{"numero_id": "bm-bmtnaau-1914-04-01", "volume": "bmtnaau_1914-04_01", "ocr_sha256": "549817cb193534f9de2123ee673ab095a138310f9588b9ae4bde4d5a1ab568d9", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1914/04_01/bmtnaau_1914-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1914/04_01/bmtnaau_1914-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01", "articles": [{"article_id": "bm-bmtnaau-1914-04-01-c002", "article_bluemountain": "bmtnaau_1914-04_01#c002", "volume": "bmtnaau_1914-04_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=bmtnaau191404-01.2.2", "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=bmtnaau191404-01.1.2", "debut_caractere": 533, "fin_caractere_exclue": 1289, "texte": "LITERARY CONTENTS.\nEPILO.GUE. APRIL 1914 Gordon Craig. . . . 381.\nJAVANESE MARIONETTES From the Dutch. . . . 283.\nCARLO GOZZI AND THE VENETIAN DRAMA. . D. Nevile Lees. . . . 286.\nPUPPETS IN GERMANY. . . . . . . \" Yorick\". (P. Ferrigni) . 397.\nTHE PLAYS OF H ROTS WITH A Anatole France. . . . 306.\n. b\nGORDON CRAIG & THE THEATRE OF THE\nFUTURE. John Cournos. . . . 313.\nTHE \" TEATRO ALLA MODA \". .... Pierre Ramds. . . . 321.\n\" IT'S ABOVE MY HEAD \". John Balance. . . . 328.\nA WORD ON GREAT MEN. . . . . . Victor Hugo .33*.\nv\nA LECTURE ON DRESS. v E. W. Godwin, F. S. A. 1868, 335.\nTHE ROGUISH TRICKS OF COVIELLO. A Scenario ....... 353.\nTHE THEATRE IN ITALY. NAPLES & POMPEI.\nA Letter to John Semar Gordon Craig. . . . 357.\n%\nFOREIGN NOTES, EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c003", "article_bluemountain": "bmtnaau_1914-04_01#c003", "volume": "bmtnaau_1914-04_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=bmtnaau191404-01.2.3", "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=bmtnaau191404-01.1.2", "debut_caractere": 1291, "fin_caractere_exclue": 1572, "texte": "ILLUSTRATIONS.\nA DESIGN FOR A STAGE COSTUME. . . . E. W. Godwin. (Frontispiece).\nTWO JAVANESE MARIONETTES. . . * . 284.\nTHREE FULL PAGE PLATES OF DESIGNS FOR\n• »\nSTAGE COSTUMES E.W.Godwin. Face 336,344,352.\nHead and Tale Pieces by Gordon Craig, Julius Oliver, and from old Designs."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c004", "article_bluemountain": "bmtnaau_1914-04_01#c004", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[280]", "page_fin": "[280]", "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=bmtnaau191404-01.2.4", "titre_corps": "A COSTUME DESIGN", "titre_sommaire": "A COSTUME DESIGN", "signature_source": "E.W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[280]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 41, "texte": "A COSTUME DESIGN by E.W. Godwin. F. S. A."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c005", "article_bluemountain": "bmtnaau_1914-04_01#c005", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[281]", "page_fin": "283", "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=bmtnaau191404-01.2.5", "titre_corps": "EPILOGUE. APRIL. 1914", "titre_sommaire": "EPILOGUE. APRIL. 1914", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "[281]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1566, "texte": "EPILOGUE. APRIL. 1914\n\n|t is the end of the sixth year of The Mask.\nOne is expected to say something:, and i have been asked by the\nEditor to do so. I could say something: short and to the point, but good\nmanners before a11... 1 will therefore meander on for three or four pages\nfor the sake of Hecuba as usual.\nBut how difficult... how difficult to praise you, oh my readers. How\neasy twere to damn you... shortly and to the point!\n& Had we reduced our journal even as the noble Times one morning\nfound Itself reduced to one penny, I had found something to say... 1\ncould have apologized... while protesting 1 was not on the make.\nBut you know me and you know \"we\". \"We\" are not writing, I am.\nAnd It is my duty to praise you... its \" up to me \" to lay it on thick...\nI've simply got to do 50,... but I dont want to.\n& I want instead to tell you what I think of you. But that I musa't do.\nI even musn't say that 1 think some of you the most charming people\nin the world... some the most beautiful... and it would be futile to\nacknowledge that you are one and all the most intelligent.\nAs for saying that your Enthusiasm is priceless and helps our works,\nthat too Is out of the question for It is all so Inadequate... I dont mean\nyour enthusiasm and help. I mean only my phrases and your praises.\nFor instance you are all true worshippers of that magic puppet \"Punch\"\n%\nand you follow his advice. And you \" DONT\" with all the force of true\nabstainers.\n& Do you even read the \"Mask \" to any purpose ? NO, of course not.\nYou DONT.\nThree cheers for such Divine Caution!"}, {"page_pdf": 6, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.6", "debut_caractere": 11, "fin_caractere_exclue": 2238, "texte": "Do you back up the opinions you believe in, in spite of the growling\nof the dogs and the squalling of the cats ?... No, you DONT.\nDo -you get In a rage with inactive people who might forward all\nmovements and this one into the bargain ?\nNo you dont! you are 111... like slugs... you are slow.\n& You are delightful people, witty... up to date... wel!=dressed... delicious...\nintelligent... profound.... wealthy.... powerful.... everything.... but you\nare inactive. You fear nothing so much as action,... You \"interest\"\nyourselves in nothing but you love exhausting yourselves in talk.\n& Above all you'll talk better about that of which you know nothing... the\ntheatre for instance, than about needlework or the methods Adam handed\ndown to us of planting cabbages.\n,5? These two useful jobs you are silent about... but THE ART OF THE\nTHEATRE,... that you are prepared to inform everyone about.\n& Why, you'll even talk to us about it through the columns of some\nLondon journal or in the latest Stage Year Book.\nThere again I You DONT refrain. You abstain horribly from all modesty,\nthough modesty is a fine thing. But may I tell you so ? No, I am sworn\nnot t0... I am here to praise you... to \" lay it on thick\". But 1 may say\nthis...\nI may say that If I hadn't been faced by a row of such amazingly\nintelligent, refined, modest and noble persons 1 had never even started\nthe journal In 1908 and had never kept It going till 1914. It has all been\nso encouraging!.,,, so encouraging. For instance In 1908 we make a\nstatement elaborating in all its details... a quite new statement... a new\npoint of view... and the right one... regarding the production of a play.\nX? This statement is in 1908 as valuable as ever it will be... But you all\nwait so encouragingly until in 1914 some one of our readers repeats word\nfor word, idea for idea the same statement. Then for the first time\nyou and the publics around you \" hear with your ears \" though heaveii\nonly knows whether even then you \" understand \".\nx? Now this is encouraging; it indicates a bright and ready set of listeners.\n& Have I praised you sufficiently, my readers,... and ought. I not now\nto thank you ?\n& Most people would listen, hear and benefit in 1908:... these DONT."}, {"page_pdf": 7, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.7", "debut_caractere": 11, "fin_caractere_exclue": 340, "texte": "& There is quite a lot to thank you for, but little room left.\nj0 And, bye the bye, one and all of you have to thank an American friend\nof The Mask by name W. H. Gable, for having made it possible for you\nto continue to read this journal.\n& He actually realised that one action was worth all the talk in the\nworld.\n\nGordon Craig."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c008", "article_bluemountain": "bmtnaau_1914-04_01#c008", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "283", "page_fin": "285", "image_debut": 7, "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=bmtnaau191404-01.2.6", "titre_corps": "JAVANESE MARIONETTES : A Note on their Construction", "titre_sommaire": "JAVANESE MARIONETTES : A Note on their Construction", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.7", "debut_caractere": 342, "fin_caractere_exclue": 1695, "texte": "JAVANESE MARIONETTES. A Note\non their Construction.\nJ. S.\nphe two figures represented In the accompanying illustrations are\ntaken from the collection of Javanese Marionettes in the Gordon Craig\nSchool at Florence, some of which have been lately exhibited at Zurich.\n£/ Some account of these wonderful shadow figures known as \"Wayang \"\nfigures and of the great Javanese drama in which they play their part\nwill appear in a future number of \" Mask. \" but meantime we give\nthe accompanying notes on the actual construction of the figures, taken\nfrom an important Dutch work on the subject.\np'he *• Wayang \" figures are manufactured of the skins of scabby buf-\nfalo calves. The skin of a calf is selected because It is thin, and the\nskin of a scabby calf is prefered because such skin is not oleaginous and\nthe paint and gliding thus remains permanently on the figures.\nWhen the skin of a scabby calf cannot be obtained the skins are\nrubbed with chalk in order to remove the oily properties. In such cases\nthe skin of young full-grown cattle is preferred, calf skin being too thin.\n& The heavy figures are made of buffalo skin, the light ones of cattle\nor goat skin. The hide of the white buffalo is also used, but only that of\nthe female and never that of the male, which is too hard.\n& While the skin is still wet it is stretched out in the sun and, after"}, {"page_pdf": 8, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.8", "debut_caractere": 23, "fin_caractere_exclue": 2189, "texte": "having been dried, it is prepared with a hatchet in order to obtain a\nsmooth surface. The skin is then stretched out on a square wooden frame\nby means of cords and again put out in the sun. »\n& When dry it is scraped to remove the hairs and to make it thin and\nsmooth. After that it is rubbed with a whet-stone to make it compact\nand to remove the scratches. Finally it is scoured with the rough part\nof the bamboo woe locs and with the rough rempelas leaves. Such a\nprepared skin is called a kebar.\n<£? The kebar is divided into three of four parts, and each of such parts\nis called katjoe,\n& A \" Wayang \" figure is now sketched on the katjoe with a needle,\nafter a chosen original; the lines are then worked out with a wald (a\nsmall curved knife), and the outline cut out.\nThe Wayang figure is now worked with a little chisel. The chisel\nwork of the dress and the hair is called kagempoer.\nWhen the face, the eyes, the mouth and the ears are not yet formed\nthe Wayang figure is called gebingan. When the eyes, the mouth and\nthe ears are formed It is called kabedan.\n& Afterwards the upper and lower arms are formed : they are added\nto the joints by means of bone<=pins behind the shoulder and the elbow,\nWhen the chiselling of the Wayang figure is finished It is painted In\nin the likeness of the character it represents, and according to the dress.\n& Another method of making the figures is as follows:\n& The skin is stretched out in a bamboo frame and then dried In the\nsun. When the skin is thoroughly dry it Is put into water for some days\nand after that again dried well in the sun, well scraped, then folded\nand pressed.\nNow the preparation of the hide Is finished and the Wayung marionette\nis cut. Then the marionette is first of all thoroughly scoured, next painted\nwhite, and well rubbed with a kind of colourless varnish. The marionette\nis first painted white twice, then blue and then black, and then the\nlasting colours and the gilding are worked in.\nmarionettes contains lao pieces and its value varies between\nseven and nine pounds sterling, (i)\n\n(I) The antique figures such as those in the Gordon Craig collection are naiurally of far higher value."}, {"page_pdf": 13, "page_imprimee": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.13", "debut_caractere": 23, "fin_caractere_exclue": 1270, "texte": "The handles are now fastened to the marionette, and the sticks, also\nmade of horn, fastened to the hands. The horns of the white ox are\npreferred for the handles ; falling these the horns of the ordinary buffaloes\nare used. Bamboo Is used instead of horn for marionettes of inferior\nquality.\n& The arm sticks are fastened to the hands by means of the dry fibres\nof the cocoanut shell, or better still with brass or silver thread.\n& A horn is sawn through from end to end as far as is needed for the\nlength of the Wayang figure. The central stick and arm sticks for two\nWayang figures are sawn out of one horn.\nThe making of these sticks Is as follows: first of all the horn Is put\nInto water for one night in order to become tough and it is then worked\nwith a chisel into the rough form : then the lower end is shaped, the\ncross lines and the knobs. Now the top part is sharpened to a point, the\nhorn is split and both the halves rounded with a file: it is then scoured\nsmooth and polished or varnished with bone*dust or bone ashes. The\nhandle is then bent according to the form of the Wayang figure and tied\nto the figure with the dried fibres of the cocoa=nut shell, these fibres\nbeing preferred because the binding does not move and holds well."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c012", "article_bluemountain": "bmtnaau_1914-04_01#c012", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "286", "page_fin": "296", "image_debut": 14, "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=bmtnaau191404-01.2.7", "titre_corps": "CARLO GOZZI AND THE VENETIAN DRAMA OF THE EIGHTEENTH CENTURY", "titre_sommaire": "CARLO GOZZI AND THE VENETIAN DRAMA OF THE EIGHTEENTH CENTURY", "signature_source": "D. Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 2164, "texte": "CARLO GOZZI AND THE VENETIAN\nDRAMA OF THE EIGHTEENTH CENTURY.\nSome Notes\nby D. Nevile Lees.\n\\yhen some little time ago \" Turandot \" was put upon the London\nstage we heard much about the impresario Reinhardt and the\ntranslator Vollmuller, and about several others, including the poet Schiller.\nThe only one about whom we heard little.... in fact most of the papers\nomitted any mention of him whatsoever, being apparently unaware of\nhis existence,... was Count Carle Gozzi, the author of the play.\n& This was no loss for him. He sleeps none the less well among his\nlagoons; and, so often are the real authors of works and the real origU\nnators of ideas passed over in these days that perhaps one more such\nslur should awaken little astonishment. But though this forgetfulness is\nno loss to him it is certainly a loss for us, since Count Carlo Gozzi is\na man worth remembering, and some modern managers and playwrights\nmight learn quite a little through the study of his work and of the\nparticular influence it had upon his contemporaries and the theatre of\nhis day.\nCount Carlo Gozzi was the last magician of the old Commedia dell'Arte\nin Venice, the last champion of the ancient Masks. He made a stand for\nthe drama of large Imagination at a time when Goldoni was conquering\nhis own city and far beyond his own city with the drama of a little\nstood out against the Intrusion of Realism on the stage.\n& For Goldoni was the realist through and through. He could depict\nexcellently and delightfully anything that was as plain as the nose on\nhis face. He had a genius, in fact, for describingly charmingly every\nvaiieiy and kind of plain fact such as could be classed metaphorically\nas the noses on his fellow citizens' faces. He could touch off the good\nbe«wigged merchants of the Merceria, their decorous wives and pretty\ndaughters and submissive sons, their circle of gossips and all their do®\nmestic adventures to the life. He kept the Lelios and Rosauras and\nOrazios and other unmasked parts of the old Commedia, but for the\nrest he had no use. He it was who, after a faint hearted use of theni*\ndiscarded the masks from the theatre altogether; he who pushed forth"}, {"page_pdf": 15, "page_imprimee": "287", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.15", "debut_caractere": 37, "fin_caractere_exclue": 2397, "texte": "young Collalto, engaged as a Pantaloon, in plain clothing and unmasked...,\nhimself, in short,... before the public, and the event was symbolic, for in\nthat moment Realism, in a hitherto unpermitted sense, stepped upon\nthe stage.\nx? Carlo Gozzi, on the other hand, was the very opposite of Goldoni and\nthe bitter enemy of his innovation. He stood out against this intrusion\nof Realism into the theatre, and he backed his opinion by a Triumph.\nHe cared nothing for the introduction in a theatre of the things he\ncould see in any campo or calle of his own city. For him, ...a believer\nin the philosophy of fairy tales, the whimsical wisdom of nursery rhymes,\nthe profound spirit which hides behind a mask, the magic of mummery,\nthe significance of clowns, it was just the things which he neither saw\nnor touched in daily life that were the things he prized.\nj0 Goldoni, the realist, had, like Peter Bell, about as much imagination\nas a pint pot. To him a primrose by the river's brim could never by any\npossibility be anything but a primrose, whereas to Gozzi it could just\nas well have been a dropped star or an enchanted princess: if it had\nsung to him he would not have been astonished, if It had changed into\na fairy he would have been reassured. In fact nothing that was improbable\ncould possibly surprise Count Carlo, for the stuff that dreams are made\nof was his normal mental fare, and his whole time was passed in a\nworld where everything was possible, and in close communion with such\nunusual personalities as Singing Apples, Talking Statues and Stag Kings.\n& The matter-of-fact repelled him; realities annoyed him. He loved\nfancy as much as he hated the dulness, the dreary little episodes of his\nday, and the days of 1770 in Venice were not packed with greatness as\nin 1570. Besides, he is the partisan of all that is ripe as well as of all\nthat is unusual: the enemy of everything raw and *' new \",... new books,\nnew phrases, new customs, new plays, new clothes; and it is partly to\nescape from that poor thing, and \" enlightened \" Venice at that time\ngrowing up around hini, that he advanced boldly into his dreams where\nhe sported as of old with his sylphs and fairies, his hobgoblins and the\nbeloved Masks.\nJS All that Goldoni somewhat languidly rejected as out of date Gozzi\nknew to be eternal. He took all the grotesque and supernatural elements"}, {"page_pdf": 16, "page_imprimee": "288", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.16", "debut_caractere": 37, "fin_caractere_exclue": 2363, "texte": "of the old Comedy, Its strange outlandish scenery, remote as the lands\neast of the sun and west of the moon, peopled by charming impossible\nbeings unhampered by any unnecessary limitations of time of place or\nhuman form, and wove them into new patterns on his stage. He knew\nthem all intimately, he knew'exactly now they would speak and act.\nAH the fantastic extravagant figures of Callot's ballet are at Gozzi's\nbidding, all the dainty little princesses of the fairy all the monsters\nof the legends, and, best of all, Harlequin and Tartaglia and Brighella\nand Pantaloon:... not the up-to-date metamorphosised Pantaloon, who\nwhen cheated by Qoldoni became nothing but a good householder of the\nMerceria; but a kindly bizarre Pantaloon concerned in all kinds of wierd\nadventures and associated with all kinds of curious folk with whom\nGoldoni would have been quite at a loss to deal.\nHow, for instance, would Goldoni's Pantaloon have regarded a palace\nwhich rose in a night opposite his master's dwelling ? He would probably\nhave cleared his wits with a dose of salts. What would he have done\nhad a couple of babies been entrusted to him to kill for the gratification\nof a malignant Queen-Mother-in-law ?.... He would undoubtedly have\nslipped them into the basket at the Foundling, whereas Gozzi's Pantaloon\npacks them in a neat parcel with twenty-four ells of oil-cloth and sends\n1\nthem floating down the stream whence they are finally rescued by\nSmeraldina the wife of Tartaglia the sausage-maker... and a good train\nof adventure is well begun.\n& And so on, all through his plays, interwoven with the Stag-King and\nthe Serpent Woman and the rest of the fantastic figures, we find the\nold Masks, the gay bizarre incredible figures which had been developing\never since the ancient days ■, which Beolco and Calmo had helped to\nshape and Andreinl and Dominique to enrich : personalities as fixed in\ntheir type as water, and as fluid and capable as water of varied activity\nand form, and upon which each actor who had donned their masks had\nleft his mark.\n& It was to save these that Carlo Gozzi exerted himself, and, though\nhis success was short-lived, the mere attempt to resist, even for a little,\nthe wave of modernity which was sweeping them away, was much. For,\nthough the Commedia dell'Arte was not THE THEATRE, it 'was one"}, {"page_pdf": 17, "page_imprimee": "289", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.17", "debut_caractere": 28, "fin_caractere_exclue": 2443, "texte": "phase of the Theatre, and a fine phase too. It had independence and\nImagination; it was not hidebound by the tradition of the printed\nbook; it played off its own bat; it spoke witli its own voice. It needed\nno one and nothing but its own sons to set it going. Give those a stage\nOA bate trestles or a corner of a field, give them a hat and goose-feather,\na burdock leaf, an old cloak, a drinking cup, a handful of cherries, a\nplate of inaccheroni,... whatever lay readiest to hand, and they would\nweave a scene and create a world of their own, a world of comedy or\ntragedy as the case might be, and any passer-by was free to enter and\nspend an hour therein.\n0* course it may be argued that the handling of this material of the\nComniedia dalTArte by Gozzi was in itself the Interference of the literary\nman ; but it must be understood that it is no mere literarv drama which\nhe gives us. He was at one with his actors, lived in touch with them,\nworked in concert with them ; and it Is just because he worked with\nthem that his works are so good as plays for the theatre, and less good\nto read. They call for the actors and the scenery and lights and costumes\nand all the machinery and atmosphere of the theatre to complete them,\nand in fact. \" not as finished literature, but as the raw material of dra*\nmatic presentation, are they admirable \". (i)\n& Besides, while it Is true that Gozzi gave the actors much, ...gave\nthem more than iiis predecessors, (2) he did not give them all. He did\nnot bind their hands and tie their tongues and hold their noses to the\nwhetstone of his own wit. He left them their independence, and scope\nfor all their own powers; and the great Company which caught and\ncompleted his inspiration was the last possessed of such powers and\nindependence, the last of the great companies of the Comniedia deH'Arte,\nand when it disbanded and the curtain fell upon its last performance\nthe Gozzi plays found favour no longer: the Comniedia itself was dead.\nIt has been said that the material in which Gozzi worked was wholly\ndifferent from that selected by Goldoni, and so too in life and character\nwas he utterly different from the successful, benignant, contented,\nmiddle class lawyer who was such a thorn in his flesh. He was, in fact,\n\n(1) J. A. Symonds. 41 Memoirs of Carlo Gozzi Vol. I. pg 159.\n(2) As an example of how little often sufficed see some of the scenarios reproduced In The Mask."}, {"page_pdf": 18, "page_imprimee": "290", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.18", "debut_caractere": 37, "fin_caractere_exclue": 2368, "texte": "himself a figure wellnigh as fantastic as those he set upon his stao-e\nJ£? Born in Venice in 1720, he was descended on his father's side from\nthe old nobility of the Berganio country,... the native land of Harlequin:\non that of his mother, Angela Tiepolo, he was a patrician of the Republic.\n& His good birth was, however, the most of his patrimony, for if there\nwas much good blood in the Gozzi family there was little enough of\nanything else.\nThe whole tribe of them, always insolvent, lived in topsy-turvey\nfashion in their great dilapidated palace at San Canziano where there\nhad once been such splendour and wealth: and when Carlo returned\nhome at nineteen, after three years with the army in Dalmatia, it was\nto spend the next eighteen years in efforts to recover something of the\nwasted patrimony, to reorganize the family fortunes, to settle lawsuits,\nand to bring a little order into the domestic life.\n& A futile task, and a discouraging one I There was the great palace\nfailing ever into worse decay, its doors and windows shaky, its stuccos\npeeling off, and too many cobwebs. There were the old parents, dozing\nthrough life in the dark cheerless salas, and his brother Gasparo, the\npoet, scribbling from morning till evening in the little attic beneath the\neaves. There was his sister-in-law Luisa Bergalii, known in the Arcadian\nwoild as Irininda Partenide, the wife who, in Carlo's own words, his\nbrother '♦ had taken in a fit of genial poetical abstraction, \" absorbed in\na bedraggled way in poetic composition, wearing an old wrapper and\nher husband's wig ; far too busy hunting for rhymes to look after the\nmultitudinous little Gaspero Gozzis, who screamed and squabbled and\ntan wild with tiie ragamuffins of the quarter all day long. There were\nlodgers and tenants adding less to the family excitequer than they did\nto the general confusion with their claims and quarrels.\nIheie in this kind of Inn, with ink and paper and dirt everywhere,\nsat poor Count Carlo, in old-fashioned dress and wig, a gaunt, proud\nwhimsical figure, trying to piay the practical man when nature had\nmade him a dreamer, continually saying to himself \" let us laugh \"\na,'most as emphatically as a Nietzsche; trying to tickle himself to hilarity\nwhile at the bottom lie is indeed melancholy, full of grievances and\nresentments and regrets."}, {"page_pdf": 19, "page_imprimee": "291", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.19", "debut_caractere": 28, "fin_caractere_exclue": 2425, "texte": "■£? Carlo Gozzi was one of those men who seem born to be unlucky.\nHe says so himself. \" If I were to narrate all the whimsical absurdities\n\" and all the untoward accidents to which my luckless star exposed me\n\" 1 should have a lengthy business on my hands. Tisey were of almost\n\" daily occurrence. \" Perhaps that is a little because he is writing after\nsixty years, and, remembering six accidents, claims that Ids whole life\nlias consisted of accidents; but all the same, if Siis Memoirs are to be\nbelieved, he seems to have been born under an unlucky star. Everyone\nteases him, plays pranks on him, gets the better of him. Everything goes\nwrong. If there be but one puddle In the whole of Venice he must put\nhis foot in it: if he return home unexpectedly, desiring nothing so\nmuch as his bed, he finds his dusty old palace blazing with lights for a\ngrand reception which is being given, all unknown to him, in his own\nhouse. And lie is always getting into difficulties; always being taken\nfor some one else, and cuffed or embraced in another's stead. The\nrain, too, wets him more frequently and maliciously than anyone else,\nno matter how he plan to avoid it; he cannot even shave without\nvisitors being announced and forcing him to receive them with one cheek\nsmooth and one still rough. There is really no end to all his vexations.\nAnd all the time, while Ills feet are In the puddles, liis head Is in the\nclouds.\n& See him wandering about that strange, gay, beautiful intimate city;\npassing across the Square of San Marco, lingering on the Quay of the\nSchlavonl, wandering across the bridges with his old red cloak trailing\nbehind him, strolling along the labyrinth of the Merceria. Gaunt In\nfigure, old-fashioned in dress, silent, religious, conservative, he moves\nthrough a world of illusions, holding one fancy to be worth ten realities\nany day; sneering at the Abb£ Chiari and his successes, inveighing\nagainst the lawyer Goldoni and his plays, hating all modern books and\ndresses and ideas and dramas, ail that is new; finding his own realities,\nhis best values, not in those contemptable plays of everyday life which\nare crowding the theatre of Sant'Angelo, but in some old masked play\nwith Harlequin thwacking Pantaloon and Brighella and Tartaglia playing\npranks, In a cradle song, a fairy story or an old wife's tale.\nAnd there was patriotism as well as conservatism in Gozzi's love of"}, {"page_pdf": 20, "page_imprimee": "292", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.20", "debut_caractere": 28, "fin_caractere_exclue": 2316, "texte": "the old Commedia; for, u the Italian comedy which Goldoni supplanted\n\" was the national drama par excellence, invented by the Italians\n\" hall-marked with their genius, the only comic contribution of the race\nf their monopoly and their triumph (i) Gozzi himself says: \" I reckon\n\" improvised comedy among the particular distinctions of our nation. I\nlook upon it as quite a different species from the written and preme-\n\" ditated drama, nor have I the shameless audacity to stigmatise with\n\" the title of an ignorant rabbie those noble and cultivated persons\nwhom I see with my own eyes following and enjoying a play of this\n\" description. I esteem the able comedians who sustain the masks far\nhigher than those improvisating poets who, without uttering anything\nto the purpose, excite astonishment In crowds of gaping listeners. \" (2)\nfame had been carried all over Europe, its actors had been ap=N\nplauded in London and Lisbon and Paris and more cities than one could\nname; and now this national glory was being discarded for the everyday\ndramas of a little middle°class advocate I It was more than Carlo Gozzi\ncould stand. So one day, Baretti tells us, when he was nearing forty,\nfinding himself face to face with Goldoni, (then at the height of his\nfame, and perhaps for that reason a little swaggering and over self-\ncontent) in a bookseller's shop behind the c!ock»tower of San Marco, he\nthrew down the gauntlet, declaring, '♦ I wager that with the masks of\nthe old comedy I will draw a greater audience to hear the story of\n\" the \"Love of the Three Oranges \" than you can with all your Ircanas\nand Bettlnas and Pamelas and a few weeks later the famous\n1 ruffaldino-Sacchi Company, lately returned from Lisbon after the di=\nsastrous earthquake of 1755, announced a new comedy of that name at\nthe San Samuele theatre.\n£> All Venice thought Sacchi must be mad, but all Venice rushed to see,\nand was puzzled, amused and finally enchanted, and Goldoni's popularity\nfast diminished, while the old masks in the new fairy plays were all\nthe rage.\ncourse Truffaidino-Sacchi was delighted with his success, since the\nrival plays had long been drawing away his audiences and emptying his\n\n(1) Monnier. \" Venice in the Eighteenth Century. \"\n(2) Gozzi, \" Ragionamento Ingenuo \". Op; 1772, Vol I."}, {"page_pdf": 21, "page_imprimee": "293", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.21", "debut_caractere": 37, "fin_caractere_exclue": 2315, "texte": "pockets, and of course he entreated Gozzi to provide hini with more\nplays.\n& And so the \" Piabesque \" drama was born, and there followed play\nafter play founded on Venetian or Neapolitan or Spanish or oriental\nfairy tales, and decked out with every kind of whimsical conceit.\nThe Crow, the Stag King, Turandoi, the Lucky Beggars, the Woman\nSerpent, Zoneide, the Blue Monster, the Little Fair Green Bird ; all were\nfull of varied and marvellous happenings, of surprises of all kinds, both\ncomic and tragic, and charmed the public by the gorgeous' spectacles\nthey offered, the vivid action an'd gaiety, and by the riotous irrepressible\nvitality of the old masks as rendered by such weliknown players as\nAntonio Sacchi (Truffaldino), Atanaslo Zanoni, (Brighella), Agostino Fio-\nrelll (Tartaglia) and Cesare Darbes, (Pantaloon), (i)\nIt is a poetic drama in which there is place for everything in heaven\nand earth except for the prosaic every day happenings of a dead Venice.\nIt is a world in which everything can and does happen except the\nrational. It is a land of paradoxes, of the comic and supernatural, of the\nimpossible come true. There is a queer gay medley from start to finish,\nall kinds of enchanting nonsense interlarded with all kinds of metaphysical\ntruth. Princesses hidden away in Oranges, and stone figures which\ndiscourse like philosophers, and knives which become bloody when their\nowners die far away, and stairs with forty million seven hundred and\n•\ntwo thousand and four steps. There are deserts changing Into beautiful\ngardens, and great palaces rising instantly out of nothing, ready to be\nlived in, when a stone is thrown in the air. There are necromancers,\nand dragons which shed tears as big as walnuts, and sea=>monsters which\nserve as steeds for princes; there are hunting scenes and battles and\nswift journeys to the moon, and birds in love with mortals, and men\nenamoured of stone women and apples singing opera songs with the\nDancing Water playing the accompaniment.\nIt is all irrational, fantastic, droll, impossible, but also It is iui°\nmitable.\nAnd then this drama which contains all that Is irrational contains\nbizarre little touches of the practical also. Nothing Is forgotten. There\n\n(1) A. J. Syinonds, \" Memoirs of Carlo Gozzi Vol I page 112."}, {"page_pdf": 22, "page_imprimee": "294", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.22", "debut_caractere": 37, "fin_caractere_exclue": 2368, "texte": "are throne rooms, \"containing two cushions to sit on\", or a \"writing\ndesk \", a \" sofa \" or whatever is required, while in many ways, for all\nits extravagance, it keeps in touch with life. These dwellers in a world\nwhich never existed know ail that is going on in Venice. Tartagiia,\nadmiring Barberina through a spyglass from his window, as she suns\nherself on the balcony of the palace which has sprung up in a night,\nnotes that she has on a dress made by the modiste Canziani and that\nher hair is dressed by Carletti: the street-reciter Clgoletti, having taken\nservice with the wizard Durandart, appears at Roncevalle in person in\nhis old familiar clothes with a parrot on his wrist: and Calmon, the kind\nhearted stone statue, is promised a new nose so soon as the audience of\nSan Samuele shail have paid their money.\n& And then how much wisdom and symbolic truth are strangely inter*\nwoven into it all! It Is Calmon of the broken nose, (he who, having\nduring his lifetime four hundred years before pretended to despise\nmankind and depreciated the noble actions of his brother men, felt his\nheart harden until he has become a cold and lifeless thing of stone,)\nwho in the night-time voices the wisdom born of liis experience: \" Love\n\" thyself and love others, and follow reason, which is no slave to the\n\" frail senses, but daughter of Heaven's decrees \". And, \" Raise thy\nsnout from the earth, vile brute, look to the sky and the stars, nor\nlet thy thought cleave to the ground, between the senses and no*\n\" thingness \".\nAnd always in the midst of it all, the life and soul of it all ex*\nchanging verses of Ariosto in the moonlight, discussing drama in the\ndesert: disputing In their shifts by night, candles In hand, in the Throne*\nroom; telling each other fairytales; arming themselves with Incomparable\nbuffoonery for great adventures, moving the audience to limitless laughter\nover their efforts to catch a dove, acting as prime ministers, as admirals\non siiips, a.3 tuinkeys and sausage sellers, as heads of serraglios, and\ndyers and stableboys and philosophers are the four Masks of the Com-\nmedia, Truffaldino, (i) Tartagiia, Brighelfa and Pantaloon.\nHow much the dramas owed to these masks and the men who wore\nthem we can only surmise; but from all the records, from the reading\n\n(I) Truffaldino is a form of Arlecchino."}, {"page_pdf": 23, "page_imprimee": "295", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.23", "debut_caractere": 30, "fin_caractere_exclue": 2370, "texte": "of the pieces themselves, it is clear that, if Gozzi was instrumental in\nfilling Sacchi's coffers, Sacchi and his company were equally instrumental\nin giving life and completeness to Gozzi's plays.\nThe Sacchi company was a fine one In all senses of the word. Gozzi\nhimself wrote that it had 44 universal credit \", and cites the 44 union, the\ngood accord,... the study, the subordination, and the vigour \" of the\nplayers as well as the discreet conduct of its women and Its general\ngood report;\nBut the time came when this fine company had to be disbanded. Sacchi\nhad grown old and childish. Though over eighty years of age he was\ntoo fond of falling in love, so that his daughters, fearing that all his\npatrimony would be dissipated In these follies, rebelled against the old\nman and the rest of the company soon followed their lead. For a year or\ntwo things were kept going with Gozzi's support, but there were no\nfunds with which to put on new plays or to pay the actors, and at last\nthe company, 44 which for a long term of years had been the terror of\n44 ail the other troupes of comedians, and the delight of the theatres,\n44 miserably broke up \".\nGozzi in his Memoirs tells us of the parting between himself and\nSacchi, who came to take leave of him all in tears.\n& 44 You are the only friend on whom 1 mean to call before I leave Venice\n44 secretly and with sorrow for ever \" said Sacchi, 44 I shall never forget\n44 the favours you have bestowed upon me, Signor Conte; vouchsafe\n44 to grant me your pardon for any offences, your pity, and the honour\n44 of embracing you. \" 44 Poor Truffaldino \" writes Carlo Gozzi, 44 pressed\n44 me in his withered old arms; he gave me a last sad4glance out of his\n\" goggle-eyes full of tears, and then ran away, leaving me alone,\n44 wandering disconsolate through Venice, separated from my dear com-\n-44 edlans, and twenty-seven years older than when they returned from\n44 Lisbon. Oh, my poor heart 1 Oh, national comedy I All around me I\n44 cannot find one single person who still shares my love for this comedy,\n44 so original and so eminently Italian ! But I am waxing pathetic....\n44 Quick, let me wipe the cheek upon which Truffaldino has kissed me:\n44 the fellow must have been eating garlic. At the same time I may brush\n44 away unnoticed the tears on my face; and then I can go off and dine,"}, {"page_pdf": 24, "page_imprimee": "296", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.24", "debut_caractere": 37, "fin_caractere_exclue": 1137, "texte": "\" proud to have succeded in appearing philosophical, tliat is to say\n\" heartless. \" (i) '\n& We hear but little about Count Carlo Qozzi after that. An occasional\nglimpse of him as an old, lonely, figure, his friends fast dying around\nhim,... and then he too vanishes. He died on April 4, 1806 at the no\nof eighty six and was buried in the Church of San Casslano. But it\nseems as though he really died that day with the Commedia dell'Arte\nwhen he and Sacchi said goodbye. His life had been in the theatre and\nthe masks. The theatre was closed, the masks were gone away. Curtain!\n& Venice remembers him very little. Ask for his house and no one can\npoint it out to you, though anyone can tell you all about Goldonl. He\nand his works were alike forgotten, and only lately has Italy begun to\nrecall and reprint his plays.\n& But to him belongs the honour of having championed, single-handed\nthe great Commedia in its dying moments; of having offered such\nreslstence as was In his power to the intrusion of Realism on the stage.\n\n(I) Translation by Vernon Lee. '• Studies of the Eighteenth Century in Italy."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c014", "article_bluemountain": "bmtnaau_1914-04_01#c014", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "297", "page_fin": "305", "image_debut": 25, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.2.8", "titre_corps": "A HISTORY OF PUPPETS", "titre_sommaire": "A HISTORY OF PUPPETS", "signature_source": "Yorick", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "297", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 2049, "texte": "A HISTORY OF PUPPETS,\nby “Yorick”.\n0)\nPUPPETS IN GERMANY.\nt will be convenient if I follow the example of the\nlearned Magnin, and include all the information\nthat 1 have been able to collect with regard to\nmarionettes in Holland, in Austria, in Hungary, in\nPoland and in Russia, in one chapter under the\nhead of 44 Puppets in Germany \".\nCertain parts of Germany have always been di-\nstinguished for the skill and ability of people living\nthere, in the art of carving out of wood every kind of figure, whether\nof men or of animals, and in giving to them, by the aid of artificial\nmechanism, the appearance of real life.\nThat double aptitude has led to a development of automatic sculpture\nmore precocious and more complete than in any other part of Europe.\nAnd the application of this art has been extended to the church, to the\ncity and to the theatre ; from the images of saints, to the great 44 fan-\ntcccl \" of public festivals and the marionettes of the stage.\nj£s The passion that northern peoples have always shown for the play of\npuppets arises from a peculiar order of mind and of national character,\nthat is attracted by anything that is mysterious, marvellous or occult,\nso that \" la vita dedalica \" in its strange manifestations, exercises, na=\nturally, an irresistible influence over them.\n«e? Read the 44 Night Tales \" of Hoffmann, and explain otherwise, if you\ncan, that exuberance of nebulous sentimentalism, that excitability of\nimagination, that irritability of fibre under the influence of a vague\nidea, of some hypothesis, hallucination or aspiration towards the super-\nnatural and ultrasensible. Discover, for example, another explanation of\nthe love of 44 Nataniele \" for 4< Olimpia \", a love, profound, sincere and\nintense of a student for ...a marionette. With us, such an event would\nhave produced some satirical story, some narrative full of allusions and\nepigrams. In Germany, on the contrary, it produced an account, that\nwas serious, sincere and full of emotion.... and I might almost say of\nprobability.\n\n(!) P. Ferrigni."}, {"page_pdf": 26, "page_imprimee": "298", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.26", "debut_caractere": 23, "fin_caractere_exclue": 2316, "texte": "la a book of expenses of the Court of the Emperor Sigismund, there\nappears this entry, under the date, June 15.1429 : 44 Gave 24 4 der.ari'\nto be present at a representation of Joan of Arc at the little Ratisbon\ntheatre\n& But it is certain that the representation of liturgica! drama by means\nof puppets, dates from a much earlier period, and Indeed we find traces\nof it in Poland and in Russia, where, on a Sunday, preceding the festival\nof the birth of Christ, the Mystery of the three children, who were\nk\ncast into the furnace, was represented in front of the great altar of the\nCathedral of Moscow. Plays of the same kind had been seen in Austria,\nin Anhalt, in Antwerp, in Gand, in Bruges, in Prague, in Posen, in\nLithuania, in Leipsic, in Frankfort, and in Thuringia, in Franconia, in\nBavaria, in Holland and in Switzerland.\nFrom what part of the world had so many theatrical marionettes\nfound their way into northern lands ? We do not know with any certainty.\nBut the fact that Daniel Clarke, in traversing Tartary in 1812, found\nCalabrian 4* fantoccini \" established from time immemorial in that remote\nregion, scattered among the wandering Cossacks of the Don, naturally\nleads us to believe that Italian marionettes must have been ministering\nto the passion of the people for puppet plays from very early times.\njs? To go at once to the heart of the argument, let me say that even so\nfar back as the beginning- of the sixteenth century, a production forming\npart of the repertory of the 44 Tokkenspieler \" was acted in the Fairs of\nGermany. It was called 44 The prodigious and lamentable history of\nDoctor Faust. \" (1)\n£/ The 44 niaschera \" adopted for that German legend took the name of\n41 Hanswurst,\" an almost literal translation of our 44 Francatrippa,\" but it\nwas really, and undoubtedly, a new incarnation of the Italian Pulcinella,\nwhose picture, designed by a master hand, is to be found among the\nworks... guess of whom... of Martin Luther!\nThat austere reformer not only condescended to preserve for future\ngenerations the physiognomy of our Jovial marionette, germanized in\nthe plays of the 44 Tokkenspieler, \" but he frequently made use of the\nscurrilous and foul-mouthed 44 Hanswurst \" as an interlocutor in his\n\n(ly See Das Puppenspie! vom Doctor Faust, Leipsic, 18SO."}, {"page_pdf": 27, "page_imprimee": "299", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.27", "debut_caractere": 23, "fin_caractere_exclue": 2221, "texte": "controversies and dialogued sermons; and he was not ashamed to ascribe\nwith his name a lampoon that he wrote against Duke Henry of\nWolfenbuttel.\n& Even Lessing (i) has left us a minute description of our good old\n\" Pulzinello, \" and his achievements are also related in a very interesting\nstory by Floegel: Geschichte des Groteskecomischen, page 118. It is\ncertain that our poor Italian marionette had often to suffer persecution,\nand, in fact, he was at one time banished from Vienna by the authority\nof Gottsched. He contrived, however, to find his way back to the\nAustrian Capital, under thejname of the merry peasant \" Kasperle,\" and,\nultimately, to gain such triumph, that his name \" Kasperle \" was given\nto one of the Viennese suburbs, and also to a small piece of money, the\nvalue of which coin was equivalent to the price of admission to a\nmarionette theatre.\nAfter the peace of Munster, when dramatic art in Germany was\nbeginning to breathe again; when England had li.er Shakespeare, Spain,\nher Lope de Vega, Holland, her Vondel, and France, her Corneille, the\ncelebrated Andrea Gryph appeared as a reformer of the German theatre\nand commenced his propaganda In a \" castello \" of puppets, for whom\nhe wrote \" Le prodozze del capitano Horrlbilieriblifax, \" a descendant of\nour \" Pirgopolinice \" a child of Capitano Spavento, of Coviello, of Ro=\ngantino. (2) The march of progress was then invading northern countries\nand Italian marionettes established the first stable theatre and the first\npermanent company, at Frankfort in the year 1657.\nA year afterwards Leipsic, Hamburg and Amsterdam began to regard\nthe marionettes of Italy with great favour, in 1667 Pletro Resonieri\nerected a theatre for puppets in the Juden Markt, of Vienna, and continued\nin the same piace, honoured and \" festeggiato \" for forty 3'ears in\nsuccession. In the Leopoldstandt, in the Neu Markt, in the Freyung,\nnumbers of \" Pulzineila-Spieler \" began to give representations in the\nevenings, after the \" Angelas domini \" every day of the week except\nFridays and Saturdays.\nJ£? As in England, so in Germany, marionettes acquired great Increase of\n\n(1) Theatralisher Nac'aiaas.\n(2J See '» The Mask\", Vol 111. p. 149."}, {"page_pdf": 28, "page_imprimee": "300", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.28", "debut_caractere": 23, "fin_caractere_exclue": 2259, "texte": "fortune from the religious disputes that took place | and while all theatres\nwere closed they exercised their right of appropriating all tragical,\ncomical and melodramatic plays to such an extent that a certain Italian\nshowman, Sebastiano da Scio, aroused a perfect storm of opposition on\nthe part of the protestant clergy by performing a drama with his Venetian\nmarionettes, called, \" Vita, geste, e discesa all' inferno del dottore Qio»\nvanni Faust. \" (1) The production met with immense success, but the\nMinister Spener, alarmed at the disputes that arose between the clergy\nand the people, prohibited the representation altogether.\n& It might have been said that Italian marionettes were threatening the\nstability of the State. Fortunately \" Faust,\" banished from Berlin, spread\ntriumphantly all over the rest of Germany, and, later on, met at Frankfort\nthat brifiiant young poet, whose name was Wolfgang Goethe.\nAPOTHEOSIS.\nHPhe theological war against theatrical representations broke out at\nHamburg in the year 1680, when a minister of the protestant Church\nrefused to administer the sacrament to two comedians of that city. A\nvery lively polemical controversy, which was not always confined within\nthe limits of courtesy or education, arose between the clergy and the\nactors in dramatic companies. The actors published more than one\njustification of their profession, and appealed for protection to princes\nand to the authority of parliament. The struggle lasted for ten years:\nA\nbut the stupid public, frightened by excommunications, threats of Hell\nand prophecies of the intervention of the famous \" finger of God '' ended\nby taking sides with the evangelical pastors. Theatres were then deserted,\nand artistes, humiliated and reduced to misery, were forced to abandon\n0\nthe scene and disappear altogether.\nA crowd of marionettes then invaded the theatres, climbed to the\nstage and took possession of the auditoriums which were soon filled again\nwith a multitude of people, who were ail the more greedy for theatrical\nspectacles, because of the long period, during which, for the safety of\ntheir souls, they had found it convenient to stay away. The most eminent\n\n(x) The Li'e, acts and descent into Kell o! Dr Johannes Faust."}, {"page_pdf": 29, "page_imprimee": "301", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.29", "debut_caractere": 23, "fin_caractere_exclue": 2348, "texte": "men of the day were among those who flocked to witness the performances\nof the little actors... of wood,\n£? The-celebrated Bayle, during the long stay that he had to make at\nRotterdam, on account of his studies, always abandoned his books as\nsoon as the showman's trumpet, from under the portico of the conquered\ntheatre, announced that the performance was about to begin. The poet\nLodovico Rotgans was not able to write a single verse until he had been\nfor Inspiration to a \" castello \" of puppets in Leipsic. Euler, the Illustrious\nEuJer, the most famous geometrician in Germany,... although he afterwards\nlived in Berlin, when the dramatic stage was beginning to receive again\nIts former actors, now tolerated and restored to favour,... always had a\npreference for marionette comedy and spent hours in watching them;\nIt was an innocent and childish taste, and was specially referred to after\nhis death by one of his confreres, Formey, before a full assembly of the\n\" Accademia delle scienze. \"\nThat period of incontestable supremacy on the part of marionettes,\ngave rise to a strange custom, that ought not to be passed over in silence.\nAt the beginning of the reign of Pulclnella, the dispossessed actors,\nnaturally troubled and anxious with regard to their daily bread, were\nalmost compelled to enter the service of showmen, and to lend their\nvoices to speaking the parts of the little \" figurine \" of puppet companies.\nAfterwards, when persecution began to be less bitter, these comedians\nreturned to the stage under the protection of the puppets, and together\nwith them, in order not to run too much against the prejudices and\ntastes of the public.\nAt that time the \" Haupt-und=staats-actionen \" were introduced, a\nkind of melodrama in prose, music and pantomime, that took its arguments\nfrom mythology, from the Bible, from stories of knightly deeds, and in\nfact from whatever source afforded opportunity for spectacular display\nwith many \" personaggi \" and with complicated and ingenious machinery.\nIn the representation of these p'ays living actors filled the parts of\nsuch characters as were least likely to be objected t0,... some virtuous\n\" personaggio \" in good favonr with the audience... while marionettes,\nwho had no fears, did all the rest.\nSome years later on, in the time of Beck and Reibehand, plays that"}, {"page_pdf": 30, "page_imprimee": "302", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.30", "debut_caractere": 23, "fin_caractere_exclue": 2371, "texte": "were performed, partly by living actors, and partly by marionettes,\npossessed this very great advantage, in that they admitted of the\nrepresentation on the stage, with great luxury of decoration, and richness\nof detail, of the martyrdom of the saints, the slaughters of the ancient\nRoman circus, and the battles of the middle ages.\nReibehand, leading comedian of a mixed company that was called the\n44 Compagnia privclegiata delle Corti di Brandebourg e Brandebourg=\nBayreuth \" had a play put upon the stage, entitled The Life and Death\nof Santa Dorotea martyr. In the final scene of that very touching drama,\nthe decapitation of the Saint was received with such rapturous enthusiasm,\nthat the audience cried for it to be repeated... and immediately the\nobliging 44Impresario \" stepped upon the stage, and restored the dead\nbody of the young Christian virgin to life, and placed her head on her\nshoulders again, and then decapitated It a second time with his own\nhands, amidst the wildest applause of the public.\n& In the meantime Wolfgang Goethe was spending the days of his youth\nin the paternal house at Frankfort on the Maine. In the immortal pages\nof his 44 Memorie, \" the illustrious writer of tragedies relates himself\nthat the greatest of his infantile joys was a little marionette theatre,\ngiven to him by his grandmother on a Christmas Eve. A few years\nafterwards, in the days of sorrow, and especially during the occupation\nof Frankfort by the French army, Goethe made his little theatre the\npastime and amusement of his family and neighbours. He managed all\nhis little wooden 44 personaggi \" himself, presented some of the most\npopular plays of the time and also some of the most highly praised dramas\nof classic literature, introducing jiew characters as additions to the\noriginal scheme, and improvising dialogues, episodes and farces adapted\nfor his little puppets.\nEven when he had reached the age of twenty, and was preoccupied\nwith the creation of his 44 Goetz von Berlichingen, \" he did not forget\nhis puppets but, putting aside his mania for improvisation, he wrote a\ncomedy for a small marionette theatre, called 44 Festivals of the fair of\nPlundersweilern \" in the course of which he criticised his own audience,\nand exposed their defects and prejudices.\nThat youthful little 44 bagattella \" has a particularity that is worthy"}, {"page_pdf": 31, "page_imprimee": "303", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.31", "debut_caractere": 23, "fin_caractere_exclue": 2468, "texte": "of note, and it is this; the conduct of that work and certain episodes of\nthe plot reveal an analogy with the legend of 44Faust. \" As for the rest,\nthe Fair of Plundersweilern,\" although tho work of early youth, was\nnot by any means lightly regarded, even by Its author in his later life,\nand when he had risen to fame ; for we read that at the Court of Weimar,\nwhere he was a much favoured and honoured guest, he erected a small\ntheatre, in order that the play might be performed again. He also added\nanother composition on the occasion of the Princess Amelia's marriage.\nThese two little comedies have not been lost; they are included, in fact,\nin a collection of Goethe's works, under the title of 44 Moral und politik\nMarionettenspiel. \"\nThe Court of Weimar was not the only one in Germany that sought\ndistraction in a puppet theatre. In Hungary, at the country seat of the\nprinces Esterhazy, marionettes, of the utmost perfection of construction\nand magnificence of dress, were displayed on a stage, which, for richness\nand elegance, was in every way worthy of them. Prince Nicholas Joseph\nassembled for them in his private theatre an orchestra, that comprised\nsome of the ablest professors of the day, and the leader of it, in 1762,\nwas the renowned Joseph Haydn.\n& For those princely puppets the great 44 maestro \", in the fulness and\nvigour of his genius, (1773 to 1780) gave free rein to his fancy and com-\nposed some of the brightest and most graceful little plays in the world.