{"numero_id": "bm-bmtnaau-1914-07-01", "volume": "bmtnaau_1914-07_01", "ocr_sha256": "b6fe02daea8951a85a346f6486e0a6ec2877ed21cb1a6448b20d7fdd1b852d1a", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1914/07_01/bmtnaau_1914-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1914/07_01/bmtnaau_1914-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01", "articles": [{"article_id": "bm-bmtnaau-1914-07-01-c002", "article_bluemountain": "bmtnaau_1914-07_01#c002", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.2", "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=bmtnaau191407-01.1.2", "debut_caractere": 558, "fin_caractere_exclue": 1372, "texte": "LITERARY CONTENTS.\nA WORD ABOUT SCHOPENHAUER & THE\nFEMINIST MOVEMENT. . . . . John Semar I.\nON WOMEN Schopenhauer 2.\nSOME LINES ON WOMEN Lord Byron. . . • . .15.\nON POETS, ACTORS, & THE NEED OF MASTERS. Yoo-no-hoo 17.\nTHE BEAUTIFUL THE SERVANT OF THE TRUE. Victor Hugo. . . . .23.\nPUPPETS IN FRANCE. \" Yorick \". (P. Ferrigni) . . 26.\nPADRE POZZO & HIS ARCHITECTURAL DESIGNS John Semar 39.\nSOME INSTRUCTIONS FOR STAGE SCENES. . Padre Pozzo, 1644-1709). . . 43-\nTHE BETRAYED. A Scenario Early Italian 53-\nTHE PIN & ITS PEDIGREE. ... . Anon 58.\nBARTHOLOMEW FAIR. 1721 * 64.\nUPON SEVERAL THINGS John Balance 65.\nJEAN GASPARD DEBUREAU Jules Champfleury, with an In-\ntroductory word by Pierre\nRamds 69.\nGORDON CRAIG'S BOOK \" ON THE ART OF\nTHE THEATRE. \" Some Opinions .75.\nBOOK REVIEWS, FOREIGN NOTES, EDITORIAL NOTES.\nr"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c003", "article_bluemountain": "bmtnaau_1914-07_01#c003", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.3", "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=bmtnaau191407-01.1.2", "debut_caractere": 1374, "fin_caractere_exclue": 1711, "texte": "ILLUSTRATIONS.\nTWO DRAWINGS OF SIR HENRY IRVING. . Paul Renouard. . Frontispiece and\nFace 18.\nFOUR FULL PAGE PLANS FOR THEATRE\nSCENES Padre Pozzo. . . 41, 45, 47, 51.\nBARTHOLOMEW FAIR From an old Fan. . Face 64.\nJEAN GASPARD DEBUREAU Face 72.\nHead and Tale Pieces and Initial Letters by Gordon Craig, Julius Oliver, and from\nold Designs."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c004", "article_bluemountain": "bmtnaau_1914-07_01#c004", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.4", "titre_corps": "Sir Henry Irving", "titre_sommaire": "Sir Henry Irving", "signature_source": "Paul Renouard", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 34, "texte": "Sir Henry Irving by Paul Renouard."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c005", "article_bluemountain": "bmtnaau_1914-07_01#c005", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.5", "titre_corps": "A WORD ABOUT SCHOPENHAUER AND THE FEMINIST MOVEMENT", "titre_sommaire": "A WORD ABOUT SCHOPENHAUER AND THE FEMINIST MOVEMENT", "signature_source": "John Semar ; J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1413, "texte": "A WORD ABOUT SCHOPENHAUER AND THE\nFEMINIST MOVEMENT\nby John Semar.\n\neiieving that a serious article by an eminent writer\nwould be welcome at this time upon what is known\nas the 44 Feminist Movement and looking down\nour list of contributors, we come across the name\nof Herr Schopenhauer.\nj&7 Although this author is beginning to be heard\nof, his writings are seldom read, and, indeed, many\nfind it difficult to know where to put their hand\nupon his essays.\nHerr Schopenhauer explains here many things which we do npt know,\nor which, at any rate, it is good for us to be reminded of; and he ex«\nplains without being funny or vulgar.\n& There was what appeared to be a grave strike in Florence the other\nday, and the whole city seemed paralysed for a moment.\n& After a few hours had passed the citizens realized that it was not\norder but disorder that the Socialists were trying to create ; and, on\nrealising this, they reopened their shops, and workshops without\na moment's delay.\nThe fact of so many hours being great credit upon\nthese citizens for allowing it to be presumed that there might be some\ngrievance; and, like Mr Max Beerbohm and his famous Duke, they gave\nthe city an hour's grace. Having given it an hour's grace they clubbed\nits head and went on with the work.\n& Women all the world over have been in the like position just lately.\nA group has arisen protesting that it wanted to put things in order."}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.6", "debut_caractere": 13, "fin_caractere_exclue": 654, "texte": "Women all the world over liave just discovered that this group\nwanted to put things in disorder. They are now about to club these\nwomen's heads, and will then proceed with their work.\nJZ? Herr Schopenhauer's essay is one which they will not all endorse,\nor, in fact, read: but one can fancy them saying, if you want to dis-\n\" course on the subject at all this statement is pretty well in its way,\n\" and in any case we prefer it to that by Mr Popuny, the famous\n\" up=»to=datist, or to the one by that celebrated mischief-maker who\n\" was obliged to wriggle on his stomach before he could persuade any\n\" one that good fruit was good to eat. \" ,"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.6", "debut_caractere": 1512, "fin_caractere_exclue": 1517, "texte": "J. S."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c009", "article_bluemountain": "bmtnaau_1914-07_01#c009", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "14", "image_debut": 6, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.6", "titre_corps": "ON WOMEN : An Essay", "titre_sommaire": "ON WOMEN : An Essay", "signature_source": "Schopenhauer", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.6", "debut_caractere": 656, "fin_caractere_exclue": 1510, "texte": "ON WOMEN. An Essay\nby Schopenhauer.\nhese few words of Jouy, Sans les femines\ncommencement de noire vie seroit prive de\nsecours, le milieu de piaisirs et la fin de\nconsolation, more exactly express, in my opinion,\nthe true praise of woman than Schiller's poem,\nWiirde der Frauen, which is the fruit of much\ncareful thought and impressive because of Its an-\ntithesis and use of contrast. The same thing is\nmore pathetically expressed by Byron in Sardanapalus, Act i., Sc. 2:\n\" The very first\nOf human life must spring from .woman's breast,\nYour first small words are taught you from her lips,\nYour,first tears quench'd by her, and your last sighs\nToo often breathed out in a woman's hearing,\nWhen men have shrunk from the ignoble care\nOf watching the last hour of him who led them.\"\nBoth passages show the right point of view for the appreciation of\nwomen."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.7", "debut_caractere": 13, "fin_caractere_exclue": 2248, "texte": "One need only look at a woman's shape to discover that she is not\nIntended for either too much mental or too much physical work. She\npays the debt of life not by what she does but by what she suffers... by\nthe pains of childbearing, care for the child, and by subjection to man,\nto whom she should be a patient and cheerful companion. The greatest\nsorrows and joys or great exhibition of strength are not assigned to\nher; her life should flow more quietly, more gently, and less obtrusively\nthan man's, without her being essentially happier or unhappier.\n.\n-yyomen are directly adapted to act as the nurses and educators of our\nearly childhood, for the simple reason that they themselves are\nchildish, foolish, and short=sighted... in a word, are big children all their\nlives, something intermediate between the child and the man, who is a\nman in the strict sense of the word. Consider how a young girl will toy\nday after day with a child, dance with it and sing to it; and then consider\nwhat a man, with the very best intentions in the .world, could do In\nher place.\nWith\ngirls, Nature has had in view what is called in a dramatic sense\na \" striking effect,\" for she endows them for a few years with a\nrichness of beauty and a fulness of charm at the expense of the rest of\ntheir lives; so that they may during these years ensnare the fantasy of\na man to such a degree as to make him rush into taking the honourable\ncare of them, in some kind of form, for a lifetime... a step which would\nnot seem sufficiently justified if he only considered the matter. Accor-\ndingly, Nature has furnished woman, as she has the rest of her creatures,\nwith the weapons and implements necessary for the protection of her\nexistence and for just the length of time that they will be of service to\nher; so that Nature has proceeded here with her usual economy. Just\nas the female ant after coition loses her wings, which then become\nsuperfluous, nay, dangerous for breeding purposes, so for the most part\ndoes a woman lose her beauty after giving birth to one or two children;\nand probably for the same reasons.\n& Then again we find that young girls in their hearts regard their\ndomestic or other affairs as secondary things, if not as a mere jest. Love,"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.8", "debut_caractere": 13, "fin_caractere_exclue": 2372, "texte": "conquests, and all that these include, such as dressing, dancing, and so\non, they give their serious attention.\nnphe nobler and more perfect a thing is, the later and slower is it In\nreaching maturity. Man reaches the maturity of his reasoning and\nmental faculties scarcely before he is eight-and-twenty; woman when\nshe Is eighteen; but hers is reason of very narrow limitations. This is\nwhy women remain children all their lives, for they always see only\nwhat is near at hand, cling to the present, take the appearance of a\nthing for reality, and prefer trifling matters to the most important. It\nis by virtue of man's reasoning powers that he does not live in the\npresent only, like the brute, but observes and ponders over the past\nand future; and from this spring discretion, care, and that anxiety which\nwe so frequently notice in people. The advantages, as well as the disad-\nvantages, that this entails, make woman, in consequence of her weaker\nreasoning powers, less of a partaker in them. Moreover, she Is intel-\nlectually short-sighted, for although her intuitive understanding quickly\nperceives what is near to her, on the other hand her circle of vision is\nlimited and does not embrace anything that is remote; hence everything\nthat is absent or past, or in the future, affects women in a less degree\nthan men. This is why they have greater inclination for extravagance,\nwhich sometimes borders on madness. Women in their hearts think that\nmen are intended to earn money so that they may spend It, if possible\nduring their husband's lifetime, but at any rate after his death.\n& As soon as he has given them his earnings on which to keep house\nthey are strengthened in this belief. Although all this entails many\ndisadvantages, yet it has this advantage... that -a woman lives more in\nthe present than a man, and that she enjoys it more keenly if it is at\nall bearable. This Is the origin of that cheerfulness which is peculiar to\nwoman and\" makes her fit to divert man, and in case of need, to console\nhim when he is weighed down by cares. To consult women in matter of\ndifficulty, as the Germans used to do in old times, is by no means a\nmatter to be overlooked; for their way of grasping a thing is quite\ndifferent from ours, chiefly because they like the shortest way to the\npoint, and usually keep their attention fixed upon what lies nearest;"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.9", "debut_caractere": 13, "fin_caractere_exclue": 2464, "texte": "while we, as a rule, see beyond it, (or the simple reason that It lies\nunder our nose; it then becomes necessary for us to be brought back to\nthe thing in order to obtain a near and simple view. This is why women\nare more sober In their judgment than we, and why they see nothing\nmore In things than is really there; while we, if our passions are roused,\nslightly exaggerate or add to our imagination.\n& It is because women's reasoning powers are weaker that they show\nmore sympathy for the unfortunate than men, and consequently take a\nkindlier Interest in them. On the other hand, women are inferior to men\nin matters of justice, honesty, and conscientiousness. Again, because\ntheir reasoning faculty Is weak, things clearly visible and real, and\nbelonging to the present, exercise a power over them which Is rarely\ncounteracted by abstract thoughts, fixed maxims, or firm resolutions, in\ngeneral, by regard for the past and future or by consideration for what\nIs absent and remote. Accordingly they have the first and principal\nqualities of virtue, but they lack the secondary qualities which are often\na necessary instrument in developing it. Women may be compared in\nthis respect to an organism that has a liver but no gall-bladder, (i) So\nthat it will be found that the fundamental fault in the character of\nwomen is that they have no \"sense of This arises from their\ndeficiency in the power of reasoning already referred to, and reflection,\nbut Is also partly due to the fact that Nature has not destined them, as\nthe weaker sex, to be dependent on strength but on cunning; this is\nwhy they are instinctively crafty, and have an Ineradicable tendency to\nlie. For as lions are furnished with claws and teeth, elephants with\ntusksj boars with fangs, bulls with horns, and the cuttlefish with its\ndark, inky fluid, so Nature has provided woman for her protection and\ndefence with the faculty of dissimulation, and ail the power which Nature\nhas given to man in the form of bodily strength and reason has been\nconferred on woman in this form. Hence, dissimulation Is innate in\nwoman and almost as characteristic of the very stupid as of the clever.\nAccordingly, it is as natural for women to dissemble at every opportunity\nas it is for those animals to turn to their weapons when they are\nattacked; and they feel in doing so that in a certain measure they are\n\n(I) Let me refer to what 1 have said in my treatise on \" The Foundation of Morals,\" 71."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.10", "debut_caractere": 13, "fin_caractere_exclue": 2346, "texte": "only making use of their rights. Therefore a woman who is - perfectly\ntruthful and does not dissemble is perhaps an impossibility. This is why\nthey see through dissimulation in others so easily; therefore it is not\nadvisable to attempt it with them. From the fundamental defect that\nhas been stated, and ali that it involves, spring falseness, faithlessness,\ntreachery, ungratefulness, and so on. In a court of justice women are\nmore often found guilty of perjury than men. It is indeed to be generally\nquestioned whether they should be allowed to take an oath at all. From\ntime to time there are repeated cases everywhere of ladies, who want for\nnothing, secretly pocketing and taking away things from shop counters.\nhas made It the calling of the young, strong, and handsome\nmen to look after the propagation of the human race; so that the\nspecies may not degenerate. This is the firm will of Nature, and it finds\nits expression in the passions of women. This law surpasses ali others in\nboth age and [power. Woe then to the man who sets up rights and in-\nterests in such a way as to make them stand in the way of it; for\nwhatever he may do or say, they will, at the first significant onset, be\nunmercifully annihilated. For the secret, unformulated, nay, unconscious\nbut innate moral of woman is: We are justified in deceiving those\nwho, because they care a little for us,... that is to. say for the in-\ndividual,.., imagine they have obtained rights over the species.\nThe constitution, and consequently the welfare of the species, have\nbeen put into our hands and entrusted to our care through the\nmedium of the next generation which proceeds from us ; let us\nfulfil our duties conscientiously.\nBut women are by no means conscious of this leading principle in\nabslracto, they are only conscious of it in concreto, and have no other\nway of expressing it than in the manner in which they act when the\nopportunity arrives. So that their conscience does not trouble them so\nmuch as we imagine, for in the darkest depths of their hearts they are\nconscious that in violating their duty towards the individual they have\nall the better fulfilled it towards the species, whose claim upon them\nis Infinitely greater. A fuller explanation of this matter may be found in\nvol II ch. 44, in my chief work, (Die Welt als Wille und Vorstellung)."}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.11", "debut_caractere": 15, "fin_caractere_exclue": 2337, "texte": "-s? Because women in truth exist entirely for the propagation of the race\nand their destiny ends here, they live more for the species than for the\nindividual, and in their hearts take the affairs of the species more se-\nriously than those of the individual. This gives to their whole being and\ncharacter a certain frivolousness, and altogether a certain tendency\nwhich Is fundamentally different from that of man; and this it is which*\ndevelops that discord in married life which is so prevalent and almost\nthe normal state.\nIt is natural for a feeling of mere indifference to exist between men,\nbut between women it is actual enmity. This is due perhaps to the fact\nthat odium figalinum, in the case of men, is limited to their everyday\naffairs, but with women embraces the whole sex; since they have only\none kind of business. Even when they meet in the street, they look at\neach other like Guelphs and Ghibellines. And it is quite evident when\ntwo women first make each other's acquaintance that they exhibit more\nconstraint and dissimulation than two men placed in similar circumstances.\nThis is why an exchange of compliments between two women is much\nmore ridiculous than between two men.\nFurther, while a man will, as a rule, address others, even those in-\nferior to himself, with a certain feeling of consideration and humanity,\nit is unbearable to see how proudly and disdainfully a lady of rank will,\nfor the most part, -behave towards one who is in a lower rank (not.\nemployed in her service) when.she speaks to her. This may be because\ndifferences of rank are much more precarious with women than with us,\nand consequently more quickly change their line of conduct and elevate\nthem, or because while a hundred things must be weighed in our case,\nthere is only one to be weighed in theirs, namely, with which man they\nhave found favour; and again, because of the one-sided nature of their\nvocation they stand in closer relationship to each other than men do ;\nand so it is they try to render prominent the differences of rank.\nIt is only the man whose intellect Is clouded by his sexual instinct that\ncould give that stunted, narrow-shouldered, broad-hipped, and short\"\nlegged race the name of the fair sex; for the entire beauty of the sex\nis based on this instinct. One would be more justified in calling them"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.12", "debut_caractere": 9, "fin_caractere_exclue": 2348, "texte": "the anaesthetic sex than the beautiful. Neither for music, nor for fine\nart have they any real or true sense and susceptibility, and It is mere\nmockery on their part, in their desire to please, if they affect any\nsuch thing.\nThis makes them incapable of taking a purely objective interest in\nanything, and the reason for it is, I fancy, as follows. A man strives to\nget direct mastery over things either by understanding them or by\ncompulsion. But a woman is always and everywhere driven to indirect\nmastery, namely through a man; all her direct mastery being limited\nto him alone. Therefore it lies in woman's nature to look upon every-\nthing only as a means for winning man, and her interest in anything\nelse Is always a simulated one, a mere roundabout way to gain her\nends, consisting of coquetry and pretence. Hence Rosseau said, \" Les\nfemmes, en general, n'aiment aucun art, ne se connoissent a\net n'ont aucun genie. (Lettre k d'Alemberi, note XX). Everyone who\ncan see through jx sham must have found this to be the case. One need\nonly watch the way they behave at a concert, the opera, or the play ;\nthe childish simplicity, for instance, with which they keep on chattering\nduring the finest passages in the greatest masterpieces. If it is true that\nthe Greeks forbade women to go to the play, they acted in a right way,\nfor they would at any rate be able to hear something. In our day it\nwould be more appropriate to substitute taceat mulier in theatro for\ntaceat mulier in ecclesia; and this might perhaps be put up in big\nletters on the curtain.\n£? Nothing different can be expected of women if It is borne in mind\nthat the most eminent of the whole sex have never accomplished any-\nthing in the fine arts that is really great, genuine, and original, or given\nto the world any kind of work of permanent value. This is most striking\nin regard to painting, the technique of which is as much within their\nreach as within ours; this is why they pursue it so industriously. Still,\nthey have not a single great painting to show, for the simple reason\nthat they lack that objectivity of mind which is precisely what is so\ndirectly a necessary in painting. They always stick to what is subjective.\nFor this reason, ordinary women have no susceptibility for painting at\nall; for natura non Facet saltum. And Huarte, in his book which has"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.13", "debut_caractere": 11, "fin_caractere_exclue": 2378, "texte": "been famous from three hundred years, Examen de ingenios para les\nscienzias, contends that women do not possess the higher capabilities.\nIndividual and partial exceptions do not alter the matter; women are\nand remain, taken altogether, the most thorough and Incurable Phili-\nstines ; and because of the extremely absurd arrangement which allows\nthem to share the position and title of their husbands they are a constant\nstimulus to his ignoble ambitions. And further, It is because they are\nPhilistines that modern society, to which they give the tone, and where\nthey have sway, has become corrupted. As regards their position, one\nshould be guided by Napoleon's maxim, ;\nand regarding them in other things, Chamfort says very truly: Elles\nsont faites pour commercer avec nos faiblesses avec notre folie,\nmals non avec notre raison. II existe entre elles et les hommes\ndes sympathies d'epiderme et tres-pe de sympathie d'esprit, d'ame\net de caractere. They are the sexus sequior, the second sex in every\nrespect, therefore their weaknesses should be spared, but to treat women\nwith extreme reverence is ridiculous, and lowers us in their own eyes.\nWhen nature divided the human race into two parts, she did not cut It\nexactly through the middle! The difference between the positive and\nnegative poles, according to polarity, is not merely qualitative but also\nquantitative. And It was in this light that the ancients and people of\nthe East regarded woman ; they recognised her true position better than\nwe, with our old French Ideas of gallantry and absurd veneration, that\nhighest product of Christian-Teutonic stupidity. These ideas have only\nserved to make them arrogant and imperious, to such an extent as to\nremind one at times of the holy apes in Benares, who, in the conscious-\nness of their holiness and inviolability, think they can do anything and\neverything they please.\nIn the West, the woman, that is to say the \" lady,\" finds herself In\na fausse position; for woman, rightly named by the ancients sexus\nsequior, is by no means fit to be the object of our honour and vene-\nration, or to hold her head higher than man and to have the same rights\nas he. The consequence of this fausse position are sufficiently clear.\nAccordingly, it would be a very desirable thing if this Number Two of\nthe human race in Europe were assigned her natural position, and the"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.14", "debut_caractere": 11, "fin_caractere_exclue": 2351, "texte": "lady-grievance got rid of, which is not only ridiculed by the whole of\nAsia, but would have been equally ridiculed by Greece and Rome.\nThe result of this would be that the condition of our social, civil, and\npolitical affairs would be incalculably improved. The SaSlc law would be\nunnecessary; It would be a superfluous truism. The European lady,\nstrictly speaking, is a creature who should not exist at ail; but there\nought to be housekeepers, and young girls who hope to become such;\nand they should be brought up not to be arrogant, but to be domesticated\nand submissive. It is exactly because there are ladies in Europe that\nwomen of a lower standing, that is to say, the larger majority of the\nsex, are much more unhappy than they are in the East.\nEven Lord Byron says (\" Letters and Papers,\" by Thomas Moore,\nvol. II, p. 399), \" Thought of the state of women under the ancient\n44 Greeks... convenient enough. Present state, a remnant of the barbarism\n44 of the cfaivalric and feudal ages... artificial and unnatural. They ought\n44 to mind home... and be well fed and clothed... but not mixed in society.\n44 Well educated, too, in religion... but to read neither poetry nor\n44 politics... nothing but books of piety and cookery. Music... drawing...\n44 dancing... also a little gardening and ploughing now and then. 1 have\n44 seen them mending the roads in Epirus with good success. Why not,\n44 as well as hay-making and milking?\"\nIn our part of the world, where monogamy Is in force, to marry means\nto halve one s rights and to double one's duties. When the laws granted\nwoman the same laws as man, they should also -have given her a\nmasculine power of reason. On the contrary, just as the privileges and\nhonours which the laws decree to women surpass what Nature has meted\nout to them, so is there a proportional decrease in tbe number of women\nwho really share these privileges; therefore the remainder are deprived\nof their natural rights in so far as the others have been given more than\nNature accords. For the unnatural position of privilege which the insti-\ntution of monogamy, and the laws of marriage which accompany it,\nassign to the woman, whereby she is regarded throughout as a full\nequivalent of the man, which she is not by any means, cause intelligent\nand prudent men to reflect a great deal before they make so great a"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.15", "debut_caractere": 17, "fin_caractere_exclue": 2437, "texte": "sacrifice and consent to so unfair an arrangement. Therefore, whilst\namong polygamous nations every woman finds maintenance, where mo~\nnogamy exists the number of married women is limited, and a countless\nnumber of women who are without support remain over; those in the\nupper classes vegetate as useless old maids, those in the lower are\nreduced to very hard work of a distasteful nature, or become prostitutes,\nand lead a life which is as joyless as it is void of honour. But under\nsuch circumstances they become a necessity to the masculine sex; so\nthat their position is~open!y recognised as a special means for protecting\nfrom seduction those other women favoured by fate either to have found\nhusbands, or who hope to find them. In London alone there are 80,000\nprostitutes. (1) Then what are these women who have come too quickly\nto this most terrible end but human sacrifices on the altar of monogamy ?\nThe women here referred to and who are placed in this wretched\nposition are the inevitable counterbalance to the European lady, with\nher pretensions and arrogance. Hence polygamy is a real benefit to the\nfemale sex, taking it as a whole. And, on the other hand, there is no\nreason why a man whose wife suffers from chronic illness, or remains\nbarren, or has gradually become too old for him, should not take a second.\nMany people become converts to Mormonism for the precise reasons that\nthey condemn the unnatural institution of monogamy. The conferring\nof unnatural rights upon women has imposed unnatural duties upon\nthem, the violation of which, however, makes them unhappy.\nFor example, many a man thinks marriage unadvisabie as far as his\nsocial standing and monetary position are concerned, unless he contracts\na brilliant match, He will then wish to win a woman of his own choice\nunder different conditions, namely, under those which will render safe\nher future and that of her children. Be the conditions ever so just,\nreasonable, and adequate, and she consents by giving up those undue\nprivileges which marriage, as the basis of civil society, alone can bestow,\nshe must to a certain extent lose her honour and lead a life of loneliness;\nsince human nature makes us dependent on the opinion of others in a\nway that Is completely out of proportion to its value. While, if the\n\n(I) If this was the number when Schopenhauer wrote, what must be the number sow when the city has so\nincreased its size? Ed."}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.16", "debut_caractere": 7, "fin_caractere_exclue": 2233, "texte": "woman does not consent, she runs the risk of being compelled to marry\na man she dislikes, or of shrivelling up into an old maid; for the time\nallotted to her to find a home Is very short.\n& In view of this side of the institution of monogamy, Thomaslus's pro-\nfoundly learned treatise, de Concubinatu, Is well worth reading, for It\nshows that, among all nations, and in all ages; down to the Lutheran\nReformation, concubinage was allowed, nay, that it was an institution,\nin a certain measure even recognised by law and associated with no\ndishonour. And it held this position until the Lutheran Reformation,\nwhen it was recognised as another means for justifying the marriage\nof the clergy; whereupon the Catholic party did not dare to remain\nhehindhand in the matter.\nIt is useless to argue about polygamy, it must be taken as a fact\nexisting everywhere, the mere regulation of which is the problem to\nbe solved. Where are there, then, any real monogamists ?We all live,\nat any rate for a time, and the majority of us always, in polygamy.\nConsequently, as each man needs many woman, nothing is more just\nthan to let him, nay, make it incumbent upon him to provide for many\nwomen. By this means woman will be brought back to her proper and\nnatural place as a subordinate being, and the lady, that monster of\nEuropean civilisation and Christian-Teutonic stupidity, which her redl-\nculous claim to respect and veneration, will no longer exist; there will\nstill be women, but no unhappy women, of whom Europe is at present\nfull. The Mormon's standpoint is right.\nIn India no woman is ever Independent, but each one stands under the\ncontrol of her father or her husband, or brother or son, in accordance\nwith the law of Manu.\nIt is certainly a revolting idea that widows should sacrifice themselves\non their husband's dead body; but it is also revolting that the money\nwhich the husband has earned by working diligently for all his life, in\nthe hope that he was working for his children, should be wasted on her\nparamours. Medium tenuere beati. The first love of a mother, as that\nof animals and men, is purely instinctive, and consequently ceases when\nthe child is no longer physically helpless. After that, the first love should"}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.17", "debut_caractere": 11, "fin_caractere_exclue": 2366, "texte": "be reinstated by a love based on habit and reason; but this often does\nnot appear, especially where the mother has not loved the father. The\nlove of a father for his children is of a different nature and more sincere;\nit is founded on a recognition of his own inner self in the child, and is\ntherefore metaphysical In Its origin.\n& In almost every nation, both of the new and old world, and even\namong the Hottentots, property is inherited by the male descendants\nalone; it Is only in Europe that one has departed from this. That the\nproperty which men have with difficulty acquired by long-continued\nstruggling and hard work should afterwards come into the hands of\nwomen, who, in their want of reason, either squander it within a short\ntime or otherwise waste it, is an injustice as great as it is common, and\nit should be prevented by limiting the right of women to inherit. It\nseems to me that it would be a better arrangement if women, be they\nwidows or daughters, only inherited the money for life secured by\nmortgage, but not the property itself or the capital, unless there lacked\n*\nmale descendants. It is men who make the money, and not women;\ntherefore women are neither justified in having unconditional possession\nof it nor capable of administrating it. Women should never have the\nfree disposition of wealth, strictly so-called, which they may inherit, such\nas capital, houses, and estates. They need a guardian always; therefore\nthey should not have the guardianship of their children under any\ncircumstances whatever. The vanity of women, even if it should not be\ngreater than that of men, has this evil In it, that it is directed on\nmaterial things... that is to say, on their personal beauty and then on\ntinsel, pomp, and show. This is why they are in their right element in\nsociety. This It is which makes them inclined to be extravagant,\nespecially since they posses little reasoning power. Accordingly, an ancient\nwriter says, TUVVI TO CUVOXOV icridz—z-rs,pcv (*) Men's vanity, on the\nother hand, Is often directed on non-material advantages, such as intellect,\nlearning, courage, and the like. Aristotle explains In the Politics (2) the\ngreat disadvantages which the Spartans brought upon themselves by\ngranting too much to their women, by allowing them the right of\n\n(1) Bmuck's \" Gcomici poetae graeci, \" v. 115.\n(2) Bk. I., ch. 9."}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.18", "debut_caractere": 15, "fin_caractere_exclue": 1087, "texte": "inheritance and dowry, and a great amount of freedom; and how this\ncontributed greatly to the fall of Sparta. May it not be that the influence\nof women in France, which has been increasing since Louis XIII.'s time,\nwas to blame for that gradual corruption of the court and government\nwhich led to the first Revolution, of which all subsequent disturbances\nhave been the result? In any case, the false position of the female sex,\nso conspicuously exposed by the existence of the 41 lady,\" is a fundamental\ndefect in our social condition, and this defect, proceeding from the very\nJieart of it, must extend its harmful influence in every direction. That\nwoman is by nature Intended to obey is shown by the fact that every\nwoman who is placed in the unnatural position of absolute independence\nat once attaches herself to some kind of man, by whom she is controlled\nand governed; this is because she requires a master. If she is young,\nthe man Is a lover; if she is old, a priest, (i)\n\n(I) The translation here given is that o! S. H. Dircks, published by the Walter Scott Co."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c012", "article_bluemountain": "bmtnaau_1914-07_01#c012", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "16", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.7", "titre_corps": "ON WOMEN : Some Verses", "titre_sommaire": "ON WOMEN : Some Verses", "signature_source": "Lord Byron", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 1304, "texte": "ON WOMEN. Some Verses\nby Lord Byron.\nJuan presented in the proper place,\nTo proper placemen, every Russ credential;\nAnd was received with all tIse due grimace,\nBy those who govern in the mood potential,\nWho, seeing a handsome stripling with smooth face,\nThought (what in state affairs is most essential)\nThat they as easily might do the youngster,\nAs hawks may pounce upon a woodland songster,\nThey err'd, as aged men will do; but by\nAnd by we'll talk of that; and if we don't,\n'T will be because our notion is not high\nOf politicians and their double front,\nWho live by lies, yet dare not boldly lie;...\nNow what 1 love in women is, they won't\nOr can't do otherwise than lie, but do it\nSo well, the very truth seems falsehood to it.\n\" * i\nWhat a strange thing is man ! and what a stranger\nIs woman ! what a whirlwind is her head,\nAnd what a whirlpool full of depth and danger*\nis all the rest about her! Whether wed,\nOr widow, maid, or mother, she can change her\nMind like the wind : whatever she has said\nOr done, is light to what she'll say or do:...\nThe oldest thing on record, and yet new!\nA something all sufficient for the heart\nIs that for which the sex are always seeking:\nBut how to fill up that same vacant part ?\nThere lies the rub... and this they are but weak in.\n\nXXXV.\nXXXVI.\nLXIV.\nLXXIV."}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.20", "debut_caractere": 14, "fin_caractere_exclue": 584, "texte": "Frail mariners afloat without a chart,\nThey run before the wind through high seas breaking;\nAnd when they have made the shore through every shock.\n'Tis odd, or odds, it may turn out a rock.\nAdam exchanged his Paradise for ploughing,.\nEve made up millinery with fig leaves...\nThe earliest knowledge from the tree so knowing,\nAs far as I know, that the church receives:\nAnd since that time it need not cost much showing,\nThat many of the ills o'er which man grieves,\nAnd still more women, spring from not employing\nSome hours to make the remnant worth enjoying..\n\nLXXVIII."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c014", "article_bluemountain": "bmtnaau_1914-07_01#c014", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.8", "titre_corps": "Sir Henry Irving", "titre_sommaire": "Sir Henry Irving", "signature_source": "Paul Renouard", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 34, "texte": "Sir Henry Irving by Paul Renouard."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c015", "article_bluemountain": "bmtnaau_1914-07_01#c015", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "22", "image_debut": 23, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.9", "titre_corps": "ON POETS AND ACTORS & THE NEED OF MASTERS", "titre_sommaire": "ON POETS AND ACTORS & THE NEED OF MASTERS", "signature_source": "Yoo-no-hoo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2043, "texte": "ON POETS AND ACTORS, & THE NEED OF\nMASTERS. A Note\nby Yoo-no-hoo.\nr Alexander Watson recited the \" Everlasting\nMercy \" not long since at the Little Theatre in\nLondon, and, as \" Poetry and Drama \" tells us,\n\" was hailed by the united press in a ringing\nchorus of praise \".\n£/ The journal goes on to say that certainly \" his\n\" enunciation is clear, his elocution excellent, and\n\" his voice splendidly controlled ; yet it was not\n\" \" The Everlasting Mercy \" he gave us, but rather a demonstration of\n\" his own powers, using the ''Everlasting Mercy\" as a medium. \"\nI heard from a very celebrated English performer and a very fine\ncritic of performers that Mr Watson's recital was really very admirable.\nThis was speaking of the performance purely from the performer's\npoint of view and therefore 1 am inclined to think that it was just what\n\" Poetry and Drama \" says: \" a demonstration of his own powers \" and\nnot the demonstration of Masefield's powers nor the powers of poetry.\nOne has heard the same remark made [about Salvini, about Ludwig\nBarney and about ail the great stage speakers;... that they gave demon-\nstrations of their own powers, using the, play and abusing the poet.\nIt is a little difficult to keep one's temper when reading year after\nyear such criticisms, and, unfortunately, one can read similar criticisms\ncovering all the past nineteen centuries.\n*\nJZ/ This is no new statement that they are making, and yet they are\ncontinually making it.\nBut do they believe in their hearts that the actor has not been trying\nto do for centuries what they want him to do ?\nDo these good fellows really imagine that Salvini was not trying with\nall the force of Salvini to give out to the people of the force and beauty\nof the poets that he recited ?\nDo they beiieve too that Ellen Terry,... for here is a speaker who, I\nbelieve, may be called a good speaker, a fairly good speaker,... do they\nbelieve that she has not tried with all the force at her command to bring\nout that which is most perfect, to bring out the poetry and not to bring"}, {"page_pdf": 24, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.24", "debut_caractere": 22, "fin_caractere_exclue": 2078, "texte": "out Ellen Terry? Do they really think that she and the great Italian\nactor love themselves far better than the poem ? ...Do they really think\nso ?... believe this ?\nNow honestly, do you, Harold Monro and the rest of you in the Poetry\nBook Shop, really believe this ? And would you swear to it that the\npoet wishes more truly to bring out,... (now we're about it!)... the\npoetry rather than himself?\nThese are simple questions, and a 4 yes' or a 4 no' answers them.\n& But I will say what 1 believe. 1 believe that the actor loves best the\npoem, and that he loves it more than the poet loves it.\nAnd I will tell you why.\nThe poet squeaks and gasps out the poem, the actor rolls it out of\nhis mouth. Both are abominable, but the actor is the better of the two.\nI have never heard anything more pitiful than the noises emitted by\na poet when reciting his own poetry, and 1 have heard some of the\nbest poets.\nz? DJd anyone ever hear Swinburne reciting any of his own poems ?\nit seems to me that what the 44 Poetry and Drama \" group are really\nworried about is the precedence of the actor over the poet. Am I\nnot right ?\nBut did It ever occur to them,... (there is no reason why it should\nnot have occurred to them)... that neither the actor nor the poet should\nspeak these things aloud before groups of people ?\nThey say the written word abides, but the written poetic word runs\na good chance of being destroyed utterly If poets are going to treat\ntheir own works worse than actors do.\n44 We are frequently asked to send readers into the provinces. \"\n1 quote from the same number of 44 Poetry and Drama. \"\nWhat an awful idea... shipping them like missionaries into the provinces !\n& Again, I fear that it is altogether wrong for 44 Poetry and Drama\" to\nassert that 44 Facial expression and gesture, such as the actor may be\n44 obliged to practise, serve rather to obscure than to elucidate the\n44 beauties of poetry. \"\n& For my part I can support a day without listening to a poem spoken ;\nin fact, I prefer not to hear spoken poems; but if it be spoken, if one"}, {"page_pdf": 25, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.25", "debut_caractere": 22, "fin_caractere_exclue": 2162, "texte": "word of poetry escapes through the voice, the facial expression and the\ngesture must be there In their two perfections.\nI might during the day meet a man or woman who would say two\nor three words which were essentially all that was poetic; but, if the\ngesture were non-existent, it is quite sure 1 should be suspicious about\nthe voice. I don't want a maimed body... Is that what the \" Poetry Book\nShop \" wants ?\nHere it is that one's patience Is sorely tried.\nWhen, in the present condition of things, Mr Masefield wishes his\npoem to be heard by the public Mr Masefleld's good friend is Mr\nAlexander Watson.\nThe question here, is not the question of Improvisation. If it were\nso the poet would be able to pour out his verse like Shelley's Sky-lark,\nand then there would be an end of writing and then there\nwould be no need for Mr Alexander Watson to give his life up to the\nwork of Interpreting it.\nBut what you poets at present propose doing is to write your poems\nand afterwards learn them as though they were quite unknown to you.\nThat wont do; ....that wont do for poets.\nThen, that being the case, why can't you show a little decent courtesy\nto Salvlni, Ellen Terry, and your latest excellent friend, Alexander Watson?\nIn thinking about the theatre, the actor and the other performers,\n1 have very often been led to put up a fight against those of my own\ncalling, and our difference of opinion has not changed. The actor still\nthinks he is something less than he Is, whereas I shall still continue to\nthink that he might be something much greater than he is.\nAnd having this belief I have found it good to say some things about\nthe actor which bordered on everything which was impertinent. For of\ncourse I was thinking of the older actors rather than the younger ones. 1\ndaresay, however, that our family differences will come out all right\nin the end.\nBut for centuries you poets, ....or perhaps I should say, you minor\npoets, the great imitators of the art of song, have, rather foolishly 1\nthink, done all you could to belittle the race of actors from which I come.\n1 am sure we are all ready to grant every word you can say against"}, {"page_pdf": 26, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.26", "debut_caractere": 22, "fin_caractere_exclue": 2231, "texte": "us; but dont forget that Shakespeare might have been dead years ago\nbut for the actors.\nThis is a remark I have never made before, and hope I shall never\nmake again because it is one continually to be heard Issuing from the\nmouths of my old friend Sir Herbert Beerbohm Tree and the other\nchampions of the art that is today become ridiculous. They bring it out\nas a kind of catch phrase on hearing which the public will instantly\ngive a round of applause. I repeated it just now unconsciously and while\nwondering to myself whether Shakespeare would ever have come to\nwrite down \"Facial expression and gesture, such as the actor may be\n'* obliged to practise, serve rather to obscure than to elucidate the\n\" beauties of poetry. \" ....Let anybody who reads this try and imagine\nShakespeare sitting down and making such a statement as that!\nI suppose we take it that Shakespeare was very much of a man, and\nrather than write such a phrase he would have stopped writing poetry.\nI have written before of the actor, the Interpreter, and one or two\npeople may remember that 1 have said that he is an unnatural Invention\nand that a human being cannot be an interpretor. (i),\nDr Coomaraswamy, the only man whose words have in any way\nimpressed me in connection with this question, (For the moment I forget\nhis words, but you will find them in \" The Mask \" Vol. six pg. 111-128)\nsays that India has produced the interpreter, the man who could be\nthe interpreter.\n& Now I have not yet seen these Indian interpreters of whom the Doctor\nspeaks. May they entirely overthrow my theory,... a theory which you\nmust excuse me for reminding you has its roots in a long and affectionate\npractise In the theatre.\n£? But I notice this point about the doctor's statement: He finds his\nIdeal interpreter in a land which I think you in England look down\nupon with scorn. It is the land of the master and the slave;... and they\ndo say that it is difficult to tell the difference between the two in those\nfar lands, whereas the difference is very marked in all the streets and\nsalons and other public places of London.\n£> In London the slave is branded right and left. There are over thirty\n\n(I) \" On Ihe Art of the Theatre. \" Heioemann."}, {"page_pdf": 27, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.27", "debut_caractere": 24, "fin_caractere_exclue": 2170, "texte": "million of 'em. They walk up and down the streets with padlocks on\ntheir hands, chains on their feet, their eyes bandaged, their lips as It\nwere sewn with wire thread. They are sore to death In their slavery,\nfor nearly every man is a stave in England,... and I believe there Is\nhardly one in India.\nNow, while you are talking about poetry and the Interpretation\nof poetry, and the badness of the actor, you are entirely forgetting the\nconditions that both poet and actor, and, indeed, the public also, are\ntolerating in England... In Europe.\nThis question of Art comes not first for us because we have placed\nIt second • •••• Good then!\nTo place It first we must be readjusted.\nWe know the old order: we know it perfectly well, but we wont\nobserve it because we are frightened to be pushed aside or to be forgotten,\nit seems.\nIn a devil of a hurry, most of us! such a short life,... what ?!\n\" Why, we have got to get to that position, and look where we were\nfive years ago I\" This is what is In most of our heads. It is worrying us\nto death.\n£/ Why, even Mr Bernard Shaw finds it necessary to bring out a play\nat His Majesty's Theatre,... \"Pygmalion.\" George Bernard Shaw is actually\nfrightened that he is going to be left behind, that his voice is not going\nto be heard, that he has not already done his work; frightened that he\nis going to be a slave instead of a master! And the day that he tempted\nBeerbohm Tree he was tempting fate,... but the day when he sat like\nthe \" old father \" benignly watching the rehearsals and allowing the\ncrime to continue his fate was sealed.\nWith the young men ci the Poetry Book Shop the thing should be\neasier. They have their master, and it is entirely their fault if they waste\ntheir time worrying about the admirable work of Mr Alexander Watson\nInstead of getting off to the Arran Islands and peeling a few potatoes\nand settling down to enjoy their life and perhaps utter a couple of verses.\nBut they are probably much better pupils than 1 give them credit\nfor being and 1 hope that they respect all the feelings, thought and orders\nof their leader, W.B.Yeats, though, looking through \" Poetry and Drama\""}, {"page_pdf": 28, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.28", "debut_caractere": 22, "fin_caractere_exclue": 2200, "texte": "I hardly feel that they are doing him quite as much credit as they\nmight be.\nYet after all, to walk daily through a city of people chained hand, foot,\nears and lips must be a little trying to even the strong constitutions of\nMessrs Monro, Elton, Del Re, Pound and the other personalities of this\njournal, and one must take that into consideration.\nAnd then, of course, when they see their poetry appear In print, and\nread about the theatre according to Mr Gilbert Cannan and Mr William\nArcher, ....two men who seem to be practically contradicting each other,...\nthat must also be a little trying.\n£> However, they could spare themselves all this if they would.\n& I wonder how many of the monuments of Egypt, India or China would\nhave appeared had this continual hubbub of little masters been permitted\nby the authorities to become so great a nuisance there as it is in London\nto day.-\nI don't know in the least what constitutes Mr William Archer's right\nto give any opinion whatever concerning the theatre, and I have never\nyet known. One of the most delightful of men, his opinions concerning\nthe stage are unsound from first to last: he Is ignorant of what constitutes\ndrama and ignorant of ail which concerns art. A first class journalist,\nMr Archer's place is on the \" Daily Mail. \"\nMr Gilbert Cannan is another whose opinions concerning the theatre\nare just a little difficult to rely on, for he changes his opinion so often.\n& This question of the Theatre art, and of poetry and the theatre, is so\nfine, so serious, so very serious a thing that the greatest of care should\nbe exercised by the editor of \" Poetry and Drama \" before permitting\nwriters who hold no definite opinion to express all that loose stuff\nwithin, the hearing of a number of men and women waiting to be told\nsomething.\nBut this too is absolutely natural in a land which is governed by\nits slaves,... slaves to each other... slaves whose slavery Is their sole\nmelancholy boast. They call It \" keeping an open mind. \"\nHowever, enough of this :.... When one carries the old idea of royalty\nIn one's head and the old Idea of the government of the flock of sheep,\none is bound to talk a little in this way."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c017", "article_bluemountain": "bmtnaau_1914-07_01#c017", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "23", "page_fin": "25", "image_debut": 29, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.10", "titre_corps": "THE BEAUTIFUL THE SERVANT OF THE TRUE : A Note", "titre_sommaire": "THE BEAUTIFUL THE SERVANT OF THE TRUE : A Note", "signature_source": "Victor Hugo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 2287, "texte": "THE BEAUTIFUL THE SERVANT OF THE\nTRUE. A Note\nby Victor Hugo.\nAh, minds! be useful! Be of some service. Do not be fastidious when\nit is necessary to be efficient and good. Art for art may be beautiful,\nbut art for progress is more beautiful yet. To dream reverie is well, to\ndream Utopia Is better. Ah! you must think? Then think of making\nman better. You must dream ? Here is the dream for you : the ideal. The\nprophet seeks solitude, but not isolation. He unravels and untwists the\nthreads of humanity tied and rolled in a skein in his soul; he does not\nbreak them. He goes into the desert to think; of whom ? Of the multitude.\nIt is not to the forests that he speaks, it is to the cities. It is not at\nf\nthe grass bending to the wind that he looks, it is at man; it is not\nagainst lions that he wars, it is against tyrants. Woe to thee, Ahab 1\nwoe to thee, Hoseal woe to you, kings! woe to you, Pharaohs! is the\ncry of the great solitary one. Then he weeps.\nFor what ? for that eternal captivity of Babylon, undergone by Israel\nformerly, undergone by Poland, by Roumanla, by Hungary, by Venice\nto-day. He grows old, the good and dark thinker; he watches, he lies\nin wait, he listens, he looks, ear in the silence, eye In the night, claw\nhalf stretched towards the wicked. Go and speak to him then of art for\nart, to that cenoblte of the ideal. He has his aim, and he walks straight\ntowards it, and his aim is tills: Improvement. He devotes himself to it.\n& He does not belong to himself, he belongs to his apostolate. He is\n/\nentrusted with that immense care, the progress of the human race.\nGenius Is not made for genius, it is made for man. Genius on earth is\nGod giving himself. Each time that a chef-d'oeuvre appears, it Is a\ndistribution of God that takes place. The chef-d'oeuvre is a variety of\nthe miracle. Thence, in all religions, and among all peoples, faith in\ndivine men. They deceive themselves, those who think that we deny the\ndivinity of Christ.\nAt the poiht now reached by the social question, everything should\nbe action in common. Forces isolated frustrate one another, the Ideal\nand the real strengthen each other. Art necessarily aids science. These\ntwo wheels of progress should turn together.\nGeneration of new talents, noble group of writers and poets, legion"}, {"page_pdf": 30, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.30", "debut_caractere": 40, "fin_caractere_exclue": 2419, "texte": "of young men. 0 living posterity of my country I Your elders love and\nsalute you. Courage I let us devote ourselves. Let us devote ourselves\nto the good, to the true, to the just. In that there is goodness.\nSome pure lovers of art, affected by a pre-occupation which in its way\nhas its dignity and nobleness, discard this formula, \" Art for Progress, \"\nthe Beautiful Useful, fearing lest the useful should deform the beautiful.