measure \" which his book on Human\nProportion contains, and a few of which, with one or two extracts from\nhis own descriptive text, are here &\nThe rest the student can see for himself by going to any museum and\nasking for the book. JS? & &\nSo we are reminded once again that the French are exactly what they\nseem, clever acrobats. As with the great Italian Drama, so with Cubism.\nThey founded a school of drama on the leavings of the Italian Commedia\ndell'Arte and Cubism on the leavings of the German Durer, he having\nderived his system from an Italian.\nAlways a new feather in the cap of Italy! She amongst all the nations\nis a creatress. She in the south and Ireland from the north.\n& But this is not 44 Cubism \" some one will be sure to say. My dear Sir,\nthis IS Cubism... exactly that and nothing else: nor is anything else as\nmuch Cubism as this. 0\nLook at the figure on page 75. It is a scientific demonstration of the\nhuman figure according to the laws of the true Cubist. It resembles some\n44 portrait of M. Hahnwelzer \" or some other modern 44 portrait \" but\nwith a difference. One difference is that this is no portrait. When it came"}, {"page_pdf": 71, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.71", "debut_caractere": 18, "fin_caractere_exclue": 1302, "texte": "to making a portrait the good artist of a sane period had done with all\nstudy, system and science. He then did his best to hide all art by being\ntoo much of an artist to show how he was doing the thing.\n■£? Modern Cubism is born of conceit. \"See how clever I am,.;, and\nwhat a fool you are \". That sentence is written on every Cubist painting.\nHow vain this quest of special stupidity !...as though these painters\nwould not have been able to demonstrate their stupidity without all\nthis effort.\n\"A watch, do you know what it is ?\" says the conceited child who has\nstudied mechanics for a few months: and he turns his back to us and\nproceeds to pull a watch to pieces, lays the works out before us on a\ntable, wheels, springs, face, hands, and the rest, and, pointing trium-\nphantly says, \" That is a watch \". He is wrong,... for that is a ruin.\nSo is it with our modern Cubist. He pulls draughtsmanship and pain-\nting to pieces, readjusts in disorder the once ordered parts, and cries:\n\"That is a painting\". He is wrong....that is a catastrophe. &\nLet us begin once more. And let us not forget that this catastrophe\nhas only been possible since sham socialists were allowed to preach a vile\nsocialism without fear of arrest. Let us begin again to put the pieces in\norder. & JZ?\n\nF. U."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c034", "article_bluemountain": "bmtnaau_1913-07_01#c034", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "68", "page_fin": "75", "image_debut": 72, "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=bmtnaau191307-01.2.15", "titre_corps": "HERE BEGIN THE EXTRACTS FROM THE TREATISE BY ALBERT DURER, 1500-1523", "titre_sommaire": "HERE BEGIN THE EXTRACTS FROM THE TREATISE BY ALBERT DURER, 1500-1523", "signature_source": "ALBERT DURER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.72", "debut_caractere": 0, "fin_caractere_exclue": 1461, "texte": "HERE BEGIN THE EXTRACTS FROM THE\nTREATISE\nBY ALBERT DURER, 1500-1523.\n\nON THE METHODS OF BENDING THE HUMAN FIGURE.\nl\\Tow because there is not only one method of bending the human figure I\nhave thought that, to make my tenets clearer, it may be well to indicate\ncertain distinctions relative to which our opinion and theory should be\nclearly understood. One must also diligently consider the state and aspect\nof the figure which we require, whether we want it rigid or easy, whether\nthis one must be represented fierce and terrible and that one amiable\nand sweet.\nThese are the distinctive methods of Bending,\ni. Piegato. (zig-zag). 5. Diritto Contorto. (straight\na. Corvato. (curved). & bent double).\n3. Traversato. (unfolding X-wise). 7. Mosso (moved from its\n4. Intricate*. (interlaced). place).\nThe human body bends according to these six methods which we\nhave defined with six names, and either more or less according to its\nmovement; and these things will be explained in what follows, to the\nend that they may be clearly understood. jsr x &\nNow it must be understood that, as these principles are demonstrated\nin lines, so are they likewise applied to flat surfaces and to solid bodies.\nFor these are wont, as are the lines contained in them, to bend, curve,\nturn, be interlaced, straightened, contorted and moved from the place\nwhere they formerly were. In what manner these rules are applied to the\nhuman body we shall show part by part in what follows:"}, {"page_pdf": 73, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.73", "debut_caractere": 18, "fin_caractere_exclue": 2255, "texte": "£/ Those movements which we have In the first place called have\ntheir seat in the joints of the limbs, because it Is in them that the members\nare bent; although these must maintain their rectangularlty, since, if\nwe desire to bend the bones they will break. For this reason we have\nshown the system of the abbreviated (zigzag) lines, which In certain\npoints are joined together, and consist of small straight parts.\nIn the second place the nerves and flesh in the human body curve.\nHence, when the body bends to the sides, or forwards, or backwards, the\nnerves and flesh make curves, so that in one part a hollow appears, in\nanother a convexity. & & & ■&\n& In the third place we spoke of .the lines being when either\nthe body itself moves, or the arms or feet, or the flank and the greater\npart of the other members which are in the body.\n& in the fourth place we spoke of intricato or intorchiatot which inter-\nlacing is wont to take place in the nerves and the flesh In the movement\nof the body when its soft parts turn within themselves, as in the neck,\nthe trunk, the arm and the foot.\n& In the fifth place 1 noted in the body the outstretching and incurving,\nof which the one attenuates, the other thickens, the part moved. If you\nstretch out your arm in such away as to straighten it, the nerves stretch\nand attenuate the flesh Into length; but if you draw it to you in such a\nway that It curves, the flesh also curves and rounds itself, and the same\nhappens-in the other parts of the body also. &\nFinally we say that one part of the body is moved from another when\none limb detaches itself almost entirely from another, whether to the\nside, or forwards or backwards. Likewise in the curves and bendlngs the\nflesh moves, and almost of Itself presses outwards or inwards or to one\nside. <j&je?\nNow all of these six differences can come about in the movement of\nthe body in such away that one may say that the members either bend\nor turn or separate ; and thus the flesh and the other soft parts make\ncurves, Interlace, or contort, and so we naturally see the various parts\npressing one upon another. &\nThus, from these principles which have been here demonstrated,\neveryone can make their own designs in such an attitude as they may"}, {"page_pdf": 74, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.74", "debut_caractere": 109, "fin_caractere_exclue": 646, "texte": "wish and as the subject itself seems to require. But care must be taken\nnot to depart from those gestures which are natural. For It is inevitable\nthat forced movements are ugly. One should always avoid the too°>much\nand the too=little, for either of which the figure must be either furious\nor somnolent, which is bad, unless your drawing Is meant to be in the\none or the other manner. It must also be understood that this applies to\nhuman bodies both male and female, and also to the pictures of beasts,\nsuch as horses and other animals."}, {"page_pdf": 75, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.75", "debut_caractere": 18, "fin_caractere_exclue": 1201, "texte": "it must likewise be understood\nthat the designs described above do\nnot always maintain In the bends\nof all the parts either the same\nmeasurement or the same width and\nthickness. Because in the movement\nof a part it seems to depart from\none space and join itself to another,\nand thus mutations arise in the\nwork, for the well=doing of the\nwhich it is necessary that those\nwho study these things make many\nstudies of living bodies. Thus they\nwill easily understand the form of\nall the parts, which must be most\ncarefully noted for the avoidance of\nerror in the work.\nJZ/ Beyond all this there is also a\nway of effecting the bends which Is\nexcellent, and most useful to sculp*\ntors :... to enclose, in their drawings,\nthe principal parts of the figure in\ntransverse lines and quadrilateral\nand angular figures, (see pg.73) This\nis easily done in the drawings and\nat the outset of the . work. In the\nsame way it is usual to enclose\nthe space for the head, the neck,\nthe trunk down to the waist line;\nfrom there to the summit of the\nthigh, thence to the knees, and so\non for the legs and feet; and the\nsame method is to be applied to the\narms also. & &\n& In this way one will be able with"}, {"page_pdf": 76, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.76", "debut_caractere": 17, "fin_caractere_exclue": 1666, "texte": "the greatest ease to set forth all the parts of the body with angular\nfigures and lines and points In such a manner that one understands the\nposition of each of the parallel, upright and transverse lines. But\nall of these cannot be made rectangular or quadrilateral, and they\nmust therefore be adjusted to the different parts of the body with\nlines and angles, and for this true intelligence can be of assistance.\nON THE HUMAN FIGURE REDUCED TO GEOMETRICAL FORMS.\nis the male figure previously described in the second Book, the\nheight of which Is nine times its own head measurement, pg. 73.\n& We have enclosed the form of this figure, both the profile and the\nfull-face, with square and angular lines, which lines run in accordance\nwith the contours of the various parts, both upper and lower, and are\nunequal according to the shape of the parts to which they are adjusted.\nWe have also divided the height with nine horizontal lines into ten\nangular figures. The following are the names of these divisions. The\ntransverse line of the chin, of the top of the shoulders, of the cavity of\nthe throat, of the breasts, of the waist, of the thighs, of the head, of\n• d\nthe hip-bone, of the knee, of under the heel. & &\nNow, for greater clearness, we have first shown the form of the pro-\nfile and full-face man entirely enclosed in quadrangular figures made of\nstraight lines, (pg. 73), the which figure is standing, and upright without\nany bend, with the right arm stretched out and the left hanging down;\non the other page (pg. 75) you will see only the quadrangular figures made\nof straight lines, but we have omitted the drawing of the figure itself."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c036", "article_bluemountain": "bmtnaau_1913-07_01#c036", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "70", "page_fin": "70", "image_debut": 74, "image_fin": 74, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.15.2", "titre_corps": "Diagrams showing method of obtaining sections and modifications", "titre_sommaire": "Diagrams showing method of obtaining sections and modifications", "signature_source": "ALBERT DURER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 74, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.74", "debut_caractere": 18, "fin_caractere_exclue": 107, "texte": "Diagrams showing method of obtaining sections and modifications. ALBERT DURER, 1500-1523."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c039", "article_bluemountain": "bmtnaau_1913-07_01#c039", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "73", "page_fin": "73", "image_debut": 77, "image_fin": 77, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.15.5", "titre_corps": "Fig: 1. Pg. 73.", "titre_sommaire": "Fig: 1. Pg. 73.", "signature_source": "ALBERT DURER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.77", "debut_caractere": 0, "fin_caractere_exclue": 40, "texte": "Fig: 1. Pg. 73. ALBERT DURER, 1500-1522."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c040", "article_bluemountain": "bmtnaau_1913-07_01#c040", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "75", "page_fin": "75", "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=bmtnaau191307-01.2.15.6", "titre_corps": "Fig; 2. pg. 75.", "titre_sommaire": "Fig; 2. pg. 75.", "signature_source": "ALBERT DURER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 79, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.79", "debut_caractere": 0, "fin_caractere_exclue": 39, "texte": "Fig; 2. pg. 75. ALBERT DURER 1500-1523."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c041", "article_bluemountain": "bmtnaau_1913-07_01#c041", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "81", "image_debut": 81, "image_fin": 85, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.16", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.81", "debut_caractere": 0, "fin_caractere_exclue": 1593, "texte": "BOOK REVIEWS.\n\nTOWARDS A NEW THEATRE.\nForty Designs for Stage Scenes\nwith Critical Notes by the\nventor, Edward Gordon Craig.\nJ. M. Dent & Sons. Twenty one\nshillings net.\n\nqrtils big beautiful book represents\nnot what Mr Craig Is doing or\ngoing to do but what he has done.\nTo ask why he should give us that\nwhich he has left behind is as ri-\ndiculous as to ask a cartographer\nwhy he outlines newly discovered\ncountry when publishing a map.\nOne cannot and must not criticise\nthis book. Gordon Craig is acknow-\nledged everywhere to be the master-\ndiscoverer in the Theatre. This la-\ntest book is a map of some his\nexplorations. JS? J£>\n& He charts hidden rocks, he marks\nvery definitely a shoal and leaves a\nbuoy floating there as a warning; he\nshows a beaked promontory where\ndangerous currents race and then\ni\nindicates open sea and we sail along\nin imagination with him. Anon we\nare warped through a narrow strait\nand then on to the wide blue horizon\nagain. We come to strange countries\nand land thereon. He shows us won-\ndrous and beautiful things, he points\nto plains as yet unexplored, takes\nus up the lower slopes of the moun-\ntain of which he speaks In terms of\nparable, and we strain our eyes to\nsee the summit glimmering high\nabove us. &\n& I repeat, it is absurd to attempt\ncriticism of this book. We can buy\nit and reverence our purchase. We\nmust buy it, and be thankful that\na mere guinea can bring us a volume\nof wisdom and beauty, a record of\ngreat work accomplished, an adum-\nbration of still greater work pro-\njected, a survey with sign-posts of\nprogress planted \" thick as leaves"}, {"page_pdf": 82, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.82", "debut_caractere": 11, "fin_caractere_exclue": 2299, "texte": "in Vallombrosa &\n& The trail is blazed:... if we wish\nto catch up with Mr Craig to ask\nhim of the way to the summit all\nwe have to do is to enter the domain\nof his book and tread the paths so\nclearly marked for our\n£? Sumptuous and satisfying in ap-\npearance, it is a feast for the mind\nand the eye. It is not merely an\ninteresting book; It is an exciting\nbook. I defy anyone who claims to\nhave any imagination or feeling for\nwhat is dramatic to read the notes\nto ** The Steps \" (pages 41 to 49) and\nto look at the drawings for the same\nwithout being tremendously distur-\nbed and thrilled. If you can remain\ncalm you have no right to.retain the\nbook. You must give it to the Ger-\nmans or the Russians who will make\nbetter use of it.\nThere are so many designs here\nwhose austere beauty evokes deep\nemotion that it is impossible to par-\nticularise them. These who love the\nTheatre, those who love individual\nstyle in prose, or those who love\ndrawings for their own sake neglect\nit at their peril.\n\nE. M.\n\nTHE JO Y OF THE THE A TRE by\nGilbert Cannon• B. T. Batsford.\nPrice Two shillings net. JS?\na confused booklet ap-\nparently written in some haste.\nWrongly to Interpret the Truth of\nNature Is a crime when consciously\ndone; when unconsciously it is a\nblunder. & &\nMr Gilbert Cannan is guilty of\njust such a crime or of just that\nblunder. &\nHe makes statements which, had\nthey been made six years ago, might\nhave been made through ignorance.\nFor instance, he says, \" The Art of\nthe Theatre is a combination of many\narts fused by the dramatic sense\"\netc, etc.\n& This is not true. It is an old\nramshackle theory based on the loose\nthinking of the short-sighted, and\nthere is no reason for the untruth\nto be repeated since it was pointed\nout to us in 1908 that by a combi-\nnation of many or few arts you can-\nnot create one art the more. Comic,\nthat it should take several centuries\nto discover so simple a fact! £/\n& Mr Cannan, writing in this way,\ndoes himself injustice.\n& In another part of his book he\nrepeats Mr Craig's theory of sound,\nlight and movement as being the\nelements of the Art of the Theatre,\nand also writes of the possibility of\nthe *' producer \" being himself the\n\" dramatist \". (1) In this he echoes\nwhat Mr Craig has already stated\n\n(1) The invented commas are ours. Ed,"}, {"page_pdf": 83, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.83", "debut_caractere": 15, "fin_caractere_exclue": 2339, "texte": "to be not merely a possibility but\nan inevitable necessity... well then!\n/z? Mr Cannan is most right when\nhe quotes Galileo's 44 e pur si muove \"\nas the last word of his- book even\nas Dr Baltruschaitls last January\nused it as the first word in his essay\non 44 the Path of Gordon Craig \".\nAlas that Mr Cannan should believe\nin movement backwards; heaven be\npraised that Dr Baltruschaitis be-\nlieves In natural movement.\n\nTI: A VIN Die A TION OF THE\nHINDU WOMAN, A. Cooma-\nzs? &\nsvvaniy and delivered as an ad-\ndress before the Sociological Society\nin London, November 1913* this little\nbooklet is more than its title claims\nfor it.\nIt is a vindication of all women,\nand it is an indictment of woman's\nenemy, Industrialism. JZ?\nThe author shows that to at-\ntempt to 44 emancipate \" woman is\nto attempt to industrialise her. He\nsees that the key-note of modern\nfeminism is the endeavour to escape\nobligations, and he quotes from\nMiss Cecily Hamilton's \" The Great\nState \" as follows : JZ?\njg? 44 What the State has the right\n\" to demand of her will be that she,\n*' like her father, her husband, her\n44 brother, shall conduct herself de=\n\".cently and in accordance with its\n44 laws. What it has not the right to\n44 demand of her... either directly or\n44 indirectly, by bribe or by Indirect\n14 pressure... is that she, in return\n\" for its protection, shall consider\n44 herself under any obligation to\n44 produce its future citizens. \" So\nwrites Miss Hamilton. jg/\nBut Hindus, we are told by Dr.\nCoomaraswamy, 44 hold that both men\n44 and women alike are under obli-\n-44 gation to produce future citizens ;\n44 it is a debt to the ancestors. \"\nDr. Coomaraswamy agrees that\nwomen have good cause for resent-\nment, and shows that women have\nbeen for centuries robbed right and\nleft. But he adds, 44 I think you mis-\n-44 take in directing your resentment\n44 against men. It is not men, but\n«4 Industrialism and Imperialism that\n*4 have cheated you of Life, and have\n44 equally cheated men. \"\nSati as we all know was the in-\nstitution, now no longer in existence;\nwhich allowed the woman to destroy\nherself when her lord and master\ndeparted this life. The root idea was\nthat they should pass into the next\nexistence together. & &\nDr. Coomaraswamy writes ;....\n44 The suggestion is sometimes made,\n44 that if it be right to die for love"}, {"page_pdf": 84, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 2470, "texte": "44 at all, why should not men also\n44 die ? Those who believe that an\n44 institution like Sati could any-\n-44 where have been imposed by men\n44 upon women, against their nature,\n44 may well believe that men at the\n44 same time laid down for themselves\n44 a different and more agreeable\n44 law. There are some who have gone\n44 further, and found a reason for\n44 the custom imposed by men on\n44 women, in the belief of the former\n44 that the latter might, for various\n44 reasons, desire their death, and\n44 would compass that end were they\n44 not deterred by fear of their own.\n44 We need not consider either of\n44 these, since it passes the wit of\n**. man to answer a fool according\n44 to his folly. But we may inquire\n44 why it is, that what In a woman\n44 excites our enthusiasm and won-\n-44 der, in a man is usually felt to be\n44 cowardice. The deep reasons for\n44 this He beyond the realm of indi-\n-44 vidual advantages. The human spi-\n-44 rit, pursuing its ends deliberately\n44 and wisely, demands of men and\n44 of women two different devotions,\n44 It asks of women devotion to men ;\n44 of men, devotion to ideas. In each\n*'■ devotion lies an equal glory and\n44 an equal joy. There is no difference\n44 in degree of devotion between that\n44 Sati who won the consent of an\n\" English Governor to her fiery\n\" death, by calmly holding a finger\n\"In the flame of a candle till It\nv shrivelled to a cinder, and that\n44 English martyr who In like wise\n\" proved his readiness for the stake.\n44 Prom an Industrial standpoint,\n44 both devotions are equally use-\n-44 less. \" «<£? -<S? -«S>\nThis is Illumined Freedom.\nWe think we shall have to write\nmore, and often, of this pamphlet\nand on this subject.\nOf the relationship of woman to\nman Dr. Coomaraswamy speaks well,\nsaying such things as this... 44 It is\na purely magical relation \" and, \" It\nIs not cameraderie that one needs\nof woman, it is magic ; \" and \" If we\n44 study the folk-speech anywhere in\n44 the world, we shall find that it\n\" reveals woman, and not man, as\n44 the lover; when her shyness allows,\n\" it is she who would pray for man's\n\" love; and will serve him to the\n44 utmost. Industrialism reverses this\n\" relation, making man the suppliant\n\" and the servant, a condition as\n*\n44 unnatural as any other of its cha-\n-44 racteristic perversions. \" &\nEngland would do well at the\npresent moment to give very serious\nconsideration to the truths which\nthis pamphlet of Dr Coomaraswamy's\ncontains. JZ?"}, {"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.85", "debut_caractere": 15, "fin_caractere_exclue": 2128, "texte": "INTRODUCTION TO THE STUDY\nOF INDIAN MUSIC by E.\nClements. Longman's, Green and\nCo. Price six shillings net.\nE. E.\nTPhis book is one of the threads of\na net made to ensnare men. It is a\nstrong net which grow s a little larger\nwith every new moon. The weavers\nsit patiently knotting it. It will take\nmany years to make,... and where\nwill all the music be then ?\nzzz The East and the West may some\ndaj' meet. At present they are wide\napart. The telegraph and railway\ncannot link them together. They are\nwide apart. This is fact; all else is\nfancy. zZ? zZS zZ? jZ?\nFor this reason 1 am inclined to\ndisagree with Dr Coomaraswamy's\ndefinite statement that \" for the\nWestern student the exact study of\nthe science of Indian music is a\nnecessary process in the interests of\nprogress and interpretation.\" I think\ntherefore that this learned book by\nE. Clements is and should be of lit-\ntle use to us. jZ?\nz& The East and the West may, as\n1 have said, some day meet. If they\ndo meet each must have his tunes,\npoems, pictures to show the other.\nThe other must not begin to dis-\ncuss. ZZZ XZ> ZZ? zS?\nzZZ The dangers of knowing are ever\nincreasing. The danger of knowing\nall about the East,., what a danger!\nThe more we know the more we\nlose. The East seemed so far off once\nupon a time; to some It still seems\nas far,.., as far as the stars. How\nthey shine,... and how the East\nshines,... in their distances. Instruct\nsome of us in the stars and their\nlight goes out, nor is there more\nlight in us. zzr zz? z&\nSo is it with the Holy East.\nCome to us, then, with your\nbanners and your music,sweep past us\nwith your dancers and divinities and\ngo: but do not instruct us, do not de-\nceive us by such let us\nremain ignorant, leave our hands\nuntied. If you will conquer us do It\nlike conquerers. So shall we, (some\nof us) remain to the end affection*\nately yours.\n\nTHE RUSSIAN BA\nf\nTerry. Illustrated by Pamela\nColeman Smith. and\nJackson. Price three shillings\nand sixpence net. zzr zz?\ncharming book on the Russian\nBallet. Printed on fine paper; with\ndrawings by Miss Pamela Coleman\nSmith from photos or from other\ndrawings. zzr"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c043", "article_bluemountain": "bmtnaau_1913-07_01#c043", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "77", "page_fin": "78", "image_debut": 81, "image_fin": 82, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.16.2", "titre_corps": "TOWARDS A NEW THEATRE. Forty Designs for Stage Scenes with Critical Notes by the Inventor, Edward Gordon Craig", "titre_sommaire": "TOWARDS A NEW THEATRE. Forty Designs for Stage Scenes with Critical Notes by the Inventor, Edward Gordon Craig", "signature_source": "E. M", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.81", "debut_caractere": 15, "fin_caractere_exclue": 1593, "texte": "TOWARDS A NEW THEATRE.\nForty Designs for Stage Scenes\nwith Critical Notes by the\nventor, Edward Gordon Craig.\nJ. M. Dent & Sons. Twenty one\nshillings net.\n\nqrtils big beautiful book represents\nnot what Mr Craig Is doing or\ngoing to do but what he has done.\nTo ask why he should give us that\nwhich he has left behind is as ri-\ndiculous as to ask a cartographer\nwhy he outlines newly discovered\ncountry when publishing a map.\nOne cannot and must not criticise\nthis book. Gordon Craig is acknow-\nledged everywhere to be the master-\ndiscoverer in the Theatre. This la-\ntest book is a map of some his\nexplorations. JS? J£>\n& He charts hidden rocks, he marks\nvery definitely a shoal and leaves a\nbuoy floating there as a warning; he\nshows a beaked promontory where\ndangerous currents race and then\ni\nindicates open sea and we sail along\nin imagination with him. Anon we\nare warped through a narrow strait\nand then on to the wide blue horizon\nagain. We come to strange countries\nand land thereon. He shows us won-\ndrous and beautiful things, he points\nto plains as yet unexplored, takes\nus up the lower slopes of the moun-\ntain of which he speaks In terms of\nparable, and we strain our eyes to\nsee the summit glimmering high\nabove us. &\n& I repeat, it is absurd to attempt\ncriticism of this book. We can buy\nit and reverence our purchase. We\nmust buy it, and be thankful that\na mere guinea can bring us a volume\nof wisdom and beauty, a record of\ngreat work accomplished, an adum-\nbration of still greater work pro-\njected, a survey with sign-posts of\nprogress planted \" thick as leaves"}, {"page_pdf": 82, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.82", "debut_caractere": 11, "fin_caractere_exclue": 1012, "texte": "in Vallombrosa &\n& The trail is blazed:... if we wish\nto catch up with Mr Craig to ask\nhim of the way to the summit all\nwe have to do is to enter the domain\nof his book and tread the paths so\nclearly marked for our\n£? Sumptuous and satisfying in ap-\npearance, it is a feast for the mind\nand the eye. It is not merely an\ninteresting book; It is an exciting\nbook. I defy anyone who claims to\nhave any imagination or feeling for\nwhat is dramatic to read the notes\nto ** The Steps \" (pages 41 to 49) and\nto look at the drawings for the same\nwithout being tremendously distur-\nbed and thrilled. If you can remain\ncalm you have no right to.retain the\nbook. You must give it to the Ger-\nmans or the Russians who will make\nbetter use of it.\nThere are so many designs here\nwhose austere beauty evokes deep\nemotion that it is impossible to par-\nticularise them. These who love the\nTheatre, those who love individual\nstyle in prose, or those who love\ndrawings for their own sake neglect\nit at their peril.\n\nE. M."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c044", "article_bluemountain": "bmtnaau_1913-07_01#c044", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "78", "page_fin": "79", "image_debut": 82, "image_fin": 83, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.16.3", "titre_corps": "THE JOY OF THE THEATRE by Gilbert Cannon", "titre_sommaire": "THE JOY OF THE THEATRE by Gilbert Cannon", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 82, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.82", "debut_caractere": 1014, "fin_caractere_exclue": 2299, "texte": "THE JO Y OF THE THE A TRE by\nGilbert Cannon• B. T. Batsford.\nPrice Two shillings net. JS?\na confused booklet ap-\nparently written in some haste.\nWrongly to Interpret the Truth of\nNature Is a crime when consciously\ndone; when unconsciously it is a\nblunder. & &\nMr Gilbert Cannan is guilty of\njust such a crime or of just that\nblunder. &\nHe makes statements which, had\nthey been made six years ago, might\nhave been made through ignorance.\nFor instance, he says, \" The Art of\nthe Theatre is a combination of many\narts fused by the dramatic sense\"\netc, etc.\n& This is not true. It is an old\nramshackle theory based on the loose\nthinking of the short-sighted, and\nthere is no reason for the untruth\nto be repeated since it was pointed\nout to us in 1908 that by a combi-\nnation of many or few arts you can-\nnot create one art the more. Comic,\nthat it should take several centuries\nto discover so simple a fact! £/\n& Mr Cannan, writing in this way,\ndoes himself injustice.\n& In another part of his book he\nrepeats Mr Craig's theory of sound,\nlight and movement as being the\nelements of the Art of the Theatre,\nand also writes of the possibility of\nthe *' producer \" being himself the\n\" dramatist \". (1) In this he echoes\nwhat Mr Craig has already stated\n\n(1) The invented commas are ours. Ed,"}, {"page_pdf": 83, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.83", "debut_caractere": 15, "fin_caractere_exclue": 433, "texte": "to be not merely a possibility but\nan inevitable necessity... well then!\n/z? Mr Cannan is most right when\nhe quotes Galileo's 44 e pur si muove \"\nas the last word of his- book even\nas Dr Baltruschaitls last January\nused it as the first word in his essay\non 44 the Path of Gordon Craig \".\nAlas that Mr Cannan should believe\nin movement backwards; heaven be\npraised that Dr Baltruschaitis be-\nlieves In natural movement."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c045", "article_bluemountain": "bmtnaau_1913-07_01#c045", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "79", "page_fin": "80", "image_debut": 83, "image_fin": 84, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.16.4", "titre_corps": "SATI: A VINDICATION OF THE HINDU WOMAN by A. Coomraswamy", "titre_sommaire": "SATI: A VINDICATION OF THE HINDU WOMAN by A. Coomraswamy", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 83, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.83", "debut_caractere": 435, "fin_caractere_exclue": 2339, "texte": "TI: A VIN Die A TION OF THE\nHINDU WOMAN, A. Cooma-\nzs? &\nsvvaniy and delivered as an ad-\ndress before the Sociological Society\nin London, November 1913* this little\nbooklet is more than its title claims\nfor it.\nIt is a vindication of all women,\nand it is an indictment of woman's\nenemy, Industrialism. JZ?\nThe author shows that to at-\ntempt to 44 emancipate \" woman is\nto attempt to industrialise her. He\nsees that the key-note of modern\nfeminism is the endeavour to escape\nobligations, and he quotes from\nMiss Cecily Hamilton's \" The Great\nState \" as follows : JZ?\njg? 44 What the State has the right\n\" to demand of her will be that she,\n*' like her father, her husband, her\n44 brother, shall conduct herself de=\n\".cently and in accordance with its\n44 laws. What it has not the right to\n44 demand of her... either directly or\n44 indirectly, by bribe or by Indirect\n14 pressure... is that she, in return\n\" for its protection, shall consider\n44 herself under any obligation to\n44 produce its future citizens. \" So\nwrites Miss Hamilton. jg/\nBut Hindus, we are told by Dr.\nCoomaraswamy, 44 hold that both men\n44 and women alike are under obli-\n-44 gation to produce future citizens ;\n44 it is a debt to the ancestors. \"\nDr. Coomaraswamy agrees that\nwomen have good cause for resent-\nment, and shows that women have\nbeen for centuries robbed right and\nleft. But he adds, 44 I think you mis-\n-44 take in directing your resentment\n44 against men. It is not men, but\n«4 Industrialism and Imperialism that\n*4 have cheated you of Life, and have\n44 equally cheated men. \"\nSati as we all know was the in-\nstitution, now no longer in existence;\nwhich allowed the woman to destroy\nherself when her lord and master\ndeparted this life. The root idea was\nthat they should pass into the next\nexistence together. & &\nDr. Coomaraswamy writes ;....\n44 The suggestion is sometimes made,\n44 that if it be right to die for love"}, {"page_pdf": 84, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 2470, "texte": "44 at all, why should not men also\n44 die ? Those who believe that an\n44 institution like Sati could any-\n-44 where have been imposed by men\n44 upon women, against their nature,\n44 may well believe that men at the\n44 same time laid down for themselves\n44 a different and more agreeable\n44 law. There are some who have gone\n44 further, and found a reason for\n44 the custom imposed by men on\n44 women, in the belief of the former\n44 that the latter might, for various\n44 reasons, desire their death, and\n44 would compass that end were they\n44 not deterred by fear of their own.\n44 We need not consider either of\n44 these, since it passes the wit of\n**. man to answer a fool according\n44 to his folly. But we may inquire\n44 why it is, that what In a woman\n44 excites our enthusiasm and won-\n-44 der, in a man is usually felt to be\n44 cowardice. The deep reasons for\n44 this He beyond the realm of indi-\n-44 vidual advantages. The human spi-\n-44 rit, pursuing its ends deliberately\n44 and wisely, demands of men and\n44 of women two different devotions,\n44 It asks of women devotion to men ;\n44 of men, devotion to ideas. In each\n*'■ devotion lies an equal glory and\n44 an equal joy. There is no difference\n44 in degree of devotion between that\n44 Sati who won the consent of an\n\" English Governor to her fiery\n\" death, by calmly holding a finger\n\"In the flame of a candle till It\nv shrivelled to a cinder, and that\n44 English martyr who In like wise\n\" proved his readiness for the stake.\n44 Prom an Industrial standpoint,\n44 both devotions are equally use-\n-44 less. \" «<£? -<S? -«S>\nThis is Illumined Freedom.\nWe think we shall have to write\nmore, and often, of this pamphlet\nand on this subject.\nOf the relationship of woman to\nman Dr. Coomaraswamy speaks well,\nsaying such things as this... 44 It is\na purely magical relation \" and, \" It\nIs not cameraderie that one needs\nof woman, it is magic ; \" and \" If we\n44 study the folk-speech anywhere in\n44 the world, we shall find that it\n\" reveals woman, and not man, as\n44 the lover; when her shyness allows,\n\" it is she who would pray for man's\n\" love; and will serve him to the\n44 utmost. Industrialism reverses this\n\" relation, making man the suppliant\n\" and the servant, a condition as\n*\n44 unnatural as any other of its cha-\n-44 racteristic perversions. \" &\nEngland would do well at the\npresent moment to give very serious\nconsideration to the truths which\nthis pamphlet of Dr Coomaraswamy's\ncontains. JZ?"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c046", "article_bluemountain": "bmtnaau_1913-07_01#c046", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "image_debut": 85, "image_fin": 85, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.16.5", "titre_corps": "INTRODUCTION TO THE STUDY OF INDIAN MUSIC by E. Clements", "titre_sommaire": "INTRODUCTION TO THE STUDY OF INDIAN MUSIC by E. Clements", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.85", "debut_caractere": 15, "fin_caractere_exclue": 1862, "texte": "INTRODUCTION TO THE STUDY\nOF INDIAN MUSIC by E.\nClements. Longman's, Green and\nCo. Price six shillings net.\nE. E.