{"numero_id": "bm-bmtnaau-1918-09-01", "volume": "bmtnaau_1918-09_01", "ocr_sha256": "0487c92979835a44bbd753e2c391d510b58cff6222001382fcd183df108c0b9c", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1918/09_01/bmtnaau_1918-09_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1918/09_01/bmtnaau_1918-09_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01", "articles": [{"article_id": "bm-bmtnaau-1918-09-01-c001", "article_bluemountain": "bmtnaau_1918-09_01#c001", "volume": "bmtnaau_1918-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "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=bmtnaau191809-01.2.1", "titre_corps": "NO LITTLE THEATRE YET NO COMMERCIAL PLAYHOUSE EITHER", "titre_sommaire": "NO LITTLE THEATRE YET NO COMMERCIAL PLAYHOUSE EITHER", "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": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01.1.1", "debut_caractere": 113, "fin_caractere_exclue": 166, "texte": "NO LITTLE THEATRE\nYET NO COMMERCIAL PLAYHOUSE EITHER."}, {"page_pdf": 1, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01.1.1", "debut_caractere": 251, "fin_caractere_exclue": 1467, "texte": "WHY it is beginning to be believed that it is only a Little\nTheatre which can be non-commercial, and why it\nshould be a hideous principle to bring a theatre to pay no\none seems to know. It is not clear at all.\nLittle Theatres are all right.... the more the merrier....\nBut large theatres are just as right.\nCommerce is all right too. The Little Theatres need not\ndo more than strain every nerve and muscle to make their\nproduct a success.... they do do this.... and then they make\nmoney. They try to do good work, and good work pays\nas well as any other work.\nWhat is needed by all Theatres,... Little or 8ig,... is\nan honest administrator,... a man of business who understands\nhe has got to make good things pay; not one who howls\nthat the public don't like good things. For that is a lie.\nLittle or Large Theatres then are just the same proposition.\nIt is no easier to create a good work of art on a little\nstage than on a big 0ne.... ana no harder. It is the same\nproposition.\nFIND ARTISTS.... there are only a few.... Find honest\nadministrators who like a difficult task. You may then take\nwhat theatre you wish,... large or little.\nTO EXCLUDE HONEST ORGANIZERS\nAND ARTISTS FROM THE ENGLISH\nTHEATRE IS A BLUNDER."}]}, {"article_id": "bm-bmtnaau-1918-09-01-c002", "article_bluemountain": "bmtnaau_1918-09_01#c002", "volume": "bmtnaau_1918-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "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=bmtnaau191809-01.2.1.1", "titre_corps": "PROJECT FOR RESTORATION OF THE OPERA HOUSE", "titre_sommaire": "PROJECT FOR RESTORATION OF THE OPERA HOUSE", "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": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01.1.1", "debut_caractere": 168, "fin_caractere_exclue": 249, "texte": "PROJECT FOR RESTORATION OF THE OPERA HOUSE,\nSTUTTGART, IN THE EIGHTEENTH CENTURY."}]}, {"article_id": "bm-bmtnaau-1918-09-01-c006", "article_bluemountain": "bmtnaau_1918-09_01#c006", "volume": "bmtnaau_1918-09_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "24", "page_fin": "24", "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=bmtnaau191809-01.2.7", "titre_corps": "A FOUNTAIN", "titre_sommaire": "A FOUNTAIN", "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": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01.1.4", "debut_caractere": 601, "fin_caractere_exclue": 760, "texte": "A FOUNTAIN\nwhich spouted forth ungodly\nWine in the streets during the\nPageant at the \"entrêe\" of\na French King to be crowned\nat Rheims.... in the 15th\ncentury."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01.1.1", "texte": "A MONTHLY LEAFLET OF\nTHE ART OF THE THEATRE\nPRICE ONE PENNY\nVOLUME EIGHT: NUMBER SIX\nADDRESS: BOX 444. FLORENCE\n\nNO LITTLE THEATRE\nYET NO COMMERCIAL PLAYHOUSE EITHER.\n\nPROJECT FOR RESTORATION OF THE OPERA HOUSE,\nSTUTTGART, IN THE EIGHTEENTH CENTURY.