{"numero_id": "bm-bmtnaau-1918-04-01", "volume": "bmtnaau_1918-04_01", "ocr_sha256": "38e4608bf1b81f934e958fa47f15fa52be87a85a7df5fb408d1c7e2d46364fad", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1918/04_01/bmtnaau_1918-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1918/04_01/bmtnaau_1918-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01", "articles": [{"article_id": "bm-bmtnaau-1918-04-01-c001", "article_bluemountain": "bmtnaau_1918-04_01#c001", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.2.1", "titre_corps": "SHOULD THE EAST", "titre_sommaire": "SHOULD THE EAST", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.1", "debut_caractere": 237, "fin_caractere_exclue": 991, "texte": "SHOULD THE EAST.\n\nYANG CHU SAID. HOW can a body possessing four\nthings, a comfortable house, fine clothes, good food,\nand pretty women, still long for anything else.\nCJ I REPLIED. I desire only these four things, a Comfortable\nhouse, fine clothes, good food, and pretty women..,. Tell\nme, Yang Chu, how to get them,\n€J YANG CHU TRAVELLED TO EUROPE AND BEYOND\nAND, RETURNING, SPOKE TO ME AS FOLLOWS ;....\n€J RELIGIOUS dogma has frightened away pretty women.\nCommercialism has supplied tinned meats. Prejudice\nprevented me wearing blue and pink silk, and Civilization\nmade my house uncomfortable.\n* # SFC *\n€J Should the East once more be bitten by the gnat of an\ninsane ambition, the West becomes as an old grandmothers s\nstory, and is thought of no more."}]}, {"article_id": "bm-bmtnaau-1918-04-01-c002", "article_bluemountain": "bmtnaau_1918-04_01#c002", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.2.1.1", "titre_corps": "PARISIAN STAGE OF THE SIXTEENTH CENTURY", "titre_sommaire": "PARISIAN STAGE OF THE SIXTEENTH CENTURY", "signature_source": "Jean de Gourment", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.1", "debut_caractere": 156, "fin_caractere_exclue": 235, "texte": "PARISIAN STAGE OF THE SIXTEENTH CENTURY,\nfrom an Engraving by Jean de Gourment."}]}, {"article_id": "bm-bmtnaau-1918-04-01-c003", "article_bluemountain": "bmtnaau_1918-04_01#c003", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.2.2", "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": 1, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.1", "debut_caractere": 993, "fin_caractere_exclue": 1110, "texte": "QTAND YE IN THE WAYS, AND SEE, AND ASK FOR THE OLD PATHS\nfcj WHERE IS THE GOOD WAY, AND WALK THEREIN. An old Prophet!"}]}, {"article_id": "bm-bmtnaau-1918-04-01-c004", "article_bluemountain": "bmtnaau_1918-04_01#c004", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.2.3", "titre_corps": "EDITORIAL NOTE", "titre_sommaire": "EDITORIAL NOTE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.1", "debut_caractere": 1112, "fin_caractere_exclue": 3299, "texte": "EDITORIAL NOTE.\n\no RODIN PASSES, o\nLET those who understand Rodin\nwrite about him, and those who\ncannot, appreciate him silently. For\nhow can we understand a great man\nnowadays unless we comfort our un-\nderstanding by comparing him with the\ngreat men of the past ?\nThe other day some one did this with\nRodin, comparing him to Keats, to\nMillet, to Heine, to Dante and others.\nq This is not the fault of the\nwriter, perhaps the first American cri-\ntic, because he has been taught to\ndo so by some one or other. Who\nthe some-one was who started the habit\nit would be interesting some day to\nfind out. q Two fair examples of this\nhabit can be found in Mr. Gladstone's\nand Matthew Arnold s estimates of Leo-\npardi. The former, especially, is too\ngood to omit; so now for it:. . . are\nyou ready ?...\n\"In the Dorian march of his,\n(LeopardVs) terza rima, the image of\nDante comes before us; in his blank\nverse We think of Milton, whom pro-\nbably he never read; in his lighter letters,\nand in the extreme elegance of touch\nwith which he describes mental gloom\nand oppression, we are reminded of\nthe grace o/Gowper ; when he touches\nlearned research or criticism, he is\ncopious as Warburton, sagacious and\nacute as Bentley ; the impassioned me-\nlancholy of his poems largely recalls\nhis less, though scarcely less, unhappy\ncontemporary Shelley; to translation, We\nspeak however of his prose translation,\nhe brings the lofty conception of his\nWbrk which enabled Coleridge to pro-\nduce his Wallenstein; among his\nThoughts there are some worthy of\na place beside the Pensees of Pascal,\nor the Moral Essays of Bacon,\nand With the style of his philosophic\nDialogues neither Hume nor Berkeley\nneed resent a comparison. n\nArnold rambles on also about Byron\nand Wordsworth two grave omis-\nsions in Mr Gladstone's list.\nWhy this kind of Snobbery ? It's\nstill done, too.\nFrom time to time, on coming a-\ncross any passages of like cheapness we\nmust just print them so that at the end\nof a year we may all of us have a\ndainty little collection.\n®[ We hope that our Contemporary,\nunder whose shadow we shelter, will\nforgive us for being so serious about\nwhat seems an essential to the future\nof good criticism."}]}, {"article_id": "bm-bmtnaau-1918-04-01-c005", "article_bluemountain": "bmtnaau_1918-04_01#c005", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.2.3.1", "titre_corps": "RODIN PASSES", "titre_sommaire": "RODIN PASSES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.1", "debut_caractere": 1129, "fin_caractere_exclue": 3299, "texte": "o RODIN PASSES, o\nLET those who understand Rodin\nwrite about him, and those who\ncannot, appreciate him silently. For\nhow can we understand a great man\nnowadays unless we comfort our un-\nderstanding by comparing him with the\ngreat men of the past ?\nThe other day some one did this with\nRodin, comparing him to Keats, to\nMillet, to Heine, to Dante and others.