\nTPhis book is one of the threads of\na net made to ensnare men. It is a\nstrong net which grow s a little larger\nwith every new moon. The weavers\nsit patiently knotting it. It will take\nmany years to make,... and where\nwill all the music be then ?\nzzz The East and the West may some\ndaj' meet. At present they are wide\napart. The telegraph and railway\ncannot link them together. They are\nwide apart. This is fact; all else is\nfancy. zZ? zZS zZ? jZ?\nFor this reason 1 am inclined to\ndisagree with Dr Coomaraswamy's\ndefinite statement that \" for the\nWestern student the exact study of\nthe science of Indian music is a\nnecessary process in the interests of\nprogress and interpretation.\" I think\ntherefore that this learned book by\nE. Clements is and should be of lit-\ntle use to us. jZ?\nz& The East and the West may, as\n1 have said, some day meet. If they\ndo meet each must have his tunes,\npoems, pictures to show the other.\nThe other must not begin to dis-\ncuss. ZZZ XZ> ZZ? zS?\nzZZ The dangers of knowing are ever\nincreasing. The danger of knowing\nall about the East,., what a danger!\nThe more we know the more we\nlose. The East seemed so far off once\nupon a time; to some It still seems\nas far,.., as far as the stars. How\nthey shine,... and how the East\nshines,... in their distances. Instruct\nsome of us in the stars and their\nlight goes out, nor is there more\nlight in us. zzr zz? z&\nSo is it with the Holy East.\nCome to us, then, with your\nbanners and your music,sweep past us\nwith your dancers and divinities and\ngo: but do not instruct us, do not de-\nceive us by such let us\nremain ignorant, leave our hands\nuntied. If you will conquer us do It\nlike conquerers. So shall we, (some\nof us) remain to the end affection*\nately yours."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c047", "article_bluemountain": "bmtnaau_1913-07_01#c047", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "81", "image_debut": 85, "image_fin": 85, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.16.6", "titre_corps": "THE RUSSIAN BALLET by Ellen Terry", "titre_sommaire": "THE RUSSIAN BALLET by Ellen Terry", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.85", "debut_caractere": 1864, "fin_caractere_exclue": 2128, "texte": "THE RUSSIAN BA\nf\nTerry. Illustrated by Pamela\nColeman Smith. and\nJackson. Price three shillings\nand sixpence net. zzr zz?\ncharming book on the Russian\nBallet. Printed on fine paper; with\ndrawings by Miss Pamela Coleman\nSmith from photos or from other\ndrawings. zzr"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c049", "article_bluemountain": "bmtnaau_1913-07_01#c049", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "87", "image_debut": 86, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17", "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": 86, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.86", "debut_caractere": 0, "fin_caractere_exclue": 22, "texte": "FOREIGN NOTES.\n\nLONDON"}, {"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.87", "debut_caractere": 1582, "fin_caractere_exclue": 1588, "texte": "PARIS."}, {"page_pdf": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.88", "debut_caractere": 954, "fin_caractere_exclue": 959, "texte": "ROME."}, {"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.91", "debut_caractere": 538, "fin_caractere_exclue": 562, "texte": "MACCLESVILLE, YORKSHIRE."}, {"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.91", "debut_caractere": 1390, "fin_caractere_exclue": 1427, "texte": "AN EXTRACT FROM A LETTER\nFROM LONDON."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c051", "article_bluemountain": "bmtnaau_1913-07_01#c051", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "83", "image_debut": 86, "image_fin": 87, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.2", "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": 86, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.86", "debut_caractere": 16, "fin_caractere_exclue": 22, "texte": "LONDON"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c052", "article_bluemountain": "bmtnaau_1913-07_01#c052", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "83", "image_debut": 86, "image_fin": 87, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.2.1", "titre_corps": "The \"Max\" Exhibition. 1913", "titre_sommaire": "The \"Max\" Exhibition. 1913", "signature_source": "M. S. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 86, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.86", "debut_caractere": 24, "fin_caractere_exclue": 1766, "texte": "The \"Max\" Exhibition. 1913.\n\n■yi/'henever a 44 Max \" Exhibition\noccurs it Is indubitably and ine-\nvitably a social event. x?\nHis 1913 Exhibition comprises\nsixty new designs. Though new to\nthe eye their taste on the mental\npalate is that of a rare and excellent\nvintage. The usual wit and vigour,\nthe graceful cynicism we have learnt\nto expect and the certain brilliant\ntechnique are here. If there is any\ndifference it is that they are more\nbeautiful than before. Indeed, no. 1.\n14 The New English Art Club \" is\nalmost startling in its unexpected\nbeauty. The colour is exquisitely\nhandled and the whole design is as\nsoft and subtle as an authentic Con-\nder drawing on silk. .=£?\nBut we must concern ourselves\n*\nwith the celebrities of Theatre land\nas they appear to Mr Beerbohm.\n& Quite a large number of the draw-\nings are caricatures of and com-\nments on dramatists.\nMr Arnold Bennett is seen in a\nsmoky landscape sitting on a mile-\nstone and blowing smoke down his\nnostrils while Hilda Lessways asks\nhim how long he is going to keep\nClayhanger and herself standing\nabout.\nMr Thomas Hardy is caught in\nthe act of composing a lyric. Mase-\nfield is leaning over the roof tops\nof a slummy Ltlliput where navvies\nare seen fighting with their wives.\nThe Rehearsal at the Theatre\nis very amusing. M. Claretie\nimplores two particularly 44 catty '\nartistes \" Mesdames, mesdames !\nN'oubliez pas que vous faites parti\nde la maison de Moliere 1 \"\nMr Gordon Craig is represented\nin the act of producing 44 Hamlet\"\non his model stage and looking very\nhappy and lolly as if thoroughly\nenjoying his demonstration of how\na little dark figure gains tremen-\ndously in dramatic value when placed\nin a simple austere setting. £?\n& The Censor, Mr Brookfield, is"}, {"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.87", "debut_caractere": 16, "fin_caractere_exclue": 987, "texte": "seen 44 trying to fall under the spell\nof the modern Drama \". Max's opinion\nof modern Drama is hardly flatte-\nring. He visualises it as a female\nfigure with a bulging head and gog-\ngles, hair scraped back into a bun\nand wearing a 44 synthetic \" costume.\nu£? 44 Girth \" shows stout Mr Charles\nHawtrey saying to thin Mr Du Mau-\nrier,44 Stick to the quiet method and\nyou'll be just the same presently. \"\nMax has not altered his opinion of\nMr Bernard Shaw. He finds him, on\nreturning to England, still standing\non his head. &\n& W. J. Locke, D'Annunzio, Binyon\nand Anthony Hope are also included.\nThe gift of seeing things in terms\nof parody and caricature is a sort of\nsixth sense. Mr Beerbohm has it to\nan extraordinary degree. Judging\nfrom the way he has represented the\nmodern dramatists he must think\nthat the drama of today is in a dis-\nmal state. We may be wrong in this\nassumption, but that is what we can-\nnot help reading from the faces he\nportraj's. JZ? &\n\nM. S. C."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c053", "article_bluemountain": "bmtnaau_1913-07_01#c053", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 87, "image_fin": 87, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.2.2", "titre_corps": "The Haymarket Theatre", "titre_sommaire": "The Haymarket Theatre", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.87", "debut_caractere": 989, "fin_caractere_exclue": 1580, "texte": "The Haymarket Theatre.\nR. S.\nHphe Pretenders and Mr Laurence\nIrving... Pretending to be a Pre-\ntender... everyone else pretending to\nact... Laurence Irving really acting.\nThat is to say, really 44 pretending ; \"\nand doing it well. Everyone preten-\nding that Ibsen was a failure,... au-\ndience as well. Lord Howard de Wal-\nden pretending not to mind..! The\nplay succeeded, for it was taken\noff almost at once. Good luck to all\nsuch Successes, and may there be\nmany more of them ! &\nScandinavia is nearer England\nthan Ciiina, or Japan;.... perhaps\nthat accounts for the quality of the\nSuccess."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c054", "article_bluemountain": "bmtnaau_1913-07_01#c054", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "84", "image_debut": 87, "image_fin": 88, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.3", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.87", "debut_caractere": 1582, "fin_caractere_exclue": 1588, "texte": "PARIS."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c055", "article_bluemountain": "bmtnaau_1913-07_01#c055", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "84", "image_debut": 87, "image_fin": 88, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.3.1", "titre_corps": "An Ancient Arctic Play", "titre_sommaire": "An Ancient Arctic Play", "signature_source": "J. de S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.87", "debut_caractere": 1590, "fin_caractere_exclue": 2359, "texte": "An Ancient Arctic Play.\n\n'\"jphere is a report going about that\nthe French Explorer M. Andre\nwho went to discover the North\nPole in a balloon is busy translating\nfrom Esquimaux into French a char-\nming little Idyll of Love and Jealousy\nwhich the purists of Baffin's Bay\nhave preserved for at least 10,000\nyears.\nEveryone who has read It is con-\nvinced that it promises to be a fai-\nlure which will run as many thou=\nsand as 44La Fille de Madame Angot.\"\nNot for the Furs alone which will\nbe exhhibited, (though rumour tells\nus they will in actuality be made in\nthe haunts of Passy and the Rue\nde la Paix while they will pose as\npure Pomeranian).... not alone for\nthese nor for the realistic thick lips\nand squash nose which M. L£on le\nFranck has been able to super-impose"}, {"page_pdf": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.88", "debut_caractere": 16, "fin_caractere_exclue": 952, "texte": "upon his sharp-cut Latin features,\nwill this production be remarkable\nbut also on account of the underwear,\nwhich shall be positively the same\nas used ten thousand years ago in\nthe Bay of Baffin.^\nSeveral theatrical light effects such\nas the midnight sun will be shown\nand all Paris will flock to see this.\nIt will quite put In the shade those\neffects seen in 44 The Yellow Jacket \"\nwhich after all were at the most\nonly two thousand years old. &\n& The managers of the Theatre Cor-\nneille et Racine are said to be busy\nprocuring thirty really ancient wal-\nrus hooks from which the lamps in\nthe front of the house will be hung.\nThese lamps will be lighted with\nreal whale oil drawn from whales\nwhich cannot be less than four thou-\nsand years old. <\nAfter all, age is everything, and\nParis in getting on ; and even though\nLondon has beaten it in its admira-\ntion for antiques, Paris can even\ntoday create more perfect specimens.\n\nJ. de S."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c056", "article_bluemountain": "bmtnaau_1913-07_01#c056", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "87", "image_debut": 88, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.4", "titre_corps": "ROME", "titre_sommaire": "ROME", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.88", "debut_caractere": 954, "fin_caractere_exclue": 959, "texte": "ROME."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c057", "article_bluemountain": "bmtnaau_1913-07_01#c057", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "85", "image_debut": 88, "image_fin": 89, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.4.1", "titre_corps": "The Oldest Piece of Theatrical News in the World", "titre_sommaire": "The Oldest Piece of Theatrical News in the World", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.88", "debut_caractere": 961, "fin_caractere_exclue": 2314, "texte": "The Oldest Piece of Theatrical\nNews in the World. & &\nAne hears so much nowadays of the\nstupendous salary received by\nSignor Caruso, and how he has bea>\nten all records in earning, I think,\nthree hundred pounds a night or\nsome such trifling sum. So it is\nreally gratifying to be able to send\nby the diligence the following little\npiece of information concerning a\nsalary which can at no time be\nconsidered small.\nThe little fee received by a per-\nformer at the Coliseum In the year\n180 A. D. was L. 8000.0.0, (eight\nthousand pounds) a day. On one\noccasion he performed for fourteen\nconsecutive days. That brought him\nin one hundred and twelve thousand\npounds for a fortnight's work. For\nmy part, and I am speaking very\nseriously, 1 consider this ample, but\nin no way an exaggerated amount.\nAnd 1 look at it from this point of\nview. J£>\nif an artist or a performer is to\nhave everything provided for him,...\nthat is to say, sufficient for his\ntemperament, then it seems to me\nthere is no need for an artist or\nperformer to receive payment at all.\nEverything should be paid for him.\nOne year it would be more, another\nyear it would be still more, the third\nyear it would be less, and there\nwould be no talk and no worry\nabout money. The most important\nthing we should be saved would be\nthis,... the depreciation of the value\nof the artist: for people gape"}, {"page_pdf": 89, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.89", "debut_caractere": 16, "fin_caractere_exclue": 2289, "texte": "when they hear of three hundred\npounds a night in connection with\nCaruso, whereas three hundred\npounds if you come to think of it is\nnothing at all. As payment for a\nwork of art it is nil : as wages it is\nL.299.0.0. too much.\nAn artist's work is either priceless\n■or it is not the work of an Artist\nbut of an artisan. You cannot fix for\nhim a sum in so many pounds\nsterling, and artists rather make a\nmistake when they contract them-\nselves out at so much per performance\nA much more sensible way.,, in fact,\nthe only way,... would be for each\nartist to be provided with all that\nhe needs. He would never need more\nthan three or four thousand a year\n....unless he had given the world\nmany sons and daughters, when of\ncourse he should receive In addition\nall that they needed. As beginners\nthat would amount to about a hun-\ndred a year. J£?\nThis does not seem on the face\nof it a very practical suggestion, but\nif you look at it a little more closely\nyou will see that it is practical to\nits very roots. It would not only\nprevent one man receiving three\nhundred pounds a night, but it\nwould provide for another man\nreceiving more than thirty shillings\na night; and on this basis if you had\nhonest directors the Theatre itself\nwould be rich, and would be able to\nafford many more wonders for its\nsupporters. The Public would benefit\nall the time. £?■£?&\n#\nFor there are many artisans and\nfew artists, and if my suggestion\nwere followed some artisans who are\nreceiving three hundred, one hun-\ndred, sixty, fifty, forty, twenty\npounds a night would be reduced to\none pound and the audience would\nbe rid of the vulgarity of the artisans\nand could then open its ears and\neyes to see and hear the work of the\nartist.\nThe reason why in the theatre\nthe artist's work is always spoken\nof as \" so costly \" is that it is the\nartisan in the theatre who speaks.\n\" I draw crowds the artist doesn't\"...\nsays he, \" his work is too fine, poor\nfellow.\"\nKNAVE ! You know that the\npublic is as fine as vulgar, and that\nyou tempt it to remain vulgar by\nyour assumed pity of the \" poor\nartist. \" SO WAKE UP, ARTISTS!\nWAKE UP FOR THE THEATRE'S\nSAKE. & j£>\nue> FOR HER SAKE CRUSH THESE\nARTISANS WHO POSE AS \"ARTISTS\"\nAND WHOSE HANDS SQUEEZE OUT\nTHE BLOOD OF THE BOX OFFICE\nINTO THEIR OWN POCKETS. &"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c058", "article_bluemountain": "bmtnaau_1913-07_01#c058", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "87", "image_debut": 90, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.4.2", "titre_corps": "The Blessings of our Age", "titre_sommaire": "The Blessings of our Age", "signature_source": "P. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.90", "debut_caractere": 16, "fin_caractere_exclue": 2376, "texte": "The Blessings of our Age.\n\nJ have just returned from the Co*\nliseum... not Mr. Stoll's more im-\nportant place in St. Martin's Lane,\nLondon, but that lesser affair of the\nCaesars' here in Rome, and the visit\nhas conjured up a fount of gratitud-e\nfor the blessings of our age.\nThe London Coliseum is so far\nmore select: but two or three thou-\nsand people can meet there. This is\nalmost \" precious \" when one con-\nsiders the nasty crush there must\nhave been in the Roman theatre.\nThere, on an average, they brought\ntogether 50,000 spectators at a per-\nformance. JZ? JZ? Zz?\nJZ? It was popularity they aimed at\nin those sad days.^\nToday we manage these things\nbetter. We talk about the masses; but\nwe minister... Mr Stoll ministers, to\nthe few. We make a fine selection of\nthe people; we do not countenance\nvulgarity. That would offend our\ntaste, and at the same time the taste\nof our few select ones.\nIt is indeed a blessing to live in\nthese times.\nWe would never have dared to\ntake our grandmother to a matinee\nAt the Roman amphitheatre. No, not\neven had we and she lived in the first\ncentury of what is called the Chri-\nstian or Vulgar Era, that period in\nwhich the place was opened.\nj£> Dreadful things happened there;\nand what is more, were permitted.\nAt our London Coliseum how dif-\nferent it all is I We never even call a\nspade a spade,., and we never come to\nHecuba. We abhor all such bluntness.\nOurs is the age of subtlety and re-\nfinement.... But who would ever have\nguessed it!\nGold was actually used to deck\nout the vulgar place In Rome. Gold\nor real marble, which, remarkable as\nit appears, some people actually saw\nnothing to find fault with. Perfor-\nmances cost untold sums of money\nin that strong vicious age. What an\nadvance today! In this weak vicious\nage we have learned to employ the\nsubtle gold leaf Instead... and with\nsuch cunning... such art! We can\ncopy in ordinary deal the appearance\nof marble so exactly that a plumber\nwould scarce detect the difference.\nAnd we are able to pretend that we\nspend vast sums on a performance,\nand get it all over on L. 2,000.0.0.\nRome had but one million Inhabitants,\nyet it was nothing for a single per-\nformance there to cost L. 12,000.0.0.\nWe have many millions. But as 1 said,\nwe select those who shall grace our\nauditoriums. JZ? JZ/\nIf we pretend to cater for the\nmasses, what of that ? If we seem to"}, {"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.91", "debut_caractere": 15, "fin_caractere_exclue": 536, "texte": "verge on the side of leniency to the\npublic in our advertisements, and\noften teli them in the \" Mail \" that\nwe are always searching for some-\nthing 44 popular can our meaning\nstill remain obscure ?\nSurely we must ever be polite....\nwe would not offend even the least\nof the vulgar. Still, we must abide\nby the ideal we have set up... the\nideal of papier mache and deal picked\nout with a dash of gilt... for the sake\nof those men and women of questio-\nnable nobility and doubtful taste who\nfrequent our Gin Palaces.\n\nP. R."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c059", "article_bluemountain": "bmtnaau_1913-07_01#c059", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "87", "image_debut": 91, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.5", "titre_corps": "MACCLESVILLE, YORKSHIRE", "titre_sommaire": "MACCLESVILLE, YORKSHIRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.91", "debut_caractere": 538, "fin_caractere_exclue": 562, "texte": "MACCLESVILLE, YORKSHIRE."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c060", "article_bluemountain": "bmtnaau_1913-07_01#c060", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "87", "image_debut": 91, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.5.1", "titre_corps": "A New Repertory Theatre", "titre_sommaire": "A New Repertory Theatre", "signature_source": "M. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.91", "debut_caractere": 564, "fin_caractere_exclue": 1388, "texte": "A New Repertory Theatre.\nM. B.\nA new Repertory Theatre has been\nopened here. The Repertory Thea-\ntre movement spreads like wildfire\nand the authorities of the Thames\nbrigade are fully prepared for all\nemergencies. & jg?\n\\\nThe management of the Maccles-\nviile Repertory Theatre will be glad\nto hear of any artist, (or even artiste)\nwith a full knowledge of some of\nthe old cast-off ideas of Stanislaw-\nsky, Mr Gordon Craig or Dr Alexan-\nder Sieves!.\nThe Macclesville Repertory Thea-\ntre will also be willing to purchase\nany big dark blue black-cloths such\nas those used in 44 Dido and Aeneas \"\nin 1900. Curtains are also wanted..;\nat fair secondhand prices for\nMacclesville is a great believer in the\nproduction of the Elizabethan Drama\nin a simple and original setting.\nFurther innovations will be an-\nnounced in the autumn."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c061", "article_bluemountain": "bmtnaau_1913-07_01#c061", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "87", "image_debut": 91, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.6", "titre_corps": "AN EXTRACT FROM A LETTER FROM LONDON", "titre_sommaire": "AN EXTRACT FROM A LETTER FROM LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.91", "debut_caractere": 1390, "fin_caractere_exclue": 1427, "texte": "AN EXTRACT FROM A LETTER\nFROM LONDON."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c062", "article_bluemountain": "bmtnaau_1913-07_01#c062", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "87", "image_debut": 91, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.17.6.1", "titre_corps": "Facts are Stubborn Things", "titre_sommaire": "Facts are Stubborn Things", "signature_source": "Q. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.91", "debut_caractere": 1429, "fin_caractere_exclue": 2126, "texte": "Facts are Stubborn Things.\nQ. E.\nqpo bestow admiration on a work\n44 of extreme democratic painting\n4< and at the same time to be con-\n-44 vinced of the value of an aristo-\n-44 cratic order of society is to be\n44 guilty of a confusion of ideas\n44 which ultimately can lead only to\n44 disastrous results in practical\n44 life, (i) JZ? & &\nThe English, however, are not\nreally convinced of the value of any\nkind of social order, nor do they\nbestow anything except abuse upon\npaintings of any marked tendency.\nBut thank God our present Ger-\nman ambassador and his wife are\nhelping to bring about a better un-\nderstanding of English art and artists\namong the Londoners.\n(I) Ludovlci, \" Nietesche and Art"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c064", "article_bluemountain": "bmtnaau_1913-07_01#c064", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "92", "image_debut": 92, "image_fin": 96, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.18", "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": 92, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.92", "debut_caractere": 0, "fin_caractere_exclue": 1927, "texte": "editorial NOTES.\n\n& PARASITES AND THE\nTHEATRE. j£>\nnumber of men in England have\nlately taken quite an interest in\nthe awakening Theatre.\nIs their Interest a selfish one ?\nOn enquiry, and after looking care-\nfully into the actions of many of\nthese interested ones one finds their\nmotto to be \" nothing for nothing,\nand damned little for sixpence.\"\n£? This Is not the right spirit in\nwhich to serve a friend, and if you\nwould be really friendly to the The-\natre, gentlemen, you must make a\nbetter effort. £?\nWe know the type, of man who\ngoes to see a friend because of the\ngood cigars he keeps:... that's the\ntype of man we have no use for. Let\nhim by all means interest himself\nin the study of the parasite, but\navoid practising what he has learned\nupon the body of the Theatre. &\nWe want men who want what we\nwant. We want the liberty of the\nTheatre,.... free from parasites:\nthat is to say free from the majority.\ndS* It is not an auther who will hate\nus for saying we want no writers in\nthe Theatre. It is only a parasite-\nwriter who will feel so. We know a\nwriter, and a great one, who does\nnot hate us at all for holding to this\nview but then he does not crawl,\nhe soars. Try exercise then : even a\ncaterpillar would remain a worm if\nhe had no desire and made no effort.\nYou, the parasites, want the Art\nof the Theatre to suit your purpose\nin a few years' time. will write\nplays, or you will make designs,\nor you will compose operas or\nyou ballets, or you will imitate\nProfessor Reinhardt, or you will\nemploy William Poel at so much an\nhour. All of you are opportunists :\nnone of you idealists. Your theory\nis a convenient one, and never causes\nyou any trouble. jg/\nIf your theory contained a little\ntruth that little truth would be the\none thing to cause you Incessant\nworry. ■<&\n■<£> If your theory were based on\ntruth you would be suffering. But\nyou dread suffering.... it frightens\ny0u.... for after all a cause is not"}, {"page_pdf": 93, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.93", "debut_caractere": 17, "fin_caractere_exclue": 2309, "texte": "worth all that,... so you think.\nWe have learned that it is worth\nall that, and we learned it In a hard\nSchool. We learned It in the School\nIn which Nietzsche was one of the\nmasters. Nietzsche, at the end of his\n\" The Case of Wagner\" comes close\nto the listener and addresses him\nIn a low voice saying, \" Who is in\n\" any doubt as to what I want,....\n\" as to what the three requisitions\n** are concerning which my wrath,\n\" and my care and love of art have\n'* made me open my mouth on this\n\" occasion ? \" ; and then, coming\nstill nearer, he sinks his voice still\nlower and slowly loosens these\nwords;\" That the stage should not\nbecome master of the arts. \"\n\" That the actor should not\n\" become the corruptor of the\n** genuine.\n\" That music should not be-\n\" come the art of lying \".\n& Ah, Nietzsche, it took us many\nyears to tolerate you for you struck\nthe one whom we love. It took us\nlong to learn that you were speaking\nof the body of the Theatre, and that\nyou blindly discredited its hidden\nsoul. It took us 10ng.... but now we\nknow that your action opened our\neyes and awoke in us the desire to\nface more and more truths concer-\nning the condition of the Theatre...\nits present material condition ; and\nthe more mean and corrupting we\nhave seen It to he, the stronger has\nour faith become in its power to\ntriumph finally over itself.\nBut let no one else, not even you,\nNietzsche, attempt to revile it or\ntriumph over its 50u1,... or insult it\nby assistance. It needs no assistance.\nIt needs lovers. They will understand\nand ail will be well. It will kill\nparasites,.... and they will never\nunderstand till they are dead. &\nAnd is there any doubt about\nwhat we want ? &\nCome nearer, Nietzsche....\nWe want three things. ■£?\n1. That the Theatre shall become\nthe master of its art.\n2. That obedience and silence shall\nalways be in the nature of its art.^\n3. That words shall become blessed\nafter a century of silence.\n\nJAPANESE ARTIS IN THE\nWEST. & & & &\nls a certain kind of Japanese\n\" Artist \" who leaves the Far East\nprimed up with the order he has\nreceived \" to study and imitate the\nArts of Europe. \"He is not thinking\nfor himself, he is thinking under\ncompulsion, and as a Patriot his\nthoughts do him credit. He is think-\ning under the commands of his Go-\nvernment and not of his Masters."}, {"page_pdf": 94, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.94", "debut_caractere": 17, "fin_caractere_exclue": 2368, "texte": "In such matters a young artist\nshould remember the duty he owes\nto his calling, and that loyalty to his\ncountry Is best shown by steadfast\nloyalty to his calling.\nIt is a long distance from the Far\nEast to London, and there must be\nsomething very attractive about Lon-\ndon for the Easterners to send so\nmany of their sons over there, telling\nthem 44 to study and imitate \" our\nArts.\nHow strange 1 we of the West,\nwho in life are only children, and\nquite unable to cope with any but\nthe simplest of matters, find it so\ntouching to be 44 studied and imi-\ntated \", especially In our Arts ! How\nhappy we must feel in our kind of\nshy way to see the descendant and\npupil of Hokusai studying at the feet\nof Alma Tadema or Matisse!\nSome of our own family have\ngone to the East and studied and\nperhaps imitated the Arts of China\nand Japan ; but these have done so\nfrom a natural attraction, and not\nbecause they were ordered to do so.\nAnd the result has been extremely\nbad for our Arts, which were bad\nenough, God knows, even before.\nlf there Is a thing that is more\nunbecoming than conceit in the\nyoung, it is the self-depreciation of\nthe old. The two~things are irrita-\nting and saddening. And so you\nhear from old Japan a phrase such\nas this... 44 Is it not better that the\nPast should die Its life without in-\nfluencing us than that it should stifle\nour fresh spirit ? \"\nThus the ancient East wants a\nnew King in place of an old God..£?\nlf this 44 fresh spirit \" is the spirit\nof Commercialism, Industrialism,\nyou're Living Dead. You were near\nIdealism and this you are ashamed of;\nso Debacle, Imperialism... and we are\nsadly of the opinion that this is the\nonly 44 fresh spirit \" that is apparent\nto everyone through its freshness...\nThen goodbye, Japan ! Goodbye the\nEast I for you're dead before you've\nbegun.\nYou were getting along so well\nafter a few thousand years. You were\na great family. Your sons and their\nsons and their sons had learned some\ngreat secrets, especially that Secret\nof all secrets about the Oneness of\nthings; and now you want to break\nup the Unity for the sake of Variety.\nAnd you come over to 44 study and\nimitate \" our Arts!\nAnd how do you 44 study and\nimitate \" our Arts ? We will tell you.\nYou produce 44 Typhoon \" or 44 The\nYellow Jacket\" or some other piece\nwith an Eastern coat on its back,\nsomething which is like a penny"}, {"page_pdf": 95, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.95", "debut_caractere": 18, "fin_caractere_exclue": 2310, "texte": "peep-show for our stupid grown up\nchildren who cry out, \"Ow Lor'!\nMy! What a pretty sight! \" First\npoint in your annexation of England.\nYou aim to catch the eyes.\nWe are not politicians., it doesn't\ninterest us very much whether Eng-\nland becomes Japan or Japan be-\ncomes America, or America becomes\nthe North Pole; for whatever any-\nthing becomes we shall never swerve\nfrom our fidelity to the ideals which\nour Rulers the great Artists have set\nup for us. It doesn't interest us to\ngo to Japan to \" study and imitate \"\ntheir Arts any more than it would\ninterest us to go to California to\n\" study and imitate \" their Arts. Art\ndoes not root Itself in a place, it\nmoves as a spirit. And, you dear little\nJapanese man, you know this. What\non earth then are you doing ? pre-\ntending to \" study and imitate \"\nour Arts ?j\nWhat is great in you is what\nremains over in spite of your attempt\nto rid yourself of the influence of\nthe Past. You are great only in so\nfar as you venerate and keep alive\nthat Past... and surely you remem-\nber that the Stone Monkey (i) in\nspite of all his magic tricks and his\ntravels, wasn't as clever as he sup-\nposed. /?> /?>\n1) See page 60,\n\nL'OEUVRE AND MONTJOIE!\n\nOctober Ist M. Lugne Poe will\n\" present \" Hamlet; his wife,\nMadame Suzanne Despres wiil play\nthe title role.\n& We do not know that the idea is\nexactly fascinating, for we have seen\nMadame Sarah Bernhardt as Hamlet\nand that , too, did not convince us.\nWoman are all actresses ; there is no\nsubtlety they cannot compass provi-\nded they remain women ; but to pre-\ntend to be a man is, in our opi-\nnion, never desirable nor successful.\nStill, it is quite likely Madame\nDespres may reveal in one or two\nmoments that spiritual virility\nwhich belongs to Hamlet and which\nall male actors miss. Should she\ndo that alone we ought to be\ngrateful. & &\nBy the way, \" L'CEuvre \" gets\nbetter and better and proves how\nunnecessary it is that \" Montjoie 1 \"\nshould have trespassed upon its\ntheatrical grounds.\n& \"Montjoie! \" is so deuced literary,\ndon't you know, and \" L'GEuvre \" is\nof the stage. Such a difference.\n\" Montjoie ! \" writes of the stage\nabout which it is badly\n& It credits Poliziano with having\ngiven birth to a theatre in Italy, and\nomits all mention of Andreinl and\nthe great Commedia ; it regrets that"}, {"page_pdf": 96, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.96", "debut_caractere": 72, "fin_caractere_exclue": 2185, "texte": "today in Germany it Is a stage-\nmanager who is \" unfortunately \"\ngiving birth to the modern theatre\nthere.\nThe stage has been faulty, guilty\nof many sins, but seldom has it\nplayed the prig, and to regret that\na stage manager, a true son of the\ntheatre, should attempt to put his\nown house in order is priggish. It\nis good fortune, not bad fortune that\nthe sons of the stage are now clai-\nming their own.\n£? Well, we commend \" Montjoiel \"\nto the attention of \" L'CEuvre.\" And\nfor the consideration of \"Montjoie\"\nwe recommend the following words\nof Goethe.\n\" Truth has always need of being\n\" repeated because error is reprea-\n\" ched to us ceaselessly, and not\n\" merely by a few \"Isolated voices\n*' but by the crowd. In the news-\n\" papers, in the encyclopedias, in\n\" the schools, in the universities,\n\" everywhere error holds the first\n\" place; it is at its ease with the\n\" majority who take upon them-\n\" selves its defence. Often also\n\" people set forth in turn truth and\n\" error, and then pause upon this\n*' latter. Thus a few days ago I was\nreading in an English encyclopedia\n\" the exposition of the formation of\n\" the colour blue. It gave first the\n\" theory of Leonardo da Vinci,\n\" which is the true one ; but imme-\n\" diately afterwards it gave quite\n\" tranquilly the theory of Newton,\n\" which Is false, but It pointed\n** out that it was necessary to accept\n\" this latter, because it is universally\n\" received\"!\n\nEd.\n\nTHE RUSSIAN BALLET.\nE. G. C.\nDy the bye, about four months ago\nI saw In the papers that I was to\nproduce a Ballet for you, It was not\nI that made the announcement.\nIt seems that I was to have Dr\nVaughan Williams as collaborator.\nOf course the idea is cheering,\nbut is It practical ? And now is it\nnot far less practical than it was\nbefore?.. And have you not already in\nyour hearts given me notice ?\nFor NO amount of Ballets which\nI might produce would ever be\nannounced by me as Works of Art,\nand 1 should, as 1 have ever done,\nprotest against their being so consi-\ndered. Well then.... where are we?\n\nAnd now this number about\nJackaminori is done. The next will\nbe about Jack and his brother."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c066", "article_bluemountain": "bmtnaau_1913-07_01#c066", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "89", "image_debut": 92, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.18.2", "titre_corps": "PARASITES AND THE THEATRE", "titre_sommaire": "PARASITES AND THE THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.92", "debut_caractere": 18, "fin_caractere_exclue": 1927, "texte": "& PARASITES AND THE\nTHEATRE. j£>\nnumber of men in England have\nlately taken quite an interest in\nthe awakening Theatre.\nIs their Interest a selfish one ?\nOn enquiry, and after looking care-\nfully into the actions of many of\nthese interested ones one finds their\nmotto to be \" nothing for nothing,\nand damned little for sixpence.\"\n£? This Is not the right spirit in\nwhich to serve a friend, and if you\nwould be really friendly to the The-\natre, gentlemen, you must make a\nbetter effort. £?\nWe know the type, of man who\ngoes to see a friend because of the\ngood cigars he keeps:... that's the\ntype of man we have no use for. Let\nhim by all means interest himself\nin the study of the parasite, but\navoid practising what he has learned\nupon the body of the Theatre. &\nWe want men who want what we\nwant. We want the liberty of the\nTheatre,.... free from parasites:\nthat is to say free from the majority.