{"numero_id": "bm-bmtnaau-1914-01-01", "volume": "bmtnaau_1914-01_01", "ocr_sha256": "0cc39988a9876e239c19b3008f4eca1fdab4d4fecaef78dc1c44f7d5aa19c97c", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1914/01_01/bmtnaau_1914-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1914/01_01/bmtnaau_1914-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01", "articles": [{"article_id": "bm-bmtnaau-1914-01-01-c002", "article_bluemountain": "bmtnaau_1914-01_01#c002", "volume": "bmtnaau_1914-01_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=bmtnaau191401-01.2.2", "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=bmtnaau191401-01.1.2", "debut_caractere": 533, "fin_caractere_exclue": 1382, "texte": "LITERARY CONTENTS.\nPAST & FUTURE, YESTERDAY & TOMORROW. John Semar .... 185.\nFUTURISM AND THE THEATRE . . . . Marinetti .... 188.\nON FUTURISM AND THE THEATRE . . . Gordon Craig . . . 194-\nVINCENT VAN GOGH Felix Urban . . . 201.\nA HISTORY OF PUPPETS 44 Yorick \". (P. Ferrigni) . 205.\nPUPPETS IN JAPAN By a Japanese . . . 217.\nPLAINSONG, A Note by 44 Cantor\" . . . . * 221.\nLITTLE STAGES Allen Carrie. . . . 225.\nHAIL! DIVINE ARROGANCE E.Gordon .... 227.\nTHE FIT AND THE UNFIT Gordon Craig . . . 230.\nON LEARNING MAGIC Yoo-no-noo . . . . 234.\nKINGSHIP Gordon Craig . . . 239.\nGUIDING STARS OF THE STAGE. . . . John Semar . . . 245.\nSO MUCH IS CHANCE Allen Carrie . . . 250.\nTHE THEATRE IN WARSAW .... Ernest Mariott . . . 252.\nLETTERS TO THE EDITOR, BOOK REVIEWS, FOREIGN NOTES, EDITORIAL NOTES.\nShort Extracts, Lafcadio Hearn and Nietzsche, 204, 237."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c003", "article_bluemountain": "bmtnaau_1914-01_01#c003", "volume": "bmtnaau_1914-01_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=bmtnaau191401-01.2.3", "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=bmtnaau191401-01.1.2", "debut_caractere": 1384, "fin_caractere_exclue": 1767, "texte": "ILLUSTRATIONS.\nA GORDON CRAIG CARICATURE . . . Max Beerbohm . (Frontispiece).\nA DRAWING Vincent van Gogh. . 291.\nTHE MUSICIAN Early Italian woodcut . 228.\nTWO WOODCUTS . Early Italian . . . 225, 226.\n44 INDIA'S DARKEST AGE \" A Drawing from the \"Illus-\ntrated London News \" 241.\nPLAN OF THE 44 NO \" STAGE 264.\nTHE JAPANESE 44 NO \" STAGE Face 264.\nEIGHT INDIAN DESIGNS . V. r Face 272."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c004", "article_bluemountain": "bmtnaau_1914-01_01#c004", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[184]", "page_fin": "[184]", "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=bmtnaau191401-01.2.4", "titre_corps": "Foreword", "titre_sommaire": "Foreword", "signature_source": "Max Beerbohm", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[184]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 12, "texte": "Max Beerbohm"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c005", "article_bluemountain": "bmtnaau_1914-01_01#c005", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "187", "image_debut": 5, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.5", "titre_corps": "PAST & FUTURE, YESTERDAY & TOMORROW : \"THE MASK\" AND FUTURISMO", "titre_sommaire": "PAST & FUTURE, YESTERDAY & TOMORROW : \"THE MASK\" AND FUTURISMO", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1561, "texte": "PAST & FUTURE, YESTERDAY & TOMORROW.\n\"THE MASK\" AND FUTURISMO.\n\nfter all it is not only today that counts.\n& Yet whenever we see the words Past, Future, Yesterday, Tomorrow,\nwe wag our heads and know what we know. And what we think we\nknow is that Today, Now, is the time of times.\nA.- . , A' '*-'-;\nlt is A time of times,... tomorrow is another,... and yesterday not a\nbit less so, and all the Past wonderful and all the Future magical -, but\nnot one Is ahead of the other, for Time is round like Truth.\n& So it actually comes to this:... that we have no power to quarrel\nwith time. How it flies !... no, seems to fly. Yes, but we don't quarrel\nwith that which runs away from us and will not stop to argue.\nJZ? Yet though it seems we have to accept Time in all its stages there\nis certainly no reason why we should not keep a clear head as to the\ndifferent Times.\na? And to have turned night into day was not clever of us: and now there\nis a'tendency to turn the past into the future, to annex yesterday and\ncall it tomorrow. Your true Futurist is always doing this. Knowing he\ncannot turn the Past into the Future he will anyhow call yesterday\ntomorrow.\nJZ? in this he is at least clever enough to have seen that yesterday is\nnot exactly the past, ...it is too near us to be called that.\n& In this number of The Mask we find a place for Futurism,... Theatre\nFuturism.\nTil! now, except for an extract of Marinetti's Manifesto, which appeared\nin a London halfpenny paper, no translation of this Manifesto which\nwe now print on page 188 has been seen in England."}, {"page_pdf": 6, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.6", "debut_caractere": 44, "fin_caractere_exclue": 1952, "texte": "««The English Review \" would not find a place for it although It\nbelongs far better to that admirable journal than either to The Mask\nor to that famous halfpenny paper in which the extract appeared.\nThose who have read The Mask since 1908 will quickly understand\nwhy we have Included it here, while they will know that a wider or\nmore advanced programme than that laid down by us in 1908 is not\ngoing to appear even by the aid of all the Futurists to come.\nWe planned as widely as we could.\nGordon Craig's design for the furthest future provides us all with\nall the most suggestive flights which imagination will ever want to\nconceive.\nIf the Future moves at all in the grandest direction it must move\nalong the road which he has shown us.\n& There are never two best leaders. There is always only one best.\nThe others all range up in good order behind or fall out of the\nprocession.\nYou, the Readers of The Mask, may rest assured that your leader is\na long way in advance of the latest comers... although the Fashions of\nthe moment always would emphasise the value of being the last comer.\nWhy this is so no one has yet been told.\n& And our leader's chiefest pride Is that he does not and will not leave\ngo of the hand of the theatres of the Past or of Yesterday.\nThey go with him or he will not move.\n& That he loves the old Theatre,... and yesterday's and today's, is\npalpable in every word he writes.\n& That he longs for and relies on the Theatre to bring about its own\nRenaissance is quite clear.\nAnd this attitude of his Is natural to him as he comes from an ancient\ntheatrical family.\n& Other '* Reformers \" who would be leaders so often are tinkering in\nthe rear instead of on the advance owing to the misfortune of having\nno theatre blood and bone.\nThey have \" taken up \" the theatre.\n& It is good for them to have made a start,... but go they never so fast\nnature has placed others in front of them."}, {"page_pdf": 7, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.7", "debut_caractere": 42, "fin_caractere_exclue": 1093, "texte": "Nature has selected Gordon Craig and placed him foremost of all.\nEurope Is under his influence and begins to move \" towards a new\ntheatre \" as he has directed it to move. England, ever shy, and, through\nthis defect, ever liable to make blunders, has not yet availed herself of\nthe unique opportunity she could claim by showing a little more self-\nconfidence.\nBut this is only England's old fault which she is ever a trifle vain\nabout parading.\nMeantime the exploitation of the last comers and the latest things is\ngiving England the little Continental touch of colour she so much longed\nto put on her cheek and on her lip.\n& Yet, when all the latest things have been forgotten, and when the\nyounger generation has sprung a new idea upon us, we shall turn to the\nidea of our leader because of its ever refreshing youth, and because of\nits propelling power.\n& And we shall then find that all the time that Idea has been spreading\nroots and see it growing up towards the sun.\n& And all in spite of apathy, resistance and our English shyness.\n\nJohn Semar."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c008", "article_bluemountain": "bmtnaau_1914-01_01#c008", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "193", "image_debut": 8, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.6", "titre_corps": "FUTURISM AND THE THEATRE : A Futurist ManifestoIN PRAISE OF THE VARIETY THEATRE", "titre_sommaire": "FUTURISM AND THE THEATRE : A Futurist ManifestoIN PRAISE OF THE VARIETY THEATRE", "signature_source": "D. Nevile Lees ; Marinetti", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 2046, "texte": "FUTURISM AND THE THEATRE.\nA Futurist Manifesto by Translated\nfrom the Italian\nIN PRAISE OF THE VARIETY THEATRE.\nby D. Nevile Lees.\n(1)\nhave a profound disgust for the contemporary theatre, (verse,\n, prose and music) because it wavers stupidly between historic recon-\nstruction, (a pastiche or a plagiarism) and the photographic reproduction\nof our daily life.\n& On the other hand we asssiduouly frequent the Theatre of Varieties,\n(Music Halls, Cafe-chantants or equestrian circuses) which today offers\nthe only theatrical spectacle worthy of a truly futurist spirit.\n& FUTURISM EXALTS THE VARIETY THEATRE because:....\ni. The Theatre of Variety, born with us, has not, fortunately, any\nkind of tradition ; neither masters nor dogmas, and nourishes itself upon\nactuality.\n& 2. The Theatre of Variety is absolutely practical because it simply sets\nout to distract and amuse the public with representations of comicality,\nof erotic excitation or of imaginative wonder.\n& 3, The authors, the actors and the machinists of the Theatre of Variety\nhave one sole motive to exist and to triumph: that of incessantly\ninventing new elements of wonder. Hence the absolute impossibility of\nstagnation or repetition ; hence a hot rivalry of brains and muscles so\nas to surpass the various records of agility, velocity, strength, complexity\nand grace.\n4. The Theatre of Variety* being a lucrative medium for innume-\nrable inventive efforts, naturally generates that which I call Futurist\n\" marvellousness \" produced by modern mecchanism. One finds there\nat one and the same time: powerful caricatures; depths of absurdity;\nimpalpable and delicious Ironies; bewildering and definite symbols,\ntorrents of uncontrollable hilarity, profound analogies between humanity,\nthe animal world, the vegetable world and the mechanical world ; con-\nclusions of revealing cynicism, the net works of witty sayings, puns and\nriddles which serve agreably to let in fresh air upon the intelligence,\n\n/lj The first unabridged English translation, By permission ol Marinetti & Papini,"}, {"page_pdf": 9, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.9", "debut_caractere": 28, "fin_caractere_exclue": 2356, "texte": "al! the gamut of the laugh and smile to stretch the nerves: all\nthe gamut of stupidity, imbecillity, blockishness and absurdity which,\nInsensibly, push to the very border of madness: all the new signifi-\ncations of light, of sound, of noise and of speech, with their my-\nsterious and inexplicable prolungations in the most unexplored centres\nof our sensibility.\n5. The Theatre of Variety is today the crucible In which are stirring\nthe elements of a new sensibility which is coming into being. Therein is\nfound the ironic decomposition of all the ruined prototypes of the Beautiful,\nthe Great, the Solemn, the Religious, the Ferocious, the Seductive and\nthe Terrible, and also the abstract elaboration of the new prototypes\nwhich shall succeed to these.\nThe Theatre of Variety is thus the synthesis of all that which humanity\nhas up till now refined in Its own nerves so as to divert itself in laughing\nat material and moral suffering; it is, besides that, the ebullient fusion of\nall the laughter, of all the smiles, of all the jeers, of all the contortions,\nof all the raillery of future humanity. Therein may be tasted the gaiety\nwhich will move men a hundred years hence, the researches of their\npainting, of their philosophy, their minds and the upward springing of\ntheir architecture.\n6. The Theatre of Variety offers the most hygienic of all performances\nowing to its dinamism of form and colour (simultaneous movement of\njugglers, dancers, gymnasts, varicoloured riding troupes). With its rhythm\nof swift and langourous dance the Theatre of Variety forcibly draws the\nslowest souls from their torpor and constrains them to run and leap.\nIt is, in fact, the only theatre in which the public does not remain\ninert like a stupid onlooker, but noisily participates in the action, Itself\nsinging, accompanying the orchestra, communicating with the actor with\nunexpected quips and extravagant dialogues.\nThe action is carried on at the same time on the stage, in the boxes\nand in the pit. It then continues at the end of the performance, among\nthe battallions of admirers, sugary youths who crowd at the stage door\nto dispute the star, final double victors;... a chic supper and bed.\n7. The Theatre of Variety is an instructive school of sincerity for the\nmale, because it strips from the woman all veils, all the phrases, all"}, {"page_pdf": 10, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.10", "debut_caractere": 28, "fin_caractere_exclue": 2226, "texte": "the sighs, all the romantic sobs which deform and mask her. It brings\ninto prominence, instead, all the admirable animal qualities of the\nwoman, her powers of capture, of seduction, of perfidy and of re»\nsistence.\n& 8. The Theatre of Variety is a school of heroism by reason of the\ndifferent records of difficulty to overcome and efforts to be surpassed which\ncreate upon the stage the strong and sane atmosphere of danger. (For\nexample, \" Looping the loop \" on a bicycle, in a motor car, on horseback).\n& 9. The Theatre of Variety Is a school of cerebral subtlety, complication\nand synthesis by reason of its clowns, conjurers, thought readers, lightning\ncalculators, mechanicians, imitators and parodists, Its musical jugglers\nand its eccentric Americans, whose fantastic pregnancies bring forth\nincredible objects and mecchanisms.\n10. The Variety Theatre is the only school which one can recommend\n*\nto adolescents and young men of talent, because it explains in an incisive\nand rapid manner the most mysterious problems and the most complicated\npolitical events.\n& For example: a year ago, at the Folies Bergfcre, two dancers were\nrepresenting the wavering discussions of Cambon with Kinderley-Watcher\non the question of Marocco and the Congo, by means of a symbolic and\nsignificant dance which was worth at least three years of study of foreign\npolitics. The two dancers, turned towards the public, their arms interlaced,\nthe one close beside the other, went on making reciprocal concessions\nof territory, leaping forwards and backwards, to right and to left, without\never detaching themselves the one from the other, each keeping his eye\nfixed upon the object in view, which was, each to entangle the other in\nturn. They gave an impression of extreme courtesy, of skilful vacillation,\nof ferocity, of diffidence, of obstinacy, of meticulousness unsurpassibly\ndiplomatic.\nBesides, the Theatre of Variety explains and luminously illustrates\nthe dominant laws of life:\n(a) the interweaving of divers rhythms.\n(b) The fate of lies and contradictions (example; English double\nfaced dancers; shepherdess and terrible soldier).\n(c) the synthesis of velocity plus transformations, (example, Fregoli)."}, {"page_pdf": 11, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.11", "debut_caractere": 28, "fin_caractere_exclue": 2297, "texte": "(d) the formation and disintegration of minerals and vegetables;\n(the blossoming forth and disappearance of luminous advertise-\nments are a most effectual illustration of this).\n11. The Theatre of Variety systematically depreciates ideal love and\nits romantic obsession, repeating to satiety, with the monotony and au=\ntomaticity of a daily business; the nostalgic languors of passion. It ex=\ntravagantly mechanicalises sentiment, depreciates and healthily scorns\nthe obsession of carnal possession, abases voluptuousness to the natural\nfunction of coition, deprives it of all mystery, of all anguish and of all\nanti-hygienic idealism.\n» /\nThe Theatre of Variety gives instead the sense and the taste of easy\n«\nlight and ironic loves. The spectators of the open air cafe-chantants on\nthe terraces of the Casinos afford a most amusing contest between the\nspasmodic moonlight, tormented by infinite griefs, and the electric light,\nwhich strikes violently upon the false jewels, the rouged flesh, the many-\ncoloured little skirts, the velvets, the spangles and the false red of the\nlips. Naturally the energetic electric light triumphs, and the soft and\ndecadent moonlight is put to rout.\n& 12. The Theatre of Variety Is naturally anti-academic, primitive and\ningenuous, hence the more significant owing to the unexpectedness of its\nresearches and the simplicity of its means. (Example), the systematic\nturn of the stage which the chanteuses make, at the end of every\ncouplet, like wild beasts in a cage.\n13. The Theatre of Variety destroys the Solemn, the Sacred, the\nSerious, the Sublime of Art with a capital A. It collaborates in the\nfuturist destruction of the immortal masterpieces, plagiarising them,\nparodying them, presenting them just anyhow, without scenery and\nwithout compunction just as an ordinary \" turn.\" Thus we approve\nunconditionally the execution of \" Parsifal \" in forty minutes which is\nIn preparation for a large London Music-hall.\nJZ? The Theatre of Variety destroys all our conceptions of time and of\nspace, (example, a little doorway and gate 30 centimetres high, isolated\nIn the middle of the stage, and through which certain eccentric Americans\npass, opening it, and repass, shutting it, in all seriousness, as if they\ncould not do otherwise)."}, {"page_pdf": 12, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.12", "debut_caractere": 28, "fin_caractere_exclue": 2323, "texte": "& l4> The Theatre of Variety offers us all the * records' attained hitherto:\nThe greatest equilibristic, and acrobatic feats of the Japanese, the greatest\nmuscular frenzy of the negroes; the greatest development of the intei=.\nligence of animals, (trained horses, elephants, seals, dogs, birds); the\nhighest melodic inspiration of the Gulf of Naples and of the Russian\nsteppes, the supreme Parisian spirit, the supreme force, in comparison\none with another, of the different races, (wrestling and boxing), the\ngreatest anatomical monstrosity, the greatest beauty of women.\njZ? 18. The Theatre of Variety offers, in short, to all countries which\nhave not one great unique capital, (like Italy) a brilliant resume of\nParis considered as the sole and obsessing home of ultra-refined volup=\ntuousness and pleasure.\nFuturism wishes to perfect the Theatre of Variety, by transforming\nit into,\nTHE THE A TRE OF WONDE AND OF RECORD.\n1. It is necessary absolutely to destroy all logic in the spectacles in\nthe Theatre of Variety, to exaggerate noticibly its extravagance, to multiply\ncontrasts and to make the improbable and the absurd reign as sovereigns\non the stage. (Example ; oblige the singers to paint their bare necks,\ntheir arms, and especially their hair in all the colours hitherto neglected\nas a means of seduction. Green hair, violet arms, azure breast, orange\nchignon, etc, To interrupt a singer, making her continue with a revolu-\ntionary or anarchistic discourse. To sprinkle a romanza with insults and\nbad words.\n2. To prevent any kind of tradition establishing itself in the Theatre\nof Variety. For that reason to oppose and abolish the Parisian \" Revues \"\nwhich are as stupid and tedious as the Greek tragedy; their 'Compere'\n<\nand ' Commdre' which exercise the function of the ancient chorus, and\ntheir procession of political personnages and events, distinguished with\nwitty sayings, by a most fastidious logic and concatenation. The Theatre\nof Variety ought not to be, in fact, that which unfortunately it is today,...\nalmost always a newspaper, more or less humourous.\n& 3. To make the spectators of the pit, the boxes and the gallery take\npart in the action. Here are a few suggestions: put strong glue on some\nof the stalls, so that the spectator, man or woman, who remains glued"}, {"page_pdf": 13, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.13", "debut_caractere": 28, "fin_caractere_exclue": 2152, "texte": "down, may arouse general hilarity, (the damaged dress»coat or costume\nwill naturally be paid for on going out), (i)\nSell the same place to ten different people; hence obstructions,\narguments and altercations, (a)\n& Offer free seats to ladles and gentlemen notoriously whimsical,\nIrritable or eccentric, calculated to provoke disturbances by obscene\ngestures, nudges to the women, and other eccentricities.\nSprinkle the stalls with powders which produce itching, sneezing, etc.\n4. Systematically prostitute the whole classic art upon the stage,\nrepresenting, for example, in a single evening all the Greek, French and\nItalian tragedies, condensed and comically mixed up.\nEnliven the works of Beethoven, Wagner, Bach, Bellini, Chopin, by\nintroducing into them Neapolitan songs. Put side by side upon the stage\nZacconi, Duse and Mayol, Sarah Bernhardt and Fregoli. (3)\nExecute a Beethoven symphony backwards, beginning with the last\nnote. (4)\nReduce the whole of Shakespeare to a single act. (5) Do the same with\nthe other most venerated actors. Have 44 Ernani \" performed by actors\ntied up to the neck In so many sacks. Soap the boards of the stage, to\nproduce amusing tumbles In the most tragic moment. (6)\n5. Encourage in every way the genre of the American Eccentrics,\ntheir effects of exalting grotesque, of terryfying dinamism, their clumsy\nfinds, their enorhious brutalities, their waistcoats full of surprises and\ntheir pantaloons deep as the holds of ships, from which issue forth, with\nthousands of other things, the great Futurist hilarity which is to\nrejuvenate the face of the world.\nBecause, do not forget, we Futurists are of the 44 fiery young\nwarriors \" (7) as we proclaimed in our manifesto, 44 let us kill the\nmoonlight \".\n\n(1) Yet somehow I hardly see this beiag done twice to the same public.\n(2) Haven't we already once too often pulled grandma's chair a-way from her just as she was sitting down?\n(3) Who will do the putting? ...Don't ail speak at once I\n(4) And then. .?\n(5) And Marinetti's farces reduced to a single phrase,... what?\n(6) More than usually considerate 1\n(7j Uno... due... tre,... fire I"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c009", "article_bluemountain": "bmtnaau_1914-01_01#c009", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "194", "page_fin": "200", "image_debut": 14, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.7", "titre_corps": "ON FUTURISMO AND THE THEATRE. Some Notes", "titre_sommaire": "ON FUTURISMO AND THE THEATRE. Some Notes", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 2061, "texte": "ON FUTURISMO AND THE THEATRE.\nSome Notes\nby Gordon Craig.\n'\"phe Futurists care not a jot what we think of their proposals ....Good\nthen:.... let us to the point.\n& The Futurist Theatre, as proved by Signor Marinetti's manifesto, is\nthe Variety Stage of Today, slightly altered.\nBefore going further let me correct a possible misapprehension.\nMy readers and my followers judge me to be a serious man with all\nmy seriousness awakened when speaking of the Theatre, or writing for\nor in the Theatre.\n& In that they are right. I live the Theatre, and I worship it. For me\nno religion could be dearer and 1 am concerned with nothing else.\nI would have all the Artists of the Theatre sitting beside the Saints;\nbut a saving sense of humour reminds me that Saints as we have heard\nof them are beings who seldom are known to be good=mannered enough...\nhuman or saintlike enough... to rise and make way for an exceptional\nactor or sinner... no, nor an ordinary one.\n& By an ordinary one 1 mean a \"popular\" one... a conventional sinner...\na sinner who appeals to our native sentiment.\n& And as all the seats in the dress circle seem packed, and no opening\npromises for a sinner, how far less likely is it that an unknown Artist\nof the Theatre could ever find a place there I\nSo I put out of my mind the old, or rather, young fancy, born at a\ntime when one is lightly turning to thoughts of love, that any of my\ncalling will ever enter the realms of Heaven.\n& To be anywhere but in the front row of Heaven is out of the question\nso far as my friends are concerned. I don't know a man amongst them\nwho would be content merely to carry a banner.\nNo. If frescoes show us the elect all to the fore, and also show us\nthat Dante, Raphael, Beethoven and Virgil and other artists are of the\nelect and are given precedence over many an unknown great and good\nman, we of the lowly Theatre art and craft were best left out of it\naltogether... and for all time.\n& We will create a Heaven upon earth for ourselves,... that it may be\nshareable and shared by all people... even the elect."}, {"page_pdf": 15, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.15", "debut_caractere": 28, "fin_caractere_exclue": 1967, "texte": "This much I am forced to say gaily and seriously on behalf of all\nthose of us who worship the Theatre as I do.\nit is our Heaven... and our He 11... our life and our happiness. We are\nvery proud of it, both as it is and as it will be... if it be as we hope.\nAnd our hope is what the Futurists tell us they hope.\n& But they do less than hope; they announce.\nWith them the task is not difficult for they announce what is... and\nwhat has been, not what is to come.\n& They announce a New Theatre... the Theatre of the Future, and then\nthey describe it piece by piece.\nWe have read the description.\nAnd what they have described is one of today's Theatres.., the Variety\nTheatre.\nI exaggerate in their favour a little, for to be more strictly true, it\nwas the Theatre of last night.\n& Now it is time to come to the correction 1 spoke of as I began this\nnote.\n& 1 want for the sake of some of my readers to correct the impression\nthat I am one of those \" serious \" men whose life Is one level and\nmonotonous round of \" seriousness. \"\nHad I been such a man I should not have been ready to appreciate\nSlgnor Marinetti's Manifesto at its full worth.\n& \" Serious \" men never go to a variety show.\n& 1 do. I used to go very often... till 1 could not afford it. I then slipped\ninto the very bad habit of asking for a \"free pass.\" I soon dropped\nthis detestable habit, and have ever since paid for my seats.\nWhile there are many actors and theatre men who pay for their seats,\nvery many do not do so and my only reason for mentioning the fact here,\nis, that it Is the very first necessity for being in a just position to judge\nfairly of the work done in a Music Hall.\n& I now go very often to a Variety Theatre and to the Cinematograph;\nto watch how the conditions of these two places of amusement vary\nis of considerable interest to me... and besides this I enjoy myself\nthoroughly.\nSo, now that 1 have explained how it comes to pass that 1, who am held"}, {"page_pdf": 16, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.16", "debut_caractere": 28, "fin_caractere_exclue": 2315, "texte": "to be the High Priest ol the High Art Theatre... the Palace Beautiful,,,\nand so forth, am fitted to speak of this Futurist Manifesto and of the\nPalace of Prostitution, 1 can proceed to take some parts of the Manifesto\npiece by piece, and show that It Is ** far back,\" as they say in the States.\nI shall afterwards attempt to show you that the real Theatre of the\nFuture Is to be nothing less than a very serious and splendid thing\nindeed... that or nothing.\nj2? While doing this 1 want you to remember that it Is not essential to\nour understanding In any way to mistake the Futurists as a band of\nwild madmen or silly fools. They are neither, They are quite serious\nand strong fellows, If rather old in heart. As that is the fault of their\nancestors and not their fault let us not attempt to raise a laugh. It Is\nfar too serious for that.\nAnd let us speak as lightly as possible about the surface of this\nmovement, and if we speak let it be among ourselves and for ourselves.\nThe Futurists are at their work: let us not disturb them.\n& The Futurist Manifesto Is the most impertinent piece of ignorance\nthat ever a set of courageous and frisky young men trumped up to\ndeceive themselves with while occupied with other and more profound\nthoughts: I will consider a point or two here and there.\n& The Manifesto opens with these words: \"We have a profound disgust\nfor the contemporary theatre. \"\nThis Is an ill-judged statement. It is not the most difficult thing in\nthe world to have a profound disgust for something which does not\nbelong to us, something to which we are not related, and with which\nwe have no connection whatsoever. I have heard of a fox that had the\nmost profound disgust for the grapes of a certain vineyard to connection\nwith which he could make no claim other than that it was contempora-\nneous with his little life. That vineyard is probably still bearing fruit;\nand the F0x...? Yes, it was an 111-judged remark of Signor Marinetti's\nto say that he had a \" profound disgust for the contemporary theatre.'\nI pass to the second passage: \" On the other hand we assiduously\nfrequent the Theatre of Varieties,... which today offers the only theatrical\nspectacle worthy of a truly Futurist spirit. \"\n<£/ That's j011y!... Never in my life have I seen a Futurist at a Variety"}, {"page_pdf": 17, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.17", "debut_caractere": 28, "fin_caractere_exclue": 2322, "texte": "show! I can understand that to frequent the Theatre of Varieties can\nbe inspiring to the Futurist, especially if he be writer or painter, and we\nhave seen what the inspiration has brought forth. Futurist painting is,\n1 gather, the apotheosis of the spotlight. But to frequent the Theatre of\nVarieties so as to produce the fifteen clauses of the Manifesto proves\nthat this round-about method was peculiarly uninspiring, and it is for\nthis reason that the thing is just up to date.... and advances no further.\nClause i of the Manifesto tells us that \" The Theatre of Varieties,\nborn with us, has not, fortunately, any kind of tradition; (this is\nincorrect; it is as old as the valleys). It continues, \"neither masters nor\ndogmas,\" (This is also incorrect, as witness this dogmatising Manifesto\nwhich lays down the law \"thou shalt have no other gods but s/re\"). \"and\nnourishes itself upon actuality (once more incorrect. It nourishes\nitself upon an actuality. I leave the masculine reader to complete my\nthought.)\nThe remaining fourteen clauses are not ail so full of errors as this\nfirst one, and, indeed, are suggestive to anyone who is not a \" profes-\nsional \".\n& To the professional the whole Manifesto will possibly come rather as\na shock, and some may even resent the suggestion in clause is that\nFuturismo thinks It can \"perfect\" the Theatre of Variety by \"trans-\nforming \" it from what it is set out to be in clauses 2 to 14 into a\n\" Theatre of Wonder and Record \". But why should the Futurist wish to\n\" transform \" that which he asserts is so good as it is ? ...and music hall\n\" artists \" like to think they are doing their best. In fact in the new\nproposals we are forced into a reminiscence of the kind advice of those\n\" friends \" from whom we so often pray HeaVen to save us.\nWhether such theoretical suggestions can in any way bring help to\nan organism so powerful and practical as the modern Variety Theatre\nhas yet to be seen.\nIn clause 13 we are told that the Theatre of Variety \" destroys all our\n\" conception of time and space \" (example, a little doorway and gate\n\" 30 centimetres high, isolated in the middle of the stage, and through\n\" which certain eccentric American clowns pass, opening It, and repass,\n\" shutting it, in all seriousness,'as if they could not do otherwise.\""}, {"page_pdf": 18, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.18", "debut_caractere": 24, "fin_caractere_exclue": 1931, "texte": "£? This Is incorrect: only last night 1 was at a circus and saw two\nclowns making use of this very isolated little gate thirty centimetres\nhigh. If it failed to destroy even the slight conception a human king has\nof time and of space, it succeeded in annihilating this conception of the\nFuturists. No more unfortunate example could have been chosen by\nSignor Marlnetti.\n& Finally, 1 do heartily approve of this queer grim Manifesto: just as\nI prefer even the \"vulgar\" side of the Variety Theatre to the \"polite\"\nveneer of the legitimate stage. If mere \" vulgarity \" is outrageous, mere\npoliteness Is hopeless.\nFuturismo in the Theatre can do no harm. More room for it, then.\nLet it go 0n.., It must go 0n... we must get over it.\n& And It was a courageous sacrifice, and Marinetti and his friends\nwill one day be held In esteem. For Marinetti is in grim earnest about\nsomething.\n& Signor Marinetti knows what he wants: he wants to stir up\neverything, and we ought to hope that In spite of giving so much of\nhis time to politics, religion, and the other arts he will still have\na few hours a month to spare to the study of this by no means\neasy art of ours and a share of attention for the questions relating to\nits practise.\n& If our programme laid down more than seven years ago seems to\nhave excluded the suggestions of the Futurists, it was only that we were\nunable to allow ourselves to \" take sides. \" Party politics are necessary,\nbut we needed not to make use of them.\nMarinetti, digging frantically yet most gallantly with his spade, must\nimpel others to the same task. He turns sapping Into a fine art. Talking\nis thrown away on a man occupied with a spade and the soil. Stand\naway,... or take up a pick and lend a hand.\nEPILOGUE.\nI 'm bit of a Revolutionary myself. Not to be in the fashion, 1 revolt\nagainst Revolt.\n& I believe 1 want Order, and Obedience to be as natural as chaos and\ndisloyalty."}, {"page_pdf": 19, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.19", "debut_caractere": 28, "fin_caractere_exclue": 2140, "texte": "1 have said what 1 had to say about revolting from the chaotic state\nof the modern theatre, (i)\n& And what I have said will be understood by some one before long.\nThe rest will have to obey this someone, and that Obedience will\nstand for as much as understanding. I announced the return of the Über\nMarionette or Idol, and the exodus of the actor from the Theatre, and I\nrepeat it.... the Über Marionette is inevitable. The actor of sense will\nunderstand me. He knows. He is of my family. No particular of my\nprogramme excludes him, even if it reorganizes many of his present\nduties and provides for all accidents waiting to scare him. When the\ntime comes his place is secure.\nAnd the Cinematograph ?\n\" Some day \" a writer has just announced, ** we shall demand the\n\" Terrible and the Grandiose; we shall not need the Über Marionette;\n\" we, with the kinema will focus actors any size and aid them by subtle\n*' light and curious lines in scenery \". (2)\nWe,... three we's,... a triple alliance !!!\nSo that seems assured.\n& But I assure you, my dear ' We,' that the Idol will outlive all the\nkinemas in the w0r1d,... will outlive modern youth too, till it becomes\nyoung once more,... and, what is more, will actually outlive PARIS and\nthe Feminist movement, the city and the great whore of Babylon, and,\nwhen everyone Is tired, a little fellow shall come who shall make an Idol\nof the world and shall adore the world and LOVE must then come again.\nwith the dance,.... kick your heels,.... wag your tongues,....\nflourish your pens... defy the thing which made some of you and will\nmake some children again;... grow more and more confused,.... rave\nabout \"love \" while meaning kisses and champagne; rave about women\nand their mission, meaning all but woman: ...quicker and quicker,\n...clash of cymbels, thumping of myriads of drums; cheap wine bursting\ninto \" ecstasy dribbling drunkenness.,... muddle and discord hailed\nas \" glorious \".\n& And if you ever dream, and in a dream see a red and white child full\n\n(I) \"On the Art of the Theatre \" 1905-1911.\n{2l George Banks in \" The Manchester Playgoer \" No. 4. page 129"}, {"page_pdf": 20, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.20", "debut_caractere": 28, "fin_caractere_exclue": 250, "texte": "of that which must not be named now agd here,... to deny that\nyou saw it, but fail,... fail if you can in your denial. For the old truth is\nas young as ever, and to LOVE is never old, and we never too oid to\nbegin to LOVE."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c011", "article_bluemountain": "bmtnaau_1914-01_01#c011", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.8", "titre_corps": "A TRUTH & A RECIPE & A HINT", "titre_sommaire": "A TRUTH & A RECIPE & A HINT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.20", "debut_caractere": 252, "fin_caractere_exclue": 1089, "texte": "A TRUTH & A RECIPE & A HINT.\nHow to form an Image.\nJn order that the form of an Image may be brought fully and clearly\nbefore the mind, the Imager should meditate ; and his success will be\nproportionate to his meditation. No other way.... not indeed seeing the\nobject itself... will achieve his purpose.\nSukracarya in *' Sukvanitisara\nHow to make a Glue.\n'\"pake the curd of milk, put it in a cloth and strain the water away.\nTie up the curd of milk in a cloth like a pudding and put it into\nboiling water... let it boil a good while.\n4& It becomes hard like cheese^curd.\nC\nJZ? Then mix it with lime and use it.\nFrom Knox's 44 Historical relation of Ceilon \". page 96.\nHow to avoid Conceit.\n/\nA nd now Jet us get to work, and if you can't meditate, make glue. The\ntwo actions can be of equal value.\n<£? Come a10ng,.... Let us get to work."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c013", "article_bluemountain": "bmtnaau_1914-01_01#c013", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "201", "page_fin": "204", "image_debut": 21, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.9", "titre_corps": "VINCENT VAN GOGH : A Note on his Life and Letters", "titre_sommaire": "VINCENT VAN GOGH : A Note on his Life and Letters", "signature_source": "Felix Urban", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 1637, "texte": "VINCENT VAN GOGH.(1) A Note on his Life\nand Letters\nby Felix Urban.\nAne would ima-\ngine that the\nname of Van Gogh\nwas as well known\nas that of Rem-\nbrandt, and that\nhis pictures and\nwritings were also\nwell known.\nBut this is not\nthe case. He is\neven less known\nthan Rembrandt,\nand it is a pity we were all prevented from knowing hfm earlier. We have\nsuch an unfortunate way of getting to know our good men too late, and\nwe seem to learn nothing by experience, and so do not save ourselves a\nrepetition of such blunders by looking around and giving our support to\nthe good workers, the great artists, who are still alive and at work today,\n** Vincent Van Gogh, born in 1853, died at the early age of thirty seven,\nand it was only, it seems, during the last eight years of his life that\n44 he may really be said to have devoted himself entirely to painting \" ;\nfor Emile Bernard reminds us that, though he always used to draw, it\nwas not until the year 1882,,.. when he was already twenty nine years\nof age,... that he'gave his attention wholly to painting, writing to\nhis brother, 44 In a sense I am glad that I never learned to paint I\n\"really do not know how to paint\"; and yet, concerning two studies\nwhich he completed about this time, he says, 44 I feel quite certain that\n44 on looking at these two pictures, no one will ever believe that they\n41 are the first studies I have ever painted.\"\nBut, having once entered upon his work, he was a hard worker ; one\nwho was for ever painting the fields; rag-pickers, beggars and humble\nrooms.\n\n(lj The design by Van Gogh given on this page is reproduced by the Courtesy 0! Messrs Constable."}, {"page_pdf": 22, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.22", "debut_caractere": 11, "fin_caractere_exclue": 2257, "texte": "& And all the while he was writing letters recording his thoughts\nimpressions ; letters in great part addressed to that younger brother h\ndevotion to and faith in his elder led him, in the midst of his\nI / vJ S3\nverty, to contrive to spare the allowance which should make it posslbl\nfor Vincent to continue to live and carry on his work.\nPainters of this type, men who work, and at the same time write as\ndid Van Gogh, are rare. As a rule they either write of their prices or\nof suppers, or are too lazy or superior to write at all.\n& The Letters of Vincent Van Gogh, which have been lately translated\ninto English, (i) are the letters of a very simple and modest man, who\nwas as direct in his writing as he was in his painting.\nAnd throughout they are full of his work: the work he has done, the\nwork he is doing, the work he purposes to do.\n\"My ambition » he writes in one letter, \"is to make my pictures\nrth -what I spend on them; or something more, because one must\n14 think of past expenses 9\\\nExpense always had to be a consideration with Van Gogh. He worked\nwell, ...and he worked at a disadvantage, as so many good workers have\ndone, on rather an empty stomach.\n44 Forgive me, » he writes to his brother, « if I exceed my allowance:\n*' 1 shaU work aH th 6 more for it. Since Thursday I have been so hard\nup that from then until Monday I had only two real meals. At other\n44 times I had only bread and coffee, which 1 had to have on credit, and\n44 I paid for it today. If you can, therefore, send me something quickly\n& Again he writes, 44 I constantly reproach myself with the fact that\nmy painting does not bring in as much as it costs, and yet one must\n44 work. You must, however, remember that if ever it should become\nnecessary for me to go into business, in order that your lot may be\n41 lighter, ! should do so without regret \". And, in another place, 44 Even\nif painting be detestable, and much too full of hardship nowadays, he\nwho in spite of all chooses this craft must on that very account be a\nman full of devotion and firmness. Society so often makes our Life\nvery hard indeed, and that is the cause of our shortcomings and of\n44 the imperfection of our work \".\n\n(7) Tfee \" Letters of a Post-Impressionist.\" Constable. London"}, {"page_pdf": 23, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.23", "debut_caractere": 18, "fin_caractere_exclue": 2333, "texte": "Life was certainly very hard for Van Gogh, owing to ill=»health as well\nas to poverty; and, insanity being added at last to other physical ills,\nhis latter days were spent in an asylum, where, in his lucid periods, he\n44 was still able to paint beautiful pictures \".\n%\nGauguin, who had been his companion and fellow worker in Provence\nbefore his entry into the asylum, writes as follows concerning the last\ndays of his friend:\n& 44 in his last letter from Auvers, near Pontoise, he said that he had\n44 always hoped that his health might so far Improve as to permit him\n44 to paint with me in Brittany, but that he was then convinced that\n44 recovery was out of the question. 4 My dear master, after having known\n44 you and grieved you, it is more dignified to die while I am fully\n44 conscious of what I am doing, than to take leave of this world in a\n44 state which degrades me He fired a bullet at himself, and, a few\n44 hours later, while lying in bed smoking his pipe, with all his wits\n44 about his, full of passionate love for his art, and without any feelings\n44 of resentment towards humanity, he passed quietly away\n& It has been said that the letters of Van Gogh are those of a simple\nman, and passages illustrative of this may be found again and again.\nFor instance what a simple and refreshing sound the following passage\nhas about it 1...\n44 Just suppose that I am to paint the portrait of an artist friend\n44 an artist who dreams great dreams and who works as the nightingale\n44 sings, simply because it is his nature to do so.\n44 Let us imagine him a fair man. All the love I feel for him I should\n44 like to reveal in my painting of the picture. To begin with, then, 1\n44 paint him just as he is, as faithfully as possible... still this is only the\n44 beginning. The picture is by no means finished at this stage. Now I\n44 begin to apply the colour arbitrarily. I exaggerate the tone of his fair\n44 hair; I take orange, chrome, and dull lemon yellow. Behind his head,\n44 instead of the trivial wall of the room, 1 paint infinity. 1 make a\n44 simple backgronnd out of the richest of blues, as strong as my palette\n44 will allow. And thus, owing to this simple combination, the fair and\n44 luminous head has the mysterious effect, upon the rich blue background,\n4f of a star suspended in dark ether. \""}, {"page_pdf": 24, "page_imprimee": "204", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.24", "debut_caractere": 18, "fin_caractere_exclue": 404, "texte": "-2? How right the good fellow was to speak 50,.... to speak technically\nwhile starting out from the word Lo.\nThe Futurists shall one day turn b!ack and save that scrap from th\npast, no matter how much they deride that past. There is someth'\nthere with which they cannot dispense.... The force and inspiration of\nLove,... the only force which overcomes and the only power which\nachieves."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c016", "article_bluemountain": "bmtnaau_1914-01_01#c016", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "204", "page_fin": "204", "image_debut": 24, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.10", "titre_corps": "THE DUTY OF THE ARTIST", "titre_sommaire": "THE DUTY OF THE ARTIST", "signature_source": "Lafcadio Hearn", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "204", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.24", "debut_caractere": 406, "fin_caractere_exclue": 1636, "texte": "THE DUTY OF THE\nLafcadio Hearn.\n'\"The obtrusive, the eccentric, the sharply bitter, naturally compel\nattention at first..., just as in real life the forward, the selfish, the\naggressive, force themselves upon us. It is the highest possible value,\nas a means of self-preservation, to understand them. But I suspect it is\nof no value at all to draw them, to photograph them, to give them\nartistic treatment, except in a contrast study. They are not beautiful,\nthey are not good.\n0\" the other hand, the beautiful in life must be sought and coaxed,\nand caressed to make it show its colours. It does not appear very often\nspontaneously. It fights for life against ugliness and wickedness and\nselfishness; it is Ormuzd against Ahrlman.\n& Now what is the artist's moral duty ?.... in the eternal order of things,\nto art and ethics ? Is it not to extract the gold from the 0re.... the rubies\nand emeralds from the rubble ? I think it i 5.... though many may laugh\nat me. Thus newer and higher ideals are created.\nWe advance only by new ideals.... The value artistically of our high-\npressure civilization seems to me to be that its monstrosities and glooms\nand tragedies infernal give the opportunity for the grandest contrasts\never made."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c017", "article_bluemountain": "bmtnaau_1914-01_01#c017", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "205", "page_fin": "216", "image_debut": 25, "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=bmtnaau191401-01.2.11", "titre_corps": "A HISTORY OF PUPPETS", "titre_sommaire": "A HISTORY OF PUPPETS", "signature_source": "Yorick", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 2044, "texte": "A HISTORY OF PUPPETS\nby \"Yorick\".\n(I)\nPUPPETS IN ENGLAND.\ns we set out for the first time on the road that\nleads from Spain to England to search for records,\nand to study the manners and customs of Mario-\nnettes in the United Kingdom of Great Britain\nand Ireland, there arises spontaneously in the\nmind a reflection of a general nature and of\npsychological character.\nIt may seem strange to some that a pastime,\nor amusement, that reveals, both on the part of the artists and of the\npublic, a liveliness of imagination and a nervous sensibility, so deep and\ndelicate, should ever have found favour with a people of the extreme\nnorth, a people, by nature, calm, tranquil and positive, born under a\ncold sky, and accustomed to a„hard and laborious life. And yet the\nphenomenon, fantastical as it may appear, manifests itself constantly, and\nindeed invariably, among all northern peoples. In fact, since the world\nhas been the world, Marionettes have always been as warmly welcomed in\nLondon, Amsterdam, Moscow and Berlin as in Rome, Florence and Milan.\n& Marionettes in England date back to very ancient times, and are as\ndear to the common people as to the aristocracy, to diplomatists and\nmilitary as to artisans, women and children.\n& It is certain that the first Marionettes to appear in the island were\nItalians. This is clearly established by the name, which, in that remote\ncountry, the little wooden figures, formed and adapted for scenic dis-\nplay, invariably bear, and also by ancient documents and writings re-\nlating to them.\n& They are called \" Pupazzl \". (2) Moreover, a letter from the Privy\nCouncil addressed to the Lord Mayor of London on the 14th, of July, 1575,\nremoves all possible doubt as to their original nationality, for It expressly\nauthorises Italian Marionettes to settle In the City and to carry on\ntheir strange motions as in the past and from time immemorial \".\n\n(1) P. Ferrigni.\n(2) It is interesting to note the debt which, in the pnppet theatre as in the theatre of flesh and blood actors,\nEngland owes to Italy."}, {"page_pdf": 26, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.26", "debut_caractere": 23, "fin_caractere_exclue": 2280, "texte": "&It should be said in favour of these juggling nomads, that they s\ncame to understand the ways, habits, Ideas and tastes of the\npublic. From the early years of the seventeenth century these 44 Motion\nMen \" carried their light theatres from parish to parish, and gave\npresentations of Mystery, Morality and Miracle plays, alternating these\nreligious scenes with songs and legends from national ballads, with\ndramas illustrating the adventures of King Bladud, the story of'Robin\nHood, of Marianna and of Little John, the battles of the Giants, and the\napparition of the Genii and the Fates, the whole being enlivened at\nintervals by a display of 44 hobby horses (i)\n& In this way, not only did they gain in a very short time a popularity\nthat was constantly increasing, but they acquired a position so vast\nand so honoured, in the literature of the country, that there is probably\nno other State in the whole of Europe, in which it would be possible\nas in England, to find reference to Marionettes in the works of all poets,\nof all dramatists, and of the most famous and most celebrated of ro-\nmance writers.\n& From Chaucer to Byron, from Sir Philip Sidney to William Hazlltt,\nthere is not a single author, who, in his writings, has not given some\nprecise and authentic information on the subject, or some extracts drawn\nfrom Marionette repertory.\n& To mention only Shakespeare, fifteen, at least, of his dramas contain\npassages relating to them, and the most tragic characters In his immortal\npoems, in the most solemn moments and most pathetic scenes, draw\nupon the Puppets theatre for comparisons, metaphors and examples.\ncom®dy of \" The Taming of the Shrew \" one of the chief\ncharacters, a gentleman, who, apparently, knew very well how to take\ncare of himself, is begging a friend to find for him some rich heiress\nwho might be willing to marry him, and Grumio, his servant, commenting\non the ambiguous words of his master, [suggests to (an honest1 broker\nthat he should \" marry him to an aglet-baby, or an old trot with ne'er\na tooth in her head \", or even to 44 a puppet \", a figure worked with '\nwires ; It matters not so that 44 money comes withal \".\n<0 Again in the \"Tempest\" the wizard Prospero, drawing magic circles\n\nSee \" The Mask Vol: 3- page 8"}, {"page_pdf": 27, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.27", "debut_caractere": 23, "fin_caractere_exclue": 2370, "texte": "fn the air with his wand, invokes the evil spirits and sylphs and cries\nwith a loud voice Come mystic creatures, ambiguous beings, \" demi\npuppets \" that by moonshine do the green sour ringlets make, whereof\nthe ewe not bites. The most frequent Shakespeare references to Marionettes\nare to be found in \" Antony and Cleopatra \" (act 5, scene 2) '* Mid-\nsummer Night's Dream \" (act 3, scene 2) \" Romeo and Juliet (act 3,\nscene 5) \" Hamlet (act 3, scene 4) \" King Lear \" (act 3, scene 2) and\n\" Twelfth Night \" (act 4, scene 2).\nBut that is not all. William Shakespere and some of his most illustrious\nand most acclaimed predecessors, wrote specially for Marionettes both\ndramas and comedies, which, developed and perfected later on, passed\ninto the accepted repertory of the greater theatres.\nThe comedy \" Every man out of his humour \" was originally composed\nby Ben Jonson for a small Marionette theatre in the City and evidence\nis not wanting to show that the first representation of \"Julius Caesar\"\nby Shakespeare took place in a \" Puppet Show \" near to the Tower of\nLondon. Robert Greene wrote for them his two celebrated mysteries,\n44 Man's wit \" and '* The dialogue of Dives \".\nSwift devoted one of his best works to them, The Tale of a Tub \",\nillustrated by Hogarth with a beautiful drawing \" Enthusiasm delineated \",\nwherein is seen a Jesuit preacher in a pulpit, working with both hands\nthe wires of two \"Puppets the one representing God the Father\nand the other the Devil. On a projecting part of the pulpit there appeared\nsix other figures, Adam, Eve, St. Peter, St. Paul, Moses and Aaron.\nAbout the year 1562 the great revolution in European taste, which\nwas called the renaissance, introduced into England new dramatic forms\nand led to the first attempts to establish stable and regular theatres.\nwere the first to extend and enrich their collection of\nplays with new profane comedies. Dekker wrote for them his sprightiiest\nli Drolleries \". Permanent theatres sprang up at Stourbridge Fair, at\nHolborn Bridge, and in Fleet Street, and a magnificent building was\nerected at Eltiiam, at that time a royal residence in the county of Kent.\nJasper Mayne, in hfs comedy, \" The City Match \" recalls the mania of\nLondon women for going to Brentsford to see the \" Puppets \" and in\nanother comedy Ben Jonson; in enumerating the great joys reserved"}, {"page_pdf": 28, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.28", "debut_caractere": 23, "fin_caractere_exclue": 1912, "texte": "for ladies of the Gentry, especially includes the possibility of going every\nday to a Marionette theatre.\nIn the year 1642, by an act, dated the 2nd. of September, all theatres\nin England were abolished, and this rigorous sentence was afterwards\nconfirmed by an edict of the 22nd of October, 1647, but Marionettes were\nexpressly excluded from this tremendous proscription. Just imagine the\nstate of things that then existed. The whole repertory of the great\ntheatres, prose, music, operas, oratorios, dramas, tragedies, and comedies\nfell into the hands of the 44 Puppet \" showmen, who, from Italy and\nFrance, rushed madly to the banks of the Thames, to a country in which\nall English writers of the day were devoting their talents and their pens\nto Marionette plays.\n<£? Here is a list, very summary, and necessarily incomplete, of the titl.es\nof such of these plays as are found mentioned by leading writers in\nEngland at that time, beginning with the old 44 Miracle plays\" the\n44 Morals \", 44 Pageants \" and old legendary 44 Chronicles \" :...\n44 Man's wit \" by Robert Greene.\n44 The dialogue of Dives \" by the same author.\n44 The prodigal son \" by an anonymous author.\n\" The resurrection of our Saviour \" a sacred drama, presented\nat Witney in the county of Oxford by the clergy of the parish.\n44 Babylon \" a moral play presented In Trinity College, Cambridge.\n44Jonah and the whale \".\n\" Sodom and Gomorrah\n44 The destruction of Jerusalem\n44 The city of Nineveh \".\n44 Rome and London\n44 The destruction of Norwich \".\n44 The massacre of Paris, with the death of the Duke of Guise\"\na drama by Christopher Marlow.\n44 Gunpowder plot \" an historical drama.\n& Ben Jonson refers particularly by name to two of the most celebrated\npuppet showmen of his time, the first known as Captain Pod, and in\ngreat favour about the year 1599, the other as Cokely, who came Into\nnotice some few years later."}, {"page_pdf": 29, "page_imprimee": "209", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.29", "debut_caractere": 23, "fin_caractere_exclue": 2157, "texte": "JS? And It is precisely from the pages of Ben Jonson, that we get the\nmost exact and most curious revelations relating to travelling puppet\nshowmen, and to the nature and form of their representations, and with\nregard also to the polemics concerning the license granted to them to\nkeep their theatres open In a time of tempestuous political and religious\nstrife. .\n& A strong supporter and defender of Marionettes was a certain Lanthorn\nLeatherhead, who was, himself, a puppet showman. It is thus that he\nrecounts his sudden turns of fortune, his triumphs and his extraordinary\nadventures.