\nq This is not the fault of the\nwriter, perhaps the first American cri-\ntic, because he has been taught to\ndo so by some one or other. Who\nthe some-one was who started the habit\nit would be interesting some day to\nfind out. q Two fair examples of this\nhabit can be found in Mr. Gladstone's\nand Matthew Arnold s estimates of Leo-\npardi. The former, especially, is too\ngood to omit; so now for it:. . . are\nyou ready ?...\n\"In the Dorian march of his,\n(LeopardVs) terza rima, the image of\nDante comes before us; in his blank\nverse We think of Milton, whom pro-\nbably he never read; in his lighter letters,\nand in the extreme elegance of touch\nwith which he describes mental gloom\nand oppression, we are reminded of\nthe grace o/Gowper ; when he touches\nlearned research or criticism, he is\ncopious as Warburton, sagacious and\nacute as Bentley ; the impassioned me-\nlancholy of his poems largely recalls\nhis less, though scarcely less, unhappy\ncontemporary Shelley; to translation, We\nspeak however of his prose translation,\nhe brings the lofty conception of his\nWbrk which enabled Coleridge to pro-\nduce his Wallenstein; among his\nThoughts there are some worthy of\na place beside the Pensees of Pascal,\nor the Moral Essays of Bacon,\nand With the style of his philosophic\nDialogues neither Hume nor Berkeley\nneed resent a comparison. n\nArnold rambles on also about Byron\nand Wordsworth two grave omis-\nsions in Mr Gladstone's list.\nWhy this kind of Snobbery ? It's\nstill done, too.\nFrom time to time, on coming a-\ncross any passages of like cheapness we\nmust just print them so that at the end\nof a year we may all of us have a\ndainty little collection.\n®[ We hope that our Contemporary,\nunder whose shadow we shelter, will\nforgive us for being so serious about\nwhat seems an essential to the future\nof good criticism."}]}, {"article_id": "bm-bmtnaau-1918-04-01-c007", "article_bluemountain": "bmtnaau_1918-04_01#c007", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "6", "page_fin": "7", "image_debut": 2, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.2.4", "titre_corps": "A WORD FOR THE WORKERS IN THE NEW MOVEMENT IN THE THEATRE", "titre_sommaire": "A WORD FOR THE WORKERS IN THE NEW MOVEMENT IN THE THEATRE", "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": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.2", "debut_caractere": 291, "fin_caractere_exclue": 4943, "texte": "The Path of the Modern Russian\nStage, by Alexander Bakshy. (Cecil\nPalmer & Hayward). 7/6 net. -\n\nA WORD FOR THE WORKERS IN THE\nNEW MOVEMENT IN THE THEATRE.\n\n\" W/E have not won 0ur.... battles, we have not\nVV carried our main points, we have not stopped\nour adversaries* advance, we have not marched victo-\nriously with the modern world ; but we have told si-\nlently upon the mind of the country, we have prepared\ncurrents of feeling which sap our adversaries' position\nwhen it seems gained, we have kept up our own com-\nmunications with the future \".\nMatthew Arnold, n Culture and Anarehy n.\nCOMPLICATED RUSSIA.\nThe Path of the Modern Russian\nStage by Mr Alexander Bakshy, is\na book which has lately come out (1),\nwherein the author thinks with extra-\nordinary earnestness and does his work\nwith considerable care.\nI will not pretend that when I al-\nlude to the earnestness I undervalue\nthat quality; but it is inclined very\noften to be an enemy to simplicity of\nthought, and in considering any work,\n(I substitute that word for art), sim-\nplicity of thought is the most difficult\nthing to bring to it, but the first\nessential.\nThe second essential, especially\nwhen considering modern experiments\nin the theatre, is that the writer shall\nhave as large a practical knowledge\nof the theatre as possible. n I have\nnever worked in the theatre 11 says\nMr Bakshy to begin with ; yet he\nbelieves that the ideas he sets forth\nthrow new light on vital aspects of\nthe theatre.\nHis apology is that he has applied\nto the problem of the theatre the prin-\nciples that he has formed in studying\nart in general, and, with a feeling\nthat yet more earnestness is necessary\nat this point, he adds that n these\nprinciples rest upon certain philosophi-\ncal conceptions n, and after that gets\nas elaborate as a Russian drawing i in\nfact, avoids what it almost seems he\ncould face successfully if he would\nbut embrace the state of mind to which\nI alluded above.\nBut there are many interesting\nchapters, not the least of them that on\nthe Moscow Art Theatre, wherein,\namong other facts, he relates, what is\ncertainly new to us, ....that when\nMr Stanislawsky, ...(or, to give him\nhis name as in this book, Constantin\nSergeyevich Alexeyev), threw his soul\ninto the creation of the Moscow Art\nTheatre, he first collected a small capi-\ntal from a few patrons, ....something\nover £ 2500—o—o.0—0. in all, on which\nto begin.\nNow, we had always supposed\nthat Mr Stanislawsky had put his for-\ntune, which was a considerable one,\ntogether with his belief, into the thea-\ntre, and that he had run it to begin\nwith off his own bat.\nOne would not pay much attention\nto this point had not Mr Bakshy begun\nby saying n there were innumerable\ndifficulties to overcome n, and did he\nnot go on to say that among them\nwas the problem of finding the ne-\ncessary capital.\nBut where was the difficulty or the\nproblem to a very wealthy man ?\nIf any one of us had £ 30,000 or\n£ 50,000 or £ 100,000 do you\nthink the problem of running The\nMasfe would be a difficult one ? It\nwould be child's play. A very well-\ninformed publisher told us in 1907\nthat it would take quite £ 10,000\nyearly to run The Mask, and yet it\nhas been produced and run for over\nseven years with no more capital than\nsome ghostly few pounds ; and if you\nsay it is very little I must remind you\nthat, though this is true, it is as true\nthat it has done its share in changing\nthe Theatres of two Continents.\nTherefore to those who have had\nexperience, ...and they are best able\nto judge, it seems as though the good\nRussians were making difficulties. But\nhere one can see something more cu-\nrious. They are good Russians: let\nit go at that : but to be a Russian at\nall is to be a very complicated thing.