\nOne of the first was his 44 Toy Symphony \", in which all the musicians\nabandon the orchestra, one at a time, and put out the light until there is\nonly a violin left to scrape the last note. Then there was the 44 children's\nFair\" another symphony for a fuil orchestra, the orchestra consisting\nonly of such instruments as are given to children as playthings: small\ndrums, whistles, tiny trumpets, jew's harps, rattles, cymbals, bells and\nso forth. After that he wrote expressly for marionettes five 44 operette \" :\n44 Filemon and Baucis, (1773)... 44 Genievre \" (i777)««* \" Didone \", (1778)....\n44 The vendetta \" (no date)... 44 The witches sabboth \", (1778) all of which\nwere played in the little theatre at Eisenstadt. 44 The lame devil \" was\nanother opera, that he composed in his early days for an Italian showman\nof puppets, named Bernardone, who conducted a small Ltheatre at the\n44 porta Carinzia \" in Vienna, and who remunerated the 44 maestro \" for"}, {"page_pdf": 32, "page_imprimee": "304", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.32", "debut_caractere": 23, "fin_caractere_exclue": 2409, "texte": "his work with the magnificent sum of twenty four zecchini. (less than\ntwelve pounds sterling.)\nItalian marionettes are surely entitled to boast that It was they who\ndeveloped In the brain of Goethe the first germs of his dramatic genius\nand who Inspired in the mind of Haydn the first melodies of his great\nmusical poem, the echo of which was afterwards to resound throughout\nthe whole world. I said Italian marionettes, and I did not say it by\nchance, for as regards the illustrious composer of Eisenstadt, he began\nhis career with the puppets of Bernardone, and as to the author of\n44 VVallenstein \", his early love for the theatre had its origin, undoubtedly,\nwith the marionettes of Italy, who were established at Frankfort hardly\nseven years after little Wolfgang's birth.\nIn the famous 44 memories \" of his life, Goethe made no secret of his\nlong and useful dramatic apprenticeship in the puppet school, nor did he\nin any way disguise the fact, that the original idea of his \"Walienstein\",\nand still more that of his 44 Faust \", was inspired; and took root, in his\nmind in front of a 44 castello \" of 44 Puppenspieler\nMarionettes, indeed, provided something more for 44 Faust \" than the\nidea and conception of the story. The scene of the Prologue, placed\nbeyond the limits of the created world, is an invention of the 44 Faust-\npuppenspiel \" of Ulma... with this difference, that whereas the puppet\ndranra placed the prologue in the Inferno, before the throne of Satan,\nCioethe preferred to put it in heaven in the presence of the 44 Dio padre.\"\nThe monologue of the old doctor, with which the drama begins, belongs\nto the comedy of the two students of Tubinga 44 Tractaetten von Faust,\neine comoedie, \" composed for the marionettes of Frankfort in 1537. The\nscene of the metaphysical dispute between Mephistopheles and Faust is\ntaken from the puppets of Augsburg, The scene of the tavern at Auerbach\nIs found in the 4* Marionetten Faust \" of Cologne. The great phantasma=\ngoria with the witches at Blocksberg is met with in many of the\nmarionette dramas, and chiefly in the 44 Faust \" of Strasburg.\nthese facts, the fruit of long and patient study and research, (now\ncollated in the 44 Histoire des marionettes \" of Ch. Magnin, Paris, 1862)\nhave been brought to light from the voluminous works that have been\npublished with regard to the 44 Faust \" of marionettes, by a brilliant"}, {"page_pdf": 33, "page_imprimee": "305", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.33", "debut_caractere": 22, "fin_caractere_exclue": 624, "texte": "company of learned German writers, and among them Friedrich von der\nHagen, Carl Simrock, Franz Horn, Emil Sommer, and lastly the most\nfortunate of them all, Scheible,\" who collected and published in the\n44 Closter, \" volume V, pages 747-922, together with his own critical\nobservations, the text of the two Fausts of Geisselbrecht and Schutz,\nlearned showmen of the eighteenth century, the five 44 Marlonettenspieler\"\nof Ulma, Augsburg, Strasburg, Cologne and Lelpslc, and the 44 Faust als\nSchauspiel by Cristian Ludwig Striglitz, a critical article published\npreviously in the 44 Raumer Taschenbuch. \""}]}, {"article_id": "bm-bmtnaau-1914-04-01-c017", "article_bluemountain": "bmtnaau_1914-04_01#c017", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "306", "page_fin": "312", "image_debut": 34, "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=bmtnaau191404-01.2.9", "titre_corps": "THE PLAYS OF HROTSWITHA", "titre_sommaire": "THE PLAYS OF HROTSWITHA", "signature_source": "Anatole France ; J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "306", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 1988, "texte": "THE PLAYS OF HROTSWITHA,\nFOREWORD.\nby Anatole France.\nJ. S.\n(0\nJondon playgoers have recently had a reminder of Hrotswitha, (or\nHroswitha) the Saxon nun and playwright, in a performance of one of\nher pieces, \" Paphnutius, \" given by the \" Pioneers \"at the Savoy Theatre\nunder the management of Miss Edith Craig.\n£? Hrotswitha, who was born in 935 and died about the year 973, was a\nnun in the Benedictine convent at Gandersheim.\nThe piece recently performed was translated into English by Miss\nChristopher St. John, who, in her Preface, gives us in Hrotswitha's own\nwords her object in writing her plays; which was, not fame or money,\nbut \" To make the small talent given me by Heaven create under the\n\" hammer of devotion, a faint sound to the praise of God. \"\nOf this intention and its outcome M. Anatole Prance has charmingly\nwritten in the following essay.\nhave already made the avowal; I love marionettes,\nand those of M. Signoret especially please me. They\nare artists who shape them ; they are poets who\nshow them. They have a naieve grace, a divine\nawkwardness of statues which consent to take the\npart of dolls, and one is ravished at the sight of\nthese little idols acting a play. Then consider that\nthey were made for that which they do, that their nature is in confor-\nmity with their destiny, that they are perfect without effort.\nI saw this evening, upon a large stage, a lady of great talent and\nabsolute respectability who, dressed as a queen and reciting verses,\nwanted to pass herself off for the sister of Helen and of the celestial\nTwins. But she had a flat nose, and 1 was aware immediately by this\nsign that she was not the daughter of Leda. For that reason she acted\nand spoke in vain ; I did not believe her. All my pleasure was spoiled.\n\n(I) This essay appears through the courtery oi Mr John Lane, who is publishing a complete English edition of\nthe works of M. Anatoie France, and has kindly allowed us to make the above translation from 14 La Vie\nLitteraire. \""}, {"page_pdf": 35, "page_imprimee": "307", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.35", "debut_caractere": 26, "fin_caractere_exclue": 2378, "texte": "& With the marionettes one never has to fear a similar uneasiness. They\nare shaped in the likeness of the daughters of imagination. And they\npossess a thousand other qualities so subtle that I couid not express\nthem, but which I savour with delight.\nNow, what lam going to say is a little unintelligible; 1 shall say it\nall the same because it responds to a true sensation.\nThese marionettes resemble Egyptian hieroglyphs, that is to say,\nsomething mysterious and pure, and when they perform a drama of\nShakespeare or Aristophanes I seem to behold the poet's thought unfold\nitself upon the walls of a temple. In short, 1 venerate their divine in-\nnocence and I am very sure that, if old Eschylus, who was very much\nof a mystic, should return to earth and visit France on the occasion of\nour universal Exhibition, he would have his tragedies performed by the\ncompany of M. Signoret.\nJZ? I had it at heart to say these things because I believe, without flat-\ntering myself, that another would not say them, and 1 strongly suspect\nthat my folly Is unique. The marionettes respond exactly to the idea\nwhich 1 formulate for myself of the theatre, and I confess that this idea\nIs peculiar. I should wish that a dramatic performance should recall in\nsome way, so as to remain truly a play, the boxes of Nurembourg, the\nNoah's arks, and the pictures on clocks. But I would also wish that these\nnaieve images were symbols, that a magic should animate these simple\nforms, and that they were, in fact, enchanted This taste\nseems bizarre; however, it must be considered that Shakespeare and\nSophocles satisfy It well enough.\nThe Marionettes have recently (i) given us a comedy which was written\nat the time of the emperor Otho, in a convent in Saxony, at Gandersheim,\nby a young nun named Hrotswitha, which means the 'White Rose', or\nrather the 'Clear Voice', for the scholars are in doubt, and old Saxon is\nnot very easily read, which is a great grief to me.\nAt that period the face of Europe was hazy and hairy. Things were\nsombre, souls uncouth. The men, dressed in shirts of mail and with their\nheads covered with pointed helmets, which gave them the air of great\n\n(I) At the time when this essay was written, more than twenty years ago. Two other essays by M. Anatoie\nPrance on these marionettes and the piays of Hrotswitha appeared in The Mask, October 1?12."}, {"page_pdf": 36, "page_imprimee": "308", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.36", "debut_caractere": 26, "fin_caractere_exclue": 2284, "texte": "pikes, all went to war, and throughout Christendom it was nothing but\nblows of lance and sword.\nMen built very gloomy churches, decorated with frightful and touch*\ning figures such as little children make when they try to represent men\nand animals.\nThe old stone cutters of the time of the emperor Oiho and of king\nLouis d'Outre=mer had, like children, all the surprises and all the Joys\nof ignorance. At the capitals of the columns they set angels whose hands\nwere bigger than their bodies, because it Is very difficult to get five\nfingers into a small space, and these hands were none the less marvel*\nlous. So they had reason to be satisfied, these good image makers,\nin contemplating their work, which resembled nothing and suggested\neverything.\n■£? Ihe great birds, the dragons, and the little monstrous men of the\nRoman sculpture, these were, with the fierce illuminations full of de=\nvilries, and some manuscripts, all that Hrotswitha could know of the\nbeauty- of the arts. But she read Terence and Virgil in her cell, and she\nhau a gentle, cneerful and pure soul. She composed poems which a little\nrecall those angels whose hands were larger than their bodies, but which\ntouch us by 1 know not what of candour, innocence and happiness.\n& It was, for these women shut up in a convent, a great amusement to\nacts plays. The dramatic representations were frequent in the convents\nof noble and lettered maidens. No scenery or costumes : only false beards\nto represent men. Hrotswitha composed some plays which she doubtless\nacted with her sisters ; and these pieces, written in a rather scanty and\naffected Latin, pretty enough, are quite the most charming curiosities\nwith which a spirit responsive to the breaths, the perfumes, the shadows\nof the past, can amuse itself.\n'he was \" «ood creature, was Hrotswitha; attached to her state,\nconceiving nothing more beautiful than the religious life, she had no\nother object, in writing plays, than to sing the praises of chastity. But\nshe did not Ignore any of the perils which her favourite virtue ran in\nworld, and her theatre shows us the purity of the virgins exposed\nto all attacks. The pious legends which served her as subject supplied\nmaterial in this respect. One knows what assaults the Agneses, the"}, {"page_pdf": 37, "page_imprimee": "309", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.37", "debut_caractere": 14, "fin_caractere_exclue": 2382, "texte": "Barbaras, the Catherines and all those brides of Jesus Christ who put\non, over the white robe of virginity, the .red robe of martyrdom, had\nto sustain.\n■£? The pious Hrotswitha did not fear to disclose the furies of sensual\nmen. She jested about them at times with charming \"gaucherie. She\nshows us, for instance, the pagan Dulcitius ready to throw himself like\na devouring lion upon three virgins with whom he is without distinction,\nin love. By good fortune he dashes into a kitchen, believing that he is\nentering the room where they are shut up. His senses deceive him, and,\nin his folly, it is the plates and dishes that he covers with caresses. One\nof the young girls observes him through the chink of the door and\ndescribes to her companions the scene of which she is witness.\n£? **Sometimes \", says she, \" he tenderly presses the saucepans to his\n\" bosom, sometimes he embraces kettles and frying-pans and gives them\n\" amourous kisses... already his face, his hands, his clothes are so soiled\n\" and blackened that he looks just like an Ethiopian. \"\nThis is without doubt a picture of the passions which the nuns of\nGandersheim could contemplate without danger. But sometimes Hrotswitha\ngives a more tragic aspect to desire. Her drama of \" Callimaque \" is full,\nin its gothic dryness, of the troubles of a love stronger than death.\nThe hero of the tragedy, Callimaque, is violently in love with Drusiana,\nthe most beautiful and the most virtuous of the ladies of Ephesus.\nDrusiana is a Christian: ready to succumb, she asks Christ to save her,\nand God grants her petition in causing her to die. Callimaque only learns\nthe death of her whom he loves after she has been buried. He goes at\nnight to the cemetary; he opens the coffin, he removes the shroud.\nSays he: \" How sincerely 1 loved thee! And thou, thou hast always\nrepulsed me! always hast thou gainsaid my vows. \" Then, snatching the\ndead woman from her resting place, he presses her in his arms uttering\na horrible cry of triumph : \" Now she is in my power! \"\nCallimaque afterwards becomes a great saint and loves no one but God.\nHe had none the less given to the virgins of Gandersheim a terrifying\nexample of the delirium of the senses and the troubles of the soul.\nThe nuns of the time of Otho the Great certainly did not put their\npurity under the guardianship of Ignorance : two of the pious plays of"}, {"page_pdf": 38, "page_imprimee": "310", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.38", "debut_caractere": 14, "fin_caractere_exclue": 2267, "texte": "their sister Hrotswitha transported them in imagination into the haunts\nof vice. I refer to \" Panuphtius \" and to that \" Abraham \" of which the\nmarionettes of the rue Vivienne have given us two performances. One\nsees, in both of these dramas drawn from eastern hagiology, a holy man\nwho does not fear to visit a courtesan for the purpose of recaiiing her\nto virtue.\nThis was usual enough among the good monks of Egypt and Syria,\nwho thus anticipated by several centuries the preachings of the blessed\nRobert d'Arbrissel. The ' Panuphtius' of the Saxon poetess is a good Copt\nof the name of Paphnuti, whom M. Amelineau, to whom we shall turn\nour attention presently, (i) knows intimately. As for Saint Abraham, he\nis an anchorite of Syria whose life has been written In Syrian by Saint\nEphrem.\n& Being old, he lived alone in a little hut, when his brother died,\nleaving one daughter of great beauty, named Mary. Abraham, assured\nthat the life that he led would be excellent for his niece, had a cell built\nfor her next to his own, from which he instructed her through a little\nwindow which he had opened up.\njgz? He was careful that she should fast, watch, and sing psalms. But a\nmonk, believed to be a false monk, having approached Mary while the\nholy man Abraham was meditating on the holy scriptures, led the young\ngirl into sin, and she then said to herself: \" It is better, since I am dead\n\" to God, that I should go into a country where 1 am known to no one.\"\nAnd, leaving her ceil, she went to a neighbouring town which is believed\nto be Edessa, where there were delightful gardens and cool fountains,\nand which is still today the most agreable of Syrian towns.\njg? Meantime the holy man Abraham was plunged in profound meditation.\nHis niece had already been gone several days when, opening his little\nwindow, he asked, ** Mary, why dost thou no longer chant the psalms\nwhich thou chantest so well?\" And, not receiving any answer, be\nsuspected the truth and cried, 44 A cruel wolf has carried off my sheep.\"\njg? He dwelt in affliction for two years; after that, he learned that his\nniece was leading an evil life.\nActing with prudence, he begged one of his friends to go to the town\n\n(1) An essay oa this subject is included in \" La Vie Litteraire"}, {"page_pdf": 39, "page_imprimee": "311", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.39", "debut_caractere": 14, "fin_caractere_exclue": 2296, "texte": "to find out exactly how things were. The report of this friend was that,\nin fact, Mary was leading a very wicked life.\n■£? At this news the holy man prayed his friend to lend him a cavalier's\ncostume and to bring him a horse; and, having put on his head, so that\nhe shouid not be recognised, a great hat which covered his face, he\nrepaired to the hostelry where he knew his niece was lodged.\nHe cast his eyes on all sides to see whether he could see her; but,\nas she did not appear, he said to the Inn-keeper with a feigned smile:\n45 Master, they say that you have here a pretty girl. Could I not see her ? \"\nThe Inn-keeper, who was obliging, had her called, and Mary presented\nherself in a costume which, according to saint Ephrem's own expression,\nsufficed to reveal her conduct. The man of God was pierced with sorrow\nby it. He affected gaiety, however, and ordered a good meal.\nMary was, on this day, in a gloomy mood, and the sight of this old\nman, whom she did not recognise,... for he had not taken off his hat,...\ndid not at all dispose her to gaiety.\nThe inn-keeper cried shame on her for such a bad attitude, and one\nso contrary to the duties of her profession, but she said with a sigh,\n44 Would that it had pleased God that I had died three years ago! \"\n»\nThe holy man Abraham endeavoured to adopt the speech of a cavalier\nas he had taken the costume.\n& \" My girl, said he, I come here not to weep thy sins but to partake\nof thy love. \" But, when the inn-keeper had left him alone with Mary,\n*\nhe ceased to pretend, and, taking off his hat, said weeping. 44 My daughter\n/\n44 Mary, do you not recognise me? Am I not Abraham who have taken\n44 a father's place to you ? \"\nHe took her hand and exhorted her all night long to repentance and\npenance. Fearing above all to drive her to despair, he repeated to her\nall the time 44 My daughter, only God Is impeccable. \"\nMary had by nature a gentle soul. She consented to return to him.\nShe wanted to take her dresses and jewels with her. But Abraham made\nher understand that it was more becoming to leave them behind. He made\nher mount his horse and led her back to the cells where they both\nresumed their past life. Only the holy man took care this time that\nMary's room should not communicate with the outer world and that one"}, {"page_pdf": 40, "page_imprimee": "312", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.40", "debut_caractere": 28, "fin_caractere_exclue": 983, "texte": "could not go out without passing through the room which he himself\ninhabited; by which means, through the grace of Qod, he kept his sheep.\nThe judicious Tillemont not only relates these facts in his history,\nbut establishes its chronology with exactitude. Mary sinned with the\nfalse monk and bound herself in a brothel at Edessa in the year 358.\nShe was led back to her cell in the year 360, and she died there in\nsaintly fashion after a life full of merit in 370. These are precise dates.\nThe Greeks celebrate on October 29th the festival of Saint Mary the\nHermit. This feast is marked in the Roman martyrology .for the 16th\nof March.\nOn this subject the White Rose of Gandersheim, with the object of\nshowing the final triumph of chastity, has written a pla> full at the\nsame time of naievity and audacity, of barbarity and of subtlety, and\nwhich could only be aced by the Saxon nuns of the time of Otho the\nGreat and the marionettes of the rue Vivienne."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c020", "article_bluemountain": "bmtnaau_1914-04_01#c020", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "313", "page_fin": "320", "image_debut": 41, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.2.10", "titre_corps": "GORDON CRAIG AND THE THEATRE OF THE FUTURE", "titre_sommaire": "GORDON CRAIG AND THE THEATRE OF THE FUTURE", "signature_source": "John Cournos", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "313", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 2021, "texte": "GORDON CRAIG AND THE THEATRE OF\nTHE FUTURE\nby John Cournos.\n(i)\nur complex world has lost its power to comprehend\nsimple things. Therein lies the refined subtlety of\nits punishment.\nOne of the saner reactions of the times is the\ntendency of the newer arts to see beauty as\nevoked by the unspoiled vision of a child. In\npainting, the inclination is toward a powerful sim-\nplicity which shall express itself through purity\nof colour and purity of line, and the elimination of all extraneous factors\nthat interfere with the most Intense expression of the central idea. The\nage of faith has returned for the arts, and with it a larger desire in the\nartist to revvaken emotional serenity and joyousness in man, the two\nthings denied him in an age of unrest, which finds its artistic expression\nin Realism.\nThe theatre has suffered most from the depredations of naturalistic\nart. The very character of theatrical art has rendered it susceptible of\nnearly ail the unhealthy forces operating singly in the other arts. It has\nbecome the most impure, the most complex, of all creative forms. A\nconglomeration of other arts, It has lost its own soul.\n<£? Gordon Craig, the leading theorist in the theatre to-day, starts at\nthis point to buiid his theory for the Theatre of the Future. The utter\nsimplicity of his idea is astonishing, a fact which does not render it any\nthe less difficult to explain to the man who waits for an explanation on\none foot.\nDrama must become dramatic again\n4P»\nTphis is the chief burden of Mr Craig's message; and he looks upon his\nschool at Florence as the veriest beginning of a dramatic renaissance.\nThis revolutionary has set himself the task of disentangling the dra-\nmatic art from the other arts with which it has become Involved through\n\n(1) This article first appeared in \" Poetry and Drama September 1913. As it seemed, however, to have a\nspecial relationship with \" The Mask \" it is reprinted here through the kindness of Mr Cournos and the\ncourtesy of the Editor of \" Poetry and Dratra J. S."}, {"page_pdf": 42, "page_imprimee": "314", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.42", "debut_caractere": 30, "fin_caractere_exclue": 2393, "texte": "the centuries, and of Its restoration to the purity of its native essence,\nwhich Is Movement. He sees the modern theatre as a tawdry woman\nstrutting the boards, over-apparelled with garments presented by various\nadmirers, who admire her for their own good. He wishes to rescue her\nfrom the hands of the literary man, from the hands of the studio painter,\nfrom the hands of the social and political reformer, and, finally, from\nthe hands of the commercial manager.\nMr Craig sees the need of restoring the theatre to its rightful heritage.\nThe function of the theatre, as he comprehends it, is not to present the\nsuperficial semblances of life, but the soul of life; not Naturalism, but\nsuggestion; not representation, but interpretation; not dialogue, but\naction ; not scenery, but atmosphere ; not ideas, but visions.\nThere has been too much pamphleteering in the theatre, too much\n\" pottering and peddling of psychology. \"\nlt is a commentary upon the times that London should flock to a\nplay which had been decreed by the dramatic critics, though not in so\nmany words, as the finest... that is, the most realistic... domestic squabble\never put on the stage. Its saving feature M as a \" problem \" ; but, as far as\nmay be gathered, the only thing all were agreed upon was that never had a\npoor factory girl lost her virtue under more auspicious circumstances.\nThis Naturalism holds up ugliness as the very quintessence of life;\nand does it on the plea that it wants to improve life. Mr Craig replies\nthat the Naturalists have the subtle truth to learn, that exhibition\nof ugliness does not improve life, but reacts on it.\njgp Beauty, on the other hand, begets beauty,\n& \" The duty of the Theatre, \" exclaims Mr Craig, in one of his mani-\nfestoes, \" is to awaken more calmness and more wisdom by the inspira-\ntion exhaling from its beauty. Photographic and Phonographic Realism\ninjure the minds of the people. They thrust upon them a grotesque and\ninaccurate representation of the outward and visible life, with the divine\nessence,., the spirit... the beauty of life left out. \"\nAgain he sees in 44this false-witnessing Realism\" a \" traitor of the\nImagination \", that Imagination which Renan justly pronounced to be the\n\" great consoler of life The most precious of gifts, whose sufferings\nare delectable, which Is the foundation of the soul's health, the essential"}, {"page_pdf": 43, "page_imprimee": "315", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.43", "debut_caractere": 30, "fin_caractere_exclue": 2302, "texte": "condition of gaiety, and which enables us to enjoy the madness of the\nmad and the wisdom of the wise. \"\nA work of art should be judged primarily by the quality of imagination\nit stirs in us, and by the sheer power it has to exalt us. But this small\nrealism leaves nothing to the imagination. Mr Craig shows his respect\nfor the playgoer by attributing to him the possession of the Imaginative\nfaculty, a faculty too often suppressed or crushed by the realistic theatre.\nHe is in accord with the average theatrical manager's desire to produce\n\" what the public wants, \" only he believes that the public wants, and\ncan be trained to want, something better than is offered it.\nHaving lost our digestion, we are offered pre=digested foods. Having\nlost our imagination, we are offered Naturalism.\nNaturalism can represent beautifully a drawing=room, or a ladies'\nboudoir. It cannot even show a realistic street, because of the actual area\nlimitations of the stage; nor a realistic moon, because there is only one\nmoon, and that, thank Qod, is well out of the managers' reach ; much less\nthe top of a mountain, a storm at sea, the vastness of space, the magnitude\nof nature.\nYet ail these could be suggested. There is no alternative to suggestion.\nJZ? Where Naturalism stops, there the real art of the stage begins... an\nart not bound by limitations, on a stage not encompassed by three walls\nand a roof, and permitting an outlook upon life and all the urging and\nrestraining forces behind life.\nMan is small, the forces arrayed against him are various and large.\nMan is finite, Nature is infinite. Man strives towards one goal, the Fates\nlash him on towards another. Yet how heroic is man's striving; how\nmagnificent he looks against that background of sombre, palpitating\nshadows, or against the freedom of the sky on a high mountain=top 1\nNot only is man in action, but the elements arrayed with him or against\nhim are also charged with the same active spirit, and so the air is filled\nwith a portentous something; it is an atmosphere suggesting perhaps a\ncoming clash, an impending catastrophe, and creating a mood of moving\ntragedy... and all in all a fit setting for a drama.\n& There are critics who object to this ♦' dwarfing of the actor. \" They\nwould dwarf life instead."}, {"page_pdf": 44, "page_imprimee": "316", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.44", "debut_caractere": 34, "fin_caractere_exclue": 2267, "texte": "Comedy, again, should have its relative setting, as s.mple and as\nforceful in its way as tragedy. There are symbols in joyous lighting, and\nthe creation of an atmosphere of gaiety Is possible to the artist in\nsuggestion.\nTo help to create this setting or atmosphere, this spirit of concentrated\nreality in a world of emotion, this sense of space In small areas, Mr Craig\nhas invented his simple devices. Par from being an end in themselves,\nthey are Intended merely as a means for intensifying action and fortifying\nvision.\nvlslon, indeed, Mr Craig regards as a neglected sense, atrophied by\nnon-nse. He looks upon the eye las a great instrument for absorbing\ndramatic emotion... since true vision does not end with the retina, but\nsinks deep into one's inner consciousness. The eye is not less than the\near. The marriage of sight and hearing is the perfect union necessary for\nreceiving complete dramatic impression.\nMany people, having looked with admiration upon Mr Craig's designs,\nhave gone away under the misapprehension that he wished to introduce\noaintino-s into the theatre. It is unfortunate that a man's own work\nshould thus recoil upon him, and confuse minds as to his intentions,\nessentially so different. The absence of a permanent theatre, where he\nmight experiment and give concrete form to new ideas, has impelled him\nhitherto to seek another outlet for their expression, despite the limitation\nof that outlet or medium. Had he had such a place earlier, it is probable\nthese designs would never have been seen by the public. They might\nhave taken the form of actual productions.\nVTow that Mr Craig's school at Florence is an assured fact, we can look\nforward to some practical realisation of the theories he has advanced\nso persistently. The school has started out quite properly by issuing a\nmanifesto of its principles, and a history of Mr Craig's endeavours to\nfound the institution. The pamphlet bears the suggestive title of A Living\nTheatre, (i) While it contains nothing that is not known to us, being in\nfact largely a reprint of articles that have appeared in The Mask and\nelsewhere, it is nevertheless a welcome evidence that the institution is\n\n(1) Obtainable from The Publishers, Arena Goldoni, Florence."}, {"page_pdf": 45, "page_imprimee": "317", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.45", "debut_caractere": 30, "fin_caractere_exclue": 2217, "texte": "at last in readiness to undertake the preparatory work of the Theatre\nof the Future.\n& The founder himself considers the school the actual beginning of his\nwork. Having mentally disposed of the modern theatre, he will start\nfrom the very ground. All that we have known so far is that experiments\nwould be conducted In Light, Sound, and Movement... the three elements\nof the theatre ; first separately, then in relation to one another; that\nthere would be some kind of effort to achieve unity, which is the one\nunalterable law in the drama.\nMany months ago, long before there was an inkling of the near\nrealisation of the school project, Mr Craig, in response to my questioning,\nkindly consented to give an outline of the methods he would employ in\nhis school. 1 shall submit here the sum of his answers. It will be seen\nfrom these that his methods are not only ingenious, but are even more\nInteresting for the sane suggestion they contain for the foundation of\nthe New Theatre. It was even then apparent from the voluminous f01i0...\nfull of facts, plans, and figures... which he brought to his assistance, that he\nhad left nothing outside his calculation. And one cannot fail to note how\ncuriously his mind works, how strangely the practical in him blends with\nthe ideal, how significantly he animates all material things with symbols.\n'jrhe school will study the Past and Present and the speculative Future.\nStudy of the Past will involve the Oxford and Cambridge methods.\nThis will be dry evening work.\nStudy of the Present will be thoroughly practical, productive. It will\nconvert small and immediate knowledge into quick returns. This class\nwill pursue its studies during midday.\nThe Future will be early morning work. Dawn is the exciting time,\nfull of symbolic significance. (Mr Craig recalls probably his Florentine\nnights in which he sat up far into the dawn, creating some of his finest\ndrawings.)\nIf it is only a dry school, he remarked, it will be ruined in a short\ntime, if a merely productive, it will be a vulgar school. If only making\nexperiments for. the future, a mad school. To make the school practical,\nIt will be all three... dry, vulgar, and mad... joined together."}, {"page_pdf": 46, "page_imprimee": "318", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.46", "debut_caractere": 30, "fin_caractere_exclue": 2338, "texte": ".g? There will be lectures on sound, movement, voice, light, history,\ntheory. These will be often illustrated by the kinematograph and other\npractical means.\nOne of the most important studies will be that of movement in nature.,,\nthe movements of trees, wind, water, the flight of birds, the glide of\nfish, snakes, the movement of the human figure.\nComparisons will be made, with the object of discovering any vital\nresemblance between the various movements and of establishing a\nuniversal principle. It is probable that the virtues of the elements are\nthe purer movements of nature working in harmony; that what we call\nspiritual runs through all nature.\nit may be ultimately discovered that the height of the human move-\nment is a square movement, or it may be a round movement, or it may\nbe a combination of the two. An effort will be made to find what is at\nthe root of all movements, and what are the primary forms of movement.\nAll these movements from nature wili be taken to the table, dissected,\ntested thoroughly. Nature's secrets will be wrested from her. Only in\nthis way is it possible to get at the structure and internals of art. The\nexternals of art are so attractive that it is easy to be deceived as to\ntheir actual value.\nAn attempt will be made to find a new road. The important thing is\nnot to be a pupil of Rembrandt or Hokusai, but of the thing which gave\nbirth to both men, a pupil of the thing they groped for. One must go\ndirect to nature. The danger is in departing from nature. Artists are fine\nwhere they resemble each other. The finest of Rembrandt's etched lines,\nwithout ornamentation, will resemble a line by Hokusai. Two straight,\nstructural lines forming the sail of a mill, as drawn by Rembrandt, will\nin no wise differ, when least adorned, from those drawn by an Indian or\nby a Japanese. These two fine, sharp lines are chronicles of fact. They\ngive the form. And form is valuable because it is an abiding thing, while\nlight and colour are fleeting. Form keeps a -thing clear and orderly.\nTherefore, the geometry of nature which creates form will be studied.\nWithout form there can be no life. All else is artifice. Ballet-dancing...\nthe best of it... is artifice. The goosestep of a German soldier is\nartificial; the ordinary walking of troops is natural and magnificent."}, {"page_pdf": 47, "page_imprimee": "319", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.47", "debut_caractere": 24, "fin_caractere_exclue": 2197, "texte": "The high walking of horses is unnatural; a decently bred horse walks\nnaturally.\n& The movements of man, horse, and tree have something in common,\nand it is that which should be captured. It is that which has the soul. It\nIs something that unites all creation. It is something familiar, and if one\nentered another life... that of worm, bird, or mammal... it should not\ndepart from him. If man went through all animal creation he would find\nalways that peculiar rhythm... suggesting perhaps the victorious; love\nconquering death ; the power to conquer, etc. The artist, in this sense,\nIs a philosopher, a metaphysician arriving at his end by rapid calculation,\nsteering clear of all complexity.\n£? In that section of the school given to the Present, the European\ndrama of to=day in its best aspects will be studied, with the object of\nimmediate betterment. Productions will be given. These will not represent\nthe last word. Plays like Sumurun will be tried. No masks will be used\nin the Section of the Present.\nThe mask will be studied in the Past Section, but actual experiments\nwith masks will be made in the Future Section. Everything will be kept\nsensibly in its place. The mask would be out of place in the modern\ntheatre. It has to do with the future. The mask in the Greek Theatre\nhas to do with the past. Everything outside the Present Section will be\nexperiment... mostly fragmentary. If a production shall be given It will\nrepresent good, solid workmanship, not a compromise. Walk every day,\nuntil you have 'learnt how to fly. The Practical Section of to=day will\ninclude patents and invention.\nA Museum will be connected with the school. This will contain chiefly\ntheatrical devices of the past.\njSf There will be a department of the Dance.\n& The students will apply themselves, like archaeologists, to study all\nthat is known and much that is not known. They will study the East\nand the West; the religious and the comic; the folk, the aristocratic\nand the democratic; the sacred and the profane... the profane at its\nhighest.\nThey will study all the typjcal theatres known and make models of\nthem. These will include the Cretan, Greek, Roman, Italian, Religious,"}, {"page_pdf": 48, "page_imprimee": "320", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.48", "debut_caractere": 30, "fin_caractere_exclue": 1559, "texte": "Shakespearean, and modern-stages. A record will be kept of all tests, and\nthe soundest theories used.\nThere will be no \" lingering so lovingly \" over the past that the\nschool shall grow absorbed in it and become a weak imitation. On the\ncontrary, everything shall be done to .avoid the influence of the past. The\ncontinuous study of nature will prevent that.\n*\nTphese notes, jotted down in conversation, make one thing clear. Mr\nGordon Craig does not believe that the Theatre of the Future can be\nproduced by the magician's wand, suddenly, out of a hat. fie regards it,\nas he regards all art, as a product of slow growth ; and the artist's\nmethods as resembling those of Nature itself. If the theatre is to be\nestablished as a strong and permanent institution, it must begin from\nthe very beginning and rise to eminence only by slow and progressive\nmethods. He logically looks upon his school as that essentiai beginning, as\nyet hardly larger than a healthy germ, but equally susceptible of healthy\nand important development.\nNone more than Mr Craig realises that it Is not for one man, nor yet\nfor several men, to carry on the work of the theatre's restoration. He\nbelieves, however, that he has rediscovered an old truth, an eternal truth,\nand that any deviation from this truth is bound to be as disastrous for\nlife as for art. For him the Theatre of the Future has its roots, not in\nthe present, but in the deep past; this only as far as it affects the soul\nof the art; externally, it will, of necessity, belong to Modernity."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c023", "article_bluemountain": "bmtnaau_1914-04_01#c023", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "321", "page_fin": "327", "image_debut": 49, "image_fin": 55, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.2.11", "titre_corps": "THE \"TEATRO ALLA MODA\" : Some Notes", "titre_sommaire": "THE \"TEATRO ALLA MODA\" : Some Notes", "signature_source": "Pierre Ramés", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "321", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 1904, "texte": "THE \"TEATRO ALLA MODA\": Some\nNotes\nby Pierre Ramés.\no creature smarts so little as a fool \"! That was\none of Pope's sayings; and so little do the men\nand women of the stage seem to smart under\nthe continual criticisms and satires levelled at\nthem that it is really almost equivalent to a self\ncondemnation and to placing themselves in the\nvery category they would wish to shun. In short,\nby their stolidity, they give themselves away.\nFor age after age have their follies, their vanities, their weaknesses\nbeen held up to ridicule, sometimes sharply, sometimes good-humouredly ;\nand yet they continue blandly to pat themselves and each other on the\nback and think what fine fellows they are, instead of setting heart and\nsoul to the work of reform.\nFor centuries they have been advised and warned, laughed at and\nparodied and twitted by men of their own profession or world, such as\nGherardi and Riccoboni, as well as by those who only looked on them\nfrom the spectator's point of view.\nGoethe, who loved the theatre, is yet found writing of the actors,\n\" In their lives they are either rakes or simpletons.... Ever greedy,\n\" ever confiding, they seem as if their greatest fear were reason and\n\" good taste, their highest care were to secure the majesty of their\n\" self-will: \" while Carlo Gozzi, who lived among them, and worked with\nthem, declared, \"It may be laid down as an axiom, to be accepted\n\" with closed eyes, that the chief Idol of all actors is their venal\n\" interest.\" (i)\nGilbert a Becket chaffed them good-naturedly.... their absurdities and\nchildishness, in his \" Stage Characters \" (2); Jerome K. Jerome, in our\nown day, did much the same In \" On the Stage and Off \". Eleonora Duse,\none of their own family, declared, after a lifetime of experience, that\n«« To save the Theatre the Theatre must be destroyed. The actors and\n\n(1) The Mask. Vol: 111 page 173.\n(2) The Mask. Vols: II & 111."}, {"page_pdf": 50, "page_imprimee": "322", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.50", "debut_caractere": 28, "fin_caractere_exclue": 2330, "texte": "actresses must all die of the plague \"; because, 44 They poison the air,\nthey make art impossible (i)\n& But all these dicta of the wise or the witty, the satirist or the sage,\nnever seem to stir them seriously to think, to question what it is in\nthemselves which gives rise to so much criticism and censure in their\nbest friends as well as in those they might assume to be other than\ntheir friends. No Consideration seems, like an angel, to come \" to whip\nthe offending Adam \" out of them and bring them to a better mind.\nAnd now here comes one more voice from the dead, from the Venice\nof two hundred years ago, raised against the follies of the theatre of\nthat day, and proving, unfortunately, to be still grievously applicable in\nthis present year of grace.\nThe voice comes to us through a little quaint, almost forgotten book\ncalled 44 II Teatro alia Moda \" and is that of Benedetto Marcello, a Venetian\nnoble and celebrated musician, who was born at Vfenice in 1686, being\ns .\nthus one year junior to Handal and Bach.\n& Musician and poet that he was, of course he was enamoured of the\ntheatre, as who was not in that eighteenth century Venice where Goldoni\nand Carlo Gozzi were fighting the last battle between the old Commedia\ndell'Arte and its adversary, the realistic literary play: where everyone\nwas associated in some way with the theatre, and where, as Philippe\nMonnier says, the horizon of the people 44 seemed to be bounded by\nfoot lights, stage scenery, and a prompter's box. \" (2) And, of course,\nloving the theatre, and, as an artist and patrician, hating mediocrity,\nwhat could he do but criticise it, condemn all that was mediocre, weak,\nfoolish, in the object of his love ? So, when he was about forty years old,\nhe published this little book, a keen satire, in which he makes fun of\neveryone and everything in the theatre, while pretending, in a serious\nand businesslike manner, to teach the poets, managers, singers, musicians,\ncostumiers and ail the rest of the motley crew how to please their\naudience and one another and win success.\nIn the gravest tone he recommends all kinds of follies and absurdities\nand extravagances, seriously treats of all the whims, the vanities, the\n\n(1) Recorded by Artbhr Symons \" Studies iu Seven Arts. \" Constable.\n(2) Tbe Mask. Vol; HI page 101."}, {"page_pdf": 51, "page_imprimee": "323", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.51", "debut_caractere": 28, "fin_caractere_exclue": 2377, "texte": "pretensions of the various parties, and the complications which naturally\narise, and which put the impresarios of those days to their wits'ends just\nas they do today. As Vernon Lee has written, (2) \" There is a perpetual\n44 struggle in this grand world of the \" Teatro alia Moda, \" a battle of\n44 conceit, avarice, imbecility, and servility, between the singers and the\ncomposer, the composer and the poet, the whole company and the\n\" manager;... and to each and all Marcello lays down the law, quietly\nteaches his part in the general scuffle, regulates and sistematises the\nt\n44 universal folly. \"\nMarcello passes them all in review,... the poets, composers, Impresarios;\nthe leading ladies and their 4 protectors', the costumiers, scene painters,\ndancers, supers, laying down rules for them all with mock gravity, and\nwith, at times, outbursts of the most extravagant nonsense, which, for\nail their extravagance, do not annul the solid truth which lies behind.\nIt is true he decks his arrows with innumerable tags of ribbon and\nfeathers, with quips and jests and laughter; but they are barbed, for\nall that, and shot direct at the follies, intrigues, and stupidities he has\nin view.\nSome of those figures of the 44 Teatro alia Moda \" have, it is true,\npassed away with the age and conditions which gave them birth. The poet\nof today has, for instance, little in common with the shabby sychophant,\npatching together his plays from all kinds of sources, entering into\nleague with cook and valet to share the fees he shall obtain through\ntheir good will for flattering his patron, and writing long dedicatory\nepistles to that same patron in which he shows his profound respect by\n44 kissing the jumps of the fleas of the feet of the dogs of his Excellency \".\nBut when it comes to the \"Impresario\", and we are told that 44 the modern\n44 Impresario ought not to possess any knowledge of matters pertaining to\n44 the theatre, not in any way understanding music, poetry, painting,\"...\nwhy, there we are 1 it might have been written yesterday of certain\nwell-known managers who 44 produce a play \" only by paying a large staff\nof artists and craftsmen to produce it in their name.\n& And then we are let into certain secrets of the succesful Impresario,\nwhich are, perhaps, not altogether out of date even today !\n\n(I) the XVIII Century in Italy, page 105."}, {"page_pdf": 52, "page_imprimee": "324", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.52", "debut_caractere": 28, "fin_caractere_exclue": 2363, "texte": "jg, a j||e greater part of the company \" we are told, 44 has to be made\n44 up of women ; and, if two artistes should dispute the leading part,\n\" the impresario will make the poet compose two equal parts, making\nit understood that the name of each character must be composed of\n44 the same number of syllables. \"... Is that so very unlike the perplexities\nof a certain foolhardy American impresario who lately undertook, though\nunsuccessfully, to manage a tour for three ladies, all in their own\nestimation 44 stars \" of the first magnitude, who from the first day\nintrigued and quarrelled and sulked as to the relative size and position\nof their names on the play bills, the arrangements of their sleeping-cars,\nthe hours of their meals, the number of their encores, and every other\ndetail of the Expedition to such an extent, that a most reputable Ame-\nrican journal, (i) in referring to the break-up of this brief Triple Al-\nleance, declared that it seemed 44 to have been a Kilkenny cat-fight from\nstart to finish \" in spite of all the diplomacy and foresight the impre-\nsario could bring to bear.\nThe Impresario is also advised by old Marcello to choose his actresses\nas being less remarkable for virtue than for charm, so that they might\nthe more 44 abound in Protectors \", for 4Protectors' bring much good\nmoney into a theatre.\n£/ And then the 4prime donne' themselves, with their 44 retinues of\nparrots and lapdogs and monkeys and admirers \",... are they a vanished\nrace ? ....was the arrival of a certain music hall star In New York, not\nlong since, with a similar train, any less extravagant? ....was It not the\nvery repetition on, a larger scale of that which Marcello ridiculed two\ncenturies ago ?\nj0 And do not these delightful ladies still make everyone wait for them at\nrehearsals? do they not still 44 miss many rehearsals \", sending charming\nlittle excuses instead ? And do they not still exploit their own personalities,\nmaking it known to the public that they are 44 the Signora Qlandussa\nPelatuttl, and not the Empress Fllastrocca whom they are representing,\nalthough they behave like this majestic personage outside the theatre?''\nDo they not still have all kinds of subtle little ways of advertising\nthemselves, of keeping in the limelight, of wasting everyone's time, of\n\n(1) New York Dramatic Mirror Oct 29 1913."}, {"page_pdf": 53, "page_imprimee": "325", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.53", "debut_caractere": 28, "fin_caractere_exclue": 2403, "texte": "putting little hindrances in the way of the other actresses, of 44 weeping\n\" floods of tears (through virtuous envy) at the applause of any other\n\" person or bear or earthquake, etc\", whose success is equal to or\ngreater than, their own?\n£? Doubtless there are many actresses who are above all these little\ntricks and weaknesses, but what impresario who is concerned with the\nmanagement of these ladies, what intelligent reader of the daily and\nweekly theatrical journals, can deny that these conditions exist as widely\nin the twentieth century as ever they did in the eighteenth ?\nThen there is the virtuoso, the male actor, with his self=importance\nand his claims. These have increased rather than dimlnishedj and to\nsuch an extent that one of the more serious and distinguished figures\non the London stage today, Mr H. B. Irving, has declared, relative to\nthe social pretensions of the actor, that, while his profession Is no bar\nto his social enjoyments, \" these should always be a secondary consider\n14 ration, and something of a luxury to be sparingly indulged in. An\n44 actor should never let himself be beguiled into the belief that society,\n44 generally speaking, is seriously interested in what he does, or tiiat\n44 popularity in drawing=rooms denotes success in the theatre, it does\n44 nothing of the kind \". While, writing on this same subject, Mr Albert\nChevalier has said, 44 Of late years it has been the aim and object of\n44 certain actors to get into society. No criticism, however favourable,\n44 affords them more pleasure than paragraphs bracketing their names\n44 with leaders of fashion Once let society get the upper hand, and\n44 the actor develops into a snob of the most pronounced order .\nThese are the words of sane men, who respect their own profession\nand position too much to cheapen it by cheapening themselves in their\nefforts to enter a world which is not their own: but such men are un-\nfortunately rather the exception than the rule in the theatre world ; for\nthough the actor of today does not, it is true, crudely state that he\n44 kisses the jumps of the fleas of the feet of the dogs.of his Excellency \"\nhe sometimes comes very near the twentieth century equivalent of the\nfolly which Marcello thus extravagantly satirised.\nAnd it is a pity, for the actor is really too fine and capable a fellow\nto hold himself and his own world so cheap."}, {"page_pdf": 54, "page_imprimee": "326", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.54", "debut_caractere": 29, "fin_caractere_exclue": 2369, "texte": "But that is the harm from first to last. The Theatre holds itself too\ncheap. Or rather, those who claim to be its representatives hold it cheap.\nTheir attitude Is apologetic. They must borrow from everywhere,...\nfrom painters, musicians, literary men, before they believe they have\nanything good enough to give. They must prove what distinguished\npersons they are, not upon their own stages by.sincere and thorough\nwork, but at the dining table of his Grace the Duke of this or in the\nsalon of her Grace the Duchess of that.\nThey are truly interested in but one subject,... that is, in themselves.\nThey must tell us at all times and in all places,.,. In lecture halls, at\nbazaars, at all kinds of public gatherings, that they are 44 Sir Oracle \"\n...and 44 don't you be forgetting it. \"\nThey are past masters in the art of personal reclame. To this end they\nwrite books of 44 Memories \" and *' Experiences;\" they make speeches and\ngive interviews on ail occasions and on all topics, and smile benignly\non the fulsome paragraphs which announce their departure on some\nAmerican or continental tour as grandiloquently as if it were a matter of\ngrave International import instead of merely Mr So=and=so keeping his\neye firmly fixed upon his own main chance.\nJS? Their portraits, with those of their leading ladies, grace the pages\nof the illustrated papers above little facsimile notes recommending\nhair~washes, motor cars, cold=creams or flannel shirts. They adore\npublicity, though it be but the publicity of being present in a police\n4\ncourt at some 44 cause celebre,\" and, lest the public should follow Schiller's\nadvice and 44 twine no wreaths for the actor \" they take the best of\ncare to twine them in season and out of season for themselves.\nIn fact egoism looms large In the theatre. Its members are self=seeklng,\nand what they are seeking for themselves is something very small:... a\nlittle money, a little ease, a little fame. And while they follow these\nlittle things, men and women alike, they neglect a great opportunity;\nand when they have got them,... for they do get them, and out of all\nproportion to their deserving,... they are none the better but rather the\nworse, and the cause they should have helped to lift to the stars is\ndragged as ever In the dust.\nWhat they need is a Master in the Theatre,... a Master with an ideal"}, {"page_pdf": 55, "page_imprimee": "327", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.55", "debut_caractere": 29, "fin_caractere_exclue": 1041, "texte": "so great that it and he shall compel obedience; and then the small things\nshall be forgotten, and, under his rule, order shall take the place of\nwaste and anarchy, strength shall stand In the place of weakness, and\nlarge impersonal aims where selfishness was before; and the empty\noutworn shell of the Theatre shall be discarded with all its parasites,\nand the soul of the Theatre shall rise to a height from which 44 its\nimperishable beauty can be felt by the whole earth. \"\nThe little personalities have worked havoc with the Theatre. In\nthe great Personality, the great Master, will be its salvation; for:\n\" The man or woman who greatly and entirely loves the art of the\n\" Theatre, with a love In which no grain of selfishness lingers, but which\n44 is surrounded by circles of pride, such a one can heal the Theatre....\n\" can restore vitality to its poor and broken body and can then perform\n44 The Miracle with its soul. \" (i)\n\n(I) Gordon Craig. \" Letter to Madame Eleoaora Duse. \" The Mask. Vol. I. page 13."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c026", "article_bluemountain": "bmtnaau_1914-04_01#c026", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "328", "page_fin": "332", "image_debut": 56, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.2.12", "titre_corps": "\"IT'S ABOVE MY HEAD\" : A Note", "titre_sommaire": "\"IT'S ABOVE MY HEAD\" : A Note", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "328", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 2038, "texte": "\"IT'S ABOVE MY HEAD\". A Note\nby John Balance.\nhis is a phrase very popular with a large number\nof persons. They apply it to almost all things in\nheaven and earth which, rising above the level of\nmediocrity, require the exercise of some effort\nbefore they are comprehended, and, although the\nwords may sound like the utterance of modesty\nthey are really the expression of an impertinent\ndisparagement of that which the speakers do not\nvalue, and the flabby avoidance of any mental exertion when confronted\nby something they do not understand.\nCuriously enough, it would seem on enquiry that, for the most part,\nthe most stupendous things escape the blight of this phrase and the\nlesser things, .... the things which might be apprehended with some\nlittle effort.... do not; that very costly things escape, while that which\nis humble does not; that very aged things escape while that which is\nyoung does not.