{"numero_id": "bm-bmtnaau-1918-06-01", "volume": "bmtnaau_1918-06_01", "ocr_sha256": "59116c9c77d217f5641c5f2af7c5c8077a52d54bbcee0798ee6d0f33e685da88", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1918/06_01/bmtnaau_1918-06_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1918/06_01/bmtnaau_1918-06_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01", "articles": [{"article_id": "bm-bmtnaau-1918-06-01-c001", "article_bluemountain": "bmtnaau_1918-06_01#c001", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "13", "page_fin": "13", "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=bmtnaau191806-01.2.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "Edmund Burke", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.1", "debut_caractere": 213, "fin_caractere_exclue": 955, "texte": "GROUND PLAN OF THE VAUDEVILLE THEATRE\nPARIS 1837-1840\nEdmund 1727-1197.\nReflections on the Revolution in France.\nIT must admitted that this plan of a little Tneatre shows some invention.\nThe small space has been cunningly used. The scale of the plan is 1 /9G0\nthe actual size.\nBECAUSE half-a-dozen grasshoppers under a fern make the\nfield ring with their importunate chink, whilst thousands\nof great cattle, reposed beneath the shadow of the British\noak, chew the cud and are silent, pray do not imagine that\nthose who make the noise are the only inhabitants of the\nfield ; that of course they are many in number; or that, after\nall, they are other than the little shrivelled, meagre, hopping,\nthough loud and troublesome insects of the hour."}]}, {"article_id": "bm-bmtnaau-1918-06-01-c003", "article_bluemountain": "bmtnaau_1918-06_01#c003", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "13", "page_fin": "14", "image_debut": 1, "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=bmtnaau191806-01.2.2", "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": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.1", "debut_caractere": 957, "fin_caractere_exclue": 3285, "texte": "EDITORIAL NOTE.\n\nENGLAND FOR THE ENGLISH.\n\" A little leak will sink a great ship \"\nM ANDRE BEAUNIER (we must\n• add, for Democracy's sake? 'the\nfamous French critic'), has stirred up,\na discussion in Paris about the common\nkind of plays, songs and revues dished\nup for a frivolous public under the\npretext or excuse that they are specially\nfor the Poilu (z).\nThe Poilu writes from the front that\nhe'll be damned if he intends to have\nthe pigwash credited to him. He ad-\nmits that soldiers' language is, like the\nlanguage of the rest of the world, a\nbit thick at times; but he will have us\nto understand that prepared and polish-\ned Pornography is not what he wants.\nn The confusing of Pornography and\ngaiety is one of the most foolish er-\nrors of our day. It has done much to\nhurt the good reputation of France.\nBesides, the strangers who came to\nParis sought for it with an unhealthy\ncuriosity and then despised us when\nthey returned home. This hypocrisy is\nwell-known. Real gaiety is never nasty ;\nit is a sign of health ; while porno-\ngraphy is a disease of the mind n.\nWe need not, I think, bother much\nabout the reputation of Europe, Paris,\nor even Brixton«on-sea: but neither\nneed we leave business men any longer\nto manage the Theatres of Europe,\nParis or Brixton-on-sea. Not that an\nartist has no sense of the pornographic....\nSome of the but late-departed artists,\n(and we need not go as far back as\nBeardsley) revealed some power in that\nline. But it is quite certain that if you\nare to choose between a business man\nor artist the artist will, in the course of\ntwenty years, ,! raise the tone w of the\nstage as they say, whereas the business\nman will lower it. The proof of this\ncan be seen today in the wreck of\nwhat was once the English Theatre.\nAnd we are convinced that we shall\nnot take the step in the right direction\nby grafting the matter and manner of\nthe Russian Ballet and ' Sumururi' on\nto our English Plant. Again, 4 England\nfor the English', and may a clear\nsweep be made of those who would\n\n(i) See \" The Literary Digest \"\n(New York) Nov, 24 1917.\nThis is a journal we should like to\nsee enlarged and strengthened, for it\nis a weekly treat already, and could\nbe rather larger without difficulty and\nwith great advantage. We would like\nalso to see a French version of the\nsame journal, and an Italian one."}, {"page_pdf": 2, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 2549, "texte": "see foreign Art superimposed upon our\nEnglish Art.\nAgain, we have enough artists,... in\nevery branch of Art. To talk of Rus-\nsian, French, Italian or any Foreign\nArt, praising it before that of our own\ncountry, is not a whit less treacherons\nthan is being a pro-German. The\ntimes do not allow of it. And we\nneed to strengthen every bolt of our\nship, and not lightly and mischievously\npoo-pooh the idea that the Arts are\nbolts of no importance, that Art has\nno frontiers, is International, and that\nthe Russians, Swedes and so forth are\nour friends. Friends by all means,....\nbut let us not be dependants.\nAs in Politics, so in the Arts,\nour own countrymen, (some of them,\nand mostly women), would sooner see\na Foreigner any day at the head of\nthe English stage than admit that 4 that\nman' or 4 that hussy' was the best\nEnglishman or woman for the job. In\nshort, personal enemity or prejudice\nagainst Englishmen and women pre-\nvents England from enjoying all its\nadvantages; and our duty now is to\nprevent prejudice and personal emmity\nfrom lying the nation out of its rights,\n. We hope to hear the Press speak\nup louder about all English Art, and\nfar more reservedly (if at all for a\nwhile), about Foreign Art.\nThe has been praised for the\nstand it made against the fulsome ado-\nration for the foreign article: .... it\nexpects more than that now. It wants\nto see some of the far-famed British\nhonesty and fair dealing shown to the\nEnglish Arts and their representative\nartists.\nIt is not too early to speak of these\nthings: it is about twenty years too\nlate. The war has not changed the\ntruth of the old saying that a little\nleak will sink a great ship.\nThere is a leak in England hi c: h\nmust be stopped. It is in the English\nTheatre, and the hole has been bored\nby English men and women : ....not\nthe great Public, as it's called, but by\nthe ' elect', who are allowed to die-\ntate by the back-handed laws of the\ngimlet.\nThey need not say that they too\nwould like English Art if only there\nwere some English artists : that orange-\npeel lie, once so fatal, is done for.\nThe critics have unanimously hailed\nour artists, and it is our critics, not\nour 'elect', whose word is to be\nMask taken.\nBut it is against that utterly un-En-\nglish tendency of being a traitor that\nwe shall write,.... and against that al-\nmost worse tendency of being a half-\ntraitor.\nSo wherever you meet anyone who\nis playing false to English Art and\nartists, let them know what you think\nof them, and let everyone else know\nthat they are Pro-this or that, and not\nPro-English."