\nIf there are ten difficulties I suppose\nthey must make ten more, not to show\nheroism in overcoming them ; I don t\nmean that ; but to have something to\nuntangle, something to talk over 11 for\neighteen hours on end \" which is the\nexact length of time, Mr Bakshy tells\nus, spent over the first conversation\nwhich took place between the two would\nbe directors in a Russian restaurant.\nIn the light now being thrown upon\nRussian Politics this is not without in-\nterest. And it is because of this lack\nof simplicity of mind, not only in Mr\nBakshy but in those about whom he\nwrites, that they will not, ....cannot\nis out of the question.... see the hand\nbeforetheir face.\nAnything for a conversation lasting\neighteen hours; ....anything. \" I, though\nI be a millionaire, shall tell myself I\nhave no money : that will mean visi-\nting several people and discussing at\nlength, hooray! Because we are full\nof dreams, we people, and ideas, and"}, {"page_pdf": 3, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 4125, "texte": "we love going over and over and over\nit and getting out of it some, ....alas,\nvery material, fact\nThe material fact which the Mos-\ncow Art Theatre gets out of this dis-\ncussion is Realism.\nTo create a work of art you must\nthink hot and quick. And I\nEnglishman who knows anything about\nthe theatre what can be done with\n£ 2500 ? As for a Russian, I won't\nask him. He knows that it is all fudge\nand that nothing can be done with\ntiny sums.... he has often told me\nhimself that Economy is a word un-\nknown in Russia.\nThen why this elaboration ? Why\ndoes Mr Bakshy state such an amazing\nfact ? Only one thing explains Mr\nBakshy, this fact about the Moscow\nArt Theatre, the Russian Ballet and\nthe modern Russian trouble: It is their\npassion for complication at all costs.\nThis also explains, then, one of\nthe chapters in the book which natu-\nrally concerns English readers more\nthan the rest, called n A Note on Mr\nGordon Craig's theories n in which, alas,\nI am sorry to see that Mr Bakshy\nalludes to n the shameful indifference\nof the English public n. Well meant, but\nsurely creating an erroneous impression.\nMr Bakshy does not understand\nsimplicity. He speaks of n the confusion\nof Mr Craig's ideas n for the very reason\nthat they are so simple. Russians will\nnot see a simple idea : it is too easy\nfor them: they are too clever.\nConfusion of ideas, and, he adds,\nconfusion of principles. He cannot\nunderstand, he says, how it is that\nMr Craig expresses sympathy with the\nold English and Italian theatres and\nat the same- time discards much of\nwhat they imply and wishes to discard\nmore.\nNow, if Mr Bakshy had said that\nhere was a confusions of sympathies\nhe would have only stated what we\nall know in England is very natural in\nan Englishman. We have no reason\nfor locking ourselves in water-tight com-\npartments. We have sympathy with\nevery aspect of whatever work we have\nput our hand to. It is this very sym-\npathy which allows us to continue on\nour own road ; there is no danger that\nwe shall be attracted to the right or\nthe left and devote eighteen hours to\ndiscussing earnestly the pros and cons\nof this or that aspect. We are slow\npeople, but we are only slow in doing\na thing. We see straight away and\nit is because we do not show any\nastonishment when we see to the heart\nof a thing in a moment that the foreigner\nis inclined to imagine from our sub-\nsequent meanderings hither and*thither\nthat we have not taken the whole in\nat the first glance.\nThis English artist is able, while\nprepared to give as long a time as may\nbe necessary to achieve his object, to\nsee in the Moscow Art Theatre, let\nus say, a hundred first class qualities : he\nstates these in print, and because he\npraises them Mr Bakshy cannot under-\nstand how he can do so, having other\nsympathies as well and holding the\nviews that he does. Not that Mr Bakshy\nwould like Gordon Craig to be a Pu-\nritan; that would exasperate the Russian;\nhe would have nothing to write about\nfor another celebrated eighteen hours*\nstretch.\nSo it comes to it that for the sake\nof facts about the modern Russian stage\nthe book must find a place in the\nlibraries of all those who are interested\nin the modern theatre ; but for shedding\nany light on English ideas or for hold-\ning a match to the understanding of\nEnglish psychology or for clearing the\nair of that curse.... energetic theorism,\nit cannot be recommended.\nIn fact, from these points of view,\nit must be very severely censured.\nAll these books which help to confuse\nthe main issue, which is, that the Drama\nmust become dramatic ....all these\nbooks are trash.\nWe counsel all the younger wor-\nkers in the English theatre, those in-\nterested in seeing a good theatre de-\nveloped there, not to be frightened\nof the Theatrical. Because though,\nin itself, it has very little to commend\nit, it has so treacherous an enemy in\nthe philosophical that it would be\nbetter if the whole of the European\ntheatre flared itself out in one mighty\nburst of melodrama than that this creep-\ning paralysis, intellectualism plus realism,\nproducing that profound conceit so\ngaily talked of by Gratiano, should\ncome and clog the way."}]}, {"article_id": "bm-bmtnaau-1918-04-01-c008", "article_bluemountain": "bmtnaau_1918-04_01#c008", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "6", "page_fin": "6", "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=bmtnaau191804-01.2.4.1", "titre_corps": "A THEATRE AT MANTUA. EIGHTEENTH CENTURY", "titre_sommaire": "A THEATRE AT MANTUA. EIGHTEENTH CENTURY", "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": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 289, "texte": "A THEATRE AT MANTUA.\nEIGHTEENTH CENTURY.