\n\nWHY it is beginning to be believed that it is only a Little\nTheatre which can be non-commercial, and why it\nshould be a hideous principle to bring a theatre to pay no\none seems to know. It is not clear at all.\nLittle Theatres are all right.... the more the merrier....\nBut large theatres are just as right.\nCommerce is all right too. The Little Theatres need not\ndo more than strain every nerve and muscle to make their\nproduct a success.... they do do this.... and then they make\nmoney. They try to do good work, and good work pays\nas well as any other work.\nWhat is needed by all Theatres,... Little or 8ig,... is\nan honest administrator,... a man of business who understands\nhe has got to make good things pay; not one who howls\nthat the public don't like good things. For that is a lie.\nLittle or Large Theatres then are just the same proposition.\nIt is no easier to create a good work of art on a little\nstage than on a big 0ne.... ana no harder. It is the same\nproposition.\nFIND ARTISTS.... there are only a few.... Find honest\nadministrators who like a difficult task. You may then take\nwhat theatre you wish,... large or little.\nTO EXCLUDE HONEST ORGANIZERS\nAND ARTISTS FROM THE ENGLISH\nTHEATRE IS A BLUNDER.\n\nA PLEA FOR\nTWO THEATRES.\nby EDWARD GORDON CRAIG\n1915 Florence,\nIII\nA PERISHABLE\nTHEATRE.\nDedicated to the Tired Business Man.\nWHEN speaking of a Perishable\nTheatre I do not want anybody\nto imagine that I use the word f! Pe-\nrishable n as implying something hardly\nworth consideration. I use it so as to\ndistinguish it from the Durable Thea-\ntre, to place it apart; not that it is\ninferior to the Durable Theatre, only\nthat it is different.\nNeither would I like my readers\nto imagine that by a Perishable Thea-\ntre I mean the present theatre.\nAs an aid to imagining such a\ntheatre one needs but to recall the\ndifferent periods of theatrical art, to\nseize upon those parts which are least\nstable, most evanescent; picture them\nmore unstable, more evanescent; and\nwe have an idea of the thing.\nFor instance, let us take the same\norder as we did in considering the\nDurable Theatre.\nFirst, the Drama.\nAll would have to be spontaneous.\nIf it were a play of words it would\nhave to be improvisation. If dancing,\nvery much n go as you please n, as in\nthe folk dances: if singing, it would\nhave to be improvised too : in the cases\nof spoken play and sung play, or\nopera, we have plenty of precedent to\ngo upon. In Italy in the fifteenth and\nsixteenth centuries they were masters\nof the art of Improvisation, and, as a\nproof of how perishable this improvi-\nsation was, there is really little more\nthan the comedy of Moli&re which re-\ncords it, and in Moli&re of course\nthe dialogue is highly polished and\nfinished, brought almost to a durable\nstate.\nTo some extent we find a light\nform of the perishable play in the\nVaudeville performances of today. I\nhave said n light w, and refrained from\nsaying n inferior 11 for the good reason\nthat I do not think them inferior.\nIf those who question this will try to\nimprovise even to the extent that the\nvaudevillists do, they will find it such\na difficult task that I think they will\nchange their minds if ever tempted to\ndub it 11 inferior w.\nWe find a considerable amount of"}, {"page_pdf": 2, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01.1.2", "texte": "improvisation in the circus also, at least\nin the old-fashioned circuses..*, newly\nfurbished up as they may be..., that\nwe meet with in Europe. I do not\nknow what those are like that one\nmeets with in America, but can ima-\ngine they can do as well in the im-\nprovising line.\nI have taken the trouble now and\nthen hurriedly to write down the con-\nversation between the clowns in. a cir-\ncus, and to a**great extent it resembles\nthe conversations in Moli&re; in es-\nsentials the method is practically the\nsame, but when recorded the result is\nanything but funny. The point made\nat the end is always the thing on\nwhich they are counting to convulse\ntheir hearers, and the rest is all pre-\nparation to get them into an expectant\nstate of mind.