\n\" Ah, he said, I have made lots of money with \" Jerusalem \",\n\" with \" Sodom and Gomorrah \" and with the \" City of Norwich \", but\n\"Gunpowder Plot \", that was a veritable gift of God. It was that that\n%\n\" made the pennies rain into the coffers. I only charged eighteen or\n'4 twenty pence per head for admission, but I gave sometimes nine and\n\" ten representations in a day. There is nothing better for drawing the\n♦' public than incidents taken from domestic history; they interest\n\" everyone, and all can understand them, and on that account they\n\" are preferred before any other subject \".\njg? Eighteen pence seems rather a large entrance fee, but it was probably\nexceptional; it is, in fact, shown to have been so, for not long afterwards\nthe same showman, standing in front of his theatre and appealing to\nthe people to come in, cried out to them in these words\n'< Come forward, gentlemen, and take the best places.... two pence\n** each, two pence... to see the most beautiful Marionettes In the whole\n\" world... the most elegant Marionettes in the Fair.., two pence, only\n*' two pence \".\nTHE REIGN OF PUNCHINELLO.\n'\"JThe memorable revolution that broke out In the year 1688, Inaugurated\nIn England a new political era, and raised, at the same time, the\nvaliant William of Nassau, of the house of Orange, to royal dignity, and\nthe glorious Italian Punchinello to the throne of Marionettes in Albion.\nThe Pretender came from across the sea, and trusted, for the triumph\nof his rights, to the cutting blade of his sword; the peaceful puppet, on"}, {"page_pdf": 30, "page_imprimee": "210", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.30", "debut_caractere": 23, "fin_caractere_exclue": 2396, "texte": "the contrary, had for a long time fixed his abode, and acquired citizen\nship, in the country, where he had arrived after crossing the Channel\n\\ •' - ,\nin company with the Stuarts.\nUp to that period he had always led a relatively quiet life, contenting\nhimself with acting his part among other puppet players in semi-profane\nor semi-religious representations, and only, at long Intervals, risking\nhimself in contest with that tyrant of contemporaneous Marionettes,\n\" Old Vice \", a national, horned and tailed, demon, who seldom retired\nfrom one of those hand-to-hand encounters with the foreign puppet\nwithout having his horns broken.\n& He had been called, at first, Punchinello, and later, simply \"Punch\",\nbut, with this change of name, he did not, in any way, change either his\ndress or his customs, but continued to be such as he had been from his\n( #\nbeginning in Italy, a descendant of the Latin \" Macco \". (i) Do you want\nproof of this? You will find it in one of Addison's poems, the title of\nwhich is \" Machinae gesticulantes \", and its main argument, the glories\nof marionettes and puppets. This poem of Addison, who was then young\nand signed himself \" A fellow of Magdalen College \", was published in\nLondon, in a collection entitled *' Musarum anglicarum delectus alter\".\n& The victory of the Orangists and the exaltation of William the third,\ncalled Punchinello also to higher fortune. Punch became Mr. Punch and\ntook as his wife the beautiful Judy, set up house, had a son, and esta-\nblished a permanent theatre, constructed in accordance with the rules of\nart, in which the seats, or places, were no longer of one category and\nat one price, but were distinguished according to different orders or\nclasses, each class having its own distinct tariff.\n& The figures that, up to that time, had been simply dolls, became\nstraightway \"Marionettes\", elegant puppets, modelled in wood,fashioned\naccording to the dignity of human beings, ingeniously formed in all their\nlimbs*... legs, feet, arms, hands, torso, and head,... and were provided\nwith the thinnest wires, by means of which they were made to execute\nthe most complicated movements.\nEverything tended to increase the force of the wind that filled the\nsails of Punchinello. Queen Mary, the daughter of James the second, had\n\n(1) An article on the Italian \" Puicinella'» appeared in the \" The Mask \" July 1910."}, {"page_pdf": 31, "page_imprimee": "211", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.31", "debut_caractere": 23, "fin_caractere_exclue": 2333, "texte": "quite an immoderate passion for Italian puppets, and frequently summon-\ned them to the royal palace, to festivals and banquets, with which she\ncelebrated the victories of her husband,... and the fall and misfortunes\nof his father.\nWith that unhappy example before his eyes, Mr. Punch began to\nconduct himself badly. He became dissolute, wicked and heretical. He\nwas formerly merry and jovial, and was now sarcastic, bitter, gloomy\nand jealous. He remorselessly murdered his wife and his SQII, and, almost\nas though to do penance for his sins, he revived an old strife with the\nspirit of darkness and killed even the Devil himself.\n& The amazing and almost incredible adventures of Mr. Punch and his\nmelancholy consort, led, little by little, to a drama, legendary, vast and\nextravagant; a kind of puppet epic poem, of which the original issue\ndates from the early years of the reign of the house of Orange, and the\nlast from the more recent days of English history.\nMr. Payne-Collier, in the year 1828, reproduced the traditional scenes\nof that drama in a well-arranged work, which he published under the\ntitle of \"The tragical comedy of Punch and Judy\". It was a colossal\nundertaking, but he was able to complete it by freely availing himself\n%\nof records supplied to him by an old and illustrious Italian puppet\nshowman, a certain Piccini, who at the end of the previous century had\ncarried his little theatre from Fair to Fair throughout all the provinces\nof the United Kingdom. x\nSomewhere about the year 1820, Piccini, now growing old, took up\nhis residence in London, where, for a long time, he continued to delight\nthe London nobility and citizens with his performances.\nUnder the reign of Punchinello, that is to say from the year 1688\ndown to our times, English Marionettes lived through a period of such\nstriking success and glory, that never again can anything of the kind be\nlooked for. of thy party, dear Tim, and all despise thee, dear, and hate thee,... but\nto thee it matters nothing, It helps to amuse the spectators and make\n44 them laugh \".\n& One of the ablest in composing these political parodies and In handling\nsatirical puppets on the stage was the illustrious John Curran, who\nat Newmarket, his native place, young as he was at that time and a\nstudent, acquired such a passion for Marionettes, that he ended by\njoining the company of a much applauded Punchinello, and, later on, by\nsetting up-a small theatre on his own account. The facility, with which\nhe was able to Improvise dialogues, led him to think that he was a born\norator ; he believed that his vocation was that of an advocate ; be became"}, {"page_pdf": 36, "page_imprimee": "216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.36", "debut_caractere": 16, "fin_caractere_exclue": 1062, "texte": "a member of the English court of justice, gained easily the first position\nat the London Bar, was elected shortly afterwards a member of Parliament\nin Ireland, entered the House of Commons and, finally, in the year xBo6\nunder the administration of Fox and Sheridan, was appointed Chancellor\nin Ireland, and took his place in the Privy Council.\n& Ah, dear me, art, now=a-days, is declining, and I very much doubt\nwhether any of our political puppet showmen have talent enough to gain\n7 >\na ministerial portfolio by the way of Marionettes. And yet examples are\nnot wanting, neither is there any deficiency of teaching. Even Marionettes\nhave discovered their Aristotle and are able to refer with pride to their\n\" Arte poetica \". William Haziitt, an able writer, and universally known\nand acknowledged critic, has applied some of the most eloquent passages\nin his \" Lectures on the English Writers \" (London 1817) to Marionette\npoetry, and has admirably explained the reasons for what he describes\nas its \" great, irrestible and universal attraction."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c020", "article_bluemountain": "bmtnaau_1914-01_01#c020", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "217", "page_fin": "220", "image_debut": 37, "image_fin": 40, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.12", "titre_corps": "PUPPETS IN JAPAN : Some Notes by a Japanese", "titre_sommaire": "PUPPETS IN JAPAN : Some Notes by a Japanese", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 2127, "texte": "PUPPETS IN JAPPAN. Some Notes\nby a Japanese.\nondon has recently been interested in a Chinese\nplay. The Yellow Jacket, in which the leading\nactor takes the part of the property man, places\nmountains on the stage for lovers to climb over,\nremoves dead men in a trice, follows the actors\nand relieves them of their properties, and through-\nout the play assumes an air of unconcern and\nindifference as though he were not part and parcel\nof the performance and had no interest in the character.\n& But this English property man is quite contrary to ideas held regar«\nding him in China or Japan, tie has been the central figure of the play\nand has quite eclipsed the real actors who interpreted the story. Thus he\nhas produced an effect which is quite opposite to that intended on the\nstages of the East.\n•s\nJust at present Tokyo is being visited by a whole company of Osaka\nproperty men, any one of whom would make the leading actor in the\nLondon production of the Yellow Jacket decidedly envious, because they\nV\nare genuine and belong to a profession which has been handed down\nfrom father to son ; moreover they come of a race that can be thoroughly\nand sincerely impersonal. These property men, or 'korombo,' from the\nChikamatsu=za, the doll theatre of Osaka, cause the puppets to play the\nroles in Chikamatsu's famous pieces at the Yuraku-za. Their art is unique,\nand while they pull the strings which make the dolls move and act like\ncreatures of real life they are able to completely efface themselves so\nthat their faces are masks. No interest in the movements of the dolls is\nwritten there, no hint of self, so that the puppets become so absorbingly\ninteresting the audience is lost in the story they tell. The majority of\nthe'korombo' wear black masks, but those who are able to obliterate all\n0 W\ntraces of personality do not need a covering and their achievement is\ncertainly worthy of the greatest admiration.\nAs for the dolls themselves, they act various roles, they assume the\nheroics of warriors, delineate the character of priest or princess, and\nmay be old people or infants, youthful lovers or retainers who express"}, {"page_pdf": 38, "page_imprimee": "218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.38", "debut_caractere": 19, "fin_caractere_exclue": 2473, "texte": "over and over again the motives of bravery, loyalty and filial piety.\nWhat if a well or a gate or a pine tree is carried off bodily by the pro=\nperty man ; the creaking of the doll's joints be heard, or a particularly\nactive hero jumps about in such a boisterous manner that he appears to\nbe suspended in mid-air rather than to have his feet on the stage, all\nthe illusions may be amusing and primitive to a critical mind, but even\na doubting Thomas is soon carried away by the powerful suggestiveness\nof the acting. The dramatic stories move swiftly to the denouement and\nthe action is certainly not inclined to lag.\n& The puppets have slanting eyes which a real actor would envy, and\neyebrows that may be elevated to express surprise or a dozen other\nemotions, while the hands are many-jointed and so supple that the ge=\nstures are full of expression. A begging priest dances ; a wounded man\nis given a stimulant from another doli s medicine case, mains draw water\nat the well, old ladies water flowers and young ones play the koto, lite-\nrary men write poems, and the dolls enter into a hundred small details\nof daily life which gives a wonderful variety to the performances.\n& Without the joruri music the wordless puppets would fail to carry\nthe meaning, and it is the singer on his red rostrum sitting behind his\nornate black and gold lacquer book=stand who teils the sto»y. In spite\nof all his splutterings and gurglings, shoutings and explosions which\ncertainly seem strange to a foreign ear, he is a wonderful personage, he\nis able to impersonate the gentle voice of a woman, the gruff grow lings\nof a warrior, the language of lords and vassals and servants ; he expresses\ngrief when the hero commits harakiri, scorn for an enemy, affection\nfor a maid, his voice carries the suggestion of impending doom, of clash\nof arms, and evil intent, as well as of happiness and triumph. The\naccompanist sitting beside him with his ivory plectrum twanging his\nthree-stringed instrument gives the proper emphasis or produces those\nnoisy strummings which causes a puppet character to posture and pose in\na lively dance. A custom that has long been handed down in the 'nyngyo\nshibai' is the introduction to the audience of the musical portion of the\n•\nperformance. The gold screen at the back of the musician's rostrum is\nsuddenly swung inward and outward come the two men who foim the\ninterpreters of the scene to be acted. A property man in his black kimono"}, {"page_pdf": 39, "page_imprimee": "219", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.39", "debut_caractere": 19, "fin_caractere_exclue": 2495, "texte": "and mask comes forward before the curtain and announces the names\nof the two men after which these two personages bow to the audience.\nThen a voice in another part of the theatre calls out their names in a\nlong high peculiar drawl and the gidayu singer lifts his book up to bis\nforehead as a salute to the audience, and he mops his face, clears his\ntbroat and drinks some tea before beginning to sing, while the samisen\nplayer gives an occasional subdued whoop and now and then a stray note.\nThe cleverness both of the singer who relates the narrative with all\nits phases of emotion and the property man who gives the appropriate\ngestures make them artists in their own way, possessed of the greatest\nversatility, and there is no doubt that they could shine on the real stage\nif they were given an opportunity to go beyond the doll theatre speciality\nwhich they have selected. These men are able to so vanquish the common\ndesire of actors, In whatever part of the world they are to be found, to\nallow their own personality to dominate and to project themselves into\nthe character they assume, that they can make it possible for the audience\nto enjoy their art which is concentrated in the dolls and at the same\ntime be perfectly oblivious of the men behind.\nThe first play which Is given Is Hideyoshi Jinya, the Camp of liideyoshi,\nand it has a rather complicated plot which is concerned with the rivalries\nbetween Nobunaga, Mistuhide and Hideyoshi. It is full of haraklri, partings\nof lovers and stern soldiers who do not betray any of the softer emotions.\nHideyoshi in armour on horseback makes a very triumphant figure, a\nwhole company of korombo surrounding the horse and its rider, and\nwhen the animal begins to rear and caper to the strains of the samisen\nthe property men act in such perfect unison that it is recognised that\ntheir art is indeed a wonderful one. Again, a dying warrior on the top\nof a stone moat wall makes a striking picture with back masked figures\nclustered as a background and the young lady of the piece is graceful\nand winsome, every movement full of modesty and gentleness. The second\npiece, Tsubosaka, tells the old story of the blind man who became jealous\nof his wife because of her frequent absences from home. But she confesses\nthat she goes to the temple to pray to Kwannon for the recovery of his\nsight. They journey together and the blind man remains at his devotions\nwhile O Sato goes home. In her absence discouragement gets the better"}, {"page_pdf": 40, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.40", "debut_caractere": 18, "fin_caractere_exclue": 2258, "texte": "of the husband and he throws himself over a cliff. O Sato discovers\nhim and hurls herself after him. Then Kwannon, the goddess of Mercy\nappears and restores them because of their piety and belief, the blind\nman's eyes are opened and he sees his wife for the first time. The\nopening scene of Tsubosaka shows O Sato sewing a kimono and all the\ndetails are faithfully reproduced while the blind husband plays on the\nsamisen, and shows that the dolls can undertake the most minute and\ndelicate gestures as well as the most boisterous and active. Kaniiji\nthe third play is a shinju piece and was acted sometime ago at the\nTeikoku~za.\nIt is the story of the faithful wife who gave up her money and her\nkimono that her husband might buy Koharu from the gay quarters and\nshe and her child enter a nunnery to make him free. But Koharu and\nher lover are so overcome at the generous sacrifice of the wife that\nthey die together. Imoseyama, the last piece, is also one of Chikamatsu's\nwell known plays which has for theme the love of a common girl and a\nprincess for a youth of high degree. This piece has an orchestra of five\ngidayu singers and as many samisen performers which makes an imposing\narray.\n& The ancient art of the puppet has been wonderfully developed and\npreserved in this country, and perhaps in no other part of the world can\nthe dolls be seen to such advantage. The nyngyo shibai is said to have\noriginated In Kyoto in 1603. The puppet show was an ancient Institution\nbefore It appeared in Japan, and every European country has had its doll\nshows, but In all of them the art has degenerated. Punch and Judy are\nthe last of their proud race in England.\nThe doll theatre has greatly Influenced the theatre of Japan and\nmuch of the acting to be seen on the old stage at present shows the\nconventional style of the puppets. Although the nyngyo shibai was\npopular in all the cities of Japan for two hundred years, at present the\ndoll theatre can only be seen in Osaka. Chikamatsu who is called the\nShakespeare of Japan, wrote his famous plays for the puppets and these\ndramas are faithfully reserved in Osaka to=day. A company from the\nChikamatsu-za of Osaka is now performing at the Yuraku=za and the\nperformances are well worth a visit."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c022", "article_bluemountain": "bmtnaau_1914-01_01#c022", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "221", "page_fin": "223", "image_debut": 41, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.13", "titre_corps": "PLAINSONG : A Note", "titre_sommaire": "PLAINSONG : A Note", "signature_source": "Cantor", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 2040, "texte": "PLAINSONG: A Note\nby \"Cantor\"\ndo not think any reproach is more deserved than\nthat I must begin with.\n& How could you, Artists, after creating and\nfaithfully guarding right down through the ages\nthe most delicate of beautiful things... how could\nyou leave it for the last two hundred and fifty\nyears to the care of paterfamilias ? You should\nnever do this. It is not his place, good easy man.\nHe knows it, and is willing to follow you. But always, should you lie\ndown by the wayside, (and it is tiring work) does he fall an easy victim\nto the first who meets him with obvious aad glib advice. What else can\nhe do, being naturally ignorant of art-matters ?\nIt is so long ago that you have forgotten all about It. I will tell you.\n& Plainsong is the oldest music in the world. It is the basis of all ec-\nclesiastical song. You will not hear it spoken of at the Royal College or\nAcademy or Guildhall School of Music. The College of Organists could\nnot tell you even the meaning of the word. The bench of Bishops Is\nurbanely deaf to the voice of the Church's Song crying in the wilderness.\nThe great spiritual nurseries of Oxford and Cambridge reject it utterly.\nThe Cathedrals have forgotten its existence. Born at the Altar, the Altar\nto-day knows it not.\n& John Marbecke, in the middle of the 16th Century, was the last to\ncompose It.\nThe essential parts of our English Church Liturgy (such as the Psalms,\nKyrie, Creed, Sanctus, Agnus Del, Gloria,) should always be chanted to\nit, the only possible alternative being the music directly inspired by it,\nsuch as that of Tallls, Byrd, and Gibbons, (i)\n& Artists! the priceless things enshrined in the Church are crying out\nfor the need of you. The dull complacent standards of the well-fed bu-\nsiness man, and the sour hatred of the puritan.... but principally the\nformer... have laid a crushing load on the Church.\nYou alone can free it.\n& Artists ! come back to us! We cannot do without you. We want the\n\n(1) I would not reject any music of today on the right lines, but 1 know of hardly any."}, {"page_pdf": 42, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.42", "debut_caractere": 15, "fin_caractere_exclue": 2006, "texte": "\"New gladness and roughness\" that you alone can give us. We are\ntired.\nWe want you not only for the sake of our Song, but for our whole\nstately and beautiful ceremony.... our buildings, ornaments, vestments.\nThere are those in the Church to-day...i no sacred fire ever quite\ngoes 0ut.... who have the feeling for these things in their blood ; but\nthey are few, and not in high places. If you would come back and help,\nit could be done.\nArtists! there is nothing you need fear in the Church. 1 know exactly\nwhat you cannot stand. It is the smug respectability of the average\ncongregation. And you are right. But that is not the Church, any more\nthan the stalls and pit are the Theatre.\nThe Peregrine Tone to Magnificat with Faux Bourdon by William\nByrd, The Sarum Litany chanted in procession, the Third Mode Melody\nof Thomas Tallis. (i) The Easter Sequence of the Three Marys, The Divine\nSacrifice at the Altar with its ancient Mass chant, the Old Hundredth\nset by Dowland with the people's part In the Tenor, the sturdy folk=song\nof the Cherry-Tree Carol... these are the Church.\n& You did not know.... did you ?\n& Are they not worth a fight ?\nIn their place to-day nearly everywhere we have Stainer's 44 Crucifi-\nxion\", Dykes' 44 Lead Kindly Light\", Barnby's Service in E, Tours'ditto\nin F, Stainer's dittos in every conceivable key, Novello's Cathedral\nPsalter, and the Ancient and Modern Hymn-book (and in ninety nine\ncases out of a hundred the 1875 edition at that).\n& Of course these things make one spew. But why did you ever let them\nbe? Yours Is the responsibility. You are the guardians of all great and\nP\nholy things. You really shape the world. In its dull bovine way it allows\nyou to lead it.\n£/ Being human you become apathetic.\n& Having in you that Divine spark which only can light the w0r1d....\nand without which you would cease to be artists... you must never tire\nwhen it is a question of saving a< beautiful and noble thing.\nCome back to us, Artists!\n\n(I) English Hymnal."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c025", "article_bluemountain": "bmtnaau_1914-01_01#c025", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "225", "page_fin": "226", "image_debut": 45, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.14", "titre_corps": "LITTLE STAGES : A Word", "titre_sommaire": "LITTLE STAGES : A Word", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 1260, "texte": "LITTLE STAGES. A Word\nby Allen Carric.\n|Dy little stages\nwe reach our\ndestination. An\neasy and a plea-\nsant way. But\nwhere are the\nlitle stages of\nEngland ?\nThe Little\nTheatre in the\nAdelphi is really\na large theatre\non a small scale,\nand besides, is\na Public affair.\n& We could in-\nvent something\nsmaller and sim=\npier,.... less ex-\npensive and far\nmore natural. A Room with a stage at one end. The smallest would\nnot have to be less than thirty feet long and from twelve to fifteen\nfeet wide. And at the end a small stage.\nThe scene for such a stage would then be a simple matter and Instead\nof a great cost would be possible for a few pounds.\n& Here we have just such a scene. This stage is not ten feet wide and\nis about five or six feet deep. But look at the design and see how well\nthe space has been used. It does not look at all crammed.\nBut how many little stages of this kind are to be found ? And what\nis done with them when found? A young lady will fill it up with much\nemotional or mock-emotional gesture and whinlngs ; and she will then\ntrain another young lady to do it with her, both feeding meanwhile\nupon much bread and butter: and an occasional man will be dragged in\nto speak the gruff parts. But except for such young ladies who is it that"}, {"page_pdf": 46, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.46", "debut_caractere": 16, "fin_caractere_exclue": 1003, "texte": "has a little stage and uses It? Yet by little stages we reach our desti-\nnation, you lovely lazy English people.\n■<& Here is another example of a scene for a little stage, the width about\nten feet; three walls and a few properties. You'll be sure to take a\nnote of this as of all the other practical suggestions in \" The Mask \".\n*\nBut we wish that you would take a note of the most practical and\nimportant thing we have ever suggested, which is TO TAKE TIME AND\nTO BE THOROUGH, and not to join the noble army of amateurs when by\na little care you can make a little stage as valuable and as distinguished\na part of your house as is the Library or the Dining Room,\n& One takes it that you know how Books should be bound, kept and\nlooked at, and how a Dining Room and its Table should be laid, filled\nand dressed by guests of intelligence and taste. Well, the same talent\nwhich understands how to do these matters of daily life can be applied\nto this third matter of a little house Theatre."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c028", "article_bluemountain": "bmtnaau_1914-01_01#c028", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "227", "page_fin": "229", "image_debut": 47, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.15", "titre_corps": "HAIL! DIVINE ARROGANCE", "titre_sommaire": "HAIL! DIVINE ARROGANCE", "signature_source": "E. Gordon", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 1776, "texte": "HAIL! DIVINE ARROGANCE\nby E. Gordon.\nTPhere has been of late years a revival of Arts and Crafts In Europe and\nAmerica. We have ail heard about the Revival,... but where are the\nArts and where the Crafts ?\nHiggledy-piggledy... anywhere... ingloriously mixed and twisted into\na cursed confusion, a hindrance and a reproach to those who joined\ntogether to Revive the Arts and the Crafts and so to Revive the earth,\nand so to Revive man.\n& Why has this been so ?\n£? How is it that man is not a scrap Revived by this 44 Revival \" ?\n£? The Frontispiece to Dr Coomaraswamy's new book (i) contains the\nanswer.\n£> It is a Head of Krishna.\n44 Have you left us, O Krishna, because we took you for\n44 a common play-fellow and did not pay you the tribute of\n44 worship that you deserved at our hands ?\n44 How often, when playing, we quarrelled and abused\n44 you.\n44 Did you take these things to heart, and desert us, though\n44 we were so deeply devoted to you ?\n4« We often beat you, or carried you on our shoulders, and\n44 rode on yours. Often we ate first, and gave you the remnants,\n44 calling you by all familiar names.\n44 Have you, for all these, forsaken us, oh beloved\n44 Krishna ? \" (2).\nu£> This is the chorus of the shepherd boys in an old drama of India.\nKrishna was the God-Man: a shepherd boy, he is also the earth and\nthe sky, He is the Ideal.\nThus we are answered by this beautiful Head of the 1dea1:.... It says\nnothing, but the boys have spoken for him ...it has called forth their\nsecret thoughts and fears.\n£/ It Is not wise to quarrel with the 1dea1,... with God ; nor to take the\nGodhead for a common play-fellow, nor to grab at food before we have\n\n(lj The Arts & Crafts of India by Dr Ananda K. Coomaraswamy. T. N. Foulis.\n(2) Bengali Language & Literature. Pg. 729."}, {"page_pdf": 48, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.48", "debut_caractere": 26, "fin_caractere_exclue": 2097, "texte": "first offered sustenance to the Godhead, nor to lower it by the familiarity\nof 44 Hullo, old chap!\nThis is wickedness, for it Is folly incarnate.\nWe in Europe and in America have taken our Krishna out in motor\ncars for joy-rides,... while attempting the 44 Revival \" of the Arts and of\nthe Crafts.\n& Can crazyness go further ?... or dream a lower dream ?\nWe put on our Arts and wear out our Crafts.\nThen we put them off, and go out and air our perfect Disbelief in\neverything Ideal: our utter distrust of the God Krishna, or whatever\nother name we thrust upon the only God.\nAnd as we, the leaders, do this; we, the artists, as a race... because\nour 44 great artists \" as a rule and 44 our great personalities \", and our other\nleaders are forgetful of God and our obedience to his Laws, and because\nwe in our weakness have been hail-fellow-well-met with the mob... so\nthe mob, growing fatter and sillier year by year has bred an Impertinence\nso gross and so despicable that it dares to give an opinion which is\ncalled Public Opinion.\n£> A fig for such Public Opinion that causes States and Religions to\ntotter and to fall as they are falling now.\nHail once more to that old Arrogance so grandly depicted on Krishna's\nface, so gloriously reflected on the faces of all great men* and so furiously\nhated by the m0b,... the mob of the loggias at the Covent Garden Opera,\nthe mob of the House of Commons, the mob of the drawing rooms and\nof Trafalgar Square.\n& Hail once more to that Divine Arrogance which knew that the Obe-\ndience of the many to the judgements of the one meant happiness to the\nmass of men. Hail to the strong Divine Men adored by the lowlv and\nonly detested by that mixed mass of 44 Lords\" and 44 Ladles\", 44 Artists\"\nand 44 others \" known as the Mob and Public Opinion....\n& The whole of India's Arts and Crafts testify to the sanity and the\nbeauty that exhales from the soul of the strong and arrogant Ruler.\nbronze, every little box of wood, every little shawl of wool and every\nlittle stone jar proves the happiness of the old Indian Races ; proves that"}, {"page_pdf": 49, "page_imprimee": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.49", "debut_caractere": 25, "fin_caractere_exclue": 2128, "texte": "their love for loveliness and sanity sprang from their love of obedience\nto their arrogant Rulers,... and the love of those Rulers for the arrogant\nand sole Rule of Krishna,... the Ideal.\n& All arguments and queries are In vain. There is no Doubt. Arguments\nand queries are the weak inventions of weak and selfish fools.\nLondon, Berlin, Paris and New York are Infested by this rabble of\nweak and selfish fools who argue and question from morn till night as\nto what is wrong with the world.\nNothing is wrong with it. Everything is wrong with them,.... until\nlike dogs they come to heel.\nComing to heel they become something: baying at the moon they compete\nonly with the midnight prowlers on the tiles,., and are nothing but a Noise.\nStill as I write up goes the H0w1....\n\" What is wrong with the world ?\n\" What is wrong with the world ?\n\" What is wrong with the world ?...\n& YOU are:... you who put the question: nothing else Is wrong with it.\n& Obey the Ideal, have better manners... take your hands out of your\npockets... try to talk your own language correctly... try to walk down\nyour street like a man rather than lurch down it like a monkey, and\nthen you will have taken the first and baby step towards understanding\nthat you may not be one of those whose opinion, just because it is a\ncommon one, is worth being made and called \" public. \"\nAnd when you have trained yourself in manners and have learned to\nwonder even a little at the earth and sky,... then Krishna and his ar-\nrogant face will be seen by you:... on that day remember how less than\nnothing you are and how Inscrutable, indomitable and unforgiving He is.\n&On the day you realise this the Arts and the Crafts will revive; States\nand Religions will arise all fresh once more, and Mankind will again be\nHappy. To be happy we must respect that which Is incomprehensible\nto each of us... and obey him to whom least things are incomprehensible*\nThe Divine Mother of the Universe has many arms, but with her two\ntenderest and strongest she shields her divine son In whose heart she\npoured the Ideal Fire of her Essence.\n*\nLet us obey him."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c029", "article_bluemountain": "bmtnaau_1914-01_01#c029", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "230", "page_fin": "233", "image_debut": 50, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.16", "titre_corps": "THE FIT AND THE UNFIT : A Note on Training", "titre_sommaire": "THE FIT AND THE UNFIT : A Note on Training", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "230", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 2125, "texte": "THE FIT AND THE UNFIT: A Note on\nTraining\nby Gordon Craig.\nn one of the best books ever written by a school=\nmaster upon the art of teaching, he says.\n\" There is a possible bad side, a very real peril,\nin all this increase of learning, multiplication of\nsubjects, systematization of methods, cataclysm of\nschoolbooks,... ail the machinary which has been\nbrought into play to aid us in our wild desire to\nknow, and to reduce the art of teaching to an exact science. I hope you\nwill agree with me that the object of education Is not to know, but to\nlive. True it is that Browning's \" Grammarian \" is held up for admiration,\nbecause he \" determined not to live, but know, but then he existed\nin the dawn of the revival of learning, and was an exceptional case, an\nintellectual pioneer; accordingly, if you remember, he suffered from\nbaldness, tussis, calculus, and died, first from the waist down, and then\naltogether, at a comparatively early period of his career. My contention\nthen is that we are in danger of trusting too much to books and systems,\ntoo little to the living influence of mind on mind ; too much to rapidity\nof learning, too little to development of power; that we are in danger\nof organizing the soul out of education, of making it mechanical and\ntherefore barren •, of a tendency to look to the accumulation of facts as\nan adequate result, though they may lie like lead in the brain that bears\nthem ; in a word, of confounding the mere capacity for housing mental\ngoods with the growth of the vital powers conferred by education. \"\nThis was written by James Rhoades in his address which he delivered\nbefore a body consisting exclusively of public school masters. It was\nprinted in 1908 by John Lane, with the title, *' The Training of the\nImagination. \"\n& In the School for the Art of the Theatre we study hardly at all from\nbooks, and trust not at all to systems.\n& What is our method ? We practise right away.\nIt is a method which appeals not at all to incompetent men, and\nwhich instantly finds out for us which are practical and which unpractical\nworkers. It also discovers for us the nature of the man."}, {"page_pdf": 51, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.51", "debut_caractere": 23, "fin_caractere_exclue": 2173, "texte": "Whether the class ot the moment be one for scene modelling....\nvoice... pattern... carving... dancing... we start right away at the practise.\n<£? We model... speak... design... carve... or dance, taking the simplest\nexample of each subject.\n& In speaking we avoid Hamlet's,... \"To be or not to be. \" We read\na paragraph from a newspaper... or a prose passage from a book on the\nTheatre which speaks of some interesting development in the Art of the\nStage.\nThe pupil speaks or drawls.., he seems hopeless. What follows?\nWe make a great discovery by what follows. For he will either see\nhe is hopeless and tell himself that we are no magicians if we cannot\nteach him how to speak in three lessons; or, if he is clever... If his\ncharacter is of any worth... he will realize that we cannot teach him to\nspeak... that for the doing of anything a right state of mind is the first\nrequisite ; and that he can come to that right state of mind only after\nlabouring very honestly and actively and humbly at each branch of study.\n& As with speaking lessons, so it is with the modelling.\n& We start out to make models.\nJZ? After a few directions written down a student has to measure out\nand cut out a portion of a scene in cardboard.\nHe does it well or badly,., generally badly.\nThen comes the discovery. If he complains of his tools or of the way\nhe is taught, he proves himself at once an impossible student. If he\nsticks to his simple task until he has mastered it, he proves that we\ncan rely on him in future. That he is worth taking trouble with,... worth\nall our patience.\nAnd each class resembles each other class in this respect. At the end\nof a fortnight we discover which man has the right spirit and which not.\nThose who have It not can go; they are useless to themselves, to us,\nand to the work.\nThose who stay have still further tests... simple tests. At the end of\nsix months' cutting cardboards and reading prose aloud, a student who\nhas stuck to it for so long sometimes thinks he has done a great feat...\nthat he has stood a great test of endurance; and I have had students\nwho believed that, after being employed for six months In simple tasks"}, {"page_pdf": 52, "page_imprimee": "232", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.52", "debut_caractere": 23, "fin_caractere_exclue": 2024, "texte": "of this kind, they should be promoted... they have even said to me that\nthis kind of study might suit boys between tbe ages of nine and twelve\nThey fail to see that one boy of nine or twelve might be superior to\na young man of twenty-four, and another more helpless than a child\nof five.\n$ 1 *\n& The men who apply to me for admittance to my workrooms are many\nI take about five per cent of them ; and if one In every two hundred\nturns out at all creditably I am astonished.\nWhen applying they write to me with \" enthusiasm, \" and I show\nyou a little lower down two letters such as I receive.\n& They represent faithfully the kind of letters, or the applications\nI receive by word of mouth, from all those who come to me.\n& They expect to learn Magic In a few months. I tell them they had\nbetter not attempt it... that the task is too heavy... that their character.,\npatience... endurance... and vanity will be tested. Still, they feel that\nthey are great souls and can overcome all difficulties.\nThese are the letters:....\n1.\nSir,\n& \" I write from (one of the Universities) to ask if you will advise\n\" me a little about my fnture plans. I am In thorough agreement with\n\" everything you have written on \" the Art of the Theatre \", and ant\nanxious to learn more about it under your guidance. As I was thinking\nof studying Art for a year or two on the Continent after leaving the\n\" 'Varsity, I wonder if you would consider me qualified for admission\n\" as a PUP\" t0 your School In Florence. If so I should decide at once\n\"on 2°ing to italy instead of France to begin with. I hardly know yet\nwhat my capacities may be as an artist, though I believe I have a good\ndeal of originality, but at any rate you will find that I am an enthusiastic\n\" 'earner, and not afraid of hard work. Will you please let me know what\nyou think, and if there Is a chance for me... etc. etc. \"\n2.\nSir,\n& For years I have been a humble and admiring student of your\nideas, and am longing to be able to see them realized, and in some"}, {"page_pdf": 53, "page_imprimee": "233", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.53", "debut_caractere": 23, "fin_caractere_exclue": 1429, "texte": "\" way to give expression to my enthusiasm. Now that your School is\n\" started it gives me an excuse for venturing to write and tell you how\n\" eager I am to take the smallest part in your noble work... if it be\n\" only to lay one unnoticed stone in the edifice of your theatre of the\n\" future. Will you let me have an opportunity of proving to you the\n\" sincerity and earnestness of this desire, by taking me as a student in\n\" any branch of the School which is under your direct supervision ? I could\n\" come to Florence at once, and am waiting impatiently.., etc. etc. \"\nThey then join the School.\nAfter a month's arguing with everyone... after a month's grumbling\nat every condition and at all the difficulties.... they probably write me\nas follows...\nMr. Craig,\n\" I am not clever. You give me things to do which would suit boys of\n\" ten and twelve, but which are beneath my powers. You will perhaps\n¥ N\n\" excuse me for saying that I think you are conducting your School\n\" wrongly. \"\njg? And so forth and so forth.\nI return them their cheques, and let them go.\njgf But those they leave behind them continue to work on steadily and\nwith increasing application, studying and respecting the Theatre of the\nPast, not blind to the good qualities of the Theatre of Today, but with\nhopes set upon a New Theatre which they feel must be in the Future\nif only they have sufficient Faith and Fidelity to make a reality."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c032", "article_bluemountain": "bmtnaau_1914-01_01#c032", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "234", "page_fin": "237", "image_debut": 54, "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=bmtnaau191401-01.2.17", "titre_corps": "ON LEARNING MAGIC : A Dialogue many times repeated, and here recorded", "titre_sommaire": "ON LEARNING MAGIC : A Dialogue many times repeated, and here recorded", "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": 54, "page_imprimee": "234", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 1906, "texte": "ON LEARNING MAGIC. A Dialogue many times\nrepeated, and here recorded\nby Yoo-no-hoo.\nug> Pupil. £7 I want to join your School and to study the Art of the\nTheatre.\n£7 Master. £> Let me do my best to point out to you the hardships\nconnected with the study of the Art.\nYou have to give up every other study and think only of this one.\nYou have to serve one year's apprenticeship at least\nYou have to begin from the beginning.\nYou have to come to me knowing nothing, and, what is more, realizing\nthat you know nothing.\nYou have to be prepared to work ten to fifteen years at the Art.\nYou have to feel discontented with yourself and not with me.\nYou have to realize that before you can create a Drama you must be\nable to speak so as to be heard... walk across a room or a stage with\nease... have studied the movements of marionettes for many years... love\nnature better than your own self... know the whole history of the Drama\nfrom its earliest days... absorb all theories... be able to do humblest\nservices... and be an honest man.\n£7 Pupil. £7 Oh, I can do all this easily. 1 love the Idea so much, and\n/\nyou are such a wonderful man.\n& Master. That has nothing to do with it, and all depends upon you.\n.... Do you know what is a stage rostrum ?\n£ Pupil. £7 I suppose it is a raised pulpit of some kind.\n£7 Master. £7 It is a raised stage of wood, composed of a 'collapsible\nframework and a moveable top.\n(The Master here draws a plan of this.)\n£7 It is used in modern theatres to build up the scene with.\n£7 Thus at the far end of a flight of steps we shall place a rostrum so\nthat it may act as a landing place. Do you understand ?\nft\n£7 Pupil. £7 Oh, yes, of course.\nMaster. £7 I am glad you find that easy to grasp. In 44 Julius Caesar \" at\nHis Majesty's Theatre, or in 44 Faust\" at the Lyceum, or in 44 Tannhauser \"\nat Bayreuth many such rostrums were used.\n£> Pupil. £7 But why do you tell me all this ?"}, {"page_pdf": 55, "page_imprimee": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.55", "debut_caractere": 20, "fin_caractere_exclue": 1838, "texte": "Master. DO you know what is a stage brace ?\nj0 Pupil. No, but what has that to do with the Art of the Theatre\nas hinted at in your book ?\n& Master. & A stage brace is a wooden support, adjustable to any\nreasonable height and used in the modern Theatre to prop up pieces of\nstage scenery which are neither hung nor self-supporting.\n(He draws a plan of the stage brace.)\nDo you know what \" Properties \" are ?\nPupil. But I want to study Art with you... not tricks.\nMaster. A great poet has told us that all Art is a trick, therefore\ndo not despise tricks.\nYou say you want to study Art,... and you begin by despising the\nhumblest parts of the Art.\nPupil. & But Rostrums and Braces and Properties are things which\nchildren of ten to twelve years old might learn about and profit by\nknowing.\nMaster. £> Whereas you are a superior person and wish to learn\nthe Art ?\n& Let me tell you that you will never learn the Art until you are\nmodest enough to desire to learn all about the humblest parts of the\nstructure of theatres.... scenery.... costume and acting, and to learn it\nthoroughly.\nDo you really suppose that the carrying of a Banner is an easy mat-\nter ? Do you really believe that you are so gifted a person that you\ncan afford to skip the experience of saying, ** My lord, the carriage\nwaits ! \"\n£/ Pupil. But, Master, I thought you hated all that nonsense. 1\nthought you detested Bayreuth, the Lyceum, and His Majesty's. 1 thought\nyou wrote and fought against the old-fashioned stage for years.... that\nyou planned out a new stage which you believed In, and which was to\nbe the Stage of the Future.\nMaster. You see how far wrong you are in your reading of my\nthoughts. 1 have planned out a new stage,... certainly; but not because\nI despised or hated the old stage.... because I love it, and lived in it\nmany years."}, {"page_pdf": 56, "page_imprimee": "236", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.56", "debut_caractere": 20, "fin_caractere_exclue": 1927, "texte": "And though I may wish to create a new stage, I know the old one ;\nand to know Is to love, even If one does not agree with It;\nI worked In the old theatre for more than ten years before I began\nto construct the new.\nYou wish to begin where I left off.\nSuch vanity, such shifting of responsibilities, is no use to you.\nYou say you want to come to my School.\nI tell you you had better keep away unless you realize sternly that\nyou have first no right to despise the old stage, and secondly no chance\nof practising the new Art until you have paid the very humblest tribute\nto the old institution, by studying all those things which at present you\ndare to despise.\nYou come here expecting me to tear up the old Theatre before your\neyes... You expected to find an accomplice and you are surprised to find\na master.\n£? When you read in my book that I was all on the side of the young\nmen and against the managers you thought that you would plot with\nme to blow them to the moon.\nuS? But on coming here you hear me speaking well of the managers and\nadvocating a thorough study of their methods.\nThat makes you mad.\n.£? And you will never be able to understand my reasons for being\nbalanced.\nI quarrelled with the managers and the conditions of the stage only\nafter having studied the theatre for over twelve years,... but I quarrelled\nopenly. So I have no wish to be a conspirator.\njg? A conspirator is a sneak,\nug? This school is not to produce sneaks.\nHere with me you learn first to love the old Theatre. 1 hand on to\nyou what my old master taught me, and 1 tell you where I think he\nmay have erred... but I do not want your understanding to become\nthick and muddy by drunkenly jeering at his errors. The 44 errors \" were\nfar better than all your 44 virtues \". And you will only advance and do\nwell if you are honest, modest, and open°minded.\n■£? Pupil. I think I have changed my opinion.... and I do not wish to"}, {"page_pdf": 57, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.57", "debut_caractere": 20, "fin_caractere_exclue": 169, "texte": "come to your School; for 1 am not a baby and will learn to be honest\nand modest somewhere else. (He goes out, and the Master proceeds\nwith his work)."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c034", "article_bluemountain": "bmtnaau_1914-01_01#c034", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "237", "page_fin": "237", "image_debut": 57, "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=bmtnaau191401-01.2.18", "titre_corps": "THE APOSTATES : A Word by Nietzsche", "titre_sommaire": "THE APOSTATES : A Word by Nietzsche", "signature_source": "Thomas Common ; Nietzsche", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.57", "debut_caractere": 171, "fin_caractere_exclue": 1417, "texte": "THE APOSTATES. A Word by Nietzsche.\n\"Thus spake Zarathustra\". Translation\nby Thomas Common.\nh ! Ever are there but few of those whose heart hath persistent courage\nand exuberance; and for such remaineth also the spirit patient. The\nrest, however, are cowardly.\nThe rest: these are always the great majority, the commonplace, the\nfar-too-many... those all are cowardly!....\nHim who Is of my type, will also the of my type meet on\nthe way: so that his first companions must be corpses and buffoons.\n& His second companions, however... they will call themselves his be-\nlievers.... will be a living host, with much love, much folly, much un-\nbearded veneration.\nTO those believers shall he who Is of my type among men not bind\nhis heart; in those spring-times and variegated meadows shall he not\nbelieve, who knoweth the flckly faint-hearted human species I\n& Could they do otherwise, then would they also will otherwise. The\nhalf-and-half spoil every whole. That leaves become withered*... what Is\nthere to lament about that! Let them go and fall away, O Zarathustra,\nand do not lament! Better even blow with rustling winds amongt them,...\n....Blow amongst those leaves, O Zarathustra, that everything withered\nmay run away from thee the faster!..."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c036", "article_bluemountain": "bmtnaau_1914-01_01#c036", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "238", "page_fin": "244", "image_debut": 58, "image_fin": 64, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.19", "titre_corps": "KINGSHIP : Some Thoughts concerning Hanako the Actress: Japan: India: Friendship and the King", "titre_sommaire": "KINGSHIP : Some Thoughts concerning Hanako the Actress: Japan: India: Friendship and the King", "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": "238", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 2044, "texte": "KINGSHIP Some Thoughts concerning\nHanako the Actress: Japan: India: Friendship\nand the King\nby Gordon Craig.\n\n'T'here Is a little Japanese actress called Hanako.\nJZ/ Hanako Is a clever woman. If she were a man one would speak\nof her performances as \" devilish clever\".\nHanako is a remarkable actress... and Hanako is not an artist at all.\nThe actress Hanako should be put down by Law. Hanako the woman\nis doubtless valuable.\nNo amount of brains ever made an artist... no amount of skill makes\none either. Some artists are skilful and some are entirely without skill.\nArt is not a matter of skill, although the skilful artist is a Godsend.\n£? Skill astonishes. Art does not do that. A man can astound us whose\nflow of language cascades from point to point with a rapidity too great\nfor us to follow, but he may not be speaking truth ; whereas the few\nwords of a man of truth may easily be uttered, unheeded by us, a\nthousand times in a year.\nThis is such an obvious fact that we have accepted it long ago... yet\nin the Theatre we forget it.\nI have seen an audience, half Italian and half English, go into raptures\nover Hanako and her exhibition of suicide in all its realistic details.\nThe beastly preparation for death... the horrible sticking of the knife\nin the throat... the mouth first filled with torn=up paper... and the\nloathsome gush of scarlet blood half covering the white chemise... saw\nher take her \" call \" at the end, and, while many applauded, I noticed\none man with his hands raised and laid back on each side of him, making\na significant gesture to the performer which seemed to ask..*., \" Well!\nand what then have you done ? Is that what you truly believe to be\ngood for us... for yourself... for the Theatre ? \" I think he was a member\nof the European Theatre. He knew how great an evil poor Hanako was\nunconsciously perpetrating.\nAnd as acting... as a skilful piece of work... was it good ?\nYes, as melodramatic realism it was good. She easily beat Madame\nSarah Bernhardt on her own ground. Sardou would have revelled in her"}, {"page_pdf": 59, "page_imprimee": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.59", "debut_caractere": 11, "fin_caractere_exclue": 2096, "texte": "as a tool, had Hanako been a Frenchwoman. But because she is to be\ncompared with Sarah Bernhardt and because Sardou would have used\nher is the very worst of arguments in her favour.\nSome day we shall realise these things in Europe. Legislation will\nmove to control the questions of circus and people, and without any\ntraces of the *' embarassment \" shown in the Code of Theodosius. For\nLegislators will take counsel with artists of rigorous conscience and not\nwith priests of may-be narrow minds.\n& The whole art of the East is contrary to realism. In Japanese painting,\nwe are told by Hokusai, form and colour are represented without any\nattempt at relief. Hokusai would have hated Hanako.\nIt is not only the \" aesthetes \" who have used tall talk about Art.\nThe Artists have done so. Don't let us forget this.\nThe Artist knows, and has stated plenty of times, that mankind has\na longing for the stars, and you may jeer at this tallness till kingdom\ncome ...it is the Truth, and the world, while men and women still have\nthe stars over their heads, and while they still see them, will have an\nindefinable longing for them.\nAnd mankind loves the mountains... the peaks, and loves the depths\nof the sea... loves the secluded spots which he cannot reach.\n£? Wherever he cannot climb... whatever he cannot touch... whatever\nhe is shut out from... that will he long for.\nIn most men the longing is for the indescribable and unrealizable.\nAnd Artists are those men who know something mysterious and who\nbring mankind through their art something of what it has longed, and\nlongs for.\nHanako would have us believe a pack of lies. She and all her tribe\nwould swindle us into the horrible belief that all we want is Suicide...\nand a nasty squabble in this house of ours. And she would doubtless\nback up her skilful performance with the argument that it is \" true\nto life \".\n& What life, Madam? The life we long for?... and love?\nNo I Precisely the life we desire to escape from, yet which often fa-\nscinates us in the snake's way.\nEVIL. That is what Hanako takes so much trouble to reproduce for"}, {"page_pdf": 60, "page_imprimee": "240", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.60", "debut_caractere": 11, "fin_caractere_exclue": 2311, "texte": "us... the illness of the Earth: and she sets about it like the dearest of\nlittle spiders.\nLet no one in Europe think that she and her type of performer in\nany faintest way reflects the Art of the Theatre of the East. She no\nmore represents Japan than does the double-page drawing in the\nIllustrated London News \" of November i represent the ancient spirit\nof India.\nLet us pass from Hanako to this.\nHere is reprinted a rough outline of the ugly and misleading scene.\nUnderneath it is reprinted what stood for the text.\n& This picture and text, which in my opinion reflects upon European\njournalism, makes out to the public that India was once a land where the\nDevil reigned supreme, where Evil was the law, where slavery was\nbrutal and where stupidity was rampant.\njg? Whereas we know that precisely the reverse of all this was the law.\nGoodness was the Law... the idea of Godhead quite as dear to the dark<\nskinned race as it is to u5.... (some would even say dearer),.... and\n\" slavery \" no slavery... and wisdom a natural growth.\nWhen I see such misleading pictures In a decent English Journal, I wonder\nwhat particular kind of mind orders the absurdity to be made; for by\ninsulting the millions of Indians in this way no good can possibly\ncome, (i) From telling our masses at home that which is Incorrect about\nIndia no good can come.\n£7 Strange that in our houses the works of these \" Heathenish Devils\"\ncommand our wonder, our respect, and baffle our desires. Strange that\nwe build museums in which to preserve the works made by Demons\nincarnate. Queer that we collect with ever-increasing delight and insplra«\ntlon the books, pictures, statues, dealing with and depicting the Religions\nof India, and that then we allow without a murmur the mass of our\ncountrymen to be deceived about their brothers in India who did their\nbest of old for the same old Cause... the Cause of God... that very Cause\nfor which we English, with all the world, fight and will ever fight.\n\n(1) la writing this 1 wish it to be clearly understood that I make no personal reference to the draughtsman.\nMr Caton Woodviiie. I have enjoyed his battle pieces and his pictured deeds ot British heroism, and I can only\nthink that Mr Woodviiie is ignorant of the truth regarding Indian civilization of the past centuries. 0. C."