\nCompare this and the plan of the Au-\nditorium of Moli&re's Theatre.\nIt is needless to take up space to\nwrite about these plans, but both are\nworth careful examination.\nFrom time to time we shall print\nplans of interesting Theatres, without\ncomment."}]}, {"article_id": "bm-bmtnaau-1918-04-01-c009", "article_bluemountain": "bmtnaau_1918-04_01#c009", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "7", "page_fin": "7", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.2.4.2", "titre_corps": "GROUND PLAN OF MOLIERE'S THEATRE, 1640", "titre_sommaire": "GROUND PLAN OF MOLIERE'S THEATRE, 1640", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.3", "debut_caractere": 4928, "fin_caractere_exclue": 4972, "texte": "GROUND PLAN OF\nMOLIERE'S THEATRE 1640.\nSTAGE"}]}, {"article_id": "bm-bmtnaau-1918-04-01-c010a", "article_bluemountain": "bmtnaau_1918-04_01#c010a", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "7", "page_fin": "8", "image_debut": 3, "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=bmtnaau191804-01.2.5", "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": 4, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.4", "debut_caractere": 2619, "fin_caractere_exclue": 4504, "texte": "THE ART OF THE MOVING\nPICTURE by Vachel Lindsay: Mac-\nmillan Co. U. S.> A.\nANYTHING that Vachel Lindsay\nwrites is to be read, and in\nwriting a book on the Cinema we\nsuppose he has the advantage of having\nseen the best examples of what is called\nthe n Art of the Moving Picture n.\nWe do not think it is an art at all;\nneither do we think that the most\nlauded examples which have come over\nto us from America are particularly\ngood. We saw \" Civilization 11 by\nMr. Ince, and there was hardly a foot\nof it that was not open to criticism.\nThe main fault was that, spite of the\nfact that we were all told that vast\nsums of money had been put into it,\nonly too little money seems to have\nbeen expended on it. When a couple of\nthousand more people would have made\nan incident look more interesting theYe was\na gap; where an expensive actor was de-\nsirable a cheap actor was put in his\nplace: where careful and costly research\nshould have been given, it was lacking.\nWe do not enter into the question\nof how much effect can be produced\nby little expense; we merely regret the\nshortage of cash, and point to three\nitems where the expenditure was\nniggardly instead of bold.\nLet us hear no more about these\nstupendous films that are not what they\nare supposed to be.... and, what is most\nreprehensible.... cost far less than they\nmight cost.\nBut Mr. Lindsay is a born poet.\nHis longer poems you all know.... do\nyou, we wonder, know this short one?,.,\nhe will send it to you with others if\nyou will write to him to 603 South sth\nSt. Sprirlgfield, Illinois, U. S. A. (and\ndon't mention n The Mask n).\nMATILDA HIGHBROW SPEAKETH.\nn Come, wash your face in the Dew,\nCome, splash on the edge of the Brook,\nFor Spring, dear Spring, is here n\nSaid Mrs. Matilda Snook.\nn Come, splatter and sing with the Thrush,\nThe Lark and the Bobolink,n\nn I mean no harm \" said Snook,\nn But me for the pan by the sink \"•"}]}, {"article_id": "bm-bmtnaau-1918-04-01-c010d", "article_bluemountain": "bmtnaau_1918-04_01#c010d", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "8", "page_fin": "8", "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=bmtnaau191804-01.2.5.1", "titre_corps": "The Art of the Moving Picture by Vachel Lindsay", "titre_sommaire": "The Art of the Moving Picture by Vachel Lindsay", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.4", "debut_caractere": 2619, "fin_caractere_exclue": 4504, "texte": "THE ART OF THE MOVING\nPICTURE by Vachel Lindsay: Mac-\nmillan Co. U. S.> A.\nANYTHING that Vachel Lindsay\nwrites is to be read, and in\nwriting a book on the Cinema we\nsuppose he has the advantage of having\nseen the best examples of what is called\nthe n Art of the Moving Picture n.\nWe do not think it is an art at all;\nneither do we think that the most\nlauded examples which have come over\nto us from America are particularly\ngood. We saw \" Civilization 11 by\nMr. Ince, and there was hardly a foot\nof it that was not open to criticism.\nThe main fault was that, spite of the\nfact that we were all told that vast\nsums of money had been put into it,\nonly too little money seems to have\nbeen expended on it. When a couple of\nthousand more people would have made\nan incident look more interesting theYe was\na gap; where an expensive actor was de-\nsirable a cheap actor was put in his\nplace: where careful and costly research\nshould have been given, it was lacking.\nWe do not enter into the question\nof how much effect can be produced\nby little expense; we merely regret the\nshortage of cash, and point to three\nitems where the expenditure was\nniggardly instead of bold.\nLet us hear no more about these\nstupendous films that are not what they\nare supposed to be.... and, what is most\nreprehensible.... cost far less than they\nmight cost.\nBut Mr. Lindsay is a born poet.\nHis longer poems you all know.... do\nyou, we wonder, know this short one?,.,\nhe will send it to you with others if\nyou will write to him to 603 South sth\nSt. Sprirlgfield, Illinois, U. S. A. (and\ndon't mention n The Mask n).\nMATILDA HIGHBROW SPEAKETH.\nn Come, wash your face in the Dew,\nCome, splash on the edge of the Brook,\nFor Spring, dear Spring, is here n\nSaid Mrs. Matilda Snook.\nn Come, splatter and sing with the Thrush,\nThe Lark and the Bobolink,n\nn I mean no harm \" said Snook,\nn But me for the pan by the sink \"•"}]}, {"article_id": "bm-bmtnaau-1918-04-01-c011", "article_bluemountain": "bmtnaau_1918-04_01#c011", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "8", "page_fin": "8", "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=bmtnaau191804-01.2.8", "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": 4, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 2617, "texte": "WE call for a little better criticism from\nAmerica. n Vogue n, which is sold in\nthousands, or tens of thousands, should be\nsurely able to afford to pay for a better\nclass student of the stage; <1 Mr Clayton\nHamilton is not even eighth-class.