\nI myself have never heard any sin-\ngers improvise, but I have heard some\ninstrumentalist musicians who roam\nabout the streets of Florence in the\nspring and summer evenings who do\nimprovise, and sometimes do it well\nenough to convince any unbeliever that\ncuch a thing is not an impossibility.\nI think it is unnecessary to mention\nthe East when speaking of the pos-\nsible development of Western art; not\nthat I am wanting in respect for what\nthe East possesses and can produce;\nbut there is a danger in becoming too\nearly acquainted with a matured fo-\nreign development of an art which\nshould be evolved afresh from one's\nown soil.\nAfter working for many years and\nsearching for ways and means to create\nwhat at last comes clearer into vision\neach day, one can with more safety ven-\nture into the East to gain encouragement\nand assistance. But for the present we\nwill leave it out of the discussion, al-\nthough doubtless Improvisation is prac-\ntised continually in many parts of\nAsia.\nI think that those who improvise\ndramas should limit themselves to light\nsubjects which they do not mind lo-\nsing ; to improvise on the theme of\nRomeo and Juliet or Coriolanus, Julius\nCaesar or the would seem to\nbe out of tune ; probably this is why\nclowns unconsciously select scenes of\nrobbing their neighbours or making them\nfall over a hidden, wire, these petty\nassaults being things that can be for-\ngotten as soon as done; but the mur-\nder of Julius Caesar or the burial of\none of the Pharoahs is ijot a thing\nwhich any seriously flippant man would\nwish to forget in a hurry. For my\npart, although it is a digression to say\nso, I think only a flippantly serious\nman would select such themes for the\ndurable theatre either. How rightly\nthey belong to the present day theatre\nwhich is neither durable nor ephe-\nmeral I\nAlthough the main theme of the\ncomic improvisators is n doingano-\nther man, the incidents are varied and\nthe by-paths many. And the moral\nof the whole is always good, for it is\nthe fool who pretends to be wiser than\nthe other fool who invariably gets\nn done n because he wishes to show\nhis superior wisdom.\nIt is seldom elegant, this comedy,\nand yet a perishable theatre would\nhave to possess its improvised dramas\nthat were elegant and even exquisite.\nPerhaps here we should drop speech\nand pass to the dance, care being\ntaken to avoid anything like a dance\nof a priestess before the altar of love,\nlest the little boy in the corner should\ngiggle.... through good taste.\nBut dances based upon the move-\nments of the perishable things in na-\nture,... the ugly little insects and the\nmore beautiful insects; in fact the whole\nshort-lived creation; and, perhaps, the\npassing phases of childhood; even the\nbrittieness of toys suggests itself as a\ntheme. Not only the fact that a thing\nis perishable but that it is mutable is\nof value. e\nO THE PLACE. O\nARCHITECTURE does not come\ninto this question of place, for\nthe ephemeral theatre. Its Drama\ncould be performed in any and every\nplace, and caprice and phantasy might\nput together stages one more fantastic\nthan the other. Something, like a\nhouse of cards; with the suggestion\nthat, should we lean against it, it\nwould topple over. It needs nimble\ninvention more than profound imagi-\nnation,. so I am almost tempted to sug-\ngest that a woman might be able to\ninvent this stage, for there is something\nof thi bonnet, something of the well-\nshaped, well-trimmed bonnet: or hat\nabout it. Builders might have to be\ncalled in, but the imagination is sprightly,\nlike a serious tight-rope dancer. Her\nmind would turn with revulsion from\ncold marble ; bronze would not enter\ninto her thoughts; but basket work,\ntrellisses, impossible winding flights of\nsteps which would give way under the\nfirst heavy tread. And then beautiful\ndiaphanous silks as sparingly used as\non Sunday in I fyde Park, some beau-\ntiful embroidery, still more beautiful\njewellery, and plenty of it to change\nday after day.