\n& Thus, in Nature, the Alps command the respect of sma!l°minded\npersons as well as great, but the flowers which grow upon the Alps do\nnot. So, again, they have not a word to say against the Hon or the\nelephant, recognising in them some force and greatness, but the humbler\nbeasts, the ox and the ass, they treat with very poor courtesy. Again,\nthey value the eagle on account of its age, its strength and the difficulty\nof procuring it, but they fail to see the value in the ordinary partridge\nor the other birds they kill for sport. The idea of preserving these or\nappreciating the wonder of these is 44 above their heads\n& Then again, these little gentlemen have nothing disrespectful to say\nconcerning the Sphinx, but a sniali Egyptian figure of the same period\nis 44 above their heads \". The fact of the first being in the desert and\nnot being my, or any other individual, property, added to its great size,\nimpresses them ; while the tiny and amazing figure standing upon my\nwriting table does not.\nis size, cost and age which make an impression upon the\nthick senses of these persons, though in the case of age it must usually"}, {"page_pdf": 57, "page_imprimee": "329", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.57", "debut_caractere": 21, "fin_caractere_exclue": 2060, "texte": "be merely a \" ripe old age \" and not too ancient. Thus St Peter's at\nRome commands their attention and respect while the Coliseum is \" above\nthem ' , and the frescoes by Michaelangelo are \" quite extraordinary \"\nwhile the paintings at Pompei are \" very clever \" but are \" above their\nheads \".\nThen, again, these gentlemen cannot tolerate anything of gravity or\ndelicacy unless It be allied with something that is almost threatening in\nits force. It Is for this reason that they let Alichaelangelo pass,... there\nis something queer about the look of his eye,... but Fra Angelico Is for\nthem a fool and Botticelli nothing but a bore, while as for Giotto,\nwell, ** Giotto may be very wonderful you know, but its above my\nhead \".\nIf literature be the topic the name of Caesar would somehow command\nrespect and Dante's might, but Theocritus would certainly not. Shakes-\npeare, being so well known by the majority, passes with most of them\nwhile Marlowe, his contemporary, does not. Beethoven they admit as\n\" a wonderful musician \" but Palestrina and Tenaglia they stigmatise as\n*' above their heads. \"\nj£> Now all these artists that I have mentioned are among the dead.\nTheir creative faculty can no longer be injured by the cold or warmth of\nthe reception given to their works. But when we come to the men of\ntoday or of the last few years, ...the modern masters of art and science,\nthe matter is very much more serious, the -harm done by this discreditable\nclass of critics very much more great.\nA moment's thought confirms thus.\n& There is hardly a master of the last fifty years in either of these two\nprovinces of art and science who has not been received with uplifted\neyebrows and with the blighting phrase which forms the subject of\nthis Note.\nThe list is a very long one, and the citation of a few of the names\nwill serve.\nand Orville Wright, Marconi and even Edison have been so disparaged, have\nhad to do their work in this supercilious atmosphere. True, these lazy\nthinkers have managed to understand something of Marconi and Edison"}, {"page_pdf": 58, "page_imprimee": "330", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.58", "debut_caractere": 22, "fin_caractere_exclue": 2143, "texte": "on account of the monetary value of the work of these men and the\npratical benefits which even the most lethargic have been able to derive\nfrom them ; but to Darwin, who did not put money In their pockets,\nour phrase may often be heard applied.\nComing then to the arts of yesterday we find that the following\nartists have been 44 above the heads \" of these gentlemen from the\nbeginning until now.\n& In music, Wagner, Tschaikowsky, Rachmaninov, Brahms, Debussy, and\neven Grieg. In painting and sculpture, Gauguin, Daumier, Whistler,\nRodin, Cezanne, Lautrec, Beardsley, Van Gogh and even people much\nmore easily understood, are 44 above the heads \" of these people.\n&In literature, Meredith, Swinburne, Browning, Rossetti, Whitman,\nNietzsche, Ibsen, Strindberg, Byornson. In the Theatre, ...but I will avoid\nthe topic; there everyone was 44 understood\nNow, what is it about the work of all these artists which calls forth\nthis phrase ?\nIt is simply this:... that there can be no half \"hearted opinion about\nthe work of these men. Whoever speaks about them at all must hold a\ndefinite opinion and must attempt to give logical reason for this opinion;\nthat is to say, must exercise intelligence, and this, as I have said, is\nexactly what these people will not do.\njg? They seem frightened to do it. They seem frightened to make a\nmistake. They seem to forget that it is no reproach to the 44 \"\nman that he be absolutely without an eye for painting or ear for music\nand that in his heart he should prefer the popular print to the scratch\nof Rembrandt's needle, and the songs of the Music Hall to all the works\nof fine art.\nhim have but the wit to say so and not feel the admission a\nproof of Inferiority and all will be well. It Is not as though we are\nconcerned here with the most finished scholar or the greatest gentleman\nin the land. We are concerned with the majority, with those who, by\nsome pressure of weight and numbers, influence those more critically\ninclined towards a false conclusion. These numberless gentlemen and\nladies who are continually talking about 44 Having to liveup to something\nwhich is above them. \""}, {"page_pdf": 59, "page_imprimee": "331", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.59", "debut_caractere": 16, "fin_caractere_exclue": 2343, "texte": "By means of this single phrase alone they create in the heart and\nhand of the critic a certain over°cautiousness which has paralysed the\nspirit of modern criticism. Criticism, certainly the best criticism has\nnow in its turn become 44 above the heads \" of journalists are the\nmouthpiece of this mob with whom we are concerned.\nNow let it be definitely stated that this feebleness is nowhere more\npervasive than in England, it is of no use to claim that this attitude\nbelongs to the ignorant only, and that the ignorant are not to be reckoned\nwith, for it is, unfortunately, just the ignorant who to be reckoned\nwith, since ignorance is the 44 one only evil \" from which all other evils\nare bred.\nAs 1 have said above, these ignorant people do not realise that there\nis such a thing as mental as well as physical athleticism ; that there is\nsuch a thing as a mental cold bath which braces the intellect just as\nthere is the actual cold bath which braces the body. These people have,\nvery rightly, the utmost horror of any man who is unathletic In body\nand who is fearful of the modern cold douche, and it is therefore\nall the more extraordinary, it is, in fact, almost incredible, that they\ncannot see that it is very desirable that men should have exercise for\nintelligence; that nothing, however intellectual and exalted, shall be\nspoken of as being 44 above their heads, \" out of their reach, for that is\nan admission of mental cowardice and inertia; it is the equivalent of\nsaying, 44 1 was afraid ; he looked much stronger than 1. \"\nIf these people would only remember that the mere fact of being\nstronger or weaker is of no account. It is the desire to become stronger\nwhich counts, for In this Is the guarantee of future strength. Desire\nimplies effort, and this effort will involve the use of all the faculties,\nand, consequently, their development. There is another sense than\nDryden's in which 44 the wise for cure on exercise depend, \" and the\ncure for the mental inertia which finds expression in the phrase 44 its\nabove my head \" is in a keen and patient effort to rise mentally to a\nhigher plane.\nwhen such effort becomes the rule we shall no longer find the creative\npowers of our greatest artists and scientists being obstructed or weakened\nby the blighting reception now usually accorded to their work. We shall"}, {"page_pdf": 60, "page_imprimee": "332", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.60", "debut_caractere": 20, "fin_caractere_exclue": 284, "texte": "find them, on the contrary, prompted and Inspired to ever greater and\nloftier achievements by the eager pressure behind them of those who,\nalert, intelligent, impatient of all but perfection, generate an atmosphere\nof enthusiasm and exhileration around their work."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c029", "article_bluemountain": "bmtnaau_1914-04_01#c029", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "332", "page_fin": "334", "image_debut": 60, "image_fin": 62, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.2.13", "titre_corps": "A WORD ON GREAT MEN", "titre_sommaire": "A WORD ON GREAT MEN", "signature_source": "Victor Hugo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "332", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.60", "debut_caractere": 286, "fin_caractere_exclue": 1872, "texte": "A WORD ON GREAT MEN,\nby Victor Hugo.\nQreat minds are importunate; to deny them a iittie is judicious.\nAfter ail, let us admit it at last, and complete our statement;\nthere is some truth in the reproaches that are hurled at them. This\nanger is natural. The powerful, the grand, the luminous, are in a certain\npoint of view things calculated to [offend. To be surpassed is never\nagreable; to feei one's own inferiority leads surely to feel offence. The\nbeautiful exists so truly by itself that it certainly has no need of pride;\nnevertheless, given human mediocrity, the beautiful humiliates at the\nsame time that it enchants : it seems natural that beauty should be a\nvase for pride, it is supposed full of it, one seeks to avenge oneself for\nthe pleasure it gives, and this word superb ends by having two senses,\none of which causes suspicion of the other.\n& It is the fault of the beautiful, as we have already said. It wearies...\na sketch by Piranesi bewilders you ; a grasp of the hand of Hercules\nbruises you. Greatness is sometimes In the wrong. It is ingenuous, but\nobstructive. The tempest thinks to sprinkle you, it drowns you; the star\nthinks to give light, it dazzles, sometimes blinds. The Nile fertilizes, but\noverflows. The \" too much \"is not convenient; the habitation of the\nfathomless is rude ; the infinite is little suitable for a lodging. A cottage\nis badly situated on the cataract of Niagara or in the circus of Garvarnie;\nit Is awkward to keep house with these fierce wonders; to frequent\nthem regularly without being overwhelmed, one must be a cretin or a\ngenius."}, {"page_pdf": 61, "page_imprimee": "333", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.61", "debut_caractere": 22, "fin_caractere_exclue": 2317, "texte": "sie dawn itself at times seems to us Immoderate: he who looks at\nit straight suffers; the eye at certain moments thinks very ill of the\nsun. Let us not then be astonished at the complaints made, at the\nincessant objections, at the fits of passion and prudence, at the cataplasms\napplied by a certain criticism, at the opthalmies habitual to accademies\nand teaching bodies, at the warnings given to the reader, at all the\ncurtains let down, and at all the shades used against genius. Genius is\nintolerant without knowing it, because it is itself. How can people be\nfamiliar with Aeschylus, with Ezekiel, with Dante ?\n& The I is the right to egotism. Now the first thing that those beings\ndo, is to use roughly the I of each one. Exorbitant in everything, in\nthoughts, in images, in convictions, in emotions, in passions, in faith,\nwhatever may be the side of your I to which they address themselves,\nthey inconvenience it. Your intellect, they surpass it; your imagination,\nthey dazzle it; your conscience, they question and search it; your\nbowels, they twist them, your heart, they break it; your soul, they\ncarry it off.\n& The infinite that is in them passes from them and multiplies them,\nand transfigures them before your eyes every moment; formidable fatigue\nfor your gaze. With them you never know where you are. At every turn\nthe unforeseen. You expected only men, they cannot enter your room\nfor they are giants; you expected only an idea, cast your eyes down,\nthey are the ideal: you expected only eagles, they have six wings: they\nare seraphs. Are they then beyond nature? Is it that humanity fails\nthem ?\nCertainly not, and far from that, and quite the reverse. We have\nalready said it, and we insist on it, nature and humanity are in them\nmore than in any other beings. They are superhuman men, but men.\nHomo sum. This word of a poet sums up all poetry. St. Paul strikes\nhis breast and says \" Peccamus. \" Job tells you who he is... \" I am the\nson of Woman. \" They are men. That which troubles you is that they\nare men more than you: they are too much'men, so to speak. There\nwhere you have but the part, they have the whole : they carry in their\nvast heart entire humanity, and they are you more than yourself: you\nrecognise yourself too much In their work: hence your outcry. To that"}, {"page_pdf": 62, "page_imprimee": "334", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.62", "debut_caractere": 24, "fin_caractere_exclue": 1869, "texte": "total of nature, to that complete humanity, to that potter's clay, which\nis all your flesh, and which is at the same time the whole earth, they\nadd, and it completes your terror, the wonderful reverberation of the\nunknown. They have vistas of revelation, and suddenly, and without\ncrying 44 Beware, \" at the moment when you least expect it, they burst\nthe cloud, make in the zeneth a gap whence falls a ray, and they light\nup the terrestrial with the celestial. It is very natural that people should\nnot greatly fancy familiar intercourse with them, and should have no\ntaste for keeping neighbourly intimacy with them.\nWhoever has not a soul well tempered by vigourous education avoids\nthem willingly. For colossal books there must be athletic readers, (i) It\nis necessary to be strong and healthy to open Jeremiah, Ezekial, Job,\nPindar, Lucretius, and that Alighieri and that Shakespeare. Homely habits,\nprosy life, the dead calm of consciences, 44 good taste, \" and 44 common\nsense,\" all the small placid egotism is deranged, let us own it, by these\nmonsters of the sublime.\nYet, when one dives in and reads them, nothing is more hospitable\nfor the mind at certain hours than these stern spirits. They have all\nat once a lofty gentleness, as unexpected as the rest. They say to you,\nCome in. They receive you at home with a fraternity of archangels. They\nare affectionate, sad, melancholy, consoling. You are suddenly at your\nease. You feel yourself loved by them: you almost imagine yourself\npersonally known to them. Their sternness and their pride cover a\nprofound sympathy: if granite had a heart, how deep its goodness would\nbe! Well, genius is granite with goodness. Extreme power possesses\ngreat love. They join you in your prayers. They know well, these men,\nthat God exists.\n(1) And for the enjoyment of ail \" colossal99 works of art."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c031", "article_bluemountain": "bmtnaau_1914-04_01#c031", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "335", "page_fin": "n. p.", "image_debut": 63, "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=bmtnaau191404-01.2.14", "titre_corps": "A LECTURE ON DRESS", "titre_sommaire": "A LECTURE ON DRESS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "335", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 2186, "texte": "A LECTURE ON DRESS\nby E. W. Godwin. F. S. A. 1868.\n\n335\nadies and Gentlemen,\nWe are met at the outset of the subject which\n1 have selected for our consideration tonight by\nthe question, What has Dress to do with the study\nof Architecture and Archeology? It Is quite pos-\nsible, too, that those who give up to us in every-\nthing else, who allow us the right to dogmatise\nabout arches and pillars,..,, who accept our art\nviews of buildings without question and our antiquarian conclusions as\ngospel will also meet us at the outset with the advice that we should\nmind our own business and leave dress where we at present find it, i. e.,\nunder the arbitrary power and sole despotic sway of the French milliners\nand the west-end tailors.\n& It will be my endeavour in the few following remarks to answer the\n\" question\" by showing dress in its relation to architecture and archeo-\nlogy and to prove to you that we ought to decline accepting the \"advice\"\nfor the simple reason that the study of dress is or ought to be as much\nthe business of the architect as the study of animal or vegetable life or\nindeed of any of the studies accessional to the main science of building.\n& Again, to people unaccustomed, as we are, to the free use of the fi-\ngure as an architectural decoration the subject may at first sight appear\nof too trifling a nature to be ventilated before a society like this. But\nit must be remembered that although the figure has been gradually\nestranged from architecture during the last four centuries and historical\nportraiture has been suffered to become altogether a thing of the past\nthere is at the present time a very strong disposition on the part of\nsome architects to employ sculpture in its old and only legitimate func-\ntion, viz, as a handmaid to architecture.\nNor will the service of the figure stop here. Already there are very\nsignificant works completed and in contemplation other than those of\nthe plastic art where the human figure forms the base of the decorations.\nv\nWe find it painted on our ceilings and on our walls, we find it iniaid\n\n(I) This lecture* delivered in 1868, is now for the first time published in it sccmplete form from the original M. S-"}, {"page_pdf": 64, "page_imprimee": "336", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.64", "debut_caractere": 21, "fin_caractere_exclue": 2409, "texte": "in mosaic on our floors, walls and roofs, and In sonic few eases animating\nthe whole skeleton of the architecture. Nor need we hesitate to predict\nthat it will not be long before this revived delight in God's noblest and\nfinal work of creation will make itself felt more generally; when mere\n*- * 1\nmillinery will give place to art in textile fabrics; when in our churches\nat least upon altar cloth and vestment and hanging the human form as\nsaint or angel will be \" wrought about with gold and divers colours. \"\nNow in art, if we omit altogether the barbarism of academic blankets,\nthere are only two systems of dress. The one historical, the other\nconventional. The one by clothing the person represented in the habit as\nhe lived when he belongs to a past age involves the study of archeology;\nthe other by clothing him in the fashion of the artist's own time (which\nlast may also become historical when the person represented is contem°>\nporary with the artist) involves the study of the fashion of the day.\n£? The last system was almost invariably adopted in past times under\nall conditions.\nit is manifest that the more perfect course, (that indeed which we\nshould take) Is to adopt both systems, the first for the representation\nof the past, the second for the portrayal of the present. Prom the science\nof archeology diligently followed we may certainly learn one system.\nThe question is, are the fashions of today capable of being raised to any,\neven the lowest level in the temple of Art ?\n& I think they are. Let us consider how.\nlt has been said, and 1 see no reason whatever to question the assertion,\nthat all art is the expression of man's delight in God's works. We may\ntake it for granted that no one wishes to dress u/iartistically. Even if\ngentlemen be indifferent it would be heresy to suppose for one moment\nthat the time and money which ladies spend upon dress were purposely\ndevoted to the production of the unnatural unartistlc and therefore ugly\nresults which we so often see. The evil rests not with ladies and\ngentlemen except in so far that passiveness and indifference are evils, but\nis rather to be found in the restless brains of milliner and tailor. To fight\nagainst these is no slight work and rather than engage in it people\nsubmit their necks to the yoke. Much good however might be done if\nthere was more home»made work. For we can scarcely imagine that"}, {"page_pdf": 67, "page_imprimee": "337", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.67", "debut_caractere": 21, "fin_caractere_exclue": 2449, "texte": "anyone with a power of apprehending form and an eye for seeing colour\ncouid consciously watch and permit the execution of such things as\nthose illustrated in the fashion books of this month,\ncourse 1 have not such unbounded faith as to suppose that everyone\npossesses an eye for form or colour, besides which there are degrees in\nart aa In everything else. There are some people who will be always\ntalking, to whom the myriad glories of nature and the highest excellencies\nof art are all equally 44 charming, \" or 44 pretty \" or 44 beautiful \" or\nnice. These are the people who wear things not because of any beauty\nin the articles but because they are 44 worn Just now \" and because they\nare the last things out. There are happily others to whom nature and\nart are something more than pretty or nice, people who can take in the\nBeautiful and the message which it bears them quietly and peacefully\nwith just perhaps a little more electricity as the spirit yearns to thank 9\nfulness and praise. These are those who robe themselves in purity of\ncolour, In simple graceful forms, subtle harmonies and delicate contrasts\nfor their own sakes and not because 44 they are worn. \"\nBetween these two extremes the many may be classed, and it is with\nthe many we have to do, for the lowest will follow the many although\nalways in the rear and the highest may generally be left to themselves.\nThere is perhaps one imperfection from which even the highest are\nnot exempt, and it may be that their very gentleness is one reason why\nthe imperfection clings to them. If the English nation were not so rude,\nI\nIf our men and boys could allow people whose dress was slightly different\nfrom others to pass unmolested, if all our schools, national and others,\ngave the sense of vision the instruction it ought to receive, the obtruding\nugliness of crinoline would long since have quite disappeared : but the\nlow observations of street boys and the rude stares of many both in the\nlower and the middle classes which the absense of popular uglinesses\nevokes require to be met with more courage than Is perhaps consistent\nwith that tenderness which is such a special attribute of gentle life#\nNevertheless we all doubtless know those who have passed tills ordeal\nbut not without at first some self-denial and some little pain# Be this\nas it may there is no reason why popular and particular forms of ugliness\nshould not be dispensed with in the house."}, {"page_pdf": 68, "page_imprimee": "338", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.68", "debut_caractere": 21, "fin_caractere_exclue": 1995, "texte": "& But the Important features of dress to which 1 wish to call your\nattention tonight are:\n1. The cut of the sleeves.\n2. The neck piece.\n3. The trimming.\nNow I shall ask your attention to a few illustrations showing how\nthey managed these things In days of old.\njry We may pass by Egypt, Greece and Rome Inasmuch as our climate\nforbids us to profit much by the dresses of those nations however\nbeautiful and appropriate they may have been. One thing however worth\nnoticing Is that both in classic and mediaeval fashions the shape of the\narm was almost always maintained either by being left bare or, as in\nthe middle ages, by tightly-fitting sleeves at least from the wrist to\nthe elbow.\nAn examination of the manuscripts, monuments, marbles and ivoiies\nin the British Museum alone will be sufficient to convince us of the\ngreat Importance of this fashion and will enable us to account for its\nlong continuance; for there can be no question that much of the life,\naction, yiguor and grace of the figure work of the past depends on the\nlimbs we are considering being unencumbered.\nFrom the few rough diagrams before you (1) taken from examples of the\nmost popular dresses of the best periods of mediaeval art you may observe\nthat the complete visible outdoor dress of both men and women principally\nconsisted of three garments: the undermost was the gown, robe or funic;\nover that was the dalmatic, surcoat, cyclas or super-tunic, and then come\nthe mantle. Hoods, caps and kerchiefs were worn upon the head either\nsingly or in combination: whilst coloured or embroidered hose and\nleather shoes or boots showed beneath the tunic.\nOf the smaller articles of dress then commonly in use such as girdles\nand other mercery we have a long list in a 13th century song called\n\" The Mercer. \" It includes :\nFine gloves for little dames\nFurred gloves\nWimples dyed In saffron\n\n(1) Unfortunately the diagrams selected by the lecturer are not included, nor precisely indicated in, the M. S."}, {"page_pdf": 69, "page_imprimee": "339", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.69", "debut_caractere": 21, "fin_caractere_exclue": 1490, "texte": "Kerchiefs with ties of silk and of linen embroidered with\nflowers or birds for the young beaux to coif themselves in\npresence of their sweethearts\nHempen ones for the clowns\nMuffles for the hands\nHose of Bruges\nStamped leather red and green, white and black\nPretty little girdles\nBuckles for girdles\nLeather purses with buttons\nSilk and linen purses\nLittle chains of steel\nLaces for surcoats with knots\nLaces for lacing sleeves\nLace tags\nShoe buckles\nBroaches of brass and of laten gilt or silvered\nFine tassels for fixing with great buttons of gold or silk\nSilver and brass pins\nNeedles\nThimbles\nJewel cases, Tablets, Good soap of Paris and all the utensels\nnecessary for a lady's toilet. (Razors, forceps, looking glasses,\ntooth brushes, tooth picks, bandeaux, crisping irons, combs,\nRose Water with which they furbished themselves, cotton\nwith which they rouge and whitening with which they\nwhiten themselves.)\nAll borders or anything approaching what we now call trimming were\neither woven or stitched In the stuff itself or embroidered and sewn on.\nThe materials of which the dresses of the 13th and 14th centuries were\nmade were of every degree of quality from home-spun woollen fabric to\ncloth-of-gold from over the sea. The favourite colours In the beginning\nof the 13th century were green and red as we see by reference to the\nMSS, effigies and wall-paintings of that period. The devices and em-\nbroidered work were chiefly in gold and silver applique work was"}, {"page_pdf": 70, "page_imprimee": "340", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.70", "debut_caractere": 21, "fin_caractere_exclue": 2332, "texte": "sometimes used, the animal and other forms cut out in silk or dyed\nlinen as in a fragment preserved In the British Museum.\n& |„ Henry Ill's reign it would appear that the dresses of the higher\nclasses in England were bordered with fringes. The Pope was so pleased,\nsays Matthew of Paris, with the effect of some gold fringe worn by some\nEnglish in their choral copes and head dresses that he exclaimed \" Of a\n«* truth England is our garden of delights; truly is it an inexhaustible\nwell in which many things abound ; from many things many may be\n'« extorted \" and thereupon ordered the Cistercian Abbots to send him\nsome choice gold fringe without delay.\n& The furs of sables, foxes, ermines, martens and squirrels with vair,\n(minevair or minulo) were used as linings to the winter mantles and\nsuper-tunics. There were also two distinct kinds of mantle; one the\nmantle proper or state dress, the other the travelling dress, cloak,\nsupertotus or over-a!l.\nThe only changes of importance which took place in the civil dress\nof the period I am speaking of were those made In the cut and form of\nthe super-tunic and the substitution of buttons for laces.\nTwo great extravagances, however, mark the close of the period. 1\nmean the length of the ladies' trains and particular form of head-dress,\nboth of which have been repeated within our own time.\n<£? The attention of the mediaeval satirist was often directed to these\nfollies of costume. tl I have heard of a proud woman\" writes one, 44 who\n\" wore a white dress with a long train which trailing behind her raised\n\" a dust even as far as the altar and the crucifix. But as she left the\n44 church and lifted up her train on account of the dirt a certain holy\n\" man saw a devil laughing and having adjured him to tell why he\n44 laughed the devil said, 'a companion of mine was just now sitting on\n44 the train of that woman using it as if it were his chariot but when\n44 she lifted her train up my companion was shaken off into the dirt and\n\" that is why I was laughing \". Again, the ladies are advised if their\nlegs be not handsome, nor their feet small and delicate, to wear long\nrobes trailing on the ground to hide them. Another writer compares the\nladies to peacocks and magpies because they delight In strange habits\nand have long tails that trail in the dirt."}, {"page_pdf": 71, "page_imprimee": "341", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.71", "debut_caractere": 21, "fin_caractere_exclue": 2404, "texte": "The false hair Introduced into the head-dress fashionable during the\nreign of Ldward 1 and the whole style of the head-dress of that time\nreceived, and justiy so, bountiful condemnation. In the Imperial Library\nat Paris a satiricai song, written in the beginning of the 14th century,\nafter telling us that the Bishop of Paris is a theologian and a philosopher,\nmakes this great authority observe that a woman is too foolish a hussey\nwho puts a false hair on her head and paints herself to please the world,\nA woman is not free from sin, says the bishop, who has her hair dark\nor blonde according to nature when she places her intention and care\nin fixing the false hair along on her tresses. Another critic, attacking\nthe frisettes of his day, says that between the towel or gorget and the\ntemple and the horns there is a space through which a rat might pass\nor the largest weasel between this and Arras.\n£? With the approach of the 14th century was recuscitated also the\n\\\ncustom of tight lacing. At first it was little more than a close fitting\nneatly-laced body such indeed as we see in the best effigies and illutni*\nnations. But the almost Qreek simplicity, purity and grace of the 13th\ncentury gradually disappeared in the 14th until it was ultimately lost in\nthe full tide of the restless luxurlousness of the 15th century, and it was\nnot until then that tight-lacing in the sense we unfortunately know it\nbecame a general fashion.\njz? It is time, however, that I returned to the cut of the sleeves, the\nneck or collar, and the trimming.\n/\nAmongst the list of mercery which I quoted just now from a manus-\ncript of the 13th century you may remember that besides Lace tags and\nLaces for surcoats with knots there was another kind described as\nLaces for lacing sleeves. If we accept the authority of this manuscript,\n(and there is no reason why we should not), there can be no doubt that\nthe' Lace fastening whether for body, foot or arm was that which was\ngenerally adopted by well-dressed people during the reign of the third\nHenry. That such laces are not apparent either in the drawings or\nsculpture of the 13th century is no argument against their use because\nit must be remembered that, like the fringes to which 1 have referred and\nthe use of which Matthew of Paris places beyond question, they were by\nno means easy to represent unless the artist sacrificed some of that"}, {"page_pdf": 72, "page_imprimee": "342", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.72", "debut_caractere": 21, "fin_caractere_exclue": 2303, "texte": "breadth and wise conventionality of treatment that it was his chief aim\nto attain and which constitute now his chief claim to our reverence and\nadmiration.\nIn the early sleeves the upper part from the elbow to the shoulder\nwas very loose and wide so that the lacing extended only as far as from\nwrist to elbow, in many cases probably not more than half that distance.\nAs the century advanced the love of finery grew greater and greater\nand the reader of the chronicles of that time will not fail to observe\nhow presents of necklaces and jewels become more frequent towards the\napproach of the 14th century.\nSo In dress the lace gave place to the enamelled and jewelled button,\nbut, whether laced of buttoned, the sleeve was as a rule always tight\nfitting. As the button fashion became established these little excrescences\nextended further and further until they even reached the shoulder, and\nwith this excess tight fitting was also carried to excess and applied to\nthe entire sleeve of the tunic.\nIt may be worth while pausing here for a moment to note how easily\na new fashion irreproachable in itself may drift into the preposterous.\njg? The button fastening which took the place of the lace fastenings in\nthe last quarter of the 13th century are possibly preferable to the\nlatter on practical grounds as offering not only less hindrance in dressing\nbut more opportunity for obtaining a greater variety of useful ornament.\nIn all the early and good examples it will be found however that In no\nstation of life were they employed in any other way than as fastenings,\nrarely reaching and never going beyond the elbow in the sleeve and in\nthe body rarely reaching and never going beyond the waist. In our wise\nmodern copyism we have in this as in other matters imitated only the\nextravagance and folly of the past.\nThe neck piece of the tunic both in men and women was at first cut\nclosely round the base of the neck and an opening made in front just\nlong enough to allow the dress to be easily slipped over the head and\ngive room to admit the arms into the sleeves. After the 13th century\nthe neck piece was cut lower and square but there was a transitional\nshape which is occasionally met with and of which 1 give an example\ntaken from that superb manuscript the Arundel Psalter."}, {"page_pdf": 73, "page_imprimee": "343", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.73", "debut_caractere": 21, "fin_caractere_exclue": 2317, "texte": "We come now to the consideration oi the super-tunic, a garment\nwhich must perforce enlist the sympathies of us all from the similarity\nwhich its history bears to the history of modern dress.\nThe super-tunic, unlike the tunic or the mantle, was always changing.\nFashion seems to have been as restless then as she is now only in those\nartistic days her restlessness was limited; and for nearly a century she\nwas satisfied to confine her frolics within the borders of the super-tunic.\nThis garment is in the first placs of almost any length from the short\nor curtailed dalmatica reaching little lower than the knee to the long\ndress which trailed some yards upon the ground.\nThe sleeves were sometimes long and sometimes short. But a common\n#\nform of the supertunic was the sleeveless dalmatica which after the\nreign of Henry 111 was so cut as to become not only sleeveless but sideless\nfrom the shoulder to the waist.\nln the exquisite drawings of Queen Mary's Psalter, the manuscript\nmarked 2. B. VII in the British Museum, we constantly meet with\nexamples of the short super-tunic. From this and other sources we learn\nthat the skirt was sometimes open in front and sometimes at the back\nand sometimes on both sides as high as the hip, that there was a great\nvariety of sleeves and that it was only ladies cf high rank who appear\nto have worn the sleeveless surcoat or the pendant sleeve.\njg? The neck of the super-tunic was generally cut like that of the tunic,\nopen in front and laced or buttoned, the hood being sometimes attached\nto it and sometimes worn as a distinct article of dress with a small cape.\nBut with the reign of the second Edward and the fopperies and fooleries\nwhich were encouraged by the favourites of the Court the cut of the\nneck piece grew lower and lower.\ng? The mantle, super-totus or overall was a particularly elegant part of\nthe 13th and 14th century costume if we except one kind as a travelling\ndress sometimes called balandra.ua and which possessed long, full and\nshapeless sleeves. The collar or neck-piece of the mantle in its simplest\nform was concentric with the neckt as the tunic and supertunic fell more\nupon the shoulders so too the outer garment was gradually allowed to\nfall lower.\njg? The fastenings were of three or four kinds. First we have the fibula"}, {"page_pdf": 74, "page_imprimee": "344", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.74", "debut_caractere": 21, "fin_caractere_exclue": 2340, "texte": "or brooch, buckle or clasp in front and on the right shoulder, in the\nlatter case the mantle being twisted round ; then we have the broad\nfi »\nband or link often richly embroidered ; then the long cord, and last the\nbutton fastening when the upper part of shoulder piece of the mantle\nhad developed into a kind of small cape. The fibula and cord fastenings\nappear to be the earliest; and it was probably for the decoration of\nthese cords that the mercer whose wares I have enumerated supplied\nthe \" Fine tassels for fixing with great buttons of gold or silk\n£> Such then being the character of the dress and its fastenings it remains\nfor me to tell you how it was ornamented, or, in modern language, what\nwere its trimmings.\n& The first point of interest is the manner in which ornament was\nused. In the 13th century the ornaments of every-day dress were as a\nrule restricted to that form which we now express by the word trimmings.\nDuring the preceding century Court-fashion had run riot with embroidery\nand other forms of decoration, garments were literally covered with\ngold and silver and even precious stones were freely used. The queen of\nHenry II wore a robe bespangled with crescents of gold and Richard I's\nmantle was over-spread with half moons and shining orbs of solid\nsilver; but with the reign of the third Henry came a reign of greater\nsimplicity. Thus ornament retired from the general surface of the garment\nto Its border, and, instead of concelling the fabric with a redundancy which\nwas formless and without any order and method, adorned it within the\ncompass of narrow bands of great beauty and really good workmanship\naround ail its margins.\n& At the neck of the supertunfc or dalmatica worn by great officials\nwas a stiff bordering of considerable beauty often enriched with valuable\njewels. This was the type of the modern collar. The margins of the sleeves\nof both tunic and supertunic were encircled by similar bands which laid\nthe foundation for a modern cuff and wristband. The lower margins or\nskirt-hems of these garments as well as the edge of the mantle were\nsimilarly enriched. It is important to notice that in this method of\nornamenting the costume the lines or bands of decoration were horizontal,\nthus opposing, and therefore heightening, the effect and beauty of the\nnatural form. *"}, {"page_pdf": 77, "page_imprimee": "345", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.77", "debut_caractere": 21, "fin_caractere_exclue": 2260, "texte": "Early in the 14th century this principle of decoration received an\nincreased development. The horizontal bands formed by the enriched\nmargins of the tunic, the supertunic and the mantle were found so\nvaluable in an art point of view that they were produced in the fabric\nitself, sometimes in excess, as is particularly observable on some of the\nfigures which illustrate a missal of this period, No. 17006 In the British\nMuseum.\n& The proper use of these bands Is, however, well shown in the illu-\nstrations I have taken from the Arundel Psalter and the missal 1 have\njust mentioned.\nWe now come to consider the character of these borders.\nFirst in order is fringe, the use of which was at this period almost\nconfined to England. We have seen how a Pope was fascinated by the\ngolden fringe worn by an Englishman and forthwith contrived to compass\nthe thing he coveted.\nFringe Is, as you are all aware, a very old, perhaps the oldest, form\nof border trimming. Thirteenth century fringes were of gold and other\nrich materials and formed a bordering peculiarly soft, flexible and deli-\ncate. Appliqud work and embroidery on fine linen, silk, etc: were used by\nthemselves and possibly in combination with the fringes.\n& The appliqu£ work, which is not only very beautiful but easy to ex-\necute, was made as follows.\nHaving secured your design, which, by the way, is a slight prelimi-\nnary matter in all art processes, you proceed to cut out the patterns or\nfigures In the various colours of the design, taking care to keep them a\nlittle larger than the drawing to allow for sewing down the edges upon\nthe ground colour. In the simplest work where it is only the placing of\none colour upon another nothing more is required than an edging of\ncord to the pattern or figure, covering the line of-stitching and secured\nto it by being worked over with coloured silk or thread. But where the\ndesign involves more than two colours the colours are not cut out as\nthey appear in the design but are superimposed : for example in the cross\non the specimen here exhibited the blue is not cut out in small pieces and\njoined to the white on the same plane as in modern patch- work but is\nshaped to the full size of the cross and actually underlines the white."}, {"page_pdf": 78, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.78", "debut_caractere": 21, "fin_caractere_exclue": 2308, "texte": "JG? The embroidery of the 13th century must be examined to be under-\nstood. It would be useless for me to attempt to describe this evening as\nit ought to be described the glorious needlework of that most artistic age.\n& Between the richly embroidered and jewelled borders and such as\n.were made by a single line of coloured silk or thread which was literally\nthe stitching of the hem of the garment there were two distinct varieties,\nthus making four, all other forms being more or less combinations of these\nprocesses.\n& Next in point of magnificence to the jewel border was the silk\nembroidery of the late example of which we have so many specimens.\nThis process was more commonly used in combination with gold and\ngems, hence the term orfrays. This also was worked upon a foundation\nof canvass, veilum or linen and sometimes silk and then sewn upon\nthe dress.\nThird in order of richness is what I may call the cord work; where\nthe border, or ribaning as Chaucer calls it, is of uniform colour and the\npattern entirely formed by raised lines of cord or common twine. This\nwas a process very commonly employed with cloth of gold and gold lace,\nthe cord being sewn or whipped over and completely covered with gold\nthread. The effigy of Richard I supplies us with four examples of this\nclass of border work.\nBut this kind, like the last mentioned, was not infrequently used In\ncombination with jewels as illustrated by the effigies and illuminations\nof the 13th and latter part of the 12th centuries. Nor must it be imagined\nthat these enrichments were confined to the official robes of king or\npriest. There were of course distinctions of dress according with the\nsocial rank of the wearer; the labourer had to be content with a short\ntunic, the burgess might have In addition a supertunic and like Dogberry\nbring forward the fact of his having two gowns to his back as evidence\nof his respectability, but all above this'class might be possessed of tunle,\nsupertunic and mantle, the material, wool, silk or velvet, and the quality\nof border being the distinguishing marks.\nNor must it be forgotten that between the male and female costume\nas well as between the civil and ecclesiastical there was not that difference\nwhich is popularly supposed to have existed. A nun, for example, is to"}, {"page_pdf": 79, "page_imprimee": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.79", "debut_caractere": 21, "fin_caractere_exclue": 2399, "texte": "this day dressed as a widow or elderly lady of the beginning of the 13th\ncentury would have been dressed except that the nun is forbidden the\nuse of ornament and rich or costly .\nagain If we had worn the everyday costume of the reign of Henry 111\nwith long tunics, short hanging or open sleeves to the super-tunic and\na cowl or hood no one would have seen anything very remarkable in the\ncostume of the Norwich Benedictines for the monks' dress, except in\nmateria! and colour, had little to distinguish it from that of the lawyer\nor the architect, whilst the clerical dress in 1337 was so unclerical that\nat the council held by the Pope's Legate Otto In St Paul's, London In\nthat year It was decreed that 44 whereas, with regard to the dress of\nthe clerks which appears to be not clerical, but rather military, a great\nscandal has arisen amongst the laity\" they, the clerks, shall under\npenalty of a deprivation of their benefices 44 wear garments of becoming\nmeasure and shall wear close hoods when appointed to holy orders\nespecially in this Church, before their prelates at the assemblies of the\nclergy, and everywhere in their parishes \" \" following the rule of cler-\nical propriety In their garments, spurs, bridles and saddles. \"\nThus far my task has been mainly archeological. I propose now to\nonqulre into the nature of those features in modern costume which cor-\nrespond to those I have already endeavoured to describe.\nThe main things to be observed are: Ist, the variableness of modern\nfashion ; and the wide difference between the male and female costume,\nand 3rd the absence of colour. The changeableness of 19th century fashion\nis perhaps not only the greatest evil, but the parent of all the other evils\nin modern costume with which we have to contend. There is no such\nthing now-a-days as contentment in dress, for If perchanCe a becoming\nhat, a graceful mantle or an artistic serviceable coat be approved by the\nworld this season it must be given up next season. No amount of grace-\nfulness or appropriateness being powerful enough to stay the restless\nhand of fickle fashion. The rule seems to be that directly a thing becomes\nvulgar in the old and true sense of the word it must needs be despised\nas vulgar in the modern and erroneous sense of the word.\nThere are only three ways.... one or other of which we must.select...\nto account for this changeableness."}, {"page_pdf": 80, "page_imprimee": "348", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.80", "debut_caractere": 16, "fin_caractere_exclue": 2227, "texte": "J? In the (irst place Fashion, like the true artist, may be unsatisfied by\nher best efforts and may be ever seeking to do better; or she may be\ndesirous to keep up those social distinctions which many hold to be ne-\ncessary to the well-being of the state; or she may be after all only a\npander to the pride and vanity and deformity of the world.\n« When lordes and ladies ever do devise\nThemselves to setten forth to strangers sight\nSome frounce thoir curled hair in courtly guise\nSome prancke their ruffes and others trimly dlght\nTheir gay attire : each others greater pride does spight.\" (i)\n& Again the great difference which exists between male and female\ncostume is another characteristic defect of the age in which we live. Ail\nnatural relative proportion is Ignored : the man Is deprived of every\nvestige of drapery in the artistic sense of the word, and his limbs are\ndisguised in bag-like coverings, whilst the woman copies the conventional\nshort-skirted school-girl or clothes herself in a wasteful amplitude of\nskirt;\n& The difference between male and female costume is not, however,\nconfined to form but extends even to material. We know how linen,\nwool, silk, satin, velvet, were used in old times for the clothing of men\nas well as for that of women ; but, (as in the matter of drapery) the\nmen have been forced by fashion to give up all claim to the richer ma-\nterials and to encase themselves in gloomy monotony of broad-cloth.\n& The general absense of colour is another important characteristic of\nour costume. An English crowd, (no matter how brightly coloured certain\nof its details may be), always resolves itself into a dull grey owing to\nthe preponderance of black and white.\nin old times everyone had a wholesome horror of black and conse-\nquently we never find It employed except as the national colour of the\nDanes in religious habits and in heraldry. It was not till the reign of\nEdward ill that black was used even for mourning, and then only as a\ncloak with a hood over the ordinary coloured garments. But now, as far\nas gentlemen are concerned, the evening dress at least of one half the\nworld is black and a man who would dare to sit down to dinner in any\n\n(1) Fairy Queen I. 4. 14,"}, {"page_pdf": 81, "page_imprimee": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.81", "debut_caractere": 21, "fin_caractere_exclue": 2233, "texte": "other colour would be deemed guilty of a breach of etiquette, or, at the\nbest, be smiled at as the victim of a weak and harmless eccentricity.\nThere are, however, two little bits of light flickering amidst this\nalmost universal gloom. One of these is the coloured scarf now so fre-\nquently worn by gentlemen, and the other the scarlet tunic, to use a\nmediaeval name, worn by ladies, which Is always visible when worn with\nthe walking dress or short super-tunic and is occasionally revealed with\nadmirable effect when worn under the long or trailing robe.\nhopeful signs than it did a few years back. Crinoline has vanished from\nthe drawingroom, and is gradually disappearing from the streets. Costume,\nmore especially that adopted in country houses, is decidedly looking up.\nFor Instance, ladies' walking dress just now, consisting of tunic, super-\ntunic with high neck, tight fitting fur jacket and velvet hat with brilliant\nleather would be perfectly pleasing and picturesque if it were not for\nthe short proportions obtained by the use of coarse trimming, extrava-\ngantly high boots and cut edges.\n& A few years ago the male costume was equally hopeful; coloured\nstockings and knickerbockers with the short coat or Norfolk shirt and\nfelt hat or cap were felt to be appropriate and artistic.\nWhat has become of this most artistic costume? A costume which\nonly wanted a slight alteration in the sleeve to make It worthy to rank\nwith the 14th and 15th century dresses. For the cut of the sleeve is the\nonly point of difference between the cut of a modern Norfolk shirt and\nthe very picturesque jacket or doublet introduced early in the reign of\nEdward IV.\nIt Is some satisfaction to know that tight-fitting sleeves with loose\nor hanging sleeves over them are being at last adopted by ladies. Will\ngentlemen see the advantage and follow suit?\nBut good form in shape or cut is of little avail unless we can get\nrid of the present system of trimming with all its higgledy-piggledy of\nfurious exaggeration of band and button and bow. There can be no\nexcuse for such trimmings as those exhibited in the modern examples\nbefore us marked a, 3, and 48.\n£/ One of the best modern braid borders 1 have seen was spoilt by an"}, {"page_pdf": 82, "page_imprimee": "350", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.82", "debut_caractere": 21, "fin_caractere_exclue": 2331, "texte": "excessive use of little bits of jet. I have had a diagram made of this\nspecimen work enlarged sixteen times to enable you to compare it with\nan example of old work which I have had enlarged in the same ratio.\nIf, however, we could get rid of braid altogether and adopt a closely-made\nsilk or gold cord there would be much more chance for good plain\ndesigns. Indeed, very many of the best borders of the middle ages may\nbe easily reproduced by sewing down cord in the manner shewn in the\nspecimen of appllqu6 work before you, whilst the difficulty of treating\nbraid In other than straight and continuous lines is manifested whenever\nanything else Is attempted.\njtf Nor is there any difficulty in securing artistic trimmings if ladies are\nso minded. I have seen some most exquisite little borders at Heilbronner's\nin Regent street. But the most glorious border the world ever saw would\nhave no chance so long as there exists that passionate longing for mere\nnovelty which is one of the great curses of modern society in each and\nall its phases.\n£? As regards our evening dress perhaps the least said the better. It is\ntrue the revival of the turn-down collar, by shewing the neck, was one\nstep towards that right development of the human form which is\ncharacteristic of all good costume. The Prince of Wales, (i) too, may be\nthanked for the revival of white waistcoats, for any relief to the dreary\nconventionalism of black cloth may be fairly regarded as a blessing;\nthese are unfortunately the only exceptions to the corrupt taste which\nprescribes the usual evening dress of a gentleman of the present period.\n& Of a lady's dress I will not trust myself to speak, its indecency of cut\nbeing, as a rule, unequalled even by its ugliness of trimming.\n& Time will not permit me to enter upon the subject of our official\ncostume which, from the royal crown to the policeman's helmet, is utterly\ndebased 5 nor can I now trespass any further on your patience to set\nforth the present promising aspect of children's dress or the uncompro-\nmising aspect of church vestments.\n& But before I conclude I feel tempted to express a hope that it is from\nlack of positive art instruction rather than from wilfulness of choice\nthat in this question of dress as in many other branches of art we\n\n(I) Afterwards klnjj Edward VII."}, {"page_pdf": 83, "page_imprimee": "351", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.83", "debut_caractere": 21, "fin_caractere_exclue": 2388, "texte": "moderns possess so little discrimination. If this be so, and if we in our\nbetter moments, deeming all things visible to have their varying degrees\nof power for good or for evil, elect to labour for the good through the\naction of the Beautiful, our likenesses in the habit as we live may yet\nbe handled by poet and painter, sculptor and architect, without fear of\ntheir being ridiculous.\n& Lastly let me revert for a moment to the questions I put at the\ncommencement of this paper:... what has archeology to do with dress?\nand, are the fashions of today capable of being raised to the dignity of art?\nAs regards the first question 1 think you will admit that the study\nof costume constitutes one Important branch of it. Archeology fills In\nthe details of every picture of the past, it forges the links of the chain\nwhich binds together all time ; it brings into stronger light all those\ngreat events which have contributed to build up those blessings we now\nenjoy. It clothes with vivid reality all those noble ones whose figures\nwould otherwise have but a shadowy indistinctness in the mighty pro-\ncession of the world's issue. It tells us among many other things how\nthe decoration of dress was once as much an art as the decoration of a\ntemple. It tells us how both ladies' and gentlemen's dresses were once\nas much an art as the decoration of a temple. It tells us how both\nladles' and gentlemen's dresses were once under the direction of artists\nmany of whose names are recorded ; as, for example, Adam de Baslnges,\nAdam de Bakering, John de Colonia, Thomas Chenier, John Blaton,\nWilliam Courtenay and Stephen Vyne, under whose superintendence\nwomen worked sometimes for their amusement and sometimes for their\nprofit, it helps us to a better appreciation of the wonderful picturings\nof such poets as Chaucer and Dante, and illustrates every page of our\nearly literature.\njhe other question, viz., are the fashions of today capable of being\nraised to the dignity of art? is one which 1 have already answered in\nthe affirmative; for in spite of the many gross absurdities which mark\nthe conventionalities of our present costume, in spite of swallow-tails\nand chimney pots, of bastard embroidery and big buttons, I am satisfied\nwe possess sufficient elements of beauty and appropriateness from which\na costume might be developed equal to any of past times; and were"}, {"page_pdf": 84, "page_imprimee": "352", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.84", "debut_caractere": 21, "fin_caractere_exclue": 1136, "texte": "such a development to take place our architects, sculptors, painters\nand poets would not have to seek, (as they now do), in ages long gone by\nfor subjects fit for the artist, but would be content to be the chroniclers\nof their own age.