}, {"page_pdf": 2, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.2", "debut_caractere": 6549, "fin_caractere_exclue": 6857, "texte": "nrn/rrR/JDCD TLJAT\nJLe IvI th 1V10 tL» tv I fi/A 1^\n— - \" ~ ..\nThe shoe was lost for want of a\nFor Want of the shoe, the horse was lost,\nFor Want of the horse, the rider was lost,\nFor Want of the rider, the battle was lost,\nFor want of the battle, the Kingdom\nlWas 03 '\nAnd all for want of a horse-shoe nail."}]}, {"article_id": "bm-bmtnaau-1918-06-01-c004", "article_bluemountain": "bmtnaau_1918-06_01#c004", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "13", "page_fin": "14", "image_debut": 1, "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=bmtnaau191806-01.2.2.1", "titre_corps": "ENGLAND FOR THE ENGLISH", "titre_sommaire": "ENGLAND FOR THE ENGLISH", "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": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.1", "debut_caractere": 974, "fin_caractere_exclue": 3285, "texte": "ENGLAND FOR THE ENGLISH.\n\" A little leak will sink a great ship \"\nM ANDRE BEAUNIER (we must\n• add, for Democracy's sake? 'the\nfamous French critic'), has stirred up,\na discussion in Paris about the common\nkind of plays, songs and revues dished\nup for a frivolous public under the\npretext or excuse that they are specially\nfor the Poilu (z).\nThe Poilu writes from the front that\nhe'll be damned if he intends to have\nthe pigwash credited to him. He ad-\nmits that soldiers' language is, like the\nlanguage of the rest of the world, a\nbit thick at times; but he will have us\nto understand that prepared and polish-\ned Pornography is not what he wants.\nn The confusing of Pornography and\ngaiety is one of the most foolish er-\nrors of our day. It has done much to\nhurt the good reputation of France.\nBesides, the strangers who came to\nParis sought for it with an unhealthy\ncuriosity and then despised us when\nthey returned home. This hypocrisy is\nwell-known. Real gaiety is never nasty ;\nit is a sign of health ; while porno-\ngraphy is a disease of the mind n.\nWe need not, I think, bother much\nabout the reputation of Europe, Paris,\nor even Brixton«on-sea: but neither\nneed we leave business men any longer\nto manage the Theatres of Europe,\nParis or Brixton-on-sea. Not that an\nartist has no sense of the pornographic....\nSome of the but late-departed artists,\n(and we need not go as far back as\nBeardsley) revealed some power in that\nline. But it is quite certain that if you\nare to choose between a business man\nor artist the artist will, in the course of\ntwenty years, ,! raise the tone w of the\nstage as they say, whereas the business\nman will lower it. The proof of this\ncan be seen today in the wreck of\nwhat was once the English Theatre.\nAnd we are convinced that we shall\nnot take the step in the right direction\nby grafting the matter and manner of\nthe Russian Ballet and ' Sumururi' on\nto our English Plant. Again, 4 England\nfor the English', and may a clear\nsweep be made of those who would\n\n(i) See \" The Literary Digest \"\n(New York) Nov, 24 1917.\nThis is a journal we should like to\nsee enlarged and strengthened, for it\nis a weekly treat already, and could\nbe rather larger without difficulty and\nwith great advantage. We would like\nalso to see a French version of the\nsame journal, and an Italian one."}, {"page_pdf": 2, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 2549, "texte": "see foreign Art superimposed upon our\nEnglish Art.\nAgain, we have enough artists,... in\nevery branch of Art. To talk of Rus-\nsian, French, Italian or any Foreign\nArt, praising it before that of our own\ncountry, is not a whit less treacherons\nthan is being a pro-German. The\ntimes do not allow of it. And we\nneed to strengthen every bolt of our\nship, and not lightly and mischievously\npoo-pooh the idea that the Arts are\nbolts of no importance, that Art has\nno frontiers, is International, and that\nthe Russians, Swedes and so forth are\nour friends. Friends by all means,....\nbut let us not be dependants.\nAs in Politics, so in the Arts,\nour own countrymen, (some of them,\nand mostly women), would sooner see\na Foreigner any day at the head of\nthe English stage than admit that 4 that\nman' or 4 that hussy' was the best\nEnglishman or woman for the job. In\nshort, personal enemity or prejudice\nagainst Englishmen and women pre-\nvents England from enjoying all its\nadvantages; and our duty now is to\nprevent prejudice and personal emmity\nfrom lying the nation out of its rights,\n. We hope to hear the Press speak\nup louder about all English Art, and\nfar more reservedly (if at all for a\nwhile), about Foreign Art.\nThe has been praised for the\nstand it made against the fulsome ado-\nration for the foreign article: .... it\nexpects more than that now. It wants\nto see some of the far-famed British\nhonesty and fair dealing shown to the\nEnglish Arts and their representative\nartists.\nIt is not too early to speak of these\nthings: it is about twenty years too\nlate. The war has not changed the\ntruth of the old saying that a little\nleak will sink a great ship.\nThere is a leak in England hi c: h\nmust be stopped. It is in the English\nTheatre, and the hole has been bored\nby English men and women : ....not\nthe great Public, as it's called, but by\nthe ' elect', who are allowed to die-\ntate by the back-handed laws of the\ngimlet.\nThey need not say that they too\nwould like English Art if only there\nwere some English artists : that orange-\npeel lie, once so fatal, is done for.\nThe critics have unanimously hailed\nour artists, and it is our critics, not\nour 'elect', whose word is to be\nMask taken.\nBut it is against that utterly un-En-\nglish tendency of being a traitor that\nwe shall write,.... and against that al-\nmost worse tendency of being a half-\ntraitor.\nSo wherever you meet anyone who\nis playing false to English Art and\nartists, let them know what you think\nof them, and let everyone else know\nthat they are Pro-this or that, and not\nPro-English."}, {"page_pdf": 2, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.2", "debut_caractere": 6549, "fin_caractere_exclue": 6857, "texte": "nrn/rrR/JDCD TLJAT\nJLe IvI th 1V10 tL» tv I fi/A 1^\n— - \" ~ ..\nThe shoe was lost for want of a\nFor Want of the shoe, the horse was lost,\nFor Want of the horse, the rider was lost,\nFor Want of the rider, the battle was lost,\nFor want of the battle, the Kingdom\nlWas 03 '\nAnd all for want of a horse-shoe nail."}]}, {"article_id": "bm-bmtnaau-1918-06-01-c005", "article_bluemountain": "bmtnaau_1918-06_01#c005", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "14", "page_fin": "14", "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=bmtnaau191806-01.2.3", "titre_corps": "GOETHE SIGHED AND WAS SILENT", "titre_sommaire": "GOETHE SIGHED AND WAS SILENT", "signature_source": "Eckermann ; John Oxenford", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.2", "debut_caractere": 2551, "fin_caractere_exclue": 6547, "texte": "GOETHE SIGHED AND WAS SILENT\nConversations of Goethe with Eckermann, translated by John\nOxenford.