\nThey tremble lest they should see attached to the fine arms of the Muse\nthe coarse hand of the drudge. According to them the ideal may become\nperverted by too much contact with reality. They are anxious for the\nsublime if it is lowered as far as humanity. Ah ! they are mistaken.\nThe useful, far from circumscribing the sublime, increases it. The\napplication of the sublime to human things produces unexpected chefs«\nd'oeuvre. The useful, considered in Itself and as element combining\nwith the sublime, is of several kinds; there is the useful which is tender,\nand there is the useful which is indignant. Tender, it refreshes the\nunfortunate and creates the social epopee; Indignant, it flagellates the\nwicked, and creates the divine satire. Moses hands the rod to Jesus, and\nafter having caused the water to gush from the rock, that august rod,\nthe very same, drives the vendors from the sanctuary.\n& What! art should grow less because it has expanded ! No. One service\nmore is one more beauty.\nYou say: The muse is made to sing, to love, to believe, to pray. Yes\nand no. Let us understand each other. To sing whom ? The void. To love\nwhat? Oneself. To believe In what? The dogma. To pray to what? The\nIdol. No, here is the truth : To sing the ideal, to love humanity, to believe\nin progress, to pray to the infinite.\nTake care, you who are tracing those circles round the poet, you put\nhim beyond man. That the poet should be beyond humanity in one way,\nby the wings, by the immense flight, by the sudden possible disappearance\nin the fathomless, it is well, it must be so, but on condition of reap-\npearance. He may depart, but he must return. Let him have wings for\nthe infinite, provided he has feet for the earth, and that, after having\nbeen seen flying, he is seen walking. Let him become man again, after\nhe has gone out of humanity. After he has been seen an archangel, let\nhim be once more a brother. Let the star which Is in that eye weep a"}, {"page_pdf": 31, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.31", "debut_caractere": 41, "fin_caractere_exclue": 1764, "texte": "tear, and that tear be the human tear. Thus, human and superhuman,\nhe shall be the poet. But to be altogether beyond man, is not to be.\nShow me thy foot, genius, and let us see if, like myself, thou hast\nearthly dust on thy heel.\nj0 If thou hast not some of that dust, if thou hast never walked In my\npathway, thou dost not know me and I do not know thee. Go away.\nThou believest thyself an angel, thou art but a bird.\n0 Aid from the strong for the weak, help from the great for the small,\nhelp from the free for the slaves, help from the thinkers for the ignorant,\nhelp from the solitary for the multitudes. Such is the law, from Isaiah\nto Voltaire. He who does not follow that law may be a genius, but he\nis only a useless genius. By not handling the things of the earth, he\nthinks to purify himself, he annuls himself. He is the refined, the delicate,\nhe may be the exquisite genius; he is not the great genius. Any one,\nroughly useful, but useful, has the right to ask on seeing that good-\nfor nothing genius, Who is this idler? The amphora which refuses to go\nto the fountain deserves the hooting of the pitchers,\n0 Great Is he who devotes himself t Even when overcome, he remains\nserene, and his misery is happiness. No, it is not a bad thing for the\npoet to meet face to face with duty. Duty has a stern resemblance to\nthe ideal. The act of doing one's duty is worth the trouble of being tried.\nNo, the jostling with Cato is not to be avoided. No, no, no; truth, honesty,\nteaching the crowds, human liberty, manly virtue, conscience, are not\nthings to disdain. Indignation and emotion are but one faculty turned\ntowards the two sides of mournful human slavery, and those who are\ncapable of anger are capable of love."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c019", "article_bluemountain": "bmtnaau_1914-07_01#c019", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "26", "page_fin": "38", "image_debut": 32, "image_fin": 44, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.11", "titre_corps": "A HISTORY OF PUPPETS", "titre_sommaire": "A HISTORY OF PUPPETS", "signature_source": "Yorick", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 2087, "texte": "A HISTORY OF PUPPETS,\nby \"Yorick”.\n(I)\nPUPPETS IN FRANCE.\npropose, although somewhat unwillingly, to put aside\nthe most ancient period of the history of France, in\nwhich records are not wanting of hieratic statuettes\nof religious \" fantoccini \" belonging to the mytholo-\ngy of the aboriginal Gauls, and used in ceremonies\nof worship and in the most serious and most impor-\ntant circumstances of public and private life.\nBelen, Bsus, Witolf, Teutates, Murcia and ftehelennias, national divi-\nnities that were feared and deprecated, were at that period quite as\nmuch subjects for sculptors and artificers initiated in the sacred myster-\nies as Jupiter, Mars, Minerva, Mercury, Venus and Proserpine, foreign\nand hated deities that had penetrated by force of arms into the recesses\nof druidical forests.\nThe idols of that remote age and of those robust peoples were colossal,\nterrible and majestic figures, adjusted with simple but powerful mecha-\nnism that provided for a few solemn gestures, sufficient to infuse a\nsalutary fear in the excitable minds of the faithful.\nThen, when the Roman eagles had settled themselves in the blood-\nstained temples, which they had conquered from the four hundred tribes,\nwhen the legionaries of Caesar had invaded the nine hundred cities of\nthe Gauls and the Belgians, the whole Olympus, Greek and Latin, was\nspeedily overthrown in the country, and the images of the new Gods,\nwith all the marvels of Dedalian art, passed in abundance from the hands\nof the conquerors to those of the conquered; and a confusion then\narose of dogmas and beliefs, of religious practices and superstitions,\nthat lasted during the whole of the fifteenth and part of the sixteenth\ncenturies, notwithstanding the conversion of the people to the doctrines\nof Christianity.\nAnd even the priests of the new faith, In France as elsewhere, did\nnot scruple to call upon buraitini and fantocci in aid of the propaganda ;\nso that, during the whole of the middle age, the sacred representations,\nliturgical dramas, Mysteries and Morality plays increased and multiplied\n\n(1) P. Ferrigni."}, {"page_pdf": 33, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.33", "debut_caractere": 25, "fin_caractere_exclue": 2238, "texte": "at Dieppe, at Rouen, at Lyons and in Paris; first in the churches, then\nin open spaces, and finally in the roving little theatres and in the booths\nerected in markets and at Fairs.\n& There is this singular feature about all records that have come down\nto us relating to the first efforts of dramatic art in France that, openly\nand without ambiguity, and not by hypothesis, but by precise affermation,\nthey refer to the custom of associating living actors with marionettes in\nthe great theatres of the Mysteries.\n& At Dieppe, on the first day of August, for the festival of the Assumption,\na company of clergy and laity, \" supported by several figures that were\nset in motion by means of strings and counterweights \" represented\nevery year on the open space in front of the church of St. James, the\nMystery of the Assumption of the Virgin Mary, In which four hundred\n*' personaggi \" took part; It was a wonderful spectacle and attracted to\nthe city of Dieppe a large number of foreigners and strangers.\n& At Christmas and at Easter, and also on the day of the festival of Corpus\nDomini, similar dramatic performances were held, with the intervention of\nburattini, at Lyons, Paris and Marseilles, and in all the southern cities,\nwhen the Mysteries of the Birth and Passion of our Lord, the Creation of\nthe World and the Fall of Man, Samson and Delilah, the heroism of Judith,\nthe Prodigal Son, and the Rich Man and the Beggar were represented.\nThis custom was continued in Paris even in the seventeenth century;\nand the fathers of the religious order of Theatines, who were brought\nto the French Capital by Jules Mazarln*, constructed at Ceppo a splendid\n\" Presepio \" in front of the door of their Convent, and peopled it with\ngraceful little wooden figures, movable and articulated, that formed a\ngreat delight in the eyes of the \" badauds \" and women.\nIn one of the habitual pamphlets that were scattered about at the\ntime of the Fronde, the great Cardinal Is apostrophized In these terms:...\n\" Adieu, p&re aux marionettes ;\nAdieu, l'auteur des Theatlns. \"\nAnd in another, relative to the precedent of the monks and entitled\n\" Lettre au Cardinal burlesque \" :...\n\" Et votre troupe theatine\nNe voyant pas de surety"}, {"page_pdf": 34, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.34", "debut_caractere": 27, "fin_caractere_exclue": 2116, "texte": "En notre ville et vicomtd\nA fait Flandre, et dans ses cachettes\nA serrd les marionettes\nQu'elle faisait voir ci-devant. \"\nAfterwards when the burattlni abandoned the churches and dispersed\namong the towns and villages, the whole of France was run and overrun\nby Italian \" bagattellieri \", who brought with them, together with farces\nand \" scenarii \", all the •• personaggl \" and '* maschere \" of the smaller\nItalian theatres.\nFROM THE STAGE TO THE COURT.\nIt is an incontestable and undeniable fact that the most ancient artl-\nculated little figures, that were governed by strings and made to move\non a kind of stage in the representations of the Mysteries and the '* Jeux\nbourgeois \" in Paris, Amiens, Nevers, Poitiers, Laon, and Coutances, were\nnothing more than imitations of our old marionettes of Rome and of\nLatium, adapted to the taste of the times and the mode of the country.\nThat the Italian type was constantly preserved in French theatres Is\nclearly established by the name \" Francatrippa \", which we find regi-\nstered, just as it is, in the oldest French book that gives an account of\nthe plays of theatrical burattinl, (1584).... 1 mean the \" Serees \" of\nQuillaume Bouchet, lord of Brocourt.\n&At the time of Henry 111, protagonists of \" burlette\" in French\ntheatres were called \" Pulcinella, \" \" Arlecchino, \" \" Pantalone. \" and\n\" Colomblna; \" and we,find them all together in possession of the first\npermanent stage that was erected in Paris for marionette plays, by the\nside of the Porte de Nesle, in the year 1649.\n& The proprietors and directors of that \" jeu de marionnettes \" were\nGiovanni and Francesco Briocci of Bologna, a name that French exclu-\nsivism changed into Brioche. Francesco carved, with his own hand, all\nthe graceful little \" figurine; \" Giovanni, who improvised with facility\nand was fluent of tongue, made them speak in the French idiom, mixed\nwith terse pithy sayings ip Italian and Latin, and in such a comical way,\nwith such pleasant allusions, and with such quaint expression, that the\ngood people of Paris became every day more and more enchanted."}, {"page_pdf": 35, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.35", "debut_caractere": 23, "fin_caractere_exclue": 2126, "texte": "£/ Hamilton, in the first volume of his works, in a letter addressed to\nthe Princess Mary,, daughter of James the second of England, gives great\npraise to the Pulcinelia of Brlocci, who was then at the Fair of Saint\nQermaln en Laye.\n\" La le fameux Pollchinelle,\nQui du theatre est le hdros,\nQuoi qu'un peu libre en ses propos,\nNe fait point rougir la donzelle\nQu' il divertlt par ses propos. \"\nPerrault, one of the most brilliant accademicians of his day, confesses\nto the same taste, in the pages of his celebrated \" Peau d'ane. \"\n44 Pour moi j'ose poser en fait,\nQu'en de certains moments 1' esprit le plus parfait\nPeut aimer, sans rougir, jusq'aux marionnettes. \"\nBrlocci carried about with him an ape, to which he had given the\nname of 44 Fagottino, \" and with which he amused the people in the\nIntervals between the acts; this mischievous beast gained such celebrity\nby Its tragic death that it is mentioned in the annals of French literature.\nThat strange being, Cyrano de Bergerac, the author of'44 Cymbalum\nmundi \" saw the ape one day dressed as a servant, and strolling, with\ncomical gravity, round the marionette booth, and observing that it was\nmaking grimaces, thought that it was poking fun at his nose 41 qu'il\navait tout defigure, \" as Menage relates, 44 et a cause duquel il avait tue\nplus de dix personnes, \" duellist and braggart as he was. Cyrano took\nfire and moved towards the ape, whereupon 44 Fagottino,\" accustomed\nto play his little game, drew his tiny wooden sword and put himself on\nguard with all the air of a 44 petit maitre. \" Bergerac, blinded with rage,\ndrew his sword also and, rushing at the beast, struck it dead at his feet.\nThis tragi-comical event was celebrated in an anonymous pamphlet,\nentitled 44 Combat de Cyrano de Bergerac contre le singe de Brioche, \"\n(Paris I655). „\n£7 Four years afterwards, Giovanni Briocci was summoned to the French\nCourt, to the Royal castle of Saint Germain en Laye, to amuse with his\nmarionettes the Dauphin, son of the great Louis xix, and the account of\nexpenses of the Royal family in the year I669, page 44, records as follows :"}, {"page_pdf": 36, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.36", "debut_caractere": 23, "fin_caractere_exclue": 2206, "texte": "44 A Brioche; joueur de marionettes, pour le sejour qu'll a fait a Saint\nGermain en Laye, pendant les mols de septembre, octobre et novembre,\npour divertir les Enfants de France, 136s llvres. \"\n& After the death of Giovanni, Francesco Brloccl, now trained in the art,\ntook over the management of the burattini, and rose to such fame, that\nhe gained the honour of persecution on the part of the illustrious\nBossuet. But the great monarch defended the Italian marionettes; and\nthe Minister Colbert, In a letter addressed by direct order of his Majesty\nto the Lieutenant General of police, enjoined all agents of public force to\nrespect and protect Francesco Brioche and his little wooden figures. The\nletter is dated 16 October I676, and appears in the second volume of the\n44 Correspondance administrative sous Louis xiv,\" published by Depping.\nThis well deserved fortune caused many competitors and rivals of\nthe two Brlocci to spring up; and if I had time and space it might not\nbe amiss to say something about them, but 1 am afraid of extending my\nstory too much, and therefore cut this part short, with a view to arrive\nmore quickly at the end.\n& It is sufficient that no one can take away from them the favour of\nthe public, the kindness of the Court, and the attention of the learned;\nm\ntheir name is frequently met with, honoured and celebrated, in the\n44 versi \" of Gacon, Lainez and Scarron, in the prose writings of La\nBruy&re, in the poem 44 Fasti \" of Lemiere, and in the fables of Arnault,\none of which, the best, is called 44 Le secret de Polichlnelle. \"\n\" Quels succes par les siens ne sont pas effaces ? \" says Arnault of\nour triumphant Pulclnella.\n44 Les Roussel passeront, les Janots sont passes\nLui seul, toujours de mode, a Paris comme a Rome,\nPeut se prodiguer sans s'user;\nLui soul, toujours sur d'amuser,\nPour les petits enfants est toujours un grand homme. ',\nBut with regard to the Brioche, there is a more important question,\na question of condition and citizenship, that has arisen in the second\nedition of the 44 Dictionnaire critique de Biographic et d'Histoire \" of\nAugusto Jal, (Paris, Plon, I872); a question that I cannot possibly refuse\nto deal with."}, {"page_pdf": 37, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.37", "debut_caractere": 23, "fin_caractere_exclue": 2276, "texte": "& Up till the year I872 no one had ever contested the right of the\nBrlocci family to be regarded as Italian both by origin and nationality.\nKrunitz, in his \" Enclclopedia,\" speaking of Giovanni Briocci, qualifies\nhim as Italian and compatriot of Mazarin, to whom in I649 he addressed\nthe famous 44 Lettera di Pulclnella,\" signed 44 Pour vous servir, si\nl'occasion s'en presente, \"\n44 Je suis Polichinelie\nQui fait la sentinelle\nA la porte de Nesle. \"\n£/ Carlo Magnin, Maurice Sand, Nodier, Furetiere, Brossette, D'Arbigny,\nand all writers, who have dealt 4ex=professo' with marionette affairs, have\nalways agreed with that constant and most popular tradition. All satires,\nall contemporaneous publications designate Briocci as Italian. The manifest\nprotection that Mazarin accorded to him, the names of the 44 personaggi \"\nwho took part in the farces of his repertory, all ...even the nickname\nof his murdered ape... all bear testimony to his Italian character.\nAugusto Jal, alone. In the new issue of his Dictionary, comes forward\nto sustain that the family of those renowned burattinal was originally\nFrench, that its patronimic name was really that of Datelin, that Brioche\nwas nothing more than a nickname... and in substance, that Datelin and\nBrioche, held up to that time to be two distinct and equally illustrious\nmanagers of burattini, are in reality one and the same person.\nThat discovery, if examined with a calm mind, rests upon a document\nthat is somewhat ambiguous. It is the certificate of birth of a son of\nGiovanni Datelin, bearing the date of I9 September I663, in which the\ngodmother of the child, who was also the grandmother, is described as\n44 Anna Prevost, wife of Pietro Datelin, called Brlocher. \"\nOn that foundation, Jal builds the genealogy of the Datelins in\nthis way:... 44 Pietro Datelin, called Brioche, born in 1367; married in I6I3\n44 to Anna Prevost, by whom he had seven children, of whom : Francesco,\n44 called Fanchon, was born in I620; Another Francesco, born in I630;\n44 Giovanni, born in I632.\nPietro Datelin, the ancestor of the family, died in I67I, at the age of\na hundred and five years, as appears from the certificate of death, copied\nfrom the registers of the parish of Sant'Andrea in Paris; and was buried"}, {"page_pdf": 38, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.38", "debut_caractere": 23, "fin_caractere_exclue": 2389, "texte": "in the cemetery of Santo Stefano, as is proved by the official record.\nHere are the two documents. The first says:... \" Friday the 25th. day of\n\" the month of September in the year I67I, died at the Cbasteau Gaillard.\n\" near to the Pont Neuf, Pierre Datelin, a player of marionettes; and\n\" the same day his body was taken to the church of Saint Andr£ des\n\" Arcs, in that of Saint Etienne du Mont, where it was burled.\"\nThe second document reads:... \" Was buried in the cemetery of this\n\" parish Pierre Datelin, whose body was brought from Saint Andrl des\n\" Arcs, aged one hundred and five years, in the presence of Francesco\n\" Datelin, and Giovanni Datelin, child of the above, who alone signed :\n•« Datelin.\"\n& Now, according to this last certificate Giovanni is described as the\nson of Francesco and not of Pietro; and Francesco would appear to have\nbeen incapable of writing or signing, a thing that it Is difficult to admit\nwith regard to that \" Fanchon,\" who afterwards acquired so much\nrenown, as to be considered worthy of celebration in the verses of Boileau.\n£? Again, in neither of those two documents, nor In any others relating\nto the sons of Pietro Datelin, is any mention made of the surname, or\nnickname of \" Brioche. \" He describes himself and signs himself as long\n%\nas he lives:... \"Datelin, player of instruments,\" and nothing more.\n& It became necessary, then, for Jal to find some convenient explanation\nof his equivocal assertion, in order to make the confusion, of which he\naccused his predecessors, appear to be possible. Listen to his curious\nreasoning:....\" The French Polichinelle, who Is a personage entirely\n\" different from the Italian Pulcinella, appeared on the scene In the\n\" time of Henry iv and of the Spanish war. It is possible, then, that the\n\" frequenters of his little theatre, that was managed by Pietro Datelin,\n\" listening to the braggadaccio of Pollchlnelte, parodying the pompous\n\" manners of the Spaniards, may have applied to him the surname\n** of \" Brioso, \" that his to say:,., le fort, le vlf, I'adroit. From Brioso,\n\" by corruption, there sprang Briocho, and from Briocho, Brioche... and\n\" the surname of the burattino passed undoubtedly to the burattinaio,\n\" or showman. \"\nit seems incredible that a serious man, a writer of some authority,\nshould trifle with his readers with such miserable and puerile artifices."}, {"page_pdf": 39, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.39", "debut_caractere": 23, "fin_caractere_exclue": 2333, "texte": "It is still more incredible that he should have descended to such childi-\nshness for the purpose of claiming for France the honour of having given\nbirth to a poor 44 bagattelliere. \"\nBut where, if you please, has Signor Jal discovered that Polichinelle\nwas ever known on the stage as Brioso ? And what proof does he give\nus of that fact, \" probable \" according to him, but absolutely ignored by\neveryone else ? As to the confusion of the Datelins with the Brioches,\nwhich Jal imagines, it is contradicted by the agreement of all writers,\nand by the uniformity of all documentary evidence.\nWe have seen that in the register of expenses of the Royal family for the\nyear I669, there was an entry of 1365 lire as having been paid to Brioche for\nthe months of September, October and November at the Castle of S. Germain\nen Layes. On page forty seven of the same register, and for the same year,\nwe read :... 44 To Francesco Datelin, a player of marionettes, in payment of\n44 fifty-six days, during which he lived at Saint-Germain en Laye for the\n44 purpose of amusing Monseigneur le Dauphin, at the rate of 20 lire per\n44 day, from the 17th. July till the Isth. of August 1669 ; and of fifteen\n44 lire per day for the last days of the said month,... 320 lire. \"\nDatelin, therefore, was not Brioche. Brioche and Datelin were two\nshowmen, the one Italian and the other French, who in the same year,\nand on two different occasions, succeeded one another on the stage of\nthe Royal theatre to divert the son of France. They may have been\nassociated in the conduct together of marionette plays with a view to\nrender them richer and more varied as regarded repertory that was to\nlast for five consecutive months.\nThe fame of Briocci increased so rapidly and became so preponderant,\nthat his name, distorted 44 alia francese \" served as an ensign, and as a\ntitle of nobility for his more obscure colleague. Thus is explained the\nerror of the father baptist, who, on the occasion quoted by Jal, attributed\nthe surname of Briocher to old Datelin, who, as long as he lived, poor,\nman, never dreamt of usurping it.\n'Jpowards the end of the seventeenth century, when both the Brloccl were\ndead, and had been succeeded by the Frenchman, Bertrand, marionettes\nbegan to meddle with politics and to Interfere in matters of religion."}, {"page_pdf": 40, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.40", "debut_caractere": 23, "fin_caractere_exclue": 2315, "texte": "Pulcinella, always something of an unbeliever, and having but little fear\nof God, and none whatever of the Devil... to whom it often falls to him\nto administer 44 bastonate \"... is ready at all times to pour ridicule upon\nthe hypocrisy of bigots, and the libertinism of reformers, the intollerance\nof the one and the jealous passions of the others; so that the revocation\nof the Edict of Nantes found him plenty to do.\n£/ In that historical event he personified all shades of opinion, exhibiting\ncatholics as well as protestants on his stage, and regarding both of them\nas equally wicked and ridiculous.\nThat was a period of great glory for wooden actors. Gentlemen of ail\nparties, people of sword and gown, the two orders that were always\neverything, and the third that was never anything, neophytes and masters,\napostates and catechumens, conspirators of all sorts, all met together at\nthe marionette theatre.\nPantalone and Arlecchlno fought in opposite factions, and PulcineHa\neffected their reconciliation by means of heavy 44 Iegnate, \" or blows.\nIn the end, the Authorities made up their minds that they also had\nsomething to say. The 44 procuratore generaie \" to the parliaments of\nParis, Achille de Ilarlay, addressed a letter to the Lieutenant of Police,\nM.de la Reynie, dated 7th. February, 1686, of which this a copy:...\n44 To Monsieur de la Reynie, counsellor of the King in Council. It Is said\n44 this morning at the Palace that the marionettes at the Fair of Saint\n44 Germain are representing the destruction of the Huguenots, and as\n44 you will probably find this a serious matter for the marionettes, I have\n44 deemed it right to give you information thereof, so that you may make\n44 use of it according to your discretion. \"\nThe discretion of M.de la Reynie led him to impose silence upon the\nmarionettes, but their fighting spirit soon forced them into a long and\nbitter struggle with the actors of the 44 Theatre francais \" and the\n4' Comedie itallenne \", a struggle of which we shall see the strange\nvicissitudes in another paragraph.\nBut amid so much difficulty and hostility, the burattini of France\nwent triumphantly on their way, the passion for their displays became\ngreater every day, aod the permanent marionette theatres In Pnris con-\ntinued to increase in number."}, {"page_pdf": 41, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.41", "debut_caractere": 23, "fin_caractere_exclue": 2230, "texte": "The brothers Feron opened one at the sign of the «• Glgllo •' with a\nPlay Pallacorda \"by a certain Cercllly, and Francesco Bod.niere opened\nanother, not far off, called •< II Qallo Then came Benolt with his ma-\nrlonettes of wax: La Grillo with a piece, named \" BamboccI », also lm-\nported from Italy, and established at Marais, as Beauchamp tells us....\nand endless others, of which It would be useless to attempt to give the\nnames, even of those that were least celebrated.\nTHE TWO FAIRS.\n|t was the year .697: and Italian comedians, established on the stage\nof the Hotel de Boulogne under the direction of Evaristo Qherardi\nhad almost entirely abandoned the repertory of the -Con,media dell'Arte\"\nand now conducted in the French language all the productions that\nwere written expressly for them on subjects of purely local interest\n■CP Long habit, the favour they had always enjoyed, the liberty, sometimes\nabused, that was accorded to them as people speaking a foreign language\nand improvising their dialogue, all these things, singly and togethe'r,\n.ad accustomed our compatriots to such petulancy of criticism, such\nlicence in expression, and such arrogance of manner, that sooner or later\nley were sure to bring down a storm upon the head of the unfortunate\nchier actor.\nNot content with ridiculing the people of Paris, the manners of\ncourtesans and the pride of the soldiers, that mad brain of Angelo Co-\nstantln., who acted the part of •• Mezgetin \", had the audacity to carica-\nture the Royal favourite, and Madame de Maintenon saw herself exposed\nto the laughter and the hisses the public In a comedy, tha, was caUed\nLa Fatisse prude\nThat was quite sufficient to cause the glass, already full, to overflow\nOn the Monday, May the fourth .697, Master Argenson. Lieutenant'\nOeneral of police, assisted by a crowd of Commissaries and subalterns\nrepaired at eleven o'clock In the morning to the theatre of the Hotel de\nourgogne, and in virtue of a letter of marque of his Majesty, declared\nthe series of representations to be closed, and then proceeded to affix\nseals to the doors for the public and also to those of the actors with\nprohibition to the latter against presenting themselves on the 'sta-e"}, {"page_pdf": 42, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.42", "debut_caractere": 23, "fin_caractere_exclue": 2325, "texte": "44 His Majesty not finding it convenient to avail himself any longer of\ntheir services. \"\nBertrand, who was conducting a marionette theatre at San Lorenzo\nat the time, immediately declared that he considered himself to be the\nlegitimate heir of the Italian comedians, and asked to be put in posses*\nsion of the abondoned 44 scena \"; his request was granted, whereupon\nhe boldly installed himself in the place of the dismissed Qherardi, on\nthat stage which had once been the scene of so many of the triumphs\nof Corneille and of Racine.\nThis state of things, however, only lasted for a short time, for an\norder of the King enjoined the marionettes to quit the Hotel de Bourgogne,\nand to go and occupy a small theatre, opposite to tiie \"Rue du Paradis\",\nwhere we find them in 1701, representing the first dramatic work of\nFuzeller, a spectacular comedy in' three acts, entitled \" Tesso o la scon-\nfitta deile Amazzoni \".\nj0 Thus, in the eighteenth century, began a new life for the marionettes ;\na life of continual struggle, of vigorous assault and of desperate defence,\nof furious attack and of strategic retreat; a life of iucessant dispute, in\nwhich, for fifty years, victory continued to be faithful to the flag of our\nwooden Pulcinella, who bore as his emblem the ambitious motto of\nLesage:. \" J'en valons bien d'autres. \"\n& On the one side were encamped the burattini, captained by their\ndirectors: Bertrand, Tiquet, Gillot, Allard, Maurice, De Selles, Michu,\nOctave, and a hundred others, strongly entrenched at the two Fairs of\nSaint-Laurent and Saint-Germain, strong in numbers and in general\nfavour, always ready to give battle and to resist aggression. On the\nother were ranged the singers of the Opera, the associates of the Theatre\nfrancais, and the reblessed actors of the 44 Commedia Italiana \" armed\nwith their letters patent and their privileges, jealous of their official\nposition, and interested in defending the territory of serious art against\nall audacious invasions of 44 those wooden filibusters. \"\nThe three greater theatres alone had the right to represent musical\nOpera, tragedies and *4 commedie nobili. \" To the booths at Fairs permis-\nsion was granted to put on the scene a certain number of farces fflt\ntwo \" personaggi \" speaking something like the old 44 diverbia, \" with"}, {"page_pdf": 43, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.43", "debut_caractere": 23, "fin_caractere_exclue": 2281, "texte": "this additional stipulation that Pulclnella was always to speak \" par le\nsiffiet de la pratique, \" that is to say with the ** pivetta, \" which gives\nto the voice of a burattino that metallic and shrieking intonation that\nis known everywhere.\nThe law, however, was continually being broken. Marionettes invaded\nthe camp of the privileged theatres and plundered its vast and extensive\nrepertory; preparations for battle were made on the one side, followed\nby further aggression on the other, until, at last, parliament was called\nupon to settle matters, but after every decision the incorrigible burattini\nbroke out again in some other way, more sinful than the last, and the\nquarrel was renewed with increased pertinacity.\nA whole volume would not suffice for the chronicles of all the\nIngenious stratagems that were devised by the clever burattini in their\nefforts to conquer the well furnished fortress of the 44 com met! fa nobile \"\nand of \" meiodramma in musica. \"\n& One day Fuzelier would put dumb \" personaggl \" upon the stage,\nmaking them act by mimic art; the next day Bertrand would revive the\ncustom of 44 intermezzi\" with violin accompaniment; then Carolet began\nto put forward figures furnished with cards on which were written the\nproposition and the answer•, on another occasion, Blenfait would mix\n44 fantocci \" with living childrem; until in 1720 a friendly settlement\nwas made between the belligerent parties, whereby marionettes were\nlicensed to sing, dance and recite 44 six or seven at a time. \"\nThen It was that the famous showman, Francisque, engaged as poets\nof his company of mechanical actors, the three distinguished writers,\nFuzelier, Lesage and Carneval, who began their work with a 44colpo da\nmaestro \" by inventing in a moment the 44Opera comique, \" a new kind\nof spectacle, that soon became a formidable competitor of the privileged\nmeiodramma.\nThe first attempt of 44 Opera comique \" called 44 L'ombre du cocher\npoete \" was introduced in a small theatre at the Fair of Saint=Germain\nIn February 1722, and was received with such manifest enthusiasm, that\nthe directors of the Opera were consumed with jealousy, and tlie battle\nraged again more furiously than ever.\nIn the meantime art had gained a new form of scenic action, and"}, {"page_pdf": 44, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.44", "debut_caractere": 23, "fin_caractere_exclue": 1981, "texte": "Opera comique, Invented for marionettes, was never again to perish.\nA year later, Piron, the illustrious Plron, the scourge of the academicians,\nwrote for the marionettes of the Fair of San Lorenzo an 44 opera buft'a >'\nin three acts: \" Le mariage de Mom us ou la Glgantomachie, \" and im-\nmediately afterwards 44 L'Antre de Trophonius,\" the plot of which has also\nbeen very happily adopted by our Glovan Battista Fagiuoli. La Place\nprovided 44 Pierrot Romulus, \" a witty parody of the 44 Romulus \" of La\nMotte; Dolet followed with 44 La Course galante ou I'Ouvrage d'une\nminute, \" a parody of the 44 Galant coureur ou I'Ouvrage d'un moment \"\nof Legrand; Carolet wrote 44 L'entStement des spectacles, \" and Plron,\nwith his 44 Columbine-Nitetis, produced a caricature of the tragedy of\n44 Nitetis \" by the famous Danchet.\n* The a«e of Sold for burattini had arrived. Favart began with them\nhis future glorious dramatic career, and composed 44 Poiichinelie comte\nde Paonffer,\" a parody of the 44 Glorieux \" of Destouches ; Valois d'Orvllle\ngave 44 La Piece ntanquee \" and \"I'lmpromtu de Poiichinelie;\" and\nin I74J- with his 44 Poiichinelie distributeur d'esprit,\" he charged mario-\nnettes with the criticism of all the theatrical 44 opere \" that were\nrepresented in the course of the year, and thus inaugurated the 44 Revues\nde fin d'annee, » which is still continued in France and is always ap-\npreciated.\nIn 1743 the burattini had the audacity to ridicule Voltaire and to\nmake people laugh behind their backs at the mighty scoffer, with a\nparody of his 44 Merope \" and 44 Oreste.\" Master Francois was furious and\npoured out his anger upon the heads of the irreverent little 44 figurine \"\nbut the wrath of the poet only increased the success of his critics, and\nthe great 44 Arouet \" was forced to be quiet and to leave them aio'ne.\nThe glory of the burattini at the two Fairs lasted until the year ,79o,\nwhen the Fairs, themselves, were definitely suppressed."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c022", "article_bluemountain": "bmtnaau_1914-07_01#c022", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "52", "image_debut": 45, "image_fin": 56, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.12", "titre_corps": "SOME ARCHITECTURAL DESIGNS OF PADRE POZZO (1649-1709) FOR THE THEATRE OF THE SEVENTEENTH CENTURY", "titre_sommaire": "SOME ARCHITECTURAL DESIGNS OF PADRE POZZO (1649-1709) FOR THE THEATRE OF THE SEVENTEENTH CENTURY", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 1857, "texte": "SOME ARCHITECTURAL DESIGNS OF PADRE\nPOZZO (16491709) FOR THE THEATRE OF\nTHE SEVENTEENTH CENTURY, with an Introductory Note\nby John Semar.\nPADRE POZZO AND HIS BOOK.\nn looking over the works published by the early\narchitects it is interesting to observe how serious\nis the attention which almost all bestow upon\nthe Theatre.\nVery learnedly and thoroughly do they describe\nand depict with pen and pencil the great works\nof antiquity, the Greek and Roman temples and\namphitheatres, the characteristics of Ionic and Doric\nstyle, and very earnestly do they lend themselves to the construction\nof modern churches and halls: but in the books of most of them, sooner\nr\nor later, we come upon a section devoted wholly to the construction of\ntheatres, and, not only to the construction of the fabric, but also to the\nInvention and arrangement of the scenery and lights, for architects in\nthose days were permitted to realise that the place, its form and its\nconstruction is dependent upon what is to abide in that place.\nVitruvius in the first century left very thorough instructions relative\nto the theatre of his day; and later we find Sebastiano Serlio, (i), Nlccolo\nSabbattini, the Bibiena Brothers and Padre Pozzo in Italy, and smaller\nmen like Joseph Furtenbach (2) in Germany, giving their best energies\nto this branch of building.\n«i£? Throughout these works however one cannot but note how, unfortun-\nately, as the centuries went by, the dignity of the scenery declined, how\nthe marbie and stone of early days gave place to wood and canvas, and\nthen also how the solidly set up \" case \" or houses to be seen In the\ndesigns of Peruzzi, Sabbattini and Serlio gave place gradually to the\npainted '* quinte \" or, \" wings \" as Padre Pozzo uses them and as they\nare still In use in the theatres of today.\n\n(1) See Tbe Mask, Marcb 1903.\n(2) See Tbe Mask, April 1912."}, {"page_pdf": 46, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.46", "debut_caractere": 29, "fin_caractere_exclue": 2333, "texte": "This Padre Pozzo, a Jesuit father who lived from 1649 to 1709,\nseems the first, according to Ferrari, (1) to show us these 'quinte and\nthe method of designing them, and some reproductions of his plans are\nhere shown, taken from the English Edition of his book, \" Prospettiva\ndel Pittori e Architetti,\" of which the first part in Italian was issued\nin 1692 and the second in 1700, and which contains 105 large plates\nand many engraved initial letters.\ny?> This work was issued not only in Eatin and Italian but also in Frencn,\nand, as we have said, in English, an \"Approbation \" being printed at the\noutset signed by \" Chr Wren, J. Vanbrugh and N. Hawksmoor \" to the\neffect that \"At the Request of We have perus'd this Volume\n\" of Perspective, and judge it a work that deserves encouragement, and\n\" very proper for Instruction in that art\nPadre Pozzo, who seems to have been a man of tireless industry as\nwell as of a high order of intelligence, was much in request for the de-\ncoration of churches, and also, like Giuseppe Bibiena, took into the\nchurches something of the theatre, constructing the elaborate scenes\nrequired for the 'Presepio', the Holy Week functions, and the Exposition\nI\nof the Host. No one finds that he did any good to the churches or their\narchitecture, and we of the Theatre realise that his elaborations in scenic\nart all tended in a wrong direction. Yet the thoroughness with which he\nset to work has an interest for us. His inventions were bad, but it is of\ninterest to know when and by what means we became possessed of these\nabsurdities which have so long hindered the development of Drama.\n& These scenes, very popular In the seventeenth century, were often\nmagnificient in size and decoration, having regular wings, back cloths\nand stage, at the ribalta of which stood the high altar of the church.\nThey were called \" teatri \" or theatres, and some survival of them may\neven yet be traced in the \" sepulchres \" which are arranged, often with\nlife-size figures, in the Italian churches during Holy Week.\nBut it is when we come to his work for the secular theatre that we\nfind Padre Pozzo most interesting, and it is In his plans and designs\nthat we trace for the first time many of the features which have, alas,\nbecome habitual in the theatres of today.\n\n(1) La Scenografia."}, {"page_pdf": 49, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.49", "debut_caractere": 29, "fin_caractere_exclue": 1903, "texte": "on,y *s ',e the first to show us the \" quinte \" or wings of the\nstage, but also the first to adopt a different method of moving them,\nrolling them up instead of drawing them back, and thus leaving the\nground space less encumbered. His plan of a theatre also shows the\nauditorium divided into boxes.\nx? These plans of Pozzo's, as of most of the early Italians, are worth\nthe most careful study of the worker in the modern theatre.\n& True, some of the things produced at the time of Pozzo and the\nBiblenas were terribly ornate, were already a decline from the finer\nwork of Peruzzi and Seriio and Palladio; but then so is much of the\nwork produced today terribly ornate, and the work of these early\nmen had at least, behind its ornateness, a very strong foundation of\nreal knowledge.\nOF SCENES FOR THE STAGE, by Padre Pozzo. A Reprint from\n\"Rules and Examples of Perspective\" London,.\ncenes for the Stage have very much Affinity with\nthose lately described, but the Point of Sight is\nnot so easily found in these; and from the Obli°\nquity of the Grooves in which the Scenes run, it\ncomes to pass, that the right Lines which ought\nto appear parallel to the Line of the Plan, must\nnot be drawn parallel there to, but oblique ; which\nis a Work of some Difficulty. This indeed may be\navoided by fixing the Grooves parallel to the Poscene ; as is usual in\nsome Places, especially in Germany. Nevertheless, the Italian manner\nhas this advantage; that those who are employed to prompt the Actors,\nand shift the Scenes, etc, are less exposed to Sight, in the Performance\nof their Business.\n& In this figure (Fig. LXXI1) I have given you an abridgement of those\nthings, which shall hereafter be more enlarged on.\nThe Numbers i, 2, 3, 4, denote the Area of a Hall an hundred and\ntwenty Roman palms in length, and sixty in breadth; as is manifest from\nthe scale of thirty palms marked S."}, {"page_pdf": 50, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.50", "debut_caractere": 29, "fin_caractere_exclue": 2394, "texte": "& Half this space is take up by the Stage, the other half by the Spectators.\n& Q is the point in which the visual lines concenter. D is the place of\nthose things that are to appear most remote. B C is the place of the\nPoscene. E E are the oblique Grooves, whose lengths are double the\nbreadth of the scenes, F G is the front of the Stage. A O is its depth or\nlength. E is the place for the Musick. K is the room for Spectators.\nI is the plan of the Galleries. L the Stairs to the same. N is the Elevation\nof the Galleries, M shows the declivity of the Floor, with the section\nand elevation of the Stage and Scenes viewed on the side ; answering\ntheir respective Grooves, as the occult lines demonstrate. O O is a I:ne\nperpendicular to that of the Horizon. P and Q are the elevation of the\nScenes viewed in front, turning inwards, in breadth agreeing with the\nlength of the Grooves of the plan B; and in height answering that of\nthe sections of the elevation M; as is evident from the occult lines.\nIn this profile M, part of the height belongs to the Scenes, and part\nto their Soffltes, or ceilings, R; where each pair of these Frames are\nJoined. V V are the lines by which is espied what vacancy there is either\nbetween the Scenes and their Ceiiings, between the Scenes themselves,\nor between their respective Ceilings; though in some Scenes the Place\nof these last is supplied by painting therein the Air with Clouds, etc.\nANOTHER PLAN OF A THEATRE, WITH THE METHOD OF\nFINDING THE POINT OF SIGHT THEREIN. (Fig. LXXIII).\nJf it be required to paint the Scenes of some Theatre already built,\nthe geometrical plan must first be carefully drawn, (as you see, for\nexample, in this plate) that the length of the Theatre may be found; or\nthe distance of its point from that of A; which is easily done, by taking\nthe Interval B C of the first grooves, and D E of the latter; and drawing\nthe visuals M O, N O; for A O is the length of the Theatre, and the\npoint of sight or perspective therein, is O. Moveover the length and\nbreadth of the grooves must be known, as also their numbers, distance\nand obliquity; and especial care must be taken, that though they he\noblique to the line M N, that on each side they be parallels between\nthemselves, and that they all touch the lines M O, N O. If you then make\nA O equal to FA, the point of distance will be F; and If the Theatre"}, {"page_pdf": 53, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.53", "debut_caractere": 29, "fin_caractere_exclue": 2244, "texte": "be painted according to the Rules hereafter given, it will appear to him\nthat views it from P, as a regular piece of perspective placed in A.\nTHE SECTION OR PROFILE OF SCENES FOR THEATRES.\npresides the plan of the Theatre, the section of the scenes is also to be\ndelineated, for finding the point of the Theatre in the eievation.\nWherefore, setting the measures of the heights which the point A, where\nthe floor of the stage begins, and the point D of the poscene, have above the\nlevel of the horizontal PP; from the perpendicular N V draw the right\nline ADO, wich gives the declivity of the stage; then make N O parallel\nto P. V. and equal to A O of the Seventy third figure. (See Fig. LXX1V).\n& The point of the Theatre in elevation is O; the point of the same\non the poscene is O. If E B be the greatest height of the first scene, the\nline O E determines the height of all the others. The longest of the two\nlines gives the true height of each scene; and the shorter discovers how\nmuch of that height the sight loses on the out-line, by the oblique\nposition of the scenes.\n£? Moreover, the excess of the longer line above the shorter, as well at top\nas at bottom, is to be well observed ; for on this depends the right under-\nstanding of the seventy fifth figure. The point M, which is as far distant\nfrom N, as that of F is from A in the seventy thirdv figure, denotes the\nplace from whence the stage ought to be viewed ; as is there mentioned.\n& In laying the floor of the Stage, this rule is commonly observed,\nthat the height of the point O be made equal to the height of ;the eye,\nand that the rise of the floor from A to D, be about a ninth or tenth\npart of the length A D. 'Tis also requisite, for the better shifting the\nscenes, that the pavement P be sunk lower than that of G, that a man\nmay walk upright under the floor thereof.\nTHE ELEVATION OF SCENES IN FRONT, AND HOW THE\nOBLIQUE SCENES ARE MADE TO DIRECT. (Fig. LXXV).\nrjphe scenes in S have their breadth from the plan of the seventy-third\nfigure, and their height from the elevation of the seventy-fourth fi-\ngure and are supposed to stand perpendicularly in their grooves j ail\nwhich is also represented in P and Q of the seventy-second figure."}, {"page_pdf": 54, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.54", "debut_caractere": 29, "fin_caractere_exclue": 1719, "texte": "1 would have you observe how much the floor rises, from Its edge A,\nto the poscene D, and to the point of the Theatre O.\nYou should also note the elevation of each scene, which, by reason\nof the obliquity of the grooves, turn inward : wherefore the lines B, L, K, I,\nof the part C, do not seem parallels to the ground=Hne, as they really\nare; and the visual L F tends not to the point of sight O, but to the\npoint F.\n43 But if the seeming excess, which the line B K has at top and bottom\nabove the line L I, be transferred on the side of the scenes E, (which\nexcess may also be taken from the seventy-fourth figure) and you draw\nthe lines L G, I ii; these lines will appear parallels to the line of the\nplan. Then drawing the line L O, so as to make the angle G L O equal\nto the angle B L F, the said L O shall tend directly to the point of\nsight O; and serve for a visual line. '\nIn P, I suppose the scenes M and N to lie one upon another on the\nfloor, and-the two lines R T to have the same distance as the lines LI;\nand so of the others. Where you are to take notice, that the lines R S, T V,\nare the same with the lines L G, I H, of the scenes E: and that the\nlines RS,T Y, are not parallels; although L G, I H seem to be so.\nTherefore, if you draw the line R L, so that the angles S R L, and GLO,\nbe equal; the line R L shall serve as a visual, and L shall be the acci-\ndental point of sight, for painting the scenes of the side N ; and the\nlines R S, T V, shall be used as parallels.\nWhat remain on the Frame beyond those lines, Is to be reckoned as\nnothing; but you may paint there Air, or what you please. The acci-\ndental point of sight for painting the scenes of the side M, is I."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c029", "article_bluemountain": "bmtnaau_1914-07_01#c029", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "53", "page_fin": "57", "image_debut": 57, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.13", "titre_corps": "THE BETRAYED : A Scenario of the Commedia dell' Arte", "titre_sommaire": "THE BETRAYED : 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": 57, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 954, "texte": "THE BETRAYED. A Scenario of the\nCommedia dell' Arte.\nCHARACTERS.\nTartaglia, father of\nIsabella\nCoviello, servant\nCintio, gentleman to Tartaglia\nPolicinella, father of Angela, who is not seen\nPlmpinella, servant\nCaptain.\nCITY... NAPLES.\nPROPERTIES.\nQaolor's costume. A Beard. £? Sticks. Purse. Sword.\n.\nACT /.\nTartaglia and Policinella.\nDiscuss the pact to be made, Tartaglia giving his daughter to\nPolicinella, and Policinella giving his daughter to Tartaglia; alter lazzi\nPolicinella goes off, Tartaglia knocks at his own house.\n*\nCoviello and Tartaglia.\nCoviello, complaining of Cintio, asks Tartaglia to send him away from\nthe house; Tartaglia says that he will remedy everything and then orders\nCoviello to go and fetch the money at the bank, because he has arranged\na marriage, and then to call the Barber, the shoemaker, the tailor;\nCoviello counts them over on his fingers with the usuai lazzo and Coviello\ngoes off. Tartaglia knocks at the house."}, {"page_pdf": 58, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.58", "debut_caractere": 27, "fin_caractere_exclue": 1404, "texte": "Cintio and Tartaglia.\nTartaglia tells him that he has arranged the marriage with the daughter\nof Policinella. Cintio rejoices over it; in this.\nCovIelJo and the aforesaid.\nWrangling from within; act the scene of the Parrot, Tartaglia in\n1 '\ndespair, Coviello wrangles with Cintio, who tells Tartaglia the bad turns\nCoviello has done the household; Coviello puts forward his excuses;\nTartaglia tells Cintio that he should teach Coviello some good manners,\nand goes away. Cintio teaches good manners to Coviello, aod goes away.\nCoviello remains; in this.\nTartaglia and Coviello.\nCoviello does the same to Tartaglia as Cintio has done to him, and\ngoes off. Tartaglia, in despair, knocks at the house.\nTartaglia and Cintio.\nHe tells Cintio how he has arranged a marriage for his daughter,\nCintio on his side laments, and faints. Tartaglia's cries. Afterwards Cintio\ncomes to himself, and Tartaglia tells him that he must carry the news\nto his daughter, and Tartaglia goes off. Cintio, his desperation, and\nknocks (at Isabella's)\nIsabella and Cintio.\nHe tells her all, Isabella pretends to rejoice, Cintio grows agitated;\nthen Isabella assures him of her love, and with expressions of reciprocal\naffection they go off.\nPolicinella, (alone)\n& Wants to give his daughter the news that he has arranged a marriage\nfor her, and knocks.\nPimpinella and aforesaid.\n& After lazzi they go in."}, {"page_pdf": 59, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.59", "debut_caractere": 28, "fin_caractere_exclue": 1437, "texte": "Captain alone.\n£? Dreams of the love of Angela, and knocks.\nPimpinella and the aforesaid.\nThey act lazzi', then the Captain says he wanted to speak with An-\ngela, Pimpinella says that Angela Is ill, and they act the scene of the\npurse ; in this\nCoviello and the aforesaid.\nHe acts the spy and takes the purse without their knowing, and\nwithdraws ; these two having acted their scene Pimpinella screams to the\nCaptain who is going in; the Captain is desperate; then sees Coviello,\nseizes him and tells him of the purse. Coviello tells him that he will get\nit back for him because he knows that Cintio has taken it; Captain goes\noff; Covlelio knocks for\nPimpinella and Coviello.\nThey act the scene of the sword, and end the first act.\nACT II.\nPimpinella and Coviello.\n& They act the scene of the Judge, and after lazzi Pimpinella goes off,\nCoviello remains; in this\nCoviello and Policinella.\nHe tells Policinella that Cintio has said that he has false teetli, (i)\nPolicinella says that he wants to kill him, and Policinella goes off ; Co-\nviello remains ; in this\nCoviello and Captain.\nThe Captain returns to his demand for the purse, and Coviello returns\nto his assertion that Cintio has taken it; the Captain asks him his name;\nhe replies : I am called scopa, (2) The Captain asks about the household,\n\n(1) Literally 1 i teeth of wax\n(2) 'scopa' is a birch-tree or brcora, but also a cudgelling or a whipping."}, {"page_pdf": 60, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.60", "debut_caractere": 28, "fin_caractere_exclue": 1621, "texte": "and of Cintio's position; Coviello gives him an account of it, the\nCaptain knocks.\nTartaglia and the aforesaid.\nTartaglia having understood the whole position, the scene of the\ntestimony is acted, Coviello goes away, and returns several times with\na beard; then Tartaglia calls Clntlo.\nCintio and aforesaid.\njg? They treat Cintio as a rogue ; Cintio declares his innocence; Coviello\nsecretly puts the purse on Cintio; Tartaglia searches Coviello; and then\nsearches Cintio and finds the purse, and gives it to the Captain, and all\nscold Cintio, and Tartaglia uses the house as a prison for Cintio; the\nCaptain goes off, and then Tartaglia; Cintio and Coviello remain, in this:\nPimpinella, Cintio and Coviello.\n0 Pimpinella treats Cintio as a rogue, and scolds him ; in this.\nj0 Policinella and the aforesaid.\n0 They act the scene of the beating with sticks, and end the second act\nACT 111.\nPolicinella and Coviello.\n& Coviello plots with Policinella, and dresses him as a gaolor, and they\nknock (at Cintio's.) ,\nCintio and the aforesaid.\n0 Policinella tells Cintio that he is the gaolor of the prisons wher«\nTartaglia is imprisoned for making an uproar, and that having lost tbe\nkey of the counting house he sends to say that it Is to be broken open\nand the money brought to him. Cintio goes In to do this, PolicineU\nafter lazzi with Coviello goes away; Coviello remains; in this\nCoviello and Tartaglia.\n& He tells Tartaglia how Cintio is breaking open the counting hoiise\nbecause he wants to escape (and meantime the noise of the breaking\nopen is heard from within); Tartaglia's lazzi; in this"}, {"page_pdf": 61, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.61", "debut_caractere": 29, "fin_caractere_exclue": 1404, "texte": "Cintio and the aforesaid.