\nQf this much 1 am satisfied ! that no art is possible to us unless we\ntake a broad comprehensive view of the power and purpose of art. If you\nreally desire noble buildings, strange as it may sound you must have an\neye to your boots. It is idle to talk of art at the rate we do now-a-days\nunless we can feel it to be a reality to ourselves. We must be drenched\nthrough and through with it, not merely put it on now and then. We\nmust have It In Its proper degree in our servants' hall and our scullery\nmaids' dormltary as In our drawing rooms and best bedrooms: we must\nsee it In the back offices as well as in the front elevation; in the table\nas well as in the front-door jamb, in the table-cloth as in the table.\nAnd finally we must have it in lay vestments as well as In clerical\nvestments if we desire to have art present with us a growing, developing,\nliving, Joyous reality."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c033", "article_bluemountain": "bmtnaau_1914-04_01#c033", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 65, "image_fin": 65, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.2.14.2", "titre_corps": "COSTUME DESIGNS 1874", "titre_sommaire": "COSTUME DESIGNS 1874", "signature_source": "E.W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 46, "texte": "COSTUME DESIGNS by E.W. Godwin. F. S. A. 1874."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c034", "article_bluemountain": "bmtnaau_1914-04_01#c034", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 75, "image_fin": 75, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.2.14.3", "titre_corps": "A COSTUME DESIGN 1874", "titre_sommaire": "A COSTUME DESIGN 1874", "signature_source": "E.W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 75, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.75", "debut_caractere": 0, "fin_caractere_exclue": 47, "texte": "A COSTUME DESIGN by E.W. Godwin. F. S. A. 1874."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c036", "article_bluemountain": "bmtnaau_1914-04_01#c036", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191404-01.2.14.5", "titre_corps": "COSTUME DESIGNS 1874", "titre_sommaire": "COSTUME DESIGNS 1874", "signature_source": "E.W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 85, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.85", "debut_caractere": 0, "fin_caractere_exclue": 47, "texte": "COSTUME DES IGNS by E.W. Godwin. P. S. A. 1874."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c037", "article_bluemountain": "bmtnaau_1914-04_01#c037", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "353", "page_fin": "356", "image_debut": 87, "image_fin": 90, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.2.15", "titre_corps": "THE ROGUISH TRICKS OF COVIELLO : A Scenario of the Commedia dell'Arte", "titre_sommaire": "THE ROGUISH TRICKS OF COVIELLO : A Scenario of the Commedia dell'Arte", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "353", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.87", "debut_caractere": 0, "fin_caractere_exclue": 962, "texte": "THE ROGUISH TRICKS OF COVIELLO.\nA Scenario of the Commedia dell'Arte.\n(0\nCHARACTERS.\nGiangurgolo, father of Coviello, servant\nPimpinella Capitano\nPolicinella as himself\nCITY... NAPLES.\nPROPERTIES.\nA Giangurgolo costume for Coviello, Other different costumes for\nCoviello, Female costume for Policlnella, Captain's costume for Policlnella,\nAnother different dress for Policlnella, Beards.\nACT I. SCENE 1.\nGiangurgolo and Coviello.\nHe tells Coviello that he has arranged a marriage for his daughter\nwith the Captain, who Is away, and knocking Is heard.\nSCENE\nPimpinella and the aforesaid.\nPimpinella, having understood this, acts a scene of foolishness, until\nthe other two, tired out, make her go in, saying they will talk to each\nother some other time; and go off.\nSCENE .\nPolicinella, alone.\nj& His love for Pimpinella, and knocks.\nSCENE 4.\nPimpinella and the aforesaid.\n& Amorous scene. In this\n\n(I) Translated and published by the courtesy ol Dr : Cesare Levi"}, {"page_pdf": 88, "page_imprimee": "354", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.88", "debut_caractere": 25, "fin_caractere_exclue": 1730, "texte": "SCENE 5.\nCoviello and the aforesaid.\nCoviello's lazzi (i) over the foolishness of the girl; she excuses herself as\nhaving acted so for love of Policinella and because she does not want the\nCaptain ; and both entreat Coviello to help them. Coviello promises, and\nPimpinella goes in. Coviello tells Policinella that the Captain has arrived\nand therefore plans with him to dress himself as a Woman. Policinella\nhaving acted lazzi, is pleased and goes away to dress himself, Coviello\nwants to pretend to be Qiangurgolo, and goes In to dress himself.\nSCENE\nThe Captain alone,\n& Says he is come for the marriage arranged by letter with the daughter\nof Qiangurgolo: and that he does not know personally either the one\nor the other: in this\nSCENE 7,\nCoviello and the aforesaid.\nCoviello as Qiangurgolo, after acting a scene makes himself known\nto the Captain as Qiangurgolo, and after they have acted lazzi of rela-\ntionship Coviello calls.\nSCENE 8.\nPolicinella and the aforesaid.\nPolicinella as a woman, acts his lazzi; the Captain says he does not\nwant her, and after a scene which develops as it befalls (a), and lazzi,\nthey beat each other, and end the first act.\nACT 2. SCENE 1.\nPolicinella and Coviello.\n& Disguised, they say they are notaries pretending to take an inventory\nof Qiangurgolo's goods for the Captain's debts, and go In.\nSCENE 2.\nQiangurgolo and the aforesaid.\nQiangurgolo, wishing to enter his house, sees the door closed,\nwonders and knocks: the two from within, and from time to time\nr°m th® window» act scene of the Inventory, (with the usual lazzi),\n\n(1) For g definition of \"Lml\" gee The Mask Vol IV: pa2. 115.\n(2) The meaninj is, •< as the inspiration and action of the moment leads. •'"}, {"page_pdf": 89, "page_imprimee": "355", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.89", "debut_caractere": 25, "fin_caractere_exclue": 1332, "texte": "for the Captain's debt. Giangurgolo gets in a rage, saying that he will\nbreak off the marriage and goes away to go to the court of Justice: the\nothers come out, and Covieilo arranges with Poiicinelia to pretend to be\nthe Captain, and off.\nSCENE 3.\nCaptain alone.\nHaving learned that what happened was a trick of impcsters, and\nhaving been shown the house of Giangurgolo, knocks.\nSCENE\nPimpinella and aforesaid.\nScene of entreaty, and drives him away, and off.\nSCENE 5.\nGiangurgolo alone.\nHe wants to go in search of the Captain, knowing he Is come, and\nthat those of the Inventory were impostors: in this\nSCENE 6.\nCovieilo and aforesaid.\n& Covieilo tells him he has found the Captain and that he is now co-\nming: in this\nSCENE 7.\nPoiicinelia and aforesaid.\n& Poiicinelia as the Captain acts his /azz/, they perform ceremonies\nwith Giangurgolo, and go in, and end the second Act.\nACT. 3. SCENE 1.\nCaptain alone.\n& About finding Giangurgolo; in this\nSCENE 2.\nCovieilo and aforesaid.\nj£f Covieilo, disguised, enters into conversation with the Captain, and\nnarrates that Pimpinella has many imperfections and defects: the Captain\ndoes not want to conclude the marriage, and goes off, Covieilo remains;\nIn this\nSCENE 3.\nGiangurgolo and Covieilo.\nGiangurgolo, not having seen the Captain, (because on entering his"}, {"page_pdf": 90, "page_imprimee": "356", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.90", "debut_caractere": 25, "fin_caractere_exclue": 924, "texte": "house he no longer found him there), Coviello, in disguise, enters into\nconversation with him, narrating many evil qualities and defects of the\nCaptain: Giangurgolo does not want to conclude the marriage and goes\noff; Coviello remains and calls.\nSCENE\nPimpinella and Coviello.\n& Coviello relates to her all that has happened, and whispers in her ear\nand goes off.\nSCENE 5.\nCaptain and Giangurgolo.\njgf They come on from opposite sides, recognise each other, abuse each\nother; afterwards they clear things up and call.\nFINAL SCENE.\nAll.\n& Pimpinella comes on half lame, but Is pretending to be so. The Captain\nseeing her In that state says he does not want her; Giangurgolo asks\nwhat has happened, she gives some excuse; Policinella says he wants to\nhave her just as she is and Giangurgolo is content and has them married,\nthen Pimpinella and Coviello ask pardon, reveal the Tricks, and end\nthe Play,"}]}, {"article_id": "bm-bmtnaau-1914-04-01-c040", "article_bluemountain": "bmtnaau_1914-04_01#c040", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "357", "page_fin": "363", "image_debut": 91, "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=bmtnaau191404-01.2.16", "titre_corps": "THE THEATRE IN ITALY. NAPLES & POMPEI : A Letter to John Semar from Gordon Craig", "titre_sommaire": "THE THEATRE IN ITALY. NAPLES & POMPEI : A Letter to John Semar from Gordon Craig", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "357", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.91", "debut_caractere": 0, "fin_caractere_exclue": 2088, "texte": "THE THEATRE IN ITALY. NAPLES & POMPEI.\nA Letter to John Semar\nfrom Gordon Craig.\nMy dear Semar.\n1 was wont to write you letters from cold places north of Florence,.^..\nThere was little or nothing to write of. But now 1 have come south to,\nsee what a warmer theatre can yield.\nI write from Pompel after a visit to those two men of genius, the.\nbrothers Vettil.\nHow I came to meet them is simply told.\nI was last night at Scarpetta's theatre; that simpatico theatre in\nNaples where all that is to be laughed at is spread before us on the.\nstage and laughed in and out of existence without a thought too much to,\noppress us. All the difference between this breed who give birth to laughter\nand the breed on the London stages whose cacklings even miscarry.,\nScarpetta exists and we know he is of flesh and blood. Shaw to me\ndoes not live, and Is something other than flesh and blood.\n1 feel that had Dante condescended to write for the stage he would\nhave produced just such a series of pleasant and unpleasant and popular\ncomedies as G. B. S.\n*\nAnother thing I feel about Scarpetta is that he wouldn't care a hang\nwhat his women said or thought about his plays, and 1 guess, (perhaps,\nwrongly), that the great brain laughter of Shaw is only quite ironic\nenough, only sufficiently deadly when it has received the full approval;\nof the Shaw ladies.\nBy the way, I ought to tell you who Scarpetta is.\nHe Is the author-actor of Naples, ...that is to say, one of our few real-\ndramatists. His Drama came into being by the grace of Improvisation,\nand as we know by now, this is the only way real drama can be born.\nAll other dramas are made, ....patchworks,... not good woven stuffs.\nHis Improvisations are not Just witty conversations in which a few\npeople polish off in a few well-chosen words certain groups, cliques or\nnational peculiarities. His Improvisations have to deal with the Life of\neveryone. In the sharpest cut given the lash winds itself lazily round,\nthe waist of the whole earth.' But if in Scarpetta's theatre, drama and„\nactors are the real thing they are the lowest real thing,"}, {"page_pdf": 92, "page_imprimee": "358", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.92", "debut_caractere": 22, "fin_caractere_exclue": 2313, "texte": "us? So I took my way the next morning to Pompei where, as I said, I\nwas sure ot meeting my two friends, the brothers Vettii.\nMen 0( genius are real: through them all things become real. The\nhighest Impossibility comes down from Heaven to them and the lowest\nfact comes up from Hell to them.\nThey stand in a circle of strange phantoms become realities. And\nwhen 1 arrived at the house of the Vettii and had washed and rested\nmyself I became aware of the strange and wonderful company which\nScarpetta had sent me to seek.\nj£? His Introduction was not to actors nor to the director of the little\nComic Theatre nor the poet of the larger Tragic Theatre,.., nor even to\nthe celebrated Roman Dancer who is just now residing in Pompei and\nabout whose performance in the Dancing Court ail Pompe! is talking.\nI saw her driving in the narrow streets and everybody turned to look at\nher as at something extraordinary. Even the barbers and chariot drivers\nstopped at their work a moment to look at this very celebrated performer.\nBut it was to see none of these that Scarpetta the Neapolitan Improvisor\nbeckoned me to go. And this is so like him, the unwashed actor from\nhis grimy stage. As a worm on the mud-edge of some far off and forgotten\nlake, by instinct true and everlasting, and with unerring knowledge of\nwhat Is perfect, lifts his body slowly to some twig and, crawling up\ntowards the sun, hangs suspended in Faith of what is to come and in\nthe end throws out feeling wings of loveliness and with them floats off\ntowards his god and his doom, so the unwashed actor beckoned me,\ni\nwith Just such an indication of the direction I should take. And, as I\nwalked along the side-street past the House of the Faun, a largo and\nfinely silvered insect winged Its way ahead of me, turned to the right,\nthen to the left, and at last settled upon the plllaster on which was an\ninscription, \" The Ho jse of the Vettii. \"\nStrange as it may seem It was not without apprehension that I entered\nthe open door of their house.\nOne or two things which 1 had noticed on my way through the streets\no! Pompei made me ask myself more than once as I walked rapidly along,\n'• shall I find them in?\" I know of no greater dispiritment when one is\nhappy and full with expectation, one's eyes and tongue held back by dread"}, {"page_pdf": 93, "page_imprimee": "359", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.93", "debut_caractere": 24, "fin_caractere_exclue": 2153, "texte": "and almost out-running one In this eagerness to see and speak, than to\nfind an empty house and the people saying they have no Idea when the\nmaster wili return.\nAnd this I felt more and more keenly at every step of the way. There\nwere quite a number of queer signs,... and at times I had difficulty in\ntelling myself that some catastrophe had not suddenly descended upon\nmy friends,... nay, upon the whole city.\nJE? One gets these hallucinations at times,... the sight of a heap of bricks\nor a crumbling wail will put one in mind of an earthquake; one ruined\nhouse is enough to bring up the ghastly suggestion of an eruption and\nsubsequent disaster. And it must have been something of the kind which\nput the fear Into me as I hurried up the delighful little bye-street which\nIs on one side of the House of the Labyrinth.\nJE? But everything became once more normal as I entered the courtyard\nof their house and found my two friends waiting for me there with\noutstretched arms and the same gloriously tuned voices weicomed me\nover and over again in words which were never turned twice the same\nand which refreshed the ear and the sou! and even the body, so tired\nthrough Its late exertions.\nI had never met them before, but it was as though I knew them very\nwell. Therefore try and accept it that we were old friends,... as indeed\nwe are.\nIn height the elder of the two a trifle exceeds his brother, but both\nare tall, both fair, and have the most steady carriage\nAs a well-ordered actor seems neither to move, to come on to the\nstage nor to leave it, but comes and goes as by magic, so these brothers\n•seemed to pass from room to room.\nTrawlawny writing of Shelley mentions this peculiarity. He tells us\nthat while a group of people were in eager conversation Shelley would\nsppcßf as from nowhere, and later would vanish just as mysteriously.\n& This, together with their voices, is the most striking thing about my\ntwo Vettll.\nTheir house is most magnificent,., smali and perfectly proportioned it\ncontains a number of perfect litttie rooms one leading out of the other,\n.decorated and furnished so that they lead into one another."}, {"page_pdf": 94, "page_imprimee": "360", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.94", "debut_caractere": 21, "fin_caractere_exclue": 2246, "texte": "& This is no house of ascetics, and yet there is not a spiritless spot to\nbe found in it. The walls are rich in colour and the tables covered with\nall manner of delicate objects for dally use. I found a little banquet\nawaiting me and we were soon spread out on our couches in the coolest\nof rooms eating and drinking a number of good things,.... which might\nhave come all the way from Egypt or Ceylon so various they were and\nso strange to my experience.\nAnd as we made an end of the pranzo, a number of young women\npassed by the open door and towards the atrium and there commenced\nto play at a game which is certainly unusual; for It was neither noisy\nnor calling for exertion of any kind, and displays the hands and arms\nand head of the player to perfect advantage.\njp Each of these young women seemed to me to be possessed of an\namiable and distinguished bearing, the result of careful training. Neither\ncould 1 detect any spiritual disharmony among them after I had questioned\nthem for quite a while.\n& We now retired each to rooms containing a cool bath for the heat of\nthe day was increasing, and to rest upon couches of some silken texture.\n& Each of us was accompanied by one or more of the young women.\nThe one who joined me seemed at the moment to have been impelled to\nseek my society for some profound cause and as though she had some*\nthing which she desired to speak with me about.\n1 found later that my surmise proved to be quite exact, but what her\nquestions were and what problem she desired me to solve Is nobody's\nbusiness but her own. Altogether I was reminded of life In Japan.\nAt four o'clock 1 was awakened by the sound of wind Instruments,\nplayed afar off, whose sounds floated fitfully into the stillness of my\nroom reminding me of 1 know not what immensities, and filling me with\na sense of power which 1 cannot describe.\nI lay between waking and sleep for the space of twelve minutes, and\nwas entering a second dream when sleep was entirely banished through\nthe singing of four voices in unison outside the door of my chamber.\n& 1 rose up and in five minutes I was in the peristyle where I found\nmy two friends in serious discussion.\nThe subject which they had chosen to discuss was whether or not"}, {"page_pdf": 95, "page_imprimee": "361", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.95", "debut_caractere": 19, "fin_caractere_exclue": 2040, "texte": "animals were possessed of souls, and whether these souis, in entering\nthe bodies of animals, were being punished or rewarded for a past\nexistence.\nIn the earnestness of the dispute nothing discordant ever threatened\nto enter, and in twenty minutes a point of agreement had been reached\nand we were all on our way to the Tragic Theatre.\nMy friends had promised to call on the way at the House of the\nPoet, and, while waiting in his courtyard for his appearance, my thoughts\nturned towards Dublin and the house of that other Poet of the other\ngreat land ; of his couple of rooms rather. Here a whole house dedicated\nitself to the service of the Tragic Poet.\nIn the entrance hall of his dwelling many works of art were to be\nseen,... fine things, very freely drawn and coloured, mystic each one:...\none heard voices upon looking at them; the figures seemed to move\nslightly,... beckoned or turned away:... each had one movement apiece.\n....We arrived at the Theatre when it was Just time for the piece to\nbegin, and we took our seats the last of all the spectators.\nAt once the Chorus sprang, fuliy armed, it seemed, into the semicircular\narena. They were at work with their Prelude at once. The place seemed\nsuddenly alive; the air tingled with life. ...Oh, Scarpetta, what you\nshowed me last night was good, very good, but what I see now is great,\nvery great.\nrose up after some distant peal of thunder had rolled away. A storm is\nover there, somewhere over behind the volcano. It is far off; the sky\nis leaden-coloured over there. Here the silence is acute, the sun very\nwhite and the promise of a calm evening certain. ...But perhaps the\nni«-ht wilPbear strange things into the city. I have a presentiment of\ndisaster.\n& The spectators are in a noble mood and the performers hum like a\nkettle which boils upon a steady fire.\nThere is practically no movement at aii except in the swift and\nregular suggestion of advancing motion in the voices of the actors.\nimpression carries hallucination. With this advancing motion of"}, {"page_pdf": 96, "page_imprimee": "362", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.96", "debut_caractere": 21, "fin_caractere_exclue": 2130, "texte": "the voices I receive an Impression ot an Increase In the stature of the\nactors. They seem to be coming nearer and nearer; like those shadow-\npictures the forms grow steadily larger and larger, and now they seem\nto tower to a toppling condition. Now the whole thing hangs as it were\nsuspended. There Is long silence,... one can count slowly up to twelve.\nSuddenly there is a roar as of a multitude which cries out In one\nvoice as at some universal Rescue. It comes not from the spectators,\nbut from and in our hearts. We make no noise at all.\nThe Drama has ended*\n* No one m<>ves; everyone has been leaning forward; some begin to\nrelax and to iean back In their seats; no one wishes te rise up. There\nis time now. I too feel this sense of Infinite time. I rest and let my eyes\nwander along the noble lines of the stage, and the calm sky which shows\nabove the cornices. A bell near by strikes out its quite small note,... afar\noff another bell begins to t011,... a third,... others. The sun seems to be\nsinking rapidly now, and yet no one stirs. No one would wish to stir\neven by the least ripple this great ocean which is in us and yet upon\nwhich we too float.\nI feel that this is the great blessing brought to us by the poet,..; the\nvalue of the moments.\n& It is dark now and no one can see anything distinctly. Up above the\nsun throws a last red streak upon the long cornice. We are quite in\nthe shadow.\n& A long time seems to elapse.\n& Now everyone will be rising and leaving the building without haste\nand without noise. To speak would be to break perfection. Everything\nis right. The great theatre has emptied itself as In one great heaving\nsigh... Oh, but this is good, ...very good.\n& The moon is up. Alone in the empty theatre, sitting there long after\nthe city Is asleep I know as by a magical divination the great secret\nwhich bred this great impression.\nart, not greater knowledge, nor any power of God: Only the\nliberty of the nature of man has made this possible.\n& lie Is free to open his nature,... to expand. He may see, hear, touch\nand know by his senses the simple mysteries of his existence."}, {"page_pdf": 97, "page_imprimee": "363", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.97", "debut_caractere": 21, "fin_caractere_exclue": 890, "texte": "& I saw it when 1 was in the House of the Vettii. I felt it at each hour\nthere, and at every event, great or small. I felt it in the House of the\nTragic Poet. I felt It in the Theatre. The performance only reminded me\nthat this was a reality. Freedom was no dream,... It was an actuality\nprecious as life. The profane pleasures and those called sacred were to\none and all the essence of Life. There was no actual slavery for this\nduty made even the slaves freedmen.\n& Freedom of thought and experience was the Law. Men dared to be\nprofane for men dared to be profound. There was no vulgarity I remem-\nbered in the lewd painting which I saw in the House of the Vettii.\nRevelation seemed full as I sat and pondered upon all this at midnight\nin the Tragic Theatre* And I drew my cloak round my knees and shoulders\nand lay down on the .still warm steps.... and fell asleep."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c042", "article_bluemountain": "bmtnaau_1914-04_01#c042", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "364", "page_fin": "367", "image_debut": 98, "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=bmtnaau191404-01.2.17", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 98, "page_imprimee": "364", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.98", "debut_caractere": 0, "fin_caractere_exclue": 23, "texte": "FOREIGN NOTES.\n\nZURICH."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c043", "article_bluemountain": "bmtnaau_1914-04_01#c043", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "364", "page_fin": "367", "image_debut": 98, "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=bmtnaau191404-01.2.17.1", "titre_corps": "ZURICH", "titre_sommaire": "ZURICH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 98, "page_imprimee": "364", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.98", "debut_caractere": 16, "fin_caractere_exclue": 23, "texte": "ZURICH."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c044", "article_bluemountain": "bmtnaau_1914-04_01#c044", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "364", "page_fin": "367", "image_debut": 98, "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=bmtnaau191404-01.2.17.1.1", "titre_corps": "The Theatre Exhibition", "titre_sommaire": "The Theatre Exhibition", "signature_source": "P. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 98, "page_imprimee": "364", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.98", "debut_caractere": 25, "fin_caractere_exclue": 1852, "texte": "The Theatre Exhibition.\n\nis a town which understands\nthe organization of exhibitions.\nIt possesses a magnificent permanent\ncollection of old Swiss arts and\ncrafts: it has now added to its pre-\nv • '\nstige with a finely arranged exhibi-\ntion of Theatre models, scene and cos-\ntume designs and architectural plans.\nThis exhibition is remarkable\nnot merely for the actual exhibits\nbrought together but for the admi-\nrable manner in which it is arranged.\nIt is all done with a care and at-\ntention to detail which would be a\nrevelation to the organizers of ex-\nhibitions of works of art in England.\nThese people understand the impor-\ntance of the arrangement of light\nand of the height or size of rooms\nin relation to the exhibits arranged\nin them; they understand the im-\nportance of making everything look\nnice : and therefore into their great\nhails thej' build, with swiftness and\nskill, a complete set of little rooms\nproportioned to meet exactly the\nrequirements of the works to be\nshown.\nThe rooms are constructed of\nrough wooden frames on which\nnettle-cloth Is stretched, and these\npartitions, being carried up to the\ndesired height, are closed In with\nlinen ceilings. Windows also are\nreduced to the required dimensions\nby false frames filled in with pleated\nniuslin, so that one sets to work to\narrange the exhibits in surroundings\nspecially and admirably prepared.\n& This principle has considerable\npractical as well as esthetic value,,\nsince it naturally makes it possible\nto utilise for exhibition purposes,\nlofty gaunt halls and buildings which\nwould otherwise be quite impossible\nfor such a purpose, as well as, as is\nthe case here, building a gallery of\nmany small rooms within another\ngallery when the regular rooms are\nfound to be too large or high for\nthe collections to be shown.\"\n& And then every detail o§ the-"}, {"page_pdf": 99, "page_imprimee": "365", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.99", "debut_caractere": 16, "fin_caractere_exclue": 2409, "texte": "work is carried out with such ease,\nspeed and precision that it is a\npleasure to watch the workmen ac-\ncomplishing it. They work as a\nwell-drilled squad, and under their\ncapable hands the rooms change\nbeneath your very eyes like magic\nfrom square to oblong, or vice versa,\nand to any dimensions required.\nThe same system of nettle-cloth\nstretched on wooden frames is\nadapted for all the pedestals, shelves\nand stands, and these, like the walls,\nreceive for each occasion a fresh\ncoat of white, cream, grey or black\nwash, so that rooms and stands can\nalike be in harmony with the objects\nshown.\nA considerable part of the ex-\nhibition Itself was already shown at\nMannheim a year ago and included a\nlarge number of designs by Adolphe\nAppia : (i) but it has been greatly\naugmented at Zurich by a fine col-\nlection of Mr Gordon Craig's designs\nfor stage scenes, costume and masks,\nas well as some of his models, and\na unique collection of Oriental masks\nand and old Theatre\nbooks lent from the collection of\nthe School for the Art of the Theatre\nin Florence.\nIn fact it Is the work of Gordon\nCraig which dominates the Exhibi-\ntion, not only in so far as it Is re-\npresented in his own designs, but\nin the way in which its Influence\nmay be traced in almost all the\nwork exhibited by the younger men.\nTrue, though, much of the work\nof these young men Is not at all\ngood. Much of it is very bad. Yet\neven so it is to be welcomed because\nIt shows energy and enthusiasm:\nshows that they are awake, and are\nstudying... experimenting... trying,\nand, though they may not have got\nfar, their efforts at least show a\ncertain consciousness that there is\nsomewhere to go to and something\nto do besides standing still.\nIt is noticeable that there are\nno contributions from England, and\nnone of the London managers have\nbeen known to visit the exhibition,al-\nthough those from Berlin, and other\nlarge continental cities have realised\nthe value of doing so But very\nlikely in London they are not even\naware that such an exhibition is in\nprogress. It would be just like them.\nThe weakest section of the exhi-\nbition is the historical section. This\ncould with great advantage have\nbeen developed. Indeed, until Mr\nGordon Craig consented to have\nthree additional rooms filled with\ncontributions from the collection of\n\n(lj As article treating oi the work oi this artist will\nappear is an early number oi '• The Mask"}, {"page_pdf": 100, "page_imprimee": "366", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.100", "debut_caractere": 16, "fin_caractere_exclue": 2386, "texte": "his School, the early theatre was\nrepresented only by a few photo-\ngraphs showing some of the ancient\ntheatres, and the eastern theatre\nwas not illustrated at all.\nThe many architectural plans, ele-\nvations and plaster casts of theatre\nbuildings show that a great deal of\nintelligent activity is being devoted\nto this matter in Germany and\nSwitzerland, and the models of turn-\ntable stages showing the sequence\nof the various scenes are also in-\nteresting.\nAmong the younger men some\nof the best work is shown by Rochus\nGllese of Berlin. Some of his work Is\nvery good indeed and shows a great\nsense of the Theatre, especially\nan interior scene with a staircase\ngoing* up behind. This was so ar-\nranged that one saw the people at\nthe foot: through an opening Into a\nlittle hall another glimpse of them\nwas given as it passed behind a\nwindow at the back of the room,\nand the upper steps were made to\njut into the room again at the top\nof the wall, so that one heard them\nwithout seeing them. Thus three\nimpressions were given: and such\nuse of an architectural detail showed\nreal acquaintance with the theatre.\nBesides, all the scenes and costumes\nby this talented young designer\nwere very gay and charming and\namusing, and, 1 should say, would\nbe also of practical use.\n& Franz Nitsche's costume designs\nfor Mollere's 4 Precieuses ridicules '\nand other plays are also good and\nshow invention. This is specially to\nbe noticed in comparison with such\nwork as Stern's, for the latter merely\ncopies from the costume books or\nfrom some one else. One is especially\nstruck by the difference on com-\nparing the ( cats ' of the two men.\nStern's cat Is copied from the Rus-\nsians and is wholly realistic, while\nNitsche's is fantastic and inventive.\n& But Stern's work is as out of\nplace as a great deal more in the\nexhibition. It is difficult to under-\nstand the value of making large\ndrawings from the designs which\nare familiar to us all in the thea-\ntrical costume b00k5,.... Planche,\nHottenroth, and the rest, and sending\nthese for exhibition, but there is,\nunfortunately, a great deal of this\nkind of work on show.\nHeine from Munich ought cert-\nainly to know better than to send\nsuch work as he has exhibited, and\nso should Julius Diez, and not a\nfew others. But the worst offender\nIs Max Liebermann whose work\nhas nothing whatever to do with\nthe Theatre at all. 1 noticed th a"}, {"page_pdf": 101, "page_imprimee": "367", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.101", "debut_caractere": 16, "fin_caractere_exclue": 2320, "texte": "someone else had perceived this and\nhad written 'impertinence' on the\ncard bearing his name, and the\nreproof was fully merited.\nThere is a room full of designs\nby Leon Bakst, and as drawings they\nare many of them very delightful,\nalthough as designs for the theatre\nthey have little practical value: for\na considerable part of their charm\nlies in the particular way they are\ndrawn, the decorative handling and\narrangement of the drapery upon\nthe sheet, and how different the\nresult is when these costumes are\nput upon the stage may be realised\nby comparing photographs of actors\nand actresses wearing them with\nthese designs.\nJZ? Still, Bakst is for the moment\nthe fashion among a certain group,\nand that he has his followers is\nshown by the designs exhibited by\nVoight and Montedoro, who are\ndetermined that, since Bakst is in\nthe fashion, they will be in the\nfashion too, and therefore imitate\nhim as far as is in their power, even\nto the pointed finger nails and pasty\ncolour.\nThe work of Ludwig Sievert of\nFreiburg can be said to be frankly\nbad and yet with plenty of good\nideas. But he is so rough, so gory,\nnoisy and brutal, and he has no\ndistance in his development. The\nquestion is, is he good enough to lead\none to believe that he will suddenly\ndrop all this and, with his invention,\nbecome decent?\nFrau Sievert, who exhibits some\ncostume designs, has all the bad\nqualities of her husband, but the\nway her costumes are cut out of\nstuff, embroidered, and stuck on the\ndesign is practical and I should say\nmight be reliable. 1 do not know\nif the idea is her own or her hus-\n/\nband's.\nAmong other exhibitors of scene\nand costume designs are Albert Isler,\nFritz Erler, Koloman Moser, Emil\nOrlik, Bernhard Pankek, Ottomar\nStarke, Knut Strom, Karl Voigt,\nRalf Voltmer and Karl Walser ; while\nthe architectural designs and models\ninclude works by Henry Heiblg,\nOskar Kaufmann, Hans Poelzig,\nBruno Schmitz, and Otto Karow.\nAltogether the Exhibition is one\nupon which Zurich is to be heartily\ncongratulated. But upon nothing so\nmuch as having brought together,\nfor the first time, in adjoining\nrooms, the works of Adolph Appia\nand Gordon Craig; for to know that\nthere are two such men at work for\nthe Theatre fills one with excite-\nment, exhileration, the sure confi-\ndence of a coming Golden Age.\n\nP. R."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c046", "article_bluemountain": "bmtnaau_1914-04_01#c046", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "368", "page_fin": "372", "image_debut": 102, "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=bmtnaau191404-01.2.18", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "368", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.102", "debut_caractere": 0, "fin_caractere_exclue": 1856, "texte": "EDITORIAL NOTES.\n\nTHE POOOOOR WILD BEASTS.\nthe English missionaries,\never busy about the souls of\nthe sad Heathen in the wilds of\nAfrica and India, are still troubling\nwith their obstinate children, 1 am\ntold that a Society is in active for-\nmation to go out to the jungles of the\nsame heathenish lands to perform\nthe plays of Brieux and Shaw for the\nedification of the savage races and\nthe still more savage animals of\nthose districts.\nThe object of the society is to\nbring home to tho darkened mind\nof those back-to-the-land beasts the\nawful dangers to which their utter\nignorance of the science of Eugenics\nexposes them.\n%\n& The plays will be performed by\na group of literary gentlemen, and\nthis Is a sufficient guarantee that\nall the i's will be crossed and all\nthe t's dotted.\nIt Is hoped that by this means\nthe race of Hippopotomi will be\ngreatly bettered and the Leopard\nwill learn to change his spots.\nThe fact that there are spots on\nthe sun will In no way deter the\nsociety from bringing all persuasion\nto bear on the leopards.\nIf the Lion refuses at first to He\ndown with the Lambs a suffragette\nhas been engaged to make it.\nSome critics are already saying\nthat the Beast does not need to be\ntaught what has already been learnt\nby Nature.\nBut such writers are only begging\nthe question. Nature has failed, and\nwhere she has failed Brieux and\nShaw will succeed.\nAnd if only the plays of these\ntwo writers bring the poor savage\nanimals to lead a purer, cleaner,\nmore logical, and, ultimately we un=\nderstand, zoological life, the world\nwill be a sweeter, saner place, that\nit will !\njz? One writer in the \"Star of India\"\nsays: \" what is all the time at the\nback of the Reformer's brain, what\nis that which is hidden In the utmost\nrecesses of his mind ? Is it not a\ncage ?.«.\"\nIn writing this he anticipates us.\n& Yes, a zoological life Is the only"}, {"page_pdf": 103, "page_imprimee": "369", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.103", "debut_caractere": 18, "fin_caractere_exclue": 2339, "texte": "scientific way out of the awful di-\nlemmas into which that monstrous\nparody of God which parades so\nloftily under the name of NATURE\nhas led us all, ...yea, even the poooor\nwild animals.\nBut by the help of this healthy\nsociety 44 the higher education of\nthe classes will be achieved. \"\nOf 44 Fudge I \" said Mr Burchell.\n\nCRITICS AND MOLES. &\nMr- G. B. Shaw's comedy \" You\nNever can Tell \" \" was performed\n44 at the Sannazzaro Theatre for the\n44 first time in Naples. There were\n44 two calls before the curtain after\n44 the second act, but the third was\n44 coldly received, and only the tango\n44 in the fourth act was encored. The\n44 Neapolitan critics say that it needs\n44 mental acrobatics to understand\n44 the significance of this play; that\n44 Shaw is fettered by his own para-\n-44 doxes and that the whole effect is\n44 alternately-Irritating and diverting,\n44 but that, apart from its extrava-\n-44 gance and superfluities, it shows\n44 great talent and sense of comedy\n44 In the author. \"\ndont see how a Shaw play\never gets to be produced at all\nin Italy or anywhere further South\nthan Milnchen ; but that is no reason\nwhy Neapolitan Critics should be\ncareless over their work.\n& George Bernard Shaw Is a man\nwhose work is known far and wide\nand one must wake up before reading\neven if you go to sleep during the\nact.\nJS/ And you must read what has\nbeen written about it by • casual\ncritics so as to avoid the first rash\nand unnecessary remarks which have\nalready been dashed off charmingly\nat least ten years ago. The critics of\nNaples according to the Dally Mall\nhave gone back ten whole years and\nshould be dismissed by their long\nsuffering editors.\n-<s> For to trot out such old hacks of\nphrases about Shaw being 44 fettered\nby his own paradoxes \" and that the\nwork 44 shows great talent in the\nauthor \" is deplorable.\nWe find Shaw's whole series\nof dramas utterly unnecessary and\na tolerable bad Influence on his\nforerunners Mr Barker and the\nothers: but that he is at all fet-\ntered by his own paradoxes \" is\nridiculous; anyhow he is \"moving\non \" all right and those admirable\npolicemen in Gay London, who can\nsay anything and everything about\na work of the theatre except that\nIts bad, will keep him moving.\nJZ/ When we come to review critics,\nand are forced to realise that they\nhave been forced to accept Shaw"}, {"page_pdf": 104, "page_imprimee": "370", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.104", "debut_caractere": 18, "fin_caractere_exclue": 2280, "texte": "as a work of Theatrical art and\nhave been unable to find any but\nminor faults with what he offers, it\nseems about as strange a situation\nas any in the metropolis.\n£? Unable to say where Shaw Is\nabominable, and quite beheadable,\nbecause unable in their own minds\nto define what a work of art is\nor may be and what it is not and\nmay never be.... unable to define\nfor themselves and their nightly gui-\ndance what Drama is and what the\nTheatre is and what relation Drama\nand Theatre have been to the Arts\nand what good and what harm Drama\nand Theatre can be to our life\nspiritual and physical froip the\npoint of view of even a party man\nor national man or even a man.\n£? Shaw is of importance as an\nenergetic writer on social troubles:\nhe does no one good wasting his\ntime in the Theatre. The world, and\nthe London Press in particular, raises\na great outcry against the Suffraget-\ntes and the Super-Larkins and even\ngoes so far as to export and import\nthese products of our wondrous\nMole System ...(for is not our social\nsystem blind as a mole digging\nin the dark?) But Shaw, who has\npractically acted as the midwife\nto these Monstrosities and who\neven puts up a neat little card in\nhis front parlour window to say so,\nis allowed to proceed contentedly\nwith his work... because no one is\nable to see what a dear old silly the\nman is... This is all to Shaw's Credit...\npersonally we should like to see Shaw\nmuch more mighty (were such a\nthing possible) because then we\nshould at last realize the grandeur\nand might of London of the 20th\ncentury.\n\n\"DAMAGED GOO\" & .\nMask has many times in the\nlast six years protested against\nthe use of the theatre as a pulpet\nor for propaganda work,* it has also\nmany times supported the authority\nof the censor and insisted that\nthis authority should be far more\nrigorously enforced.\nThis attitude has* been looked\nupon by other journals and by many\nprominent persons as a little Idio-\nsyncracy of The Mask, and the\ntedious drawling over morbid and\nrisque subjects has gone on.\nIt has gone on until It culminated\nlast month in a production of M.\nBrieux's \" Damaged Goods \" at the\nLittle Theatre.\n& We say ' culminatedbut of\ncourse there may be still worse to\ncome.\nNow we are not objecting to the\nventilation of the subject to which"}, {"page_pdf": 105, "page_imprimee": "371", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.105", "debut_caractere": 18, "fin_caractere_exclue": 2396, "texte": "the play is devoted. It is a sad subject\nand a terrible subject, and in a\nchurch, a clinic or a lecture room\nwould not be out of place. What we\nobject to is Its introduction into the\nTheatre, and the deadly dulness of\nM. Brieux's 44drama\" upon the stage.\nBut then it is not a 44 drama \" at\nall, for the very meaning of the\nword 44 drama \" is action, and there\nIs no action in M. Brieux's play:\nit is simply a long-winded and te-\ndious talk, most of which takes place\nin a doctor's- consulting room..\nThe 44 Daily Mail \" wrote of the\nproduction very sensibly on February\na6 as an 44 Excrescence on the name\n44 of dramatic art: \" and added 44As\n44 for the play, it deals in the crudest\n44 and most undramatic fashion with\n44 the subject of a young man,\n44 victim of the hidden plague, and\n44 his marriage.\n44 A child is born, and then we\n44 have discussions as to the proba-\n-44 bility of the nurse falling a victim\n44 to the plague.\n44 As if this were not enough,\n44 our undramatic author produces\n44 a host of new characters in his\n44 last act, most of whom are Exam-\n-44 pies of the scourge which he treats\n44 so coldly, and ail of whom are\n44 gifted with a talent for coarse\n44 speech.\n& 44 Most of the talk,... there Is\n44 little or no action,... takes place\n\" in a doctor's consulting room, and\n\" Mr. Forbes White was quite good\n\" as the doctor. But a theatre is\n44 not a consulting room. \"\nIf the \"Daily Mail\" has once reali-\nsed that M. Brieux Is 44 undramatic \"\nbecause his plays are nothing but\ntalk perhaps it will presently realise\nthat Messrs Shaw, Plnero, Jones\nand Co. are also undramatic, for the\nsame reason, and equally out of\nplace in the Theatre: and now that\nit has perceived that \" A Theatre is\nnot a consulting room \" possibly It\nmay in time perceive that neither\nIs it a lecture hall or a pulpet and\narrive rat some clearer conception\nof what it really is.\nWhen M. Brieux's plays were first\npublished in book form in English\nwith a preface bj' Mr Bernard Shaw,\nMr Louis Madrid wrote as follows\nin The Mask, July ipn.\n44 We of the theatre dislike Mr\n44 Shaw only when he brings his\n\" social propaganda on to the stage,\n44 for it explains too nicely how\n44 little Mr Shaw understands the\n44 nature of the Theatre, and it is\n44 hardly necessary to repeat here\n44 that the Theatre Is a temple or\n44 house of Art, and Art has never\n44 flourished when connection"}, {"page_pdf": 106, "page_imprimee": "372", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.106", "debut_caractere": 78, "fin_caractere_exclue": 2246, "texte": "44 with Social or Polical reform, it\n44 having nothing in common with\n44 either. \"\nAnd that is exactly what we feel\nin regard to this performance of\n44 Damaged Goods ; \" we dislike M.\nBrieux's intrusion into the theatre,\nand we dislike the treachery, ...or\nignorance.... of those who prostitute\nthe stage to so unjustifiable a use.\n\nMr POEL AND Mr HARVEY.\nj n the October number of The\nMash we asked in an Editorial\nNote upon Mr Poel's work how much\nof the \" Taming of the Shrew \" was\nhis and how much Mr Martin Harvey's\nwork.\nWe know now, for one of the\ngentlemen has told us. But this Is\namongst those secrets we shall enjoy\nkeeping.\n\nCOURAGE AND 44PROMOTION\"\n'|vhere are some things which mo-\ndern dramatists wont admit exist.\n& Courage is one of them.\nThis comes from India....\nMr F. C. Herst in his report of\nsurvey work in the Sunderbans tells\nus that 44 A khalassi was carried off\nfrom within a few feet of a surveyor's\nplane table. The surveyor looked up\nand regardless of the risk followed\nthe tiger, armed with nothing but\na brass sight-rule, weighing perhaps\ntwo pounds. The tiger did not hurry,\nand the surveyor attacked it without\nhesitation, beating it on the head\nwith his miserable weapon. The tiger\nretreated, and the surveyor recov-\nered the body of his companion.\n44 The case was one of extreme\npluck such as is seldom met with,\nand the man received promotion as\na reward for his gallantry.\"\nWe are curious to know how you\n\" promote \" such men. The point is,\ncan you ? Mr Carnegie rewards bra-\nvery. We think all Mr Carnegie's\nmillions would not make up the exact\nsum necessary to balance thlsaccount.\nWe wish some commission would\nbe empowered to enquire into the\ninsulting \" Hero Fund \" business\nwhich Mr Carnegie's intellect and\ndelicacy has brought into being.\n\nCEREMONIES & THE NATION.\nJ. S.\nsympathy to the French Nation\nwhich, through not possessing a\nstatesman with discernment or po=\nwer, leaves Antoine and Poe to rust,\nConfucius said that Ceremonies\nand Music were the most prompt\nand efficacious factors for reforming\nmanners and making the state pro=\nsperous. We recommend his words\nfor the consideration of the autho-\nrities of France."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c047", "article_bluemountain": "bmtnaau_1914-04_01#c047", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "368", "page_fin": "369", "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=bmtnaau191404-01.2.18.1", "titre_corps": "THE POOOOOR WILD BEASTS", "titre_sommaire": "THE POOOOOR WILD BEASTS", "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": "368", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.102", "debut_caractere": 18, "fin_caractere_exclue": 1856, "texte": "THE POOOOOR WILD BEASTS.\nthe English missionaries,\never busy about the souls of\nthe sad Heathen in the wilds of\nAfrica and India, are still troubling\nwith their obstinate children, 1 am\ntold that a Society is in active for-\nmation to go out to the jungles of the\nsame heathenish lands to perform\nthe plays of Brieux and Shaw for the\nedification of the savage races and\nthe still more savage animals of\nthose districts.\nThe object of the society is to\nbring home to tho darkened mind\nof those back-to-the-land beasts the\nawful dangers to which their utter\nignorance of the science of Eugenics\nexposes them.\n%\n& The plays will be performed by\na group of literary gentlemen, and\nthis Is a sufficient guarantee that\nall the i's will be crossed and all\nthe t's dotted.\nIt Is hoped that by this means\nthe race of Hippopotomi will be\ngreatly bettered and the Leopard\nwill learn to change his spots.\nThe fact that there are spots on\nthe sun will In no way deter the\nsociety from bringing all persuasion\nto bear on the leopards.\nIf the Lion refuses at first to He\ndown with the Lambs a suffragette\nhas been engaged to make it.\nSome critics are already saying\nthat the Beast does not need to be\ntaught what has already been learnt\nby Nature.\nBut such writers are only begging\nthe question. Nature has failed, and\nwhere she has failed Brieux and\nShaw will succeed.\nAnd if only the plays of these\ntwo writers bring the poor savage\nanimals to lead a purer, cleaner,\nmore logical, and, ultimately we un=\nderstand, zoological life, the world\nwill be a sweeter, saner place, that\nit will !\njz? One writer in the \"Star of India\"\nsays: \" what is all the time at the\nback of the Reformer's brain, what\nis that which is hidden In the utmost\nrecesses of his mind ? Is it not a\ncage ?.«.\"\nIn writing this he anticipates us.\n& Yes, a zoological life Is the only"}, {"page_pdf": 103, "page_imprimee": "369", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.103", "debut_caractere": 18, "fin_caractere_exclue": 337, "texte": "scientific way out of the awful di-\nlemmas into which that monstrous\nparody of God which parades so\nloftily under the name of NATURE\nhas led us all, ...yea, even the poooor\nwild animals.\nBut by the help of this healthy\nsociety 44 the higher education of\nthe classes will be achieved. \"\nOf 44 Fudge I \" said Mr Burchell."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c049", "article_bluemountain": "bmtnaau_1914-04_01#c049", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "369", "page_fin": "370", "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=bmtnaau191404-01.2.18.2", "titre_corps": "CRITICS AND MOLES", "titre_sommaire": "CRITICS AND MOLES", "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": "369", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.103", "debut_caractere": 339, "fin_caractere_exclue": 2339, "texte": "CRITICS AND MOLES. &\nMr- G. B. Shaw's comedy \" You\nNever can Tell \" \" was performed\n44 at the Sannazzaro Theatre for the\n44 first time in Naples. There were\n44 two calls before the curtain after\n44 the second act, but the third was\n44 coldly received, and only the tango\n44 in the fourth act was encored. The\n44 Neapolitan critics say that it needs\n44 mental acrobatics to understand\n44 the significance of this play; that\n44 Shaw is fettered by his own para-\n-44 doxes and that the whole effect is\n44 alternately-Irritating and diverting,\n44 but that, apart from its extrava-\n-44 gance and superfluities, it shows\n44 great talent and sense of comedy\n44 In the author. \"\ndont see how a Shaw play\never gets to be produced at all\nin Italy or anywhere further South\nthan Milnchen ; but that is no reason\nwhy Neapolitan Critics should be\ncareless over their work.\n& George Bernard Shaw Is a man\nwhose work is known far and wide\nand one must wake up before reading\neven if you go to sleep during the\nact.\nJS/ And you must read what has\nbeen written about it by • casual\ncritics so as to avoid the first rash\nand unnecessary remarks which have\nalready been dashed off charmingly\nat least ten years ago. The critics of\nNaples according to the Dally Mall\nhave gone back ten whole years and\nshould be dismissed by their long\nsuffering editors.\n-<s> For to trot out such old hacks of\nphrases about Shaw being 44 fettered\nby his own paradoxes \" and that the\nwork 44 shows great talent in the\nauthor \" is deplorable.\nWe find Shaw's whole series\nof dramas utterly unnecessary and\na tolerable bad Influence on his\nforerunners Mr Barker and the\nothers: but that he is at all fet-\ntered by his own paradoxes \" is\nridiculous; anyhow he is \"moving\non \" all right and those admirable\npolicemen in Gay London, who can\nsay anything and everything about\na work of the theatre except that\nIts bad, will keep him moving.\nJZ/ When we come to review critics,\nand are forced to realise that they\nhave been forced to accept Shaw"}, {"page_pdf": 104, "page_imprimee": "370", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.104", "debut_caractere": 18, "fin_caractere_exclue": 1558, "texte": "as a work of Theatrical art and\nhave been unable to find any but\nminor faults with what he offers, it\nseems about as strange a situation\nas any in the metropolis.\n£? Unable to say where Shaw Is\nabominable, and quite beheadable,\nbecause unable in their own minds\nto define what a work of art is\nor may be and what it is not and\nmay never be.... unable to define\nfor themselves and their nightly gui-\ndance what Drama is and what the\nTheatre is and what relation Drama\nand Theatre have been to the Arts\nand what good and what harm Drama\nand Theatre can be to our life\nspiritual and physical froip the\npoint of view of even a party man\nor national man or even a man.\n£? Shaw is of importance as an\nenergetic writer on social troubles:\nhe does no one good wasting his\ntime in the Theatre. The world, and\nthe London Press in particular, raises\na great outcry against the Suffraget-\ntes and the Super-Larkins and even\ngoes so far as to export and import\nthese products of our wondrous\nMole System ...(for is not our social\nsystem blind as a mole digging\nin the dark?) But Shaw, who has\npractically acted as the midwife\nto these Monstrosities and who\neven puts up a neat little card in\nhis front parlour window to say so,\nis allowed to proceed contentedly\nwith his work... because no one is\nable to see what a dear old silly the\nman is... This is all to Shaw's Credit...\npersonally we should like to see Shaw\nmuch more mighty (were such a\nthing possible) because then we\nshould at last realize the grandeur\nand might of London of the 20th\ncentury."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c050", "article_bluemountain": "bmtnaau_1914-04_01#c050", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "370", "page_fin": "372", "image_debut": 104, "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=bmtnaau191404-01.2.18.3", "titre_corps": "\"DAMAGED GOODS\" & ART", "titre_sommaire": "\"DAMAGED GOODS\" & ART", "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": "370", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.104", "debut_caractere": 1560, "fin_caractere_exclue": 2280, "texte": "\"DAMAGED GOO\" & .\nMask has many times in the\nlast six years protested against\nthe use of the theatre as a pulpet\nor for propaganda work,* it has also\nmany times supported the authority\nof the censor and insisted that\nthis authority should be far more\nrigorously enforced.\nThis attitude has* been looked\nupon by other journals and by many\nprominent persons as a little Idio-\nsyncracy of The Mask, and the\ntedious drawling over morbid and\nrisque subjects has gone on.\nIt has gone on until It culminated\nlast month in a production of M.\nBrieux's \" Damaged Goods \" at the\nLittle Theatre.\n& We say ' culminatedbut of\ncourse there may be still worse to\ncome.\nNow we are not objecting to the\nventilation of the subject to which"}, {"page_pdf": 105, "page_imprimee": "371", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.105", "debut_caractere": 18, "fin_caractere_exclue": 2396, "texte": "the play is devoted. It is a sad subject\nand a terrible subject, and in a\nchurch, a clinic or a lecture room\nwould not be out of place. What we\nobject to is Its introduction into the\nTheatre, and the deadly dulness of\nM. Brieux's 44drama\" upon the stage.