}, {"page_pdf": 63, "page_imprimee": "243", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.63", "debut_caractere": 11, "fin_caractere_exclue": 2098, "texte": "& There is one Enemy... only one; one Evil... only one; and that we\nshould allow it to destroy our Arts and our feeling of love towards our\nfellows in India, in China, in Burmah, in Africa, is to let it destroy our\npeace of mind.\nUniversal Peace can only be obtained by a universal state of War\nagainst the Enemy of Mankind.\nNo country has any Justification for warring against another country.\nBut all countries have one common enemy... and the enemy is always\ninside the gates.\nWar then... unrelenting war... against the evil side of Commercialism,\nwhich attempts to prevail at the expense of the friendship of mankind,\nof nations, and of castes.\n£? \" Socialism \" advances in the belief that It holds the secret of the\nworld's friendship.\nBut \" Socialism \"is founded upon selfishness. How many socialists \"\nare there today whose faces show us that they have realized this too\nlate ? Still they have meant well, and the best of them done well.\nI know a \" Socialist \" of London. Anyone more unselfish or more\nlike a man I think it would be hard to find. He is a direct disciple\nof William Morris, aad an old friend of his. More, even... one of his\nworkmen. And in his own brave way he still stands up for their ideal\nof \" Socialism \", meaning when he speaks the word all the best of\nthings, and refusing to admit that it can have become the poor thing\nthe mob has made it.\n\" Is that any reason for decrying it... that the many have not quite\nunderstood ? \" I hear him say.\nNo, sir. But the idea of God... the longing for the stars... still counts\nand will ever count, until the last tick of the clock of the universe tells\nthe End. And God is not quantity but quality: if God be everywhere,... in\nsun, in sea, in air, in earth, it is not because of the vastness of the\nsun, the sea, the earth and the air, but because of the fine good quality\nof these vast things. \" The empty vessel makes the greatest sound \", and\nthe greatest sound is not what is wanted.\nAnd because of this idea of God and the unknown, the idea of the\nRuler of the Universe becomes a thing fixed beyond all changing."}, {"page_pdf": 64, "page_imprimee": "244", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.64", "debut_caractere": 11, "fin_caractere_exclue": 1373, "texte": "Let us accept it... and with it let us accept the simple lesson.\nWe need a Ruler... not six, not sixty, not six hundred. We need to\nplace that Ruler above us, beyond our reach and our touch.\nWe have to do this. This act and this alone liberates us. It is not\nSlavery to which we submit until we have puffed Ourselves up therein\nplace of the king ....then we are slaves indeed... slaves to our unrelenting\nselves, and it was a Socialist who helped me to see this:... strange that\nhe himself spoke without seeing!\n& So first we put down ourselves, and then we put up the man whom\nwe long to call our King or Ruler, and we keep on putting him up.,,\nseventy times seven we do it: he who begins to tire should step back.\n& Day after day, year after year, we put him up, and there he is.\n& If he tumbles down it Is only because we were weak and could not\nhold him up.\nLong live the King, then ! We shall all work at our tasks without ever\ngrowing tired, without discontent, and with ever-renewed excitement\nwhen we realize the Majesty of Royalty.\nFor Kingship is in ourselves. We, the people, are the makers... the\nfathers and mothers of the King.\nWe become the creators of the Symbol of Friendship when we place\none man high enough for all to be able to see him, and then help him\nby gentleness and by love to play the king as we would have our own\nsons play the Man."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c037", "article_bluemountain": "bmtnaau_1914-01_01#c037", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "241", "page_fin": "241", "image_debut": 61, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.19.1", "titre_corps": "\"INDIA'S DARKEST AGE\"", "titre_sommaire": "\"INDIA'S DARKEST AGE\"", "signature_source": "R. Caton Woodville", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "241", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 281, "texte": "\"INDIA'S DARKEST AGE:\" Preparing for those Sacrifices to Siva, the Destroyer, which are prevented\nby the coming of Conquest, holding aloft the Cross-hilted Sword of Christendom. A drawing from\nthe illustration by R. Caton Woodville in the Illustrated London News, November 1. 1913."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c039", "article_bluemountain": "bmtnaau_1914-01_01#c039", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "245", "page_fin": "249", "image_debut": 65, "image_fin": 69, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.20", "titre_corps": "GUIDING STARS OF THE STAGE : A Note", "titre_sommaire": "GUIDING STARS OF THE STAGE : A Note", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "245", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 2130, "texte": "GUIDINO STARS OF THE STAGE, A\nNote\nby John Semar.\n|f you wish to imbibe what the Americans call real \" highbrow\" views\nof life, to be purified, elevated and inspired, and filled to the brim\nwith noble and lofty thoughts on love and art and work and the refor-\nming and cleansing of society, the best means of attaining your end\nseems to be to associate with the actress, and especially with the actress\nof the variety stage.\nThere you will find what will satisfy,... even satiate, your desire.\nTalk of \" hitching your wagon to a star \" ?... these stars of the stage\nare lofty beyond human belief.\nNo more must we listen to, or speak of, the frivolity or freaks or\ncaprices or vanities or temperamental outbursts of these 'artistes'.... Oh\n110, these things were 'just a rumour'! In reality they are all mild as\nmilk, and sweet as honey, and serious as Plato, and survey mankind from\na height as remote as Rossetti's Blessed Damosel. They are here to bless\nand elevate humanity. They exude noble sentiments as a wet sponge\nwater. They are a kind of essence, a concentrated extract, of Psyche\nand Persephone and Beatrice and Imogen and Joan of Arc,.... in fact of\nall the great, real or legendary, lovers and patriots and saints of their\nsex, packed into a Paris gown or a pseudo-Greek costume.\nAt least so it a »pears from their newspaper utterances, and especially\nfrom the reports of Mr Colgate Baker, who has been interviewing a\nnumber of them and relating his experiences from time to time in the\n\" New York Review \".\nMr Colgate Baker is evidently the very man for the work. He has the\njournalistic equivalent of that \" bedside manner \" which makes the for-\ntune of many a physician. He inspires confidence In an actress just as\ndoes the family doctor when he pulls out his watch and asks to see the\npatient's tongue.\nj& These ladies of the stage show their tongues mentally and spiritually\nto Mr Baker at the very outset. Why, they open the inmost recesses of\ntheir lovely confiding aspiring little hearts to him almost before he has\nsaid 'how do you do'.\nsays Polaire to him, \" Monsieur, I shall confide in you, we have never"}, {"page_pdf": 66, "page_imprimee": "246", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.66", "debut_caractere": 28, "fin_caractere_exclue": 2237, "texte": "44 met before, but I shall tell you something about myself, my real self\n44 eh bien ? \" ...and she then proceeds to Inform him that she Is \"in |OVe\nwith \" herself... \" I adore myself. 1 am quite free to say so. 1 revel in\n44 my glorious good health, in my strength. I worship my own persona..\n44 lity. I am supremely happy In being what 1 am \" Not bad for a\nbeginning, eh ?!\nBut then Mr Colgate Baker understands them so well, these little\nladles. He responds as swiftly to their elevating influences as does a\nwell-adjusted lift when you press the button.\nFor instance, he calls on Lady Constance Stewart Richardson in her\ndressing room, and hastens home to write :\n44 Thanks to Lady Constance Stewart Richardson I am now pure. My\n44 mind has been laundered and bleached snow-white. When your mind\n44 is purified you can speak no evil, hear no evil, think no evil.... quite\n44 delightful, don't cher know. One feels almost canonized, all carnal\n44 thoughts have been canned and cast away, and you are supposed to\n44 be very, very happy.... well, may be? \"\nWe need not ask where Mr Baker's own tongue was as he wrote\nthat:... possibly in his cheek. But the fact remains that he has drawn\nsome very amusing and illuminating outbursts of sentimentality and tall\ntalk from the ladies he has interviewed, and, that no one may in future\nundervalue the 44 mission \" of the successful actress or barefoot dancer,\nlet us reprint here a few of their inspiring words.\nJZ? First let us quote Lady Constance Stewart Richardson, barefoot\n44 Greek style \" dancer, ...imitator of other imitators.\n& How sweetly she prattles the truths and platitudes she has annexed\nfrom other thinkers ; how seriously she takes herself;... 44You are credited\nover here with being a reformeress of undaunted courage, Lady Con=\nstance \" says Mr Baker; and the reply is, 44 Am I really? How interesting.\n44 1 did not know that the echoes of the war I have been waging on false\nmodesty ever reached you \".\n44 Our clothes are one of the absurd products of our false civilization,\n44 but it is not absolutely true that I do not believe in them. \"\n44 Most of the immorality of our so-called civilization springs from\n44 a false sense of modesty. \""}, {"page_pdf": 67, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.67", "debut_caractere": 28, "fin_caractere_exclue": 2079, "texte": "44 Why should we be ashamed of our bodies, there must be something\n\" the matter with them or our minds. \"\n& 44 The perverted mind produced by a false civilization has warped the\n44 appreciation of the beautiful. \"\n44 Before I die 1 hope to show the world that it is possible to bring\n44 up children so that they will be true children of Nature. \"\nJS? 44 Nature is an endless drama of procreation, and there is nothing\n44 but joy in it. \"\n44 Dancing to me is the expression of one's sense of the beautiful. \"\n44 I am here because I want to make money, so I can carry out my\n44 ideas of life and bring up my children as I wish. \"\n£? Here, indeed, is a prophet arisen in Israel! Oh, shades of all healthy\nand freeminded and joyful women, hasten to hear this new gospel, hasten\nto hear that which you knew for yourselves from the beginning: hasten\nto hear a vague, faint, milk and water echo of a word of Whitman\nproclaimed as a new truth ; listen and give its champion the... reclame\nshe seeks.\nThen there is Madame Anna Held, whom everyone had always\nregarded as the very 44 quintessence of diablerie \" with her naughty\nlittle chansons and her saucy little tricks. It is Love and Happiness that\nshe selects as her theme. Listen to her wisdom :\n4« As to the glory of artistic success, 1 say pouf.... it amounts to\n\" nothing. There is no artistic success without financial success, and you\n44 might also say there is no financial success without artistic success. \"\n44 Life is a test. \"\njzr «4 Where is the great actress, the great singer, the -great woman\n44 artist, who cannot point to a tragedy in her life? \"\n44 Myself, ah you all know that I have had mine.... it is vain for me\nto try to conceal it or the fact that I have suffered. But I have no\nresentment, no bitterness against anyone because of it. Women were\nborn to suffer and to endure. At least I have lived a blameless life, not\none word of evil has been uttered against me, how can there be, I have\nnever done anything wrong? \"\n44 Happiness is never complete, there must always be something"}, {"page_pdf": 68, "page_imprimee": "248", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.68", "debut_caractere": 28, "fin_caractere_exclue": 2005, "texte": "lacking, some desire unsatisfied. We make the great mistake of our lives\nin trying to be happy. If we did not look for \" the Blue Bird \" it might\ncome to us, but the more we chase it the further it flies away. \"\n& \" 1 have given up trying to be happy, it is no use and leads to\nnothing. I try to be right; to do what is right... and let my personal\nfeelings take care of themselves. I find it works better. \"\n** Love Is as much a mystery as ever. All we women know about it\nis that at least once in our lives we do love, blindly, unreasonably,\nregardless of the consequences, and love seems to lead us to paradise...\na mirage, which like the travellor in the desert we are always trying\nto reach, but which keeps moving away as we approach. \"\n«4 It is foolish to speak bitterly of love, that inevitable part of every\nwoman's life. \"\n\" Just at present women invariably have the worst of it in love.\nMen easily recover from the disease, but it seems to last with a woman\nuntil it wrecks her life. \"\n\" However, I must say that it is better to have loved, even unhappily,\nthan never to have loved. \"\njg? Then listen to Mile. Polairewho can attain to such heights as she?\n\" Moral beauty is a priceless jewel, it is the only thing in life worth\n\\\n\" cultivating. \"\n& \" I yearn to play the heroine in some great, noble, uplifting play which\nwould really do some good for humanity. \"\nuS? \" Everyone is bad and so few are g00d.... I want to be good, it will\nbe such a novelty.... I should be alone in my glory. \"\n\" I should like to die for the cause of humanity.... Mon Dieu, that\nwould be magnifique I \"\n& \" Our dramatists are all no good, they are immoral, degenerates. Bah,\nI hate them ! \"\n\"My mission is to discover some pure, noble, young (I) poet, who\nwill with his divine genius, lead us out of filth.... into the presence\nof Truth, Beauty and Goodness. \"\n\n(I) Evidently the necessary qualification, as who, when advertising for a footman, should say, 44 Honest, willing\nand clean"}, {"page_pdf": 69, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.69", "debut_caractere": 28, "fin_caractere_exclue": 1184, "texte": "When you have drunk deep of the cup of life as 1 have one must\nbecome a philosopher.\nI ,\n£? \" The evil side of human life nauseates me. I sigh for poetry and\nbeauty and moral inspiration.\n\" Love is not a thing that you can shackle with fetters. It Is a mad-\nness in the blood.\n& \" And love for the artiste is even more of a madness than it is for\nthe ordinary person. It is a consuming disease that must be conquered\nor it will destroy you. Let love run riot and It burns up everything it\ntouches. \"\n....And so on, and on and on, ad , ad , do the\nladies of the stage, posed in the spot light skilfully manipulated by\nan acute press agent, babble of all things in earth and heaven: so do\nthey for ever, ail unconsciously, substantiate the truth of the old saying,\n44 the empty vessel makes the greatest sound \", the measure of their\nloquacity being the guage of their conceit, and of their lack of strong\nconviction, true feeling and serious intent: for, as a wise Indian has\nwritten, 44 It is ever the way of those who are conscious of a sufficient\n44 inner life, to be indifferent to outward expression of their own or any\n44 other changing personality \"."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c041", "article_bluemountain": "bmtnaau_1914-01_01#c041", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "250", "page_fin": "251", "image_debut": 70, "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=bmtnaau191401-01.2.21", "titre_corps": "SO MUCH IS CHANCE : A Note", "titre_sommaire": "SO MUCH IS CHANCE : A Note", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.70", "debut_caractere": 0, "fin_caractere_exclue": 1812, "texte": "SO MUCH IS CHANCE. A Note\nby Allen Carric.\nood chance and bad chance.\nFor an example of a bad chance...,\n& We study unnaturally,... that Is to say, beyond\nour years.\nLet us say that at eighteen or twenty we study\nthe Greeks; we of a strange generation do this\n....we, living in the midst of confusion; confusion\nof Religions, practise and theory. We lncapables\ndo this. We, as it were, would leap into a perfection.\nWe remember Goethe's words, \" Man studiere Moliere, man studiere\nShakespeare, aber vor alien Dingen, die aiten Griechen und iramer die\nalten Griechen \".\nwe apply Goethe's words to our own case; we flatter ourselves he is\naddressing us.\nWhat should we do in the face of such advice ? we ask ourselves.\nIs the Greek not to be '* before all other things \" as he says ?\nIf the Greek is before many other things in degree of excellence it is\nso far \" before \" those things that we should be very far more careful\nnot to leap into its excellence before the right time.\nHow shall we know ?\nI would attempt to frustrate some such bad chance by definitely reas»\nserting that we, being of the twentieth century, must start in that century\nand work slowly backwards and forwards slowly passing through, not\nover, centuries.\nThus in the matter of the written drama.\nIt were best to study our modern Drama first. After that the Drama\nof yesterday, back slowly to Sheridan and his period,,... back to Moliere\nand his, and to Shakespeare and his, back to the great Contmedia\ndell'Arte, back through the Religious Drama of the middle ages to\nTerence.\nNow we have arrived at Greece. And I beg most earnestly, with all\nthe persuasion I can give to my plea, that there be no hurry.\n& Haste it is which leads to so many of the bad chances. The age is\nformless owing to this Haste. And commercialism alone Is not what"}, {"page_pdf": 71, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.71", "debut_caractere": 20, "fin_caractere_exclue": 1650, "texte": "hurries us. Our Conceit, like a gutta percha sling, flings us out between\nthe forks of evil chances Into the universe.\n& Nature works slowly.\nAnd the older the world gets the slower should we work.\nMore excitement can be enjoyed if we go not too fast.\n&To discover Terence after having avoided him,... to discover him\nonly after having come across his sons, Moltere, Shakespeare and the\n»\nrest, is to enjoy the company of the whole family at the different stages\nof our development.\nBut to be led by Goethe's words to lose five or ten years with these\nsons of Terence is to lose more than our natures can afford to lose.\nThose who read The Mask, who wish to see the development of our\nnew Theatre of the Future which our Leader has seen and spoken of,\nthose who wish to be overtaken by no \" bad chance \",... how better\ncould they provide against it than by an affectionate knowledge of the\nPast ?... not of the Greeks alone but of ail periods,... each period as it\nfits the mind In development.\nj0 A boy of fourteen cannot command Moli&re's attention, but he might\nlearn to venerate his contemporaries and so get their ear and their\nvoice; Pinero, Barrie, Jones. Then as he reaches eighteen he might,\nwithout forgetting his old friends of today, take older ones of yesterday,...\nand, by their aid, get a glimpse into the future.\nAdvancing in years he may go still further back and so see forward\nstill more. Until he reaches forty, fifty, sixty,... then he will have seen\nand loved all things, and learned like Nature learns slowly to accept\neach and all in turn,... and thus to see forwards into eternity, and back\ninto eternity."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c044", "article_bluemountain": "bmtnaau_1914-01_01#c044", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "252", "page_fin": "256", "image_debut": 72, "image_fin": 76, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.22", "titre_corps": "THE THEATRE IN WARSAW", "titre_sommaire": "THE THEATRE IN WARSAW", "signature_source": "Ernest Marriott", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.72", "debut_caractere": 0, "fin_caractere_exclue": 2172, "texte": "THE THEATRE IN WARSAW\nby Ernest Marriott.\n\\*/arsaw, once the capital of Poland, at present under the rule of\nRussia, might not be considered a likely place for the encouragement\nof the arts theatrical or otherwise.\nA recent visit in connection with an Interesting and very up-to-date\ntheatre exhibition has given me a new point of view regarding things\nPolish, for I found that the theatre in Warsaw plays a most important\npart in the lives of the inhabitants. It reflects their brain, temperament\nand soul as a clear lake of Poland mirrors its solemn trees.\nOf the theatres 1 visited, only one, the Teatr Polski, may be said to\nbe modern. But this particular little theatre is a model of what a theatre\nought to be constructionally.\nThere Is no playhouse anywhere in England half so ingeniously, so\nserenely and so beautifully appointed.\nOf the play at the Polish Theatre, which happened to be \" The\nTempest, \" I can say nothing. The performance of it was interesting but\nnot In any way absorbing. Perhaps Shakespeare in Polish loses greatly ?\nAlthough, some Poles I spoke with, who were very familiar with English,\nsaid that the translation I heard was a very beautiful one by an eminent\nnative poet. It was not the fault of the actors. On the whole they did\nwell, particularly Stefano and Trinculo, who managed to catch a good\ndeal of the rich English habit. Nor was it entirely the fault of Karol\nPrycz the designer of the costumes and scenery,\nFrycz is a young man of talent, judging from a model scene of his\nIn the Theatre Exhibition; but I imagine that in \" The Tempest\" he\nwas not on native ground,... that is, he had not a free hand.\nIt seemed as though the producer had said to him, \" Here are some\nback numbers of Jugend, make your scene as much in the Munich style\nof landscape as possible.... here also are Dora's Illustrations to ' Contes\ndrolatiques,' get your men's costumes from them. \"\nI feel this very strongly, for Frycz is a most promising man and the\nwork of his hands unembarassed by the wishes or instructions of managers\nor producers is of a purer and more original character.\nThe producer at any rate was to blame for allowing Ariel to be played"}, {"page_pdf": 73, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.73", "debut_caractere": 24, "fin_caractere_exclue": 2282, "texte": "by a ballet girl. He was to blame also for trying to realise the phantom\nbanquet with a silly crowd of freak birds and reptiles of the kind usually\nseen in a Christmas pantomime.\nPerhaps the most unhappy and infelicitous thing in the whole per-\nformance was Caliban. No actor, be he even better than the excellent\none who played this part, could possibly realise Caliban in a fantastical\ndress which, as nearly as I can describe it, looked like a grotesque mixture\nof an American cowboy and a narwhal. The heavy German influence got\nits grip on the whole work, and,... Shakespeare died to slow Munich.\n&It was of course a bad policy to run such a play on entirely realistic\nlines, but it had one episode which was really diverting.\nThe scene was built up \" solid \" and in the drunken bout the whole\nland and seascape solemnly twirled about the revellers. Trees, rocks,\nsand and sea gravely waltzing round from left to right.\nNot realism this, but most excellent suggestion. The spectators\nwere made to feel and see as the characters were supposed to be feeling\nand seeing. They entered Into Stefano's and Trlnculo's world instead of\nobserving them from another planet. It was a capital utilisation of the\nresources of the revolving stage.\nThe company of actors at the Summer Theatre (Teatr w ogrodzie\nSaskim) were, taken all round, much more capable than those at the\nTeatr Polski. Here 1 might, had I space, make many agreeable comparisons\nbetween actors trained in the old stock tradition and those of the modern\nrepertory type. Briefly, it seems to me that each could learn a lot from\nthe other.\nThe only English Repertory companies with whose work 1 am at all\nfamiliar are those of Manchester and Liverpool, and it has almost\ninvariably been the case that these companies when playing an old\nromantic play lack something of warmth and mellowness.\nMost of all they lack sympathy and that kind of belief which springs\nfrom an inborn and whole-souled joy in theatrical make-believe. They\nare too brainy, too matter-of-fact, too intellectual and sometimes too\nlofty to be simple. They do not radiate a glow from within; rather\nthey are illumined by a cold light thrown on them from without.\nWhereas, on the other hand, the old style of actors who think Ibsen"}, {"page_pdf": 74, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.74", "debut_caractere": 28, "fin_caractere_exclue": 2305, "texte": "the very devil and Shaw an incomprehensible person can play their\nparts with astonishing gusto, and even in a poor play can make you\nfeel some of the authentic dramatic thrill. They have little or no\ndifficulty in getting the play across the footlights to the audience,\nWhen dealing with a sociological or philosophic or intellectual play\ntheir limitations show up like the 44 spots that bespatter the leopard.\"\nOne could not imagine them playing Monkhouse's \" Mary Broome. \"\n& Nevertheless It is to the latter class of players that most of the\nTheatre companies of Warsaw belong. Those at the summer theatre\nsupremely so.\nTheir play-house Is a big wooden structure built in the middle of a\nbeautiful old garden full of noble trees with winding paths leading into\nglades all round about.\nThe play, Rostand's 44 Romantics was a most appropriate piece for\nsuch a situation. A better company of actors of the old style I have never\nseen. The great comedian Frenkiel playing Straforel was in most won-\nderful form, and I can believe what I am told, namely, that when he\nplays Cyrano de Bergerac it is almost if not quite as good as Coquelin's.\n4? Altogether a joyous performance with the added delight at the end\nof leaving a Fragonard stage picture to walk through the ancient theatre\ngarden with the first leaves of autumn falling from the trees.\n& At the Teatr Nowoscl Sumurun was playing to half-crowded houses.\nEvidently it traded on its reputation to draw people, for a more stupid\nperformance could not be imagined.\nIn justice to Herr Reinhardt it should be stated that the Warsaw\nversion was not his. It was jostled and hurried, not one gesture was\nwell thought out and grouping, even 44 effective grouping,\" was not\nthought of for a moment, it was like a Christy minstrel's playing of\na tambourine... full of harshness, rattle and dither and bang.\n& The largest theatre in Warsaw in the Teatr Wielki. At the time of my\nvisit they were presenting 44 L'Aiglon \" and it was very pleasant to find\nthe comedian Frenkiel In the piece playing Flambeau in his own particular\nracy manner. These were several actors of very marked Individuality, and\nprominent among them was Juljusz Osterwa, very graceful in person and\nendowed with a most unusual instinct for movement and gesture."}, {"page_pdf": 75, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.75", "debut_caractere": 24, "fin_caractere_exclue": 2367, "texte": "& But the most enthralling piece of acting 1 saw was that of Boleslaw\nLeszczynski, (Poland's greatest actor) in the trifling part of General\nHartmann with less than half a dozen words to say. He remained on the\nstage through a whole scene placed in the background and hardly stir-\nring from one spot. But he made great drama out of his part and one\ncould not help thinking that with a few actors of his calibre play after\nplay could be interpreted quite easily without the use of the spoken word.\nThis Teatr Wielki is a huge place and is used generally for grand\nopera and spectacle.\nIt does things, not by halves, but by one and a half, or even more.\nIt adds, two and two together and makes seven. In presenting \"L'Aiglon\"\nit seemed as though it said, \" Here is a play which demands a certain\namount of realism. Realism shall overflow its banks \".\n*\n-<£? Certainly it was a beautiful and costly performance. It was magnifi-\ncently and astonishingly complete. But in spite of its dazzling opulence\nIt was never gaudy, garish nor in any way ugly. It was delusion and\nnot illusion and, as was to be expected, it utterly swamped the play and\nthe players. The drama struggled to keep its head up as a swimmer\nwould struggle in a lily-clogged lake. Only one scene escaped drowning,\nand by some means arrived at real simplicity. In this scene the drama\ntook its last breath and then went under. It was particularly interesting\nto see such a production as it showed that the great theatre .could be\nideal, if it liked, as well as real, or rather unreal.\n& The ideal theatre building in Warsaw is the one 1 have already\nmentioned, the Teatr Polski where they played \" The Tempest. \" Later\n1 saw them play another piece there, \" Damy i Huzary \" which was\nmuch more within the scope of the actors.\n& What interested me most about this new Polish Theatre was the\nfact that the building of the structure had been done with brains and\nimagination. Prom the ventilating apparatus to the costumes of the\nattendants everything seemed to be the result of clear thought and\ninspiration. Light In plenty,, but hidden and never striking uncomfortably\non the eye. Every seat with an excellent and unobstructed view of the\nstage. None of the stuffy feeling,.., the wanting to get up ajid go out\nfor air at the end of an act. The temperature did not perceptibly rise"}, {"page_pdf": 76, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.76", "debut_caractere": 24, "fin_caractere_exclue": 2219, "texte": "and the whole interior of the theatre felt clean and cool. When one's\nlungs are kept clear and unsullied the performance gains; for the\nexhilaration engendered by the play has a much better chance with\none's system.\n4? The exits and entrances are so cleverly arranged that in less than\nhalf a minute the house can be emptied or filled.\n4ef There is a revolving stage, and an adjustable proscenium which, if\nnot as good as one the readers of The Mask have heard of, is at all\nevents quite a good thing of its kind.\n4& The orchestra is kept out of sight. The pit is well sloped and there\nis no cadging of extra roubles by placing seats beyond each side of the\nproscenium. There are no boxes.\n& Everything Is carried out in a thorough manner. Hygienic as a hospital,\ncomfortable as one could possibly wish, it is indubitably a theatre and\nit gives you the sense of something serene and calm as of a building\ndedicated to the service of a noble art.\n& There are many signs and indications that Warsaw will soon be\ncompletely awake in matters theatrical, for there is a band of young\nenthusiasts there who are working for the New Theatre. They have a\nlot of labour in front of them, but they have got the ideal building and\nthey have got talent. One member of this group, Franz Siedlecki, has\nnot had the opportunity of materialising his designs but his work is\nfull of spiritual beauty and suggestion and his day must come soon. He\nand his Cracow friend, Leon de Schildenfeld et Schiller, were responsible\nfor the practical organisation of the splendid little Exhibition at Warsaw.\n& It is interesting to hear this group of enthusiasts talking of the\ncelebrated ancient and modern plays of various countries but it is almost\nstartling to hear Poles speak of the mystical strange beauty and lyricism\nof W. B. Yeats' plays. They have read them and intend playing them in\nwhat 1 am informed are beautiful translations by an inspired young\nPolish poet.\nThey know also to whom is due the credit of the modern movement\nin the European Theatre and that is why they organized and opened at\nWarsaw an exhibition of modern theatre art with the designs and models\nof Gordon Craig occupying the place of honour."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c045", "article_bluemountain": "bmtnaau_1914-01_01#c045", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "257", "page_fin": "260", "image_debut": 77, "image_fin": 80, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.23", "titre_corps": "LETTERS TO THE EDITOR", "titre_sommaire": "LETTERS TO THE EDITOR", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.77", "debut_caractere": 0, "fin_caractere_exclue": 1849, "texte": "LETTERS TO THE EDITOR.\n\nTHE MUSIC HALL AND THE CHURCH.\n\nMy Dear Semar,\nMay Ibe allowed thorough the columns of The Mask to have a word\nwith the Bishops of London and Kensington who have lately been\ninteresting themselves so actively in the Music Hall ?\n& I come of the family of actors. When I use the word \" family \" I\nmean not only the individual family to which I have the honour to be*\nlong, but the whole body of actors.\n& For some queer natural reason, perhaps because I am very proud of\nthe family to which 1 belong, I want to see actors become the rulers\nof the earth.\nFor I know that actors are without exception [the most generous*\nnatured beings, (after animals) upon the face of this round burning thing\nsuspended in the void, and which is called the Earth.\nGenerosity is Charity In profusion.\nGenerosity is the heart of creation.\n& The actors represent that heart. Therefore the actors have the first\nrequisite of great Rulers.\nBut only the first. There are other requisites.\nNow although I come of this race 1 am not like them. I am not made\nup of as much Heart as they are.\nMy road has been a different one from that of my Family.,., and I\nhave spent some time in excavating in old forgotten paths, and advancing\nalong unknown roads, in the hope of making discoveries.... in the hope\nof adding some new quality to the great heap of generosity already pos-\nsessed by the family of actors.\n& One find of mine was that the Art of the Theatre was In its infancy;\nthat it was the only Art which had not been thrown on to the dust heap\nof useless and unwanted articles; that it was the one Art which survived\nthe centuries owing to its peculiar nature, and that its nature was an\neverlasting one promising to outlive the noble art of architecture and\nthe divine art of music.\n& \" Movement, \" 1 stated, was at the roots of this art, and when"}, {"page_pdf": 78, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.78", "debut_caractere": 24, "fin_caractere_exclue": 1962, "texte": "movement was no longer needed, the art or the essence of movement\nwould be no longer needed... the life of the world would end.\nBy Movement I stated that I neither meant the dance nor the\npantomime, but something far more wonderful, far more mysterious\nin fact something divine, loveable, worshipful... and incomprehensible\n1 urged the Family of actors to turn its thoughts in the direction of\nMovement, it being their Inheritance, their lawful means of creating\nthe most blessed art in the world.\nBut the Family of Actors Is never in a hurry....\nWhen it started out on its... what shall we call 1t?... let us call it\nMission... it proceeded to divide its forces into two camps ; one division\nwas the advance guard and was to laugh and jest the world into a good\ntemper. The second division was to remind the world of the beauty and\nthe divinity of men.\n& Thus this Family has spread, and possesses two realms, the Theatre\nand the Music Ha 11... both rich properties.\n& But now another Family proclaims war upon that half of my Family\nwhich dwells in the Music Hall.\n& The Music Hall actors are attacked for indecency by the Church of\nEngland's clergy.\n& War can be waged from good as well as bad motives, and in this case\nthe motive is quite good.\nBut-it is silly... unconsciously.\n& The thing against which the clergy are waging war Is also something\nsilly... consciously so.\nThus we have in a sane land in the twentieth century the spectacle\nof a serious and grand calling waging a silly war upon the silly phase\nof a great art.\nThe Actor Is both Priest and Zany, the two extremes of mankind.\nIt is the Zany whom the clergy have stooped to httack.\n0 Now one thing only 1 have to say, and then 1 hold my peace.\nIt is this.\n& When an art born as a blessing for the People gives birth to a race\nof artists longing to delight the People and to bring happiness to them,\nand this race of artists provides sacred things for the People and yet"}, {"page_pdf": 79, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.79", "debut_caractere": 24, "fin_caractere_exclue": 2067, "texte": "provides profane things too, who is there who should dare to criticize\nthem for their complete understanding of Humanity ?\n0 And if this race or family of artists provides from the cornucopia of\nits generosity plenty of profanity, you must not complain... provided...\naud here I reach my point... the same family is providing in full measure\nsacred things also.\n0 My question, then, is this.... Wherein does my Family fall short?\nWhere does it give short measure ? Where is it mean ?\n0 Your attacks, Bishops and clergy of England, are futile If you attack\nthe profane side of mankind for Its profanity. It Is half its nature.\n0 If you are serious and true in vision as you are obviously sincere in\nyour hearts, you will only attack one half of my Family... the half which\ngave its promise to uphold a sacred theatre and which has failed to\nmaintain its promise for hundreds of years. You will find it at home in\nsuch theatres as the Haymarket, the Savoy, the Qarrlck, the Adelphi,\nCovent Garden, Kingsway, His Majesty's, the Criterian and Drury Lane.\n0 BUT if you attack us on this score you will first have to throw open\nthe doors of the Church and call us in to reform it, for Church and\nTheatre are one at heart, one in spirit, and it is only you who have\nthrust us out, and In so doing have weakened the Church, and so lost\nits hold on the masses.\n\nGORDON CRAIG.\n\nBURBAGE AND SHAKESPEARE'S STAGE.\nYours faithfully,\nCharlotte C. Stopes.\nSir,\nI thank you for the little review signed 44 P. K, \" concerning my book\n44 Burbage, and Shakespeare's Stage\n0 The reviewer says he \" expected \" I should have treated their 44 pre=\ndecessors But I believe it best to do one thing at a time. 1 had treated\nsome 44 predecessors \" in 44 William Hunnls and the revels of the Chapel\nRoyal\" four years ago. 1 may do so again. But on this occasion I carefully\nchose a title, and stuck to it, my only regret being that for lack of\nspace I could not say all concerning the relation of the Burbages\nto Shakespeare's Stage which 1 should have liked to have done."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c046", "article_bluemountain": "bmtnaau_1914-01_01#c046", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "257", "page_fin": "259", "image_debut": 77, "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=bmtnaau191401-01.2.23.1", "titre_corps": "THE MUSIC HALL AND THE CHURCH", "titre_sommaire": "THE MUSIC HALL AND THE CHURCH", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.77", "debut_caractere": 24, "fin_caractere_exclue": 1849, "texte": "THE MUSIC HALL AND THE CHURCH.\n\nMy Dear Semar,\nMay Ibe allowed thorough the columns of The Mask to have a word\nwith the Bishops of London and Kensington who have lately been\ninteresting themselves so actively in the Music Hall ?\n& I come of the family of actors. When I use the word \" family \" I\nmean not only the individual family to which I have the honour to be*\nlong, but the whole body of actors.\n& For some queer natural reason, perhaps because I am very proud of\nthe family to which 1 belong, I want to see actors become the rulers\nof the earth.\nFor I know that actors are without exception [the most generous*\nnatured beings, (after animals) upon the face of this round burning thing\nsuspended in the void, and which is called the Earth.\nGenerosity is Charity In profusion.\nGenerosity is the heart of creation.\n& The actors represent that heart. Therefore the actors have the first\nrequisite of great Rulers.\nBut only the first. There are other requisites.\nNow although I come of this race 1 am not like them. I am not made\nup of as much Heart as they are.\nMy road has been a different one from that of my Family.,., and I\nhave spent some time in excavating in old forgotten paths, and advancing\nalong unknown roads, in the hope of making discoveries.... in the hope\nof adding some new quality to the great heap of generosity already pos-\nsessed by the family of actors.\n& One find of mine was that the Art of the Theatre was In its infancy;\nthat it was the only Art which had not been thrown on to the dust heap\nof useless and unwanted articles; that it was the one Art which survived\nthe centuries owing to its peculiar nature, and that its nature was an\neverlasting one promising to outlive the noble art of architecture and\nthe divine art of music.\n& \" Movement, \" 1 stated, was at the roots of this art, and when"}, {"page_pdf": 78, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.78", "debut_caractere": 24, "fin_caractere_exclue": 1962, "texte": "movement was no longer needed, the art or the essence of movement\nwould be no longer needed... the life of the world would end.\nBy Movement I stated that I neither meant the dance nor the\npantomime, but something far more wonderful, far more mysterious\nin fact something divine, loveable, worshipful... and incomprehensible\n1 urged the Family of actors to turn its thoughts in the direction of\nMovement, it being their Inheritance, their lawful means of creating\nthe most blessed art in the world.\nBut the Family of Actors Is never in a hurry....\nWhen it started out on its... what shall we call 1t?... let us call it\nMission... it proceeded to divide its forces into two camps ; one division\nwas the advance guard and was to laugh and jest the world into a good\ntemper. The second division was to remind the world of the beauty and\nthe divinity of men.\n& Thus this Family has spread, and possesses two realms, the Theatre\nand the Music Ha 11... both rich properties.\n& But now another Family proclaims war upon that half of my Family\nwhich dwells in the Music Hall.\n& The Music Hall actors are attacked for indecency by the Church of\nEngland's clergy.\n& War can be waged from good as well as bad motives, and in this case\nthe motive is quite good.\nBut-it is silly... unconsciously.\n& The thing against which the clergy are waging war Is also something\nsilly... consciously so.\nThus we have in a sane land in the twentieth century the spectacle\nof a serious and grand calling waging a silly war upon the silly phase\nof a great art.\nThe Actor Is both Priest and Zany, the two extremes of mankind.\nIt is the Zany whom the clergy have stooped to httack.\n0 Now one thing only 1 have to say, and then 1 hold my peace.\nIt is this.\n& When an art born as a blessing for the People gives birth to a race\nof artists longing to delight the People and to bring happiness to them,\nand this race of artists provides sacred things for the People and yet"}, {"page_pdf": 79, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.79", "debut_caractere": 24, "fin_caractere_exclue": 1390, "texte": "provides profane things too, who is there who should dare to criticize\nthem for their complete understanding of Humanity ?\n0 And if this race or family of artists provides from the cornucopia of\nits generosity plenty of profanity, you must not complain... provided...\naud here I reach my point... the same family is providing in full measure\nsacred things also.\n0 My question, then, is this.... Wherein does my Family fall short?\nWhere does it give short measure ? Where is it mean ?\n0 Your attacks, Bishops and clergy of England, are futile If you attack\nthe profane side of mankind for Its profanity. It Is half its nature.\n0 If you are serious and true in vision as you are obviously sincere in\nyour hearts, you will only attack one half of my Family... the half which\ngave its promise to uphold a sacred theatre and which has failed to\nmaintain its promise for hundreds of years. You will find it at home in\nsuch theatres as the Haymarket, the Savoy, the Qarrlck, the Adelphi,\nCovent Garden, Kingsway, His Majesty's, the Criterian and Drury Lane.\n0 BUT if you attack us on this score you will first have to throw open\nthe doors of the Church and call us in to reform it, for Church and\nTheatre are one at heart, one in spirit, and it is only you who have\nthrust us out, and In so doing have weakened the Church, and so lost\nits hold on the masses.\n\nGORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c047", "article_bluemountain": "bmtnaau_1914-01_01#c047", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "259", "page_fin": "260", "image_debut": 79, "image_fin": 80, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.23.2", "titre_corps": "BURBAGE AND SHAKESPEARE'S STAGE", "titre_sommaire": "BURBAGE AND SHAKESPEARE'S STAGE", "signature_source": "Charlotte C. Stopes", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 79, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.79", "debut_caractere": 1392, "fin_caractere_exclue": 2067, "texte": "BURBAGE AND SHAKESPEARE'S STAGE.\nYours faithfully,\nCharlotte C. Stopes.\nSir,\nI thank you for the little review signed 44 P. K, \" concerning my book\n44 Burbage, and Shakespeare's Stage\n0 The reviewer says he \" expected \" I should have treated their 44 pre=\ndecessors But I believe it best to do one thing at a time. 1 had treated\nsome 44 predecessors \" in 44 William Hunnls and the revels of the Chapel\nRoyal\" four years ago. 1 may do so again. But on this occasion I carefully\nchose a title, and stuck to it, my only regret being that for lack of\nspace I could not say all concerning the relation of the Burbages\nto Shakespeare's Stage which 1 should have liked to have done."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c048", "article_bluemountain": "bmtnaau_1914-01_01#c048", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "260", "page_fin": "260", "image_debut": 80, "image_fin": 80, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.23.2.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 80, "page_imprimee": "260", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.80", "debut_caractere": 24, "fin_caractere_exclue": 2352, "texte": "John Semar.\nStopes, in addition to the above letter forwarded for publication ha\nsent us one or two little Notes relative to the list of Sixteenth Centur\nEvents published on page 135*146 of the October number of The Mask\nMrs Stopes says of the list, and with all reason, that \" it might hav'\nbeen fuller with advantage \" and we most heartily concur. In fact SUch\na list could very easily fill a whole volume of The Mask: it could ba\ndeveloped into a very Encyclopedia without having exhausted ail that\nmight, and rightly should, find a place in It.\n& As for its Incompleteness, no one knows it better than we ourselves\nIn fact we stated as much in the very first introductory words. But we\nfelt that, incomplete as it was, such a list had a certain value,... if only\nto stir up others to show us how much better it could be done, so that\nhaving been aroused by the inadequacy of our labours, they might enable\nus to profit by the perfection of their own. Added to this we would\nremind Mrs Stopes that we restricted ourselves to matters which dealt\nwith or bore upon the question of the Commedia dell'Arte.\n& Mrs Stopes also says, and this is a matter of more serious regret to\nus, that she finds our list incorrect in places, and that the faults that\nshe does note make her 44 uncertain about the correctness \" of other\nfacts which she does not know.\n& We would remind her however that, although to have quoted our\nauthority in every case would have been too lengthy, every statement\nor date was based on the authority of one or other of the most accredited\nhistorians of the Theatre, whether English, Italian, Danish or French.\n& We are glad, however, to note here two specific corrections.\nLantram she says, should be \" Laneham.\" She also points out\nthat the building of the Globe Theatre is included under both 1593\nand 1597» both of which dates she asserts to be wrong as the Theatre\nwas not, she says, begun until 1599. J. Payne Collier F. S. A. however\nin his 44 Annals of the Stage \" says it was built in 1594, \" or, at all events,\non the 23rd Dec. 1593, Richard Burbage entered Into an agreement with\na carpenter of the name of Peter Street to construct it of certain materials\nand of specified dimensions. \" Collier's reference is Malone who Informs\nus of this in his Inquiry, page 87. John Addington Symonds says 1593«"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c049", "article_bluemountain": "bmtnaau_1914-01_01#c049", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "261", "page_fin": "n. p.", "image_debut": 81, "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=bmtnaau191401-01.2.24", "titre_corps": "BOOKS REVIEWS", "titre_sommaire": "BOOKS 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": "261", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.81", "debut_caractere": 0, "fin_caractere_exclue": 1595, "texte": "BOOKS REVIEWS.\n\nTHE DRAMA OF TODAY, by\nCharlton Adams. Lippincott Co.\nNew York. Price one and a half\ndollars.\nTThe Drama is a species in the\n\"genus fiction... It differs from the\n44 other forms of literature \" etc. etc.\nSo begins Mr Andrews' book,44 The\nDrama of Today \" ; and as we hate\nrepeating an old falsehood, as we\nare amongst who hold that\nDrama has nothing whatever to do\nwith Literature, how can we find\nexcuses for Mr Andrews and his book?\n& We make no objections to its\nform, and many of its pages are\ninteresting as pages. Still, a word\nmore about Irving,... he is twice\nmentioned and without significance\n...and some mention of Duse, Bern-\nhardt and Ellen Terry as having\nin some slight way directly or indi-\nrectly affected the Drama of today\nwould not have been amiss.\nHis assertion that 44 As an artist\nStrindberg ranks considerably lower\nthan Ibsen \" is rather incomprehen-\nsible, for it is precisely an artist\nthat Strindberg towers above all the\nScandenavians.\nHe speaks of Strindberg as 44 this\nSwedish Schopenhauer \" and alludes\nto the dramatist's 44 terrific hatred\nof women. \" We had always gathered\nfrom all that Strindberg ever wrote\nthat what Strindberg hated was the\nprostitute in woman. How could he\nthen hate woman ?\nHe writes of Shaw as 44 a poseur;\"\nlater on 44 a reformer. \" Of Mr Bar-\nker's plays he says he 44 finds their\n44 true dramatic significance quite\nburied beneath the heap of photo-\ngraphically realistic rubbish. \" Mr\nMasefield's 44 Nan \" seems to him to\nbe 44 one more exploitation of the\ncheerless and the charmless. \"\nThe Modern Drama according to"}, {"page_pdf": 82, "page_imprimee": "262", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.82", "debut_caractere": 16, "fin_caractere_exclue": 2167, "texte": "Mr Andrews is not good and he tries\nhis best to show up the greatest\nmodern playwriters In the best\nlight,.,, and ends by saying they are\na pack of photographers who are\nmorbid, \" preachy \" and \" talky \"\nand so forth,\nThis is expensive at one dollar\nand a half.\nThere are so many good and fresh\nbooks we want to see published by\nLippincott and the better publishers;\nbooks on the Stage and its Techni-\nque.... on the different men who\nare labouring year In and year out\nat this most difficult work that we\nhave not the right to praise all these\nbooks of loose theory which are\nflooding the market at .the present\nhour.\n\nSHAKSPERE AS PLAYWRIGHT\nby Brander Matthews. Long-\nmans. Price fifteen shillings\n#\nnet.\nprofessor Brander Matthews of\nColumbia University has produced\na large new book. There are three\nhundred and eighty one pages.\nThat appears to be the first thing\nwhich strikes one. There seems little\nto distract one from the mere size,\nthe plodding industry that has put\nit together: for it must be admitted\nthat Professor Brander Matthews of\nColumbia University is a tedious\nwriter: he Is in fact one of those\nwho, to use a slang term, 'bore Us\nstiff'.\n& Like Peter Bell of immortal me-\nmory, Brander «is dull, is very\ndull' with about 'as much imagina-\ntion as a pint pot', and, to be dull\nfor three hundred and eighty one\npages is a little hard on the 'kind\nreader'.\nProfessor Matthews says so much,\nsays it so solemnly, so stolidly, and\nwith never a touch of magic, never\nan illuminating flash to make the\ndry bones live.\n& The book is perhaps good in its\nway... but how good it might have\nbeen ! How interesting If Professor\nBrander Matthews could have con-\ncentrated a little more of his atten-\ntion,for instance, upon the wonderful\nactors of Shakespeare's day, and\ntheir relation to the Shakespearean\nplays.\nWe begin to know by now that\nthe plays no longer \" remain one of\nthe insoluble mysteries of genius\"\nand careful readers of The Mask\nneed no more be fogged by the\npuzzled Mr Matthews and others of\nhis school.\nThe book contains two very intere-\nsting maps of Shakespeare's London,\ndue to the care and skill of Mr E.\nHamilton Bell."}, {"page_pdf": 83, "page_imprimee": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.83", "debut_caractere": 16, "fin_caractere_exclue": 2244, "texte": "GREEK ART AND NATIONAL\nLIFE. by S. C. Raines Smith.\nNisbet. Price seven shillings and\nsixpence net.\n'T'he writer of this book approaches\nhis subject from a right point.\nHe does not want to sing the\npraise of Greek art just because\nit is old: and in these days, when\nmere age is generally assumed to\nbe synonymous with worth, and\nwhen the craze for the past turns\na large section of Society into pe-\ntrified, back-gazing figures, as dull\nto advancement as Lot's wife, it is\nrefreshing to find a man who can\nwrite on his second page: \" Let us\n\" then remember that enthusiasm is\n\" wasted on dead things, but that\n\" life needs it soreiy. To share the\n\" fire of Sappho is greater gain than\n\" to be the world's authority on\n\" Aeolic forms; to find the heart\n\" of the man who fashioned the\n\" sculptures of the Parthenon, to\n\" find\n\" .... what led\n\" The hand to this perfection...\"\n\" is better worth while than to know\n\" to the last touch the methods of\n\" his skill\".That is as ensible outlook,\na pleasant change from the weary\ntalk of the 'good old times' and all\nthe fake Greek art and the fake\nGreek imitation of the \" Pasters \"\nwho respect things in exact ratio\nto the number of centuries they\nhave been in existence, and whose\nconservation is as ill-judged in its\nown way as is the iconoclasm of the\nFuturists in theirs.\nMr Kaines Smith has not a little\nto say that is interesting about the\nSack of Knossos, the \"Mycenean \"\nCivilisation, the Homeric Ageand De-\ncorative and Creative Art and so on.\nThe book is illustrated with seven\nphotogravures and many other il-\nlustrations of the masterpieces of\nGreek art.\n\nPLAYS OP OLD JAPAN. THE\n\"NO by Marie C. Stopes.\nHeinemann. Price five shillings\nnet.\nHphis is an interesting little book,\nand as well got up, as well illu-\nstrated, as are ail those which bear\nthe name of that distinguished pub°\nlisher, Mr William Heinemann.\nOf course to treat here at any\nlength of the subject of the b00k,...\nthe great No drama, is Impossible,\nbut we shall return to it before\nlong, devoting to it a complete\narticle, supplementing the brief\naccount of it already given by Mr\nSheko Tsubuchi to the readers of\nThe Mask in 1912.\njSf The author of the present book,\nafter an introduction devoted to the"}, {"page_pdf": 87, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.87", "debut_caractere": 15, "fin_caractere_exclue": 2369, "texte": "nature, the history and the technique\nof the No drama, gives an English\nrendering of several of the utai or\nlibretti themselves, in the hope that\nalthough \" no translation can ever\nconvey more than a fraction of the\npower, beauty and individual cha-\nracteristics of the original text of\nthese old piays \" there yet \" may\nbe found between these covers some-\nthing of the delicacy and charm\nof the No, some hint of their\npeculiar flavour and effect. \"\nAnd of course that is the most\nwe can hope for, since the essence\nof the No drama is far more in the\nscene and movement and in the\ntraditional spirit which fills and\nvitalises it, passing from actors to\naudience and being reflected back\nfrom audience to actors, than in\nthe words which form one of its\ncomponent parts.\nzz? But it should be clearly remem-\nbered by those who examine these,\nor other ancient forms of dramatic\nceremonial, that, although they may\nafford an interesting study for ar=\ncheologists, may afford a particular\nkind of enjoyment to those who\nhave the opportunity of witnessing\ntheir performance, the only real\nvalue of either the study or the\nspectacle in relation to the Living\nTheatre towards which our hopes\nturn is that which lies in tracing\nthe peculiar conditions among which\nsuch drama arose, the peculiar spirit\nwhich gave it life.\nWe have nothing to gain, as some\nwould claim, by a mere imitation of\nthis or any other ancient form of\ndrama, of its masks, its symbolism,\nits conventions, its costumes: it is\nrather in tracing the spirit of which\nthese outward form? and accessories\nwere the expression that we may\nfind something of value, either as\nwarning or encouragement, to aid\nus in shaping the masks, the sym-\nbols, and the laws of our own Theatre\nwhich is to be.\nAnd, where we raise ever so little\nthe curtain which divides our century\nfrom that which created the magni-\nficent No drama, what is it first\nwhich strikes us, and appals us into\ndropping it again ?... What is our\nfirst lesson ? What do we see is our\nfirst duty ?\nJZ? We see that back in those days\na great National spirit is glowing,...\nThe King is a god... the nobles are\nastir and noble.