\nCannot you imagine a stage held\nup by supports as thin as storks' legs,\ntrimmed with the plumage of birds,\nand here and there a long string of\npearls hanging ? Powder, beautiful\npowder all over the floor, perfumes,...\nbut here I am taking in not only the\nplace but the scene, costume and all.\nLittle tapers of the finest wax,...\nNot enough tapers ?... then bring in a\nthousand more in silver sticks. No, I\nthink we will have crystal. Each\ncandle perfumed, and perfuming the\nair as it burns. Such a quantity of\nbeautiful lace, everything spick and\nspan,... and perishable.\nAnd on to this stage and into this\nscene enter the actors.\nNothing so elephantine as those\ndubbed n the marvellous dancers of\nRussia n; nothing so heavy as the\ndiaphanous n Grecian dancers \"; but\njust something frail; always something\nfragile.... pale I fancy them, seldom\nspeaking above a whisper; always\nsinging, as it were, with the mutes on.\nBut here I am picturing one\nperishable theatre, though there might\nbe the rougher kind wherein even lath\nand plaster, and certainly paper, could\nplay their parts; with sand instead of\npowder, fishers 'or fowlers' nets instead\nof lace, torches instead of perfumed\ncandles. But one need not go far\nwith eyes and ears in one's head to\npick out the myriads of perishable\nthings of this world and bring them to\nour service ; and even with the least\nexercise of imagination, sitting in your\nchair, you can conjure up numbers of\nuseful resources.\nThus we have sketched in a few\nlines these two theatres, the Durable\nand the Perishable. The ephemeral is\nthe work of young people, and the\ndurable is theirs also when they shall\nhave passed through youth, (i) Thus\nthe one would be a training for the\nother. Instead of quickly attempting a\nthing beyond their powers they should\nbegin with the playful phase, and if in\nten years they had tired of it,... as\ntire they w0u1d,... they should be able\n\n(i) One of the unfortunate things in\nthe modern theatre is that young people\nalways commence with the blood-thirstiest\nof tragedies and the gloomiest of melo-\ndramas. A young man of twenty, leaps\nto the story of Sardanapalis or Agamemnon\nas a cat goes to cream, and on these\nmonstrous themes he exerts all the\ndelicacy of adolescence. A modern young\nlady reaches with haggard eyes towards\nthe story of ' Electra, and, actmg it,\ndisplays all the Hragic intensity of sweet\nseventeen. These boys and girls ought\nto be concernecfonly with the delicate and\nexquisite perishable themes in their\nexquisite theatre and without imitating\nthe artificial."}, {"page_pdf": 3, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01.1.3", "texte": "after this early experience, and if they\nstill loved the theatre very much, to\nenter on a new and inspiring phase of\ntheir development, entering the Durable\nTheatre after having passed through the\nPerishable one.\nThe theatre, (especially such theatres\nas I have sketched), educates ; not in\nthe sense in which the word is generally\nused; you will not educate young\npeople by taking them to a theatre to\nsee stupid, clumsy and ill-begotten\nthings done in front of their eyes, but\nit will be an education to give them a\nplace in which they can play and\nexpend all their vitality and delight us\ninto the bargain.\nAnd now what of the present\ntheatre ? To be continued.\n\nTHE LITTLE THEATRES\nOF AMERICA.\nACCORDING to Miss c. D. Mac-\nkaye who has written a book\non n The Little Theatres in the Uni-\nted States \", the Washington Square\nPlayers established in 1915 are n un-\ndoubtedly the most interesting group\nof Little Theatre Players in the\nStates n.\nThe Washington Square Bookshop\nis where the conspirators are wont\nto meet, and although the name of\nMr Egmont Arens is not mentioned\nin the above book, he it is who pre-\nsides at the Bookshop,\nIt might be interesting could Mr\nArens see his way to publishing small\nseparate books dealing individually with\nthese Little Theatres: books written\nmodestly by men who work in these\ntheatres. A record of fa&ts, unador-\nned, about each playhouse, would help\nus all to see the situation far better\nthan vague, and often incorrect, even\nif larger, books can do.