\nTartaglia seizes him, and they find the money on him; Cintio wants\nto speak, Coviello stops his mouth. Tartaglia tells Covielio to take it (the\nmoney) from him; Coviello takes it from him, and Tartaglia goes off,\nand Coviello; Cintio acts a scene of despair. In this\nIsabella and Cintio.\nJZZ Scene of Love, and Cintio relates to her what has happened; in this.\nCoviello and the aforesaid.\nThey act the scene of the Pilgrim, then Coviello makes them marry\nand all go into the house. .\nCaptain and Policinella.\n£? He seeks Angela to wife; Policinella says he has married her to\nTartaglia; the Captain says he has enjoyed her; Policinella infuriated\nknocks.\nPimpinella and the aforesaid.\n& Pimpinella, having been with the Captain, accepts everything, (i)\nPolicinella goes away to find Tartaglia; in this\nCoviello, Captain aud Pimpinella.\nCoviello having understood everything from them makes the Captain\nand Pimpinella go into Tartaglla's house, teliing them that he will settle\neverything, and he also goes in.\nTartaglia, Policinella,and then All.\nDiscussing what has happened with the Captain; then Tartaglia\nknocks at his house, the others with the lazzo of la la sa perform the\nmarriages, that is; Cintio with Isabella, the Captain with Angela, and\nCoviello with Pimpinella, and end.\n\ntta tutto \" evidently means \" accepts the blame for everything"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c032", "article_bluemountain": "bmtnaau_1914-07_01#c032", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "58", "page_fin": "63", "image_debut": 62, "image_fin": 67, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.14", "titre_corps": "THE PIN AND ITS PEDIGPEE", "titre_sommaire": "THE PIN AND ITS PEDIGPEE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 2087, "texte": "THE PIN AND ITS PEDIGPEE.\nJ. S.\nI* /s our intention to give from time to time some notes upon\nthe origin and history of various properties in use in the Theatre,\nand selecting as the first of such subjects the smallest of all\nthat which, by stars and supers alike, is perhaps handled most\nfrequently and heeded least, we reprint from a seldom referred to\nbook the following interesting facts about the Pin.\nIN. (W. pin, a pin, a pen ; Gael, pinne, a pin,\nplug, pen ; Du: pinne, a point, prick, peg ; Latin,\npinna, a fin, a turret, a pinnacle.)\nThe form of the element p;n in signifying a\npointed object is also seen in Latin spina, a thorn,\nand in pinus, a fir-tree, tree with sharp-pointed\nleaves; in G. called nadeln, needles. (Wedgewood's\nDictionary). Literally, a feather, a sharp-pointed\ninstrument, especially for fastening articles together ; anything that holds\nparts together; a peg used in musical instruments for fastening the\nstrings; anything of little value. (W. Gael., and Ger. pinne, L. pinna\nor penna, a feather.) Donald : Chamber's Etymological English Dictionary\nBaily gives it from espingle, Fr., or , Latin, a thorn, a deriva-\ntion far more consistent with the early history of this \" small brass\nutensil \" ; thorns apparently having early been in use in all countries as\na ready and cheap substitute for an article which, although of little\nworth now, was then intrinsically valuable.\nNaturally pins fastening outer garments were made mediums of dis-\nplay. \" Some magnificent specimens of Saxon pins are engraved in the\nArcheological Album ; and one in the possession of Lord Albert\nConyngham, found in a parrow at Wingham, Kent, has the strm of brass,\nthe hoad of gold ornamented with red and blue stones and filagree work.\n& A magnificent pin of the 14th century is exhibited as fastening the\npall on the effigy of John Stratford, Archbishop of Canterbury (died 1348)\nin the cloisters of Canterbury Cathedral. \" (Fairholt).\nMetal pins, frequently of elaborate manufacture and of valuable metal,\nhave been found in Egyptian tombs, and may have been used either for"}, {"page_pdf": 63, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.63", "debut_caractere": 27, "fin_caractere_exclue": 2357, "texte": "the hair or breast. Pins of more ordinary materials were much used,\nand specimens of Roman bone pins are commonly found in the course of\nexcavations in London, and are as frequent in British barrows.\nPlanche says that \" pins for general purposes were used as early as\nthe reign of Edward I, p \" but admits immediately after that they were\n\" expensive in the 13th and 14th centuries, and were consequently given\nas presents by lovers to their mistresses; \" so that it is not likely that\nthe purposes for which they were employed could have been very general.\nIndeed, from the tact that all pins made in this country at that period\nmust have been very tediously and carefully elaborated of bone, or ivory,\nor or if imported must have been proportionately dear, it is patent\nthat pins of any sort must then have been very scarce and highly prized.\n& The term pin-money dates back to this period Dr Brewer says, \" Long\nafter the invention of pins, in the 14th century, the maker was allowed\nto sell them in open shop only the 1st and 2nd of January. It was then\nthat the Court ladies and City dames flocked to the depots to buy them,\nhaving first been provided with money by their husbands. When pins\nbecame cheap and common, the ladies spent their allowances on other\nfancies; but the term pin-money remained in vogue.\" (Dictionary of\nPhrase and Fable).\n£? A similar practise was carried out in France. According to Chambers,\n\" One of the articles of the ancient pin-makers of Paris was, that no\nmaster should open more than one shop for the safe of his wares, except\non New Year's Day and the eve thereof; this we mention in an age\nof luxury and profusion, to recollect the agreeable simplicity of our\nforefathers, who contented themselves with giving pins for New Year's\ngifts.\" It appears also from this author that pin-money formed at one\ntime a constituent part of bargains; for he continues, \"hence the\ncustom of still giving the name pins, or pin-money, to certain presents\nwhich accompany the most considerable bargains, in which it is usual\nto give something towards the wife or children of the person with whom\nthe bargain is struck. \" (Cyclopaedia, 1741.)\nJudging from the readiness with which nearly every fact connected\nwith the early Import of pins is disputed, the little article is one exciting\nconsiderable interest."}, {"page_pdf": 64, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.64", "debut_caractere": 27, "fin_caractere_exclue": 2318, "texte": "one account gives the credit of the first Introduction of pins of brass\nwire to Anne of Austria, queen of Richard II; but in the previous reign,\nIn 1847 (Liber Guarderohe,12=16 Edward ,O.) we have a\ncharge for twelve thousand pins for the outfit of Joanna, daughter of\nEdward III, betrothed to Peter the Cruel; a quantity hardly consistent\nwith any other kind of pins than those of common metal.\nAgain, it Is often affirmed that Catherine Howard first imported pins\nfrom France in 1540, on which point Dr Brewer says, \" It is quite an\nerror to suppose that pins were invented in the reign of Francois I.,\nand introduced Into England by Catherine Howard,- the fifth wife of\nHenry VIII in 1400 (more than a century before Francois ascended\nthe throne) the Duchess of Orleans purchased of Jehan le Breconner,\nespinglier of Paris, several thousand long and short pins, besides five\nhundred de la facon d'Angleterre... So that pins were not only\ninanufactured In England, but were of high repute even in the reign\nof Henry IV. \"\nBut these five hundred pins may have been of better materials than\nbrass. The disputed point is best settled by a reference to the Statute\nBook, where, In 1483, on the representations of certain workmen inte-\nrested, pins, with a number of other small wares, are, by an Act of\nthat date, forbidden to be imported ready wrought, a prohibition re-\nenforced by Elizabeth in 1564.\n£> This disposes of another disputed question... that as to the manufacture\nof metal pins in this country, for among the artificers on whose appeal\nthe restriction was Imposed are \" pinners \" and \" wiremongers \". Yet in\na book published so long ago as 1686, entitled, \" A Pleasant and Com-\n♦\npendious History of the First Inventors and Distributors of the Most\nFamous Arts \", it is said that, \" About the same time, \" (referring to\nthe 5th year of Elizabeth) \" the making of pins was found out by the\nEnglish, which before were brought by strangers to the value of L. 60,000.0.0\na year. \" But how little trustworthy is this ancient chronicle we may\nfind on comparing this sum with that of L. 3,297.0.0., given in the\n'* Calendar of State Papers \" (Domestic Series), as paid annually for pins\nimported in the time of Elizabeth.\nThe statement, so frequently made, that the manufacture of pins"}, {"page_pdf": 65, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.65", "debut_caractere": 27, "fin_caractere_exclue": 2145, "texte": "commenced here in 1540 is apparently based upon a passage in Anderson\nwhere it is said, \" Prom the under-named statute oi the 34th and 35th\nof King Henry VIII., cap. VI., it seems natural to conclude that pins\n(such as we now know by that name, and chiefly used by the ladies)\nmust have been but of very recent invention. The Act says, 'That no\n%\nperson shall put to sale any pinnes, but only such as shall be double-\nheaded, and have the heads soldered fast to the shaftk of the pinne\nwell-smoothed, the shank well shaven, the point well .and round filed,\ncanted, and sharpened. (1)\nj0 Now the labour and time of making pins after this manner, as it must\nhave rendered them much more expensive, shows the novelty of the in-\nvention, which probably was but lately brought from France.\nAnd the inconvenience of the make of those pins naturally set our\npeople upon improving so tedious and clumsy a manufacture; for in\nabout three years time they adopted the present ingenious and expe-\nditious manner of making then, viz. by 37th of this king, cap. XIII,\nrepealing the above statute.\nBefore the invention of these brass pins there were many pretty and\ningenious contrivances for the convenience of the dress and ornament of\nboth sexes; such as ribbons, loopholes, laces with points and tags, clasps,\nhooks and eyes, and skewers made of brass, silver, and gold. From the\nlast, viz., skewers, it is very probable that pins naturally proceeded,\nbeing no other than smaller and more convenient and delicate skewers.\n(History of Commerce).\nThe manufacture, stimulated by competition, rapidly progressed, and\nhad its seat at Bristol.\nThe historian of that city says that in 1581 it had \" a chief manufactury\nof points or pins, and it was a principal mystery exercised in that town.'?\n(Barrett's Bristol),\nWe learn their value at this period from the inventory attached\nto the will of Thomas Pasmore, of Richmond, dated 1577, where are\nfound\n\" XIIIJ thousand of small pynnes, vjs.\nA thousand great pynnes, ijs vjd. \"\n\nI) This Act also decreed that the price of pins should not exceed six shillings and eightpence per thousand."}, {"page_pdf": 66, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.66", "debut_caractere": 27, "fin_caractere_exclue": 1885, "texte": "And In that of Robert Lambe, of Newcastle, 44 Marchaunte,\" soma\nyears later, we have,\n44 ij grosse and a half of pynnes, 17s. 6d.\nA grosse and a half of pynnes, 12s, \"\n& Again, in the stock of Jamss Backhouse, of Kirbye-in-Lonsdaile, 1578,\n44 xvj thousand of pynnes, xijs vjd.\niiij pawper of rowd headed pinns, xiijd, \"\n& And later, in the 44 Household Books of Lord William Howard \",\n44 1018. 1500 long pins, 4d, nd.\n1622. 1000 of pins, 23d.\nTo Nic. Hall for 1000 of pins, 9d. \"\n& The Invention of making solid-headed wire pins is usually attributed\nto Mr. L. W. Wright, an American, who in 1818, in his own country, and\nin 1824 here, worked a patent taken out for such pins; but it is stated\nthat the method was anticipated and patented by one Seth Bunt In 1817.\nIt Is certain, however, that Wright's machine was the one first successfully\nworked, although it failed in the hands of the patentee, and was not\nfairly utilized for some years subsequently.\nSince then successive improvements have been made in the mode of\nmanufacture, and the processes have been thus so greatly simplified that\nthe progression of pins through many stages, and as many hands, which\nwas often made to point a moral, has been totally altered, as pins are\nnow, by delicate and ingenious automatic machinery, put through the\nwhole of the processes without a break.\nThe wire goes In at one part of a macnine, and the pins, headed,\npointed, and polished, are turned out at another, while another machine\nsorts them Into the several sizes, and arranges them in papers.\nThe following are some quotations found in English literature relative\nto pins.\n44 I'll make them eat iron like an ostrldge,\nAnd swallow my sword like a great pin,\nE'er thou and I part.\" Shakespeare.\n44 Tut, a pin, this shall be answered. \"\nlb.\n44 But Alexander writeth that they left their rafters or great pieces"}, {"page_pdf": 67, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.67", "debut_caractere": 27, "fin_caractere_exclue": 1455, "texte": "of timber pinned together, whereupon they had passed over the stream\nof the main river. \" North. \" Plutarch's Lives. \" I579»\n44 His garment, nought but many ragged clouts,\nWith thorns together pinn'd and patched was,\nThe wich his naked sides he wrapt about. \"\nSpencer: Fairie Queene. 1590.\n44 Soon after comes the cruel Saracen,\nIn woven mail all armed warily,\nAnd sternly looks at him, who not a pin\nDoth care for look of living creature's eye. \"\nlb.: Id.\n44 'Tis foolish to appeal to witness for proof, when tis nfot a pin matter\nwhether the fact be true or false. L' Estrange.\n.£7 44 About that time Englishmen began to make all sorts of pinnes, and at\nthis day they excel all nations.\" Stow. 44 King James \" (conclusion).\n44 Whatever spirit, careless of his charge,\nHis post neglects, or leaves the fair at large,\nShall feel sharp vengeance soon o'ertake his sins,\nBe stopt in vials, or transfixt with pins.\"\nPope. 44 Rape of the Lock. \"\n44 In a translated suit then tries the town,\nWith borrowed pins and patches not her own.\"\nIb:\nA rough contry squire, being not a little shocked at the proceeding\nof a young widow that would not recede from her demands of pin=money,\nwas so enraged at her mercenary temper that he told her In great wrath,\nas much as she thought him her slave, he would show all the world he\ndid not care a pin for her, upon which he flew out of the room and\nnever saw her more. \" 44 Spectator. \" No. 395."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c035", "article_bluemountain": "bmtnaau_1914-07_01#c035", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 68, "image_fin": 68, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.15", "titre_corps": "BARTHOLOMEW FAIR, 1721", "titre_sommaire": "BARTHOLOMEW FAIR, 1721", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.68", "debut_caractere": 0, "fin_caractere_exclue": 1475, "texte": "BARTHOLOMEW FAIR, 1721.\nHPhis fair was granted by Henry the 1st, to one Rahere, a witty and\npleasant gentleman of his Court, In aid and for the support of an\nHospital, Priory, and Church, dedicated to St Bartholomew, which he\nbuilt in repentance of his former profligacy and folly.\nThe succeeding Priors claimed, by certain Charters, to have a fair\nevery year, during three days. vizi, on the Eve, the day, and on the\nMorrow of St Bartholomew. At this period the Clothiers of England, and\nDrapers of London, kept their Booths and Standings there, and a Court\nof Piepouder was held dally for the Settlement of all Debts and Contracts.\nAbout the year 1721 when the present interesting View of this popular\nFair was taken the Drama was considered of some importance and a series\nof minor... although regular pieces were acted in its various Booths. At\nLee and Harpers the Siege of Bethulia is performing, in which is intro»\nduced the Tragedy of Holifernes. Persons of Rank were also its\noccasional visitors, and the figure on the right is supposed to be\nthat of Sir Robert Walpole then Prime Minister: Fawkes\nthe famous conjuror, forms a conspicuous feature, and\nIs the only portrait of him known to exist.\nThe remaining amusements are not unlike\nthose of our day, except in the articles of\nHollands and Qin, with which the lower\norders were then accustomed to indulge\nunfettered by licence and excise.\nPublished as the Act directs\nby F. F. Setche! 23 King\nStreet Covent Garden."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c037", "article_bluemountain": "bmtnaau_1914-07_01#c037", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 69, "image_fin": 69, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.16", "titre_corps": "BARTHOLOMEW FAIR, 1721", "titre_sommaire": "BARTHOLOMEW FAIR, 1721", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 629, "texte": "BARTHOLOMEW FAIR, 1721\nFine old coloured aquatint, printed as a fanmount, and mounted on tortoiseshell sticks forming a curious and\ninteresting fan (which, when open, measures from end to end 20 inches) ; the scene shews the famous Bartlemy\nFair in progress, with its various booths and visitors, among the most notable being Sir Robert Walpole seen\nentering on right) ; Fawkes, the famous conjurer, forms a conspicuous feature, and is the only portrait\nknown to exist*.\nThis old Fan-Print was made up by Messrs. Duvelleroy, and is now the property of the tiordon Craig School\nfor the Art of the Theatre, Arena Goldoni. Florence."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c039", "article_bluemountain": "bmtnaau_1914-07_01#c039", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "68", "image_debut": 71, "image_fin": 74, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.17", "titre_corps": "UPON SEVERAL THINGS : Some Notes", "titre_sommaire": "UPON SEVERAL THINGS : Some Notes", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 1779, "texte": "UPON SEVERAL THINGS. Some\nNotes\nTHE RUSSIAN BALLET M. DIAGHILEW THE DANCER NIJINSKY\nDESERTERS IN THE ARMY.\nby John Balance.\n\nTHE RUSSIAN BALLET.\ntravelling company which we know of by the name of the Russian\nBallet is, more correctly speaking, a branch of the Russian Ballet,\nwhich has been in existence for more years than any of our readers\nhave seen.\nIt is a State organization; its pocket money over a million roubles,...\nthat is to say, over one hundred thousand pounds a year.\n<£? Its founders and supporters are not impelled by a great love of the\nnobility of art, but they wisely recognise that a great state governed by\nmen instead of by mice and women needs a great Ballet, a great Opera\nHouse, a great Theatre.\n£? Neither are these founders of this Ballet concerned about the intel-\nlectual, spiritual or moral qualities of those who are to be put upon\ntheir stage. A pretty girl ?... put her on,... train her... make her dance:...\nshe can't?... then turn her out:... Finished!\nIf she does well,.... retains her looks, her temper, her charm,... keep\nher:.... send her flowers, send her jewels, put her in a comfortable\nhouse: give her all she wants,.... Finished!\nNo more waste of time or speech.\n& This is how a state governed by a masculine race acts.\n£? Hence the Russian Ballet, which few of you have seen.\n\nM. DIAGHILEW.\nA passionate lover of what Is beautiful and thus of that which is most\nbeautiful of music, M. Diaghilew indulges his fancy for organizing.\n& While he loves music, he knows men and women ; and music is the\nvoice which finds for him excuses for their Ingratitude, felly and conceit.\nHe is a very kind man whose very kindness is his chief fault.\nHe understands men and women, and he imagined that dancers and\nother performers were men and women."}, {"page_pdf": 72, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.72", "debut_caractere": 22, "fin_caractere_exclue": 2075, "texte": "1\nHe reckoned that performers were capable of loyalty.\nOne by one they broke away from him, their vanity, conceit and\ncupidity being greater than their devotion to the cause he had at heart.\nM. Dlagliilew can find plenty of dancers to fill the gaps made in his\nranks,... he will create new talent,.... if he wants to.\nThese will always break away from him,... to their discredit.\nBut M. Diaghilew helps them to be discreditable, for he has not learned\nthat performers must first learn loyalty to a cause before they are strong\nenough to bear the strain of the temptations they must encounter and\nwhich either make them heroes when victorious or cravens and deserters\nwhen they fail.\n\nTHE DANCER NIJINSKI.\nyoung gentleman Is not a Russian. He Is a Pole.\nHe has lately been tempted to leave the company known as\n44 The Russian Ballet \" and he left it.\nHe was doing well in 1911; then by some means he got hold of a\nbottle of old wine from the cellar of Mr Raymond Duncan, and has since\nbeen in a state of intoxication.\nHe lately exhibited himself to London in this condition.\nThis particular wine is from Mr Duncan's own vineyard and is quite\ndangerous to drink,... unless you be invited to do so by the master of\nthe house, who knows how much a guest can be entrusted with.\nSince drinking this heady draught M. Nijinsky has been carrying on\nin a way calculated to appal some, ravish others, and somewhat disturb\nthose whose attention should be given strictly to watching and guarding\nthe development of the people and their education in such matters.\nIf a man reels along Piccadilly in a state of intoxication he is arrested,\nnot because he is drunk, (for he is permitted to be drunk in the privacy\nof his own home), but because he annoys us with a display of drunkenness,\nand we know that if he is not put into a strong room Piccadilly will\nsoon be packed with such people.\nBut then we know the signs and the effects of the intoxication which\ncomes from too much liquor. But the signs and effects of theatrical\nintoxication seem hidden from most people."}, {"page_pdf": 73, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.73", "debut_caractere": 22, "fin_caractere_exclue": 1719, "texte": "& For instance, upon first catching sight of Nijinsky's \"Aprfcs midi d'un\nFaun \" the critics should have one and all put it aside with a label,\n\" Imitation Duncan \" and laughed the Public out of the way as the\nPolice do in a crush.\n& But then they none of them seem to have known of or seen the\noriginal; they were uninformed.... A bad thing in professional criticism\nand journalism.\n& Again one can but repeat, \" Let more opportunity be given to the\ncritics and journalists to travel and find out Perhaps\nthen we shall in time see rivers instead of barrels of water,... slightly\nmuddied in transport.\n\nDESERTION IN THE ARMY.\n'yiie State realising, (never having forgotten since earliest times) that\nthe Army is a serious institution established for serious work, allows\nno trifling in its members.\nThey have to be obedient to discipline, loyal to their country and\ncause. Should they be disloyal, desert the ranks or show insubordination\ncertain punishments await them.\nThese men are not children, yet certain punishments await them.\n...Why ?\nBecause discipline and loyalty where serious issues are at stake must\nsometimes be enforced by examples being made of the disloyal and evil\nnatures.\nFor desertion in time of war a man if caught is shot. So much for\nthe Army.\nAnd in the Theatre ?\nNo discipline, no punishment for offending and disloyal members or\nfor deserters.\n& The Theatre, you must realise, is a serious menace to the State\nunless well and seriously governed.\n& The managers do their very best,... but their very best is very bad.\n& They have never yet realised the seriousness of the institution\nwhich is ours and over which chance has placed them for the moment\nin a kind of power."}, {"page_pdf": 74, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.74", "debut_caractere": 22, "fin_caractere_exclue": 361, "texte": "& When they realise this seriousness, and how grave are the issues\ninvolved in the manner in'which they discharge their office of government,\nwe shall see the members of the theatre becoming amenable to discipline\nand growing into loyalty. And when Loyalty and Discipline come into\na place there is little of good which cannot follow them."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c039a", "article_bluemountain": "bmtnaau_1914-07_01#c039a", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 71, "image_fin": 71, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.17.2", "titre_corps": "THE RUSSIAN BALLET", "titre_sommaire": "THE RUSSIAN BALLET", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.71", "debut_caractere": 125, "fin_caractere_exclue": 1321, "texte": "THE RUSSIAN BALLET.\ntravelling company which we know of by the name of the Russian\nBallet is, more correctly speaking, a branch of the Russian Ballet,\nwhich has been in existence for more years than any of our readers\nhave seen.\nIt is a State organization; its pocket money over a million roubles,...\nthat is to say, over one hundred thousand pounds a year.\n<£? Its founders and supporters are not impelled by a great love of the\nnobility of art, but they wisely recognise that a great state governed by\nmen instead of by mice and women needs a great Ballet, a great Opera\nHouse, a great Theatre.\n£? Neither are these founders of this Ballet concerned about the intel-\nlectual, spiritual or moral qualities of those who are to be put upon\ntheir stage. A pretty girl ?... put her on,... train her... make her dance:...\nshe can't?... then turn her out:... Finished!\nIf she does well,.... retains her looks, her temper, her charm,... keep\nher:.... send her flowers, send her jewels, put her in a comfortable\nhouse: give her all she wants,.... Finished!\nNo more waste of time or speech.\n& This is how a state governed by a masculine race acts.\n£? Hence the Russian Ballet, which few of you have seen."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c039b", "article_bluemountain": "bmtnaau_1914-07_01#c039b", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "66", "image_debut": 71, "image_fin": 72, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.17.3", "titre_corps": "M. DIAGHILEW", "titre_sommaire": "M. DIAGHILEW", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.71", "debut_caractere": 1323, "fin_caractere_exclue": 1779, "texte": "M. DIAGHILEW.\nA passionate lover of what Is beautiful and thus of that which is most\nbeautiful of music, M. Diaghilew indulges his fancy for organizing.\n& While he loves music, he knows men and women ; and music is the\nvoice which finds for him excuses for their Ingratitude, felly and conceit.\nHe is a very kind man whose very kindness is his chief fault.\nHe understands men and women, and he imagined that dancers and\nother performers were men and women."}, {"page_pdf": 72, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.72", "debut_caractere": 22, "fin_caractere_exclue": 704, "texte": "1\nHe reckoned that performers were capable of loyalty.\nOne by one they broke away from him, their vanity, conceit and\ncupidity being greater than their devotion to the cause he had at heart.\nM. Dlagliilew can find plenty of dancers to fill the gaps made in his\nranks,... he will create new talent,.... if he wants to.\nThese will always break away from him,... to their discredit.\nBut M. Diaghilew helps them to be discreditable, for he has not learned\nthat performers must first learn loyalty to a cause before they are strong\nenough to bear the strain of the temptations they must encounter and\nwhich either make them heroes when victorious or cravens and deserters\nwhen they fail."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c039c", "article_bluemountain": "bmtnaau_1914-07_01#c039c", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "66", "page_fin": "67", "image_debut": 72, "image_fin": 73, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.17.4", "titre_corps": "THE DANCER NIJINSKY", "titre_sommaire": "THE DANCER NIJINSKY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.72", "debut_caractere": 706, "fin_caractere_exclue": 2075, "texte": "THE DANCER NIJINSKI.\nyoung gentleman Is not a Russian. He Is a Pole.\nHe has lately been tempted to leave the company known as\n44 The Russian Ballet \" and he left it.\nHe was doing well in 1911; then by some means he got hold of a\nbottle of old wine from the cellar of Mr Raymond Duncan, and has since\nbeen in a state of intoxication.\nHe lately exhibited himself to London in this condition.\nThis particular wine is from Mr Duncan's own vineyard and is quite\ndangerous to drink,... unless you be invited to do so by the master of\nthe house, who knows how much a guest can be entrusted with.\nSince drinking this heady draught M. Nijinsky has been carrying on\nin a way calculated to appal some, ravish others, and somewhat disturb\nthose whose attention should be given strictly to watching and guarding\nthe development of the people and their education in such matters.\nIf a man reels along Piccadilly in a state of intoxication he is arrested,\nnot because he is drunk, (for he is permitted to be drunk in the privacy\nof his own home), but because he annoys us with a display of drunkenness,\nand we know that if he is not put into a strong room Piccadilly will\nsoon be packed with such people.\nBut then we know the signs and the effects of the intoxication which\ncomes from too much liquor. But the signs and effects of theatrical\nintoxication seem hidden from most people."}, {"page_pdf": 73, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.73", "debut_caractere": 22, "fin_caractere_exclue": 623, "texte": "& For instance, upon first catching sight of Nijinsky's \"Aprfcs midi d'un\nFaun \" the critics should have one and all put it aside with a label,\n\" Imitation Duncan \" and laughed the Public out of the way as the\nPolice do in a crush.\n& But then they none of them seem to have known of or seen the\noriginal; they were uninformed.... A bad thing in professional criticism\nand journalism.\n& Again one can but repeat, \" Let more opportunity be given to the\ncritics and journalists to travel and find out Perhaps\nthen we shall in time see rivers instead of barrels of water,... slightly\nmuddied in transport."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c039d", "article_bluemountain": "bmtnaau_1914-07_01#c039d", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "67", "page_fin": "68", "image_debut": 73, "image_fin": 74, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.17.5", "titre_corps": "DESERTERS IN THE ARMY.", "titre_sommaire": "DESERTERS IN THE ARMY.", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 73, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.73", "debut_caractere": 625, "fin_caractere_exclue": 1719, "texte": "DESERTION IN THE ARMY.\n'yiie State realising, (never having forgotten since earliest times) that\nthe Army is a serious institution established for serious work, allows\nno trifling in its members.\nThey have to be obedient to discipline, loyal to their country and\ncause. Should they be disloyal, desert the ranks or show insubordination\ncertain punishments await them.\nThese men are not children, yet certain punishments await them.\n...Why ?\nBecause discipline and loyalty where serious issues are at stake must\nsometimes be enforced by examples being made of the disloyal and evil\nnatures.\nFor desertion in time of war a man if caught is shot. So much for\nthe Army.\nAnd in the Theatre ?\nNo discipline, no punishment for offending and disloyal members or\nfor deserters.\n& The Theatre, you must realise, is a serious menace to the State\nunless well and seriously governed.\n& The managers do their very best,... but their very best is very bad.\n& They have never yet realised the seriousness of the institution\nwhich is ours and over which chance has placed them for the moment\nin a kind of power."}, {"page_pdf": 74, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.74", "debut_caractere": 22, "fin_caractere_exclue": 361, "texte": "& When they realise this seriousness, and how grave are the issues\ninvolved in the manner in'which they discharge their office of government,\nwe shall see the members of the theatre becoming amenable to discipline\nand growing into loyalty. And when Loyalty and Discipline come into\na place there is little of good which cannot follow them."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c041", "article_bluemountain": "bmtnaau_1914-07_01#c041", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "69", "page_fin": "74", "image_debut": 75, "image_fin": 82, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.18", "titre_corps": "JEAN GASPARD DEBUREAU : Notes upon a Celebrated Pierrot", "titre_sommaire": "JEAN GASPARD DEBUREAU : Notes upon a Celebrated Pierrot", "signature_source": "Pierre Ramés", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 75, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.75", "debut_caractere": 0, "fin_caractere_exclue": 1881, "texte": "JEAN GASPARD DEBUREAU. Notes upon\na Celebrated Pierrot; by Jules Champfleury,\nwith an Introductory word\nby Pierre Ramés.\nChampfleury.\n\n£/ \" Debureau has been painted and sculptured long ago by the\nEgyptians: he is, in fact, very widely known. One finds him,\ngestures, gait, mask, on the Obelisks, on the mummy cases, and\non the zodiac of Denderah.\nrom 1815 to 1863 there stood in Paris, on the\nBoulevard du Temple, the little theatre of \" Les\nFunambules \", familiarly known as wIes Fufus\". (1)\nIt disappeared, together with several other small\ntheatres, at the time when the Boulevard du\nPrince Eug&ne, (today Voltaire) was being opened\nup, and the Place du Chateau d'Eau enlarged.\n£7 *'Les Funambules \" was what we should today\ncall a J' Theatre intime \".\n-<£> \" The salle was so small \" says Theodore de BanvIIle, that the\n** actors and the spectators,... who were all, moreover, of the same race\n*' people of the people, and, outside the theatre, carrying on trades,....\n\" could look at one another, see each other close to, speak to each\n\" other almost Hp to lip; and, like the heroes of the Iliad, exchange\n\" remarks, which did not seem at all strange in this place swarming\n\" with life, and where the public was itself the unbridled and ever\n\" vibrating Chorus of Aristophanes \".\n& Many well-known men found their way to the little theatre, and de-\nlighted in it and wrote about it and wrote for it. Two managers grew\nrich there in spite of the modesty of the prices, and some fine actors\npiayed their parts upon its stage.\n& And the finest of them all was Jean Gaspard Debureau.\n& Debureau, or, as It is also written, Deburau, was born In Bohemia,...\nat Neukolm, in 1796, and died in Paris in 1846.\nThe most celebrated Pierrot of this time, he was the idol of his public.\nBanvIIle writes of him as follows :\n\n(I) A note upon this theatre appeared in \"The Mask\" January I9IJ."}, {"page_pdf": 76, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.76", "debut_caractere": 24, "fin_caractere_exclue": 2305, "texte": "44 This incomparable comedian possessed all that is required to charm\n44 the people, for he was himself of the people by his birth, by his\n44 poverty, by his genius, by his childlike naievet6. But also, he responded\n44 to the need of elegance and of splendour which exists in primitive\n44 souls, and never was there duke or prince who knew so well as he\n44 how to kiss the hand of a woman and to touch a woman. But when\n44 he had devoutly bowed before the Fairy who uttered her strophes,\n44 victorious, carried away and agitating ruby wings, he dared to sketch,\n44 to lightly Indicate, the gesture of taking with her some liberty, and\n44 the Fairy was not at all annoyed by it, nor the public, to such an\n44 extent was he the spoiled child of all.\n44 Sans peser, sans rester \" might have been perfectly the motto of\n44 his talent. He did nothing, no doubt, sauntering across the universe\n44 with an artist's and poet's detachment; but at need he showed his\n44 friends the titis (1) that nothing human was unknown to him, and\n44 then he made a cabbage soup, performed exercises, fought a duel,\n44 mended his old shoes with a discouraging perfection.\n44 The urchins of the two sou gallery threw him oranges, and he\n44 picked them up and put them in his pockets with a childlike delight,\n44 happy to keep house with them, and to play at dinner. And the next\n44 moment he was a disdainful prince, a magnificent Don Juan, with a\n44 subtle simplicity which, often, ought to make our low and turbulent\n44 actors reflect. \"\nChampfleury adds his testimony, declaring that, although he was\nusually opposed to the dominance of one great actor in a company, 44 to\n44 Debureau pere one could pardon everything; he was more than a great\n44 comedian, he was a creator. With as much reason as Louis YIV could\n44 he say, 'Les Funambules, it is I'. \" And although he goes on to say\nthat 44 These suns of dramatic art are so rare that one ought to regard\nthem as exceptions whose example Is not to be followed \" he is as much\nunder the dominion of this white-faced, white-frocked personality as all\nthe rest of the audience of Les Funambules, who cared nothing what\nany one else was doing so long us their idol was before them on the\nstage.\n\n(i) A slang term for the frequenters of \" Les Funambules \""}, {"page_pdf": 77, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.77", "debut_caractere": 16, "fin_caractere_exclue": 2265, "texte": "£7 One great misfortune befell Debureau amid all his successes. In 1836,\nexasperated by the mockery of a drunken man, he struck him so violently\nwith his stick as to kill him. He was acquitted of murder, but the event\ncast a shadow over him which contrasted strongly with the wit and\ngaiety he brought to the playing of his part.\nHis last appearance was only a day or two before his death. It was a\nfine example of courage, and loyalty to his work and his public, on the\npart of the actor: a fine demonstration of affection and loyalty on the\npart of the public to their old friend.\n£7 But to give any adequate impression of the scene, and of what pre-\nceded and what followed it I can do no better than set down here a\ntranslation of Champfleury's account together with the lines which he\nlaid, like a flower, upon Pierrot's grave.\n\nP. R.\n\nTHE LAST DAYS OF DEBUREAU.\nby Jules Champfleury.\nIt has been pretended that Debureau died of a fail at the Funatnbules:\nDebureau died of asthma from which he had suffered for five years.\n& The doctors had prescribed a long rest for him ; but he thought of\nhis public. For five years he has been coughing enough to tear out his\nlungs. So soon as he came out on the stage the malady left him; for a\nquarter of an hour he became once more young, happy and well. However\nthe terrible illness awaited him in the wings, under the oily lamp, and\nset Its claw upon the chest of the mime at each of his exits.\n& The cough became so Imperious that Debureau was forced to give up.\nOne day he felt better; the placard announced his reappearance.\n4? The Opera might give an unpublished work by Meyerbeer or Rossini,\nand there would be less excitement on the boulevard des Italians than\nthere was on the boulevard du Temple at this news.\nit was at most three weeks since Debureau had acted, and the queue\nstretched out, eager, restless, long enough to fill five theatres.\n£? Take note that the piece given was the \" Nuptials of Pierrot, \" one\nof the least pleasing of the Funambules plays, a pantomime which is\nnothing but the eternal \" Deserter \" of Sedaine, a farce which has been\nplayed six hundred times at the same theatre. It takes enthusiasm such\nas this crowd had to hurry and huddle together and be asphixiated by"}, {"page_pdf": 78, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.78", "debut_caractere": 16, "fin_caractere_exclue": 2266, "texte": "sixty degrees of heat. If there were a thermometer up among the gods\nthe most daring would descend, at once,\n& One can imagine the cries and shoutings of the audience during the\nfirst half of the evening. Outside, those who had not been able to get\nin cried and shouted in response. After the three vaudevilles, the usual\nthree blows were struck.\n& For a long time I have been troubled for the musicians at the\nFunambules. Music is, of all the arts which become professions, the least\nattractive work which can be imagined. A musician who accompanies\n44 Robert !e Dlable \" sixty times is as unfortunate as a musician who\naccompanies for twenty five nights the melodrama of the \" Bleeding Nun.\"\nChef d'oeuvres or platitudes are one and the same in these circumstances.\nBut at the Funambules all is changing. The phalansteriens, who\nproclaim with so much zeal impassioned work, will find in this narrow\npit where six musicians are crowded the realisation of their aspirations.\nWhen it is a matter of accompanying the pantomime these musicians\nput into it an ardour and a spirit worthy of a better fate.\nThe violin makes his fingers fly upon the neck of the instrument.\nThe cheeks of the clarinet swell with enthusiasm. The contre°bass com-\npasses unheard of things. The horn sounds gaiiy. The melancholy alto\nhas tears in his eyes, As for the leader of the orchestra, he loses himseif\nentirely. Harmony pours forth from his hair, he * swims in the blue.'\nThe day of Debureau's reappearance the orchestra surpassed itself.\nTo celebrate this return the orchestra played as overture an air of old\nG!uck,.a fragment of 44 Armide,\" of music grand, simple and immortal.\n& The curtain rose slowly. Debureau appeared in his white bridegroom's\ncostume, a nosegay in his buttonhole, a pretty girl on his arm. It is\nimpossible to convey the enthusiasm of the audience; it was frenzy.\nThe four hundred heads In this paradise were joyous; the eight hundred\neyes devoured the actor; the four hundred mouths shouted 44 Bravo 1 \"\nIt was a delirium. Those who had not been able to get In applauded at\nthe door.\nDebureau simply put his hand on his heart, beneath his bridegroom's\nbouquet. A tear rolled down the powder on his face. A real tear In the\ntheatre is.so rare!"}, {"page_pdf": 79, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.79", "debut_caractere": 24, "fin_caractere_exclue": 1717, "texte": "Shortly afterwards a slight incident showed the enthusiastic faith of\nthe public.\n& On the stage, at the opening of the pantomime, are groups of male\nand female peasants. To the side the bailiff, (M. Laplace) who is a traitor,\nmuses on his base projects, the orchestra enters upon the ritornelio of\nthe quadrille.\nAs a rule Debureau devoted himself to eccentric dances, the secret of\nwhich he has carried away with him, which were a mixture of the steps\nof the Directoire and of the most audacious of 4 cancans'.\nMore than usually moved, his heart too full of joy, Debureau did\nnot dance.\n44 The Chahut!\" called a street urchin's voice merrily.\nNo, no ! replied the entire audience.\nThe common people has suddenly moments of exquisite delicacy; it\nhad understood the emotion of its great comedian.\nThat night, at midnight, a gathering formed itself in the rue des\nFosses=du=Temple, near the little dark smoky stage entrance. Debureau\ni\ncame out; he had retained, doubtless through a presentiment, his white\nbetrothal bouquet.\nIt was his bouquet for his nuptials with Death.\nThe thousand voices cried, 44 Long Live Debureau ! \" but Death was\nin haste to clasp in her arm her pale bridegroom.\nHe died a few days later.\n\nSOME LINES ON DEBUREAU\nby Champfleury.\n\nIgnorant are those who regret the death of Debureau. This end is a\nstroke of genius# He has died like Moliere,.## of the theatre.\nNothing could add to his glory,.... not even had he been elected a\nmember of the Institute.\nThe young generation which has seen him can console itself foi\nnot having seen Talma.\nSculptors have persuaded the French that their great men were\nnot sufficiently honoured. These same sculptors mean by honours a"}, {"page_pdf": 82, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.82", "debut_caractere": 24, "fin_caractere_exclue": 984, "texte": "statue or a fountain. Already the erection of a statue to Debureau is\ndiscussed.\n& Foolish Idea I Debureau has been painted and sculptured long ago by\nthe Egyptians; he is in fact very widely known. One finds hln, gestures,\ngait, mask, on the Obelisks, on the mummy cases and on the zodiac of\nDenderah.\nDebureau, this mime of so comic a talent, one day killed a man. That\nman found hfs play brutal.\nAs the body of the dead clown was being borne to the church,\nduring the Dies Irae, a joyous crowd was gathered at a wedding in an\nadjoining chapel.\nLife is a road bordered by antitheses.\nWho knows If life is not a death, and death a life? said Euripides.\nEuripides Is right, It is all one. I knew a banker:\nDuring his life he was rigid, immoveable and corrupting.\nDead, he is rigid, immoveable and corrupted.\nThe costume of Pierrot was white.\nHis shroud is white.\n* W : ' - ■ : s\n,\nDebureau passed his life on the boards.\nHe rests peacefully between the boards."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c043", "article_bluemountain": "bmtnaau_1914-07_01#c043", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "71", "page_fin": "73", "image_debut": 77, "image_fin": 79, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.18.2", "titre_corps": "THE LAST DAYS OF DEBUREAU", "titre_sommaire": "THE LAST DAYS OF DEBUREAU", "signature_source": "Jules Champfleury", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.77", "debut_caractere": 857, "fin_caractere_exclue": 2265, "texte": "THE LAST DAYS OF DEBUREAU.\nby Jules Champfleury.\nIt has been pretended that Debureau died of a fail at the Funatnbules:\nDebureau died of asthma from which he had suffered for five years.\n& The doctors had prescribed a long rest for him ; but he thought of\nhis public. For five years he has been coughing enough to tear out his\nlungs. So soon as he came out on the stage the malady left him; for a\nquarter of an hour he became once more young, happy and well. However\nthe terrible illness awaited him in the wings, under the oily lamp, and\nset Its claw upon the chest of the mime at each of his exits.\n& The cough became so Imperious that Debureau was forced to give up.\nOne day he felt better; the placard announced his reappearance.\n4? The Opera might give an unpublished work by Meyerbeer or Rossini,\nand there would be less excitement on the boulevard des Italians than\nthere was on the boulevard du Temple at this news.\nit was at most three weeks since Debureau had acted, and the queue\nstretched out, eager, restless, long enough to fill five theatres.\n£? Take note that the piece given was the \" Nuptials of Pierrot, \" one\nof the least pleasing of the Funambules plays, a pantomime which is\nnothing but the eternal \" Deserter \" of Sedaine, a farce which has been\nplayed six hundred times at the same theatre. It takes enthusiasm such\nas this crowd had to hurry and huddle together and be asphixiated by"}, {"page_pdf": 78, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.78", "debut_caractere": 16, "fin_caractere_exclue": 2266, "texte": "sixty degrees of heat. If there were a thermometer up among the gods\nthe most daring would descend, at once,\n& One can imagine the cries and shoutings of the audience during the\nfirst half of the evening. Outside, those who had not been able to get\nin cried and shouted in response. After the three vaudevilles, the usual\nthree blows were struck.\n& For a long time I have been troubled for the musicians at the\nFunambules. Music is, of all the arts which become professions, the least\nattractive work which can be imagined. A musician who accompanies\n44 Robert !e Dlable \" sixty times is as unfortunate as a musician who\naccompanies for twenty five nights the melodrama of the \" Bleeding Nun.\"\nChef d'oeuvres or platitudes are one and the same in these circumstances.\nBut at the Funambules all is changing. The phalansteriens, who\nproclaim with so much zeal impassioned work, will find in this narrow\npit where six musicians are crowded the realisation of their aspirations.\nWhen it is a matter of accompanying the pantomime these musicians\nput into it an ardour and a spirit worthy of a better fate.\nThe violin makes his fingers fly upon the neck of the instrument.\nThe cheeks of the clarinet swell with enthusiasm. The contre°bass com-\npasses unheard of things. The horn sounds gaiiy. The melancholy alto\nhas tears in his eyes, As for the leader of the orchestra, he loses himseif\nentirely. Harmony pours forth from his hair, he * swims in the blue.'\nThe day of Debureau's reappearance the orchestra surpassed itself.\nTo celebrate this return the orchestra played as overture an air of old\nG!uck,.a fragment of 44 Armide,\" of music grand, simple and immortal.\n& The curtain rose slowly. Debureau appeared in his white bridegroom's\ncostume, a nosegay in his buttonhole, a pretty girl on his arm. It is\nimpossible to convey the enthusiasm of the audience; it was frenzy.\nThe four hundred heads In this paradise were joyous; the eight hundred\neyes devoured the actor; the four hundred mouths shouted 44 Bravo 1 \"\nIt was a delirium. Those who had not been able to get In applauded at\nthe door.\nDebureau simply put his hand on his heart, beneath his bridegroom's\nbouquet. A tear rolled down the powder on his face. A real tear In the\ntheatre is.so rare!"}, {"page_pdf": 79, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.79", "debut_caractere": 24, "fin_caractere_exclue": 1240, "texte": "Shortly afterwards a slight incident showed the enthusiastic faith of\nthe public.\n& On the stage, at the opening of the pantomime, are groups of male\nand female peasants. To the side the bailiff, (M. Laplace) who is a traitor,\nmuses on his base projects, the orchestra enters upon the ritornelio of\nthe quadrille.\nAs a rule Debureau devoted himself to eccentric dances, the secret of\nwhich he has carried away with him, which were a mixture of the steps\nof the Directoire and of the most audacious of 4 cancans'.\nMore than usually moved, his heart too full of joy, Debureau did\nnot dance.\n44 The Chahut!\" called a street urchin's voice merrily.\nNo, no ! replied the entire audience.\nThe common people has suddenly moments of exquisite delicacy; it\nhad understood the emotion of its great comedian.\nThat night, at midnight, a gathering formed itself in the rue des\nFosses=du=Temple, near the little dark smoky stage entrance. Debureau\ni\ncame out; he had retained, doubtless through a presentiment, his white\nbetrothal bouquet.\nIt was his bouquet for his nuptials with Death.\nThe thousand voices cried, 44 Long Live Debureau ! \" but Death was\nin haste to clasp in her arm her pale bridegroom.\nHe died a few days later."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c044", "article_bluemountain": "bmtnaau_1914-07_01#c044", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "73", "page_fin": "74", "image_debut": 79, "image_fin": 82, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.18.3", "titre_corps": "SOME LINES ON DEBUREAU", "titre_sommaire": "SOME LINES ON DEBUREAU", "signature_source": "Champfleury", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 79, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.79", "debut_caractere": 1242, "fin_caractere_exclue": 1717, "texte": "SOME LINES ON DEBUREAU\nby Champfleury.\n\nIgnorant are those who regret the death of Debureau. This end is a\nstroke of genius# He has died like Moliere,.## of the theatre.\nNothing could add to his glory,.... not even had he been elected a\nmember of the Institute.\nThe young generation which has seen him can console itself foi\nnot having seen Talma.\nSculptors have persuaded the French that their great men were\nnot sufficiently honoured. These same sculptors mean by honours a"}, {"page_pdf": 82, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.82", "debut_caractere": 24, "fin_caractere_exclue": 984, "texte": "statue or a fountain. Already the erection of a statue to Debureau is\ndiscussed.\n& Foolish Idea I Debureau has been painted and sculptured long ago by\nthe Egyptians; he is in fact very widely known. One finds hln, gestures,\ngait, mask, on the Obelisks, on the mummy cases and on the zodiac of\nDenderah.\nDebureau, this mime of so comic a talent, one day killed a man. That\nman found hfs play brutal.\nAs the body of the dead clown was being borne to the church,\nduring the Dies Irae, a joyous crowd was gathered at a wedding in an\nadjoining chapel.\nLife is a road bordered by antitheses.\nWho knows If life is not a death, and death a life? said Euripides.\nEuripides Is right, It is all one. I knew a banker:\nDuring his life he was rigid, immoveable and corrupting.\nDead, he is rigid, immoveable and corrupted.\nThe costume of Pierrot was white.\nHis shroud is white.\n* W : ' - ■ : s\n,\nDebureau passed his life on the boards.\nHe rests peacefully between the boards."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c045", "article_bluemountain": "bmtnaau_1914-07_01#c045", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 81, "image_fin": 81, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.18.3.1", "titre_corps": "Jean Gaspard Debureau", "titre_sommaire": "Jean Gaspard Debureau", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.81", "debut_caractere": 0, "fin_caractere_exclue": 61, "texte": "Jean Gaspard Debureau 1796 to 1846. Musée, Carnavalet. Paris,"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c047", "article_bluemountain": "bmtnaau_1914-07_01#c047", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "75", "page_fin": "75", "image_debut": 83, "image_fin": 83, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.19", "titre_corps": "EDWARD GORDON CRAIG'S BOOK \"ON THE ART OF THE THEATRE.\"", "titre_sommaire": "EDWARD GORDON CRAIG'S BOOK \"ON THE ART OF THE THEATRE.\"", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 83, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.83", "debut_caractere": 0, "fin_caractere_exclue": 1027, "texte": "EDWARD GORDON CRAIG'S BOOK\n\"ON THE ART OF THE THEATRE.\"\nJ. S.\n(I>\nIn a book just published, (2) and- about which we shall have more to\nsay, some curious and almost comically incircumspect statements are\nmade as to the influence and position of Gordon Craig in the European\nTheatre.\nThis is not the place to discuss them, but perhaps it will be not\nuninteresting to our readers to look through the following extracts and\nnote the impression produced by just one small item of Mr Craig's work\nduring the last fifteen years,... the publication of one singie book.\nThe passages here set down are but a very few among a host of\nsimilar letters and critiques; and we give this selection merely because\nit happened to be made and published by a serious American Review, (3)\nand therefore is even more significant than if we had compiled it\nourselves.\nThe first is the opinion, written anonymously, of the editor of a\nfamous literary journal: the others each bear the name of the writer,\nor of the journal in which the notice appeared."