\nBut then it is not a 44 drama \" at\nall, for the very meaning of the\nword 44 drama \" is action, and there\nIs no action in M. Brieux's play:\nit is simply a long-winded and te-\ndious talk, most of which takes place\nin a doctor's- consulting room..\nThe 44 Daily Mail \" wrote of the\nproduction very sensibly on February\na6 as an 44 Excrescence on the name\n44 of dramatic art: \" and added 44As\n44 for the play, it deals in the crudest\n44 and most undramatic fashion with\n44 the subject of a young man,\n44 victim of the hidden plague, and\n44 his marriage.\n44 A child is born, and then we\n44 have discussions as to the proba-\n-44 bility of the nurse falling a victim\n44 to the plague.\n44 As if this were not enough,\n44 our undramatic author produces\n44 a host of new characters in his\n44 last act, most of whom are Exam-\n-44 pies of the scourge which he treats\n44 so coldly, and ail of whom are\n44 gifted with a talent for coarse\n44 speech.\n& 44 Most of the talk,... there Is\n44 little or no action,... takes place\n\" in a doctor's consulting room, and\n\" Mr. Forbes White was quite good\n\" as the doctor. But a theatre is\n44 not a consulting room. \"\nIf the \"Daily Mail\" has once reali-\nsed that M. Brieux Is 44 undramatic \"\nbecause his plays are nothing but\ntalk perhaps it will presently realise\nthat Messrs Shaw, Plnero, Jones\nand Co. are also undramatic, for the\nsame reason, and equally out of\nplace in the Theatre: and now that\nit has perceived that \" A Theatre is\nnot a consulting room \" possibly It\nmay in time perceive that neither\nIs it a lecture hall or a pulpet and\narrive rat some clearer conception\nof what it really is.\nWhen M. Brieux's plays were first\npublished in book form in English\nwith a preface bj' Mr Bernard Shaw,\nMr Louis Madrid wrote as follows\nin The Mask, July ipn.\n44 We of the theatre dislike Mr\n44 Shaw only when he brings his\n\" social propaganda on to the stage,\n44 for it explains too nicely how\n44 little Mr Shaw understands the\n44 nature of the Theatre, and it is\n44 hardly necessary to repeat here\n44 that the Theatre Is a temple or\n44 house of Art, and Art has never\n44 flourished when connection"}, {"page_pdf": 106, "page_imprimee": "372", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.106", "debut_caractere": 78, "fin_caractere_exclue": 409, "texte": "44 with Social or Polical reform, it\n44 having nothing in common with\n44 either. \"\nAnd that is exactly what we feel\nin regard to this performance of\n44 Damaged Goods ; \" we dislike M.\nBrieux's intrusion into the theatre,\nand we dislike the treachery, ...or\nignorance.... of those who prostitute\nthe stage to so unjustifiable a use."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c051", "article_bluemountain": "bmtnaau_1914-04_01#c051", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "372", "page_fin": "372", "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=bmtnaau191404-01.2.18.4", "titre_corps": "Mr POEL AND Mr HARVEY", "titre_sommaire": "Mr POEL AND Mr HARVEY", "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": "372", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.106", "debut_caractere": 411, "fin_caractere_exclue": 713, "texte": "Mr POEL AND Mr HARVEY.\nj n the October number of The\nMash we asked in an Editorial\nNote upon Mr Poel's work how much\nof the \" Taming of the Shrew \" was\nhis and how much Mr Martin Harvey's\nwork.\nWe know now, for one of the\ngentlemen has told us. But this Is\namongst those secrets we shall enjoy\nkeeping."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c052", "article_bluemountain": "bmtnaau_1914-04_01#c052", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "372", "page_fin": "372", "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=bmtnaau191404-01.2.18.5", "titre_corps": "COURAGE AND \"PROMOTION\"", "titre_sommaire": "COURAGE AND \"PROMOTION\"", "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": "372", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.106", "debut_caractere": 715, "fin_caractere_exclue": 1861, "texte": "COURAGE AND 44PROMOTION\"\n'|vhere are some things which mo-\ndern dramatists wont admit exist.\n& Courage is one of them.\nThis comes from India....\nMr F. C. Herst in his report of\nsurvey work in the Sunderbans tells\nus that 44 A khalassi was carried off\nfrom within a few feet of a surveyor's\nplane table. The surveyor looked up\nand regardless of the risk followed\nthe tiger, armed with nothing but\na brass sight-rule, weighing perhaps\ntwo pounds. The tiger did not hurry,\nand the surveyor attacked it without\nhesitation, beating it on the head\nwith his miserable weapon. The tiger\nretreated, and the surveyor recov-\nered the body of his companion.\n44 The case was one of extreme\npluck such as is seldom met with,\nand the man received promotion as\na reward for his gallantry.\"\nWe are curious to know how you\n\" promote \" such men. The point is,\ncan you ? Mr Carnegie rewards bra-\nvery. We think all Mr Carnegie's\nmillions would not make up the exact\nsum necessary to balance thlsaccount.\nWe wish some commission would\nbe empowered to enquire into the\ninsulting \" Hero Fund \" business\nwhich Mr Carnegie's intellect and\ndelicacy has brought into being."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c053", "article_bluemountain": "bmtnaau_1914-04_01#c053", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "372", "page_fin": "372", "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=bmtnaau191404-01.2.18.6", "titre_corps": "CEREMONIES & THE NATION", "titre_sommaire": "CEREMONIES & THE NATION", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 106, "page_imprimee": "372", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.106", "debut_caractere": 1863, "fin_caractere_exclue": 2246, "texte": "CEREMONIES & THE NATION.\nJ. S.\nsympathy to the French Nation\nwhich, through not possessing a\nstatesman with discernment or po=\nwer, leaves Antoine and Poe to rust,\nConfucius said that Ceremonies\nand Music were the most prompt\nand efficacious factors for reforming\nmanners and making the state pro=\nsperous. We recommend his words\nfor the consideration of the autho-\nrities of France."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c054", "article_bluemountain": "bmtnaau_1914-04_01#c054", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "373", "page_fin": "373", "image_debut": 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=bmtnaau191404-01.2.19", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "373", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.107", "debut_caractere": 0, "fin_caractere_exclue": 638, "texte": "THE MOSHER BOOKS.\nspecial literary value of rny general Catalogue has given it a unique\nposition In the world of book«making for book=lovers.\nFrom 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*<late 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.\n£? Sent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c055", "article_bluemountain": "bmtnaau_1914-04_01#c055", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "373", "page_fin": "373", "image_debut": 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=bmtnaau191404-01.2.20", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 107, "page_imprimee": "373", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.107", "debut_caractere": 640, "fin_caractere_exclue": 1407, "texte": "POETRY AND DRAMA\nHP HE founder and first editor of The 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\nm\nThe Poetry Review during 1912, and with many of the same\ncontributors. &\n& The first five numbers of Poetry and Drama are at\n*\npresent in circulation. &\nPoetry and Drama is the representative organ of the youn-\nger movement in English ■£?\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 2s. 6d. net- The\nannua! subscription is 10s. 6d. post free to all countries. Copies\nare procurable and subscriptions may be purchased through all\nBooksellers and Newsagents."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c056", "article_bluemountain": "bmtnaau_1914-04_01#c056", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "374", "page_fin": "374", "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=bmtnaau191404-01.2.21", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 108, "page_imprimee": "374", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.108", "debut_caractere": 0, "fin_caractere_exclue": 568, "texte": "THE GOLDONI BOOKS\nSKETCH BOOKS* DRA WING BOOKS, PAINTING BOOKS AND\nWRITING BOOKS, FOR ARTISTS, WRITERS AND LADIES.\n& These 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\" These are pages to turn and finger with delight: covers bright and\nvaried with colour and fresh design; sizes u uncumbersome to the nicest\nhand. \"\nWrite for particulars to The Mask\nARENA GOLDONI, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c057", "article_bluemountain": "bmtnaau_1914-04_01#c057", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "374", "page_fin": "374", "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=bmtnaau191404-01.2.22", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 108, "page_imprimee": "374", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.108", "debut_caractere": 570, "fin_caractere_exclue": 847, "texte": "THE FORUM. &\nis printing the most brilliant and\nenduring work of the men\nand women who will\nbe the classics of\nto-morrow.\nSTORIES : ESSAYS : CRITICISM : PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\nMITCHELL RENNERLEY\nNew York & London\nThree months trial subscription two shillings"}]}, {"article_id": "bm-bmtnaau-1914-04-01-c058", "article_bluemountain": "bmtnaau_1914-04_01#c058", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "375", "page_fin": "375", "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=bmtnaau191404-01.2.23", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 109, "page_imprimee": "375", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.109", "debut_caractere": 0, "fin_caractere_exclue": 606, "texte": "TWO BOOKS ON THE THEATRE,\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 in «• STUDIES IN SEYEN ARTS. \"\nORDER THROUGH ANY BOOKSELLER"}]}, {"article_id": "bm-bmtnaau-1914-04-01-c059", "article_bluemountain": "bmtnaau_1914-04_01#c059", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "375", "page_fin": "375", "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=bmtnaau191404-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 109, "page_imprimee": "375", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.109", "debut_caractere": 608, "fin_caractere_exclue": 856, "texte": "FOR THE CHILDREN.\n\"Eirt R/eines Buch\nTwenty wood engravings and twenty\nverses by Fritz Endell,\nThere are only one Hundred and Twenty\ncopies of this book, all are hand-coloured\n& by the artist. JD\nOrder from Fritz Endell, Agnesstrasse 12, Munchen•\n\\"}]}, {"article_id": "bm-bmtnaau-1914-04-01-c060", "article_bluemountain": "bmtnaau_1914-04_01#c060", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "376", "page_fin": "376", "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=bmtnaau191404-01.2.25", "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": "376", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.110", "debut_caractere": 0, "fin_caractere_exclue": 249, "texte": "SOUV E N I R.\nA CIS & OALA 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 PUBLISHERS\nArena Qoldoni. Florence. Italy.\nWRITE FOR PARTICULARS.\ni— ■.«■■■■ IMWHWT"}]}, {"article_id": "bm-bmtnaau-1914-04-01-c061", "article_bluemountain": "bmtnaau_1914-04_01#c061", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "376", "page_fin": "376", "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=bmtnaau191404-01.2.26", "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": "376", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.110", "debut_caractere": 251, "fin_caractere_exclue": 392, "texte": "A VERY RARE PUBLICATION.\nTWO PORTFOLIOS\nOF ETCHINGS\nby Gordon Craig.\nSEND FOR PROSPECTUS\nTO \" THE MASK \" PUBLISHERS,\nARENA GOLDONI, FLORENCE."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c062", "article_bluemountain": "bmtnaau_1914-04_01#c062", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "376", "page_fin": "376", "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=bmtnaau191404-01.2.27", "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": "376", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.110", "debut_caractere": 394, "fin_caractere_exclue": 707, "texte": "A LIVING THEATRE\nPRICE ONE SHILLING NET.\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nRecently\nPublished.\nc\nSecond Edition Now Ready.\nOrder through any Bookseller, or from\nThe Society of The Theatre.\n7, John St Adel p h i. London.\n\\\nor direct froht\nARENA GOLDONI, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1914-04-01-c063", "article_bluemountain": "bmtnaau_1914-04_01#c063", "volume": "bmtnaau_1914-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "376", "page_fin": "376", "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=bmtnaau191404-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 110, "page_imprimee": "376", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.110", "debut_caractere": 709, "fin_caractere_exclue": 1140, "texte": "THE SEVENTH VOLU\nBEGINS IN JULY.\nSEND IN SUBSCRIPTIONS THROUGH ANY BOOKSELLER OR\nDIRECT TO \" THE MASK\" PUBLISHERS, ARENA GOLDONI\nFLORENCE.\nFor further particulars see the inside back cover of this Number.\n.»mttrnmmmuwwjwXiinii mini 11 ' ■T\"I\"*\"\"'\"*'—\"m—r1\"*\"\"'\"*'—\"m—r i 11 i »nn ■■ im tunim-prr m ■■ iwnii. ini m i m « 'UiiuwwiK i IMIHW .»tiiuu—\n' WMwr munmMUK I I ~■—m-nm u mi i ■imnminniiiwinwr«n niiiimnniw IHIIM' n.fi ——- ■ 7™"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.1", "texte": "Jquartcrlyjourn?l of\nTHE ART OF THE THEATRE\nVolume Six. Number Four.\nAPRIL\ni 9 i 4\nARENA GOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIPTEEN SHILLINGS.\nSINGLE COPY PRICE FOUR SHILL I N Q S NET. &\nTRADE AGENTS.\nS IMPK I N, MARSHALL, HAMILTON, KB N T & CO. LO NDO N."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.2", "texte": "THE MASK. APRIL 1914.\nEditor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated.\n& AH 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\n<,\naddressed envelope as otherwise they cannot be returned. & & &\nCommunications should be addressed to the Arena Goldoni. Florence. Italy.\n\nLITERARY CONTENTS.\nEPILO.GUE. APRIL 1914 Gordon Craig. . . . 381.\nJAVANESE MARIONETTES From the Dutch. . . . 283.\nCARLO GOZZI AND THE VENETIAN DRAMA. . D. Nevile Lees. . . . 286.\nPUPPETS IN GERMANY. . . . . . . \" Yorick\". (P. Ferrigni) . 397.\nTHE PLAYS OF H ROTS WITH A Anatole France. . . . 306.\n. b\nGORDON CRAIG & THE THEATRE OF THE\nFUTURE. John Cournos. . . . 313.\nTHE \" TEATRO ALLA MODA \". .... Pierre Ramds. . . . 321.\n\" IT'S ABOVE MY HEAD \". John Balance. . . . 328.\nA WORD ON GREAT MEN. . . . . . Victor Hugo .33*.\nv\nA LECTURE ON DRESS. v E. W. Godwin, F. S. A. 1868, 335.\nTHE ROGUISH TRICKS OF COVIELLO. A Scenario ....... 353.\nTHE THEATRE IN ITALY. NAPLES & POMPEI.\nA Letter to John Semar Gordon Craig. . . . 357.\n%\nFOREIGN NOTES, EDITORIAL NOTES.\n\nILLUSTRATIONS.\nA DESIGN FOR A STAGE COSTUME. . . . E. W. Godwin. (Frontispiece).\nTWO JAVANESE MARIONETTES. . . * . 284.\nTHREE FULL PAGE PLATES OF DESIGNS FOR\n• »\nSTAGE COSTUMES E.W.Godwin. Face 336,344,352.\nHead and Tale Pieces by Gordon Craig, Julius Oliver, and from old Designs."}, {"page_pdf": 4, "page_imprimee": "[280]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.4", "texte": "A COSTUME DESIGN by E.W. Godwin. F. S. A.\n\nTHE\nApril I\"4"}, {"page_pdf": 5, "page_imprimee": "[281]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.5", "texte": "EPILOGUE. APRIL. 1914\n\n|t is the end of the sixth year of The Mask.\nOne is expected to say something:, and i have been asked by the\nEditor to do so. I could say something: short and to the point, but good\nmanners before a11... 1 will therefore meander on for three or four pages\nfor the sake of Hecuba as usual.\nBut how difficult... how difficult to praise you, oh my readers. How\neasy twere to damn you... shortly and to the point!\n& Had we reduced our journal even as the noble Times one morning\nfound Itself reduced to one penny, I had found something to say... 1\ncould have apologized... while protesting 1 was not on the make.\nBut you know me and you know \"we\". \"We\" are not writing, I am.\nAnd It is my duty to praise you... its \" up to me \" to lay it on thick...\nI've simply got to do 50,... but I dont want to.\n& I want instead to tell you what I think of you. But that I musa't do.\nI even musn't say that 1 think some of you the most charming people\nin the world... some the most beautiful... and it would be futile to\nacknowledge that you are one and all the most intelligent.\nAs for saying that your Enthusiasm is priceless and helps our works,\nthat too Is out of the question for It is all so Inadequate... I dont mean\nyour enthusiasm and help. I mean only my phrases and your praises.\nFor instance you are all true worshippers of that magic puppet \"Punch\"\n%\nand you follow his advice. And you \" DONT\" with all the force of true\nabstainers.\n& Do you even read the \"Mask \" to any purpose ? NO, of course not.\nYou DONT.\nThree cheers for such Divine Caution!"}, {"page_pdf": 6, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.6", "texte": "EPILOGUE.\n\nDo you back up the opinions you believe in, in spite of the growling\nof the dogs and the squalling of the cats ?... No, you DONT.\nDo -you get In a rage with inactive people who might forward all\nmovements and this one into the bargain ?\nNo you dont! you are 111... like slugs... you are slow.\n& You are delightful people, witty... up to date... wel!=dressed... delicious...\nintelligent... profound.... wealthy.... powerful.... everything.... but you\nare inactive. You fear nothing so much as action,... You \"interest\"\nyourselves in nothing but you love exhausting yourselves in talk.\n& Above all you'll talk better about that of which you know nothing... the\ntheatre for instance, than about needlework or the methods Adam handed\ndown to us of planting cabbages.\n,5? These two useful jobs you are silent about... but THE ART OF THE\nTHEATRE,... that you are prepared to inform everyone about.\n& Why, you'll even talk to us about it through the columns of some\nLondon journal or in the latest Stage Year Book.\nThere again I You DONT refrain. You abstain horribly from all modesty,\nthough modesty is a fine thing. But may I tell you so ? No, I am sworn\nnot t0... I am here to praise you... to \" lay it on thick\". But 1 may say\nthis...\nI may say that If I hadn't been faced by a row of such amazingly\nintelligent, refined, modest and noble persons 1 had never even started\nthe journal In 1908 and had never kept It going till 1914. It has all been\nso encouraging!.,,, so encouraging. For instance In 1908 we make a\nstatement elaborating in all its details... a quite new statement... a new\npoint of view... and the right one... regarding the production of a play.\nX? This statement is in 1908 as valuable as ever it will be... But you all\nwait so encouragingly until in 1914 some one of our readers repeats word\nfor word, idea for idea the same statement. Then for the first time\nyou and the publics around you \" hear with your ears \" though heaveii\nonly knows whether even then you \" understand \".\nx? Now this is encouraging; it indicates a bright and ready set of listeners.\n& Have I praised you sufficiently, my readers,... and ought. I not now\nto thank you ?\n& Most people would listen, hear and benefit in 1908:... these DONT."}, {"page_pdf": 7, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.7", "texte": "EPILOGUE.\n\n& There is quite a lot to thank you for, but little room left.\nj0 And, bye the bye, one and all of you have to thank an American friend\nof The Mask by name W. H. Gable, for having made it possible for you\nto continue to read this journal.\n& He actually realised that one action was worth all the talk in the\nworld.\n\nGordon Craig.\n\nJAVANESE MARIONETTES. A Note\non their Construction.\nJ. S.\nphe two figures represented In the accompanying illustrations are\ntaken from the collection of Javanese Marionettes in the Gordon Craig\nSchool at Florence, some of which have been lately exhibited at Zurich.\n£/ Some account of these wonderful shadow figures known as \"Wayang \"\nfigures and of the great Javanese drama in which they play their part\nwill appear in a future number of \" Mask. \" but meantime we give\nthe accompanying notes on the actual construction of the figures, taken\nfrom an important Dutch work on the subject.\np'he *• Wayang \" figures are manufactured of the skins of scabby buf-\nfalo calves. The skin of a calf is selected because It is thin, and the\nskin of a scabby calf is prefered because such skin is not oleaginous and\nthe paint and gliding thus remains permanently on the figures.\nWhen the skin of a scabby calf cannot be obtained the skins are\nrubbed with chalk in order to remove the oily properties. In such cases\nthe skin of young full-grown cattle is preferred, calf skin being too thin.\n& The heavy figures are made of buffalo skin, the light ones of cattle\nor goat skin. The hide of the white buffalo is also used, but only that of\nthe female and never that of the male, which is too hard.\n& While the skin is still wet it is stretched out in the sun and, after"}, {"page_pdf": 8, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.8", "texte": "JAVANESE MARIONETTES.\n\nhaving been dried, it is prepared with a hatchet in order to obtain a\nsmooth surface. The skin is then stretched out on a square wooden frame\nby means of cords and again put out in the sun. »\n& When dry it is scraped to remove the hairs and to make it thin and\nsmooth. After that it is rubbed with a whet-stone to make it compact\nand to remove the scratches. Finally it is scoured with the rough part\nof the bamboo woe locs and with the rough rempelas leaves. Such a\nprepared skin is called a kebar.\n<£? The kebar is divided into three of four parts, and each of such parts\nis called katjoe,\n& A \" Wayang \" figure is now sketched on the katjoe with a needle,\nafter a chosen original; the lines are then worked out with a wald (a\nsmall curved knife), and the outline cut out.\nThe Wayang figure is now worked with a little chisel. The chisel\nwork of the dress and the hair is called kagempoer.\nWhen the face, the eyes, the mouth and the ears are not yet formed\nthe Wayang figure is called gebingan. When the eyes, the mouth and\nthe ears are formed It is called kabedan.\n& Afterwards the upper and lower arms are formed : they are added\nto the joints by means of bone<=pins behind the shoulder and the elbow,\nWhen the chiselling of the Wayang figure is finished It is painted In\nin the likeness of the character it represents, and according to the dress.\n& Another method of making the figures is as follows:\n& The skin is stretched out in a bamboo frame and then dried In the\nsun. When the skin is thoroughly dry it Is put into water for some days\nand after that again dried well in the sun, well scraped, then folded\nand pressed.\nNow the preparation of the hide Is finished and the Wayung marionette\nis cut. Then the marionette is first of all thoroughly scoured, next painted\nwhite, and well rubbed with a kind of colourless varnish. The marionette\nis first painted white twice, then blue and then black, and then the\nlasting colours and the gilding are worked in.\nmarionettes contains lao pieces and its value varies between\nseven and nine pounds sterling, (i)\n\n(I) The antique figures such as those in the Gordon Craig collection are naiurally of far higher value."}, {"page_pdf": 13, "page_imprimee": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.13", "texte": "JAVANESE MARIONETTES.\n\nThe handles are now fastened to the marionette, and the sticks, also\nmade of horn, fastened to the hands. The horns of the white ox are\npreferred for the handles ; falling these the horns of the ordinary buffaloes\nare used. Bamboo Is used instead of horn for marionettes of inferior\nquality.\n& The arm sticks are fastened to the hands by means of the dry fibres\nof the cocoanut shell, or better still with brass or silver thread.\n& A horn is sawn through from end to end as far as is needed for the\nlength of the Wayang figure. The central stick and arm sticks for two\nWayang figures are sawn out of one horn.\nThe making of these sticks Is as follows: first of all the horn Is put\nInto water for one night in order to become tough and it is then worked\nwith a chisel into the rough form : then the lower end is shaped, the\ncross lines and the knobs. Now the top part is sharpened to a point, the\nhorn is split and both the halves rounded with a file: it is then scoured\nsmooth and polished or varnished with bone*dust or bone ashes. The\nhandle is then bent according to the form of the Wayang figure and tied\nto the figure with the dried fibres of the cocoa=nut shell, these fibres\nbeing preferred because the binding does not move and holds well."}, {"page_pdf": 14, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.14", "texte": "CARLO GOZZI AND THE VENETIAN\nDRAMA OF THE EIGHTEENTH CENTURY.\nSome Notes\nby D. Nevile Lees.\n\\yhen some little time ago \" Turandot \" was put upon the London\nstage we heard much about the impresario Reinhardt and the\ntranslator Vollmuller, and about several others, including the poet Schiller.\nThe only one about whom we heard little.... in fact most of the papers\nomitted any mention of him whatsoever, being apparently unaware of\nhis existence,... was Count Carle Gozzi, the author of the play.\n& This was no loss for him. He sleeps none the less well among his\nlagoons; and, so often are the real authors of works and the real origU\nnators of ideas passed over in these days that perhaps one more such\nslur should awaken little astonishment. But though this forgetfulness is\nno loss to him it is certainly a loss for us, since Count Carlo Gozzi is\na man worth remembering, and some modern managers and playwrights\nmight learn quite a little through the study of his work and of the\nparticular influence it had upon his contemporaries and the theatre of\nhis day.\nCount Carlo Gozzi was the last magician of the old Commedia dell'Arte\nin Venice, the last champion of the ancient Masks. He made a stand for\nthe drama of large Imagination at a time when Goldoni was conquering\nhis own city and far beyond his own city with the drama of a little\nstood out against the Intrusion of Realism on the stage.\n& For Goldoni was the realist through and through. He could depict\nexcellently and delightfully anything that was as plain as the nose on\nhis face. He had a genius, in fact, for describingly charmingly every\nvaiieiy and kind of plain fact such as could be classed metaphorically\nas the noses on his fellow citizens' faces. He could touch off the good\nbe«wigged merchants of the Merceria, their decorous wives and pretty\ndaughters and submissive sons, their circle of gossips and all their do®\nmestic adventures to the life. He kept the Lelios and Rosauras and\nOrazios and other unmasked parts of the old Commedia, but for the\nrest he had no use. He it was who, after a faint hearted use of theni*\ndiscarded the masks from the theatre altogether; he who pushed forth"}, {"page_pdf": 15, "page_imprimee": "287", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.15", "texte": "CARLO GOZZI AND THE VENETIAN DRAMA.\n\nyoung Collalto, engaged as a Pantaloon, in plain clothing and unmasked...,\nhimself, in short,... before the public, and the event was symbolic, for in\nthat moment Realism, in a hitherto unpermitted sense, stepped upon\nthe stage.\nx? Carlo Gozzi, on the other hand, was the very opposite of Goldoni and\nthe bitter enemy of his innovation. He stood out against this intrusion\nof Realism into the theatre, and he backed his opinion by a Triumph.\nHe cared nothing for the introduction in a theatre of the things he\ncould see in any campo or calle of his own city. For him, ...a believer\nin the philosophy of fairy tales, the whimsical wisdom of nursery rhymes,\nthe profound spirit which hides behind a mask, the magic of mummery,\nthe significance of clowns, it was just the things which he neither saw\nnor touched in daily life that were the things he prized.\nj0 Goldoni, the realist, had, like Peter Bell, about as much imagination\nas a pint pot. To him a primrose by the river's brim could never by any\npossibility be anything but a primrose, whereas to Gozzi it could just\nas well have been a dropped star or an enchanted princess: if it had\nsung to him he would not have been astonished, if It had changed into\na fairy he would have been reassured. In fact nothing that was improbable\ncould possibly surprise Count Carlo, for the stuff that dreams are made\nof was his normal mental fare, and his whole time was passed in a\nworld where everything was possible, and in close communion with such\nunusual personalities as Singing Apples, Talking Statues and Stag Kings.\n& The matter-of-fact repelled him; realities annoyed him. He loved\nfancy as much as he hated the dulness, the dreary little episodes of his\nday, and the days of 1770 in Venice were not packed with greatness as\nin 1570. Besides, he is the partisan of all that is ripe as well as of all\nthat is unusual: the enemy of everything raw and *' new \",... new books,\nnew phrases, new customs, new plays, new clothes; and it is partly to\nescape from that poor thing, and \" enlightened \" Venice at that time\ngrowing up around hini, that he advanced boldly into his dreams where\nhe sported as of old with his sylphs and fairies, his hobgoblins and the\nbeloved Masks.\nJS All that Goldoni somewhat languidly rejected as out of date Gozzi\nknew to be eternal. He took all the grotesque and supernatural elements"}, {"page_pdf": 16, "page_imprimee": "288", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.16", "texte": "CARLO GOZZI AND THE VENETIAN DRAMA.\n\nof the old Comedy, Its strange outlandish scenery, remote as the lands\neast of the sun and west of the moon, peopled by charming impossible\nbeings unhampered by any unnecessary limitations of time of place or\nhuman form, and wove them into new patterns on his stage. He knew\nthem all intimately, he knew'exactly now they would speak and act.\nAH the fantastic extravagant figures of Callot's ballet are at Gozzi's\nbidding, all the dainty little princesses of the fairy all the monsters\nof the legends, and, best of all, Harlequin and Tartaglia and Brighella\nand Pantaloon:... not the up-to-date metamorphosised Pantaloon, who\nwhen cheated by Qoldoni became nothing but a good householder of the\nMerceria; but a kindly bizarre Pantaloon concerned in all kinds of wierd\nadventures and associated with all kinds of curious folk with whom\nGoldoni would have been quite at a loss to deal.\nHow, for instance, would Goldoni's Pantaloon have regarded a palace\nwhich rose in a night opposite his master's dwelling ? He would probably\nhave cleared his wits with a dose of salts. What would he have done\nhad a couple of babies been entrusted to him to kill for the gratification\nof a malignant Queen-Mother-in-law ?.... He would undoubtedly have\nslipped them into the basket at the Foundling, whereas Gozzi's Pantaloon\npacks them in a neat parcel with twenty-four ells of oil-cloth and sends\n1\nthem floating down the stream whence they are finally rescued by\nSmeraldina the wife of Tartaglia the sausage-maker... and a good train\nof adventure is well begun.\n& And so on, all through his plays, interwoven with the Stag-King and\nthe Serpent Woman and the rest of the fantastic figures, we find the\nold Masks, the gay bizarre incredible figures which had been developing\never since the ancient days ■, which Beolco and Calmo had helped to\nshape and Andreinl and Dominique to enrich : personalities as fixed in\ntheir type as water, and as fluid and capable as water of varied activity\nand form, and upon which each actor who had donned their masks had\nleft his mark.\n& It was to save these that Carlo Gozzi exerted himself, and, though\nhis success was short-lived, the mere attempt to resist, even for a little,\nthe wave of modernity which was sweeping them away, was much. For,\nthough the Commedia dell'Arte was not THE THEATRE, it 'was one"}, {"page_pdf": 17, "page_imprimee": "289", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.17", "texte": "CARLO GOZZI AND THE DRAMA.\n\nphase of the Theatre, and a fine phase too. It had independence and\nImagination; it was not hidebound by the tradition of the printed\nbook; it played off its own bat; it spoke witli its own voice. It needed\nno one and nothing but its own sons to set it going. Give those a stage\nOA bate trestles or a corner of a field, give them a hat and goose-feather,\na burdock leaf, an old cloak, a drinking cup, a handful of cherries, a\nplate of inaccheroni,... whatever lay readiest to hand, and they would\nweave a scene and create a world of their own, a world of comedy or\ntragedy as the case might be, and any passer-by was free to enter and\nspend an hour therein.\n0* course it may be argued that the handling of this material of the\nComniedia dalTArte by Gozzi was in itself the Interference of the literary\nman ; but it must be understood that it is no mere literarv drama which\nhe gives us. He was at one with his actors, lived in touch with them,\nworked in concert with them ; and it Is just because he worked with\nthem that his works are so good as plays for the theatre, and less good\nto read. They call for the actors and the scenery and lights and costumes\nand all the machinery and atmosphere of the theatre to complete them,\nand in fact. \" not as finished literature, but as the raw material of dra*\nmatic presentation, are they admirable \". (i)\n& Besides, while it Is true that Gozzi gave the actors much, ...gave\nthem more than iiis predecessors, (2) he did not give them all. He did\nnot bind their hands and tie their tongues and hold their noses to the\nwhetstone of his own wit. He left them their independence, and scope\nfor all their own powers; and the great Company which caught and\ncompleted his inspiration was the last possessed of such powers and\nindependence, the last of the great companies of the Comniedia deH'Arte,\nand when it disbanded and the curtain fell upon its last performance\nthe Gozzi plays found favour no longer: the Comniedia itself was dead.\nIt has been said that the material in which Gozzi worked was wholly\ndifferent from that selected by Goldoni, and so too in life and character\nwas he utterly different from the successful, benignant, contented,\nmiddle class lawyer who was such a thorn in his flesh. He was, in fact,\n\n(1) J. A. Symonds. 41 Memoirs of Carlo Gozzi Vol. I. pg 159.\n(2) As an example of how little often sufficed see some of the scenarios reproduced In The Mask."}, {"page_pdf": 18, "page_imprimee": "290", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.18", "texte": "CARLO GOZZI AND THE VENETIAN DRAMA.\n\nhimself a figure wellnigh as fantastic as those he set upon his stao-e\nJ£? Born in Venice in 1720, he was descended on his father's side from\nthe old nobility of the Berganio country,... the native land of Harlequin:\non that of his mother, Angela Tiepolo, he was a patrician of the Republic.\n& His good birth was, however, the most of his patrimony, for if there\nwas much good blood in the Gozzi family there was little enough of\nanything else.\nThe whole tribe of them, always insolvent, lived in topsy-turvey\nfashion in their great dilapidated palace at San Canziano where there\nhad once been such splendour and wealth: and when Carlo returned\nhome at nineteen, after three years with the army in Dalmatia, it was\nto spend the next eighteen years in efforts to recover something of the\nwasted patrimony, to reorganize the family fortunes, to settle lawsuits,\nand to bring a little order into the domestic life.\n& A futile task, and a discouraging one I There was the great palace\nfailing ever into worse decay, its doors and windows shaky, its stuccos\npeeling off, and too many cobwebs. There were the old parents, dozing\nthrough life in the dark cheerless salas, and his brother Gasparo, the\npoet, scribbling from morning till evening in the little attic beneath the\neaves. There was his sister-in-law Luisa Bergalii, known in the Arcadian\nwoild as Irininda Partenide, the wife who, in Carlo's own words, his\nbrother '♦ had taken in a fit of genial poetical abstraction, \" absorbed in\na bedraggled way in poetic composition, wearing an old wrapper and\nher husband's wig ; far too busy hunting for rhymes to look after the\nmultitudinous little Gaspero Gozzis, who screamed and squabbled and\ntan wild with tiie ragamuffins of the quarter all day long. There were\nlodgers and tenants adding less to the family excitequer than they did\nto the general confusion with their claims and quarrels.\nIheie in this kind of Inn, with ink and paper and dirt everywhere,\nsat poor Count Carlo, in old-fashioned dress and wig, a gaunt, proud\nwhimsical figure, trying to piay the practical man when nature had\nmade him a dreamer, continually saying to himself \" let us laugh \"\na,'most as emphatically as a Nietzsche; trying to tickle himself to hilarity\nwhile at the bottom lie is indeed melancholy, full of grievances and\nresentments and regrets."}, {"page_pdf": 19, "page_imprimee": "291", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.19", "texte": "CARLO GOZZI AND THE DRAMA,\n\n■£? Carlo Gozzi was one of those men who seem born to be unlucky.\nHe says so himself. \" If I were to narrate all the whimsical absurdities\n\" and all the untoward accidents to which my luckless star exposed me\n\" 1 should have a lengthy business on my hands. Tisey were of almost\n\" daily occurrence. \" Perhaps that is a little because he is writing after\nsixty years, and, remembering six accidents, claims that Ids whole life\nlias consisted of accidents; but all the same, if Siis Memoirs are to be\nbelieved, he seems to have been born under an unlucky star. Everyone\nteases him, plays pranks on him, gets the better of him. Everything goes\nwrong. If there be but one puddle In the whole of Venice he must put\nhis foot in it: if he return home unexpectedly, desiring nothing so\nmuch as his bed, he finds his dusty old palace blazing with lights for a\ngrand reception which is being given, all unknown to him, in his own\nhouse. And lie is always getting into difficulties; always being taken\nfor some one else, and cuffed or embraced in another's stead. The\nrain, too, wets him more frequently and maliciously than anyone else,\nno matter how he plan to avoid it; he cannot even shave without\nvisitors being announced and forcing him to receive them with one cheek\nsmooth and one still rough. There is really no end to all his vexations.\nAnd all the time, while Ills feet are In the puddles, liis head Is in the\nclouds.\n& See him wandering about that strange, gay, beautiful intimate city;\npassing across the Square of San Marco, lingering on the Quay of the\nSchlavonl, wandering across the bridges with his old red cloak trailing\nbehind him, strolling along the labyrinth of the Merceria. Gaunt In\nfigure, old-fashioned in dress, silent, religious, conservative, he moves\nthrough a world of illusions, holding one fancy to be worth ten realities\nany day; sneering at the Abb£ Chiari and his successes, inveighing\nagainst the lawyer Goldoni and his plays, hating all modern books and\ndresses and ideas and dramas, ail that is new; finding his own realities,\nhis best values, not in those contemptable plays of everyday life which\nare crowding the theatre of Sant'Angelo, but in some old masked play\nwith Harlequin thwacking Pantaloon and Brighella and Tartaglia playing\npranks, In a cradle song, a fairy story or an old wife's tale.\nAnd there was patriotism as well as conservatism in Gozzi's love of"}, {"page_pdf": 20, "page_imprimee": "292", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.20", "texte": "CARLO GOZZI AND THE DRAMA.\n\nthe old Commedia; for, u the Italian comedy which Goldoni supplanted\n\" was the national drama par excellence, invented by the Italians\n\" hall-marked with their genius, the only comic contribution of the race\nf their monopoly and their triumph (i) Gozzi himself says: \" I reckon\n\" improvised comedy among the particular distinctions of our nation. I\nlook upon it as quite a different species from the written and preme-\n\" ditated drama, nor have I the shameless audacity to stigmatise with\n\" the title of an ignorant rabbie those noble and cultivated persons\nwhom I see with my own eyes following and enjoying a play of this\n\" description. I esteem the able comedians who sustain the masks far\nhigher than those improvisating poets who, without uttering anything\nto the purpose, excite astonishment In crowds of gaping listeners. \" (2)\nfame had been carried all over Europe, its actors had been ap=N\nplauded in London and Lisbon and Paris and more cities than one could\nname; and now this national glory was being discarded for the everyday\ndramas of a little middle°class advocate I It was more than Carlo Gozzi\ncould stand. So one day, Baretti tells us, when he was nearing forty,\nfinding himself face to face with Goldoni, (then at the height of his\nfame, and perhaps for that reason a little swaggering and over self-\ncontent) in a bookseller's shop behind the c!ock»tower of San Marco, he\nthrew down the gauntlet, declaring, '♦ I wager that with the masks of\nthe old comedy I will draw a greater audience to hear the story of\n\" the \"Love of the Three Oranges \" than you can with all your Ircanas\nand Bettlnas and Pamelas and a few weeks later the famous\n1 ruffaldino-Sacchi Company, lately returned from Lisbon after the di=\nsastrous earthquake of 1755, announced a new comedy of that name at\nthe San Samuele theatre.\n£> All Venice thought Sacchi must be mad, but all Venice rushed to see,\nand was puzzled, amused and finally enchanted, and Goldoni's popularity\nfast diminished, while the old masks in the new fairy plays were all\nthe rage.\ncourse Truffaidino-Sacchi was delighted with his success, since the\nrival plays had long been drawing away his audiences and emptying his\n\n(1) Monnier. \" Venice in the Eighteenth Century. \"\n(2) Gozzi, \" Ragionamento Ingenuo \". Op; 1772, Vol I."}, {"page_pdf": 21, "page_imprimee": "293", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.21", "texte": "CARLO GOZZI AND THE VENETIAN DRAMA.\n\npockets, and of course he entreated Gozzi to provide hini with more\nplays.\n& And so the \" Piabesque \" drama was born, and there followed play\nafter play founded on Venetian or Neapolitan or Spanish or oriental\nfairy tales, and decked out with every kind of whimsical conceit.\nThe Crow, the Stag King, Turandoi, the Lucky Beggars, the Woman\nSerpent, Zoneide, the Blue Monster, the Little Fair Green Bird ; all were\nfull of varied and marvellous happenings, of surprises of all kinds, both\ncomic and tragic, and charmed the public by the gorgeous' spectacles\nthey offered, the vivid action an'd gaiety, and by the riotous irrepressible\nvitality of the old masks as rendered by such weliknown players as\nAntonio Sacchi (Truffaldino), Atanaslo Zanoni, (Brighella), Agostino Fio-\nrelll (Tartaglia) and Cesare Darbes, (Pantaloon), (i)\nIt is a poetic drama in which there is place for everything in heaven\nand earth except for the prosaic every day happenings of a dead Venice.\nIt is a world in which everything can and does happen except the\nrational. It is a land of paradoxes, of the comic and supernatural, of the\nimpossible come true. There is a queer gay medley from start to finish,\nall kinds of enchanting nonsense interlarded with all kinds of metaphysical\ntruth. Princesses hidden away in Oranges, and stone figures which\ndiscourse like philosophers, and knives which become bloody when their\nowners die far away, and stairs with forty million seven hundred and\n•\ntwo thousand and four steps. There are deserts changing Into beautiful\ngardens, and great palaces rising instantly out of nothing, ready to be\nlived in, when a stone is thrown in the air. There are necromancers,\nand dragons which shed tears as big as walnuts, and sea=>monsters which\nserve as steeds for princes; there are hunting scenes and battles and\nswift journeys to the moon, and birds in love with mortals, and men\nenamoured of stone women and apples singing opera songs with the\nDancing Water playing the accompaniment.\nIt is all irrational, fantastic, droll, impossible, but also It is iui°\nmitable.\nAnd then this drama which contains all that Is irrational contains\nbizarre little touches of the practical also. Nothing Is forgotten. There\n\n(1) A. J. Syinonds, \" Memoirs of Carlo Gozzi Vol I page 112."}, {"page_pdf": 22, "page_imprimee": "294", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.22", "texte": "CARLO GOZZI AND THE VENETIAN DRAMA.\n\nare throne rooms, \"containing two cushions to sit on\", or a \"writing\ndesk \", a \" sofa \" or whatever is required, while in many ways, for all\nits extravagance, it keeps in touch with life. These dwellers in a world\nwhich never existed know ail that is going on in Venice. Tartagiia,\nadmiring Barberina through a spyglass from his window, as she suns\nherself on the balcony of the palace which has sprung up in a night,\nnotes that she has on a dress made by the modiste Canziani and that\nher hair is dressed by Carletti: the street-reciter Clgoletti, having taken\nservice with the wizard Durandart, appears at Roncevalle in person in\nhis old familiar clothes with a parrot on his wrist: and Calmon, the kind\nhearted stone statue, is promised a new nose so soon as the audience of\nSan Samuele shail have paid their money.\n& And then how much wisdom and symbolic truth are strangely inter*\nwoven into it all! It Is Calmon of the broken nose, (he who, having\nduring his lifetime four hundred years before pretended to despise\nmankind and depreciated the noble actions of his brother men, felt his\nheart harden until he has become a cold and lifeless thing of stone,)\nwho in the night-time voices the wisdom born of liis experience: \" Love\n\" thyself and love others, and follow reason, which is no slave to the\n\" frail senses, but daughter of Heaven's decrees \". And, \" Raise thy\nsnout from the earth, vile brute, look to the sky and the stars, nor\nlet thy thought cleave to the ground, between the senses and no*\n\" thingness \".\nAnd always in the midst of it all, the life and soul of it all ex*\nchanging verses of Ariosto in the moonlight, discussing drama in the\ndesert: disputing In their shifts by night, candles In hand, in the Throne*\nroom; telling each other fairytales; arming themselves with Incomparable\nbuffoonery for great adventures, moving the audience to limitless laughter\nover their efforts to catch a dove, acting as prime ministers, as admirals\non siiips, a.3 tuinkeys and sausage sellers, as heads of serraglios, and\ndyers and stableboys and philosophers are the four Masks of the Com-\nmedia, Truffaldino, (i) Tartagiia, Brighelfa and Pantaloon.\nHow much the dramas owed to these masks and the men who wore\nthem we can only surmise; but from all the records, from the reading\n\n(I) Truffaldino is a form of Arlecchino."}, {"page_pdf": 23, "page_imprimee": "295", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.23", "texte": "CARLO GOZZI AND THE VENETIAN\n\nof the pieces themselves, it is clear that, if Gozzi was instrumental in\nfilling Sacchi's coffers, Sacchi and his company were equally instrumental\nin giving life and completeness to Gozzi's plays.\nThe Sacchi company was a fine one In all senses of the word. Gozzi\nhimself wrote that it had 44 universal credit \", and cites the 44 union, the\ngood accord,... the study, the subordination, and the vigour \" of the\nplayers as well as the discreet conduct of its women and Its general\ngood report;\nBut the time came when this fine company had to be disbanded. Sacchi\nhad grown old and childish. Though over eighty years of age he was\ntoo fond of falling in love, so that his daughters, fearing that all his\npatrimony would be dissipated In these follies, rebelled against the old\nman and the rest of the company soon followed their lead. For a year or\ntwo things were kept going with Gozzi's support, but there were no\nfunds with which to put on new plays or to pay the actors, and at last\nthe company, 44 which for a long term of years had been the terror of\n44 ail the other troupes of comedians, and the delight of the theatres,\n44 miserably broke up \".\nGozzi in his Memoirs tells us of the parting between himself and\nSacchi, who came to take leave of him all in tears.\n& 44 You are the only friend on whom 1 mean to call before I leave Venice\n44 secretly and with sorrow for ever \" said Sacchi, 44 I shall never forget\n44 the favours you have bestowed upon me, Signor Conte; vouchsafe\n44 to grant me your pardon for any offences, your pity, and the honour\n44 of embracing you. \" 44 Poor Truffaldino \" writes Carlo Gozzi, 44 pressed\n44 me in his withered old arms; he gave me a last sad4glance out of his\n\" goggle-eyes full of tears, and then ran away, leaving me alone,\n44 wandering disconsolate through Venice, separated from my dear com-\n-44 edlans, and twenty-seven years older than when they returned from\n44 Lisbon. Oh, my poor heart 1 Oh, national comedy I All around me I\n44 cannot find one single person who still shares my love for this comedy,\n44 so original and so eminently Italian ! But I am waxing pathetic....\n44 Quick, let me wipe the cheek upon which Truffaldino has kissed me:\n44 the fellow must have been eating garlic. At the same time I may brush\n44 away unnoticed the tears on my face; and then I can go off and dine,"}, {"page_pdf": 24, "page_imprimee": "296", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.24", "texte": "CARLO GOZZI AND THE VENETIAN DRAMA.\n\n\" proud to have succeded in appearing philosophical, tliat is to say\n\" heartless. \" (i) '\n& We hear but little about Count Carlo Qozzi after that. An occasional\nglimpse of him as an old, lonely, figure, his friends fast dying around\nhim,... and then he too vanishes. He died on April 4, 1806 at the no\nof eighty six and was buried in the Church of San Casslano. But it\nseems as though he really died that day with the Commedia dell'Arte\nwhen he and Sacchi said goodbye. His life had been in the theatre and\nthe masks. The theatre was closed, the masks were gone away. Curtain!\n& Venice remembers him very little. Ask for his house and no one can\npoint it out to you, though anyone can tell you all about Goldonl. He\nand his works were alike forgotten, and only lately has Italy begun to\nrecall and reprint his plays.\n& But to him belongs the honour of having championed, single-handed\nthe great Commedia in its dying moments; of having offered such\nreslstence as was In his power to the intrusion of Realism on the stage.\n\n(I) Translation by Vernon Lee. '• Studies of the Eighteenth Century in Italy."}, {"page_pdf": 25, "page_imprimee": "297", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.25", "texte": "A HISTORY OF PUPPETS,\nby “Yorick”.\n0)\nPUPPETS IN GERMANY.\nt will be convenient if I follow the example of the\nlearned Magnin, and include all the information\nthat 1 have been able to collect with regard to\nmarionettes in Holland, in Austria, in Hungary, in\nPoland and in Russia, in one chapter under the\nhead of 44 Puppets in Germany \".\nCertain parts of Germany have always been di-\nstinguished for the skill and ability of people living\nthere, in the art of carving out of wood every kind of figure, whether\nof men or of animals, and in giving to them, by the aid of artificial\nmechanism, the appearance of real life.\nThat double aptitude has led to a development of automatic sculpture\nmore precocious and more complete than in any other part of Europe.\nAnd the application of this art has been extended to the church, to the\ncity and to the theatre ; from the images of saints, to the great 44 fan-\ntcccl \" of public festivals and the marionettes of the stage.\nj£s The passion that northern peoples have always shown for the play of\npuppets arises from a peculiar order of mind and of national character,\nthat is attracted by anything that is mysterious, marvellous or occult,\nso that \" la vita dedalica \" in its strange manifestations, exercises, na=\nturally, an irresistible influence over them.\n«e? Read the 44 Night Tales \" of Hoffmann, and explain otherwise, if you\ncan, that exuberance of nebulous sentimentalism, that excitability of\nimagination, that irritability of fibre under the influence of a vague\nidea, of some hypothesis, hallucination or aspiration towards the super-\nnatural and ultrasensible. Discover, for example, another explanation of\nthe love of 44 Nataniele \" for 4< Olimpia \", a love, profound, sincere and\nintense of a student for ...a marionette. With us, such an event would\nhave produced some satirical story, some narrative full of allusions and\nepigrams. In Germany, on the contrary, it produced an account, that\nwas serious, sincere and full of emotion.... and I might almost say of\nprobability.\n\n(!) P. Ferrigni."}, {"page_pdf": 26, "page_imprimee": "298", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.26", "texte": "A HISTORY OF PUPPETS.\n\nla a book of expenses of the Court of the Emperor Sigismund, there\nappears this entry, under the date, June 15.1429 : 44 Gave 24 4 der.ari'\nto be present at a representation of Joan of Arc at the little Ratisbon\ntheatre\n& But it is certain that the representation of liturgica! drama by means\nof puppets, dates from a much earlier period, and Indeed we find traces\nof it in Poland and in Russia, where, on a Sunday, preceding the festival\nof the birth of Christ, the Mystery of the three children, who were\nk\ncast into the furnace, was represented in front of the great altar of the\nCathedral of Moscow. Plays of the same kind had been seen in Austria,\nin Anhalt, in Antwerp, in Gand, in Bruges, in Prague, in Posen, in\nLithuania, in Leipsic, in Frankfort, and in Thuringia, in Franconia, in\nBavaria, in Holland and in Switzerland.\nFrom what part of the world had so many theatrical marionettes\nfound their way into northern lands ? We do not know with any certainty.\nBut the fact that Daniel Clarke, in traversing Tartary in 1812, found\nCalabrian 4* fantoccini \" established from time immemorial in that remote\nregion, scattered among the wandering Cossacks of the Don, naturally\nleads us to believe that Italian marionettes must have been ministering\nto the passion of the people for puppet plays from very early times.\njs? To go at once to the heart of the argument, let me say that even so\nfar back as the beginning- of the sixteenth century, a production forming\npart of the repertory of the 44 Tokkenspieler \" was acted in the Fairs of\nGermany. It was called 44 The prodigious and lamentable history of\nDoctor Faust. \" (1)\n£/ The 44 niaschera \" adopted for that German legend took the name of\n41 Hanswurst,\" an almost literal translation of our 44 Francatrippa,\" but it\nwas really, and undoubtedly, a new incarnation of the Italian Pulcinella,\nwhose picture, designed by a master hand, is to be found among the\nworks... guess of whom... of Martin Luther!\nThat austere reformer not only condescended to preserve for future\ngenerations the physiognomy of our Jovial marionette, germanized in\nthe plays of the 44 Tokkenspieler, \" but he frequently made use of the\nscurrilous and foul-mouthed 44 Hanswurst \" as an interlocutor in his\n\n(ly See Das Puppenspie! vom Doctor Faust, Leipsic, 18SO."}, {"page_pdf": 27, "page_imprimee": "299", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.27", "texte": "A HISTORY OF PUPPETS.\n\ncontroversies and dialogued sermons; and he was not ashamed to ascribe\nwith his name a lampoon that he wrote against Duke Henry of\nWolfenbuttel.\n& Even Lessing (i) has left us a minute description of our good old\n\" Pulzinello, \" and his achievements are also related in a very interesting\nstory by Floegel: Geschichte des Groteskecomischen, page 118. It is\ncertain that our poor Italian marionette had often to suffer persecution,\nand, in fact, he was at one time banished from Vienna by the authority\nof Gottsched. He contrived, however, to find his way back to the\nAustrian Capital, under thejname of the merry peasant \" Kasperle,\" and,\nultimately, to gain such triumph, that his name \" Kasperle \" was given\nto one of the Viennese suburbs, and also to a small piece of money, the\nvalue of which coin was equivalent to the price of admission to a\nmarionette theatre.