\nBy the way, Miss Mackay's state-\nment that Antoine's Theatre was the\nfirst intimate indoor theatre,... the first\ngenuine Little Theatre in Europe the\nw.orld had ever seen,... is hardly correct.\n: Whether she is correct in stating\nthat n The whole naturalistic art of the\nTheatre as we know it today dates back\nto the experimentation of Andr£ An-\ntoine n we cannot say; but then, what\nis n naturalistic art \" ? and how is it\nrelated especially to Little Theatres?\nIt will interest our friends over in\nAmerica as well as here to learn of\na book all about \" Little Theatres n\nin 1837.\n\"CHRONIQUES DES PETITS\nTHEATRES DE PARIS\"....\nAnd we reproduce the title page\nfor you to see.\nCHRONIQUES\nDES\nPetits Theatres\nDE PARIS\nDepuis lcur creation jusqu'i ce jour\nPAR N. BRAZIER\nI\n*\nPARIS\nALLARDiN. LIBRAJRE,\nquai ds l'hojiloos, by\n«537\nTHE Little Theatres of America have\nproved good in that they have over-\ncome those infants, Klaw, Erlanger,\nFrohman, Schubert and Co. They\nwere foolish children to try and kick\nagainst the pricks, and the Little Thea-\ntres have gently rocked them to sleep.\nBut we want to see the best Little\nTheatre given more funds to work\n0n.... really we do: or we want to\nsee it not frightened of money or of\nbeing commercial. Commerce is all\nright: it's only the Frohmans, Klaws,\nErlangers and Co. who degrade thea-\ntre commerce, and by doing so, have\nbrought it into bad odour.\nWe of the New Movement make\ntoo many protestations that we are not\nas other men; We are all like every-\none else;.... only one or two of us,\n(may be ten in a million, and that\nestimate is high), lack certain qualities\npossessed by the others:.... that makes\nus up ten geniuses. In view of their\nlack of those qualities, don't you think\nwe should all give genius more privi-\nleges to make up for Their awful defi-\nciencies ?\nGenius could do with the privileges,\nno doubt; and we,... we really need\nthe geniuses. Yet the whole tendency\nof the Little Theatres is to overlook\ngenius just as the Commercial Theatre .\ndid.... Isn't it strange 1\nTO ONE OR TWO IN THE\nTHEATRES OF AMERICA.\nDEAR Genius, whereever\nyou are, I am with you... I\nknow that it is you who creates\nand gives these very virtuous\nperfect persons all the ideas they\nbring as their own, and discuss\nso solemnly. You, dear Genius,\nyou are the little and the great\nTheatres; and only that Play-\nhouse, be it small or large,\nwhich glories in the presence\nof Genius instead of fearing\nit.... shall be remembered in\nthe years and ages to come.\n\nIT COSTS SO LITTLE.\nIN Paris, in Rome, in Milan, in Flo-\nrence,... in most cities, but not in\nLondon, they name streets after dead\nwriters, painters, sculptbrs, musicians.\nIt is a very great happiness to feel\nthat, though I may get nothing else\nfor having helped make your century\nor establish a new standard in art, I\nam able to count on a street being\nnamed by my name:.... I am thinking\nfor the moment that I am Mozart,\nMolifere or Gustave Flaubert.\nOf course, I may be only Shaw,\nWells or myself;.... but there are little\ncul de sacs and blind alleys surely,\neven in London. To be godfather to\na slum would be something.... And\nwho knows out of our slums what great\nstar might not shoot.\nIt costs so little, too Shake-\nspeare Slum;.... or Meredith Mews....\nBRITAIN\nFOR THE\nBRITISH"}, {"page_pdf": 4, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191809-01.1.4", "texte": "A REASON FOR NAMING\nSTREETS AFTER ARTISTS.\nSUPPOSE you say, as we must all\nadmit, that the artist, be he even\na writer like Shakespeare of the\ngreatest magnitude, is in England by\nno means recognized as of any account\nin the mind of the people. Would\nnot this fact of naming little streets\nafter him,... and us a11,... have the\neffect of gradually helping the people\nto think about him; asking themselves,\n11 Why is this called n Blake Lane\" ?