\ndS* It is not an auther who will hate\nus for saying we want no writers in\nthe Theatre. It is only a parasite-\nwriter who will feel so. We know a\nwriter, and a great one, who does\nnot hate us at all for holding to this\nview but then he does not crawl,\nhe soars. Try exercise then : even a\ncaterpillar would remain a worm if\nhe had no desire and made no effort.\nYou, the parasites, want the Art\nof the Theatre to suit your purpose\nin a few years' time. will write\nplays, or you will make designs,\nor you will compose operas or\nyou ballets, or you will imitate\nProfessor Reinhardt, or you will\nemploy William Poel at so much an\nhour. All of you are opportunists :\nnone of you idealists. Your theory\nis a convenient one, and never causes\nyou any trouble. jg/\nIf your theory contained a little\ntruth that little truth would be the\none thing to cause you Incessant\nworry. ■<&\n■<£> If your theory were based on\ntruth you would be suffering. But\nyou dread suffering.... it frightens\ny0u.... for after all a cause is not"}, {"page_pdf": 93, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.93", "debut_caractere": 17, "fin_caractere_exclue": 1932, "texte": "worth all that,... so you think.\nWe have learned that it is worth\nall that, and we learned it In a hard\nSchool. We learned It in the School\nIn which Nietzsche was one of the\nmasters. Nietzsche, at the end of his\n\" The Case of Wagner\" comes close\nto the listener and addresses him\nIn a low voice saying, \" Who is in\n\" any doubt as to what I want,....\n\" as to what the three requisitions\n** are concerning which my wrath,\n\" and my care and love of art have\n'* made me open my mouth on this\n\" occasion ? \" ; and then, coming\nstill nearer, he sinks his voice still\nlower and slowly loosens these\nwords;\" That the stage should not\nbecome master of the arts. \"\n\" That the actor should not\n\" become the corruptor of the\n** genuine.\n\" That music should not be-\n\" come the art of lying \".\n& Ah, Nietzsche, it took us many\nyears to tolerate you for you struck\nthe one whom we love. It took us\nlong to learn that you were speaking\nof the body of the Theatre, and that\nyou blindly discredited its hidden\nsoul. It took us 10ng.... but now we\nknow that your action opened our\neyes and awoke in us the desire to\nface more and more truths concer-\nning the condition of the Theatre...\nits present material condition ; and\nthe more mean and corrupting we\nhave seen It to he, the stronger has\nour faith become in its power to\ntriumph finally over itself.\nBut let no one else, not even you,\nNietzsche, attempt to revile it or\ntriumph over its 50u1,... or insult it\nby assistance. It needs no assistance.\nIt needs lovers. They will understand\nand ail will be well. It will kill\nparasites,.... and they will never\nunderstand till they are dead. &\nAnd is there any doubt about\nwhat we want ? &\nCome nearer, Nietzsche....\nWe want three things. ■£?\n1. That the Theatre shall become\nthe master of its art.\n2. That obedience and silence shall\nalways be in the nature of its art.^\n3. That words shall become blessed\nafter a century of silence."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c067", "article_bluemountain": "bmtnaau_1913-07_01#c067", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "91", "image_debut": 93, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.18.3", "titre_corps": "JAPANESE ARTISTS IN THE WEST", "titre_sommaire": "JAPANESE ARTISTS IN THE WEST", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.93", "debut_caractere": 1934, "fin_caractere_exclue": 2309, "texte": "JAPANESE ARTIS IN THE\nWEST. & & & &\nls a certain kind of Japanese\n\" Artist \" who leaves the Far East\nprimed up with the order he has\nreceived \" to study and imitate the\nArts of Europe. \"He is not thinking\nfor himself, he is thinking under\ncompulsion, and as a Patriot his\nthoughts do him credit. He is think-\ning under the commands of his Go-\nvernment and not of his Masters."}, {"page_pdf": 94, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.94", "debut_caractere": 17, "fin_caractere_exclue": 2368, "texte": "In such matters a young artist\nshould remember the duty he owes\nto his calling, and that loyalty to his\ncountry Is best shown by steadfast\nloyalty to his calling.\nIt is a long distance from the Far\nEast to London, and there must be\nsomething very attractive about Lon-\ndon for the Easterners to send so\nmany of their sons over there, telling\nthem 44 to study and imitate \" our\nArts.\nHow strange 1 we of the West,\nwho in life are only children, and\nquite unable to cope with any but\nthe simplest of matters, find it so\ntouching to be 44 studied and imi-\ntated \", especially In our Arts ! How\nhappy we must feel in our kind of\nshy way to see the descendant and\npupil of Hokusai studying at the feet\nof Alma Tadema or Matisse!\nSome of our own family have\ngone to the East and studied and\nperhaps imitated the Arts of China\nand Japan ; but these have done so\nfrom a natural attraction, and not\nbecause they were ordered to do so.\nAnd the result has been extremely\nbad for our Arts, which were bad\nenough, God knows, even before.\nlf there Is a thing that is more\nunbecoming than conceit in the\nyoung, it is the self-depreciation of\nthe old. The two~things are irrita-\nting and saddening. And so you\nhear from old Japan a phrase such\nas this... 44 Is it not better that the\nPast should die Its life without in-\nfluencing us than that it should stifle\nour fresh spirit ? \"\nThus the ancient East wants a\nnew King in place of an old God..£?\nlf this 44 fresh spirit \" is the spirit\nof Commercialism, Industrialism,\nyou're Living Dead. You were near\nIdealism and this you are ashamed of;\nso Debacle, Imperialism... and we are\nsadly of the opinion that this is the\nonly 44 fresh spirit \" that is apparent\nto everyone through its freshness...\nThen goodbye, Japan ! Goodbye the\nEast I for you're dead before you've\nbegun.\nYou were getting along so well\nafter a few thousand years. You were\na great family. Your sons and their\nsons and their sons had learned some\ngreat secrets, especially that Secret\nof all secrets about the Oneness of\nthings; and now you want to break\nup the Unity for the sake of Variety.\nAnd you come over to 44 study and\nimitate \" our Arts!\nAnd how do you 44 study and\nimitate \" our Arts ? We will tell you.\nYou produce 44 Typhoon \" or 44 The\nYellow Jacket\" or some other piece\nwith an Eastern coat on its back,\nsomething which is like a penny"}, {"page_pdf": 95, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.95", "debut_caractere": 18, "fin_caractere_exclue": 1181, "texte": "peep-show for our stupid grown up\nchildren who cry out, \"Ow Lor'!\nMy! What a pretty sight! \" First\npoint in your annexation of England.\nYou aim to catch the eyes.\nWe are not politicians., it doesn't\ninterest us very much whether Eng-\nland becomes Japan or Japan be-\ncomes America, or America becomes\nthe North Pole; for whatever any-\nthing becomes we shall never swerve\nfrom our fidelity to the ideals which\nour Rulers the great Artists have set\nup for us. It doesn't interest us to\ngo to Japan to \" study and imitate \"\ntheir Arts any more than it would\ninterest us to go to California to\n\" study and imitate \" their Arts. Art\ndoes not root Itself in a place, it\nmoves as a spirit. And, you dear little\nJapanese man, you know this. What\non earth then are you doing ? pre-\ntending to \" study and imitate \"\nour Arts ?j\nWhat is great in you is what\nremains over in spite of your attempt\nto rid yourself of the influence of\nthe Past. You are great only in so\nfar as you venerate and keep alive\nthat Past... and surely you remem-\nber that the Stone Monkey (i) in\nspite of all his magic tricks and his\ntravels, wasn't as clever as he sup-\nposed. /?> /?>\n1) See page 60,"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c068", "article_bluemountain": "bmtnaau_1913-07_01#c068", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "92", "image_debut": 95, "image_fin": 96, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.18.4", "titre_corps": "L'OEUVRE AND MONTJOIE!", "titre_sommaire": "L'OEUVRE AND MONTJOIE!", "signature_source": "Ed", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 95, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.95", "debut_caractere": 1183, "fin_caractere_exclue": 2310, "texte": "L'OEUVRE AND MONTJOIE!\n\nOctober Ist M. Lugne Poe will\n\" present \" Hamlet; his wife,\nMadame Suzanne Despres wiil play\nthe title role.\n& We do not know that the idea is\nexactly fascinating, for we have seen\nMadame Sarah Bernhardt as Hamlet\nand that , too, did not convince us.\nWoman are all actresses ; there is no\nsubtlety they cannot compass provi-\nded they remain women ; but to pre-\ntend to be a man is, in our opi-\nnion, never desirable nor successful.\nStill, it is quite likely Madame\nDespres may reveal in one or two\nmoments that spiritual virility\nwhich belongs to Hamlet and which\nall male actors miss. Should she\ndo that alone we ought to be\ngrateful. & &\nBy the way, \" L'CEuvre \" gets\nbetter and better and proves how\nunnecessary it is that \" Montjoie 1 \"\nshould have trespassed upon its\ntheatrical grounds.\n& \"Montjoie! \" is so deuced literary,\ndon't you know, and \" L'GEuvre \" is\nof the stage. Such a difference.\n\" Montjoie ! \" writes of the stage\nabout which it is badly\n& It credits Poliziano with having\ngiven birth to a theatre in Italy, and\nomits all mention of Andreinl and\nthe great Commedia ; it regrets that"}, {"page_pdf": 96, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.96", "debut_caractere": 72, "fin_caractere_exclue": 1489, "texte": "today in Germany it Is a stage-\nmanager who is \" unfortunately \"\ngiving birth to the modern theatre\nthere.\nThe stage has been faulty, guilty\nof many sins, but seldom has it\nplayed the prig, and to regret that\na stage manager, a true son of the\ntheatre, should attempt to put his\nown house in order is priggish. It\nis good fortune, not bad fortune that\nthe sons of the stage are now clai-\nming their own.\n£? Well, we commend \" Montjoiel \"\nto the attention of \" L'CEuvre.\" And\nfor the consideration of \"Montjoie\"\nwe recommend the following words\nof Goethe.\n\" Truth has always need of being\n\" repeated because error is reprea-\n\" ched to us ceaselessly, and not\n\" merely by a few \"Isolated voices\n*' but by the crowd. In the news-\n\" papers, in the encyclopedias, in\n\" the schools, in the universities,\n\" everywhere error holds the first\n\" place; it is at its ease with the\n\" majority who take upon them-\n\" selves its defence. Often also\n\" people set forth in turn truth and\n\" error, and then pause upon this\n*' latter. Thus a few days ago I was\nreading in an English encyclopedia\n\" the exposition of the formation of\n\" the colour blue. It gave first the\n\" theory of Leonardo da Vinci,\n\" which is the true one ; but imme-\n\" diately afterwards it gave quite\n\" tranquilly the theory of Newton,\n\" which Is false, but It pointed\n** out that it was necessary to accept\n\" this latter, because it is universally\n\" received\"!\n\nEd."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c069", "article_bluemountain": "bmtnaau_1913-07_01#c069", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "92", "image_debut": 96, "image_fin": 96, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.18.5", "titre_corps": "THE RUSSIAN BALLET", "titre_sommaire": "THE RUSSIAN BALLET", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 96, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.96", "debut_caractere": 1491, "fin_caractere_exclue": 2092, "texte": "THE RUSSIAN BALLET.\nE. G. C.\nDy the bye, about four months ago\nI saw In the papers that I was to\nproduce a Ballet for you, It was not\nI that made the announcement.\nIt seems that I was to have Dr\nVaughan Williams as collaborator.\nOf course the idea is cheering,\nbut is It practical ? And now is it\nnot far less practical than it was\nbefore?.. And have you not already in\nyour hearts given me notice ?\nFor NO amount of Ballets which\nI might produce would ever be\nannounced by me as Works of Art,\nand 1 should, as 1 have ever done,\nprotest against their being so consi-\ndered. Well then.... where are we?"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c070", "article_bluemountain": "bmtnaau_1913-07_01#c070", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "92", "image_debut": 96, "image_fin": 96, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.18.6", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 96, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.96", "debut_caractere": 2094, "fin_caractere_exclue": 2185, "texte": "And now this number about\nJackaminori is done. The next will\nbe about Jack and his brother."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c071", "article_bluemountain": "bmtnaau_1913-07_01#c071", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "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=bmtnaau191307-01.2.19", "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": 97, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.97", "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.\nMITCHELL KE.NNERLEY\n& New York & London &\nThree months trial subscription two shillings"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c072", "article_bluemountain": "bmtnaau_1913-07_01#c072", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "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=bmtnaau191307-01.2.20", "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": 97, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.97", "debut_caractere": 284, "fin_caractere_exclue": 930, "texte": "THE MOSHER BOOKS.\n%\nspecial literary value of my general Catalogue has given it a unique\nposition In the world of book«=making for book=lovers. &\nProm year to year these Catalogues have been issued with the view\nof making known, as no other form of advertising could make known,\nThe Moslier Books and what they represent in up=-to=date bookcraft. AH\npossible value has been put into these books by their publisher; so that\nto=day they are the only style of genuine hand-made paper editions at\npopular prices in America.\n%\nSent without charge to all who are interested in choice editions at\nV «\nmoderate prices. J£? *&£?\nTHOMAS B. MOSHER, , MAINE."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c073", "article_bluemountain": "bmtnaau_1913-07_01#c073", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 98, "image_fin": 98, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.21", "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": 98, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.98", "debut_caractere": 0, "fin_caractere_exclue": 811, "texte": "THE WOOINGS OF JEZEBEL\nPETTYFER by Haldane Mac Fall.\nMWIWIIIII I—■— Ml— ■■ MI NI !■ INNMINNI lII■ITTAIRMFRWIIIFRI«TBRNIBMIRB«RIB—N—FIRMIIIR—IImm ■«IMWRRWIMIIIRMWIMINMNMRMNMMIMIM«TmmmrinMnmnrimntnMnrrr——--*'\"^^\n& NEW EDITION, 1913, PRICE SIX SHILLINGS.\n\" Has all the qualities that go to make a popular and, I think, an\nenduring fame. It is full of detail, humorous, pathetic, and often weird. \"\nThe Morning Leader.\n\" Described in an unforgettable fashion. He stands out as Jingle does,\nor Sam Weller, or Baillie Nicol Jarvie, or Hucklebery Finn \".\nThe Morning Leader.\n\" Of noteworthy cleverness. \"* \" Wonderfully entertaining. \"\nThe Scotsman. Publishers' Circular.\n\" A book of remarkable power. \"\nMadame.\n\" Will live in the reader's memory. \"\nManchester Guardian.\nLONDON. SIMPKIN, MARSHALL, HAMILTON, KENT & CO."}]}, {"article_id": "bm-bmtnaau-1913-07-01-c074", "article_bluemountain": "bmtnaau_1913-07_01#c074", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 98, "image_fin": 98, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.22", "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": 98, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.98", "debut_caractere": 813, "fin_caractere_exclue": 1587, "texte": "POETRY AND DRAMA\n'jpHE founder and first editor of Poetry Review begs to\ngive notice that he is now issuing a quarterly periodical,\nunder the title POETRY AND DRAMA, on the same lines as\nThe Poetry Review during 1912, and with many of the same\ncontributors.\n& The first and second numbers of Poetry and Drama are at\npresent in circulation.\n& Poetry and Drama is the representative organ of the youn-\nger movement in English Literature.^\nIt is published at 35 Devonshire Street, Theobalds Road,\nLondon, W. C., on March 15th, June 13th, September 15th and\nDecember 15th, The price of a single copy Is as. 6d. net- The\nannual subscription Is 10s. 6d. post free to all countries. Copies\nare procurable and subscriptions may be purchased through all\nBooksellers and Newsagents. &"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c075", "article_bluemountain": "bmtnaau_1913-07_01#c075", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "95", "image_debut": 99, "image_fin": 99, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.23", "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": 99, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.99", "debut_caractere": 0, "fin_caractere_exclue": 1399, "texte": "YE OLDE PARIS BOOKE-SHOPPE\nII Rue de Chateaudun, Paris, France.\nBuys and Sells All Sorts of French,\nSpanish and Italian Books. Also Engravings,\nAncient and Modern.\n> *\nCatalogues issued monthly. 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 : 44 Lives of Fair Ladies \", (with coloured illustrations) ; 44 One\nHundred Merrie & Delightsome Stories translation of 44 les Cent Nou-\nvelles nouvelles\"; Anatole France :44 Thais (the Repentant Courtisan of\nAlexandria). 44 The Well of Santa Clara\" with 31 Copper Plate Etchings;\nPierre Louys 44 Aphrodite illustrated by Ed. Zler; Petronius: 44 The\nSatyricon\" (translated by Oscar Wilde, with long Preface and many\nNotes ;) 44 The Golden Ass \" (of Apuleius) fine. English version, with Notes\nand copper plate Etchings ; 44Corporal Punishment in France\", historic and\nanecdotic; Aristophanes 44 The Eleven Comedies\", literally and fully\nrendered into English for the first time. sZ? JZ? JZ?\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 curieuses\n(free for 20 cs.)\nYE OLDE PARIS BOOKE-SHOPPE\n£? 11 Rue de Chateau dun, Paris, France. &"}]}, {"article_id": "bm-bmtnaau-1913-07-01-c076", "article_bluemountain": "bmtnaau_1913-07_01#c076", "volume": "bmtnaau_1913-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "image_debut": 100, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.100", "debut_caractere": 284, "fin_caractere_exclue": 877, "texte": "THE QOLDONI BOOKS.\nSKETCH BOOKS, DRA WING BOOKS, PAINTING BOOKS AND\nWRITING BOOKS, FOR ARTISTS,WRITERS AND LADIES.\nThese Books, are made of fine Italian Papers, and bound in vellum or\nin boards covered with papers upon which designs, floral or conventional,\nare hand=printed in colours. &\nJZ? The beauty and charm of these books must be seen to be realized,\n\" These are pages to turn arid finger with delight: \" covers bright and\nvaried with colour and fresh design ; sizes \" uncumbersome to the nicest\nhand.\" & & &\nWrite for particulars to The Mask Publishers,\nARENA GOLDONI, FLORENCE, ITALY."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.1", "texte": "C U BI S M UNVEILED. &\nTHE RUSSIAN BALLET.... NUDE.\nTHE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\ni I -Vj* *\nVolume Sli. Number One\nJULY\ni 9 i 3\n«\nA REN A OOL D 0 N I\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLIN OS.\nCOPY PRICE POUR SHILLINGS NET.\nTRADE AGENTS.\n„ „ T m - - >r ra - -.+ j»rtiZ+JS& V ■"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.2", "texte": "THE MASK. JULY 1913.\n'T'he Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated.\nAll possible care will be taken, but he cannot hold himself responsible for the\naccidental loss of MSS. These must In every case be accompanied by a stamped and\naddressed envelope as otherwise they cannot be returned.\n& Communications should be addressed to the Arena Qoldoni. Florence. Italy.\n\nLITERARY CONTENTS.\nVOLUME SIX. PRELUDE Gordon Craig .... 1.\nTHE RUSSIAN BALLET Gordon Craig .... 6.\nA HISTORY OF PUPPETS, (Continued) . . \" Yorick \". (P. Ferrigni . . 17.\nTHE SCENARIOS OF G. B. DELLA PORTA . Michele Scherillo ... 33-\nENGLISH SENTIMENTALITY .... John Balance .... 49.\nEUROPEAN DEPRESSION Gordon Craig .... 54.\nMONKEY TRICKS Yoo-no-hoo . . ~ . . 57.\nEURIPIDES AT FIESOLE Ernest Marriott. ... 62.\nCUBISM UNVEILED. An Extract from the\nBook of Human Proportion .... Albert Durer, 1500-23 . . 68.\nWith a Foreword by Felix Urban .... 65.\nBOOK REVIEWS. FOREIGN NOTES. 0 EDITORIAL NOTES.\n\nILLUSTRATIONS.\nA VENETIAN MARIONETTE (Frontispiece) .\nLE BALLET DES POLONAIS 1573 . - • Anon iS.\nTHE PROPORTIONS OF THE FOOT . . . Albert Durer .... 65.\nTHE PROPORTIONS OF THE HAND. . . ~ 67.\nSIX DIAGRAMS SHOWING METHODS OF BEN-\nDING THE BODY „ „ .... 68.\nA DESIGN SHOWING METHOD OF OBTAINING\nSECTIONS AND MODIFICATIONS . „ „ .... 70.\nA DRAWING OF THE HUMAN FIGURE . . „ „ .... 71.\nUNITED SECTIONS OF THE WHOLE HUMAN 11\nBODY „\nTHE HUMAN FIGURE ENCLOSED IN GEOME-\nTRICAL FORMS\nTHE HUMAN FIGURE REDUCED TO GEOME-\nTRICAL FORMS 75."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.4", "texte": "A VENETIAN MARIONETTE.\nOne of the figures of the marionette theatre taken to her new home by Loredana Grimani on her marriage\nwith Francesco Morosini, in Venice. 1772. And now in the Museo Correr in that city."}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.5", "texte": "VOLUME SIX. PRELUDE.\n\nWe have asked Mr Gordon Craig, the Founder of \" The Mask \",\nand, from the outset, its good friend, to initiate the sixth volume\nby editing its first number, and this he has consented to do. J. S.\nam down to write the Preface to this number, indeed,\nto a new volume, and nothing could give me greater\nhappiness. Not because 1 want to say how well\neveryone in The Mask has done his or her task since\nthe work began, though 1 could say a good word on\nthat; but because having escaped from the Daemon\nwho accompanies me.... from a really most unthea«\ntrical figure who keeps me to my task in my working hours.... that Is\nto say, having escaped from the Spirit of the Theatre, I can revel in a\nholiday, and in this Prelude reveal my personal pleasures of the moment\nand' my personal fancies for the day.\nI note among the contributions for this year.... and it is even to be\nin this number.... an article which 1 myself have written at the dictation\nof the said Spirit of the Theatre, and which, were it not already in the\nPress, 1, as the writer of this Prelude and as temporary Editor of this\nJournal, should cut through with Pencil blue and refuse to print.\ni should refuse it on personal grounds whereas an Editor must be\nimpersonal. £? --0 & &\n1 very much object to myself having written an article which gives\nanything but the most overwhelming praise to my friend Nijinsky. I\nobject on personal grounds; for I not only admire that amazing genius,\nhaving a considerable appreciation of his personal qualities, but besides\nthis feel nothing but good fellowship towards him. To chat with him in"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.6", "texte": "P RE L V D E.\n\nsix languages over a cigar is one of the most delightful experiences\nlife has to offer.\n& What then can permit ine to allow such an article as this number\ncontains to pass ? JZ? -*2?\n& My friend Djagellef too. What of him ? He will be awfully offended\nat what I have said of his charming group of dancers, for I do not know\na more genia! man on the face of this earth ; and if he believes that\nthe body produces finer works than the soul produces.... why shouldn't\nhe believe it ? I at this moment and in this Prelude, not as Editor of\nthis Journal, but as a friend of his and free once more, can find no\nearthly (i) reason why he should not believe it;\n1 do not know whether I have mentioned Mademoiselle Karsavina in\nthe article. 1 shall not look at the wretched thing again ....that imperti-\nnent article! In fact, I have a very good mind to take serious action\nagainst the writer.... except that action is, according to Rimbaud,\n\" only away of spoiling something. \" ■£? JS? JZ?\n£? But I suppose Mile. Karsavina will easily believe me when I tell her\nthat I have sat entranced te see her blowing a trumpet round the stage\n....a trumpet which she does not blow, but which Is blown for her by a\ngentleman in evening dress. I should like to see her blowing the trumpet\nwhenever 1 remember that passage of tbe charming music of that amazing\n\"genius\" for \" theatrical \" music, Stravinsky, and would have given any-\nthing to meet her.... as they say.... to have talked with her for half an\nhour..., an hour.... two hours, three, four, five, or ten hours on the\ndifficulties she has to encounter in her work, the defeats she has encoun-\ntered, and the hopes and fears with which she looks forward to the\nfuture. Anything.;..everything....to show that 1 am a human being and\nthat my only thought is of human beings as human beings.\nBut, oh, you good people all of you, especially you dear Russians both\n\nNO T E S.\n(i) This Is a slang phrase which in England is only used among artists\nand by the lower classes. I suppose it is to show the good terms they\nare on with the earth. Got you there, Pedant of the \" New \" School\nwhich we now know is the \" Old \" School 1"}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.7", "texte": "P RE L U D E.\n\nof St Petersberg and Moscow, ....when the devil are we all going to wake\nup in the Theatre ? No, seriously.... WHEN ARE WE GOING WAKE UP?\nThat tin trumpet of Stravinsky, even when a Karsavina pretends to\nblow upon it, will not even wake up a cat.\nYou have done marvels,...we all know it,...most of all do I know it;\nthe most marvellous tricks that can be done. But when Is the whole fa-\nmily going to wake up and together create one little thing in a moment\nof inspiration,...a thing of inspiration, pure and inspired? A little Law\nto guide an Art. &\nThis, this most difficult of all things we have forgotten to attend toi\nWe are afraid 1 That is the reason. We are afraid of time.... It would\ntake us years of experiment and lives of thought aud oceans of feeling,\nand we find we are poor in thought and feeling.... oh; oh, oh ! &\njg? We are all geniuses; we know that we are all wonderful beings,...that\ngoes without saying. But what is not yet evident is,...what have we found\nthat we can place by the side of the Pyramid, ...that will compare with\none of its steps ?\nWhat we lack, say Flaubert, is Conscience ! I know we have in our\npossession as great a secret as lies hidden in the Pyramids. then,\nmy dears, let us whisper over that secret together.\n& All the boys and girls who shall spring from us must be united toge-\nther and know that secret. There is not another moment to lose if it is\nto be clear to them twenty years from today. I shall eat, drink and be\nmerry meantime,...and I hope you will eat as much, drink much more\nand try to be as merry. But I swear I will drop a seed of that secret\nbefore I am finished, and I wish that each of you would drop one too.\nThen we should have GROWTH.\n& This is a beautiful City, this Florence ; ....you cannot tell how beauti-\nful it is. Would it not be a nice thing if we should ail meet here from\ntime to time ?...a month in your lives is not so long. &\njg? This City has such a curious flavour of ease and merriment. Here is\nthe excitement of great Architecture....Did you ever taste that ? The City\nis rich, not gaudy; familiar, not vulgar; it grapples its tried friends to\nits soul with hoops of steel ;...to us there is no City as fair. What its ar-\nchitects have said we take for our Law; there is no grief, no misery"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.8", "texte": "P RE L UDE.\n\nhere, for the towers stand up straight and announce the triumph of ten-\nderness and strength; & ■& &\n& Oh ! don't fear !... It's a real earth-town made by human beings. Every\ninch of our city breathes a friendliness that is human, and yet over it\nall there broods something more,... something indescribable,...and some-\nthing that if you could describe you wouldn't....for who would describe\na mystery which has been revealed after long obscurity and is now but part\nof the obvious ? & & &\n& Not being able to describe It, it impels you towards a condition ne-\ncessary to the creation of that which we call Art. For only in terms of\nArt can this mystery which is so obvious be rightly translated for those\nwho could never bear to experience it.\nThe City is a high experience. What a cradle it would be for the Art\nwhich we call the Art of the Theatre! .... for the Art of Movement!\nThat movement which all dancers are forced to make after effort and\nwith feet giued to the ground, but which a butterfly makes with ease\nand by nature ! J£? &\nEvery bell in the town breaks out ringing at the moment I write. A\nhundred.... two hundred.... three hundred perhaps. It is a wave of sound\nmoving in great circles.... &\nThis place is a place of ecstacy. -0 &\nTo all those working in the Theatre who love the Theatre I say... do\nnot keep away from me too long. J£? &\nCome quickly, and come here! Do not consider how you come.... why\nyou come. Would it be so unnatural to come because somebody calls you ?\nSo begins the sixth volume of the best book ever dedicated to the\nservice of our beloved Theatre.\n\nGordon Craig."}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.9", "texte": "TO THE ENEMIES OF THE THEATRE. THE CHATTERING\nCIRCLE OF LONDON: THE PRETENDED LOVERS OF THE\nSTAGE.\n'po those who, not knowing the Nature of our Art nor having expe-\nrienced the troubles of our House, would dictate with presumptuous\nvoices what we are to do in these days of our misfortune, this blank\nspace Is dedicated.\nTO THE LOVERS OF CUBISM AND GOOD DRAWING de-\ndicated the instructive designs and perplexing text on pages 64, etc\nby that too little known leader of the Cubists,\nALBERT D U R E R,\nIt is rtonaense to say that there is nothing new under the sun. Good\nwork is always new. It is only bad work that is of a period.\nThese designs by Albert Durer are no justification for those imitation\nthings now being offered in Europe. Durer's book was offered to students\nby an artist. The public is practically ignorant of its existence and has\nnever yet had an opportunity of knowing that Cubism is as old as the\nhills; but the public, being a foolish creature, is content to accept any\namount of copies If it can get even an imitation thrill out of them.\nIt has done so in the theatrical world, and now you see how it is\ndone in the world of the painters.\nI have no doubt that the most up-to-date modern music will very\nshortly be traced to the Hindoos. Meantime we beg the thousand readers\nof The Mask to keep their heads, not to crow too exultantly over their\nneighbours, and not to go down the High Street waving The Mask in\ntheir hands crying \"we always said our journal was the best, the\nmost up-to=date\". & & & & &"}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.10", "texte": "THE RUSSIAN BALLET\nby Gordon Craig.\n\nleave ourselves at home when we go to the Theatre ; we\nthere renounce the right to our own tongue and choice, to our\ntaste, and even to our courage as we possess it and practise It\nwithin our own four walls in relation to God and man. No one\ntakes his finest taste in art into the theatre with him, not even\nthe artist who works for the theatre; there one is people, public,\nherd, woman, Pharisee, voting animal, democrat, neighbour, and\nfellow-creature', there even the most personal conscience succumbs\nto the levelling charm of the \" great multitude there stupidity\nOperates as wantonness and contagion; there the neighbour rules,\nthere one becomes a neighbour. \" & &\nx Nietzsche. (\"The Joyful \")\nOF ART AND ITS CREATOR.\nIn Art there must be created no feeling of disharmony between the\nBody and the Soul, yet in creating Art the body must be obedient,\ntrue, faithful to the Soul. & & & & &\n& It is the Soul must speak, but the lips must not be seen to move,\nand the throat must be as ivory.\n& While It is the time of Revelation we ask the Body for silent and in=\nvisible service... it is the Soul which moves... minister to its movements.\n& I put no query here, nor have 1 any doubts myself as to the value\nof the Body or the value of the Soul. & & j£> *&\nI would not undervalue either.\n& But In the creating of some things it is certain the Soul must\nbe subservient to the Body; in the creation of others the Body must as\ncertainly be subservient to the Soul. What an alliance when each can\nobey the other, keeping its place.... holding its peace.... in time and in\ntune to the force of the other... the Beloved.\n& There is no such thing as union which excludes command or obe-\ndience. Each honours the other. x?\n& 1 will take the first six examples of great works of art. See the\nPyramid.... the head of Amenemhat 111 or the painting of the Buddha\nand the Thirty three Bosatsous made by the priest Esshin. Look at the"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.11", "texte": "THE RUSSIAN BALLET.\n\nbronze statue of Dai-Butsu at Kamakura ; or upon the towers of Tuscany\nand of Ireland, or at the needlework of a mother on the socks of a child;\nand I swear to you that these things were made when the soul was\nworking released from the tyranny of the body... a body which knows it\nmay claim the right in due time to command the soul. &\nThese truths are just what unreasonable people wish to deny. They\nwill not accept the simplest natural truths. The great hum going round\nthe eartii today about uniting the Body and the Soul in smug relation*\nship leads to the building of abominable houses, wretched palaces and\nmeaningless churches; produces the foolish paintings, the trembling\nbooks, and the awful music.\nBoth Soul and Body are helpless to create Art nowadays, for they\nhave been joined, tied, rivetted together by a lie, and equal liberties al-\nlowed to each, equal powers and qualities assigned to each.\nHence all works of Art which are the creation of the Soul and nothing\nbut the Soul are looked upon as \" queer \" and \" quaint \",... those are\n/\nthe words which people use today towards works of Art which show\nus signs that the Soul made the in. JS?\njSf \" Glorious \", \" wonderful \", \" brilliant \", these are the words used\ntowards the works of Art made by the Body today.\nBy these words the mob excuses its own ignorance and comforts its\ncowardice... for the mob, fearing the individual, stands as much for the\nBody today as It has always done: the m0b,... that which is everlastingly\nfickle and detests the 50u1,... the inspirer... that which alone remains\nunconquerable through faith. & JS> *&\n£? And so through its blind hatred of its master the mob today comes\nto find the workings of the Soul incomprehensible, whereas it recognises\nin the workings of the Body an experience of yesterday. &\n£? If Art, the voice of Revelation, were concerned solely with recording\nwhat has been, perhaps there would be nothing to be said. But Art is\nmost of all concerned with Tomorrow and 'the Horizon. JS?\nThe Pyramids were not only records; they were and still are always\npointing towards the Future. The Soul of Man runs easily up the great\nstairs and in the topmost silence is aware of Truth.\n& It will be asked why some of the works of Art may not be created"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.12", "texte": "THE RUSSIAN BALLET.\n\nby the Body ? Why should there not be a great deal of comfortable work\nso as to make the world more \" gemiithlich with here and there a\nnice blaze of sensuous stuff too? Why not?... why not?\nBut what a ridiculous thing to call f0r.... what a ridiculous thing to\nbe always calling for and to get excited about when it comes!\nFor that comfortable and sensuous type of work is all over the place.\nlt pours out of the Theatre in streams. The novels are soaked with it.\nPainting bubbles with it. The music which it makes smokes and steams.\nThere is no question but that there will always be sufficient of this.