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c048", "article_bluemountain": "bmtnaau_1914-07_01#c048", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "75", "page_fin": "79", "image_debut": 83, "image_fin": 87, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.20", "titre_corps": "A FEW SIGNIFICANT EXTRACTS SHO WING THE INFLUENCE OF A SINGLE PIECE OF WORK", "titre_sommaire": "A FEW SIGNIFICANT EXTRACTS SHO WING THE INFLUENCE OF A SINGLE PIECE OF WORK", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 83, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.83", "debut_caractere": 1029, "fin_caractere_exclue": 2052, "texte": "A FEW SIGNIFICANT EXTRACTS SHO WING THE INFLUENCE\nOF A SINGLE PIECE OF WORK.\nAT rare intervals... perhaps once in a decade or so... there appears\na book bearing the unmistakable stamp of genius. Such a book is\nMr. E. Gordon Craig's \" On the Art of the Theatre.\" The author, a son\nof Ellen Terry, and acknowledged all over Europe as a master-pioneer\nof the Theatre, here presents the fruit of twenty years or more of actual\nstage experience and experiment. His book is not a treatise on scene-\npainting, or a manual of first aid to stage-managers, or a text-book on\nthe art of acting. It is, rather, a series of brilliantly-written and stimu-\nlating papers embodying a revolutionary arraignment of the Theatre\nas it is, and a new and noble conception of the Theatre as it might\nbe. To every one who takes an intelligent interest in the modern\n\n(1) Published 1911. London. W. Heinemaas. Chicago C. Sergei.\n(2) The Theatre of Max Reinhardt by Huntly Carter. F. Palmer. London. May IS. 1914\n(3) \" The Drama Chicago. August 1912"}, {"page_pdf": 84, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.84", "debut_caractere": 28, "fin_caractere_exclue": 2292, "texte": "Theatre, from whatever standpoint, this is a book which simply cannot\nbe overlooked. And even to those persons who have no Interest In the\nTheatre (if there are any such) the book will appeal irresistibly through\nIts charm of style, its vigorous and invigorating thought, its fine idealism\nand wealth of suggestien.\nJ-IERE Is a man of genius and his book. What shall be done with them ?\nIt is a difficult question. In the old days, the stake or a convenient\ndungeon was resorted to, according to the enormity of the offence.\nNow-a-days we are humanitarians. A decade or so of neglect and sneers\nis considered a sufficient test. If these are survived, then we begin to\nthink—perhaps there was something in him after all 1 But even then, it\nis just this quality of genius that makes our very gratitude ineffectual.\nThere is no \" job \" for genius. The commonplace \"safe\" man can always\nbe made secretary, or manager, or professor of something or other; but\nthe genius must keep on crying in the desert until his prophecy Is fulfilled,\nand then he is needed no more, and a monument is duly raised to his\nmemory.\nNo lover of the theatre can help confessing that this is what we are\nin process of doing in the case of Mr. Gordon Craig. Acknowledged all\nover Europe as a master-pioneer in the theatre, he is practically ignored\nin his own country. Yet if anyone doubts Mr. Craig's genius, they have\nonly to read this book of his \" On the Art of the Theatre. \" It is instinct\nwith genius. On every page are illuminating flashes of thought, vista-\nvisions, tangential flights of fancy, that betray a mind entirely different\nfrom that of the ordinary pedestrian thinker. One can see notion after\nnotion that might be captured and turned to practical account.\nThe Nation (London).\n'THE book is dynamic. Whether one follow M. Craig or not to the end\nof the trail he blazes, this book is one of the timeliest chances that\ncould befall the young playwrights of our own country, scattered and\nunsupported as they are, without a common watch-word. And whether\ntills book stimulates to fellow-work or opposition matters little enough.\nIt is bound to shake us all broad awake, with the shock and challenge\nof unquestionable genius.\nJosephine Preston Peabody (Author of \"The Piper\")."}, {"page_pdf": 85, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.85", "debut_caractere": 28, "fin_caractere_exclue": 2378, "texte": "rJpHlS is a book of ideas, every page of which deserves to be read and\nthought over by all lovers of the theatre..... In this really wonderful\nbook one learns how far-reaching are Mr. Craig's real aims, what a\ntremendous challenge he Intends to the whole purpose and practice of\nour stage as it is. London Daily Chronicle.\nTTRUE Art is always discovering the marvel in all that does not seem\nto be marvellous at all, because Art is not imitation but vision. That\nis the great discovery of Mr. Craig on the stage. He found the forgotten\nWonder-land with the Sleeping Beauty; the land of our dreams and\nwishes, and has fought for it with the gestures of an Artist, with the\nsoul of a child, with the knowledge of a student, and with the constancy\nof a lover. He has done the greatest service to the Art in which we are\nso profoundty interested, and it is a great happiness for us all that he\ncomes off with flying colours. He has his admirers and followers in our\nlittle Hungary, the whole of the new generation being under his in-\nfluence ; and without any disparagement to the great merit and good\nluck of Professor Reinhardt, we Hungarians, as close neighbours and\ngood observers, dare say that almost all that has been done in Berlin\nor Dusseldorf, In Munich or in Mannheim, for the last ten years is to be\ncalled the success of Mr. Craig.\nDr. Alexander Hevesi, of the State Theatre, Budapest.\nIF the stage were not soggy with inutile traditions, such a book as\nQordon Craig's volume would create a revolution.... Serious craftsmen\nof the theatre and hopeful lovers of the theatre will take it to heart as\na momentous and stimulating volume.\nJames O'Donnell Bennett (in The Chicago Record-Herald).\n|T is hopeless to approach the work and aspirations of any man of genius\nexcept in the spirit of equality and fellowship. The very vigoir and\nthe overflowing quality of this book of Mr. Gordon Craig's lend colour\nto the superstitious and awful conception of a man of genius as a lofty,\nsuperior, semi-idiotic, and eccentric being. The very sincerity of the book\nmakes it a mark for insincerity, and its ideas unintelligible to those men\nin England who are victims of the disease of theatricality. And yet, in\ntheir heart of hearts, it is the diseased who most worship health, the\nweak who most ardently crave force. Air. Craig's book is tingling with"}, {"page_pdf": 86, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.86", "debut_caractere": 28, "fin_caractere_exclue": 2266, "texte": "force and radiant with health. It is full of courage, not only in attack,\nbut also In adventure. ...It is a vital book... invigorating and inspiring...\nmost of all when the writer leaves attacking what is and stating what\nwill be... Then every word leaps from the printed page with all the\ndynamic nobility of creative force... He has analized the evil of the theatre\nand stated it with a fearlessness infinitely refreshing In these days of\ntimid thought, speech, writing, and criticism... stated it also with charm\nand disinterestedness so that only the foolish and the vain can be offended.\nThe Observer (London).\nIT is remarkably suggestive and fascinating, and all students of the\ndrama should read it with pleasure and profit.\nDavid Belasco.\nCRAIG has many wise and splendid and humorous things to say,\nand much good counsel to give. His knowledge of the craftsmanship\nof the stage is deep and wide; he can be as practical as the groundlings\nhe abhors... We advise all those whose profession is in the theatre to\nread his book carefully, and to assimilate the striving and earnestness\nwhich are breathed In every line. London Standard.\nJF every theatre-goer could... and would... read M. Craig's book, we\nwould get some experiments in scenery and productions, instead of the\nsame old repetitions of realism that isn't real but is generally ugly.\nI shall have frequent occasion, of course, to mention the book.\nWalter Prichard Eaton.\n\"yHE book Is deeply and stimulatingly suggestive, It arrests the attention,\nit commands reflection by the completeness of its break with all the\ntraditions. New York Tribune,\nnpo future times it will be clear that Mr. Craig's real work was that of\nthe prophet, the mouth through which the dawn of the new art of\nthe theatre made its music,.. All his work, however, practical or prophetic,\nwill tend in the same direction : the vindication of an art of the theatre\nwhich is an art distinct from the other arts which it employs, and the\nrescue of that art from the barren search after the imitation of nature...\nSo we shall get, not the real world, which to Mr. Craig Is a disappointing\nand deceptive place, but a realer world, homogeneous, beautiful, signi-\nficant, grave, and spiritual. London Times."}, {"page_pdf": 87, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.87", "debut_caractere": 28, "fin_caractere_exclue": 2258, "texte": "*■ *HE timeliness of this book for American circulation is apparent. No\ncurrent in the intellectual and idealistic life of the nation is more\nsignificant now than the altered rating of stage, play, and playwright...\nMr. Craig has ideals for the stage that are lofty, that are untainted by\ncommercialism, and he has a theory of acting that rises above facile\n%\nimpersonation to that of vital construction. His Iconoclastic temper, his\ndogmatism recalling at times that of Carlyle or Ruskin, and his aptness\nof illustration drawn from his experience as an actor and as a student\nof conditions in the finest of the continental playhouses, all make him\na fertilizing writer, and would make him an equally stirring lecturer.\nChristian Science Monitor.\nTP HIS book deserves close attention. It embodies the idea of a new\ntheatre, one that is for art and not for business. It outlines what\none may call a new philosophy of dramatic creation.\nThe English Review.\nMR. CRAIG differs from many idealists In having a solid foundation\nfor the lower stones, at least, of his castles in the air. He knows the\nmodern theatre thoroughly in all its manifestations, is conversant with the\nachievements of all the subsidized and independent dramatic experiments\nin London, St. Petersburg, Paris, Berlin, Munich, and elsewhere, and\nis as ardent a student of the past as he is a sanguine prophet of the\nfuture... No man could lay his finger more unerringly upon the chief\ncauses of the decadence of the contemporary theatre. With the authority\nborn of personal experience he points out how the spirit of commercialism\nhas destroyed all honorable artistic ambition, and blocked original enter-\nprise | what an insuperable bar to progress the actor-manager has become?\nhow the initiative of actors has been killed; how the inevitable lack of\ntrained intelligence Is completing the ruin that speculative greed began.\nNothing could be more true or more lamentable.\nThe Nation (New York).\nAN individual, bewildering, interesting, and provocative book. Bold\noriginality and fearless experiment are not common characteristics of\nthe theatre anywhere, and therefore an artist so completely on his own\nas Mr. Craig must be warmly welcomed.\nLondon Daily Express."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c049", "article_bluemountain": "bmtnaau_1914-07_01#c049", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "87", "image_debut": 88, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.88", "debut_caractere": 0, "fin_caractere_exclue": 1592, "texte": "BOOK REVIEWS.\n\nTHE ART OF NIJINSKY; by\nGeoffrey Whitworth. Chatto and\nWindus. Price three shillings\nand six pence net.\nk. nice little book with carefully\nmade pictures by Miss Mullock.\nBut the art of Nijlnsky is no art.\nso the book was not necessary.\nHe is technically a vivid dancer,\nrather too clever at times,... as the\nmonkey is clever.\n& Nijinsky is all that Is falsest In\nart, all that is cleverest in Dancer's\ntricks, all that is most easily realised\nat the instant and disliked upon\nremembrance. Dancing must become\ndifferent before it can be spoken of\nseriously.\n\nTHE COMEDY OF MANNERS by\nJohn Palmer. George Bell. Price\nten shillings and sixpence net,\n\nMr John Palmer, who lately rushed\nin with a book on \" The Future of\nthe Theatre \" which was more credi-\ntable to his zeal than to his intelii-\ngence or good Judgemental) has now,\ntreading upon safer ground, pro-\nduced a very readable book on the\nso-called \" Restoration Drama, \"\ntaking as his period the years in-\ntervening between 1664 and 1720.\nand treating of the five playwrights\nto whom we owe this English \" Co-\nmedy of Manners. \"\nTaking Sir George Etherege, Wil-\nliam Wycherley, William Congreve,\nSir John Vanbrugh, George Farquhar\nas his five subjects, Mr Palmer\nmakes them stand out vividly for\nus against the background of the\nsociety in which they lived, as well\nas showing us how faithfully they\nportrayed the manners of their time.\nIn his Introduction Mr Palmer\npoints cut that though various wri-\nters have written \" historically and\ncritically of the dramatic literature\n\n(1) Reviewed in The Mask, January 1914.\n«/"}, {"page_pdf": 89, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2274, "texte": "of the late seventeenth century, \"\n\" there has, as yet, been 110 attempt\nto present an historical view of the\nrise and fall of the comic dramatists\nof the Restoration ; \" and he then\nsets to work to remedy this omission.\nThe book contains twelve full page\nillustrations, comprising, besides\nportraits, some views, taken both\nwithin and without, of theatres of\nthe day.\n\nP. R.\n\nTHE DANCE,.ITS PLACE IN\nART AND LIFE by T.\nW. Kinney. W. Heinemann. Price\nfifteen shillings net.\n\nDooks on the Dance abound ; but\nthere was j'et room for this well\nillustrated volume compiled by those\ntwo enthusiasts, \" the Klnneys \"\n(quite a music hall touch, this !) in\nNew York, and issued In England by\nMr W. Heinemann.\n& The book treats of the Dancing\nof ancient Egypt and Greece, of\nRome, the Middle Ages and the\nRenaissance: considers the technique\nof Ballet dancing, surveys Oriental,\nSpanish, Italian and European folk\ndancing in general; discants on\nsome individual dancers, past and\npresent; casts a glance over modern\nsocial dancing, and shows through-\nout a good deal of technical know-\nledge as to construction, steps and\nstyle.\nIt is surprising, however., where\nmuch of the work has been done so\nwell, to find certain unjustifiable\nomissions, a neglect of some of the\noriginal sources from which some\nof the results treated of really\ncome. For instance, there is conside-\nrable attention paid to the work of\nMadame Isadora Duncan, but her\nbrother Monsieur Raymond Duncan,\non thinking carefully over the mat-\nter, should at least be mentioned:\nand also Miss Elizabeth Duncan, the\ndirectress of the important school\nin Darmstadt.\n£/ Again, the Index contains no\nmention of Del Sarte;.... whom one\nwould have thought was for us\ntoday a personage of no small\nimportance in the world of the\nDance ; nor is there any refe-\nrence to Jacques Dalcroze ; yet this\ngentleman is surely a somewhat\nprominent figure among those who\nhave devoted themselves to the mo-\ndern developments or revival of the\nDance ?\nin spite of these omissions, how-\n1 ever, the book is useful and read-\ni able, and contains a good deal of\n1 interesting information in a conve-\n■ nlent form.\n» ug? The illustrations, which include\ni both photographs and diagrams, (334\nblack and white illustrations from"}, {"page_pdf": 90, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.90", "debut_caractere": 15, "fin_caractere_exclue": 2344, "texte": "photographs and 176 line drawings\nand diagrams by the authors, as\nwell as a coloured frontispiece) are\nvaried and amusing, but it is a\npity the mediaeval and renaissance\nperiods should not have been more\nfully represented.\nThere are many fine old illustra-\ntions of the Morris Dances, the\nDances of Fools and Dances of Death\navailable, and also of the Ballets of\nthe French court,... those Ballets in\nwhich the 44 Roi Soleil \" himself\ntook part; and the costume and\nstyle of which it would have been\ninteresting to set beside those of\nthe Ballets of todav.\nPerhaps this deficiency may be\nsupplied in a future edition of the\nbook.\n\nL. N. D.\n\nTHE TRUE ADVENTURES OF\nA PLAy by Louis Evan Shipman.\nMitchell Kennerley. New York.\nPrice one dollar fifty cents net.\n\nnphis book is Great Fun for those\nbehind the scenes. Its compilation\nwas a happy thought on the part\nof Mr Louis Evan Shipman; he has\ndone a thing which somehow no\none had happened to think of doing\nbefore, and what lie has done has\na certain value of its own.\nHe has collected together all the\ncorrespondence; the letters and te=\nlegrams; the promises, withdrawals,\noffers, rejections, obstacles, and\ndelays which were encountered by\nhim before he succeeded in getting\nhis play 44 D'Arcy of the Guards \"\non to the English and American\nstages; what, in short, Professor\nGeorge Baker, in the excellent Pre-\nface which he contributes, describes\nas 44 a few of the infinite number\n44 of mischances and complications\nm\n44 which may stand between a ma-\n44 nuscript, pleasing to actors and\n44 managers, and its ultimate pro-\n44 duction. \"\nJZ? In this case the 44 mischances\nand complications\" interposed three\nyears between the completion of the\nmanuscript and its performance in\nAmerica, twelve years between the\nwriting of the play and its first\nappearance on the London Stage.\nJZ? Mr Shipman himself says: 44 In\n44 bringing' together the facts and\n44 figures, correspondence and me-\n44 mories of the travail of a little\n44 comedy of my own, it is with no\n44 sense of its importance in relation\n44 to the drama of its own time,\n44 but simply the tfesire to givo In\n44 detail an example, more or less\n44 typical, of the conditions which\n44 surround and beset the way to\n44 production of most plays today.\"\nThe book affords amusing reading,\nil Iumi r.atirg as to the doubts an"}, {"page_pdf": 91, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.91", "debut_caractere": 15, "fin_caractere_exclue": 2297, "texte": "irresolution and intrigues which\nbeset or hinder the steps of the\nman who would bring bis play into\nthe theatre, highly diverting in the\nsuave and meditative comments with\nwhich Mr Shipman interlards the\nletters from managers, lawyers, lea-\n<ling ladies, and agents who all had\nat some time or in some way a\nfinger in the pie,\n<0 And if, like the White Queen,\nwe want to look for \" a moral \" we\nhave not to look far.\nIt is Waste. Waste of time, waste\nof strength, waste of vitality, waste\nof everything. People making up\ntheir minds and then unmaking\nthem ; writing letters today to re-\ntract their decisions of yesterday;\nwarming up hopes and then chilling\nthem with cold douches; building up\nonly to knock down. And when one\nsees this whole volume of corres=\npondence which passed over the\nproduction of one little play, and\nnotes the large proportion of it\nwhich was mere waste paper and\nwaste time, one carries away some\nkind of an understanding of why so\nlittle work of any consequence ever\ngets done in the Theatre at all.\n\" A mountain was in labour, and\nbrought forth an absurd mouse. \"\nThat is a fairly adequate description\n.of a large part of the labours of the\ntheatre today. And it wastes so much\nlabour upon bringing forth me-\nchanical mice that it has little time\nor vigour to bring forth anything\nelse; whereas if it would only re-\nserve its forces and practise for a\ntime a little continence it might in\ndue season bring forth... one decent\nplay.\n\nN. L.\n\nOUR IRISH THEATRE by Lady\nGregory.G. P. Putnam's: London.\nPrice five shillings net.\nC. G. E.\nAur Irish Theatre ! Yes, just that.\nWe here hold the Irish Theatre\nvery close to our hearts.\nWhy ? .... Heaven only knows.\n& Has the Irish Theatre acted our\ndramas... called us over to lend a\nhand ? No, not these things.\nBut it has always done so well\nby itself; never been seized by the\ncraze of the moment; needless to\nsay has never compromised yet has\nnever been properly supported.\nJZ? But what a way the Irish Theatre\nhas!.... what charm !... how gene-\nrous!... and then... genius !\nThis book by Lady Gregory tells\nthe truth about the movement in\nIreland and America;... the takings\nof the theatre... the story of Synge...\nYeats,.... and a little about herself\nand her son Mr Robert Gregory and\nhis excellent work."}, {"page_pdf": 92, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.92", "debut_caractere": 15, "fin_caractere_exclue": 2281, "texte": "THE CONTINENTAL DRAMA\nOF TO DAy, by Barrett H. Clark.\nHenry Holt & Co. New York.\nPrice one dollar, thirty five\ncents net.\nN. L.\nbook of \"Suggestions, Questions,\n\" Biographies, and Bibliographies\n44 for use in connection with the\n\" study of the more important\n44 plays.\"\n& It treats of Ibsen, Bjornsen,\nStrindberg, Tolstoy, Qorky, Tohekoff,\nHauptmann, Suderinann, Wedekind,\nSchnitzler, Von tlofmannsthal, Mae-\nterlinck, Brieux, Rostand, D' An-\nnunzio and other European play-\nwrights, a short biographical note\nbeing devoted to each, together\nwith a list of works, of dates of\nAmerican performances of them, and\nbrief outlines of one or two of the\nbest known pieces by each man.\n«£? The book should prove a useful\nguide for those desirous of studying\nthe technique of playwriting and\nthe methods of these many writers\nof different nations.\nBut what exactly does Mr Clark\nmean by the following passage ? ...\n44 Some plays suffer from pre-\n44 sentation. Are they, then, plays ?\n44 According to our definition, a\n44 play must be presented by actors\n44 on a stage, before an audience.\n44 We must conclude that such works\n44 as 44 Pelleas and Melisande \" and\n44 44 The Blue Bird \" are plays, but\n44 that the art of acting and stage\n44 management is not yet able to\n44 cope with certain problems, in\n44 spite of the splendid pioneer work\n44 of Gordon Craig, Max Relnhardt,\n44 Stanislawsky, and Meyerkhold....\n44 the last two, directors of the Art\n44 Theatre in Moscow \".\nWe should be interested to know\n%\nwhat 44 problems \" Mr Clark can\nhave in mind or could propose writh\nwhich the competent stage manager\nis unable to cope. There might cer-\ntainly be some which would scare the\nt\nmere 44 impresario \", but the prac•\ntical stage director can always be\nrelied upon to 44 find a way or make\none\", and Mr Clark, if he feels\ndoubtful of this, might propose some\nof his 44 problems \", and 44 let the\nend try the man \".\n\nTHE THE A TRE OF MAX\nHARDTby Hutitly Carter. Frank\nPalmer. Price seven shillings\nand sixpence net.\n\nQur English theatrical critics have\nall the virtues and one glaring\nfault. They seldom admit the exis-\ntence of the other European nations\nsufficiently to go there and see\nwhat is being done.\nThey wait apathetically until\nParis, Berlin or St Petersbergsends"}, {"page_pdf": 93, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.93", "debut_caractere": 15, "fin_caractere_exclue": 2294, "texte": "good troupe of players and dancers\nto London, and then they and their\npens carry on in a way which is\nanything but calm or seemly.\n<£> Mr Ifuntly Carter Is one of the\nfew Englishmen who, without being\nexactly a Theatrical critic, may\nexpect our appreciation of his ef-\nforts in travelling round Europe and\nreporting something of what he\nsaw, read of or heard.\nIt is a pity he has not received\nmore encouragement. In his previous\nbook (1) he did a real service to the\nEnglish public by bringing it some\nnews from the outside world. He\nhas now made another attempt to\ndo this, but seems to have been\nheavily handicapped from start to\nfinish by apathy, business troubles\nand ill-health.\nThis handicapping has had one\nespecially unfortunate result, and\nthat is the grave Injustice which\nthe book does to the work of\nMr Gordon Craig; an injustice which\nno one, evidently, regrets more\nthan does Mr Huntly Carter himself.\nIt is by his permission that we print\nbelow part of a letter addressed to\nMr Craig a few days before the\npublication of the book in question.\nEnglishmen who care for the\ntheatre at all, and have pride in\ntheir own representative artists,\ncould do worse than support the\ncritics in a more generous manner\nso as to ensure that the books which\nthey issue shall do justice to those\nartists, and, through them, to the\nnation they represent.\nIt is difficult to be tranquil, just\nand clear-sighted in the midst of\nworry, harassment and discourage-\nment, and with small chance of\nany recognition or success, and\nthese conditions too evidently react\nupon some critics and bias their\nminds.\nThere might be an endowment\nfund for the production and publi-\ncation of serious works upon the\ntheatre, and we believe that, had he\nthe opportunity of working under\ndifferent conditions and meeting\nwith some encouragement in his\nefforts, Mr Carter would be one of\nthose to render yeoman service to\nthe cause.\nBy the way, it is worth noting\ntiiat, while the book takes Its name\nfrom Professor Reinhardt, we find\non no less than 46 pages that the\ncentre of interest is Mr Gordon Craig\nand his work. ...Surely too significant\na strawfor either Germans or Britons\nto remain in doubt which way the\nwind blows!\n(I) \" A New Spirit in Drama and Art.\" See The Mask.\nVol: S. page 273.\n\nJ. S."}, {"page_pdf": 94, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.94", "debut_caractere": 15, "fin_caractere_exclue": 2291, "texte": "•• W\"y help critics ?... they don't\ninterest me \", is the usual\nanswer of those In a position to\nencourage our Drama and our\nTheatres : It is, alas, often the reply\nof those who are keen about the\nTheatre and see its value to our\nnational life.\n& But does it need a sermon to\npush home to their minds the fact\nthat critics have always been and\nare just as important to the modern\nTheatre as are the other members\nof the profession ?\n£7 1 would even go so far as to say\nthey are the most important group.\n£7 Loose criticism can damn a cen-\ntury of theatrical art,... good cri-\nticism can encourage it.... great\ncriticism can positively create it.\nAnd more than this: Loose criti-\n0\nclsm can over-turn a dynasty; can\neat its way into the grandest insti-\ntution in the realm... and has done so.\n£7 Before the evii spreads any fur-\nther provide handsomely for good\ncriticism and foryour critics... or take\nthe consequences. £7 \" Yoo=no=hoo.\"\n\nMr HUNTLY CARTER'S LETTER\n\nGordon Craig.\n£7 \" By the time this reaches you\ndoubtless you will have received a\ncopy of the Theatre of Max Reinhardt.\npublished on the 15th May.\n£7 \" Whether the book is reviewed\nby you and in the \"Mask\" is of course\nnot my business. But I feel that I\nought to tell you one or two circum-\nstances connected with the produc-\ntion. First as to fact and history.\n£7 ** The book as it stands is only\npartly the one I produced, and owing\nto the extraordinary behaviour of\nthe publisher it contains matter and\nis in a state that I would not have\nsanctioned under proper circum-\nstances.\n£7 \" The book was written two\nyears ago at the beginning of my\nillness. It was a time when I was\nfeeling very bitter with everyone\nand' everything. In consequence\nexpressions crept into the book\nwhich, now that my mood has\nchanged, I do not approve. However\nI completed the book and added\nsome 40 illustrations and a number\nof charts... very important ones....\nforming synthetic summaries and\nsome of them showing at a glance\nyour position and your influence\non the European theatre.\"\n£7 He then continues that, as time\nwent on, and the publisher showed\nno Inclination to publish the book\nalthough under agreement to do so\nin December 1912, he threatened to\ntake legal proceedings, and adds:\n\" At last in September 1913 he re-"}, {"page_pdf": 95, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.95", "debut_caractere": 21, "fin_caractere_exclue": 2153, "texte": "turned me part of the book for\nrevision, stating at the same time\nthat he was about to publish in\nOctober.\n\" Well, I brought the body of\nthe book up to date and made\nseveral alterations in the parts\nrelating to you. The appendices were\nnot returned to me and remain,\nwith the exception of an addition,\nas they were two years ago. The\nrevised MS was returned to Palmer\nand still he delayed publication.\"\n& The letter then relates how,\nwith the help of the Incorporated\nAuthor's Society, legal proceedings\nwere taken and the publisher\nbound over to produce; and con-\ntinues:....\n& ** As you can see he has done so.\nHe has rushed the book and in his\nown way, refused to send me final\nproofs, ignored some of my revisions\nand omitted nearly the whole of\nthe illustrations, (including one of\nyours from Heinemann) and the\nwhole of the 14 charts.\n& ** This is how the book stands.\nIf it contains harsh passages I cannot\nhelp it. I ought to tell you that the\nindex is vastly inadequate. The Mask,\nwhich is not indexed, is mentioned\nseveral times in the text.\n\" You will doubtless see that the\nbook is not so much Reinhardt as a\nsynthetic summary of the theatre\nmovement in Germany. It embodies\na plea for the spiritual theatre. As\nwith the \" New Spirit\" I received\nno assistanco whatever with tills\nbook either from Reinhardt or\nanyone else. I applied here and\nthere for information but only got\nit with great difficulty.\"\n\nYours sincerely.\nHuntly Carter\n\nTHE MEANING OF ART by Paul\nGaultier: Translated by H. and\nE Baldwin. Dedicated to Henry\nBergson. George Allen. Price\nfive shillings net.\nABCDEFG!.\nAsk all the artists of the world\nwhat is the meaning of Art. They\nwill and ail reply there Is no\nmeaning. What then is there left to\nsay about it or about this book ?\nNothing.\nThe book is all about \"Art, and\n•«\nthe index gives many references to\nMusic, Architecture and Painting ;\nbut there is no mention of the\nTheatre.\nThus one must presume that the\nTheatre is not an art.\nIn that case there is still less to\nbe said. So, with best wishes to M.\nPaul Gaultier, Messrs Baldwin and\nBergson, 1 remain,\nyour loving & affectionate reviewer,"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c051", "article_bluemountain": "bmtnaau_1914-07_01#c051", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "80", "image_debut": 88, "image_fin": 88, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.2", "titre_corps": "THE ART OF NIJINSKY by Geoffrey Whitworth", "titre_sommaire": "THE ART OF NIJINSKY by Geoffrey Whitworth", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 571, "texte": "THE ART OF NIJINSKY; by\nGeoffrey Whitworth. Chatto and\nWindus. Price three shillings\nand six pence net.\nk. nice little book with carefully\nmade pictures by Miss Mullock.\nBut the art of Nijlnsky is no art.\nso the book was not necessary.\nHe is technically a vivid dancer,\nrather too clever at times,... as the\nmonkey is clever.\n& Nijinsky is all that Is falsest In\nart, all that is cleverest in Dancer's\ntricks, all that is most easily realised\nat the instant and disliked upon\nremembrance. Dancing must become\ndifferent before it can be spoken of\nseriously."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c052", "article_bluemountain": "bmtnaau_1914-07_01#c052", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "80", "page_fin": "81", "image_debut": 88, "image_fin": 89, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.3", "titre_corps": "THE COMEDY OF MANNERS by John Palmer", "titre_sommaire": "THE COMEDY OF MANNERS by John Palmer", "signature_source": "P. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.88", "debut_caractere": 573, "fin_caractere_exclue": 1592, "texte": "THE COMEDY OF MANNERS by\nJohn Palmer. George Bell. Price\nten shillings and sixpence net,\n\nMr John Palmer, who lately rushed\nin with a book on \" The Future of\nthe Theatre \" which was more credi-\ntable to his zeal than to his intelii-\ngence or good Judgemental) has now,\ntreading upon safer ground, pro-\nduced a very readable book on the\nso-called \" Restoration Drama, \"\ntaking as his period the years in-\ntervening between 1664 and 1720.\nand treating of the five playwrights\nto whom we owe this English \" Co-\nmedy of Manners. \"\nTaking Sir George Etherege, Wil-\nliam Wycherley, William Congreve,\nSir John Vanbrugh, George Farquhar\nas his five subjects, Mr Palmer\nmakes them stand out vividly for\nus against the background of the\nsociety in which they lived, as well\nas showing us how faithfully they\nportrayed the manners of their time.\nIn his Introduction Mr Palmer\npoints cut that though various wri-\nters have written \" historically and\ncritically of the dramatic literature\n\n(1) Reviewed in The Mask, January 1914.\n«/"}, {"page_pdf": 89, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 390, "texte": "of the late seventeenth century, \"\n\" there has, as yet, been 110 attempt\nto present an historical view of the\nrise and fall of the comic dramatists\nof the Restoration ; \" and he then\nsets to work to remedy this omission.\nThe book contains twelve full page\nillustrations, comprising, besides\nportraits, some views, taken both\nwithin and without, of theatres of\nthe day.\n\nP. R."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c053", "article_bluemountain": "bmtnaau_1914-07_01#c053", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "82", "image_debut": 89, "image_fin": 90, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.4", "titre_corps": "THE DANCE, ITS PLACE IN ART AND LIFE by T. and M. W. Kinney", "titre_sommaire": "THE DANCE, ITS PLACE IN ART AND LIFE by T. and M. W. Kinney", "signature_source": "L. N. D", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 89, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.89", "debut_caractere": 392, "fin_caractere_exclue": 2274, "texte": "THE DANCE,.ITS PLACE IN\nART AND LIFE by T.\nW. Kinney. W. Heinemann. Price\nfifteen shillings net.\n\nDooks on the Dance abound ; but\nthere was j'et room for this well\nillustrated volume compiled by those\ntwo enthusiasts, \" the Klnneys \"\n(quite a music hall touch, this !) in\nNew York, and issued In England by\nMr W. Heinemann.\n& The book treats of the Dancing\nof ancient Egypt and Greece, of\nRome, the Middle Ages and the\nRenaissance: considers the technique\nof Ballet dancing, surveys Oriental,\nSpanish, Italian and European folk\ndancing in general; discants on\nsome individual dancers, past and\npresent; casts a glance over modern\nsocial dancing, and shows through-\nout a good deal of technical know-\nledge as to construction, steps and\nstyle.\nIt is surprising, however., where\nmuch of the work has been done so\nwell, to find certain unjustifiable\nomissions, a neglect of some of the\noriginal sources from which some\nof the results treated of really\ncome. For instance, there is conside-\nrable attention paid to the work of\nMadame Isadora Duncan, but her\nbrother Monsieur Raymond Duncan,\non thinking carefully over the mat-\nter, should at least be mentioned:\nand also Miss Elizabeth Duncan, the\ndirectress of the important school\nin Darmstadt.\n£/ Again, the Index contains no\nmention of Del Sarte;.... whom one\nwould have thought was for us\ntoday a personage of no small\nimportance in the world of the\nDance ; nor is there any refe-\nrence to Jacques Dalcroze ; yet this\ngentleman is surely a somewhat\nprominent figure among those who\nhave devoted themselves to the mo-\ndern developments or revival of the\nDance ?\nin spite of these omissions, how-\n1 ever, the book is useful and read-\ni able, and contains a good deal of\n1 interesting information in a conve-\n■ nlent form.\n» ug? The illustrations, which include\ni both photographs and diagrams, (334\nblack and white illustrations from"}, {"page_pdf": 90, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.90", "debut_caractere": 15, "fin_caractere_exclue": 654, "texte": "photographs and 176 line drawings\nand diagrams by the authors, as\nwell as a coloured frontispiece) are\nvaried and amusing, but it is a\npity the mediaeval and renaissance\nperiods should not have been more\nfully represented.\nThere are many fine old illustra-\ntions of the Morris Dances, the\nDances of Fools and Dances of Death\navailable, and also of the Ballets of\nthe French court,... those Ballets in\nwhich the 44 Roi Soleil \" himself\ntook part; and the costume and\nstyle of which it would have been\ninteresting to set beside those of\nthe Ballets of todav.\nPerhaps this deficiency may be\nsupplied in a future edition of the\nbook.\n\nL. N. D."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c054", "article_bluemountain": "bmtnaau_1914-07_01#c054", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "83", "image_debut": 90, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.5", "titre_corps": "THE TRUE ADVENTURES OF A PLAY by Louis Evan Shipman", "titre_sommaire": "THE TRUE ADVENTURES OF A PLAY by Louis Evan Shipman", "signature_source": "N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.90", "debut_caractere": 656, "fin_caractere_exclue": 2344, "texte": "THE TRUE ADVENTURES OF\nA PLAy by Louis Evan Shipman.\nMitchell Kennerley. New York.\nPrice one dollar fifty cents net.\n\nnphis book is Great Fun for those\nbehind the scenes. Its compilation\nwas a happy thought on the part\nof Mr Louis Evan Shipman; he has\ndone a thing which somehow no\none had happened to think of doing\nbefore, and what lie has done has\na certain value of its own.\nHe has collected together all the\ncorrespondence; the letters and te=\nlegrams; the promises, withdrawals,\noffers, rejections, obstacles, and\ndelays which were encountered by\nhim before he succeeded in getting\nhis play 44 D'Arcy of the Guards \"\non to the English and American\nstages; what, in short, Professor\nGeorge Baker, in the excellent Pre-\nface which he contributes, describes\nas 44 a few of the infinite number\n44 of mischances and complications\nm\n44 which may stand between a ma-\n44 nuscript, pleasing to actors and\n44 managers, and its ultimate pro-\n44 duction. \"\nJZ? In this case the 44 mischances\nand complications\" interposed three\nyears between the completion of the\nmanuscript and its performance in\nAmerica, twelve years between the\nwriting of the play and its first\nappearance on the London Stage.\nJZ? Mr Shipman himself says: 44 In\n44 bringing' together the facts and\n44 figures, correspondence and me-\n44 mories of the travail of a little\n44 comedy of my own, it is with no\n44 sense of its importance in relation\n44 to the drama of its own time,\n44 but simply the tfesire to givo In\n44 detail an example, more or less\n44 typical, of the conditions which\n44 surround and beset the way to\n44 production of most plays today.\"\nThe book affords amusing reading,\nil Iumi r.atirg as to the doubts an"}, {"page_pdf": 91, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.91", "debut_caractere": 15, "fin_caractere_exclue": 1483, "texte": "irresolution and intrigues which\nbeset or hinder the steps of the\nman who would bring bis play into\nthe theatre, highly diverting in the\nsuave and meditative comments with\nwhich Mr Shipman interlards the\nletters from managers, lawyers, lea-\n<ling ladies, and agents who all had\nat some time or in some way a\nfinger in the pie,\n<0 And if, like the White Queen,\nwe want to look for \" a moral \" we\nhave not to look far.\nIt is Waste. Waste of time, waste\nof strength, waste of vitality, waste\nof everything. People making up\ntheir minds and then unmaking\nthem ; writing letters today to re-\ntract their decisions of yesterday;\nwarming up hopes and then chilling\nthem with cold douches; building up\nonly to knock down. And when one\nsees this whole volume of corres=\npondence which passed over the\nproduction of one little play, and\nnotes the large proportion of it\nwhich was mere waste paper and\nwaste time, one carries away some\nkind of an understanding of why so\nlittle work of any consequence ever\ngets done in the Theatre at all.\n\" A mountain was in labour, and\nbrought forth an absurd mouse. \"\nThat is a fairly adequate description\n.of a large part of the labours of the\ntheatre today. And it wastes so much\nlabour upon bringing forth me-\nchanical mice that it has little time\nor vigour to bring forth anything\nelse; whereas if it would only re-\nserve its forces and practise for a\ntime a little continence it might in\ndue season bring forth... one decent\nplay.\n\nN. L."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c055", "article_bluemountain": "bmtnaau_1914-07_01#c055", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 91, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.6", "titre_corps": "OUR IRISH THEATRE by Lady Gregory", "titre_sommaire": "OUR IRISH THEATRE by Lady Gregory", "signature_source": "C. G. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.91", "debut_caractere": 1485, "fin_caractere_exclue": 2297, "texte": "OUR IRISH THEATRE by Lady\nGregory.G. P. Putnam's: London.\nPrice five shillings net.\nC. G. E.\nAur Irish Theatre ! Yes, just that.\nWe here hold the Irish Theatre\nvery close to our hearts.\nWhy ? .... Heaven only knows.\n& Has the Irish Theatre acted our\ndramas... called us over to lend a\nhand ? No, not these things.\nBut it has always done so well\nby itself; never been seized by the\ncraze of the moment; needless to\nsay has never compromised yet has\nnever been properly supported.\nJZ? But what a way the Irish Theatre\nhas!.... what charm !... how gene-\nrous!... and then... genius !\nThis book by Lady Gregory tells\nthe truth about the movement in\nIreland and America;... the takings\nof the theatre... the story of Synge...\nYeats,.... and a little about herself\nand her son Mr Robert Gregory and\nhis excellent work."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c056", "article_bluemountain": "bmtnaau_1914-07_01#c056", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "image_debut": 92, "image_fin": 92, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.7", "titre_corps": "THE CONTINENTAL DRAMA OF TODAY by Barrett H. Clark", "titre_sommaire": "THE CONTINENTAL DRAMA OF TODAY by Barrett H. Clark", "signature_source": "N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.92", "debut_caractere": 15, "fin_caractere_exclue": 1922, "texte": "THE CONTINENTAL DRAMA\nOF TO DAy, by Barrett H. Clark.\nHenry Holt & Co. New York.\nPrice one dollar, thirty five\ncents net.\nN. L.\nbook of \"Suggestions, Questions,\n\" Biographies, and Bibliographies\n44 for use in connection with the\n\" study of the more important\n44 plays.\"\n& It treats of Ibsen, Bjornsen,\nStrindberg, Tolstoy, Qorky, Tohekoff,\nHauptmann, Suderinann, Wedekind,\nSchnitzler, Von tlofmannsthal, Mae-\nterlinck, Brieux, Rostand, D' An-\nnunzio and other European play-\nwrights, a short biographical note\nbeing devoted to each, together\nwith a list of works, of dates of\nAmerican performances of them, and\nbrief outlines of one or two of the\nbest known pieces by each man.\n«£? The book should prove a useful\nguide for those desirous of studying\nthe technique of playwriting and\nthe methods of these many writers\nof different nations.\nBut what exactly does Mr Clark\nmean by the following passage ? ...\n44 Some plays suffer from pre-\n44 sentation. Are they, then, plays ?\n44 According to our definition, a\n44 play must be presented by actors\n44 on a stage, before an audience.\n44 We must conclude that such works\n44 as 44 Pelleas and Melisande \" and\n44 44 The Blue Bird \" are plays, but\n44 that the art of acting and stage\n44 management is not yet able to\n44 cope with certain problems, in\n44 spite of the splendid pioneer work\n44 of Gordon Craig, Max Relnhardt,\n44 Stanislawsky, and Meyerkhold....\n44 the last two, directors of the Art\n44 Theatre in Moscow \".\nWe should be interested to know\n%\nwhat 44 problems \" Mr Clark can\nhave in mind or could propose writh\nwhich the competent stage manager\nis unable to cope. There might cer-\ntainly be some which would scare the\nt\nmere 44 impresario \", but the prac•\ntical stage director can always be\nrelied upon to 44 find a way or make\none\", and Mr Clark, if he feels\ndoubtful of this, might propose some\nof his 44 problems \", and 44 let the\nend try the man \"."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c057", "article_bluemountain": "bmtnaau_1914-07_01#c057", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "85", "image_debut": 92, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.8", "titre_corps": "THE THEATRE OF MAX REINHARDT by Huntly Carter", "titre_sommaire": "THE THEATRE OF MAX REINHARDT by Huntly Carter", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.92", "debut_caractere": 1924, "fin_caractere_exclue": 2281, "texte": "THE THE A TRE OF MAX\nHARDTby Hutitly Carter. Frank\nPalmer. Price seven shillings\nand sixpence net.\n\nQur English theatrical critics have\nall the virtues and one glaring\nfault. They seldom admit the exis-\ntence of the other European nations\nsufficiently to go there and see\nwhat is being done.\nThey wait apathetically until\nParis, Berlin or St Petersbergsends"}, {"page_pdf": 93, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.93", "debut_caractere": 15, "fin_caractere_exclue": 2294, "texte": "good troupe of players and dancers\nto London, and then they and their\npens carry on in a way which is\nanything but calm or seemly.\n<£> Mr Ifuntly Carter Is one of the\nfew Englishmen who, without being\nexactly a Theatrical critic, may\nexpect our appreciation of his ef-\nforts in travelling round Europe and\nreporting something of what he\nsaw, read of or heard.\nIt is a pity he has not received\nmore encouragement. In his previous\nbook (1) he did a real service to the\nEnglish public by bringing it some\nnews from the outside world. He\nhas now made another attempt to\ndo this, but seems to have been\nheavily handicapped from start to\nfinish by apathy, business troubles\nand ill-health.\nThis handicapping has had one\nespecially unfortunate result, and\nthat is the grave Injustice which\nthe book does to the work of\nMr Gordon Craig; an injustice which\nno one, evidently, regrets more\nthan does Mr Huntly Carter himself.\nIt is by his permission that we print\nbelow part of a letter addressed to\nMr Craig a few days before the\npublication of the book in question.\nEnglishmen who care for the\ntheatre at all, and have pride in\ntheir own representative artists,\ncould do worse than support the\ncritics in a more generous manner\nso as to ensure that the books which\nthey issue shall do justice to those\nartists, and, through them, to the\nnation they represent.\nIt is difficult to be tranquil, just\nand clear-sighted in the midst of\nworry, harassment and discourage-\nment, and with small chance of\nany recognition or success, and\nthese conditions too evidently react\nupon some critics and bias their\nminds.\nThere might be an endowment\nfund for the production and publi-\ncation of serious works upon the\ntheatre, and we believe that, had he\nthe opportunity of working under\ndifferent conditions and meeting\nwith some encouragement in his\nefforts, Mr Carter would be one of\nthose to render yeoman service to\nthe cause.\nBy the way, it is worth noting\ntiiat, while the book takes Its name\nfrom Professor Reinhardt, we find\non no less than 46 pages that the\ncentre of interest is Mr Gordon Craig\nand his work. ...Surely too significant\na strawfor either Germans or Britons\nto remain in doubt which way the\nwind blows!\n(I) \" A New Spirit in Drama and Art.\" See The Mask.\nVol: S. page 273.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c058", "article_bluemountain": "bmtnaau_1914-07_01#c058", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "image_debut": 94, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.9", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.94", "debut_caractere": 15, "fin_caractere_exclue": 952, "texte": "•• W\"y help critics ?... they don't\ninterest me \", is the usual\nanswer of those In a position to\nencourage our Drama and our\nTheatres : It is, alas, often the reply\nof those who are keen about the\nTheatre and see its value to our\nnational life.\n& But does it need a sermon to\npush home to their minds the fact\nthat critics have always been and\nare just as important to the modern\nTheatre as are the other members\nof the profession ?\n£7 1 would even go so far as to say\nthey are the most important group.\n£7 Loose criticism can damn a cen-\ntury of theatrical art,... good cri-\nticism can encourage it.... great\ncriticism can positively create it.\nAnd more than this: Loose criti-\n0\nclsm can over-turn a dynasty; can\neat its way into the grandest insti-\ntution in the realm... and has done so.\n£7 Before the evii spreads any fur-\nther provide handsomely for good\ncriticism and foryour critics... or take\nthe consequences. £7 \" Yoo=no=hoo.\""}]}, {"article_id": "bm-bmtnaau-1914-07-01-c059", "article_bluemountain": "bmtnaau_1914-07_01#c059", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "87", "image_debut": 94, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.10", "titre_corps": "Mr HUNTLY CARTER'S LETTER", "titre_sommaire": "Mr HUNTLY CARTER'S LETTER", "signature_source": "Huntly Carter", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.94", "debut_caractere": 954, "fin_caractere_exclue": 2291, "texte": "Mr HUNTLY CARTER'S LETTER\n\nGordon Craig.\n£7 \" By the time this reaches you\ndoubtless you will have received a\ncopy of the Theatre of Max Reinhardt.\npublished on the 15th May.\n£7 \" Whether the book is reviewed\nby you and in the \"Mask\" is of course\nnot my business. But I feel that I\nought to tell you one or two circum-\nstances connected with the produc-\ntion. First as to fact and history.\n£7 ** The book as it stands is only\npartly the one I produced, and owing\nto the extraordinary behaviour of\nthe publisher it contains matter and\nis in a state that I would not have\nsanctioned under proper circum-\nstances.\n£7 \" The book was written two\nyears ago at the beginning of my\nillness. It was a time when I was\nfeeling very bitter with everyone\nand' everything. In consequence\nexpressions crept into the book\nwhich, now that my mood has\nchanged, I do not approve. However\nI completed the book and added\nsome 40 illustrations and a number\nof charts... very important ones....\nforming synthetic summaries and\nsome of them showing at a glance\nyour position and your influence\non the European theatre.\"\n£7 He then continues that, as time\nwent on, and the publisher showed\nno Inclination to publish the book\nalthough under agreement to do so\nin December 1912, he threatened to\ntake legal proceedings, and adds:\n\" At last in September 1913 he re-"}, {"page_pdf": 95, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.95", "debut_caractere": 21, "fin_caractere_exclue": 1468, "texte": "turned me part of the book for\nrevision, stating at the same time\nthat he was about to publish in\nOctober.\n\" Well, I brought the body of\nthe book up to date and made\nseveral alterations in the parts\nrelating to you. The appendices were\nnot returned to me and remain,\nwith the exception of an addition,\nas they were two years ago. The\nrevised MS was returned to Palmer\nand still he delayed publication.\"\n& The letter then relates how,\nwith the help of the Incorporated\nAuthor's Society, legal proceedings\nwere taken and the publisher\nbound over to produce; and con-\ntinues:....\n& ** As you can see he has done so.\nHe has rushed the book and in his\nown way, refused to send me final\nproofs, ignored some of my revisions\nand omitted nearly the whole of\nthe illustrations, (including one of\nyours from Heinemann) and the\nwhole of the 14 charts.\n& ** This is how the book stands.\nIf it contains harsh passages I cannot\nhelp it. I ought to tell you that the\nindex is vastly inadequate. The Mask,\nwhich is not indexed, is mentioned\nseveral times in the text.\n\" You will doubtless see that the\nbook is not so much Reinhardt as a\nsynthetic summary of the theatre\nmovement in Germany. It embodies\na plea for the spiritual theatre. As\nwith the \" New Spirit\" I received\nno assistanco whatever with tills\nbook either from Reinhardt or\nanyone else. I applied here and\nthere for information but only got\nit with great difficulty.\"\n\nYours sincerely.\nHuntly Carter"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c060", "article_bluemountain": "bmtnaau_1914-07_01#c060", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "87", "image_debut": 95, "image_fin": 95, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.21.11", "titre_corps": "THE MEANING OF ART by Paul Gaultier", "titre_sommaire": "THE MEANING OF ART by Paul Gaultier", "signature_source": "ABCDEFG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 95, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.95", "debut_caractere": 1470, "fin_caractere_exclue": 2153, "texte": "THE MEANING OF ART by Paul\nGaultier: Translated by H. and\nE Baldwin. Dedicated to Henry\nBergson. George Allen. Price\nfive shillings net.\nABCDEFG!.\nAsk all the artists of the world\nwhat is the meaning of Art. They\nwill and ail reply there Is no\nmeaning. What then is there left to\nsay about it or about this book ?\nNothing.\nThe book is all about \"Art, and\n•«\nthe index gives many references to\nMusic, Architecture and Painting ;\nbut there is no mention of the\nTheatre.\nThus one must presume that the\nTheatre is not an art.\nIn that case there is still less to\nbe said. So, with best wishes to M.\nPaul Gaultier, Messrs Baldwin and\nBergson, 1 remain,\nyour loving & affectionate reviewer,"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c061", "article_bluemountain": "bmtnaau_1914-07_01#c061", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 96, "image_fin": 96, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.22", "titre_corps": "BOUGHT BOOKS", "titre_sommaire": "BOUGHT BOOKS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 96, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.96", "debut_caractere": 15, "fin_caractere_exclue": 2162, "texte": "BOUGHT BOOKS.\n\nANCIENT ART AND RITUAL by\nJane Harrison. Williams and\nNorgate. Price one shilling.\nE. G. C.\n\"It is at the outset one and the\n\" same Impulse that sends a man\nl< to church and to the theatre.\"\nWell said, Miss Harrison!\nAnd how many are there of you\nwho will understand what she\nmeans ?\n£? It is a bold statement to make...\nwhen there are so many chances\nagainst its right understanding.\nThe Theatre is Religious or it is\nnot the Theatre. A Religious Theatre\nIs a Living Theatre :... all the other\nkind are corpse theatres.\nThe Opera in Paris is a Dead\nTheatre. His Majesty's in London...\nDead. The Deutsches Theater, Berlin,\n...Dead. And the thousand other\ntheatres made after their pattern\nare all dead. For more reasons than\none or two.