\nWHETHER it lies in the race, in the soil, in the free\npolitical constitution, or in the healthy tone of edu-\ncation, — certainly the English in general appear to have\ncertain advantages over many others. Here in Weimar we\nsee only a few of them, and, probably, by no means the\nbest; but what fine handsome people they are. And how-\never young they come here, they feel themselves by no means\nstrange or embarrassed in this foreign atmosphere; on the\ncontrary, their deportment in society is as full of confidence,\nand as easy as if they were lords everywhere, and the\nwhole world belonged to them. This it is which pleases\nour women, and by which they make such havoc in the\nhearts of our young ladies. As a German father of a\nfamily, who is concerned for the tranquillity of his house-\nhold, I often feel a slight shudder, when my daughter-in-\nlaw announces to me the expected arrival of some fresh,\nyoung islander. I already see in my mind s eye, the\ntears which will one day flow when he takes his depar-\nture. They are dangerous young people; but this very\nquality of being dangerous is their virtue 11.\ni! Still, I would not assert \\ answered I, 11 that the younger\nEngl shmen in Weimar are more clever, more intelligent,\nbetter informed, or more excellent at heart than other\npeople n.\nn The secret does not lie in these things, my good friend \\\nreturned Goethe ; neither does it he in birth and riches ;\nit lies in the courage which they have to be that for which\nnature has made them. 1 here is nothing vitiated or spoilt\nabout them, there is nothing half-way or crooked; but\nsuch as they are they are thoroughly complete men. That\nthey are also sometimes complete fools, I allow with\nail my heart; but that is still something, and has still\nalways some weight in the scale of nature.\n\" The happiness of personal freedom, the consciousness\nof an English name, and of the importance attached to it\nby other nations, is an advantage even to the children;\nfor in their own family as well as in scholastic establishments,\nthey are treated with far more respect, and enjoy a far\nfreer development, than is the case with us Germans.\nn In our own dear Weimar, I need only look out of\nthe window to discover how matters stand with us. Late-\nly, when the snow was lying upon the ground, and my\nneighbour's children were trying their little sledges in the\nstreet, the police was immediately at hand, and I saw\nthe poor little things fly as quickly as they could. Now,\nwhen the spring sun tempts them from the houses, and\nthey would like to play with their companions before the\ndoor, I see them always constrained, as if they were not.\nsafe, and feared the approach of some despot of the police.\nNot a boy may crack a whip, or sing or shout; the po-\nlice is immediately at hand to forbid it. This has the\neffect with us all of taming youth prematurely, and of\ndriving out all originality and all wildness, so that in the\nend nothing remains but the Philistine.\n11 You know that scarcely a day passes in which I am\nnot visited by some travelling foreigner. But if I were to\nsay that I took great pleasure, in the personal appearance,\nespecially of young, learned Germans from a certain north-\neastern quarter, 1 should tell a falsehood.\n\" Short-sighted, narrow-chested, young without youth;\nthat is a picture of most of them as they appear to me.\nAnd if I enter into a conversation with any of them, I\nimmediately observe that the things in which one of us\ntakes pleasure seem to them vain and trivial, that they are\nentirely absorbed in the Idea, and that only the highest\nproblems of speculation are fitted to inieiest them. Of\nsound senes or delight in the sensual, there is no trace ,\nall youthful feeling and all youthful pleasures are driven\nout of them, and that irrecoverably ; for if a man is not\nyoung in his twentieth year, how can he be so in his\nfortieth ? n\nGoethe sighed and was silent."}]}, {"article_id": "bm-bmtnaau-1918-06-01-c006", "article_bluemountain": "bmtnaau_1918-06_01#c006", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "16", "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=bmtnaau191806-01.2.4", "titre_corps": "A PLEA FOR TWO THEATRES", "titre_sommaire": "A PLEA FOR TWO THEATRES", "signature_source": "EDWARD GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 6352, "texte": "A PLEA FOR\nTWO THEATRES.\nby EDWARD GORDON CRAIG.\n1915 Florence,\nI.\n\"SHUN THOSE STUDIES IN WHICH\n\" THE WORK THA T RESUL TS DIES\n\"WITH THE WORKER \".\nLeonardo da Vinci.\nMSS. South Kensington Museum, III, 55.\n1 THINK we may listen to anything\nthat Leonardo da Vinci says, and\nbenefit, without indulging in that mo-\ndern habit of getting peevish and ar-\nguing with every authority.\n\" Shun those studies.... in which....\nthe work which results.... dies with\nthe worker\nTo us of the theatre these words fall\nheavily, like a cold douche.... but I\nam tingling with the after effects.\nI am a member of that faculty (0\nwhich produces work the results of\nwhich die with the worker, As such\nI do not at all like Leonardo da\nVinci's warning, and this sets me think-\ning about my calling, the theatrical\nfaculty. The results certainly die with\nthe worker. Must I shun my studies\nbecause of that ? I rub my forehead,\nwhich wrinkles at the thought. I am\npuzzled. Our work, then, is like....\nlike grass — is that it ? which \" in the\nmorning is green and groweth up, but\nin the evening is cut down, dried up\nand withered \". I am not a very pa-\ntient being, and the spirit of Uncle\nToby rses in me and I feel impelled\nto cry out, \" By God, it shall not die!\nBut before committing a big folly,\nlet me first look about and see whether\n(i) The term theatrical profession\"\nhas outlived its day : pompously called\nhy some, (not by us) 44 the \" profession:\nthe older term was 4 4 the quality\".\nit be possible or no to make our work,\nif not eternal, in a great measure DU-\nRABLE. Why is it that our two\nmuses Melpomene and Thalia should\nbe held to be so powerless ? The\nother seven seem to be allowed unli-\nmited powers.... Then why not ours?\nThe other seven are perhaps jealous\nof the popularity of our two ladies.\nPerhaps we might make a compro-\nmise with these seven....\nWe might say to them, \" if we\nmake a light and airy theatre which\nshall be offered up on your altar, will\nyou not on your part allow us to\ncreate, will you not, in fact, collabo-\nrate with our two ladies to inspire us\nin the creation of a durable theatre\nwhich shall last after we, the makers,\nare dead ? \"\nAnd then it occurs to me that we\nare living in the twentieth century, and\nthat it would be quite impossible for\nme to go and make this appeal to the\noracle, and, through the oracle, to the\nmuses ; and that hang me if the position\nis as bad as it looked at the first glance.