\nHence it is needful that we look for the other, and call for the other\nuntil we get it.\nSo much as Prelude to my Note on the Russian Ballet. The Russian\nBallet is essentially the \" Art \" which is created by the Body. Its per-\nfection is physical. Its appeal is to our senses, not through them, (i)\nj£f Having excited them it has done its task. It makes no further effort.\nIt is sensuous art and not spiritual, and is Just as far removed from\nArchitecture and Music as the Body is from the Soul, and 1 wish, and\nmillions of people wish, to see the Theatre give birth to an art as spi-\nritual as music or architecture.\nOF ART AND ITS DESTROYER.\nI wonder if any of you will have read the \" Life and Works of Chevalier\nNoverre \". I wonder if any of you even know who this famous man was\nand what he did. You, who have gone to the Russian Ballet every night\nand speak in the same terms of what you witnessed there as you do when\nspeaking of the works of /Eschylus, of Dante, of Donatello or of Bach,\nhave you ever heard of Chevalier Noverre ? jgr\nlt is a hundred to one that he and his work are unknown to you.\n\nNO T E S.\n00 \" This life's five windows of the soul\nDistort the heavens from pole to pole\nAnd leads you to believe a lie,\nWhen you see with, not through the eye.\nWilliam Blake. \" The Everlasting Gospel. \""}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.13", "texte": "THE RUSSIAN BALLET.\n\nNoverre was a maitre a danser....a Ballet master, the most celebrated\nof the 18th Century, and the times and values then were very little\ndifferent in regard to art from those of today, and people exaggerated\nthe importance of the dashing personality of the charming maitre and\nconfounded it with his work, even as they exaggerate and confuse the\npersons with the work of the modern Ballet masters.\nWhen we discover a dashing personality we conclude that we have\ndiscovered a great artist and we speak of him in place of his art: or\nwe are blinded by that personality and take it to be his art:... for we\nhave taught ourselves some tricky phrase about personality in art and\nare unable to get free from our conception.\njgt ft can't be doubted for a moment that the Chevalier Noverre was a\nvery charming and excellent person. His little way of haggling over money\nwith Garrick and others is a mere nothing, and his delightful conceit in\nassociating his name at every possible turn with those of Haydn, Mozart\nor Gluck is very natural....but alas! he Is comparatively forgotten.\n\\\n0 Yet Noverre will live by those of his works which have come down to\nus, and they show us pretty clearly that he was not an artist, if a maitre\nd dancer....that he was a charlatan in so far as art is concerned ; and they\nshould warn us to be a little careful before we explode with too much\nenthusiasm about the nearest things to Noverre's \"art\" which we can\nwitness now....the Russian Ballet. &\nj0 1 am a great admirer of the Russian Ballet. I find that it is often the\nbest dressed company of ladies and gentlemen who ever assumed a little\nsock and less buskin.\nj£? When 1 say that I am an admirer of the Russian Ballet, I mean that\nall the Dancers and their Maitre a danser charm me in spite of a few\nthings that 1 frankly don't like. For, as those of you will know who have\nread my book written some years before this Ballet left St Petersburg,\nnay, before it was formed as we see it today, I have reason for being\nopposed to the entrance of the studio painter into the Theatre; just as\nmany of you would dislike to see a stage painter decorating your chur-\nches. The Theatre has its own great scene-painters and needs no others.\nI am not a believer in the fluttering, bubbling personality of the stage\n\"Stars\" ;... I am against the emphasis whch is laid on the Body in the"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.14", "texte": "THE RUSSIAN BALLET.\n\nTheatre, because 1 am one of those few who love the Stage as a\nfather loves his son,...as a son his father.\n& The dancers of the Russian Ballet and their maltre h danser are char-\nming people ; Nijinsky a marvel of technique, best when under M. Fokine's\ncontrol; and all his brother and sister dancers...charming; and M. Fokine,\nchief master of the dance, quite extraordinary. But if you ask me to\nlook upon their work as a work of art, or to speak of them as great\nartists, 1 must refuse, and I hope that some of the visitors to Covent\nGarden will be with me here. & JS?\nNoverre once entered the lists against and attempted to\ninterpret anew the story of Agamemnon and Orestes. Noverre was a\ngreat maitre h danser, but he was no artist. Had he been artist he\n\\\nwould have done less... succeeded less....but brought the art of dancing\na step nearer to the condition of a fine art.\n£? Here is his conception of the mighty works of the Trilogy :...\nAGAMEMNON REVENGED\nA Tragic Ballet\nby\nJean Georges Noverre.\nScene /.\nPart of the Gardens of Mycene.\nEgysthus and Clytemnestra enter, felicitating each on their mutual\nhappiness, and anxious only for the pleasing moment when they shall\nmake public the sentiments which unite their hearts. The distance and\nuncertainty, however, of that desired period fill Clytemnestra with the\nmost distressing disquietude. (i) which is heightened by the alarming\npresages of a very frightful dream. Egysthus, not less troubled on this\naccount than the queen, throws himself at her feet, and swearing love\nand everlasting fidelity, promises that his arm shall soon deliver her\n\nNO T E S.\n(i) Notice how this Tragic Ballet opens in anxious jerks and distressing\nspasms,... the very opposite way to that in which one expects a tragedy\nto begin. _/r> /o"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.15", "texte": "THE RUSSIAN BALLET.\n\nfrom the obstacles that seem to threaten an interruption to their\nmutual bliss.\nScene II.\nAt the instant of his making these protestations a sound of drums,\ntrumpets, and other wartlike instruments is heard, which throws\nEgysthus and Clytemnestra into the greatest co'nsternation (1) and\naffright. He springs from, the feet of the queen with equal precipitation\nand fear. The noise affects their astonished souls like a peal of wrathful\nI\nthunder... they shrink with confusion. J£?\nScene III.\nA herald from Agamemnon enters with a letter to the queen from\nthat Prince, which he delivers to her on his knees. Clytemnestra with\na trembling hand (2) receives the letter and makes a motion to the\nherald to withdraw; he retires to the furthest part of the stage. Terror\nand affright seize the heart of Clytemnestra; a deathlike paleness over-\nspreads her countenance; nor can she by any means resolve to read the\nunwelcome letter. Desirous, however, to conceal her anxiety, she orders\nthe herald to leave her, assuming at the same time a look of satis-\nfaction and giving him to understand that his message puts an end\nto all her griefs and misfortunes.\nScene IV.\nJZ/ Clytemnestra and Egysthus draw near to each other with visible\nemotions of fear. Clytemnestra, sighing, shows him the fatal billet. She\nhesitates, but at last opens it with a hastiness (3) that displays the\n\nNOTES.\n(i) Consternation and confusion are out of place at the commencement\nof a great tragic drama. In fact they militate against the tragedy. Con-\nsternation and confusion are two states of being which should neither\nbe represented nor stirred up in the spectators. All great art combats\nconsternation and confusion.\n(•2) Is it not preposterous ? ....Clytemnestra !!....?\n(3) No, no, it is exactly what she does not do. Clytemnestra opens it\nwith a hastiness that displays all the agitation and tumult of a ballet-\ndancer's 'mind'. /Eschlylus opened it differently."}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.16", "texte": "THE RUSSIAN BALLET.\n\nagitation and tumult of her disordered . By degrees they\nassume boldness enough to examine the contents; every line, every\nsentence, increases their apprehension and distress; but the intelligence\nthat the king is immediately following in the steps of his messenger\ncarries the severest stroke to the heart of Clytemnestra. Egysthus feels\nthe same sensations! both seem annihilated under the pressure of\ntheir misfortunes, and they recover from their situation only to\nsink into the most poignant despair. Egysthus proposes to murder\nAgamemnon. Clytemnestra shudders at the thought, and rejects the\nproject. He threatens to leave her and destroy himself. Trembling the\nqueen endeavours to appease his rage and soothe his transports, and\nto induce him to stay. She seems at one moment to yield to his horrid\nproposal, but the next her heart rebels against the thougiit; she re-\nproaches herself with her barbarity, and becomes sensibly shocked at\nthe enormity of such a crime. Egysthus, who is conscious of having no\nresource but flight or treason, breaks out into passion and menaces. His\narm, accustomed to murder, only seeks new victims for his fury. The\nunhappy queen, not knowing how to resolve, in a fatal moment yields\nto and joins in the black designs of Egysthus. They go off in all the\nagitation which fury, anguish and despair can excite in the human\nbreast (i) or characterize in the expressions of mind and body.\nThis is poor Noverre's idea of Tragedy and of Art. & &\n& I really can't take up space in reprinting more of the nonsense....but\nit is enough to show you the amazing cheapness of the mind of No-\nverre....the greatest Ballet Master of his time. I wili admit that some of\nthe movements of the dancers may have been quite \"splendid I grant\nit ever so willingly....all I refuse to let myself tell people Is that this\ncould possibly have been a work of art. JZ?\n& A splendid line or two in a badly conceived and badly written poem\nwill not make a work of art....and there is something seriously wrong with\nus if our critical faculty is able to be carried away to such an extent that\nwe apply the same terms of praise to the ballets of Noverre or Fokine as\n\nNO T E S.\n(i) Of a Ballet-master. & & & & _"}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.17", "texte": "THE RUSSIAN BALLET.\n\nwe do to the solemn and lovely works of art by or John\nSebastian Bach. JS?\nThere is another short line or two from Noverre's 44 Agamemnon\nRevenged\" that 1 must quote. Upon Agamemnon telling Clytemnestra\nthe name of his young captive Cassandra he recommends her to 44 the\ngenerous protection of the Queen\". «£? JZ? £?\n44 Clytemnestra then embraces her, and takes off her chains, but\nin performing this benevolent action seems to swear implacable\nhatred against the young princess. At every instant when unobserved,\nthe queen and Egysthus express the fury and impatience with which\nthey burn to satiate their vengeance and to sacrifice every object that\nseems to oppose their wishes\". (i) JZ? JZ? & &\nNow this even if it be pure ballet, and purely 44 theatrical \" in the\n\\\nsilly sense of the word, does not belong to a work of art. As performed\nby a great dancer it here and there might become noble and tragic....\nbut only here and there as it were by accident. JZ? JZ/\nArt is not at all a matter of accident: it is all a matter of design even\nas Nature is a matter of design. And so deliberate a misreading of Nature\nas Noverre is guilty of, is exactly what the Russian Ballet is guilty of.\nM. Nijinsky's 44 Apres midi d'un Faun \" does not improve matters.\nThought out with the all-too-clever twists of the Russian brains, it is\ndaring and nothing else. I am told that M. Rodin was enthusiastic. What\nof that ? Shall a sculptor decide all things ? If this be allowed will it\nalso be permitted that we of the Theatre shall be the judges to pro-\nnounce of Sculpture,...and be listened to ? Take care last we pronounce\nin favour of our property man who makes our Giant's fiead or Blondin\ndonkeys! & & JZ? & &\nJZ? Nature is not at all like a charming Carnival, or that ridiculous in-\nterpretatian of Chopin in muslin skirts ....where the dancers could not\neven Interpret correctly. sZ? j&\nFor Nature has a Rhythm. The Russian Baliet knows nothing of that\nRhythm. It is charming...perfectly, deliciously, intoxicatingly charming but\n\nNO T E S.\n(i) Can't one see it! All stage emotion.... stage proportions. £?"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.18", "texte": "THE RUSSIAN BALLET.\n\nits charm is artificial; and Art's great claim to distinction is that it\napproaches nearer to Nature than anything else can do. And we insult\nall the masters of old, and those who today are striving to learn a few\nof the myriad secrets of Nature, when we rave frantically over what the\nRussian Ballet has to offer us. JZ\nJZ? I have written this after long deliberation, and because 1 believe that\nsomeone who holds all the Arts in the deepest respect must say a word\nto stem the tide of gush and error which threatens our\nI wish our Russian visitors all the \" success \" in the world....may\nthey come back to England again and again, and may a rain of bouquets\nbe showered upon the lovely ladies who pass before us so tenderly and so\ntemptingly on the stage of Covent Garden. May Nijinsky leap as loftily\nas ever and even more lightly, and may our admiration for his surprising\ntechnical powers stlil express themselves in thunders of applause. JZ?\nAs for M. Fokine, let him be crowned King of all the Ballets I JZ?\nBut let us not act towards Art as foolish traitors do who sell the\nnoblest for the silver pieces. We can all of us fall under the spell of these\ndancers for a moment, but let us not love aud reverence them as though\nthey had reached to the high achievement of masters of art. t\n•»\n-2? The Theatre is in this century about to make a new effort to become\na fine art....it is preparing to ascend....to approach a very difficult and\ndangerous incline. Do not thoughtlessly hamper its ascent by ill=advised\nenthusiasm whenever It stumbles in the ascent.\n& The Russian Ballet is held to be the finest achievement of the New\nTheatre. The Russian Ballet belongs to the Theatre of Yesterday.\nWhen our Theatre is re=formed my knowledge of my theatrical\nbrothers forces me to be quite certain that we shall \" reform al-\ntogether • jZ? JZ* j£7\n& The Russian Ballet is one of the modern Theatre's charming accidents.\nFor the sake of the future of the Art of the Theatre, do not in your enthu<\nsiasm mistake every taking Ballet or \"Production\" for one of its noblest\nefforts."}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.19", "texte": "LE BALLET DES POLONAIS PRESENTED AT THE TUILERIES 1573."}, {"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.21", "texte": "A HISTORY OF PUPPETS\nby \"Yorick\"\n<■)\nPUPPETS IN ITALY.\nhardly know whether it is just to affirm that in\nthese days the marionette theatre is traversing a\nperiod of swift decline. JS? &\nCertainly, among the lower classes there is no\nlonger the same ardour, the former passion for the\npuppet plays. But \" les Dieux s'en vont \",... and it\nis very natural that there should depart, although\nless hastily, the puppets also. The public of the\nwooden \" fantoccini \" has changed its disposition, nature and cus-\ntoms. jg? <6? ■£/\nYet the \" burattini \" still exist and have enough breath in their\nbodies to survive a few hundred years more in the best of health. Only\nit is really a pity that they study every day to resemble more closely\nthe living actors, to dress like you and me, to recite like the leading\nman or the leading lady of the dramatic companies, to display the same\nrepertoire on their stages, and by this means to lose that original, mis-\nchievous, charmingly awkward physlonomy of their own which made of\nthe marionette theatre a microcosm, born and created to laugh at, and\nmake a jest of, this stupid and deceitful old world of ours.\n& I understand perfectly well that the little wooden figures also feel\nthe influence of modern ideas just as they feel that of damp and dryness\nand every change of temperament. The fact of being wooden does not\nsave from the influences of progress !\nAs formerly the puppets transformed themselves with the transfor-\nmation of ancient into modern society, changing from slaves to Roman\ncitizens, and from Gentiles into Christians, and from being religious and\nliturgical became civil and artistic; as Maccus and Centuculus became,\nfirst God the Father and the prophet Daniel, and afterwards Pulcinella\nand Ariecchino, so today they change slowly, slowly, and become the\nsignor Ministero and the signor Deputato. It Is natural and perfectly\ncomprehensible when one considers that in all times, under all govern-\nments, the marionettes have followed step by step,.... if they have not\n\n(1) P. Ferrigni."}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.22", "texte": "A HISTORY OF PUPPETS.\n\nat times preceded... the transformations of the theatre and of the society\nIn which they lived. &\nBut we old folks witness with profound regret this rapid disappearance\nof the masks which delighted our youth, and we see with sorrow the re-\ntirement from the marionette stage of those delightful and beloved figures\nJ*r\nwhich have already passed as a mist from the larger stages as well. If\nthey go ahead with this haste a little longer Plorindo, Rosaura* Pantalone,\nLelio, Beatrice, Leandro, Colombina, Smeraldina, all the charming phan-\ntoms which peopled with a gay and noisy multitude the garden of Italian\nart, will remain only as empty names and colourless shadows ; we shall\nnot find them any longer even among the puppets, and a hundred years\nhence they will be scarcely mentioned in books, and only as one speaks\ntoday of the little moveable figures excavated in the sepulchres of the\nChristian catacombs. J£? A&\nAt least It is something that in the universal shipwreck of all the\n\" maschere \" some few have been saved on the stage of the marionettes;\nand while the vernacular comedy declines and disappears and is scarcely\ntolerated on the smaller stages, some of the protagonists of those domestic\ntales continue tranquilly to babble their native dialect between the wings\nof a wooden booth or behind the curtains of a \" castello \".... of canvas.\n£/ Let us bestow a sigh and a tear on the dead ; on Pantalone dei Biso-\ngnosi, on Faccanappa, on Fritelllno, on Giangurgolo, on Corallina, on\nBeltrame, on the Magnifico, on Zaccagnino, on Truffaldino, on Pagliacci,\nand let us consecrate a page to the living,.., alas, about to die,... who\nyet salute us for these last days from the height of those unsteady and\nawkward trestles. &\nThe merriest and the most noisy is always \" Arlecchino \", Arlic-\nchino \", as he was called by Francesco Saverio Quadrio, who so admirably\ndepicts his figure, character and actions:....\n\" The dress of \" Arlecchino \" consists of nothing more than bits of\ncloth, red, light blue, violet and yellow, cut in triangles, and joined one\nto the other from top to bottom; a small hat that barely covers the\n*\nhead, a pair of little shoes without soles, and a black mask, a style of\nvestment undoubtedly like that of the \" Zanni \", of the ancient mimes,\nwiio were called Planipedes. In that coat of many colours, behold"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.23", "texte": "A HISTORY OF PUPPETS.\n\n\" Centunculo \" of whom Apuleio speaks. In that black mask you have\nthe soot-covered face; in that mode of wearing the hair hidden under a\ncoif, the significant shaven head that, with the Planipedes, was Impe-\nrative. In those shoes without soles you have the type of those who\nwalked bare-footed, and, in the beatings that he so frequently receives\nfrom his master, you see the humiliations to which they were subjected.\nOf Arlecchino's power of making people laugh with his head, mouth,\nactions, face and voice, Cicero wrote:... Quid enlm potest tam ridiculum\nquam Sannio esse ? qui ore, vultu, iniitandls motibus, voce, denique\ncorpore ridetur ipso \"• This was with regard to the Sannioni and the\nMimes, whom Arlecchino resembled. The character that Italian comedies\nof past centuries gave to their \" Zanni \", was always the same as that\nof the old Latins and Greeks, that is to say, of a buffoon and a glutton.\"\nLet it be said byway of parenthesis that there were two \" Zannis \"\n44 Arlecchino \" and \"Scappino \", but Scappino, alas, has \" scappato \" (i)\nto some other world. Arlecchino was born in the Bergamo valley; he\nspeaks the Venetian dialect out of regard for the intelligence of his\naudience who, if he were to speak in his native jargon, would not un-\nderstand a single word of what he said. \" A Bergamesque Moor, writes\nMarmontel, is an absurdity, and it must be supposed that some African\nslave was the first prototype of that personage \". Oh no, Sir, it was not\nthe sun of Africa that darkened the skin of Arlecchino ; It was the soot,\nwith which the \" Fallofori \" of Slcione blackened their faces, \" fuligine\nfaciem obductam \" in order to imitate and ridicule foreign slaves. £?\nThere are some who maintain that Michelangiolo caused an alteration\nto be made in the \" maschera \" of Arlecchino, so as to make It more\nartistic and that he was inspired by an ancient Satire. Just imagine,\n%\neven the divine Buonarroti was interested in burattini!\n\" The character of Arlecchino, says Marmontel, is a mixture of igno-\nrance, ingenuity, spirit, stupidity and grace. He is a kind of imperfect\nman, great baby, who has something of the light of intelligence, and\nwhose apparent carelessness has just a shadow of acuteness. He is the\n\nNO T E S.\n(i) A play on words. \"Scappato\" means \"run away\", \"made his escape\"."}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.24", "texte": "A HISTORY OF .\n\ncounterpart of the flexibility, agility, and grace of a young kitten, with\nthe addition of a certain native ruggedness, that renders all he does\nmore pleasing. The part that he plays is that of a servant, patient,\nfaithful, trustful, always in love, always embarrassed either for himself\nor his \" padrone \", distressing and consoling himself as readily as a child,\nand whose sorrow is as exhilarating as his joy\nListen to Arlecchino, when seeking service:....\n& 44Sior Florindo, I know that you are in want of a servant, after\n\" having made three hundred and twenty seven changes in a year, and\n\" I hope to make up the round number. I am a man, who knows how\n\" to do everything:... eating, drinking, sleeping and making love to the\n44 maids ; the only fault I have Is that 1 don't like work. 1 shall be as\n44 punctual as an idler, as faithful as a domestic thief, as secret as an\n44 earthquake and as watchful as a cat \". jZ? jZ? .<Z?\n\"Brighella\" (1) is also Bergamesque, but comes from the city and not\nfrom the vallles. I should hardly like to say that, precisely on account\nof this, Brighella is as cunning, crafty, subtle, boasting, lying and thieving\nas Arlecchino is sincere, pensive, sweet, modest and trustful. 1 do not\nwish to speak evil of any one, but 44 Brighella \", with ali due respect,\nis a perfect type of \"canaglfa infame\". (2) Bold with women, cringing with\nmen, haughty with the weak and cowardly with the strong when he\nis afraid he is implacable and brandishes his knife, even treacherously.\nOn the other hand he is full of good qualities; lie sings, dances, and\nblows the trumpet; and he always knows where to find twenty \"Svanziche\"\nwhen he has need of them,... and he has need of them three hundred and\nsixty five days in every year. This is his own autobiography;.... (3)\n44 At twelve years of age, I was in prison for the first time ; at fifteen,\n44 in the pillory; at twenty I was flogged, and at twenty five, for the\n44 first time, at the galleys. Grammar, rhetoric, philosophy, humanities,\n54 all my studies 1 have completed very early. If you charge me with\n\nNO T E S.\n(1) An article on \" Brighella \" appeared in 44 The Mask \" July 1912.\n(2) A good for nothing rascal.\n(3} \" Qenerici brighelleschi Novara. Crotti. <B7O. jz? jg?"}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.25", "texte": "A HISTORY OF PUPPETS.\n\n44 having been beaten and with having been at the galleys, I reply that\n\" 1 have served my Prince both on land and sea. Now 1 am a huntsman ;\n44 I live on what 1 kill, but must not on that account be called a thief,\n44 but rather a clever mathematician, who finds things before their\n\" masters lose them &\n.<2? Now, however, 44 Brighella \" has become more sensible. I do not say\nthat he is really better than he was, but he does not rob or kill, and is\nmore inclined to deceive women in his love affairs than men in business.\nThe third among the burattinesque \" maschere \" is the 44 Dottore \",\na native of Bologna, dressed entirely in black, with a chocolate coloured\n44 moretta \" on his forehead and nose, and his red cheeks changing to\nviolet. He is one of those learned men, who know nothing, or rather\nwho know all things by halves, and therefore make the most ridiculous\nblunders on every subject.\nThe \" Dottore \" claims to be an Accademiclan of the Crusca \" of\nFlorence, physician, notary, advocate, astronomer on occasion, and an\nastrologer when he can find any one to believe in him. But the learned\n44 Dottore \" did not always know how to speak the truth. jZf JZ/\n44 Rogantino \" is a Roman, descended in direct line from that 44 Pirgo-\npollnice \" whom Plautus has immortalized under the name of 4( Miles\ngloriosus \". and, like him, acts the bully and the braggart, threatening\ncontinually to eat up his enemies alive, and unsheathing his sword at\nevery moment, to deliver upon all and sundry the most terrible blows.\nHe Is dressed in something like the livery of the pontifical guards,\nscarlet with dark blue pantaloons, an enormous double pointed hat on\nhis head, placed crosswise ; he walks heavily, by leaps and bounds, in a\nhectoring sort calculated to frighten all around him, and shakes\nhimself like a dog that has just come out of water, in order that the\nrattle of the arms he carries may be distinctly heard ; and he turns\ncontinually to see who it is that laughs or hisses, and who it is that\ndares to open his mouth, when he is there. JS?\nJZ? 44 Sandrone \" and 44 Carciofo \" are quite modern 44 maschere \". Of\n44 Sandrone \" we shall speak later* because his biography is connected\nwith the story of a family of showmen, so typical and strange, that it\ndeserves to have a chapter of its own,j& uZ? JZ? JZ>"}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.26", "texte": "A HISTORY OF PUPPETS.\n\n\" Carciofo \" Is a Neapolitan fantoccino, with a large head and a lean\nbody; rubicund, careless and homely. He was born at Pisa in the theatre\nof the \" Belle Torri \" about four years ago, and has father was Tertul-\nliano Plccinini, eldest son of \" Orazio a showman, who was famous\nthroughout the Tuscan and Romagnan provinces. jZ?\n& It was evening... the performance was just about to commence, and\nTertulliano was at the door, taking the money of the people crowding\nto come in. ''Forward, come forward, Slgnori, and get good places!\" when\nall at once a soldier belonging to the artillery pushed in front, at the\nsame time calling to a companion to follow, a recruit, who was lamenting\nthe price of the ticket. \" Come, 1 tell you, said the first; you will enjoy\nit \". Go, you, and enjoy it. I have no money \". \" Come, 1 tell you,\ncarciofo \". (i) That scornful word immediately struck the ear of Piccinini,\nwho turned round, with a smiling glance at the recruit, and in that\nmoment \" Carciofo \" was created, and has continued ever since to arouse\nenthusiasm throughout Tuscany, the Marches and Umbria. &\n& \" Carciofo \" is a surprising personage. He walks with a swinging\ngait and with bending knees; he moves his head, mouth, eyes and\nshoulders, drinks, smokes, eats macaroni, lifts a candle from the table\nto light his pipe and puts it down again, each one of those actions being\nreceived with tremendous applause by the spectators,\n£? Another very ancient fantoccio, still living on the marionette stage,\nis the \" Diavolo \", with all the attributes and distinctive qualities of\nhis infernal nature. The history of the \" Demonio \" as a comic actor,\nwould be interesting to study and to write. But it is a story that would\ncarry us too far and oblige us to deviate from our subject. &\n& It is certain that the \" Diavolo \" often took part burattini in\nthe \" Sacre rappresentazioni \" and in the \" Misteri \" of Italy, in the\n\" Miracle plays and Pageants \" of England, in the \" Sotties \" of France,\nand in the \" Tokkenspieler \" of Germany, and as long as liturgical drama\nretained any life in Europe the figure of Satan had necessarily to be\nput in opposition to that of the \" Padre Eterno \", if only to make the\n\nNOTES.\n(i) A \" carciofo \" is an artichoke. jz? uz? &"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.27", "texte": "A HISTORY OF PUPPETS.\n\ntriumph of the latter more splendid and more glorious. Afterwards when\nthe theatre changed its nature, character, language, objects and manners,\nthe figure of the \" Padre Eterno \" left the scene in indignation, and the\n44 Diavolo \" remained... as was natural. It actually seemed to him like\nbeing in his own house. & &\nThe other personages and 44 maschere \" of the burattini show, 44 Sten-\nterello \", 44 Meneghino \", \"Qianduia\", 44 Gerolamo \", 44 Tartaglia \", are\nthe same as those who recite in the great theatres of flesh and blood\nactors, and do not differ from them in any way, except, perhaps, in wil-\nlingness, indefatigableness and complaisance. jZ*\nOf 44 Puicinella \", (1) who is a name of European repute, I must say\nsomething, although he is not now a personage belonging exclusively to\nthe burattino theatre. But he is, perhaps, the most ancient \"maschera\"\nthat has ever appeared on the stage, the first to be born under the origi-\nnal \"fantoccio\" form, the one who best preserves the national physiognomy\nin spite of his continuous and fortunate emigrations, in the course of\nwhich he has had to traverse every part of the known world, bearing\nin each country a different name, dress, character and habits. Biogra-\nphers, when they speak of the 44 Puicinella \" of flesh and blood, make\nhim descend from the 44 Mimus albus \" of the Osci, from the 44 Maccus \"\nof the Campaui. But after the old bronze statue was disinterred in Rome\nin 1726 and placed in the Capponi Museum, reproducing exactly the\nfigure, profile, dress and general appearance of the Puicinella of the\npuppet stage it may at least be asked, which of the two, the fantoccino or\nthe actor, was born first ? jS?\nIn any case, what is certain is, that Puicinella has continued for a\nvery long period to be the life, soul, and spirit of theatrical marionettes.\nWherever a burattino showman has found a bit of ground whereon to\npitch his 44 castello \", there 44 Pollicinella \" at Rome and Naples, 44 Puici-\nnella \" in every other part of Italy, 44 Polichinelle \" in France, \"Punch\"\nin England, 44Hans-Wurst\" in Germany, and \"Don Christoval Polichinelo\"\nIn Spain has appeared in likeness of the bronze statue of the Capponi\n\nNOTES.\n(2) For further news of Pulcinella see ** The Mask July 1910."}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.28", "texte": "A HISTORY OF PUPPETS.\n\nMuseum, dressed in a wide white robe, drawn in at the waist with a\nleathern belt, with a crush hat, in shape like a sugar=!oaf, on his\nhead, and the face covered with a black half-mask, with the hooked\nnose and the large mole on the cheek. £2? -2?\nJZ? That head and robe present the most perfect type of the primitive\nburattlno, made expressly to be manipulated with three fingers of the\nhand of the showman. Even today Pulcinella is in a servile condition,\nastute and foolish according to circumstances, sober and greedy, loqua-\ncious and taciturn, full of gesture, merry, sarcastic, satirical, and a\nslanderer and backbiter as required. Travel round the world, and in\nEurope, Asia, Africa and America wherever you may be, you will find\nPulcinella with his knotty stick in his hands ready to discharge, on the\nburattlno stage, a crop of heavy blows either on the horns of \"Diavolo\"\n...or on the head of the Commissary of police.\nBEHIND THE SCENES.\n\"T*he sight that presents itself behind the stage curtain is extraordinary.\nThe place is restricted, dark and confusing. On ail sides there is an\nintolerable odour, a kind of special perfume, that rises from the nose\nto the brain ; a mixture of paint and varnish, Hie snuff of a candle,\npetroleum and grease, with the addition of a trifle of garlic and strong\ncheese. Along the walls fifty or sixty poor little fantoccini, of both sexes,\nare hanging, like so many herrings, looking at you out of that\nsemi-darkness with their fixed glass eyes and with an expression that\nalmost freezes the blood in your veins. One has its head turned the\nwrong way and partly hanging down its back ; another has its arms\ncontorted or its legs twisted ; all present the appearance of people who\nhave died on the gallows after many hours of spasmodic convulsion. Six\nor seven enormous spectres are moving about, looking like colossal\ngiants in the midst of pigmies. They come and go in silence, busily en-\ngaged in placing the different personages, animals and others objects\nthat are to form part of the evening performance. These are the showmen.\nSeen close at hand, in that confined and smoky atmosphere, and\nmixed with real live men, the little \" burattini\", stationed here and\nthere, seem like a swarm of monstrous insects, and one would think it"}, {"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.29", "texte": "A HISTORY OF PUPPETS.\n\nalmost impossible to derive from them anything approaching that com-\nplete illusion, which is so indispensable in all theatrical representation.\nAnd yet, as soon as the curtain rises, the effect is surprising. The\nrelations of proportion between the figures and the stage appliances and\nscenery, are so exactly arranged, that in five minutes after the com-\nmencement of the play, the eye has become accustomed to the perfect\nharmony produced: the little marionettes seem to acquire at once the\nstature of living persons, space seems to increase, the back ground to\nrecede, and the air to circulate freely, so that* little by little, anyone\nmight easily imagine that he was witnessing a performance by living\nhuman beings.\nThe r4 operatori \" are naturally out of sight, and they are accustomed,\nin spite of present-day talk about division of labour, to speak the part\nas well as manage the fantocci.\n& A normal \" burattino \" is generally sixty centimetres in height, and\nis composed of six pieces, a head, two forearms with the relative hands,\ntwo legs and a torso, all carved of light wood. The heads, when it is\nnecessary to reproduce some particular and traditional 44 maschere \", or\nto obtain some resemblance to contemporaneous persons, known to the\npublic, are constructed by a skilled artlzan, and usually cost seven or\neight Lire each, (i\nIn all other cases, speaking generally, the showman does what is\nrequired. The neck is attached to the body by means of an iron hook\nand ring. The arms from the elbow to the armpit, and the legs from\nthe knee to the hip, are made, in the case of ordinary figures, of cloth\nsleeves, and, therefore, admit of any action or movement that may be\nrequired.\nIn the case of the principal figures, as well as of 44 maschere \" peculiar\nto some particular province, the whole is made of wood, but with all\nthe various sections so skilfully joined as to permit of free play in every\ndirection. On the top of the head there is a fixed ring of iron for the\nV ferro \", or rod, that holds and supports the figure when it has to be\n\nNO T E S.\n(i) Six or seven shillings."}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.30", "texte": "A HISTORY OF PUPPETS.\n\nin repose. This rod is about a metre in length, and has a hook at the\nend of it. Below the hook there is a good sized wooden block, or ball,\nattached to the rod; in fact the rod passes through it; on this block\nare small hooks and eyes that receive the 44 fili \" whereby the 44 fan-\ntocclo \" is made to gesticulate with the greatest ease and facility.\nThere are usually four of these 44 fili \", two for the hands and two\nfor the feet, or rather, two for the wrists and two for the ankles. In\nthe case of 44 pupazzi \" that are intended to perform some special and\ncharacteristic action, the lower 44 fili \" are joined to the knees.