\nSome of them have done well...\ndone good work... held very fine\nactors, poets, designers, and so forth.\nBut the whole thing is a Dance of\nDeath: something obviously dam-\nnabie and damned. To which millions\nof people are persuaded to go,.,, and\nwhich thousands tolerate night after\nnight and which I can always make\nmyself enjoy though not with quite\nthe same spontaneity as a well-\nserved dinner at Prunier's,Simpson's\nor Borchardt's.\n,*S> i want them to be better not\npoorer than restaurants: if both\nare to appeal to my senses I want\nmy senses appealed to at least as\ndelightfully in the theatre as in the\nrestaurant, instead of the appeal\nbeing, as it Is at present, very much\nless enjoyable and keen.\nSome of these skeleton things\ncall themselves Art Theatres. Some,\ntrying to be simpler whilst grin-\nning horribly, ask to be accepted\nas Normal Theatres, or Futurist\nTheatres, or frankly Commercial\nTheatres.\nOne and all are dead as a cold\nwet corpse is dead once and for\never when the pulse has stopped ;\nor as a warmed-up dish allowed\nto grow twice cold, or as a depressed\nsouffle,... a melted ice.... dead.\njg? \" It is at the outset one and the\n\" same impulse that sends a man to\n\" church and to the Theatre.\"\nWell said, Madam !... now let us\nwait and see whether two people\nshall understand that deeply enough.\nIf one of them should be a\nlegislator the People's health would\nbe restored."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c062", "article_bluemountain": "bmtnaau_1914-07_01#c062", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 96, "image_fin": 96, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.22.1", "titre_corps": "ANCIENT ART AND RITUAL by Jane Harrison", "titre_sommaire": "ANCIENT ART AND RITUAL by Jane Harrison", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 96, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.96", "debut_caractere": 30, "fin_caractere_exclue": 2162, "texte": "ANCIENT ART AND RITUAL by\nJane Harrison. Williams and\nNorgate. Price one shilling.\nE. G. C.\n\"It is at the outset one and the\n\" same Impulse that sends a man\nl< to church and to the theatre.\"\nWell said, Miss Harrison!\nAnd how many are there of you\nwho will understand what she\nmeans ?\n£? It is a bold statement to make...\nwhen there are so many chances\nagainst its right understanding.\nThe Theatre is Religious or it is\nnot the Theatre. A Religious Theatre\nIs a Living Theatre :... all the other\nkind are corpse theatres.\nThe Opera in Paris is a Dead\nTheatre. His Majesty's in London...\nDead. The Deutsches Theater, Berlin,\n...Dead. And the thousand other\ntheatres made after their pattern\nare all dead. For more reasons than\none or two.\nSome of them have done well...\ndone good work... held very fine\nactors, poets, designers, and so forth.\nBut the whole thing is a Dance of\nDeath: something obviously dam-\nnabie and damned. To which millions\nof people are persuaded to go,.,, and\nwhich thousands tolerate night after\nnight and which I can always make\nmyself enjoy though not with quite\nthe same spontaneity as a well-\nserved dinner at Prunier's,Simpson's\nor Borchardt's.\n,*S> i want them to be better not\npoorer than restaurants: if both\nare to appeal to my senses I want\nmy senses appealed to at least as\ndelightfully in the theatre as in the\nrestaurant, instead of the appeal\nbeing, as it Is at present, very much\nless enjoyable and keen.\nSome of these skeleton things\ncall themselves Art Theatres. Some,\ntrying to be simpler whilst grin-\nning horribly, ask to be accepted\nas Normal Theatres, or Futurist\nTheatres, or frankly Commercial\nTheatres.\nOne and all are dead as a cold\nwet corpse is dead once and for\never when the pulse has stopped ;\nor as a warmed-up dish allowed\nto grow twice cold, or as a depressed\nsouffle,... a melted ice.... dead.\njg? \" It is at the outset one and the\n\" same impulse that sends a man to\n\" church and to the Theatre.\"\nWell said, Madam !... now let us\nwait and see whether two people\nshall understand that deeply enough.\nIf one of them should be a\nlegislator the People's health would\nbe restored."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c063", "article_bluemountain": "bmtnaau_1914-07_01#c063", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "89", "image_debut": 97, "image_fin": 97, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.23", "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": 97, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.97", "debut_caractere": 0, "fin_caractere_exclue": 1693, "texte": "FOREIGN NOTES.\n\nLONDON.\nR. S.\nRelative Positions.\nand Stage mingled at\n\" St James's Theatre, London,\n44 for the annual conference of the\n44 Actors' Church Union, when among\n44 others present were Sir George\n44 Alexander, Sir Herbert Tree, Mr\n44 Cyril Maude, and Miss Lilian\n44 Braithwaite.\" This is an extract\nfrom a million copy journal.\nIt must be encouraging to the\nChurch to note the amount of pro-\nminence given to its chief represen-\ntatives at the annual conference.\nOr was the Archbishop of Can-\nterbury hiding behind the modesty\nof Sir Herbert Beerbohni Tree?....\nand lurked there a Bishop apiece in\nthe shadows of Sir George Alexander,\nand Mr Cyril Maude ? Who knows!\nJZ? If so our contemporary, generally\nalways on the spot, missed its op-\nportunity.\n\nINDIA.\nG. W.\nMr A. Dewan Bahadur is a wonder!\nIn an article which escaped\nhim lately he gives us one or\ntwo glimpses oi the ancient Indian\n44 Drama as it was.\" That is the\ntitle of his escapade: but the cata»\nstrophe is at the end where, in a\nburst of confidence and conviction,\nhe cries, 44 There can be no doubt\n44 that the modern dramatic per=\n44 formances are far superior to those\n44 outlined above and \" (here one\nmust get ready!) 44 that progress in\n44 the art is a matter for sincere\n44 gratification.\"\nIsn't that the kind of lovely bit\nwhich doubles one up with deli-\nciously painful bursts of fearful\nlaughter.\n& Poor old Bahadur! I would like to\nsee him playing football,... preferably\ndangerous football.\nOne does love these sort of dashing\nspirits,... The colour of it!\nKrishna and all your warriors.\nRadha and all thy maidens, ...what\na hero, what a pet you would have\nmade of little Mr Bahadur.\nPuss ! puss ! puss !"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c065", "article_bluemountain": "bmtnaau_1914-07_01#c065", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "89", "image_debut": 97, "image_fin": 97, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.23.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 97, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.97", "debut_caractere": 16, "fin_caractere_exclue": 761, "texte": "LONDON.\nR. S.\nRelative Positions.\nand Stage mingled at\n\" St James's Theatre, London,\n44 for the annual conference of the\n44 Actors' Church Union, when among\n44 others present were Sir George\n44 Alexander, Sir Herbert Tree, Mr\n44 Cyril Maude, and Miss Lilian\n44 Braithwaite.\" This is an extract\nfrom a million copy journal.\nIt must be encouraging to the\nChurch to note the amount of pro-\nminence given to its chief represen-\ntatives at the annual conference.\nOr was the Archbishop of Can-\nterbury hiding behind the modesty\nof Sir Herbert Beerbohni Tree?....\nand lurked there a Bishop apiece in\nthe shadows of Sir George Alexander,\nand Mr Cyril Maude ? Who knows!\nJZ? If so our contemporary, generally\nalways on the spot, missed its op-\nportunity."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c066", "article_bluemountain": "bmtnaau_1914-07_01#c066", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "89", "image_debut": 97, "image_fin": 97, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.23.3", "titre_corps": "INDIA", "titre_sommaire": "INDIA", "signature_source": "G. W", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 97, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.97", "debut_caractere": 763, "fin_caractere_exclue": 1693, "texte": "INDIA.\nG. W.\nMr A. Dewan Bahadur is a wonder!\nIn an article which escaped\nhim lately he gives us one or\ntwo glimpses oi the ancient Indian\n44 Drama as it was.\" That is the\ntitle of his escapade: but the cata»\nstrophe is at the end where, in a\nburst of confidence and conviction,\nhe cries, 44 There can be no doubt\n44 that the modern dramatic per=\n44 formances are far superior to those\n44 outlined above and \" (here one\nmust get ready!) 44 that progress in\n44 the art is a matter for sincere\n44 gratification.\"\nIsn't that the kind of lovely bit\nwhich doubles one up with deli-\nciously painful bursts of fearful\nlaughter.\n& Poor old Bahadur! I would like to\nsee him playing football,... preferably\ndangerous football.\nOne does love these sort of dashing\nspirits,... The colour of it!\nKrishna and all your warriors.\nRadha and all thy maidens, ...what\na hero, what a pet you would have\nmade of little Mr Bahadur.\nPuss ! puss ! puss !"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c067", "article_bluemountain": "bmtnaau_1914-07_01#c067", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "92", "image_debut": 98, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.24", "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": 98, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.98", "debut_caractere": 0, "fin_caractere_exclue": 1974, "texte": "EDITORIAL NOTES.\n\nGORDON CRAIG S DESIGNS.\nDetween the 6th and the 29th oi\nJuly a private sale oi some of\nthe designs of Mr Gordon Craig is\nbeing held by members of the School\nfor the Art of the Theatre at\ntheir London offices, 7 John Street,\nAdelphi. (1) We reprint below the\nPreface from the Catalogue issued.\n& 44 The School for the Art of the\n44 Theatre needs money.\n£? 44 The funds at present at Its\n44 disposal are quite inadequate for\n44 the maintenance, and still less\n44 for the development and extension,\n44 of the work.\n44 It is to raise additional funds\n44 that this sale of pictures is being\n44 held. These pictures have been\n44 presented to the School by Mr Cra ig\n44 that they may be sold on its behalf,\n44 and we feel that those who know\n44 under what difficulties our Di»\n44 rector has carried on his work\n(1; Admission is by invitation ti;ket only. Any reader\nof The Mask, anxious for an opportunity oi purchasing\nsome of the designs, and not having already received a\ncard, can obtain one by writing to the Secretary at\nthe above address.\n\" during many years wili appreciate\n\" this one more generous effort\n41 which he makes for the advantage\n\" of an organization which owes its\n\" inception to him, and will co«\n\" operate so heartily in the scheme\n\" that the School may receive to\n\" the full the benefit of this gift.\"\n& Such is the statement issued by\nthe members of the School.\nThey are not, as you see, asking\nfor anything for nothing and hope\nthat they are proposing a fair\nexchange.\n\nMr ROCKEFELLER & GOOD\nHEALTH.\nMr John D. Rockefeller, although\nby no means a rich man, manages\nto be generous towards Medical\nResearch, and has by a recent gift\nof 500,000 pounds sterling brought\nthe total of his assistance to this\n*\ncause to 25,000,000 pounds sterling.\nJS> We don't care much for the idea\nof a man who amasses wealth even\nby selling oil in the glib way of\nstandardism, but, by Jove, a twenty\nmillion gift to a great cause Is a\ngreat way of behaving."}, {"page_pdf": 99, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.99", "debut_caractere": 20, "fin_caractere_exclue": 2252, "texte": "Medical Research is a great cause,\n#\nand let the search be thorough and\nit will undoubtedly lead to a truth\nof which we are fond of reminding\nour readers.\n& Research of this kind too often\nleads to the worship of the God of\nMedicines and a doctor disguised as\nsuch, whereas it is the God of Health\nwhom we must worship. His priests\nare certainly serious doctors, but\nalso serious artists.... scientists....\ndivines.... statesmen. Most of all\nserious artists.\n& For healing, as Napoleon reminded\nhis Doctor Antommarchi atSt Helena,\nconsists 44onIy in lulling, calming the\nimagination and he added 44 that\nis the reason why the ancients\ndressed up in robes and adopted\nimposing costume.\"\nHe warms to the idea and says\nfurther: 44 that costume you have\nunadvisedly abandoned, and in doing\nso you have exposed the imposture\nof Galen,\" and adds that, should\nAntommarchi appear to him in the\nreal outfit of a doctor, who knows\nwhether he would not cure him at\nonce by impressing him as being\nthe God of Health instead of the\nGod of Medicines.\nThe Stage then,... what a house\nof Cure it is already; but what a\nhouse of Health it might be!\n& Even Mr Barker, our London\ndisciple, realised before it was too\nlate that to inspire an audience all\nthe wisdom of Shakespeare was not\nenough; it needed the beauty of\ndress,... and he commenced to de=\ncorate Shakespeare.\nBut even that is not enough.\nThe Stage can do better than that.\nIt can ;... and some day the legis-\nlators will see to It that it does...\nrevive the health of the nation,\njg? It will do this through the appeal\nto the nation's eye and its ear.\nWe have said this for years; it\nmust be repeated.\n£? Mr Rockefeller should not exclude\nthe stage from the service it alone\ncan render in the cause of national\nHealth.\n& But the stage is a difficult ser-\nvant... to any but a genial master.\n\nSTREET SINGERS, OLD AND\nNEW.\n|\"Vne of our contemporaries prints\nthe following:\njg? \" An amusing little comedy took\n\" place the other day in the Rue des\n44 Italiens, which is very rarely en=\n44 cumbered by traffic and is there-\n44 fore the haunt of the familiar\n44 itinerant musicians who draw\n44 little crowds of midinettes and\n44 other employes around them. A\n44 well-known Parisian journalist"}, {"page_pdf": 100, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.100", "debut_caractere": 74, "fin_caractere_exclue": 2111, "texte": "44 stopped to listen to one of these\n\" musicians who was trying to sing\n44 a popular French romance. His\n44 singing was not of the best and\n44 jarred on the journalist's ears. He\n\" went up to the singer and said to\n44 him, \" Give me the paper, my\n44 friend ! I will show you how those\n44 beautiful verses should be sung.\"\n44 He sung a couple of verses and\n\" was loudly encored by his audience\n41 and finally gave back the song to\n*\n44 its owner and made- a collection,\n'• and handed to the somewhat sur-\n44 prised musician 4frs. 50c., a sum\n44 he hud collected before.\"\nBut it never occurred to the\njournalist that a street song too\nwell sung nowadays would be out\nof place.\n& The old street singers had to\nappeal as artists in the old days....\nor be stoned for singing badly.\nToday a street singer must sing\nbadly or he is not44 pathetic\" enough.\nToday the crowd pays his poverty,\nand the more broken he is the more\nthey are 44 touched.\"\n& Every bad street singer Is a\nscathing criticism on modern sen-\ntimentality and ignorance.\n44 I will show you how those\nbeautiful verses should be sung.\"\nOh, oh,-oh!... as if he did not\nknow it before Abraham was.\nJS? ....Some thing quickly, to wash\ndown the.... damnation.\nTHE MUSEE CARNAVALET.\nTThe portrait of the celebrated\nPierrot, Debureau, given in this\nnumber of The Mask,in reproduced\nby the courtesy of the Curator of\nthe Musee Carnavalet, Paris, where\nthe original picture Is preserved.\n& This is one of the museums which\nis as charming as it is important,\ngraceful in its delicious Theatrical\ncollection, (i)\n(1) We bope be'ore long to publish some account ot this\ncollection in The Mask.\n\nA WORTHY CELEBRATION.\nJ. S.\nlearn that Sir Herbert\nBeerbohm Tree, entrusted with\nthe organization of the festival\nperformances to take place in 1916\nto commemorate the Tercentenary\nof the death of Shakespeare, has\nInvited Professor Reinhardt to share\nthe work, and the invitation has\nbeen accepted.\nNothing could be more fitting\nthan to choose this way of celebra-\nting the Death of Shakespeare!"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c069", "article_bluemountain": "bmtnaau_1914-07_01#c069", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "90", "image_debut": 98, "image_fin": 98, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.24.2", "titre_corps": "GORDON CRAIG'S DESIGNS", "titre_sommaire": "GORDON CRAIG'S DESIGNS", "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": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.98", "debut_caractere": 18, "fin_caractere_exclue": 1505, "texte": "GORDON CRAIG S DESIGNS.\nDetween the 6th and the 29th oi\nJuly a private sale oi some of\nthe designs of Mr Gordon Craig is\nbeing held by members of the School\nfor the Art of the Theatre at\ntheir London offices, 7 John Street,\nAdelphi. (1) We reprint below the\nPreface from the Catalogue issued.\n& 44 The School for the Art of the\n44 Theatre needs money.\n£? 44 The funds at present at Its\n44 disposal are quite inadequate for\n44 the maintenance, and still less\n44 for the development and extension,\n44 of the work.\n44 It is to raise additional funds\n44 that this sale of pictures is being\n44 held. These pictures have been\n44 presented to the School by Mr Cra ig\n44 that they may be sold on its behalf,\n44 and we feel that those who know\n44 under what difficulties our Di»\n44 rector has carried on his work\n(1; Admission is by invitation ti;ket only. Any reader\nof The Mask, anxious for an opportunity oi purchasing\nsome of the designs, and not having already received a\ncard, can obtain one by writing to the Secretary at\nthe above address.\n\" during many years wili appreciate\n\" this one more generous effort\n41 which he makes for the advantage\n\" of an organization which owes its\n\" inception to him, and will co«\n\" operate so heartily in the scheme\n\" that the School may receive to\n\" the full the benefit of this gift.\"\n& Such is the statement issued by\nthe members of the School.\nThey are not, as you see, asking\nfor anything for nothing and hope\nthat they are proposing a fair\nexchange."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c070", "article_bluemountain": "bmtnaau_1914-07_01#c070", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "91", "image_debut": 98, "image_fin": 99, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.24.3", "titre_corps": "Mr ROCKEFELLER & GOOD HEALTH", "titre_sommaire": "Mr ROCKEFELLER & GOOD HEALTH", "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": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.98", "debut_caractere": 1507, "fin_caractere_exclue": 1974, "texte": "Mr ROCKEFELLER & GOOD\nHEALTH.\nMr John D. Rockefeller, although\nby no means a rich man, manages\nto be generous towards Medical\nResearch, and has by a recent gift\nof 500,000 pounds sterling brought\nthe total of his assistance to this\n*\ncause to 25,000,000 pounds sterling.\nJS> We don't care much for the idea\nof a man who amasses wealth even\nby selling oil in the glib way of\nstandardism, but, by Jove, a twenty\nmillion gift to a great cause Is a\ngreat way of behaving."}, {"page_pdf": 99, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.99", "debut_caractere": 20, "fin_caractere_exclue": 1856, "texte": "Medical Research is a great cause,\n#\nand let the search be thorough and\nit will undoubtedly lead to a truth\nof which we are fond of reminding\nour readers.\n& Research of this kind too often\nleads to the worship of the God of\nMedicines and a doctor disguised as\nsuch, whereas it is the God of Health\nwhom we must worship. His priests\nare certainly serious doctors, but\nalso serious artists.... scientists....\ndivines.... statesmen. Most of all\nserious artists.\n& For healing, as Napoleon reminded\nhis Doctor Antommarchi atSt Helena,\nconsists 44onIy in lulling, calming the\nimagination and he added 44 that\nis the reason why the ancients\ndressed up in robes and adopted\nimposing costume.\"\nHe warms to the idea and says\nfurther: 44 that costume you have\nunadvisedly abandoned, and in doing\nso you have exposed the imposture\nof Galen,\" and adds that, should\nAntommarchi appear to him in the\nreal outfit of a doctor, who knows\nwhether he would not cure him at\nonce by impressing him as being\nthe God of Health instead of the\nGod of Medicines.\nThe Stage then,... what a house\nof Cure it is already; but what a\nhouse of Health it might be!\n& Even Mr Barker, our London\ndisciple, realised before it was too\nlate that to inspire an audience all\nthe wisdom of Shakespeare was not\nenough; it needed the beauty of\ndress,... and he commenced to de=\ncorate Shakespeare.\nBut even that is not enough.\nThe Stage can do better than that.\nIt can ;... and some day the legis-\nlators will see to It that it does...\nrevive the health of the nation,\njg? It will do this through the appeal\nto the nation's eye and its ear.\nWe have said this for years; it\nmust be repeated.\n£? Mr Rockefeller should not exclude\nthe stage from the service it alone\ncan render in the cause of national\nHealth.\n& But the stage is a difficult ser-\nvant... to any but a genial master."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c071", "article_bluemountain": "bmtnaau_1914-07_01#c071", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "92", "image_debut": 99, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.24.4", "titre_corps": "STREET SINGERS, OLD AND NEW", "titre_sommaire": "STREET SINGERS, OLD AND NEW", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.99", "debut_caractere": 1858, "fin_caractere_exclue": 2252, "texte": "STREET SINGERS, OLD AND\nNEW.\n|\"Vne of our contemporaries prints\nthe following:\njg? \" An amusing little comedy took\n\" place the other day in the Rue des\n44 Italiens, which is very rarely en=\n44 cumbered by traffic and is there-\n44 fore the haunt of the familiar\n44 itinerant musicians who draw\n44 little crowds of midinettes and\n44 other employes around them. A\n44 well-known Parisian journalist"}, {"page_pdf": 100, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.100", "debut_caractere": 74, "fin_caractere_exclue": 1714, "texte": "44 stopped to listen to one of these\n\" musicians who was trying to sing\n44 a popular French romance. His\n44 singing was not of the best and\n44 jarred on the journalist's ears. He\n\" went up to the singer and said to\n44 him, \" Give me the paper, my\n44 friend ! I will show you how those\n44 beautiful verses should be sung.\"\n44 He sung a couple of verses and\n\" was loudly encored by his audience\n41 and finally gave back the song to\n*\n44 its owner and made- a collection,\n'• and handed to the somewhat sur-\n44 prised musician 4frs. 50c., a sum\n44 he hud collected before.\"\nBut it never occurred to the\njournalist that a street song too\nwell sung nowadays would be out\nof place.\n& The old street singers had to\nappeal as artists in the old days....\nor be stoned for singing badly.\nToday a street singer must sing\nbadly or he is not44 pathetic\" enough.\nToday the crowd pays his poverty,\nand the more broken he is the more\nthey are 44 touched.\"\n& Every bad street singer Is a\nscathing criticism on modern sen-\ntimentality and ignorance.\n44 I will show you how those\nbeautiful verses should be sung.\"\nOh, oh,-oh!... as if he did not\nknow it before Abraham was.\nJS? ....Some thing quickly, to wash\ndown the.... damnation.\nTHE MUSEE CARNAVALET.\nTThe portrait of the celebrated\nPierrot, Debureau, given in this\nnumber of The Mask,in reproduced\nby the courtesy of the Curator of\nthe Musee Carnavalet, Paris, where\nthe original picture Is preserved.\n& This is one of the museums which\nis as charming as it is important,\ngraceful in its delicious Theatrical\ncollection, (i)\n(1) We bope be'ore long to publish some account ot this\ncollection in The Mask."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c072", "article_bluemountain": "bmtnaau_1914-07_01#c072", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "92", "image_debut": 100, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.24.5", "titre_corps": "A WORTHY CELEBRATION", "titre_sommaire": "A WORTHY CELEBRATION", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.100", "debut_caractere": 1716, "fin_caractere_exclue": 2111, "texte": "A WORTHY CELEBRATION.\nJ. S.\nlearn that Sir Herbert\nBeerbohm Tree, entrusted with\nthe organization of the festival\nperformances to take place in 1916\nto commemorate the Tercentenary\nof the death of Shakespeare, has\nInvited Professor Reinhardt to share\nthe work, and the invitation has\nbeen accepted.\nNothing could be more fitting\nthan to choose this way of celebra-\nting the Death of Shakespeare!"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c074", "article_bluemountain": "bmtnaau_1914-07_01#c074", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "image_debut": 101, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.25", "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": 101, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 596, "texte": "THE GO L DON I BOOKS.\nSKETCH BOOKS, DRAWING BOOKS, PAINTING BOOKS AND\nWRITING BOOKS, FOR ARTISTS, WRITERS AND LADIES.\nd? 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. &&\n& The 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 uncumbersome to the nicest\nhand. \" JZ?\nWrite for particulars to The Mask Publishers,\nARENA GQLD O N I, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c075", "article_bluemountain": "bmtnaau_1914-07_01#c075", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "image_debut": 101, "image_fin": 101, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.26", "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": 101, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.101", "debut_caractere": 598, "fin_caractere_exclue": 1238, "texte": "THE MOSHER BOOKS.\nTTHE special literary value of mv 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-date bookcraft. All\npossible value has been put into these books by their publisher; so that\nto-day they are the only style of genuine hand-made paper editions at\npopular prices in America.\n& Sent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c076", "article_bluemountain": "bmtnaau_1914-07_01#c076", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 102, "image_fin": 102, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.27", "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": 102, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.102", "debut_caractere": 0, "fin_caractere_exclue": 1534, "texte": "POETRY AND DRAMA\nI III III M III -- ■inra.w im ■ ■■■■»■■■»*\n%\nMr Harold Monro, founder and first editor, during 19*2, of The Poetry\nReview, who was also responsible for the foundation of the Poetry\nBookshop In 1913, is now editing, under the above title, a quarterly\nperiodica! of which the Interests are exclusively devoted to the combined\nstudy and appreciation of poetry and the art of the drama,\nTHE OBJECTS OF \"POETRY AND DRAMA\" ARE...\n(1) To represent, according to the verdict of an impartial\njudgment, the best English verse of the time.\n(2) To publish genera! articles of criticism and appreciation\nsuch as may stimulate and maintain public interest\nin the poetry of all times,\n(3) To conduct a comprehensive survey of current English\npoetry together with occasional chronicles on foreign\npoetry such as may enable the English public to\n»,,\nmaintain an Interest in the developments of literature\nall over the world.\n(4) To represent and criticise dramatic poetry, and to\nchronicle the progress and vicissitudes of the art of\nthe drama.\n* !\n(5) To keep the public generally informed, by means of\nnotes and comments, in all the poetic and dramatic\nmovements of the time, their origin, progress, ten-\ndencies or results.\nPoetry and Drama may be obtained through all booksellers and news-\nagents, or direct from the Poetry Bookshop. The price per copy is2j6 net,\npostage 3d. Free specimen copies are not supplied. The annual subscription\nis IOJ6 post free to all countries.\nADDRESS. 35 Devonshire St. Theobald's Rd. London. W. C."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c077", "article_bluemountain": "bmtnaau_1914-07_01#c077", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "95", "image_debut": 103, "image_fin": 103, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.28", "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": 103, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.103", "debut_caractere": 0, "fin_caractere_exclue": 720, "texte": "TWO BOOKS ON THE THEATRE,\nby Edward Gordon Craig.\nON THE ART OF THE THEATRE.\nHEINEMANN 1911.\n/\nTOWARDS A NEW THEATRE.\nDENT. 1512.\nAFTER THE PRACTICE THE THEORY\n\" Most people begin with theory, and go on... if they go on... to carry\ntheir theory into practice. Mr. Gordon Craig has done a better\nthing, and, having begun by creating a new Art of ike 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 do. „\nARTHUR SYMONS in •' STUDIES IN SEVEN ARTS. \"\nMRNMRNNFTRMMRWIW—TRMNTRHMMRMMT-ITWRAIN—■■■—■■NIIW I MMIW HIBUI I M in ■■■ » HIIIMI— ■ i ■MR■■ -——T Nr ■ ■ 'I »\nORDER THROUGH ANY BOOKSELLER."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c078", "article_bluemountain": "bmtnaau_1914-07_01#c078", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "95", "image_debut": 103, "image_fin": 103, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 103, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.103", "debut_caractere": 722, "fin_caractere_exclue": 971, "texte": "FOR THE CHILDREN.\n\"Ein Rleines Buch\nTwenty wood engravings and twenty\n& verses by Fritz Endell, &\n*\nThere are only one Hundred and Twenty\n4\ncopies of this book, all are hand-coloured\nby the artist. £>\n£? Order from Fritz Endell, 12, Munchen. &\n% •\nt"}]}, {"article_id": "bm-bmtnaau-1914-07-01-c079", "article_bluemountain": "bmtnaau_1914-07_01#c079", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "image_debut": 104, "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=bmtnaau191407-01.2.30", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 104, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.104", "debut_caractere": 393, "fin_caractere_exclue": 675, "texte": "SOUV ENIR.\nA CIS & OALA TEA.\nMASQUE OF LO VE\nby Gordon Craig.\nmmmmmemmmmmmmammmmmmammmmmmmmmmmammmmnammmmammmtmmmm\nA few copies of this \" Souvenir\nissued in 1902, and now extremely\nrare, may be procured from\nTHE MASK PUBLISHERS\nArena Goldoni. Florence. Italy.\nWRITE FOR PARTICULARS."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c080", "article_bluemountain": "bmtnaau_1914-07_01#c080", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "image_debut": 104, "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=bmtnaau191407-01.2.31", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 104, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.104", "debut_caractere": 677, "fin_caractere_exclue": 821, "texte": "A VERY RARE PUBLICATION.\nTWO PORTFOLIOS\nOF ETCHINGS\nby Gordon Craig.\nSEND FOR PROSPECTUS\nTO \" THE MASK \" PUBLISHERS,\n■»\nARENA GOLDONI, FLORENCE."}]}, {"article_id": "bm-bmtnaau-1914-07-01-c081", "article_bluemountain": "bmtnaau_1914-07_01#c081", "volume": "bmtnaau_1914-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "96", "image_debut": 104, "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=bmtnaau191407-01.2.32", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 104, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.104", "debut_caractere": 823, "fin_caractere_exclue": 1136, "texte": "A LIVING THEATRE\nPRICE ONE SHILLING NET.\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nRe ceni I y\nPublished.\n*\nSecond Edition Now Ready.\nOrder through any Bookseller, or from\nThe Society of The Theatre.\n7, John St Ade1 p h I. London.\nor direct from\nARENA GOLDONI, FLORENCE, ITALY."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.1", "texte": "A QUARTERLYJO OF\nTHE ART OF THE THEATRE\nVolumeSeven. NumberOne.\nJULY\n1 9 1 4\nARENA GOLDONI\nFLORENCE\nITALY\n>\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS.\nSINGLE COPY PRICE FOUR SHILLINGS NET. &\nTRADE AGENTS.\nS IMPK I N, MARSHALL, HAMILTON, KENT & CO. LONDON."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.2", "texte": "T HE MASK. JULY 1914-\n■HThe Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated.\n£/All possible care will be taken, but he cannot hold himself responsible for the\naccidental loss of MSS. These must In every case be accompanied by a stamped and\naddressed envelope as otherwise they cannot be returned.\n& Communications should be addressed to the Arena Ooldoni. Florence. Italy.\nv.- . £ v ■ _ * i r> • .\n\nLITERARY CONTENTS.\nA WORD ABOUT SCHOPENHAUER & THE\nFEMINIST MOVEMENT. . . . . John Semar I.\nON WOMEN Schopenhauer 2.\nSOME LINES ON WOMEN Lord Byron. . . • . .15.\nON POETS, ACTORS, & THE NEED OF MASTERS. Yoo-no-hoo 17.\nTHE BEAUTIFUL THE SERVANT OF THE TRUE. Victor Hugo. . . . .23.\nPUPPETS IN FRANCE. \" Yorick \". (P. Ferrigni) . . 26.\nPADRE POZZO & HIS ARCHITECTURAL DESIGNS John Semar 39.\nSOME INSTRUCTIONS FOR STAGE SCENES. . Padre Pozzo, 1644-1709). . . 43-\nTHE BETRAYED. A Scenario Early Italian 53-\nTHE PIN & ITS PEDIGREE. ... . Anon 58.\nBARTHOLOMEW FAIR. 1721 * 64.\nUPON SEVERAL THINGS John Balance 65.\nJEAN GASPARD DEBUREAU Jules Champfleury, with an In-\ntroductory word by Pierre\nRamds 69.\nGORDON CRAIG'S BOOK \" ON THE ART OF\nTHE THEATRE. \" Some Opinions .75.\nBOOK REVIEWS, FOREIGN NOTES, EDITORIAL NOTES.\nr\n\nILLUSTRATIONS.\nTWO DRAWINGS OF SIR HENRY IRVING. . Paul Renouard. . Frontispiece and\nFace 18.\nFOUR FULL PAGE PLANS FOR THEATRE\nSCENES Padre Pozzo. . . 41, 45, 47, 51.\nBARTHOLOMEW FAIR From an old Fan. . Face 64.\nJEAN GASPARD DEBUREAU Face 72.\nHead and Tale Pieces and Initial Letters by Gordon Craig, Julius Oliver, and from\nold Designs."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.4", "texte": "Sir Henry Irving by Paul Renouard.\n\nTHE MASK\nApril 1914"}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.5", "texte": "A WORD ABOUT SCHOPENHAUER AND THE\nFEMINIST MOVEMENT\nby John Semar.\n\neiieving that a serious article by an eminent writer\nwould be welcome at this time upon what is known\nas the 44 Feminist Movement and looking down\nour list of contributors, we come across the name\nof Herr Schopenhauer.\nj&7 Although this author is beginning to be heard\nof, his writings are seldom read, and, indeed, many\nfind it difficult to know where to put their hand\nupon his essays.\nHerr Schopenhauer explains here many things which we do npt know,\nor which, at any rate, it is good for us to be reminded of; and he ex«\nplains without being funny or vulgar.\n& There was what appeared to be a grave strike in Florence the other\nday, and the whole city seemed paralysed for a moment.\n& After a few hours had passed the citizens realized that it was not\norder but disorder that the Socialists were trying to create ; and, on\nrealising this, they reopened their shops, and workshops without\na moment's delay.\nThe fact of so many hours being great credit upon\nthese citizens for allowing it to be presumed that there might be some\ngrievance; and, like Mr Max Beerbohm and his famous Duke, they gave\nthe city an hour's grace. Having given it an hour's grace they clubbed\nits head and went on with the work.\n& Women all the world over have been in the like position just lately.\nA group has arisen protesting that it wanted to put things in order."}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.6", "texte": "ON WOMEN. &\n\nWomen all the world over liave just discovered that this group\nwanted to put things in disorder. They are now about to club these\nwomen's heads, and will then proceed with their work.\nJZ? Herr Schopenhauer's essay is one which they will not all endorse,\nor, in fact, read: but one can fancy them saying, if you want to dis-\n\" course on the subject at all this statement is pretty well in its way,\n\" and in any case we prefer it to that by Mr Popuny, the famous\n\" up=»to=datist, or to the one by that celebrated mischief-maker who\n\" was obliged to wriggle on his stomach before he could persuade any\n\" one that good fruit was good to eat. \" ,\n\nON WOMEN. An Essay\nby Schopenhauer.\nhese few words of Jouy, Sans les femines\ncommencement de noire vie seroit prive de\nsecours, le milieu de piaisirs et la fin de\nconsolation, more exactly express, in my opinion,\nthe true praise of woman than Schiller's poem,\nWiirde der Frauen, which is the fruit of much\ncareful thought and impressive because of Its an-\ntithesis and use of contrast. The same thing is\nmore pathetically expressed by Byron in Sardanapalus, Act i., Sc. 2:\n\" The very first\nOf human life must spring from .woman's breast,\nYour first small words are taught you from her lips,\nYour,first tears quench'd by her, and your last sighs\nToo often breathed out in a woman's hearing,\nWhen men have shrunk from the ignoble care\nOf watching the last hour of him who led them.\"\nBoth passages show the right point of view for the appreciation of\nwomen.\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.7", "texte": "ON WOMEN. &\n\nOne need only look at a woman's shape to discover that she is not\nIntended for either too much mental or too much physical work. She\npays the debt of life not by what she does but by what she suffers... by\nthe pains of childbearing, care for the child, and by subjection to man,\nto whom she should be a patient and cheerful companion. The greatest\nsorrows and joys or great exhibition of strength are not assigned to\nher; her life should flow more quietly, more gently, and less obtrusively\nthan man's, without her being essentially happier or unhappier.\n.\n-yyomen are directly adapted to act as the nurses and educators of our\nearly childhood, for the simple reason that they themselves are\nchildish, foolish, and short=sighted... in a word, are big children all their\nlives, something intermediate between the child and the man, who is a\nman in the strict sense of the word. Consider how a young girl will toy\nday after day with a child, dance with it and sing to it; and then consider\nwhat a man, with the very best intentions in the .world, could do In\nher place.\nWith\ngirls, Nature has had in view what is called in a dramatic sense\na \" striking effect,\" for she endows them for a few years with a\nrichness of beauty and a fulness of charm at the expense of the rest of\ntheir lives; so that they may during these years ensnare the fantasy of\na man to such a degree as to make him rush into taking the honourable\ncare of them, in some kind of form, for a lifetime... a step which would\nnot seem sufficiently justified if he only considered the matter. Accor-\ndingly, Nature has furnished woman, as she has the rest of her creatures,\nwith the weapons and implements necessary for the protection of her\nexistence and for just the length of time that they will be of service to\nher; so that Nature has proceeded here with her usual economy. Just\nas the female ant after coition loses her wings, which then become\nsuperfluous, nay, dangerous for breeding purposes, so for the most part\ndoes a woman lose her beauty after giving birth to one or two children;\nand probably for the same reasons.\n& Then again we find that young girls in their hearts regard their\ndomestic or other affairs as secondary things, if not as a mere jest. Love,"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.8", "texte": "& ON WOM. &\n\nconquests, and all that these include, such as dressing, dancing, and so\non, they give their serious attention.\nnphe nobler and more perfect a thing is, the later and slower is it In\nreaching maturity. Man reaches the maturity of his reasoning and\nmental faculties scarcely before he is eight-and-twenty; woman when\nshe Is eighteen; but hers is reason of very narrow limitations. This is\nwhy women remain children all their lives, for they always see only\nwhat is near at hand, cling to the present, take the appearance of a\nthing for reality, and prefer trifling matters to the most important. It\nis by virtue of man's reasoning powers that he does not live in the\npresent only, like the brute, but observes and ponders over the past\nand future; and from this spring discretion, care, and that anxiety which\nwe so frequently notice in people. The advantages, as well as the disad-\nvantages, that this entails, make woman, in consequence of her weaker\nreasoning powers, less of a partaker in them. Moreover, she Is intel-\nlectually short-sighted, for although her intuitive understanding quickly\nperceives what is near to her, on the other hand her circle of vision is\nlimited and does not embrace anything that is remote; hence everything\nthat is absent or past, or in the future, affects women in a less degree\nthan men. This is why they have greater inclination for extravagance,\nwhich sometimes borders on madness. Women in their hearts think that\nmen are intended to earn money so that they may spend It, if possible\nduring their husband's lifetime, but at any rate after his death.\n& As soon as he has given them his earnings on which to keep house\nthey are strengthened in this belief. Although all this entails many\ndisadvantages, yet it has this advantage... that -a woman lives more in\nthe present than a man, and that she enjoys it more keenly if it is at\nall bearable. This Is the origin of that cheerfulness which is peculiar to\nwoman and\" makes her fit to divert man, and in case of need, to console\nhim when he is weighed down by cares. To consult women in matter of\ndifficulty, as the Germans used to do in old times, is by no means a\nmatter to be overlooked; for their way of grasping a thing is quite\ndifferent from ours, chiefly because they like the shortest way to the\npoint, and usually keep their attention fixed upon what lies nearest;"}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.9", "texte": "& ON WOMEN.\n\nwhile we, as a rule, see beyond it, (or the simple reason that It lies\nunder our nose; it then becomes necessary for us to be brought back to\nthe thing in order to obtain a near and simple view. This is why women\nare more sober In their judgment than we, and why they see nothing\nmore In things than is really there; while we, if our passions are roused,\nslightly exaggerate or add to our imagination.\n& It is because women's reasoning powers are weaker that they show\nmore sympathy for the unfortunate than men, and consequently take a\nkindlier Interest in them. On the other hand, women are inferior to men\nin matters of justice, honesty, and conscientiousness. Again, because\ntheir reasoning faculty Is weak, things clearly visible and real, and\nbelonging to the present, exercise a power over them which Is rarely\ncounteracted by abstract thoughts, fixed maxims, or firm resolutions, in\ngeneral, by regard for the past and future or by consideration for what\nIs absent and remote. Accordingly they have the first and principal\nqualities of virtue, but they lack the secondary qualities which are often\na necessary instrument in developing it. Women may be compared in\nthis respect to an organism that has a liver but no gall-bladder, (i) So\nthat it will be found that the fundamental fault in the character of\nwomen is that they have no \"sense of This arises from their\ndeficiency in the power of reasoning already referred to, and reflection,\nbut Is also partly due to the fact that Nature has not destined them, as\nthe weaker sex, to be dependent on strength but on cunning; this is\nwhy they are instinctively crafty, and have an Ineradicable tendency to\nlie. For as lions are furnished with claws and teeth, elephants with\ntusksj boars with fangs, bulls with horns, and the cuttlefish with its\ndark, inky fluid, so Nature has provided woman for her protection and\ndefence with the faculty of dissimulation, and ail the power which Nature\nhas given to man in the form of bodily strength and reason has been\nconferred on woman in this form. Hence, dissimulation Is innate in\nwoman and almost as characteristic of the very stupid as of the clever.\nAccordingly, it is as natural for women to dissemble at every opportunity\nas it is for those animals to turn to their weapons when they are\nattacked; and they feel in doing so that in a certain measure they are\n\n(I) Let me refer to what 1 have said in my treatise on \" The Foundation of Morals,\" 71."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.10", "texte": "& ON WOMEN.\n\nonly making use of their rights. Therefore a woman who is - perfectly\ntruthful and does not dissemble is perhaps an impossibility. This is why\nthey see through dissimulation in others so easily; therefore it is not\nadvisable to attempt it with them. From the fundamental defect that\nhas been stated, and ali that it involves, spring falseness, faithlessness,\ntreachery, ungratefulness, and so on. In a court of justice women are\nmore often found guilty of perjury than men. It is indeed to be generally\nquestioned whether they should be allowed to take an oath at all. From\ntime to time there are repeated cases everywhere of ladies, who want for\nnothing, secretly pocketing and taking away things from shop counters.\nhas made It the calling of the young, strong, and handsome\nmen to look after the propagation of the human race; so that the\nspecies may not degenerate. This is the firm will of Nature, and it finds\nits expression in the passions of women. This law surpasses ali others in\nboth age and [power. Woe then to the man who sets up rights and in-\nterests in such a way as to make them stand in the way of it; for\nwhatever he may do or say, they will, at the first significant onset, be\nunmercifully annihilated. For the secret, unformulated, nay, unconscious\nbut innate moral of woman is: We are justified in deceiving those\nwho, because they care a little for us,... that is to. say for the in-\ndividual,.., imagine they have obtained rights over the species.\nThe constitution, and consequently the welfare of the species, have\nbeen put into our hands and entrusted to our care through the\nmedium of the next generation which proceeds from us ; let us\nfulfil our duties conscientiously.\nBut women are by no means conscious of this leading principle in\nabslracto, they are only conscious of it in concreto, and have no other\nway of expressing it than in the manner in which they act when the\nopportunity arrives. So that their conscience does not trouble them so\nmuch as we imagine, for in the darkest depths of their hearts they are\nconscious that in violating their duty towards the individual they have\nall the better fulfilled it towards the species, whose claim upon them\nis Infinitely greater. A fuller explanation of this matter may be found in\nvol II ch. 44, in my chief work, (Die Welt als Wille und Vorstellung)."}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.11", "texte": "j& G N WOMEN.\n\n-s? Because women in truth exist entirely for the propagation of the race\nand their destiny ends here, they live more for the species than for the\nindividual, and in their hearts take the affairs of the species more se-\nriously than those of the individual. This gives to their whole being and\ncharacter a certain frivolousness, and altogether a certain tendency\nwhich Is fundamentally different from that of man; and this it is which*\ndevelops that discord in married life which is so prevalent and almost\nthe normal state.\nIt is natural for a feeling of mere indifference to exist between men,\nbut between women it is actual enmity. This is due perhaps to the fact\nthat odium figalinum, in the case of men, is limited to their everyday\naffairs, but with women embraces the whole sex; since they have only\none kind of business. Even when they meet in the street, they look at\neach other like Guelphs and Ghibellines. And it is quite evident when\ntwo women first make each other's acquaintance that they exhibit more\nconstraint and dissimulation than two men placed in similar circumstances.\nThis is why an exchange of compliments between two women is much\nmore ridiculous than between two men.\nFurther, while a man will, as a rule, address others, even those in-\nferior to himself, with a certain feeling of consideration and humanity,\nit is unbearable to see how proudly and disdainfully a lady of rank will,\nfor the most part, -behave towards one who is in a lower rank (not.\nemployed in her service) when.she speaks to her. This may be because\ndifferences of rank are much more precarious with women than with us,\nand consequently more quickly change their line of conduct and elevate\nthem, or because while a hundred things must be weighed in our case,\nthere is only one to be weighed in theirs, namely, with which man they\nhave found favour; and again, because of the one-sided nature of their\nvocation they stand in closer relationship to each other than men do ;\nand so it is they try to render prominent the differences of rank.\nIt is only the man whose intellect Is clouded by his sexual instinct that\ncould give that stunted, narrow-shouldered, broad-hipped, and short\"\nlegged race the name of the fair sex; for the entire beauty of the sex\nis based on this instinct. One would be more justified in calling them"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.12", "texte": "ON WOME\n\nthe anaesthetic sex than the beautiful. Neither for music, nor for fine\nart have they any real or true sense and susceptibility, and It is mere\nmockery on their part, in their desire to please, if they affect any\nsuch thing.\nThis makes them incapable of taking a purely objective interest in\nanything, and the reason for it is, I fancy, as follows. A man strives to\nget direct mastery over things either by understanding them or by\ncompulsion. But a woman is always and everywhere driven to indirect\nmastery, namely through a man; all her direct mastery being limited\nto him alone. Therefore it lies in woman's nature to look upon every-\nthing only as a means for winning man, and her interest in anything\nelse Is always a simulated one, a mere roundabout way to gain her\nends, consisting of coquetry and pretence. Hence Rosseau said, \" Les\nfemmes, en general, n'aiment aucun art, ne se connoissent a\net n'ont aucun genie. (Lettre k d'Alemberi, note XX). Everyone who\ncan see through jx sham must have found this to be the case. One need\nonly watch the way they behave at a concert, the opera, or the play ;\nthe childish simplicity, for instance, with which they keep on chattering\nduring the finest passages in the greatest masterpieces. If it is true that\nthe Greeks forbade women to go to the play, they acted in a right way,\nfor they would at any rate be able to hear something. In our day it\nwould be more appropriate to substitute taceat mulier in theatro for\ntaceat mulier in ecclesia; and this might perhaps be put up in big\nletters on the curtain.\n£? Nothing different can be expected of women if It is borne in mind\nthat the most eminent of the whole sex have never accomplished any-\nthing in the fine arts that is really great, genuine, and original, or given\nto the world any kind of work of permanent value. This is most striking\nin regard to painting, the technique of which is as much within their\nreach as within ours; this is why they pursue it so industriously. Still,\nthey have not a single great painting to show, for the simple reason\nthat they lack that objectivity of mind which is precisely what is so\ndirectly a necessary in painting. They always stick to what is subjective.\nFor this reason, ordinary women have no susceptibility for painting at\nall; for natura non Facet saltum. And Huarte, in his book which has"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.13", "texte": "ON WOMEN.\n\nbeen famous from three hundred years, Examen de ingenios para les\nscienzias, contends that women do not possess the higher capabilities.\nIndividual and partial exceptions do not alter the matter; women are\nand remain, taken altogether, the most thorough and Incurable Phili-\nstines ; and because of the extremely absurd arrangement which allows\nthem to share the position and title of their husbands they are a constant\nstimulus to his ignoble ambitions. And further, It is because they are\nPhilistines that modern society, to which they give the tone, and where\nthey have sway, has become corrupted. As regards their position, one\nshould be guided by Napoleon's maxim, ;\nand regarding them in other things, Chamfort says very truly: Elles\nsont faites pour commercer avec nos faiblesses avec notre folie,\nmals non avec notre raison. II existe entre elles et les hommes\ndes sympathies d'epiderme et tres-pe de sympathie d'esprit, d'ame\net de caractere. They are the sexus sequior, the second sex in every\nrespect, therefore their weaknesses should be spared, but to treat women\nwith extreme reverence is ridiculous, and lowers us in their own eyes.\nWhen nature divided the human race into two parts, she did not cut It\nexactly through the middle! The difference between the positive and\nnegative poles, according to polarity, is not merely qualitative but also\nquantitative. And It was in this light that the ancients and people of\nthe East regarded woman ; they recognised her true position better than\nwe, with our old French Ideas of gallantry and absurd veneration, that\nhighest product of Christian-Teutonic stupidity. These ideas have only\nserved to make them arrogant and imperious, to such an extent as to\nremind one at times of the holy apes in Benares, who, in the conscious-\nness of their holiness and inviolability, think they can do anything and\neverything they please.\nIn the West, the woman, that is to say the \" lady,\" finds herself In\na fausse position; for woman, rightly named by the ancients sexus\nsequior, is by no means fit to be the object of our honour and vene-\nration, or to hold her head higher than man and to have the same rights\nas he. The consequence of this fausse position are sufficiently clear.\nAccordingly, it would be a very desirable thing if this Number Two of\nthe human race in Europe were assigned her natural position, and the"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.14", "texte": "ON WOMEN.\n\nlady-grievance got rid of, which is not only ridiculed by the whole of\nAsia, but would have been equally ridiculed by Greece and Rome.\nThe result of this would be that the condition of our social, civil, and\npolitical affairs would be incalculably improved. The SaSlc law would be\nunnecessary; It would be a superfluous truism. The European lady,\nstrictly speaking, is a creature who should not exist at ail; but there\nought to be housekeepers, and young girls who hope to become such;\nand they should be brought up not to be arrogant, but to be domesticated\nand submissive. It is exactly because there are ladies in Europe that\nwomen of a lower standing, that is to say, the larger majority of the\nsex, are much more unhappy than they are in the East.