\nAfter a moment's thought I realize\nthat as this is the twentieth century it\ndepends entirely upon ourselves whe-\nther or no we wish to make a durable\ntheatre ; and if we do wish to we can\nmake it, and that without making a\npeace-offering of our perishable theatre\nto the Seven, such as I was proposing.\nPondering further, I ask myself, Why\nnot make a durable theatre and a pe-\nrishable theatre, even as there is a\ndurable spirit and a perishable % body ?\nSome one will tell me that we al-\nready have a theatre with body and\nsoul, part perishable, part durable;\nthat the player and the illuminations\nand the decorations and the dancings\nand the singings all pass, like the body,\nwhile the words of the poet live on\nlike the soul. And they will say that\nit is the better part which lives and\nthe inferior part which dies.\nNow, I must be forgiven again for\nreminding you that I am a member of\nthe theatrical faculty, and because of\nthat I will stand my ground until the\nlast shot is gone, and fight for that fa-\nculty. I will not consent to be talked to\nabout the spiritual wonders of Shakes-\npeare and Synge and Sheridan and\nso forth. Surely we are fools.... we\ntheatre folk,... but we are not so foolish\nas not to be able to value our great\nDramatists almost as well as you do.\nSo of course I agree that their work\nis lasting and wonderful; but if the\nwork we oi the stage do cannot also\nbe durable, I am going to get some\ndistance towards the reason why it\ncannot be durable.\nSome one will throw a sop to me\nsaying, \" But is the butterfly, because\nit is perishable, any less beautiful ? \"\nI am not concerned with that, or with\nany arguments in praise of the peri-\nshable. Iam here concerned with the\ndurable, and the question whether our\ntheatre can be made so.\nIf it is in the nature of one work\nto be honoured because of its durable\nqualities, what is to prevent those qua-\nlities being ours, so that our work\nmay be honoured too ? I think it will\nbe very difficult for anyone to assert\nthat it has no right to endure because\n\" its nature is ephemeral\". Until the\ndiamond has passed through many sta-\nges in its development it also is ephe-\nmeral ; but once having attained a\ncertain state it is extraordinarily du-\nrable.\nIn like manner, turning to the arts, we\nmay find that sculpture is very perishable\nunder some conditions and at certain\nstages; under other conditions it endures.\nThe very man who warns us to\n\" shun those studies in which the work\nthat is done dies with the worker\",\nmade a statue which was the wonder\nof the time; but he made it in clay,\nand it was destroyed immediately;\nwhereas I have in front of me a small\nbronze head of a Buddha which was\nmade long before Leonardo lived and\nwhich is still enduring. Therefore, if\nsculpture can be both perishable and\ndurable, may not our work which is\nmade with hands become durable if\nwe develop it to that condition ?\nMy reason for considering this que-\nstion is not, as some of my exponents\nwould suppose and do record, that I\nam dreaming in Florence of a beautiful\nstate to come and am lost in a cloudy\nreverie. Nothing of the kind.\nWhat led me to these reflections was\nlooking through a number of American\nnewspapers in which many plays given\nin the commercial theatre, in the\nso-called \" art \" theatres, in the vaude-\nville theatres and in the open air theatres,\nwere recorded by photographs and a\nconsiderable amount was written about\nthese productions; and I thought to\nmyself that I had never come across\nsuch a display of waste in my life as\nthose records and photographs revealed.\n\"Do they know \", I thought to\nmyself, \" that if the sums of money\nthat went towards these paste-board\npatch-work pieces of what is honoured\nwith the word \" art \" were laid out\nin an orderly manner, and with a due\nsense of responsibility and proportion,\nand with the1 care which belongs to\nmen instead of to destructive children,\n.... the world would be all the richer"}, {"page_pdf": 4, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 2744, "texte": "by possessing lasting works of art instead\nof a yearly rubbish heap higher than\nthe Washington Memorial ? and as I\nwrite I still wonder •••• \"do people\nrealize this ?\nNow, one other thing, so that you\ndo not misunderstand me.\nDo not please imagine that I am\nquixotically inclined : that I am wanting\nto run a tilt against the theatrical trades\nwho supply the goods which ultimately\npile up this pyramid of trash.\nThe theatrical trades are like the\ntroops in this campaign of ours to win\nthrough to a better theatre. We shall\nnot lose one man more than is necessary.\nThey are our first consideration, and it\nwould be ultimately to the interest of\ntheatrical tradesmen to deal in things\nof lasting value, which we know are\nworth very much more than those\nthings which last but for the day.\nHave you got it clear then ? —\nthat I will take my position only on\na practical basis, and, from that\nstandpoint, will look towards a promised\nland.... and do something to move\ntowards it.\nThere is nothing unpractical, if you\nwill consider for a moment, in hoping\nthat one day a great President or a\ngreat Churchman, wishing to pay a\nhigh compliment, may allude to\nsomething national as being \" theatrical. °\nNowadays these highly placed dignitaries\nemploy the word \" theatrical \" when\nthey wish to point to some blemish.\nOthers follow the example W.\nNow, let us consider what can be\ncalled a \" perishable \" theatre and\nwhat a \" durable \" theatre ; and after\nthat let us consider whether the pre-\nsent theatre which we have with us\nnow is either the one, the other, or\nneither. So that lastly we may arrive\nat the chief reason for going into this\nquestion.\nTo be continued\n(i) Eleven examples of the misuse of the word \" theatrical and one example where it is used graciously.\ntitle AUTHOR. PUBLISHER. Page\nThe Flight of the Dragon LAURENCE BINYON. HeYnemann. Vol. I 139\nJournal of the De Goncourt Brothers R_ Lethary_ Williams & Norgate. 18, 251\nTh^ArtfSonnectedwith Building VARIOUS WRITERS. FMFHSY' 79\nNM„ck, c°«tr« WW N.,.rzsc„«.\nArt and Life A) B YEATS Bullen. Preface XI\nPlays for an Irish Theatre w. a. vts-Aib.\nShelley at Oxford BREAL Duckworth. 32> 61\nMurray fHandbook to Central Italy REV. H. JEAFFRESON, M. A. Murray, 1900-1907 DEC28*J\nThe Dailv Mail (The Theatrical Kaiser) LEADING ARTICLE. uec. 20, 1914\nThe Adventures' of Tom Sawyer MARK TWAIN. Tauchmtz, 1*76. H2\n« AwrJ the theatrical gorgeousness of the thing appealed to him. \" . .\nThis last writer (the American, Mark Twain) is the sole writer of the 14 references whose words imply something\ncourteous the rest use the term as a reproach. 1 can give the names of numbers of other writers and their books\nwherein this word \" theatrical \" is used in the derogatory sense instead of justly."