\nAfter the peace of Munster, when dramatic art in Germany was\nbeginning to breathe again; when England had li.er Shakespeare, Spain,\nher Lope de Vega, Holland, her Vondel, and France, her Corneille, the\ncelebrated Andrea Gryph appeared as a reformer of the German theatre\nand commenced his propaganda In a \" castello \" of puppets, for whom\nhe wrote \" Le prodozze del capitano Horrlbilieriblifax, \" a descendant of\nour \" Pirgopolinice \" a child of Capitano Spavento, of Coviello, of Ro=\ngantino. (2) The march of progress was then invading northern countries\nand Italian marionettes established the first stable theatre and the first\npermanent company, at Frankfort in the year 1657.\nA year afterwards Leipsic, Hamburg and Amsterdam began to regard\nthe marionettes of Italy with great favour, in 1667 Pletro Resonieri\nerected a theatre for puppets in the Juden Markt, of Vienna, and continued\nin the same piace, honoured and \" festeggiato \" for forty 3'ears in\nsuccession. In the Leopoldstandt, in the Neu Markt, in the Freyung,\nnumbers of \" Pulzineila-Spieler \" began to give representations in the\nevenings, after the \" Angelas domini \" every day of the week except\nFridays and Saturdays.\nJ£? As in England, so in Germany, marionettes acquired great Increase of\n\n(1) Theatralisher Nac'aiaas.\n(2J See '» The Mask\", Vol 111. p. 149."}, {"page_pdf": 28, "page_imprimee": "300", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.28", "texte": "A HISTORY OF PUPPETS,\n\nfortune from the religious disputes that took place | and while all theatres\nwere closed they exercised their right of appropriating all tragical,\ncomical and melodramatic plays to such an extent that a certain Italian\nshowman, Sebastiano da Scio, aroused a perfect storm of opposition on\nthe part of the protestant clergy by performing a drama with his Venetian\nmarionettes, called, \" Vita, geste, e discesa all' inferno del dottore Qio»\nvanni Faust. \" (1) The production met with immense success, but the\nMinister Spener, alarmed at the disputes that arose between the clergy\nand the people, prohibited the representation altogether.\n& It might have been said that Italian marionettes were threatening the\nstability of the State. Fortunately \" Faust,\" banished from Berlin, spread\ntriumphantly all over the rest of Germany, and, later on, met at Frankfort\nthat brifiiant young poet, whose name was Wolfgang Goethe.\nAPOTHEOSIS.\nHPhe theological war against theatrical representations broke out at\nHamburg in the year 1680, when a minister of the protestant Church\nrefused to administer the sacrament to two comedians of that city. A\nvery lively polemical controversy, which was not always confined within\nthe limits of courtesy or education, arose between the clergy and the\nactors in dramatic companies. The actors published more than one\njustification of their profession, and appealed for protection to princes\nand to the authority of parliament. The struggle lasted for ten years:\nA\nbut the stupid public, frightened by excommunications, threats of Hell\nand prophecies of the intervention of the famous \" finger of God '' ended\nby taking sides with the evangelical pastors. Theatres were then deserted,\nand artistes, humiliated and reduced to misery, were forced to abandon\n0\nthe scene and disappear altogether.\nA crowd of marionettes then invaded the theatres, climbed to the\nstage and took possession of the auditoriums which were soon filled again\nwith a multitude of people, who were ail the more greedy for theatrical\nspectacles, because of the long period, during which, for the safety of\ntheir souls, they had found it convenient to stay away. The most eminent\n\n(x) The Li'e, acts and descent into Kell o! Dr Johannes Faust."}, {"page_pdf": 29, "page_imprimee": "301", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.29", "texte": "A HISTORY OF PUPPETS.\n\nmen of the day were among those who flocked to witness the performances\nof the little actors... of wood,\n£? The-celebrated Bayle, during the long stay that he had to make at\nRotterdam, on account of his studies, always abandoned his books as\nsoon as the showman's trumpet, from under the portico of the conquered\ntheatre, announced that the performance was about to begin. The poet\nLodovico Rotgans was not able to write a single verse until he had been\nfor Inspiration to a \" castello \" of puppets in Leipsic. Euler, the Illustrious\nEuJer, the most famous geometrician in Germany,... although he afterwards\nlived in Berlin, when the dramatic stage was beginning to receive again\nIts former actors, now tolerated and restored to favour,... always had a\npreference for marionette comedy and spent hours in watching them;\nIt was an innocent and childish taste, and was specially referred to after\nhis death by one of his confreres, Formey, before a full assembly of the\n\" Accademia delle scienze. \"\nThat period of incontestable supremacy on the part of marionettes,\ngave rise to a strange custom, that ought not to be passed over in silence.\nAt the beginning of the reign of Pulclnella, the dispossessed actors,\nnaturally troubled and anxious with regard to their daily bread, were\nalmost compelled to enter the service of showmen, and to lend their\nvoices to speaking the parts of the little \" figurine \" of puppet companies.\nAfterwards, when persecution began to be less bitter, these comedians\nreturned to the stage under the protection of the puppets, and together\nwith them, in order not to run too much against the prejudices and\ntastes of the public.\nAt that time the \" Haupt-und=staats-actionen \" were introduced, a\nkind of melodrama in prose, music and pantomime, that took its arguments\nfrom mythology, from the Bible, from stories of knightly deeds, and in\nfact from whatever source afforded opportunity for spectacular display\nwith many \" personaggi \" and with complicated and ingenious machinery.\nIn the representation of these p'ays living actors filled the parts of\nsuch characters as were least likely to be objected t0,... some virtuous\n\" personaggio \" in good favonr with the audience... while marionettes,\nwho had no fears, did all the rest.\nSome years later on, in the time of Beck and Reibehand, plays that"}, {"page_pdf": 30, "page_imprimee": "302", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.30", "texte": "A HISTORY OF PUPPETS.\n\nwere performed, partly by living actors, and partly by marionettes,\npossessed this very great advantage, in that they admitted of the\nrepresentation on the stage, with great luxury of decoration, and richness\nof detail, of the martyrdom of the saints, the slaughters of the ancient\nRoman circus, and the battles of the middle ages.\nReibehand, leading comedian of a mixed company that was called the\n44 Compagnia privclegiata delle Corti di Brandebourg e Brandebourg=\nBayreuth \" had a play put upon the stage, entitled The Life and Death\nof Santa Dorotea martyr. In the final scene of that very touching drama,\nthe decapitation of the Saint was received with such rapturous enthusiasm,\nthat the audience cried for it to be repeated... and immediately the\nobliging 44Impresario \" stepped upon the stage, and restored the dead\nbody of the young Christian virgin to life, and placed her head on her\nshoulders again, and then decapitated It a second time with his own\nhands, amidst the wildest applause of the public.\n& In the meantime Wolfgang Goethe was spending the days of his youth\nin the paternal house at Frankfort on the Maine. In the immortal pages\nof his 44 Memorie, \" the illustrious writer of tragedies relates himself\nthat the greatest of his infantile joys was a little marionette theatre,\ngiven to him by his grandmother on a Christmas Eve. A few years\nafterwards, in the days of sorrow, and especially during the occupation\nof Frankfort by the French army, Goethe made his little theatre the\npastime and amusement of his family and neighbours. He managed all\nhis little wooden 44 personaggi \" himself, presented some of the most\npopular plays of the time and also some of the most highly praised dramas\nof classic literature, introducing jiew characters as additions to the\noriginal scheme, and improvising dialogues, episodes and farces adapted\nfor his little puppets.\nEven when he had reached the age of twenty, and was preoccupied\nwith the creation of his 44 Goetz von Berlichingen, \" he did not forget\nhis puppets but, putting aside his mania for improvisation, he wrote a\ncomedy for a small marionette theatre, called 44 Festivals of the fair of\nPlundersweilern \" in the course of which he criticised his own audience,\nand exposed their defects and prejudices.\nThat youthful little 44 bagattella \" has a particularity that is worthy"}, {"page_pdf": 31, "page_imprimee": "303", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.31", "texte": "A HISTORY OF PUPPETS.\n\nof note, and it is this; the conduct of that work and certain episodes of\nthe plot reveal an analogy with the legend of 44Faust. \" As for the rest,\nthe Fair of Plundersweilern,\" although tho work of early youth, was\nnot by any means lightly regarded, even by Its author in his later life,\nand when he had risen to fame ; for we read that at the Court of Weimar,\nwhere he was a much favoured and honoured guest, he erected a small\ntheatre, in order that the play might be performed again. He also added\nanother composition on the occasion of the Princess Amelia's marriage.\nThese two little comedies have not been lost; they are included, in fact,\nin a collection of Goethe's works, under the title of 44 Moral und politik\nMarionettenspiel. \"\nThe Court of Weimar was not the only one in Germany that sought\ndistraction in a puppet theatre. In Hungary, at the country seat of the\nprinces Esterhazy, marionettes, of the utmost perfection of construction\nand magnificence of dress, were displayed on a stage, which, for richness\nand elegance, was in every way worthy of them. Prince Nicholas Joseph\nassembled for them in his private theatre an orchestra, that comprised\nsome of the ablest professors of the day, and the leader of it, in 1762,\nwas the renowned Joseph Haydn.\n& For those princely puppets the great 44 maestro \", in the fulness and\nvigour of his genius, (1773 to 1780) gave free rein to his fancy and com-\nposed some of the brightest and most graceful little plays in the world.\nOne of the first was his 44 Toy Symphony \", in which all the musicians\nabandon the orchestra, one at a time, and put out the light until there is\nonly a violin left to scrape the last note. Then there was the 44 children's\nFair\" another symphony for a fuil orchestra, the orchestra consisting\nonly of such instruments as are given to children as playthings: small\ndrums, whistles, tiny trumpets, jew's harps, rattles, cymbals, bells and\nso forth. After that he wrote expressly for marionettes five 44 operette \" :\n44 Filemon and Baucis, (1773)... 44 Genievre \" (i777)««* \" Didone \", (1778)....\n44 The vendetta \" (no date)... 44 The witches sabboth \", (1778) all of which\nwere played in the little theatre at Eisenstadt. 44 The lame devil \" was\nanother opera, that he composed in his early days for an Italian showman\nof puppets, named Bernardone, who conducted a small Ltheatre at the\n44 porta Carinzia \" in Vienna, and who remunerated the 44 maestro \" for"}, {"page_pdf": 32, "page_imprimee": "304", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.32", "texte": "A HISTORY OF PUPPETS.\n\nhis work with the magnificent sum of twenty four zecchini. (less than\ntwelve pounds sterling.)\nItalian marionettes are surely entitled to boast that It was they who\ndeveloped In the brain of Goethe the first germs of his dramatic genius\nand who Inspired in the mind of Haydn the first melodies of his great\nmusical poem, the echo of which was afterwards to resound throughout\nthe whole world. I said Italian marionettes, and I did not say it by\nchance, for as regards the illustrious composer of Eisenstadt, he began\nhis career with the puppets of Bernardone, and as to the author of\n44 VVallenstein \", his early love for the theatre had its origin, undoubtedly,\nwith the marionettes of Italy, who were established at Frankfort hardly\nseven years after little Wolfgang's birth.\nIn the famous 44 memories \" of his life, Goethe made no secret of his\nlong and useful dramatic apprenticeship in the puppet school, nor did he\nin any way disguise the fact, that the original idea of his \"Walienstein\",\nand still more that of his 44 Faust \", was inspired; and took root, in his\nmind in front of a 44 castello \" of 44 Puppenspieler\nMarionettes, indeed, provided something more for 44 Faust \" than the\nidea and conception of the story. The scene of the Prologue, placed\nbeyond the limits of the created world, is an invention of the 44 Faust-\npuppenspiel \" of Ulma... with this difference, that whereas the puppet\ndranra placed the prologue in the Inferno, before the throne of Satan,\nCioethe preferred to put it in heaven in the presence of the 44 Dio padre.\"\nThe monologue of the old doctor, with which the drama begins, belongs\nto the comedy of the two students of Tubinga 44 Tractaetten von Faust,\neine comoedie, \" composed for the marionettes of Frankfort in 1537. The\nscene of the metaphysical dispute between Mephistopheles and Faust is\ntaken from the puppets of Augsburg, The scene of the tavern at Auerbach\nIs found in the 4* Marionetten Faust \" of Cologne. The great phantasma=\ngoria with the witches at Blocksberg is met with in many of the\nmarionette dramas, and chiefly in the 44 Faust \" of Strasburg.\nthese facts, the fruit of long and patient study and research, (now\ncollated in the 44 Histoire des marionettes \" of Ch. Magnin, Paris, 1862)\nhave been brought to light from the voluminous works that have been\npublished with regard to the 44 Faust \" of marionettes, by a brilliant"}, {"page_pdf": 33, "page_imprimee": "305", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.33", "texte": "A HISTORY OF PUPPETS\n\ncompany of learned German writers, and among them Friedrich von der\nHagen, Carl Simrock, Franz Horn, Emil Sommer, and lastly the most\nfortunate of them all, Scheible,\" who collected and published in the\n44 Closter, \" volume V, pages 747-922, together with his own critical\nobservations, the text of the two Fausts of Geisselbrecht and Schutz,\nlearned showmen of the eighteenth century, the five 44 Marlonettenspieler\"\nof Ulma, Augsburg, Strasburg, Cologne and Lelpslc, and the 44 Faust als\nSchauspiel by Cristian Ludwig Striglitz, a critical article published\npreviously in the 44 Raumer Taschenbuch. \""}, {"page_pdf": 34, "page_imprimee": "306", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.34", "texte": "THE PLAYS OF HROTSWITHA,\nFOREWORD.\nby Anatole France.\nJ. S.\n(0\nJondon playgoers have recently had a reminder of Hrotswitha, (or\nHroswitha) the Saxon nun and playwright, in a performance of one of\nher pieces, \" Paphnutius, \" given by the \" Pioneers \"at the Savoy Theatre\nunder the management of Miss Edith Craig.\n£? Hrotswitha, who was born in 935 and died about the year 973, was a\nnun in the Benedictine convent at Gandersheim.\nThe piece recently performed was translated into English by Miss\nChristopher St. John, who, in her Preface, gives us in Hrotswitha's own\nwords her object in writing her plays; which was, not fame or money,\nbut \" To make the small talent given me by Heaven create under the\n\" hammer of devotion, a faint sound to the praise of God. \"\nOf this intention and its outcome M. Anatole Prance has charmingly\nwritten in the following essay.\nhave already made the avowal; I love marionettes,\nand those of M. Signoret especially please me. They\nare artists who shape them ; they are poets who\nshow them. They have a naieve grace, a divine\nawkwardness of statues which consent to take the\npart of dolls, and one is ravished at the sight of\nthese little idols acting a play. Then consider that\nthey were made for that which they do, that their nature is in confor-\nmity with their destiny, that they are perfect without effort.\nI saw this evening, upon a large stage, a lady of great talent and\nabsolute respectability who, dressed as a queen and reciting verses,\nwanted to pass herself off for the sister of Helen and of the celestial\nTwins. But she had a flat nose, and 1 was aware immediately by this\nsign that she was not the daughter of Leda. For that reason she acted\nand spoke in vain ; I did not believe her. All my pleasure was spoiled.\n\n(I) This essay appears through the courtery oi Mr John Lane, who is publishing a complete English edition of\nthe works of M. Anatoie France, and has kindly allowed us to make the above translation from 14 La Vie\nLitteraire. \""}, {"page_pdf": 35, "page_imprimee": "307", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.35", "texte": "THE PLAYS OF HROTSWITHA.\n\n& With the marionettes one never has to fear a similar uneasiness. They\nare shaped in the likeness of the daughters of imagination. And they\npossess a thousand other qualities so subtle that I couid not express\nthem, but which I savour with delight.\nNow, what lam going to say is a little unintelligible; 1 shall say it\nall the same because it responds to a true sensation.\nThese marionettes resemble Egyptian hieroglyphs, that is to say,\nsomething mysterious and pure, and when they perform a drama of\nShakespeare or Aristophanes I seem to behold the poet's thought unfold\nitself upon the walls of a temple. In short, 1 venerate their divine in-\nnocence and I am very sure that, if old Eschylus, who was very much\nof a mystic, should return to earth and visit France on the occasion of\nour universal Exhibition, he would have his tragedies performed by the\ncompany of M. Signoret.\nJZ? I had it at heart to say these things because I believe, without flat-\ntering myself, that another would not say them, and 1 strongly suspect\nthat my folly Is unique. The marionettes respond exactly to the idea\nwhich 1 formulate for myself of the theatre, and I confess that this idea\nIs peculiar. I should wish that a dramatic performance should recall in\nsome way, so as to remain truly a play, the boxes of Nurembourg, the\nNoah's arks, and the pictures on clocks. But I would also wish that these\nnaieve images were symbols, that a magic should animate these simple\nforms, and that they were, in fact, enchanted This taste\nseems bizarre; however, it must be considered that Shakespeare and\nSophocles satisfy It well enough.\nThe Marionettes have recently (i) given us a comedy which was written\nat the time of the emperor Otho, in a convent in Saxony, at Gandersheim,\nby a young nun named Hrotswitha, which means the 'White Rose', or\nrather the 'Clear Voice', for the scholars are in doubt, and old Saxon is\nnot very easily read, which is a great grief to me.\nAt that period the face of Europe was hazy and hairy. Things were\nsombre, souls uncouth. The men, dressed in shirts of mail and with their\nheads covered with pointed helmets, which gave them the air of great\n\n(I) At the time when this essay was written, more than twenty years ago. Two other essays by M. Anatoie\nPrance on these marionettes and the piays of Hrotswitha appeared in The Mask, October 1?12."}, {"page_pdf": 36, "page_imprimee": "308", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.36", "texte": "THE PLAYS OF HROTSWITHA.\n\npikes, all went to war, and throughout Christendom it was nothing but\nblows of lance and sword.\nMen built very gloomy churches, decorated with frightful and touch*\ning figures such as little children make when they try to represent men\nand animals.\nThe old stone cutters of the time of the emperor Oiho and of king\nLouis d'Outre=mer had, like children, all the surprises and all the Joys\nof ignorance. At the capitals of the columns they set angels whose hands\nwere bigger than their bodies, because it Is very difficult to get five\nfingers into a small space, and these hands were none the less marvel*\nlous. So they had reason to be satisfied, these good image makers,\nin contemplating their work, which resembled nothing and suggested\neverything.\n■£? Ihe great birds, the dragons, and the little monstrous men of the\nRoman sculpture, these were, with the fierce illuminations full of de=\nvilries, and some manuscripts, all that Hrotswitha could know of the\nbeauty- of the arts. But she read Terence and Virgil in her cell, and she\nhau a gentle, cneerful and pure soul. She composed poems which a little\nrecall those angels whose hands were larger than their bodies, but which\ntouch us by 1 know not what of candour, innocence and happiness.\n& It was, for these women shut up in a convent, a great amusement to\nacts plays. The dramatic representations were frequent in the convents\nof noble and lettered maidens. No scenery or costumes : only false beards\nto represent men. Hrotswitha composed some plays which she doubtless\nacted with her sisters ; and these pieces, written in a rather scanty and\naffected Latin, pretty enough, are quite the most charming curiosities\nwith which a spirit responsive to the breaths, the perfumes, the shadows\nof the past, can amuse itself.\n'he was \" «ood creature, was Hrotswitha; attached to her state,\nconceiving nothing more beautiful than the religious life, she had no\nother object, in writing plays, than to sing the praises of chastity. But\nshe did not Ignore any of the perils which her favourite virtue ran in\nworld, and her theatre shows us the purity of the virgins exposed\nto all attacks. The pious legends which served her as subject supplied\nmaterial in this respect. One knows what assaults the Agneses, the"}, {"page_pdf": 37, "page_imprimee": "309", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.37", "texte": "THE PLAYS OF\n\nBarbaras, the Catherines and all those brides of Jesus Christ who put\non, over the white robe of virginity, the .red robe of martyrdom, had\nto sustain.\n■£? The pious Hrotswitha did not fear to disclose the furies of sensual\nmen. She jested about them at times with charming \"gaucherie. She\nshows us, for instance, the pagan Dulcitius ready to throw himself like\na devouring lion upon three virgins with whom he is without distinction,\nin love. By good fortune he dashes into a kitchen, believing that he is\nentering the room where they are shut up. His senses deceive him, and,\nin his folly, it is the plates and dishes that he covers with caresses. One\nof the young girls observes him through the chink of the door and\ndescribes to her companions the scene of which she is witness.\n£? **Sometimes \", says she, \" he tenderly presses the saucepans to his\n\" bosom, sometimes he embraces kettles and frying-pans and gives them\n\" amourous kisses... already his face, his hands, his clothes are so soiled\n\" and blackened that he looks just like an Ethiopian. \"\nThis is without doubt a picture of the passions which the nuns of\nGandersheim could contemplate without danger. But sometimes Hrotswitha\ngives a more tragic aspect to desire. Her drama of \" Callimaque \" is full,\nin its gothic dryness, of the troubles of a love stronger than death.\nThe hero of the tragedy, Callimaque, is violently in love with Drusiana,\nthe most beautiful and the most virtuous of the ladies of Ephesus.\nDrusiana is a Christian: ready to succumb, she asks Christ to save her,\nand God grants her petition in causing her to die. Callimaque only learns\nthe death of her whom he loves after she has been buried. He goes at\nnight to the cemetary; he opens the coffin, he removes the shroud.\nSays he: \" How sincerely 1 loved thee! And thou, thou hast always\nrepulsed me! always hast thou gainsaid my vows. \" Then, snatching the\ndead woman from her resting place, he presses her in his arms uttering\na horrible cry of triumph : \" Now she is in my power! \"\nCallimaque afterwards becomes a great saint and loves no one but God.\nHe had none the less given to the virgins of Gandersheim a terrifying\nexample of the delirium of the senses and the troubles of the soul.\nThe nuns of the time of Otho the Great certainly did not put their\npurity under the guardianship of Ignorance : two of the pious plays of"}, {"page_pdf": 38, "page_imprimee": "310", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.38", "texte": "THE PLAYS OF\n\ntheir sister Hrotswitha transported them in imagination into the haunts\nof vice. I refer to \" Panuphtius \" and to that \" Abraham \" of which the\nmarionettes of the rue Vivienne have given us two performances. One\nsees, in both of these dramas drawn from eastern hagiology, a holy man\nwho does not fear to visit a courtesan for the purpose of recaiiing her\nto virtue.\nThis was usual enough among the good monks of Egypt and Syria,\nwho thus anticipated by several centuries the preachings of the blessed\nRobert d'Arbrissel. The ' Panuphtius' of the Saxon poetess is a good Copt\nof the name of Paphnuti, whom M. Amelineau, to whom we shall turn\nour attention presently, (i) knows intimately. As for Saint Abraham, he\nis an anchorite of Syria whose life has been written In Syrian by Saint\nEphrem.\n& Being old, he lived alone in a little hut, when his brother died,\nleaving one daughter of great beauty, named Mary. Abraham, assured\nthat the life that he led would be excellent for his niece, had a cell built\nfor her next to his own, from which he instructed her through a little\nwindow which he had opened up.\njgz? He was careful that she should fast, watch, and sing psalms. But a\nmonk, believed to be a false monk, having approached Mary while the\nholy man Abraham was meditating on the holy scriptures, led the young\ngirl into sin, and she then said to herself: \" It is better, since I am dead\n\" to God, that I should go into a country where 1 am known to no one.\"\nAnd, leaving her ceil, she went to a neighbouring town which is believed\nto be Edessa, where there were delightful gardens and cool fountains,\nand which is still today the most agreable of Syrian towns.\njg? Meantime the holy man Abraham was plunged in profound meditation.\nHis niece had already been gone several days when, opening his little\nwindow, he asked, ** Mary, why dost thou no longer chant the psalms\nwhich thou chantest so well?\" And, not receiving any answer, be\nsuspected the truth and cried, 44 A cruel wolf has carried off my sheep.\"\njg? He dwelt in affliction for two years; after that, he learned that his\nniece was leading an evil life.\nActing with prudence, he begged one of his friends to go to the town\n\n(1) An essay oa this subject is included in \" La Vie Litteraire"}, {"page_pdf": 39, "page_imprimee": "311", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.39", "texte": "THE PLAYS OF\n\nto find out exactly how things were. The report of this friend was that,\nin fact, Mary was leading a very wicked life.\n■£? At this news the holy man prayed his friend to lend him a cavalier's\ncostume and to bring him a horse; and, having put on his head, so that\nhe shouid not be recognised, a great hat which covered his face, he\nrepaired to the hostelry where he knew his niece was lodged.\nHe cast his eyes on all sides to see whether he could see her; but,\nas she did not appear, he said to the Inn-keeper with a feigned smile:\n45 Master, they say that you have here a pretty girl. Could I not see her ? \"\nThe Inn-keeper, who was obliging, had her called, and Mary presented\nherself in a costume which, according to saint Ephrem's own expression,\nsufficed to reveal her conduct. The man of God was pierced with sorrow\nby it. He affected gaiety, however, and ordered a good meal.\nMary was, on this day, in a gloomy mood, and the sight of this old\nman, whom she did not recognise,... for he had not taken off his hat,...\ndid not at all dispose her to gaiety.\nThe inn-keeper cried shame on her for such a bad attitude, and one\nso contrary to the duties of her profession, but she said with a sigh,\n44 Would that it had pleased God that I had died three years ago! \"\n»\nThe holy man Abraham endeavoured to adopt the speech of a cavalier\nas he had taken the costume.\n& \" My girl, said he, I come here not to weep thy sins but to partake\nof thy love. \" But, when the inn-keeper had left him alone with Mary,\n*\nhe ceased to pretend, and, taking off his hat, said weeping. 44 My daughter\n/\n44 Mary, do you not recognise me? Am I not Abraham who have taken\n44 a father's place to you ? \"\nHe took her hand and exhorted her all night long to repentance and\npenance. Fearing above all to drive her to despair, he repeated to her\nall the time 44 My daughter, only God Is impeccable. \"\nMary had by nature a gentle soul. She consented to return to him.\nShe wanted to take her dresses and jewels with her. But Abraham made\nher understand that it was more becoming to leave them behind. He made\nher mount his horse and led her back to the cells where they both\nresumed their past life. Only the holy man took care this time that\nMary's room should not communicate with the outer world and that one"}, {"page_pdf": 40, "page_imprimee": "312", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.40", "texte": "THE PLAYS OF HROTS WITH A.\n\ncould not go out without passing through the room which he himself\ninhabited; by which means, through the grace of Qod, he kept his sheep.\nThe judicious Tillemont not only relates these facts in his history,\nbut establishes its chronology with exactitude. Mary sinned with the\nfalse monk and bound herself in a brothel at Edessa in the year 358.\nShe was led back to her cell in the year 360, and she died there in\nsaintly fashion after a life full of merit in 370. These are precise dates.\nThe Greeks celebrate on October 29th the festival of Saint Mary the\nHermit. This feast is marked in the Roman martyrology .for the 16th\nof March.\nOn this subject the White Rose of Gandersheim, with the object of\nshowing the final triumph of chastity, has written a pla> full at the\nsame time of naievity and audacity, of barbarity and of subtlety, and\nwhich could only be aced by the Saxon nuns of the time of Otho the\nGreat and the marionettes of the rue Vivienne."}, {"page_pdf": 41, "page_imprimee": "313", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.41", "texte": "GORDON CRAIG AND THE THEATRE OF\nTHE FUTURE\nby John Cournos.\n(i)\nur complex world has lost its power to comprehend\nsimple things. Therein lies the refined subtlety of\nits punishment.\nOne of the saner reactions of the times is the\ntendency of the newer arts to see beauty as\nevoked by the unspoiled vision of a child. In\npainting, the inclination is toward a powerful sim-\nplicity which shall express itself through purity\nof colour and purity of line, and the elimination of all extraneous factors\nthat interfere with the most Intense expression of the central idea. The\nage of faith has returned for the arts, and with it a larger desire in the\nartist to revvaken emotional serenity and joyousness in man, the two\nthings denied him in an age of unrest, which finds its artistic expression\nin Realism.\nThe theatre has suffered most from the depredations of naturalistic\nart. The very character of theatrical art has rendered it susceptible of\nnearly ail the unhealthy forces operating singly in the other arts. It has\nbecome the most impure, the most complex, of all creative forms. A\nconglomeration of other arts, It has lost its own soul.\n<£? Gordon Craig, the leading theorist in the theatre to-day, starts at\nthis point to buiid his theory for the Theatre of the Future. The utter\nsimplicity of his idea is astonishing, a fact which does not render it any\nthe less difficult to explain to the man who waits for an explanation on\none foot.\nDrama must become dramatic again\n4P»\nTphis is the chief burden of Mr Craig's message; and he looks upon his\nschool at Florence as the veriest beginning of a dramatic renaissance.\nThis revolutionary has set himself the task of disentangling the dra-\nmatic art from the other arts with which it has become Involved through\n\n(1) This article first appeared in \" Poetry and Drama September 1913. As it seemed, however, to have a\nspecial relationship with \" The Mask \" it is reprinted here through the kindness of Mr Cournos and the\ncourtesy of the Editor of \" Poetry and Dratra J. S."}, {"page_pdf": 42, "page_imprimee": "314", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.42", "texte": "GORDON CRAIG AND NIS SCHOOL.\n\nthe centuries, and of Its restoration to the purity of its native essence,\nwhich Is Movement. He sees the modern theatre as a tawdry woman\nstrutting the boards, over-apparelled with garments presented by various\nadmirers, who admire her for their own good. He wishes to rescue her\nfrom the hands of the literary man, from the hands of the studio painter,\nfrom the hands of the social and political reformer, and, finally, from\nthe hands of the commercial manager.\nMr Craig sees the need of restoring the theatre to its rightful heritage.\nThe function of the theatre, as he comprehends it, is not to present the\nsuperficial semblances of life, but the soul of life; not Naturalism, but\nsuggestion; not representation, but interpretation; not dialogue, but\naction ; not scenery, but atmosphere ; not ideas, but visions.\nThere has been too much pamphleteering in the theatre, too much\n\" pottering and peddling of psychology. \"\nlt is a commentary upon the times that London should flock to a\nplay which had been decreed by the dramatic critics, though not in so\nmany words, as the finest... that is, the most realistic... domestic squabble\never put on the stage. Its saving feature M as a \" problem \" ; but, as far as\nmay be gathered, the only thing all were agreed upon was that never had a\npoor factory girl lost her virtue under more auspicious circumstances.\nThis Naturalism holds up ugliness as the very quintessence of life;\nand does it on the plea that it wants to improve life. Mr Craig replies\nthat the Naturalists have the subtle truth to learn, that exhibition\nof ugliness does not improve life, but reacts on it.\njgp Beauty, on the other hand, begets beauty,\n& \" The duty of the Theatre, \" exclaims Mr Craig, in one of his mani-\nfestoes, \" is to awaken more calmness and more wisdom by the inspira-\ntion exhaling from its beauty. Photographic and Phonographic Realism\ninjure the minds of the people. They thrust upon them a grotesque and\ninaccurate representation of the outward and visible life, with the divine\nessence,., the spirit... the beauty of life left out. \"\nAgain he sees in 44this false-witnessing Realism\" a \" traitor of the\nImagination \", that Imagination which Renan justly pronounced to be the\n\" great consoler of life The most precious of gifts, whose sufferings\nare delectable, which Is the foundation of the soul's health, the essential"}, {"page_pdf": 43, "page_imprimee": "315", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.43", "texte": "GORDON CRAIG AND HIS SCHOOL.\n\ncondition of gaiety, and which enables us to enjoy the madness of the\nmad and the wisdom of the wise. \"\nA work of art should be judged primarily by the quality of imagination\nit stirs in us, and by the sheer power it has to exalt us. But this small\nrealism leaves nothing to the imagination. Mr Craig shows his respect\nfor the playgoer by attributing to him the possession of the Imaginative\nfaculty, a faculty too often suppressed or crushed by the realistic theatre.\nHe is in accord with the average theatrical manager's desire to produce\n\" what the public wants, \" only he believes that the public wants, and\ncan be trained to want, something better than is offered it.\nHaving lost our digestion, we are offered pre=digested foods. Having\nlost our imagination, we are offered Naturalism.\nNaturalism can represent beautifully a drawing=room, or a ladies'\nboudoir. It cannot even show a realistic street, because of the actual area\nlimitations of the stage; nor a realistic moon, because there is only one\nmoon, and that, thank Qod, is well out of the managers' reach ; much less\nthe top of a mountain, a storm at sea, the vastness of space, the magnitude\nof nature.\nYet ail these could be suggested. There is no alternative to suggestion.\nJZ? Where Naturalism stops, there the real art of the stage begins... an\nart not bound by limitations, on a stage not encompassed by three walls\nand a roof, and permitting an outlook upon life and all the urging and\nrestraining forces behind life.\nMan is small, the forces arrayed against him are various and large.\nMan is finite, Nature is infinite. Man strives towards one goal, the Fates\nlash him on towards another. Yet how heroic is man's striving; how\nmagnificent he looks against that background of sombre, palpitating\nshadows, or against the freedom of the sky on a high mountain=top 1\nNot only is man in action, but the elements arrayed with him or against\nhim are also charged with the same active spirit, and so the air is filled\nwith a portentous something; it is an atmosphere suggesting perhaps a\ncoming clash, an impending catastrophe, and creating a mood of moving\ntragedy... and all in all a fit setting for a drama.\n& There are critics who object to this ♦' dwarfing of the actor. \" They\nwould dwarf life instead."}, {"page_pdf": 44, "page_imprimee": "316", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.44", "texte": "& GORDON CRAIG AND HIS SCHOOL. &\n\nComedy, again, should have its relative setting, as s.mple and as\nforceful in its way as tragedy. There are symbols in joyous lighting, and\nthe creation of an atmosphere of gaiety Is possible to the artist in\nsuggestion.\nTo help to create this setting or atmosphere, this spirit of concentrated\nreality in a world of emotion, this sense of space In small areas, Mr Craig\nhas invented his simple devices. Par from being an end in themselves,\nthey are Intended merely as a means for intensifying action and fortifying\nvision.\nvlslon, indeed, Mr Craig regards as a neglected sense, atrophied by\nnon-nse. He looks upon the eye las a great instrument for absorbing\ndramatic emotion... since true vision does not end with the retina, but\nsinks deep into one's inner consciousness. The eye is not less than the\near. The marriage of sight and hearing is the perfect union necessary for\nreceiving complete dramatic impression.\nMany people, having looked with admiration upon Mr Craig's designs,\nhave gone away under the misapprehension that he wished to introduce\noaintino-s into the theatre. It is unfortunate that a man's own work\nshould thus recoil upon him, and confuse minds as to his intentions,\nessentially so different. The absence of a permanent theatre, where he\nmight experiment and give concrete form to new ideas, has impelled him\nhitherto to seek another outlet for their expression, despite the limitation\nof that outlet or medium. Had he had such a place earlier, it is probable\nthese designs would never have been seen by the public. They might\nhave taken the form of actual productions.\nVTow that Mr Craig's school at Florence is an assured fact, we can look\nforward to some practical realisation of the theories he has advanced\nso persistently. The school has started out quite properly by issuing a\nmanifesto of its principles, and a history of Mr Craig's endeavours to\nfound the institution. The pamphlet bears the suggestive title of A Living\nTheatre, (i) While it contains nothing that is not known to us, being in\nfact largely a reprint of articles that have appeared in The Mask and\nelsewhere, it is nevertheless a welcome evidence that the institution is\n\n(1) Obtainable from The Publishers, Arena Goldoni, Florence."}, {"page_pdf": 45, "page_imprimee": "317", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.45", "texte": "GORDON CRAIG AND HIS SCHOOL.\n\nat last in readiness to undertake the preparatory work of the Theatre\nof the Future.\n& The founder himself considers the school the actual beginning of his\nwork. Having mentally disposed of the modern theatre, he will start\nfrom the very ground. All that we have known so far is that experiments\nwould be conducted In Light, Sound, and Movement... the three elements\nof the theatre ; first separately, then in relation to one another; that\nthere would be some kind of effort to achieve unity, which is the one\nunalterable law in the drama.\nMany months ago, long before there was an inkling of the near\nrealisation of the school project, Mr Craig, in response to my questioning,\nkindly consented to give an outline of the methods he would employ in\nhis school. 1 shall submit here the sum of his answers. It will be seen\nfrom these that his methods are not only ingenious, but are even more\nInteresting for the sane suggestion they contain for the foundation of\nthe New Theatre. It was even then apparent from the voluminous f01i0...\nfull of facts, plans, and figures... which he brought to his assistance, that he\nhad left nothing outside his calculation. And one cannot fail to note how\ncuriously his mind works, how strangely the practical in him blends with\nthe ideal, how significantly he animates all material things with symbols.\n'jrhe school will study the Past and Present and the speculative Future.\nStudy of the Past will involve the Oxford and Cambridge methods.\nThis will be dry evening work.\nStudy of the Present will be thoroughly practical, productive. It will\nconvert small and immediate knowledge into quick returns. This class\nwill pursue its studies during midday.\nThe Future will be early morning work. Dawn is the exciting time,\nfull of symbolic significance. (Mr Craig recalls probably his Florentine\nnights in which he sat up far into the dawn, creating some of his finest\ndrawings.)\nIf it is only a dry school, he remarked, it will be ruined in a short\ntime, if a merely productive, it will be a vulgar school. If only making\nexperiments for. the future, a mad school. To make the school practical,\nIt will be all three... dry, vulgar, and mad... joined together."}, {"page_pdf": 46, "page_imprimee": "318", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.46", "texte": "GORDON CRAIG AND HIS SCHOOL.\n\n.g? There will be lectures on sound, movement, voice, light, history,\ntheory. These will be often illustrated by the kinematograph and other\npractical means.\nOne of the most important studies will be that of movement in nature.,,\nthe movements of trees, wind, water, the flight of birds, the glide of\nfish, snakes, the movement of the human figure.\nComparisons will be made, with the object of discovering any vital\nresemblance between the various movements and of establishing a\nuniversal principle. It is probable that the virtues of the elements are\nthe purer movements of nature working in harmony; that what we call\nspiritual runs through all nature.\nit may be ultimately discovered that the height of the human move-\nment is a square movement, or it may be a round movement, or it may\nbe a combination of the two. An effort will be made to find what is at\nthe root of all movements, and what are the primary forms of movement.\nAll these movements from nature wili be taken to the table, dissected,\ntested thoroughly. Nature's secrets will be wrested from her. Only in\nthis way is it possible to get at the structure and internals of art. The\nexternals of art are so attractive that it is easy to be deceived as to\ntheir actual value.\nAn attempt will be made to find a new road. The important thing is\nnot to be a pupil of Rembrandt or Hokusai, but of the thing which gave\nbirth to both men, a pupil of the thing they groped for. One must go\ndirect to nature. The danger is in departing from nature. Artists are fine\nwhere they resemble each other. The finest of Rembrandt's etched lines,\nwithout ornamentation, will resemble a line by Hokusai. Two straight,\nstructural lines forming the sail of a mill, as drawn by Rembrandt, will\nin no wise differ, when least adorned, from those drawn by an Indian or\nby a Japanese. These two fine, sharp lines are chronicles of fact. They\ngive the form. And form is valuable because it is an abiding thing, while\nlight and colour are fleeting. Form keeps a -thing clear and orderly.\nTherefore, the geometry of nature which creates form will be studied.\nWithout form there can be no life. All else is artifice. Ballet-dancing...\nthe best of it... is artifice. The goosestep of a German soldier is\nartificial; the ordinary walking of troops is natural and magnificent."}, {"page_pdf": 47, "page_imprimee": "319", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.47", "texte": "GORDON CRAIG AND HIS .\n\nThe high walking of horses is unnatural; a decently bred horse walks\nnaturally.\n& The movements of man, horse, and tree have something in common,\nand it is that which should be captured. It is that which has the soul. It\nIs something that unites all creation. It is something familiar, and if one\nentered another life... that of worm, bird, or mammal... it should not\ndepart from him. If man went through all animal creation he would find\nalways that peculiar rhythm... suggesting perhaps the victorious; love\nconquering death ; the power to conquer, etc. The artist, in this sense,\nIs a philosopher, a metaphysician arriving at his end by rapid calculation,\nsteering clear of all complexity.\n£? In that section of the school given to the Present, the European\ndrama of to=day in its best aspects will be studied, with the object of\nimmediate betterment. Productions will be given. These will not represent\nthe last word. Plays like Sumurun will be tried. No masks will be used\nin the Section of the Present.\nThe mask will be studied in the Past Section, but actual experiments\nwith masks will be made in the Future Section. Everything will be kept\nsensibly in its place. The mask would be out of place in the modern\ntheatre. It has to do with the future. The mask in the Greek Theatre\nhas to do with the past. Everything outside the Present Section will be\nexperiment... mostly fragmentary. If a production shall be given It will\nrepresent good, solid workmanship, not a compromise. Walk every day,\nuntil you have 'learnt how to fly. The Practical Section of to=day will\ninclude patents and invention.\nA Museum will be connected with the school. This will contain chiefly\ntheatrical devices of the past.\njSf There will be a department of the Dance.\n& The students will apply themselves, like archaeologists, to study all\nthat is known and much that is not known. They will study the East\nand the West; the religious and the comic; the folk, the aristocratic\nand the democratic; the sacred and the profane... the profane at its\nhighest.\nThey will study all the typjcal theatres known and make models of\nthem. These will include the Cretan, Greek, Roman, Italian, Religious,"}, {"page_pdf": 48, "page_imprimee": "320", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.48", "texte": "GORDON CRAIG AND HIS SCHOOL.\n\nShakespearean, and modern-stages. A record will be kept of all tests, and\nthe soundest theories used.\nThere will be no \" lingering so lovingly \" over the past that the\nschool shall grow absorbed in it and become a weak imitation. On the\ncontrary, everything shall be done to .avoid the influence of the past. The\ncontinuous study of nature will prevent that.\n*\nTphese notes, jotted down in conversation, make one thing clear. Mr\nGordon Craig does not believe that the Theatre of the Future can be\nproduced by the magician's wand, suddenly, out of a hat. fie regards it,\nas he regards all art, as a product of slow growth ; and the artist's\nmethods as resembling those of Nature itself. If the theatre is to be\nestablished as a strong and permanent institution, it must begin from\nthe very beginning and rise to eminence only by slow and progressive\nmethods. He logically looks upon his school as that essentiai beginning, as\nyet hardly larger than a healthy germ, but equally susceptible of healthy\nand important development.\nNone more than Mr Craig realises that it Is not for one man, nor yet\nfor several men, to carry on the work of the theatre's restoration. He\nbelieves, however, that he has rediscovered an old truth, an eternal truth,\nand that any deviation from this truth is bound to be as disastrous for\nlife as for art. For him the Theatre of the Future has its roots, not in\nthe present, but in the deep past; this only as far as it affects the soul\nof the art; externally, it will, of necessity, belong to Modernity."}, {"page_pdf": 49, "page_imprimee": "321", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.49", "texte": "THE \"TEATRO ALLA MODA\": Some\nNotes\nby Pierre Ramés.\no creature smarts so little as a fool \"! That was\none of Pope's sayings; and so little do the men\nand women of the stage seem to smart under\nthe continual criticisms and satires levelled at\nthem that it is really almost equivalent to a self\ncondemnation and to placing themselves in the\nvery category they would wish to shun. In short,\nby their stolidity, they give themselves away.\nFor age after age have their follies, their vanities, their weaknesses\nbeen held up to ridicule, sometimes sharply, sometimes good-humouredly ;\nand yet they continue blandly to pat themselves and each other on the\nback and think what fine fellows they are, instead of setting heart and\nsoul to the work of reform.\nFor centuries they have been advised and warned, laughed at and\nparodied and twitted by men of their own profession or world, such as\nGherardi and Riccoboni, as well as by those who only looked on them\nfrom the spectator's point of view.\nGoethe, who loved the theatre, is yet found writing of the actors,\n\" In their lives they are either rakes or simpletons.... Ever greedy,\n\" ever confiding, they seem as if their greatest fear were reason and\n\" good taste, their highest care were to secure the majesty of their\n\" self-will: \" while Carlo Gozzi, who lived among them, and worked with\nthem, declared, \"It may be laid down as an axiom, to be accepted\n\" with closed eyes, that the chief Idol of all actors is their venal\n\" interest.\" (i)\nGilbert a Becket chaffed them good-naturedly.... their absurdities and\nchildishness, in his \" Stage Characters \" (2); Jerome K. Jerome, in our\nown day, did much the same In \" On the Stage and Off \". Eleonora Duse,\none of their own family, declared, after a lifetime of experience, that\n«« To save the Theatre the Theatre must be destroyed. The actors and\n\n(1) The Mask. Vol: 111 page 173.\n(2) The Mask. Vols: II & 111."}, {"page_pdf": 50, "page_imprimee": "322", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.50", "texte": "THE \" TEATRO ALLA MOD A. \"\n\nactresses must all die of the plague \"; because, 44 They poison the air,\nthey make art impossible (i)\n& But all these dicta of the wise or the witty, the satirist or the sage,\nnever seem to stir them seriously to think, to question what it is in\nthemselves which gives rise to so much criticism and censure in their\nbest friends as well as in those they might assume to be other than\ntheir friends. No Consideration seems, like an angel, to come \" to whip\nthe offending Adam \" out of them and bring them to a better mind.\nAnd now here comes one more voice from the dead, from the Venice\nof two hundred years ago, raised against the follies of the theatre of\nthat day, and proving, unfortunately, to be still grievously applicable in\nthis present year of grace.\nThe voice comes to us through a little quaint, almost forgotten book\ncalled 44 II Teatro alia Moda \" and is that of Benedetto Marcello, a Venetian\nnoble and celebrated musician, who was born at Vfenice in 1686, being\ns .\nthus one year junior to Handal and Bach.\n& Musician and poet that he was, of course he was enamoured of the\ntheatre, as who was not in that eighteenth century Venice where Goldoni\nand Carlo Gozzi were fighting the last battle between the old Commedia\ndell'Arte and its adversary, the realistic literary play: where everyone\nwas associated in some way with the theatre, and where, as Philippe\nMonnier says, the horizon of the people 44 seemed to be bounded by\nfoot lights, stage scenery, and a prompter's box. \" (2) And, of course,\nloving the theatre, and, as an artist and patrician, hating mediocrity,\nwhat could he do but criticise it, condemn all that was mediocre, weak,\nfoolish, in the object of his love ? So, when he was about forty years old,\nhe published this little book, a keen satire, in which he makes fun of\neveryone and everything in the theatre, while pretending, in a serious\nand businesslike manner, to teach the poets, managers, singers, musicians,\ncostumiers and ail the rest of the motley crew how to please their\naudience and one another and win success.\nIn the gravest tone he recommends all kinds of follies and absurdities\nand extravagances, seriously treats of all the whims, the vanities, the\n\n(1) Recorded by Artbhr Symons \" Studies iu Seven Arts. \" Constable.\n(2) Tbe Mask. Vol; HI page 101."}, {"page_pdf": 51, "page_imprimee": "323", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.51", "texte": "THE 44 TEATRO ALLA MODA. \"\n\npretensions of the various parties, and the complications which naturally\narise, and which put the impresarios of those days to their wits'ends just\nas they do today. As Vernon Lee has written, (2) \" There is a perpetual\n44 struggle in this grand world of the \" Teatro alia Moda, \" a battle of\n44 conceit, avarice, imbecility, and servility, between the singers and the\ncomposer, the composer and the poet, the whole company and the\n\" manager;... and to each and all Marcello lays down the law, quietly\nteaches his part in the general scuffle, regulates and sistematises the\nt\n44 universal folly. \"\nMarcello passes them all in review,... the poets, composers, Impresarios;\nthe leading ladies and their 4 protectors', the costumiers, scene painters,\ndancers, supers, laying down rules for them all with mock gravity, and\nwith, at times, outbursts of the most extravagant nonsense, which, for\nail their extravagance, do not annul the solid truth which lies behind.\nIt is true he decks his arrows with innumerable tags of ribbon and\nfeathers, with quips and jests and laughter; but they are barbed, for\nall that, and shot direct at the follies, intrigues, and stupidities he has\nin view.\nSome of those figures of the 44 Teatro alia Moda \" have, it is true,\npassed away with the age and conditions which gave them birth. The poet\nof today has, for instance, little in common with the shabby sychophant,\npatching together his plays from all kinds of sources, entering into\nleague with cook and valet to share the fees he shall obtain through\ntheir good will for flattering his patron, and writing long dedicatory\nepistles to that same patron in which he shows his profound respect by\n44 kissing the jumps of the fleas of the feet of the dogs of his Excellency \".\nBut when it comes to the \"Impresario\", and we are told that 44 the modern\n44 Impresario ought not to possess any knowledge of matters pertaining to\n44 the theatre, not in any way understanding music, poetry, painting,\"...\nwhy, there we are 1 it might have been written yesterday of certain\nwell-known managers who 44 produce a play \" only by paying a large staff\nof artists and craftsmen to produce it in their name.\n& And then we are let into certain secrets of the succesful Impresario,\nwhich are, perhaps, not altogether out of date even today !\n\n(I) the XVIII Century in Italy, page 105."}, {"page_pdf": 52, "page_imprimee": "324", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.52", "texte": "THE 44 TEATRO ALLA MODA. \"\n\njg, a j||e greater part of the company \" we are told, 44 has to be made\n44 up of women ; and, if two artistes should dispute the leading part,\n\" the impresario will make the poet compose two equal parts, making\nit understood that the name of each character must be composed of\n44 the same number of syllables. \"... Is that so very unlike the perplexities\nof a certain foolhardy American impresario who lately undertook, though\nunsuccessfully, to manage a tour for three ladies, all in their own\nestimation 44 stars \" of the first magnitude, who from the first day\nintrigued and quarrelled and sulked as to the relative size and position\nof their names on the play bills, the arrangements of their sleeping-cars,\nthe hours of their meals, the number of their encores, and every other\ndetail of the Expedition to such an extent, that a most reputable Ame-\nrican journal, (i) in referring to the break-up of this brief Triple Al-\nleance, declared that it seemed 44 to have been a Kilkenny cat-fight from\nstart to finish \" in spite of all the diplomacy and foresight the impre-\nsario could bring to bear.