\nEven Lord Byron says (\" Letters and Papers,\" by Thomas Moore,\nvol. II, p. 399), \" Thought of the state of women under the ancient\n44 Greeks... convenient enough. Present state, a remnant of the barbarism\n44 of the cfaivalric and feudal ages... artificial and unnatural. They ought\n44 to mind home... and be well fed and clothed... but not mixed in society.\n44 Well educated, too, in religion... but to read neither poetry nor\n44 politics... nothing but books of piety and cookery. Music... drawing...\n44 dancing... also a little gardening and ploughing now and then. 1 have\n44 seen them mending the roads in Epirus with good success. Why not,\n44 as well as hay-making and milking?\"\nIn our part of the world, where monogamy Is in force, to marry means\nto halve one s rights and to double one's duties. When the laws granted\nwoman the same laws as man, they should also -have given her a\nmasculine power of reason. On the contrary, just as the privileges and\nhonours which the laws decree to women surpass what Nature has meted\nout to them, so is there a proportional decrease in tbe number of women\nwho really share these privileges; therefore the remainder are deprived\nof their natural rights in so far as the others have been given more than\nNature accords. For the unnatural position of privilege which the insti-\ntution of monogamy, and the laws of marriage which accompany it,\nassign to the woman, whereby she is regarded throughout as a full\nequivalent of the man, which she is not by any means, cause intelligent\nand prudent men to reflect a great deal before they make so great a"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.15", "texte": "& ON VS OMEN. &\n\nsacrifice and consent to so unfair an arrangement. Therefore, whilst\namong polygamous nations every woman finds maintenance, where mo~\nnogamy exists the number of married women is limited, and a countless\nnumber of women who are without support remain over; those in the\nupper classes vegetate as useless old maids, those in the lower are\nreduced to very hard work of a distasteful nature, or become prostitutes,\nand lead a life which is as joyless as it is void of honour. But under\nsuch circumstances they become a necessity to the masculine sex; so\nthat their position is~open!y recognised as a special means for protecting\nfrom seduction those other women favoured by fate either to have found\nhusbands, or who hope to find them. In London alone there are 80,000\nprostitutes. (1) Then what are these women who have come too quickly\nto this most terrible end but human sacrifices on the altar of monogamy ?\nThe women here referred to and who are placed in this wretched\nposition are the inevitable counterbalance to the European lady, with\nher pretensions and arrogance. Hence polygamy is a real benefit to the\nfemale sex, taking it as a whole. And, on the other hand, there is no\nreason why a man whose wife suffers from chronic illness, or remains\nbarren, or has gradually become too old for him, should not take a second.\nMany people become converts to Mormonism for the precise reasons that\nthey condemn the unnatural institution of monogamy. The conferring\nof unnatural rights upon women has imposed unnatural duties upon\nthem, the violation of which, however, makes them unhappy.\nFor example, many a man thinks marriage unadvisabie as far as his\nsocial standing and monetary position are concerned, unless he contracts\na brilliant match, He will then wish to win a woman of his own choice\nunder different conditions, namely, under those which will render safe\nher future and that of her children. Be the conditions ever so just,\nreasonable, and adequate, and she consents by giving up those undue\nprivileges which marriage, as the basis of civil society, alone can bestow,\nshe must to a certain extent lose her honour and lead a life of loneliness;\nsince human nature makes us dependent on the opinion of others in a\nway that Is completely out of proportion to its value. While, if the\n\n(I) If this was the number when Schopenhauer wrote, what must be the number sow when the city has so\nincreased its size? Ed."}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.16", "texte": "& . &\n\nwoman does not consent, she runs the risk of being compelled to marry\na man she dislikes, or of shrivelling up into an old maid; for the time\nallotted to her to find a home Is very short.\n& In view of this side of the institution of monogamy, Thomaslus's pro-\nfoundly learned treatise, de Concubinatu, Is well worth reading, for It\nshows that, among all nations, and in all ages; down to the Lutheran\nReformation, concubinage was allowed, nay, that it was an institution,\nin a certain measure even recognised by law and associated with no\ndishonour. And it held this position until the Lutheran Reformation,\nwhen it was recognised as another means for justifying the marriage\nof the clergy; whereupon the Catholic party did not dare to remain\nhehindhand in the matter.\nIt is useless to argue about polygamy, it must be taken as a fact\nexisting everywhere, the mere regulation of which is the problem to\nbe solved. Where are there, then, any real monogamists ?We all live,\nat any rate for a time, and the majority of us always, in polygamy.\nConsequently, as each man needs many woman, nothing is more just\nthan to let him, nay, make it incumbent upon him to provide for many\nwomen. By this means woman will be brought back to her proper and\nnatural place as a subordinate being, and the lady, that monster of\nEuropean civilisation and Christian-Teutonic stupidity, which her redl-\nculous claim to respect and veneration, will no longer exist; there will\nstill be women, but no unhappy women, of whom Europe is at present\nfull. The Mormon's standpoint is right.\nIn India no woman is ever Independent, but each one stands under the\ncontrol of her father or her husband, or brother or son, in accordance\nwith the law of Manu.\nIt is certainly a revolting idea that widows should sacrifice themselves\non their husband's dead body; but it is also revolting that the money\nwhich the husband has earned by working diligently for all his life, in\nthe hope that he was working for his children, should be wasted on her\nparamours. Medium tenuere beati. The first love of a mother, as that\nof animals and men, is purely instinctive, and consequently ceases when\nthe child is no longer physically helpless. After that, the first love should"}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.17", "texte": "ON WOMEN,\n\nbe reinstated by a love based on habit and reason; but this often does\nnot appear, especially where the mother has not loved the father. The\nlove of a father for his children is of a different nature and more sincere;\nit is founded on a recognition of his own inner self in the child, and is\ntherefore metaphysical In Its origin.\n& In almost every nation, both of the new and old world, and even\namong the Hottentots, property is inherited by the male descendants\nalone; it Is only in Europe that one has departed from this. That the\nproperty which men have with difficulty acquired by long-continued\nstruggling and hard work should afterwards come into the hands of\nwomen, who, in their want of reason, either squander it within a short\ntime or otherwise waste it, is an injustice as great as it is common, and\nit should be prevented by limiting the right of women to inherit. It\nseems to me that it would be a better arrangement if women, be they\nwidows or daughters, only inherited the money for life secured by\nmortgage, but not the property itself or the capital, unless there lacked\n*\nmale descendants. It is men who make the money, and not women;\ntherefore women are neither justified in having unconditional possession\nof it nor capable of administrating it. Women should never have the\nfree disposition of wealth, strictly so-called, which they may inherit, such\nas capital, houses, and estates. They need a guardian always; therefore\nthey should not have the guardianship of their children under any\ncircumstances whatever. The vanity of women, even if it should not be\ngreater than that of men, has this evil In it, that it is directed on\nmaterial things... that is to say, on their personal beauty and then on\ntinsel, pomp, and show. This is why they are in their right element in\nsociety. This It is which makes them inclined to be extravagant,\nespecially since they posses little reasoning power. Accordingly, an ancient\nwriter says, TUVVI TO CUVOXOV icridz—z-rs,pcv (*) Men's vanity, on the\nother hand, Is often directed on non-material advantages, such as intellect,\nlearning, courage, and the like. Aristotle explains In the Politics (2) the\ngreat disadvantages which the Spartans brought upon themselves by\ngranting too much to their women, by allowing them the right of\n\n(1) Bmuck's \" Gcomici poetae graeci, \" v. 115.\n(2) Bk. I., ch. 9."}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.18", "texte": "jz> ON WOMEN.\n\ninheritance and dowry, and a great amount of freedom; and how this\ncontributed greatly to the fall of Sparta. May it not be that the influence\nof women in France, which has been increasing since Louis XIII.'s time,\nwas to blame for that gradual corruption of the court and government\nwhich led to the first Revolution, of which all subsequent disturbances\nhave been the result? In any case, the false position of the female sex,\nso conspicuously exposed by the existence of the 41 lady,\" is a fundamental\ndefect in our social condition, and this defect, proceeding from the very\nJieart of it, must extend its harmful influence in every direction. That\nwoman is by nature Intended to obey is shown by the fact that every\nwoman who is placed in the unnatural position of absolute independence\nat once attaches herself to some kind of man, by whom she is controlled\nand governed; this is because she requires a master. If she is young,\nthe man Is a lover; if she is old, a priest, (i)\n\n(I) The translation here given is that o! S. H. Dircks, published by the Walter Scott Co."}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.19", "texte": "ON WOMEN. Some Verses\nby Lord Byron.\nJuan presented in the proper place,\nTo proper placemen, every Russ credential;\nAnd was received with all tIse due grimace,\nBy those who govern in the mood potential,\nWho, seeing a handsome stripling with smooth face,\nThought (what in state affairs is most essential)\nThat they as easily might do the youngster,\nAs hawks may pounce upon a woodland songster,\nThey err'd, as aged men will do; but by\nAnd by we'll talk of that; and if we don't,\n'T will be because our notion is not high\nOf politicians and their double front,\nWho live by lies, yet dare not boldly lie;...\nNow what 1 love in women is, they won't\nOr can't do otherwise than lie, but do it\nSo well, the very truth seems falsehood to it.\n\" * i\nWhat a strange thing is man ! and what a stranger\nIs woman ! what a whirlwind is her head,\nAnd what a whirlpool full of depth and danger*\nis all the rest about her! Whether wed,\nOr widow, maid, or mother, she can change her\nMind like the wind : whatever she has said\nOr done, is light to what she'll say or do:...\nThe oldest thing on record, and yet new!\nA something all sufficient for the heart\nIs that for which the sex are always seeking:\nBut how to fill up that same vacant part ?\nThere lies the rub... and this they are but weak in.\n\nXXXV.\nXXXVI.\nLXIV.\nLXXIV."}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.20", "texte": "£/ ON WOM. &\n\nFrail mariners afloat without a chart,\nThey run before the wind through high seas breaking;\nAnd when they have made the shore through every shock.\n'Tis odd, or odds, it may turn out a rock.\nAdam exchanged his Paradise for ploughing,.\nEve made up millinery with fig leaves...\nThe earliest knowledge from the tree so knowing,\nAs far as I know, that the church receives:\nAnd since that time it need not cost much showing,\nThat many of the ills o'er which man grieves,\nAnd still more women, spring from not employing\nSome hours to make the remnant worth enjoying..\n\nLXXVIII."}, {"page_pdf": 21, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.21", "texte": "Sir Henry Irving by Paul Renouard.\n\nTHE MASK\n19 14"}, {"page_pdf": 23, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.23", "texte": "ON POETS AND ACTORS, & THE NEED OF\nMASTERS. A Note\nby Yoo-no-hoo.\nr Alexander Watson recited the \" Everlasting\nMercy \" not long since at the Little Theatre in\nLondon, and, as \" Poetry and Drama \" tells us,\n\" was hailed by the united press in a ringing\nchorus of praise \".\n£/ The journal goes on to say that certainly \" his\n\" enunciation is clear, his elocution excellent, and\n\" his voice splendidly controlled ; yet it was not\n\" \" The Everlasting Mercy \" he gave us, but rather a demonstration of\n\" his own powers, using the ''Everlasting Mercy\" as a medium. \"\nI heard from a very celebrated English performer and a very fine\ncritic of performers that Mr Watson's recital was really very admirable.\nThis was speaking of the performance purely from the performer's\npoint of view and therefore 1 am inclined to think that it was just what\n\" Poetry and Drama \" says: \" a demonstration of his own powers \" and\nnot the demonstration of Masefield's powers nor the powers of poetry.\nOne has heard the same remark made [about Salvini, about Ludwig\nBarney and about ail the great stage speakers;... that they gave demon-\nstrations of their own powers, using the, play and abusing the poet.\nIt is a little difficult to keep one's temper when reading year after\nyear such criticisms, and, unfortunately, one can read similar criticisms\ncovering all the past nineteen centuries.\n*\nJZ/ This is no new statement that they are making, and yet they are\ncontinually making it.\nBut do they believe in their hearts that the actor has not been trying\nto do for centuries what they want him to do ?\nDo these good fellows really imagine that Salvini was not trying with\nall the force of Salvini to give out to the people of the force and beauty\nof the poets that he recited ?\nDo they beiieve too that Ellen Terry,... for here is a speaker who, I\nbelieve, may be called a good speaker, a fairly good speaker,... do they\nbelieve that she has not tried with all the force at her command to bring\nout that which is most perfect, to bring out the poetry and not to bring"}, {"page_pdf": 24, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.24", "texte": "ON POETS AND ACTORS.\n\nout Ellen Terry? Do they really think that she and the great Italian\nactor love themselves far better than the poem ? ...Do they really think\nso ?... believe this ?\nNow honestly, do you, Harold Monro and the rest of you in the Poetry\nBook Shop, really believe this ? And would you swear to it that the\npoet wishes more truly to bring out,... (now we're about it!)... the\npoetry rather than himself?\nThese are simple questions, and a 4 yes' or a 4 no' answers them.\n& But I will say what 1 believe. 1 believe that the actor loves best the\npoem, and that he loves it more than the poet loves it.\nAnd I will tell you why.\nThe poet squeaks and gasps out the poem, the actor rolls it out of\nhis mouth. Both are abominable, but the actor is the better of the two.\nI have never heard anything more pitiful than the noises emitted by\na poet when reciting his own poetry, and 1 have heard some of the\nbest poets.\nz? DJd anyone ever hear Swinburne reciting any of his own poems ?\nit seems to me that what the 44 Poetry and Drama \" group are really\nworried about is the precedence of the actor over the poet. Am I\nnot right ?\nBut did It ever occur to them,... (there is no reason why it should\nnot have occurred to them)... that neither the actor nor the poet should\nspeak these things aloud before groups of people ?\nThey say the written word abides, but the written poetic word runs\na good chance of being destroyed utterly If poets are going to treat\ntheir own works worse than actors do.\n44 We are frequently asked to send readers into the provinces. \"\n1 quote from the same number of 44 Poetry and Drama. \"\nWhat an awful idea... shipping them like missionaries into the provinces !\n& Again, I fear that it is altogether wrong for 44 Poetry and Drama\" to\nassert that 44 Facial expression and gesture, such as the actor may be\n44 obliged to practise, serve rather to obscure than to elucidate the\n44 beauties of poetry. \"\n& For my part I can support a day without listening to a poem spoken ;\nin fact, I prefer not to hear spoken poems; but if it be spoken, if one"}, {"page_pdf": 25, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.25", "texte": "ON POETS AND ACTORS.\n\nword of poetry escapes through the voice, the facial expression and the\ngesture must be there In their two perfections.\nI might during the day meet a man or woman who would say two\nor three words which were essentially all that was poetic; but, if the\ngesture were non-existent, it is quite sure 1 should be suspicious about\nthe voice. I don't want a maimed body... Is that what the \" Poetry Book\nShop \" wants ?\nHere it is that one's patience Is sorely tried.\nWhen, in the present condition of things, Mr Masefield wishes his\npoem to be heard by the public Mr Masefleld's good friend is Mr\nAlexander Watson.\nThe question here, is not the question of Improvisation. If it were\nso the poet would be able to pour out his verse like Shelley's Sky-lark,\nand then there would be an end of writing and then there\nwould be no need for Mr Alexander Watson to give his life up to the\nwork of Interpreting it.\nBut what you poets at present propose doing is to write your poems\nand afterwards learn them as though they were quite unknown to you.\nThat wont do; ....that wont do for poets.\nThen, that being the case, why can't you show a little decent courtesy\nto Salvlni, Ellen Terry, and your latest excellent friend, Alexander Watson?\nIn thinking about the theatre, the actor and the other performers,\n1 have very often been led to put up a fight against those of my own\ncalling, and our difference of opinion has not changed. The actor still\nthinks he is something less than he Is, whereas I shall still continue to\nthink that he might be something much greater than he is.\nAnd having this belief I have found it good to say some things about\nthe actor which bordered on everything which was impertinent. For of\ncourse I was thinking of the older actors rather than the younger ones. 1\ndaresay, however, that our family differences will come out all right\nin the end.\nBut for centuries you poets, ....or perhaps I should say, you minor\npoets, the great imitators of the art of song, have, rather foolishly 1\nthink, done all you could to belittle the race of actors from which I come.\n1 am sure we are all ready to grant every word you can say against"}, {"page_pdf": 26, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.26", "texte": "ON POETS AND ACTORS.\n\nus; but dont forget that Shakespeare might have been dead years ago\nbut for the actors.\nThis is a remark I have never made before, and hope I shall never\nmake again because it is one continually to be heard Issuing from the\nmouths of my old friend Sir Herbert Beerbohm Tree and the other\nchampions of the art that is today become ridiculous. They bring it out\nas a kind of catch phrase on hearing which the public will instantly\ngive a round of applause. I repeated it just now unconsciously and while\nwondering to myself whether Shakespeare would ever have come to\nwrite down \"Facial expression and gesture, such as the actor may be\n'* obliged to practise, serve rather to obscure than to elucidate the\n\" beauties of poetry. \" ....Let anybody who reads this try and imagine\nShakespeare sitting down and making such a statement as that!\nI suppose we take it that Shakespeare was very much of a man, and\nrather than write such a phrase he would have stopped writing poetry.\nI have written before of the actor, the Interpreter, and one or two\npeople may remember that 1 have said that he is an unnatural Invention\nand that a human being cannot be an interpretor. (i),\nDr Coomaraswamy, the only man whose words have in any way\nimpressed me in connection with this question, (For the moment I forget\nhis words, but you will find them in \" The Mask \" Vol. six pg. 111-128)\nsays that India has produced the interpreter, the man who could be\nthe interpreter.\n& Now I have not yet seen these Indian interpreters of whom the Doctor\nspeaks. May they entirely overthrow my theory,... a theory which you\nmust excuse me for reminding you has its roots in a long and affectionate\npractise In the theatre.\n£? But I notice this point about the doctor's statement: He finds his\nIdeal interpreter in a land which I think you in England look down\nupon with scorn. It is the land of the master and the slave;... and they\ndo say that it is difficult to tell the difference between the two in those\nfar lands, whereas the difference is very marked in all the streets and\nsalons and other public places of London.\n£> In London the slave is branded right and left. There are over thirty\n\n(I) \" On Ihe Art of the Theatre. \" Heioemann."}, {"page_pdf": 27, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.27", "texte": "40 ON POETS AND ACTORS\n\nmillion of 'em. They walk up and down the streets with padlocks on\ntheir hands, chains on their feet, their eyes bandaged, their lips as It\nwere sewn with wire thread. They are sore to death In their slavery,\nfor nearly every man is a stave in England,... and I believe there Is\nhardly one in India.\nNow, while you are talking about poetry and the Interpretation\nof poetry, and the badness of the actor, you are entirely forgetting the\nconditions that both poet and actor, and, indeed, the public also, are\ntolerating in England... In Europe.\nThis question of Art comes not first for us because we have placed\nIt second • •••• Good then!\nTo place It first we must be readjusted.\nWe know the old order: we know it perfectly well, but we wont\nobserve it because we are frightened to be pushed aside or to be forgotten,\nit seems.\nIn a devil of a hurry, most of us! such a short life,... what ?!\n\" Why, we have got to get to that position, and look where we were\nfive years ago I\" This is what is In most of our heads. It is worrying us\nto death.\n£/ Why, even Mr Bernard Shaw finds it necessary to bring out a play\nat His Majesty's Theatre,... \"Pygmalion.\" George Bernard Shaw is actually\nfrightened that he is going to be left behind, that his voice is not going\nto be heard, that he has not already done his work; frightened that he\nis going to be a slave instead of a master! And the day that he tempted\nBeerbohm Tree he was tempting fate,... but the day when he sat like\nthe \" old father \" benignly watching the rehearsals and allowing the\ncrime to continue his fate was sealed.\nWith the young men ci the Poetry Book Shop the thing should be\neasier. They have their master, and it is entirely their fault if they waste\ntheir time worrying about the admirable work of Mr Alexander Watson\nInstead of getting off to the Arran Islands and peeling a few potatoes\nand settling down to enjoy their life and perhaps utter a couple of verses.\nBut they are probably much better pupils than 1 give them credit\nfor being and 1 hope that they respect all the feelings, thought and orders\nof their leader, W.B.Yeats, though, looking through \" Poetry and Drama\""}, {"page_pdf": 28, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.28", "texte": "ON POETS AND ACTORS.\n\nI hardly feel that they are doing him quite as much credit as they\nmight be.\nYet after all, to walk daily through a city of people chained hand, foot,\nears and lips must be a little trying to even the strong constitutions of\nMessrs Monro, Elton, Del Re, Pound and the other personalities of this\njournal, and one must take that into consideration.\nAnd then, of course, when they see their poetry appear In print, and\nread about the theatre according to Mr Gilbert Cannan and Mr William\nArcher, ....two men who seem to be practically contradicting each other,...\nthat must also be a little trying.\n£> However, they could spare themselves all this if they would.\n& I wonder how many of the monuments of Egypt, India or China would\nhave appeared had this continual hubbub of little masters been permitted\nby the authorities to become so great a nuisance there as it is in London\nto day.-\nI don't know in the least what constitutes Mr William Archer's right\nto give any opinion whatever concerning the theatre, and I have never\nyet known. One of the most delightful of men, his opinions concerning\nthe stage are unsound from first to last: he Is ignorant of what constitutes\ndrama and ignorant of ail which concerns art. A first class journalist,\nMr Archer's place is on the \" Daily Mail. \"\nMr Gilbert Cannan is another whose opinions concerning the theatre\nare just a little difficult to rely on, for he changes his opinion so often.\n& This question of the Theatre art, and of poetry and the theatre, is so\nfine, so serious, so very serious a thing that the greatest of care should\nbe exercised by the editor of \" Poetry and Drama \" before permitting\nwriters who hold no definite opinion to express all that loose stuff\nwithin, the hearing of a number of men and women waiting to be told\nsomething.\nBut this too is absolutely natural in a land which is governed by\nits slaves,... slaves to each other... slaves whose slavery Is their sole\nmelancholy boast. They call It \" keeping an open mind. \"\nHowever, enough of this :.... When one carries the old idea of royalty\nIn one's head and the old Idea of the government of the flock of sheep,\none is bound to talk a little in this way."}, {"page_pdf": 29, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.29", "texte": "THE BEAUTIFUL THE SERVANT OF THE\nTRUE. A Note\nby Victor Hugo.\nAh, minds! be useful! Be of some service. Do not be fastidious when\nit is necessary to be efficient and good. Art for art may be beautiful,\nbut art for progress is more beautiful yet. To dream reverie is well, to\ndream Utopia Is better. Ah! you must think? Then think of making\nman better. You must dream ? Here is the dream for you : the ideal. The\nprophet seeks solitude, but not isolation. He unravels and untwists the\nthreads of humanity tied and rolled in a skein in his soul; he does not\nbreak them. He goes into the desert to think; of whom ? Of the multitude.\nIt is not to the forests that he speaks, it is to the cities. It is not at\nf\nthe grass bending to the wind that he looks, it is at man; it is not\nagainst lions that he wars, it is against tyrants. Woe to thee, Ahab 1\nwoe to thee, Hoseal woe to you, kings! woe to you, Pharaohs! is the\ncry of the great solitary one. Then he weeps.\nFor what ? for that eternal captivity of Babylon, undergone by Israel\nformerly, undergone by Poland, by Roumanla, by Hungary, by Venice\nto-day. He grows old, the good and dark thinker; he watches, he lies\nin wait, he listens, he looks, ear in the silence, eye In the night, claw\nhalf stretched towards the wicked. Go and speak to him then of art for\nart, to that cenoblte of the ideal. He has his aim, and he walks straight\ntowards it, and his aim is tills: Improvement. He devotes himself to it.\n& He does not belong to himself, he belongs to his apostolate. He is\n/\nentrusted with that immense care, the progress of the human race.\nGenius Is not made for genius, it is made for man. Genius on earth is\nGod giving himself. Each time that a chef-d'oeuvre appears, it Is a\ndistribution of God that takes place. The chef-d'oeuvre is a variety of\nthe miracle. Thence, in all religions, and among all peoples, faith in\ndivine men. They deceive themselves, those who think that we deny the\ndivinity of Christ.\nAt the poiht now reached by the social question, everything should\nbe action in common. Forces isolated frustrate one another, the Ideal\nand the real strengthen each other. Art necessarily aids science. These\ntwo wheels of progress should turn together.\nGeneration of new talents, noble group of writers and poets, legion"}, {"page_pdf": 30, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.30", "texte": "THE BEAUTIFUL THE SERVANT OF THE TRUE.\n\nof young men. 0 living posterity of my country I Your elders love and\nsalute you. Courage I let us devote ourselves. Let us devote ourselves\nto the good, to the true, to the just. In that there is goodness.\nSome pure lovers of art, affected by a pre-occupation which in its way\nhas its dignity and nobleness, discard this formula, \" Art for Progress, \"\nthe Beautiful Useful, fearing lest the useful should deform the beautiful.\nThey tremble lest they should see attached to the fine arms of the Muse\nthe coarse hand of the drudge. According to them the ideal may become\nperverted by too much contact with reality. They are anxious for the\nsublime if it is lowered as far as humanity. Ah ! they are mistaken.\nThe useful, far from circumscribing the sublime, increases it. The\napplication of the sublime to human things produces unexpected chefs«\nd'oeuvre. The useful, considered in Itself and as element combining\nwith the sublime, is of several kinds; there is the useful which is tender,\nand there is the useful which is indignant. Tender, it refreshes the\nunfortunate and creates the social epopee; Indignant, it flagellates the\nwicked, and creates the divine satire. Moses hands the rod to Jesus, and\nafter having caused the water to gush from the rock, that august rod,\nthe very same, drives the vendors from the sanctuary.\n& What! art should grow less because it has expanded ! No. One service\nmore is one more beauty.\nYou say: The muse is made to sing, to love, to believe, to pray. Yes\nand no. Let us understand each other. To sing whom ? The void. To love\nwhat? Oneself. To believe In what? The dogma. To pray to what? The\nIdol. No, here is the truth : To sing the ideal, to love humanity, to believe\nin progress, to pray to the infinite.\nTake care, you who are tracing those circles round the poet, you put\nhim beyond man. That the poet should be beyond humanity in one way,\nby the wings, by the immense flight, by the sudden possible disappearance\nin the fathomless, it is well, it must be so, but on condition of reap-\npearance. He may depart, but he must return. Let him have wings for\nthe infinite, provided he has feet for the earth, and that, after having\nbeen seen flying, he is seen walking. Let him become man again, after\nhe has gone out of humanity. After he has been seen an archangel, let\nhim be once more a brother. Let the star which Is in that eye weep a"}, {"page_pdf": 31, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.31", "texte": "THE BEAUTIFUL THE SERVANT OF THE TRUE,.\n\ntear, and that tear be the human tear. Thus, human and superhuman,\nhe shall be the poet. But to be altogether beyond man, is not to be.\nShow me thy foot, genius, and let us see if, like myself, thou hast\nearthly dust on thy heel.\nj0 If thou hast not some of that dust, if thou hast never walked In my\npathway, thou dost not know me and I do not know thee. Go away.\nThou believest thyself an angel, thou art but a bird.\n0 Aid from the strong for the weak, help from the great for the small,\nhelp from the free for the slaves, help from the thinkers for the ignorant,\nhelp from the solitary for the multitudes. Such is the law, from Isaiah\nto Voltaire. He who does not follow that law may be a genius, but he\nis only a useless genius. By not handling the things of the earth, he\nthinks to purify himself, he annuls himself. He is the refined, the delicate,\nhe may be the exquisite genius; he is not the great genius. Any one,\nroughly useful, but useful, has the right to ask on seeing that good-\nfor nothing genius, Who is this idler? The amphora which refuses to go\nto the fountain deserves the hooting of the pitchers,\n0 Great Is he who devotes himself t Even when overcome, he remains\nserene, and his misery is happiness. No, it is not a bad thing for the\npoet to meet face to face with duty. Duty has a stern resemblance to\nthe ideal. The act of doing one's duty is worth the trouble of being tried.\nNo, the jostling with Cato is not to be avoided. No, no, no; truth, honesty,\nteaching the crowds, human liberty, manly virtue, conscience, are not\nthings to disdain. Indignation and emotion are but one faculty turned\ntowards the two sides of mournful human slavery, and those who are\ncapable of anger are capable of love."}, {"page_pdf": 32, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.32", "texte": "A HISTORY OF PUPPETS,\nby \"Yorick”.\n(I)\nPUPPETS IN FRANCE.\npropose, although somewhat unwillingly, to put aside\nthe most ancient period of the history of France, in\nwhich records are not wanting of hieratic statuettes\nof religious \" fantoccini \" belonging to the mytholo-\ngy of the aboriginal Gauls, and used in ceremonies\nof worship and in the most serious and most impor-\ntant circumstances of public and private life.\nBelen, Bsus, Witolf, Teutates, Murcia and ftehelennias, national divi-\nnities that were feared and deprecated, were at that period quite as\nmuch subjects for sculptors and artificers initiated in the sacred myster-\nies as Jupiter, Mars, Minerva, Mercury, Venus and Proserpine, foreign\nand hated deities that had penetrated by force of arms into the recesses\nof druidical forests.\nThe idols of that remote age and of those robust peoples were colossal,\nterrible and majestic figures, adjusted with simple but powerful mecha-\nnism that provided for a few solemn gestures, sufficient to infuse a\nsalutary fear in the excitable minds of the faithful.\nThen, when the Roman eagles had settled themselves in the blood-\nstained temples, which they had conquered from the four hundred tribes,\nwhen the legionaries of Caesar had invaded the nine hundred cities of\nthe Gauls and the Belgians, the whole Olympus, Greek and Latin, was\nspeedily overthrown in the country, and the images of the new Gods,\nwith all the marvels of Dedalian art, passed in abundance from the hands\nof the conquerors to those of the conquered; and a confusion then\narose of dogmas and beliefs, of religious practices and superstitions,\nthat lasted during the whole of the fifteenth and part of the sixteenth\ncenturies, notwithstanding the conversion of the people to the doctrines\nof Christianity.\nAnd even the priests of the new faith, In France as elsewhere, did\nnot scruple to call upon buraitini and fantocci in aid of the propaganda ;\nso that, during the whole of the middle age, the sacred representations,\nliturgical dramas, Mysteries and Morality plays increased and multiplied\n\n(1) P. Ferrigni."}, {"page_pdf": 33, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.33", "texte": "A HISTORY OF PUPPETS. &\n\nat Dieppe, at Rouen, at Lyons and in Paris; first in the churches, then\nin open spaces, and finally in the roving little theatres and in the booths\nerected in markets and at Fairs.\n& There is this singular feature about all records that have come down\nto us relating to the first efforts of dramatic art in France that, openly\nand without ambiguity, and not by hypothesis, but by precise affermation,\nthey refer to the custom of associating living actors with marionettes in\nthe great theatres of the Mysteries.\n& At Dieppe, on the first day of August, for the festival of the Assumption,\na company of clergy and laity, \" supported by several figures that were\nset in motion by means of strings and counterweights \" represented\nevery year on the open space in front of the church of St. James, the\nMystery of the Assumption of the Virgin Mary, In which four hundred\n*' personaggi \" took part; It was a wonderful spectacle and attracted to\nthe city of Dieppe a large number of foreigners and strangers.\n& At Christmas and at Easter, and also on the day of the festival of Corpus\nDomini, similar dramatic performances were held, with the intervention of\nburattini, at Lyons, Paris and Marseilles, and in all the southern cities,\nwhen the Mysteries of the Birth and Passion of our Lord, the Creation of\nthe World and the Fall of Man, Samson and Delilah, the heroism of Judith,\nthe Prodigal Son, and the Rich Man and the Beggar were represented.\nThis custom was continued in Paris even in the seventeenth century;\nand the fathers of the religious order of Theatines, who were brought\nto the French Capital by Jules Mazarln*, constructed at Ceppo a splendid\n\" Presepio \" in front of the door of their Convent, and peopled it with\ngraceful little wooden figures, movable and articulated, that formed a\ngreat delight in the eyes of the \" badauds \" and women.\nIn one of the habitual pamphlets that were scattered about at the\ntime of the Fronde, the great Cardinal Is apostrophized In these terms:...\n\" Adieu, p&re aux marionettes ;\nAdieu, l'auteur des Theatlns. \"\nAnd in another, relative to the precedent of the monks and entitled\n\" Lettre au Cardinal burlesque \" :...\n\" Et votre troupe theatine\nNe voyant pas de surety"}, {"page_pdf": 34, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.34", "texte": "& A HISTORY OF PUPPETS. &\n\nEn notre ville et vicomtd\nA fait Flandre, et dans ses cachettes\nA serrd les marionettes\nQu'elle faisait voir ci-devant. \"\nAfterwards when the burattlni abandoned the churches and dispersed\namong the towns and villages, the whole of France was run and overrun\nby Italian \" bagattellieri \", who brought with them, together with farces\nand \" scenarii \", all the •• personaggl \" and '* maschere \" of the smaller\nItalian theatres.\nFROM THE STAGE TO THE COURT.\nIt is an incontestable and undeniable fact that the most ancient artl-\nculated little figures, that were governed by strings and made to move\non a kind of stage in the representations of the Mysteries and the '* Jeux\nbourgeois \" in Paris, Amiens, Nevers, Poitiers, Laon, and Coutances, were\nnothing more than imitations of our old marionettes of Rome and of\nLatium, adapted to the taste of the times and the mode of the country.\nThat the Italian type was constantly preserved in French theatres Is\nclearly established by the name \" Francatrippa \", which we find regi-\nstered, just as it is, in the oldest French book that gives an account of\nthe plays of theatrical burattinl, (1584).... 1 mean the \" Serees \" of\nQuillaume Bouchet, lord of Brocourt.\n&At the time of Henry 111, protagonists of \" burlette\" in French\ntheatres were called \" Pulcinella, \" \" Arlecchino, \" \" Pantalone. \" and\n\" Colomblna; \" and we,find them all together in possession of the first\npermanent stage that was erected in Paris for marionette plays, by the\nside of the Porte de Nesle, in the year 1649.\n& The proprietors and directors of that \" jeu de marionnettes \" were\nGiovanni and Francesco Briocci of Bologna, a name that French exclu-\nsivism changed into Brioche. Francesco carved, with his own hand, all\nthe graceful little \" figurine; \" Giovanni, who improvised with facility\nand was fluent of tongue, made them speak in the French idiom, mixed\nwith terse pithy sayings ip Italian and Latin, and in such a comical way,\nwith such pleasant allusions, and with such quaint expression, that the\ngood people of Paris became every day more and more enchanted."}, {"page_pdf": 35, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.35", "texte": "A HISTORY OF PUPPETS.\n\n£/ Hamilton, in the first volume of his works, in a letter addressed to\nthe Princess Mary,, daughter of James the second of England, gives great\npraise to the Pulcinelia of Brlocci, who was then at the Fair of Saint\nQermaln en Laye.\n\" La le fameux Pollchinelle,\nQui du theatre est le hdros,\nQuoi qu'un peu libre en ses propos,\nNe fait point rougir la donzelle\nQu' il divertlt par ses propos. \"\nPerrault, one of the most brilliant accademicians of his day, confesses\nto the same taste, in the pages of his celebrated \" Peau d'ane. \"\n44 Pour moi j'ose poser en fait,\nQu'en de certains moments 1' esprit le plus parfait\nPeut aimer, sans rougir, jusq'aux marionnettes. \"\nBrlocci carried about with him an ape, to which he had given the\nname of 44 Fagottino, \" and with which he amused the people in the\nIntervals between the acts; this mischievous beast gained such celebrity\nby Its tragic death that it is mentioned in the annals of French literature.\nThat strange being, Cyrano de Bergerac, the author of'44 Cymbalum\nmundi \" saw the ape one day dressed as a servant, and strolling, with\ncomical gravity, round the marionette booth, and observing that it was\nmaking grimaces, thought that it was poking fun at his nose 41 qu'il\navait tout defigure, \" as Menage relates, 44 et a cause duquel il avait tue\nplus de dix personnes, \" duellist and braggart as he was. Cyrano took\nfire and moved towards the ape, whereupon 44 Fagottino,\" accustomed\nto play his little game, drew his tiny wooden sword and put himself on\nguard with all the air of a 44 petit maitre. \" Bergerac, blinded with rage,\ndrew his sword also and, rushing at the beast, struck it dead at his feet.\nThis tragi-comical event was celebrated in an anonymous pamphlet,\nentitled 44 Combat de Cyrano de Bergerac contre le singe de Brioche, \"\n(Paris I655). „\n£7 Four years afterwards, Giovanni Briocci was summoned to the French\nCourt, to the Royal castle of Saint Germain en Laye, to amuse with his\nmarionettes the Dauphin, son of the great Louis xix, and the account of\nexpenses of the Royal family in the year I669, page 44, records as follows :"}, {"page_pdf": 36, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.36", "texte": "A HISTORY OF PUPPETS.\n\n44 A Brioche; joueur de marionettes, pour le sejour qu'll a fait a Saint\nGermain en Laye, pendant les mols de septembre, octobre et novembre,\npour divertir les Enfants de France, 136s llvres. \"\n& After the death of Giovanni, Francesco Brloccl, now trained in the art,\ntook over the management of the burattini, and rose to such fame, that\nhe gained the honour of persecution on the part of the illustrious\nBossuet. But the great monarch defended the Italian marionettes; and\nthe Minister Colbert, In a letter addressed by direct order of his Majesty\nto the Lieutenant General of police, enjoined all agents of public force to\nrespect and protect Francesco Brioche and his little wooden figures. The\nletter is dated 16 October I676, and appears in the second volume of the\n44 Correspondance administrative sous Louis xiv,\" published by Depping.\nThis well deserved fortune caused many competitors and rivals of\nthe two Brlocci to spring up; and if I had time and space it might not\nbe amiss to say something about them, but 1 am afraid of extending my\nstory too much, and therefore cut this part short, with a view to arrive\nmore quickly at the end.\n& It is sufficient that no one can take away from them the favour of\nthe public, the kindness of the Court, and the attention of the learned;\nm\ntheir name is frequently met with, honoured and celebrated, in the\n44 versi \" of Gacon, Lainez and Scarron, in the prose writings of La\nBruy&re, in the poem 44 Fasti \" of Lemiere, and in the fables of Arnault,\none of which, the best, is called 44 Le secret de Polichlnelle. \"\n\" Quels succes par les siens ne sont pas effaces ? \" says Arnault of\nour triumphant Pulclnella.\n44 Les Roussel passeront, les Janots sont passes\nLui seul, toujours de mode, a Paris comme a Rome,\nPeut se prodiguer sans s'user;\nLui soul, toujours sur d'amuser,\nPour les petits enfants est toujours un grand homme. ',\nBut with regard to the Brioche, there is a more important question,\na question of condition and citizenship, that has arisen in the second\nedition of the 44 Dictionnaire critique de Biographic et d'Histoire \" of\nAugusto Jal, (Paris, Plon, I872); a question that I cannot possibly refuse\nto deal with."}, {"page_pdf": 37, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.37", "texte": "A HISTORY OF PUPPETS.\n\n& Up till the year I872 no one had ever contested the right of the\nBrlocci family to be regarded as Italian both by origin and nationality.\nKrunitz, in his \" Enclclopedia,\" speaking of Giovanni Briocci, qualifies\nhim as Italian and compatriot of Mazarin, to whom in I649 he addressed\nthe famous 44 Lettera di Pulclnella,\" signed 44 Pour vous servir, si\nl'occasion s'en presente, \"\n44 Je suis Polichinelie\nQui fait la sentinelle\nA la porte de Nesle. \"\n£/ Carlo Magnin, Maurice Sand, Nodier, Furetiere, Brossette, D'Arbigny,\nand all writers, who have dealt 4ex=professo' with marionette affairs, have\nalways agreed with that constant and most popular tradition. All satires,\nall contemporaneous publications designate Briocci as Italian. The manifest\nprotection that Mazarin accorded to him, the names of the 44 personaggi \"\nwho took part in the farces of his repertory, all ...even the nickname\nof his murdered ape... all bear testimony to his Italian character.\nAugusto Jal, alone. In the new issue of his Dictionary, comes forward\nto sustain that the family of those renowned burattinal was originally\nFrench, that its patronimic name was really that of Datelin, that Brioche\nwas nothing more than a nickname... and in substance, that Datelin and\nBrioche, held up to that time to be two distinct and equally illustrious\nmanagers of burattini, are in reality one and the same person.\nThat discovery, if examined with a calm mind, rests upon a document\nthat is somewhat ambiguous. It is the certificate of birth of a son of\nGiovanni Datelin, bearing the date of I9 September I663, in which the\ngodmother of the child, who was also the grandmother, is described as\n44 Anna Prevost, wife of Pietro Datelin, called Brlocher. \"\nOn that foundation, Jal builds the genealogy of the Datelins in\nthis way:... 44 Pietro Datelin, called Brioche, born in 1367; married in I6I3\n44 to Anna Prevost, by whom he had seven children, of whom : Francesco,\n44 called Fanchon, was born in I620; Another Francesco, born in I630;\n44 Giovanni, born in I632.\nPietro Datelin, the ancestor of the family, died in I67I, at the age of\na hundred and five years, as appears from the certificate of death, copied\nfrom the registers of the parish of Sant'Andrea in Paris; and was buried"}, {"page_pdf": 38, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.38", "texte": "A HISTORY OF PUPPETS.\n\nin the cemetery of Santo Stefano, as is proved by the official record.\nHere are the two documents. The first says:... \" Friday the 25th. day of\n\" the month of September in the year I67I, died at the Cbasteau Gaillard.\n\" near to the Pont Neuf, Pierre Datelin, a player of marionettes; and\n\" the same day his body was taken to the church of Saint Andr£ des\n\" Arcs, in that of Saint Etienne du Mont, where it was burled.\"\nThe second document reads:... \" Was buried in the cemetery of this\n\" parish Pierre Datelin, whose body was brought from Saint Andrl des\n\" Arcs, aged one hundred and five years, in the presence of Francesco\n\" Datelin, and Giovanni Datelin, child of the above, who alone signed :\n•« Datelin.\"\n& Now, according to this last certificate Giovanni is described as the\nson of Francesco and not of Pietro; and Francesco would appear to have\nbeen incapable of writing or signing, a thing that it Is difficult to admit\nwith regard to that \" Fanchon,\" who afterwards acquired so much\nrenown, as to be considered worthy of celebration in the verses of Boileau.\n£? Again, in neither of those two documents, nor In any others relating\nto the sons of Pietro Datelin, is any mention made of the surname, or\nnickname of \" Brioche. \" He describes himself and signs himself as long\n%\nas he lives:... \"Datelin, player of instruments,\" and nothing more.\n& It became necessary, then, for Jal to find some convenient explanation\nof his equivocal assertion, in order to make the confusion, of which he\naccused his predecessors, appear to be possible. Listen to his curious\nreasoning:....\" The French Polichinelle, who Is a personage entirely\n\" different from the Italian Pulcinella, appeared on the scene In the\n\" time of Henry iv and of the Spanish war. It is possible, then, that the\n\" frequenters of his little theatre, that was managed by Pietro Datelin,\n\" listening to the braggadaccio of Pollchlnelte, parodying the pompous\n\" manners of the Spaniards, may have applied to him the surname\n** of \" Brioso, \" that his to say:,., le fort, le vlf, I'adroit. From Brioso,\n\" by corruption, there sprang Briocho, and from Briocho, Brioche... and\n\" the surname of the burattino passed undoubtedly to the burattinaio,\n\" or showman. \"\nit seems incredible that a serious man, a writer of some authority,\nshould trifle with his readers with such miserable and puerile artifices."}, {"page_pdf": 39, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.39", "texte": "A HISTORY OF PUPPETS.\n\nIt is still more incredible that he should have descended to such childi-\nshness for the purpose of claiming for France the honour of having given\nbirth to a poor 44 bagattelliere. \"\nBut where, if you please, has Signor Jal discovered that Polichinelle\nwas ever known on the stage as Brioso ? And what proof does he give\nus of that fact, \" probable \" according to him, but absolutely ignored by\neveryone else ? As to the confusion of the Datelins with the Brioches,\nwhich Jal imagines, it is contradicted by the agreement of all writers,\nand by the uniformity of all documentary evidence.\nWe have seen that in the register of expenses of the Royal family for the\nyear I669, there was an entry of 1365 lire as having been paid to Brioche for\nthe months of September, October and November at the Castle of S. Germain\nen Layes. On page forty seven of the same register, and for the same year,\nwe read :... 44 To Francesco Datelin, a player of marionettes, in payment of\n44 fifty-six days, during which he lived at Saint-Germain en Laye for the\n44 purpose of amusing Monseigneur le Dauphin, at the rate of 20 lire per\n44 day, from the 17th. July till the Isth. of August 1669 ; and of fifteen\n44 lire per day for the last days of the said month,... 320 lire. \"\nDatelin, therefore, was not Brioche. Brioche and Datelin were two\nshowmen, the one Italian and the other French, who in the same year,\nand on two different occasions, succeeded one another on the stage of\nthe Royal theatre to divert the son of France. They may have been\nassociated in the conduct together of marionette plays with a view to\nrender them richer and more varied as regarded repertory that was to\nlast for five consecutive months.\nThe fame of Briocci increased so rapidly and became so preponderant,\nthat his name, distorted 44 alia francese \" served as an ensign, and as a\ntitle of nobility for his more obscure colleague. Thus is explained the\nerror of the father baptist, who, on the occasion quoted by Jal, attributed\nthe surname of Briocher to old Datelin, who, as long as he lived, poor,\nman, never dreamt of usurping it.\n'Jpowards the end of the seventeenth century, when both the Brloccl were\ndead, and had been succeeded by the Frenchman, Bertrand, marionettes\nbegan to meddle with politics and to Interfere in matters of religion."}, {"page_pdf": 40, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.40", "texte": "A HISTORY OF PUPPETS.\n\nPulcinella, always something of an unbeliever, and having but little fear\nof God, and none whatever of the Devil... to whom it often falls to him\nto administer 44 bastonate \"... is ready at all times to pour ridicule upon\nthe hypocrisy of bigots, and the libertinism of reformers, the intollerance\nof the one and the jealous passions of the others; so that the revocation\nof the Edict of Nantes found him plenty to do.\n£/ In that historical event he personified all shades of opinion, exhibiting\ncatholics as well as protestants on his stage, and regarding both of them\nas equally wicked and ridiculous.\nThat was a period of great glory for wooden actors. Gentlemen of ail\nparties, people of sword and gown, the two orders that were always\neverything, and the third that was never anything, neophytes and masters,\napostates and catechumens, conspirators of all sorts, all met together at\nthe marionette theatre.\nPantalone and Arlecchlno fought in opposite factions, and PulcineHa\neffected their reconciliation by means of heavy 44 Iegnate, \" or blows.\nIn the end, the Authorities made up their minds that they also had\nsomething to say. The 44 procuratore generaie \" to the parliaments of\nParis, Achille de Ilarlay, addressed a letter to the Lieutenant of Police,\nM.de la Reynie, dated 7th. February, 1686, of which this a copy:...\n44 To Monsieur de la Reynie, counsellor of the King in Council. It Is said\n44 this morning at the Palace that the marionettes at the Fair of Saint\n44 Germain are representing the destruction of the Huguenots, and as\n44 you will probably find this a serious matter for the marionettes, I have\n44 deemed it right to give you information thereof, so that you may make\n44 use of it according to your discretion. \"\nThe discretion of M.de la Reynie led him to impose silence upon the\nmarionettes, but their fighting spirit soon forced them into a long and\nbitter struggle with the actors of the 44 Theatre francais \" and the\n4' Comedie itallenne \", a struggle of which we shall see the strange\nvicissitudes in another paragraph.\nBut amid so much difficulty and hostility, the burattini of France\nwent triumphantly on their way, the passion for their displays became\ngreater every day, aod the permanent marionette theatres In Pnris con-\ntinued to increase in number."}, {"page_pdf": 41, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.41", "texte": "A HISTORY OF PUPPETS.\n\nThe brothers Feron opened one at the sign of the «• Glgllo •' with a\nPlay Pallacorda \"by a certain Cercllly, and Francesco Bod.niere opened\nanother, not far off, called •< II Qallo Then came Benolt with his ma-\nrlonettes of wax: La Grillo with a piece, named \" BamboccI », also lm-\nported from Italy, and established at Marais, as Beauchamp tells us....\nand endless others, of which It would be useless to attempt to give the\nnames, even of those that were least celebrated.\nTHE TWO FAIRS.\n|t was the year .697: and Italian comedians, established on the stage\nof the Hotel de Boulogne under the direction of Evaristo Qherardi\nhad almost entirely abandoned the repertory of the -Con,media dell'Arte\"\nand now conducted in the French language all the productions that\nwere written expressly for them on subjects of purely local interest\n■CP Long habit, the favour they had always enjoyed, the liberty, sometimes\nabused, that was accorded to them as people speaking a foreign language\nand improvising their dialogue, all these things, singly and togethe'r,\n.ad accustomed our compatriots to such petulancy of criticism, such\nlicence in expression, and such arrogance of manner, that sooner or later\nley were sure to bring down a storm upon the head of the unfortunate\nchier actor.