\nBut it often happens that there are figures, dowered with more com-\nplicated motions; with them the number of 44 fili\" is increased and\nmultiplied, their direction and management is governed by many rings,\nand the different 44 fili \" unite in the 44 ferro \", or rod, which is hollow\nand is in such cases surmounted by a block, twice or three times the\nusual size, and furnished with lateral holders and with supplementary\nhooks. g? g/ * g? g? g/\nThere are some burattini that move their eyes, open and shut their\nmouths, and move the fingers of their hands. The 44 Tartaglia\", for\nexample, twists his lips in such away as to form a most ridiculous\ngrimace, 44 Rogantino \" grinds his teeth: 44 Stenterello \" puts his finger\nto his nose and scratches it as in act of meditation. The famous 44 Car-\nciofo ' lias his hollow torso fitted with a metallic case, containing such\nmechanism and appliances that he is able to drink, eat macaroni and\nsmoke; his hands are also so arranged that with his fingers he can imi-\ntate exactly the playing of a musician on a violin ; moreover his clothes\nare so adjusted that he can undress himself and appear on the stage in\nhis shirt sleeves. g? g? g? &\n& For a first class company of Marionettes, at least a hundred burattini\nare necessary, and often two or three figures of the same \"personaggio\"\nso as to carry out rapidly the various changes required. jgf\nShowmen, as a rule, are quiet, inoffensive, honest citizens, and fathers\nof families. They carry on, almost always, some supplementary trade, or\nbusiness, either as cabinet-makers, carpenters, wood-turners, painters or\ndecorators. But they are always full of enthusiasm for their art, and\ntalk of their theatres, of their scenery, their actors, their peregrina-"}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.31", "texte": "A HISTORY OF PUPPETS.\n\ntions among the different *' piazze \" of Italy, the tastes and humours of\nthe public and the comparative value of comedies and comedy writers,\nwith all the airs and importance of a star comedian relating the story\nof his numerous triumphs.\nI have discovered in conversation with leading showmen that the\ntaste for marionettes is much more marked in the cities than in country\nplaces, and also that peasants and children are but slightly impressed\nwith the perfection of mechanism in some of our more elaborate little\nfigures, and that for a proper appreciation of ail the physical and moral\nqualities of a \" Carciofo \" you must have a select public and a highly\neducated people.\nA FEW STATISTICS\nAt the present moment there are more than four hundred Marionette\n\" edifizl large and small, on Italian soil. (1) lam not counting the\nmany informal \" baracche or wretched <* castelii \" set up by some\npoor wandering showman, who works a couple of \" fantocci \" called\n\" capocielli \" with his fingers, and amuses a crowd of rogues and pick-\npockets in a Fair or Market with a play of \"Pulclnella\" acting \"Diavolo\"\nand \" Carabiniere jg?\nThese are two or three times as numerous; they arrive, leave, come\nand go, carrying all their belongings in a bag or bundle, like that\nGreek philosopher.... and no one notices them, no one knows them and\nno one troubles himself about them. 1 am speaking only of Marionette\n\" intraprenditori di spettacoii \" from the most complete to the least so,\npeople who carry on the business with a small capital, travelling from\ncity to city, setting up their \" baracca \" on the stage of some regular\ntheatre, and giving a course of representations, which they have pre-\nviously announced by means of bills on the wails ; those who, by hook\nor by crook, have managed to get a company together and to provide\nthemselves with some kind of repertory, and who are possessed of a few\nhousehold goods, which for them are the equivalent of a patrimony. &\n\nNOTES.\n(i) This was written about 1884."}, {"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.32", "texte": "A HISTORY OF PUPPETS.\n\nAccording to my calculations, which are based upon a very moderate\nestimate, Italy, to-day, contains a population of forty thousand theatric\ncal burattini, of whom the last census makes no mention whatever.\nThey are most numerous in the southern provinces of our peninsular.\nThose highly populated towns on the shores of the two seas, at the end\nof the Boot hardly know of any dramatic theatre except that of the\nMarionettes. Even at Naples, Gaeta, Salerno, Aquila and Caserta, mecha-\nnical theatres are sometimes able to compete with the regular stage\nplays.\nIn the rest of Italy there are roving companies of Burattini, who\nchange their place every month, like the nomadic companies of travelling\ndramatic actors, going from theatre to theatre. At Milan and in the\nprovinces of Lombardy there are many Marionette companies and they\ndo an excellent business. One of the most celebrated is that of the bro-\nthers Prandi, of Brescia, which has also travelled more than once through\nTuscany, and been greatly applauded at Florence, Siena and Pisa.\nHere, in Tuscany, after Nocchi, we had Paganl of Florence and Cia-\nbattari of Leghorn, who made a great name among lovers of burat-\ntinesque plays. At Turin, those who hold the first place are Lupi and\nDacomo ; at Forlf, Mainett); at Jesi, Salicl and Cerruti and at Genoa,\nLuciano Zane.\nBut none of those companies remain stationary in any one city ; they\nall move about and visit in succession every part of the peninsular.\nIn Florence, Empoli, Prato, Pisa, Leghorn and Portoferraio the com-\npany of Orazio Piccinini was famous up to quite recent times: they\npossessed an \" edifizio \" so elegant and a collection of \" pupazzi \" so\nperfect, thaf they were able to defy comparison. At present the Piccinini\ncompany are resting on their laurels in a solid chest in a charming\nhouse, which Orazio has purchased out of his savings in the beautiful\nneighbourhood of Empoli. &\n& Tiie example is encouraging, but it must not be supposed that the\npaths of Burattini showmen are always strewn with roses. An \"edifizio\"\nconstructed and maintained according to the rules of art costs \"un\nocchio della testa \". (i) The public has become exacting and critical. It\n\n(i) \"An eye out of one's head\", An Italian idiom for a great cost."}, {"page_pdf": 33, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.33", "texte": "A HISTORY OP PUPPETS.\n\nrequires an oriental luxury in tbe appointments of the scene, great\nvariety and perfection of mechanism, fresh wonders and ruinous profusion\nof dresses, covered with gold, silver, roman pearls, spangles, feathers,\nfringe, lace, tassels, and distinguished orders. 44 Balii \" have become real\nchorographic displays, requiring magnificence of scenery, skilled musi=\ncians, and above a11... burattini. It is already the custom to state on the\nplaybill the name of the scene painter, and that of the organizer, as well\nas that of the chief dressmaker, and of the director of the orchestra,\nwith his thirty professors, who must not, or any account, be left ano=\nnymous.\nIn addition to the \" bailerini \" we have now acrobats and jugglers.\n....burattini, who walk on a tight rope, and perform on a trapeze,\nwithout the least sign of any wires to hold and guide them : burattini\nthat act the part of a flying man like Leotard, or of an equilibrist like\nBlondin ; burattini that play with balls, bottles and daggers: that fence,\nfire off guns, jump through hoops, and play the violin to the accompa=»\nniment of a full orchestra. All this is very fine, but it is not the simple\nand unassuming way of the Marionettes of old. If we continue to advance\nat this rale, burattini, by degrees, will become automatons, and \"castelii\"\nand 44 edifiziiwill be transformed into machines marvellousiy conceived\n»\nand skilfully put together. ;£/ «<£?\nAnd then, good bye to originality: good bye to inspiration : good bye\nto the work and skill of the showman. 44 La mise en scene etouffe I'art\nsous les oripeaux \" cries Francisque Sarcey 44 ceci tuera cela \"... The\nillustrious critic is crying in the wilderness. The truth is, he is preaching\nto the 44 Comedie franfaise \". Burattini might at least listen. jg/\nTHE PUPPET REPERTORY.\n| should be foolish, and worse than foolish, presumptuous even, if I\nintended, or wished, to give a complete list of ail the productions,\nrecited, improvised and performed by the burattini of Italy since they\nmade their first appearance on the stage. An undertaking of that kind\nwould never end. I shall content myself with mentioning those dramas,\nfarces and comedies, which, according to long and interrupted tradition,\nhave been represented in marionette theatres."}, {"page_pdf": 34, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.34", "texte": "A HISTORY OF PUPPETS.\n\n& It seems to be certain that during the first efforts on the part of\ntheatrical \"pupazzi\" towards autonomous life, the sacred dramas, legends\nof the saints, and miracles of faith, must have defrayed the expenses of\nthe burattinesque showmen, both on account of the facility with which\nthe figures and machinery already used for the \"sacre Rappresentazioni\"\ncould be applied, and because of the practise that had been gained in\nreciting long passages of \" Laude biblical and evangelical extracts in\nIlturgicical plays. All this is so true, that several of those \" Misteri \"\nrefashioned and revised to suit modern taste, still form part of the re=\npertory of certain marionette companies, and are even now represented\nin country places, and also in the cities:... 'La Passlone del nostro Si-\ngnore Gesu Crlsto' by Mojorana: 'II Figliuol prodigo', by G. M. Cecchi:\n•la Vita e la morte di San Bartoiommeo', 'la Maddalena lasclva e peni-\ntente', by G. B. Andreini: 'Giuseppe ebreo\\ by Scamacca: 'Sansone e\nDalila' by Padre Rosselll: 'Giuda Iscaretta', byLottini: and 'Santa Tecla',\nand 'Santa Margherita da Cortona', by some anonymous writer. . &\nLater on, when •• maschere \" and farces came into vogue, burattini\nbecame possessed, as we have already seen- of all the \" scenarii \" of the\nCommedia dell'Arte; and partly transcribed, partly improvised the pro-\nductions that had made the fortune of Italian comedians of that period ;\n4\nthe comedies of Ruzzante, of della Scala, of Andreini, and all the others,\nwhich, afterwards, came to be represented in France in the Marionette\ntheatres of the two \" Fiere \", where we shall find them In due time and\npass them in review. j£?\n& Burattini had also at that time under their control \" scenarii\" of\nthe most ancient times, altered and revised to meet the requirements\nof wooden personages:... 'Li sdegni degli amanti', by Ottavio Janida, Gli\namanti scherniti', 'Amor non inteso', by Boccabadati, 'La caccia degli\namori', 'Gli anelli magic!', 'Arlecchino finto princepe', 'I due vecchi Ge-\nmel'i', *ll finto negromante', 'La prlncipessa addormentata', 'II giusto\nprincipe', 'II finto marlto', 'L' innocenza riconosciuta', 'II Baslllsco di\nBerganasso', 'La schiava', 'Amor non vuole imganni', 'Arlecchino ladro,\nsbirro e giudlce', 'Eularia muta per amore', 'Rosalba incantatrice', 'II\nbarone tedesco', *ll gran Convitato di Pietra'. &\n£? Of improvised comedies many disappeared, either in the \" casottl"}, {"page_pdf": 35, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.35", "texte": "A HISTORY OF PUPPETS.\n\nor 44 castelll \" that were set up in the open streets, where they were\nacted by strolling showmen of \" fraccuradi \" and 44 fantoccini or in\nthe theatres of innumerable 44 Accademie\" and 44 Congreghe \", that sprang\nup rapidly all over the peninsular. &\nIn those improvisations, one of the most distinguished was Pletro\nSusini, brother in-law of Lorenzo Lippi, author of 44Malmantile riacqui-\nsto \", who, (Pletro) according to the tastimony of Salvinl, \" provided the\nsubjects and recited himself in the 44 casino da S. Marco \", in the time\nof prince Leopold, afterwards Cardinal; and was one of the operating\nmembers of the 44 Accademla de' Rifritti &\n& After that, came the fabled and pantomimic plays: 4L'Augel!ino Bel'\nverde \", 4Le tre melarance', 411 Re cervo', 4La donna Serpente', all fables\nby Gozzi, 'La Grotta incantata', by Pirola, 411 noce di Benevento', by\nFlnoli, 4La Fata Morgana', 411 flauto magico', 4Eutlchio e Sinfarosa', 411\ncastello di Udolfo', 4Leonzio o I'incredulo punito', 'L'alchemista', 'II ca-\nstello incantato'.\nJZ? And then all the pathetic and romantic dramas of the last century\nand of ours4Genovieffa di Brabante ovvero le caduta del terribile\nGolo' by Gasperi, 4Bianca e Fernando alia tomba del Duca d'Agrigento',\nby Roti, 'L'orfanella della Svizzera', by Marchionnl, 'II conte dl San\nGermano', by Prina, 4Elisabetta Potowsky ovvero gli Eslliati in Siberia',\nand 411 furioso all' Isola di San Domingo', by Ferretti. £? JS? &\nAll the dramas of the 44 Avelloni \" and 44 Federici all the French\nmelodramas, translated and revised for the Italian stage ; all the civil\nand military German comedies of Iffland and Kotzebue, stripped, shor-\ntened, amputated and changed so as to admit of the intervention of\nArlecchino, Brighella, Gerolamo, Meneghino, Gianduia and Stenterello\npassed one at a time into the Marionette theatre. s?\nIt is probable that no other stage has ever so clearly represented\nwhat might be described as the 44 colore del tempo \" ; and that no other\ntheatre has ever manifested, more plainly than the burattini, the critical\nand philosophical spirit of Its contemporaries, with those little produc-\ntions; acted with all the dominant passion of the moment, with parodies,\nwith satires, with daring farces, with allusions to all current events,\nand all political people, with 44 tirate \", improvised or composed day by"}, {"page_pdf": 36, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.36", "texte": "A HISTORY OF PUPPETS.\n\nday, I might almost say hour by hour, according to circumstances and\nthe course of events.\nAll great men, all reformers, all the personages of the day, all abstract\nbeings, all personifications of ideas, ail the heroes of religion, of atheism,\nof epic poetry, of romance and chronicle from Christ to Beelzebub,\nfrom Don Pirlone to Ugo Bassi, from Vittorio Emanuele to Garibaldi,\nfrom Rinaldo di Montalbano to Masfrilli, from Giovanna D'Arco to the\nMonaca of Cracovia, from Carlo V to Giovanni delle Bande Nere; all\nhave had among burattini a moment of triumph and an hour of resur-\nrection.^\nTo be continued."}, {"page_pdf": 37, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.37", "texte": "THE SCENARIOS OF DELLA PORTA\nby Dr Michele Scherillo.\ndella Porta, of whose \" Scenarios \" Dr Scherillo\nwrites in the following essay, was born in Naples about 1540\nof a noble and ancient family and died in 1615. While very young\nhe travelled much in Italy, France and Spain, frequenting the\nlibraries and the society of learned men and clever craftsmen,\nand acquiring much learning.\nAfter his return to Naples he instituted in his own house the\n\" Accademia dei Segreti\" to which he admitted none who had not\ndiscovered some secret useful in medicine or in natural science. He\nwrote, besides his stage plays, a learned work on Natural Magic,\nand also a profound study ,s De humana physiognomia \".J& JS?\niccoib Toppi, a nobleman of Chieti and keeper of\nthe archives of his Catholic Majesty in the great\nrecord office of the \" Regla Camera della Sum-\nmaria \", describes Qiambattista della Porta as a\n\" napolitano di fertile ed elevato Ingegno, orna-\nmento particolare di Napoli \", and specially refers\nto his scientific works. (1)\nBut in the additions to his \" Bibiioteca Napo-\nletana\" which covers as much space as the first part of the work, he\ngives a list of the tragedies, tragicomedies and comedies of Porta and\nconfesses to having compiled it from the 44 Drammaturgia \" of Leone\nAllaccii (see page 329 of above). There is no reference to the 44 scenarl\nLionardo Nicodemo, who made the 44 Addizioni \" to the 44 Biblioteca \"\nof Toppi, adds to the list a comedy called 44 La notte \", which used to\nbe represented 44 all' Improviso \" in public theatres and In a few private\nhouses. And Ghirardelli, with regard to that play, says in the 44 difesa \"\n\nNO T E S.\n(i) (Biblioteca napoletana et apparato a gli huominl illustri in lettere di\nNapoli e del Regno, delle famiglie, terre, citta e religioni. che sono neilo\nstesso Regno, dalle loro orlgini per tutto I'anno 1673; pag. 139. £?"}, {"page_pdf": 38, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.38", "texte": "THE SCENARIOS OF BELLA PORTA\n\nof Ills \" Costantlno \" : \" Porta has been very highly praised for his\n*' \"Notte\", which at one stroke produced so much and such varied suc-\n\" cess as aroused the laughter and wonder of the spectators. \" (1) X?\n& Gennaro Muzio, the editor of four volumes of Porta's comedies, ex-\ncuses himself for the delay in their publication by saying: \" By no means\n\" small has been the labour which 1 have been obliged to devote for the\n\" putting together, and adapting as one whole all the comedies of this\n\" most famous author. Some of them 1 have happily succeeded in\n\" collecting; others, however, It has not been possible to trace save\nafter repeated requests and incredible exertions. Who will ever believe\n\" that one man treated my continual requests as objectionable or even\n\" ridiculous ? thai some other, moved by the idle fear of rendering trivial\n\" or vulgar the rarest gems of his library, repulsed me?.... \" ....And\nhaving mentioned the published plays, he hastens to quote what Ni-\ncodemo says of the \" Notte \" so that it may be generally known that\nas this particnlar comedy was always acted \" all' improvviso \", it was\nnever printed and that on that account it had been impossible for him\nto include it with the other \"commedie\", which were all written out at\nft\nlengtii and preserved In print. jZ? jZ? & jZ? x&\nx? Signorelll of Naples, In reliance on the statement of Nicodemo and\nGennaro Muzio, also refers to the comedies in connection with Porta.\nIt would, indeed, appear from his account that he had actually had them\nin his hands. This is what he says, after having first denounced all those\nwho \" non leggendo, osano raglonare (2) \" : \" We shall not dwell upon\n\" either of those comedies which the publisher of his \" Penelope \"\n\" Pompeo Barbarito, promised in 1591 to produce.\" (it remains to be seen\nwhether he could have done so !), nor \" upon the favole \" a soggetto \"\n\" (among which his celebrated \"Notte\" won a long celebrity,) with which\n\" he used to delight the city of Naples at the same time as with his\n\nNOTES.\n(i) Delle Commedie di Qiovambattista de la Porta napoletano. 4 vols :\nNaples 1726. From the press and at the expense of Gennaro Muzio heir\nof Mlchele-Luigi. x? & & js?\n(3) Without reading, dare to argue. jZ? jZ? x?"}, {"page_pdf": 39, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.39", "texte": "THE SCENARIOS OF DELLA PORTA\n\n«* scientific works he rendered it learned. \" (Storia critica dei teatri\nantichi e moderni, vol. 6. pag. 295.) And then, without further com-\nment, he refers his readers to Ghirardelli and to Nicodemo.\nj£? It has been alleged in later times by Camerini, Settembrini and\nTailarigo, that Porta was the author of \"scenari\" but none of them has\nadvanced any proof of this. The gospel has always been preached ac=\ncording to Nicodemo.\nThe illustrious professor Fiorentino, with that gravity of style which\nmakes him one of the ablest of critics* and not of Italy only, has also\njoined the contest, and suggested a doubt whether Porta ever wrote any\nplays at all. His reasoning is something like this : 44 You assert that Porta\n44 wrote them, for no other reason except that you have heard that a\n<« scenario \" called 44 La Notte \" was the work of this author. Now you\n44 should know that that \" celebrated \" Notte Is not a 44 scenario \" and\n44 in 1610 was ready for the press, and figures among the works of which\n44 the Manuscripts were consigned by De Filiis to the Publisher Bar-\n-44 tolemmeo Zannetti. \" JZ?\n& The 44 scenari\", according to Fiorentino, served for the 44 commedla\ndell'arte \", 44 which was so called because it was always performed by\n44 professional actors while the learned comedy could be performed even\n44 by dilettanti. Porta kept on the edge of the learned comedy, and if\n44 towards the end of his dramatic career he turned somewhat from the\n4\n44 classic models and introduces some innovations, he never goes so far\n44 as the commedia dell'arte nor the use of masks. Porta never gives any\n44 indications that his plays were performed save by dilettanti ; much\n44 less then would it enter his mind to sketch out 44 canevacci \" which\n44 to such actors would be absolutely useless. The improvised comedy,\n44 or comedy 44 a soggetto \" as we usually call it, served for one who\n44 was both author and actor, as was Moliere in later times. For our\n44 Porta it was not the thing. \" JZ? JZ/\n& As the matter stands here, the balance of probability would seem to\nincline in favour of the negative argument of Fiorentino. On the other\nhand, there is a document, that goes to prove that Porta really did write\n44 scenari:... an actual \"scenario\" of his composition! It has been brought\ndown to us by the Sicilian Andrea Perrucci in his book 44 Dell'arte rap-"}, {"page_pdf": 40, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.40", "texte": "THE SCENARIOS OF DELLA PORTA\n\npresentatativa premeditata ed all'improviso \". Speaking of 44 commsdie a\nsoggetto \"he writes: 44 The 'soggetti' which are scattered about are\n44 many, and there are printed volumes of them either from the comedians\n44 theatre or of 44 zibaidoni \" to which I refer, such as the fifty days\n44 44 Teatro scenico \" of Piaminio Scala, known as Piavio. &\n\" The making of new ones is a little difficult for anyone who has\n44 not good powers of invention and knows how to avoid the ancient\n44 lazzi:however 44 hoc opus hie labor est\". It seems that the Latins\n44 did not know how to avoid the imitation of the Greeks, nor the Italians\n44 of the Latins ; hence the invention of new lazzi Is not for all, espe-\n-44 cialiy in a \"soggetto \", where many are required, which for but few\n44 is an easy matter. Now I, although I have amused myself by ma-\n-44 king them like a very Mars, will take example from a classic in this\n44 work, that is the 44 Trapolaria \" by G!o. Batt. della Porta the Neapo-\n-44 litan whose genius is known through his many treatises on natural\nmagic, chiromancy and a thousand other erudite matters among which\nwas not lacking this of the Comedia, because, in the words of Tullio,\n44 \"omnes artes habent quoddam comune vinculum, et cognations qnadam\n44 inter se continentur\n\" should be observed that Porta not only wrote 44 scenari \", but be=\ncame a classic in the art. This fact seems to me to be most important\nfor all those who desire to make a complete study of the Neapolitan\n44 commedlografo \", and also for those who wish to occupy themselves\nseriously and it is about time..,, with an examination of sixteenth\ncentury comedy. But, besides that, the 44 scenario \" of the '4 Trapoiaria \"\naffords us an opportunity of comparison, which may very much assist\nus in our Investigations with regard to the 44 commedia dell' arte \" in\nItaly.\n&It is drawn from a comedy of Plautus, the 44 Pseudolus and it served\nlater as a frame on which Porta built the play to which he gave the\ntitle of 44 Trapolaria \", so that we have in our hands actual facts showing\nus, not only how a commedia came to be derived from a 44 scenario\nand, therefore, in what way were developed the 44 lazzi and 44 scene\nwhich in the 44 scenario \" were only suggested ...(there would be nothing\nspecially new about this in the actual condition of our study of the"}, {"page_pdf": 41, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.41", "texte": "THE SCENARIOS OF DELL A PORTA\n\n44 commedia dell'arte \"...)(i) but also what must hav<e been the labour of\na sixteenth century writer In reducing to a 44 scenario \" a 44 commedia\nclassica\".\n& The achievement consists in the conjunction of the two phenomena.\nIt should not, however, be assumed that the metamorphosis of a classical\nplay into a 44 scenario \" is to be found only in respect of the 44 Pseudo-\nlus On the contrary, I believe It applied to all the 44commedie\" both\nof Plautus and Terence. Still, so far as I know, this is the first time we\nare called upon to examine the two elaborations executed on the same\nsubject by a single author.44 Pseudolus \" signifies 44 trappoliere \"(a cheat\nor deceiver) and 44 Trappolaria \" the work, or doings, of a 44 trappoliere\nThe 44 personaggi \", or actors of Plautus are fewer in number and com°\npare with those of the 44 scenario \" and those of the 44 commedia \" of the\nNeapolitan poet in the following manner :\nPseudolus, Scenario, Commedia,\nPseudolus, servos. Coviello. servant. Trappola. servant.\nCalidorus, adolescens. Pedelindo. son. Arsenio. son.\nBallio. leno. Policinella. merchant. Lucrino. pimp.\nSimo. senes. Tartaglia. father. Calllfrone. old man.\nCaliipho. senes. Pasquariello. servant. Dentifrangolo. servant,\nliarpax. cacula. Pespice. servant. Leonello. servant.\nCharinus. adolescens. Turchetta. slave. Cook.\nPuer. Donna Laura, wife Fagone. parasite.\nCocuus. of Tartaglia. Filesia. Spanish youth.\nLoiarii, quatuor. A servant of Donna Elionora. old woman.\nSimia, sycophanta. Laura. Gabrina. wife of Fa-\nPhoenicium. meretrix. Isabella, courtesan. gone.\nPimpinella. servant. Dragoleone. capitano.\nCapitano. Poleone. venditore.\nRivenditore.\n\nNO T\n(i) See Ad. Bartoli. 44 Scenari inediti\" pg p6 and following. Also Achille\nNerl, 44 Una commedia dell'arte \" In the Giornale storico delta Lett: ital:\nYear, Vol i, No: I, pg. 75 and following."}, {"page_pdf": 42, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.42", "texte": "THE SCENARIOS OF DELL A PORTA\n\n& The plot of the \" Pseudolus \" is also less complicated. &\n& The servant... who is a man with red hair, corpulent, with swarthy\ncomplexion, sharp eyes, rubicund, and with big feet.... swears that he\nwill deliver the courtesan Phoenicium into the hands of Calidoj;us in\nspite of all the craftiness of the 44 ruffiano \", or go-between, and the\navarice of the aged Slmo. He comes to the house of Ballio and arrives\nat the moment when the soldier, Harpax, who has been sent by the\nMacedonian Captain, is presenting the last fifty pieces of money for the\npurchase of the slave and is also giving the countersign. Pseudolus\nadvances and asks him what he wants, and* having been told, puts out\nhis hand for the money and sign. The soldier gives the sign, but not\nthe money, saying that he will give that to Ballio himself. While waiting\nfor Ballio's return, he enters a tavern, where Pseudolus promises to\nbring Ballio when he comes. No sooner, however, does he find himself\nin possession of the countersign than the crafty servant proceeds to carry\nout a brilliant stroke of knavery and in Simia he has an accomplice,\nwho might have been his teacher. His disguise as a soldier leads Charinus\nto give him fifty 44 mine \", or pieces of money, with instructions to go\nand redeem the slave. As soon as they have her in their possession, they\ndepart to make merry in a tavern. Simo and the 44 ruffiano \" rub their\nhands with satisfaction at being rid of Phoenicium, but, presently,\nHarpax returns and asks for the woman to be given to him. The two\nold men, mistaking him for a delayed mandatory of Pseudolus, begin to\nbanter and laugh at him, but they soon discover that it is they them-\nselves who are fooled, and that they not only have the joke against\nthem but the loss of a considerable sum of money as well. Ballio has to\nrefund two hundred 44 mine \" to the Captain, and as much to Simo on\naccount of his lost wager over the girl and Simo has to pay these two\nhundred 44 mine \"to Pseudolus because he has been tricked. £/\nBut a plot so simple could not suffice for a Neapolitan comedy writer\nof the sixteenth century. The times required a crowd of actors and a\nseries of actions, both principal and secondary, and all interwoven in\napparently inextricable knots, such as to render indispensable some\n44 Deus ex machlna \" of the kind that is often introduced on the stage\nto unravel everything with confessions and explanations. A providential"}, {"page_pdf": 43, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.43", "texte": "THE SCENARIOS OF BELLA PORTA\n\nhand is stretched out to join in matrimony two u promessi sposi \". who,\nto all appearance, were separated for ever, having, the one or the other,\nbeen carried away to captivity by Turkish bandits. Sold at first in Bar-\n•\nbery and afterwards re=sold to a \" Capitano di ventura or to a slave\nmerchant, they are ultimately brought back to their own country to be\nsold again, when, in some mysterious way, they return to their families,\nare recognised and their happy marriage is celebrated.\nThe Public of that day, with its deadened aesthetic sense, had need\nof strong excitement and strong emotions, and as for that purpose the\n\" sale plautino \" was not sufficient, and phrases with double meanings,\nif they were to be appreciated, had to be divested of every veil and to\nbe presented in their natural impudicity, it was necessary that the\nvarious actions of a play should not be merely implied, or left to be\nunderstood, but that they should be expanded and explained in their\nfullest and most minute particulars.\nThe spectators of the \" Trappolaria \", for example, would have put\non wry faces if Trappola or Coviello, in order to avoid reciting passages\nthat were called for in the unfolding of the plot, had said like Pseudolus:\n\" Horn in caussa haec agitur spectatorum Fabula\nHi sciunt, qui hie affuerunt; vobis post narravero \".\nIt was necessary to devise a more studied method of expression,\nsomething that should be less simple and less primitive, even if it were\nan \" accidente di soliloquio \" of the \" primo innamorato\nThe \" scenario \" is still more complicated than the written play. In\nthe former Porta is preoccupied with the various mannerisms of the\nactors and with the necessity of adapting different parts to fixed types\nso as not to exclude any of them or to make them speak or act in any\nway opposed to the traditional. In the case of the \" com media \", on the\ncontrary, he polishes and re-polishes his work, knowing full well that\nhe has not only to satisfy the fleeting taste of his contemporaries, as he\ndoes with regard to the \" scenario \", but that he has also to face the\njudgment of posterity. jg? jg? *& &\nThe action, or plot, of the \" scenario \" opens like this :\nCapitano speaks of his love for the slave and of his wish to pur-\n%\nchase her. Poiicinella is playing lazzi inside and then comes forward."}, {"page_pdf": 44, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.44", "texte": "THE SCENARIOS OF DELLA PORTA\n\nCapitano takes him for a servant of the house and asks for Polici-\nnelia, who tells him to speak. Capitano says he wants Policinella,\nwho jokes and says \"e tu torna a bussar In the end they know\none another and come to an agreement about the slave and the price,\nthe Capitano saying that he will send a servant with a counter-\nsign which he whispers in his ear. Turchetta, having observed every-\nthing through the window, is sorry not to have heard the counter-\nsign ; she comes in. Policinella enters. Capitano goes away.\n£? AH this is understood both in the '* commedia of Plautus and in the\nlater one of Porta. But In the \" scenario \" it could not be omitted, or\nbe merely implied, because it afforded an opportunity for the appearance\non the stage of a character that was extremely well liked by the Italian\npublic, and especially by the Neapolitan public, the type or character\n9\nof the Spanish Capltan; moreover it presented an occasion for the\nmeeting of the Capitano with Policinella and of carrying on with him\nthose pranks and jests which always produced the most excited applause.\nAlthough all might have been well understood, or implied, the public\nwould not have been satisfied to go without the actual demonstration,\nsimply because in a good comedy such things were considered to be out\nof place.\n& The two productions, then, of Porta are co-incident.\n& Enter Tartaglla and Fedelindo talking of sending the brother and\nsister-in-law to Barcelona to fetch the step-mother, repeating the\nargument of the play of the \" Due figli sirnili \" and of the two\ndaughters of Donna Laura, Elvira and Eufrasia. Fedelindo refuses to\n♦\ngo there. Tartaglia says that he will have to go by force and departs\nto arrange about a ship. Fedelindo in despair. Turchetta comes from\nher house, lamenting that she has to be separated from Fedelindo ;\nan equivocal scene takes place, Fedelindo believing he has heard of\nher sale. In the end Fedelindo discloses the will of his father. Tur-\nchetta faints. Coviello comes in and seeing the slave in a faint goes\nfor water, (i) pure cistern or spring water, hot or cold. Turchetta comes\n\nNO T E S.\n(i) Here a lazzo is introduced on varied kinds of water, clean and unclean*"}, {"page_pdf": 45, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.45", "texte": "THE SCENARIOS OF DELLA PORTA\n\nto herself and discovers that she has been sold. Pedelindo faints and\ncalls for water. Coviello seeing the grief of the lovers, pretends to\nfaint; they call for water and he for wine.\n& Here we have what might be a repetition of the first four scenes of\nthe 44 Trappolaria In which, however, the 44 lazzi of Coviello for the\npurpose of recovering the lovers do not take place. It may be worth\nwhile to give the scene between Arsenio, Filesia and Trappola in order\nto be able to form an idea of the kind of language that lovers in those\ndays were accustomed to use to one another:\nTrappola.. Master, what are you crying for, what is the meaning\nof all th is lamentation ?\nArsenio. Can you not see, Trappola, that my life is dead In my\narms and that my own death lives in me ? Oh, death, how can you give\ndeath to one, who has the power of giving life to others ? If you have\nbeen merciful to her in relieving her from care, why are you so cruel\nto me, making me survive in so much pain ? You have acquired the\nname of cruel one in killing her; acquire now the name of compassion\nnate one by killing me also. Alas, she is quite cold and all warmth has\ngone from her heart and now it seems that her death invites me to\ndie too. jg? jg/\nTrappola. Don't despair, master; pull her hair; that is the way\nto revive women.\" jg?\nHere, at last, the Plautinian \" commedia \" begins. Calidorus tells\nPseudolus of all his troubles as a lover and Pseudolus promises to help\nhim. In the second scene the slave dealer appears with four warders\nand gives orders for the house to be prepared for the celebration of his\n%\nfestival. This part, so characteristic of Plautus, is necessarily wanting\nin the sixteenth century play because it was no longer iu accordance\nwith the customs of the time. In the third scene the young lover and\nhis servant arrive to claim the slave and are told that she has been al~\nready sold to the Capitano. Pseudolus threatens the dealer that he will\ntake her by force. jg? - jgf\nIn substance the 44 scenario \" and the 44 commedia \" of Porta say the\nsame thing, but with the usual wealth and research of detail. &\nIn the 44 scenario \" Policinella is calling the slave; Coviello and"}, {"page_pdf": 46, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.46", "texte": "& THE SCENARIOS OF DELLA PORTA &\n\nFedeiindo while speaking pleasantly to Policlnella pretend to\nconceal her; afterwards they offer to buy her. Policinella says that\nshe has been sold, Coviello says that he will steal her. Policinella\nlaughs at him and Coviello declares that he will come for her with\na carriage and four horses and much noise and say, or else I steal\nher. Policinella replies that it Is impossible. They arrange twenty\nfive scudl. Policinella enters the house with the slave.