\nThe Impresario is also advised by old Marcello to choose his actresses\nas being less remarkable for virtue than for charm, so that they might\nthe more 44 abound in Protectors \", for 4Protectors' bring much good\nmoney into a theatre.\n£/ And then the 4prime donne' themselves, with their 44 retinues of\nparrots and lapdogs and monkeys and admirers \",... are they a vanished\nrace ? ....was the arrival of a certain music hall star In New York, not\nlong since, with a similar train, any less extravagant? ....was It not the\nvery repetition on, a larger scale of that which Marcello ridiculed two\ncenturies ago ?\nj0 And do not these delightful ladies still make everyone wait for them at\nrehearsals? do they not still 44 miss many rehearsals \", sending charming\nlittle excuses instead ? And do they not still exploit their own personalities,\nmaking it known to the public that they are 44 the Signora Qlandussa\nPelatuttl, and not the Empress Fllastrocca whom they are representing,\nalthough they behave like this majestic personage outside the theatre?''\nDo they not still have all kinds of subtle little ways of advertising\nthemselves, of keeping in the limelight, of wasting everyone's time, of\n\n(1) New York Dramatic Mirror Oct 29 1913."}, {"page_pdf": 53, "page_imprimee": "325", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.53", "texte": "THE 44 TEATRO ALLA MODA. \"\n\nputting little hindrances in the way of the other actresses, of 44 weeping\n\" floods of tears (through virtuous envy) at the applause of any other\n\" person or bear or earthquake, etc\", whose success is equal to or\ngreater than, their own?\n£? Doubtless there are many actresses who are above all these little\ntricks and weaknesses, but what impresario who is concerned with the\nmanagement of these ladies, what intelligent reader of the daily and\nweekly theatrical journals, can deny that these conditions exist as widely\nin the twentieth century as ever they did in the eighteenth ?\nThen there is the virtuoso, the male actor, with his self=importance\nand his claims. These have increased rather than dimlnishedj and to\nsuch an extent that one of the more serious and distinguished figures\non the London stage today, Mr H. B. Irving, has declared, relative to\nthe social pretensions of the actor, that, while his profession Is no bar\nto his social enjoyments, \" these should always be a secondary consider\n14 ration, and something of a luxury to be sparingly indulged in. An\n44 actor should never let himself be beguiled into the belief that society,\n44 generally speaking, is seriously interested in what he does, or tiiat\n44 popularity in drawing=rooms denotes success in the theatre, it does\n44 nothing of the kind \". While, writing on this same subject, Mr Albert\nChevalier has said, 44 Of late years it has been the aim and object of\n44 certain actors to get into society. No criticism, however favourable,\n44 affords them more pleasure than paragraphs bracketing their names\n44 with leaders of fashion Once let society get the upper hand, and\n44 the actor develops into a snob of the most pronounced order .\nThese are the words of sane men, who respect their own profession\nand position too much to cheapen it by cheapening themselves in their\nefforts to enter a world which is not their own: but such men are un-\nfortunately rather the exception than the rule in the theatre world ; for\nthough the actor of today does not, it is true, crudely state that he\n44 kisses the jumps of the fleas of the feet of the dogs.of his Excellency \"\nhe sometimes comes very near the twentieth century equivalent of the\nfolly which Marcello thus extravagantly satirised.\nAnd it is a pity, for the actor is really too fine and capable a fellow\nto hold himself and his own world so cheap."}, {"page_pdf": 54, "page_imprimee": "326", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.54", "texte": "THE 44 TEATRO ALLA MOD A. \"\n\nBut that is the harm from first to last. The Theatre holds itself too\ncheap. Or rather, those who claim to be its representatives hold it cheap.\nTheir attitude Is apologetic. They must borrow from everywhere,...\nfrom painters, musicians, literary men, before they believe they have\nanything good enough to give. They must prove what distinguished\npersons they are, not upon their own stages by.sincere and thorough\nwork, but at the dining table of his Grace the Duke of this or in the\nsalon of her Grace the Duchess of that.\nThey are truly interested in but one subject,... that is, in themselves.\nThey must tell us at all times and in all places,.,. In lecture halls, at\nbazaars, at all kinds of public gatherings, that they are 44 Sir Oracle \"\n...and 44 don't you be forgetting it. \"\nThey are past masters in the art of personal reclame. To this end they\nwrite books of 44 Memories \" and *' Experiences;\" they make speeches and\ngive interviews on ail occasions and on all topics, and smile benignly\non the fulsome paragraphs which announce their departure on some\nAmerican or continental tour as grandiloquently as if it were a matter of\ngrave International import instead of merely Mr So=and=so keeping his\neye firmly fixed upon his own main chance.\nJS? Their portraits, with those of their leading ladies, grace the pages\nof the illustrated papers above little facsimile notes recommending\nhair~washes, motor cars, cold=creams or flannel shirts. They adore\npublicity, though it be but the publicity of being present in a police\n4\ncourt at some 44 cause celebre,\" and, lest the public should follow Schiller's\nadvice and 44 twine no wreaths for the actor \" they take the best of\ncare to twine them in season and out of season for themselves.\nIn fact egoism looms large In the theatre. Its members are self=seeklng,\nand what they are seeking for themselves is something very small:... a\nlittle money, a little ease, a little fame. And while they follow these\nlittle things, men and women alike, they neglect a great opportunity;\nand when they have got them,... for they do get them, and out of all\nproportion to their deserving,... they are none the better but rather the\nworse, and the cause they should have helped to lift to the stars is\ndragged as ever In the dust.\nWhat they need is a Master in the Theatre,... a Master with an ideal"}, {"page_pdf": 55, "page_imprimee": "327", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.55", "texte": "THE 44 TEATRO ALLA MOD A. \"\n\nso great that it and he shall compel obedience; and then the small things\nshall be forgotten, and, under his rule, order shall take the place of\nwaste and anarchy, strength shall stand In the place of weakness, and\nlarge impersonal aims where selfishness was before; and the empty\noutworn shell of the Theatre shall be discarded with all its parasites,\nand the soul of the Theatre shall rise to a height from which 44 its\nimperishable beauty can be felt by the whole earth. \"\nThe little personalities have worked havoc with the Theatre. In\nthe great Personality, the great Master, will be its salvation; for:\n\" The man or woman who greatly and entirely loves the art of the\n\" Theatre, with a love In which no grain of selfishness lingers, but which\n44 is surrounded by circles of pride, such a one can heal the Theatre....\n\" can restore vitality to its poor and broken body and can then perform\n44 The Miracle with its soul. \" (i)\n\n(I) Gordon Craig. \" Letter to Madame Eleoaora Duse. \" The Mask. Vol. I. page 13."}, {"page_pdf": 56, "page_imprimee": "328", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.56", "texte": "\"IT'S ABOVE MY HEAD\". A Note\nby John Balance.\nhis is a phrase very popular with a large number\nof persons. They apply it to almost all things in\nheaven and earth which, rising above the level of\nmediocrity, require the exercise of some effort\nbefore they are comprehended, and, although the\nwords may sound like the utterance of modesty\nthey are really the expression of an impertinent\ndisparagement of that which the speakers do not\nvalue, and the flabby avoidance of any mental exertion when confronted\nby something they do not understand.\nCuriously enough, it would seem on enquiry that, for the most part,\nthe most stupendous things escape the blight of this phrase and the\nlesser things, .... the things which might be apprehended with some\nlittle effort.... do not; that very costly things escape, while that which\nis humble does not; that very aged things escape while that which is\nyoung does not.\n& Thus, in Nature, the Alps command the respect of sma!l°minded\npersons as well as great, but the flowers which grow upon the Alps do\nnot. So, again, they have not a word to say against the Hon or the\nelephant, recognising in them some force and greatness, but the humbler\nbeasts, the ox and the ass, they treat with very poor courtesy. Again,\nthey value the eagle on account of its age, its strength and the difficulty\nof procuring it, but they fail to see the value in the ordinary partridge\nor the other birds they kill for sport. The idea of preserving these or\nappreciating the wonder of these is 44 above their heads\n& Then again, these little gentlemen have nothing disrespectful to say\nconcerning the Sphinx, but a sniali Egyptian figure of the same period\nis 44 above their heads \". The fact of the first being in the desert and\nnot being my, or any other individual, property, added to its great size,\nimpresses them ; while the tiny and amazing figure standing upon my\nwriting table does not.\nis size, cost and age which make an impression upon the\nthick senses of these persons, though in the case of age it must usually"}, {"page_pdf": 57, "page_imprimee": "329", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.57", "texte": "IT'S ABOVE MY HEAD.\n\nbe merely a \" ripe old age \" and not too ancient. Thus St Peter's at\nRome commands their attention and respect while the Coliseum is \" above\nthem ' , and the frescoes by Michaelangelo are \" quite extraordinary \"\nwhile the paintings at Pompei are \" very clever \" but are \" above their\nheads \".\nThen, again, these gentlemen cannot tolerate anything of gravity or\ndelicacy unless It be allied with something that is almost threatening in\nits force. It Is for this reason that they let Alichaelangelo pass,... there\nis something queer about the look of his eye,... but Fra Angelico Is for\nthem a fool and Botticelli nothing but a bore, while as for Giotto,\nwell, ** Giotto may be very wonderful you know, but its above my\nhead \".\nIf literature be the topic the name of Caesar would somehow command\nrespect and Dante's might, but Theocritus would certainly not. Shakes-\npeare, being so well known by the majority, passes with most of them\nwhile Marlowe, his contemporary, does not. Beethoven they admit as\n\" a wonderful musician \" but Palestrina and Tenaglia they stigmatise as\n*' above their heads. \"\nj£> Now all these artists that I have mentioned are among the dead.\nTheir creative faculty can no longer be injured by the cold or warmth of\nthe reception given to their works. But when we come to the men of\ntoday or of the last few years, ...the modern masters of art and science,\nthe matter is very much more serious, the -harm done by this discreditable\nclass of critics very much more great.\nA moment's thought confirms thus.\n& There is hardly a master of the last fifty years in either of these two\nprovinces of art and science who has not been received with uplifted\neyebrows and with the blighting phrase which forms the subject of\nthis Note.\nThe list is a very long one, and the citation of a few of the names\nwill serve.\nand Orville Wright, Marconi and even Edison have been so disparaged, have\nhad to do their work in this supercilious atmosphere. True, these lazy\nthinkers have managed to understand something of Marconi and Edison"}, {"page_pdf": 58, "page_imprimee": "330", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.58", "texte": "IT'S ABOVE MY HEAD .\n\non account of the monetary value of the work of these men and the\npratical benefits which even the most lethargic have been able to derive\nfrom them ; but to Darwin, who did not put money In their pockets,\nour phrase may often be heard applied.\nComing then to the arts of yesterday we find that the following\nartists have been 44 above the heads \" of these gentlemen from the\nbeginning until now.\n& In music, Wagner, Tschaikowsky, Rachmaninov, Brahms, Debussy, and\neven Grieg. In painting and sculpture, Gauguin, Daumier, Whistler,\nRodin, Cezanne, Lautrec, Beardsley, Van Gogh and even people much\nmore easily understood, are 44 above the heads \" of these people.\n&In literature, Meredith, Swinburne, Browning, Rossetti, Whitman,\nNietzsche, Ibsen, Strindberg, Byornson. In the Theatre, ...but I will avoid\nthe topic; there everyone was 44 understood\nNow, what is it about the work of all these artists which calls forth\nthis phrase ?\nIt is simply this:... that there can be no half \"hearted opinion about\nthe work of these men. Whoever speaks about them at all must hold a\ndefinite opinion and must attempt to give logical reason for this opinion;\nthat is to say, must exercise intelligence, and this, as I have said, is\nexactly what these people will not do.\njg? They seem frightened to do it. They seem frightened to make a\nmistake. They seem to forget that it is no reproach to the 44 \"\nman that he be absolutely without an eye for painting or ear for music\nand that in his heart he should prefer the popular print to the scratch\nof Rembrandt's needle, and the songs of the Music Hall to all the works\nof fine art.\nhim have but the wit to say so and not feel the admission a\nproof of Inferiority and all will be well. It Is not as though we are\nconcerned here with the most finished scholar or the greatest gentleman\nin the land. We are concerned with the majority, with those who, by\nsome pressure of weight and numbers, influence those more critically\ninclined towards a false conclusion. These numberless gentlemen and\nladies who are continually talking about 44 Having to liveup to something\nwhich is above them. \""}, {"page_pdf": 59, "page_imprimee": "331", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.59", "texte": "ITS ABOVE MY .\n\nBy means of this single phrase alone they create in the heart and\nhand of the critic a certain over°cautiousness which has paralysed the\nspirit of modern criticism. Criticism, certainly the best criticism has\nnow in its turn become 44 above the heads \" of journalists are the\nmouthpiece of this mob with whom we are concerned.\nNow let it be definitely stated that this feebleness is nowhere more\npervasive than in England, it is of no use to claim that this attitude\nbelongs to the ignorant only, and that the ignorant are not to be reckoned\nwith, for it is, unfortunately, just the ignorant who to be reckoned\nwith, since ignorance is the 44 one only evil \" from which all other evils\nare bred.\nAs 1 have said above, these ignorant people do not realise that there\nis such a thing as mental as well as physical athleticism ; that there is\nsuch a thing as a mental cold bath which braces the intellect just as\nthere is the actual cold bath which braces the body. These people have,\nvery rightly, the utmost horror of any man who is unathletic In body\nand who is fearful of the modern cold douche, and it is therefore\nall the more extraordinary, it is, in fact, almost incredible, that they\ncannot see that it is very desirable that men should have exercise for\nintelligence; that nothing, however intellectual and exalted, shall be\nspoken of as being 44 above their heads, \" out of their reach, for that is\nan admission of mental cowardice and inertia; it is the equivalent of\nsaying, 44 1 was afraid ; he looked much stronger than 1. \"\nIf these people would only remember that the mere fact of being\nstronger or weaker is of no account. It is the desire to become stronger\nwhich counts, for In this Is the guarantee of future strength. Desire\nimplies effort, and this effort will involve the use of all the faculties,\nand, consequently, their development. There is another sense than\nDryden's in which 44 the wise for cure on exercise depend, \" and the\ncure for the mental inertia which finds expression in the phrase 44 its\nabove my head \" is in a keen and patient effort to rise mentally to a\nhigher plane.\nwhen such effort becomes the rule we shall no longer find the creative\npowers of our greatest artists and scientists being obstructed or weakened\nby the blighting reception now usually accorded to their work. We shall"}, {"page_pdf": 60, "page_imprimee": "332", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.60", "texte": "ITS ABOVE MY HEAD.\n\nfind them, on the contrary, prompted and Inspired to ever greater and\nloftier achievements by the eager pressure behind them of those who,\nalert, intelligent, impatient of all but perfection, generate an atmosphere\nof enthusiasm and exhileration around their work.\n\nA WORD ON GREAT MEN,\nby Victor Hugo.\nQreat minds are importunate; to deny them a iittie is judicious.\nAfter ail, let us admit it at last, and complete our statement;\nthere is some truth in the reproaches that are hurled at them. This\nanger is natural. The powerful, the grand, the luminous, are in a certain\npoint of view things calculated to [offend. To be surpassed is never\nagreable; to feei one's own inferiority leads surely to feel offence. The\nbeautiful exists so truly by itself that it certainly has no need of pride;\nnevertheless, given human mediocrity, the beautiful humiliates at the\nsame time that it enchants : it seems natural that beauty should be a\nvase for pride, it is supposed full of it, one seeks to avenge oneself for\nthe pleasure it gives, and this word superb ends by having two senses,\none of which causes suspicion of the other.\n& It is the fault of the beautiful, as we have already said. It wearies...\na sketch by Piranesi bewilders you ; a grasp of the hand of Hercules\nbruises you. Greatness is sometimes In the wrong. It is ingenuous, but\nobstructive. The tempest thinks to sprinkle you, it drowns you; the star\nthinks to give light, it dazzles, sometimes blinds. The Nile fertilizes, but\noverflows. The \" too much \"is not convenient; the habitation of the\nfathomless is rude ; the infinite is little suitable for a lodging. A cottage\nis badly situated on the cataract of Niagara or in the circus of Garvarnie;\nit Is awkward to keep house with these fierce wonders; to frequent\nthem regularly without being overwhelmed, one must be a cretin or a\ngenius."}, {"page_pdf": 61, "page_imprimee": "333", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.61", "texte": "A WORD OH GREAT MEN.\n\nsie dawn itself at times seems to us Immoderate: he who looks at\nit straight suffers; the eye at certain moments thinks very ill of the\nsun. Let us not then be astonished at the complaints made, at the\nincessant objections, at the fits of passion and prudence, at the cataplasms\napplied by a certain criticism, at the opthalmies habitual to accademies\nand teaching bodies, at the warnings given to the reader, at all the\ncurtains let down, and at all the shades used against genius. Genius is\nintolerant without knowing it, because it is itself. How can people be\nfamiliar with Aeschylus, with Ezekiel, with Dante ?\n& The I is the right to egotism. Now the first thing that those beings\ndo, is to use roughly the I of each one. Exorbitant in everything, in\nthoughts, in images, in convictions, in emotions, in passions, in faith,\nwhatever may be the side of your I to which they address themselves,\nthey inconvenience it. Your intellect, they surpass it; your imagination,\nthey dazzle it; your conscience, they question and search it; your\nbowels, they twist them, your heart, they break it; your soul, they\ncarry it off.\n& The infinite that is in them passes from them and multiplies them,\nand transfigures them before your eyes every moment; formidable fatigue\nfor your gaze. With them you never know where you are. At every turn\nthe unforeseen. You expected only men, they cannot enter your room\nfor they are giants; you expected only an idea, cast your eyes down,\nthey are the ideal: you expected only eagles, they have six wings: they\nare seraphs. Are they then beyond nature? Is it that humanity fails\nthem ?\nCertainly not, and far from that, and quite the reverse. We have\nalready said it, and we insist on it, nature and humanity are in them\nmore than in any other beings. They are superhuman men, but men.\nHomo sum. This word of a poet sums up all poetry. St. Paul strikes\nhis breast and says \" Peccamus. \" Job tells you who he is... \" I am the\nson of Woman. \" They are men. That which troubles you is that they\nare men more than you: they are too much'men, so to speak. There\nwhere you have but the part, they have the whole : they carry in their\nvast heart entire humanity, and they are you more than yourself: you\nrecognise yourself too much In their work: hence your outcry. To that"}, {"page_pdf": 62, "page_imprimee": "334", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.62", "texte": "A WORD ON ORE A T MEN.\n\ntotal of nature, to that complete humanity, to that potter's clay, which\nis all your flesh, and which is at the same time the whole earth, they\nadd, and it completes your terror, the wonderful reverberation of the\nunknown. They have vistas of revelation, and suddenly, and without\ncrying 44 Beware, \" at the moment when you least expect it, they burst\nthe cloud, make in the zeneth a gap whence falls a ray, and they light\nup the terrestrial with the celestial. It is very natural that people should\nnot greatly fancy familiar intercourse with them, and should have no\ntaste for keeping neighbourly intimacy with them.\nWhoever has not a soul well tempered by vigourous education avoids\nthem willingly. For colossal books there must be athletic readers, (i) It\nis necessary to be strong and healthy to open Jeremiah, Ezekial, Job,\nPindar, Lucretius, and that Alighieri and that Shakespeare. Homely habits,\nprosy life, the dead calm of consciences, 44 good taste, \" and 44 common\nsense,\" all the small placid egotism is deranged, let us own it, by these\nmonsters of the sublime.\nYet, when one dives in and reads them, nothing is more hospitable\nfor the mind at certain hours than these stern spirits. They have all\nat once a lofty gentleness, as unexpected as the rest. They say to you,\nCome in. They receive you at home with a fraternity of archangels. They\nare affectionate, sad, melancholy, consoling. You are suddenly at your\nease. You feel yourself loved by them: you almost imagine yourself\npersonally known to them. Their sternness and their pride cover a\nprofound sympathy: if granite had a heart, how deep its goodness would\nbe! Well, genius is granite with goodness. Extreme power possesses\ngreat love. They join you in your prayers. They know well, these men,\nthat God exists.\n(1) And for the enjoyment of ail \" colossal99 works of art."}, {"page_pdf": 63, "page_imprimee": "335", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.63", "texte": "A LECTURE ON DRESS\nby E. W. Godwin. F. S. A. 1868.\n\n335\nadies and Gentlemen,\nWe are met at the outset of the subject which\n1 have selected for our consideration tonight by\nthe question, What has Dress to do with the study\nof Architecture and Archeology? It Is quite pos-\nsible, too, that those who give up to us in every-\nthing else, who allow us the right to dogmatise\nabout arches and pillars,..,, who accept our art\nviews of buildings without question and our antiquarian conclusions as\ngospel will also meet us at the outset with the advice that we should\nmind our own business and leave dress where we at present find it, i. e.,\nunder the arbitrary power and sole despotic sway of the French milliners\nand the west-end tailors.\n& It will be my endeavour in the few following remarks to answer the\n\" question\" by showing dress in its relation to architecture and archeo-\nlogy and to prove to you that we ought to decline accepting the \"advice\"\nfor the simple reason that the study of dress is or ought to be as much\nthe business of the architect as the study of animal or vegetable life or\nindeed of any of the studies accessional to the main science of building.\n& Again, to people unaccustomed, as we are, to the free use of the fi-\ngure as an architectural decoration the subject may at first sight appear\nof too trifling a nature to be ventilated before a society like this. But\nit must be remembered that although the figure has been gradually\nestranged from architecture during the last four centuries and historical\nportraiture has been suffered to become altogether a thing of the past\nthere is at the present time a very strong disposition on the part of\nsome architects to employ sculpture in its old and only legitimate func-\ntion, viz, as a handmaid to architecture.\nNor will the service of the figure stop here. Already there are very\nsignificant works completed and in contemplation other than those of\nthe plastic art where the human figure forms the base of the decorations.\nv\nWe find it painted on our ceilings and on our walls, we find it iniaid\n\n(I) This lecture* delivered in 1868, is now for the first time published in it sccmplete form from the original M. S-"}, {"page_pdf": 64, "page_imprimee": "336", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.64", "texte": "A LECTURE ON DRESS.\n\nin mosaic on our floors, walls and roofs, and In sonic few eases animating\nthe whole skeleton of the architecture. Nor need we hesitate to predict\nthat it will not be long before this revived delight in God's noblest and\nfinal work of creation will make itself felt more generally; when mere\n*- * 1\nmillinery will give place to art in textile fabrics; when in our churches\nat least upon altar cloth and vestment and hanging the human form as\nsaint or angel will be \" wrought about with gold and divers colours. \"\nNow in art, if we omit altogether the barbarism of academic blankets,\nthere are only two systems of dress. The one historical, the other\nconventional. The one by clothing the person represented in the habit as\nhe lived when he belongs to a past age involves the study of archeology;\nthe other by clothing him in the fashion of the artist's own time (which\nlast may also become historical when the person represented is contem°>\nporary with the artist) involves the study of the fashion of the day.\n£? The last system was almost invariably adopted in past times under\nall conditions.\nit is manifest that the more perfect course, (that indeed which we\nshould take) Is to adopt both systems, the first for the representation\nof the past, the second for the portrayal of the present. Prom the science\nof archeology diligently followed we may certainly learn one system.\nThe question is, are the fashions of today capable of being raised to any,\neven the lowest level in the temple of Art ?\n& I think they are. Let us consider how.\nlt has been said, and 1 see no reason whatever to question the assertion,\nthat all art is the expression of man's delight in God's works. We may\ntake it for granted that no one wishes to dress u/iartistically. Even if\ngentlemen be indifferent it would be heresy to suppose for one moment\nthat the time and money which ladies spend upon dress were purposely\ndevoted to the production of the unnatural unartistlc and therefore ugly\nresults which we so often see. The evil rests not with ladies and\ngentlemen except in so far that passiveness and indifference are evils, but\nis rather to be found in the restless brains of milliner and tailor. To fight\nagainst these is no slight work and rather than engage in it people\nsubmit their necks to the yoke. Much good however might be done if\nthere was more home»made work. For we can scarcely imagine that"}, {"page_pdf": 65, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.65", "texte": "COSTUME DESIGNS by E.W. Godwin. F. S. A. 1874.\n\nTHE MASK\nApril 1914"}, {"page_pdf": 67, "page_imprimee": "337", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.67", "texte": "A LECTURE ON DRESS.\n\nanyone with a power of apprehending form and an eye for seeing colour\ncouid consciously watch and permit the execution of such things as\nthose illustrated in the fashion books of this month,\ncourse 1 have not such unbounded faith as to suppose that everyone\npossesses an eye for form or colour, besides which there are degrees in\nart aa In everything else. There are some people who will be always\ntalking, to whom the myriad glories of nature and the highest excellencies\nof art are all equally 44 charming, \" or 44 pretty \" or 44 beautiful \" or\nnice. These are the people who wear things not because of any beauty\nin the articles but because they are 44 worn Just now \" and because they\nare the last things out. There are happily others to whom nature and\nart are something more than pretty or nice, people who can take in the\nBeautiful and the message which it bears them quietly and peacefully\nwith just perhaps a little more electricity as the spirit yearns to thank 9\nfulness and praise. These are those who robe themselves in purity of\ncolour, In simple graceful forms, subtle harmonies and delicate contrasts\nfor their own sakes and not because 44 they are worn. \"\nBetween these two extremes the many may be classed, and it is with\nthe many we have to do, for the lowest will follow the many although\nalways in the rear and the highest may generally be left to themselves.\nThere is perhaps one imperfection from which even the highest are\nnot exempt, and it may be that their very gentleness is one reason why\nthe imperfection clings to them. If the English nation were not so rude,\nI\nIf our men and boys could allow people whose dress was slightly different\nfrom others to pass unmolested, if all our schools, national and others,\ngave the sense of vision the instruction it ought to receive, the obtruding\nugliness of crinoline would long since have quite disappeared : but the\nlow observations of street boys and the rude stares of many both in the\nlower and the middle classes which the absense of popular uglinesses\nevokes require to be met with more courage than Is perhaps consistent\nwith that tenderness which is such a special attribute of gentle life#\nNevertheless we all doubtless know those who have passed tills ordeal\nbut not without at first some self-denial and some little pain# Be this\nas it may there is no reason why popular and particular forms of ugliness\nshould not be dispensed with in the house."}, {"page_pdf": 68, "page_imprimee": "338", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.68", "texte": "A LECTURE ON DRESS.\n\n& But the Important features of dress to which 1 wish to call your\nattention tonight are:\n1. The cut of the sleeves.\n2. The neck piece.\n3. The trimming.\nNow I shall ask your attention to a few illustrations showing how\nthey managed these things In days of old.\njry We may pass by Egypt, Greece and Rome Inasmuch as our climate\nforbids us to profit much by the dresses of those nations however\nbeautiful and appropriate they may have been. One thing however worth\nnoticing Is that both in classic and mediaeval fashions the shape of the\narm was almost always maintained either by being left bare or, as in\nthe middle ages, by tightly-fitting sleeves at least from the wrist to\nthe elbow.\nAn examination of the manuscripts, monuments, marbles and ivoiies\nin the British Museum alone will be sufficient to convince us of the\ngreat Importance of this fashion and will enable us to account for its\nlong continuance; for there can be no question that much of the life,\naction, yiguor and grace of the figure work of the past depends on the\nlimbs we are considering being unencumbered.\nFrom the few rough diagrams before you (1) taken from examples of the\nmost popular dresses of the best periods of mediaeval art you may observe\nthat the complete visible outdoor dress of both men and women principally\nconsisted of three garments: the undermost was the gown, robe or funic;\nover that was the dalmatic, surcoat, cyclas or super-tunic, and then come\nthe mantle. Hoods, caps and kerchiefs were worn upon the head either\nsingly or in combination: whilst coloured or embroidered hose and\nleather shoes or boots showed beneath the tunic.\nOf the smaller articles of dress then commonly in use such as girdles\nand other mercery we have a long list in a 13th century song called\n\" The Mercer. \" It includes :\nFine gloves for little dames\nFurred gloves\nWimples dyed In saffron\n\n(1) Unfortunately the diagrams selected by the lecturer are not included, nor precisely indicated in, the M. S."}, {"page_pdf": 69, "page_imprimee": "339", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.69", "texte": "A LECTURE ON DRESS.\n\nKerchiefs with ties of silk and of linen embroidered with\nflowers or birds for the young beaux to coif themselves in\npresence of their sweethearts\nHempen ones for the clowns\nMuffles for the hands\nHose of Bruges\nStamped leather red and green, white and black\nPretty little girdles\nBuckles for girdles\nLeather purses with buttons\nSilk and linen purses\nLittle chains of steel\nLaces for surcoats with knots\nLaces for lacing sleeves\nLace tags\nShoe buckles\nBroaches of brass and of laten gilt or silvered\nFine tassels for fixing with great buttons of gold or silk\nSilver and brass pins\nNeedles\nThimbles\nJewel cases, Tablets, Good soap of Paris and all the utensels\nnecessary for a lady's toilet. (Razors, forceps, looking glasses,\ntooth brushes, tooth picks, bandeaux, crisping irons, combs,\nRose Water with which they furbished themselves, cotton\nwith which they rouge and whitening with which they\nwhiten themselves.)\nAll borders or anything approaching what we now call trimming were\neither woven or stitched In the stuff itself or embroidered and sewn on.\nThe materials of which the dresses of the 13th and 14th centuries were\nmade were of every degree of quality from home-spun woollen fabric to\ncloth-of-gold from over the sea. The favourite colours In the beginning\nof the 13th century were green and red as we see by reference to the\nMSS, effigies and wall-paintings of that period. The devices and em-\nbroidered work were chiefly in gold and silver applique work was"}, {"page_pdf": 70, "page_imprimee": "340", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.70", "texte": "A LECTURE ON DRESS.\n\nsometimes used, the animal and other forms cut out in silk or dyed\nlinen as in a fragment preserved In the British Museum.\n& |„ Henry Ill's reign it would appear that the dresses of the higher\nclasses in England were bordered with fringes. The Pope was so pleased,\nsays Matthew of Paris, with the effect of some gold fringe worn by some\nEnglish in their choral copes and head dresses that he exclaimed \" Of a\n«* truth England is our garden of delights; truly is it an inexhaustible\nwell in which many things abound ; from many things many may be\n'« extorted \" and thereupon ordered the Cistercian Abbots to send him\nsome choice gold fringe without delay.\n& The furs of sables, foxes, ermines, martens and squirrels with vair,\n(minevair or minulo) were used as linings to the winter mantles and\nsuper-tunics. There were also two distinct kinds of mantle; one the\nmantle proper or state dress, the other the travelling dress, cloak,\nsupertotus or over-a!l.\nThe only changes of importance which took place in the civil dress\nof the period I am speaking of were those made In the cut and form of\nthe super-tunic and the substitution of buttons for laces.\nTwo great extravagances, however, mark the close of the period. 1\nmean the length of the ladies' trains and particular form of head-dress,\nboth of which have been repeated within our own time.\n<£? The attention of the mediaeval satirist was often directed to these\nfollies of costume. tl I have heard of a proud woman\" writes one, 44 who\n\" wore a white dress with a long train which trailing behind her raised\n\" a dust even as far as the altar and the crucifix. But as she left the\n44 church and lifted up her train on account of the dirt a certain holy\n\" man saw a devil laughing and having adjured him to tell why he\n44 laughed the devil said, 'a companion of mine was just now sitting on\n44 the train of that woman using it as if it were his chariot but when\n44 she lifted her train up my companion was shaken off into the dirt and\n\" that is why I was laughing \". Again, the ladies are advised if their\nlegs be not handsome, nor their feet small and delicate, to wear long\nrobes trailing on the ground to hide them. Another writer compares the\nladies to peacocks and magpies because they delight In strange habits\nand have long tails that trail in the dirt."}, {"page_pdf": 71, "page_imprimee": "341", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.71", "texte": "A LECTURE ON DRESS.\n\nThe false hair Introduced into the head-dress fashionable during the\nreign of Ldward 1 and the whole style of the head-dress of that time\nreceived, and justiy so, bountiful condemnation. In the Imperial Library\nat Paris a satiricai song, written in the beginning of the 14th century,\nafter telling us that the Bishop of Paris is a theologian and a philosopher,\nmakes this great authority observe that a woman is too foolish a hussey\nwho puts a false hair on her head and paints herself to please the world,\nA woman is not free from sin, says the bishop, who has her hair dark\nor blonde according to nature when she places her intention and care\nin fixing the false hair along on her tresses. Another critic, attacking\nthe frisettes of his day, says that between the towel or gorget and the\ntemple and the horns there is a space through which a rat might pass\nor the largest weasel between this and Arras.\n£? With the approach of the 14th century was recuscitated also the\n\\\ncustom of tight lacing. At first it was little more than a close fitting\nneatly-laced body such indeed as we see in the best effigies and illutni*\nnations. But the almost Qreek simplicity, purity and grace of the 13th\ncentury gradually disappeared in the 14th until it was ultimately lost in\nthe full tide of the restless luxurlousness of the 15th century, and it was\nnot until then that tight-lacing in the sense we unfortunately know it\nbecame a general fashion.\njz? It is time, however, that I returned to the cut of the sleeves, the\nneck or collar, and the trimming.\n/\nAmongst the list of mercery which I quoted just now from a manus-\ncript of the 13th century you may remember that besides Lace tags and\nLaces for surcoats with knots there was another kind described as\nLaces for lacing sleeves. If we accept the authority of this manuscript,\n(and there is no reason why we should not), there can be no doubt that\nthe' Lace fastening whether for body, foot or arm was that which was\ngenerally adopted by well-dressed people during the reign of the third\nHenry. That such laces are not apparent either in the drawings or\nsculpture of the 13th century is no argument against their use because\nit must be remembered that, like the fringes to which 1 have referred and\nthe use of which Matthew of Paris places beyond question, they were by\nno means easy to represent unless the artist sacrificed some of that"}, {"page_pdf": 72, "page_imprimee": "342", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.72", "texte": "A LECTURE ON DRESS.\n\nbreadth and wise conventionality of treatment that it was his chief aim\nto attain and which constitute now his chief claim to our reverence and\nadmiration.\nIn the early sleeves the upper part from the elbow to the shoulder\nwas very loose and wide so that the lacing extended only as far as from\nwrist to elbow, in many cases probably not more than half that distance.\nAs the century advanced the love of finery grew greater and greater\nand the reader of the chronicles of that time will not fail to observe\nhow presents of necklaces and jewels become more frequent towards the\napproach of the 14th century.\nSo In dress the lace gave place to the enamelled and jewelled button,\nbut, whether laced of buttoned, the sleeve was as a rule always tight\nfitting. As the button fashion became established these little excrescences\nextended further and further until they even reached the shoulder, and\nwith this excess tight fitting was also carried to excess and applied to\nthe entire sleeve of the tunic.\nIt may be worth while pausing here for a moment to note how easily\na new fashion irreproachable in itself may drift into the preposterous.\njg? The button fastening which took the place of the lace fastenings in\nthe last quarter of the 13th century are possibly preferable to the\nlatter on practical grounds as offering not only less hindrance in dressing\nbut more opportunity for obtaining a greater variety of useful ornament.\nIn all the early and good examples it will be found however that In no\nstation of life were they employed in any other way than as fastenings,\nrarely reaching and never going beyond the elbow in the sleeve and in\nthe body rarely reaching and never going beyond the waist. In our wise\nmodern copyism we have in this as in other matters imitated only the\nextravagance and folly of the past.\nThe neck piece of the tunic both in men and women was at first cut\nclosely round the base of the neck and an opening made in front just\nlong enough to allow the dress to be easily slipped over the head and\ngive room to admit the arms into the sleeves. After the 13th century\nthe neck piece was cut lower and square but there was a transitional\nshape which is occasionally met with and of which 1 give an example\ntaken from that superb manuscript the Arundel Psalter."}, {"page_pdf": 73, "page_imprimee": "343", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.73", "texte": "A LECTURE ON DRESS.\n\nWe come now to the consideration oi the super-tunic, a garment\nwhich must perforce enlist the sympathies of us all from the similarity\nwhich its history bears to the history of modern dress.\nThe super-tunic, unlike the tunic or the mantle, was always changing.\nFashion seems to have been as restless then as she is now only in those\nartistic days her restlessness was limited; and for nearly a century she\nwas satisfied to confine her frolics within the borders of the super-tunic.\nThis garment is in the first placs of almost any length from the short\nor curtailed dalmatica reaching little lower than the knee to the long\ndress which trailed some yards upon the ground.\nThe sleeves were sometimes long and sometimes short. But a common\n#\nform of the supertunic was the sleeveless dalmatica which after the\nreign of Henry 111 was so cut as to become not only sleeveless but sideless\nfrom the shoulder to the waist.\nln the exquisite drawings of Queen Mary's Psalter, the manuscript\nmarked 2. B. VII in the British Museum, we constantly meet with\nexamples of the short super-tunic. From this and other sources we learn\nthat the skirt was sometimes open in front and sometimes at the back\nand sometimes on both sides as high as the hip, that there was a great\nvariety of sleeves and that it was only ladies cf high rank who appear\nto have worn the sleeveless surcoat or the pendant sleeve.\njg? The neck of the super-tunic was generally cut like that of the tunic,\nopen in front and laced or buttoned, the hood being sometimes attached\nto it and sometimes worn as a distinct article of dress with a small cape.\nBut with the reign of the second Edward and the fopperies and fooleries\nwhich were encouraged by the favourites of the Court the cut of the\nneck piece grew lower and lower.\ng? The mantle, super-totus or overall was a particularly elegant part of\nthe 13th and 14th century costume if we except one kind as a travelling\ndress sometimes called balandra.ua and which possessed long, full and\nshapeless sleeves. The collar or neck-piece of the mantle in its simplest\nform was concentric with the neckt as the tunic and supertunic fell more\nupon the shoulders so too the outer garment was gradually allowed to\nfall lower.\njg? The fastenings were of three or four kinds. First we have the fibula"}, {"page_pdf": 74, "page_imprimee": "344", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.74", "texte": "A LECTURE ON DRESS,\n\nor brooch, buckle or clasp in front and on the right shoulder, in the\nlatter case the mantle being twisted round ; then we have the broad\nfi »\nband or link often richly embroidered ; then the long cord, and last the\nbutton fastening when the upper part of shoulder piece of the mantle\nhad developed into a kind of small cape. The fibula and cord fastenings\nappear to be the earliest; and it was probably for the decoration of\nthese cords that the mercer whose wares I have enumerated supplied\nthe \" Fine tassels for fixing with great buttons of gold or silk\n£> Such then being the character of the dress and its fastenings it remains\nfor me to tell you how it was ornamented, or, in modern language, what\nwere its trimmings.\n& The first point of interest is the manner in which ornament was\nused. In the 13th century the ornaments of every-day dress were as a\nrule restricted to that form which we now express by the word trimmings.\nDuring the preceding century Court-fashion had run riot with embroidery\nand other forms of decoration, garments were literally covered with\ngold and silver and even precious stones were freely used. The queen of\nHenry II wore a robe bespangled with crescents of gold and Richard I's\nmantle was over-spread with half moons and shining orbs of solid\nsilver; but with the reign of the third Henry came a reign of greater\nsimplicity. Thus ornament retired from the general surface of the garment\nto Its border, and, instead of concelling the fabric with a redundancy which\nwas formless and without any order and method, adorned it within the\ncompass of narrow bands of great beauty and really good workmanship\naround ail its margins.\n& At the neck of the supertunfc or dalmatica worn by great officials\nwas a stiff bordering of considerable beauty often enriched with valuable\njewels. This was the type of the modern collar. The margins of the sleeves\nof both tunic and supertunic were encircled by similar bands which laid\nthe foundation for a modern cuff and wristband. The lower margins or\nskirt-hems of these garments as well as the edge of the mantle were\nsimilarly enriched. It is important to notice that in this method of\nornamenting the costume the lines or bands of decoration were horizontal,\nthus opposing, and therefore heightening, the effect and beauty of the\nnatural form. *"}, {"page_pdf": 75, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.75", "texte": "A COSTUME DESIGN by E.W. Godwin. F. S. A. 1874.\n\nTHE MASK\nApril I 914"}, {"page_pdf": 77, "page_imprimee": "345", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.77", "texte": "A LECTURE ON DRESS.\n\nEarly in the 14th century this principle of decoration received an\nincreased development. The horizontal bands formed by the enriched\nmargins of the tunic, the supertunic and the mantle were found so\nvaluable in an art point of view that they were produced in the fabric\nitself, sometimes in excess, as is particularly observable on some of the\nfigures which illustrate a missal of this period, No. 17006 In the British\nMuseum.\n& The proper use of these bands Is, however, well shown in the illu-\nstrations I have taken from the Arundel Psalter and the missal 1 have\njust mentioned.\nWe now come to consider the character of these borders.\nFirst in order is fringe, the use of which was at this period almost\nconfined to England. We have seen how a Pope was fascinated by the\ngolden fringe worn by an Englishman and forthwith contrived to compass\nthe thing he coveted.\nFringe Is, as you are all aware, a very old, perhaps the oldest, form\nof border trimming. Thirteenth century fringes were of gold and other\nrich materials and formed a bordering peculiarly soft, flexible and deli-\ncate. Appliqud work and embroidery on fine linen, silk, etc: were used by\nthemselves and possibly in combination with the fringes.\n& The appliqu£ work, which is not only very beautiful but easy to ex-\necute, was made as follows.\nHaving secured your design, which, by the way, is a slight prelimi-\nnary matter in all art processes, you proceed to cut out the patterns or\nfigures In the various colours of the design, taking care to keep them a\nlittle larger than the drawing to allow for sewing down the edges upon\nthe ground colour. In the simplest work where it is only the placing of\none colour upon another nothing more is required than an edging of\ncord to the pattern or figure, covering the line of-stitching and secured\nto it by being worked over with coloured silk or thread. But where the\ndesign involves more than two colours the colours are not cut out as\nthey appear in the design but are superimposed : for example in the cross\non the specimen here exhibited the blue is not cut out in small pieces and\njoined to the white on the same plane as in modern patch- work but is\nshaped to the full size of the cross and actually underlines the white."}, {"page_pdf": 78, "page_imprimee": "346", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.78", "texte": "A LECTURE ON DRESS.\n\nJG? The embroidery of the 13th century must be examined to be under-\nstood. It would be useless for me to attempt to describe this evening as\nit ought to be described the glorious needlework of that most artistic age.\n& Between the richly embroidered and jewelled borders and such as\n.were made by a single line of coloured silk or thread which was literally\nthe stitching of the hem of the garment there were two distinct varieties,\nthus making four, all other forms being more or less combinations of these\nprocesses.\n& Next in point of magnificence to the jewel border was the silk\nembroidery of the late example of which we have so many specimens.\nThis process was more commonly used in combination with gold and\ngems, hence the term orfrays. This also was worked upon a foundation\nof canvass, veilum or linen and sometimes silk and then sewn upon\nthe dress.\nThird in order of richness is what I may call the cord work; where\nthe border, or ribaning as Chaucer calls it, is of uniform colour and the\npattern entirely formed by raised lines of cord or common twine. This\nwas a process very commonly employed with cloth of gold and gold lace,\nthe cord being sewn or whipped over and completely covered with gold\nthread. The effigy of Richard I supplies us with four examples of this\nclass of border work.\nBut this kind, like the last mentioned, was not infrequently used In\ncombination with jewels as illustrated by the effigies and illuminations\nof the 13th and latter part of the 12th centuries. Nor must it be imagined\nthat these enrichments were confined to the official robes of king or\npriest. There were of course distinctions of dress according with the\nsocial rank of the wearer; the labourer had to be content with a short\ntunic, the burgess might have In addition a supertunic and like Dogberry\nbring forward the fact of his having two gowns to his back as evidence\nof his respectability, but all above this'class might be possessed of tunle,\nsupertunic and mantle, the material, wool, silk or velvet, and the quality\nof border being the distinguishing marks.\nNor must it be forgotten that between the male and female costume\nas well as between the civil and ecclesiastical there was not that difference\nwhich is popularly supposed to have existed. A nun, for example, is to"}, {"page_pdf": 79, "page_imprimee": "347", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.79", "texte": "A LECTURE ON DRESS.\n\nthis day dressed as a widow or elderly lady of the beginning of the 13th\ncentury would have been dressed except that the nun is forbidden the\nuse of ornament and rich or costly .\nagain If we had worn the everyday costume of the reign of Henry 111\nwith long tunics, short hanging or open sleeves to the super-tunic and\na cowl or hood no one would have seen anything very remarkable in the\ncostume of the Norwich Benedictines for the monks' dress, except in\nmateria! and colour, had little to distinguish it from that of the lawyer\nor the architect, whilst the clerical dress in 1337 was so unclerical that\nat the council held by the Pope's Legate Otto In St Paul's, London In\nthat year It was decreed that 44 whereas, with regard to the dress of\nthe clerks which appears to be not clerical, but rather military, a great\nscandal has arisen amongst the laity\" they, the clerks, shall under\npenalty of a deprivation of their benefices 44 wear garments of becoming\nmeasure and shall wear close hoods when appointed to holy orders\nespecially in this Church, before their prelates at the assemblies of the\nclergy, and everywhere in their parishes \" \" following the rule of cler-\nical propriety In their garments, spurs, bridles and saddles. \"\nThus far my task has been mainly archeological. I propose now to\nonqulre into the nature of those features in modern costume which cor-\nrespond to those I have already endeavoured to describe.\nThe main things to be observed are: Ist, the variableness of modern\nfashion ; and the wide difference between the male and female costume,\nand 3rd the absence of colour. The changeableness of 19th century fashion\nis perhaps not only the greatest evil, but the parent of all the other evils\nin modern costume with which we have to contend. There is no such\nthing now-a-days as contentment in dress, for If perchanCe a becoming\nhat, a graceful mantle or an artistic serviceable coat be approved by the\nworld this season it must be given up next season. No amount of grace-\nfulness or appropriateness being powerful enough to stay the restless\nhand of fickle fashion. The rule seems to be that directly a thing becomes\nvulgar in the old and true sense of the word it must needs be despised\nas vulgar in the modern and erroneous sense of the word.\nThere are only three ways.... one or other of which we must.select...\nto account for this changeableness."}, {"page_pdf": 80, "page_imprimee": "348", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.80", "texte": "A LECTURE ON -\n\nJ? In the (irst place Fashion, like the true artist, may be unsatisfied by\nher best efforts and may be ever seeking to do better; or she may be\ndesirous to keep up those social distinctions which many hold to be ne-\ncessary to the well-being of the state; or she may be after all only a\npander to the pride and vanity and deformity of the world.\n« When lordes and ladies ever do devise\nThemselves to setten forth to strangers sight\nSome frounce thoir curled hair in courtly guise\nSome prancke their ruffes and others trimly dlght\nTheir gay attire : each others greater pride does spight.\" (i)\n& Again the great difference which exists between male and female\ncostume is another characteristic defect of the age in which we live. Ail\nnatural relative proportion is Ignored : the man Is deprived of every\nvestige of drapery in the artistic sense of the word, and his limbs are\ndisguised in bag-like coverings, whilst the woman copies the conventional\nshort-skirted school-girl or clothes herself in a wasteful amplitude of\nskirt;\n& The difference between male and female costume is not, however,\nconfined to form but extends even to material. We know how linen,\nwool, silk, satin, velvet, were used in old times for the clothing of men\nas well as for that of women ; but, (as in the matter of drapery) the\nmen have been forced by fashion to give up all claim to the richer ma-\nterials and to encase themselves in gloomy monotony of broad-cloth.\n& The general absense of colour is another important characteristic of\nour costume. An English crowd, (no matter how brightly coloured certain\nof its details may be), always resolves itself into a dull grey owing to\nthe preponderance of black and white.\nin old times everyone had a wholesome horror of black and conse-\nquently we never find It employed except as the national colour of the\nDanes in religious habits and in heraldry. It was not till the reign of\nEdward ill that black was used even for mourning, and then only as a\ncloak with a hood over the ordinary coloured garments. But now, as far\nas gentlemen are concerned, the evening dress at least of one half the\nworld is black and a man who would dare to sit down to dinner in any\n\n(1) Fairy Queen I. 4. 