}]}, {"article_id": "bm-bmtnaau-1918-06-01-c008", "article_bluemountain": "bmtnaau_1918-06_01#c008", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "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=bmtnaau191806-01.2.5", "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": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.4", "debut_caractere": 2746, "fin_caractere_exclue": 3847, "texte": "BOOK REVIEWS.\n\nSIX DRAWINGS OF TAGORE.\n(Macmillan). 10 I -\nSIX beautiful pencil drawings of the\nnoble face of Sir Rabindranath Ta-\ngore by Professor Wllliam Rothenstem\nshow, if there were any need for proof,\nthe value this artist should be to Shef-\nfield, where he fills the first Chair of\nCivic art in that centre.\nAnd then the few perfect words by\nMr Max Beerhohm as Introduction.\nAltogether subject, drawing, and wri-\nting are of a piece.\n\nGOLDONl, by Taylor.\n(Chatto & Windus. Also Duffield,\nU. S. A.) price 4 dollars.\nTHE \" Goldonin is rather a heavy\nbook,... and India paper was not\ndear at the times it was published.\nHow delightfully light the Oxford Dic-\ntionary is, and how readable.\na rich work of research ; and one would\nhave thought that the dull history of\nwords was dead long ago. How it\nlives again in the Oxford Dictionary,\nthin paper edition!\nOf course Mr Chatfield Taylor's\n• Goldoni' is awfully good, don't you\nknow; but what is the good of any-\nthing if it is not. alive-o? I look again\nat Tagore, I hug the Oxford Dictio-\nnary, singing\nn Pheasants and squirrels, alive, alive-o!"}]}, {"article_id": "bm-bmtnaau-1918-06-01-c009", "article_bluemountain": "bmtnaau_1918-06_01#c009", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "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=bmtnaau191806-01.2.5.1", "titre_corps": "SIX DRAWINGS OF TAGORE", "titre_sommaire": "SIX DRAWINGS OF TAGORE", "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": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.4", "debut_caractere": 2761, "fin_caractere_exclue": 3187, "texte": "SIX DRAWINGS OF TAGORE.\n(Macmillan). 10 I -\nSIX beautiful pencil drawings of the\nnoble face of Sir Rabindranath Ta-\ngore by Professor Wllliam Rothenstem\nshow, if there were any need for proof,\nthe value this artist should be to Shef-\nfield, where he fills the first Chair of\nCivic art in that centre.\nAnd then the few perfect words by\nMr Max Beerhohm as Introduction.\nAltogether subject, drawing, and wri-\nting are of a piece."}]}, {"article_id": "bm-bmtnaau-1918-06-01-c010", "article_bluemountain": "bmtnaau_1918-06_01#c010", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "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=bmtnaau191806-01.2.5.2", "titre_corps": "GOLDONl, by Chatfield Taylor", "titre_sommaire": "GOLDONl, by Chatfield Taylor", "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": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.4", "debut_caractere": 3189, "fin_caractere_exclue": 3847, "texte": "GOLDONl, by Taylor.\n(Chatto & Windus. Also Duffield,\nU. S. A.) price 4 dollars.\nTHE \" Goldonin is rather a heavy\nbook,... and India paper was not\ndear at the times it was published.\nHow delightfully light the Oxford Dic-\ntionary is, and how readable.\na rich work of research ; and one would\nhave thought that the dull history of\nwords was dead long ago. How it\nlives again in the Oxford Dictionary,\nthin paper edition!\nOf course Mr Chatfield Taylor's\n• Goldoni' is awfully good, don't you\nknow; but what is the good of any-\nthing if it is not. alive-o? I look again\nat Tagore, I hug the Oxford Dictio-\nnary, singing\nn Pheasants and squirrels, alive, alive-o!"}]}, {"article_id": "bm-bmtnaau-1918-06-01-c011", "article_bluemountain": "bmtnaau_1918-06_01#c011", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "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=bmtnaau191806-01.2.6", "titre_corps": "EXQUISITE SALE", "titre_sommaire": "EXQUISITE SALE", "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": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.4", "debut_caractere": 3849, "fin_caractere_exclue": 4675, "texte": "EXQUISITE SALE.\nMAY 6 Ih, 7 Ih, S th, 1918.\nBeautiful Sum of £ 240,000 rea~\nlized for Pictures by Degas. (0\nTHERE is something tenderly true\nto nature about Degas. His\n£ 4,008 J2), and his £ 3,800(3)\nhave a certain something about them\nnot often found in works of modern\nart. Again, his £ 3,204 (4) is a\nhandsome sum.\nThe Daily Raise the Standard as-\nsures us that on the; third day the sale\nshowed no flagging of interest. The\nsalesmen and bidders were as fresh as\non the day the pictures were painted.\nAltogether everyone is to be congra-\ntulated. And for our part we consider\nit as damnable as the invasion of Bel-\ngium by Germany.\nThere is only one thing more dam-\nnable, ...that you all fail to see where-\nn it is an outrage.\n(i) A Dead Artist. (2) In the Dancers\nGreenroom. (3) Portrait of Duranty.\n(4) Group of Dancers."}]}, {"article_id": "bm-bmtnaau-1918-06-01-c013", "article_bluemountain": "bmtnaau_1918-06_01#c013", "volume": "bmtnaau_1918-06_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "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=bmtnaau191806-01.2.7", "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": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.4", "debut_caractere": 4677, "fin_caractere_exclue": 5025, "texte": "A friend said to me : *' Excuse pa-\ntience, for with patience you can\ndo your work nicely and quickly.\nPatience brings the Water again to\nthe rivulet that has been dryy and\nmakes a thing better than it was be-\nfore. \" I replied : \" Even if the water\nreturns to the stream, of what use is\nit to the fish that died twenty years\nago ? \" FROM THE EAST."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.1", "texte": "THE MASK\nA MONTHLY LEAFLET OF\nr| ij ||-i * r\"T™1 /'\"~*\\|—' rr-7T y-r—1 rp| *f IT*** A PT\",]F'I 1 *\n1 Hit, AK 1 Ur 1Hh 1 OEjAI Kb\ny_r _ ™\nP J p OIP E PEivPI JL\nVOLUME EIGHT: NUMBER FOUR\nADDRESS: BOX 444. FLORENCE\n\nGROUND PLAN OF THE VAUDEVILLE THEATRE\nPARIS 1837-1840\nEdmund 1727-1197.\nReflections on the Revolution in France.\nIT must admitted that this plan of a little Tneatre shows some invention.\nThe small space has been cunningly used. The scale of the plan is 1 /9G0\nthe actual size.\nBECAUSE half-a-dozen grasshoppers under a fern make the\nfield ring with their importunate chink, whilst thousands\nof great cattle, reposed beneath the shadow of the British\noak, chew the cud and are silent, pray do not imagine that\nthose who make the noise are the only inhabitants of the\nfield ; that of course they are many in number; or that, after\nall, they are other than the little shrivelled, meagre, hopping,\nthough loud and troublesome insects of the hour.\n\nEDITORIAL NOTE.\n\nENGLAND FOR THE ENGLISH.\n\" A little leak will sink a great ship \"\nM ANDRE BEAUNIER (we must\n• add, for Democracy's sake? 'the\nfamous French critic'), has stirred up,\na discussion in Paris about the common\nkind of plays, songs and revues dished\nup for a frivolous public under the\npretext or excuse that they are specially\nfor the Poilu (z).