\nIn praising M. Copeau, one of the most\npromising of beginners, he bewails the chaos\nof this period of Drama, the jarring of new\nCreeds, and he adds to the confusion by\nasserting that Craig, Hauptmanri, Galsworthy,\nMaeterlinck, Rostand, Synge, Shaw, Belasco,\nand, he adds, Copeau, are all opposed one\nto the other.... and he clasps his fingers,\nwrings his hands, turns up his eyes, and howls,\n\" What is a critic to say when he finds him-\nself dragged hither and thither by these\nantithetic artists ? \"\nStudy, my dear Hamilton, study! ....Be\ncalm:.... you will come through; only don't\nbe the blind man in the game.... don't dodge\nhere rush there.... grope.... turn.... trip....\nand fall so often. Be steadier and still\nsteadier. Be less catholic. The catholic\nfence is not so easy a spot to balance on\nfor long as the puritan mind conceives it to\nbe. Come off that fence, Hamilton.\nAnd, incidentally, don't strain your critical\nfaculty so much till you know a wee bit\nmore. Your phrase that Gordon Craig s theory\nis n excessive and insane \" deserves all you\nmight get from us over here. It is 1918,\ndear friend, ....by this time you might have\ngathered more than you seem to have done\nabout the stage, and it will not do for you\nto assert that \" Jacques Copeau is at all\npoints opposite from this \".... i. e., Mr Craig's\nTheory.... for it is not true....\nLet us tell you, my dear Hamilton, that\nprevious to leaving for America M. Copeau\nspent a pleasant month here in perfect har-\nmony with Mr. Craig's theory, ....and what\nis more, in still more harmony with his prac-\ntice. That is one of the reasons why M.\nCopeau is in America.... do not forget that\neither. Furthermore, do not continue to\nmis-state Mr Craig's theory so perfectly. It\nmay be mere stupidity, but it almost begins\nto look malicious. You' ve done it . for five\nor six years now. ?! Since you began it you\nhave had time to understand and get straight\nabout it. \" Excessive \" artd \" insane \" are\nnot exactly sapient words for you to have\nselected. Try once again, Hamilton;.... and\nif you fail again give it up and sell watercreases.\nBy the way when a critic, without pro-\nvocation, attacks an artist, and \" The Mask \"\ngoes for him as we are here going for Mr\nHamilton, a cry generally goes up, \" Oh,\nwhat has he done, poor man, to be attacked\nin this way \". If such a cry goes up now\nremember the word Insane."}]}, {"article_id": "bm-bmtnaau-1918-04-01-c012", "article_bluemountain": "bmtnaau_1918-04_01#c012", "volume": "bmtnaau_1918-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "8", "page_fin": "8", "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=bmtnaau191804-01.2.9", "titre_corps": "STARTLING NEWS : EXPERIENCE OF AN AMERICAN", "titre_sommaire": "STARTLING NEWS : EXPERIENCE OF AN AMERICAN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.4", "debut_caractere": 4506, "fin_caractere_exclue": 4927, "texte": "STARTLING NEWS,\nEXPERIENCE OF AN AMERICAN.\nSpeaking of his Eventful life George\nJ Nathan says that actually, n On the\nnight of September 27 th 1896 I heard\nevery word of the part an actor was\nreciting, ....and I seated way back in\nthe second row. On the night of Ja-\nnuary 4th 1900, only fifteen years ago,\nI beheld an actor deliver a line of\nseven words, and during the process of\ndelivery, employ only four gestures 11."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.1", "texte": "Tur A/I A QIS\nI I I|H \\/\\ / \\ '\"SK\nJL JL 11_J v JLjk jtL A\nA MONTHLY LEAFLET OF\nTHE ART OF THE THEATRE\nVOLUME EIGHT: NUMBER TWO\nADDRESS: BOX 444. FLORENCE\n\nPARISIAN STAGE OF THE SIXTEENTH CENTURY,\nfrom an Engraving by Jean de Gourment.\n\nSHOULD THE EAST.\n\nYANG CHU SAID. HOW can a body possessing four\nthings, a comfortable house, fine clothes, good food,\nand pretty women, still long for anything else.\nCJ I REPLIED. I desire only these four things, a Comfortable\nhouse, fine clothes, good food, and pretty women..,. Tell\nme, Yang Chu, how to get them,\n€J YANG CHU TRAVELLED TO EUROPE AND BEYOND\nAND, RETURNING, SPOKE TO ME AS FOLLOWS ;....\n€J RELIGIOUS dogma has frightened away pretty women.\nCommercialism has supplied tinned meats. Prejudice\nprevented me wearing blue and pink silk, and Civilization\nmade my house uncomfortable.\n* # SFC *\n€J Should the East once more be bitten by the gnat of an\ninsane ambition, the West becomes as an old grandmothers s\nstory, and is thought of no more.\n\nQTAND YE IN THE WAYS, AND SEE, AND ASK FOR THE OLD PATHS\nfcj WHERE IS THE GOOD WAY, AND WALK THEREIN. An old Prophet!\n\nEDITORIAL NOTE.\n\no RODIN PASSES, o\nLET those who understand Rodin\nwrite about him, and those who\ncannot, appreciate him silently. For\nhow can we understand a great man\nnowadays unless we comfort our un-\nderstanding by comparing him with the\ngreat men of the past ?\nThe other day some one did this with\nRodin, comparing him to Keats, to\nMillet, to Heine, to Dante and others.\nq This is not the fault of the\nwriter, perhaps the first American cri-\ntic, because he has been taught to\ndo so by some one or other. Who\nthe some-one was who started the habit\nit would be interesting some day to\nfind out. q Two fair examples of this\nhabit can be found in Mr. Gladstone's\nand Matthew Arnold s estimates of Leo-\npardi. The former, especially, is too\ngood to omit; so now for it:. . . are\nyou ready ?...