\nJZ> We drop the corner of the cur-\ntain ; we turn both beseeching eyes\nand frowning brows upon our Ari-\nstocracy and wait for a sign of its\nLIFE and its nobility. ....And we\nshall continue waiting a little longer."}, {"page_pdf": 88, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.88", "debut_caractere": 17, "fin_caractere_exclue": 2376, "texte": "The Future of the Theatre, by\nJohn Palmer.Bell. Price Two\nshillings and sixpence net.\nI-|ere we have a book by a writer\nwho tries to be just, logical,\ngentlemanly and a bit dashing, and\n/Who succeeds in misrepresenting and\nmisunderstanding with a faultless\nIgnorance all things to do with the\nTheatre and its future,... even the\nLondon Theatre.\n& The very title is a misnomer\nof Mr Palmer's achievement. He\ncalls bis book \" The Future of the\n*\nTheatre: \" yet on page XI. he says\n\" seriously ask yourself why you are\nreading a book on the future of\nthe English Theatre, (i) and\non page I. writes, \" what precisely\ndo we mean by the English theatre?\nHow shall we define it?\"\n& Well, certainly we shall not de=\nfine it by calling it \" The Theatre \"\nand It is a pity that Mr Palmer, if\nhe wishes to talk of the English\nTheatre, should choose a title so\nmisleading to his readers.\n& Think of it, friends, Romans,\ncountrymen ! Think of setting down\nas the title of your book \" The\nTheatre of the Future, \" and then\npassing over all the theatres, (vital or\nlethargic, but in any case existent)\nof Russia, Germany, France, Italy,\nSpain, Holland, India, Japan, China\nAmerica ; ignoring the profound in-\nfluences, the closely and intricately\nwoven traditions which link these\nexisting theatres back to the theatres\nof Shakespeare, of the Commedia\ndeli'Arte, of the Religious Drama,\nof the Greek and Roman theatres\nof the Egyptian rites and the stately\nand splendid ceremonies of the east:\nthink of ignoring all these, ignoring\ntheir inalienable relationship with,\nand sequence in, and influence upon,\nthe being of the Theatre of the\nFuture, and yet calling your book\nby such a name!\njgr But that is just one more mani-\nfestation of that spirit of pitiful\nself-satisfaction; of incapacity to look\nbeyond its own little environment;\nof indifference to, If not contempt\nfor, the achievements of other na-\ntions ; of blindness to larger issues\nwhich has unfortunately come to be\ndescribed as \"so English.\" It is\none of the things which afford much\ndelicate amusement at our expense\nto the intelligent members of the\nEuropean Theatre.\n& Mr Palmer dashes down his gran-\ndiloquent title and then proceeds\nto chat of the little personalities\nand little activities of the London\nstage Why, the thing is a joke!\nit is an outrage on the intelligent,\n\n(!) The Italics are ours. Ed."}, {"page_pdf": 89, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2365, "texte": "and a serious injury to the simple\nwho, unfortunately for themselves,\nmay assume that the dramatic critic\nof so reputable a paper as the\n44 Saturday Review\" is a man to be\ntaken seriously.\n& Then, having set to work, Mr\nPalmer goes on talking, talking,\ntalking in the happy and exalted\nconfidence that he is right, while\nunfortunately he is hopelessly wrong,\nis manifesting on every page an\namazing and piteous misunderstand\"\ning of many things... of all the most\nfundamental things, in fact, which\nconcern the Theatre and its art.\n%\nTo put Mr Palmer right,.,, even\nassuming that he were willing to\nbe put right... would require another\nbook. But no, what are we saying ?...\nhe could not even be put right by\nanother book, for many a new book\nhas already come out, and Mr Palmer\nhas not profitted, thus showing that\nhe is not interested in the first\nprinciples of the Theatre, Hence a\nwhole book would not set him right;\notherwise one could order a book\nto be specially written for that\nexpress purpose. Our corrections\ntherefore will never be of interest\nto Mr Palmer himself, and are only\nIntended for those readers of The\nMask who are in doubt as to Mr\nPalmer's meaning here and there.\nLet us now consider a very few\namong Mr Palmer's errors:\nOn page 45 he says, \" But though\n44 the producer is a healthy sign of\n44 the times, and of an indubitably\n44 respectable origin, yet he will\n44 surely pass away. In a perfectly\n44 healthy state of the theatre the\n44 producer would not exist. \"\nOn the contrary, in a-44 perfectly\nhealthy state of the theatre \" the\nproducer would be the only one who\nwould exist,... as a personality, a\nvolition. He would-be the artist;\nmoulding all the material of the\nTheatre,,.. Movement, scene, sound\nand light, for the expression of an\nIdea.\n& Then, on page 53 we read :\n44 Either the fine art of production,\nthe producer in his most modern\nshape, will disappear, or dramatic\nart will disappear \".\nAgain No ! Dramatic art has gone\nlong ago, but when we arrive at the\ntrue apotheosis of the 'producer',....\nthe creative artist of the theatre, it\nwill reappear.\nIf the word and the title of 4pro°\n»\nducer' sticks in Mr Palmer's throat\nby all means let him use some other\nword : Producer is not a particularly\ngood term by which to express the\ncreative artist of the theatre, though\nfor the moment it serves its purpose;"}, {"page_pdf": 90, "page_imprimee": "268", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.90", "debut_caractere": 15, "fin_caractere_exclue": 2322, "texte": "But let Mr Palmer find a better.\nThe rose under another name will\nsmell quite as sweet.\n& To pass on :\nMr Palmer's misunderstanding of\nMr Gordon Craig's work is deplo-\nrable in its blindness.\n£7 He speaks, for Instance, of Mr\nCraig's \" painter's view of the Thea-\ntre. \"\n£7 Now to speak of the \" Painter's\nview of the Theatre \" of Mr Rothen-\nstein, Mr Wilkinson, M. Bakst, Herr\nStein, Herr Orlik, M. Plot or M.\nBenols is right enough.\nAll these gentlemen are painters,\namusing themselves with more or\nless success in the Theatre,... (mostly\nin Th&itres des Arts).... and at\nher expense. But to speak of the\n\" Painter's view\" of Mr Gordon Craig\nis essentially wrong,... is, in fact,\nwhat in Italy we should call \" cat-\ntivo;\" and even an elementary\nknowledge of Mr Craig's work and\nwritings during the last fifteen years\nshould have saved Mr Palmer from\nso grave a mistake.\n£7 But always does this dramatic\ncritic, of whom we once hoped great\nthings, seem to miss the point 1\n£7 Just as his resounding title, \" The\nTheatre of the Future \" is merely\nan excuse for a little chat about the\nLondon theatre of today, so, in\ndiscussing Mr Craig's work as a\n\" designer, \" discussing him in re-\nlation to Shakespeare and falling\ninto the usual confusion as to the\ndistinction between 'drama' and the\nwritten play, he runs amuck rather\nbadly.\n£7 He writes, for instance, of the\n\" long divorce of English art and\nletters from the English Theatre. \"\nHe says \" The history of English\ndrama during the last twenty years \"\n(and from the context it seems ob=\nvious that Mr Palmer really means\nthe history of English written plays)\n\" is, as we shall see, the history of\n\" a movement whereby men of mind\n\" are again coming to regard the\n\" theatre as a natural medium. The\n\" rift is closing, and one result of\n\" its closing will be the squeezing\n\" out of producers. \"\nIn that happy day, according to\nMr Palmer, \" The dramatic author,\n\" grown into a closer contact with\n\" the theatre, will be master of»its\n\" conventions and technique. The\n\" player, grown into a closer contact\n\" with art and letters, will no longer\n\" require a heaven-sent expert to\n'* translate for him the author's\n\" limelight. \" ...In fact the lion and\nthe lamb will lie down together, and\nthe wordy successful manuscript\nof the playwright shall feed them,"}, {"page_pdf": 91, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.91", "debut_caractere": 15, "fin_caractere_exclue": 2398, "texte": "as who should say, a bran mash.\nMr Palmer, says: 44 Mr Craig's\n44 stage designs make an appeal in-\n-44 dependency of the play they are\n44 supposed to illustrate. They disas-\n-44 trously compete with the author's\n44 intention. \"\njoThis is an incredible misstatement.\nOne wonders whether Mr Palmer has\never seen a production by Gordon\nCraig, or whether he has read any\nof the writings in which Mr Craig\nhas stated over and over again that\nthe scene is not self-complete but\nIs a component part of a whole and\nthat If it loses its right relationship\nto the whole it Is wrong In itself\nand harmful to thewhole production.\n44 Scenery \" he writes In one\nplace, 44 has to speak as well as the\nactors, but it is better when It says\nonly that which is necessary. ...Learn\nthe essentials of stage scenery, and\nyou will in time learn the essentials\nof Drama \" : and many more passages\nto the same effect might be quoted.\nMr Palmer should have familiar-\nised himself with Mr Craig's works\nand writings before setting out so\nblithely upon his self-appointed task.\nHe would thus have saved himself\nmany blunders.\nAgain he writes: 44 If Mr Barker\naccepts Mr Craig's premises, as he\nundoubtedly does, he is logically\nbound to retire with Mr Craig into\nthe wilderness. Happily Mr Barker\nwill do no such thing. He is right\nin refusing the absurdities to which\nMr Craig's position has committed\nhim \".\nBut in a later chapter Mr Palmer\nemphasises the unhappy fate of the\nIrish players and other fine idealists\nwho set out well and fell from grace\nin 44 the face of the systematic and\nenormous temptation \" (i) to which\nthey were subjected. Yet, although\nacknowledging the temptations and\nsnares laid for all who come bearing\nany new gift to the Theatre, even\nthough it be a little one, he seems\nto be surprised that Mr Craig goes\nfor forty days into the wilderness\nto work out his Idea without di-\nstraction rather than be eaten up\nby the London Coliseum lions!\n& Once more, at the beginning of\nchapter eleven, he tells us with en-\ngaging optimism that 44 the stage is\nready to take a level place with the\nfine arts \".\nThis is a slight exaggeration. Not\nfor many years will it be ready.\nNot in fact for some hundreds of\nyears if the critics, playwrights and\nactors continue to obstruct pro-\ngress.\n\n(1) By the way, is Yeats with his players to be condemned\nand Barker let off, or are both to be judged??"}, {"page_pdf": 92, "page_imprimee": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.92", "debut_caractere": 15, "fin_caractere_exclue": 1647, "texte": "And so, did space permit, could\nwe go on and on, citing instances\nof the way in which this book, far\nfrom elucidating or instructing, does\nbut 'darken counsel' and befog those\nwho might turn to it for light.\n& We are not of those who hold\nto Disraeli's cutting dictum, \" You\nknow who the critics are ?... the\nmen who have failed in literature\nand art, \" but we must agree with\nit so far on this occasion as to say\nthat this particular critic is one who\nhas failed completely in that which\nhe apparently had in view, -1. e, to\nwrite a serious book on the \" Future\nof the Theatre. \" In the next Edition\nlet Mr Palmer correct his title to\n\" The London Stage\" : the title will\nwell cover the contents, and he will\nwin more indulgence for his work\nwhen he introduces it under a less\npretentious name.\n\nTHE ARTS AND CRAFTS OF\nINDIA AND CEYLON, byAnanda\nCoomaraswamy, Foulis.\nrpo look at the illustrations in this\nbook of Dr Coomaraswamy's after\nlooking at the work of the Futurists,\nis like looking forwards instead of\nbackwards.\nThese works of sculpture, these\npaintings and cabinets, these ges=\ntures of actor or dancer are all so\nyoung, and really refreshing after\nthe aged Futurists.\n& One is conscious that something\nhas happened, and without noise\nand with huge force,... real velocity,\nalmost appalling daring, in a world\nof stupendous size.\nWe cannot speak as fully as\nwe would like of this book of Dr\nCoomaraswamy's, but an extract re-\nlative to gesture is here given, and\neight illustrations are reproduced\nthrough the kindness of Mr Foulis:\nbut for the rest of the figures refer-\nred to the reader must turn to the\nbook itself."}, {"page_pdf": 94, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.94", "debut_caractere": 1118, "fin_caractere_exclue": 2175, "texte": "VISVAKARMA. Examples\ndian Architecture, Sculpture,\nPainting, Handicraft, chosen by\nAnanda Coo mar as wa my. Luzac.\nPrice two shillings and sixpence\na number.\n•Qf this series of fine plates we can\nbut repeat what has been said of\nDr Coomaraswamy's other book on\npage 270. It Is a publication which\nno one in search of force, of youth,\nand of supreme Art. can afford to\nmiss.\n\nKorean Folk Tales, Translated\nby James S. Gale. Dent. Price\nthree shillings and sixpence\nnet.\nTThis collection of tales of Imps,\nGhosts and Fairies is now trans=\nlated for the first time from the\nKorean of Im Bang, who was born\nt\nin 1640 and of Yi Ryuk who lived\nabout the middle of the fifteenth\ncentury.\njg? It is recommended to the notice of\nall students of Folk Lore and those\nwho would \" like to look some what\ninto the inner soul of the Oriental,\nand see the peculiar spiritual exls=\ntences among which he lives, \" since,\nof all this, as the translator tells us,\nthese stories \" will serve as true\ninterpreters, born as they are of\nthe three great religions of the\nFar East. \""}]}, {"article_id": "bm-bmtnaau-1914-01-01-c051", "article_bluemountain": "bmtnaau_1914-01_01#c051", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "261", "page_fin": "262", "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=bmtnaau191401-01.2.24.2", "titre_corps": "THE DRAMA OF TODAY by Charlton Adams", "titre_sommaire": "THE DRAMA OF TODAY by Charlton Adams", "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": "261", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.81", "debut_caractere": 16, "fin_caractere_exclue": 1595, "texte": "THE DRAMA OF TODAY, by\nCharlton Adams. Lippincott Co.\nNew York. Price one and a half\ndollars.\nTThe Drama is a species in the\n\"genus fiction... It differs from the\n44 other forms of literature \" etc. etc.\nSo begins Mr Andrews' book,44 The\nDrama of Today \" ; and as we hate\nrepeating an old falsehood, as we\nare amongst who hold that\nDrama has nothing whatever to do\nwith Literature, how can we find\nexcuses for Mr Andrews and his book?\n& We make no objections to its\nform, and many of its pages are\ninteresting as pages. Still, a word\nmore about Irving,... he is twice\nmentioned and without significance\n...and some mention of Duse, Bern-\nhardt and Ellen Terry as having\nin some slight way directly or indi-\nrectly affected the Drama of today\nwould not have been amiss.\nHis assertion that 44 As an artist\nStrindberg ranks considerably lower\nthan Ibsen \" is rather incomprehen-\nsible, for it is precisely an artist\nthat Strindberg towers above all the\nScandenavians.\nHe speaks of Strindberg as 44 this\nSwedish Schopenhauer \" and alludes\nto the dramatist's 44 terrific hatred\nof women. \" We had always gathered\nfrom all that Strindberg ever wrote\nthat what Strindberg hated was the\nprostitute in woman. How could he\nthen hate woman ?\nHe writes of Shaw as 44 a poseur;\"\nlater on 44 a reformer. \" Of Mr Bar-\nker's plays he says he 44 finds their\n44 true dramatic significance quite\nburied beneath the heap of photo-\ngraphically realistic rubbish. \" Mr\nMasefield's 44 Nan \" seems to him to\nbe 44 one more exploitation of the\ncheerless and the charmless. \"\nThe Modern Drama according to"}, {"page_pdf": 82, "page_imprimee": "262", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.82", "debut_caractere": 16, "fin_caractere_exclue": 634, "texte": "Mr Andrews is not good and he tries\nhis best to show up the greatest\nmodern playwriters In the best\nlight,.,, and ends by saying they are\na pack of photographers who are\nmorbid, \" preachy \" and \" talky \"\nand so forth,\nThis is expensive at one dollar\nand a half.\nThere are so many good and fresh\nbooks we want to see published by\nLippincott and the better publishers;\nbooks on the Stage and its Techni-\nque.... on the different men who\nare labouring year In and year out\nat this most difficult work that we\nhave not the right to praise all these\nbooks of loose theory which are\nflooding the market at .the present\nhour."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c052", "article_bluemountain": "bmtnaau_1914-01_01#c052", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "262", "page_fin": "262", "image_debut": 82, "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=bmtnaau191401-01.2.24.3", "titre_corps": "SHAKSPERE AS PLAYWRIGHT by Brander Matthews", "titre_sommaire": "SHAKSPERE AS PLAYWRIGHT by Brander Matthews", "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": "262", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.82", "debut_caractere": 636, "fin_caractere_exclue": 2167, "texte": "SHAKSPERE AS PLAYWRIGHT\nby Brander Matthews. Long-\nmans. Price fifteen shillings\n#\nnet.\nprofessor Brander Matthews of\nColumbia University has produced\na large new book. There are three\nhundred and eighty one pages.\nThat appears to be the first thing\nwhich strikes one. There seems little\nto distract one from the mere size,\nthe plodding industry that has put\nit together: for it must be admitted\nthat Professor Brander Matthews of\nColumbia University is a tedious\nwriter: he Is in fact one of those\nwho, to use a slang term, 'bore Us\nstiff'.\n& Like Peter Bell of immortal me-\nmory, Brander «is dull, is very\ndull' with about 'as much imagina-\ntion as a pint pot', and, to be dull\nfor three hundred and eighty one\npages is a little hard on the 'kind\nreader'.\nProfessor Matthews says so much,\nsays it so solemnly, so stolidly, and\nwith never a touch of magic, never\nan illuminating flash to make the\ndry bones live.\n& The book is perhaps good in its\nway... but how good it might have\nbeen ! How interesting If Professor\nBrander Matthews could have con-\ncentrated a little more of his atten-\ntion,for instance, upon the wonderful\nactors of Shakespeare's day, and\ntheir relation to the Shakespearean\nplays.\nWe begin to know by now that\nthe plays no longer \" remain one of\nthe insoluble mysteries of genius\"\nand careful readers of The Mask\nneed no more be fogged by the\npuzzled Mr Matthews and others of\nhis school.\nThe book contains two very intere-\nsting maps of Shakespeare's London,\ndue to the care and skill of Mr E.\nHamilton Bell."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c053", "article_bluemountain": "bmtnaau_1914-01_01#c053", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "263", "page_fin": "263", "image_debut": 83, "image_fin": 83, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.24.4", "titre_corps": "GREEK ART AND NATIONAL LIFE by S. C. Kaines Smith", "titre_sommaire": "GREEK ART AND NATIONAL LIFE by S. C. Kaines Smith", "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": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.83", "debut_caractere": 16, "fin_caractere_exclue": 1624, "texte": "GREEK ART AND NATIONAL\nLIFE. by S. C. Raines Smith.\nNisbet. Price seven shillings and\nsixpence net.\n'T'he writer of this book approaches\nhis subject from a right point.\nHe does not want to sing the\npraise of Greek art just because\nit is old: and in these days, when\nmere age is generally assumed to\nbe synonymous with worth, and\nwhen the craze for the past turns\na large section of Society into pe-\ntrified, back-gazing figures, as dull\nto advancement as Lot's wife, it is\nrefreshing to find a man who can\nwrite on his second page: \" Let us\n\" then remember that enthusiasm is\n\" wasted on dead things, but that\n\" life needs it soreiy. To share the\n\" fire of Sappho is greater gain than\n\" to be the world's authority on\n\" Aeolic forms; to find the heart\n\" of the man who fashioned the\n\" sculptures of the Parthenon, to\n\" find\n\" .... what led\n\" The hand to this perfection...\"\n\" is better worth while than to know\n\" to the last touch the methods of\n\" his skill\".That is as ensible outlook,\na pleasant change from the weary\ntalk of the 'good old times' and all\nthe fake Greek art and the fake\nGreek imitation of the \" Pasters \"\nwho respect things in exact ratio\nto the number of centuries they\nhave been in existence, and whose\nconservation is as ill-judged in its\nown way as is the iconoclasm of the\nFuturists in theirs.\nMr Kaines Smith has not a little\nto say that is interesting about the\nSack of Knossos, the \"Mycenean \"\nCivilisation, the Homeric Ageand De-\ncorative and Creative Art and so on.\nThe book is illustrated with seven\nphotogravures and many other il-\nlustrations of the masterpieces of\nGreek art."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c054", "article_bluemountain": "bmtnaau_1914-01_01#c054", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "263", "page_fin": "265", "image_debut": 83, "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=bmtnaau191401-01.2.24.5", "titre_corps": "PLAYS OF OLD JAPAN. THE \"NO\" by Marie C. Stopes", "titre_sommaire": "PLAYS OF OLD JAPAN. THE \"NO\" by Marie C. Stopes", "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": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.83", "debut_caractere": 1626, "fin_caractere_exclue": 2244, "texte": "PLAYS OP OLD JAPAN. THE\n\"NO by Marie C. Stopes.\nHeinemann. Price five shillings\nnet.\nHphis is an interesting little book,\nand as well got up, as well illu-\nstrated, as are ail those which bear\nthe name of that distinguished pub°\nlisher, Mr William Heinemann.\nOf course to treat here at any\nlength of the subject of the b00k,...\nthe great No drama, is Impossible,\nbut we shall return to it before\nlong, devoting to it a complete\narticle, supplementing the brief\naccount of it already given by Mr\nSheko Tsubuchi to the readers of\nThe Mask in 1912.\njSf The author of the present book,\nafter an introduction devoted to the"}, {"page_pdf": 87, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.87", "debut_caractere": 15, "fin_caractere_exclue": 2369, "texte": "nature, the history and the technique\nof the No drama, gives an English\nrendering of several of the utai or\nlibretti themselves, in the hope that\nalthough \" no translation can ever\nconvey more than a fraction of the\npower, beauty and individual cha-\nracteristics of the original text of\nthese old piays \" there yet \" may\nbe found between these covers some-\nthing of the delicacy and charm\nof the No, some hint of their\npeculiar flavour and effect. \"\nAnd of course that is the most\nwe can hope for, since the essence\nof the No drama is far more in the\nscene and movement and in the\ntraditional spirit which fills and\nvitalises it, passing from actors to\naudience and being reflected back\nfrom audience to actors, than in\nthe words which form one of its\ncomponent parts.\nzz? But it should be clearly remem-\nbered by those who examine these,\nor other ancient forms of dramatic\nceremonial, that, although they may\nafford an interesting study for ar=\ncheologists, may afford a particular\nkind of enjoyment to those who\nhave the opportunity of witnessing\ntheir performance, the only real\nvalue of either the study or the\nspectacle in relation to the Living\nTheatre towards which our hopes\nturn is that which lies in tracing\nthe peculiar conditions among which\nsuch drama arose, the peculiar spirit\nwhich gave it life.\nWe have nothing to gain, as some\nwould claim, by a mere imitation of\nthis or any other ancient form of\ndrama, of its masks, its symbolism,\nits conventions, its costumes: it is\nrather in tracing the spirit of which\nthese outward form? and accessories\nwere the expression that we may\nfind something of value, either as\nwarning or encouragement, to aid\nus in shaping the masks, the sym-\nbols, and the laws of our own Theatre\nwhich is to be.\nAnd, where we raise ever so little\nthe curtain which divides our century\nfrom that which created the magni-\nficent No drama, what is it first\nwhich strikes us, and appals us into\ndropping it again ?... What is our\nfirst lesson ? What do we see is our\nfirst duty ?\nJZ? We see that back in those days\na great National spirit is glowing,...\nThe King is a god... the nobles are\nastir and noble.\nJZ> We drop the corner of the cur-\ntain ; we turn both beseeching eyes\nand frowning brows upon our Ari-\nstocracy and wait for a sign of its\nLIFE and its nobility. ....And we\nshall continue waiting a little longer."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c055", "article_bluemountain": "bmtnaau_1914-01_01#c055", "volume": "bmtnaau_1914-01_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": 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=bmtnaau191401-01.2.24.5.1", "titre_corps": "View of the \"No\" Stage", "titre_sommaire": "View of the \"No\" Stage", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.85", "debut_caractere": 0, "fin_caractere_exclue": 23, "texte": "View of the \"No\" Stage."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c056", "article_bluemountain": "bmtnaau_1914-01_01#c056", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "266", "page_fin": "270", "image_debut": 88, "image_fin": 92, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.24.6", "titre_corps": "The Future of the Theatre by John Palmer", "titre_sommaire": "The Future of the Theatre by John Palmer", "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": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.88", "debut_caractere": 17, "fin_caractere_exclue": 2376, "texte": "The Future of the Theatre, by\nJohn Palmer.Bell. Price Two\nshillings and sixpence net.\nI-|ere we have a book by a writer\nwho tries to be just, logical,\ngentlemanly and a bit dashing, and\n/Who succeeds in misrepresenting and\nmisunderstanding with a faultless\nIgnorance all things to do with the\nTheatre and its future,... even the\nLondon Theatre.\n& The very title is a misnomer\nof Mr Palmer's achievement. He\ncalls bis book \" The Future of the\n*\nTheatre: \" yet on page XI. he says\n\" seriously ask yourself why you are\nreading a book on the future of\nthe English Theatre, (i) and\non page I. writes, \" what precisely\ndo we mean by the English theatre?\nHow shall we define it?\"\n& Well, certainly we shall not de=\nfine it by calling it \" The Theatre \"\nand It is a pity that Mr Palmer, if\nhe wishes to talk of the English\nTheatre, should choose a title so\nmisleading to his readers.\n& Think of it, friends, Romans,\ncountrymen ! Think of setting down\nas the title of your book \" The\nTheatre of the Future, \" and then\npassing over all the theatres, (vital or\nlethargic, but in any case existent)\nof Russia, Germany, France, Italy,\nSpain, Holland, India, Japan, China\nAmerica ; ignoring the profound in-\nfluences, the closely and intricately\nwoven traditions which link these\nexisting theatres back to the theatres\nof Shakespeare, of the Commedia\ndeli'Arte, of the Religious Drama,\nof the Greek and Roman theatres\nof the Egyptian rites and the stately\nand splendid ceremonies of the east:\nthink of ignoring all these, ignoring\ntheir inalienable relationship with,\nand sequence in, and influence upon,\nthe being of the Theatre of the\nFuture, and yet calling your book\nby such a name!\njgr But that is just one more mani-\nfestation of that spirit of pitiful\nself-satisfaction; of incapacity to look\nbeyond its own little environment;\nof indifference to, If not contempt\nfor, the achievements of other na-\ntions ; of blindness to larger issues\nwhich has unfortunately come to be\ndescribed as \"so English.\" It is\none of the things which afford much\ndelicate amusement at our expense\nto the intelligent members of the\nEuropean Theatre.\n& Mr Palmer dashes down his gran-\ndiloquent title and then proceeds\nto chat of the little personalities\nand little activities of the London\nstage Why, the thing is a joke!\nit is an outrage on the intelligent,\n\n(!) The Italics are ours. Ed."}, {"page_pdf": 89, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2365, "texte": "and a serious injury to the simple\nwho, unfortunately for themselves,\nmay assume that the dramatic critic\nof so reputable a paper as the\n44 Saturday Review\" is a man to be\ntaken seriously.\n& Then, having set to work, Mr\nPalmer goes on talking, talking,\ntalking in the happy and exalted\nconfidence that he is right, while\nunfortunately he is hopelessly wrong,\nis manifesting on every page an\namazing and piteous misunderstand\"\ning of many things... of all the most\nfundamental things, in fact, which\nconcern the Theatre and its art.\n%\nTo put Mr Palmer right,.,, even\nassuming that he were willing to\nbe put right... would require another\nbook. But no, what are we saying ?...\nhe could not even be put right by\nanother book, for many a new book\nhas already come out, and Mr Palmer\nhas not profitted, thus showing that\nhe is not interested in the first\nprinciples of the Theatre, Hence a\nwhole book would not set him right;\notherwise one could order a book\nto be specially written for that\nexpress purpose. Our corrections\ntherefore will never be of interest\nto Mr Palmer himself, and are only\nIntended for those readers of The\nMask who are in doubt as to Mr\nPalmer's meaning here and there.\nLet us now consider a very few\namong Mr Palmer's errors:\nOn page 45 he says, \" But though\n44 the producer is a healthy sign of\n44 the times, and of an indubitably\n44 respectable origin, yet he will\n44 surely pass away. In a perfectly\n44 healthy state of the theatre the\n44 producer would not exist. \"\nOn the contrary, in a-44 perfectly\nhealthy state of the theatre \" the\nproducer would be the only one who\nwould exist,... as a personality, a\nvolition. He would-be the artist;\nmoulding all the material of the\nTheatre,,.. Movement, scene, sound\nand light, for the expression of an\nIdea.\n& Then, on page 53 we read :\n44 Either the fine art of production,\nthe producer in his most modern\nshape, will disappear, or dramatic\nart will disappear \".\nAgain No ! Dramatic art has gone\nlong ago, but when we arrive at the\ntrue apotheosis of the 'producer',....\nthe creative artist of the theatre, it\nwill reappear.\nIf the word and the title of 4pro°\n»\nducer' sticks in Mr Palmer's throat\nby all means let him use some other\nword : Producer is not a particularly\ngood term by which to express the\ncreative artist of the theatre, though\nfor the moment it serves its purpose;"}, {"page_pdf": 90, "page_imprimee": "268", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.90", "debut_caractere": 15, "fin_caractere_exclue": 2322, "texte": "But let Mr Palmer find a better.\nThe rose under another name will\nsmell quite as sweet.\n& To pass on :\nMr Palmer's misunderstanding of\nMr Gordon Craig's work is deplo-\nrable in its blindness.\n£7 He speaks, for Instance, of Mr\nCraig's \" painter's view of the Thea-\ntre. \"\n£7 Now to speak of the \" Painter's\nview of the Theatre \" of Mr Rothen-\nstein, Mr Wilkinson, M. Bakst, Herr\nStein, Herr Orlik, M. Plot or M.\nBenols is right enough.\nAll these gentlemen are painters,\namusing themselves with more or\nless success in the Theatre,... (mostly\nin Th&itres des Arts).... and at\nher expense. But to speak of the\n\" Painter's view\" of Mr Gordon Craig\nis essentially wrong,... is, in fact,\nwhat in Italy we should call \" cat-\ntivo;\" and even an elementary\nknowledge of Mr Craig's work and\nwritings during the last fifteen years\nshould have saved Mr Palmer from\nso grave a mistake.\n£7 But always does this dramatic\ncritic, of whom we once hoped great\nthings, seem to miss the point 1\n£7 Just as his resounding title, \" The\nTheatre of the Future \" is merely\nan excuse for a little chat about the\nLondon theatre of today, so, in\ndiscussing Mr Craig's work as a\n\" designer, \" discussing him in re-\nlation to Shakespeare and falling\ninto the usual confusion as to the\ndistinction between 'drama' and the\nwritten play, he runs amuck rather\nbadly.\n£7 He writes, for instance, of the\n\" long divorce of English art and\nletters from the English Theatre. \"\nHe says \" The history of English\ndrama during the last twenty years \"\n(and from the context it seems ob=\nvious that Mr Palmer really means\nthe history of English written plays)\n\" is, as we shall see, the history of\n\" a movement whereby men of mind\n\" are again coming to regard the\n\" theatre as a natural medium. The\n\" rift is closing, and one result of\n\" its closing will be the squeezing\n\" out of producers. \"\nIn that happy day, according to\nMr Palmer, \" The dramatic author,\n\" grown into a closer contact with\n\" the theatre, will be master of»its\n\" conventions and technique. The\n\" player, grown into a closer contact\n\" with art and letters, will no longer\n\" require a heaven-sent expert to\n'* translate for him the author's\n\" limelight. \" ...In fact the lion and\nthe lamb will lie down together, and\nthe wordy successful manuscript\nof the playwright shall feed them,"}, {"page_pdf": 91, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.91", "debut_caractere": 15, "fin_caractere_exclue": 2398, "texte": "as who should say, a bran mash.\nMr Palmer, says: 44 Mr Craig's\n44 stage designs make an appeal in-\n-44 dependency of the play they are\n44 supposed to illustrate. They disas-\n-44 trously compete with the author's\n44 intention. \"\njoThis is an incredible misstatement.\nOne wonders whether Mr Palmer has\never seen a production by Gordon\nCraig, or whether he has read any\nof the writings in which Mr Craig\nhas stated over and over again that\nthe scene is not self-complete but\nIs a component part of a whole and\nthat If it loses its right relationship\nto the whole it Is wrong In itself\nand harmful to thewhole production.\n44 Scenery \" he writes In one\nplace, 44 has to speak as well as the\nactors, but it is better when It says\nonly that which is necessary. ...Learn\nthe essentials of stage scenery, and\nyou will in time learn the essentials\nof Drama \" : and many more passages\nto the same effect might be quoted.\nMr Palmer should have familiar-\nised himself with Mr Craig's works\nand writings before setting out so\nblithely upon his self-appointed task.\nHe would thus have saved himself\nmany blunders.\nAgain he writes: 44 If Mr Barker\naccepts Mr Craig's premises, as he\nundoubtedly does, he is logically\nbound to retire with Mr Craig into\nthe wilderness. Happily Mr Barker\nwill do no such thing. He is right\nin refusing the absurdities to which\nMr Craig's position has committed\nhim \".\nBut in a later chapter Mr Palmer\nemphasises the unhappy fate of the\nIrish players and other fine idealists\nwho set out well and fell from grace\nin 44 the face of the systematic and\nenormous temptation \" (i) to which\nthey were subjected. Yet, although\nacknowledging the temptations and\nsnares laid for all who come bearing\nany new gift to the Theatre, even\nthough it be a little one, he seems\nto be surprised that Mr Craig goes\nfor forty days into the wilderness\nto work out his Idea without di-\nstraction rather than be eaten up\nby the London Coliseum lions!\n& Once more, at the beginning of\nchapter eleven, he tells us with en-\ngaging optimism that 44 the stage is\nready to take a level place with the\nfine arts \".\nThis is a slight exaggeration. Not\nfor many years will it be ready.\nNot in fact for some hundreds of\nyears if the critics, playwrights and\nactors continue to obstruct pro-\ngress.\n\n(1) By the way, is Yeats with his players to be condemned\nand Barker let off, or are both to be judged??"}, {"page_pdf": 92, "page_imprimee": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.92", "debut_caractere": 15, "fin_caractere_exclue": 810, "texte": "And so, did space permit, could\nwe go on and on, citing instances\nof the way in which this book, far\nfrom elucidating or instructing, does\nbut 'darken counsel' and befog those\nwho might turn to it for light.\n& We are not of those who hold\nto Disraeli's cutting dictum, \" You\nknow who the critics are ?... the\nmen who have failed in literature\nand art, \" but we must agree with\nit so far on this occasion as to say\nthat this particular critic is one who\nhas failed completely in that which\nhe apparently had in view, -1. e, to\nwrite a serious book on the \" Future\nof the Theatre. \" In the next Edition\nlet Mr Palmer correct his title to\n\" The London Stage\" : the title will\nwell cover the contents, and he will\nwin more indulgence for his work\nwhen he introduces it under a less\npretentious name."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c057", "article_bluemountain": "bmtnaau_1914-01_01#c057", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "270", "page_fin": "272", "image_debut": 92, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.24.7", "titre_corps": "THE ARTS AND CRAFTS OF INDIA AND CEYLON by Ananda Coomaraswami", "titre_sommaire": "THE ARTS AND CRAFTS OF INDIA AND CEYLON by Ananda Coomaraswami", "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": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.92", "debut_caractere": 812, "fin_caractere_exclue": 1647, "texte": "THE ARTS AND CRAFTS OF\nINDIA AND CEYLON, byAnanda\nCoomaraswamy, Foulis.\nrpo look at the illustrations in this\nbook of Dr Coomaraswamy's after\nlooking at the work of the Futurists,\nis like looking forwards instead of\nbackwards.\nThese works of sculpture, these\npaintings and cabinets, these ges=\ntures of actor or dancer are all so\nyoung, and really refreshing after\nthe aged Futurists.\n& One is conscious that something\nhas happened, and without noise\nand with huge force,... real velocity,\nalmost appalling daring, in a world\nof stupendous size.\nWe cannot speak as fully as\nwe would like of this book of Dr\nCoomaraswamy's, but an extract re-\nlative to gesture is here given, and\neight illustrations are reproduced\nthrough the kindness of Mr Foulis:\nbut for the rest of the figures refer-\nred to the reader must turn to the\nbook itself."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c058", "article_bluemountain": "bmtnaau_1914-01_01#c058", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "270", "page_fin": "272", "image_debut": 92, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.24.7.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.92", "debut_caractere": 1649, "fin_caractere_exclue": 2317, "texte": "Here follows the Extract.\nIn Indian images, great significance\nis to be attached to gesture: a\npart of this is very obvious, as\nappears if we contrast the stillness\nof a Buddha with the fluidity of\nNataraja. This gesture symbolism\nderives directly from life; the seated\nBuddha posture, for example, is that\nof greatest repose and stability, and\nis adopted to this day by all those\nwho meditate.\nThe gods are of human imaging.\nShiva is \" Thou that dost take the\nforms imagined by thy worshippers:\"\nbut these forms again react upon life,\nso that when we take our way to\nthe ghats at Benares and mark the\nstillness and grace of those who\nbathe and pray, we have before us"}, {"page_pdf": 93, "page_imprimee": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.93", "debut_caractere": 15, "fin_caractere_exclue": 2378, "texte": "both cause and effect. But the poses\nof art, especially those of the hands,\ncalled madras, may not always\nexplain themselves at once to one\nwho has never seen them in life.\nOTo take concrete examples, the\nright hand of fig. 28 is in vitarka\nmudra, indicating argument or dis-\ncourse ; the nearer right hand of\nf\nfig. 1, the right hand of fig. 35, and\nthe detached hand of fig. 5, are in\nabhaya mudra, Indicating 44 do not\nfear: \" the hands of fig. 24 are in the\ndharma=cakra mudra, 44 turning\nthe wheel of the Law; \" the pose\nof fig. 31 is known as -\nlila=asana, 44 pose of kingly ease.\"\nThe three 'most usual variations of\nthe seated Buddha or yogi type are\n(1) with the hands folded in the lap,\nin dhyani mudra, 44 meditation \"\n(fig. 2); (2) the right hand raised in\ndiscourse (figs. 3, 4); and the right\nhand dropped over the knee to touch\nthe earth (bhumishparsa mudra,\n\" calling tbe earth to witness. \")\n0 A less forma! treatment of the\nhands in other works is often no\nless eloquent; for example, the hand\nof Paravati laid on Shiva's arm\n(fig* 39)> the offering hands of\nHanuman (fig. 49); the praying hands\nof the nagsnis (fig. 70) ; the singer's\nfingers (fig. 71); and the dancing\nfeet of Shiva (figs 6-8).\n£? Such hands and limbs of Indian\nimages reflect the Indian physical\ntype in their smoothness and fle-\nxibility, and the nervousness of their\nvitality.\n0 There, every separate finger,\nwhether motionless or moving, is\nalive i while it is one of the clearest\nsigns of decadence and reduced in-\ntensity of realisation, when the\nfingers become either stiff or flabby,\nor disposed exactly in one plane.\n0 Beside the seated forms already\nnoticed, there are not less characte-\nristic standing poses.\n0 Some severe types are perfectly\nsymmetrical (figs. 27, si) ; but more\nfrequent, and capable of greater\nvariation, is the stance, well seen\nin fig. 57) where the weight of the\n«\nbody rests on one leg and the other\nis slightly bent. Images of the latter\ntype are called tr because\nthe median line, in front view, is\nthrice curved.\nA variety of this with legs crossed\nis frequently adopted in the repre-\nsentations of Krishna as flute-player\n(figs. 58, 132).\n0 From such forms, again, there\nare all transitions to the continuous\nmovement and perfect fluidity of\nthe dancers, (fig. 1 etc).\n0 If any power in Indian art is\nreally unique, it is its marvellous"}, {"page_pdf": 94, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.94", "debut_caractere": 15, "fin_caractere_exclue": 1116, "texte": "representation of movement.... for\nhere in the movement of the limbs\nis given the swiftness and necessity\nof the impelling thought itself, much\nmore than a history of action sub=\nsequent to thought.\nThere is a close connection be=\ntween sculptures and dancing; not\nmerely inasmuch as certain images\nrepresent dancing gods (Shiva, Kri=\nshna, etc), but because the Indian\nart of dancing is primarily one of\ngesture, in which the hands play a\nmost important part.\nThe special symbolism of the\nhands (mudra) has been already\nalluded to ; but only a complete\nknowledge of the language of\ndance gesture would, prepare the\nstudent to fully interpret the sculp>\ntures.\nFour positions of the hands pho=\ntographed from a bayadere of Tan=\ngore are given here as examples,\nthe figs. 9=12 signifying respectively\na deer, Krishna's raising Mount\nGovardhan, Vishnu's Garuda, and a\nbed. (1)\nx? By means of this concrete gesture\nlanguage the dancer is enabled to\ngive long descriptions of the gods,\nespecially the incarnations of Vishnu,\nand to express every possible sen-\ntiment (rasa).\n(1) See plate facing this page"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c059", "article_bluemountain": "bmtnaau_1914-01_01#c059", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "272", "page_fin": "272", "image_debut": 94, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.24.8", "titre_corps": "VISVAKARMA. Examples of Indian Architecture, Sculpture, Painting, Handicraft, chosen by Ananda Coomaraswamy", "titre_sommaire": "VISVAKARMA. Examples of Indian Architecture, Sculpture, Painting, Handicraft, chosen by Ananda Coomaraswamy", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.94", "debut_caractere": 1118, "fin_caractere_exclue": 1491, "texte": "VISVAKARMA. Examples\ndian Architecture, Sculpture,\nPainting, Handicraft, chosen by\nAnanda Coo mar as wa my. Luzac.\nPrice two shillings and sixpence\na number.\n•Qf this series of fine plates we can\nbut repeat what has been said of\nDr Coomaraswamy's other book on\npage 270. It Is a publication which\nno one in search of force, of youth,\nand of supreme Art. can afford to\nmiss."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c060", "article_bluemountain": "bmtnaau_1914-01_01#c060", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "272", "page_fin": "n. p.", "image_debut": 94, "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=bmtnaau191401-01.2.24.9", "titre_corps": "Korean Folk Tales, Translated by James S. Gale", "titre_sommaire": "Korean Folk Tales, Translated by James S. Gale", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.94", "debut_caractere": 1493, "fin_caractere_exclue": 2175, "texte": "Korean Folk Tales, Translated\nby James S. Gale. Dent. Price\nthree shillings and sixpence\nnet.\nTThis collection of tales of Imps,\nGhosts and Fairies is now trans=\nlated for the first time from the\nKorean of Im Bang, who was born\nt\nin 1640 and of Yi Ryuk who lived\nabout the middle of the fifteenth\ncentury.\njg? It is recommended to the notice of\nall students of Folk Lore and those\nwho would \" like to look some what\ninto the inner soul of the Oriental,\nand see the peculiar spiritual exls=\ntences among which he lives, \" since,\nof all this, as the translator tells us,\nthese stories \" will serve as true\ninterpreters, born as they are of\nthe three great religions of the\nFar East. \""}]}, {"article_id": "bm-bmtnaau-1914-01-01-c061", "article_bluemountain": "bmtnaau_1914-01_01#c061", "volume": "bmtnaau_1914-01_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": 95, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.24.9.1", "titre_corps": "Argument or Discussion \"Do not fear! \"", "titre_sommaire": "Argument or Discussion \"Do not fear! \"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 95, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.95", "debut_caractere": 0, "fin_caractere_exclue": 38, "texte": "Argument or Discussion \"Do not fear! \""}]}, {"article_id": "bm-bmtnaau-1914-01-01-c062", "article_bluemountain": "bmtnaau_1914-01_01#c062", "volume": "bmtnaau_1914-01_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": 95, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.24.9.2", "titre_corps": "Hands of a Dancing girl", "titre_sommaire": "Hands of a Dancing girl", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 95, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.95", "debut_caractere": 40, "fin_caractere_exclue": 145, "texte": "Hands of a Dancing girl\n9. A Deer.\n10. Krishna's raising Mount Govardhan.\n11. Vishnu's Garuda.\n12. A Bed."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c063", "article_bluemountain": "bmtnaau_1914-01_01#c063", "volume": "bmtnaau_1914-01_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": 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=bmtnaau191401-01.2.24.9.3", "titre_corps": "\"The Pose of Kingly Ease\"", "titre_sommaire": "\"The Pose of Kingly Ease\"", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.97", "debut_caractere": 0, "fin_caractere_exclue": 25, "texte": "\"The Pose of Kingly Ease\""}]}, {"article_id": "bm-bmtnaau-1914-01-01-c064", "article_bluemountain": "bmtnaau_1914-01_01#c064", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "264", "page_fin": "264", "image_debut": 84, "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=bmtnaau191401-01.2.25", "titre_corps": "Diagram of stage arrangement in the showing also the position of", "titre_sommaire": "Diagram of stage arrangement in the showing also the position of", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 84, "page_imprimee": "264", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.84", "debut_caractere": 62, "fin_caractere_exclue": 811, "texte": "Diagram of stage arrangement in the showing also the position of\nthe audience.\nOn the stage the chorus is represented by crosses, the leader of the\nchorus marked by an x surrounded by a circle.\nThe numbers I and II represent the positions during most of the action\nof the leading actors.\nI represents the shite.\nII represents the waki.\nThe encircled numbers show the positions of the musicians, who are\nstationary during the piece.\ni. The taiko player. a. The otsuzumi player.\n3. The kotsuzumi player. 4. The fue player.\nThe squares at the front of the stage represent the two pillars supporting\nits roof.\nTh.s design 0; the No stage, and the plate facing it are from Mrs Stopes Book \" Plays of Old Japan\" by kind\npermission of Mr William Heinemann."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c065", "article_bluemountain": "bmtnaau_1914-01_01#c065", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "264", "page_fin": "264", "image_debut": 84, "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=bmtnaau191401-01.2.25.1", "titre_corps": "Diagram of the stage arragnement of the No", "titre_sommaire": "Diagram of the stage arragnement of the No", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 84, "page_imprimee": "264", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.84", "debut_caractere": 0, "fin_caractere_exclue": 60, "texte": "Reproduced by permission of the Royal Society of Literature."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c066", "article_bluemountain": "bmtnaau_1914-01_01#c066", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "273", "page_fin": "275", "image_debut": 99, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.26", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.99", "debut_caractere": 0, "fin_caractere_exclue": 22, "texte": "FOREIGN NOTES.\n\nLEEDS."}, {"page_pdf": 100, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.100", "debut_caractere": 2111, "fin_caractere_exclue": 2117, "texte": "PARIS."}, {"page_pdf": 101, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.101", "debut_caractere": 1043, "fin_caractere_exclue": 1052, "texte": "FLORENCE."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c068", "article_bluemountain": "bmtnaau_1914-01_01#c068", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "273", "page_fin": "274", "image_debut": 99, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.26.2", "titre_corps": "LEEDS", "titre_sommaire": "LEEDS", "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": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.99", "debut_caractere": 16, "fin_caractere_exclue": 22, "texte": "LEEDS."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c069", "article_bluemountain": "bmtnaau_1914-01_01#c069", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "273", "page_fin": "274", "image_debut": 99, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.26.2.1", "titre_corps": "Haste and 44 New \" Methods", "titre_sommaire": "Haste and 44 New \" Methods", "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": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.99", "debut_caractere": 24, "fin_caractere_exclue": 1706, "texte": "Haste and 44 New \" Methods.\nJMI r Martin Harvey was here a short\nwhile ago and gave us some good\nevenings' entertainment, for he is a\ncapable actor.\n£? The \" Mercury \" representative\ndrew him out upon the questions of\nStage Art, when he had a chat on\nthe value of simplicity,... a nice little\nsubject to have a pleasant chat\nabout.\nMr Harvey said that It was difficult\nto state a time for the rise of this\nnew movement, (\" I could not say\n%\namen when they did say God bless\nus... Amen stuck In my throat\"), (i)\nBut some of us could tell the\n4* Mercury's \" representative when\nMr Harvey began to see that the\nmovement was a real one and worth\nfollowing!\nUnfortunately Mr Harvey seems,\naccording to the Leeds \"Mercury,\" to\nbelieve that the new staging is a\nmethod. We could remind him that\nIt is something else. Methods are\nuseful to artists, and especially va=\nluable to an artist is a method he\nhas invented. But there have always\nbeen too many journeymen, who\nIgnorantly try each 44 new \" method\nas it reappears, hoping the method\nwill supply the lack of divine mad=\nness which is not theirs.\nThus there were plenty of sculptors\nin the sixteenth century who tried to\ncatch the Michael Angelo \"method\",\nof painters who tried to catch th--*\nLeonardo \" method, \" of goldsmith\nwho tried to catch the Cellini\n\" method, \" ...and caught it badly.\nAgain, it was stated only a few\nyears ago that there was an Irving\n44 method\" and a Whistler \"method \",\nand many a young actor and painter\nthought he knew it.\nAnd now there is a great deal of\nvery loose talk amongst It,\nalas, Mr Harvey's), concerning the\nnew 44 method \" of the Art of the\nTheatre.\n& We are told by Gordon Craig\n\n(lj Macbeth."}, {"page_pdf": 100, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.100", "debut_caractere": 16, "fin_caractere_exclue": 2109, "texte": "that it is far too early to talk of\nresults,... of methods,... of Reforms...\nof the \" new way \".\n\" Whichever one of you, \" says\nhe. (i) \" goes farthest and takes lon-\ngest, I will wait for and with him \"\n\" If like Nature we could wait and\nwait with belief in the final ascen-\nsion of all things, then you would\nwait with me even as I promise you\nI shall always wait with you. \"\nNot many of Gordon Craig's dis-\nciples, followers or imitators realise\nthe difficulties of the task which he\ntells us is before them and him, or\nthey would, one would think, consult\nlonger with him before rushing on\nand getting killed, would stop to\nthink and feel longer and more\ngrandly before conceitedly guessing\nwrong at the riddle and tumbling\nover the precipice.\nIt cannot be too easy to solve\nthe Riddle, when even Craig, the\nrichest in Ideas, denies himself the\nliberty of coming even slowly to a so-\nlution,... \"It is this \" or \" It is that.\"\nHe catls the activities of his dis-\nciples who act independently of his\nwarnings, \" the frantic and purpose-\nless parody of time and space \".\nHe sees well that time waits for\nhim and for all of us who are patient,\nand that space is something different\nfrom the traditional inch which his\nfollowers \" raise \" the Theatre.\nHe will have no compromise: they\nlive on compromise. He will have\nthe Theatre place Itself at a bound\nin the Heavens. They will have this\ntoo, but only on condition that they\nmay hang round its divine skirts\nas a fringe. \" Poor fellows, why\nshouldn't they ? \" he said to me not\nlong since.\nBut 1 know that he longs to see\nand to find followers who can endure,\nand who can not endure for a short\nor a long period but who only live\nby endurance, live by the fire struck\nfrom them by antagonist forces; who\ngrow in pride as they do in endu-\nrance, and who, thirty years from\nnow shall still cry, \" Not enough,...\nfurther still \".\nAs for those who fear to follow\nhim faithfully as they should do,they\nmight remember Napoleon's Maxim,\n\" It is better to run the risk of\nhaving one master than to have a\nthousand \".\n\n(I) The Mask. Vol. VI. Page 56."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c070", "article_bluemountain": "bmtnaau_1914-01_01#c070", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "274", "page_fin": "275", "image_debut": 100, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.26.3", "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": 100, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.100", "debut_caractere": 2111, "fin_caractere_exclue": 2117, "texte": "PARIS."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c071", "article_bluemountain": "bmtnaau_1914-01_01#c071", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "274", "page_fin": "275", "image_debut": 100, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.26.3.1", "titre_corps": "A Commercial Theatre", "titre_sommaire": "A Commercial Theatre", "signature_source": "G. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.100", "debut_caractere": 2119, "fin_caractere_exclue": 2353, "texte": "A Commercial Theatre.\n\n'T'he Theatre of the Champs Elysees\nhas closed its doors so as not to\nfail. It is wholly a question of money,\nthough I cannot give the figures.\nThe expenses of the building and\ndecoration of the theatre were met"}, {"page_pdf": 101, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.101", "debut_caractere": 16, "fin_caractere_exclue": 1041, "texte": "by a Societe Immobiliere which\nrented the theatre to M. Astruc, and\nwhich still exists. It is the Society\nof \" Commanditaires \",... M. Astruc\nand the members of the Theatre,...\nwhich goes to pieces.\nOf course all this failure and\nwaste of money is the result of\nhaving business men at the head of\nsuch enterprises instead of Artists.\nIt seems to take a long time,\nand a good deal of financial loss\nbefore people begin to realise this.\nOther news is that M. Rouche, of\n\" La Grande,Revue,\" has accepted the\nDirectorship of the Opera. He will\nonly enter upon this office in a\nyear's time. Meantime he will be able\nto work towards, and plan, reforms.\n& M. Rouche has announced his\nintention of taking as musical di=\nrector Camille Chevlllard, the di=\nrector of the * Concerts Lamoureux'.\nThe minister has agreed to this\nnomination,... hence the discontent\nof M. Messager whose dismissal is\nhastened. It is believed, however,\nthat he will remain at the Opera\nuntil the end of his contract; that\nIs to say, for another year.\n\nG. N."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c072", "article_bluemountain": "bmtnaau_1914-01_01#c072", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "275", "page_fin": "275", "image_debut": 101, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.26.4", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.101", "debut_caractere": 1043, "fin_caractere_exclue": 1052, "texte": "FLORENCE."