\nThis corresponds with the fifth scene In the 44 commedia \" -<s>\nBut there Is a difference as regards the part of the servant in all\nthree of the plays. It is simpler and more probable, as is always the case\nas represented in Pseudolus. Here the servant, while puzzling his brain\nto think of away of becoming possessed of the girl, happens to meet\nHarpax and proceeds to wrest the countersign from him, and having\nobtained it. Is enabled to secure Phoenicium without further trouble. In\nthe 44 scenario \" on the contrary, another woman is Introduced, a\ncourtesan, named Isabella, who is in love with the Capitano and who\nturns to Coviello for help.\n\" Isabella, a courtesan, begs Coviello to aid her in her love for the\nCaptain. Coviello promises and departs. The Capitano appears bring-\ning the money for the slave girl. Isabella entreats him, but he\ndisdains her and goes. Isabella in despair. jg/ &\nThis Intromission of the 44 cortigiana amante \" is one of the old stock\nweapons of the 44 commedia dell'arte \" and Porta discarded it in his later\ncomedies. In the second act Coviello begins to be active. & &\nPasquariello the servant of the Captain says that he has been\nsent by his master to buy the slave. Here Coviello speaks of the\npast. Pasquariello asks Coviello to tell him where Policinella lives.\nCoviello, suspicious, says he is Policinella. Pasquariello, who has come\nfor the slave, gives him money. Coviello pretends that he is a cheat\nas he has not given him the countersign. Pasquariello says that he\nhad forgotten to do so, and that it is 4'touch the end of your nose\".\nCoviello says It Is all right and calls Isabella. When she conies he\ntells her in an aside that she must pretend to be his slave so that she\nmay go with the Captain. She consents. Coviello then hands her to\nPasquariello and they go away together. Coviello wants by some"}, {"page_pdf": 47, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.47", "texte": "THE SCENARIOS OF DELLA PORTA\n\nmeans to secure the real slave and calls Pesplce, a servant to\nIsabella. £? J£? &\nCoviello arranges with him to pretend to be Pasquariello so that he\nmay get the slave. He promises him a dinner and gives him money and\nthe countersign and departs.\n£? In the \" commedia \" Trappola has recourse to the parasite Falcone,\nwho disguises himself as a soldier and thus deceives the slave merchant,\nand to Falcone's wife, Gabrina, who, closely veiled, is given, In substi-\ntution for Filesia, to Dentifrangolo, the Captain's servant. The slave,\npending the arrival of her lover, Is made to enter the house ol the pa-\nrasite, The Captain receives the reputed Filesia with great joy, but as\nsoon as her face is unveiled and he is confronted with that ugly old\nwoman, he exclaims:\nDragalone. YOU, then, are my charming and beautiful Filesia.\nGabrina. & I am Filesia, yes.\nDragalone. Worthy of course of a joust under your windows\nand of the breaking of a dozen jZ? zz? •£*\nGabrina. I am Filesia, yes. &\nDragalone. I desired Filesia because she is as lovely as Venus.\nGabrina. I am Filesia, and I am also beautiful.\nDragalone. You beautiful! you are the very picture of a devil, of\nthe evil of San Lazzaro, a pest that would frighten even a ghost. JZ>\nGabrina. And you with your face of a witch. The mere sight of\nyou is sufficient to' excite disgust.\nDragalone. I have created more wounds with my eyes by loving\ngentle ladies than I have ever made with my sword and with my angelic\ncountenance. JZ? JS?JZ?J:7/Z?£?JZ?J&\nGabrina. & A countenance of Satan from the Inferno.\n\\\nDragalone. & As for you, ugly creature as you are, I swear to you\non the faith of a cavalier, that if I were not afraid of tarnishing my\nglorious and illustrious deeds, in the course of which I have subdued\nprinces and dethroned powerful kings, by soiling my hands with the\n*\nblood from the faces of women of mean condition I would cut off your\nnose and wear it as a crest on my helmet. j£?\nGabrina. And you, I would have you to know that I can become"}, {"page_pdf": 48, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.48", "texte": "& THE SCENARIOS OF DELL A PORTA &\n\na man or a woman as I please, and that if you put nie Into a rage I will\nmake your skin suffer.\nDragalone. YOU surely cannot know who I am.\nGabrina then returns to her house and finds Filesia there. As she\ndoes not know her, she takes her to be a mistress of her husband, and\nseizes a stick, where with to drive her out. At that moment Fagone\nappears with a quantity of things to eat and a cook, whom he has en-\ngaged in the city for the day, so that a feast may be prepared in cele-\nbration of the happy result of Trappola's craftiness and knavery. The\nold woman, full of jealousy and imagining orgies, bacchanalia and the\nlike begins, in her rage, to throw her stick about, breaking bottles,\nglasses, plates and much besides. &\nFagone. \"Ho, accursed fool, stop it! 1 have had enough of this,\nis it not enough that you should beat me, but you must even break my\nflask of wine and spoil my clothes ? Why have you not rather broken\nmy head and scattered my brains ? If you had spiit my blood you could\nnot have displeased me more. Let the race of such as you be exting-\nuished. 1 wiil satisfy myself, at any rate, with what remains. \"\nFilesia manages to make her escape and goes wandering about Naples\nin search of Arsenio, who, in his turn, goes to Fagone and finds him\ndrunk, but learns with some difficulty that the girl has left. He sets off\nin pursuit... and for some time he Is speaking on one side of the stage\nand she on the other without either of them being aware that they are\nclose together. At last they hear one another's voices, draw near and\nare recognised. & *& & & & &\nThe plot of the \"scenario \" follows a parallel course, but contains\nfewer episodes. &\n& Capitano, disdainful, says he expected the slave ; departs. Isabella\nremains looking displeased and knocks at her house. Turchetta asks\nwhat she wants. Isabella becomes jealous and saying that it is her\nhouse drives Turchetta out and enters herself. Turchetta goes. Co-\nvlello and Fedelindo say they have taken the slave to Isabella's house\na«u they knock. Pimpinella says that his mistress has sent away\nthe slave through jealousy of the captain; they go in search of her.\nTurchetta, lamenting her fortune, does not know where to go. At"}, {"page_pdf": 49, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.49", "texte": "THE SCENARIOS OF DELLA PORTA\n\nthis moment Fedelindo sees her and they embrace. &\nAs soon as the lover is successful in obtaining possession of Phoenicium,\nthe Plautinian comedy comes to an end. Everything now depends upon\nthe wager of Pseudolus that in some way he would get the slave from\nthe dealer and having done so and, therefore, won, the comedy comes\nto its natural termination.\nThe solution of the matter is altogether external, but the question\narises whether old Simo will allow his son to keep the girl in the house\nsimply because the servant has been successful in so cunningly obtaining\npossession of her. &\n& Porta gives a fuller solution though he has to go for it to the usual\n\" guardaroba \" of his time. Arsenio had a brother, married in Barcelona,\nand the two brothers resembled one another like two drops of water.\nThe sister-fn-law was the daughter of the first husband of her mother\nand had a sister, who had been promised to him as his wife, but had\nfallen into the hands of slave merchants. Trappola continues his subter-\nfuges until there would seem to be no escape from them, when, at that\nmoment, the step-mother of Arsenio arrives from Barcelona and reco-\ngnises Pilesia as her long lost daughter-in-law and the marriage Is\ncolebrated. The same playwright admits in the \" scenario \" that this\nconclusion is not new, and that it has, in fact, been taken from the\ncomedy of the \" Due figli simili\nAmong the various episodes of the \" scenario \" there is one that was\nafterwards reproduced In the \" commedia which it may be useful and\ninteresting to mention. Covielio has hired from a broker of second-hand\narticles a Spanish cavalier's suit, a lady's dress and a soldier's uniform\nfor the purpose of a ** trappola \" or plot. As the \" padrone \" has nothing\nelse to offer in pledge, he gives a false ring, which he represents to be\nworthy thirty scudi. The broker is satisfied, but finding afterwards that\nhe has been imposed upon, he claims either the return of the things he\nhas loaned or the deposit of some other security. Fedelindo and his \"in-\nnamorata\" are at that moment wearing the clothes that have been hired.\n& In answer to the broker's demand Fedelindo pretends not to unders-\ntand, talks Spanish, turns his back upon him and tells him to get his\nmoney from Covielio."}, {"page_pdf": 50, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.50", "texte": "THE SCENARIOS OF DELLA PORTA\n\nThe Court and broker, having discovered that the ring Is false\nobtain an order for the arrest of Coviello and have him taken.\n•\nCoviello tells Fedellndo to settle with the jailors for the false ring.\nFedelindo pretends not to know him, saying in Spanish: \" Hermano\nyo no to conosco Coviello tells the broker to arrest the couple,\nwho are wearing the clothes. The broker causes Fedelindo to be\narrested, who, changing his tone, asks Coviello to help him. Coviello\npays him back in his own coin by saying In Spanish ; \" Hermano yo\nno te conosco\". The police are about to take him to prison; there\nis a struggle and the second act ends. ■£?\nIn the \"commedia\" all these different lazzi are set forth at length:\nTrappo/a. JZT What do you want ? What do you seek from me ?\nPoleone. I want you, either to come to prison or to return my\ngoods. <£? JZ? JZ/\nTrappola. Here Is the padrone, ask him. I am only a poor\nservant. JE? JZT & JZ? JZ? JZ? JZ>\nPoleone. JZ? Sir, will you restore my clothes or shall I conduct that\nman to prison ? JG? JZ? ZZ? JZ? G? JZ?\nArsenio. z? (Speaking in Spanish, tells him to go away, and not to\ntalk to a cavalier with such little respect.)\nTrappola. z? For pity's sake, padrone, either pay him or return\nhim his clothes. g? & z? jg? &\nArsenio. (In Spanish.) I don't know what you are saying. £>\nTrappola. ■£? Now that you have gained your end, do you not un-\nderstand what he says ? jZ? jZ? jZ? g?\nArsenio. (Says, in Spanish, that he does not know.) JZ? JZ?\nTrappola. JZ? NOW don't you know Trappola ? JZ?\nArsenio. Trappola, what Trappola ? & JZ?\nTrappola. jzt What are you talking about ? Will you pay or must I\ngo to prison ?\nArsenio. li Que te ileven adonde quieren, que se me da \".\nPoieone. JZ? Sir, if I take him I shall not be acting discourteously\nfor lamin my right and if you wish me to speak 1 wi11.... £? gf\nTrappola. zz? I will speak, Sir, my Italian padrone ordered me in\nthe couise of his service to find him some pieces of cloth; 1 found them"}, {"page_pdf": 51, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.51", "texte": "THE SCENARIOS OF DELLA PORTA\n\nand we \"pawned them with this young man, who gave us as security a\nfalse ring. Having gained what he wanted the padrone comes with the\npolice and demands the return of the goods or another pledge, other-\nwise that I be taken to prison. The Italian padrone speak Spanish and\nprotests that he is not the person concerned, therefore pronounce the\nsentence ; the padrone there acts as an ungrateful man and an ass.\nArsenio.■£? Si, es verdad, razon teneys.\nTrappola.£? And that he is an ass I require no further proof than\nyourself for you very weil know that what I say is true.\nArsenio. J£? YO me voy, que tengo que hazar. & &\nArsenio goes away and Trappola restores the soldier's uniform to the\npawnbroker and gives him to understand that the fault rests entirely*\nwith his padrone and that he is the man who should be taken to prison.\nArsenio, believing himself to be out of the difficulty and that Poleone\nhas gone, returns to the scene, when the following dialogue takes place\nPoleone. JZ? Take that man to gaol; I am determined to have my\nproperty. JZ? J£> - JZ?\nArsenio. Que quereys vos de my ?\nPoleone. YOU needn't speak Spanish any longer ; either restore\nto me the clothes you are wearing or come to\nArsenio. JZ? Trappola, haz de rnanera que ne vays en prison. JZ?\nTrappola. JZ? I Trappola, I ? Just now you pretended not to know\nme; how is it that you know me now? I don't know you, nor do I\nknow to whom you are referring.\nArsenio. & Por vida tuya hagamos de manera, que estes ine dexen.\nTrappola. JZ? DO it yourself. What have you to do with me ?\nPoleone. £? Come, either return the things or let us go to gaol.\nArsenio. & (In Italian.) (If I go to prison it will be my ruin and\neverything will be found out. I would rather die.) Quitaos de hay con\ntodos diablos, se no queos matare. JZ/ JZI JZ? JZ?\nPoleonei JZ? Poor me, where are you going ? The plague take you.\nAndrea Perrucci.... who wrote many dramatic plays, especially for\nmusic and \" scenari \"... in republishing this one of Porta, gives us this\nadditional explanation of the various \" lazzi \" which were merely\nImplied because they were extremely common, or usual, among actors."}, {"page_pdf": 52, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.52", "texte": "THE SCENARIOS OF DELL A PORTA\n\nThus \" the lazzo of \" torna a bussare \" (go back and knock) in the\nfirst scene means that the Capitano, not recognising Policinella the\nmerchant, seeing him slovenly, does not want to speak to him ; and the\nother, to make him understand that he is the master of the house, tells\nhin \"torna a bussare\" until he awakes to the truth. \"Suoi Jazzi da\ndentro \" (his lazzi inside) in the first scene means that Policinella from\nwithin can at his pleasure pretend either to sing or to quarrel with the\nslvaves or any other ridiculous action without being limited. &\nHe gives moreover the rule or system whereby to understand the con-\nventional signs that were in customary use in \" scenari \", thus a line\n(--) is 'the sign for going off and terminating the scene', and an asterisk\nis the sign to observe from aside what the other characters do or say so\nas then to do what is required for the argument', This asterisk was called\nthe ' osservatorioThe expression 'in questo ' means that the character\non the exit of the others, remains; thus showing that such and such\ncharacters go off and such or such are \" in questo \", that is, remain, qnd\nanother or others arrive. And then, we are told 'at the end of each\nact there must be music, or some dance, or at other times amusing in-\nterludes . /Z> /O\nIt may not, perhaps be difficult for some diligent and fortunate stu-\ndent, In looking through old papers and books, to discover other \" sce-\nnari \" by Porta and it might form an important contribution to our\nknowledge of the \" con;media dell'arte \".\n& In the meantime, before I finish my story i should like to be allowed\nto address a remark to Fiorentino. He says: \"of the Policinella who\nspeaks Neapoietan the first progenitors are it Giacoso delia Tabernaria\nand il Punnuorfo del del Moro, Introduced by our Giambattista Porta\nbeside the characters of the classic comedy & &\nWe must not be unjust to Pulcinella. Giacoso and Pannurfo are indi-\n>idua! creations of Porta, in imitation of \" Intrighi d'amore \", and cannot\nbe rightly described either as progenitors or descendants of the \"buffone\"\nof Acerra. Pulcinella, as we have seen, Is older than they are. In the\nscenario of the \" Trapolarla \"he is introduced as being one of the\nmost popular actors of the day, together with the Capitano and with\nCoviello."}, {"page_pdf": 53, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.53", "texte": "ENGLISH SENTIMENTALITY\nby John Balance.\nnglish sentimentality is on the increase; seldom\nhas it gushed out with such lack of control as it\nhas done lately. There are quite a number of in-\nstances in the last year; we need not single out\nthe case of the heroic death of Scott, neither is\nthe loss of the Titanic a case in point, but at every\ninstant Britain weeps and loses control of herself\nin the handkerchief of her newspapers.\nThe news of a disaster comes as a shock whether you are an indivi-\ndual or a nation, and, according to the way in which a shock is received,\nso do you declare the strength or the weakness of your nature. If you\nshriek, get flustered, and meet disaster in any other way but smilingly,\nand with open eyes, searching into the suggestion which has to be found\nin such a disaster, then you are nothing but a hysterical nation or\nperson, and that is unfortunately the very tiling which England seems\nlonging to prove,... that she is a hysterical nation.\nSuch sentimental outbursts are no signs of feeling; they are signs of\nlack of feeling, lack of vision, a lack of knowledge, and it is very bad\nfor the health.\nThere are always a million or so of people who will say that shocks\nof all kinds are bad for the health, but that is because they see nothing\nin life, which is a series of shocks, ending up with one great big shock,\nand do not perceive that the whole reason of these preliminary shocks is\nto lead you into such a condition that you can meet the last shock.\njZf What use is there then in fainting or becoming hysterical ? No use,\nyou say,... just natural. But everything is natural, therefore the other\nthing is as natural as this.\nCertainly, when you read the news of a man dying in jtho Arctic re-\ngions, it is a great shock, and if that man is known to you it is even\nmore of a shock, but you have only got to look out of your window,\nespecially in London, to see disasters no less terrible see them in\nhundreds. *&&&&\nA man dying for the cause he loves is certainly a disaster for us, but\nthen we perpetually encourage such disasters by doing nothing to prevent"}, {"page_pdf": 54, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.54", "texte": "ENGLISH SENTIMENTALITY\n\nthem. Over there on the other side of the street is a man in a couple of\nrooms. What Is he trying to do ? Nothihg but to discover the means to\nprevent cancer; ....a heroic act, but he will probably die for it. It is\nquite natural to him, but it occurs to nobody to cry out that a terrible\ndisaster has happened to the English nation when he does die. %\nOr there is another man attempting to restore beauty, to discover\nagain something as lost and as unknown as the North or South ,\n...that is to say, beauty. He may be an architect or a musician, and he\ngives his life to it. Nobody notices that he has given it. No large head*\nlines of ♦* Tragic Fate of Richard Wagner \", \" Terrible disaster to August\nStrindberg \".\nAnd a very good thing that there are no such headlines when these\nmen die; but, and here we come to the point of this note, do not forget\nthat the acts are parallel and of the same importance; do not forget\nthat a small group in every branch of life in the world Is giving its life\nwillingly to discover things for the rest of the world and that the\nrest of the world does nothing to assist them.\nThe rest of the world merely weeps buckets of unnecessary and saltless\ntears on hearing of the death of some brave captain.\njg? At the head of the group of men who give their lives in this work is\nthe king. Of course the world imagines that he is at the head of the\nother spectators, and not of the workers. They look on him as a kind of\npatron of indolence, a most amusing but general idea, for most people\nare indolent and only begin to work when the tragic news arrives. Then\nthey run to and fro, wailing and moaning, and feeling, or rather trying\nto feel, something,... who knows what? JZ? ■£? JZ?\n*\nNow if this small section of which I have spoken is the heroic group,\nfr\nhow is it that the heroic group has such difficulty in advancing and\nchanging things, so as to make them more human,... I do not say more\ncomfortable, but more human, more natural? It is that the members of\nthis heroic group have the whole world of womankind against them.\nyg? This is not said because I do not understand women, (though Heaven\nforbid that I should pretend to understand them thoroughly,) but it Is\nsaid because this must be the only explanation of the extraordinary way\nin which the world is carrying on today."}, {"page_pdf": 55, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.55", "texte": "ENGLISH SENTIMENTALITY\n\nReader'. jZ> I cannot let you continue. I note you intended this to be\nan essay, but I must make It Into a duologue. You must not have all\nft\nthe say to yourself. Now tell me, do you put everything down to the\nwomen, do you put the whole responsibility of modern civilisation down\nto them ?\nJT. B. jZ? Most decidedly. &\nReader: Then you must be an enthusiastic supporter of the modern\nfeminine movement ? jz? &\nJ. B. On the contrary, .that movement is merely a repetition of what\nmust have been before. jz? jZ?\nXr\nReader: Well, but if women get power, then women will be able\nto help ? JZ?£?JZ?JZ?JZ?JZ?JZ?J&\nJ. B. & Women have always had power and have sometimes helped.\nReader: & When ? £? zz? £? jZ?\nJ. B. ■Z? Show me the times when the state was well governed, when\na city was a beautiful place to walk in, when wealth was not the pro-\nperty of a few, when the right balance between master and servant,\nbetween the artist and the craftsman, between the father and the family\nwas maintained : show me these times and you will be showing me the\ntimes when women had most power. These were the heroic times.\nReader: JZ? SO you think that to-day the women do not stand by this\nheroic section, that you spoke of, of which royalty is at the head ? What\nproof would you put forward that this is so ? .£2?\nJ. B. jZ? For the first proof I would beg of you to come out with me\nInto the streets of London, Paris, or Berlin. Everything is ugly.\nReader: Ah! yes, I see what you want! You want beautiful ex-\nternals only. £> jS? jz?\nJ. B. JZ? Beautiful externals are the result of beautiful internals. An\nappletree In blossom is different from a fungus In blossom. Both are\nbeautiful, you say? No, not both are beautiful; but It is just because\neveryone has the right to say what is beautiful, what Is well constructed,\nwhat is capably planned, what Is beautifully painted, what is well-dressed,\nthat there is no longer a standard for these things. If you allow everyone\nto judge there can be nothing better or worse, everything is the\nsame."}, {"page_pdf": 56, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.56", "texte": "ENGLISH SENTIMENTALITY\n\nReader: u& And would you have the women take part in this Judgement?\nWould that improve matters ? &\nJ. B. No, but I would have the women join theihselves and their whole\nforces to that smaller section which we have called the heroic, rather\nthan slip into a casual, and quite uninterested but amused, alliance with\nthe other and larger section. us/\nReader: Ah, but the heroic has something so queer about it. 1 do\nnot think it is quite right for a man like Scott to go to the South Pole\nand leave behind him all those that he loved; 1 think it is somewhat\nreprehensible.\nJ. B. u& You do not believe in sacrifice, then ?\nReader: u& No, sacrifice is a very unpleasant thing which is overrated\n«\nnowadays.\nJ. B. £/ An act of sacrifice is perhaps hardly a pretty thing, but out of\nit comes beauty. The fact that there is so little beauty in modern life\nis the result of there being so little sacrifice. That there is little sacrifice\nis owing to the sentimentality of modern people, who, finding one Man\nin the year One prepared to sacrifice his life in order to save ail the\nothers from having to sacrifice anything, (those others readily accepting\nthe sacrifice, and feeling that there was no further call on their natures,)\nhave become phlegmatic, comfortable, unathletic either in body or mind\nor soul. JOJ&J&U&&J&U2/&\n& And so it comes that there is nowadays [only this little group of\nheroic people with the whole world against them, and I believe if the\nwhole of womankind realized this and placed itself on the side of this\nsingle battalion, the whole heart of the world would be altered. J&\nHow is it that this alliance cannot be made ? It would be very easy\nto explain the failure indignantly and cynically. The heroes are not\nheroes, one might argue, the women are not women. A very easy ex-\nplanation but very unsatisfactory. usz JS/ JS/ uS/\nWhat is it then that has prevented the alliance? Nothing but the\nenemy. Such alliance is not made on the strength of virtues any more\nthan on the strength of vices or strength of weaknesses. Conditions hardly\nform a strong enough wisp of straw with which to bind two forces to-\ngether; if this were so there would be alliances in the world every"}, {"page_pdf": 57, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.57", "texte": "ENGLISH SENTIMENTALITY\n\nminute. The whole world would be in alliance with the world itself*\nand the contract would have brought about heaven.\nNo, this alliance that 1 spoke of, which I am certain would give the\nworld new vitality, instead of robbing it of its last remnant of vitality,\nthis alliance is solely prevented by the enemy. The enemy is the other\ncorner of the triangle, and I suppose it is almost growing into a conven-\ntion that a triangle must have three equal angles. But 1 am not inclined\nto accept the symbol of the triangle much longer, since it works so\nbadly as a useful sign.\nSurely there are other geometrical figures which have such signifi-\ncance and are much more satisfactory ? Anyhow, for the moment the\ntriangle remains as it is, it is the third corner that Is hampering the\nmovements of the two others. Of course it is quite easy, says the third\ncorner; it has to be a triangle; bnt the other two corners wish to make\n.a change. If these two corners gave way and rounded themselves, the\nthird would have to join in, and the third is so particularly enamoured\nof angles. ' jg? & &\nThis in Itself is very good, but it is not very good considering the\npresent day conditions, because the present day condition is not as\none grave and superb triangle such as one conceived In the days of Egypt,\nit is as a lot of broken-up little angles such as the Futurists show\nJ£? The Futurists exactly explain modern life, they are horrible, their\npicture are horrible. And exactly so is modern life, broken and agitated,\neach little inch quite finished in itself, quite independent of the other\npieces; no harmony, no rhythm, but pandemonium ; not the triumph of\n•the angle, but the catastrophe of the angle. £?\n£> And it is always the case that when a thing has reached its period\n•of decay it is proudest of itself. This conceit it is which prevents the\nwomen from joining forces with the heroic battalion ; this conceit pre-\nvents their loyal and courageous union, and prevents beauty being born\nagain and the perfect balance once again restored. Only conceit does all\nthis,... and conceit fattens upon sentimentality. & £/\nEnglish Reader. (sotto voce.) \" The Mask evidently is jealous of\nme. I shall stop taking it in ! There I \" (Throws this copy at a statue of\nVenus and goes out to the Caf£ Royal.)"}, {"page_pdf": 58, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.58", "texte": "EUROPEAN DEPRESSION\nby Gordon Craig.\neading over letters from my friends a few\nhundreds received between 1901 and 1908... I re-\nmember each Incident and am warmed at remem-\nbering each friend. I read on and on, but when\nhalf way through 1 begin slowly to pull up.\nMy thoughts have been brought to a standstill.\nSomething has stopped me advancing.\n& What Is it ?\nIt is a single note running through ail the letters, connecting each\nfriend with the other 'riend, preventing all but a few from standing\napart, linking them all together.\nThis note is depression.\n\"1 do not think that you will be able t0... \" etc.\n& 44 I regret that you choose t0... \" etc.\njSf \"I'm a bit of an idealist myself, but 1 wish you wouldn't.?. \" etc.\n\" How happy you are but if only you would... \" etc.\n44 What use is there in... \" etc.\n44 Why... \"\n£> 44 Why... \"\n44 Why... besides how... and after all when...\"\nOnly three letters out of the first hundred 1 have just gone through\nare without regrets, fears, disapprovals, refusals, denials and whims...\nand are, in fact, Joyful.\nAll are written in the English tongue, and, as 1 say, cover\nyears; from 1901 to 1908.\nj0 And that note of depression which sounds from each made me take\nmy hands from the sheets and close them once more in their box... and\nlock it.\nThey sound the great London note... the Horn of Hernani. One must\nnot let this play end so.\nThat Horn can moan out its own sorrow; it shall not be the cue for\nmy actors to perform a tragedy. This Horn note which walls in the words\nof my friends, which tries to be significant and to draw me into the\ndumps, is a note which London not alone knows how to utter."}, {"page_pdf": 59, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.59", "texte": "EUROPEAN DEPRESSION\n\nj£? Europe today Is uttering it... it rises daily like the daily smoke from\nthe chimneys. It spreads dreadful disbelief, and Nature herself barely has\nstrength to defy it.\nI have been trying to the best of my ability to raise the Theatre,., the\nDrama... the Stage... call it what you wi11... from the gutter.\nNot the first to make the attempt... but each man gone has made his\nattempt differently; each has tried to do it in twenty-five years.\nEach one has failed.\nThey one and all raised its body an inch out of the gutter ••• held it\nthere...applause broke out...,4too soon, too soon, why do the people shout?\"\nthey seemed to say with their faces. A shudder ran through their frames...\nthen they put it down and fell; a heap upon a heap, increasing by their\nweight what already weighed too heavy.\n& And now that I attempt this thing, everyone, (many dear to me) stands\nby with hands and throat ready to cry; \" Hip, Hip, Hurrah I \" and as I keep\nthem waiting, for I am long over my work... as they watch me, my back\nbent over this queer thing in the ditch, as they see me motionless, they\ngrow impatient and utter despondent and disheartening sounds. The note\nof Depression begins to be heard... Hernani's Horn.\nMy dear fellows, how do you suppose the Theatre is to be raised... what\nis the process employed for the magical act known as raising the\n& If I remain bent over this thing which I love, cannot you trust me ?\nMust you click the tongue, grin, sigh, or vex me ? Is that part of the\nperformance ? Will it help to hasten the ascension of that which lies\nprone and already begins to rot ?\nSome of you even turn away with a shrug of the shoulders, and ente-\nring the first playhouse, you come to the self-satisfying and secure feeling\nthat there at least some effort is being made to raise the Theatre... before\nyour eyes.\nYes, there at least you are right, and there the theatre is being raised\none inch in a few years. The man raising it by that physical and visible\nprocess will drop it, overcome by your applause... your kindly but most\nunkind way of showing that you approve that you appreciate his\ncleverness in taking you into his secret.... his sense in including you\nas necessary to the operation."}, {"page_pdf": 60, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.60", "texte": "EUROPEAN DEPRESSION\n\nAnd it is only because of an unusual Depression which weighs so\nheavily on us today that you catch at the chance he offers you to relieve\nyour feelings... to applaud.\nIf this world were more Joyful... if like Nature we could wait and wait\nwith belief .in the final ascension of all things, then you would wait with\n*\nme even as I promise you I shall always wait with you.\nYou are some of you attempting to give an ascending motion to the\nthings you 10ve... to painting, to architecture, to music, and the other\nmagical things, (I wonder if I exaggerate), and which ever one of you\ngoes farthest, takes longest; I will wait for and with him.\nWill you not do this for me too ?\nI swear that i shall have raised the Theatre not one inch or many\ninches, but out of its Body before I shall die.\nI am doing that all the time as I stoop bent over Its prostrate form.\nLet the Realists in Life as well as in Art listen to what I now say.\nHold close to the 80dy... thinking to reveal the Soul through the\nholding; raise the Body the traditional inch..,, continue to do 50.... and\nto let it fall again. Do not cease from this frantic and purposeless parody\nof Time and Space.\nI shall steal the Soul of the Theatre and I shall leave that real corpse\nIn your midst, and you shall know no more what is to be done with It.\nLike a mummy it shall block the passages... frighten the children... sadden\nthe middle-aged... and be a plague even to the dying.\nUnder your very eyes, and through your hands, guard you never so\nwell, 1 will pass, and In my hands the Soul of the Art. Out of your midst\n*.\nI will go, and only when I have carried this Soul again into its Heaven\nfor those who want it,... only then will you, if you look up, under-\nstand.\n& Continue then to look down, and to the right and the left, to click\nthe tongue against the teeth, to shake the head... continue with decadent\nfeet to shuffle down along the Intricate paths... the double shuffle... the\nreligious nance of these \" Real \" days... dance this to your own idols...\nto yourselves.\n& With decadent eyes gaze like moles at the brown earth until those\ntwo last tears of the sou! become darkened and dried."}, {"page_pdf": 61, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.61", "texte": "EUROPEAN DEPRESSION\n\nSo with withered eyes shall the heart itself wither and become dry as\na dead sponge.\nBut I shall have plucked the Soul itself from the dead, and I shall\nhave placed it where its imperishable beauty can be felt by the whole\nearth.\nWhen that day comes you will then no longer have eyes to see it...you\nwill have mortgaged them to the last glance.\nBut rather than that this should all be as 1 have said, will you not\ncease your complaints, and be rid of the tyranny of this modern\nplague... Depression?\nSee... speak... write with new eyes and tongues; praise all which\nwaits long and seems to act true to the laws of Time and Space, and\nmistrust all those who want to show immediately that which they have\nnot seen, and to utter that which they have not felt.\n\nMONKEY TRICKS\nby Yoo-no-hoo.\nooking through a collection of designs for the\nTheatre,., scenes, costumes, and so 0n... by the\nRussian artists of the last six years, (i) the parti-\ncular power shown by one and all appears to me\nto be that of assimilation.\nThis power is their weakness.\nI suppose very few people out of Russia have\nseen this collection, which is made up of designs\nby Roerich, Somoff, Saponoff, Dobouginsky, Bilibine, Soudeikine, Stelletsky\nand others. The designs, although for the Theatre, include as you see,\nwork by several men not included among the decorators of the Russian\nBallet; and yet one and all look as if made by men of the same\n& Much strong, indeed one may say violent, colour Is spread over each\n\n(1) In the Russiaa Journals \" Apollo \" and (i La Balance"}, {"page_pdf": 62, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.62", "texte": "MONKEY TRICKS\n\ndesign. The colours assert thenseives each for its own sake ; still, one feels\nthat that is the best part of the business. And perhaps the worst part\nof it is that these designers can be switched on \" to any manner \" even\nas a telephone is switched on to any number: Gerrard. 222.\nThey can turn on the manner of the Middle Ages and make things\nexactly as if they came out of missals* or they can turn on the Eighteenth\nCentury, or they can turn on a kind of fresco scene, or a scene h la Byron\nor it la Conder; in fact, they can become anything; but they cannot be\nnatural.They cannot say what they have seen, they can oniy report what\nsomeone points out to them.\nThis damns once and for all to my mind the whole facile family. j0\nTo borrow an American phrase, they are just too siick for anything.\n1 once upon a time thought that the painters when they came into\nthe Theatre would hold the Theatre rather too powerfully in their hands.\nI now see unmistakeably that the Theatre can twist them round its\nlittle finger.\nThere is nothing the Theatre achieves to such perfection as the trick\nof the ape. After many centuries it has surpassed ail others In its power\nof mimicry. And now the painters, swarming into the Theatre, seem to\nhave been stopped at the stage door and asked for the pass-word.