\n\"In the Dorian march of his,\n(LeopardVs) terza rima, the image of\nDante comes before us; in his blank\nverse We think of Milton, whom pro-\nbably he never read; in his lighter letters,\nand in the extreme elegance of touch\nwith which he describes mental gloom\nand oppression, we are reminded of\nthe grace o/Gowper ; when he touches\nlearned research or criticism, he is\ncopious as Warburton, sagacious and\nacute as Bentley ; the impassioned me-\nlancholy of his poems largely recalls\nhis less, though scarcely less, unhappy\ncontemporary Shelley; to translation, We\nspeak however of his prose translation,\nhe brings the lofty conception of his\nWbrk which enabled Coleridge to pro-\nduce his Wallenstein; among his\nThoughts there are some worthy of\na place beside the Pensees of Pascal,\nor the Moral Essays of Bacon,\nand With the style of his philosophic\nDialogues neither Hume nor Berkeley\nneed resent a comparison. n\nArnold rambles on also about Byron\nand Wordsworth two grave omis-\nsions in Mr Gladstone's list.\nWhy this kind of Snobbery ? It's\nstill done, too.\nFrom time to time, on coming a-\ncross any passages of like cheapness we\nmust just print them so that at the end\nof a year we may all of us have a\ndainty little collection.\n®[ We hope that our Contemporary,\nunder whose shadow we shelter, will\nforgive us for being so serious about\nwhat seems an essential to the future\nof good criticism."}, {"page_pdf": 2, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.2", "texte": "A THEATRE AT MANTUA.\nEIGHTEENTH CENTURY.\nCompare this and the plan of the Au-\nditorium of Moli&re's Theatre.\nIt is needless to take up space to\nwrite about these plans, but both are\nworth careful examination.\nFrom time to time we shall print\nplans of interesting Theatres, without\ncomment.\n\nThe Path of the Modern Russian\nStage, by Alexander Bakshy. (Cecil\nPalmer & Hayward). 7/6 net. -\n\nA WORD FOR THE WORKERS IN THE\nNEW MOVEMENT IN THE THEATRE.\n\n\" W/E have not won 0ur.... battles, we have not\nVV carried our main points, we have not stopped\nour adversaries* advance, we have not marched victo-\nriously with the modern world ; but we have told si-\nlently upon the mind of the country, we have prepared\ncurrents of feeling which sap our adversaries' position\nwhen it seems gained, we have kept up our own com-\nmunications with the future \".\nMatthew Arnold, n Culture and Anarehy n.\nCOMPLICATED RUSSIA.\nThe Path of the Modern Russian\nStage by Mr Alexander Bakshy, is\na book which has lately come out (1),\nwherein the author thinks with extra-\nordinary earnestness and does his work\nwith considerable care.\nI will not pretend that when I al-\nlude to the earnestness I undervalue\nthat quality; but it is inclined very\noften to be an enemy to simplicity of\nthought, and in considering any work,\n(I substitute that word for art), sim-\nplicity of thought is the most difficult\nthing to bring to it, but the first\nessential.\nThe second essential, especially\nwhen considering modern experiments\nin the theatre, is that the writer shall\nhave as large a practical knowledge\nof the theatre as possible. n I have\nnever worked in the theatre 11 says\nMr Bakshy to begin with ; yet he\nbelieves that the ideas he sets forth\nthrow new light on vital aspects of\nthe theatre.\nHis apology is that he has applied\nto the problem of the theatre the prin-\nciples that he has formed in studying\nart in general, and, with a feeling\nthat yet more earnestness is necessary\nat this point, he adds that n these\nprinciples rest upon certain philosophi-\ncal conceptions n, and after that gets\nas elaborate as a Russian drawing i in\nfact, avoids what it almost seems he\ncould face successfully if he would\nbut embrace the state of mind to which\nI alluded above.\nBut there are many interesting\nchapters, not the least of them that on\nthe Moscow Art Theatre, wherein,\namong other facts, he relates, what is\ncertainly new to us, ....that when\nMr Stanislawsky, ...(or, to give him\nhis name as in this book, Constantin\nSergeyevich Alexeyev), threw his soul\ninto the creation of the Moscow Art\nTheatre, he first collected a small capi-\ntal from a few patrons, ....something\nover £ 2500—o—o.0—0. in all, on which\nto begin.\nNow, we had always supposed\nthat Mr Stanislawsky had put his for-\ntune, which was a considerable one,\ntogether with his belief, into the thea-\ntre, and that he had run it to begin\nwith off his own bat.\nOne would not pay much attention\nto this point had not Mr Bakshy begun\nby saying n there were innumerable\ndifficulties to overcome n, and did he\nnot go on to say that among them\nwas the problem of finding the ne-\ncessary capital.\nBut where was the difficulty or the\nproblem to a very wealthy man ?\nIf any one of us had £ 30,000 or\n£ 50,000 or £ 100,000 do you\nthink the problem of running The\nMasfe would be a difficult one ? It\nwould be child's play. A very well-\ninformed publisher told us in 1907\nthat it would take quite £ 10,000\nyearly to run The Mask, and yet it\nhas been produced and run for over\nseven years with no more capital than\nsome ghostly few pounds ; and if you\nsay it is very little I must remind you\nthat, though this is true, it is as true\nthat it has done its share in changing\nthe Theatres of two Continents.\nTherefore to those who have had\nexperience, ...and they are best able\nto judge, it seems as though the good\nRussians were making difficulties. But\nhere one can see something more cu-\nrious. They are good Russians: let\nit go at that : but to be a Russian at\nall is to be a very complicated thing.\nIf there are ten difficulties I suppose\nthey must make ten more, not to show\nheroism in overcoming them ; I don t\nmean that ; but to have something to\nuntangle, something to talk over 11 for\neighteen hours on end \" which is the\nexact length of time, Mr Bakshy tells\nus, spent over the first conversation\nwhich took place between the two would\nbe directors in a Russian restaurant.\nIn the light now being thrown upon\nRussian Politics this is not without in-\nterest. And it is because of this lack\nof simplicity of mind, not only in Mr\nBakshy but in those about whom he\nwrites, that they will not, ....cannot\nis out of the question.... see the hand\nbeforetheir face.