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c073", "article_bluemountain": "bmtnaau_1914-01_01#c073", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "275", "page_fin": "275", "image_debut": 101, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.26.4.1", "titre_corps": "The Sicilians and Loyalty", "titre_sommaire": "The Sicilians and Loyalty", "signature_source": "N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.101", "debut_caractere": 1054, "fin_caractere_exclue": 2391, "texte": "The Sicilians and Loyalty.\nN. L.\nGrasso has been here again\nwith his company of Sicilian\nactors, and left, as ever, the impres-\nsion of his amazing fire and force.\n& The gaps made In his company\nby disloyalty, conceit or intrigue\nhave now been successfully filled,\nand the effect of union and harmo»\nnious cooperation is strong as ever.\nBut it is a pity that fine actors and\ngreat leaders of all kinds are subjec-\nted to so much of this kind of thing,\n*\nand that those working under them do\nnot realise that all fine achievement\nlies in union, not in the fulfilment\nof seperate and selfish aims.\nMadame Mimi Aguglia, now an\ninconspicuous figures in the thea-\ntrica! world, committed an unpar-\ndonable offence when she left Grasso,\nand the success which she might\nhave achieved under his control\nwould have far surpassed any which\nshe can hope to achieve as leader\nof a company of her own.\nWomen are slow to perceive that\nin limitless loyalty to the man who\nhas proved himself great enough to\ndevelop their efforts lies their op-\nportunity of supreme achievement,\nalthough a small number who have\nperceived it give daily proof of the\nfruitfulness of this truth of nature.\n& ...But after all, it is not only\nwomen who, by splitting away,\nweaken causes and enterprises as\nwell as themselves... Has not Nijlnsky\ndeserted the Russian Ballet ?"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c074", "article_bluemountain": "bmtnaau_1914-01_01#c074", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "276", "page_fin": "279", "image_debut": 102, "image_fin": 105, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.27", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "276", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.102", "debut_caractere": 0, "fin_caractere_exclue": 1834, "texte": "EDITORIAL NOTES.\n\nM. LEON BAKST, 1913.\n\"jphis talented painter has been\nspeaking to a representative of\n44 The Daily News and Leader \" and\nthe status of that journal is of course\nsufficient guarantee that what he\nsaid was carefully and exactly re=\nported. Here are some of M. Bakst's\nstatements :\n44 The Theatre of the Future\n44 means the triumph of painting\n44 and its gradual abolition of the\n44 spoken word. \"\nM. Bakst has evidently had a\nquarrel with Signor D'Annunzlo.\nReaders of The Mask from 1908\nwill be quite surprised to hear that\n44 The Triumph of Painting \" is to\nbe celebrated in the future in the\nTheatre, for they know that painting\nis valueless in a theatre.\nThey have also learnt that true\npainters prefer to work anywhere\nrather than In a theatre.\n& As for the 44 abolition of the\nspoken word, \" something touching\nthis subject was broached by Mr\nGordon Craig in 1908 or even earlier.\nIt was the outcome of a long ap=\nprenticeshlp in the Theatre. M.\nBakst, having gone in for Theatricals\nonly quite lately, dashes In with a\ncharming innocence and echoes Mr\nCraig's words,... without having quite\ngrasped their significance.\nM. Bakst is ignorant,., he speaks\nof 44 Dr Meyerhoid's proscenium \"\nas being of no use and as ending\nin failure.\nNow M. Bakst must know quite\nwell that the work of Dr Meyerhold\nis not adequately represented by a\nproscenium, he knows quite well\nthat Dr Meyernold is a regisseur or\nstage manager of a high order.\nM. Bakst should try to speak\nwith respect of those leading men\nwhom he found at work in the\ntheatre when he casually entered\none day into the scenic room of a\ntheatre.\n& M. Bakst also talks of Mr Craig's\n44 art of cubes \". What this can mean\nnone of us can say. We know of no\n44 art of cubes\nM. Bakst continues :\n44 I have done much to abolish\n44 the old spectacle, and I have pro*"}, {"page_pdf": 103, "page_imprimee": "277", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.103", "debut_caractere": 18, "fin_caractere_exclue": 2311, "texte": "44 ved that people no longer listen\n\" to the author. \"\nTo abolish is good sometimes,\nand to prove is always good. But\nM. Bakst has done neither the one\nnor the other. He has made a sen-\nsation, and that is quite an achie-\nvement. And now he threatens to\nbecome notorious,.... and that is\nquite a different matter.\nHis scenic and costume effects,\nallied as they were to the old fa-\nshioned Theatre, were brilliant and\nunique. He now joins the Futurists,\nand becomes one of a crowd.\nListen to the following: ....is it\nnot almost the voice of Slgnor Ma=\nrinettl ? \" The triumphant success\n\" attained by the music-halls and\n44 the cinematographs leads one to\n44 conclude that 11-e spectacle of the\n44 future will be < i a kalaidoscopic\n%\n'• nature... something like a ride in\n\" a motor car or an areoplane, or\n44 a walk amidst a crowd hurrying\n44 along with feverish haste. The\n44 emotions produced among the\n4( spectators at the cinema are a\n\" proof of the defeat of the spoken\n44 word by the picture. There is no\n44 need for it.\nAnd again, 44 Another form of\n44 Intelligence is destined to reign\n44 upon the stage. Formerly Intel-\n' ligence was of a cerebral nature.\n44 In future it will be of a plastic\n44 nature. Great truths, great duties,\n44 follow no beaten track. The thea-\n-44 tre will arrive at great duties,\n44 great truths, by plastic spectacles\n44 without the collaboration of the\n44 man of letters, which is only ir-\n-44 ritating now. \"\nSomething like this we have also\nheard before: it did not originate\nwith M. Bakst.\nt\nIn fact M. Bakst appears to have\ntransformed himself from a skilful\nstringer of beads into a phonograph\nfor repeating the words and Ideas\nof other men,... only unfortunately\nhe garbles or weakens these by a\nmere parrot-like repetition ; and in\nhis mouth the serious and significant\nwords by which men of long practi-\ncal experience and study express\ntheir convictions become the mere\ncatch words, the empty shiboleths\nof a shallow enthusiasm and a vola-\ntile taste.\n\nLE MARIAGE FORCE. jS>\nsee that a real play has been\nacted in London lately.\nJZ? There are few better plays than\n44 Le Mariage Forc£, \" but you must\nhave a company of first-class co-\nmedians to plaj' it.\nFor then happens a strange mi-\nracle,,.. it plays itself.\nIt plays itself:... queer phrase."}, {"page_pdf": 104, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.104", "debut_caractere": 13, "fin_caractere_exclue": 2301, "texte": "This and all such plays play\nthemselves when good comedians\ntake up the game, for a simple\nreason.\n& They, or rather their family,\npractically wrote the play, so the\nwords come spontaneously to their\nlips. To others it is a puzzle what to\nmake of such queer uniiterary scenes.\nTo the actors it all comes naturally :\nthey are but repeating what their fo-\nrefathers the actors before Moli&re's\ntime invented and repeated time\nafter time,\nBefore Moliere's time? Yes, cen-\nturies before.\nThat old Joke about one ear only\nbeing capable of hearing French\nwhereas the other ear is for all other\nlanguages,... that old joke, how old it\nis ! Centuries older than Greece pro-\nbably,... and when it was repeated\nin Athens, in Syracuse, in Rome, in\nVenice and in Paris as the centuries\nrolled on, what other form was\npossible than the one we find writ\ndown in Moliere ? None, of course.\nThe actor has his way of making his\npoint; a simple technique so different\nfrom that of architect and musician.\nExcept that the actor depends on\nsurprise first, on misleading the\nspectator and finally surprising him\ninto tears or laughter, whereas ar-\nchitect and musician do not depend\non surprise ; there is but little of\nit in elther's art and what there Is\nis subservient.\nWill actors also bring it to subser-\nvience in time and not depend on\nit? ...Would anything be gained?\nWhat are the requirements of\nan art before it can pass examination\nand be found Fine ?\nJG/ Think over this question. It was\nput some years ago to you, and\nit will be found In future to be\nrepeatedly put to you until the right\nanswer comes, and then,... eccola!\n....The Fine Art.\nW'e should have liked to see\n\" Le Mariage Force \" in London.\n\nFROM \" GOSSIP REPORT. \"\na number of tilings Mr\nGordon Craig seems to be doing!\nIn Paris, at the Theatre du Vieux\nColombier he seems to have been\nresponsible for the setting of the\nnew play. The \"Pall Mall Gazette\"\nputs it thus: \"Mystery and Dignity\nare lent by the Gordon Craig setting\nof the scenes. It is the first public\nconsecration in Paris of the talent\nof Ellen Terry's son \": and the\n\" Daily News\" says: \"The distinctive\nnote of the enterprise was clearly\nstruck in the mounting, in which\nthe methods of Mr Gordon Craig\nwere employed with moderation,\ningenuity, and admirable effect.\""}, {"page_pdf": 105, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.105", "debut_caractere": 18, "fin_caractere_exclue": 2216, "texte": "In London, too, relative to the\nnewly established Children's Theatre,\nMrs Percy Dearmer, speaking care-\nfully, said, according to the \" Pail\nMall Gazette, \" 44 Quite a number of\nwell-known theatrical people, inclu-\nding Mr Gordon Craig, have lent\ntheir aid in preparing for the great\nday when the Children's Theatre\nopens\nSimilar news of his activities\nreach us from various other places,\nrelative to various other schemes,\n....and, all this without his having\nvisited these places or heard about\nthe undertaking!\nIn fact, were the newspapers to\nbe credited, Mr Craig might well,\nlike Katerfelto, have 44 his hair on\nend at his own wonders \" so many\nand varied are the pies in which\nthe theatre cooks claim he has had\na finger.\nBut why do they set about these\nsilly stories ? Is it the old case of\nJacob and Esau, and are they hoping,\nby hiding their own hands and clai-\nming that the cooking and the voice\nare alike that of another, to win\nthe blessing of the spirit of the\ntheatre, ....(represented in such a\ncase by the spirit of popular success)\non the dish which they have pre-\npared and now serve up upon the\nstage ?\n\nART & THE MIDDLE CLASSES.\njyir Algernon Grelg, in a grand\njumble of ideas, delivered an ad-\ndress to the Liverpool Playgoers on\nthe subject of \"Is it worth while\ngoing to the Theatre?\"\nWhile asserting that \" Art must\nbe governed by autocratic notions, \"\nhe prophesied that \" the middle\nclass man will never be very arti-\nstic \" and proceeded to keep the\nmiddle class man in view all the\ntime: he then separated the 41 very\nartistic circle \" from the circle of\nthe middle class man.\nJZ? He said that the very artistic\ncircle would like a very artistic\nTheatre but that the middle class\nman would not.\nAnd still he kept his eye fixed\non the middle class man.\nJZ? We gather from all this that he\nhad once done the middle class\nsome Injury, for as Seneca and\nTacitus are agreed, 44 It belongs to\nhuman nature to hate those you\nhave injured \".\nj£> 44 It is a tough proposition to\ntackle the middle class \" said the\nlecturer, and much more in the\nsame strain.\nNow what has the Middle \"Class\ndone to Mr Algernon Greig,... or he\nto it... that he takes so much notice\nof that class ?"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c076", "article_bluemountain": "bmtnaau_1914-01_01#c076", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "276", "page_fin": "277", "image_debut": 102, "image_fin": 103, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.27.2", "titre_corps": "M. LEON BAKST, 1913", "titre_sommaire": "M. LEON BAKST, 1913", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "276", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.102", "debut_caractere": 18, "fin_caractere_exclue": 1834, "texte": "M. LEON BAKST, 1913.\n\"jphis talented painter has been\nspeaking to a representative of\n44 The Daily News and Leader \" and\nthe status of that journal is of course\nsufficient guarantee that what he\nsaid was carefully and exactly re=\nported. Here are some of M. Bakst's\nstatements :\n44 The Theatre of the Future\n44 means the triumph of painting\n44 and its gradual abolition of the\n44 spoken word. \"\nM. Bakst has evidently had a\nquarrel with Signor D'Annunzlo.\nReaders of The Mask from 1908\nwill be quite surprised to hear that\n44 The Triumph of Painting \" is to\nbe celebrated in the future in the\nTheatre, for they know that painting\nis valueless in a theatre.\nThey have also learnt that true\npainters prefer to work anywhere\nrather than In a theatre.\n& As for the 44 abolition of the\nspoken word, \" something touching\nthis subject was broached by Mr\nGordon Craig in 1908 or even earlier.\nIt was the outcome of a long ap=\nprenticeshlp in the Theatre. M.\nBakst, having gone in for Theatricals\nonly quite lately, dashes In with a\ncharming innocence and echoes Mr\nCraig's words,... without having quite\ngrasped their significance.\nM. Bakst is ignorant,., he speaks\nof 44 Dr Meyerhoid's proscenium \"\nas being of no use and as ending\nin failure.\nNow M. Bakst must know quite\nwell that the work of Dr Meyerhold\nis not adequately represented by a\nproscenium, he knows quite well\nthat Dr Meyernold is a regisseur or\nstage manager of a high order.\nM. Bakst should try to speak\nwith respect of those leading men\nwhom he found at work in the\ntheatre when he casually entered\none day into the scenic room of a\ntheatre.\n& M. Bakst also talks of Mr Craig's\n44 art of cubes \". What this can mean\nnone of us can say. We know of no\n44 art of cubes\nM. Bakst continues :\n44 I have done much to abolish\n44 the old spectacle, and I have pro*"}, {"page_pdf": 103, "page_imprimee": "277", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.103", "debut_caractere": 18, "fin_caractere_exclue": 2015, "texte": "44 ved that people no longer listen\n\" to the author. \"\nTo abolish is good sometimes,\nand to prove is always good. But\nM. Bakst has done neither the one\nnor the other. He has made a sen-\nsation, and that is quite an achie-\nvement. And now he threatens to\nbecome notorious,.... and that is\nquite a different matter.\nHis scenic and costume effects,\nallied as they were to the old fa-\nshioned Theatre, were brilliant and\nunique. He now joins the Futurists,\nand becomes one of a crowd.\nListen to the following: ....is it\nnot almost the voice of Slgnor Ma=\nrinettl ? \" The triumphant success\n\" attained by the music-halls and\n44 the cinematographs leads one to\n44 conclude that 11-e spectacle of the\n44 future will be < i a kalaidoscopic\n%\n'• nature... something like a ride in\n\" a motor car or an areoplane, or\n44 a walk amidst a crowd hurrying\n44 along with feverish haste. The\n44 emotions produced among the\n4( spectators at the cinema are a\n\" proof of the defeat of the spoken\n44 word by the picture. There is no\n44 need for it.\nAnd again, 44 Another form of\n44 Intelligence is destined to reign\n44 upon the stage. Formerly Intel-\n' ligence was of a cerebral nature.\n44 In future it will be of a plastic\n44 nature. Great truths, great duties,\n44 follow no beaten track. The thea-\n-44 tre will arrive at great duties,\n44 great truths, by plastic spectacles\n44 without the collaboration of the\n44 man of letters, which is only ir-\n-44 ritating now. \"\nSomething like this we have also\nheard before: it did not originate\nwith M. Bakst.\nt\nIn fact M. Bakst appears to have\ntransformed himself from a skilful\nstringer of beads into a phonograph\nfor repeating the words and Ideas\nof other men,... only unfortunately\nhe garbles or weakens these by a\nmere parrot-like repetition ; and in\nhis mouth the serious and significant\nwords by which men of long practi-\ncal experience and study express\ntheir convictions become the mere\ncatch words, the empty shiboleths\nof a shallow enthusiasm and a vola-\ntile taste."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c077", "article_bluemountain": "bmtnaau_1914-01_01#c077", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "277", "page_fin": "278", "image_debut": 103, "image_fin": 104, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.27.3", "titre_corps": "LE MARIAGE FORCE. jS>", "titre_sommaire": "LE MARIAGE FORCE. jS>", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 103, "page_imprimee": "277", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.103", "debut_caractere": 2017, "fin_caractere_exclue": 2311, "texte": "LE MARIAGE FORCE. jS>\nsee that a real play has been\nacted in London lately.\nJZ? There are few better plays than\n44 Le Mariage Forc£, \" but you must\nhave a company of first-class co-\nmedians to plaj' it.\nFor then happens a strange mi-\nracle,,.. it plays itself.\nIt plays itself:... queer phrase."}, {"page_pdf": 104, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.104", "debut_caractere": 13, "fin_caractere_exclue": 1707, "texte": "This and all such plays play\nthemselves when good comedians\ntake up the game, for a simple\nreason.\n& They, or rather their family,\npractically wrote the play, so the\nwords come spontaneously to their\nlips. To others it is a puzzle what to\nmake of such queer uniiterary scenes.\nTo the actors it all comes naturally :\nthey are but repeating what their fo-\nrefathers the actors before Moli&re's\ntime invented and repeated time\nafter time,\nBefore Moliere's time? Yes, cen-\nturies before.\nThat old Joke about one ear only\nbeing capable of hearing French\nwhereas the other ear is for all other\nlanguages,... that old joke, how old it\nis ! Centuries older than Greece pro-\nbably,... and when it was repeated\nin Athens, in Syracuse, in Rome, in\nVenice and in Paris as the centuries\nrolled on, what other form was\npossible than the one we find writ\ndown in Moliere ? None, of course.\nThe actor has his way of making his\npoint; a simple technique so different\nfrom that of architect and musician.\nExcept that the actor depends on\nsurprise first, on misleading the\nspectator and finally surprising him\ninto tears or laughter, whereas ar-\nchitect and musician do not depend\non surprise ; there is but little of\nit in elther's art and what there Is\nis subservient.\nWill actors also bring it to subser-\nvience in time and not depend on\nit? ...Would anything be gained?\nWhat are the requirements of\nan art before it can pass examination\nand be found Fine ?\nJG/ Think over this question. It was\nput some years ago to you, and\nit will be found In future to be\nrepeatedly put to you until the right\nanswer comes, and then,... eccola!\n....The Fine Art.\nW'e should have liked to see\n\" Le Mariage Force \" in London."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c078", "article_bluemountain": "bmtnaau_1914-01_01#c078", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "278", "page_fin": "279", "image_debut": 104, "image_fin": 105, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.27.4", "titre_corps": "FROM \" GOSSIP REPORT. \"", "titre_sommaire": "FROM \" GOSSIP REPORT. \"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 104, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.104", "debut_caractere": 1709, "fin_caractere_exclue": 2301, "texte": "FROM \" GOSSIP REPORT. \"\na number of tilings Mr\nGordon Craig seems to be doing!\nIn Paris, at the Theatre du Vieux\nColombier he seems to have been\nresponsible for the setting of the\nnew play. The \"Pall Mall Gazette\"\nputs it thus: \"Mystery and Dignity\nare lent by the Gordon Craig setting\nof the scenes. It is the first public\nconsecration in Paris of the talent\nof Ellen Terry's son \": and the\n\" Daily News\" says: \"The distinctive\nnote of the enterprise was clearly\nstruck in the mounting, in which\nthe methods of Mr Gordon Craig\nwere employed with moderation,\ningenuity, and admirable effect.\""}, {"page_pdf": 105, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.105", "debut_caractere": 18, "fin_caractere_exclue": 1140, "texte": "In London, too, relative to the\nnewly established Children's Theatre,\nMrs Percy Dearmer, speaking care-\nfully, said, according to the \" Pail\nMall Gazette, \" 44 Quite a number of\nwell-known theatrical people, inclu-\nding Mr Gordon Craig, have lent\ntheir aid in preparing for the great\nday when the Children's Theatre\nopens\nSimilar news of his activities\nreach us from various other places,\nrelative to various other schemes,\n....and, all this without his having\nvisited these places or heard about\nthe undertaking!\nIn fact, were the newspapers to\nbe credited, Mr Craig might well,\nlike Katerfelto, have 44 his hair on\nend at his own wonders \" so many\nand varied are the pies in which\nthe theatre cooks claim he has had\na finger.\nBut why do they set about these\nsilly stories ? Is it the old case of\nJacob and Esau, and are they hoping,\nby hiding their own hands and clai-\nming that the cooking and the voice\nare alike that of another, to win\nthe blessing of the spirit of the\ntheatre, ....(represented in such a\ncase by the spirit of popular success)\non the dish which they have pre-\npared and now serve up upon the\nstage ?"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c079", "article_bluemountain": "bmtnaau_1914-01_01#c079", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "279", "page_fin": "279", "image_debut": 105, "image_fin": 105, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.27.5", "titre_corps": "ART & THE MIDDLE CLASSES", "titre_sommaire": "ART & THE MIDDLE CLASSES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 105, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.105", "debut_caractere": 1142, "fin_caractere_exclue": 2216, "texte": "ART & THE MIDDLE CLASSES.\njyir Algernon Grelg, in a grand\njumble of ideas, delivered an ad-\ndress to the Liverpool Playgoers on\nthe subject of \"Is it worth while\ngoing to the Theatre?\"\nWhile asserting that \" Art must\nbe governed by autocratic notions, \"\nhe prophesied that \" the middle\nclass man will never be very arti-\nstic \" and proceeded to keep the\nmiddle class man in view all the\ntime: he then separated the 41 very\nartistic circle \" from the circle of\nthe middle class man.\nJZ? He said that the very artistic\ncircle would like a very artistic\nTheatre but that the middle class\nman would not.\nAnd still he kept his eye fixed\non the middle class man.\nJZ? We gather from all this that he\nhad once done the middle class\nsome Injury, for as Seneca and\nTacitus are agreed, 44 It belongs to\nhuman nature to hate those you\nhave injured \".\nj£> 44 It is a tough proposition to\ntackle the middle class \" said the\nlecturer, and much more in the\nsame strain.\nNow what has the Middle \"Class\ndone to Mr Algernon Greig,... or he\nto it... that he takes so much notice\nof that class ?"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c080", "article_bluemountain": "bmtnaau_1914-01_01#c080", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "280", "page_fin": "280", "image_debut": 106, "image_fin": 106, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.28", "titre_corps": "A FREQUENT QUESTION", "titre_sommaire": "A FREQUENT QUESTION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 106, "page_imprimee": "280", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.106", "debut_caractere": 0, "fin_caractere_exclue": 1906, "texte": "A FREQUENT QUESTION.\nWHEN ARE WE GOING TO SEE SOME OF GORDON CRAIG'S FINISHED\nWORK ON THE STAGE ? & & & £> &\nMr Craig*s Reply as given in his recent Book.\n\\y®«. you shall have the finished work when 1 have dragged my*ma-\nterials front your million hands which cling to it like tentacles. You\nshall have the finished work when 1 have forced the fools who hinder\neveryone of us artists to realise, that they made a mistake to laugh at\nwhat they had not even the right to praise... to try and misunderstand\nwhat they have not even the power to forget.\nWe and y0u..., we the artist, you the men and women who work...\nwe have been and still are being swindled by the most damnable monster\nthat ever finally found its way into a zoo. Its father was Lazyness, its\nmother Conceit, and it controls London, Paris, Berlin, and New York. It\nhas no sense, no strength, no blood, no brain; yet it has a lot of money...\nand through this money it pretends to strength and sense, and too many\nwomen and men humour its pretensions.\n44 I put woman first, for women could, and won't, settle the fate of\nthis Earth-worm.\n\" Is there a single woman on earth who, reading this, will have the\ncourage to release herself from the tyranny of the almighty and mighty\nweak power of the Dollar ? Is there one woman out of all womankind\nwho can and will put her power to the controlling of this amazing and\ntenth-rate monster ?\nJS/ 44 The Rhine gold, it was a true thing... no fable. So said a woman\nonce to me. So feels many a woman today. Let them remember that\nthere are other true things ...and the truest is that the world looks to\nthem to serve the cause of Beauty before the cause of votes; and that\nthey have it in their power to do so, by destroying the brat Ugliness\nwhich is created solely by the ill-directed power of money.\n44 So will they give new life to the whole world... to the whole world. \"\n\" Towards A New Theatre. \""}]}, {"article_id": "bm-bmtnaau-1914-01-01-c081", "article_bluemountain": "bmtnaau_1914-01_01#c081", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "281", "page_fin": "281", "image_debut": 107, "image_fin": 107, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.107", "debut_caractere": 0, "fin_caractere_exclue": 226, "texte": "HUM\nSOUVENIR.\nA CIS & Q A LA TEA.\nMASQUE OF LOVE\nby Gordon Craig.\nA few copies of this \" Souvenir\nissued in 1902, and now extremely\nrare, may be procured from\nTHE MASK P U\nArena Goldoni. Florence. Italy.\nWRITE FOR PARTICULARS."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c082", "article_bluemountain": "bmtnaau_1914-01_01#c082", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "281", "page_fin": "281", "image_debut": 107, "image_fin": 107, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.30", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.107", "debut_caractere": 228, "fin_caractere_exclue": 630, "texte": "■Bar\nBOOKS.\nOver 1000000 Volumes in stock\nin strictly classified order on every\nconceivable subject. Secondhand at\nhalf=price, New at 25 ojo discount.\nDrama, Elocution, Acts, Plays etc.\nSpecial Department for Music.\nCat. 802 Post Free. State Wants.\nBooks and Music sent on approval.\nAlso Purchased. Best Prices given.\nW. & J. FOYLE.\n121-123 Charing Cross Road.\nLondon W. C.\nTELEGRAMS, \"FOYLIBRA\" LONDON"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c083", "article_bluemountain": "bmtnaau_1914-01_01#c083", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "281", "page_fin": "281", "image_debut": 107, "image_fin": 107, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.31", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.107", "debut_caractere": 632, "fin_caractere_exclue": 937, "texte": "LIVING THEATRE\nPRICE ONE SHILLING NET.\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nRecently\nPublished\nSecond Edition Now Ready.\nOrder through any Bookseller, or from\nThe Society of The Theatre.\n7 , John St Ade Ip hi. London.\nor direct from\nARENA GOLDONI, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c084", "article_bluemountain": "bmtnaau_1914-01_01#c084", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "281", "page_fin": "281", "image_debut": 107, "image_fin": 107, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.32", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.107", "debut_caractere": 939, "fin_caractere_exclue": 1078, "texte": "SCHOOL FOR THE ART OF THE THEATRE\nDirector: E. Gordon Craig.\nSEND POST CARD FOR PARTICULARS.\nTO THE SECRETARY.\n%\nARENA GOLDONI -i FLORENCE."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c085", "article_bluemountain": "bmtnaau_1914-01_01#c085", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "282", "page_fin": "282", "image_debut": 108, "image_fin": 108, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.33", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 108, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.108", "debut_caractere": 0, "fin_caractere_exclue": 613, "texte": "TWO BOOKS ON THE THEATRE.\n• \\\nby Edward Gordon Craig.\nON THE ART OF THE THEATRE.\nHEINEMANN 1911.\nTOWARDS A NEW THEATRE.\nDENT. 1912.\nAFTER THE PRACTICE THE THEORY\n\" Most people begin with theory, and go 0n... if they go 0n... to carry\ntheir theory into practice. Mr. Gordon Craig has done a better\nthing, and, having begun by creating a new Art of the Stage on\nthe actual boards of the Theatre, has followed up his practical\ndemonstration by a Book of Theory, in which he explains what he\nhas done, telling us also what he hopes to d 0.,,\nARTHUR SYMONS ill •' STUDIES IN SEVEN ARTS. \"\nORDER THROUGH ANY BOOKSELLER."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c086", "article_bluemountain": "bmtnaau_1914-01_01#c086", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "282", "page_fin": "282", "image_debut": 108, "image_fin": 108, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.34", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 108, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.108", "debut_caractere": 615, "fin_caractere_exclue": 865, "texte": "FOR THE CHILDREN.\n\"Ein Rieines Buch fur Klein e Leuie \"\nTwenty wood engravings and twenty\nverses by Fritz Endell, &\nThere are only one Hundred and Twenty\ncopies of this book, all are hand-coloured\nby the artist.\nOrder from Job . Aug. Beck. Munch en ."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c087", "article_bluemountain": "bmtnaau_1914-01_01#c087", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "283", "page_fin": "283", "image_debut": 109, "image_fin": 109, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.35", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 109, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.109", "debut_caractere": 0, "fin_caractere_exclue": 587, "texte": "THE GOLDONI BOOKS.\nSKETCH BOOKS* DRAWING 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. &\nThe beauty and charm of these books must be seen to be realized\n*\n\" These are pages to turn and finger with delight:\" covers bright and\nvaried with colour and fresh design ; sizes 4< uncumbersome to the nicest\nhand. \"\n« »\nWrite for particulars to The Mask Publishers'\nARENA GOLDONI, FLORENCE, ITALY"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c088", "article_bluemountain": "bmtnaau_1914-01_01#c088", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "283", "page_fin": "283", "image_debut": 109, "image_fin": 109, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.36", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 109, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.109", "debut_caractere": 589, "fin_caractere_exclue": 852, "texte": "THE FORUM.\nis printing the most brilliant and\nenduring work of the men\nand women who\nbe the classics of\nto-morrow.\nSTORIES : ESSAYS : CRITICISM PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\nMITCHELL\n£ New York & London *>\nThree months trial subscription two shillings"}]}, {"article_id": "bm-bmtnaau-1914-01-01-c089", "article_bluemountain": "bmtnaau_1914-01_01#c089", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "284", "page_fin": "284", "image_debut": 110, "image_fin": 110, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.37", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 110, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.110", "debut_caractere": 0, "fin_caractere_exclue": 645, "texte": "T H E MOSHER BOOKS.\n'\"jpME special literary value of my general Catalogue has given it a unique\nposition in the world of book-snaking for book-lovers.\n& Prom year to year these Catalogues have been issued with the view\nof making known, as no other form of advertising could make known,\nThe Mosher Books and what they represent in up-to-date bookcraft. All\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.\nSent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE."}]}, {"article_id": "bm-bmtnaau-1914-01-01-c090", "article_bluemountain": "bmtnaau_1914-01_01#c090", "volume": "bmtnaau_1914-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "284", "page_fin": "284", "image_debut": 110, "image_fin": 110, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.2.38", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 110, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.110", "debut_caractere": 647, "fin_caractere_exclue": 1424, "texte": "POETRY AND DRAMA\n'T'HE 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. •<& -2? X?\n& The first four numbers of Poetry and Drama are at\npresent in circulation. &\nPoetry 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 15th, 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."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.1", "texte": "OF\nTHE ART OF THE THEATRE\nVolume Six. Number Three\nJANUARY\nI o i 4\nARENA GOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS.\nSINGLE COPY PRICE FOUR SHILLING NE j .\nTRADE AGENTS.\nS/MP K i Nf MARSHALL, HAMILTON. KEN T & CO. LOND O N."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.2", "texte": "THE MASK. JANUARY 1914-\nrT,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. &\nCommunications should be addressed to the Arena Goldoni. Florence. Italy.\n\nLITERARY CONTENTS.\nPAST & FUTURE, YESTERDAY & TOMORROW. John Semar .... 185.\nFUTURISM AND THE THEATRE . . . . Marinetti .... 188.\nON FUTURISM AND THE THEATRE . . . Gordon Craig . . . 194-\nVINCENT VAN GOGH Felix Urban . . . 201.\nA HISTORY OF PUPPETS 44 Yorick \". (P. Ferrigni) . 205.\nPUPPETS IN JAPAN By a Japanese . . . 217.\nPLAINSONG, A Note by 44 Cantor\" . . . . * 221.\nLITTLE STAGES Allen Carrie. . . . 225.\nHAIL! DIVINE ARROGANCE E.Gordon .... 227.\nTHE FIT AND THE UNFIT Gordon Craig . . . 230.\nON LEARNING MAGIC Yoo-no-noo . . . . 234.\nKINGSHIP Gordon Craig . . . 239.\nGUIDING STARS OF THE STAGE. . . . John Semar . . . 245.\nSO MUCH IS CHANCE Allen Carrie . . . 250.\nTHE THEATRE IN WARSAW .... Ernest Mariott . . . 252.\nLETTERS TO THE EDITOR, BOOK REVIEWS, FOREIGN NOTES, EDITORIAL NOTES.\nShort Extracts, Lafcadio Hearn and Nietzsche, 204, 237.\n\nILLUSTRATIONS.\nA GORDON CRAIG CARICATURE . . . Max Beerbohm . (Frontispiece).\nA DRAWING Vincent van Gogh. . 291.\nTHE MUSICIAN Early Italian woodcut . 228.\nTWO WOODCUTS . Early Italian . . . 225, 226.\n44 INDIA'S DARKEST AGE \" A Drawing from the \"Illus-\ntrated London News \" 241.\nPLAN OF THE 44 NO \" STAGE 264.\nTHE JAPANESE 44 NO \" STAGE Face 264.\nEIGHT INDIAN DESIGNS . V. r Face 272."}, {"page_pdf": 4, "page_imprimee": "[184]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.4", "texte": "Max Beerbohm"}, {"page_pdf": 5, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.5", "texte": "PAST & FUTURE, YESTERDAY & TOMORROW.\n\"THE MASK\" AND FUTURISMO.\n\nfter all it is not only today that counts.\n& Yet whenever we see the words Past, Future, Yesterday, Tomorrow,\nwe wag our heads and know what we know. And what we think we\nknow is that Today, Now, is the time of times.\nA.- . , A' '*-'-;\nlt is A time of times,... tomorrow is another,... and yesterday not a\nbit less so, and all the Past wonderful and all the Future magical -, but\nnot one Is ahead of the other, for Time is round like Truth.\n& So it actually comes to this:... that we have no power to quarrel\nwith time. How it flies !... no, seems to fly. Yes, but we don't quarrel\nwith that which runs away from us and will not stop to argue.\nJZ? Yet though it seems we have to accept Time in all its stages there\nis certainly no reason why we should not keep a clear head as to the\ndifferent Times.\na? And to have turned night into day was not clever of us: and now there\nis a'tendency to turn the past into the future, to annex yesterday and\ncall it tomorrow. Your true Futurist is always doing this. Knowing he\ncannot turn the Past into the Future he will anyhow call yesterday\ntomorrow.\nJZ? in this he is at least clever enough to have seen that yesterday is\nnot exactly the past, ...it is too near us to be called that.\n& In this number of The Mask we find a place for Futurism,... Theatre\nFuturism.\nTil! now, except for an extract of Marinetti's Manifesto, which appeared\nin a London halfpenny paper, no translation of this Manifesto which\nwe now print on page 188 has been seen in England."}, {"page_pdf": 6, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.6", "texte": "PAST AND FUTURE, YESTERDA Y AND TOMORRO W.\n\n««The English Review \" would not find a place for it although It\nbelongs far better to that admirable journal than either to The Mask\nor to that famous halfpenny paper in which the extract appeared.\nThose who have read The Mask since 1908 will quickly understand\nwhy we have Included it here, while they will know that a wider or\nmore advanced programme than that laid down by us in 1908 is not\ngoing to appear even by the aid of all the Futurists to come.\nWe planned as widely as we could.\nGordon Craig's design for the furthest future provides us all with\nall the most suggestive flights which imagination will ever want to\nconceive.\nIf the Future moves at all in the grandest direction it must move\nalong the road which he has shown us.\n& There are never two best leaders. There is always only one best.\nThe others all range up in good order behind or fall out of the\nprocession.\nYou, the Readers of The Mask, may rest assured that your leader is\na long way in advance of the latest comers... although the Fashions of\nthe moment always would emphasise the value of being the last comer.\nWhy this is so no one has yet been told.\n& And our leader's chiefest pride Is that he does not and will not leave\ngo of the hand of the theatres of the Past or of Yesterday.\nThey go with him or he will not move.\n& That he loves the old Theatre,... and yesterday's and today's, is\npalpable in every word he writes.\n& That he longs for and relies on the Theatre to bring about its own\nRenaissance is quite clear.\nAnd this attitude of his Is natural to him as he comes from an ancient\ntheatrical family.\n& Other '* Reformers \" who would be leaders so often are tinkering in\nthe rear instead of on the advance owing to the misfortune of having\nno theatre blood and bone.\nThey have \" taken up \" the theatre.\n& It is good for them to have made a start,... but go they never so fast\nnature has placed others in front of them."}, {"page_pdf": 7, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.7", "texte": "PAST AND FUTURE, YESTERDAY AND TOMORROW.\n\nNature has selected Gordon Craig and placed him foremost of all.\nEurope Is under his influence and begins to move \" towards a new\ntheatre \" as he has directed it to move. England, ever shy, and, through\nthis defect, ever liable to make blunders, has not yet availed herself of\nthe unique opportunity she could claim by showing a little more self-\nconfidence.\nBut this is only England's old fault which she is ever a trifle vain\nabout parading.\nMeantime the exploitation of the last comers and the latest things is\ngiving England the little Continental touch of colour she so much longed\nto put on her cheek and on her lip.\n& Yet, when all the latest things have been forgotten, and when the\nyounger generation has sprung a new idea upon us, we shall turn to the\nidea of our leader because of its ever refreshing youth, and because of\nits propelling power.\n& And we shall then find that all the time that Idea has been spreading\nroots and see it growing up towards the sun.\n& And all in spite of apathy, resistance and our English shyness.\n\nJohn Semar."}, {"page_pdf": 8, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.8", "texte": "FUTURISM AND THE THEATRE.\nA Futurist Manifesto by Translated\nfrom the Italian\nIN PRAISE OF THE VARIETY THEATRE.\nby D. Nevile Lees.\n(1)\nhave a profound disgust for the contemporary theatre, (verse,\n, prose and music) because it wavers stupidly between historic recon-\nstruction, (a pastiche or a plagiarism) and the photographic reproduction\nof our daily life.\n& On the other hand we asssiduouly frequent the Theatre of Varieties,\n(Music Halls, Cafe-chantants or equestrian circuses) which today offers\nthe only theatrical spectacle worthy of a truly futurist spirit.\n& FUTURISM EXALTS THE VARIETY THEATRE because:....\ni. The Theatre of Variety, born with us, has not, fortunately, any\nkind of tradition ; neither masters nor dogmas, and nourishes itself upon\nactuality.\n& 2. The Theatre of Variety is absolutely practical because it simply sets\nout to distract and amuse the public with representations of comicality,\nof erotic excitation or of imaginative wonder.\n& 3, The authors, the actors and the machinists of the Theatre of Variety\nhave one sole motive to exist and to triumph: that of incessantly\ninventing new elements of wonder. Hence the absolute impossibility of\nstagnation or repetition ; hence a hot rivalry of brains and muscles so\nas to surpass the various records of agility, velocity, strength, complexity\nand grace.\n4. The Theatre of Variety* being a lucrative medium for innume-\nrable inventive efforts, naturally generates that which I call Futurist\n\" marvellousness \" produced by modern mecchanism. One finds there\nat one and the same time: powerful caricatures; depths of absurdity;\nimpalpable and delicious Ironies; bewildering and definite symbols,\ntorrents of uncontrollable hilarity, profound analogies between humanity,\nthe animal world, the vegetable world and the mechanical world ; con-\nclusions of revealing cynicism, the net works of witty sayings, puns and\nriddles which serve agreably to let in fresh air upon the intelligence,\n\n/lj The first unabridged English translation, By permission ol Marinetti & Papini,"}, {"page_pdf": 9, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.9", "texte": "FUTURISMO AND THE THEATRE.\n\nal! the gamut of the laugh and smile to stretch the nerves: all\nthe gamut of stupidity, imbecillity, blockishness and absurdity which,\nInsensibly, push to the very border of madness: all the new signifi-\ncations of light, of sound, of noise and of speech, with their my-\nsterious and inexplicable prolungations in the most unexplored centres\nof our sensibility.\n5. The Theatre of Variety is today the crucible In which are stirring\nthe elements of a new sensibility which is coming into being. Therein is\nfound the ironic decomposition of all the ruined prototypes of the Beautiful,\nthe Great, the Solemn, the Religious, the Ferocious, the Seductive and\nthe Terrible, and also the abstract elaboration of the new prototypes\nwhich shall succeed to these.\nThe Theatre of Variety is thus the synthesis of all that which humanity\nhas up till now refined in Its own nerves so as to divert itself in laughing\nat material and moral suffering; it is, besides that, the ebullient fusion of\nall the laughter, of all the smiles, of all the jeers, of all the contortions,\nof all the raillery of future humanity. Therein may be tasted the gaiety\nwhich will move men a hundred years hence, the researches of their\npainting, of their philosophy, their minds and the upward springing of\ntheir architecture.\n6. The Theatre of Variety offers the most hygienic of all performances\nowing to its dinamism of form and colour (simultaneous movement of\njugglers, dancers, gymnasts, varicoloured riding troupes). With its rhythm\nof swift and langourous dance the Theatre of Variety forcibly draws the\nslowest souls from their torpor and constrains them to run and leap.\nIt is, in fact, the only theatre in which the public does not remain\ninert like a stupid onlooker, but noisily participates in the action, Itself\nsinging, accompanying the orchestra, communicating with the actor with\nunexpected quips and extravagant dialogues.\nThe action is carried on at the same time on the stage, in the boxes\nand in the pit. It then continues at the end of the performance, among\nthe battallions of admirers, sugary youths who crowd at the stage door\nto dispute the star, final double victors;... a chic supper and bed.\n7. The Theatre of Variety is an instructive school of sincerity for the\nmale, because it strips from the woman all veils, all the phrases, all"}, {"page_pdf": 10, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.10", "texte": "FUTURISMO AND THE THEATRE.\n\nthe sighs, all the romantic sobs which deform and mask her. It brings\ninto prominence, instead, all the admirable animal qualities of the\nwoman, her powers of capture, of seduction, of perfidy and of re»\nsistence.\n& 8. The Theatre of Variety is a school of heroism by reason of the\ndifferent records of difficulty to overcome and efforts to be surpassed which\ncreate upon the stage the strong and sane atmosphere of danger. (For\nexample, \" Looping the loop \" on a bicycle, in a motor car, on horseback).\n& 9. The Theatre of Variety Is a school of cerebral subtlety, complication\nand synthesis by reason of its clowns, conjurers, thought readers, lightning\ncalculators, mechanicians, imitators and parodists, Its musical jugglers\nand its eccentric Americans, whose fantastic pregnancies bring forth\nincredible objects and mecchanisms.\n10. The Variety Theatre is the only school which one can recommend\n*\nto adolescents and young men of talent, because it explains in an incisive\nand rapid manner the most mysterious problems and the most complicated\npolitical events.\n& For example: a year ago, at the Folies Bergfcre, two dancers were\nrepresenting the wavering discussions of Cambon with Kinderley-Watcher\non the question of Marocco and the Congo, by means of a symbolic and\nsignificant dance which was worth at least three years of study of foreign\npolitics. The two dancers, turned towards the public, their arms interlaced,\nthe one close beside the other, went on making reciprocal concessions\nof territory, leaping forwards and backwards, to right and to left, without\never detaching themselves the one from the other, each keeping his eye\nfixed upon the object in view, which was, each to entangle the other in\nturn. They gave an impression of extreme courtesy, of skilful vacillation,\nof ferocity, of diffidence, of obstinacy, of meticulousness unsurpassibly\ndiplomatic.\nBesides, the Theatre of Variety explains and luminously illustrates\nthe dominant laws of life:\n(a) the interweaving of divers rhythms.\n(b) The fate of lies and contradictions (example; English double\nfaced dancers; shepherdess and terrible soldier).\n(c) the synthesis of velocity plus transformations, (example, Fregoli)."}, {"page_pdf": 11, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.11", "texte": "FUTURISMO AND THE THEATRE.\n\n(d) the formation and disintegration of minerals and vegetables;\n(the blossoming forth and disappearance of luminous advertise-\nments are a most effectual illustration of this).\n11. The Theatre of Variety systematically depreciates ideal love and\nits romantic obsession, repeating to satiety, with the monotony and au=\ntomaticity of a daily business; the nostalgic languors of passion. It ex=\ntravagantly mechanicalises sentiment, depreciates and healthily scorns\nthe obsession of carnal possession, abases voluptuousness to the natural\nfunction of coition, deprives it of all mystery, of all anguish and of all\nanti-hygienic idealism.\n» /\nThe Theatre of Variety gives instead the sense and the taste of easy\n«\nlight and ironic loves. The spectators of the open air cafe-chantants on\nthe terraces of the Casinos afford a most amusing contest between the\nspasmodic moonlight, tormented by infinite griefs, and the electric light,\nwhich strikes violently upon the false jewels, the rouged flesh, the many-\ncoloured little skirts, the velvets, the spangles and the false red of the\nlips. Naturally the energetic electric light triumphs, and the soft and\ndecadent moonlight is put to rout.\n& 12. The Theatre of Variety Is naturally anti-academic, primitive and\ningenuous, hence the more significant owing to the unexpectedness of its\nresearches and the simplicity of its means. (Example), the systematic\nturn of the stage which the chanteuses make, at the end of every\ncouplet, like wild beasts in a cage.\n13. The Theatre of Variety destroys the Solemn, the Sacred, the\nSerious, the Sublime of Art with a capital A. It collaborates in the\nfuturist destruction of the immortal masterpieces, plagiarising them,\nparodying them, presenting them just anyhow, without scenery and\nwithout compunction just as an ordinary \" turn.\" Thus we approve\nunconditionally the execution of \" Parsifal \" in forty minutes which is\nIn preparation for a large London Music-hall.\nJZ? The Theatre of Variety destroys all our conceptions of time and of\nspace, (example, a little doorway and gate 30 centimetres high, isolated\nIn the middle of the stage, and through which certain eccentric Americans\npass, opening it, and repass, shutting it, in all seriousness, as if they\ncould not do otherwise)."}, {"page_pdf": 12, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.12", "texte": "FUTUR/SMO AND THE THEATRE.\n\n& l4> The Theatre of Variety offers us all the * records' attained hitherto:\nThe greatest equilibristic, and acrobatic feats of the Japanese, the greatest\nmuscular frenzy of the negroes; the greatest development of the intei=.\nligence of animals, (trained horses, elephants, seals, dogs, birds); the\nhighest melodic inspiration of the Gulf of Naples and of the Russian\nsteppes, the supreme Parisian spirit, the supreme force, in comparison\none with another, of the different races, (wrestling and boxing), the\ngreatest anatomical monstrosity, the greatest beauty of women.\njZ? 18. The Theatre of Variety offers, in short, to all countries which\nhave not one great unique capital, (like Italy) a brilliant resume of\nParis considered as the sole and obsessing home of ultra-refined volup=\ntuousness and pleasure.\nFuturism wishes to perfect the Theatre of Variety, by transforming\nit into,\nTHE THE A TRE OF WONDE AND OF RECORD.\n1. It is necessary absolutely to destroy all logic in the spectacles in\nthe Theatre of Variety, to exaggerate noticibly its extravagance, to multiply\ncontrasts and to make the improbable and the absurd reign as sovereigns\non the stage. (Example ; oblige the singers to paint their bare necks,\ntheir arms, and especially their hair in all the colours hitherto neglected\nas a means of seduction. Green hair, violet arms, azure breast, orange\nchignon, etc, To interrupt a singer, making her continue with a revolu-\ntionary or anarchistic discourse. To sprinkle a romanza with insults and\nbad words.\n2. To prevent any kind of tradition establishing itself in the Theatre\nof Variety. For that reason to oppose and abolish the Parisian \" Revues \"\nwhich are as stupid and tedious as the Greek tragedy; their 'Compere'\n<\nand ' Commdre' which exercise the function of the ancient chorus, and\ntheir procession of political personnages and events, distinguished with\nwitty sayings, by a most fastidious logic and concatenation. The Theatre\nof Variety ought not to be, in fact, that which unfortunately it is today,...\nalmost always a newspaper, more or less humourous.\n& 3. To make the spectators of the pit, the boxes and the gallery take\npart in the action. Here are a few suggestions: put strong glue on some\nof the stalls, so that the spectator, man or woman, who remains glued"}, {"page_pdf": 13, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.13", "texte": "FUTURISMO AND THE THEATRE.\n\ndown, may arouse general hilarity, (the damaged dress»coat or costume\nwill naturally be paid for on going out), (i)\nSell the same place to ten different people; hence obstructions,\narguments and altercations, (a)\n& Offer free seats to ladles and gentlemen notoriously whimsical,\nIrritable or eccentric, calculated to provoke disturbances by obscene\ngestures, nudges to the women, and other eccentricities.\nSprinkle the stalls with powders which produce itching, sneezing, etc.\n4. Systematically prostitute the whole classic art upon the stage,\nrepresenting, for example, in a single evening all the Greek, French and\nItalian tragedies, condensed and comically mixed up.\nEnliven the works of Beethoven, Wagner, Bach, Bellini, Chopin, by\nintroducing into them Neapolitan songs. Put side by side upon the stage\nZacconi, Duse and Mayol, Sarah Bernhardt and Fregoli. (3)\nExecute a Beethoven symphony backwards, beginning with the last\nnote. (4)\nReduce the whole of Shakespeare to a single act. (5) Do the same with\nthe other most venerated actors. Have 44 Ernani \" performed by actors\ntied up to the neck In so many sacks. Soap the boards of the stage, to\nproduce amusing tumbles In the most tragic moment. (6)\n5. Encourage in every way the genre of the American Eccentrics,\ntheir effects of exalting grotesque, of terryfying dinamism, their clumsy\nfinds, their enorhious brutalities, their waistcoats full of surprises and\ntheir pantaloons deep as the holds of ships, from which issue forth, with\nthousands of other things, the great Futurist hilarity which is to\nrejuvenate the face of the world.\nBecause, do not forget, we Futurists are of the 44 fiery young\nwarriors \" (7) as we proclaimed in our manifesto, 44 let us kill the\nmoonlight \".\n\n(1) Yet somehow I hardly see this beiag done twice to the same public.\n(2) Haven't we already once too often pulled grandma's chair a-way from her just as she was sitting down?\n(3) Who will do the putting? ...Don't ail speak at once I\n(4) And then. .?\n(5) And Marinetti's farces reduced to a single phrase,... what?\n(6) More than usually considerate 1\n(7j Uno... due... tre,... fire I"}, {"page_pdf": 14, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.14", "texte": "ON FUTURISMO AND THE THEATRE.\nSome Notes\nby Gordon Craig.\n'\"phe Futurists care not a jot what we think of their proposals ....Good\nthen:.... let us to the point.\n& The Futurist Theatre, as proved by Signor Marinetti's manifesto, is\nthe Variety Stage of Today, slightly altered.\nBefore going further let me correct a possible misapprehension.\nMy readers and my followers judge me to be a serious man with all\nmy seriousness awakened when speaking of the Theatre, or writing for\nor in the Theatre.\n& In that they are right. I live the Theatre, and I worship it. For me\nno religion could be dearer and 1 am concerned with nothing else.\nI would have all the Artists of the Theatre sitting beside the Saints;\nbut a saving sense of humour reminds me that Saints as we have heard\nof them are beings who seldom are known to be good=mannered enough...\nhuman or saintlike enough... to rise and make way for an exceptional\nactor or sinner... no, nor an ordinary one.\n& By an ordinary one 1 mean a \"popular\" one... a conventional sinner...\na sinner who appeals to our native sentiment.\n& And as all the seats in the dress circle seem packed, and no opening\npromises for a sinner, how far less likely is it that an unknown Artist\nof the Theatre could ever find a place there I\nSo I put out of my mind the old, or rather, young fancy, born at a\ntime when one is lightly turning to thoughts of love, that any of my\ncalling will ever enter the realms of Heaven.\n& To be anywhere but in the front row of Heaven is out of the question\nso far as my friends are concerned. I don't know a man amongst them\nwho would be content merely to carry a banner.\nNo. If frescoes show us the elect all to the fore, and also show us\nthat Dante, Raphael, Beethoven and Virgil and other artists are of the\nelect and are given precedence over many an unknown great and good\nman, we of the lowly Theatre art and craft were best left out of it\naltogether... and for all time.\n& We will create a Heaven upon earth for ourselves,... that it may be\nshareable and shared by all people... even the elect."}, {"page_pdf": 15, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.15", "texte": "FUTURISMO AND THE THEATRE.\n\nThis much I am forced to say gaily and seriously on behalf of all\nthose of us who worship the Theatre as I do.\nit is our Heaven... and our He 11... our life and our happiness. We are\nvery proud of it, both as it is and as it will be... if it be as we hope.\nAnd our hope is what the Futurists tell us they hope.\n& But they do less than hope; they announce.\nWith them the task is not difficult for they announce what is... and\nwhat has been, not what is to come.\n& They announce a New Theatre... the Theatre of the Future, and then\nthey describe it piece by piece.\nWe have read the description.\nAnd what they have described is one of today's Theatres.., the Variety\nTheatre.\nI exaggerate in their favour a little, for to be more strictly true, it\nwas the Theatre of last night.\n& Now it is time to come to the correction 1 spoke of as I began this\nnote.\n& 1 want for the sake of some of my readers to correct the impression\nthat I am one of those \" serious \" men whose life Is one level and\nmonotonous round of \" seriousness. \"\nHad I been such a man I should not have been ready to appreciate\nSlgnor Marinetti's Manifesto at its full worth.\n& \" Serious \" men never go to a variety show.\n& 1 do. I used to go very often... till 1 could not afford it. I then slipped\ninto the very bad habit of asking for a \"free pass.\" I soon dropped\nthis detestable habit, and have ever since paid for my seats.\nWhile there are many actors and theatre men who pay for their seats,\nvery many do not do so and my only reason for mentioning the fact here,\nis, that it Is the very first necessity for being in a just position to judge\nfairly of the work done in a Music Hall.