\n\" Mimicry \", they giggle inanely, and are admitted by the hall porter\npretending to look profound, but with the devil flashing under his mask\nas, in an aside, he mutters the one word, 44 Nabbed I \"&\nsingle one which Indicates that the artist has looked at nature or felt\nnature moving in him. To consider nature should be the first endeavour\nof those who, though unable to feel deeply, wish at least to be up to date*\n& There has been a farcical idea going round for the last thirty years\nor more, that the Artificial after all sprang from Nature. Whereas who\nis there today who does not begin to perceive that the Artificial has its\nsource only in its dear little self? Perhaps maiden aunts and uncles gave\nIt birth; still, whatever its origin, when decked out in its little pink\nbows and rouged cheeks it was always'a funny pretty little creature.\nBut nowadays when these Russians take the poor little being out of Its\ntrivial tissue-paper dress and clothe It in the over-worked copes of the"}, {"page_pdf": 63, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.63", "texte": "MONKEY TRICKS\n\nMiddle Ages, give it weighty gauntlets of the Seventeenth Century, add\nhigh red-heeled shoes of the Eighteenth, and then throw In a few Mu-\nseum pieces from Paris and Bergamo, then artificiality becomes too\npompous and too pretentious for words and is offensive. jSf\nAnd this is all done at the bidding of the stage! Will not another law\nbe laid down some day to prevent these fully licenced thieves from being\nmolested by the owners of the houses and parks wherein they feloniously\ntrespass ? A law has been passed, (and the Devil knows who passed it),\nwhich bestows a kind of licence upon a fashionable robber.\nIt is a strange thing to me to watch the people creeping by moonlight\nover the fences, going up to the mansions, waiting until the lights are\nout, stealing the plate, being caught by the owners of the house and\nforced then and there to put on the livery of the house and act as ser-\nvants, doing any odd job that the master of the house wishes them to\ndo. For this is how the Theatre treats these poor fellows. ■£? &\n&It is a strange thing to me, 1 say, and strange that it has not been\nnoticed by anyone else. True, 1 have been watching this thing very closely,\nand others have not the same interest in watching what goes on. But I\nhave never seen one of these fellows get away with the swag.^\nIt is for this reason I ask whether a Law cannot be passed to protect\nthese robbers from the awful and unprecedented calamity which over\ntakes them.\n£? The Jesuits were children in subtlety by the side of the Theatrcal\nProfession, the owners of my House ■, and if Michael Angelo, followed by\nLeonardo da Vinci and Albert Durer, if these three giants had entered\nthe Theatre purposing with their genius to reform the decoration of the\nStage, they would have been translated all three of them, within three\nyears, into the pitiful position wherein Messrs Roerich, Saponoff, Dobougin-\nsky,Bllibine,Soudeikine, Stelletsky, Bakst and Benois find themselves own.\n\" Find themselves \" is perhaps a slightly Incorrect way of putting it,\nfor they are quite unconscious of the metamorphosis that has taken\nplace... just as once upon a time those delightful gentlemen tra-la-la-ing\nInto the presence of Circe were transformed without knowing it. I\nswear they mistook their own squeaks for songs and their grunts for\npleasantries"}, {"page_pdf": 64, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.64", "texte": "MONKEY TRICKS\n\nJZ/ I have spoken before on this subject, but that was before I dreamed\nthat the times would so soon be offering me witnesses galore to the truth\nof what I guessed to be true.\nEven the Germans are not so markedly mimics, Germans get a kind\nof heavy liGlaube,t in certain principles, and there is a weighty sincerity\nwith which they set about producing Shakespeare things or Schiller\nthings, or Miracle plays. In some measure, spite of all their faults, the fact\nthat they are so \" ernst \" is much in their favour.\nBut the Russians with their nimble dexterity remind me of that little\nStone Monkey who came all by himself out of the Stone Egg which he\nhad laid by himself.\nHave you ever heard the story? Well, it is this. & &\nJZ? Having come into being, the Stone Monkey was surrounded by a crowd\nof other monkeys who begged him to be their King. This post he accepted,\nhaving already thrown out hints that he was the very man. The first\nthing he did was to travel. JZ? JZ? JZ? JZ? JZ? JZ?\n0\nAnd travelling he met a magician from whom he learned all kinds of\ntricks. He could become invisible, could fly up into the sky, could jump\na hundred miles In a single jump ; and so he soon grew to believe himself\nbetter and stronger than anything else. Then he determined to make\nhimself Lord of the Sky ...\" Have you heard of the new King of the\nMonkeys?\" the Lord Buddha was asked... \"No\", replied the God.\n\" What is there to hear about him ? \" ... \"He means to turn out the\nLord of the Sky, believing that he is a Great Being\"...\nJZ? So the Buddha went up into the clouds in search of the little Stone\nMonkey, and found him misbehaving himself, insulting everybody who\ndared to interfere with him. JZ? J£> JZ? JZ?\n\"What is it you want?\" asked the Lord Buddha of him in a quiet\nvoice. JZ?JZrjZ>jZ?jZ?jZ?&? jZ? &\n& \" 1 want, \" answered the Stone Monkey, \" to be the Lord of the Sky.\n1 could manage things much better than they are managed now. Lord 1\nsee how I can jumpl \" JZ? JZ? JZ? JZ? JZ? JZ?\nIn one moment he was out of sight and in another he was back again.\n\" Can you do that ? \" he asked the Lord Buddha. JZ>\nThe God smiled and answered, \" Come with me outside the Palace"}, {"page_pdf": 65, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.65", "texte": "MONKEY TRICKS\n\nand stand upon my hand. If you can jump out of it you shall be Lord\nof the Sky, but If you cannot jump out of It you shall return to earth\nand never come here again.\" £7 £7 £7 £7 £7\n£7 The Monkey grinned and shivered with conceit and confidence. They\nwent outside the Palace, the Lord Buddha put out his hand, and the\nMonkey stepped on to it. Then he gave a great jump and immediately\nwas far out of sight. &\nOn he went jumping and jumping until he came to the End of the\nEarth. Arrived there, he was chuckling to himself that he soon would be\nLord of the Sky, when he caught sight of five great red pillars standing\non the very edge of the world, with nothing but empty space beyond\nthem. Wriggling with self-satisfaction like a tourist, he thought he would\nleave some sign to show how far he had really jumped, so he scratched\na mark on one of the five pillars, saying, \" I will bring the Lord Buddha\nhere to see it for himself!\" Then with a great leap he was back again\nin the hand of the God. £7 £7 £7 £7\n£7 \" Well, and when are you going to jump \" the Lord Buddha asked\nsweetly. £7£7£7£7£7£7£7£7\n£7 44 When?\" cried the Monkey....\" Why, I have jumped to the very end\nof the earth!\" and he began to explain about the five great red pillars\nand the mark which was on one of them. £7 £7 £7 £7\n£7 Then the Lord Buddha stretched out his fingers, and on one of them\nwas the very mark which the Monkey had made. s£ £7 £7\n£7 44 When you jumped you thought you were out of sight, but you were\nin my hand all the time. Return to the earth and learn to keep your\nproper place. \" £7 £7 £7 £7 £7 £7 £7 £7\n£7 in like manner do these Russian painters appear to believe that by\nnimbleness and continual dexterous jumping from point to point, from\nstyle to style, they will attain to the lordship of the Theatre. They will\ndo nothing of the kind. They will but bring upon themselves the same\nfate as the presumptuous little stone monkey:... perpetual banishment\nfrom the world of Art,., and the laughter of the Gods they have defied."}, {"page_pdf": 66, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.66", "texte": "EURIPIDES AT FIESOLE\nby Ernest Marriott\nne goes to a modern representation of an ancient\nclassical play almost Invariably with mixed feelings\nand one returns from it almost invariably depres-\nsed or dissatisfied. &\nWhen, however, a performance of the Baccha-\nnals was announced to take place in the Roman\namphitheatre at Fiesole It seemed as if there might\nbe a glorious possibility in store. Fiesole is Fiesole.\nThere is nothing quite like it, and we hoped that the producer and his\nassistants would be inspired by the surroundings. The sun and the wide\nsky, the blue ranges of hills and the clear Italian atmosphere,.... surely\nthese would all help to build up something more than the ordinary! £?\n& Such was the gayer side of our expectation as we baked ourselves\non the box=seat of the dusty little di on the road from Florence\nto Fiesole. The horses with the tinkling brass flags on their harness\nplodded upwards. In spite of the heat, in spite of the motors we held\ntenaciously to our belief that there really was a good chance of witnes-\nsing a successful and interesting xz?\n& But before we had been seated very long in the amphitheatre we had\npremonitions of disaster. For we saw that someone had built a \" property \"\naltar. That \" someone \"had, it is true, endeavoured to make the proper-\nties harmonise with the old grey stones of the amphitheatre, but the\nresult was not laudable. xzr xz?\nThe standards with gilt pine cones railing off the inner ring of sea-\ntin at a were bright and festive in appearance but quite inadequate. They\nhad no relation to the general scheme. The garlands on the altar and on the\nbase of the imported alien statue of Dirce were trivial and limp, and the\ngeneral semblance of paltering interference with the natural beauty of\nthe place was exasperating and distressing. x& jS? x?\n& While waiting for the tragedy to begin one forgot the decorations by\nlooking over the arid little valley to the mountain range In the misty\nblue distance beyond. & xz> & & &\nThen a young man in ordinary modern clothes walked to the altar,\nthrew some charcoal and spirit Into the earthernware vessel and kindled"}, {"page_pdf": 67, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.67", "texte": "EURIPIDES AT FIESOLE\n\nthe sacred flame with a box of wax matches. We were hurt beyond de-\nscription. Vesta's taking the place of the Vestal Virgin I\nThe responsible authorities were more successful in getting the ruins\nalight. We did not see how it was done and felt that they were improving\na little. Then we caught sight of an official fireman In shining black\nhelmet patrolling in the rear. Another shock!\nJS? Unfortunately there were many little details of this sort to which no\nthought had been given. Why, for instance, were odd spectators allowed\nto ramble about in the adjacent landscape showing themselves behind\nthe actors in the play ? Why were the ponderous marble pillars of the\npalace so constructed that when they were shaken down by the wrath\nof the gods they bounced, boomed hollowly, broke open and lay scattered\nlike packing cases in a railway collision? Why were we allowed to see\nthe god in the machine frantically tugging at the wire which caused the\ndownfall ? Why was not the orchestra properly screened off ? ....But we\ncould exhaust a golden afternoon asking why, why, why ?\n/\njg? Briefly, the performance was lacking everywhere. The chorus moved\njerkily and were insufficiently trained in their part of the ceremony. The\nentrance of the stage populace was badly managed; They did not know\nwhat to do and stood about looking feckless and unhappy. When the\nthunder rattled and the palace cracked asunder and lost its cornice they\nran away not as if in great terror but as if they were swarming without\nundue haste to see a dog fight or a street accident.\nThe costumes lacked imagination. They were drab and dull and never\nsuggested the garments of people who lived in a sunny land. - &\nThe limit of absurdity was reached when the übiquitous waiter walked\nround the inside of the ring selling packets of sweets and oranges to the\n«• patricians \" sitting on the lower steps of the amphitheatre. The tragedy\nwas in full swing at the time, but the waiter seemed blissfully uncon-\nscious that a play was proceeding... and that his coat-tails flapped almost\nin the faces of some of the chorus.\nThe principal actors spoke well, but they employed the usual tricks\nand graces and over-elaborate gestures. The man who acted Dionysus\nhad a glorious voice and used it well. But one longed for the Pagan\nDeity to come down himself and infuse a little of the real Dionysian"}, {"page_pdf": 68, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.68", "texte": "EURIPIDES AT FIESOLE\n\nspirit into the actions.\n& One really interesting thing should be recorded. The acoustics of the\nplace are wonderful. The faintest tones and inflections of speech can be\nheard anywhere in the amphitheatre. When the hubbub of the audience\nsubsided and the first thin note of a wood=>wind instrument heralded the\nentrance of the chorus the effect was magical. This beginning of the great\ntragedy contained the only touch of real magic in the whole performance.\nAfter that it became a tragedy of misrepresentation.\nJS/ in fact it was disappointment, waste, from first to last. And what else,\nunder the circumstances, can one expect? How can all this waste and\ndisappointment which is taking place daily in all the theatres, be remedied\nuntil each production which is put upon any stage is the work of one\nman, of a thoroughly trained Artist of the Theatre, who shall shape, and\ninfuse life into, all the material which belongs to the Theatre? It is in\nthe finding and training of such men that the remedy for all the waste\nand nonsense in the theatre lies.\n£? There was plenty of good will, but no adequate guidance heaps of\nenergy, but no one competent to focus it to one point. There was money\nguaranteed for the support of the enterprise, there was a fine place, a\nfine play, and people eager to be delighted and excited In the presence\nof Beauty,... and it ail came to nothing because the master~mind of the\nartist was not there to dominate, to infuse spirit into the material which\nhad been amassed : because the Artist of the Theatre, with the vision to\nperceive and the practical power to use all the opportunities of the scene,\nthe movement and the spoken word,., the man able to create beauty and\nbestow unity and stir excitement,... had not been found. £?\n£? Probably he had not been even sought. Hence the failure and the\nwaste. Hence the broken dream of those who had hoped to meet with a\nspirit of Beauty there among the Tuscan hills and within the noble curve\nof the old theatre which the Romans left. &"}, {"page_pdf": 69, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.69", "texte": "CUBISM UNVEILED: AN EXTRACT FROM THE\nTREATISE ON THE PROPORTIONS OF THE\nHUMAN BODY,\nWritten and Illustrated by\nAlbert Durer, 1500-1523.(1) With a Foreword\nby Felix Urban.\n\nhe Cubists, newest of the new, the 44 last word \" in\nmodernity, have arrived on the scene too late. Albert\nDurer has forestalled them by four hundred years;\nfor the Manuscript of his work on 44 Human Pro-\nportion \" in the Dresden Library bears the Inscrip-\ntion, 44 1523, at Nurnberg\", and though it was not\npublished until 1528, the author living to see but\nthe first part in the press, some of the drawings for\nit were made even as early as 1500. ■£?\njg. The complete work was published after Durer's death under the edi-\ntorship of Pirkheimer, and bore the inscription, \" Herein are contained\n4 Books of Human Proportion, invented and described by Albrecht Durer\nof Nurnberg, for the use of all who love this art and it soon passed\ninto numerous editions and translations, Latin, (i532*34)> Italian, Spanish,\nFrench and Dutch; while in 1666 a curious English version appeared,\ncalled \" A. Durer\nj?> n seems however that Durer, himself forestalling Cubism by four\nhundred years, was in his turn but following on the system of a yet\n\n(1) Di Alberto Durero Pittore e Geometra chiarissimo. Delia Simmetria del Corpi Human!. Libri quatiro. Traditta\ndalla lingua Latioa da M. Qio. Paolo Gallucci Salodiano In Venetia MDXI."}, {"page_pdf": 70, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.70", "texte": "CUBISM .\n\nearlier master, Jacopo de' Barbarl, who appears to have influenced his\nmethods of measurement, and to whom, and to Vitruvius, Durer ascribes\nhis first knowledge of proportion. JZ? &\nof Jacopo himself information is scanty. He was a Venetian, and known\namong the Nurnberg painters as Jakob Walch. He appears to have been\nin Nurnberg previous to 1500 and later on to have entered the \"service\nof Philip, son of the Duke of Burgundy. In 1510 he was painter to the\nDuchess Margaret, Regent of the Netherlands, and was dead in 1516. Durer,\nwho early came into contact with him, declares that he had found no\none 44 who had described how to take the measure of the human form,\n44 but a man called Jacobus, a native of Venice, a charming painter. He\n\" showed me a man and a woman taken by measure, so that at that time\n44 I would rather have seen what his meaning was than a new Empire.\n«< But at that time I was young, and had never heard of such things \".\nThat Durer afterwards both saw and applied the 44 meaning \" which\nso keenly aroused his enthusiasm is evidenced by the long series of de-\nsigns of men and women 44 taken by measure \" which his book on Human\nProportion contains, and a few of which, with one or two extracts from\nhis own descriptive text, are here &\nThe rest the student can see for himself by going to any museum and\nasking for the book. JS? & &\nSo we are reminded once again that the French are exactly what they\nseem, clever acrobats. As with the great Italian Drama, so with Cubism.\nThey founded a school of drama on the leavings of the Italian Commedia\ndell'Arte and Cubism on the leavings of the German Durer, he having\nderived his system from an Italian.\nAlways a new feather in the cap of Italy! She amongst all the nations\nis a creatress. She in the south and Ireland from the north.\n& But this is not 44 Cubism \" some one will be sure to say. My dear Sir,\nthis IS Cubism... exactly that and nothing else: nor is anything else as\nmuch Cubism as this. 0\nLook at the figure on page 75. It is a scientific demonstration of the\nhuman figure according to the laws of the true Cubist. It resembles some\n44 portrait of M. Hahnwelzer \" or some other modern 44 portrait \" but\nwith a difference. One difference is that this is no portrait. When it came"}, {"page_pdf": 71, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.71", "texte": "CUBISM UNVEILED.\n\nto making a portrait the good artist of a sane period had done with all\nstudy, system and science. He then did his best to hide all art by being\ntoo much of an artist to show how he was doing the thing.\n■£? Modern Cubism is born of conceit. \"See how clever I am,.;, and\nwhat a fool you are \". That sentence is written on every Cubist painting.\nHow vain this quest of special stupidity !...as though these painters\nwould not have been able to demonstrate their stupidity without all\nthis effort.\n\"A watch, do you know what it is ?\" says the conceited child who has\nstudied mechanics for a few months: and he turns his back to us and\nproceeds to pull a watch to pieces, lays the works out before us on a\ntable, wheels, springs, face, hands, and the rest, and, pointing trium-\nphantly says, \" That is a watch \". He is wrong,... for that is a ruin.\nSo is it with our modern Cubist. He pulls draughtsmanship and pain-\nting to pieces, readjusts in disorder the once ordered parts, and cries:\n\"That is a painting\". He is wrong....that is a catastrophe. &\nLet us begin once more. And let us not forget that this catastrophe\nhas only been possible since sham socialists were allowed to preach a vile\nsocialism without fear of arrest. Let us begin again to put the pieces in\norder. & JZ?\n\nF. U."}, {"page_pdf": 72, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.72", "texte": "HERE BEGIN THE EXTRACTS FROM THE\nTREATISE\nBY ALBERT DURER, 1500-1523.\n\nON THE METHODS OF BENDING THE HUMAN FIGURE.\nl\\Tow because there is not only one method of bending the human figure I\nhave thought that, to make my tenets clearer, it may be well to indicate\ncertain distinctions relative to which our opinion and theory should be\nclearly understood. One must also diligently consider the state and aspect\nof the figure which we require, whether we want it rigid or easy, whether\nthis one must be represented fierce and terrible and that one amiable\nand sweet.\nThese are the distinctive methods of Bending,\ni. Piegato. (zig-zag). 5. Diritto Contorto. (straight\na. Corvato. (curved). & bent double).\n3. Traversato. (unfolding X-wise). 7. Mosso (moved from its\n4. Intricate*. (interlaced). place).\nThe human body bends according to these six methods which we\nhave defined with six names, and either more or less according to its\nmovement; and these things will be explained in what follows, to the\nend that they may be clearly understood. jsr x &\nNow it must be understood that, as these principles are demonstrated\nin lines, so are they likewise applied to flat surfaces and to solid bodies.\nFor these are wont, as are the lines contained in them, to bend, curve,\nturn, be interlaced, straightened, contorted and moved from the place\nwhere they formerly were. In what manner these rules are applied to the\nhuman body we shall show part by part in what follows:"}, {"page_pdf": 73, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.73", "texte": "CUBISM UNVEILED.\n\n£/ Those movements which we have In the first place called have\ntheir seat in the joints of the limbs, because it Is in them that the members\nare bent; although these must maintain their rectangularlty, since, if\nwe desire to bend the bones they will break. For this reason we have\nshown the system of the abbreviated (zigzag) lines, which In certain\npoints are joined together, and consist of small straight parts.\nIn the second place the nerves and flesh in the human body curve.\nHence, when the body bends to the sides, or forwards, or backwards, the\nnerves and flesh make curves, so that in one part a hollow appears, in\nanother a convexity. & & & ■&\n& In the third place we spoke of .the lines being when either\nthe body itself moves, or the arms or feet, or the flank and the greater\npart of the other members which are in the body.\n& in the fourth place we spoke of intricato or intorchiatot which inter-\nlacing is wont to take place in the nerves and the flesh In the movement\nof the body when its soft parts turn within themselves, as in the neck,\nthe trunk, the arm and the foot.\n& In the fifth place 1 noted in the body the outstretching and incurving,\nof which the one attenuates, the other thickens, the part moved. If you\nstretch out your arm in such away as to straighten it, the nerves stretch\nand attenuate the flesh Into length; but if you draw it to you in such a\nway that It curves, the flesh also curves and rounds itself, and the same\nhappens-in the other parts of the body also. &\nFinally we say that one part of the body is moved from another when\none limb detaches itself almost entirely from another, whether to the\nside, or forwards or backwards. Likewise in the curves and bendlngs the\nflesh moves, and almost of Itself presses outwards or inwards or to one\nside. <j&je?\nNow all of these six differences can come about in the movement of\nthe body in such away that one may say that the members either bend\nor turn or separate ; and thus the flesh and the other soft parts make\ncurves, Interlace, or contort, and so we naturally see the various parts\npressing one upon another. &\nThus, from these principles which have been here demonstrated,\neveryone can make their own designs in such an attitude as they may"}, {"page_pdf": 74, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.74", "texte": "CUBISM UNVEILED.\n\nDiagrams showing method of obtaining sections and modifications. ALBERT DURER, 1500-1523.\n\nwish and as the subject itself seems to require. But care must be taken\nnot to depart from those gestures which are natural. For It is inevitable\nthat forced movements are ugly. One should always avoid the too°>much\nand the too=little, for either of which the figure must be either furious\nor somnolent, which is bad, unless your drawing Is meant to be in the\none or the other manner. It must also be understood that this applies to\nhuman bodies both male and female, and also to the pictures of beasts,\nsuch as horses and other animals."}, {"page_pdf": 75, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.75", "texte": "CUBISM UNVEILED.\n\nit must likewise be understood\nthat the designs described above do\nnot always maintain In the bends\nof all the parts either the same\nmeasurement or the same width and\nthickness. Because in the movement\nof a part it seems to depart from\none space and join itself to another,\nand thus mutations arise in the\nwork, for the well=doing of the\nwhich it is necessary that those\nwho study these things make many\nstudies of living bodies. Thus they\nwill easily understand the form of\nall the parts, which must be most\ncarefully noted for the avoidance of\nerror in the work.\nJZ/ Beyond all this there is also a\nway of effecting the bends which Is\nexcellent, and most useful to sculp*\ntors :... to enclose, in their drawings,\nthe principal parts of the figure in\ntransverse lines and quadrilateral\nand angular figures, (see pg.73) This\nis easily done in the drawings and\nat the outset of the . work. In the\nsame way it is usual to enclose\nthe space for the head, the neck,\nthe trunk down to the waist line;\nfrom there to the summit of the\nthigh, thence to the knees, and so\non for the legs and feet; and the\nsame method is to be applied to the\narms also. & &\n& In this way one will be able with"}, {"page_pdf": 76, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.76", "texte": "CUBISM UNVEILED\n\nthe greatest ease to set forth all the parts of the body with angular\nfigures and lines and points In such a manner that one understands the\nposition of each of the parallel, upright and transverse lines. But\nall of these cannot be made rectangular or quadrilateral, and they\nmust therefore be adjusted to the different parts of the body with\nlines and angles, and for this true intelligence can be of assistance.\nON THE HUMAN FIGURE REDUCED TO GEOMETRICAL FORMS.\nis the male figure previously described in the second Book, the\nheight of which Is nine times its own head measurement, pg. 73.\n& We have enclosed the form of this figure, both the profile and the\nfull-face, with square and angular lines, which lines run in accordance\nwith the contours of the various parts, both upper and lower, and are\nunequal according to the shape of the parts to which they are adjusted.\nWe have also divided the height with nine horizontal lines into ten\nangular figures. The following are the names of these divisions. The\ntransverse line of the chin, of the top of the shoulders, of the cavity of\nthe throat, of the breasts, of the waist, of the thighs, of the head, of\n• d\nthe hip-bone, of the knee, of under the heel. & &\nNow, for greater clearness, we have first shown the form of the pro-\nfile and full-face man entirely enclosed in quadrangular figures made of\nstraight lines, (pg. 73), the which figure is standing, and upright without\nany bend, with the right arm stretched out and the left hanging down;\non the other page (pg. 75) you will see only the quadrangular figures made\nof straight lines, but we have omitted the drawing of the figure itself."}, {"page_pdf": 77, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.77", "texte": "Fig: 1. Pg. 73. ALBERT DURER, 1500-1522."}, {"page_pdf": 79, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.79", "texte": "Fig; 2. pg. 75. ALBERT DURER 1500-1523."}, {"page_pdf": 81, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.81", "texte": "BOOK REVIEWS.\n\nTOWARDS A NEW THEATRE.\nForty Designs for Stage Scenes\nwith Critical Notes by the\nventor, Edward Gordon Craig.\nJ. M. Dent & Sons. Twenty one\nshillings net.\n\nqrtils big beautiful book represents\nnot what Mr Craig Is doing or\ngoing to do but what he has done.\nTo ask why he should give us that\nwhich he has left behind is as ri-\ndiculous as to ask a cartographer\nwhy he outlines newly discovered\ncountry when publishing a map.\nOne cannot and must not criticise\nthis book. Gordon Craig is acknow-\nledged everywhere to be the master-\ndiscoverer in the Theatre. This la-\ntest book is a map of some his\nexplorations. JS? J£>\n& He charts hidden rocks, he marks\nvery definitely a shoal and leaves a\nbuoy floating there as a warning; he\nshows a beaked promontory where\ndangerous currents race and then\ni\nindicates open sea and we sail along\nin imagination with him. Anon we\nare warped through a narrow strait\nand then on to the wide blue horizon\nagain. We come to strange countries\nand land thereon. He shows us won-\ndrous and beautiful things, he points\nto plains as yet unexplored, takes\nus up the lower slopes of the moun-\ntain of which he speaks In terms of\nparable, and we strain our eyes to\nsee the summit glimmering high\nabove us. &\n& I repeat, it is absurd to attempt\ncriticism of this book. We can buy\nit and reverence our purchase. We\nmust buy it, and be thankful that\na mere guinea can bring us a volume\nof wisdom and beauty, a record of\ngreat work accomplished, an adum-\nbration of still greater work pro-\njected, a survey with sign-posts of\nprogress planted \" thick as leaves"}, {"page_pdf": 82, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.82", "texte": "BOOK REVI\n\nin Vallombrosa &\n& The trail is blazed:... if we wish\nto catch up with Mr Craig to ask\nhim of the way to the summit all\nwe have to do is to enter the domain\nof his book and tread the paths so\nclearly marked for our\n£? Sumptuous and satisfying in ap-\npearance, it is a feast for the mind\nand the eye. It is not merely an\ninteresting book; It is an exciting\nbook. I defy anyone who claims to\nhave any imagination or feeling for\nwhat is dramatic to read the notes\nto ** The Steps \" (pages 41 to 49) and\nto look at the drawings for the same\nwithout being tremendously distur-\nbed and thrilled. If you can remain\ncalm you have no right to.retain the\nbook. You must give it to the Ger-\nmans or the Russians who will make\nbetter use of it.\nThere are so many designs here\nwhose austere beauty evokes deep\nemotion that it is impossible to par-\nticularise them. These who love the\nTheatre, those who love individual\nstyle in prose, or those who love\ndrawings for their own sake neglect\nit at their peril.\n\nE. M.\n\nTHE JO Y OF THE THE A TRE by\nGilbert Cannon• B. T. Batsford.\nPrice Two shillings net. JS?\na confused booklet ap-\nparently written in some haste.\nWrongly to Interpret the Truth of\nNature Is a crime when consciously\ndone; when unconsciously it is a\nblunder. & &\nMr Gilbert Cannan is guilty of\njust such a crime or of just that\nblunder. &\nHe makes statements which, had\nthey been made six years ago, might\nhave been made through ignorance.\nFor instance, he says, \" The Art of\nthe Theatre is a combination of many\narts fused by the dramatic sense\"\netc, etc.\n& This is not true. It is an old\nramshackle theory based on the loose\nthinking of the short-sighted, and\nthere is no reason for the untruth\nto be repeated since it was pointed\nout to us in 1908 that by a combi-\nnation of many or few arts you can-\nnot create one art the more. Comic,\nthat it should take several centuries\nto discover so simple a fact! £/\n& Mr Cannan, writing in this way,\ndoes himself injustice.\n& In another part of his book he\nrepeats Mr Craig's theory of sound,\nlight and movement as being the\nelements of the Art of the Theatre,\nand also writes of the possibility of\nthe *' producer \" being himself the\n\" dramatist \". (1) In this he echoes\nwhat Mr Craig has already stated\n\n(1) The invented commas are ours. Ed,"}, {"page_pdf": 83, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.83", "texte": "BOOK REVIEWS.\n\nto be not merely a possibility but\nan inevitable necessity... well then!\n/z? Mr Cannan is most right when\nhe quotes Galileo's 44 e pur si muove \"\nas the last word of his- book even\nas Dr Baltruschaitls last January\nused it as the first word in his essay\non 44 the Path of Gordon Craig \".\nAlas that Mr Cannan should believe\nin movement backwards; heaven be\npraised that Dr Baltruschaitis be-\nlieves In natural movement.\n\nTI: A VIN Die A TION OF THE\nHINDU WOMAN, A. Cooma-\nzs? &\nsvvaniy and delivered as an ad-\ndress before the Sociological Society\nin London, November 1913* this little\nbooklet is more than its title claims\nfor it.\nIt is a vindication of all women,\nand it is an indictment of woman's\nenemy, Industrialism. JZ?\nThe author shows that to at-\ntempt to 44 emancipate \" woman is\nto attempt to industrialise her. He\nsees that the key-note of modern\nfeminism is the endeavour to escape\nobligations, and he quotes from\nMiss Cecily Hamilton's \" The Great\nState \" as follows : JZ?\njg? 44 What the State has the right\n\" to demand of her will be that she,\n*' like her father, her husband, her\n44 brother, shall conduct herself de=\n\".cently and in accordance with its\n44 laws. What it has not the right to\n44 demand of her... either directly or\n44 indirectly, by bribe or by Indirect\n14 pressure... is that she, in return\n\" for its protection, shall consider\n44 herself under any obligation to\n44 produce its future citizens. \" So\nwrites Miss Hamilton. jg/\nBut Hindus, we are told by Dr.\nCoomaraswamy, 44 hold that both men\n44 and women alike are under obli-\n-44 gation to produce future citizens ;\n44 it is a debt to the ancestors. \"\nDr. Coomaraswamy agrees that\nwomen have good cause for resent-\nment, and shows that women have\nbeen for centuries robbed right and\nleft. But he adds, 44 I think you mis-\n-44 take in directing your resentment\n44 against men. It is not men, but\n«4 Industrialism and Imperialism that\n*4 have cheated you of Life, and have\n44 equally cheated men. \"\nSati as we all know was the in-\nstitution, now no longer in existence;\nwhich allowed the woman to destroy\nherself when her lord and master\ndeparted this life. The root idea was\nthat they should pass into the next\nexistence together. & &\nDr. Coomaraswamy writes ;....\n44 The suggestion is sometimes made,\n44 that if it be right to die for love"}, {"page_pdf": 84, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.84", "texte": "BOOK REVIEWS.\n\n44 at all, why should not men also\n44 die ? Those who believe that an\n44 institution like Sati could any-\n-44 where have been imposed by men\n44 upon women, against their nature,\n44 may well believe that men at the\n44 same time laid down for themselves\n44 a different and more agreeable\n44 law. There are some who have gone\n44 further, and found a reason for\n44 the custom imposed by men on\n44 women, in the belief of the former\n44 that the latter might, for various\n44 reasons, desire their death, and\n44 would compass that end were they\n44 not deterred by fear of their own.\n44 We need not consider either of\n44 these, since it passes the wit of\n**. man to answer a fool according\n44 to his folly. But we may inquire\n44 why it is, that what In a woman\n44 excites our enthusiasm and won-\n-44 der, in a man is usually felt to be\n44 cowardice. The deep reasons for\n44 this He beyond the realm of indi-\n-44 vidual advantages. The human spi-\n-44 rit, pursuing its ends deliberately\n44 and wisely, demands of men and\n44 of women two different devotions,\n44 It asks of women devotion to men ;\n44 of men, devotion to ideas. In each\n*'■ devotion lies an equal glory and\n44 an equal joy. There is no difference\n44 in degree of devotion between that\n44 Sati who won the consent of an\n\" English Governor to her fiery\n\" death, by calmly holding a finger\n\"In the flame of a candle till It\nv shrivelled to a cinder, and that\n44 English martyr who In like wise\n\" proved his readiness for the stake.\n44 Prom an Industrial standpoint,\n44 both devotions are equally use-\n-44 less. \" «<£? -<S? -«S>\nThis is Illumined Freedom.\nWe think we shall have to write\nmore, and often, of this pamphlet\nand on this subject.