\nThe Poilu writes from the front that\nhe'll be damned if he intends to have\nthe pigwash credited to him. He ad-\nmits that soldiers' language is, like the\nlanguage of the rest of the world, a\nbit thick at times; but he will have us\nto understand that prepared and polish-\ned Pornography is not what he wants.\nn The confusing of Pornography and\ngaiety is one of the most foolish er-\nrors of our day. It has done much to\nhurt the good reputation of France.\nBesides, the strangers who came to\nParis sought for it with an unhealthy\ncuriosity and then despised us when\nthey returned home. This hypocrisy is\nwell-known. Real gaiety is never nasty ;\nit is a sign of health ; while porno-\ngraphy is a disease of the mind n.\nWe need not, I think, bother much\nabout the reputation of Europe, Paris,\nor even Brixton«on-sea: but neither\nneed we leave business men any longer\nto manage the Theatres of Europe,\nParis or Brixton-on-sea. Not that an\nartist has no sense of the pornographic....\nSome of the but late-departed artists,\n(and we need not go as far back as\nBeardsley) revealed some power in that\nline. But it is quite certain that if you\nare to choose between a business man\nor artist the artist will, in the course of\ntwenty years, ,! raise the tone w of the\nstage as they say, whereas the business\nman will lower it. The proof of this\ncan be seen today in the wreck of\nwhat was once the English Theatre.\nAnd we are convinced that we shall\nnot take the step in the right direction\nby grafting the matter and manner of\nthe Russian Ballet and ' Sumururi' on\nto our English Plant. Again, 4 England\nfor the English', and may a clear\nsweep be made of those who would\n\n(i) See \" The Literary Digest \"\n(New York) Nov, 24 1917.\nThis is a journal we should like to\nsee enlarged and strengthened, for it\nis a weekly treat already, and could\nbe rather larger without difficulty and\nwith great advantage. We would like\nalso to see a French version of the\nsame journal, and an Italian one."}, {"page_pdf": 2, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.2", "texte": "see foreign Art superimposed upon our\nEnglish Art.\nAgain, we have enough artists,... in\nevery branch of Art. To talk of Rus-\nsian, French, Italian or any Foreign\nArt, praising it before that of our own\ncountry, is not a whit less treacherons\nthan is being a pro-German. The\ntimes do not allow of it. And we\nneed to strengthen every bolt of our\nship, and not lightly and mischievously\npoo-pooh the idea that the Arts are\nbolts of no importance, that Art has\nno frontiers, is International, and that\nthe Russians, Swedes and so forth are\nour friends. Friends by all means,....\nbut let us not be dependants.\nAs in Politics, so in the Arts,\nour own countrymen, (some of them,\nand mostly women), would sooner see\na Foreigner any day at the head of\nthe English stage than admit that 4 that\nman' or 4 that hussy' was the best\nEnglishman or woman for the job. In\nshort, personal enemity or prejudice\nagainst Englishmen and women pre-\nvents England from enjoying all its\nadvantages; and our duty now is to\nprevent prejudice and personal emmity\nfrom lying the nation out of its rights,\n. We hope to hear the Press speak\nup louder about all English Art, and\nfar more reservedly (if at all for a\nwhile), about Foreign Art.\nThe has been praised for the\nstand it made against the fulsome ado-\nration for the foreign article: .... it\nexpects more than that now. It wants\nto see some of the far-famed British\nhonesty and fair dealing shown to the\nEnglish Arts and their representative\nartists.\nIt is not too early to speak of these\nthings: it is about twenty years too\nlate. The war has not changed the\ntruth of the old saying that a little\nleak will sink a great ship.\nThere is a leak in England hi c: h\nmust be stopped. It is in the English\nTheatre, and the hole has been bored\nby English men and women : ....not\nthe great Public, as it's called, but by\nthe ' elect', who are allowed to die-\ntate by the back-handed laws of the\ngimlet.\nThey need not say that they too\nwould like English Art if only there\nwere some English artists : that orange-\npeel lie, once so fatal, is done for.\nThe critics have unanimously hailed\nour artists, and it is our critics, not\nour 'elect', whose word is to be\nMask taken.\nBut it is against that utterly un-En-\nglish tendency of being a traitor that\nwe shall write,.... and against that al-\nmost worse tendency of being a half-\ntraitor.\nSo wherever you meet anyone who\nis playing false to English Art and\nartists, let them know what you think\nof them, and let everyone else know\nthat they are Pro-this or that, and not\nPro-English.\n\nGOETHE SIGHED AND WAS SILENT\nConversations of Goethe with Eckermann, translated by John\nOxenford.\nWHETHER it lies in the race, in the soil, in the free\npolitical constitution, or in the healthy tone of edu-\ncation, — certainly the English in general appear to have\ncertain advantages over many others. Here in Weimar we\nsee only a few of them, and, probably, by no means the\nbest; but what fine handsome people they are. And how-\never young they come here, they feel themselves by no means\nstrange or embarrassed in this foreign atmosphere; on the\ncontrary, their deportment in society is as full of confidence,\nand as easy as if they were lords everywhere, and the\nwhole world belonged to them. This it is which pleases\nour women, and by which they make such havoc in the\nhearts of our young ladies. As a German father of a\nfamily, who is concerned for the tranquillity of his house-\nhold, I often feel a slight shudder, when my daughter-in-\nlaw announces to me the expected arrival of some fresh,\nyoung islander. I already see in my mind s eye, the\ntears which will one day flow when he takes his depar-\nture. They are dangerous young people; but this very\nquality of being dangerous is their virtue 11.\ni! Still, I would not assert \\ answered I, 11 that the younger\nEngl shmen in Weimar are more clever, more intelligent,\nbetter informed, or more excellent at heart than other\npeople n.\nn The secret does not lie in these things, my good friend \\\nreturned Goethe ; neither does it he in birth and riches ;\nit lies in the courage which they have to be that for which\nnature has made them. 1 here is nothing vitiated or spoilt\nabout them, there is nothing half-way or crooked; but\nsuch as they are they are thoroughly complete men. That\nthey are also sometimes complete fools, I allow with\nail my heart; but that is still something, and has still\nalways some weight in the scale of nature.\n\" The happiness of personal freedom, the consciousness\nof an English name, and of the importance attached to it\nby other nations, is an advantage even to the children;\nfor in their own family as well as in scholastic establishments,\nthey are treated with far more respect, and enjoy a far\nfreer development, than is the case with us Germans.