\n& I now go very often to a Variety Theatre and to the Cinematograph;\nto watch how the conditions of these two places of amusement vary\nis of considerable interest to me... and besides this I enjoy myself\nthoroughly.\nSo, now that 1 have explained how it comes to pass that 1, who am held"}, {"page_pdf": 16, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.16", "texte": "FUTURISMO AND THE THEATRE.\n\nto be the High Priest ol the High Art Theatre... the Palace Beautiful,,,\nand so forth, am fitted to speak of this Futurist Manifesto and of the\nPalace of Prostitution, 1 can proceed to take some parts of the Manifesto\npiece by piece, and show that It Is ** far back,\" as they say in the States.\nI shall afterwards attempt to show you that the real Theatre of the\nFuture Is to be nothing less than a very serious and splendid thing\nindeed... that or nothing.\nj2? While doing this 1 want you to remember that it Is not essential to\nour understanding In any way to mistake the Futurists as a band of\nwild madmen or silly fools. They are neither, They are quite serious\nand strong fellows, If rather old in heart. As that is the fault of their\nancestors and not their fault let us not attempt to raise a laugh. It Is\nfar too serious for that.\nAnd let us speak as lightly as possible about the surface of this\nmovement, and if we speak let it be among ourselves and for ourselves.\nThe Futurists are at their work: let us not disturb them.\n& The Futurist Manifesto Is the most impertinent piece of ignorance\nthat ever a set of courageous and frisky young men trumped up to\ndeceive themselves with while occupied with other and more profound\nthoughts: I will consider a point or two here and there.\n& The Manifesto opens with these words: \"We have a profound disgust\nfor the contemporary theatre. \"\nThis Is an ill-judged statement. It is not the most difficult thing in\nthe world to have a profound disgust for something which does not\nbelong to us, something to which we are not related, and with which\nwe have no connection whatsoever. I have heard of a fox that had the\nmost profound disgust for the grapes of a certain vineyard to connection\nwith which he could make no claim other than that it was contempora-\nneous with his little life. That vineyard is probably still bearing fruit;\nand the F0x...? Yes, it was an 111-judged remark of Signor Marinetti's\nto say that he had a \" profound disgust for the contemporary theatre.'\nI pass to the second passage: \" On the other hand we assiduously\nfrequent the Theatre of Varieties,... which today offers the only theatrical\nspectacle worthy of a truly Futurist spirit. \"\n<£/ That's j011y!... Never in my life have I seen a Futurist at a Variety"}, {"page_pdf": 17, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.17", "texte": "FUTURISMO AND THE THEATRE.\n\nshow! I can understand that to frequent the Theatre of Varieties can\nbe inspiring to the Futurist, especially if he be writer or painter, and we\nhave seen what the inspiration has brought forth. Futurist painting is,\n1 gather, the apotheosis of the spotlight. But to frequent the Theatre of\nVarieties so as to produce the fifteen clauses of the Manifesto proves\nthat this round-about method was peculiarly uninspiring, and it is for\nthis reason that the thing is just up to date.... and advances no further.\nClause i of the Manifesto tells us that \" The Theatre of Varieties,\nborn with us, has not, fortunately, any kind of tradition; (this is\nincorrect; it is as old as the valleys). It continues, \"neither masters nor\ndogmas,\" (This is also incorrect, as witness this dogmatising Manifesto\nwhich lays down the law \"thou shalt have no other gods but s/re\"). \"and\nnourishes itself upon actuality (once more incorrect. It nourishes\nitself upon an actuality. I leave the masculine reader to complete my\nthought.)\nThe remaining fourteen clauses are not ail so full of errors as this\nfirst one, and, indeed, are suggestive to anyone who is not a \" profes-\nsional \".\n& To the professional the whole Manifesto will possibly come rather as\na shock, and some may even resent the suggestion in clause is that\nFuturismo thinks It can \"perfect\" the Theatre of Variety by \"trans-\nforming \" it from what it is set out to be in clauses 2 to 14 into a\n\" Theatre of Wonder and Record \". But why should the Futurist wish to\n\" transform \" that which he asserts is so good as it is ? ...and music hall\n\" artists \" like to think they are doing their best. In fact in the new\nproposals we are forced into a reminiscence of the kind advice of those\n\" friends \" from whom we so often pray HeaVen to save us.\nWhether such theoretical suggestions can in any way bring help to\nan organism so powerful and practical as the modern Variety Theatre\nhas yet to be seen.\nIn clause 13 we are told that the Theatre of Variety \" destroys all our\n\" conception of time and space \" (example, a little doorway and gate\n\" 30 centimetres high, isolated in the middle of the stage, and through\n\" which certain eccentric American clowns pass, opening It, and repass,\n\" shutting it, in all seriousness,'as if they could not do otherwise.\""}, {"page_pdf": 18, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.18", "texte": "FUTURISMO THE THEATRE.\n\n£? This Is incorrect: only last night 1 was at a circus and saw two\nclowns making use of this very isolated little gate thirty centimetres\nhigh. If it failed to destroy even the slight conception a human king has\nof time and of space, it succeeded in annihilating this conception of the\nFuturists. No more unfortunate example could have been chosen by\nSignor Marlnetti.\n& Finally, 1 do heartily approve of this queer grim Manifesto: just as\nI prefer even the \"vulgar\" side of the Variety Theatre to the \"polite\"\nveneer of the legitimate stage. If mere \" vulgarity \" is outrageous, mere\npoliteness Is hopeless.\nFuturismo in the Theatre can do no harm. More room for it, then.\nLet it go 0n.., It must go 0n... we must get over it.\n& And It was a courageous sacrifice, and Marinetti and his friends\nwill one day be held In esteem. For Marinetti is in grim earnest about\nsomething.\n& Signor Marinetti knows what he wants: he wants to stir up\neverything, and we ought to hope that In spite of giving so much of\nhis time to politics, religion, and the other arts he will still have\na few hours a month to spare to the study of this by no means\neasy art of ours and a share of attention for the questions relating to\nits practise.\n& If our programme laid down more than seven years ago seems to\nhave excluded the suggestions of the Futurists, it was only that we were\nunable to allow ourselves to \" take sides. \" Party politics are necessary,\nbut we needed not to make use of them.\nMarinetti, digging frantically yet most gallantly with his spade, must\nimpel others to the same task. He turns sapping Into a fine art. Talking\nis thrown away on a man occupied with a spade and the soil. Stand\naway,... or take up a pick and lend a hand.\nEPILOGUE.\nI 'm bit of a Revolutionary myself. Not to be in the fashion, 1 revolt\nagainst Revolt.\n& I believe 1 want Order, and Obedience to be as natural as chaos and\ndisloyalty."}, {"page_pdf": 19, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.19", "texte": "FUTURISMO AND THE THEATRE.\n\n1 have said what 1 had to say about revolting from the chaotic state\nof the modern theatre, (i)\n& And what I have said will be understood by some one before long.\nThe rest will have to obey this someone, and that Obedience will\nstand for as much as understanding. I announced the return of the Über\nMarionette or Idol, and the exodus of the actor from the Theatre, and I\nrepeat it.... the Über Marionette is inevitable. The actor of sense will\nunderstand me. He knows. He is of my family. No particular of my\nprogramme excludes him, even if it reorganizes many of his present\nduties and provides for all accidents waiting to scare him. When the\ntime comes his place is secure.\nAnd the Cinematograph ?\n\" Some day \" a writer has just announced, ** we shall demand the\n\" Terrible and the Grandiose; we shall not need the Über Marionette;\n\" we, with the kinema will focus actors any size and aid them by subtle\n*' light and curious lines in scenery \". (2)\nWe,... three we's,... a triple alliance !!!\nSo that seems assured.\n& But I assure you, my dear ' We,' that the Idol will outlive all the\nkinemas in the w0r1d,... will outlive modern youth too, till it becomes\nyoung once more,... and, what is more, will actually outlive PARIS and\nthe Feminist movement, the city and the great whore of Babylon, and,\nwhen everyone Is tired, a little fellow shall come who shall make an Idol\nof the world and shall adore the world and LOVE must then come again.\nwith the dance,.... kick your heels,.... wag your tongues,....\nflourish your pens... defy the thing which made some of you and will\nmake some children again;... grow more and more confused,.... rave\nabout \"love \" while meaning kisses and champagne; rave about women\nand their mission, meaning all but woman: ...quicker and quicker,\n...clash of cymbels, thumping of myriads of drums; cheap wine bursting\ninto \" ecstasy dribbling drunkenness.,... muddle and discord hailed\nas \" glorious \".\n& And if you ever dream, and in a dream see a red and white child full\n\n(I) \"On the Art of the Theatre \" 1905-1911.\n{2l George Banks in \" The Manchester Playgoer \" No. 4. page 129"}, {"page_pdf": 20, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.20", "texte": "FUTURISMO AND THE THEATRE.\n\nof that which must not be named now agd here,... to deny that\nyou saw it, but fail,... fail if you can in your denial. For the old truth is\nas young as ever, and to LOVE is never old, and we never too oid to\nbegin to LOVE.\n\nA TRUTH & A RECIPE & A HINT.\nHow to form an Image.\nJn order that the form of an Image may be brought fully and clearly\nbefore the mind, the Imager should meditate ; and his success will be\nproportionate to his meditation. No other way.... not indeed seeing the\nobject itself... will achieve his purpose.\nSukracarya in *' Sukvanitisara\nHow to make a Glue.\n'\"pake the curd of milk, put it in a cloth and strain the water away.\nTie up the curd of milk in a cloth like a pudding and put it into\nboiling water... let it boil a good while.\n4& It becomes hard like cheese^curd.\nC\nJZ? Then mix it with lime and use it.\nFrom Knox's 44 Historical relation of Ceilon \". page 96.\nHow to avoid Conceit.\n/\nA nd now Jet us get to work, and if you can't meditate, make glue. The\ntwo actions can be of equal value.\n<£? Come a10ng,.... Let us get to work."}, {"page_pdf": 21, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.21", "texte": "VINCENT VAN GOGH.(1) A Note on his Life\nand Letters\nby Felix Urban.\nAne would ima-\ngine that the\nname of Van Gogh\nwas as well known\nas that of Rem-\nbrandt, and that\nhis pictures and\nwritings were also\nwell known.\nBut this is not\nthe case. He is\neven less known\nthan Rembrandt,\nand it is a pity we were all prevented from knowing hfm earlier. We have\nsuch an unfortunate way of getting to know our good men too late, and\nwe seem to learn nothing by experience, and so do not save ourselves a\nrepetition of such blunders by looking around and giving our support to\nthe good workers, the great artists, who are still alive and at work today,\n** Vincent Van Gogh, born in 1853, died at the early age of thirty seven,\nand it was only, it seems, during the last eight years of his life that\n44 he may really be said to have devoted himself entirely to painting \" ;\nfor Emile Bernard reminds us that, though he always used to draw, it\nwas not until the year 1882,,.. when he was already twenty nine years\nof age,... that he'gave his attention wholly to painting, writing to\nhis brother, 44 In a sense I am glad that I never learned to paint I\n\"really do not know how to paint\"; and yet, concerning two studies\nwhich he completed about this time, he says, 44 I feel quite certain that\n44 on looking at these two pictures, no one will ever believe that they\n41 are the first studies I have ever painted.\"\nBut, having once entered upon his work, he was a hard worker ; one\nwho was for ever painting the fields; rag-pickers, beggars and humble\nrooms.\n\n(lj The design by Van Gogh given on this page is reproduced by the Courtesy 0! Messrs Constable."}, {"page_pdf": 22, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.22", "texte": "VINCENT V\n\n& And all the while he was writing letters recording his thoughts\nimpressions ; letters in great part addressed to that younger brother h\ndevotion to and faith in his elder led him, in the midst of his\nI / vJ S3\nverty, to contrive to spare the allowance which should make it posslbl\nfor Vincent to continue to live and carry on his work.\nPainters of this type, men who work, and at the same time write as\ndid Van Gogh, are rare. As a rule they either write of their prices or\nof suppers, or are too lazy or superior to write at all.\n& The Letters of Vincent Van Gogh, which have been lately translated\ninto English, (i) are the letters of a very simple and modest man, who\nwas as direct in his writing as he was in his painting.\nAnd throughout they are full of his work: the work he has done, the\nwork he is doing, the work he purposes to do.\n\"My ambition » he writes in one letter, \"is to make my pictures\nrth -what I spend on them; or something more, because one must\n14 think of past expenses 9\\\nExpense always had to be a consideration with Van Gogh. He worked\nwell, ...and he worked at a disadvantage, as so many good workers have\ndone, on rather an empty stomach.\n44 Forgive me, » he writes to his brother, « if I exceed my allowance:\n*' 1 shaU work aH th 6 more for it. Since Thursday I have been so hard\nup that from then until Monday I had only two real meals. At other\n44 times I had only bread and coffee, which 1 had to have on credit, and\n44 I paid for it today. If you can, therefore, send me something quickly\n& Again he writes, 44 I constantly reproach myself with the fact that\nmy painting does not bring in as much as it costs, and yet one must\n44 work. You must, however, remember that if ever it should become\nnecessary for me to go into business, in order that your lot may be\n41 lighter, ! should do so without regret \". And, in another place, 44 Even\nif painting be detestable, and much too full of hardship nowadays, he\nwho in spite of all chooses this craft must on that very account be a\nman full of devotion and firmness. Society so often makes our Life\nvery hard indeed, and that is the cause of our shortcomings and of\n44 the imperfection of our work \".\n\n(7) Tfee \" Letters of a Post-Impressionist.\" Constable. London"}, {"page_pdf": 23, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.23", "texte": "VINCENT VAN GOGH\n\nLife was certainly very hard for Van Gogh, owing to ill=»health as well\nas to poverty; and, insanity being added at last to other physical ills,\nhis latter days were spent in an asylum, where, in his lucid periods, he\n44 was still able to paint beautiful pictures \".\n%\nGauguin, who had been his companion and fellow worker in Provence\nbefore his entry into the asylum, writes as follows concerning the last\ndays of his friend:\n& 44 in his last letter from Auvers, near Pontoise, he said that he had\n44 always hoped that his health might so far Improve as to permit him\n44 to paint with me in Brittany, but that he was then convinced that\n44 recovery was out of the question. 4 My dear master, after having known\n44 you and grieved you, it is more dignified to die while I am fully\n44 conscious of what I am doing, than to take leave of this world in a\n44 state which degrades me He fired a bullet at himself, and, a few\n44 hours later, while lying in bed smoking his pipe, with all his wits\n44 about his, full of passionate love for his art, and without any feelings\n44 of resentment towards humanity, he passed quietly away\n& It has been said that the letters of Van Gogh are those of a simple\nman, and passages illustrative of this may be found again and again.\nFor instance what a simple and refreshing sound the following passage\nhas about it 1...\n44 Just suppose that I am to paint the portrait of an artist friend\n44 an artist who dreams great dreams and who works as the nightingale\n44 sings, simply because it is his nature to do so.\n44 Let us imagine him a fair man. All the love I feel for him I should\n44 like to reveal in my painting of the picture. To begin with, then, 1\n44 paint him just as he is, as faithfully as possible... still this is only the\n44 beginning. The picture is by no means finished at this stage. Now I\n44 begin to apply the colour arbitrarily. I exaggerate the tone of his fair\n44 hair; I take orange, chrome, and dull lemon yellow. Behind his head,\n44 instead of the trivial wall of the room, 1 paint infinity. 1 make a\n44 simple backgronnd out of the richest of blues, as strong as my palette\n44 will allow. And thus, owing to this simple combination, the fair and\n44 luminous head has the mysterious effect, upon the rich blue background,\n4f of a star suspended in dark ether. \""}, {"page_pdf": 24, "page_imprimee": "204", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.24", "texte": "VINCENT VAN GOGH\n\n-2? How right the good fellow was to speak 50,.... to speak technically\nwhile starting out from the word Lo.\nThe Futurists shall one day turn b!ack and save that scrap from th\npast, no matter how much they deride that past. There is someth'\nthere with which they cannot dispense.... The force and inspiration of\nLove,... the only force which overcomes and the only power which\nachieves.\n\nTHE DUTY OF THE\nLafcadio Hearn.\n'\"The obtrusive, the eccentric, the sharply bitter, naturally compel\nattention at first..., just as in real life the forward, the selfish, the\naggressive, force themselves upon us. It is the highest possible value,\nas a means of self-preservation, to understand them. But I suspect it is\nof no value at all to draw them, to photograph them, to give them\nartistic treatment, except in a contrast study. They are not beautiful,\nthey are not good.\n0\" the other hand, the beautiful in life must be sought and coaxed,\nand caressed to make it show its colours. It does not appear very often\nspontaneously. It fights for life against ugliness and wickedness and\nselfishness; it is Ormuzd against Ahrlman.\n& Now what is the artist's moral duty ?.... in the eternal order of things,\nto art and ethics ? Is it not to extract the gold from the 0re.... the rubies\nand emeralds from the rubble ? I think it i 5.... though many may laugh\nat me. Thus newer and higher ideals are created.\nWe advance only by new ideals.... The value artistically of our high-\npressure civilization seems to me to be that its monstrosities and glooms\nand tragedies infernal give the opportunity for the grandest contrasts\never made."}, {"page_pdf": 25, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.25", "texte": "A HISTORY OF PUPPETS\nby \"Yorick\".\n(I)\nPUPPETS IN ENGLAND.\ns we set out for the first time on the road that\nleads from Spain to England to search for records,\nand to study the manners and customs of Mario-\nnettes in the United Kingdom of Great Britain\nand Ireland, there arises spontaneously in the\nmind a reflection of a general nature and of\npsychological character.\nIt may seem strange to some that a pastime,\nor amusement, that reveals, both on the part of the artists and of the\npublic, a liveliness of imagination and a nervous sensibility, so deep and\ndelicate, should ever have found favour with a people of the extreme\nnorth, a people, by nature, calm, tranquil and positive, born under a\ncold sky, and accustomed to a„hard and laborious life. And yet the\nphenomenon, fantastical as it may appear, manifests itself constantly, and\nindeed invariably, among all northern peoples. In fact, since the world\nhas been the world, Marionettes have always been as warmly welcomed in\nLondon, Amsterdam, Moscow and Berlin as in Rome, Florence and Milan.\n& Marionettes in England date back to very ancient times, and are as\ndear to the common people as to the aristocracy, to diplomatists and\nmilitary as to artisans, women and children.\n& It is certain that the first Marionettes to appear in the island were\nItalians. This is clearly established by the name, which, in that remote\ncountry, the little wooden figures, formed and adapted for scenic dis-\nplay, invariably bear, and also by ancient documents and writings re-\nlating to them.\n& They are called \" Pupazzl \". (2) Moreover, a letter from the Privy\nCouncil addressed to the Lord Mayor of London on the 14th, of July, 1575,\nremoves all possible doubt as to their original nationality, for It expressly\nauthorises Italian Marionettes to settle In the City and to carry on\ntheir strange motions as in the past and from time immemorial \".\n\n(1) P. Ferrigni.\n(2) It is interesting to note the debt which, in the pnppet theatre as in the theatre of flesh and blood actors,\nEngland owes to Italy."}, {"page_pdf": 26, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.26", "texte": "A HISTORY OF PUPPETS.\n\n&It should be said in favour of these juggling nomads, that they s\ncame to understand the ways, habits, Ideas and tastes of the\npublic. From the early years of the seventeenth century these 44 Motion\nMen \" carried their light theatres from parish to parish, and gave\npresentations of Mystery, Morality and Miracle plays, alternating these\nreligious scenes with songs and legends from national ballads, with\ndramas illustrating the adventures of King Bladud, the story of'Robin\nHood, of Marianna and of Little John, the battles of the Giants, and the\napparition of the Genii and the Fates, the whole being enlivened at\nintervals by a display of 44 hobby horses (i)\n& In this way, not only did they gain in a very short time a popularity\nthat was constantly increasing, but they acquired a position so vast\nand so honoured, in the literature of the country, that there is probably\nno other State in the whole of Europe, in which it would be possible\nas in England, to find reference to Marionettes in the works of all poets,\nof all dramatists, and of the most famous and most celebrated of ro-\nmance writers.\n& From Chaucer to Byron, from Sir Philip Sidney to William Hazlltt,\nthere is not a single author, who, in his writings, has not given some\nprecise and authentic information on the subject, or some extracts drawn\nfrom Marionette repertory.\n& To mention only Shakespeare, fifteen, at least, of his dramas contain\npassages relating to them, and the most tragic characters In his immortal\npoems, in the most solemn moments and most pathetic scenes, draw\nupon the Puppets theatre for comparisons, metaphors and examples.\ncom®dy of \" The Taming of the Shrew \" one of the chief\ncharacters, a gentleman, who, apparently, knew very well how to take\ncare of himself, is begging a friend to find for him some rich heiress\nwho might be willing to marry him, and Grumio, his servant, commenting\non the ambiguous words of his master, [suggests to (an honest1 broker\nthat he should \" marry him to an aglet-baby, or an old trot with ne'er\na tooth in her head \", or even to 44 a puppet \", a figure worked with '\nwires ; It matters not so that 44 money comes withal \".\n<0 Again in the \"Tempest\" the wizard Prospero, drawing magic circles\n\nSee \" The Mask Vol: 3- page 8"}, {"page_pdf": 27, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.27", "texte": "A M/STORY OF PUPPETS.\n\nfn the air with his wand, invokes the evil spirits and sylphs and cries\nwith a loud voice Come mystic creatures, ambiguous beings, \" demi\npuppets \" that by moonshine do the green sour ringlets make, whereof\nthe ewe not bites. The most frequent Shakespeare references to Marionettes\nare to be found in \" Antony and Cleopatra \" (act 5, scene 2) '* Mid-\nsummer Night's Dream \" (act 3, scene 2) \" Romeo and Juliet (act 3,\nscene 5) \" Hamlet (act 3, scene 4) \" King Lear \" (act 3, scene 2) and\n\" Twelfth Night \" (act 4, scene 2).\nBut that is not all. William Shakespere and some of his most illustrious\nand most acclaimed predecessors, wrote specially for Marionettes both\ndramas and comedies, which, developed and perfected later on, passed\ninto the accepted repertory of the greater theatres.\nThe comedy \" Every man out of his humour \" was originally composed\nby Ben Jonson for a small Marionette theatre in the City and evidence\nis not wanting to show that the first representation of \"Julius Caesar\"\nby Shakespeare took place in a \" Puppet Show \" near to the Tower of\nLondon. Robert Greene wrote for them his two celebrated mysteries,\n44 Man's wit \" and '* The dialogue of Dives \".\nSwift devoted one of his best works to them, The Tale of a Tub \",\nillustrated by Hogarth with a beautiful drawing \" Enthusiasm delineated \",\nwherein is seen a Jesuit preacher in a pulpit, working with both hands\nthe wires of two \"Puppets the one representing God the Father\nand the other the Devil. On a projecting part of the pulpit there appeared\nsix other figures, Adam, Eve, St. Peter, St. Paul, Moses and Aaron.\nAbout the year 1562 the great revolution in European taste, which\nwas called the renaissance, introduced into England new dramatic forms\nand led to the first attempts to establish stable and regular theatres.\nwere the first to extend and enrich their collection of\nplays with new profane comedies. Dekker wrote for them his sprightiiest\nli Drolleries \". Permanent theatres sprang up at Stourbridge Fair, at\nHolborn Bridge, and in Fleet Street, and a magnificent building was\nerected at Eltiiam, at that time a royal residence in the county of Kent.\nJasper Mayne, in hfs comedy, \" The City Match \" recalls the mania of\nLondon women for going to Brentsford to see the \" Puppets \" and in\nanother comedy Ben Jonson; in enumerating the great joys reserved"}, {"page_pdf": 28, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.28", "texte": "A HISTORY OF PUPPETS.\n\nfor ladies of the Gentry, especially includes the possibility of going every\nday to a Marionette theatre.\nIn the year 1642, by an act, dated the 2nd. of September, all theatres\nin England were abolished, and this rigorous sentence was afterwards\nconfirmed by an edict of the 22nd of October, 1647, but Marionettes were\nexpressly excluded from this tremendous proscription. Just imagine the\nstate of things that then existed. The whole repertory of the great\ntheatres, prose, music, operas, oratorios, dramas, tragedies, and comedies\nfell into the hands of the 44 Puppet \" showmen, who, from Italy and\nFrance, rushed madly to the banks of the Thames, to a country in which\nall English writers of the day were devoting their talents and their pens\nto Marionette plays.\n<£? Here is a list, very summary, and necessarily incomplete, of the titl.es\nof such of these plays as are found mentioned by leading writers in\nEngland at that time, beginning with the old 44 Miracle plays\" the\n44 Morals \", 44 Pageants \" and old legendary 44 Chronicles \" :...\n44 Man's wit \" by Robert Greene.\n44 The dialogue of Dives \" by the same author.\n44 The prodigal son \" by an anonymous author.\n\" The resurrection of our Saviour \" a sacred drama, presented\nat Witney in the county of Oxford by the clergy of the parish.\n44 Babylon \" a moral play presented In Trinity College, Cambridge.\n44Jonah and the whale \".\n\" Sodom and Gomorrah\n44 The destruction of Jerusalem\n44 The city of Nineveh \".\n44 Rome and London\n44 The destruction of Norwich \".\n44 The massacre of Paris, with the death of the Duke of Guise\"\na drama by Christopher Marlow.\n44 Gunpowder plot \" an historical drama.\n& Ben Jonson refers particularly by name to two of the most celebrated\npuppet showmen of his time, the first known as Captain Pod, and in\ngreat favour about the year 1599, the other as Cokely, who came Into\nnotice some few years later."}, {"page_pdf": 29, "page_imprimee": "209", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.29", "texte": "A HISTORY OF PUPPETS.\n\nJS? And It is precisely from the pages of Ben Jonson, that we get the\nmost exact and most curious revelations relating to travelling puppet\nshowmen, and to the nature and form of their representations, and with\nregard also to the polemics concerning the license granted to them to\nkeep their theatres open In a time of tempestuous political and religious\nstrife. .\n& A strong supporter and defender of Marionettes was a certain Lanthorn\nLeatherhead, who was, himself, a puppet showman. It is thus that he\nrecounts his sudden turns of fortune, his triumphs and his extraordinary\nadventures.\n\" Ah, he said, I have made lots of money with \" Jerusalem \",\n\" with \" Sodom and Gomorrah \" and with the \" City of Norwich \", but\n\"Gunpowder Plot \", that was a veritable gift of God. It was that that\n%\n\" made the pennies rain into the coffers. I only charged eighteen or\n'4 twenty pence per head for admission, but I gave sometimes nine and\n\" ten representations in a day. There is nothing better for drawing the\n♦' public than incidents taken from domestic history; they interest\n\" everyone, and all can understand them, and on that account they\n\" are preferred before any other subject \".\njg? Eighteen pence seems rather a large entrance fee, but it was probably\nexceptional; it is, in fact, shown to have been so, for not long afterwards\nthe same showman, standing in front of his theatre and appealing to\nthe people to come in, cried out to them in these words\n'< Come forward, gentlemen, and take the best places.... two pence\n** each, two pence... to see the most beautiful Marionettes In the whole\n\" world... the most elegant Marionettes in the Fair.., two pence, only\n*' two pence \".\nTHE REIGN OF PUNCHINELLO.\n'\"JThe memorable revolution that broke out In the year 1688, Inaugurated\nIn England a new political era, and raised, at the same time, the\nvaliant William of Nassau, of the house of Orange, to royal dignity, and\nthe glorious Italian Punchinello to the throne of Marionettes in Albion.\nThe Pretender came from across the sea, and trusted, for the triumph\nof his rights, to the cutting blade of his sword; the peaceful puppet, on"}, {"page_pdf": 30, "page_imprimee": "210", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.30", "texte": "A HISTORY OF PUPPETS.\n\nthe contrary, had for a long time fixed his abode, and acquired citizen\nship, in the country, where he had arrived after crossing the Channel\n\\ •' - ,\nin company with the Stuarts.\nUp to that period he had always led a relatively quiet life, contenting\nhimself with acting his part among other puppet players in semi-profane\nor semi-religious representations, and only, at long Intervals, risking\nhimself in contest with that tyrant of contemporaneous Marionettes,\n\" Old Vice \", a national, horned and tailed, demon, who seldom retired\nfrom one of those hand-to-hand encounters with the foreign puppet\nwithout having his horns broken.\n& He had been called, at first, Punchinello, and later, simply \"Punch\",\nbut, with this change of name, he did not, in any way, change either his\ndress or his customs, but continued to be such as he had been from his\n( #\nbeginning in Italy, a descendant of the Latin \" Macco \". (i) Do you want\nproof of this? You will find it in one of Addison's poems, the title of\nwhich is \" Machinae gesticulantes \", and its main argument, the glories\nof marionettes and puppets. This poem of Addison, who was then young\nand signed himself \" A fellow of Magdalen College \", was published in\nLondon, in a collection entitled *' Musarum anglicarum delectus alter\".\n& The victory of the Orangists and the exaltation of William the third,\ncalled Punchinello also to higher fortune. Punch became Mr. Punch and\ntook as his wife the beautiful Judy, set up house, had a son, and esta-\nblished a permanent theatre, constructed in accordance with the rules of\nart, in which the seats, or places, were no longer of one category and\nat one price, but were distinguished according to different orders or\nclasses, each class having its own distinct tariff.\n& The figures that, up to that time, had been simply dolls, became\nstraightway \"Marionettes\", elegant puppets, modelled in wood,fashioned\naccording to the dignity of human beings, ingeniously formed in all their\nlimbs*... legs, feet, arms, hands, torso, and head,... and were provided\nwith the thinnest wires, by means of which they were made to execute\nthe most complicated movements.\nEverything tended to increase the force of the wind that filled the\nsails of Punchinello. Queen Mary, the daughter of James the second, had\n\n(1) An article on the Italian \" Puicinella'» appeared in the \" The Mask \" July 1910."}, {"page_pdf": 31, "page_imprimee": "211", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.31", "texte": "A HISTORY OF PUPPETS.\n\nquite an immoderate passion for Italian puppets, and frequently summon-\ned them to the royal palace, to festivals and banquets, with which she\ncelebrated the victories of her husband,... and the fall and misfortunes\nof his father.\nWith that unhappy example before his eyes, Mr. Punch began to\nconduct himself badly. He became dissolute, wicked and heretical. He\nwas formerly merry and jovial, and was now sarcastic, bitter, gloomy\nand jealous. He remorselessly murdered his wife and his SQII, and, almost\nas though to do penance for his sins, he revived an old strife with the\nspirit of darkness and killed even the Devil himself.\n& The amazing and almost incredible adventures of Mr. Punch and his\nmelancholy consort, led, little by little, to a drama, legendary, vast and\nextravagant; a kind of puppet epic poem, of which the original issue\ndates from the early years of the reign of the house of Orange, and the\nlast from the more recent days of English history.\nMr. Payne-Collier, in the year 1828, reproduced the traditional scenes\nof that drama in a well-arranged work, which he published under the\ntitle of \"The tragical comedy of Punch and Judy\". It was a colossal\nundertaking, but he was able to complete it by freely availing himself\n%\nof records supplied to him by an old and illustrious Italian puppet\nshowman, a certain Piccini, who at the end of the previous century had\ncarried his little theatre from Fair to Fair throughout all the provinces\nof the United Kingdom. x\nSomewhere about the year 1820, Piccini, now growing old, took up\nhis residence in London, where, for a long time, he continued to delight\nthe London nobility and citizens with his performances.\nUnder the reign of Punchinello, that is to say from the year 1688\ndown to our times, English Marionettes lived through a period of such\nstriking success and glory, that never again can anything of the kind be\nlooked for. of thy party, dear Tim, and all despise thee, dear, and hate thee,... but\nto thee it matters nothing, It helps to amuse the spectators and make\n44 them laugh \".\n& One of the ablest in composing these political parodies and In handling\nsatirical puppets on the stage was the illustrious John Curran, who\nat Newmarket, his native place, young as he was at that time and a\nstudent, acquired such a passion for Marionettes, that he ended by\njoining the company of a much applauded Punchinello, and, later on, by\nsetting up-a small theatre on his own account. The facility, with which\nhe was able to Improvise dialogues, led him to think that he was a born\norator ; he believed that his vocation was that of an advocate ; be became"}, {"page_pdf": 36, "page_imprimee": "216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.36", "texte": "A HISTORY OF .\n\na member of the English court of justice, gained easily the first position\nat the London Bar, was elected shortly afterwards a member of Parliament\nin Ireland, entered the House of Commons and, finally, in the year xBo6\nunder the administration of Fox and Sheridan, was appointed Chancellor\nin Ireland, and took his place in the Privy Council.\n& Ah, dear me, art, now=a-days, is declining, and I very much doubt\nwhether any of our political puppet showmen have talent enough to gain\n7 >\na ministerial portfolio by the way of Marionettes. And yet examples are\nnot wanting, neither is there any deficiency of teaching. Even Marionettes\nhave discovered their Aristotle and are able to refer with pride to their\n\" Arte poetica \". William Haziitt, an able writer, and universally known\nand acknowledged critic, has applied some of the most eloquent passages\nin his \" Lectures on the English Writers \" (London 1817) to Marionette\npoetry, and has admirably explained the reasons for what he describes\nas its \" great, irrestible and universal attraction."}, {"page_pdf": 37, "page_imprimee": "217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.37", "texte": "PUPPETS IN JAPPAN. Some Notes\nby a Japanese.\nondon has recently been interested in a Chinese\nplay. The Yellow Jacket, in which the leading\nactor takes the part of the property man, places\nmountains on the stage for lovers to climb over,\nremoves dead men in a trice, follows the actors\nand relieves them of their properties, and through-\nout the play assumes an air of unconcern and\nindifference as though he were not part and parcel\nof the performance and had no interest in the character.\n& But this English property man is quite contrary to ideas held regar«\nding him in China or Japan, tie has been the central figure of the play\nand has quite eclipsed the real actors who interpreted the story. Thus he\nhas produced an effect which is quite opposite to that intended on the\nstages of the East.\n•s\nJust at present Tokyo is being visited by a whole company of Osaka\nproperty men, any one of whom would make the leading actor in the\nLondon production of the Yellow Jacket decidedly envious, because they\nV\nare genuine and belong to a profession which has been handed down\nfrom father to son ; moreover they come of a race that can be thoroughly\nand sincerely impersonal. These property men, or 'korombo,' from the\nChikamatsu=za, the doll theatre of Osaka, cause the puppets to play the\nroles in Chikamatsu's famous pieces at the Yuraku-za. Their art is unique,\nand while they pull the strings which make the dolls move and act like\ncreatures of real life they are able to completely efface themselves so\nthat their faces are masks. No interest in the movements of the dolls is\nwritten there, no hint of self, so that the puppets become so absorbingly\ninteresting the audience is lost in the story they tell. The majority of\nthe'korombo' wear black masks, but those who are able to obliterate all\n0 W\ntraces of personality do not need a covering and their achievement is\ncertainly worthy of the greatest admiration.\nAs for the dolls themselves, they act various roles, they assume the\nheroics of warriors, delineate the character of priest or princess, and\nmay be old people or infants, youthful lovers or retainers who express"}, {"page_pdf": 38, "page_imprimee": "218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.38", "texte": "PUPPETS IN JAPAN.\n\nover and over again the motives of bravery, loyalty and filial piety.\nWhat if a well or a gate or a pine tree is carried off bodily by the pro=\nperty man ; the creaking of the doll's joints be heard, or a particularly\nactive hero jumps about in such a boisterous manner that he appears to\nbe suspended in mid-air rather than to have his feet on the stage, all\nthe illusions may be amusing and primitive to a critical mind, but even\na doubting Thomas is soon carried away by the powerful suggestiveness\nof the acting. The dramatic stories move swiftly to the denouement and\nthe action is certainly not inclined to lag.\n& The puppets have slanting eyes which a real actor would envy, and\neyebrows that may be elevated to express surprise or a dozen other\nemotions, while the hands are many-jointed and so supple that the ge=\nstures are full of expression. A begging priest dances ; a wounded man\nis given a stimulant from another doli s medicine case, mains draw water\nat the well, old ladies water flowers and young ones play the koto, lite-\nrary men write poems, and the dolls enter into a hundred small details\nof daily life which gives a wonderful variety to the performances.\n& Without the joruri music the wordless puppets would fail to carry\nthe meaning, and it is the singer on his red rostrum sitting behind his\nornate black and gold lacquer book=stand who teils the sto»y. In spite\nof all his splutterings and gurglings, shoutings and explosions which\ncertainly seem strange to a foreign ear, he is a wonderful personage, he\nis able to impersonate the gentle voice of a woman, the gruff grow lings\nof a warrior, the language of lords and vassals and servants ; he expresses\ngrief when the hero commits harakiri, scorn for an enemy, affection\nfor a maid, his voice carries the suggestion of impending doom, of clash\nof arms, and evil intent, as well as of happiness and triumph. The\naccompanist sitting beside him with his ivory plectrum twanging his\nthree-stringed instrument gives the proper emphasis or produces those\nnoisy strummings which causes a puppet character to posture and pose in\na lively dance. A custom that has long been handed down in the 'nyngyo\nshibai' is the introduction to the audience of the musical portion of the\n•\nperformance. The gold screen at the back of the musician's rostrum is\nsuddenly swung inward and outward come the two men who foim the\ninterpreters of the scene to be acted. A property man in his black kimono"}, {"page_pdf": 39, "page_imprimee": "219", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.39", "texte": "PUPPETS IN JAPAN.\n\nand mask comes forward before the curtain and announces the names\nof the two men after which these two personages bow to the audience.\nThen a voice in another part of the theatre calls out their names in a\nlong high peculiar drawl and the gidayu singer lifts his book up to bis\nforehead as a salute to the audience, and he mops his face, clears his\ntbroat and drinks some tea before beginning to sing, while the samisen\nplayer gives an occasional subdued whoop and now and then a stray note.\nThe cleverness both of the singer who relates the narrative with all\nits phases of emotion and the property man who gives the appropriate\ngestures make them artists in their own way, possessed of the greatest\nversatility, and there is no doubt that they could shine on the real stage\nif they were given an opportunity to go beyond the doll theatre speciality\nwhich they have selected. These men are able to so vanquish the common\ndesire of actors, In whatever part of the world they are to be found, to\nallow their own personality to dominate and to project themselves into\nthe character they assume, that they can make it possible for the audience\nto enjoy their art which is concentrated in the dolls and at the same\ntime be perfectly oblivious of the men behind.\nThe first play which Is given Is Hideyoshi Jinya, the Camp of liideyoshi,\nand it has a rather complicated plot which is concerned with the rivalries\nbetween Nobunaga, Mistuhide and Hideyoshi. It is full of haraklri, partings\nof lovers and stern soldiers who do not betray any of the softer emotions.\nHideyoshi in armour on horseback makes a very triumphant figure, a\nwhole company of korombo surrounding the horse and its rider, and\nwhen the animal begins to rear and caper to the strains of the samisen\nthe property men act in such perfect unison that it is recognised that\ntheir art is indeed a wonderful one. Again, a dying warrior on the top\nof a stone moat wall makes a striking picture with back masked figures\nclustered as a background and the young lady of the piece is graceful\nand winsome, every movement full of modesty and gentleness. The second\npiece, Tsubosaka, tells the old story of the blind man who became jealous\nof his wife because of her frequent absences from home. But she confesses\nthat she goes to the temple to pray to Kwannon for the recovery of his\nsight. They journey together and the blind man remains at his devotions\nwhile O Sato goes home. In her absence discouragement gets the better"}, {"page_pdf": 40, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.40", "texte": "& PUPPETS JAPAN.\n\nof the husband and he throws himself over a cliff. O Sato discovers\nhim and hurls herself after him. Then Kwannon, the goddess of Mercy\nappears and restores them because of their piety and belief, the blind\nman's eyes are opened and he sees his wife for the first time. The\nopening scene of Tsubosaka shows O Sato sewing a kimono and all the\ndetails are faithfully reproduced while the blind husband plays on the\nsamisen, and shows that the dolls can undertake the most minute and\ndelicate gestures as well as the most boisterous and active. Kaniiji\nthe third play is a shinju piece and was acted sometime ago at the\nTeikoku~za.\nIt is the story of the faithful wife who gave up her money and her\nkimono that her husband might buy Koharu from the gay quarters and\nshe and her child enter a nunnery to make him free. But Koharu and\nher lover are so overcome at the generous sacrifice of the wife that\nthey die together. Imoseyama, the last piece, is also one of Chikamatsu's\nwell known plays which has for theme the love of a common girl and a\nprincess for a youth of high degree. This piece has an orchestra of five\ngidayu singers and as many samisen performers which makes an imposing\narray.\n& The ancient art of the puppet has been wonderfully developed and\npreserved in this country, and perhaps in no other part of the world can\nthe dolls be seen to such advantage. The nyngyo shibai is said to have\noriginated In Kyoto in 1603. The puppet show was an ancient Institution\nbefore It appeared in Japan, and every European country has had its doll\nshows, but In all of them the art has degenerated. Punch and Judy are\nthe last of their proud race in England.\nThe doll theatre has greatly Influenced the theatre of Japan and\nmuch of the acting to be seen on the old stage at present shows the\nconventional style of the puppets. Although the nyngyo shibai was\npopular in all the cities of Japan for two hundred years, at present the\ndoll theatre can only be seen in Osaka. Chikamatsu who is called the\nShakespeare of Japan, wrote his famous plays for the puppets and these\ndramas are faithfully reserved in Osaka to=day. A company from the\nChikamatsu-za of Osaka is now performing at the Yuraku=za and the\nperformances are well worth a visit."}, {"page_pdf": 41, "page_imprimee": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.41", "texte": "PLAINSONG: A Note\nby \"Cantor\"\ndo not think any reproach is more deserved than\nthat I must begin with.\n& How could you, Artists, after creating and\nfaithfully guarding right down through the ages\nthe most delicate of beautiful things... how could\nyou leave it for the last two hundred and fifty\nyears to the care of paterfamilias ? You should\nnever do this. It is not his place, good easy man.\nHe knows it, and is willing to follow you. But always, should you lie\ndown by the wayside, (and it is tiring work) does he fall an easy victim\nto the first who meets him with obvious aad glib advice. What else can\nhe do, being naturally ignorant of art-matters ?\nIt is so long ago that you have forgotten all about It. I will tell you.\n& Plainsong is the oldest music in the world. It is the basis of all ec-\nclesiastical song. You will not hear it spoken of at the Royal College or\nAcademy or Guildhall School of Music. The College of Organists could\nnot tell you even the meaning of the word. The bench of Bishops Is\nurbanely deaf to the voice of the Church's Song crying in the wilderness.\nThe great spiritual nurseries of Oxford and Cambridge reject it utterly.\nThe Cathedrals have forgotten its existence. Born at the Altar, the Altar\nto-day knows it not.\n& John Marbecke, in the middle of the 16th Century, was the last to\ncompose It.\nThe essential parts of our English Church Liturgy (such as the Psalms,\nKyrie, Creed, Sanctus, Agnus Del, Gloria,) should always be chanted to\nit, the only possible alternative being the music directly inspired by it,\nsuch as that of Tallls, Byrd, and Gibbons, (i)\n& Artists! the priceless things enshrined in the Church are crying out\nfor the need of you. The dull complacent standards of the well-fed bu-\nsiness man, and the sour hatred of the puritan.... but principally the\nformer... have laid a crushing load on the Church.\nYou alone can free it.\n& Artists ! come back to us! We cannot do without you. We want the\n\n(1) I would not reject any music of today on the right lines, but 1 know of hardly any."}, {"page_pdf": 42, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.42", "texte": "PL A INS ONG:\n\n\"New gladness and roughness\" that you alone can give us. We are\ntired.\nWe want you not only for the sake of our Song, but for our whole\nstately and beautiful ceremony.... our buildings, ornaments, vestments.\nThere are those in the Church to-day...i no sacred fire ever quite\ngoes 0ut.... who have the feeling for these things in their blood ; but\nthey are few, and not in high places. If you would come back and help,\nit could be done.\nArtists! there is nothing you need fear in the Church. 1 know exactly\nwhat you cannot stand. It is the smug respectability of the average\ncongregation. And you are right. But that is not the Church, any more\nthan the stalls and pit are the Theatre.\nThe Peregrine Tone to Magnificat with Faux Bourdon by William\nByrd, The Sarum Litany chanted in procession, the Third Mode Melody\nof Thomas Tallis. (i) The Easter Sequence of the Three Marys, The Divine\nSacrifice at the Altar with its ancient Mass chant, the Old Hundredth\nset by Dowland with the people's part In the Tenor, the sturdy folk=song\nof the Cherry-Tree Carol... these are the Church.\n& You did not know.... did you ?\n& Are they not worth a fight ?\nIn their place to-day nearly everywhere we have Stainer's 44 Crucifi-\nxion\", Dykes' 44 Lead Kindly Light\", Barnby's Service in E, Tours'ditto\nin F, Stainer's dittos in every conceivable key, Novello's Cathedral\nPsalter, and the Ancient and Modern Hymn-book (and in ninety nine\ncases out of a hundred the 1875 edition at that).\n& Of course these things make one spew. But why did you ever let them\nbe? Yours Is the responsibility. You are the guardians of all great and\nP\nholy things. You really shape the world. In its dull bovine way it allows\nyou to lead it.\n£/ Being human you become apathetic.\n& Having in you that Divine spark which only can light the w0r1d....\nand without which you would cease to be artists... you must never tire\nwhen it is a question of saving a< beautiful and noble thing.\nCome back to us, Artists!\n\n(I) English Hymnal."}, {"page_pdf": 45, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.45", "texte": "LITTLE STAGES. A Word\nby Allen Carric.\n|Dy little stages\nwe reach our\ndestination. An\neasy and a plea-\nsant way. But\nwhere are the\nlitle stages of\nEngland ?\nThe Little\nTheatre in the\nAdelphi is really\na large theatre\non a small scale,\nand besides, is\na Public affair.\n& We could in-\nvent something\nsmaller and sim=\npier,.... less ex-\npensive and far\nmore natural. A Room with a stage at one end. The smallest would\nnot have to be less than thirty feet long and from twelve to fifteen\nfeet wide. And at the end a small stage.\nThe scene for such a stage would then be a simple matter and Instead\nof a great cost would be possible for a few pounds.\n& Here we have just such a scene. This stage is not ten feet wide and\nis about five or six feet deep. But look at the design and see how well\nthe space has been used. It does not look at all crammed.\nBut how many little stages of this kind are to be found ? And what\nis done with them when found? A young lady will fill it up with much\nemotional or mock-emotional gesture and whinlngs ; and she will then\ntrain another young lady to do it with her, both feeding meanwhile\nupon much bread and butter: and an occasional man will be dragged in\nto speak the gruff parts. But except for such young ladies who is it that"}, {"page_pdf": 46, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.46", "texte": "LITTLE STAGES.\n\nhas a little stage and uses It? Yet by little stages we reach our desti-\nnation, you lovely lazy English people.\n■<& Here is another example of a scene for a little stage, the width about\nten feet; three walls and a few properties. You'll be sure to take a\nnote of this as of all the other practical suggestions in \" The Mask \".\n*\nBut we wish that you would take a note of the most practical and\nimportant thing we have ever suggested, which is TO TAKE TIME AND\nTO BE THOROUGH, and not to join the noble army of amateurs when by\na little care you can make a little stage as valuable and as distinguished\na part of your house as is the Library or the Dining Room,\n& One takes it that you know how Books should be bound, kept and\nlooked at, and how a Dining Room and its Table should be laid, filled\nand dressed by guests of intelligence and taste. Well, the same talent\nwhich understands how to do these matters of daily life can be applied\nto this third matter of a little house Theatre."}, {"page_pdf": 47, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.47", "texte": "HAIL! DIVINE ARROGANCE\nby E. Gordon.\nTPhere has been of late years a revival of Arts and Crafts In Europe and\nAmerica. We have ail heard about the Revival,... but where are the\nArts and where the Crafts ?\nHiggledy-piggledy... anywhere... ingloriously mixed and twisted into\na cursed confusion, a hindrance and a reproach to those who joined\ntogether to Revive the Arts and the Crafts and so to Revive the earth,\nand so to Revive man.\n& Why has this been so ?\n£? How is it that man is not a scrap Revived by this 44 Revival \" ?\n£? The Frontispiece to Dr Coomaraswamy's new book (i) contains the\nanswer.\n£> It is a Head of Krishna.\n44 Have you left us, O Krishna, because we took you for\n44 a common play-fellow and did not pay you the tribute of\n44 worship that you deserved at our hands ?\n44 How often, when playing, we quarrelled and abused\n44 you.\n44 Did you take these things to heart, and desert us, though\n44 we were so deeply devoted to you ?\n4« We often beat you, or carried you on our shoulders, and\n44 rode on yours. Often we ate first, and gave you the remnants,\n44 calling you by all familiar names.\n44 Have you, for all these, forsaken us, oh beloved\n44 Krishna ? \" (2).\nu£> This is the chorus of the shepherd boys in an old drama of India.\nKrishna was the God-Man: a shepherd boy, he is also the earth and\nthe sky, He is the Ideal.\nThus we are answered by this beautiful Head of the 1dea1:.... It says\nnothing, but the boys have spoken for him ...it has called forth their\nsecret thoughts and fears.\n£/ It Is not wise to quarrel with the 1dea1,... with God ; nor to take the\nGodhead for a common play-fellow, nor to grab at food before we have\n\n(lj The Arts & Crafts of India by Dr Ananda K. Coomaraswamy. T. N. Foulis.\n(2) Bengali Language & Literature. Pg. 729."}, {"page_pdf": 48, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.48", "texte": "HAIL ! DIVINE ARROGANQE.\n\nfirst offered sustenance to the Godhead, nor to lower it by the familiarity\nof 44 Hullo, old chap!\nThis is wickedness, for it Is folly incarnate.\nWe in Europe and in America have taken our Krishna out in motor\ncars for joy-rides,... while attempting the 44 Revival \" of the Arts and of\nthe Crafts.\n& Can crazyness go further ?... or dream a lower dream ?\nWe put on our Arts and wear out our Crafts.\nThen we put them off, and go out and air our perfect Disbelief in\neverything Ideal: our utter distrust of the God Krishna, or whatever\nother name we thrust upon the only God.\nAnd as we, the leaders, do this; we, the artists, as a race... because\nour 44 great artists \" as a rule and 44 our great personalities \", and our other\nleaders are forgetful of God and our obedience to his Laws, and because\nwe in our weakness have been hail-fellow-well-met with the mob... so\nthe mob, growing fatter and sillier year by year has bred an Impertinence\nso gross and so despicable that it dares to give an opinion which is\ncalled Public Opinion.\n£> A fig for such Public Opinion that causes States and Religions to\ntotter and to fall as they are falling now.\nHail once more to that old Arrogance so grandly depicted on Krishna's\nface, so gloriously reflected on the faces of all great men* and so furiously\nhated by the m0b,... the mob of the loggias at the Covent Garden Opera,\nthe mob of the House of Commons, the mob of the drawing rooms and\nof Trafalgar Square.\n& Hail once more to that Divine Arrogance which knew that the Obe-\ndience of the many to the judgements of the one meant happiness to the\nmass of men. Hail to the strong Divine Men adored by the lowlv and\nonly detested by that mixed mass of 44 Lords\" and 44 Ladles\", 44 Artists\"\nand 44 others \" known as the Mob and Public Opinion....\n& The whole of India's Arts and Crafts testify to the sanity and the\nbeauty that exhales from the soul of the strong and arrogant Ruler.\nbronze, every little box of wood, every little shawl of wool and every\nlittle stone jar proves the happiness of the old Indian Races ; proves that"}, {"page_pdf": 49, "page_imprimee": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.49", "texte": "HAIL! DIVINE ARROGANCE.\n\ntheir love for loveliness and sanity sprang from their love of obedience\nto their arrogant Rulers,... and the love of those Rulers for the arrogant\nand sole Rule of Krishna,... the Ideal.