\nNot content with ridiculing the people of Paris, the manners of\ncourtesans and the pride of the soldiers, that mad brain of Angelo Co-\nstantln., who acted the part of •• Mezgetin \", had the audacity to carica-\nture the Royal favourite, and Madame de Maintenon saw herself exposed\nto the laughter and the hisses the public In a comedy, tha, was caUed\nLa Fatisse prude\nThat was quite sufficient to cause the glass, already full, to overflow\nOn the Monday, May the fourth .697, Master Argenson. Lieutenant'\nOeneral of police, assisted by a crowd of Commissaries and subalterns\nrepaired at eleven o'clock In the morning to the theatre of the Hotel de\nourgogne, and in virtue of a letter of marque of his Majesty, declared\nthe series of representations to be closed, and then proceeded to affix\nseals to the doors for the public and also to those of the actors with\nprohibition to the latter against presenting themselves on the 'sta-e"}, {"page_pdf": 42, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.42", "texte": "A HISTORY OF PUPPETS.\n\n44 His Majesty not finding it convenient to avail himself any longer of\ntheir services. \"\nBertrand, who was conducting a marionette theatre at San Lorenzo\nat the time, immediately declared that he considered himself to be the\nlegitimate heir of the Italian comedians, and asked to be put in posses*\nsion of the abondoned 44 scena \"; his request was granted, whereupon\nhe boldly installed himself in the place of the dismissed Qherardi, on\nthat stage which had once been the scene of so many of the triumphs\nof Corneille and of Racine.\nThis state of things, however, only lasted for a short time, for an\norder of the King enjoined the marionettes to quit the Hotel de Bourgogne,\nand to go and occupy a small theatre, opposite to tiie \"Rue du Paradis\",\nwhere we find them in 1701, representing the first dramatic work of\nFuzeller, a spectacular comedy in' three acts, entitled \" Tesso o la scon-\nfitta deile Amazzoni \".\nj0 Thus, in the eighteenth century, began a new life for the marionettes ;\na life of continual struggle, of vigorous assault and of desperate defence,\nof furious attack and of strategic retreat; a life of iucessant dispute, in\nwhich, for fifty years, victory continued to be faithful to the flag of our\nwooden Pulcinella, who bore as his emblem the ambitious motto of\nLesage:. \" J'en valons bien d'autres. \"\n& On the one side were encamped the burattini, captained by their\ndirectors: Bertrand, Tiquet, Gillot, Allard, Maurice, De Selles, Michu,\nOctave, and a hundred others, strongly entrenched at the two Fairs of\nSaint-Laurent and Saint-Germain, strong in numbers and in general\nfavour, always ready to give battle and to resist aggression. On the\nother were ranged the singers of the Opera, the associates of the Theatre\nfrancais, and the reblessed actors of the 44 Commedia Italiana \" armed\nwith their letters patent and their privileges, jealous of their official\nposition, and interested in defending the territory of serious art against\nall audacious invasions of 44 those wooden filibusters. \"\nThe three greater theatres alone had the right to represent musical\nOpera, tragedies and *4 commedie nobili. \" To the booths at Fairs permis-\nsion was granted to put on the scene a certain number of farces fflt\ntwo \" personaggi \" speaking something like the old 44 diverbia, \" with"}, {"page_pdf": 43, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.43", "texte": "A HISTORY OF PUPPETS.\n\nthis additional stipulation that Pulclnella was always to speak \" par le\nsiffiet de la pratique, \" that is to say with the ** pivetta, \" which gives\nto the voice of a burattino that metallic and shrieking intonation that\nis known everywhere.\nThe law, however, was continually being broken. Marionettes invaded\nthe camp of the privileged theatres and plundered its vast and extensive\nrepertory; preparations for battle were made on the one side, followed\nby further aggression on the other, until, at last, parliament was called\nupon to settle matters, but after every decision the incorrigible burattini\nbroke out again in some other way, more sinful than the last, and the\nquarrel was renewed with increased pertinacity.\nA whole volume would not suffice for the chronicles of all the\nIngenious stratagems that were devised by the clever burattini in their\nefforts to conquer the well furnished fortress of the 44 com met! fa nobile \"\nand of \" meiodramma in musica. \"\n& One day Fuzelier would put dumb \" personaggl \" upon the stage,\nmaking them act by mimic art; the next day Bertrand would revive the\ncustom of 44 intermezzi\" with violin accompaniment; then Carolet began\nto put forward figures furnished with cards on which were written the\nproposition and the answer•, on another occasion, Blenfait would mix\n44 fantocci \" with living childrem; until in 1720 a friendly settlement\nwas made between the belligerent parties, whereby marionettes were\nlicensed to sing, dance and recite 44 six or seven at a time. \"\nThen It was that the famous showman, Francisque, engaged as poets\nof his company of mechanical actors, the three distinguished writers,\nFuzelier, Lesage and Carneval, who began their work with a 44colpo da\nmaestro \" by inventing in a moment the 44Opera comique, \" a new kind\nof spectacle, that soon became a formidable competitor of the privileged\nmeiodramma.\nThe first attempt of 44 Opera comique \" called 44 L'ombre du cocher\npoete \" was introduced in a small theatre at the Fair of Saint=Germain\nIn February 1722, and was received with such manifest enthusiasm, that\nthe directors of the Opera were consumed with jealousy, and tlie battle\nraged again more furiously than ever.\nIn the meantime art had gained a new form of scenic action, and"}, {"page_pdf": 44, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.44", "texte": "A HISTORY OF PUPPETS.\n\nOpera comique, Invented for marionettes, was never again to perish.\nA year later, Piron, the illustrious Plron, the scourge of the academicians,\nwrote for the marionettes of the Fair of San Lorenzo an 44 opera buft'a >'\nin three acts: \" Le mariage de Mom us ou la Glgantomachie, \" and im-\nmediately afterwards 44 L'Antre de Trophonius,\" the plot of which has also\nbeen very happily adopted by our Glovan Battista Fagiuoli. La Place\nprovided 44 Pierrot Romulus, \" a witty parody of the 44 Romulus \" of La\nMotte; Dolet followed with 44 La Course galante ou I'Ouvrage d'une\nminute, \" a parody of the 44 Galant coureur ou I'Ouvrage d'un moment \"\nof Legrand; Carolet wrote 44 L'entStement des spectacles, \" and Plron,\nwith his 44 Columbine-Nitetis, produced a caricature of the tragedy of\n44 Nitetis \" by the famous Danchet.\n* The a«e of Sold for burattini had arrived. Favart began with them\nhis future glorious dramatic career, and composed 44 Poiichinelie comte\nde Paonffer,\" a parody of the 44 Glorieux \" of Destouches ; Valois d'Orvllle\ngave 44 La Piece ntanquee \" and \"I'lmpromtu de Poiichinelie;\" and\nin I74J- with his 44 Poiichinelie distributeur d'esprit,\" he charged mario-\nnettes with the criticism of all the theatrical 44 opere \" that were\nrepresented in the course of the year, and thus inaugurated the 44 Revues\nde fin d'annee, » which is still continued in France and is always ap-\npreciated.\nIn 1743 the burattini had the audacity to ridicule Voltaire and to\nmake people laugh behind their backs at the mighty scoffer, with a\nparody of his 44 Merope \" and 44 Oreste.\" Master Francois was furious and\npoured out his anger upon the heads of the irreverent little 44 figurine \"\nbut the wrath of the poet only increased the success of his critics, and\nthe great 44 Arouet \" was forced to be quiet and to leave them aio'ne.\nThe glory of the burattini at the two Fairs lasted until the year ,79o,\nwhen the Fairs, themselves, were definitely suppressed."}, {"page_pdf": 45, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.45", "texte": "SOME ARCHITECTURAL DESIGNS OF PADRE\nPOZZO (16491709) FOR THE THEATRE OF\nTHE SEVENTEENTH CENTURY, with an Introductory Note\nby John Semar.\nPADRE POZZO AND HIS BOOK.\nn looking over the works published by the early\narchitects it is interesting to observe how serious\nis the attention which almost all bestow upon\nthe Theatre.\nVery learnedly and thoroughly do they describe\nand depict with pen and pencil the great works\nof antiquity, the Greek and Roman temples and\namphitheatres, the characteristics of Ionic and Doric\nstyle, and very earnestly do they lend themselves to the construction\nof modern churches and halls: but in the books of most of them, sooner\nr\nor later, we come upon a section devoted wholly to the construction of\ntheatres, and, not only to the construction of the fabric, but also to the\nInvention and arrangement of the scenery and lights, for architects in\nthose days were permitted to realise that the place, its form and its\nconstruction is dependent upon what is to abide in that place.\nVitruvius in the first century left very thorough instructions relative\nto the theatre of his day; and later we find Sebastiano Serlio, (i), Nlccolo\nSabbattini, the Bibiena Brothers and Padre Pozzo in Italy, and smaller\nmen like Joseph Furtenbach (2) in Germany, giving their best energies\nto this branch of building.\n«i£? Throughout these works however one cannot but note how, unfortun-\nately, as the centuries went by, the dignity of the scenery declined, how\nthe marbie and stone of early days gave place to wood and canvas, and\nthen also how the solidly set up \" case \" or houses to be seen In the\ndesigns of Peruzzi, Sabbattini and Serlio gave place gradually to the\npainted '* quinte \" or, \" wings \" as Padre Pozzo uses them and as they\nare still In use in the theatres of today.\n\n(1) See Tbe Mask, Marcb 1903.\n(2) See Tbe Mask, April 1912."}, {"page_pdf": 46, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.46", "texte": "THE DESIGNS OF PADRE POZZO•\n\nThis Padre Pozzo, a Jesuit father who lived from 1649 to 1709,\nseems the first, according to Ferrari, (1) to show us these 'quinte and\nthe method of designing them, and some reproductions of his plans are\nhere shown, taken from the English Edition of his book, \" Prospettiva\ndel Pittori e Architetti,\" of which the first part in Italian was issued\nin 1692 and the second in 1700, and which contains 105 large plates\nand many engraved initial letters.\ny?> This work was issued not only in Eatin and Italian but also in Frencn,\nand, as we have said, in English, an \"Approbation \" being printed at the\noutset signed by \" Chr Wren, J. Vanbrugh and N. Hawksmoor \" to the\neffect that \"At the Request of We have perus'd this Volume\n\" of Perspective, and judge it a work that deserves encouragement, and\n\" very proper for Instruction in that art\nPadre Pozzo, who seems to have been a man of tireless industry as\nwell as of a high order of intelligence, was much in request for the de-\ncoration of churches, and also, like Giuseppe Bibiena, took into the\nchurches something of the theatre, constructing the elaborate scenes\nrequired for the 'Presepio', the Holy Week functions, and the Exposition\nI\nof the Host. No one finds that he did any good to the churches or their\narchitecture, and we of the Theatre realise that his elaborations in scenic\nart all tended in a wrong direction. Yet the thoroughness with which he\nset to work has an interest for us. His inventions were bad, but it is of\ninterest to know when and by what means we became possessed of these\nabsurdities which have so long hindered the development of Drama.\n& These scenes, very popular In the seventeenth century, were often\nmagnificient in size and decoration, having regular wings, back cloths\nand stage, at the ribalta of which stood the high altar of the church.\nThey were called \" teatri \" or theatres, and some survival of them may\neven yet be traced in the \" sepulchres \" which are arranged, often with\nlife-size figures, in the Italian churches during Holy Week.\nBut it is when we come to his work for the secular theatre that we\nfind Padre Pozzo most interesting, and it is In his plans and designs\nthat we trace for the first time many of the features which have, alas,\nbecome habitual in the theatres of today.\n\n(1) La Scenografia."}, {"page_pdf": 49, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.49", "texte": "THE DESIGNS OF PADRE POZZO.\n\non,y *s ',e the first to show us the \" quinte \" or wings of the\nstage, but also the first to adopt a different method of moving them,\nrolling them up instead of drawing them back, and thus leaving the\nground space less encumbered. His plan of a theatre also shows the\nauditorium divided into boxes.\nx? These plans of Pozzo's, as of most of the early Italians, are worth\nthe most careful study of the worker in the modern theatre.\n& True, some of the things produced at the time of Pozzo and the\nBiblenas were terribly ornate, were already a decline from the finer\nwork of Peruzzi and Seriio and Palladio; but then so is much of the\nwork produced today terribly ornate, and the work of these early\nmen had at least, behind its ornateness, a very strong foundation of\nreal knowledge.\nOF SCENES FOR THE STAGE, by Padre Pozzo. A Reprint from\n\"Rules and Examples of Perspective\" London,.\ncenes for the Stage have very much Affinity with\nthose lately described, but the Point of Sight is\nnot so easily found in these; and from the Obli°\nquity of the Grooves in which the Scenes run, it\ncomes to pass, that the right Lines which ought\nto appear parallel to the Line of the Plan, must\nnot be drawn parallel there to, but oblique ; which\nis a Work of some Difficulty. This indeed may be\navoided by fixing the Grooves parallel to the Poscene ; as is usual in\nsome Places, especially in Germany. Nevertheless, the Italian manner\nhas this advantage; that those who are employed to prompt the Actors,\nand shift the Scenes, etc, are less exposed to Sight, in the Performance\nof their Business.\n& In this figure (Fig. LXXI1) I have given you an abridgement of those\nthings, which shall hereafter be more enlarged on.\nThe Numbers i, 2, 3, 4, denote the Area of a Hall an hundred and\ntwenty Roman palms in length, and sixty in breadth; as is manifest from\nthe scale of thirty palms marked S."}, {"page_pdf": 50, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.50", "texte": "THE DESIGNS OF PADRE POZZO.\n\n& Half this space is take up by the Stage, the other half by the Spectators.\n& Q is the point in which the visual lines concenter. D is the place of\nthose things that are to appear most remote. B C is the place of the\nPoscene. E E are the oblique Grooves, whose lengths are double the\nbreadth of the scenes, F G is the front of the Stage. A O is its depth or\nlength. E is the place for the Musick. K is the room for Spectators.\nI is the plan of the Galleries. L the Stairs to the same. N is the Elevation\nof the Galleries, M shows the declivity of the Floor, with the section\nand elevation of the Stage and Scenes viewed on the side ; answering\ntheir respective Grooves, as the occult lines demonstrate. O O is a I:ne\nperpendicular to that of the Horizon. P and Q are the elevation of the\nScenes viewed in front, turning inwards, in breadth agreeing with the\nlength of the Grooves of the plan B; and in height answering that of\nthe sections of the elevation M; as is evident from the occult lines.\nIn this profile M, part of the height belongs to the Scenes, and part\nto their Soffltes, or ceilings, R; where each pair of these Frames are\nJoined. V V are the lines by which is espied what vacancy there is either\nbetween the Scenes and their Ceiiings, between the Scenes themselves,\nor between their respective Ceilings; though in some Scenes the Place\nof these last is supplied by painting therein the Air with Clouds, etc.\nANOTHER PLAN OF A THEATRE, WITH THE METHOD OF\nFINDING THE POINT OF SIGHT THEREIN. (Fig. LXXIII).\nJf it be required to paint the Scenes of some Theatre already built,\nthe geometrical plan must first be carefully drawn, (as you see, for\nexample, in this plate) that the length of the Theatre may be found; or\nthe distance of its point from that of A; which is easily done, by taking\nthe Interval B C of the first grooves, and D E of the latter; and drawing\nthe visuals M O, N O; for A O is the length of the Theatre, and the\npoint of sight or perspective therein, is O. Moveover the length and\nbreadth of the grooves must be known, as also their numbers, distance\nand obliquity; and especial care must be taken, that though they he\noblique to the line M N, that on each side they be parallels between\nthemselves, and that they all touch the lines M O, N O. If you then make\nA O equal to FA, the point of distance will be F; and If the Theatre"}, {"page_pdf": 53, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.53", "texte": "THE DESIGNS OF PADRE POZZO.\n\nbe painted according to the Rules hereafter given, it will appear to him\nthat views it from P, as a regular piece of perspective placed in A.\nTHE SECTION OR PROFILE OF SCENES FOR THEATRES.\npresides the plan of the Theatre, the section of the scenes is also to be\ndelineated, for finding the point of the Theatre in the eievation.\nWherefore, setting the measures of the heights which the point A, where\nthe floor of the stage begins, and the point D of the poscene, have above the\nlevel of the horizontal PP; from the perpendicular N V draw the right\nline ADO, wich gives the declivity of the stage; then make N O parallel\nto P. V. and equal to A O of the Seventy third figure. (See Fig. LXX1V).\n& The point of the Theatre in elevation is O; the point of the same\non the poscene is O. If E B be the greatest height of the first scene, the\nline O E determines the height of all the others. The longest of the two\nlines gives the true height of each scene; and the shorter discovers how\nmuch of that height the sight loses on the out-line, by the oblique\nposition of the scenes.\n£? Moreover, the excess of the longer line above the shorter, as well at top\nas at bottom, is to be well observed ; for on this depends the right under-\nstanding of the seventy fifth figure. The point M, which is as far distant\nfrom N, as that of F is from A in the seventy thirdv figure, denotes the\nplace from whence the stage ought to be viewed ; as is there mentioned.\n& In laying the floor of the Stage, this rule is commonly observed,\nthat the height of the point O be made equal to the height of ;the eye,\nand that the rise of the floor from A to D, be about a ninth or tenth\npart of the length A D. 'Tis also requisite, for the better shifting the\nscenes, that the pavement P be sunk lower than that of G, that a man\nmay walk upright under the floor thereof.\nTHE ELEVATION OF SCENES IN FRONT, AND HOW THE\nOBLIQUE SCENES ARE MADE TO DIRECT. (Fig. LXXV).\nrjphe scenes in S have their breadth from the plan of the seventy-third\nfigure, and their height from the elevation of the seventy-fourth fi-\ngure and are supposed to stand perpendicularly in their grooves j ail\nwhich is also represented in P and Q of the seventy-second figure."}, {"page_pdf": 54, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.54", "texte": "THE DESIGNS OF PADRE POZZO.\n\n1 would have you observe how much the floor rises, from Its edge A,\nto the poscene D, and to the point of the Theatre O.\nYou should also note the elevation of each scene, which, by reason\nof the obliquity of the grooves, turn inward : wherefore the lines B, L, K, I,\nof the part C, do not seem parallels to the ground=Hne, as they really\nare; and the visual L F tends not to the point of sight O, but to the\npoint F.\n43 But if the seeming excess, which the line B K has at top and bottom\nabove the line L I, be transferred on the side of the scenes E, (which\nexcess may also be taken from the seventy-fourth figure) and you draw\nthe lines L G, I ii; these lines will appear parallels to the line of the\nplan. Then drawing the line L O, so as to make the angle G L O equal\nto the angle B L F, the said L O shall tend directly to the point of\nsight O; and serve for a visual line. '\nIn P, I suppose the scenes M and N to lie one upon another on the\nfloor, and-the two lines R T to have the same distance as the lines LI;\nand so of the others. Where you are to take notice, that the lines R S, T V,\nare the same with the lines L G, I H, of the scenes E: and that the\nlines RS,T Y, are not parallels; although L G, I H seem to be so.\nTherefore, if you draw the line R L, so that the angles S R L, and GLO,\nbe equal; the line R L shall serve as a visual, and L shall be the acci-\ndental point of sight, for painting the scenes of the side N ; and the\nlines R S, T V, shall be used as parallels.\nWhat remain on the Frame beyond those lines, Is to be reckoned as\nnothing; but you may paint there Air, or what you please. The acci-\ndental point of sight for painting the scenes of the side M, is I."}, {"page_pdf": 57, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.57", "texte": "THE BETRAYED. A Scenario of the\nCommedia dell' Arte.\nCHARACTERS.\nTartaglia, father of\nIsabella\nCoviello, servant\nCintio, gentleman to Tartaglia\nPolicinella, father of Angela, who is not seen\nPlmpinella, servant\nCaptain.\nCITY... NAPLES.\nPROPERTIES.\nQaolor's costume. A Beard. £? Sticks. Purse. Sword.\n.\nACT /.\nTartaglia and Policinella.\nDiscuss the pact to be made, Tartaglia giving his daughter to\nPolicinella, and Policinella giving his daughter to Tartaglia; alter lazzi\nPolicinella goes off, Tartaglia knocks at his own house.\n*\nCoviello and Tartaglia.\nCoviello, complaining of Cintio, asks Tartaglia to send him away from\nthe house; Tartaglia says that he will remedy everything and then orders\nCoviello to go and fetch the money at the bank, because he has arranged\na marriage, and then to call the Barber, the shoemaker, the tailor;\nCoviello counts them over on his fingers with the usuai lazzo and Coviello\ngoes off. Tartaglia knocks at the house."}, {"page_pdf": 58, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.58", "texte": "THE BETRAYED. A SCENARIO.\n\nCintio and Tartaglia.\nTartaglia tells him that he has arranged the marriage with the daughter\nof Policinella. Cintio rejoices over it; in this.\nCovIelJo and the aforesaid.\nWrangling from within; act the scene of the Parrot, Tartaglia in\n1 '\ndespair, Coviello wrangles with Cintio, who tells Tartaglia the bad turns\nCoviello has done the household; Coviello puts forward his excuses;\nTartaglia tells Cintio that he should teach Coviello some good manners,\nand goes away. Cintio teaches good manners to Coviello, aod goes away.\nCoviello remains; in this.\nTartaglia and Coviello.\nCoviello does the same to Tartaglia as Cintio has done to him, and\ngoes off. Tartaglia, in despair, knocks at the house.\nTartaglia and Cintio.\nHe tells Cintio how he has arranged a marriage for his daughter,\nCintio on his side laments, and faints. Tartaglia's cries. Afterwards Cintio\ncomes to himself, and Tartaglia tells him that he must carry the news\nto his daughter, and Tartaglia goes off. Cintio, his desperation, and\nknocks (at Isabella's)\nIsabella and Cintio.\nHe tells her all, Isabella pretends to rejoice, Cintio grows agitated;\nthen Isabella assures him of her love, and with expressions of reciprocal\naffection they go off.\nPolicinella, (alone)\n& Wants to give his daughter the news that he has arranged a marriage\nfor her, and knocks.\nPimpinella and aforesaid.\n& After lazzi they go in."}, {"page_pdf": 59, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.59", "texte": "THE BETRA YED. A SCENARIO.\n\nCaptain alone.\n£? Dreams of the love of Angela, and knocks.\nPimpinella and the aforesaid.\nThey act lazzi', then the Captain says he wanted to speak with An-\ngela, Pimpinella says that Angela Is ill, and they act the scene of the\npurse ; in this\nCoviello and the aforesaid.\nHe acts the spy and takes the purse without their knowing, and\nwithdraws ; these two having acted their scene Pimpinella screams to the\nCaptain who is going in; the Captain is desperate; then sees Coviello,\nseizes him and tells him of the purse. Coviello tells him that he will get\nit back for him because he knows that Cintio has taken it; Captain goes\noff; Covlelio knocks for\nPimpinella and Coviello.\nThey act the scene of the sword, and end the first act.\nACT II.\nPimpinella and Coviello.\n& They act the scene of the Judge, and after lazzi Pimpinella goes off,\nCoviello remains; in this\nCoviello and Policinella.\nHe tells Policinella that Cintio has said that he has false teetli, (i)\nPolicinella says that he wants to kill him, and Policinella goes off ; Co-\nviello remains ; in this\nCoviello and Captain.\nThe Captain returns to his demand for the purse, and Coviello returns\nto his assertion that Cintio has taken it; the Captain asks him his name;\nhe replies : I am called scopa, (2) The Captain asks about the household,\n\n(1) Literally 1 i teeth of wax\n(2) 'scopa' is a birch-tree or brcora, but also a cudgelling or a whipping."}, {"page_pdf": 60, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.60", "texte": "THE BETRA YED. A SCENARIO.\n\nand of Cintio's position; Coviello gives him an account of it, the\nCaptain knocks.\nTartaglia and the aforesaid.\nTartaglia having understood the whole position, the scene of the\ntestimony is acted, Coviello goes away, and returns several times with\na beard; then Tartaglia calls Clntlo.\nCintio and aforesaid.\njg? They treat Cintio as a rogue ; Cintio declares his innocence; Coviello\nsecretly puts the purse on Cintio; Tartaglia searches Coviello; and then\nsearches Cintio and finds the purse, and gives it to the Captain, and all\nscold Cintio, and Tartaglia uses the house as a prison for Cintio; the\nCaptain goes off, and then Tartaglia; Cintio and Coviello remain, in this:\nPimpinella, Cintio and Coviello.\n0 Pimpinella treats Cintio as a rogue, and scolds him ; in this.\nj0 Policinella and the aforesaid.\n0 They act the scene of the beating with sticks, and end the second act\nACT 111.\nPolicinella and Coviello.\n& Coviello plots with Policinella, and dresses him as a gaolor, and they\nknock (at Cintio's.) ,\nCintio and the aforesaid.\n0 Policinella tells Cintio that he is the gaolor of the prisons wher«\nTartaglia is imprisoned for making an uproar, and that having lost tbe\nkey of the counting house he sends to say that it Is to be broken open\nand the money brought to him. Cintio goes In to do this, PolicineU\nafter lazzi with Coviello goes away; Coviello remains; in this\nCoviello and Tartaglia.\n& He tells Tartaglia how Cintio is breaking open the counting hoiise\nbecause he wants to escape (and meantime the noise of the breaking\nopen is heard from within); Tartaglia's lazzi; in this"}, {"page_pdf": 61, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.61", "texte": "THE BETRAYED. A SCENARIO. .\n\nCintio and the aforesaid.\nTartaglia seizes him, and they find the money on him; Cintio wants\nto speak, Coviello stops his mouth. Tartaglia tells Covielio to take it (the\nmoney) from him; Coviello takes it from him, and Tartaglia goes off,\nand Coviello; Cintio acts a scene of despair. In this\nIsabella and Cintio.\nJZZ Scene of Love, and Cintio relates to her what has happened; in this.\nCoviello and the aforesaid.\nThey act the scene of the Pilgrim, then Coviello makes them marry\nand all go into the house. .\nCaptain and Policinella.\n£? He seeks Angela to wife; Policinella says he has married her to\nTartaglia; the Captain says he has enjoyed her; Policinella infuriated\nknocks.\nPimpinella and the aforesaid.\n& Pimpinella, having been with the Captain, accepts everything, (i)\nPolicinella goes away to find Tartaglia; in this\nCoviello, Captain aud Pimpinella.\nCoviello having understood everything from them makes the Captain\nand Pimpinella go into Tartaglla's house, teliing them that he will settle\neverything, and he also goes in.\nTartaglia, Policinella,and then All.\nDiscussing what has happened with the Captain; then Tartaglia\nknocks at his house, the others with the lazzo of la la sa perform the\nmarriages, that is; Cintio with Isabella, the Captain with Angela, and\nCoviello with Pimpinella, and end.\n\ntta tutto \" evidently means \" accepts the blame for everything"}, {"page_pdf": 62, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.62", "texte": "THE PIN AND ITS PEDIGPEE.\nJ. S.\nI* /s our intention to give from time to time some notes upon\nthe origin and history of various properties in use in the Theatre,\nand selecting as the first of such subjects the smallest of all\nthat which, by stars and supers alike, is perhaps handled most\nfrequently and heeded least, we reprint from a seldom referred to\nbook the following interesting facts about the Pin.\nIN. (W. pin, a pin, a pen ; Gael, pinne, a pin,\nplug, pen ; Du: pinne, a point, prick, peg ; Latin,\npinna, a fin, a turret, a pinnacle.)\nThe form of the element p;n in signifying a\npointed object is also seen in Latin spina, a thorn,\nand in pinus, a fir-tree, tree with sharp-pointed\nleaves; in G. called nadeln, needles. (Wedgewood's\nDictionary). Literally, a feather, a sharp-pointed\ninstrument, especially for fastening articles together ; anything that holds\nparts together; a peg used in musical instruments for fastening the\nstrings; anything of little value. (W. Gael., and Ger. pinne, L. pinna\nor penna, a feather.) Donald : Chamber's Etymological English Dictionary\nBaily gives it from espingle, Fr., or , Latin, a thorn, a deriva-\ntion far more consistent with the early history of this \" small brass\nutensil \" ; thorns apparently having early been in use in all countries as\na ready and cheap substitute for an article which, although of little\nworth now, was then intrinsically valuable.\nNaturally pins fastening outer garments were made mediums of dis-\nplay. \" Some magnificent specimens of Saxon pins are engraved in the\nArcheological Album ; and one in the possession of Lord Albert\nConyngham, found in a parrow at Wingham, Kent, has the strm of brass,\nthe hoad of gold ornamented with red and blue stones and filagree work.\n& A magnificent pin of the 14th century is exhibited as fastening the\npall on the effigy of John Stratford, Archbishop of Canterbury (died 1348)\nin the cloisters of Canterbury Cathedral. \" (Fairholt).\nMetal pins, frequently of elaborate manufacture and of valuable metal,\nhave been found in Egyptian tombs, and may have been used either for"}, {"page_pdf": 63, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.63", "texte": "THE PIN AND ITS PEDIGREE.\n\nthe hair or breast. Pins of more ordinary materials were much used,\nand specimens of Roman bone pins are commonly found in the course of\nexcavations in London, and are as frequent in British barrows.\nPlanche says that \" pins for general purposes were used as early as\nthe reign of Edward I, p \" but admits immediately after that they were\n\" expensive in the 13th and 14th centuries, and were consequently given\nas presents by lovers to their mistresses; \" so that it is not likely that\nthe purposes for which they were employed could have been very general.\nIndeed, from the tact that all pins made in this country at that period\nmust have been very tediously and carefully elaborated of bone, or ivory,\nor or if imported must have been proportionately dear, it is patent\nthat pins of any sort must then have been very scarce and highly prized.\n& The term pin-money dates back to this period Dr Brewer says, \" Long\nafter the invention of pins, in the 14th century, the maker was allowed\nto sell them in open shop only the 1st and 2nd of January. It was then\nthat the Court ladies and City dames flocked to the depots to buy them,\nhaving first been provided with money by their husbands. When pins\nbecame cheap and common, the ladies spent their allowances on other\nfancies; but the term pin-money remained in vogue.\" (Dictionary of\nPhrase and Fable).\n£? A similar practise was carried out in France. According to Chambers,\n\" One of the articles of the ancient pin-makers of Paris was, that no\nmaster should open more than one shop for the safe of his wares, except\non New Year's Day and the eve thereof; this we mention in an age\nof luxury and profusion, to recollect the agreeable simplicity of our\nforefathers, who contented themselves with giving pins for New Year's\ngifts.\" It appears also from this author that pin-money formed at one\ntime a constituent part of bargains; for he continues, \"hence the\ncustom of still giving the name pins, or pin-money, to certain presents\nwhich accompany the most considerable bargains, in which it is usual\nto give something towards the wife or children of the person with whom\nthe bargain is struck. \" (Cyclopaedia, 1741.)\nJudging from the readiness with which nearly every fact connected\nwith the early Import of pins is disputed, the little article is one exciting\nconsiderable interest."}, {"page_pdf": 64, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.64", "texte": "THE PIN AND ITS PEDIGREE.\n\none account gives the credit of the first Introduction of pins of brass\nwire to Anne of Austria, queen of Richard II; but in the previous reign,\nIn 1847 (Liber Guarderohe,12=16 Edward ,O.) we have a\ncharge for twelve thousand pins for the outfit of Joanna, daughter of\nEdward III, betrothed to Peter the Cruel; a quantity hardly consistent\nwith any other kind of pins than those of common metal.\nAgain, it Is often affirmed that Catherine Howard first imported pins\nfrom France in 1540, on which point Dr Brewer says, \" It is quite an\nerror to suppose that pins were invented in the reign of Francois I.,\nand introduced Into England by Catherine Howard,- the fifth wife of\nHenry VIII in 1400 (more than a century before Francois ascended\nthe throne) the Duchess of Orleans purchased of Jehan le Breconner,\nespinglier of Paris, several thousand long and short pins, besides five\nhundred de la facon d'Angleterre... So that pins were not only\ninanufactured In England, but were of high repute even in the reign\nof Henry IV. \"\nBut these five hundred pins may have been of better materials than\nbrass. The disputed point is best settled by a reference to the Statute\nBook, where, In 1483, on the representations of certain workmen inte-\nrested, pins, with a number of other small wares, are, by an Act of\nthat date, forbidden to be imported ready wrought, a prohibition re-\nenforced by Elizabeth in 1564.\n£> This disposes of another disputed question... that as to the manufacture\nof metal pins in this country, for among the artificers on whose appeal\nthe restriction was Imposed are \" pinners \" and \" wiremongers \". Yet in\na book published so long ago as 1686, entitled, \" A Pleasant and Com-\n♦\npendious History of the First Inventors and Distributors of the Most\nFamous Arts \", it is said that, \" About the same time, \" (referring to\nthe 5th year of Elizabeth) \" the making of pins was found out by the\nEnglish, which before were brought by strangers to the value of L. 60,000.0.0\na year. \" But how little trustworthy is this ancient chronicle we may\nfind on comparing this sum with that of L. 3,297.0.0., given in the\n'* Calendar of State Papers \" (Domestic Series), as paid annually for pins\nimported in the time of Elizabeth.\nThe statement, so frequently made, that the manufacture of pins"}, {"page_pdf": 65, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.65", "texte": "THE PIN AND ITS PEDIGREE.\n\ncommenced here in 1540 is apparently based upon a passage in Anderson\nwhere it is said, \" Prom the under-named statute oi the 34th and 35th\nof King Henry VIII., cap. VI., it seems natural to conclude that pins\n(such as we now know by that name, and chiefly used by the ladies)\nmust have been but of very recent invention. The Act says, 'That no\n%\nperson shall put to sale any pinnes, but only such as shall be double-\nheaded, and have the heads soldered fast to the shaftk of the pinne\nwell-smoothed, the shank well shaven, the point well .and round filed,\ncanted, and sharpened. (1)\nj0 Now the labour and time of making pins after this manner, as it must\nhave rendered them much more expensive, shows the novelty of the in-\nvention, which probably was but lately brought from France.\nAnd the inconvenience of the make of those pins naturally set our\npeople upon improving so tedious and clumsy a manufacture; for in\nabout three years time they adopted the present ingenious and expe-\nditious manner of making then, viz. by 37th of this king, cap. XIII,\nrepealing the above statute.\nBefore the invention of these brass pins there were many pretty and\ningenious contrivances for the convenience of the dress and ornament of\nboth sexes; such as ribbons, loopholes, laces with points and tags, clasps,\nhooks and eyes, and skewers made of brass, silver, and gold. From the\nlast, viz., skewers, it is very probable that pins naturally proceeded,\nbeing no other than smaller and more convenient and delicate skewers.\n(History of Commerce).\nThe manufacture, stimulated by competition, rapidly progressed, and\nhad its seat at Bristol.\nThe historian of that city says that in 1581 it had \" a chief manufactury\nof points or pins, and it was a principal mystery exercised in that town.'?\n(Barrett's Bristol),\nWe learn their value at this period from the inventory attached\nto the will of Thomas Pasmore, of Richmond, dated 1577, where are\nfound\n\" XIIIJ thousand of small pynnes, vjs.\nA thousand great pynnes, ijs vjd. \"\n\nI) This Act also decreed that the price of pins should not exceed six shillings and eightpence per thousand."}, {"page_pdf": 66, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.66", "texte": "THE PIN AND ITS PEDIGREE.\n\nAnd In that of Robert Lambe, of Newcastle, 44 Marchaunte,\" soma\nyears later, we have,\n44 ij grosse and a half of pynnes, 17s. 6d.\nA grosse and a half of pynnes, 12s, \"\n& Again, in the stock of Jamss Backhouse, of Kirbye-in-Lonsdaile, 1578,\n44 xvj thousand of pynnes, xijs vjd.\niiij pawper of rowd headed pinns, xiijd, \"\n& And later, in the 44 Household Books of Lord William Howard \",\n44 1018. 1500 long pins, 4d, nd.\n1622. 1000 of pins, 23d.\nTo Nic. Hall for 1000 of pins, 9d. \"\n& The Invention of making solid-headed wire pins is usually attributed\nto Mr. L. W. Wright, an American, who in 1818, in his own country, and\nin 1824 here, worked a patent taken out for such pins; but it is stated\nthat the method was anticipated and patented by one Seth Bunt In 1817.\nIt Is certain, however, that Wright's machine was the one first successfully\nworked, although it failed in the hands of the patentee, and was not\nfairly utilized for some years subsequently.\nSince then successive improvements have been made in the mode of\nmanufacture, and the processes have been thus so greatly simplified that\nthe progression of pins through many stages, and as many hands, which\nwas often made to point a moral, has been totally altered, as pins are\nnow, by delicate and ingenious automatic machinery, put through the\nwhole of the processes without a break.\nThe wire goes In at one part of a macnine, and the pins, headed,\npointed, and polished, are turned out at another, while another machine\nsorts them Into the several sizes, and arranges them in papers.\nThe following are some quotations found in English literature relative\nto pins.\n44 I'll make them eat iron like an ostrldge,\nAnd swallow my sword like a great pin,\nE'er thou and I part.\" Shakespeare.\n44 Tut, a pin, this shall be answered. \"\nlb.\n44 But Alexander writeth that they left their rafters or great pieces"}, {"page_pdf": 67, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.67", "texte": "THE PIN AND ITS PEDIGREE.\n\nof timber pinned together, whereupon they had passed over the stream\nof the main river. \" North. \" Plutarch's Lives. \" I579»\n44 His garment, nought but many ragged clouts,\nWith thorns together pinn'd and patched was,\nThe wich his naked sides he wrapt about. \"\nSpencer: Fairie Queene. 1590.\n44 Soon after comes the cruel Saracen,\nIn woven mail all armed warily,\nAnd sternly looks at him, who not a pin\nDoth care for look of living creature's eye. \"\nlb.: Id.\n44 'Tis foolish to appeal to witness for proof, when tis nfot a pin matter\nwhether the fact be true or false. L' Estrange.\n.£7 44 About that time Englishmen began to make all sorts of pinnes, and at\nthis day they excel all nations.\" Stow. 44 King James \" (conclusion).\n44 Whatever spirit, careless of his charge,\nHis post neglects, or leaves the fair at large,\nShall feel sharp vengeance soon o'ertake his sins,\nBe stopt in vials, or transfixt with pins.\"\nPope. 44 Rape of the Lock. \"\n44 In a translated suit then tries the town,\nWith borrowed pins and patches not her own.\"\nIb:\nA rough contry squire, being not a little shocked at the proceeding\nof a young widow that would not recede from her demands of pin=money,\nwas so enraged at her mercenary temper that he told her In great wrath,\nas much as she thought him her slave, he would show all the world he\ndid not care a pin for her, upon which he flew out of the room and\nnever saw her more. \" 44 Spectator. \" No. 395."}, {"page_pdf": 68, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.68", "texte": "BARTHOLOMEW FAIR, 1721.\nHPhis fair was granted by Henry the 1st, to one Rahere, a witty and\npleasant gentleman of his Court, In aid and for the support of an\nHospital, Priory, and Church, dedicated to St Bartholomew, which he\nbuilt in repentance of his former profligacy and folly.\nThe succeeding Priors claimed, by certain Charters, to have a fair\nevery year, during three days. vizi, on the Eve, the day, and on the\nMorrow of St Bartholomew. At this period the Clothiers of England, and\nDrapers of London, kept their Booths and Standings there, and a Court\nof Piepouder was held dally for the Settlement of all Debts and Contracts.\nAbout the year 1721 when the present interesting View of this popular\nFair was taken the Drama was considered of some importance and a series\nof minor... although regular pieces were acted in its various Booths. At\nLee and Harpers the Siege of Bethulia is performing, in which is intro»\nduced the Tragedy of Holifernes. Persons of Rank were also its\noccasional visitors, and the figure on the right is supposed to be\nthat of Sir Robert Walpole then Prime Minister: Fawkes\nthe famous conjuror, forms a conspicuous feature, and\nIs the only portrait of him known to exist.\nThe remaining amusements are not unlike\nthose of our day, except in the articles of\nHollands and Qin, with which the lower\norders were then accustomed to indulge\nunfettered by licence and excise.\nPublished as the Act directs\nby F. F. Setche! 23 King\nStreet Covent Garden."}, {"page_pdf": 69, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.69", "texte": "BARTHOLOMEW FAIR, 1721\nFine old coloured aquatint, printed as a fanmount, and mounted on tortoiseshell sticks forming a curious and\ninteresting fan (which, when open, measures from end to end 20 inches) ; the scene shews the famous Bartlemy\nFair in progress, with its various booths and visitors, among the most notable being Sir Robert Walpole seen\nentering on right) ; Fawkes, the famous conjurer, forms a conspicuous feature, and is the only portrait\nknown to exist*.\nThis old Fan-Print was made up by Messrs. Duvelleroy, and is now the property of the tiordon Craig School\nfor the Art of the Theatre, Arena Goldoni. Florence."}, {"page_pdf": 71, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.71", "texte": "UPON SEVERAL THINGS. Some\nNotes\nTHE RUSSIAN BALLET M. DIAGHILEW THE DANCER NIJINSKY\nDESERTERS IN THE ARMY.\nby John Balance.\n\nTHE RUSSIAN BALLET.\ntravelling company which we know of by the name of the Russian\nBallet is, more correctly speaking, a branch of the Russian Ballet,\nwhich has been in existence for more years than any of our readers\nhave seen.\nIt is a State organization; its pocket money over a million roubles,...\nthat is to say, over one hundred thousand pounds a year.\n<£? Its founders and supporters are not impelled by a great love of the\nnobility of art, but they wisely recognise that a great state governed by\nmen instead of by mice and women needs a great Ballet, a great Opera\nHouse, a great Theatre.\n£? Neither are these founders of this Ballet concerned about the intel-\nlectual, spiritual or moral qualities of those who are to be put upon\ntheir stage. A pretty girl ?... put her on,... train her... make her dance:...\nshe can't?... then turn her out:... Finished!\nIf she does well,.... retains her looks, her temper, her charm,... keep\nher:.... send her flowers, send her jewels, put her in a comfortable\nhouse: give her all she wants,.... Finished!\nNo more waste of time or speech.\n& This is how a state governed by a masculine race acts.\n£? Hence the Russian Ballet, which few of you have seen.\n\nM. DIAGHILEW.\nA passionate lover of what Is beautiful and thus of that which is most\nbeautiful of music, M. Diaghilew indulges his fancy for organizing.\n& While he loves music, he knows men and women ; and music is the\nvoice which finds for him excuses for their Ingratitude, felly and conceit.\nHe is a very kind man whose very kindness is his chief fault.\nHe understands men and women, and he imagined that dancers and\nother performers were men and women."}, {"page_pdf": 72, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.72", "texte": "UPON SEVERAL THINGS.\n\n1\nHe reckoned that performers were capable of loyalty.\nOne by one they broke away from him, their vanity, conceit and\ncupidity being greater than their devotion to the cause he had at heart.\nM. Dlagliilew can find plenty of dancers to fill the gaps made in his\nranks,... he will create new talent,.... if he wants to.\nThese will always break away from him,... to their discredit.\nBut M. Diaghilew helps them to be discreditable, for he has not learned\nthat performers must first learn loyalty to a cause before they are strong\nenough to bear the strain of the temptations they must encounter and\nwhich either make them heroes when victorious or cravens and deserters\nwhen they fail.\n\nTHE DANCER NIJINSKI.\nyoung gentleman Is not a Russian. He Is a Pole.\nHe has lately been tempted to leave the company known as\n44 The Russian Ballet \" and he left it.\nHe was doing well in 1911; then by some means he got hold of a\nbottle of old wine from the cellar of Mr Raymond Duncan, and has since\nbeen in a state of intoxication.\nHe lately exhibited himself to London in this condition.\nThis particular wine is from Mr Duncan's own vineyard and is quite\ndangerous to drink,... unless you be invited to do so by the master of\nthe house, who knows how much a guest can be entrusted with.\nSince drinking this heady draught M. Nijinsky has been carrying on\nin a way calculated to appal some, ravish others, and somewhat disturb\nthose whose attention should be given strictly to watching and guarding\nthe development of the people and their education in such matters.\nIf a man reels along Piccadilly in a state of intoxication he is arrested,\nnot because he is drunk, (for he is permitted to be drunk in the privacy\nof his own home), but because he annoys us with a display of drunkenness,\nand we know that if he is not put into a strong room Piccadilly will\nsoon be packed with such people.\nBut then we know the signs and the effects of the intoxication which\ncomes from too much liquor. But the signs and effects of theatrical\nintoxication seem hidden from most people."}, {"page_pdf": 73, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.73", "texte": "UPON SEVERAL THINGS.\n\n& For instance, upon first catching sight of Nijinsky's \"Aprfcs midi d'un\nFaun \" the critics should have one and all put it aside with a label,\n\" Imitation Duncan \" and laughed the Public out of the way as the\nPolice do in a crush.\n& But then they none of them seem to have known of or seen the\noriginal; they were uninformed.... A bad thing in professional criticism\nand journalism.\n& Again one can but repeat, \" Let more opportunity be given to the\ncritics and journalists to travel and find out Perhaps\nthen we shall in time see rivers instead of barrels of water,... slightly\nmuddied in transport.\n\nDESERTION IN THE ARMY.\n'yiie State realising, (never having forgotten since earliest times) that\nthe Army is a serious institution established for serious work, allows\nno trifling in its members.\nThey have to be obedient to discipline, loyal to their country and\ncause. Should they be disloyal, desert the ranks or show insubordination\ncertain punishments await them.\nThese men are not children, yet certain punishments await them.\n...Why ?\nBecause discipline and loyalty where serious issues are at stake must\nsometimes be enforced by examples being made of the disloyal and evil\nnatures.\nFor desertion in time of war a man if caught is shot. So much for\nthe Army.\nAnd in the Theatre ?\nNo discipline, no punishment for offending and disloyal members or\nfor deserters.\n& The Theatre, you must realise, is a serious menace to the State\nunless well and seriously governed.\n& The managers do their very best,... but their very best is very bad.\n& They have never yet realised the seriousness of the institution\nwhich is ours and over which chance has placed them for the moment\nin a kind of power."}, {"page_pdf": 74, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.74", "texte": "UPON SEVERAL THINGS.\n\n& When they realise this seriousness, and how grave are the issues\ninvolved in the manner in'which they discharge their office of government,\nwe shall see the members of the theatre becoming amenable to discipline\nand growing into loyalty. And when Loyalty and Discipline come into\na place there is little of good which cannot follow them."}, {"page_pdf": 75, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.75", "texte": "JEAN GASPARD DEBUREAU. Notes upon\na Celebrated Pierrot; by Jules Champfleury,\nwith an Introductory word\nby Pierre Ramés.\nChampfleury.\n\n£/ \" Debureau has been painted and sculptured long ago by the\nEgyptians: he is, in fact, very widely known. One finds him,\ngestures, gait, mask, on the Obelisks, on the mummy cases, and\non the zodiac of Denderah.\nrom 1815 to 1863 there stood in Paris, on the\nBoulevard du Temple, the little theatre of \" Les\nFunambules \", familiarly known as wIes Fufus\". (1)\nIt disappeared, together with several other small\ntheatres, at the time when the Boulevard du\nPrince Eug&ne, (today Voltaire) was being opened\nup, and the Place du Chateau d'Eau enlarged.\n£7 *'Les Funambules \" was what we should today\ncall a J' Theatre intime \".\n-<£> \" The salle was so small \" says Theodore de BanvIIle, that the\n** actors and the spectators,... who were all, moreover, of the same race\n*' people of the people, and, outside the theatre, carrying on trades,....\n\" could look at one another, see each other close to, speak to each\n\" other almost Hp to lip; and, like the heroes of the Iliad, exchange\n\" remarks, which did not seem at all strange in this place swarming\n\" with life, and where the public was itself the unbridled and ever\n\" vibrating Chorus of Aristophanes \".\n& Many well-known men found their way to the little theatre, and de-\nlighted in it and wrote about it and wrote for it. Two managers grew\nrich there in spite of the modesty of the prices, and some fine actors\npiayed their parts upon its stage.\n& And the finest of them all was Jean Gaspard Debureau.\n& Debureau, or, as It is also written, Deburau, was born In Bohemia,...\nat Neukolm, in 1796, and died in Paris in 1846.\nThe most celebrated Pierrot of this time, he was the idol of his public.\nBanvIIle writes of him as follows :\n\n(I) A note upon this theatre appeared in \"The Mask\" January I9IJ."}, {"page_pdf": 76, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.76", "texte": "JEAN GASPARD DEBUREAU.\n\n44 This incomparable comedian possessed all that is required to charm\n44 the people, for he was himself of the people by his birth, by his\n44 poverty, by his genius, by his childlike naievet6. But also, he responded\n44 to the need of elegance and of splendour which exists in primitive\n44 souls, and never was there duke or prince who knew so well as he\n44 how to kiss the hand of a woman and to touch a woman. But when\n44 he had devoutly bowed before the Fairy who uttered her strophes,\n44 victorious, carried away and agitating ruby wings, he dared to sketch,\n44 to lightly Indicate, the gesture of taking with her some liberty, and\n44 the Fairy was not at all annoyed by it, nor the public, to such an\n44 extent was he the spoiled child of all.\n44 Sans peser, sans rester \" might have been perfectly the motto of\n44 his talent. He did nothing, no doubt, sauntering across the universe\n44 with an artist's and poet's detachment; but at need he showed his\n44 friends the titis (1) that nothing human was unknown to him, and\n44 then he made a cabbage soup, performed exercises, fought a duel,\n44 mended his old shoes with a discouraging perfection.\n44 The urchins of the two sou gallery threw him oranges, and he\n44 picked them up and put them in his pockets with a childlike delight,\n44 happy to keep house with them, and to play at dinner. And the next\n44 moment he was a disdainful prince, a magnificent Don Juan, with a\n44 subtle simplicity which, often, ought to make our low and turbulent\n44 actors reflect. \"\nChampfleury adds his testimony, declaring that, although he was\nusually opposed to the dominance of one great actor in a company, 44 to\n44 Debureau pere one could pardon everything; he was more than a great\n44 comedian, he was a creator. With as much reason as Louis YIV could\n44 he say, 'Les Funambules, it is I'. \" And although he goes on to say\nthat 44 These suns of dramatic art are so rare that one ought to regard\nthem as exceptions whose example Is not to be followed \" he is as much\nunder the dominion of this white-faced, white-frocked personality as all\nthe rest of the audience of Les Funambules, who cared nothing what\nany one else was doing so long us their idol was before them on the\nstage.\n\n(i) A slang term for the frequenters of \" Les Funambules \""}, {"page_pdf": 77, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.77", "texte": "JEAN GASPARD .\n\n£7 One great misfortune befell Debureau amid all his successes. In 1836,\nexasperated by the mockery of a drunken man, he struck him so violently\nwith his stick as to kill him. He was acquitted of murder, but the event\ncast a shadow over him which contrasted strongly with the wit and\ngaiety he brought to the playing of his part.\nHis last appearance was only a day or two before his death. It was a\nfine example of courage, and loyalty to his work and his public, on the\npart of the actor: a fine demonstration of affection and loyalty on the\npart of the public to their old friend.\n£7 But to give any adequate impression of the scene, and of what pre-\nceded and what followed it I can do no better than set down here a\ntranslation of Champfleury's account together with the lines which he\nlaid, like a flower, upon Pierrot's grave.\n\nP. R.\n\nTHE LAST DAYS OF DEBUREAU.\nby Jules Champfleury.\nIt has been pretended that Debureau died of a fail at the Funatnbules:\nDebureau died of asthma from which he had suffered for five years.