\nn In our own dear Weimar, I need only look out of\nthe window to discover how matters stand with us. Late-\nly, when the snow was lying upon the ground, and my\nneighbour's children were trying their little sledges in the\nstreet, the police was immediately at hand, and I saw\nthe poor little things fly as quickly as they could. Now,\nwhen the spring sun tempts them from the houses, and\nthey would like to play with their companions before the\ndoor, I see them always constrained, as if they were not.\nsafe, and feared the approach of some despot of the police.\nNot a boy may crack a whip, or sing or shout; the po-\nlice is immediately at hand to forbid it. This has the\neffect with us all of taming youth prematurely, and of\ndriving out all originality and all wildness, so that in the\nend nothing remains but the Philistine.\n11 You know that scarcely a day passes in which I am\nnot visited by some travelling foreigner. But if I were to\nsay that I took great pleasure, in the personal appearance,\nespecially of young, learned Germans from a certain north-\neastern quarter, 1 should tell a falsehood.\n\" Short-sighted, narrow-chested, young without youth;\nthat is a picture of most of them as they appear to me.\nAnd if I enter into a conversation with any of them, I\nimmediately observe that the things in which one of us\ntakes pleasure seem to them vain and trivial, that they are\nentirely absorbed in the Idea, and that only the highest\nproblems of speculation are fitted to inieiest them. Of\nsound senes or delight in the sensual, there is no trace ,\nall youthful feeling and all youthful pleasures are driven\nout of them, and that irrecoverably ; for if a man is not\nyoung in his twentieth year, how can he be so in his\nfortieth ? n\nGoethe sighed and was silent.\n\nnrn/rrR/JDCD TLJAT\nJLe IvI th 1V10 tL» tv I fi/A 1^\n— - \" ~ ..\nThe shoe was lost for want of a\nFor Want of the shoe, the horse was lost,\nFor Want of the horse, the rider was lost,\nFor Want of the rider, the battle was lost,\nFor want of the battle, the Kingdom\nlWas 03 '\nAnd all for want of a horse-shoe nail."}, {"page_pdf": 3, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.3", "texte": "A PLEA FOR\nTWO THEATRES.\nby EDWARD GORDON CRAIG.\n1915 Florence,\nI.\n\"SHUN THOSE STUDIES IN WHICH\n\" THE WORK THA T RESUL TS DIES\n\"WITH THE WORKER \".\nLeonardo da Vinci.\nMSS. South Kensington Museum, III, 55.\n1 THINK we may listen to anything\nthat Leonardo da Vinci says, and\nbenefit, without indulging in that mo-\ndern habit of getting peevish and ar-\nguing with every authority.\n\" Shun those studies.... in which....\nthe work which results.... dies with\nthe worker\nTo us of the theatre these words fall\nheavily, like a cold douche.... but I\nam tingling with the after effects.\nI am a member of that faculty (0\nwhich produces work the results of\nwhich die with the worker, As such\nI do not at all like Leonardo da\nVinci's warning, and this sets me think-\ning about my calling, the theatrical\nfaculty. The results certainly die with\nthe worker. Must I shun my studies\nbecause of that ? I rub my forehead,\nwhich wrinkles at the thought. I am\npuzzled. Our work, then, is like....\nlike grass — is that it ? which \" in the\nmorning is green and groweth up, but\nin the evening is cut down, dried up\nand withered \". I am not a very pa-\ntient being, and the spirit of Uncle\nToby rses in me and I feel impelled\nto cry out, \" By God, it shall not die!\nBut before committing a big folly,\nlet me first look about and see whether\n(i) The term theatrical profession\"\nhas outlived its day : pompously called\nhy some, (not by us) 44 the \" profession:\nthe older term was 4 4 the quality\".\nit be possible or no to make our work,\nif not eternal, in a great measure DU-\nRABLE. Why is it that our two\nmuses Melpomene and Thalia should\nbe held to be so powerless ? The\nother seven seem to be allowed unli-\nmited powers.... Then why not ours?\nThe other seven are perhaps jealous\nof the popularity of our two ladies.\nPerhaps we might make a compro-\nmise with these seven....\nWe might say to them, \" if we\nmake a light and airy theatre which\nshall be offered up on your altar, will\nyou not on your part allow us to\ncreate, will you not, in fact, collabo-\nrate with our two ladies to inspire us\nin the creation of a durable theatre\nwhich shall last after we, the makers,\nare dead ? \"\nAnd then it occurs to me that we\nare living in the twentieth century, and\nthat it would be quite impossible for\nme to go and make this appeal to the\noracle, and, through the oracle, to the\nmuses ; and that hang me if the position\nis as bad as it looked at the first glance.\nAfter a moment's thought I realize\nthat as this is the twentieth century it\ndepends entirely upon ourselves whe-\nther or no we wish to make a durable\ntheatre ; and if we do wish to we can\nmake it, and that without making a\npeace-offering of our perishable theatre\nto the Seven, such as I was proposing.\nPondering further, I ask myself, Why\nnot make a durable theatre and a pe-\nrishable theatre, even as there is a\ndurable spirit and a perishable % body ?\nSome one will tell me that we al-\nready have a theatre with body and\nsoul, part perishable, part durable;\nthat the player and the illuminations\nand the decorations and the dancings\nand the singings all pass, like the body,\nwhile the words of the poet live on\nlike the soul. And they will say that\nit is the better part which lives and\nthe inferior part which dies.\nNow, I must be forgiven again for\nreminding you that I am a member of\nthe theatrical faculty, and because of\nthat I will stand my ground until the\nlast shot is gone, and fight for that fa-\nculty. I will not consent to be talked to\nabout the spiritual wonders of Shakes-\npeare and Synge and Sheridan and\nso forth. Surely we are fools.... we\ntheatre folk,... but we are not so foolish\nas not to be able to value our great\nDramatists almost as well as you do.\nSo of course I agree that their work\nis lasting and wonderful; but if the\nwork we oi the stage do cannot also\nbe durable, I am going to get some\ndistance towards the reason why it\ncannot be durable.\nSome one will throw a sop to me\nsaying, \" But is the butterfly, because\nit is perishable, any less beautiful ? \"\nI am not concerned with that, or with\nany arguments in praise of the peri-\nshable. Iam here concerned with the\ndurable, and the question whether our\ntheatre can be made so.\nIf it is in the nature of one work\nto be honoured because of its durable\nqualities, what is to prevent those qua-\nlities being ours, so that our work\nmay be honoured too ? I think it will\nbe very difficult for anyone to assert\nthat it has no right to endure because\n\" its nature is ephemeral\". Until the\ndiamond has passed through many sta-\nges in its development it also is ephe-\nmeral ; but once having attained a\ncertain state it is extraordinarily du-\nrable.\nIn like manner, turning to the arts, we\nmay find that sculpture is very perishable\nunder some conditions and at certain\nstages; under other conditions it endures.