\n& All arguments and queries are In vain. There is no Doubt. Arguments\nand queries are the weak inventions of weak and selfish fools.\nLondon, Berlin, Paris and New York are Infested by this rabble of\nweak and selfish fools who argue and question from morn till night as\nto what is wrong with the world.\nNothing is wrong with it. Everything is wrong with them,.... until\nlike dogs they come to heel.\nComing to heel they become something: baying at the moon they compete\nonly with the midnight prowlers on the tiles,., and are nothing but a Noise.\nStill as I write up goes the H0w1....\n\" What is wrong with the world ?\n\" What is wrong with the world ?\n\" What is wrong with the world ?...\n& YOU are:... you who put the question: nothing else Is wrong with it.\n& Obey the Ideal, have better manners... take your hands out of your\npockets... try to talk your own language correctly... try to walk down\nyour street like a man rather than lurch down it like a monkey, and\nthen you will have taken the first and baby step towards understanding\nthat you may not be one of those whose opinion, just because it is a\ncommon one, is worth being made and called \" public. \"\nAnd when you have trained yourself in manners and have learned to\nwonder even a little at the earth and sky,... then Krishna and his ar-\nrogant face will be seen by you:... on that day remember how less than\nnothing you are and how Inscrutable, indomitable and unforgiving He is.\n&On the day you realise this the Arts and the Crafts will revive; States\nand Religions will arise all fresh once more, and Mankind will again be\nHappy. To be happy we must respect that which Is incomprehensible\nto each of us... and obey him to whom least things are incomprehensible*\nThe Divine Mother of the Universe has many arms, but with her two\ntenderest and strongest she shields her divine son In whose heart she\npoured the Ideal Fire of her Essence.\n*\nLet us obey him."}, {"page_pdf": 50, "page_imprimee": "230", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.50", "texte": "THE FIT AND THE UNFIT: A Note on\nTraining\nby Gordon Craig.\nn one of the best books ever written by a school=\nmaster upon the art of teaching, he says.\n\" There is a possible bad side, a very real peril,\nin all this increase of learning, multiplication of\nsubjects, systematization of methods, cataclysm of\nschoolbooks,... ail the machinary which has been\nbrought into play to aid us in our wild desire to\nknow, and to reduce the art of teaching to an exact science. I hope you\nwill agree with me that the object of education Is not to know, but to\nlive. True it is that Browning's \" Grammarian \" is held up for admiration,\nbecause he \" determined not to live, but know, but then he existed\nin the dawn of the revival of learning, and was an exceptional case, an\nintellectual pioneer; accordingly, if you remember, he suffered from\nbaldness, tussis, calculus, and died, first from the waist down, and then\naltogether, at a comparatively early period of his career. My contention\nthen is that we are in danger of trusting too much to books and systems,\ntoo little to the living influence of mind on mind ; too much to rapidity\nof learning, too little to development of power; that we are in danger\nof organizing the soul out of education, of making it mechanical and\ntherefore barren •, of a tendency to look to the accumulation of facts as\nan adequate result, though they may lie like lead in the brain that bears\nthem ; in a word, of confounding the mere capacity for housing mental\ngoods with the growth of the vital powers conferred by education. \"\nThis was written by James Rhoades in his address which he delivered\nbefore a body consisting exclusively of public school masters. It was\nprinted in 1908 by John Lane, with the title, *' The Training of the\nImagination. \"\n& In the School for the Art of the Theatre we study hardly at all from\nbooks, and trust not at all to systems.\n& What is our method ? We practise right away.\nIt is a method which appeals not at all to incompetent men, and\nwhich instantly finds out for us which are practical and which unpractical\nworkers. It also discovers for us the nature of the man."}, {"page_pdf": 51, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.51", "texte": "THE FIT AND THE UNFIT\n\nWhether the class ot the moment be one for scene modelling....\nvoice... pattern... carving... dancing... we start right away at the practise.\n<£? We model... speak... design... carve... or dance, taking the simplest\nexample of each subject.\n& In speaking we avoid Hamlet's,... \"To be or not to be. \" We read\na paragraph from a newspaper... or a prose passage from a book on the\nTheatre which speaks of some interesting development in the Art of the\nStage.\nThe pupil speaks or drawls.., he seems hopeless. What follows?\nWe make a great discovery by what follows. For he will either see\nhe is hopeless and tell himself that we are no magicians if we cannot\nteach him how to speak in three lessons; or, if he is clever... If his\ncharacter is of any worth... he will realize that we cannot teach him to\nspeak... that for the doing of anything a right state of mind is the first\nrequisite ; and that he can come to that right state of mind only after\nlabouring very honestly and actively and humbly at each branch of study.\n& As with speaking lessons, so it is with the modelling.\n& We start out to make models.\nJZ? After a few directions written down a student has to measure out\nand cut out a portion of a scene in cardboard.\nHe does it well or badly,., generally badly.\nThen comes the discovery. If he complains of his tools or of the way\nhe is taught, he proves himself at once an impossible student. If he\nsticks to his simple task until he has mastered it, he proves that we\ncan rely on him in future. That he is worth taking trouble with,... worth\nall our patience.\nAnd each class resembles each other class in this respect. At the end\nof a fortnight we discover which man has the right spirit and which not.\nThose who have It not can go; they are useless to themselves, to us,\nand to the work.\nThose who stay have still further tests... simple tests. At the end of\nsix months' cutting cardboards and reading prose aloud, a student who\nhas stuck to it for so long sometimes thinks he has done a great feat...\nthat he has stood a great test of endurance; and I have had students\nwho believed that, after being employed for six months In simple tasks"}, {"page_pdf": 52, "page_imprimee": "232", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.52", "texte": "THE FIT AND THE UNFIT\n\nof this kind, they should be promoted... they have even said to me that\nthis kind of study might suit boys between tbe ages of nine and twelve\nThey fail to see that one boy of nine or twelve might be superior to\na young man of twenty-four, and another more helpless than a child\nof five.\n$ 1 *\n& The men who apply to me for admittance to my workrooms are many\nI take about five per cent of them ; and if one In every two hundred\nturns out at all creditably I am astonished.\nWhen applying they write to me with \" enthusiasm, \" and I show\nyou a little lower down two letters such as I receive.\n& They represent faithfully the kind of letters, or the applications\nI receive by word of mouth, from all those who come to me.\n& They expect to learn Magic In a few months. I tell them they had\nbetter not attempt it... that the task is too heavy... that their character.,\npatience... endurance... and vanity will be tested. Still, they feel that\nthey are great souls and can overcome all difficulties.\nThese are the letters:....\n1.\nSir,\n& \" I write from (one of the Universities) to ask if you will advise\n\" me a little about my fnture plans. I am In thorough agreement with\n\" everything you have written on \" the Art of the Theatre \", and ant\nanxious to learn more about it under your guidance. As I was thinking\nof studying Art for a year or two on the Continent after leaving the\n\" 'Varsity, I wonder if you would consider me qualified for admission\n\" as a PUP\" t0 your School In Florence. If so I should decide at once\n\"on 2°ing to italy instead of France to begin with. I hardly know yet\nwhat my capacities may be as an artist, though I believe I have a good\ndeal of originality, but at any rate you will find that I am an enthusiastic\n\" 'earner, and not afraid of hard work. Will you please let me know what\nyou think, and if there Is a chance for me... etc. etc. \"\n2.\nSir,\n& For years I have been a humble and admiring student of your\nideas, and am longing to be able to see them realized, and in some"}, {"page_pdf": 53, "page_imprimee": "233", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.53", "texte": "THE FIT AND THE UNFIT\n\n\" way to give expression to my enthusiasm. Now that your School is\n\" started it gives me an excuse for venturing to write and tell you how\n\" eager I am to take the smallest part in your noble work... if it be\n\" only to lay one unnoticed stone in the edifice of your theatre of the\n\" future. Will you let me have an opportunity of proving to you the\n\" sincerity and earnestness of this desire, by taking me as a student in\n\" any branch of the School which is under your direct supervision ? I could\n\" come to Florence at once, and am waiting impatiently.., etc. etc. \"\nThey then join the School.\nAfter a month's arguing with everyone... after a month's grumbling\nat every condition and at all the difficulties.... they probably write me\nas follows...\nMr. Craig,\n\" I am not clever. You give me things to do which would suit boys of\n\" ten and twelve, but which are beneath my powers. You will perhaps\n¥ N\n\" excuse me for saying that I think you are conducting your School\n\" wrongly. \"\njg? And so forth and so forth.\nI return them their cheques, and let them go.\njgf But those they leave behind them continue to work on steadily and\nwith increasing application, studying and respecting the Theatre of the\nPast, not blind to the good qualities of the Theatre of Today, but with\nhopes set upon a New Theatre which they feel must be in the Future\nif only they have sufficient Faith and Fidelity to make a reality."}, {"page_pdf": 54, "page_imprimee": "234", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.54", "texte": "ON LEARNING MAGIC. A Dialogue many times\nrepeated, and here recorded\nby Yoo-no-hoo.\nug> Pupil. £7 I want to join your School and to study the Art of the\nTheatre.\n£7 Master. £> Let me do my best to point out to you the hardships\nconnected with the study of the Art.\nYou have to give up every other study and think only of this one.\nYou have to serve one year's apprenticeship at least\nYou have to begin from the beginning.\nYou have to come to me knowing nothing, and, what is more, realizing\nthat you know nothing.\nYou have to be prepared to work ten to fifteen years at the Art.\nYou have to feel discontented with yourself and not with me.\nYou have to realize that before you can create a Drama you must be\nable to speak so as to be heard... walk across a room or a stage with\nease... have studied the movements of marionettes for many years... love\nnature better than your own self... know the whole history of the Drama\nfrom its earliest days... absorb all theories... be able to do humblest\nservices... and be an honest man.\n£7 Pupil. £7 Oh, I can do all this easily. 1 love the Idea so much, and\n/\nyou are such a wonderful man.\n& Master. That has nothing to do with it, and all depends upon you.\n.... Do you know what is a stage rostrum ?\n£ Pupil. £7 I suppose it is a raised pulpit of some kind.\n£7 Master. £7 It is a raised stage of wood, composed of a 'collapsible\nframework and a moveable top.\n(The Master here draws a plan of this.)\n£7 It is used in modern theatres to build up the scene with.\n£7 Thus at the far end of a flight of steps we shall place a rostrum so\nthat it may act as a landing place. Do you understand ?\nft\n£7 Pupil. £7 Oh, yes, of course.\nMaster. £7 I am glad you find that easy to grasp. In 44 Julius Caesar \" at\nHis Majesty's Theatre, or in 44 Faust\" at the Lyceum, or in 44 Tannhauser \"\nat Bayreuth many such rostrums were used.\n£> Pupil. £7 But why do you tell me all this ?"}, {"page_pdf": 55, "page_imprimee": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.55", "texte": "ON LEARNING MAGIC.\n\nMaster. DO you know what is a stage brace ?\nj0 Pupil. No, but what has that to do with the Art of the Theatre\nas hinted at in your book ?\n& Master. & A stage brace is a wooden support, adjustable to any\nreasonable height and used in the modern Theatre to prop up pieces of\nstage scenery which are neither hung nor self-supporting.\n(He draws a plan of the stage brace.)\nDo you know what \" Properties \" are ?\nPupil. But I want to study Art with you... not tricks.\nMaster. A great poet has told us that all Art is a trick, therefore\ndo not despise tricks.\nYou say you want to study Art,... and you begin by despising the\nhumblest parts of the Art.\nPupil. & But Rostrums and Braces and Properties are things which\nchildren of ten to twelve years old might learn about and profit by\nknowing.\nMaster. £> Whereas you are a superior person and wish to learn\nthe Art ?\n& Let me tell you that you will never learn the Art until you are\nmodest enough to desire to learn all about the humblest parts of the\nstructure of theatres.... scenery.... costume and acting, and to learn it\nthoroughly.\nDo you really suppose that the carrying of a Banner is an easy mat-\nter ? Do you really believe that you are so gifted a person that you\ncan afford to skip the experience of saying, ** My lord, the carriage\nwaits ! \"\n£/ Pupil. But, Master, I thought you hated all that nonsense. 1\nthought you detested Bayreuth, the Lyceum, and His Majesty's. 1 thought\nyou wrote and fought against the old-fashioned stage for years.... that\nyou planned out a new stage which you believed In, and which was to\nbe the Stage of the Future.\nMaster. You see how far wrong you are in your reading of my\nthoughts. 1 have planned out a new stage,... certainly; but not because\nI despised or hated the old stage.... because I love it, and lived in it\nmany years."}, {"page_pdf": 56, "page_imprimee": "236", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.56", "texte": "ON LEARNING MAGIC.\n\nAnd though I may wish to create a new stage, I know the old one ;\nand to know Is to love, even If one does not agree with It;\nI worked In the old theatre for more than ten years before I began\nto construct the new.\nYou wish to begin where I left off.\nSuch vanity, such shifting of responsibilities, is no use to you.\nYou say you want to come to my School.\nI tell you you had better keep away unless you realize sternly that\nyou have first no right to despise the old stage, and secondly no chance\nof practising the new Art until you have paid the very humblest tribute\nto the old institution, by studying all those things which at present you\ndare to despise.\nYou come here expecting me to tear up the old Theatre before your\neyes... You expected to find an accomplice and you are surprised to find\na master.\n£? When you read in my book that I was all on the side of the young\nmen and against the managers you thought that you would plot with\nme to blow them to the moon.\nuS? But on coming here you hear me speaking well of the managers and\nadvocating a thorough study of their methods.\nThat makes you mad.\n.£? And you will never be able to understand my reasons for being\nbalanced.\nI quarrelled with the managers and the conditions of the stage only\nafter having studied the theatre for over twelve years,... but I quarrelled\nopenly. So I have no wish to be a conspirator.\njg? A conspirator is a sneak,\nug? This school is not to produce sneaks.\nHere with me you learn first to love the old Theatre. 1 hand on to\nyou what my old master taught me, and 1 tell you where I think he\nmay have erred... but I do not want your understanding to become\nthick and muddy by drunkenly jeering at his errors. The 44 errors \" were\nfar better than all your 44 virtues \". And you will only advance and do\nwell if you are honest, modest, and open°minded.\n■£? Pupil. I think I have changed my opinion.... and I do not wish to"}, {"page_pdf": 57, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.57", "texte": "ON LEARNING MAGIC.\n\ncome to your School; for 1 am not a baby and will learn to be honest\nand modest somewhere else. (He goes out, and the Master proceeds\nwith his work).\n\nTHE APOSTATES. A Word by Nietzsche.\n\"Thus spake Zarathustra\". Translation\nby Thomas Common.\nh ! Ever are there but few of those whose heart hath persistent courage\nand exuberance; and for such remaineth also the spirit patient. The\nrest, however, are cowardly.\nThe rest: these are always the great majority, the commonplace, the\nfar-too-many... those all are cowardly!....\nHim who Is of my type, will also the of my type meet on\nthe way: so that his first companions must be corpses and buffoons.\n& His second companions, however... they will call themselves his be-\nlievers.... will be a living host, with much love, much folly, much un-\nbearded veneration.\nTO those believers shall he who Is of my type among men not bind\nhis heart; in those spring-times and variegated meadows shall he not\nbelieve, who knoweth the flckly faint-hearted human species I\n& Could they do otherwise, then would they also will otherwise. The\nhalf-and-half spoil every whole. That leaves become withered*... what Is\nthere to lament about that! Let them go and fall away, O Zarathustra,\nand do not lament! Better even blow with rustling winds amongt them,...\n....Blow amongst those leaves, O Zarathustra, that everything withered\nmay run away from thee the faster!..."}, {"page_pdf": 58, "page_imprimee": "238", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.58", "texte": "KINGSHIP Some Thoughts concerning\nHanako the Actress: Japan: India: Friendship\nand the King\nby Gordon Craig.\n\n'T'here Is a little Japanese actress called Hanako.\nJZ/ Hanako Is a clever woman. If she were a man one would speak\nof her performances as \" devilish clever\".\nHanako is a remarkable actress... and Hanako is not an artist at all.\nThe actress Hanako should be put down by Law. Hanako the woman\nis doubtless valuable.\nNo amount of brains ever made an artist... no amount of skill makes\none either. Some artists are skilful and some are entirely without skill.\nArt is not a matter of skill, although the skilful artist is a Godsend.\n£? Skill astonishes. Art does not do that. A man can astound us whose\nflow of language cascades from point to point with a rapidity too great\nfor us to follow, but he may not be speaking truth ; whereas the few\nwords of a man of truth may easily be uttered, unheeded by us, a\nthousand times in a year.\nThis is such an obvious fact that we have accepted it long ago... yet\nin the Theatre we forget it.\nI have seen an audience, half Italian and half English, go into raptures\nover Hanako and her exhibition of suicide in all its realistic details.\nThe beastly preparation for death... the horrible sticking of the knife\nin the throat... the mouth first filled with torn=up paper... and the\nloathsome gush of scarlet blood half covering the white chemise... saw\nher take her \" call \" at the end, and, while many applauded, I noticed\none man with his hands raised and laid back on each side of him, making\na significant gesture to the performer which seemed to ask..*., \" Well!\nand what then have you done ? Is that what you truly believe to be\ngood for us... for yourself... for the Theatre ? \" I think he was a member\nof the European Theatre. He knew how great an evil poor Hanako was\nunconsciously perpetrating.\nAnd as acting... as a skilful piece of work... was it good ?\nYes, as melodramatic realism it was good. She easily beat Madame\nSarah Bernhardt on her own ground. Sardou would have revelled in her"}, {"page_pdf": 59, "page_imprimee": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.59", "texte": "KINGSHIP.\n\nas a tool, had Hanako been a Frenchwoman. But because she is to be\ncompared with Sarah Bernhardt and because Sardou would have used\nher is the very worst of arguments in her favour.\nSome day we shall realise these things in Europe. Legislation will\nmove to control the questions of circus and people, and without any\ntraces of the *' embarassment \" shown in the Code of Theodosius. For\nLegislators will take counsel with artists of rigorous conscience and not\nwith priests of may-be narrow minds.\n& The whole art of the East is contrary to realism. In Japanese painting,\nwe are told by Hokusai, form and colour are represented without any\nattempt at relief. Hokusai would have hated Hanako.\nIt is not only the \" aesthetes \" who have used tall talk about Art.\nThe Artists have done so. Don't let us forget this.\nThe Artist knows, and has stated plenty of times, that mankind has\na longing for the stars, and you may jeer at this tallness till kingdom\ncome ...it is the Truth, and the world, while men and women still have\nthe stars over their heads, and while they still see them, will have an\nindefinable longing for them.\nAnd mankind loves the mountains... the peaks, and loves the depths\nof the sea... loves the secluded spots which he cannot reach.\n£? Wherever he cannot climb... whatever he cannot touch... whatever\nhe is shut out from... that will he long for.\nIn most men the longing is for the indescribable and unrealizable.\nAnd Artists are those men who know something mysterious and who\nbring mankind through their art something of what it has longed, and\nlongs for.\nHanako would have us believe a pack of lies. She and all her tribe\nwould swindle us into the horrible belief that all we want is Suicide...\nand a nasty squabble in this house of ours. And she would doubtless\nback up her skilful performance with the argument that it is \" true\nto life \".\n& What life, Madam? The life we long for?... and love?\nNo I Precisely the life we desire to escape from, yet which often fa-\nscinates us in the snake's way.\nEVIL. That is what Hanako takes so much trouble to reproduce for"}, {"page_pdf": 60, "page_imprimee": "240", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.60", "texte": "KINGSHIP.\n\nus... the illness of the Earth: and she sets about it like the dearest of\nlittle spiders.\nLet no one in Europe think that she and her type of performer in\nany faintest way reflects the Art of the Theatre of the East. She no\nmore represents Japan than does the double-page drawing in the\nIllustrated London News \" of November i represent the ancient spirit\nof India.\nLet us pass from Hanako to this.\nHere is reprinted a rough outline of the ugly and misleading scene.\nUnderneath it is reprinted what stood for the text.\n& This picture and text, which in my opinion reflects upon European\njournalism, makes out to the public that India was once a land where the\nDevil reigned supreme, where Evil was the law, where slavery was\nbrutal and where stupidity was rampant.\njg? Whereas we know that precisely the reverse of all this was the law.\nGoodness was the Law... the idea of Godhead quite as dear to the dark<\nskinned race as it is to u5.... (some would even say dearer),.... and\n\" slavery \" no slavery... and wisdom a natural growth.\nWhen I see such misleading pictures In a decent English Journal, I wonder\nwhat particular kind of mind orders the absurdity to be made; for by\ninsulting the millions of Indians in this way no good can possibly\ncome, (i) From telling our masses at home that which is Incorrect about\nIndia no good can come.\n£7 Strange that in our houses the works of these \" Heathenish Devils\"\ncommand our wonder, our respect, and baffle our desires. Strange that\nwe build museums in which to preserve the works made by Demons\nincarnate. Queer that we collect with ever-increasing delight and insplra«\ntlon the books, pictures, statues, dealing with and depicting the Religions\nof India, and that then we allow without a murmur the mass of our\ncountrymen to be deceived about their brothers in India who did their\nbest of old for the same old Cause... the Cause of God... that very Cause\nfor which we English, with all the world, fight and will ever fight.\n\n(1) la writing this 1 wish it to be clearly understood that I make no personal reference to the draughtsman.\nMr Caton Woodviiie. I have enjoyed his battle pieces and his pictured deeds ot British heroism, and I can only\nthink that Mr Woodviiie is ignorant of the truth regarding Indian civilization of the past centuries. 0. C."}, {"page_pdf": 61, "page_imprimee": "241", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.61", "texte": "\"INDIA'S DARKEST AGE:\" Preparing for those Sacrifices to Siva, the Destroyer, which are prevented\nby the coming of Conquest, holding aloft the Cross-hilted Sword of Christendom. A drawing from\nthe illustration by R. Caton Woodville in the Illustrated London News, November 1. 1913."}, {"page_pdf": 63, "page_imprimee": "243", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.63", "texte": "KINGSHIP.\n\n& There is one Enemy... only one; one Evil... only one; and that we\nshould allow it to destroy our Arts and our feeling of love towards our\nfellows in India, in China, in Burmah, in Africa, is to let it destroy our\npeace of mind.\nUniversal Peace can only be obtained by a universal state of War\nagainst the Enemy of Mankind.\nNo country has any Justification for warring against another country.\nBut all countries have one common enemy... and the enemy is always\ninside the gates.\nWar then... unrelenting war... against the evil side of Commercialism,\nwhich attempts to prevail at the expense of the friendship of mankind,\nof nations, and of castes.\n£? \" Socialism \" advances in the belief that It holds the secret of the\nworld's friendship.\nBut \" Socialism \"is founded upon selfishness. How many socialists \"\nare there today whose faces show us that they have realized this too\nlate ? Still they have meant well, and the best of them done well.\nI know a \" Socialist \" of London. Anyone more unselfish or more\nlike a man I think it would be hard to find. He is a direct disciple\nof William Morris, aad an old friend of his. More, even... one of his\nworkmen. And in his own brave way he still stands up for their ideal\nof \" Socialism \", meaning when he speaks the word all the best of\nthings, and refusing to admit that it can have become the poor thing\nthe mob has made it.\n\" Is that any reason for decrying it... that the many have not quite\nunderstood ? \" I hear him say.\nNo, sir. But the idea of God... the longing for the stars... still counts\nand will ever count, until the last tick of the clock of the universe tells\nthe End. And God is not quantity but quality: if God be everywhere,... in\nsun, in sea, in air, in earth, it is not because of the vastness of the\nsun, the sea, the earth and the air, but because of the fine good quality\nof these vast things. \" The empty vessel makes the greatest sound \", and\nthe greatest sound is not what is wanted.\nAnd because of this idea of God and the unknown, the idea of the\nRuler of the Universe becomes a thing fixed beyond all changing."}, {"page_pdf": 64, "page_imprimee": "244", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.64", "texte": "KINGSHIP.\n\nLet us accept it... and with it let us accept the simple lesson.\nWe need a Ruler... not six, not sixty, not six hundred. We need to\nplace that Ruler above us, beyond our reach and our touch.\nWe have to do this. This act and this alone liberates us. It is not\nSlavery to which we submit until we have puffed Ourselves up therein\nplace of the king ....then we are slaves indeed... slaves to our unrelenting\nselves, and it was a Socialist who helped me to see this:... strange that\nhe himself spoke without seeing!\n& So first we put down ourselves, and then we put up the man whom\nwe long to call our King or Ruler, and we keep on putting him up.,,\nseventy times seven we do it: he who begins to tire should step back.\n& Day after day, year after year, we put him up, and there he is.\n& If he tumbles down it Is only because we were weak and could not\nhold him up.\nLong live the King, then ! We shall all work at our tasks without ever\ngrowing tired, without discontent, and with ever-renewed excitement\nwhen we realize the Majesty of Royalty.\nFor Kingship is in ourselves. We, the people, are the makers... the\nfathers and mothers of the King.\nWe become the creators of the Symbol of Friendship when we place\none man high enough for all to be able to see him, and then help him\nby gentleness and by love to play the king as we would have our own\nsons play the Man."}, {"page_pdf": 65, "page_imprimee": "245", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.65", "texte": "GUIDINO STARS OF THE STAGE, A\nNote\nby John Semar.\n|f you wish to imbibe what the Americans call real \" highbrow\" views\nof life, to be purified, elevated and inspired, and filled to the brim\nwith noble and lofty thoughts on love and art and work and the refor-\nming and cleansing of society, the best means of attaining your end\nseems to be to associate with the actress, and especially with the actress\nof the variety stage.\nThere you will find what will satisfy,... even satiate, your desire.\nTalk of \" hitching your wagon to a star \" ?... these stars of the stage\nare lofty beyond human belief.\nNo more must we listen to, or speak of, the frivolity or freaks or\ncaprices or vanities or temperamental outbursts of these 'artistes'.... Oh\n110, these things were 'just a rumour'! In reality they are all mild as\nmilk, and sweet as honey, and serious as Plato, and survey mankind from\na height as remote as Rossetti's Blessed Damosel. They are here to bless\nand elevate humanity. They exude noble sentiments as a wet sponge\nwater. They are a kind of essence, a concentrated extract, of Psyche\nand Persephone and Beatrice and Imogen and Joan of Arc,.... in fact of\nall the great, real or legendary, lovers and patriots and saints of their\nsex, packed into a Paris gown or a pseudo-Greek costume.\nAt least so it a »pears from their newspaper utterances, and especially\nfrom the reports of Mr Colgate Baker, who has been interviewing a\nnumber of them and relating his experiences from time to time in the\n\" New York Review \".\nMr Colgate Baker is evidently the very man for the work. He has the\njournalistic equivalent of that \" bedside manner \" which makes the for-\ntune of many a physician. He inspires confidence In an actress just as\ndoes the family doctor when he pulls out his watch and asks to see the\npatient's tongue.\nj& These ladies of the stage show their tongues mentally and spiritually\nto Mr Baker at the very outset. Why, they open the inmost recesses of\ntheir lovely confiding aspiring little hearts to him almost before he has\nsaid 'how do you do'.\nsays Polaire to him, \" Monsieur, I shall confide in you, we have never"}, {"page_pdf": 66, "page_imprimee": "246", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.66", "texte": "GUIDING STARS OF THE STAGE\n\n44 met before, but I shall tell you something about myself, my real self\n44 eh bien ? \" ...and she then proceeds to Inform him that she Is \"in |OVe\nwith \" herself... \" I adore myself. 1 am quite free to say so. 1 revel in\n44 my glorious good health, in my strength. I worship my own persona..\n44 lity. I am supremely happy In being what 1 am \" Not bad for a\nbeginning, eh ?!\nBut then Mr Colgate Baker understands them so well, these little\nladles. He responds as swiftly to their elevating influences as does a\nwell-adjusted lift when you press the button.\nFor instance, he calls on Lady Constance Stewart Richardson in her\ndressing room, and hastens home to write :\n44 Thanks to Lady Constance Stewart Richardson I am now pure. My\n44 mind has been laundered and bleached snow-white. When your mind\n44 is purified you can speak no evil, hear no evil, think no evil.... quite\n44 delightful, don't cher know. One feels almost canonized, all carnal\n44 thoughts have been canned and cast away, and you are supposed to\n44 be very, very happy.... well, may be? \"\nWe need not ask where Mr Baker's own tongue was as he wrote\nthat:... possibly in his cheek. But the fact remains that he has drawn\nsome very amusing and illuminating outbursts of sentimentality and tall\ntalk from the ladies he has interviewed, and, that no one may in future\nundervalue the 44 mission \" of the successful actress or barefoot dancer,\nlet us reprint here a few of their inspiring words.\nJZ? First let us quote Lady Constance Stewart Richardson, barefoot\n44 Greek style \" dancer, ...imitator of other imitators.\n& How sweetly she prattles the truths and platitudes she has annexed\nfrom other thinkers ; how seriously she takes herself;... 44You are credited\nover here with being a reformeress of undaunted courage, Lady Con=\nstance \" says Mr Baker; and the reply is, 44 Am I really? How interesting.\n44 1 did not know that the echoes of the war I have been waging on false\nmodesty ever reached you \".\n44 Our clothes are one of the absurd products of our false civilization,\n44 but it is not absolutely true that I do not believe in them. \"\n44 Most of the immorality of our so-called civilization springs from\n44 a false sense of modesty. \""}, {"page_pdf": 67, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.67", "texte": "GUIDING STARS OF THE STAGE\n\n44 Why should we be ashamed of our bodies, there must be something\n\" the matter with them or our minds. \"\n& 44 The perverted mind produced by a false civilization has warped the\n44 appreciation of the beautiful. \"\n44 Before I die 1 hope to show the world that it is possible to bring\n44 up children so that they will be true children of Nature. \"\nJS? 44 Nature is an endless drama of procreation, and there is nothing\n44 but joy in it. \"\n44 Dancing to me is the expression of one's sense of the beautiful. \"\n44 I am here because I want to make money, so I can carry out my\n44 ideas of life and bring up my children as I wish. \"\n£? Here, indeed, is a prophet arisen in Israel! Oh, shades of all healthy\nand freeminded and joyful women, hasten to hear this new gospel, hasten\nto hear that which you knew for yourselves from the beginning: hasten\nto hear a vague, faint, milk and water echo of a word of Whitman\nproclaimed as a new truth ; listen and give its champion the... reclame\nshe seeks.\nThen there is Madame Anna Held, whom everyone had always\nregarded as the very 44 quintessence of diablerie \" with her naughty\nlittle chansons and her saucy little tricks. It is Love and Happiness that\nshe selects as her theme. Listen to her wisdom :\n4« As to the glory of artistic success, 1 say pouf.... it amounts to\n\" nothing. There is no artistic success without financial success, and you\n44 might also say there is no financial success without artistic success. \"\n44 Life is a test. \"\njzr «4 Where is the great actress, the great singer, the -great woman\n44 artist, who cannot point to a tragedy in her life? \"\n44 Myself, ah you all know that I have had mine.... it is vain for me\nto try to conceal it or the fact that I have suffered. But I have no\nresentment, no bitterness against anyone because of it. Women were\nborn to suffer and to endure. At least I have lived a blameless life, not\none word of evil has been uttered against me, how can there be, I have\nnever done anything wrong? \"\n44 Happiness is never complete, there must always be something"}, {"page_pdf": 68, "page_imprimee": "248", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.68", "texte": "GUIDING STARS OF THE STAGE\n\nlacking, some desire unsatisfied. We make the great mistake of our lives\nin trying to be happy. If we did not look for \" the Blue Bird \" it might\ncome to us, but the more we chase it the further it flies away. \"\n& \" 1 have given up trying to be happy, it is no use and leads to\nnothing. I try to be right; to do what is right... and let my personal\nfeelings take care of themselves. I find it works better. \"\n** Love Is as much a mystery as ever. All we women know about it\nis that at least once in our lives we do love, blindly, unreasonably,\nregardless of the consequences, and love seems to lead us to paradise...\na mirage, which like the travellor in the desert we are always trying\nto reach, but which keeps moving away as we approach. \"\n«4 It is foolish to speak bitterly of love, that inevitable part of every\nwoman's life. \"\n\" Just at present women invariably have the worst of it in love.\nMen easily recover from the disease, but it seems to last with a woman\nuntil it wrecks her life. \"\n\" However, I must say that it is better to have loved, even unhappily,\nthan never to have loved. \"\njg? Then listen to Mile. Polairewho can attain to such heights as she?\n\" Moral beauty is a priceless jewel, it is the only thing in life worth\n\\\n\" cultivating. \"\n& \" I yearn to play the heroine in some great, noble, uplifting play which\nwould really do some good for humanity. \"\nuS? \" Everyone is bad and so few are g00d.... I want to be good, it will\nbe such a novelty.... I should be alone in my glory. \"\n\" I should like to die for the cause of humanity.... Mon Dieu, that\nwould be magnifique I \"\n& \" Our dramatists are all no good, they are immoral, degenerates. Bah,\nI hate them ! \"\n\"My mission is to discover some pure, noble, young (I) poet, who\nwill with his divine genius, lead us out of filth.... into the presence\nof Truth, Beauty and Goodness. \"\n\n(I) Evidently the necessary qualification, as who, when advertising for a footman, should say, 44 Honest, willing\nand clean"}, {"page_pdf": 69, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.69", "texte": "GUIDING STARS OF THE STAGE\n\nWhen you have drunk deep of the cup of life as 1 have one must\nbecome a philosopher.\nI ,\n£? \" The evil side of human life nauseates me. I sigh for poetry and\nbeauty and moral inspiration.\n\" Love is not a thing that you can shackle with fetters. It Is a mad-\nness in the blood.\n& \" And love for the artiste is even more of a madness than it is for\nthe ordinary person. It is a consuming disease that must be conquered\nor it will destroy you. Let love run riot and It burns up everything it\ntouches. \"\n....And so on, and on and on, ad , ad , do the\nladies of the stage, posed in the spot light skilfully manipulated by\nan acute press agent, babble of all things in earth and heaven: so do\nthey for ever, ail unconsciously, substantiate the truth of the old saying,\n44 the empty vessel makes the greatest sound \", the measure of their\nloquacity being the guage of their conceit, and of their lack of strong\nconviction, true feeling and serious intent: for, as a wise Indian has\nwritten, 44 It is ever the way of those who are conscious of a sufficient\n44 inner life, to be indifferent to outward expression of their own or any\n44 other changing personality \"."}, {"page_pdf": 70, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.70", "texte": "SO MUCH IS CHANCE. A Note\nby Allen Carric.\nood chance and bad chance.\nFor an example of a bad chance...,\n& We study unnaturally,... that Is to say, beyond\nour years.\nLet us say that at eighteen or twenty we study\nthe Greeks; we of a strange generation do this\n....we, living in the midst of confusion; confusion\nof Religions, practise and theory. We lncapables\ndo this. We, as it were, would leap into a perfection.\nWe remember Goethe's words, \" Man studiere Moliere, man studiere\nShakespeare, aber vor alien Dingen, die aiten Griechen und iramer die\nalten Griechen \".\nwe apply Goethe's words to our own case; we flatter ourselves he is\naddressing us.\nWhat should we do in the face of such advice ? we ask ourselves.\nIs the Greek not to be '* before all other things \" as he says ?\nIf the Greek is before many other things in degree of excellence it is\nso far \" before \" those things that we should be very far more careful\nnot to leap into its excellence before the right time.\nHow shall we know ?\nI would attempt to frustrate some such bad chance by definitely reas»\nserting that we, being of the twentieth century, must start in that century\nand work slowly backwards and forwards slowly passing through, not\nover, centuries.\nThus in the matter of the written drama.\nIt were best to study our modern Drama first. After that the Drama\nof yesterday, back slowly to Sheridan and his period,,... back to Moliere\nand his, and to Shakespeare and his, back to the great Contmedia\ndell'Arte, back through the Religious Drama of the middle ages to\nTerence.\nNow we have arrived at Greece. And I beg most earnestly, with all\nthe persuasion I can give to my plea, that there be no hurry.\n& Haste it is which leads to so many of the bad chances. The age is\nformless owing to this Haste. And commercialism alone Is not what"}, {"page_pdf": 71, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.71", "texte": "SO MUCH IS CHANCE.\n\nhurries us. Our Conceit, like a gutta percha sling, flings us out between\nthe forks of evil chances Into the universe.\n& Nature works slowly.\nAnd the older the world gets the slower should we work.\nMore excitement can be enjoyed if we go not too fast.\n&To discover Terence after having avoided him,... to discover him\nonly after having come across his sons, Moltere, Shakespeare and the\n»\nrest, is to enjoy the company of the whole family at the different stages\nof our development.\nBut to be led by Goethe's words to lose five or ten years with these\nsons of Terence is to lose more than our natures can afford to lose.\nThose who read The Mask, who wish to see the development of our\nnew Theatre of the Future which our Leader has seen and spoken of,\nthose who wish to be overtaken by no \" bad chance \",... how better\ncould they provide against it than by an affectionate knowledge of the\nPast ?... not of the Greeks alone but of ail periods,... each period as it\nfits the mind In development.\nj0 A boy of fourteen cannot command Moli&re's attention, but he might\nlearn to venerate his contemporaries and so get their ear and their\nvoice; Pinero, Barrie, Jones. Then as he reaches eighteen he might,\nwithout forgetting his old friends of today, take older ones of yesterday,...\nand, by their aid, get a glimpse into the future.\nAdvancing in years he may go still further back and so see forward\nstill more. Until he reaches forty, fifty, sixty,... then he will have seen\nand loved all things, and learned like Nature learns slowly to accept\neach and all in turn,... and thus to see forwards into eternity, and back\ninto eternity."}, {"page_pdf": 72, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.72", "texte": "THE THEATRE IN WARSAW\nby Ernest Marriott.\n\\*/arsaw, once the capital of Poland, at present under the rule of\nRussia, might not be considered a likely place for the encouragement\nof the arts theatrical or otherwise.\nA recent visit in connection with an Interesting and very up-to-date\ntheatre exhibition has given me a new point of view regarding things\nPolish, for I found that the theatre in Warsaw plays a most important\npart in the lives of the inhabitants. It reflects their brain, temperament\nand soul as a clear lake of Poland mirrors its solemn trees.\nOf the theatres 1 visited, only one, the Teatr Polski, may be said to\nbe modern. But this particular little theatre is a model of what a theatre\nought to be constructionally.\nThere Is no playhouse anywhere in England half so ingeniously, so\nserenely and so beautifully appointed.\nOf the play at the Polish Theatre, which happened to be \" The\nTempest, \" I can say nothing. The performance of it was interesting but\nnot In any way absorbing. Perhaps Shakespeare in Polish loses greatly ?\nAlthough, some Poles I spoke with, who were very familiar with English,\nsaid that the translation I heard was a very beautiful one by an eminent\nnative poet. It was not the fault of the actors. On the whole they did\nwell, particularly Stefano and Trinculo, who managed to catch a good\ndeal of the rich English habit. Nor was it entirely the fault of Karol\nPrycz the designer of the costumes and scenery,\nFrycz is a young man of talent, judging from a model scene of his\nIn the Theatre Exhibition; but I imagine that in \" The Tempest\" he\nwas not on native ground,... that is, he had not a free hand.\nIt seemed as though the producer had said to him, \" Here are some\nback numbers of Jugend, make your scene as much in the Munich style\nof landscape as possible.... here also are Dora's Illustrations to ' Contes\ndrolatiques,' get your men's costumes from them. \"\nI feel this very strongly, for Frycz is a most promising man and the\nwork of his hands unembarassed by the wishes or instructions of managers\nor producers is of a purer and more original character.\nThe producer at any rate was to blame for allowing Ariel to be played"}, {"page_pdf": 73, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.73", "texte": "THE THEATRE IN WARSAW.\n\nby a ballet girl. He was to blame also for trying to realise the phantom\nbanquet with a silly crowd of freak birds and reptiles of the kind usually\nseen in a Christmas pantomime.\nPerhaps the most unhappy and infelicitous thing in the whole per-\nformance was Caliban. No actor, be he even better than the excellent\none who played this part, could possibly realise Caliban in a fantastical\ndress which, as nearly as I can describe it, looked like a grotesque mixture\nof an American cowboy and a narwhal. The heavy German influence got\nits grip on the whole work, and,... Shakespeare died to slow Munich.\n&It was of course a bad policy to run such a play on entirely realistic\nlines, but it had one episode which was really diverting.\nThe scene was built up \" solid \" and in the drunken bout the whole\nland and seascape solemnly twirled about the revellers. Trees, rocks,\nsand and sea gravely waltzing round from left to right.\nNot realism this, but most excellent suggestion. The spectators\nwere made to feel and see as the characters were supposed to be feeling\nand seeing. They entered Into Stefano's and Trlnculo's world instead of\nobserving them from another planet. It was a capital utilisation of the\nresources of the revolving stage.\nThe company of actors at the Summer Theatre (Teatr w ogrodzie\nSaskim) were, taken all round, much more capable than those at the\nTeatr Polski. Here 1 might, had I space, make many agreeable comparisons\nbetween actors trained in the old stock tradition and those of the modern\nrepertory type. Briefly, it seems to me that each could learn a lot from\nthe other.\nThe only English Repertory companies with whose work 1 am at all\nfamiliar are those of Manchester and Liverpool, and it has almost\ninvariably been the case that these companies when playing an old\nromantic play lack something of warmth and mellowness.\nMost of all they lack sympathy and that kind of belief which springs\nfrom an inborn and whole-souled joy in theatrical make-believe. They\nare too brainy, too matter-of-fact, too intellectual and sometimes too\nlofty to be simple. They do not radiate a glow from within; rather\nthey are illumined by a cold light thrown on them from without.\nWhereas, on the other hand, the old style of actors who think Ibsen"}, {"page_pdf": 74, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.74", "texte": "THE THE A TRE IN WARS A W.\n\nthe very devil and Shaw an incomprehensible person can play their\nparts with astonishing gusto, and even in a poor play can make you\nfeel some of the authentic dramatic thrill. They have little or no\ndifficulty in getting the play across the footlights to the audience,\nWhen dealing with a sociological or philosophic or intellectual play\ntheir limitations show up like the 44 spots that bespatter the leopard.\"\nOne could not imagine them playing Monkhouse's \" Mary Broome. \"\n& Nevertheless It is to the latter class of players that most of the\nTheatre companies of Warsaw belong. Those at the summer theatre\nsupremely so.\nTheir play-house Is a big wooden structure built in the middle of a\nbeautiful old garden full of noble trees with winding paths leading into\nglades all round about.\nThe play, Rostand's 44 Romantics was a most appropriate piece for\nsuch a situation. A better company of actors of the old style I have never\nseen. The great comedian Frenkiel playing Straforel was in most won-\nderful form, and I can believe what I am told, namely, that when he\nplays Cyrano de Bergerac it is almost if not quite as good as Coquelin's.\n4? Altogether a joyous performance with the added delight at the end\nof leaving a Fragonard stage picture to walk through the ancient theatre\ngarden with the first leaves of autumn falling from the trees.\n& At the Teatr Nowoscl Sumurun was playing to half-crowded houses.\nEvidently it traded on its reputation to draw people, for a more stupid\nperformance could not be imagined.\nIn justice to Herr Reinhardt it should be stated that the Warsaw\nversion was not his. It was jostled and hurried, not one gesture was\nwell thought out and grouping, even 44 effective grouping,\" was not\nthought of for a moment, it was like a Christy minstrel's playing of\na tambourine... full of harshness, rattle and dither and bang.\n& The largest theatre in Warsaw in the Teatr Wielki. At the time of my\nvisit they were presenting 44 L'Aiglon \" and it was very pleasant to find\nthe comedian Frenkiel In the piece playing Flambeau in his own particular\nracy manner. These were several actors of very marked Individuality, and\nprominent among them was Juljusz Osterwa, very graceful in person and\nendowed with a most unusual instinct for movement and gesture."}, {"page_pdf": 75, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.75", "texte": "THE THEATRE IN WARSAW.\n\n& But the most enthralling piece of acting 1 saw was that of Boleslaw\nLeszczynski, (Poland's greatest actor) in the trifling part of General\nHartmann with less than half a dozen words to say. He remained on the\nstage through a whole scene placed in the background and hardly stir-\nring from one spot. But he made great drama out of his part and one\ncould not help thinking that with a few actors of his calibre play after\nplay could be interpreted quite easily without the use of the spoken word.\nThis Teatr Wielki is a huge place and is used generally for grand\nopera and spectacle.\nIt does things, not by halves, but by one and a half, or even more.\nIt adds, two and two together and makes seven. In presenting \"L'Aiglon\"\nit seemed as though it said, \" Here is a play which demands a certain\namount of realism. Realism shall overflow its banks \".\n*\n-<£? Certainly it was a beautiful and costly performance. It was magnifi-\ncently and astonishingly complete. But in spite of its dazzling opulence\nIt was never gaudy, garish nor in any way ugly. It was delusion and\nnot illusion and, as was to be expected, it utterly swamped the play and\nthe players. The drama struggled to keep its head up as a swimmer\nwould struggle in a lily-clogged lake. Only one scene escaped drowning,\nand by some means arrived at real simplicity. In this scene the drama\ntook its last breath and then went under. It was particularly interesting\nto see such a production as it showed that the great theatre .could be\nideal, if it liked, as well as real, or rather unreal.\n& The ideal theatre building in Warsaw is the one 1 have already\nmentioned, the Teatr Polski where they played \" The Tempest. \" Later\n1 saw them play another piece there, \" Damy i Huzary \" which was\nmuch more within the scope of the actors.\n& What interested me most about this new Polish Theatre was the\nfact that the building of the structure had been done with brains and\nimagination. Prom the ventilating apparatus to the costumes of the\nattendants everything seemed to be the result of clear thought and\ninspiration. Light In plenty,, but hidden and never striking uncomfortably\non the eye. Every seat with an excellent and unobstructed view of the\nstage. None of the stuffy feeling,.., the wanting to get up ajid go out\nfor air at the end of an act. The temperature did not perceptibly rise"}, {"page_pdf": 76, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.76", "texte": "THE THEATRE IN WARSAW,\n\nand the whole interior of the theatre felt clean and cool. When one's\nlungs are kept clear and unsullied the performance gains; for the\nexhilaration engendered by the play has a much better chance with\none's system.\n4? The exits and entrances are so cleverly arranged that in less than\nhalf a minute the house can be emptied or filled.\n4ef There is a revolving stage, and an adjustable proscenium which, if\nnot as good as one the readers of The Mask have heard of, is at all\nevents quite a good thing of its kind.\n4& The orchestra is kept out of sight. The pit is well sloped and there\nis no cadging of extra roubles by placing seats beyond each side of the\nproscenium. There are no boxes.\n& Everything Is carried out in a thorough manner. Hygienic as a hospital,\ncomfortable as one could possibly wish, it is indubitably a theatre and\nit gives you the sense of something serene and calm as of a building\ndedicated to the service of a noble art.\n& There are many signs and indications that Warsaw will soon be\ncompletely awake in matters theatrical, for there is a band of young\nenthusiasts there who are working for the New Theatre. They have a\nlot of labour in front of them, but they have got the ideal building and\nthey have got talent. One member of this group, Franz Siedlecki, has\nnot had the opportunity of materialising his designs but his work is\nfull of spiritual beauty and suggestion and his day must come soon. He\nand his Cracow friend, Leon de Schildenfeld et Schiller, were responsible\nfor the practical organisation of the splendid little Exhibition at Warsaw.\n& It is interesting to hear this group of enthusiasts talking of the\ncelebrated ancient and modern plays of various countries but it is almost\nstartling to hear Poles speak of the mystical strange beauty and lyricism\nof W. B. Yeats' plays. They have read them and intend playing them in\nwhat 1 am informed are beautiful translations by an inspired young\nPolish poet.\nThey know also to whom is due the credit of the modern movement\nin the European Theatre and that is why they organized and opened at\nWarsaw an exhibition of modern theatre art with the designs and models\nof Gordon Craig occupying the place of honour."}, {"page_pdf": 77, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.77", "texte": "LETTERS TO THE EDITOR.\n\nTHE MUSIC HALL AND THE CHURCH.\n\nMy Dear Semar,\nMay Ibe allowed thorough the columns of The Mask to have a word\nwith the Bishops of London and Kensington who have lately been\ninteresting themselves so actively in the Music Hall ?\n& I come of the family of actors. When I use the word \" family \" I\nmean not only the individual family to which I have the honour to be*\nlong, but the whole body of actors.\n& For some queer natural reason, perhaps because I am very proud of\nthe family to which 1 belong, I want to see actors become the rulers\nof the earth.\nFor I know that actors are without exception [the most generous*\nnatured beings, (after animals) upon the face of this round burning thing\nsuspended in the void, and which is called the Earth.\nGenerosity is Charity In profusion.\nGenerosity is the heart of creation.\n& The actors represent that heart. Therefore the actors have the first\nrequisite of great Rulers.\nBut only the first. There are other requisites.\nNow although I come of this race 1 am not like them. I am not made\nup of as much Heart as they are.\nMy road has been a different one from that of my Family.,., and I\nhave spent some time in excavating in old forgotten paths, and advancing\nalong unknown roads, in the hope of making discoveries.... in the hope\nof adding some new quality to the great heap of generosity already pos-\nsessed by the family of actors.\n& One find of mine was that the Art of the Theatre was In its infancy;\nthat it was the only Art which had not been thrown on to the dust heap\nof useless and unwanted articles; that it was the one Art which survived\nthe centuries owing to its peculiar nature, and that its nature was an\neverlasting one promising to outlive the noble art of architecture and\nthe divine art of music.\n& \" Movement, \" 1 stated, was at the roots of this art, and when"}, {"page_pdf": 78, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.78", "texte": "LETTERS TO THE EDITOR.\n\nmovement was no longer needed, the art or the essence of movement\nwould be no longer needed... the life of the world would end.\nBy Movement I stated that I neither meant the dance nor the\npantomime, but something far more wonderful, far more mysterious\nin fact something divine, loveable, worshipful... and incomprehensible\n1 urged the Family of actors to turn its thoughts in the direction of\nMovement, it being their Inheritance, their lawful means of creating\nthe most blessed art in the world.\nBut the Family of Actors Is never in a hurry....\nWhen it started out on its... what shall we call 1t?... let us call it\nMission... it proceeded to divide its forces into two camps ; one division\nwas the advance guard and was to laugh and jest the world into a good\ntemper. The second division was to remind the world of the beauty and\nthe divinity of men.\n& Thus this Family has spread, and possesses two realms, the Theatre\nand the Music Ha 11... both rich properties.\n& But now another Family proclaims war upon that half of my Family\nwhich dwells in the Music Hall.\n& The Music Hall actors are attacked for indecency by the Church of\nEngland's clergy.