\nOf the relationship of woman to\nman Dr. Coomaraswamy speaks well,\nsaying such things as this... 44 It is\na purely magical relation \" and, \" It\nIs not cameraderie that one needs\nof woman, it is magic ; \" and \" If we\n44 study the folk-speech anywhere in\n44 the world, we shall find that it\n\" reveals woman, and not man, as\n44 the lover; when her shyness allows,\n\" it is she who would pray for man's\n\" love; and will serve him to the\n44 utmost. Industrialism reverses this\n\" relation, making man the suppliant\n\" and the servant, a condition as\n*\n44 unnatural as any other of its cha-\n-44 racteristic perversions. \" &\nEngland would do well at the\npresent moment to give very serious\nconsideration to the truths which\nthis pamphlet of Dr Coomaraswamy's\ncontains. JZ?"}, {"page_pdf": 85, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.85", "texte": "BOOK REVIEWS.\n\nINTRODUCTION TO THE STUDY\nOF INDIAN MUSIC by E.\nClements. Longman's, Green and\nCo. Price six shillings net.\nE. E.\nTPhis book is one of the threads of\na net made to ensnare men. It is a\nstrong net which grow s a little larger\nwith every new moon. The weavers\nsit patiently knotting it. It will take\nmany years to make,... and where\nwill all the music be then ?\nzzz The East and the West may some\ndaj' meet. At present they are wide\napart. The telegraph and railway\ncannot link them together. They are\nwide apart. This is fact; all else is\nfancy. zZ? zZS zZ? jZ?\nFor this reason 1 am inclined to\ndisagree with Dr Coomaraswamy's\ndefinite statement that \" for the\nWestern student the exact study of\nthe science of Indian music is a\nnecessary process in the interests of\nprogress and interpretation.\" I think\ntherefore that this learned book by\nE. Clements is and should be of lit-\ntle use to us. jZ?\nz& The East and the West may, as\n1 have said, some day meet. If they\ndo meet each must have his tunes,\npoems, pictures to show the other.\nThe other must not begin to dis-\ncuss. ZZZ XZ> ZZ? zS?\nzZZ The dangers of knowing are ever\nincreasing. The danger of knowing\nall about the East,., what a danger!\nThe more we know the more we\nlose. The East seemed so far off once\nupon a time; to some It still seems\nas far,.., as far as the stars. How\nthey shine,... and how the East\nshines,... in their distances. Instruct\nsome of us in the stars and their\nlight goes out, nor is there more\nlight in us. zzr zz? z&\nSo is it with the Holy East.\nCome to us, then, with your\nbanners and your music,sweep past us\nwith your dancers and divinities and\ngo: but do not instruct us, do not de-\nceive us by such let us\nremain ignorant, leave our hands\nuntied. If you will conquer us do It\nlike conquerers. So shall we, (some\nof us) remain to the end affection*\nately yours.\n\nTHE RUSSIAN BA\nf\nTerry. Illustrated by Pamela\nColeman Smith. and\nJackson. Price three shillings\nand sixpence net. zzr zz?\ncharming book on the Russian\nBallet. Printed on fine paper; with\ndrawings by Miss Pamela Coleman\nSmith from photos or from other\ndrawings. zzr"}, {"page_pdf": 86, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.86", "texte": "FOREIGN NOTES.\n\nLONDON\n\nThe \"Max\" Exhibition. 1913.\n\n■yi/'henever a 44 Max \" Exhibition\noccurs it Is indubitably and ine-\nvitably a social event. x?\nHis 1913 Exhibition comprises\nsixty new designs. Though new to\nthe eye their taste on the mental\npalate is that of a rare and excellent\nvintage. The usual wit and vigour,\nthe graceful cynicism we have learnt\nto expect and the certain brilliant\ntechnique are here. If there is any\ndifference it is that they are more\nbeautiful than before. Indeed, no. 1.\n14 The New English Art Club \" is\nalmost startling in its unexpected\nbeauty. The colour is exquisitely\nhandled and the whole design is as\nsoft and subtle as an authentic Con-\nder drawing on silk. .=£?\nBut we must concern ourselves\n*\nwith the celebrities of Theatre land\nas they appear to Mr Beerbohm.\n& Quite a large number of the draw-\nings are caricatures of and com-\nments on dramatists.\nMr Arnold Bennett is seen in a\nsmoky landscape sitting on a mile-\nstone and blowing smoke down his\nnostrils while Hilda Lessways asks\nhim how long he is going to keep\nClayhanger and herself standing\nabout.\nMr Thomas Hardy is caught in\nthe act of composing a lyric. Mase-\nfield is leaning over the roof tops\nof a slummy Ltlliput where navvies\nare seen fighting with their wives.\nThe Rehearsal at the Theatre\nis very amusing. M. Claretie\nimplores two particularly 44 catty '\nartistes \" Mesdames, mesdames !\nN'oubliez pas que vous faites parti\nde la maison de Moliere 1 \"\nMr Gordon Craig is represented\nin the act of producing 44 Hamlet\"\non his model stage and looking very\nhappy and lolly as if thoroughly\nenjoying his demonstration of how\na little dark figure gains tremen-\ndously in dramatic value when placed\nin a simple austere setting. £?\n& The Censor, Mr Brookfield, is"}, {"page_pdf": 87, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.87", "texte": "FOREIGN NOTES.\n\nseen 44 trying to fall under the spell\nof the modern Drama \". Max's opinion\nof modern Drama is hardly flatte-\nring. He visualises it as a female\nfigure with a bulging head and gog-\ngles, hair scraped back into a bun\nand wearing a 44 synthetic \" costume.\nu£? 44 Girth \" shows stout Mr Charles\nHawtrey saying to thin Mr Du Mau-\nrier,44 Stick to the quiet method and\nyou'll be just the same presently. \"\nMax has not altered his opinion of\nMr Bernard Shaw. He finds him, on\nreturning to England, still standing\non his head. &\n& W. J. Locke, D'Annunzio, Binyon\nand Anthony Hope are also included.\nThe gift of seeing things in terms\nof parody and caricature is a sort of\nsixth sense. Mr Beerbohm has it to\nan extraordinary degree. Judging\nfrom the way he has represented the\nmodern dramatists he must think\nthat the drama of today is in a dis-\nmal state. We may be wrong in this\nassumption, but that is what we can-\nnot help reading from the faces he\nportraj's. JZ? &\n\nM. S. C.\n\nThe Haymarket Theatre.\nR. S.\nHphe Pretenders and Mr Laurence\nIrving... Pretending to be a Pre-\ntender... everyone else pretending to\nact... Laurence Irving really acting.\nThat is to say, really 44 pretending ; \"\nand doing it well. Everyone preten-\nding that Ibsen was a failure,... au-\ndience as well. Lord Howard de Wal-\nden pretending not to mind..! The\nplay succeeded, for it was taken\noff almost at once. Good luck to all\nsuch Successes, and may there be\nmany more of them ! &\nScandinavia is nearer England\nthan Ciiina, or Japan;.... perhaps\nthat accounts for the quality of the\nSuccess.\n\nPARIS.\n\nAn Ancient Arctic Play.\n\n'\"jphere is a report going about that\nthe French Explorer M. Andre\nwho went to discover the North\nPole in a balloon is busy translating\nfrom Esquimaux into French a char-\nming little Idyll of Love and Jealousy\nwhich the purists of Baffin's Bay\nhave preserved for at least 10,000\nyears.\nEveryone who has read It is con-\nvinced that it promises to be a fai-\nlure which will run as many thou=\nsand as 44La Fille de Madame Angot.\"\nNot for the Furs alone which will\nbe exhhibited, (though rumour tells\nus they will in actuality be made in\nthe haunts of Passy and the Rue\nde la Paix while they will pose as\npure Pomeranian).... not alone for\nthese nor for the realistic thick lips\nand squash nose which M. L£on le\nFranck has been able to super-impose"}, {"page_pdf": 88, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.88", "texte": "FOREIGN NOTES.\n\nupon his sharp-cut Latin features,\nwill this production be remarkable\nbut also on account of the underwear,\nwhich shall be positively the same\nas used ten thousand years ago in\nthe Bay of Baffin.^\nSeveral theatrical light effects such\nas the midnight sun will be shown\nand all Paris will flock to see this.\nIt will quite put In the shade those\neffects seen in 44 The Yellow Jacket \"\nwhich after all were at the most\nonly two thousand years old. &\n& The managers of the Theatre Cor-\nneille et Racine are said to be busy\nprocuring thirty really ancient wal-\nrus hooks from which the lamps in\nthe front of the house will be hung.\nThese lamps will be lighted with\nreal whale oil drawn from whales\nwhich cannot be less than four thou-\nsand years old. <\nAfter all, age is everything, and\nParis in getting on ; and even though\nLondon has beaten it in its admira-\ntion for antiques, Paris can even\ntoday create more perfect specimens.\n\nJ. de S.\n\nROME.\n\nThe Oldest Piece of Theatrical\nNews in the World. & &\nAne hears so much nowadays of the\nstupendous salary received by\nSignor Caruso, and how he has bea>\nten all records in earning, I think,\nthree hundred pounds a night or\nsome such trifling sum. So it is\nreally gratifying to be able to send\nby the diligence the following little\npiece of information concerning a\nsalary which can at no time be\nconsidered small.\nThe little fee received by a per-\nformer at the Coliseum In the year\n180 A. D. was L. 8000.0.0, (eight\nthousand pounds) a day. On one\noccasion he performed for fourteen\nconsecutive days. That brought him\nin one hundred and twelve thousand\npounds for a fortnight's work. For\nmy part, and I am speaking very\nseriously, 1 consider this ample, but\nin no way an exaggerated amount.\nAnd 1 look at it from this point of\nview. J£>\nif an artist or a performer is to\nhave everything provided for him,...\nthat is to say, sufficient for his\ntemperament, then it seems to me\nthere is no need for an artist or\nperformer to receive payment at all.\nEverything should be paid for him.\nOne year it would be more, another\nyear it would be still more, the third\nyear it would be less, and there\nwould be no talk and no worry\nabout money. The most important\nthing we should be saved would be\nthis,... the depreciation of the value\nof the artist: for people gape"}, {"page_pdf": 89, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.89", "texte": "FOREIGN NOTES.\n\nwhen they hear of three hundred\npounds a night in connection with\nCaruso, whereas three hundred\npounds if you come to think of it is\nnothing at all. As payment for a\nwork of art it is nil : as wages it is\nL.299.0.0. too much.\nAn artist's work is either priceless\n■or it is not the work of an Artist\nbut of an artisan. You cannot fix for\nhim a sum in so many pounds\nsterling, and artists rather make a\nmistake when they contract them-\nselves out at so much per performance\nA much more sensible way.,, in fact,\nthe only way,... would be for each\nartist to be provided with all that\nhe needs. He would never need more\nthan three or four thousand a year\n....unless he had given the world\nmany sons and daughters, when of\ncourse he should receive In addition\nall that they needed. As beginners\nthat would amount to about a hun-\ndred a year. J£?\nThis does not seem on the face\nof it a very practical suggestion, but\nif you look at it a little more closely\nyou will see that it is practical to\nits very roots. It would not only\nprevent one man receiving three\nhundred pounds a night, but it\nwould provide for another man\nreceiving more than thirty shillings\na night; and on this basis if you had\nhonest directors the Theatre itself\nwould be rich, and would be able to\nafford many more wonders for its\nsupporters. The Public would benefit\nall the time. £?■£?&\n#\nFor there are many artisans and\nfew artists, and if my suggestion\nwere followed some artisans who are\nreceiving three hundred, one hun-\ndred, sixty, fifty, forty, twenty\npounds a night would be reduced to\none pound and the audience would\nbe rid of the vulgarity of the artisans\nand could then open its ears and\neyes to see and hear the work of the\nartist.\nThe reason why in the theatre\nthe artist's work is always spoken\nof as \" so costly \" is that it is the\nartisan in the theatre who speaks.\n\" I draw crowds the artist doesn't\"...\nsays he, \" his work is too fine, poor\nfellow.\"\nKNAVE ! You know that the\npublic is as fine as vulgar, and that\nyou tempt it to remain vulgar by\nyour assumed pity of the \" poor\nartist. \" SO WAKE UP, ARTISTS!\nWAKE UP FOR THE THEATRE'S\nSAKE. & j£>\nue> FOR HER SAKE CRUSH THESE\nARTISANS WHO POSE AS \"ARTISTS\"\nAND WHOSE HANDS SQUEEZE OUT\nTHE BLOOD OF THE BOX OFFICE\nINTO THEIR OWN POCKETS. &"}, {"page_pdf": 90, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.90", "texte": "FOREIGN NOTES.\n\nThe Blessings of our Age.\n\nJ have just returned from the Co*\nliseum... not Mr. Stoll's more im-\nportant place in St. Martin's Lane,\nLondon, but that lesser affair of the\nCaesars' here in Rome, and the visit\nhas conjured up a fount of gratitud-e\nfor the blessings of our age.\nThe London Coliseum is so far\nmore select: but two or three thou-\nsand people can meet there. This is\nalmost \" precious \" when one con-\nsiders the nasty crush there must\nhave been in the Roman theatre.\nThere, on an average, they brought\ntogether 50,000 spectators at a per-\nformance. JZ? JZ? Zz?\nJZ? It was popularity they aimed at\nin those sad days.^\nToday we manage these things\nbetter. We talk about the masses; but\nwe minister... Mr Stoll ministers, to\nthe few. We make a fine selection of\nthe people; we do not countenance\nvulgarity. That would offend our\ntaste, and at the same time the taste\nof our few select ones.\nIt is indeed a blessing to live in\nthese times.\nWe would never have dared to\ntake our grandmother to a matinee\nAt the Roman amphitheatre. No, not\neven had we and she lived in the first\ncentury of what is called the Chri-\nstian or Vulgar Era, that period in\nwhich the place was opened.\nj£> Dreadful things happened there;\nand what is more, were permitted.\nAt our London Coliseum how dif-\nferent it all is I We never even call a\nspade a spade,., and we never come to\nHecuba. We abhor all such bluntness.\nOurs is the age of subtlety and re-\nfinement.... But who would ever have\nguessed it!\nGold was actually used to deck\nout the vulgar place In Rome. Gold\nor real marble, which, remarkable as\nit appears, some people actually saw\nnothing to find fault with. Perfor-\nmances cost untold sums of money\nin that strong vicious age. What an\nadvance today! In this weak vicious\nage we have learned to employ the\nsubtle gold leaf Instead... and with\nsuch cunning... such art! We can\ncopy in ordinary deal the appearance\nof marble so exactly that a plumber\nwould scarce detect the difference.\nAnd we are able to pretend that we\nspend vast sums on a performance,\nand get it all over on L. 2,000.0.0.\nRome had but one million Inhabitants,\nyet it was nothing for a single per-\nformance there to cost L. 12,000.0.0.\nWe have many millions. But as 1 said,\nwe select those who shall grace our\nauditoriums. JZ? JZ/\nIf we pretend to cater for the\nmasses, what of that ? If we seem to"}, {"page_pdf": 91, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.91", "texte": "FOREIGN NOTES\n\nverge on the side of leniency to the\npublic in our advertisements, and\noften teli them in the \" Mail \" that\nwe are always searching for some-\nthing 44 popular can our meaning\nstill remain obscure ?\nSurely we must ever be polite....\nwe would not offend even the least\nof the vulgar. Still, we must abide\nby the ideal we have set up... the\nideal of papier mache and deal picked\nout with a dash of gilt... for the sake\nof those men and women of questio-\nnable nobility and doubtful taste who\nfrequent our Gin Palaces.\n\nP. R.\n\nMACCLESVILLE, YORKSHIRE.\n\nA New Repertory Theatre.\nM. B.\nA new Repertory Theatre has been\nopened here. The Repertory Thea-\ntre movement spreads like wildfire\nand the authorities of the Thames\nbrigade are fully prepared for all\nemergencies. & jg?\n\\\nThe management of the Maccles-\nviile Repertory Theatre will be glad\nto hear of any artist, (or even artiste)\nwith a full knowledge of some of\nthe old cast-off ideas of Stanislaw-\nsky, Mr Gordon Craig or Dr Alexan-\nder Sieves!.\nThe Macclesville Repertory Thea-\ntre will also be willing to purchase\nany big dark blue black-cloths such\nas those used in 44 Dido and Aeneas \"\nin 1900. Curtains are also wanted..;\nat fair secondhand prices for\nMacclesville is a great believer in the\nproduction of the Elizabethan Drama\nin a simple and original setting.\nFurther innovations will be an-\nnounced in the autumn.\n\nAN EXTRACT FROM A LETTER\nFROM LONDON.\n\nFacts are Stubborn Things.\nQ. E.\nqpo bestow admiration on a work\n44 of extreme democratic painting\n4< and at the same time to be con-\n-44 vinced of the value of an aristo-\n-44 cratic order of society is to be\n44 guilty of a confusion of ideas\n44 which ultimately can lead only to\n44 disastrous results in practical\n44 life, (i) JZ? & &\nThe English, however, are not\nreally convinced of the value of any\nkind of social order, nor do they\nbestow anything except abuse upon\npaintings of any marked tendency.\nBut thank God our present Ger-\nman ambassador and his wife are\nhelping to bring about a better un-\nderstanding of English art and artists\namong the Londoners.\n(I) Ludovlci, \" Nietesche and Art"}, {"page_pdf": 92, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.92", "texte": "editorial NOTES.\n\n& PARASITES AND THE\nTHEATRE. j£>\nnumber of men in England have\nlately taken quite an interest in\nthe awakening Theatre.\nIs their Interest a selfish one ?\nOn enquiry, and after looking care-\nfully into the actions of many of\nthese interested ones one finds their\nmotto to be \" nothing for nothing,\nand damned little for sixpence.\"\n£? This Is not the right spirit in\nwhich to serve a friend, and if you\nwould be really friendly to the The-\natre, gentlemen, you must make a\nbetter effort. £?\nWe know the type, of man who\ngoes to see a friend because of the\ngood cigars he keeps:... that's the\ntype of man we have no use for. Let\nhim by all means interest himself\nin the study of the parasite, but\navoid practising what he has learned\nupon the body of the Theatre. &\nWe want men who want what we\nwant. We want the liberty of the\nTheatre,.... free from parasites:\nthat is to say free from the majority.\ndS* It is not an auther who will hate\nus for saying we want no writers in\nthe Theatre. It is only a parasite-\nwriter who will feel so. We know a\nwriter, and a great one, who does\nnot hate us at all for holding to this\nview but then he does not crawl,\nhe soars. Try exercise then : even a\ncaterpillar would remain a worm if\nhe had no desire and made no effort.\nYou, the parasites, want the Art\nof the Theatre to suit your purpose\nin a few years' time. will write\nplays, or you will make designs,\nor you will compose operas or\nyou ballets, or you will imitate\nProfessor Reinhardt, or you will\nemploy William Poel at so much an\nhour. All of you are opportunists :\nnone of you idealists. Your theory\nis a convenient one, and never causes\nyou any trouble. jg/\nIf your theory contained a little\ntruth that little truth would be the\none thing to cause you Incessant\nworry. ■<&\n■<£> If your theory were based on\ntruth you would be suffering. But\nyou dread suffering.... it frightens\ny0u.... for after all a cause is not"}, {"page_pdf": 93, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.93", "texte": "EDITORIAL NOTES\n\nworth all that,... so you think.\nWe have learned that it is worth\nall that, and we learned it In a hard\nSchool. We learned It in the School\nIn which Nietzsche was one of the\nmasters. Nietzsche, at the end of his\n\" The Case of Wagner\" comes close\nto the listener and addresses him\nIn a low voice saying, \" Who is in\n\" any doubt as to what I want,....\n\" as to what the three requisitions\n** are concerning which my wrath,\n\" and my care and love of art have\n'* made me open my mouth on this\n\" occasion ? \" ; and then, coming\nstill nearer, he sinks his voice still\nlower and slowly loosens these\nwords;\" That the stage should not\nbecome master of the arts. \"\n\" That the actor should not\n\" become the corruptor of the\n** genuine.\n\" That music should not be-\n\" come the art of lying \".\n& Ah, Nietzsche, it took us many\nyears to tolerate you for you struck\nthe one whom we love. It took us\nlong to learn that you were speaking\nof the body of the Theatre, and that\nyou blindly discredited its hidden\nsoul. It took us 10ng.... but now we\nknow that your action opened our\neyes and awoke in us the desire to\nface more and more truths concer-\nning the condition of the Theatre...\nits present material condition ; and\nthe more mean and corrupting we\nhave seen It to he, the stronger has\nour faith become in its power to\ntriumph finally over itself.\nBut let no one else, not even you,\nNietzsche, attempt to revile it or\ntriumph over its 50u1,... or insult it\nby assistance. It needs no assistance.\nIt needs lovers. They will understand\nand ail will be well. It will kill\nparasites,.... and they will never\nunderstand till they are dead. &\nAnd is there any doubt about\nwhat we want ? &\nCome nearer, Nietzsche....\nWe want three things. ■£?\n1. That the Theatre shall become\nthe master of its art.\n2. That obedience and silence shall\nalways be in the nature of its art.^\n3. That words shall become blessed\nafter a century of silence.\n\nJAPANESE ARTIS IN THE\nWEST. & & & &\nls a certain kind of Japanese\n\" Artist \" who leaves the Far East\nprimed up with the order he has\nreceived \" to study and imitate the\nArts of Europe. \"He is not thinking\nfor himself, he is thinking under\ncompulsion, and as a Patriot his\nthoughts do him credit. He is think-\ning under the commands of his Go-\nvernment and not of his Masters."}, {"page_pdf": 94, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.94", "texte": "EDITORIAL NOTES\n\nIn such matters a young artist\nshould remember the duty he owes\nto his calling, and that loyalty to his\ncountry Is best shown by steadfast\nloyalty to his calling.\nIt is a long distance from the Far\nEast to London, and there must be\nsomething very attractive about Lon-\ndon for the Easterners to send so\nmany of their sons over there, telling\nthem 44 to study and imitate \" our\nArts.\nHow strange 1 we of the West,\nwho in life are only children, and\nquite unable to cope with any but\nthe simplest of matters, find it so\ntouching to be 44 studied and imi-\ntated \", especially In our Arts ! How\nhappy we must feel in our kind of\nshy way to see the descendant and\npupil of Hokusai studying at the feet\nof Alma Tadema or Matisse!\nSome of our own family have\ngone to the East and studied and\nperhaps imitated the Arts of China\nand Japan ; but these have done so\nfrom a natural attraction, and not\nbecause they were ordered to do so.\nAnd the result has been extremely\nbad for our Arts, which were bad\nenough, God knows, even before.\nlf there Is a thing that is more\nunbecoming than conceit in the\nyoung, it is the self-depreciation of\nthe old. The two~things are irrita-\nting and saddening. And so you\nhear from old Japan a phrase such\nas this... 44 Is it not better that the\nPast should die Its life without in-\nfluencing us than that it should stifle\nour fresh spirit ? \"\nThus the ancient East wants a\nnew King in place of an old God..£?\nlf this 44 fresh spirit \" is the spirit\nof Commercialism, Industrialism,\nyou're Living Dead. You were near\nIdealism and this you are ashamed of;\nso Debacle, Imperialism... and we are\nsadly of the opinion that this is the\nonly 44 fresh spirit \" that is apparent\nto everyone through its freshness...\nThen goodbye, Japan ! Goodbye the\nEast I for you're dead before you've\nbegun.\nYou were getting along so well\nafter a few thousand years. You were\na great family. Your sons and their\nsons and their sons had learned some\ngreat secrets, especially that Secret\nof all secrets about the Oneness of\nthings; and now you want to break\nup the Unity for the sake of Variety.\nAnd you come over to 44 study and\nimitate \" our Arts!\nAnd how do you 44 study and\nimitate \" our Arts ? We will tell you.\nYou produce 44 Typhoon \" or 44 The\nYellow Jacket\" or some other piece\nwith an Eastern coat on its back,\nsomething which is like a penny"}, {"page_pdf": 95, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.95", "texte": "EDITORIAL NOTES.\n\npeep-show for our stupid grown up\nchildren who cry out, \"Ow Lor'!\nMy! What a pretty sight! \" First\npoint in your annexation of England.\nYou aim to catch the eyes.\nWe are not politicians., it doesn't\ninterest us very much whether Eng-\nland becomes Japan or Japan be-\ncomes America, or America becomes\nthe North Pole; for whatever any-\nthing becomes we shall never swerve\nfrom our fidelity to the ideals which\nour Rulers the great Artists have set\nup for us. It doesn't interest us to\ngo to Japan to \" study and imitate \"\ntheir Arts any more than it would\ninterest us to go to California to\n\" study and imitate \" their Arts. Art\ndoes not root Itself in a place, it\nmoves as a spirit. And, you dear little\nJapanese man, you know this. What\non earth then are you doing ? pre-\ntending to \" study and imitate \"\nour Arts ?j\nWhat is great in you is what\nremains over in spite of your attempt\nto rid yourself of the influence of\nthe Past. You are great only in so\nfar as you venerate and keep alive\nthat Past... and surely you remem-\nber that the Stone Monkey (i) in\nspite of all his magic tricks and his\ntravels, wasn't as clever as he sup-\nposed. /?> /?>\n1) See page 60,\n\nL'OEUVRE AND MONTJOIE!\n\nOctober Ist M. Lugne Poe will\n\" present \" Hamlet; his wife,\nMadame Suzanne Despres wiil play\nthe title role.\n& We do not know that the idea is\nexactly fascinating, for we have seen\nMadame Sarah Bernhardt as Hamlet\nand that , too, did not convince us.\nWoman are all actresses ; there is no\nsubtlety they cannot compass provi-\nded they remain women ; but to pre-\ntend to be a man is, in our opi-\nnion, never desirable nor successful.\nStill, it is quite likely Madame\nDespres may reveal in one or two\nmoments that spiritual virility\nwhich belongs to Hamlet and which\nall male actors miss. Should she\ndo that alone we ought to be\ngrateful. & &\nBy the way, \" L'CEuvre \" gets\nbetter and better and proves how\nunnecessary it is that \" Montjoie 1 \"\nshould have trespassed upon its\ntheatrical grounds.\n& \"Montjoie! \" is so deuced literary,\ndon't you know, and \" L'GEuvre \" is\nof the stage. Such a difference.\n\" Montjoie ! \" writes of the stage\nabout which it is badly\n& It credits Poliziano with having\ngiven birth to a theatre in Italy, and\nomits all mention of Andreinl and\nthe great Commedia ; it regrets that"}, {"page_pdf": 96, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.96", "texte": "EDITORIAL NOTES.\nALL RIGHTS RESERVED\nGerente Responsabile GIULIO VANZI\n\ntoday in Germany it Is a stage-\nmanager who is \" unfortunately \"\ngiving birth to the modern theatre\nthere.\nThe stage has been faulty, guilty\nof many sins, but seldom has it\nplayed the prig, and to regret that\na stage manager, a true son of the\ntheatre, should attempt to put his\nown house in order is priggish. It\nis good fortune, not bad fortune that\nthe sons of the stage are now clai-\nming their own.\n£? Well, we commend \" Montjoiel \"\nto the attention of \" L'CEuvre.\" And\nfor the consideration of \"Montjoie\"\nwe recommend the following words\nof Goethe.\n\" Truth has always need of being\n\" repeated because error is reprea-\n\" ched to us ceaselessly, and not\n\" merely by a few \"Isolated voices\n*' but by the crowd. In the news-\n\" papers, in the encyclopedias, in\n\" the schools, in the universities,\n\" everywhere error holds the first\n\" place; it is at its ease with the\n\" majority who take upon them-\n\" selves its defence. Often also\n\" people set forth in turn truth and\n\" error, and then pause upon this\n*' latter. Thus a few days ago I was\nreading in an English encyclopedia\n\" the exposition of the formation of\n\" the colour blue. It gave first the\n\" theory of Leonardo da Vinci,\n\" which is the true one ; but imme-\n\" diately afterwards it gave quite\n\" tranquilly the theory of Newton,\n\" which Is false, but It pointed\n** out that it was necessary to accept\n\" this latter, because it is universally\n\" received\"!\n\nEd.\n\nTHE RUSSIAN BALLET.\nE. G. C.\nDy the bye, about four months ago\nI saw In the papers that I was to\nproduce a Ballet for you, It was not\nI that made the announcement.\nIt seems that I was to have Dr\nVaughan Williams as collaborator.\nOf course the idea is cheering,\nbut is It practical ? And now is it\nnot far less practical than it was\nbefore?.. And have you not already in\nyour hearts given me notice ?\nFor NO amount of Ballets which\nI might produce would ever be\nannounced by me as Works of Art,\nand 1 should, as 1 have ever done,\nprotest against their being so consi-\ndered. Well then.... where are we?\n\nAnd now this number about\nJackaminori is done. The next will\nbe about Jack and his brother."}, {"page_pdf": 97, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.97", "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.\nMITCHELL KE.NNERLEY\n& New York & London &\nThree months trial subscription two shillings\n\nTHE MOSHER BOOKS.\n%\nspecial literary value of my general Catalogue has given it a unique\nposition In the world of book«=making for book=lovers. &\nProm year to year these Catalogues have been issued with the view\nof making known, as no other form of advertising could make known,\nThe Moslier Books and what they represent in up=-to=date bookcraft. AH\npossible value has been put into these books by their publisher; so that\nto=day they are the only style of genuine hand-made paper editions at\npopular prices in America.\n%\nSent without charge to all who are interested in choice editions at\nV «\nmoderate prices. J£? *&£?\nTHOMAS B. MOSHER, , MAINE."}, {"page_pdf": 98, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.98", "texte": "THE WOOINGS OF JEZEBEL\nPETTYFER by Haldane Mac Fall.\nMWIWIIIII I—■— Ml— ■■ MI NI !■ INNMINNI lII■ITTAIRMFRWIIIFRI«TBRNIBMIRB«RIB—N—FIRMIIIR—IImm ■«IMWRRWIMIIIRMWIMINMNMRMNMMIMIM«TmmmrinMnmnrimntnMnrrr——--*'\"^^\n& NEW EDITION, 1913, PRICE SIX SHILLINGS.\n\" Has all the qualities that go to make a popular and, I think, an\nenduring fame. It is full of detail, humorous, pathetic, and often weird. \"\nThe Morning Leader.\n\" Described in an unforgettable fashion. He stands out as Jingle does,\nor Sam Weller, or Baillie Nicol Jarvie, or Hucklebery Finn \".\nThe Morning Leader.\n\" Of noteworthy cleverness. \"* \" Wonderfully entertaining. \"\nThe Scotsman. Publishers' Circular.\n\" A book of remarkable power. \"\nMadame.\n\" Will live in the reader's memory. \"\nManchester Guardian.\nLONDON. SIMPKIN, MARSHALL, HAMILTON, KENT & CO.\n\nPOETRY AND DRAMA\n'jpHE founder and first editor of Poetry Review begs to\ngive notice that he is now issuing a quarterly periodical,\nunder the title POETRY AND DRAMA, on the same lines as\nThe Poetry Review during 1912, and with many of the same\ncontributors.\n& The first and second numbers of Poetry and Drama are at\npresent in circulation.\n& Poetry and Drama is the representative organ of the youn-\nger movement in English Literature.^\nIt is published at 35 Devonshire Street, Theobalds Road,\nLondon, W. C., on March 15th, June 13th, September 15th and\nDecember 15th, The price of a single copy Is as. 6d. net- The\nannual subscription Is 10s. 6d. post free to all countries. Copies\nare procurable and subscriptions may be purchased through all\nBooksellers and Newsagents. &"}, {"page_pdf": 99, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.99", "texte": "YE OLDE PARIS BOOKE-SHOPPE\nII Rue de Chateaudun, Paris, France.\nBuys and Sells All Sorts of French,\nSpanish and Italian Books. Also Engravings,\nAncient and Modern.\n> *\nCatalogues issued monthly. 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 : 44 Lives of Fair Ladies \", (with coloured illustrations) ; 44 One\nHundred Merrie & Delightsome Stories translation of 44 les Cent Nou-\nvelles nouvelles\"; Anatole France :44 Thais (the Repentant Courtisan of\nAlexandria). 44 The Well of Santa Clara\" with 31 Copper Plate Etchings;\nPierre Louys 44 Aphrodite illustrated by Ed. Zler; Petronius: 44 The\nSatyricon\" (translated by Oscar Wilde, with long Preface and many\nNotes ;) 44 The Golden Ass \" (of Apuleius) fine. English version, with Notes\nand copper plate Etchings ; 44Corporal Punishment in France\", historic and\nanecdotic; Aristophanes 44 The Eleven Comedies\", literally and fully\nrendered into English for the first time. sZ? JZ? JZ?\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 curieuses\n(free for 20 cs.)\nYE OLDE PARIS BOOKE-SHOPPE\n£? 11 Rue de Chateau dun, Paris, France. &"}, {"page_pdf": 100, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.100", "texte": "AN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nWill shortly be\nPublished.\ns *\n•\nCopies will be sent on request to those who\nare Interested in the work and wish to know\nI more about it.\nWrite for Booklet to the\nARENA GOLDONI, FLORENCE, ITALY.\n*\n— — \" —\n\nTHE QOLDONI BOOKS.\nSKETCH BOOKS, DRA WING BOOKS, PAINTING BOOKS AND\nWRITING BOOKS, FOR ARTISTS,WRITERS AND LADIES.\nThese Books, are made of fine Italian Papers, and bound in vellum or\nin boards covered with papers upon which designs, floral or conventional,\nare hand=printed in colours. &\nJZ? The beauty and charm of these books must be seen to be realized,\n\" These are pages to turn arid finger with delight: \" covers bright and\nvaried with colour and fresh design ; sizes \" uncumbersome to the nicest\nhand.\" & & &\nWrite for particulars to The Mask Publishers,\nARENA GOLDONI, FLORENCE, ITALY."}, {"page_pdf": 101, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.101", "texte": "ANNOUNCEMENTS ;FROM \" THE MASK PRESS\nARENA GOLDONI. FLORENCE, ITALY.\nirmniniM\n..wawnraw). jj» •.W!»:JaciMWW: ~ \" II 111 lIMIBI Willi f\ni * THE MASK. VOLUME SIX. £?\nIt .Of the sixth Volume, which begins with this number, Three\n|| Editions are published, and the yearly subscriptions, post free,\nthese Editions are respectively as follows.\nII H&u[ Popular Edition. . . Shillings 15. Dollars\nLarge Paper Edition (200 copies.) „ 20. ~ 5.00\nI __ Edition de Luxe. (15 copies.) „ 65, „ 16.00\nnffTTUI 1 * WIIIMI 111 i Til \\h~nmm !»■ ■ Ml\nII s———————— THE MASK. 1908... 1909... 1910... 1911... 1912... 1913....\n!i| A certain number of complete sets of Volumes 1, 2, 3, 4 & 5,\nI Sti\" remain, and, bound in vellum, may be obtained from this\nII office, price eight guineas, (dollars 38) a set. XP &\nA PEW EXTRA Vol. 4. shillings 25 dollars 6.50 each\nSETS OF Vol. 5« ,» ~ 20 ~ ~ 5*50 ~\nVolume 5, Large Paper Ed, (vellum bound,) shillings 25,\n■— 1 1 ■■» dollars 6.50.\nOrders and Subscriptions may be sent direct to\nTHE MASK O ffi ce s , Arena Gold oh i, Florence , Italy,\nor (tTbe Society of the Theatre.\" 7, John St, Adelphi, London. Tel: 1601 Regent\nI SOME OPINIONS ON \"THE MASK'' ||\nI \" There is not a page in it which is not interesting I\n! \"and stimulating in a fine way I\n| \" The Mask \" always contains something worth reading,\nI j \" and often something worth keeping I\nPall Mall Gazette.\n\" A quite remarkable rich in intel- I\nligence. 11 I\nWestminster . |\nJ \"A very amusing and stimulating, as well as a most j\nJ \" beautiful, magazinej\nij The Daily Telegraph. |\ni 1\ni i I I I"}, {"page_pdf": 102, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191307-01.1.102", "texte": "y——. ' ' |\n&ANI D E A\nIS A RARE . I\n\" THE MASK\" started In FLORENCE, does not exist\nfor its own sake.\n•• THE MASK\nhas already lived for six years for AN IDEA.\nTHE SCHOOL FOR THE ART OF THE THEATRE,\nstarted in FLORENCE, was brought into being for the sake\nof the same IDEA.\nTHE SCHOOL and \"THE MASK\" work together for\nthis one IDEA\nTOWARDS A NEW THEATRE.\nI I\nTHE SOCIETY OF THE THEATRE, started in 11\nLONDON, moves with \"THE MASK\" and THE SCHOOL II\ntowards the same GOAL.\nWE CAN TAKE CARE OF \" THE MASK \" & THE SCHOOL. 11\nYOUR RESPONSIBILITY IS THE SOCIETY OF THE THEATRE 11\n&JOI N I T !\nWE WANT A MILLION MEMBERS. II\nYearl} Subscription One Shilling.\nI I\nApply Personally or by Letter to the Secretary of the Society, 11\nLONDON OFFICES : 7 JOHN STREET, ADELPHI. 11\nOffice Hours between 10 a. m. and 1 p. m. 11\nTelephone 1601 Regent. 11\nPrinted for tb* Proprietor by Tipografia R. Laetrueci, Via de Serragli, 104 Florence and publtehed at Tbe Office of \" The Mack \" Arena Ooldeai"}]}