\nThe very man who warns us to\n\" shun those studies in which the work\nthat is done dies with the worker\",\nmade a statue which was the wonder\nof the time; but he made it in clay,\nand it was destroyed immediately;\nwhereas I have in front of me a small\nbronze head of a Buddha which was\nmade long before Leonardo lived and\nwhich is still enduring. Therefore, if\nsculpture can be both perishable and\ndurable, may not our work which is\nmade with hands become durable if\nwe develop it to that condition ?\nMy reason for considering this que-\nstion is not, as some of my exponents\nwould suppose and do record, that I\nam dreaming in Florence of a beautiful\nstate to come and am lost in a cloudy\nreverie. Nothing of the kind.\nWhat led me to these reflections was\nlooking through a number of American\nnewspapers in which many plays given\nin the commercial theatre, in the\nso-called \" art \" theatres, in the vaude-\nville theatres and in the open air theatres,\nwere recorded by photographs and a\nconsiderable amount was written about\nthese productions; and I thought to\nmyself that I had never come across\nsuch a display of waste in my life as\nthose records and photographs revealed.\n\"Do they know \", I thought to\nmyself, \" that if the sums of money\nthat went towards these paste-board\npatch-work pieces of what is honoured\nwith the word \" art \" were laid out\nin an orderly manner, and with a due\nsense of responsibility and proportion,\nand with the1 care which belongs to\nmen instead of to destructive children,\n.... the world would be all the richer"}, {"page_pdf": 4, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191806-01.1.4", "texte": "by possessing lasting works of art instead\nof a yearly rubbish heap higher than\nthe Washington Memorial ? and as I\nwrite I still wonder •••• \"do people\nrealize this ?\nNow, one other thing, so that you\ndo not misunderstand me.\nDo not please imagine that I am\nquixotically inclined : that I am wanting\nto run a tilt against the theatrical trades\nwho supply the goods which ultimately\npile up this pyramid of trash.\nThe theatrical trades are like the\ntroops in this campaign of ours to win\nthrough to a better theatre. We shall\nnot lose one man more than is necessary.\nThey are our first consideration, and it\nwould be ultimately to the interest of\ntheatrical tradesmen to deal in things\nof lasting value, which we know are\nworth very much more than those\nthings which last but for the day.\nHave you got it clear then ? —\nthat I will take my position only on\na practical basis, and, from that\nstandpoint, will look towards a promised\nland.... and do something to move\ntowards it.\nThere is nothing unpractical, if you\nwill consider for a moment, in hoping\nthat one day a great President or a\ngreat Churchman, wishing to pay a\nhigh compliment, may allude to\nsomething national as being \" theatrical. °\nNowadays these highly placed dignitaries\nemploy the word \" theatrical \" when\nthey wish to point to some blemish.\nOthers follow the example W.\nNow, let us consider what can be\ncalled a \" perishable \" theatre and\nwhat a \" durable \" theatre ; and after\nthat let us consider whether the pre-\nsent theatre which we have with us\nnow is either the one, the other, or\nneither. So that lastly we may arrive\nat the chief reason for going into this\nquestion.\nTo be continued\n(i) Eleven examples of the misuse of the word \" theatrical and one example where it is used graciously.\ntitle AUTHOR. PUBLISHER. Page\nThe Flight of the Dragon LAURENCE BINYON. HeYnemann. Vol. I 139\nJournal of the De Goncourt Brothers R_ Lethary_ Williams & Norgate. 18, 251\nTh^ArtfSonnectedwith Building VARIOUS WRITERS. FMFHSY' 79\nNM„ck, c°«tr« WW N.,.rzsc„«.\nArt and Life A) B YEATS Bullen. Preface XI\nPlays for an Irish Theatre w. a. vts-Aib.\nShelley at Oxford BREAL Duckworth. 32> 61\nMurray fHandbook to Central Italy REV. H. JEAFFRESON, M. A. Murray, 1900-1907 DEC28*J\nThe Dailv Mail (The Theatrical Kaiser) LEADING ARTICLE. uec. 20, 1914\nThe Adventures' of Tom Sawyer MARK TWAIN. Tauchmtz, 1*76. H2\n« AwrJ the theatrical gorgeousness of the thing appealed to him. \" . .\nThis last writer (the American, Mark Twain) is the sole writer of the 14 references whose words imply something\ncourteous the rest use the term as a reproach. 1 can give the names of numbers of other writers and their books\nwherein this word \" theatrical \" is used in the derogatory sense instead of justly.\n\nBOOK REVIEWS.\n\nSIX DRAWINGS OF TAGORE.\n(Macmillan). 10 I -\nSIX beautiful pencil drawings of the\nnoble face of Sir Rabindranath Ta-\ngore by Professor Wllliam Rothenstem\nshow, if there were any need for proof,\nthe value this artist should be to Shef-\nfield, where he fills the first Chair of\nCivic art in that centre.\nAnd then the few perfect words by\nMr Max Beerhohm as Introduction.\nAltogether subject, drawing, and wri-\nting are of a piece.\n\nGOLDONl, by Taylor.\n(Chatto & Windus. Also Duffield,\nU. S. A.) price 4 dollars.\nTHE \" Goldonin is rather a heavy\nbook,... and India paper was not\ndear at the times it was published.\nHow delightfully light the Oxford Dic-\ntionary is, and how readable.\na rich work of research ; and one would\nhave thought that the dull history of\nwords was dead long ago. How it\nlives again in the Oxford Dictionary,\nthin paper edition!\nOf course Mr Chatfield Taylor's\n• Goldoni' is awfully good, don't you\nknow; but what is the good of any-\nthing if it is not. alive-o? I look again\nat Tagore, I hug the Oxford Dictio-\nnary, singing\nn Pheasants and squirrels, alive, alive-o!\n\nEXQUISITE SALE.\nMAY 6 Ih, 7 Ih, S th, 1918.\nBeautiful Sum of £ 240,000 rea~\nlized for Pictures by Degas. (0\nTHERE is something tenderly true\nto nature about Degas. His\n£ 4,008 J2), and his £ 3,800(3)\nhave a certain something about them\nnot often found in works of modern\nart. Again, his £ 3,204 (4) is a\nhandsome sum.\nThe Daily Raise the Standard as-\nsures us that on the; third day the sale\nshowed no flagging of interest. The\nsalesmen and bidders were as fresh as\non the day the pictures were painted.\nAltogether everyone is to be congra-\ntulated. And for our part we consider\nit as damnable as the invasion of Bel-\ngium by Germany.\nThere is only one thing more dam-\nnable, ...that you all fail to see where-\nn it is an outrage.\n(i) A Dead Artist. (2) In the Dancers\nGreenroom. (3) Portrait of Duranty.\n(4) Group of Dancers.\n\nA friend said to me : *' Excuse pa-\ntience, for with patience you can\ndo your work nicely and quickly.\nPatience brings the Water again to\nthe rivulet that has been dryy and\nmakes a thing better than it was be-\nfore. \" I replied : \" Even if the water\nreturns to the stream, of what use is\nit to the fish that died twenty years\nago ? \" FROM THE EAST.\n\nAll rights reserved June 1918.\nGerente responsabile: Giulio Vanzi.\nTipografia Giuntina. Firenze.\nPRICE ONE PENNY."}]}