\n& War can be waged from good as well as bad motives, and in this case\nthe motive is quite good.\nBut-it is silly... unconsciously.\n& The thing against which the clergy are waging war Is also something\nsilly... consciously so.\nThus we have in a sane land in the twentieth century the spectacle\nof a serious and grand calling waging a silly war upon the silly phase\nof a great art.\nThe Actor Is both Priest and Zany, the two extremes of mankind.\nIt is the Zany whom the clergy have stooped to httack.\n0 Now one thing only 1 have to say, and then 1 hold my peace.\nIt is this.\n& When an art born as a blessing for the People gives birth to a race\nof artists longing to delight the People and to bring happiness to them,\nand this race of artists provides sacred things for the People and yet"}, {"page_pdf": 79, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.79", "texte": "LETTERS TO THE EDITOR.\n\nprovides profane things too, who is there who should dare to criticize\nthem for their complete understanding of Humanity ?\n0 And if this race or family of artists provides from the cornucopia of\nits generosity plenty of profanity, you must not complain... provided...\naud here I reach my point... the same family is providing in full measure\nsacred things also.\n0 My question, then, is this.... Wherein does my Family fall short?\nWhere does it give short measure ? Where is it mean ?\n0 Your attacks, Bishops and clergy of England, are futile If you attack\nthe profane side of mankind for Its profanity. It Is half its nature.\n0 If you are serious and true in vision as you are obviously sincere in\nyour hearts, you will only attack one half of my Family... the half which\ngave its promise to uphold a sacred theatre and which has failed to\nmaintain its promise for hundreds of years. You will find it at home in\nsuch theatres as the Haymarket, the Savoy, the Qarrlck, the Adelphi,\nCovent Garden, Kingsway, His Majesty's, the Criterian and Drury Lane.\n0 BUT if you attack us on this score you will first have to throw open\nthe doors of the Church and call us in to reform it, for Church and\nTheatre are one at heart, one in spirit, and it is only you who have\nthrust us out, and In so doing have weakened the Church, and so lost\nits hold on the masses.\n\nGORDON CRAIG.\n\nBURBAGE AND SHAKESPEARE'S STAGE.\nYours faithfully,\nCharlotte C. Stopes.\nSir,\nI thank you for the little review signed 44 P. K, \" concerning my book\n44 Burbage, and Shakespeare's Stage\n0 The reviewer says he \" expected \" I should have treated their 44 pre=\ndecessors But I believe it best to do one thing at a time. 1 had treated\nsome 44 predecessors \" in 44 William Hunnls and the revels of the Chapel\nRoyal\" four years ago. 1 may do so again. But on this occasion I carefully\nchose a title, and stuck to it, my only regret being that for lack of\nspace I could not say all concerning the relation of the Burbages\nto Shakespeare's Stage which 1 should have liked to have done."}, {"page_pdf": 80, "page_imprimee": "260", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.80", "texte": "LETTERS TO THE EDITOR.\n\nJohn Semar.\nStopes, in addition to the above letter forwarded for publication ha\nsent us one or two little Notes relative to the list of Sixteenth Centur\nEvents published on page 135*146 of the October number of The Mask\nMrs Stopes says of the list, and with all reason, that \" it might hav'\nbeen fuller with advantage \" and we most heartily concur. In fact SUch\na list could very easily fill a whole volume of The Mask: it could ba\ndeveloped into a very Encyclopedia without having exhausted ail that\nmight, and rightly should, find a place in It.\n& As for its Incompleteness, no one knows it better than we ourselves\nIn fact we stated as much in the very first introductory words. But we\nfelt that, incomplete as it was, such a list had a certain value,... if only\nto stir up others to show us how much better it could be done, so that\nhaving been aroused by the inadequacy of our labours, they might enable\nus to profit by the perfection of their own. Added to this we would\nremind Mrs Stopes that we restricted ourselves to matters which dealt\nwith or bore upon the question of the Commedia dell'Arte.\n& Mrs Stopes also says, and this is a matter of more serious regret to\nus, that she finds our list incorrect in places, and that the faults that\nshe does note make her 44 uncertain about the correctness \" of other\nfacts which she does not know.\n& We would remind her however that, although to have quoted our\nauthority in every case would have been too lengthy, every statement\nor date was based on the authority of one or other of the most accredited\nhistorians of the Theatre, whether English, Italian, Danish or French.\n& We are glad, however, to note here two specific corrections.\nLantram she says, should be \" Laneham.\" She also points out\nthat the building of the Globe Theatre is included under both 1593\nand 1597» both of which dates she asserts to be wrong as the Theatre\nwas not, she says, begun until 1599. J. Payne Collier F. S. A. however\nin his 44 Annals of the Stage \" says it was built in 1594, \" or, at all events,\non the 23rd Dec. 1593, Richard Burbage entered Into an agreement with\na carpenter of the name of Peter Street to construct it of certain materials\nand of specified dimensions. \" Collier's reference is Malone who Informs\nus of this in his Inquiry, page 87. John Addington Symonds says 1593«"}, {"page_pdf": 81, "page_imprimee": "261", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.81", "texte": "BOOKS REVIEWS.\n\nTHE DRAMA OF TODAY, by\nCharlton Adams. Lippincott Co.\nNew York. Price one and a half\ndollars.\nTThe Drama is a species in the\n\"genus fiction... It differs from the\n44 other forms of literature \" etc. etc.\nSo begins Mr Andrews' book,44 The\nDrama of Today \" ; and as we hate\nrepeating an old falsehood, as we\nare amongst who hold that\nDrama has nothing whatever to do\nwith Literature, how can we find\nexcuses for Mr Andrews and his book?\n& We make no objections to its\nform, and many of its pages are\ninteresting as pages. Still, a word\nmore about Irving,... he is twice\nmentioned and without significance\n...and some mention of Duse, Bern-\nhardt and Ellen Terry as having\nin some slight way directly or indi-\nrectly affected the Drama of today\nwould not have been amiss.\nHis assertion that 44 As an artist\nStrindberg ranks considerably lower\nthan Ibsen \" is rather incomprehen-\nsible, for it is precisely an artist\nthat Strindberg towers above all the\nScandenavians.\nHe speaks of Strindberg as 44 this\nSwedish Schopenhauer \" and alludes\nto the dramatist's 44 terrific hatred\nof women. \" We had always gathered\nfrom all that Strindberg ever wrote\nthat what Strindberg hated was the\nprostitute in woman. How could he\nthen hate woman ?\nHe writes of Shaw as 44 a poseur;\"\nlater on 44 a reformer. \" Of Mr Bar-\nker's plays he says he 44 finds their\n44 true dramatic significance quite\nburied beneath the heap of photo-\ngraphically realistic rubbish. \" Mr\nMasefield's 44 Nan \" seems to him to\nbe 44 one more exploitation of the\ncheerless and the charmless. \"\nThe Modern Drama according to"}, {"page_pdf": 82, "page_imprimee": "262", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.82", "texte": "BOOKS REVIEWS.\n\nMr Andrews is not good and he tries\nhis best to show up the greatest\nmodern playwriters In the best\nlight,.,, and ends by saying they are\na pack of photographers who are\nmorbid, \" preachy \" and \" talky \"\nand so forth,\nThis is expensive at one dollar\nand a half.\nThere are so many good and fresh\nbooks we want to see published by\nLippincott and the better publishers;\nbooks on the Stage and its Techni-\nque.... on the different men who\nare labouring year In and year out\nat this most difficult work that we\nhave not the right to praise all these\nbooks of loose theory which are\nflooding the market at .the present\nhour.\n\nSHAKSPERE AS PLAYWRIGHT\nby Brander Matthews. Long-\nmans. Price fifteen shillings\n#\nnet.\nprofessor Brander Matthews of\nColumbia University has produced\na large new book. There are three\nhundred and eighty one pages.\nThat appears to be the first thing\nwhich strikes one. There seems little\nto distract one from the mere size,\nthe plodding industry that has put\nit together: for it must be admitted\nthat Professor Brander Matthews of\nColumbia University is a tedious\nwriter: he Is in fact one of those\nwho, to use a slang term, 'bore Us\nstiff'.\n& Like Peter Bell of immortal me-\nmory, Brander «is dull, is very\ndull' with about 'as much imagina-\ntion as a pint pot', and, to be dull\nfor three hundred and eighty one\npages is a little hard on the 'kind\nreader'.\nProfessor Matthews says so much,\nsays it so solemnly, so stolidly, and\nwith never a touch of magic, never\nan illuminating flash to make the\ndry bones live.\n& The book is perhaps good in its\nway... but how good it might have\nbeen ! How interesting If Professor\nBrander Matthews could have con-\ncentrated a little more of his atten-\ntion,for instance, upon the wonderful\nactors of Shakespeare's day, and\ntheir relation to the Shakespearean\nplays.\nWe begin to know by now that\nthe plays no longer \" remain one of\nthe insoluble mysteries of genius\"\nand careful readers of The Mask\nneed no more be fogged by the\npuzzled Mr Matthews and others of\nhis school.\nThe book contains two very intere-\nsting maps of Shakespeare's London,\ndue to the care and skill of Mr E.\nHamilton Bell."}, {"page_pdf": 83, "page_imprimee": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.83", "texte": "BOORS REVIEWS.\n\nGREEK ART AND NATIONAL\nLIFE. by S. C. Raines Smith.\nNisbet. Price seven shillings and\nsixpence net.\n'T'he writer of this book approaches\nhis subject from a right point.\nHe does not want to sing the\npraise of Greek art just because\nit is old: and in these days, when\nmere age is generally assumed to\nbe synonymous with worth, and\nwhen the craze for the past turns\na large section of Society into pe-\ntrified, back-gazing figures, as dull\nto advancement as Lot's wife, it is\nrefreshing to find a man who can\nwrite on his second page: \" Let us\n\" then remember that enthusiasm is\n\" wasted on dead things, but that\n\" life needs it soreiy. To share the\n\" fire of Sappho is greater gain than\n\" to be the world's authority on\n\" Aeolic forms; to find the heart\n\" of the man who fashioned the\n\" sculptures of the Parthenon, to\n\" find\n\" .... what led\n\" The hand to this perfection...\"\n\" is better worth while than to know\n\" to the last touch the methods of\n\" his skill\".That is as ensible outlook,\na pleasant change from the weary\ntalk of the 'good old times' and all\nthe fake Greek art and the fake\nGreek imitation of the \" Pasters \"\nwho respect things in exact ratio\nto the number of centuries they\nhave been in existence, and whose\nconservation is as ill-judged in its\nown way as is the iconoclasm of the\nFuturists in theirs.\nMr Kaines Smith has not a little\nto say that is interesting about the\nSack of Knossos, the \"Mycenean \"\nCivilisation, the Homeric Ageand De-\ncorative and Creative Art and so on.\nThe book is illustrated with seven\nphotogravures and many other il-\nlustrations of the masterpieces of\nGreek art.\n\nPLAYS OP OLD JAPAN. THE\n\"NO by Marie C. Stopes.\nHeinemann. Price five shillings\nnet.\nHphis is an interesting little book,\nand as well got up, as well illu-\nstrated, as are ail those which bear\nthe name of that distinguished pub°\nlisher, Mr William Heinemann.\nOf course to treat here at any\nlength of the subject of the b00k,...\nthe great No drama, is Impossible,\nbut we shall return to it before\nlong, devoting to it a complete\narticle, supplementing the brief\naccount of it already given by Mr\nSheko Tsubuchi to the readers of\nThe Mask in 1912.\njSf The author of the present book,\nafter an introduction devoted to the"}, {"page_pdf": 84, "page_imprimee": "264", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.84", "texte": "Reproduced by permission of the Royal Society of Literature.\n\nDiagram of stage arrangement in the showing also the position of\nthe audience.\nOn the stage the chorus is represented by crosses, the leader of the\nchorus marked by an x surrounded by a circle.\nThe numbers I and II represent the positions during most of the action\nof the leading actors.\nI represents the shite.\nII represents the waki.\nThe encircled numbers show the positions of the musicians, who are\nstationary during the piece.\ni. The taiko player. a. The otsuzumi player.\n3. The kotsuzumi player. 4. The fue player.\nThe squares at the front of the stage represent the two pillars supporting\nits roof.\nTh.s design 0; the No stage, and the plate facing it are from Mrs Stopes Book \" Plays of Old Japan\" by kind\npermission of Mr William Heinemann."}, {"page_pdf": 85, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.85", "texte": "View of the \"No\" Stage.\n\nJanuary 1914.\nTHE MASK."}, {"page_pdf": 87, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.87", "texte": "BOOK REVIEWS,\n\nnature, the history and the technique\nof the No drama, gives an English\nrendering of several of the utai or\nlibretti themselves, in the hope that\nalthough \" no translation can ever\nconvey more than a fraction of the\npower, beauty and individual cha-\nracteristics of the original text of\nthese old piays \" there yet \" may\nbe found between these covers some-\nthing of the delicacy and charm\nof the No, some hint of their\npeculiar flavour and effect. \"\nAnd of course that is the most\nwe can hope for, since the essence\nof the No drama is far more in the\nscene and movement and in the\ntraditional spirit which fills and\nvitalises it, passing from actors to\naudience and being reflected back\nfrom audience to actors, than in\nthe words which form one of its\ncomponent parts.\nzz? But it should be clearly remem-\nbered by those who examine these,\nor other ancient forms of dramatic\nceremonial, that, although they may\nafford an interesting study for ar=\ncheologists, may afford a particular\nkind of enjoyment to those who\nhave the opportunity of witnessing\ntheir performance, the only real\nvalue of either the study or the\nspectacle in relation to the Living\nTheatre towards which our hopes\nturn is that which lies in tracing\nthe peculiar conditions among which\nsuch drama arose, the peculiar spirit\nwhich gave it life.\nWe have nothing to gain, as some\nwould claim, by a mere imitation of\nthis or any other ancient form of\ndrama, of its masks, its symbolism,\nits conventions, its costumes: it is\nrather in tracing the spirit of which\nthese outward form? and accessories\nwere the expression that we may\nfind something of value, either as\nwarning or encouragement, to aid\nus in shaping the masks, the sym-\nbols, and the laws of our own Theatre\nwhich is to be.\nAnd, where we raise ever so little\nthe curtain which divides our century\nfrom that which created the magni-\nficent No drama, what is it first\nwhich strikes us, and appals us into\ndropping it again ?... What is our\nfirst lesson ? What do we see is our\nfirst duty ?\nJZ? We see that back in those days\na great National spirit is glowing,...\nThe King is a god... the nobles are\nastir and noble.\nJZ> We drop the corner of the cur-\ntain ; we turn both beseeching eyes\nand frowning brows upon our Ari-\nstocracy and wait for a sign of its\nLIFE and its nobility. ....And we\nshall continue waiting a little longer."}, {"page_pdf": 88, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.88", "texte": "BOOK RE VIE WS.\n\nThe Future of the Theatre, by\nJohn Palmer.Bell. Price Two\nshillings and sixpence net.\nI-|ere we have a book by a writer\nwho tries to be just, logical,\ngentlemanly and a bit dashing, and\n/Who succeeds in misrepresenting and\nmisunderstanding with a faultless\nIgnorance all things to do with the\nTheatre and its future,... even the\nLondon Theatre.\n& The very title is a misnomer\nof Mr Palmer's achievement. He\ncalls bis book \" The Future of the\n*\nTheatre: \" yet on page XI. he says\n\" seriously ask yourself why you are\nreading a book on the future of\nthe English Theatre, (i) and\non page I. writes, \" what precisely\ndo we mean by the English theatre?\nHow shall we define it?\"\n& Well, certainly we shall not de=\nfine it by calling it \" The Theatre \"\nand It is a pity that Mr Palmer, if\nhe wishes to talk of the English\nTheatre, should choose a title so\nmisleading to his readers.\n& Think of it, friends, Romans,\ncountrymen ! Think of setting down\nas the title of your book \" The\nTheatre of the Future, \" and then\npassing over all the theatres, (vital or\nlethargic, but in any case existent)\nof Russia, Germany, France, Italy,\nSpain, Holland, India, Japan, China\nAmerica ; ignoring the profound in-\nfluences, the closely and intricately\nwoven traditions which link these\nexisting theatres back to the theatres\nof Shakespeare, of the Commedia\ndeli'Arte, of the Religious Drama,\nof the Greek and Roman theatres\nof the Egyptian rites and the stately\nand splendid ceremonies of the east:\nthink of ignoring all these, ignoring\ntheir inalienable relationship with,\nand sequence in, and influence upon,\nthe being of the Theatre of the\nFuture, and yet calling your book\nby such a name!\njgr But that is just one more mani-\nfestation of that spirit of pitiful\nself-satisfaction; of incapacity to look\nbeyond its own little environment;\nof indifference to, If not contempt\nfor, the achievements of other na-\ntions ; of blindness to larger issues\nwhich has unfortunately come to be\ndescribed as \"so English.\" It is\none of the things which afford much\ndelicate amusement at our expense\nto the intelligent members of the\nEuropean Theatre.\n& Mr Palmer dashes down his gran-\ndiloquent title and then proceeds\nto chat of the little personalities\nand little activities of the London\nstage Why, the thing is a joke!\nit is an outrage on the intelligent,\n\n(!) The Italics are ours. Ed."}, {"page_pdf": 89, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.89", "texte": "BOOK REVIEWS.\n\nand a serious injury to the simple\nwho, unfortunately for themselves,\nmay assume that the dramatic critic\nof so reputable a paper as the\n44 Saturday Review\" is a man to be\ntaken seriously.\n& Then, having set to work, Mr\nPalmer goes on talking, talking,\ntalking in the happy and exalted\nconfidence that he is right, while\nunfortunately he is hopelessly wrong,\nis manifesting on every page an\namazing and piteous misunderstand\"\ning of many things... of all the most\nfundamental things, in fact, which\nconcern the Theatre and its art.\n%\nTo put Mr Palmer right,.,, even\nassuming that he were willing to\nbe put right... would require another\nbook. But no, what are we saying ?...\nhe could not even be put right by\nanother book, for many a new book\nhas already come out, and Mr Palmer\nhas not profitted, thus showing that\nhe is not interested in the first\nprinciples of the Theatre, Hence a\nwhole book would not set him right;\notherwise one could order a book\nto be specially written for that\nexpress purpose. Our corrections\ntherefore will never be of interest\nto Mr Palmer himself, and are only\nIntended for those readers of The\nMask who are in doubt as to Mr\nPalmer's meaning here and there.\nLet us now consider a very few\namong Mr Palmer's errors:\nOn page 45 he says, \" But though\n44 the producer is a healthy sign of\n44 the times, and of an indubitably\n44 respectable origin, yet he will\n44 surely pass away. In a perfectly\n44 healthy state of the theatre the\n44 producer would not exist. \"\nOn the contrary, in a-44 perfectly\nhealthy state of the theatre \" the\nproducer would be the only one who\nwould exist,... as a personality, a\nvolition. He would-be the artist;\nmoulding all the material of the\nTheatre,,.. Movement, scene, sound\nand light, for the expression of an\nIdea.\n& Then, on page 53 we read :\n44 Either the fine art of production,\nthe producer in his most modern\nshape, will disappear, or dramatic\nart will disappear \".\nAgain No ! Dramatic art has gone\nlong ago, but when we arrive at the\ntrue apotheosis of the 'producer',....\nthe creative artist of the theatre, it\nwill reappear.\nIf the word and the title of 4pro°\n»\nducer' sticks in Mr Palmer's throat\nby all means let him use some other\nword : Producer is not a particularly\ngood term by which to express the\ncreative artist of the theatre, though\nfor the moment it serves its purpose;"}, {"page_pdf": 90, "page_imprimee": "268", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.90", "texte": "BOOK REVIEWS.\n\nBut let Mr Palmer find a better.\nThe rose under another name will\nsmell quite as sweet.\n& To pass on :\nMr Palmer's misunderstanding of\nMr Gordon Craig's work is deplo-\nrable in its blindness.\n£7 He speaks, for Instance, of Mr\nCraig's \" painter's view of the Thea-\ntre. \"\n£7 Now to speak of the \" Painter's\nview of the Theatre \" of Mr Rothen-\nstein, Mr Wilkinson, M. Bakst, Herr\nStein, Herr Orlik, M. Plot or M.\nBenols is right enough.\nAll these gentlemen are painters,\namusing themselves with more or\nless success in the Theatre,... (mostly\nin Th&itres des Arts).... and at\nher expense. But to speak of the\n\" Painter's view\" of Mr Gordon Craig\nis essentially wrong,... is, in fact,\nwhat in Italy we should call \" cat-\ntivo;\" and even an elementary\nknowledge of Mr Craig's work and\nwritings during the last fifteen years\nshould have saved Mr Palmer from\nso grave a mistake.\n£7 But always does this dramatic\ncritic, of whom we once hoped great\nthings, seem to miss the point 1\n£7 Just as his resounding title, \" The\nTheatre of the Future \" is merely\nan excuse for a little chat about the\nLondon theatre of today, so, in\ndiscussing Mr Craig's work as a\n\" designer, \" discussing him in re-\nlation to Shakespeare and falling\ninto the usual confusion as to the\ndistinction between 'drama' and the\nwritten play, he runs amuck rather\nbadly.\n£7 He writes, for instance, of the\n\" long divorce of English art and\nletters from the English Theatre. \"\nHe says \" The history of English\ndrama during the last twenty years \"\n(and from the context it seems ob=\nvious that Mr Palmer really means\nthe history of English written plays)\n\" is, as we shall see, the history of\n\" a movement whereby men of mind\n\" are again coming to regard the\n\" theatre as a natural medium. The\n\" rift is closing, and one result of\n\" its closing will be the squeezing\n\" out of producers. \"\nIn that happy day, according to\nMr Palmer, \" The dramatic author,\n\" grown into a closer contact with\n\" the theatre, will be master of»its\n\" conventions and technique. The\n\" player, grown into a closer contact\n\" with art and letters, will no longer\n\" require a heaven-sent expert to\n'* translate for him the author's\n\" limelight. \" ...In fact the lion and\nthe lamb will lie down together, and\nthe wordy successful manuscript\nof the playwright shall feed them,"}, {"page_pdf": 91, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.91", "texte": "BOOK REVIEWS.\n\nas who should say, a bran mash.\nMr Palmer, says: 44 Mr Craig's\n44 stage designs make an appeal in-\n-44 dependency of the play they are\n44 supposed to illustrate. They disas-\n-44 trously compete with the author's\n44 intention. \"\njoThis is an incredible misstatement.\nOne wonders whether Mr Palmer has\never seen a production by Gordon\nCraig, or whether he has read any\nof the writings in which Mr Craig\nhas stated over and over again that\nthe scene is not self-complete but\nIs a component part of a whole and\nthat If it loses its right relationship\nto the whole it Is wrong In itself\nand harmful to thewhole production.\n44 Scenery \" he writes In one\nplace, 44 has to speak as well as the\nactors, but it is better when It says\nonly that which is necessary. ...Learn\nthe essentials of stage scenery, and\nyou will in time learn the essentials\nof Drama \" : and many more passages\nto the same effect might be quoted.\nMr Palmer should have familiar-\nised himself with Mr Craig's works\nand writings before setting out so\nblithely upon his self-appointed task.\nHe would thus have saved himself\nmany blunders.\nAgain he writes: 44 If Mr Barker\naccepts Mr Craig's premises, as he\nundoubtedly does, he is logically\nbound to retire with Mr Craig into\nthe wilderness. Happily Mr Barker\nwill do no such thing. He is right\nin refusing the absurdities to which\nMr Craig's position has committed\nhim \".\nBut in a later chapter Mr Palmer\nemphasises the unhappy fate of the\nIrish players and other fine idealists\nwho set out well and fell from grace\nin 44 the face of the systematic and\nenormous temptation \" (i) to which\nthey were subjected. Yet, although\nacknowledging the temptations and\nsnares laid for all who come bearing\nany new gift to the Theatre, even\nthough it be a little one, he seems\nto be surprised that Mr Craig goes\nfor forty days into the wilderness\nto work out his Idea without di-\nstraction rather than be eaten up\nby the London Coliseum lions!\n& Once more, at the beginning of\nchapter eleven, he tells us with en-\ngaging optimism that 44 the stage is\nready to take a level place with the\nfine arts \".\nThis is a slight exaggeration. Not\nfor many years will it be ready.\nNot in fact for some hundreds of\nyears if the critics, playwrights and\nactors continue to obstruct pro-\ngress.\n\n(1) By the way, is Yeats with his players to be condemned\nand Barker let off, or are both to be judged??"}, {"page_pdf": 92, "page_imprimee": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.92", "texte": "BOOK REVIEWS.\n\nAnd so, did space permit, could\nwe go on and on, citing instances\nof the way in which this book, far\nfrom elucidating or instructing, does\nbut 'darken counsel' and befog those\nwho might turn to it for light.\n& We are not of those who hold\nto Disraeli's cutting dictum, \" You\nknow who the critics are ?... the\nmen who have failed in literature\nand art, \" but we must agree with\nit so far on this occasion as to say\nthat this particular critic is one who\nhas failed completely in that which\nhe apparently had in view, -1. e, to\nwrite a serious book on the \" Future\nof the Theatre. \" In the next Edition\nlet Mr Palmer correct his title to\n\" The London Stage\" : the title will\nwell cover the contents, and he will\nwin more indulgence for his work\nwhen he introduces it under a less\npretentious name.\n\nTHE ARTS AND CRAFTS OF\nINDIA AND CEYLON, byAnanda\nCoomaraswamy, Foulis.\nrpo look at the illustrations in this\nbook of Dr Coomaraswamy's after\nlooking at the work of the Futurists,\nis like looking forwards instead of\nbackwards.\nThese works of sculpture, these\npaintings and cabinets, these ges=\ntures of actor or dancer are all so\nyoung, and really refreshing after\nthe aged Futurists.\n& One is conscious that something\nhas happened, and without noise\nand with huge force,... real velocity,\nalmost appalling daring, in a world\nof stupendous size.\nWe cannot speak as fully as\nwe would like of this book of Dr\nCoomaraswamy's, but an extract re-\nlative to gesture is here given, and\neight illustrations are reproduced\nthrough the kindness of Mr Foulis:\nbut for the rest of the figures refer-\nred to the reader must turn to the\nbook itself.\n\nHere follows the Extract.\nIn Indian images, great significance\nis to be attached to gesture: a\npart of this is very obvious, as\nappears if we contrast the stillness\nof a Buddha with the fluidity of\nNataraja. This gesture symbolism\nderives directly from life; the seated\nBuddha posture, for example, is that\nof greatest repose and stability, and\nis adopted to this day by all those\nwho meditate.\nThe gods are of human imaging.\nShiva is \" Thou that dost take the\nforms imagined by thy worshippers:\"\nbut these forms again react upon life,\nso that when we take our way to\nthe ghats at Benares and mark the\nstillness and grace of those who\nbathe and pray, we have before us"}, {"page_pdf": 93, "page_imprimee": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.93", "texte": "BOOK REVIEWS.\n\nboth cause and effect. But the poses\nof art, especially those of the hands,\ncalled madras, may not always\nexplain themselves at once to one\nwho has never seen them in life.\nOTo take concrete examples, the\nright hand of fig. 28 is in vitarka\nmudra, indicating argument or dis-\ncourse ; the nearer right hand of\nf\nfig. 1, the right hand of fig. 35, and\nthe detached hand of fig. 5, are in\nabhaya mudra, Indicating 44 do not\nfear: \" the hands of fig. 24 are in the\ndharma=cakra mudra, 44 turning\nthe wheel of the Law; \" the pose\nof fig. 31 is known as -\nlila=asana, 44 pose of kingly ease.\"\nThe three 'most usual variations of\nthe seated Buddha or yogi type are\n(1) with the hands folded in the lap,\nin dhyani mudra, 44 meditation \"\n(fig. 2); (2) the right hand raised in\ndiscourse (figs. 3, 4); and the right\nhand dropped over the knee to touch\nthe earth (bhumishparsa mudra,\n\" calling tbe earth to witness. \")\n0 A less forma! treatment of the\nhands in other works is often no\nless eloquent; for example, the hand\nof Paravati laid on Shiva's arm\n(fig* 39)> the offering hands of\nHanuman (fig. 49); the praying hands\nof the nagsnis (fig. 70) ; the singer's\nfingers (fig. 71); and the dancing\nfeet of Shiva (figs 6-8).\n£? Such hands and limbs of Indian\nimages reflect the Indian physical\ntype in their smoothness and fle-\nxibility, and the nervousness of their\nvitality.\n0 There, every separate finger,\nwhether motionless or moving, is\nalive i while it is one of the clearest\nsigns of decadence and reduced in-\ntensity of realisation, when the\nfingers become either stiff or flabby,\nor disposed exactly in one plane.\n0 Beside the seated forms already\nnoticed, there are not less characte-\nristic standing poses.\n0 Some severe types are perfectly\nsymmetrical (figs. 27, si) ; but more\nfrequent, and capable of greater\nvariation, is the stance, well seen\nin fig. 57) where the weight of the\n«\nbody rests on one leg and the other\nis slightly bent. Images of the latter\ntype are called tr because\nthe median line, in front view, is\nthrice curved.\nA variety of this with legs crossed\nis frequently adopted in the repre-\nsentations of Krishna as flute-player\n(figs. 58, 132).\n0 From such forms, again, there\nare all transitions to the continuous\nmovement and perfect fluidity of\nthe dancers, (fig. 1 etc).\n0 If any power in Indian art is\nreally unique, it is its marvellous"}, {"page_pdf": 94, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.94", "texte": "BOOK REVIEWS,\n\nrepresentation of movement.... for\nhere in the movement of the limbs\nis given the swiftness and necessity\nof the impelling thought itself, much\nmore than a history of action sub=\nsequent to thought.\nThere is a close connection be=\ntween sculptures and dancing; not\nmerely inasmuch as certain images\nrepresent dancing gods (Shiva, Kri=\nshna, etc), but because the Indian\nart of dancing is primarily one of\ngesture, in which the hands play a\nmost important part.\nThe special symbolism of the\nhands (mudra) has been already\nalluded to ; but only a complete\nknowledge of the language of\ndance gesture would, prepare the\nstudent to fully interpret the sculp>\ntures.\nFour positions of the hands pho=\ntographed from a bayadere of Tan=\ngore are given here as examples,\nthe figs. 9=12 signifying respectively\na deer, Krishna's raising Mount\nGovardhan, Vishnu's Garuda, and a\nbed. (1)\nx? By means of this concrete gesture\nlanguage the dancer is enabled to\ngive long descriptions of the gods,\nespecially the incarnations of Vishnu,\nand to express every possible sen-\ntiment (rasa).\n(1) See plate facing this page\n\nVISVAKARMA. Examples\ndian Architecture, Sculpture,\nPainting, Handicraft, chosen by\nAnanda Coo mar as wa my. Luzac.\nPrice two shillings and sixpence\na number.\n•Qf this series of fine plates we can\nbut repeat what has been said of\nDr Coomaraswamy's other book on\npage 270. It Is a publication which\nno one in search of force, of youth,\nand of supreme Art. can afford to\nmiss.\n\nKorean Folk Tales, Translated\nby James S. Gale. Dent. Price\nthree shillings and sixpence\nnet.\nTThis collection of tales of Imps,\nGhosts and Fairies is now trans=\nlated for the first time from the\nKorean of Im Bang, who was born\nt\nin 1640 and of Yi Ryuk who lived\nabout the middle of the fifteenth\ncentury.\njg? It is recommended to the notice of\nall students of Folk Lore and those\nwho would \" like to look some what\ninto the inner soul of the Oriental,\nand see the peculiar spiritual exls=\ntences among which he lives, \" since,\nof all this, as the translator tells us,\nthese stories \" will serve as true\ninterpreters, born as they are of\nthe three great religions of the\nFar East. \""}, {"page_pdf": 95, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.95", "texte": "Argument or Discussion \"Do not fear! \"\n\nHands of a Dancing girl\n9. A Deer.\n10. Krishna's raising Mount Govardhan.\n11. Vishnu's Garuda.\n12. A Bed.\n\nTHE MASK.\nJanuary 1914."}, {"page_pdf": 97, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.97", "texte": "\"The Pose of Kingly Ease\"\n\nTHE MASK.\nJanuary 1914."}, {"page_pdf": 99, "page_imprimee": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.99", "texte": "FOREIGN NOTES.\n\nLEEDS.\n\nHaste and 44 New \" Methods.\nJMI r Martin Harvey was here a short\nwhile ago and gave us some good\nevenings' entertainment, for he is a\ncapable actor.\n£? The \" Mercury \" representative\ndrew him out upon the questions of\nStage Art, when he had a chat on\nthe value of simplicity,... a nice little\nsubject to have a pleasant chat\nabout.\nMr Harvey said that It was difficult\nto state a time for the rise of this\nnew movement, (\" I could not say\n%\namen when they did say God bless\nus... Amen stuck In my throat\"), (i)\nBut some of us could tell the\n4* Mercury's \" representative when\nMr Harvey began to see that the\nmovement was a real one and worth\nfollowing!\nUnfortunately Mr Harvey seems,\naccording to the Leeds \"Mercury,\" to\nbelieve that the new staging is a\nmethod. We could remind him that\nIt is something else. Methods are\nuseful to artists, and especially va=\nluable to an artist is a method he\nhas invented. But there have always\nbeen too many journeymen, who\nIgnorantly try each 44 new \" method\nas it reappears, hoping the method\nwill supply the lack of divine mad=\nness which is not theirs.\nThus there were plenty of sculptors\nin the sixteenth century who tried to\ncatch the Michael Angelo \"method\",\nof painters who tried to catch th--*\nLeonardo \" method, \" of goldsmith\nwho tried to catch the Cellini\n\" method, \" ...and caught it badly.\nAgain, it was stated only a few\nyears ago that there was an Irving\n44 method\" and a Whistler \"method \",\nand many a young actor and painter\nthought he knew it.\nAnd now there is a great deal of\nvery loose talk amongst It,\nalas, Mr Harvey's), concerning the\nnew 44 method \" of the Art of the\nTheatre.\n& We are told by Gordon Craig\n\n(lj Macbeth."}, {"page_pdf": 100, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.100", "texte": "FOREIGN NOTES.\n\nthat it is far too early to talk of\nresults,... of methods,... of Reforms...\nof the \" new way \".\n\" Whichever one of you, \" says\nhe. (i) \" goes farthest and takes lon-\ngest, I will wait for and with him \"\n\" If like Nature we could wait and\nwait with belief in the final ascen-\nsion of all things, then you would\nwait with me even as I promise you\nI shall always wait with you. \"\nNot many of Gordon Craig's dis-\nciples, followers or imitators realise\nthe difficulties of the task which he\ntells us is before them and him, or\nthey would, one would think, consult\nlonger with him before rushing on\nand getting killed, would stop to\nthink and feel longer and more\ngrandly before conceitedly guessing\nwrong at the riddle and tumbling\nover the precipice.\nIt cannot be too easy to solve\nthe Riddle, when even Craig, the\nrichest in Ideas, denies himself the\nliberty of coming even slowly to a so-\nlution,... \"It is this \" or \" It is that.\"\nHe catls the activities of his dis-\nciples who act independently of his\nwarnings, \" the frantic and purpose-\nless parody of time and space \".\nHe sees well that time waits for\nhim and for all of us who are patient,\nand that space is something different\nfrom the traditional inch which his\nfollowers \" raise \" the Theatre.\nHe will have no compromise: they\nlive on compromise. He will have\nthe Theatre place Itself at a bound\nin the Heavens. They will have this\ntoo, but only on condition that they\nmay hang round its divine skirts\nas a fringe. \" Poor fellows, why\nshouldn't they ? \" he said to me not\nlong since.\nBut 1 know that he longs to see\nand to find followers who can endure,\nand who can not endure for a short\nor a long period but who only live\nby endurance, live by the fire struck\nfrom them by antagonist forces; who\ngrow in pride as they do in endu-\nrance, and who, thirty years from\nnow shall still cry, \" Not enough,...\nfurther still \".\nAs for those who fear to follow\nhim faithfully as they should do,they\nmight remember Napoleon's Maxim,\n\" It is better to run the risk of\nhaving one master than to have a\nthousand \".\n\n(I) The Mask. Vol. VI. Page 56.\n\nPARIS.\n\nA Commercial Theatre.\n\n'T'he Theatre of the Champs Elysees\nhas closed its doors so as not to\nfail. It is wholly a question of money,\nthough I cannot give the figures.\nThe expenses of the building and\ndecoration of the theatre were met"}, {"page_pdf": 101, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.101", "texte": "FOREIGN NOTES.\n\nby a Societe Immobiliere which\nrented the theatre to M. Astruc, and\nwhich still exists. It is the Society\nof \" Commanditaires \",... M. Astruc\nand the members of the Theatre,...\nwhich goes to pieces.\nOf course all this failure and\nwaste of money is the result of\nhaving business men at the head of\nsuch enterprises instead of Artists.\nIt seems to take a long time,\nand a good deal of financial loss\nbefore people begin to realise this.\nOther news is that M. Rouche, of\n\" La Grande,Revue,\" has accepted the\nDirectorship of the Opera. He will\nonly enter upon this office in a\nyear's time. Meantime he will be able\nto work towards, and plan, reforms.\n& M. Rouche has announced his\nintention of taking as musical di=\nrector Camille Chevlllard, the di=\nrector of the * Concerts Lamoureux'.\nThe minister has agreed to this\nnomination,... hence the discontent\nof M. Messager whose dismissal is\nhastened. It is believed, however,\nthat he will remain at the Opera\nuntil the end of his contract; that\nIs to say, for another year.\n\nG. N.\n\nFLORENCE.\n\nThe Sicilians and Loyalty.\nN. L.\nGrasso has been here again\nwith his company of Sicilian\nactors, and left, as ever, the impres-\nsion of his amazing fire and force.\n& The gaps made In his company\nby disloyalty, conceit or intrigue\nhave now been successfully filled,\nand the effect of union and harmo»\nnious cooperation is strong as ever.\nBut it is a pity that fine actors and\ngreat leaders of all kinds are subjec-\nted to so much of this kind of thing,\n*\nand that those working under them do\nnot realise that all fine achievement\nlies in union, not in the fulfilment\nof seperate and selfish aims.\nMadame Mimi Aguglia, now an\ninconspicuous figures in the thea-\ntrica! world, committed an unpar-\ndonable offence when she left Grasso,\nand the success which she might\nhave achieved under his control\nwould have far surpassed any which\nshe can hope to achieve as leader\nof a company of her own.\nWomen are slow to perceive that\nin limitless loyalty to the man who\nhas proved himself great enough to\ndevelop their efforts lies their op-\nportunity of supreme achievement,\nalthough a small number who have\nperceived it give daily proof of the\nfruitfulness of this truth of nature.\n& ...But after all, it is not only\nwomen who, by splitting away,\nweaken causes and enterprises as\nwell as themselves... Has not Nijlnsky\ndeserted the Russian Ballet ?"}, {"page_pdf": 102, "page_imprimee": "276", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.102", "texte": "EDITORIAL NOTES.\n\nM. LEON BAKST, 1913.\n\"jphis talented painter has been\nspeaking to a representative of\n44 The Daily News and Leader \" and\nthe status of that journal is of course\nsufficient guarantee that what he\nsaid was carefully and exactly re=\nported. Here are some of M. Bakst's\nstatements :\n44 The Theatre of the Future\n44 means the triumph of painting\n44 and its gradual abolition of the\n44 spoken word. \"\nM. Bakst has evidently had a\nquarrel with Signor D'Annunzlo.\nReaders of The Mask from 1908\nwill be quite surprised to hear that\n44 The Triumph of Painting \" is to\nbe celebrated in the future in the\nTheatre, for they know that painting\nis valueless in a theatre.\nThey have also learnt that true\npainters prefer to work anywhere\nrather than In a theatre.\n& As for the 44 abolition of the\nspoken word, \" something touching\nthis subject was broached by Mr\nGordon Craig in 1908 or even earlier.\nIt was the outcome of a long ap=\nprenticeshlp in the Theatre. M.\nBakst, having gone in for Theatricals\nonly quite lately, dashes In with a\ncharming innocence and echoes Mr\nCraig's words,... without having quite\ngrasped their significance.\nM. Bakst is ignorant,., he speaks\nof 44 Dr Meyerhoid's proscenium \"\nas being of no use and as ending\nin failure.\nNow M. Bakst must know quite\nwell that the work of Dr Meyerhold\nis not adequately represented by a\nproscenium, he knows quite well\nthat Dr Meyernold is a regisseur or\nstage manager of a high order.\nM. Bakst should try to speak\nwith respect of those leading men\nwhom he found at work in the\ntheatre when he casually entered\none day into the scenic room of a\ntheatre.\n& M. Bakst also talks of Mr Craig's\n44 art of cubes \". What this can mean\nnone of us can say. We know of no\n44 art of cubes\nM. Bakst continues :\n44 I have done much to abolish\n44 the old spectacle, and I have pro*"}, {"page_pdf": 103, "page_imprimee": "277", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.103", "texte": "EDITORIAL NOTES.\n\n44 ved that people no longer listen\n\" to the author. \"\nTo abolish is good sometimes,\nand to prove is always good. But\nM. Bakst has done neither the one\nnor the other. He has made a sen-\nsation, and that is quite an achie-\nvement. And now he threatens to\nbecome notorious,.... and that is\nquite a different matter.\nHis scenic and costume effects,\nallied as they were to the old fa-\nshioned Theatre, were brilliant and\nunique. He now joins the Futurists,\nand becomes one of a crowd.\nListen to the following: ....is it\nnot almost the voice of Slgnor Ma=\nrinettl ? \" The triumphant success\n\" attained by the music-halls and\n44 the cinematographs leads one to\n44 conclude that 11-e spectacle of the\n44 future will be < i a kalaidoscopic\n%\n'• nature... something like a ride in\n\" a motor car or an areoplane, or\n44 a walk amidst a crowd hurrying\n44 along with feverish haste. The\n44 emotions produced among the\n4( spectators at the cinema are a\n\" proof of the defeat of the spoken\n44 word by the picture. There is no\n44 need for it.\nAnd again, 44 Another form of\n44 Intelligence is destined to reign\n44 upon the stage. Formerly Intel-\n' ligence was of a cerebral nature.\n44 In future it will be of a plastic\n44 nature. Great truths, great duties,\n44 follow no beaten track. The thea-\n-44 tre will arrive at great duties,\n44 great truths, by plastic spectacles\n44 without the collaboration of the\n44 man of letters, which is only ir-\n-44 ritating now. \"\nSomething like this we have also\nheard before: it did not originate\nwith M. Bakst.\nt\nIn fact M. Bakst appears to have\ntransformed himself from a skilful\nstringer of beads into a phonograph\nfor repeating the words and Ideas\nof other men,... only unfortunately\nhe garbles or weakens these by a\nmere parrot-like repetition ; and in\nhis mouth the serious and significant\nwords by which men of long practi-\ncal experience and study express\ntheir convictions become the mere\ncatch words, the empty shiboleths\nof a shallow enthusiasm and a vola-\ntile taste.\n\nLE MARIAGE FORCE. jS>\nsee that a real play has been\nacted in London lately.\nJZ? There are few better plays than\n44 Le Mariage Forc£, \" but you must\nhave a company of first-class co-\nmedians to plaj' it.\nFor then happens a strange mi-\nracle,,.. it plays itself.\nIt plays itself:... queer phrase."}, {"page_pdf": 104, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.104", "texte": "EDITORIAL .\n\nThis and all such plays play\nthemselves when good comedians\ntake up the game, for a simple\nreason.\n& They, or rather their family,\npractically wrote the play, so the\nwords come spontaneously to their\nlips. To others it is a puzzle what to\nmake of such queer uniiterary scenes.\nTo the actors it all comes naturally :\nthey are but repeating what their fo-\nrefathers the actors before Moli&re's\ntime invented and repeated time\nafter time,\nBefore Moliere's time? Yes, cen-\nturies before.\nThat old Joke about one ear only\nbeing capable of hearing French\nwhereas the other ear is for all other\nlanguages,... that old joke, how old it\nis ! Centuries older than Greece pro-\nbably,... and when it was repeated\nin Athens, in Syracuse, in Rome, in\nVenice and in Paris as the centuries\nrolled on, what other form was\npossible than the one we find writ\ndown in Moliere ? None, of course.\nThe actor has his way of making his\npoint; a simple technique so different\nfrom that of architect and musician.\nExcept that the actor depends on\nsurprise first, on misleading the\nspectator and finally surprising him\ninto tears or laughter, whereas ar-\nchitect and musician do not depend\non surprise ; there is but little of\nit in elther's art and what there Is\nis subservient.\nWill actors also bring it to subser-\nvience in time and not depend on\nit? ...Would anything be gained?\nWhat are the requirements of\nan art before it can pass examination\nand be found Fine ?\nJG/ Think over this question. It was\nput some years ago to you, and\nit will be found In future to be\nrepeatedly put to you until the right\nanswer comes, and then,... eccola!\n....The Fine Art.\nW'e should have liked to see\n\" Le Mariage Force \" in London.\n\nFROM \" GOSSIP REPORT. \"\na number of tilings Mr\nGordon Craig seems to be doing!\nIn Paris, at the Theatre du Vieux\nColombier he seems to have been\nresponsible for the setting of the\nnew play. The \"Pall Mall Gazette\"\nputs it thus: \"Mystery and Dignity\nare lent by the Gordon Craig setting\nof the scenes. It is the first public\nconsecration in Paris of the talent\nof Ellen Terry's son \": and the\n\" Daily News\" says: \"The distinctive\nnote of the enterprise was clearly\nstruck in the mounting, in which\nthe methods of Mr Gordon Craig\nwere employed with moderation,\ningenuity, and admirable effect.\""}, {"page_pdf": 105, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.105", "texte": "EDITORIAL NOTES.\n\nIn London, too, relative to the\nnewly established Children's Theatre,\nMrs Percy Dearmer, speaking care-\nfully, said, according to the \" Pail\nMall Gazette, \" 44 Quite a number of\nwell-known theatrical people, inclu-\nding Mr Gordon Craig, have lent\ntheir aid in preparing for the great\nday when the Children's Theatre\nopens\nSimilar news of his activities\nreach us from various other places,\nrelative to various other schemes,\n....and, all this without his having\nvisited these places or heard about\nthe undertaking!\nIn fact, were the newspapers to\nbe credited, Mr Craig might well,\nlike Katerfelto, have 44 his hair on\nend at his own wonders \" so many\nand varied are the pies in which\nthe theatre cooks claim he has had\na finger.\nBut why do they set about these\nsilly stories ? Is it the old case of\nJacob and Esau, and are they hoping,\nby hiding their own hands and clai-\nming that the cooking and the voice\nare alike that of another, to win\nthe blessing of the spirit of the\ntheatre, ....(represented in such a\ncase by the spirit of popular success)\non the dish which they have pre-\npared and now serve up upon the\nstage ?\n\nART & THE MIDDLE CLASSES.\njyir Algernon Grelg, in a grand\njumble of ideas, delivered an ad-\ndress to the Liverpool Playgoers on\nthe subject of \"Is it worth while\ngoing to the Theatre?\"\nWhile asserting that \" Art must\nbe governed by autocratic notions, \"\nhe prophesied that \" the middle\nclass man will never be very arti-\nstic \" and proceeded to keep the\nmiddle class man in view all the\ntime: he then separated the 41 very\nartistic circle \" from the circle of\nthe middle class man.\nJZ? He said that the very artistic\ncircle would like a very artistic\nTheatre but that the middle class\nman would not.\nAnd still he kept his eye fixed\non the middle class man.\nJZ? We gather from all this that he\nhad once done the middle class\nsome Injury, for as Seneca and\nTacitus are agreed, 44 It belongs to\nhuman nature to hate those you\nhave injured \".\nj£> 44 It is a tough proposition to\ntackle the middle class \" said the\nlecturer, and much more in the\nsame strain.\nNow what has the Middle \"Class\ndone to Mr Algernon Greig,... or he\nto it... that he takes so much notice\nof that class ?"}, {"page_pdf": 106, "page_imprimee": "280", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.106", "texte": "A FREQUENT QUESTION.\nWHEN ARE WE GOING TO SEE SOME OF GORDON CRAIG'S FINISHED\nWORK ON THE STAGE ? & & & £> &\nMr Craig*s Reply as given in his recent Book.\n\\y®«. you shall have the finished work when 1 have dragged my*ma-\nterials front your million hands which cling to it like tentacles. You\nshall have the finished work when 1 have forced the fools who hinder\neveryone of us artists to realise, that they made a mistake to laugh at\nwhat they had not even the right to praise... to try and misunderstand\nwhat they have not even the power to forget.\nWe and y0u..., we the artist, you the men and women who work...\nwe have been and still are being swindled by the most damnable monster\nthat ever finally found its way into a zoo. Its father was Lazyness, its\nmother Conceit, and it controls London, Paris, Berlin, and New York. It\nhas no sense, no strength, no blood, no brain; yet it has a lot of money...\nand through this money it pretends to strength and sense, and too many\nwomen and men humour its pretensions.\n44 I put woman first, for women could, and won't, settle the fate of\nthis Earth-worm.\n\" Is there a single woman on earth who, reading this, will have the\ncourage to release herself from the tyranny of the almighty and mighty\nweak power of the Dollar ? Is there one woman out of all womankind\nwho can and will put her power to the controlling of this amazing and\ntenth-rate monster ?\nJS/ 44 The Rhine gold, it was a true thing... no fable. So said a woman\nonce to me. So feels many a woman today. Let them remember that\nthere are other true things ...and the truest is that the world looks to\nthem to serve the cause of Beauty before the cause of votes; and that\nthey have it in their power to do so, by destroying the brat Ugliness\nwhich is created solely by the ill-directed power of money.\n44 So will they give new life to the whole world... to the whole world. \"\n\" Towards A New Theatre. \"\n\nALL RIGHTS RESERVED. Gerente Responsabile, GIULIO VANZI."}, {"page_pdf": 107, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.107", "texte": "HUM\nSOUVENIR.\nA CIS & Q A LA TEA.\nMASQUE OF LOVE\nby Gordon Craig.\nA few copies of this \" Souvenir\nissued in 1902, and now extremely\nrare, may be procured from\nTHE MASK P U\nArena Goldoni. Florence. Italy.\nWRITE FOR PARTICULARS.\n\n■Bar\nBOOKS.\nOver 1000000 Volumes in stock\nin strictly classified order on every\nconceivable subject. Secondhand at\nhalf=price, New at 25 ojo discount.\nDrama, Elocution, Acts, Plays etc.\nSpecial Department for Music.\nCat. 802 Post Free. State Wants.\nBooks and Music sent on approval.\nAlso Purchased. Best Prices given.\nW. & J. FOYLE.\n121-123 Charing Cross Road.\nLondon W. C.\nTELEGRAMS, \"FOYLIBRA\" LONDON\n\nLIVING THEATRE\nPRICE ONE SHILLING NET.\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nRecently\nPublished\nSecond Edition Now Ready.\nOrder through any Bookseller, or from\nThe Society of The Theatre.\n7 , John St Ade Ip hi. London.\nor direct from\nARENA GOLDONI, FLORENCE, ITALY.\n\nSCHOOL FOR THE ART OF THE THEATRE\nDirector: E. Gordon Craig.\nSEND POST CARD FOR PARTICULARS.\nTO THE SECRETARY.\n%\nARENA GOLDONI -i FLORENCE."}, {"page_pdf": 108, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.108", "texte": "TWO BOOKS ON THE THEATRE.\n• \\\nby Edward Gordon Craig.\nON THE ART OF THE THEATRE.\nHEINEMANN 1911.\nTOWARDS A NEW THEATRE.\nDENT. 1912.\nAFTER THE PRACTICE THE THEORY\n\" Most people begin with theory, and go 0n... if they go 0n... to carry\ntheir theory into practice. Mr. Gordon Craig has done a better\nthing, and, having begun by creating a new Art of the Stage on\nthe actual boards of the Theatre, has followed up his practical\ndemonstration by a Book of Theory, in which he explains what he\nhas done, telling us also what he hopes to d 0.,,\nARTHUR SYMONS ill •' STUDIES IN SEVEN ARTS. \"\nORDER THROUGH ANY BOOKSELLER.\n\nFOR THE CHILDREN.\n\"Ein Rieines Buch fur Klein e Leuie \"\nTwenty wood engravings and twenty\nverses by Fritz Endell, &\nThere are only one Hundred and Twenty\ncopies of this book, all are hand-coloured\nby the artist.\nOrder from Job . Aug. Beck. Munch en ."}, {"page_pdf": 109, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.109", "texte": "THE GOLDONI BOOKS.\nSKETCH BOOKS* DRAWING 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. &\nThe beauty and charm of these books must be seen to be realized\n*\n\" These are pages to turn and finger with delight:\" covers bright and\nvaried with colour and fresh design ; sizes 4< uncumbersome to the nicest\nhand. \"\n« »\nWrite for particulars to The Mask Publishers'\nARENA GOLDONI, FLORENCE, ITALY\n\nTHE FORUM.\nis printing the most brilliant and\nenduring work of the men\nand women who\nbe the classics of\nto-morrow.\nSTORIES : ESSAYS : CRITICISM PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\nMITCHELL\n£ New York & London *>\nThree months trial subscription two shillings"}, {"page_pdf": 110, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.110", "texte": "T H E MOSHER BOOKS.\n'\"jpME special literary value of my general Catalogue has given it a unique\nposition in the world of book-snaking for book-lovers.\n& Prom year to year these Catalogues have been issued with the view\nof making known, as no other form of advertising could make known,\nThe Mosher Books and what they represent in up-to-date bookcraft. All\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.\nSent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE.\n\nPOETRY AND DRAMA\n'T'HE 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. •<& -2? X?\n& The first four numbers of Poetry and Drama are at\npresent in circulation. &\nPoetry 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 15th, 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": 111, "page_imprimee": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.111", "texte": "JI1 U\"U U J.\" 'JUHWWi ' -.U 1 v», 'I'IJJ f «.. r ~ is***-1 IjU ' jflgfy\nANNOUNCEMENTS; FROM \" THE MASK PRESS \"\nARENA GOLD ON I. FLORENCE, ,\n& Jp THE MASK. VOLUME SIX. &\nJf\\ Of the sixth Volume, which began with the July number, Three\nEditions are published, and the yearly subscriptions, post free,\n*° ese Editions are respectively as follows.\nI Popular Edition. . . . Shillings 15. Dollars 4.00\nD Large Paper Edition (200 copies.) ~ 20. „ 5.00\nEdition de Luxe. (15 copies.) „ 65, „ 16.00\n' 111 THE MASK. 1908... 1909... 1910... 911... 1912... 1913....\n£/ A certain number of complete sets of Volumes , 2, 3, 4 & 5.\nI f still\"remain, and, bound in vellum, may be obtained from this\noffice, price eight guineas, (dollars 38) a set.\nA PEW EXTRA Vol. 4. shillings 25 dollars 6.50 each\nSETS OF Vol. 5. ,♦ „ 30 „ „ 5.50 „\nj0 Volume 5, Large Paper Ed, (vellum bound,) shillings 25,\ndollars 6.50. 4? jS/\nOrders and Subscriptions may be sent direct to\n1 THE MASK Offices, Arena Gold on i, Florence, Italy.\nI or \" The Society of the Theatre.\" 7, John St, Adelphi, London. Tel: 1601 Regent\n| SOME OPINIONS ON \"THE MASK\"\n■■UIiIMIII 111—flliBilillMIII II ■IIIIIIMIIMIIMIIB lIHIHIM 111 111 I 111 IB If iM li 1H Hi f iimiiimihimh\n| \" There is not a page in it which is not interesting\n1 \"and stimulating in a fine way\".\nli \" The Mask \" always contains something worth ,\nif \" and often something worth keeping\n| Pali Mali\n\"A quite remarkable magazine, rich in intel-\nligence. \"\nWestminster Gazette.\n**A very amusing and stias well as a\n\" beautiful, magazine\nThe Daily Telegraph."}, {"page_pdf": 112, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191401-01.1.112", "texte": "null lIIIIIIIIIIIIIIWII —I ■II 111 IH ■mn lIIIM ■■■■■lHBl 111 111 l ,111, l » li'.'ffl'liriCTMOTim lIHIIIHIIIIIIWI'II ■BMnBBBBHHHMHHBBBBnMHMBMMMH\n| ANIDEA &\nI IS A RARE I j\n\" THE MASK \" started in FLORENCE, does not exist\nfor its own sake.\n\" THE MASK \" I\nhas already lived for six years for AN IDEA. I\nTHE SCHOOL FOR THE ART OF THE , ||\nstarted in FLORENCE, was brought into being for the sake 11\nI H I\nII LONDON, moves with \" THE and SCHOOL 11\nI if • H k\n| J YOUR RESPONSIBILITY IS THE SOCIETY OF THE THEA TRE 1 1\nStampata privatamente ali'Arena Goldoni, Via de' Serragli, Firenze."}]}