\n& The doctors had prescribed a long rest for him ; but he thought of\nhis public. For five years he has been coughing enough to tear out his\nlungs. So soon as he came out on the stage the malady left him; for a\nquarter of an hour he became once more young, happy and well. However\nthe terrible illness awaited him in the wings, under the oily lamp, and\nset Its claw upon the chest of the mime at each of his exits.\n& The cough became so Imperious that Debureau was forced to give up.\nOne day he felt better; the placard announced his reappearance.\n4? The Opera might give an unpublished work by Meyerbeer or Rossini,\nand there would be less excitement on the boulevard des Italians than\nthere was on the boulevard du Temple at this news.\nit was at most three weeks since Debureau had acted, and the queue\nstretched out, eager, restless, long enough to fill five theatres.\n£? Take note that the piece given was the \" Nuptials of Pierrot, \" one\nof the least pleasing of the Funambules plays, a pantomime which is\nnothing but the eternal \" Deserter \" of Sedaine, a farce which has been\nplayed six hundred times at the same theatre. It takes enthusiasm such\nas this crowd had to hurry and huddle together and be asphixiated by"}, {"page_pdf": 78, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.78", "texte": "JEAN GASPARD .\n\nsixty degrees of heat. If there were a thermometer up among the gods\nthe most daring would descend, at once,\n& One can imagine the cries and shoutings of the audience during the\nfirst half of the evening. Outside, those who had not been able to get\nin cried and shouted in response. After the three vaudevilles, the usual\nthree blows were struck.\n& For a long time I have been troubled for the musicians at the\nFunambules. Music is, of all the arts which become professions, the least\nattractive work which can be imagined. A musician who accompanies\n44 Robert !e Dlable \" sixty times is as unfortunate as a musician who\naccompanies for twenty five nights the melodrama of the \" Bleeding Nun.\"\nChef d'oeuvres or platitudes are one and the same in these circumstances.\nBut at the Funambules all is changing. The phalansteriens, who\nproclaim with so much zeal impassioned work, will find in this narrow\npit where six musicians are crowded the realisation of their aspirations.\nWhen it is a matter of accompanying the pantomime these musicians\nput into it an ardour and a spirit worthy of a better fate.\nThe violin makes his fingers fly upon the neck of the instrument.\nThe cheeks of the clarinet swell with enthusiasm. The contre°bass com-\npasses unheard of things. The horn sounds gaiiy. The melancholy alto\nhas tears in his eyes, As for the leader of the orchestra, he loses himseif\nentirely. Harmony pours forth from his hair, he * swims in the blue.'\nThe day of Debureau's reappearance the orchestra surpassed itself.\nTo celebrate this return the orchestra played as overture an air of old\nG!uck,.a fragment of 44 Armide,\" of music grand, simple and immortal.\n& The curtain rose slowly. Debureau appeared in his white bridegroom's\ncostume, a nosegay in his buttonhole, a pretty girl on his arm. It is\nimpossible to convey the enthusiasm of the audience; it was frenzy.\nThe four hundred heads In this paradise were joyous; the eight hundred\neyes devoured the actor; the four hundred mouths shouted 44 Bravo 1 \"\nIt was a delirium. Those who had not been able to get In applauded at\nthe door.\nDebureau simply put his hand on his heart, beneath his bridegroom's\nbouquet. A tear rolled down the powder on his face. A real tear In the\ntheatre is.so rare!"}, {"page_pdf": 79, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.79", "texte": "JEAN GASPARD DEBUREAU.\n\nShortly afterwards a slight incident showed the enthusiastic faith of\nthe public.\n& On the stage, at the opening of the pantomime, are groups of male\nand female peasants. To the side the bailiff, (M. Laplace) who is a traitor,\nmuses on his base projects, the orchestra enters upon the ritornelio of\nthe quadrille.\nAs a rule Debureau devoted himself to eccentric dances, the secret of\nwhich he has carried away with him, which were a mixture of the steps\nof the Directoire and of the most audacious of 4 cancans'.\nMore than usually moved, his heart too full of joy, Debureau did\nnot dance.\n44 The Chahut!\" called a street urchin's voice merrily.\nNo, no ! replied the entire audience.\nThe common people has suddenly moments of exquisite delicacy; it\nhad understood the emotion of its great comedian.\nThat night, at midnight, a gathering formed itself in the rue des\nFosses=du=Temple, near the little dark smoky stage entrance. Debureau\ni\ncame out; he had retained, doubtless through a presentiment, his white\nbetrothal bouquet.\nIt was his bouquet for his nuptials with Death.\nThe thousand voices cried, 44 Long Live Debureau ! \" but Death was\nin haste to clasp in her arm her pale bridegroom.\nHe died a few days later.\n\nSOME LINES ON DEBUREAU\nby Champfleury.\n\nIgnorant are those who regret the death of Debureau. This end is a\nstroke of genius# He has died like Moliere,.## of the theatre.\nNothing could add to his glory,.... not even had he been elected a\nmember of the Institute.\nThe young generation which has seen him can console itself foi\nnot having seen Talma.\nSculptors have persuaded the French that their great men were\nnot sufficiently honoured. These same sculptors mean by honours a"}, {"page_pdf": 81, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.81", "texte": "Jean Gaspard Debureau 1796 to 1846. Musée, Carnavalet. Paris,\n\nTHE MASK\nJuly 1914"}, {"page_pdf": 82, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.82", "texte": "JEAN GASPARD DEBUREAU.\n\nstatue or a fountain. Already the erection of a statue to Debureau is\ndiscussed.\n& Foolish Idea I Debureau has been painted and sculptured long ago by\nthe Egyptians; he is in fact very widely known. One finds hln, gestures,\ngait, mask, on the Obelisks, on the mummy cases and on the zodiac of\nDenderah.\nDebureau, this mime of so comic a talent, one day killed a man. That\nman found hfs play brutal.\nAs the body of the dead clown was being borne to the church,\nduring the Dies Irae, a joyous crowd was gathered at a wedding in an\nadjoining chapel.\nLife is a road bordered by antitheses.\nWho knows If life is not a death, and death a life? said Euripides.\nEuripides Is right, It is all one. I knew a banker:\nDuring his life he was rigid, immoveable and corrupting.\nDead, he is rigid, immoveable and corrupted.\nThe costume of Pierrot was white.\nHis shroud is white.\n* W : ' - ■ : s\n,\nDebureau passed his life on the boards.\nHe rests peacefully between the boards."}, {"page_pdf": 83, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.83", "texte": "EDWARD GORDON CRAIG'S BOOK\n\"ON THE ART OF THE THEATRE.\"\nJ. S.\n(I>\nIn a book just published, (2) and- about which we shall have more to\nsay, some curious and almost comically incircumspect statements are\nmade as to the influence and position of Gordon Craig in the European\nTheatre.\nThis is not the place to discuss them, but perhaps it will be not\nuninteresting to our readers to look through the following extracts and\nnote the impression produced by just one small item of Mr Craig's work\nduring the last fifteen years,... the publication of one singie book.\nThe passages here set down are but a very few among a host of\nsimilar letters and critiques; and we give this selection merely because\nit happened to be made and published by a serious American Review, (3)\nand therefore is even more significant than if we had compiled it\nourselves.\nThe first is the opinion, written anonymously, of the editor of a\nfamous literary journal: the others each bear the name of the writer,\nor of the journal in which the notice appeared.\n\nA FEW SIGNIFICANT EXTRACTS SHO WING THE INFLUENCE\nOF A SINGLE PIECE OF WORK.\nAT rare intervals... perhaps once in a decade or so... there appears\na book bearing the unmistakable stamp of genius. Such a book is\nMr. E. Gordon Craig's \" On the Art of the Theatre.\" The author, a son\nof Ellen Terry, and acknowledged all over Europe as a master-pioneer\nof the Theatre, here presents the fruit of twenty years or more of actual\nstage experience and experiment. His book is not a treatise on scene-\npainting, or a manual of first aid to stage-managers, or a text-book on\nthe art of acting. It is, rather, a series of brilliantly-written and stimu-\nlating papers embodying a revolutionary arraignment of the Theatre\nas it is, and a new and noble conception of the Theatre as it might\nbe. To every one who takes an intelligent interest in the modern\n\n(1) Published 1911. London. W. Heinemaas. Chicago C. Sergei.\n(2) The Theatre of Max Reinhardt by Huntly Carter. F. Palmer. London. May IS. 1914\n(3) \" The Drama Chicago. August 1912"}, {"page_pdf": 84, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.84", "texte": "ON THE ART OF THE THEATRE.\n\nTheatre, from whatever standpoint, this is a book which simply cannot\nbe overlooked. And even to those persons who have no Interest In the\nTheatre (if there are any such) the book will appeal irresistibly through\nIts charm of style, its vigorous and invigorating thought, its fine idealism\nand wealth of suggestien.\nJ-IERE Is a man of genius and his book. What shall be done with them ?\nIt is a difficult question. In the old days, the stake or a convenient\ndungeon was resorted to, according to the enormity of the offence.\nNow-a-days we are humanitarians. A decade or so of neglect and sneers\nis considered a sufficient test. If these are survived, then we begin to\nthink—perhaps there was something in him after all 1 But even then, it\nis just this quality of genius that makes our very gratitude ineffectual.\nThere is no \" job \" for genius. The commonplace \"safe\" man can always\nbe made secretary, or manager, or professor of something or other; but\nthe genius must keep on crying in the desert until his prophecy Is fulfilled,\nand then he is needed no more, and a monument is duly raised to his\nmemory.\nNo lover of the theatre can help confessing that this is what we are\nin process of doing in the case of Mr. Gordon Craig. Acknowledged all\nover Europe as a master-pioneer in the theatre, he is practically ignored\nin his own country. Yet if anyone doubts Mr. Craig's genius, they have\nonly to read this book of his \" On the Art of the Theatre. \" It is instinct\nwith genius. On every page are illuminating flashes of thought, vista-\nvisions, tangential flights of fancy, that betray a mind entirely different\nfrom that of the ordinary pedestrian thinker. One can see notion after\nnotion that might be captured and turned to practical account.\nThe Nation (London).\n'THE book is dynamic. Whether one follow M. Craig or not to the end\nof the trail he blazes, this book is one of the timeliest chances that\ncould befall the young playwrights of our own country, scattered and\nunsupported as they are, without a common watch-word. And whether\ntills book stimulates to fellow-work or opposition matters little enough.\nIt is bound to shake us all broad awake, with the shock and challenge\nof unquestionable genius.\nJosephine Preston Peabody (Author of \"The Piper\")."}, {"page_pdf": 85, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.85", "texte": "ON THE ART OF THE THEATRE.\n\nrJpHlS is a book of ideas, every page of which deserves to be read and\nthought over by all lovers of the theatre..... In this really wonderful\nbook one learns how far-reaching are Mr. Craig's real aims, what a\ntremendous challenge he Intends to the whole purpose and practice of\nour stage as it is. London Daily Chronicle.\nTTRUE Art is always discovering the marvel in all that does not seem\nto be marvellous at all, because Art is not imitation but vision. That\nis the great discovery of Mr. Craig on the stage. He found the forgotten\nWonder-land with the Sleeping Beauty; the land of our dreams and\nwishes, and has fought for it with the gestures of an Artist, with the\nsoul of a child, with the knowledge of a student, and with the constancy\nof a lover. He has done the greatest service to the Art in which we are\nso profoundty interested, and it is a great happiness for us all that he\ncomes off with flying colours. He has his admirers and followers in our\nlittle Hungary, the whole of the new generation being under his in-\nfluence ; and without any disparagement to the great merit and good\nluck of Professor Reinhardt, we Hungarians, as close neighbours and\ngood observers, dare say that almost all that has been done in Berlin\nor Dusseldorf, In Munich or in Mannheim, for the last ten years is to be\ncalled the success of Mr. Craig.\nDr. Alexander Hevesi, of the State Theatre, Budapest.\nIF the stage were not soggy with inutile traditions, such a book as\nQordon Craig's volume would create a revolution.... Serious craftsmen\nof the theatre and hopeful lovers of the theatre will take it to heart as\na momentous and stimulating volume.\nJames O'Donnell Bennett (in The Chicago Record-Herald).\n|T is hopeless to approach the work and aspirations of any man of genius\nexcept in the spirit of equality and fellowship. The very vigoir and\nthe overflowing quality of this book of Mr. Gordon Craig's lend colour\nto the superstitious and awful conception of a man of genius as a lofty,\nsuperior, semi-idiotic, and eccentric being. The very sincerity of the book\nmakes it a mark for insincerity, and its ideas unintelligible to those men\nin England who are victims of the disease of theatricality. And yet, in\ntheir heart of hearts, it is the diseased who most worship health, the\nweak who most ardently crave force. Air. Craig's book is tingling with"}, {"page_pdf": 86, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.86", "texte": "ON THE ART OF THE THEATRE.\n\nforce and radiant with health. It is full of courage, not only in attack,\nbut also In adventure. ...It is a vital book... invigorating and inspiring...\nmost of all when the writer leaves attacking what is and stating what\nwill be... Then every word leaps from the printed page with all the\ndynamic nobility of creative force... He has analized the evil of the theatre\nand stated it with a fearlessness infinitely refreshing In these days of\ntimid thought, speech, writing, and criticism... stated it also with charm\nand disinterestedness so that only the foolish and the vain can be offended.\nThe Observer (London).\nIT is remarkably suggestive and fascinating, and all students of the\ndrama should read it with pleasure and profit.\nDavid Belasco.\nCRAIG has many wise and splendid and humorous things to say,\nand much good counsel to give. His knowledge of the craftsmanship\nof the stage is deep and wide; he can be as practical as the groundlings\nhe abhors... We advise all those whose profession is in the theatre to\nread his book carefully, and to assimilate the striving and earnestness\nwhich are breathed In every line. London Standard.\nJF every theatre-goer could... and would... read M. Craig's book, we\nwould get some experiments in scenery and productions, instead of the\nsame old repetitions of realism that isn't real but is generally ugly.\nI shall have frequent occasion, of course, to mention the book.\nWalter Prichard Eaton.\n\"yHE book Is deeply and stimulatingly suggestive, It arrests the attention,\nit commands reflection by the completeness of its break with all the\ntraditions. New York Tribune,\nnpo future times it will be clear that Mr. Craig's real work was that of\nthe prophet, the mouth through which the dawn of the new art of\nthe theatre made its music,.. All his work, however, practical or prophetic,\nwill tend in the same direction : the vindication of an art of the theatre\nwhich is an art distinct from the other arts which it employs, and the\nrescue of that art from the barren search after the imitation of nature...\nSo we shall get, not the real world, which to Mr. Craig Is a disappointing\nand deceptive place, but a realer world, homogeneous, beautiful, signi-\nficant, grave, and spiritual. London Times."}, {"page_pdf": 87, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.87", "texte": "ON THE ART OF THE THEATRE.\n\n*■ *HE timeliness of this book for American circulation is apparent. No\ncurrent in the intellectual and idealistic life of the nation is more\nsignificant now than the altered rating of stage, play, and playwright...\nMr. Craig has ideals for the stage that are lofty, that are untainted by\ncommercialism, and he has a theory of acting that rises above facile\n%\nimpersonation to that of vital construction. His Iconoclastic temper, his\ndogmatism recalling at times that of Carlyle or Ruskin, and his aptness\nof illustration drawn from his experience as an actor and as a student\nof conditions in the finest of the continental playhouses, all make him\na fertilizing writer, and would make him an equally stirring lecturer.\nChristian Science Monitor.\nTP HIS book deserves close attention. It embodies the idea of a new\ntheatre, one that is for art and not for business. It outlines what\none may call a new philosophy of dramatic creation.\nThe English Review.\nMR. CRAIG differs from many idealists In having a solid foundation\nfor the lower stones, at least, of his castles in the air. He knows the\nmodern theatre thoroughly in all its manifestations, is conversant with the\nachievements of all the subsidized and independent dramatic experiments\nin London, St. Petersburg, Paris, Berlin, Munich, and elsewhere, and\nis as ardent a student of the past as he is a sanguine prophet of the\nfuture... No man could lay his finger more unerringly upon the chief\ncauses of the decadence of the contemporary theatre. With the authority\nborn of personal experience he points out how the spirit of commercialism\nhas destroyed all honorable artistic ambition, and blocked original enter-\nprise | what an insuperable bar to progress the actor-manager has become?\nhow the initiative of actors has been killed; how the inevitable lack of\ntrained intelligence Is completing the ruin that speculative greed began.\nNothing could be more true or more lamentable.\nThe Nation (New York).\nAN individual, bewildering, interesting, and provocative book. Bold\noriginality and fearless experiment are not common characteristics of\nthe theatre anywhere, and therefore an artist so completely on his own\nas Mr. Craig must be warmly welcomed.\nLondon Daily Express."}, {"page_pdf": 88, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.88", "texte": "BOOK REVIEWS.\n\nTHE ART OF NIJINSKY; by\nGeoffrey Whitworth. Chatto and\nWindus. Price three shillings\nand six pence net.\nk. nice little book with carefully\nmade pictures by Miss Mullock.\nBut the art of Nijlnsky is no art.\nso the book was not necessary.\nHe is technically a vivid dancer,\nrather too clever at times,... as the\nmonkey is clever.\n& Nijinsky is all that Is falsest In\nart, all that is cleverest in Dancer's\ntricks, all that is most easily realised\nat the instant and disliked upon\nremembrance. Dancing must become\ndifferent before it can be spoken of\nseriously.\n\nTHE COMEDY OF MANNERS by\nJohn Palmer. George Bell. Price\nten shillings and sixpence net,\n\nMr John Palmer, who lately rushed\nin with a book on \" The Future of\nthe Theatre \" which was more credi-\ntable to his zeal than to his intelii-\ngence or good Judgemental) has now,\ntreading upon safer ground, pro-\nduced a very readable book on the\nso-called \" Restoration Drama, \"\ntaking as his period the years in-\ntervening between 1664 and 1720.\nand treating of the five playwrights\nto whom we owe this English \" Co-\nmedy of Manners. \"\nTaking Sir George Etherege, Wil-\nliam Wycherley, William Congreve,\nSir John Vanbrugh, George Farquhar\nas his five subjects, Mr Palmer\nmakes them stand out vividly for\nus against the background of the\nsociety in which they lived, as well\nas showing us how faithfully they\nportrayed the manners of their time.\nIn his Introduction Mr Palmer\npoints cut that though various wri-\nters have written \" historically and\ncritically of the dramatic literature\n\n(1) Reviewed in The Mask, January 1914.\n«/"}, {"page_pdf": 89, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.89", "texte": "BOOK REVIEWS.\n\nof the late seventeenth century, \"\n\" there has, as yet, been 110 attempt\nto present an historical view of the\nrise and fall of the comic dramatists\nof the Restoration ; \" and he then\nsets to work to remedy this omission.\nThe book contains twelve full page\nillustrations, comprising, besides\nportraits, some views, taken both\nwithin and without, of theatres of\nthe day.\n\nP. R.\n\nTHE DANCE,.ITS PLACE IN\nART AND LIFE by T.\nW. Kinney. W. Heinemann. Price\nfifteen shillings net.\n\nDooks on the Dance abound ; but\nthere was j'et room for this well\nillustrated volume compiled by those\ntwo enthusiasts, \" the Klnneys \"\n(quite a music hall touch, this !) in\nNew York, and issued In England by\nMr W. Heinemann.\n& The book treats of the Dancing\nof ancient Egypt and Greece, of\nRome, the Middle Ages and the\nRenaissance: considers the technique\nof Ballet dancing, surveys Oriental,\nSpanish, Italian and European folk\ndancing in general; discants on\nsome individual dancers, past and\npresent; casts a glance over modern\nsocial dancing, and shows through-\nout a good deal of technical know-\nledge as to construction, steps and\nstyle.\nIt is surprising, however., where\nmuch of the work has been done so\nwell, to find certain unjustifiable\nomissions, a neglect of some of the\noriginal sources from which some\nof the results treated of really\ncome. For instance, there is conside-\nrable attention paid to the work of\nMadame Isadora Duncan, but her\nbrother Monsieur Raymond Duncan,\non thinking carefully over the mat-\nter, should at least be mentioned:\nand also Miss Elizabeth Duncan, the\ndirectress of the important school\nin Darmstadt.\n£/ Again, the Index contains no\nmention of Del Sarte;.... whom one\nwould have thought was for us\ntoday a personage of no small\nimportance in the world of the\nDance ; nor is there any refe-\nrence to Jacques Dalcroze ; yet this\ngentleman is surely a somewhat\nprominent figure among those who\nhave devoted themselves to the mo-\ndern developments or revival of the\nDance ?\nin spite of these omissions, how-\n1 ever, the book is useful and read-\ni able, and contains a good deal of\n1 interesting information in a conve-\n■ nlent form.\n» ug? The illustrations, which include\ni both photographs and diagrams, (334\nblack and white illustrations from"}, {"page_pdf": 90, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.90", "texte": "BOOK REVIEWS.\n\nphotographs and 176 line drawings\nand diagrams by the authors, as\nwell as a coloured frontispiece) are\nvaried and amusing, but it is a\npity the mediaeval and renaissance\nperiods should not have been more\nfully represented.\nThere are many fine old illustra-\ntions of the Morris Dances, the\nDances of Fools and Dances of Death\navailable, and also of the Ballets of\nthe French court,... those Ballets in\nwhich the 44 Roi Soleil \" himself\ntook part; and the costume and\nstyle of which it would have been\ninteresting to set beside those of\nthe Ballets of todav.\nPerhaps this deficiency may be\nsupplied in a future edition of the\nbook.\n\nL. N. D.\n\nTHE TRUE ADVENTURES OF\nA PLAy by Louis Evan Shipman.\nMitchell Kennerley. New York.\nPrice one dollar fifty cents net.\n\nnphis book is Great Fun for those\nbehind the scenes. Its compilation\nwas a happy thought on the part\nof Mr Louis Evan Shipman; he has\ndone a thing which somehow no\none had happened to think of doing\nbefore, and what lie has done has\na certain value of its own.\nHe has collected together all the\ncorrespondence; the letters and te=\nlegrams; the promises, withdrawals,\noffers, rejections, obstacles, and\ndelays which were encountered by\nhim before he succeeded in getting\nhis play 44 D'Arcy of the Guards \"\non to the English and American\nstages; what, in short, Professor\nGeorge Baker, in the excellent Pre-\nface which he contributes, describes\nas 44 a few of the infinite number\n44 of mischances and complications\nm\n44 which may stand between a ma-\n44 nuscript, pleasing to actors and\n44 managers, and its ultimate pro-\n44 duction. \"\nJZ? In this case the 44 mischances\nand complications\" interposed three\nyears between the completion of the\nmanuscript and its performance in\nAmerica, twelve years between the\nwriting of the play and its first\nappearance on the London Stage.\nJZ? Mr Shipman himself says: 44 In\n44 bringing' together the facts and\n44 figures, correspondence and me-\n44 mories of the travail of a little\n44 comedy of my own, it is with no\n44 sense of its importance in relation\n44 to the drama of its own time,\n44 but simply the tfesire to givo In\n44 detail an example, more or less\n44 typical, of the conditions which\n44 surround and beset the way to\n44 production of most plays today.\"\nThe book affords amusing reading,\nil Iumi r.atirg as to the doubts an"}, {"page_pdf": 91, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.91", "texte": "BOOK REVIEWS.\n\nirresolution and intrigues which\nbeset or hinder the steps of the\nman who would bring bis play into\nthe theatre, highly diverting in the\nsuave and meditative comments with\nwhich Mr Shipman interlards the\nletters from managers, lawyers, lea-\n<ling ladies, and agents who all had\nat some time or in some way a\nfinger in the pie,\n<0 And if, like the White Queen,\nwe want to look for \" a moral \" we\nhave not to look far.\nIt is Waste. Waste of time, waste\nof strength, waste of vitality, waste\nof everything. People making up\ntheir minds and then unmaking\nthem ; writing letters today to re-\ntract their decisions of yesterday;\nwarming up hopes and then chilling\nthem with cold douches; building up\nonly to knock down. And when one\nsees this whole volume of corres=\npondence which passed over the\nproduction of one little play, and\nnotes the large proportion of it\nwhich was mere waste paper and\nwaste time, one carries away some\nkind of an understanding of why so\nlittle work of any consequence ever\ngets done in the Theatre at all.\n\" A mountain was in labour, and\nbrought forth an absurd mouse. \"\nThat is a fairly adequate description\n.of a large part of the labours of the\ntheatre today. And it wastes so much\nlabour upon bringing forth me-\nchanical mice that it has little time\nor vigour to bring forth anything\nelse; whereas if it would only re-\nserve its forces and practise for a\ntime a little continence it might in\ndue season bring forth... one decent\nplay.\n\nN. L.\n\nOUR IRISH THEATRE by Lady\nGregory.G. P. Putnam's: London.\nPrice five shillings net.\nC. G. E.\nAur Irish Theatre ! Yes, just that.\nWe here hold the Irish Theatre\nvery close to our hearts.\nWhy ? .... Heaven only knows.\n& Has the Irish Theatre acted our\ndramas... called us over to lend a\nhand ? No, not these things.\nBut it has always done so well\nby itself; never been seized by the\ncraze of the moment; needless to\nsay has never compromised yet has\nnever been properly supported.\nJZ? But what a way the Irish Theatre\nhas!.... what charm !... how gene-\nrous!... and then... genius !\nThis book by Lady Gregory tells\nthe truth about the movement in\nIreland and America;... the takings\nof the theatre... the story of Synge...\nYeats,.... and a little about herself\nand her son Mr Robert Gregory and\nhis excellent work."}, {"page_pdf": 92, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.92", "texte": "BOOK REVIEWS.\n\nTHE CONTINENTAL DRAMA\nOF TO DAy, by Barrett H. Clark.\nHenry Holt & Co. New York.\nPrice one dollar, thirty five\ncents net.\nN. L.\nbook of \"Suggestions, Questions,\n\" Biographies, and Bibliographies\n44 for use in connection with the\n\" study of the more important\n44 plays.\"\n& It treats of Ibsen, Bjornsen,\nStrindberg, Tolstoy, Qorky, Tohekoff,\nHauptmann, Suderinann, Wedekind,\nSchnitzler, Von tlofmannsthal, Mae-\nterlinck, Brieux, Rostand, D' An-\nnunzio and other European play-\nwrights, a short biographical note\nbeing devoted to each, together\nwith a list of works, of dates of\nAmerican performances of them, and\nbrief outlines of one or two of the\nbest known pieces by each man.\n«£? The book should prove a useful\nguide for those desirous of studying\nthe technique of playwriting and\nthe methods of these many writers\nof different nations.\nBut what exactly does Mr Clark\nmean by the following passage ? ...\n44 Some plays suffer from pre-\n44 sentation. Are they, then, plays ?\n44 According to our definition, a\n44 play must be presented by actors\n44 on a stage, before an audience.\n44 We must conclude that such works\n44 as 44 Pelleas and Melisande \" and\n44 44 The Blue Bird \" are plays, but\n44 that the art of acting and stage\n44 management is not yet able to\n44 cope with certain problems, in\n44 spite of the splendid pioneer work\n44 of Gordon Craig, Max Relnhardt,\n44 Stanislawsky, and Meyerkhold....\n44 the last two, directors of the Art\n44 Theatre in Moscow \".\nWe should be interested to know\n%\nwhat 44 problems \" Mr Clark can\nhave in mind or could propose writh\nwhich the competent stage manager\nis unable to cope. There might cer-\ntainly be some which would scare the\nt\nmere 44 impresario \", but the prac•\ntical stage director can always be\nrelied upon to 44 find a way or make\none\", and Mr Clark, if he feels\ndoubtful of this, might propose some\nof his 44 problems \", and 44 let the\nend try the man \".\n\nTHE THE A TRE OF MAX\nHARDTby Hutitly Carter. Frank\nPalmer. Price seven shillings\nand sixpence net.\n\nQur English theatrical critics have\nall the virtues and one glaring\nfault. They seldom admit the exis-\ntence of the other European nations\nsufficiently to go there and see\nwhat is being done.\nThey wait apathetically until\nParis, Berlin or St Petersbergsends"}, {"page_pdf": 93, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.93", "texte": "BOOK REVIEWS.\n\ngood troupe of players and dancers\nto London, and then they and their\npens carry on in a way which is\nanything but calm or seemly.\n<£> Mr Ifuntly Carter Is one of the\nfew Englishmen who, without being\nexactly a Theatrical critic, may\nexpect our appreciation of his ef-\nforts in travelling round Europe and\nreporting something of what he\nsaw, read of or heard.\nIt is a pity he has not received\nmore encouragement. In his previous\nbook (1) he did a real service to the\nEnglish public by bringing it some\nnews from the outside world. He\nhas now made another attempt to\ndo this, but seems to have been\nheavily handicapped from start to\nfinish by apathy, business troubles\nand ill-health.\nThis handicapping has had one\nespecially unfortunate result, and\nthat is the grave Injustice which\nthe book does to the work of\nMr Gordon Craig; an injustice which\nno one, evidently, regrets more\nthan does Mr Huntly Carter himself.\nIt is by his permission that we print\nbelow part of a letter addressed to\nMr Craig a few days before the\npublication of the book in question.\nEnglishmen who care for the\ntheatre at all, and have pride in\ntheir own representative artists,\ncould do worse than support the\ncritics in a more generous manner\nso as to ensure that the books which\nthey issue shall do justice to those\nartists, and, through them, to the\nnation they represent.\nIt is difficult to be tranquil, just\nand clear-sighted in the midst of\nworry, harassment and discourage-\nment, and with small chance of\nany recognition or success, and\nthese conditions too evidently react\nupon some critics and bias their\nminds.\nThere might be an endowment\nfund for the production and publi-\ncation of serious works upon the\ntheatre, and we believe that, had he\nthe opportunity of working under\ndifferent conditions and meeting\nwith some encouragement in his\nefforts, Mr Carter would be one of\nthose to render yeoman service to\nthe cause.\nBy the way, it is worth noting\ntiiat, while the book takes Its name\nfrom Professor Reinhardt, we find\non no less than 46 pages that the\ncentre of interest is Mr Gordon Craig\nand his work. ...Surely too significant\na strawfor either Germans or Britons\nto remain in doubt which way the\nwind blows!\n(I) \" A New Spirit in Drama and Art.\" See The Mask.\nVol: S. page 273.\n\nJ. S."}, {"page_pdf": 94, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.94", "texte": "BOOK REVIEWS.\n\n•• W\"y help critics ?... they don't\ninterest me \", is the usual\nanswer of those In a position to\nencourage our Drama and our\nTheatres : It is, alas, often the reply\nof those who are keen about the\nTheatre and see its value to our\nnational life.\n& But does it need a sermon to\npush home to their minds the fact\nthat critics have always been and\nare just as important to the modern\nTheatre as are the other members\nof the profession ?\n£7 1 would even go so far as to say\nthey are the most important group.\n£7 Loose criticism can damn a cen-\ntury of theatrical art,... good cri-\nticism can encourage it.... great\ncriticism can positively create it.\nAnd more than this: Loose criti-\n0\nclsm can over-turn a dynasty; can\neat its way into the grandest insti-\ntution in the realm... and has done so.\n£7 Before the evii spreads any fur-\nther provide handsomely for good\ncriticism and foryour critics... or take\nthe consequences. £7 \" Yoo=no=hoo.\"\n\nMr HUNTLY CARTER'S LETTER\n\nGordon Craig.\n£7 \" By the time this reaches you\ndoubtless you will have received a\ncopy of the Theatre of Max Reinhardt.\npublished on the 15th May.\n£7 \" Whether the book is reviewed\nby you and in the \"Mask\" is of course\nnot my business. But I feel that I\nought to tell you one or two circum-\nstances connected with the produc-\ntion. First as to fact and history.\n£7 ** The book as it stands is only\npartly the one I produced, and owing\nto the extraordinary behaviour of\nthe publisher it contains matter and\nis in a state that I would not have\nsanctioned under proper circum-\nstances.\n£7 \" The book was written two\nyears ago at the beginning of my\nillness. It was a time when I was\nfeeling very bitter with everyone\nand' everything. In consequence\nexpressions crept into the book\nwhich, now that my mood has\nchanged, I do not approve. However\nI completed the book and added\nsome 40 illustrations and a number\nof charts... very important ones....\nforming synthetic summaries and\nsome of them showing at a glance\nyour position and your influence\non the European theatre.\"\n£7 He then continues that, as time\nwent on, and the publisher showed\nno Inclination to publish the book\nalthough under agreement to do so\nin December 1912, he threatened to\ntake legal proceedings, and adds:\n\" At last in September 1913 he re-"}, {"page_pdf": 95, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.95", "texte": "«£? BOOK REVIEWS. &\n\nturned me part of the book for\nrevision, stating at the same time\nthat he was about to publish in\nOctober.\n\" Well, I brought the body of\nthe book up to date and made\nseveral alterations in the parts\nrelating to you. The appendices were\nnot returned to me and remain,\nwith the exception of an addition,\nas they were two years ago. The\nrevised MS was returned to Palmer\nand still he delayed publication.\"\n& The letter then relates how,\nwith the help of the Incorporated\nAuthor's Society, legal proceedings\nwere taken and the publisher\nbound over to produce; and con-\ntinues:....\n& ** As you can see he has done so.\nHe has rushed the book and in his\nown way, refused to send me final\nproofs, ignored some of my revisions\nand omitted nearly the whole of\nthe illustrations, (including one of\nyours from Heinemann) and the\nwhole of the 14 charts.\n& ** This is how the book stands.\nIf it contains harsh passages I cannot\nhelp it. I ought to tell you that the\nindex is vastly inadequate. The Mask,\nwhich is not indexed, is mentioned\nseveral times in the text.\n\" You will doubtless see that the\nbook is not so much Reinhardt as a\nsynthetic summary of the theatre\nmovement in Germany. It embodies\na plea for the spiritual theatre. As\nwith the \" New Spirit\" I received\nno assistanco whatever with tills\nbook either from Reinhardt or\nanyone else. I applied here and\nthere for information but only got\nit with great difficulty.\"\n\nYours sincerely.\nHuntly Carter\n\nTHE MEANING OF ART by Paul\nGaultier: Translated by H. and\nE Baldwin. Dedicated to Henry\nBergson. George Allen. Price\nfive shillings net.\nABCDEFG!.\nAsk all the artists of the world\nwhat is the meaning of Art. They\nwill and ail reply there Is no\nmeaning. What then is there left to\nsay about it or about this book ?\nNothing.\nThe book is all about \"Art, and\n•«\nthe index gives many references to\nMusic, Architecture and Painting ;\nbut there is no mention of the\nTheatre.\nThus one must presume that the\nTheatre is not an art.\nIn that case there is still less to\nbe said. So, with best wishes to M.\nPaul Gaultier, Messrs Baldwin and\nBergson, 1 remain,\nyour loving & affectionate reviewer,"}, {"page_pdf": 96, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.96", "texte": "BOOK REVIEWS.\n\nBOUGHT BOOKS.\n\nANCIENT ART AND RITUAL by\nJane Harrison. Williams and\nNorgate. Price one shilling.\nE. G. C.\n\"It is at the outset one and the\n\" same Impulse that sends a man\nl< to church and to the theatre.\"\nWell said, Miss Harrison!\nAnd how many are there of you\nwho will understand what she\nmeans ?\n£? It is a bold statement to make...\nwhen there are so many chances\nagainst its right understanding.\nThe Theatre is Religious or it is\nnot the Theatre. A Religious Theatre\nIs a Living Theatre :... all the other\nkind are corpse theatres.\nThe Opera in Paris is a Dead\nTheatre. His Majesty's in London...\nDead. The Deutsches Theater, Berlin,\n...Dead. And the thousand other\ntheatres made after their pattern\nare all dead. For more reasons than\none or two.\nSome of them have done well...\ndone good work... held very fine\nactors, poets, designers, and so forth.\nBut the whole thing is a Dance of\nDeath: something obviously dam-\nnabie and damned. To which millions\nof people are persuaded to go,.,, and\nwhich thousands tolerate night after\nnight and which I can always make\nmyself enjoy though not with quite\nthe same spontaneity as a well-\nserved dinner at Prunier's,Simpson's\nor Borchardt's.\n,*S> i want them to be better not\npoorer than restaurants: if both\nare to appeal to my senses I want\nmy senses appealed to at least as\ndelightfully in the theatre as in the\nrestaurant, instead of the appeal\nbeing, as it Is at present, very much\nless enjoyable and keen.\nSome of these skeleton things\ncall themselves Art Theatres. Some,\ntrying to be simpler whilst grin-\nning horribly, ask to be accepted\nas Normal Theatres, or Futurist\nTheatres, or frankly Commercial\nTheatres.\nOne and all are dead as a cold\nwet corpse is dead once and for\never when the pulse has stopped ;\nor as a warmed-up dish allowed\nto grow twice cold, or as a depressed\nsouffle,... a melted ice.... dead.\njg? \" It is at the outset one and the\n\" same impulse that sends a man to\n\" church and to the Theatre.\"\nWell said, Madam !... now let us\nwait and see whether two people\nshall understand that deeply enough.\nIf one of them should be a\nlegislator the People's health would\nbe restored."}, {"page_pdf": 97, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.97", "texte": "FOREIGN NOTES.\n\nLONDON.\nR. S.\nRelative Positions.\nand Stage mingled at\n\" St James's Theatre, London,\n44 for the annual conference of the\n44 Actors' Church Union, when among\n44 others present were Sir George\n44 Alexander, Sir Herbert Tree, Mr\n44 Cyril Maude, and Miss Lilian\n44 Braithwaite.\" This is an extract\nfrom a million copy journal.\nIt must be encouraging to the\nChurch to note the amount of pro-\nminence given to its chief represen-\ntatives at the annual conference.\nOr was the Archbishop of Can-\nterbury hiding behind the modesty\nof Sir Herbert Beerbohni Tree?....\nand lurked there a Bishop apiece in\nthe shadows of Sir George Alexander,\nand Mr Cyril Maude ? Who knows!\nJZ? If so our contemporary, generally\nalways on the spot, missed its op-\nportunity.\n\nINDIA.\nG. W.\nMr A. Dewan Bahadur is a wonder!\nIn an article which escaped\nhim lately he gives us one or\ntwo glimpses oi the ancient Indian\n44 Drama as it was.\" That is the\ntitle of his escapade: but the cata»\nstrophe is at the end where, in a\nburst of confidence and conviction,\nhe cries, 44 There can be no doubt\n44 that the modern dramatic per=\n44 formances are far superior to those\n44 outlined above and \" (here one\nmust get ready!) 44 that progress in\n44 the art is a matter for sincere\n44 gratification.\"\nIsn't that the kind of lovely bit\nwhich doubles one up with deli-\nciously painful bursts of fearful\nlaughter.\n& Poor old Bahadur! I would like to\nsee him playing football,... preferably\ndangerous football.\nOne does love these sort of dashing\nspirits,... The colour of it!\nKrishna and all your warriors.\nRadha and all thy maidens, ...what\na hero, what a pet you would have\nmade of little Mr Bahadur.\nPuss ! puss ! puss !"}, {"page_pdf": 98, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.98", "texte": "EDITORIAL NOTES.\n\nGORDON CRAIG S DESIGNS.\nDetween the 6th and the 29th oi\nJuly a private sale oi some of\nthe designs of Mr Gordon Craig is\nbeing held by members of the School\nfor the Art of the Theatre at\ntheir London offices, 7 John Street,\nAdelphi. (1) We reprint below the\nPreface from the Catalogue issued.\n& 44 The School for the Art of the\n44 Theatre needs money.\n£? 44 The funds at present at Its\n44 disposal are quite inadequate for\n44 the maintenance, and still less\n44 for the development and extension,\n44 of the work.\n44 It is to raise additional funds\n44 that this sale of pictures is being\n44 held. These pictures have been\n44 presented to the School by Mr Cra ig\n44 that they may be sold on its behalf,\n44 and we feel that those who know\n44 under what difficulties our Di»\n44 rector has carried on his work\n(1; Admission is by invitation ti;ket only. Any reader\nof The Mask, anxious for an opportunity oi purchasing\nsome of the designs, and not having already received a\ncard, can obtain one by writing to the Secretary at\nthe above address.\n\" during many years wili appreciate\n\" this one more generous effort\n41 which he makes for the advantage\n\" of an organization which owes its\n\" inception to him, and will co«\n\" operate so heartily in the scheme\n\" that the School may receive to\n\" the full the benefit of this gift.\"\n& Such is the statement issued by\nthe members of the School.\nThey are not, as you see, asking\nfor anything for nothing and hope\nthat they are proposing a fair\nexchange.\n\nMr ROCKEFELLER & GOOD\nHEALTH.\nMr John D. Rockefeller, although\nby no means a rich man, manages\nto be generous towards Medical\nResearch, and has by a recent gift\nof 500,000 pounds sterling brought\nthe total of his assistance to this\n*\ncause to 25,000,000 pounds sterling.\nJS> We don't care much for the idea\nof a man who amasses wealth even\nby selling oil in the glib way of\nstandardism, but, by Jove, a twenty\nmillion gift to a great cause Is a\ngreat way of behaving."}, {"page_pdf": 99, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.99", "texte": "EDITORIAL NOTES. .\n\nMedical Research is a great cause,\n#\nand let the search be thorough and\nit will undoubtedly lead to a truth\nof which we are fond of reminding\nour readers.\n& Research of this kind too often\nleads to the worship of the God of\nMedicines and a doctor disguised as\nsuch, whereas it is the God of Health\nwhom we must worship. His priests\nare certainly serious doctors, but\nalso serious artists.... scientists....\ndivines.... statesmen. Most of all\nserious artists.\n& For healing, as Napoleon reminded\nhis Doctor Antommarchi atSt Helena,\nconsists 44onIy in lulling, calming the\nimagination and he added 44 that\nis the reason why the ancients\ndressed up in robes and adopted\nimposing costume.\"\nHe warms to the idea and says\nfurther: 44 that costume you have\nunadvisedly abandoned, and in doing\nso you have exposed the imposture\nof Galen,\" and adds that, should\nAntommarchi appear to him in the\nreal outfit of a doctor, who knows\nwhether he would not cure him at\nonce by impressing him as being\nthe God of Health instead of the\nGod of Medicines.\nThe Stage then,... what a house\nof Cure it is already; but what a\nhouse of Health it might be!\n& Even Mr Barker, our London\ndisciple, realised before it was too\nlate that to inspire an audience all\nthe wisdom of Shakespeare was not\nenough; it needed the beauty of\ndress,... and he commenced to de=\ncorate Shakespeare.\nBut even that is not enough.\nThe Stage can do better than that.\nIt can ;... and some day the legis-\nlators will see to It that it does...\nrevive the health of the nation,\njg? It will do this through the appeal\nto the nation's eye and its ear.\nWe have said this for years; it\nmust be repeated.\n£? Mr Rockefeller should not exclude\nthe stage from the service it alone\ncan render in the cause of national\nHealth.\n& But the stage is a difficult ser-\nvant... to any but a genial master.\n\nSTREET SINGERS, OLD AND\nNEW.\n|\"Vne of our contemporaries prints\nthe following:\njg? \" An amusing little comedy took\n\" place the other day in the Rue des\n44 Italiens, which is very rarely en=\n44 cumbered by traffic and is there-\n44 fore the haunt of the familiar\n44 itinerant musicians who draw\n44 little crowds of midinettes and\n44 other employes around them. A\n44 well-known Parisian journalist"}, {"page_pdf": 100, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.100", "texte": "EDITORIAL NOTES.\nALL RIGHTS RESERVED &\nQerente Responsabile GIULIO VANZI\n\n44 stopped to listen to one of these\n\" musicians who was trying to sing\n44 a popular French romance. His\n44 singing was not of the best and\n44 jarred on the journalist's ears. He\n\" went up to the singer and said to\n44 him, \" Give me the paper, my\n44 friend ! I will show you how those\n44 beautiful verses should be sung.\"\n44 He sung a couple of verses and\n\" was loudly encored by his audience\n41 and finally gave back the song to\n*\n44 its owner and made- a collection,\n'• and handed to the somewhat sur-\n44 prised musician 4frs. 50c., a sum\n44 he hud collected before.\"\nBut it never occurred to the\njournalist that a street song too\nwell sung nowadays would be out\nof place.\n& The old street singers had to\nappeal as artists in the old days....\nor be stoned for singing badly.\nToday a street singer must sing\nbadly or he is not44 pathetic\" enough.\nToday the crowd pays his poverty,\nand the more broken he is the more\nthey are 44 touched.\"\n& Every bad street singer Is a\nscathing criticism on modern sen-\ntimentality and ignorance.\n44 I will show you how those\nbeautiful verses should be sung.\"\nOh, oh,-oh!... as if he did not\nknow it before Abraham was.\nJS? ....Some thing quickly, to wash\ndown the.... damnation.\nTHE MUSEE CARNAVALET.\nTThe portrait of the celebrated\nPierrot, Debureau, given in this\nnumber of The Mask,in reproduced\nby the courtesy of the Curator of\nthe Musee Carnavalet, Paris, where\nthe original picture Is preserved.\n& This is one of the museums which\nis as charming as it is important,\ngraceful in its delicious Theatrical\ncollection, (i)\n(1) We bope be'ore long to publish some account ot this\ncollection in The Mask.\n\nA WORTHY CELEBRATION.\nJ. S.\nlearn that Sir Herbert\nBeerbohm Tree, entrusted with\nthe organization of the festival\nperformances to take place in 1916\nto commemorate the Tercentenary\nof the death of Shakespeare, has\nInvited Professor Reinhardt to share\nthe work, and the invitation has\nbeen accepted.\nNothing could be more fitting\nthan to choose this way of celebra-\nting the Death of Shakespeare!"}, {"page_pdf": 101, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.101", "texte": "THE GO L DON I BOOKS.\nSKETCH BOOKS, DRAWING BOOKS, PAINTING BOOKS AND\nWRITING BOOKS, FOR ARTISTS, WRITERS AND LADIES.\nd? 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. &&\n& The 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 uncumbersome to the nicest\nhand. \" JZ?\nWrite for particulars to The Mask Publishers,\nARENA GQLD O N I, FLORENCE, ITALY.\n\nTHE MOSHER BOOKS.\nTTHE special literary value of mv 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-date bookcraft. All\npossible value has been put into these books by their publisher; so that\nto-day they are the only style of genuine hand-made paper editions at\npopular prices in America.\n& Sent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE."}, {"page_pdf": 102, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.102", "texte": "POETRY AND DRAMA\nI III III M III -- ■inra.w im ■ ■■■■»■■■»*\n%\nMr Harold Monro, founder and first editor, during 19*2, of The Poetry\nReview, who was also responsible for the foundation of the Poetry\nBookshop In 1913, is now editing, under the above title, a quarterly\nperiodica! of which the Interests are exclusively devoted to the combined\nstudy and appreciation of poetry and the art of the drama,\nTHE OBJECTS OF \"POETRY AND DRAMA\" ARE...\n(1) To represent, according to the verdict of an impartial\njudgment, the best English verse of the time.\n(2) To publish genera! articles of criticism and appreciation\nsuch as may stimulate and maintain public interest\nin the poetry of all times,\n(3) To conduct a comprehensive survey of current English\npoetry together with occasional chronicles on foreign\npoetry such as may enable the English public to\n»,,\nmaintain an Interest in the developments of literature\nall over the world.\n(4) To represent and criticise dramatic poetry, and to\nchronicle the progress and vicissitudes of the art of\nthe drama.\n* !\n(5) To keep the public generally informed, by means of\nnotes and comments, in all the poetic and dramatic\nmovements of the time, their origin, progress, ten-\ndencies or results.\nPoetry and Drama may be obtained through all booksellers and news-\nagents, or direct from the Poetry Bookshop. The price per copy is2j6 net,\npostage 3d. Free specimen copies are not supplied. The annual subscription\nis IOJ6 post free to all countries.\nADDRESS. 35 Devonshire St. Theobald's Rd. London. W. C."}, {"page_pdf": 103, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.103", "texte": "TWO BOOKS ON THE THEATRE,\nby Edward Gordon Craig.\nON THE ART OF THE THEATRE.\nHEINEMANN 1911.\n/\nTOWARDS A NEW THEATRE.\nDENT. 1512.\nAFTER THE PRACTICE THE THEORY\n\" Most people begin with theory, and go on... if they go on... to carry\ntheir theory into practice. Mr. Gordon Craig has done a better\nthing, and, having begun by creating a new Art of ike 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 do. „\nARTHUR SYMONS in •' STUDIES IN SEVEN ARTS. \"\nMRNMRNNFTRMMRWIW—TRMNTRHMMRMMT-ITWRAIN—■■■—■■NIIW I MMIW HIBUI I M in ■■■ » HIIIMI— ■ i ■MR■■ -——T Nr ■ ■ 'I »\nORDER THROUGH ANY BOOKSELLER.\n\nFOR THE CHILDREN.\n\"Ein Rleines Buch\nTwenty wood engravings and twenty\n& verses by Fritz Endell, &\n*\nThere are only one Hundred and Twenty\n4\ncopies of this book, all are hand-coloured\nby the artist. £>\n£? Order from Fritz Endell, 12, Munchen. &\n% •\nt"}, {"page_pdf": 104, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.104", "texte": ".... \"1 .'\" .' '. \" n i——w— n .11 mmmmmmmmmm**\nI THE SEVENTH VOLUME\nBEQINS NOW.\nSEND IN SUBSCRIPTIONS THROUGH ANY BOOKSELLER OR\nDIRECT TO 44 THE MASK\" PUBLISHERS, ARENA GOLDONI\nFLORENCE.\nFor further particulars see the inside back cover of this Number.\n■III! .Pi ill JUUMI i W4M mIH Hi III III im r' wirm i I Willi in ■in mm nun mm wm>w ■ »mm mi iiBiuiwimi ■■■■■. mui ii mm ■nwiiwwiji _——— '\n\nSOUV ENIR.\nA CIS & OALA TEA.\nMASQUE OF LO VE\nby Gordon Craig.\nmmmmmemmmmmmmammmmmmammmmmmmmmmmammmmnammmmammmtmmmm\nA few copies of this \" Souvenir\nissued in 1902, and now extremely\nrare, may be procured from\nTHE MASK PUBLISHERS\nArena Goldoni. Florence. Italy.\nWRITE FOR PARTICULARS.\n\nA VERY RARE PUBLICATION.\nTWO PORTFOLIOS\nOF ETCHINGS\nby Gordon Craig.\nSEND FOR PROSPECTUS\nTO \" THE MASK \" PUBLISHERS,\n■»\nARENA GOLDONI, FLORENCE.\n\nA LIVING THEATRE\nPRICE ONE SHILLING NET.\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nRe ceni I y\nPublished.\n*\nSecond Edition Now Ready.\nOrder through any Bookseller, or from\nThe Society of The Theatre.\n7, John St Ade1 p h I. London.\nor direct from\nARENA GOLDONI, FLORENCE, ITALY."}, {"page_pdf": 105, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.105", "texte": "|\n'\nANNOUNCEMENTS; FROM \" THE MASK PRESS \"\nARENA O OLD ON I. FLORENCE, ITALY.\ni\n| SUBSCRIPTION PRICES, THE MASK. VOLUME SEVEN.\nOf the seventh Volume, which begins with this July number,\ny Three Editions are published, the yearly subscriptions, post free,\n*° ese Editions being respectively as follows.\n' fflSiMa Popular Edition. . . . Shillings 15. Dollars 4.00\n• Large Paper Edition (200 copies.) „ 20. „ 5.00\nf Edition de Luxe. (15 copies.) „ 65, „ 16.00\n. THE MASK. 1908... 1909... 1910... 1911... 1912... 1913...\n& A certain number of complete sets of Volumes 1, 2, 3, 4, 5 & 6.\nf still remain, and, bound in vellum, may be obtained from this\noffice, price nine guineas, (dollars 47) a set. 0 & I\nA PEW EXTRA Vol. 4. shillings 25 dollars 6.50 each I\nSETS OF Vol. 5. ,♦ ♦» 20. »» .» 5.5o .» I\nVol. 6. ,, ,, 20. ,, ,, 5.50 ,,\nVolumes 5 or 6 Large Paper Ed, (vellum bound,) shillings 25,\n- dollars 6.50.\nOrders and Subscriptions may be sent direct to\nTHE MASK Offices, Arena Qoldoni, Florence, Italy,\nor \"The Society of the Theatre.\" 7, John St, Adelphi, London. Tel: 1601 Regent\n——————■—\nSOME OPINIONS ON \"THE MASK''\nj! I t\n« There is not a page in it which is not interesting\n/ •\n\" and stimulating in a fine way\n\" The Mash \" always contains something worth readings\n« a/itf often something worth\nPail Mall\n« i4 quite remarkable , rich in intel-\nligence.\nvery amusing and stimulatingf as well as a most\n\" beautiful, magazine.\"\nThe Daily Telegraph."}, {"page_pdf": 106, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191407-01.1.106", "texte": "- .-t . i -\nAN 1 [) b A\n.\n• •\n75 >1 RARE THING.\n'9\n\" THE MASK\" started in FLORENCE, does not exist\nfor its own sake.\n\" THE MASK \"\nhas already lived for six years for AN IDEA.\nI THE SCHOOL FOR THE ART OF THE THEATRE,\nstarted in FLORENCE, was brought into being for the sake\nof the same IDEA.\nI ! THE SCH O O L and \" TH E MAS K\" work together for\n.\nthis one IDEA\nI TOWARDS A NEW THEATRE.\nI THE SOCIETY QF THE started In\nLONDON, moves with \" THE MASK\" and THE SCHOOL\ntowards the same GOAL.\nWE CAN TAKE CARE OF \" THE MASK\" & THE SCHOOL.\nK YOUR RESPONSIBILITY IS THE SOCIETY OF THE THE A TRE\nJ 0 I N I T I\nWE WANT A MILLION MEMBERS. I\nYearly Subscription One Shilling.\nApply Personally or by Letter to the Secretary of the Society,\nLONDON OFFICES : JOHN STREET, ADELPHI. 11\nOffice Hours between 10 a. m. and i p. m.\nTelephone 1601 Regent. II\nStampata privatamente all'Arena Goldoni, Via de' Serragli, Firenze"}]}