\nAnything for a conversation lasting\neighteen hours; ....anything. \" I, though\nI be a millionaire, shall tell myself I\nhave no money : that will mean visi-\nting several people and discussing at\nlength, hooray! Because we are full\nof dreams, we people, and ideas, and"}, {"page_pdf": 3, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.3", "texte": "we love going over and over and over\nit and getting out of it some, ....alas,\nvery material, fact\nThe material fact which the Mos-\ncow Art Theatre gets out of this dis-\ncussion is Realism.\nTo create a work of art you must\nthink hot and quick. And I\nEnglishman who knows anything about\nthe theatre what can be done with\n£ 2500 ? As for a Russian, I won't\nask him. He knows that it is all fudge\nand that nothing can be done with\ntiny sums.... he has often told me\nhimself that Economy is a word un-\nknown in Russia.\nThen why this elaboration ? Why\ndoes Mr Bakshy state such an amazing\nfact ? Only one thing explains Mr\nBakshy, this fact about the Moscow\nArt Theatre, the Russian Ballet and\nthe modern Russian trouble: It is their\npassion for complication at all costs.\nThis also explains, then, one of\nthe chapters in the book which natu-\nrally concerns English readers more\nthan the rest, called n A Note on Mr\nGordon Craig's theories n in which, alas,\nI am sorry to see that Mr Bakshy\nalludes to n the shameful indifference\nof the English public n. Well meant, but\nsurely creating an erroneous impression.\nMr Bakshy does not understand\nsimplicity. He speaks of n the confusion\nof Mr Craig's ideas n for the very reason\nthat they are so simple. Russians will\nnot see a simple idea : it is too easy\nfor them: they are too clever.\nConfusion of ideas, and, he adds,\nconfusion of principles. He cannot\nunderstand, he says, how it is that\nMr Craig expresses sympathy with the\nold English and Italian theatres and\nat the same- time discards much of\nwhat they imply and wishes to discard\nmore.\nNow, if Mr Bakshy had said that\nhere was a confusions of sympathies\nhe would have only stated what we\nall know in England is very natural in\nan Englishman. We have no reason\nfor locking ourselves in water-tight com-\npartments. We have sympathy with\nevery aspect of whatever work we have\nput our hand to. It is this very sym-\npathy which allows us to continue on\nour own road ; there is no danger that\nwe shall be attracted to the right or\nthe left and devote eighteen hours to\ndiscussing earnestly the pros and cons\nof this or that aspect. We are slow\npeople, but we are only slow in doing\na thing. We see straight away and\nit is because we do not show any\nastonishment when we see to the heart\nof a thing in a moment that the foreigner\nis inclined to imagine from our sub-\nsequent meanderings hither and*thither\nthat we have not taken the whole in\nat the first glance.\nThis English artist is able, while\nprepared to give as long a time as may\nbe necessary to achieve his object, to\nsee in the Moscow Art Theatre, let\nus say, a hundred first class qualities : he\nstates these in print, and because he\npraises them Mr Bakshy cannot under-\nstand how he can do so, having other\nsympathies as well and holding the\nviews that he does. Not that Mr Bakshy\nwould like Gordon Craig to be a Pu-\nritan; that would exasperate the Russian;\nhe would have nothing to write about\nfor another celebrated eighteen hours*\nstretch.\nSo it comes to it that for the sake\nof facts about the modern Russian stage\nthe book must find a place in the\nlibraries of all those who are interested\nin the modern theatre ; but for shedding\nany light on English ideas or for hold-\ning a match to the understanding of\nEnglish psychology or for clearing the\nair of that curse.... energetic theorism,\nit cannot be recommended.\nIn fact, from these points of view,\nit must be very severely censured.\nAll these books which help to confuse\nthe main issue, which is, that the Drama\nmust become dramatic ....all these\nbooks are trash.\nWe counsel all the younger wor-\nkers in the English theatre, those in-\nterested in seeing a good theatre de-\nveloped there, not to be frightened\nof the Theatrical. Because though,\nin itself, it has very little to commend\nit, it has so treacherous an enemy in\nthe philosophical that it would be\nbetter if the whole of the European\ntheatre flared itself out in one mighty\nburst of melodrama than that this creep-\ning paralysis, intellectualism plus realism,\nproducing that profound conceit so\ngaily talked of by Gratiano, should\ncome and clog the way.\n\nTHE LAST BOW. by Conan Doyle.\n(John Murray) 6/~net.\n\"npHE Last Bow n is by no means\n1 so unexciting as a widespread half-\npenny paper has made it out to be.\nThe first story is perhaps the least\nexciting of all, which makes me think\nit is the first one only that the re-\nviewer had read. But n The Cardboard\nBox n with the two ears inside it, and\nn The Adventure of the Red Circle n\nwith the signalling, are distinctly the\nthing : \" The Dying Detective 11 is quite\nour old friend again; n The Disap-\npearance of Lady Carfax n is the most\nhorrible disappearance possible, and that\nis saying a good deal. n The Adven-\nture of the Devil's Foot n is a heinous\nthing, and \" His Last Bow 11 is a bit\nof all right.\nI enjoyed every tale heartily, ....and\nI wasn't obliged to read more than\none story, was I ?\n\nGROUND PLAN OF\nMOLIERE'S THEATRE 1640.\nSTAGE\n\nMADAME DUGAZON DE LA\nCOMEDIE ITALIENNE. 1755 -\n1821 .by Jean Jacques Olivier. (Societe\nFrancahe dTmprimerie et de Librairie).\nParis. 1917.\nHERE we have an example of an\nerudite book of History conjured\ninto a graceful work of art.\nSo natural this when we remem-\nber that the writer is an artist whose\ndevotion to the theatre is passionate\ninstead of pedantic.