\nB Why this \" Shelley Square n?... and\ngradually learning why,... but gra~\ndually.\nIt would cost so little.\nThe pain to the Puritans would be\nso gradual....\n\nA FOUNTAIN\nwhich spouted forth ungodly\nWine in the streets during the\nPageant at the \"entrêe\" of\na French King to be crowned\nat Rheims.... in the 15th\ncentury.\n\nLI HUNG CHANG by J. O. P.\nBland. (B Makers of the Nineteenth\nCentury n series). (Constable. London.)\nPrice 6 / - net.\nOTHER * Makers * are : General\nGordon, Delane of the n Time# n,\nAbraham Lincoln, Herbert Spencer,\nPorfirio Diaz, Cecil Rhodes, Victor\nHugo, General Lee, Leon Gambetta\nand Abdul Hamid.\nThese are announced as ' Ready now*.\nIt is so like the Makers of the Nine-\nteenth Century to be ready now.\nAnd this is only one of the reasons why\nthe title seems so fatuous. People would\nas loosely call Shakespeare, for instance,\na maker of the fifteenth century: he\nis not that; he is the maker of a\nstandard which lasts long over a cen-\ntury or two. General Gordon, again,\nis perhaps the maker of a standard for\nall British soldiers. Time has precisely\nnothing to do with it.\nFrom the other point of view is it\napt, in these democratic days, to make\nso short a list... (and five on the list\nare still in preparation) of but ten or\ntwelve men... who ' made ' a century ?\nI ask, is it apt ? For one understood\nthat it was the People to whom be-\nlonged the credit of making a certain\ndivision of time.... er.... pass. Am I\nright ?\nThis being the case, I think this\nbook on Mr Chang should have been\nabout Mr Wo, Mr Lu, and Mr Wu, the\nBrown, Smith and Robinson of the rice\nfields.\nI myself am one of those,., what does\nMr Jones call them,... Pedestrian peo-\nple?... who would like a book about\nMessrs Wo, Lu and Wu and all their\naunts and uncles; and 1 think it is\njust one more injustice to a place that\nshall be unmentionable, that I may not\nreceive a book on their vulgar goings\non in Canton, which, I presume, is\nthe Monte Carlo of these field mice.\nWhat a lovely thought this leads to.\nwhat a vista for the poor publishers!\nI like the publishers myself, and so to\nthink that in the future they are going\nto have in their hands the biographies,\nthe memoirs, and, what is more, the\nsecret memoirs, of anything between one\nand two hundred millions individuals\nseems almost too good to be true. Can't\nyou see Mudie's young men struggling\nupstairs and downstairs with the new\nbatch of the six volume w My Recollec-\ntions ■ by J. K. L. W. Jones? The\nexcitement to know what Jones thinks\nof us all; how it struck Jones : and the\ncorrespondence t00!... what Smith wrote\nto him, and what they both had to\nsay about Robinson. By Jingo ! what\ntimes are coming for us! times pack\nfull of joy and rides.\nThe worst of it is that, all of us being\n4 makers * of the twentieth century, who\nwill there be left to read,?... except those\nfew who might have become what is\nnow so out-moded,... the great men of\ntoday.\n.... Well, with such a prospect it\nwould be ungenerous to grumble.\nAs for the book in question, being\nby Mr. J. O. P. Bland, it can be no\nother than it is. I would like a hun-\ndred new books about China by Bland\nand Backhouse; and as for other writers\non China except for Professor Giles.....\nBut then for our part we are like that.\nWe want one good thing in every branch\nknowing we can't, get two equally as\ngood.\nModern Civilization, on the other\nhand, tries to explain that there can be\nany amount of top-notches. There can\nbe, perhaps..,, there are not. There-\nfore let's have less of cult of the\ntenth-rate and go in for the old style\ncustoms.\n\nCALIBAN. (DRUNKENLY). 11 FREEDOM,\nHEY-DAY, HEY-DAY, FREEDOM !\nFREEDOM, HEY-DAY, FREEDOM ! \"\nTHe FOOL. 44 OH BRAVE MONSTER !\nLEAD THE WAY. \" SHAKESPEARE.\n\nI HAVE AN INFINITE\nDESIRE TO SEE MARIONNETTES\nREPLACE LIVING ACTORS.\nANATOLE FRANCE\n\nAll rights reserved September 1918.\nGerente responsabile: Giulio Vanzi.\nTipografia Giuntina. Firenze.\nPRICE ONE PENNY."}]}