14,"}, {"page_pdf": 81, "page_imprimee": "349", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.81", "texte": "A LECTURE ON DRESS.\n\nother colour would be deemed guilty of a breach of etiquette, or, at the\nbest, be smiled at as the victim of a weak and harmless eccentricity.\nThere are, however, two little bits of light flickering amidst this\nalmost universal gloom. One of these is the coloured scarf now so fre-\nquently worn by gentlemen, and the other the scarlet tunic, to use a\nmediaeval name, worn by ladies, which Is always visible when worn with\nthe walking dress or short super-tunic and is occasionally revealed with\nadmirable effect when worn under the long or trailing robe.\nhopeful signs than it did a few years back. Crinoline has vanished from\nthe drawingroom, and is gradually disappearing from the streets. Costume,\nmore especially that adopted in country houses, is decidedly looking up.\nFor Instance, ladies' walking dress just now, consisting of tunic, super-\ntunic with high neck, tight fitting fur jacket and velvet hat with brilliant\nleather would be perfectly pleasing and picturesque if it were not for\nthe short proportions obtained by the use of coarse trimming, extrava-\ngantly high boots and cut edges.\n& A few years ago the male costume was equally hopeful; coloured\nstockings and knickerbockers with the short coat or Norfolk shirt and\nfelt hat or cap were felt to be appropriate and artistic.\nWhat has become of this most artistic costume? A costume which\nonly wanted a slight alteration in the sleeve to make It worthy to rank\nwith the 14th and 15th century dresses. For the cut of the sleeve is the\nonly point of difference between the cut of a modern Norfolk shirt and\nthe very picturesque jacket or doublet introduced early in the reign of\nEdward IV.\nIt Is some satisfaction to know that tight-fitting sleeves with loose\nor hanging sleeves over them are being at last adopted by ladies. Will\ngentlemen see the advantage and follow suit?\nBut good form in shape or cut is of little avail unless we can get\nrid of the present system of trimming with all its higgledy-piggledy of\nfurious exaggeration of band and button and bow. There can be no\nexcuse for such trimmings as those exhibited in the modern examples\nbefore us marked a, 3, and 48.\n£/ One of the best modern braid borders 1 have seen was spoilt by an"}, {"page_pdf": 82, "page_imprimee": "350", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.82", "texte": "A LECTURE ON DRESS.\n\nexcessive use of little bits of jet. I have had a diagram made of this\nspecimen work enlarged sixteen times to enable you to compare it with\nan example of old work which I have had enlarged in the same ratio.\nIf, however, we could get rid of braid altogether and adopt a closely-made\nsilk or gold cord there would be much more chance for good plain\ndesigns. Indeed, very many of the best borders of the middle ages may\nbe easily reproduced by sewing down cord in the manner shewn in the\nspecimen of appllqu6 work before you, whilst the difficulty of treating\nbraid In other than straight and continuous lines is manifested whenever\nanything else Is attempted.\njtf Nor is there any difficulty in securing artistic trimmings if ladies are\nso minded. I have seen some most exquisite little borders at Heilbronner's\nin Regent street. But the most glorious border the world ever saw would\nhave no chance so long as there exists that passionate longing for mere\nnovelty which is one of the great curses of modern society in each and\nall its phases.\n£? As regards our evening dress perhaps the least said the better. It is\ntrue the revival of the turn-down collar, by shewing the neck, was one\nstep towards that right development of the human form which is\ncharacteristic of all good costume. The Prince of Wales, (i) too, may be\nthanked for the revival of white waistcoats, for any relief to the dreary\nconventionalism of black cloth may be fairly regarded as a blessing;\nthese are unfortunately the only exceptions to the corrupt taste which\nprescribes the usual evening dress of a gentleman of the present period.\n& Of a lady's dress I will not trust myself to speak, its indecency of cut\nbeing, as a rule, unequalled even by its ugliness of trimming.\n& Time will not permit me to enter upon the subject of our official\ncostume which, from the royal crown to the policeman's helmet, is utterly\ndebased 5 nor can I now trespass any further on your patience to set\nforth the present promising aspect of children's dress or the uncompro-\nmising aspect of church vestments.\n& But before I conclude I feel tempted to express a hope that it is from\nlack of positive art instruction rather than from wilfulness of choice\nthat in this question of dress as in many other branches of art we\n\n(I) Afterwards klnjj Edward VII."}, {"page_pdf": 83, "page_imprimee": "351", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.83", "texte": "A LECTURE ON DRESS.\n\nmoderns possess so little discrimination. If this be so, and if we in our\nbetter moments, deeming all things visible to have their varying degrees\nof power for good or for evil, elect to labour for the good through the\naction of the Beautiful, our likenesses in the habit as we live may yet\nbe handled by poet and painter, sculptor and architect, without fear of\ntheir being ridiculous.\n& Lastly let me revert for a moment to the questions I put at the\ncommencement of this paper:... what has archeology to do with dress?\nand, are the fashions of today capable of being raised to the dignity of art?\nAs regards the first question 1 think you will admit that the study\nof costume constitutes one Important branch of it. Archeology fills In\nthe details of every picture of the past, it forges the links of the chain\nwhich binds together all time ; it brings into stronger light all those\ngreat events which have contributed to build up those blessings we now\nenjoy. It clothes with vivid reality all those noble ones whose figures\nwould otherwise have but a shadowy indistinctness in the mighty pro-\ncession of the world's issue. It tells us among many other things how\nthe decoration of dress was once as much an art as the decoration of a\ntemple. It tells us how both ladies' and gentlemen's dresses were once\nas much an art as the decoration of a temple. It tells us how both\nladles' and gentlemen's dresses were once under the direction of artists\nmany of whose names are recorded ; as, for example, Adam de Baslnges,\nAdam de Bakering, John de Colonia, Thomas Chenier, John Blaton,\nWilliam Courtenay and Stephen Vyne, under whose superintendence\nwomen worked sometimes for their amusement and sometimes for their\nprofit, it helps us to a better appreciation of the wonderful picturings\nof such poets as Chaucer and Dante, and illustrates every page of our\nearly literature.\njhe other question, viz., are the fashions of today capable of being\nraised to the dignity of art? is one which 1 have already answered in\nthe affirmative; for in spite of the many gross absurdities which mark\nthe conventionalities of our present costume, in spite of swallow-tails\nand chimney pots, of bastard embroidery and big buttons, I am satisfied\nwe possess sufficient elements of beauty and appropriateness from which\na costume might be developed equal to any of past times; and were"}, {"page_pdf": 84, "page_imprimee": "352", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.84", "texte": "A LECTURE ON DRESS.\n\nsuch a development to take place our architects, sculptors, painters\nand poets would not have to seek, (as they now do), in ages long gone by\nfor subjects fit for the artist, but would be content to be the chroniclers\nof their own age.\nQf this much 1 am satisfied ! that no art is possible to us unless we\ntake a broad comprehensive view of the power and purpose of art. If you\nreally desire noble buildings, strange as it may sound you must have an\neye to your boots. It is idle to talk of art at the rate we do now-a-days\nunless we can feel it to be a reality to ourselves. We must be drenched\nthrough and through with it, not merely put it on now and then. We\nmust have It In Its proper degree in our servants' hall and our scullery\nmaids' dormltary as In our drawing rooms and best bedrooms: we must\nsee it In the back offices as well as in the front elevation; in the table\nas well as in the front-door jamb, in the table-cloth as in the table.\nAnd finally we must have it in lay vestments as well as In clerical\nvestments if we desire to have art present with us a growing, developing,\nliving, Joyous reality."}, {"page_pdf": 85, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.85", "texte": "COSTUME DES IGNS by E.W. Godwin. P. S. A. 1874.\n\nTHE MASK\nApril 19H"}, {"page_pdf": 87, "page_imprimee": "353", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.87", "texte": "THE ROGUISH TRICKS OF COVIELLO.\nA Scenario of the Commedia dell'Arte.\n(0\nCHARACTERS.\nGiangurgolo, father of Coviello, servant\nPimpinella Capitano\nPolicinella as himself\nCITY... NAPLES.\nPROPERTIES.\nA Giangurgolo costume for Coviello, Other different costumes for\nCoviello, Female costume for Policlnella, Captain's costume for Policlnella,\nAnother different dress for Policlnella, Beards.\nACT I. SCENE 1.\nGiangurgolo and Coviello.\nHe tells Coviello that he has arranged a marriage for his daughter\nwith the Captain, who Is away, and knocking Is heard.\nSCENE\nPimpinella and the aforesaid.\nPimpinella, having understood this, acts a scene of foolishness, until\nthe other two, tired out, make her go in, saying they will talk to each\nother some other time; and go off.\nSCENE .\nPolicinella, alone.\nj& His love for Pimpinella, and knocks.\nSCENE 4.\nPimpinella and the aforesaid.\n& Amorous scene. In this\n\n(I) Translated and published by the courtesy ol Dr : Cesare Levi"}, {"page_pdf": 88, "page_imprimee": "354", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.88", "texte": "THE TRICKS OF COVIELLO.\n\nSCENE 5.\nCoviello and the aforesaid.\nCoviello's lazzi (i) over the foolishness of the girl; she excuses herself as\nhaving acted so for love of Policinella and because she does not want the\nCaptain ; and both entreat Coviello to help them. Coviello promises, and\nPimpinella goes in. Coviello tells Policinella that the Captain has arrived\nand therefore plans with him to dress himself as a Woman. Policinella\nhaving acted lazzi, is pleased and goes away to dress himself, Coviello\nwants to pretend to be Qiangurgolo, and goes In to dress himself.\nSCENE\nThe Captain alone,\n& Says he is come for the marriage arranged by letter with the daughter\nof Qiangurgolo: and that he does not know personally either the one\nor the other: in this\nSCENE 7,\nCoviello and the aforesaid.\nCoviello as Qiangurgolo, after acting a scene makes himself known\nto the Captain as Qiangurgolo, and after they have acted lazzi of rela-\ntionship Coviello calls.\nSCENE 8.\nPolicinella and the aforesaid.\nPolicinella as a woman, acts his lazzi; the Captain says he does not\nwant her, and after a scene which develops as it befalls (a), and lazzi,\nthey beat each other, and end the first act.\nACT 2. SCENE 1.\nPolicinella and Coviello.\n& Disguised, they say they are notaries pretending to take an inventory\nof Qiangurgolo's goods for the Captain's debts, and go In.\nSCENE 2.\nQiangurgolo and the aforesaid.\nQiangurgolo, wishing to enter his house, sees the door closed,\nwonders and knocks: the two from within, and from time to time\nr°m th® window» act scene of the Inventory, (with the usual lazzi),\n\n(1) For g definition of \"Lml\" gee The Mask Vol IV: pa2. 115.\n(2) The meaninj is, •< as the inspiration and action of the moment leads. •'"}, {"page_pdf": 89, "page_imprimee": "355", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.89", "texte": "THE TRICKS OF COVIELLO.\n\nfor the Captain's debt. Giangurgolo gets in a rage, saying that he will\nbreak off the marriage and goes away to go to the court of Justice: the\nothers come out, and Covieilo arranges with Poiicinelia to pretend to be\nthe Captain, and off.\nSCENE 3.\nCaptain alone.\nHaving learned that what happened was a trick of impcsters, and\nhaving been shown the house of Giangurgolo, knocks.\nSCENE\nPimpinella and aforesaid.\nScene of entreaty, and drives him away, and off.\nSCENE 5.\nGiangurgolo alone.\nHe wants to go in search of the Captain, knowing he Is come, and\nthat those of the Inventory were impostors: in this\nSCENE 6.\nCovieilo and aforesaid.\n& Covieilo tells him he has found the Captain and that he is now co-\nming: in this\nSCENE 7.\nPoiicinelia and aforesaid.\n& Poiicinelia as the Captain acts his /azz/, they perform ceremonies\nwith Giangurgolo, and go in, and end the second Act.\nACT. 3. SCENE 1.\nCaptain alone.\n& About finding Giangurgolo; in this\nSCENE 2.\nCovieilo and aforesaid.\nj£f Covieilo, disguised, enters into conversation with the Captain, and\nnarrates that Pimpinella has many imperfections and defects: the Captain\ndoes not want to conclude the marriage, and goes off, Covieilo remains;\nIn this\nSCENE 3.\nGiangurgolo and Covieilo.\nGiangurgolo, not having seen the Captain, (because on entering his"}, {"page_pdf": 90, "page_imprimee": "356", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.90", "texte": "THE TRICKS OF COVIELLO.\n\nhouse he no longer found him there), Coviello, in disguise, enters into\nconversation with him, narrating many evil qualities and defects of the\nCaptain: Giangurgolo does not want to conclude the marriage and goes\noff; Coviello remains and calls.\nSCENE\nPimpinella and Coviello.\n& Coviello relates to her all that has happened, and whispers in her ear\nand goes off.\nSCENE 5.\nCaptain and Giangurgolo.\njgf They come on from opposite sides, recognise each other, abuse each\nother; afterwards they clear things up and call.\nFINAL SCENE.\nAll.\n& Pimpinella comes on half lame, but Is pretending to be so. The Captain\nseeing her In that state says he does not want her; Giangurgolo asks\nwhat has happened, she gives some excuse; Policinella says he wants to\nhave her just as she is and Giangurgolo is content and has them married,\nthen Pimpinella and Coviello ask pardon, reveal the Tricks, and end\nthe Play,"}, {"page_pdf": 91, "page_imprimee": "357", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.91", "texte": "THE THEATRE IN ITALY. NAPLES & POMPEI.\nA Letter to John Semar\nfrom Gordon Craig.\nMy dear Semar.\n1 was wont to write you letters from cold places north of Florence,.^..\nThere was little or nothing to write of. But now 1 have come south to,\nsee what a warmer theatre can yield.\nI write from Pompel after a visit to those two men of genius, the.\nbrothers Vettil.\nHow I came to meet them is simply told.\nI was last night at Scarpetta's theatre; that simpatico theatre in\nNaples where all that is to be laughed at is spread before us on the.\nstage and laughed in and out of existence without a thought too much to,\noppress us. All the difference between this breed who give birth to laughter\nand the breed on the London stages whose cacklings even miscarry.,\nScarpetta exists and we know he is of flesh and blood. Shaw to me\ndoes not live, and Is something other than flesh and blood.\n1 feel that had Dante condescended to write for the stage he would\nhave produced just such a series of pleasant and unpleasant and popular\ncomedies as G. B. S.\n*\nAnother thing I feel about Scarpetta is that he wouldn't care a hang\nwhat his women said or thought about his plays, and 1 guess, (perhaps,\nwrongly), that the great brain laughter of Shaw is only quite ironic\nenough, only sufficiently deadly when it has received the full approval;\nof the Shaw ladies.\nBy the way, I ought to tell you who Scarpetta is.\nHe Is the author-actor of Naples, ...that is to say, one of our few real-\ndramatists. His Drama came into being by the grace of Improvisation,\nand as we know by now, this is the only way real drama can be born.\nAll other dramas are made, ....patchworks,... not good woven stuffs.\nHis Improvisations are not Just witty conversations in which a few\npeople polish off in a few well-chosen words certain groups, cliques or\nnational peculiarities. His Improvisations have to deal with the Life of\neveryone. In the sharpest cut given the lash winds itself lazily round,\nthe waist of the whole earth.' But if in Scarpetta's theatre, drama and„\nactors are the real thing they are the lowest real thing,"}, {"page_pdf": 92, "page_imprimee": "358", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.92", "texte": "& NAPLES AND POM PEL\n\nus? So I took my way the next morning to Pompei where, as I said, I\nwas sure ot meeting my two friends, the brothers Vettii.\nMen 0( genius are real: through them all things become real. The\nhighest Impossibility comes down from Heaven to them and the lowest\nfact comes up from Hell to them.\nThey stand in a circle of strange phantoms become realities. And\nwhen 1 arrived at the house of the Vettii and had washed and rested\nmyself I became aware of the strange and wonderful company which\nScarpetta had sent me to seek.\nj£? His Introduction was not to actors nor to the director of the little\nComic Theatre nor the poet of the larger Tragic Theatre,.., nor even to\nthe celebrated Roman Dancer who is just now residing in Pompei and\nabout whose performance in the Dancing Court ail Pompe! is talking.\nI saw her driving in the narrow streets and everybody turned to look at\nher as at something extraordinary. Even the barbers and chariot drivers\nstopped at their work a moment to look at this very celebrated performer.\nBut it was to see none of these that Scarpetta the Neapolitan Improvisor\nbeckoned me to go. And this is so like him, the unwashed actor from\nhis grimy stage. As a worm on the mud-edge of some far off and forgotten\nlake, by instinct true and everlasting, and with unerring knowledge of\nwhat Is perfect, lifts his body slowly to some twig and, crawling up\ntowards the sun, hangs suspended in Faith of what is to come and in\nthe end throws out feeling wings of loveliness and with them floats off\ntowards his god and his doom, so the unwashed actor beckoned me,\ni\nwith Just such an indication of the direction I should take. And, as I\nwalked along the side-street past the House of the Faun, a largo and\nfinely silvered insect winged Its way ahead of me, turned to the right,\nthen to the left, and at last settled upon the plllaster on which was an\ninscription, \" The Ho jse of the Vettii. \"\nStrange as it may seem It was not without apprehension that I entered\nthe open door of their house.\nOne or two things which 1 had noticed on my way through the streets\no! Pompei made me ask myself more than once as I walked rapidly along,\n'• shall I find them in?\" I know of no greater dispiritment when one is\nhappy and full with expectation, one's eyes and tongue held back by dread"}, {"page_pdf": 93, "page_imprimee": "359", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.93", "texte": "& NAPLES AND POMPEI. &\n\nand almost out-running one In this eagerness to see and speak, than to\nfind an empty house and the people saying they have no Idea when the\nmaster wili return.\nAnd this I felt more and more keenly at every step of the way. There\nwere quite a number of queer signs,... and at times I had difficulty in\ntelling myself that some catastrophe had not suddenly descended upon\nmy friends,... nay, upon the whole city.\nJE? One gets these hallucinations at times,... the sight of a heap of bricks\nor a crumbling wail will put one in mind of an earthquake; one ruined\nhouse is enough to bring up the ghastly suggestion of an eruption and\nsubsequent disaster. And it must have been something of the kind which\nput the fear Into me as I hurried up the delighful little bye-street which\nIs on one side of the House of the Labyrinth.\nJE? But everything became once more normal as I entered the courtyard\nof their house and found my two friends waiting for me there with\noutstretched arms and the same gloriously tuned voices weicomed me\nover and over again in words which were never turned twice the same\nand which refreshed the ear and the sou! and even the body, so tired\nthrough Its late exertions.\nI had never met them before, but it was as though I knew them very\nwell. Therefore try and accept it that we were old friends,... as indeed\nwe are.\nIn height the elder of the two a trifle exceeds his brother, but both\nare tall, both fair, and have the most steady carriage\nAs a well-ordered actor seems neither to move, to come on to the\nstage nor to leave it, but comes and goes as by magic, so these brothers\n•seemed to pass from room to room.\nTrawlawny writing of Shelley mentions this peculiarity. He tells us\nthat while a group of people were in eager conversation Shelley would\nsppcßf as from nowhere, and later would vanish just as mysteriously.\n& This, together with their voices, is the most striking thing about my\ntwo Vettll.\nTheir house is most magnificent,., smali and perfectly proportioned it\ncontains a number of perfect litttie rooms one leading out of the other,\n.decorated and furnished so that they lead into one another."}, {"page_pdf": 94, "page_imprimee": "360", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.94", "texte": "NAPLES AND POMP EI.\n\n& This is no house of ascetics, and yet there is not a spiritless spot to\nbe found in it. The walls are rich in colour and the tables covered with\nall manner of delicate objects for dally use. I found a little banquet\nawaiting me and we were soon spread out on our couches in the coolest\nof rooms eating and drinking a number of good things,.... which might\nhave come all the way from Egypt or Ceylon so various they were and\nso strange to my experience.\nAnd as we made an end of the pranzo, a number of young women\npassed by the open door and towards the atrium and there commenced\nto play at a game which is certainly unusual; for It was neither noisy\nnor calling for exertion of any kind, and displays the hands and arms\nand head of the player to perfect advantage.\njp Each of these young women seemed to me to be possessed of an\namiable and distinguished bearing, the result of careful training. Neither\ncould 1 detect any spiritual disharmony among them after I had questioned\nthem for quite a while.\n& We now retired each to rooms containing a cool bath for the heat of\nthe day was increasing, and to rest upon couches of some silken texture.\n& Each of us was accompanied by one or more of the young women.\nThe one who joined me seemed at the moment to have been impelled to\nseek my society for some profound cause and as though she had some*\nthing which she desired to speak with me about.\n1 found later that my surmise proved to be quite exact, but what her\nquestions were and what problem she desired me to solve Is nobody's\nbusiness but her own. Altogether I was reminded of life In Japan.\nAt four o'clock 1 was awakened by the sound of wind Instruments,\nplayed afar off, whose sounds floated fitfully into the stillness of my\nroom reminding me of 1 know not what immensities, and filling me with\na sense of power which 1 cannot describe.\nI lay between waking and sleep for the space of twelve minutes, and\nwas entering a second dream when sleep was entirely banished through\nthe singing of four voices in unison outside the door of my chamber.\n& 1 rose up and in five minutes I was in the peristyle where I found\nmy two friends in serious discussion.\nThe subject which they had chosen to discuss was whether or not"}, {"page_pdf": 95, "page_imprimee": "361", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.95", "texte": "NAPLES AND POMPEL\n\nanimals were possessed of souls, and whether these souis, in entering\nthe bodies of animals, were being punished or rewarded for a past\nexistence.\nIn the earnestness of the dispute nothing discordant ever threatened\nto enter, and in twenty minutes a point of agreement had been reached\nand we were all on our way to the Tragic Theatre.\nMy friends had promised to call on the way at the House of the\nPoet, and, while waiting in his courtyard for his appearance, my thoughts\nturned towards Dublin and the house of that other Poet of the other\ngreat land ; of his couple of rooms rather. Here a whole house dedicated\nitself to the service of the Tragic Poet.\nIn the entrance hall of his dwelling many works of art were to be\nseen,... fine things, very freely drawn and coloured, mystic each one:...\none heard voices upon looking at them; the figures seemed to move\nslightly,... beckoned or turned away:... each had one movement apiece.\n....We arrived at the Theatre when it was Just time for the piece to\nbegin, and we took our seats the last of all the spectators.\nAt once the Chorus sprang, fuliy armed, it seemed, into the semicircular\narena. They were at work with their Prelude at once. The place seemed\nsuddenly alive; the air tingled with life. ...Oh, Scarpetta, what you\nshowed me last night was good, very good, but what I see now is great,\nvery great.\nrose up after some distant peal of thunder had rolled away. A storm is\nover there, somewhere over behind the volcano. It is far off; the sky\nis leaden-coloured over there. Here the silence is acute, the sun very\nwhite and the promise of a calm evening certain. ...But perhaps the\nni«-ht wilPbear strange things into the city. I have a presentiment of\ndisaster.\n& The spectators are in a noble mood and the performers hum like a\nkettle which boils upon a steady fire.\nThere is practically no movement at aii except in the swift and\nregular suggestion of advancing motion in the voices of the actors.\nimpression carries hallucination. With this advancing motion of"}, {"page_pdf": 96, "page_imprimee": "362", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.96", "texte": "NAPLES AND POMP EI.\n\nthe voices I receive an Impression ot an Increase In the stature of the\nactors. They seem to be coming nearer and nearer; like those shadow-\npictures the forms grow steadily larger and larger, and now they seem\nto tower to a toppling condition. Now the whole thing hangs as it were\nsuspended. There Is long silence,... one can count slowly up to twelve.\nSuddenly there is a roar as of a multitude which cries out In one\nvoice as at some universal Rescue. It comes not from the spectators,\nbut from and in our hearts. We make no noise at all.\nThe Drama has ended*\n* No one m<>ves; everyone has been leaning forward; some begin to\nrelax and to iean back In their seats; no one wishes te rise up. There\nis time now. I too feel this sense of Infinite time. I rest and let my eyes\nwander along the noble lines of the stage, and the calm sky which shows\nabove the cornices. A bell near by strikes out its quite small note,... afar\noff another bell begins to t011,... a third,... others. The sun seems to be\nsinking rapidly now, and yet no one stirs. No one would wish to stir\neven by the least ripple this great ocean which is in us and yet upon\nwhich we too float.\nI feel that this is the great blessing brought to us by the poet,..; the\nvalue of the moments.\n& It is dark now and no one can see anything distinctly. Up above the\nsun throws a last red streak upon the long cornice. We are quite in\nthe shadow.\n& A long time seems to elapse.\n& Now everyone will be rising and leaving the building without haste\nand without noise. To speak would be to break perfection. Everything\nis right. The great theatre has emptied itself as In one great heaving\nsigh... Oh, but this is good, ...very good.\n& The moon is up. Alone in the empty theatre, sitting there long after\nthe city Is asleep I know as by a magical divination the great secret\nwhich bred this great impression.\nart, not greater knowledge, nor any power of God: Only the\nliberty of the nature of man has made this possible.\n& lie Is free to open his nature,... to expand. He may see, hear, touch\nand know by his senses the simple mysteries of his existence."}, {"page_pdf": 97, "page_imprimee": "363", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.97", "texte": "NAPLES AND POMP EI.\n\n& I saw it when 1 was in the House of the Vettii. I felt it at each hour\nthere, and at every event, great or small. I felt it in the House of the\nTragic Poet. I felt It in the Theatre. The performance only reminded me\nthat this was a reality. Freedom was no dream,... It was an actuality\nprecious as life. The profane pleasures and those called sacred were to\none and all the essence of Life. There was no actual slavery for this\nduty made even the slaves freedmen.\n& Freedom of thought and experience was the Law. Men dared to be\nprofane for men dared to be profound. There was no vulgarity I remem-\nbered in the lewd painting which I saw in the House of the Vettii.\nRevelation seemed full as I sat and pondered upon all this at midnight\nin the Tragic Theatre* And I drew my cloak round my knees and shoulders\nand lay down on the .still warm steps.... and fell asleep."}, {"page_pdf": 98, "page_imprimee": "364", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.98", "texte": "FOREIGN NOTES.\n\nZURICH.\n\nThe Theatre Exhibition.\n\nis a town which understands\nthe organization of exhibitions.\nIt possesses a magnificent permanent\ncollection of old Swiss arts and\ncrafts: it has now added to its pre-\nv • '\nstige with a finely arranged exhibi-\ntion of Theatre models, scene and cos-\ntume designs and architectural plans.\nThis exhibition is remarkable\nnot merely for the actual exhibits\nbrought together but for the admi-\nrable manner in which it is arranged.\nIt is all done with a care and at-\ntention to detail which would be a\nrevelation to the organizers of ex-\nhibitions of works of art in England.\nThese people understand the impor-\ntance of the arrangement of light\nand of the height or size of rooms\nin relation to the exhibits arranged\nin them; they understand the im-\nportance of making everything look\nnice : and therefore into their great\nhails thej' build, with swiftness and\nskill, a complete set of little rooms\nproportioned to meet exactly the\nrequirements of the works to be\nshown.\nThe rooms are constructed of\nrough wooden frames on which\nnettle-cloth Is stretched, and these\npartitions, being carried up to the\ndesired height, are closed In with\nlinen ceilings. Windows also are\nreduced to the required dimensions\nby false frames filled in with pleated\nniuslin, so that one sets to work to\narrange the exhibits in surroundings\nspecially and admirably prepared.\n& This principle has considerable\npractical as well as esthetic value,,\nsince it naturally makes it possible\nto utilise for exhibition purposes,\nlofty gaunt halls and buildings which\nwould otherwise be quite impossible\nfor such a purpose, as well as, as is\nthe case here, building a gallery of\nmany small rooms within another\ngallery when the regular rooms are\nfound to be too large or high for\nthe collections to be shown.\"\n& And then every detail o§ the-"}, {"page_pdf": 99, "page_imprimee": "365", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.99", "texte": "FOREIGN NOTES.\n\nwork is carried out with such ease,\nspeed and precision that it is a\npleasure to watch the workmen ac-\ncomplishing it. They work as a\nwell-drilled squad, and under their\ncapable hands the rooms change\nbeneath your very eyes like magic\nfrom square to oblong, or vice versa,\nand to any dimensions required.\nThe same system of nettle-cloth\nstretched on wooden frames is\nadapted for all the pedestals, shelves\nand stands, and these, like the walls,\nreceive for each occasion a fresh\ncoat of white, cream, grey or black\nwash, so that rooms and stands can\nalike be in harmony with the objects\nshown.\nA considerable part of the ex-\nhibition Itself was already shown at\nMannheim a year ago and included a\nlarge number of designs by Adolphe\nAppia : (i) but it has been greatly\naugmented at Zurich by a fine col-\nlection of Mr Gordon Craig's designs\nfor stage scenes, costume and masks,\nas well as some of his models, and\na unique collection of Oriental masks\nand and old Theatre\nbooks lent from the collection of\nthe School for the Art of the Theatre\nin Florence.\nIn fact it Is the work of Gordon\nCraig which dominates the Exhibi-\ntion, not only in so far as it Is re-\npresented in his own designs, but\nin the way in which its Influence\nmay be traced in almost all the\nwork exhibited by the younger men.\nTrue, though, much of the work\nof these young men Is not at all\ngood. Much of it is very bad. Yet\neven so it is to be welcomed because\nIt shows energy and enthusiasm:\nshows that they are awake, and are\nstudying... experimenting... trying,\nand, though they may not have got\nfar, their efforts at least show a\ncertain consciousness that there is\nsomewhere to go to and something\nto do besides standing still.\nIt is noticeable that there are\nno contributions from England, and\nnone of the London managers have\nbeen known to visit the exhibition,al-\nthough those from Berlin, and other\nlarge continental cities have realised\nthe value of doing so But very\nlikely in London they are not even\naware that such an exhibition is in\nprogress. It would be just like them.\nThe weakest section of the exhi-\nbition is the historical section. This\ncould with great advantage have\nbeen developed. Indeed, until Mr\nGordon Craig consented to have\nthree additional rooms filled with\ncontributions from the collection of\n\n(lj As article treating oi the work oi this artist will\nappear is an early number oi '• The Mask"}, {"page_pdf": 100, "page_imprimee": "366", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.100", "texte": "FOREIGN NOTES.\n\nhis School, the early theatre was\nrepresented only by a few photo-\ngraphs showing some of the ancient\ntheatres, and the eastern theatre\nwas not illustrated at all.\nThe many architectural plans, ele-\nvations and plaster casts of theatre\nbuildings show that a great deal of\nintelligent activity is being devoted\nto this matter in Germany and\nSwitzerland, and the models of turn-\ntable stages showing the sequence\nof the various scenes are also in-\nteresting.\nAmong the younger men some\nof the best work is shown by Rochus\nGllese of Berlin. Some of his work Is\nvery good indeed and shows a great\nsense of the Theatre, especially\nan interior scene with a staircase\ngoing* up behind. This was so ar-\nranged that one saw the people at\nthe foot: through an opening Into a\nlittle hall another glimpse of them\nwas given as it passed behind a\nwindow at the back of the room,\nand the upper steps were made to\njut into the room again at the top\nof the wall, so that one heard them\nwithout seeing them. Thus three\nimpressions were given: and such\nuse of an architectural detail showed\nreal acquaintance with the theatre.\nBesides, all the scenes and costumes\nby this talented young designer\nwere very gay and charming and\namusing, and, 1 should say, would\nbe also of practical use.\n& Franz Nitsche's costume designs\nfor Mollere's 4 Precieuses ridicules '\nand other plays are also good and\nshow invention. This is specially to\nbe noticed in comparison with such\nwork as Stern's, for the latter merely\ncopies from the costume books or\nfrom some one else. One is especially\nstruck by the difference on com-\nparing the ( cats ' of the two men.\nStern's cat Is copied from the Rus-\nsians and is wholly realistic, while\nNitsche's is fantastic and inventive.\n& But Stern's work is as out of\nplace as a great deal more in the\nexhibition. It is difficult to under-\nstand the value of making large\ndrawings from the designs which\nare familiar to us all in the thea-\ntrical costume b00k5,.... Planche,\nHottenroth, and the rest, and sending\nthese for exhibition, but there is,\nunfortunately, a great deal of this\nkind of work on show.\nHeine from Munich ought cert-\nainly to know better than to send\nsuch work as he has exhibited, and\nso should Julius Diez, and not a\nfew others. But the worst offender\nIs Max Liebermann whose work\nhas nothing whatever to do with\nthe Theatre at all. 1 noticed th a"}, {"page_pdf": 101, "page_imprimee": "367", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.101", "texte": "FOREIGN NOTES.\n\nsomeone else had perceived this and\nhad written 'impertinence' on the\ncard bearing his name, and the\nreproof was fully merited.\nThere is a room full of designs\nby Leon Bakst, and as drawings they\nare many of them very delightful,\nalthough as designs for the theatre\nthey have little practical value: for\na considerable part of their charm\nlies in the particular way they are\ndrawn, the decorative handling and\narrangement of the drapery upon\nthe sheet, and how different the\nresult is when these costumes are\nput upon the stage may be realised\nby comparing photographs of actors\nand actresses wearing them with\nthese designs.\nJZ? Still, Bakst is for the moment\nthe fashion among a certain group,\nand that he has his followers is\nshown by the designs exhibited by\nVoight and Montedoro, who are\ndetermined that, since Bakst is in\nthe fashion, they will be in the\nfashion too, and therefore imitate\nhim as far as is in their power, even\nto the pointed finger nails and pasty\ncolour.\nThe work of Ludwig Sievert of\nFreiburg can be said to be frankly\nbad and yet with plenty of good\nideas. But he is so rough, so gory,\nnoisy and brutal, and he has no\ndistance in his development. The\nquestion is, is he good enough to lead\none to believe that he will suddenly\ndrop all this and, with his invention,\nbecome decent?\nFrau Sievert, who exhibits some\ncostume designs, has all the bad\nqualities of her husband, but the\nway her costumes are cut out of\nstuff, embroidered, and stuck on the\ndesign is practical and I should say\nmight be reliable. 1 do not know\nif the idea is her own or her hus-\n/\nband's.\nAmong other exhibitors of scene\nand costume designs are Albert Isler,\nFritz Erler, Koloman Moser, Emil\nOrlik, Bernhard Pankek, Ottomar\nStarke, Knut Strom, Karl Voigt,\nRalf Voltmer and Karl Walser ; while\nthe architectural designs and models\ninclude works by Henry Heiblg,\nOskar Kaufmann, Hans Poelzig,\nBruno Schmitz, and Otto Karow.\nAltogether the Exhibition is one\nupon which Zurich is to be heartily\ncongratulated. But upon nothing so\nmuch as having brought together,\nfor the first time, in adjoining\nrooms, the works of Adolph Appia\nand Gordon Craig; for to know that\nthere are two such men at work for\nthe Theatre fills one with excite-\nment, exhileration, the sure confi-\ndence of a coming Golden Age.\n\nP. R."}, {"page_pdf": 102, "page_imprimee": "368", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.102", "texte": "EDITORIAL NOTES.\n\nTHE POOOOOR WILD BEASTS.\nthe English missionaries,\never busy about the souls of\nthe sad Heathen in the wilds of\nAfrica and India, are still troubling\nwith their obstinate children, 1 am\ntold that a Society is in active for-\nmation to go out to the jungles of the\nsame heathenish lands to perform\nthe plays of Brieux and Shaw for the\nedification of the savage races and\nthe still more savage animals of\nthose districts.\nThe object of the society is to\nbring home to tho darkened mind\nof those back-to-the-land beasts the\nawful dangers to which their utter\nignorance of the science of Eugenics\nexposes them.\n%\n& The plays will be performed by\na group of literary gentlemen, and\nthis Is a sufficient guarantee that\nall the i's will be crossed and all\nthe t's dotted.\nIt Is hoped that by this means\nthe race of Hippopotomi will be\ngreatly bettered and the Leopard\nwill learn to change his spots.\nThe fact that there are spots on\nthe sun will In no way deter the\nsociety from bringing all persuasion\nto bear on the leopards.\nIf the Lion refuses at first to He\ndown with the Lambs a suffragette\nhas been engaged to make it.\nSome critics are already saying\nthat the Beast does not need to be\ntaught what has already been learnt\nby Nature.\nBut such writers are only begging\nthe question. Nature has failed, and\nwhere she has failed Brieux and\nShaw will succeed.\nAnd if only the plays of these\ntwo writers bring the poor savage\nanimals to lead a purer, cleaner,\nmore logical, and, ultimately we un=\nderstand, zoological life, the world\nwill be a sweeter, saner place, that\nit will !\njz? One writer in the \"Star of India\"\nsays: \" what is all the time at the\nback of the Reformer's brain, what\nis that which is hidden In the utmost\nrecesses of his mind ? Is it not a\ncage ?.«.\"\nIn writing this he anticipates us.\n& Yes, a zoological life Is the only"}, {"page_pdf": 103, "page_imprimee": "369", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.103", "texte": "EDITORIAL NOTES.\n\nscientific way out of the awful di-\nlemmas into which that monstrous\nparody of God which parades so\nloftily under the name of NATURE\nhas led us all, ...yea, even the poooor\nwild animals.\nBut by the help of this healthy\nsociety 44 the higher education of\nthe classes will be achieved. \"\nOf 44 Fudge I \" said Mr Burchell.\n\nCRITICS AND MOLES. &\nMr- G. B. Shaw's comedy \" You\nNever can Tell \" \" was performed\n44 at the Sannazzaro Theatre for the\n44 first time in Naples. There were\n44 two calls before the curtain after\n44 the second act, but the third was\n44 coldly received, and only the tango\n44 in the fourth act was encored. The\n44 Neapolitan critics say that it needs\n44 mental acrobatics to understand\n44 the significance of this play; that\n44 Shaw is fettered by his own para-\n-44 doxes and that the whole effect is\n44 alternately-Irritating and diverting,\n44 but that, apart from its extrava-\n-44 gance and superfluities, it shows\n44 great talent and sense of comedy\n44 In the author. \"\ndont see how a Shaw play\never gets to be produced at all\nin Italy or anywhere further South\nthan Milnchen ; but that is no reason\nwhy Neapolitan Critics should be\ncareless over their work.\n& George Bernard Shaw Is a man\nwhose work is known far and wide\nand one must wake up before reading\neven if you go to sleep during the\nact.\nJS/ And you must read what has\nbeen written about it by • casual\ncritics so as to avoid the first rash\nand unnecessary remarks which have\nalready been dashed off charmingly\nat least ten years ago. The critics of\nNaples according to the Dally Mall\nhave gone back ten whole years and\nshould be dismissed by their long\nsuffering editors.\n-<s> For to trot out such old hacks of\nphrases about Shaw being 44 fettered\nby his own paradoxes \" and that the\nwork 44 shows great talent in the\nauthor \" is deplorable.\nWe find Shaw's whole series\nof dramas utterly unnecessary and\na tolerable bad Influence on his\nforerunners Mr Barker and the\nothers: but that he is at all fet-\ntered by his own paradoxes \" is\nridiculous; anyhow he is \"moving\non \" all right and those admirable\npolicemen in Gay London, who can\nsay anything and everything about\na work of the theatre except that\nIts bad, will keep him moving.\nJZ/ When we come to review critics,\nand are forced to realise that they\nhave been forced to accept Shaw"}, {"page_pdf": 104, "page_imprimee": "370", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.104", "texte": "EDITORIAL NOTES.\n\nas a work of Theatrical art and\nhave been unable to find any but\nminor faults with what he offers, it\nseems about as strange a situation\nas any in the metropolis.\n£? Unable to say where Shaw Is\nabominable, and quite beheadable,\nbecause unable in their own minds\nto define what a work of art is\nor may be and what it is not and\nmay never be.... unable to define\nfor themselves and their nightly gui-\ndance what Drama is and what the\nTheatre is and what relation Drama\nand Theatre have been to the Arts\nand what good and what harm Drama\nand Theatre can be to our life\nspiritual and physical froip the\npoint of view of even a party man\nor national man or even a man.\n£? Shaw is of importance as an\nenergetic writer on social troubles:\nhe does no one good wasting his\ntime in the Theatre. The world, and\nthe London Press in particular, raises\na great outcry against the Suffraget-\ntes and the Super-Larkins and even\ngoes so far as to export and import\nthese products of our wondrous\nMole System ...(for is not our social\nsystem blind as a mole digging\nin the dark?) But Shaw, who has\npractically acted as the midwife\nto these Monstrosities and who\neven puts up a neat little card in\nhis front parlour window to say so,\nis allowed to proceed contentedly\nwith his work... because no one is\nable to see what a dear old silly the\nman is... This is all to Shaw's Credit...\npersonally we should like to see Shaw\nmuch more mighty (were such a\nthing possible) because then we\nshould at last realize the grandeur\nand might of London of the 20th\ncentury.\n\n\"DAMAGED GOO\" & .\nMask has many times in the\nlast six years protested against\nthe use of the theatre as a pulpet\nor for propaganda work,* it has also\nmany times supported the authority\nof the censor and insisted that\nthis authority should be far more\nrigorously enforced.\nThis attitude has* been looked\nupon by other journals and by many\nprominent persons as a little Idio-\nsyncracy of The Mask, and the\ntedious drawling over morbid and\nrisque subjects has gone on.\nIt has gone on until It culminated\nlast month in a production of M.\nBrieux's \" Damaged Goods \" at the\nLittle Theatre.\n& We say ' culminatedbut of\ncourse there may be still worse to\ncome.\nNow we are not objecting to the\nventilation of the subject to which"}, {"page_pdf": 105, "page_imprimee": "371", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.105", "texte": "EDITORIAL NOTES.\n\nthe play is devoted. It is a sad subject\nand a terrible subject, and in a\nchurch, a clinic or a lecture room\nwould not be out of place. What we\nobject to is Its introduction into the\nTheatre, and the deadly dulness of\nM. Brieux's 44drama\" upon the stage.\nBut then it is not a 44 drama \" at\nall, for the very meaning of the\nword 44 drama \" is action, and there\nIs no action in M. Brieux's play:\nit is simply a long-winded and te-\ndious talk, most of which takes place\nin a doctor's- consulting room..\nThe 44 Daily Mail \" wrote of the\nproduction very sensibly on February\na6 as an 44 Excrescence on the name\n44 of dramatic art: \" and added 44As\n44 for the play, it deals in the crudest\n44 and most undramatic fashion with\n44 the subject of a young man,\n44 victim of the hidden plague, and\n44 his marriage.\n44 A child is born, and then we\n44 have discussions as to the proba-\n-44 bility of the nurse falling a victim\n44 to the plague.\n44 As if this were not enough,\n44 our undramatic author produces\n44 a host of new characters in his\n44 last act, most of whom are Exam-\n-44 pies of the scourge which he treats\n44 so coldly, and ail of whom are\n44 gifted with a talent for coarse\n44 speech.\n& 44 Most of the talk,... there Is\n44 little or no action,... takes place\n\" in a doctor's consulting room, and\n\" Mr. Forbes White was quite good\n\" as the doctor. But a theatre is\n44 not a consulting room. \"\nIf the \"Daily Mail\" has once reali-\nsed that M. Brieux Is 44 undramatic \"\nbecause his plays are nothing but\ntalk perhaps it will presently realise\nthat Messrs Shaw, Plnero, Jones\nand Co. are also undramatic, for the\nsame reason, and equally out of\nplace in the Theatre: and now that\nit has perceived that \" A Theatre is\nnot a consulting room \" possibly It\nmay in time perceive that neither\nIs it a lecture hall or a pulpet and\narrive rat some clearer conception\nof what it really is.\nWhen M. Brieux's plays were first\npublished in book form in English\nwith a preface bj' Mr Bernard Shaw,\nMr Louis Madrid wrote as follows\nin The Mask, July ipn.\n44 We of the theatre dislike Mr\n44 Shaw only when he brings his\n\" social propaganda on to the stage,\n44 for it explains too nicely how\n44 little Mr Shaw understands the\n44 nature of the Theatre, and it is\n44 hardly necessary to repeat here\n44 that the Theatre Is a temple or\n44 house of Art, and Art has never\n44 flourished when connection"}, {"page_pdf": 106, "page_imprimee": "372", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.106", "texte": "EDITORIAL NOTES.\n& ALL RIGHTS RESERVED uS>\nGerente Responsabile GIULIO VANZI\n\n44 with Social or Polical reform, it\n44 having nothing in common with\n44 either. \"\nAnd that is exactly what we feel\nin regard to this performance of\n44 Damaged Goods ; \" we dislike M.\nBrieux's intrusion into the theatre,\nand we dislike the treachery, ...or\nignorance.... of those who prostitute\nthe stage to so unjustifiable a use.\n\nMr POEL AND Mr HARVEY.\nj n the October number of The\nMash we asked in an Editorial\nNote upon Mr Poel's work how much\nof the \" Taming of the Shrew \" was\nhis and how much Mr Martin Harvey's\nwork.\nWe know now, for one of the\ngentlemen has told us. But this Is\namongst those secrets we shall enjoy\nkeeping.\n\nCOURAGE AND 44PROMOTION\"\n'|vhere are some things which mo-\ndern dramatists wont admit exist.\n& Courage is one of them.\nThis comes from India....\nMr F. C. Herst in his report of\nsurvey work in the Sunderbans tells\nus that 44 A khalassi was carried off\nfrom within a few feet of a surveyor's\nplane table. The surveyor looked up\nand regardless of the risk followed\nthe tiger, armed with nothing but\na brass sight-rule, weighing perhaps\ntwo pounds. The tiger did not hurry,\nand the surveyor attacked it without\nhesitation, beating it on the head\nwith his miserable weapon. The tiger\nretreated, and the surveyor recov-\nered the body of his companion.\n44 The case was one of extreme\npluck such as is seldom met with,\nand the man received promotion as\na reward for his gallantry.\"\nWe are curious to know how you\n\" promote \" such men. The point is,\ncan you ? Mr Carnegie rewards bra-\nvery. We think all Mr Carnegie's\nmillions would not make up the exact\nsum necessary to balance thlsaccount.\nWe wish some commission would\nbe empowered to enquire into the\ninsulting \" Hero Fund \" business\nwhich Mr Carnegie's intellect and\ndelicacy has brought into being.\n\nCEREMONIES & THE NATION.\nJ. S.\nsympathy to the French Nation\nwhich, through not possessing a\nstatesman with discernment or po=\nwer, leaves Antoine and Poe to rust,\nConfucius said that Ceremonies\nand Music were the most prompt\nand efficacious factors for reforming\nmanners and making the state pro=\nsperous. We recommend his words\nfor the consideration of the autho-\nrities of France."}, {"page_pdf": 107, "page_imprimee": "373", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.107", "texte": "THE MOSHER BOOKS.\nspecial literary value of rny general Catalogue has given it a unique\nposition In the world of book«making for book=lovers.\nFrom 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*<late 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.\n£? Sent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE.\n\nPOETRY AND DRAMA\nHP HE founder and first editor of The 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\nm\nThe Poetry Review during 1912, and with many of the same\ncontributors. &\n& The first five numbers of Poetry and Drama are at\n*\npresent in circulation. &\nPoetry and Drama is the representative organ of the youn-\nger movement in English ■£?\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 2s. 6d. net- The\nannua! subscription is 10s. 6d. post free to all countries. Copies\nare procurable and subscriptions may be purchased through all\nBooksellers and Newsagents."}, {"page_pdf": 108, "page_imprimee": "374", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.108", "texte": "THE GOLDONI BOOKS\nSKETCH BOOKS* DRA WING BOOKS, PAINTING BOOKS AND\nWRITING BOOKS, FOR ARTISTS, WRITERS AND LADIES.\n& These 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\" These are pages to turn and finger with delight: covers bright and\nvaried with colour and fresh design; sizes u uncumbersome to the nicest\nhand. \"\nWrite for particulars to The Mask\nARENA GOLDONI, FLORENCE, ITALY.\n\nTHE FORUM. &\nis printing the most brilliant and\nenduring work of the men\nand women who will\nbe the classics of\nto-morrow.\nSTORIES : ESSAYS : CRITICISM : PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\nMITCHELL RENNERLEY\nNew York & London\nThree months trial subscription two shillings"}, {"page_pdf": 109, "page_imprimee": "375", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.109", "texte": "TWO BOOKS ON THE THEATRE,\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 in «• STUDIES IN SEYEN ARTS. \"\nORDER THROUGH ANY BOOKSELLER\n\nFOR THE CHILDREN.\n\"Eirt R/eines Buch\nTwenty wood engravings and twenty\nverses by Fritz Endell,\nThere are only one Hundred and Twenty\ncopies of this book, all are hand-coloured\n& by the artist. JD\nOrder from Fritz Endell, Agnesstrasse 12, Munchen•\n\\"}, {"page_pdf": 110, "page_imprimee": "376", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.110", "texte": "SOUV E N I R.\nA CIS & OALA 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 PUBLISHERS\nArena Qoldoni. Florence. Italy.\nWRITE FOR PARTICULARS.\ni— ■.«■■■■ IMWHWT\n\nA VERY RARE PUBLICATION.\nTWO PORTFOLIOS\nOF ETCHINGS\nby Gordon Craig.\nSEND FOR PROSPECTUS\nTO \" THE MASK \" PUBLISHERS,\nARENA GOLDONI, FLORENCE.\n\nA LIVING THEATRE\nPRICE ONE SHILLING NET.\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nRecently\nPublished.\nc\nSecond Edition Now Ready.\nOrder through any Bookseller, or from\nThe Society of The Theatre.\n7, John St Adel p h i. London.\n\\\nor direct froht\nARENA GOLDONI, FLORENCE, ITALY.\n\nTHE SEVENTH VOLU\nBEGINS IN JULY.\nSEND IN SUBSCRIPTIONS THROUGH ANY BOOKSELLER OR\nDIRECT TO \" THE MASK\" PUBLISHERS, ARENA GOLDONI\nFLORENCE.\nFor further particulars see the inside back cover of this Number.\n.»mttrnmmmuwwjwXiinii mini 11 ' ■T\"I\"*\"\"'\"*'—\"m—r1\"*\"\"'\"*'—\"m—r i 11 i »nn ■■ im tunim-prr m ■■ iwnii. ini m i m « 'UiiuwwiK i IMIHW .»tiiuu—\n' WMwr munmMUK I I ~■—m-nm u mi i ■imnminniiiwinwr«n niiiimnniw IHIIM' n.fi ——- ■ 7™"}, {"page_pdf": 111, "page_imprimee": "377", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.111", "texte": "I ANNOUNCEMENTS; FROM « THE MASK PRESS \"\nI ARENA GOLD ON I. FLORENCE, ITALY.\nI I\n'\n& XR THE MASK. VOLUME SEVEN. j& &\nOf the seventh Volume, which will begin with the July number,\nThree Editions are published, the yearly subscriptions, post free,\n»)?f» *° ese Editions being respectively as follows. j& £> j&\njuyj? Popular Edition. . . . Shillings 15. Dollars 4.00\nfISSp Large Paper Edition (200 copies.) „ 20. „ 5.00\nEdition de Luxe. (15 copies.) „ 65, „ 16.00\n■I. THE MASK. 1908... 1909... 1910... 1911... 1912... 1913... 19(4...\nj& A certain number of complete sets of Volumes 1, 2, 3, 4,\nstill remain, and, bound In vellum, may be obtained from this\noffice, price nine guineas, (dollars 45) a set. jr j& &\ni A PEW EXTRA Vol. 4. shillings 25- dollars 6.50 each\n| SETS OF Vol. 5. ~ ~ 20 ~ ~ 5«5® »»\njj 01. 6. „ „ 20. ~ ~ 5*50 ~\n& Volumes $ or 6 Large Paper Ed, (vellum bound,) shillings 25,\n—. dollars 6.50. j& & & & & &\nOrders and Subscriptions may be sent direct to\nTHE MASK Offices, Arena Gotdoni, Florence, Italy,\nor \"The Society of the Theatre.\" 7. John St. Adelphi, London. Tel: 1601 Regent\nj SOME OPINIONS ON \"THE MASK\"\nI \" There is not a page in\\it which is not interesting\nII HBi Hi .SB T|f ■ -■ ■• -\nII \" and stimulating ira fine way\".\n| \"1 he Mask\" always contains something worth ,\n\" and often something worth '\n| Pail Mail Gazette.\nI \" A quite remarkable rich in intel-\n-1 i Ctf* tl Cf* **\ng Westminster Gazette.\nII \"A very amusing and stimulating, as well as a most\nJ \" beautiful, magazine \"\\\nI The Daily Telegraph."}, {"page_pdf": 112, "page_imprimee": "378", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191404-01.1.112", "texte": "B\n\" THE MASK\" started in FLORENCE, does not exist Jj\nhas already lived for six years for AN IDEA.\nI THE SCHOOL FOR THE ART OF THE , ||\n11 started in FLORENCE, was brought into being for the sake 11\n|| TH E SCH O O L and \" TH E MASK \" work together for |\n|| THE SOCIETY OF THE THEATRE, started In\nLONDON, moves with 44 THE MASK\" and THE SCHOOL\ntowards the same QOAL.\nWE CAN TAKE CARE OF \" THE MASK\" & THE SCHOOL.\n.\nI YOUR RESPONSIBILITY IS THE SOCIETY OF THE THE A TRE\nN ■\n& J 0 I N I T !\nII WE WANT A MILLION MEMBERS. T\n11 Apply Personally or by Letter to the Secretary of the Society, I\n11 LONDON OFFICES : 7 JOHN STREET, ADELPHI. I\n11 Office Hours between 10 a. m. and 1 p. m. 11\nStainpata privatamente all' Arena Qoldoni, Via de' Serragli, Firenze."}]}