\nDid he not devote many years to\nthe actual practice of the theatre in\nBrussels ? Has he not thereby learned\nto think tenderly about these things\ninstead of feeling things in the chilly\nacademic manner ? And has he not\nproduced the wonderful book on Le\nKain, and the companion work on La\nBarberina ? and.... but the full list of\nM. Olivier's works is too well known\nfor us to re-enumerate them here.\nHis conferences are enchanting. The\nlong white beard of the Historian is\ncast aside to allow passage to the nim-\nble spirit of ever-living things.\nIt was necessary, this book on\nthis actress, for, except in the Biogra-\nphies and Dictionaries, and the chapter\nby Emile Garboriau and the notice by\nArthur Pougin, nothing exists about\nMadame Dugazon."}, {"page_pdf": 4, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191804-01.1.4", "texte": "WE call for a little better criticism from\nAmerica. n Vogue n, which is sold in\nthousands, or tens of thousands, should be\nsurely able to afford to pay for a better\nclass student of the stage; <1 Mr Clayton\nHamilton is not even eighth-class.\nIn praising M. Copeau, one of the most\npromising of beginners, he bewails the chaos\nof this period of Drama, the jarring of new\nCreeds, and he adds to the confusion by\nasserting that Craig, Hauptmanri, Galsworthy,\nMaeterlinck, Rostand, Synge, Shaw, Belasco,\nand, he adds, Copeau, are all opposed one\nto the other.... and he clasps his fingers,\nwrings his hands, turns up his eyes, and howls,\n\" What is a critic to say when he finds him-\nself dragged hither and thither by these\nantithetic artists ? \"\nStudy, my dear Hamilton, study! ....Be\ncalm:.... you will come through; only don't\nbe the blind man in the game.... don't dodge\nhere rush there.... grope.... turn.... trip....\nand fall so often. Be steadier and still\nsteadier. Be less catholic. The catholic\nfence is not so easy a spot to balance on\nfor long as the puritan mind conceives it to\nbe. Come off that fence, Hamilton.\nAnd, incidentally, don't strain your critical\nfaculty so much till you know a wee bit\nmore. Your phrase that Gordon Craig s theory\nis n excessive and insane \" deserves all you\nmight get from us over here. It is 1918,\ndear friend, ....by this time you might have\ngathered more than you seem to have done\nabout the stage, and it will not do for you\nto assert that \" Jacques Copeau is at all\npoints opposite from this \".... i. e., Mr Craig's\nTheory.... for it is not true....\nLet us tell you, my dear Hamilton, that\nprevious to leaving for America M. Copeau\nspent a pleasant month here in perfect har-\nmony with Mr. Craig's theory, ....and what\nis more, in still more harmony with his prac-\ntice. That is one of the reasons why M.\nCopeau is in America.... do not forget that\neither. Furthermore, do not continue to\nmis-state Mr Craig's theory so perfectly. It\nmay be mere stupidity, but it almost begins\nto look malicious. You' ve done it . for five\nor six years now. ?! Since you began it you\nhave had time to understand and get straight\nabout it. \" Excessive \" artd \" insane \" are\nnot exactly sapient words for you to have\nselected. Try once again, Hamilton;.... and\nif you fail again give it up and sell watercreases.\nBy the way when a critic, without pro-\nvocation, attacks an artist, and \" The Mask \"\ngoes for him as we are here going for Mr\nHamilton, a cry generally goes up, \" Oh,\nwhat has he done, poor man, to be attacked\nin this way \". If such a cry goes up now\nremember the word Insane.\n\nTHE ART OF THE MOVING\nPICTURE by Vachel Lindsay: Mac-\nmillan Co. U. S.> A.\nANYTHING that Vachel Lindsay\nwrites is to be read, and in\nwriting a book on the Cinema we\nsuppose he has the advantage of having\nseen the best examples of what is called\nthe n Art of the Moving Picture n.\nWe do not think it is an art at all;\nneither do we think that the most\nlauded examples which have come over\nto us from America are particularly\ngood. We saw \" Civilization 11 by\nMr. Ince, and there was hardly a foot\nof it that was not open to criticism.\nThe main fault was that, spite of the\nfact that we were all told that vast\nsums of money had been put into it,\nonly too little money seems to have\nbeen expended on it. When a couple of\nthousand more people would have made\nan incident look more interesting theYe was\na gap; where an expensive actor was de-\nsirable a cheap actor was put in his\nplace: where careful and costly research\nshould have been given, it was lacking.\nWe do not enter into the question\nof how much effect can be produced\nby little expense; we merely regret the\nshortage of cash, and point to three\nitems where the expenditure was\nniggardly instead of bold.\nLet us hear no more about these\nstupendous films that are not what they\nare supposed to be.... and, what is most\nreprehensible.... cost far less than they\nmight cost.\nBut Mr. Lindsay is a born poet.\nHis longer poems you all know.... do\nyou, we wonder, know this short one?,.,\nhe will send it to you with others if\nyou will write to him to 603 South sth\nSt. Sprirlgfield, Illinois, U. S. A. (and\ndon't mention n The Mask n).\nMATILDA HIGHBROW SPEAKETH.\nn Come, wash your face in the Dew,\nCome, splash on the edge of the Brook,\nFor Spring, dear Spring, is here n\nSaid Mrs. Matilda Snook.\nn Come, splatter and sing with the Thrush,\nThe Lark and the Bobolink,n\nn I mean no harm \" said Snook,\nn But me for the pan by the sink \"•\n\nSTARTLING NEWS,\nEXPERIENCE OF AN AMERICAN.\nSpeaking of his Eventful life George\nJ Nathan says that actually, n On the\nnight of September 27 th 1896 I heard\nevery word of the part an actor was\nreciting, ....and I seated way back in\nthe second row. On the night of Ja-\nnuary 4th 1900, only fifteen years ago,\nI beheld an actor deliver a line of\nseven words, and during the process of\ndelivery, employ only four gestures 11.\n\nALL RIGHTS RESERVED.\nGerente responsabile: Giulio Vanzi.\nTipografia Giuntina. Firenze,"}]}